Freeze
an original screenplay by
Richard Richter
RC Richter
Draft 1
Midnight HWY Film Co.
FADE IN:
Red. Blood red. Our view begins to PULL BACK... slowly
revealing the red Maple Leaf of the Canadian flag which
billows proudly in SLO-MOTION. We intercut with the flags
of the United States and Cascadia. Finally we see the edges
of these flags, which have now been violently shredded and
flutter aimlessly.
DISSOLVE TO:
1 EXT. NIGHT SKY - NOV. 29, 2010 AD 1
A black velvet sky, adorned with glittering stars suddenly
erupts with the exquisite, dancing Aurora Borealis. The
silhouette of a HOWLING WOLF appears within the dancing
lights, then slowly fades as the following words are spoken:
NATIVE WOMAN
"Long ago, Lone Wolf foretold of the
time that would one day bring about
the end of the white man's domination
and restore freedom to our people.
It would be a time of great turmoil
and mistrust, but a time we as a
people must never forget.
In the year of the Red Moon, 1998,
the province of Quebec finally gained
its independence from the
Confederation of Canada. An uprising
of the Cree tribes in Quebec followed
over our long-standing land claim
rights. And, an all-out war
subsequently followed between the
east and western provinces.
In the year 2002, and after much
blood-shed, the Yukon Territories,
British Columbia and Alberta broke
away to join the American States of
Washington, Oregon and Montana in
forming the Union known as Cascadia.
What followed in 2003 was the economic
collapse of Canada under its trillion
dollar debt. Relations between these
three separate countries has remained
highly charged ever since.
This was indeed the time of great
turmoil and mistrust that Lone Wolf
had foretold."
An RU-1050, a high-tech military aircraft sweeps through
frame.
The aircraft is state-of-the-art, its color-scheme reflecting
its importance.
CUT TO:
Genres:
["Drama","Sci-Fi","Action"]
Ratings
Scene
2 -
Turbulence of Duty
2 INT. RU-1050 / AFT SECTION - NIGHT 2
Seated in the comfortable aft section, is a man in his late
50's. His name is ANDRE LeBLANC, the Prime Minister of what
now remains of Canada. In his lap rests a folder of documents
bearing the title "Native Land Claims - Disputed Territories;
Project Solutions for Ending All Past Treaties". LeBlanc
slowly begins to flip through the pages. A YOUNG MAN, a
Government Aid, makes his way over from the flight deck.
AID
Mr. Prime Minister, we'll be touching
down in five minutes.
LEBLANC
Good, thank you.
AID
Ground Control tells us there's a
good turnout for your visit.
LEBLANC
(hesitant)
Good... good to hear.
AID
Sir? Is there something wrong?
LeBlanc sits in silence for a moment.
LEBLANC
No... why?
AID
You seem a little stressed, that's
all.
LeBlanc turns and looks out the side window at the approaching
city spread out before him. The Aid watches a moment then
turns and moves off.
CUT TO:
Genres:
["Political Drama","Thriller"]
Ratings
Scene
3 -
Tensions at Parliament Hill
3 EXT. PARLIAMENT HILL / OTTAWA - NIGHT 3
TITLE CARD READS:
PARLIAMENT HILL
OTTAWA, CANADA
NOVEMBER 29, 2010
The once-grand Parliament buildings
have now been turned to rubble. The
spire of the Peace Tower is but a
shattered hulk.
A large crowd has gathered to see the Prime Minister deliver
his "Restoration of the Nation" speech at what is now left
of the nation's Capital.
CUT TO:
4 EXT. PARLIAMENT HILL / STAGE AREA - NIGHT 4
Amongst the crowd, fighting her way through, is OFFICER TYRA
BURNS, an attractive young woman in her early thirties whose
youth belies her authority.
Tyra finally makes her way to the base of the stage, from
where the speech is to be delivered. Standing on the steps
are TWO MEN, one is HUGH WALSH, a young government official,
the other is CAPTAIN WINTERS, a balding, obese and disheveled
man who has seen it all - and knows it.
BURNS
Captain Winters... Harris has been
trying to contact you.
WINTERS
(indifferent)
Yes, I know... so what can I do for
you?
Winters dismissively looks off into the crowd. Hugh turns
with interest.
BURNS
Sir, he says he has reason to believe
there may be a possible security
threat.
WALSH
Security threat?
WINTERS
I believe we have everything covered,
Burns.
BURNS
But sir, Harris --
WINTERS
Listen Burns, I don't really care
what Harris thinks he has. I want
you both back to your stations --
Walsh interjects...
WALSH
But Captain, if Harris thinks there
may be a problem --
WINTERS
Harris is a crackpot Walsh! The man's
just looking for attention. CESIS
has everything under control.
Just then, a MAN approaches Winters.
MAN
Captain, the aircraft is on final.
WINTERS
Fine...
(turns to Burns)
Burns, I want you out of my fucking
face, do I make myself clear?!
BURNS
Yes sir.
The SOUND of the RU-1050 can be heard overhead. Winters
turns to look up at the aircraft.
CUT TO:
5 EXT. RU-1050 - NIGHT 5
The RU-1050 hovers over us as its landing gear begin to
unfold.
CUT TO:
Genres:
["Drama","Political","Thriller"]
Ratings
Scene
4 -
Tension on Parliament Hill
6 EXT. PARLIAMENT HILL - NIGHT 6
Burns slowly turns and begins to walk away. As she does,
she talks into a small headset.
BURNS
Harris... he doesn't believe you.
CUT TO:
7 INT. BUILDING ACROSS FROM THE HILL - NIGHT 7
OFFICER NED HARRIS, a rugged looking man in his mid-thirties,
makes his way down a long dark hall, gun in hand. He listens
to Burns.
BURNS (V.O.)
I don't know what else to do Harris...
he wants us to return to our posts.
HARRIS
You told him?
BURNS (V.O.)
I told him everything...
CUT TO:
8 EXT. PARLIAMENT HILL - NIGHT 8
Burns makes her way through the crowd toward a white, five-
storey building, some distance in front of her.
BURNS
... he doesn't want to listen to a
word. I don't know. What now?
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
5 -
Race Against Time
9 INT. BUILDING - NIGHT 9
Harris stands thinking for a moment, pondering his next move.
HARRIS
Where are you?
BURNS (V.O.)
On my way back to you.
Harris turns his head, looking up.
HARRIS
What's that sound?
CUT TO:
10 EXT PARLIAMENT HILL - NIGHT 10
Burns turns to see the RU-1050 touching down.
BURNS
It's the Prime Minister's aircraft.
HARRIS (V.O.)
I know he's here somewhere Burns.
Get your ass back here.
BURNS
What if he's not? What if there's no
one?
HARRIS (V.O.)
We can't take that chance.
Burns begins to quicken her pace.
CUT TO:
11 INT. BUILDING / THIRD FLOOR - NIGHT 11
Burns is making her way through the halls, gun and flashlight
at the ready. She stops and looks through a window toward
the hill to see the RU-1050 now sitting behind the stage.
BURNS
I'm on the third floor. Where the
hell are you?
HARRIS (V.O.)
Fifth... on my way to the roof.
BURNS
The Prime Minister is about to make
his address.
CUT TO:
12 EXT. PARLIAMENT HILL - NIGHT 12
POV
The crowd can be seen gathered around the stage as the Prime
Minister walks across the platform to the microphone. The
setting is awash in light.
CUT TO:
Genres:
["Political Thriller","Drama","Action"]
Ratings
Scene
6 -
Surprise in the Shadows
13 INT. BUILDING / FIFTH FLOOR / STAIRS - NIGHT 13
HARRIS
Burns... get your cute ass up here!
BURNS (V.O.)
Fuck you Harris.
WEYLAND (O.S.)
Is that any way to talk to your
partner?
OFFICER CORY WEYLAND suddenly appears from out of the shadows
below and behind Harris.
HARRIS
(turning)
Is that you Weyland?
Weland steps forward to reveal himself.
WEYLAND
I thought you might need a hand.
Harris is surprised.
HARRIS
Yeah... cover me.
Harris turns to the door which leads to the rooftop machine
room. Slowly he opens it, Weyland bringing up the rear.
CUT TO:
14 INT. BUILDING / FOURTH FLOOR / STAIRS - NIGHT 14
Burns makes her way up the stairs leading to the fifth floor.
As she does, she stops from time to time on each landing and
looks out toward the gathering. The crowd is going wild,
cheering for the Prime Minister.
CUT TO:
15 EXT. PARLIAMENT HILL - NIGHT 15
POV
The crowd cheers as the Prime Minister begins to address
them.
CUT TO:
Genres:
["Political Thriller","Action","Drama"]
Ratings
Scene
7 -
Emergency on the Rooftop
16 INT. BUILDING / FIFTH FLOOR / STAIRS - NIGHT 16
Burns talks to Harris.
BURNS
Harris?... Harris, where are you
now?
Just then, the SOUND of gunfire is heard. BOOM! BOOM!
BURNS (CONT'D)
Harris?... Harris!
Burns turns and begins racing toward the roof.
BURNS (CONT'D)
Damn it, Harris!
Burns finds herself at the base of the stairs which lead to
the roof.
BURNS (CONT'D)
What's going on?!
Burns heads up the long flight of stairs, gun ready.
Suddenly, BOOM! - a LARGE GUNSHOT which echoes loudly.
Burns stops with shock. Suddenly the SOUND of people
screaming can be heard outside.
Burns charges forward toward the door. She finds It LOCKED!
BURNS (CONT'D)
Harris?! What's going on?!
Then over the headset we HEAR...
CONTROL (V.O.)
The Prime Minister has been hit! Say
again, the Prime Minister has been
hit! This is a code seven!
Burns backs up and begins to kick at the door, with no luck.
She steps back and turns her gun on it, firing several rounds
into the locking unit. She kicks at it again, this time it
bursts open.
CUT TO:
17 INT. BUILDING / ROOFTOP MACHINE ROOM - NIGHT 17
Burns enters, gun in hand, ready for whatever awaits.
She quickly spies Weyland laying in a pool of blood - dead.
Next to him is Harris. He is alive but wounded as he reels
in pain and struggles for coherence.
BURNS
Oh my god! Harris!
CUT TO:
18 EXT. PARLIAMENT HILL / STAGE AREA - NIGHT 18
Walsh helplessly watches the commotion around the Prime
Minister. He suddenly hears Burn's call for help in his
earpiece.
BURNS (V.O.)
Officers down! repeat, Officers down
on top floor of McKinley Plaza! Need
immediate attention!...
He quickly looks off toward the building across the grounds.
BURN TO:
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
8 -
Christmas Eve Reflections
19 INT. HARRIS APARTMENT - NIGHT / CHRISTMAS EVE 19
OUR VIEW BEGINS on a framed photo of Harris on his graduation
from the Police Academy. Happily he shakes the hand of the
Police Chief who hands him his diploma.
Moving off this memento, we PAN ACROSS the fireplace mantle,
cluttered with various other police-related photos and
memorabilia. One family photo remains. It reveals Harris
with his wife and their eight year old son in happier times.
From OFFSCREEN, we HEAR the recorded voice of Harris' wife.
WIFE (O.S.)
"I've had it Ned... I can't take
this anymore... I can't even talk to
you. It's like talking to a brick
wall. You keep everything bottled up
inside and then explode and expect
me to understand... well I can't, I
can't do this anymore..."
Finally we come upon Harris who sits alone in his darkened
apartment, watching and re-watching a video fax from his
wife. A near-empty bottle of Jack Daniels rests on the coffee
table in front of him while a snoozing Jack Russell Terrier
is curled up on the backrest of the sofa behind Harris.
With glass in one hand and TV remote in the other, Harris
points the clicker at the TV and rewinds the message to play
it again.
A moment later, a wall-mounted video screen beside the
entrance flashes on in the background. With a BEEP, the
image of BURNS appears. Harris turns to look.
BURNS
Merry Christmas.
Disinterested, he turns back to the TV.
HARRIS
Go away Burns.
BURNS
C'mon Harris, let me in. We need to
talk.
HARRIS
My decision's made. I've already
told them I'm not interested.
Aiming the clicker at the video screen, he terminates the
call.
A moment later, it flashes on again.
BURNS
You're not gettin' rid of me that
easy.
HARRIS
I'm busy.
BURNS
Yeah I know. Watching that 'fuck
you' video for the hundredth time.
Harris looks over to the screen.
BURNS (CONT'D)
I have a present here for ya.
HARRIS
Unless it's a bottle of JD, thanks,
but no thanks.
Burns holds up a small gift-wrapped box tied with a bow.
Harris spies it. A beat later, he clicks the remote and
unlocks the door.
JACK, the dog, perks up his head as the door swings open.
Bounding from the sofa, Jack pounces on Burns, anxiously
greeting her as she closes the door.
BURNS
It's good to know someone's happy to
see me.
HARRIS (O.S.)
Jack!
BURNS
(rubbing his ears)
Merry Christmas Jack. I have something
here for ya.
From her pocket, Burns withdraws a chocolate bone tied with
a ribbon and holds it out for Jack.
BURNS (CONT'D)
Ya like that, huh?
Jack sniffs at it, then eagerly chomps on it and trots off.
Burns looks up to Harris who remains on the sofa.
BURNS (CONT'D)
(facetiously)
Oh no, please, don't get up.
Harris glances over with a deadpan expression. Burns removes
her coat and moves across the room to sit beside Harris on
the sofa. She places the gift on the coffee table and settles
back.
HARRIS
Thanks... sorry I didn't get you
anything.
BURNS
I wasn't expecting anything.
Harris becomes quiet, turning away. Leaning forward, he
puts his face in his hands.
HARRIS
(quietly)
I'm sorry for involving you in this
mess...
Burns curiously glances about.
BURNS
It's not your fault.
HARRIS
Maybe not, but your career's
definitely not on the fast track
anymore.
BURNS
Like it ever was.
Harris moans quietly as he adjusts the bandage on his
shoulder, trying to get comfortable.
Burns touches his arm.
BURNS (CONT'D)
I haven't pushed it before now because
I knew you needed some time... but I
think you better start thinking about
what you're gonna do. They've given
us till January 1 to decide.
HARRIS
They already know my decision.
BURNS
Listen, don't be crazy. You can't
give up your police career because
of this --
HARRIS
And why the hell not?! Obviously
they don't think I have one!
Burns falls silent as Harris rises from the sofa and crosses
to the balcony doors. He stares out the window at the falling
snow outside.
HARRIS (CONT'D)
It was a set-up Burns... I know it.
Burns studies him curiously.
BURNS
You have no proof... and no one's
talking.
HARRIS
(thoughtfully)
Yet.
BURNS
Why would anyone want to set you up?
HARRIS
It's no secret I have a reputation
as a shit-disturber... I'm an easy
target.
BURNS
And maybe you were just in the wrong
place at the right time. Besides,
I'm in this too, remember?
HARRIS
Only cause you're my partner...
(with defeat)
I guess it was just a matter of time.
BURNS
I think you're giving them too much
credit. They're not that smart.
The light sweep of a police helicopter's searchlight FLASHES
through the windows of the apartment from above, then moves
off.
HARRIS
(distant/reflective)
God, I never thought it could get
worse than it was in two thousand
with all that 'end-of-the-world'
shit, but here we are... the country's
gone for a crap and everyone's just
looking out for themselves...
BURNS
Harris --
HARRIS
I'm serious...what's the point any-
more? That assassin killed the only
hope this country had.
BURNS
They were fighting for their cause
Harris.
Harris turns to look at her.
HARRIS
Whose side are you on?
BURNS
I'm just saying that nothing happens
without a reason.
HARRIS
Reason my ass.
Burns rises from the sofa and moves to in front of Harris
who continues looking outside.
BURNS
Harris... it's done, get past this.
Harris remains quiet. Burns stares at him longingly.
BURNS (CONT'D)
Damn it, I know it's not the greatest
job, but the world is shit Harris...
and at least we'll still have a job
and each other at the end of the
day.
Harris turns from the window toward Burns. He has a look of
defeat in his eyes, as if he finally knows that he has lost
his personal battle. Burns gently moves forward and kisses
him. They embrace, holding one another tightly. Another
sweep of the searchlight FLASHES across their faces as we...
DISSOLVE TO:
Genres:
["Drama","Crime","Mystery"]
Ratings
Scene
9 -
Turbulence and Transition
20 EXT. NORTHWEST TERRITORIES - TWILIGHT 2012 AD 20
All is quiet. Stretching out before us to the horizon is
the desolate northern tundra. The sun sinks below the distant
horizon while ominous dark storm clouds move toward us.
Then, a high-speed SU-120 aircraft streaks beneath us, heading
toward the storm-laden skies. A loud rumble follows in its
path, echoing across the landscape.
CUT TO:
21 INT. GALLEY / SU-120 - TWILIGHT 21
TITLE CARD READS:
THE YUKON TERRITORY
NOVEMBER 29, 2012
Hot coffee pours from a dispenser mounted in the galley. A
hand reaches forward and retrieves it.
CAPTAIN RENE SORENSON, a serious looking woman in her mid-
thirties who wears her long brown hair tucked up under an
olive green baseball cap, cautiously takes a sip as she turns
from the counter. She bumps into Burns.
SORENSON
Excuse me.
BURNS
I'm sorry, I'm in your way.
SORENSON
No, no, that's alright.. Are you
enjoying the flight?
The aircraft continues to jostle about as Burns attempts to
pour herself a coffee.
BURNS
I've had better.
SORENSON
Yeah, like this coffee.
Burns smiles agreeably.
SORENSON (CONT'D)
It won't be long. We're scheduled to
touch down in aout fifty-five minutes.
BURNS
(opening cupboard)
Is there any cream?
SORENSON
Only the plastic shit.
BURNS
Damn, not again....
(turns to Sorenson)
I hear his is your last run?
SORENSON
(takes a sip)
Yeah, I'm goin' home.
BURNS
Lucky for you. I wish it was me.
Burns smiles as Sorenson turns and disappears into the flight
deck.
CUT TO:
Genres:
["Drama","Action","Thriller"]
Ratings
Scene
10 -
Turbulence and Tension
22 INT. AFT CARGO DECK / SU-120 - TWILIGHT 22
In the foreground, a hand grips the armrest. In the
background, Burns sits into her rear-facing seat and straps
herself in. She turns her head.
BURNS
Whatcha thinkin' about?
Harris stares out the window.
HARRIS
You.
BURNS
Yeah, I know what you're really
thinkin' about.
Burns places her coffee cup in the holder beside her and
settles back in her seat, closing her eyes.
BURNS (CONT'D)
Wake me when we get there.
Harris continues staring out the window.
The cargo deck of this aircraft has been stripped out to
perform the less glamourous work required in the north. It
is well-worn, with tears in the insulation on the walls and
plenty of yellow primer showing through the light gray paint.
The cargo area is configured to transport up to six portable
Cryo-con cryogenic cylinders. Cargo is loaded through dual
doors at the tail of the aircraft.
One of the three-meter long tubes is mounted on the starboard
side of the cargohold. The ends and bottom of the tube are
made of a lightweight graphite composite, and painted a gray-
blue. Glass, reinforced with stainless steel bars, covers
the top half of the cylinders.
A touch sensitive computer screen and blinking LED light are
mounted into the control panel at one end of the unit. A
NATIVE WOMAN can be seen laying motionless inside. She is
wearing a body-suit that has tubes and wires running in and
out at various points.
Harris' attention is drawn to the cabin as the aircraft
buffets in the growing storm.
OUR VIEW moves off Harris toward the cabin door which has
now shaken ajar.
CUT TO:
Genres:
["Thriller","Sci-Fi"]
Ratings
Scene
11 -
Stormy Skies and Personal Ties
23 INT. FLIGHT DECK / SU-120 - TWILIGHT 23
The technology of the flight deck is advanced, with fly-by-
wire controls and computer instrumentation. The design is
military; stark and efficient. The interior looks very well
used, with worn fabric and paint. Various personal items
are strewn about. The flight deck is very dim, with the
only light being provided by red work lights and the glow of
the computer screens.
First Officer RAYMOND CARDINAL, is a young Native man in his
late twenties. His military brush cut and smooth round face
make him appear much younger. He is occupied, systematically
checking instruments and referring to a laminated checklist
clipped onto the intrument panel.
Both pilots wear sage coloured flight overalls with a flight
jacket over top. A future Canadian military insignia adorns
the left shoulders of both officer's jackets.
CARDINAL
This is one helluva storm.
Sorenson is strapping herself into her seat. She sips her
coffee.
SORENSON
How's our fuel?
Raymond looks to his instrument displays. Punching a
button...
CARDINAL
Eighteen hundred.
Sorenson stares ahead out the windscreen. Raymond turns
with interest.
CARDINAL (CONT'D)
So you're goin' back to Cascadia
huh?
Sorenson continues looking ahead.
SORENSON
(indifferent)
That's right...
(looks at Cardinal)
What's our ETA to Fairbanks?
CARDINAL
With this head wind, at least fifty-
two minutes.
Sorenson checks over the instrumentation as Cardinal adjusts
the trim.
CARDINAL (CONT'D)
I'll be honest... I envy you.
Sorenson turns.
SORENSON
Well, maybe someday you'll be able
to emmigrate there Raymond.
CARDINAL
Not bloody likely... they still have
a major hate-on for Canadians after
the war...
(BEAT)
It's all their fault we're in this
mess.
Sorenson defends her position.
SORENSON
Why do we keep having this discussion?
I've said it before and I'll say it
again... Canada had no right trying
to stop the west from leaving just
to hold on to their resources.
CARDINAL
The resources were rightfully part
of Canada.
SORENSON
When a group of people decide to
leave, the land they live on belongs
to them.
CARDINAL
Yeah right... tell that to the Cree
of Quebec.
SORENSON
It's the history of the world,
Raymond. Get used to it.
Raymond turns and looks at the instruments.
CARDINAL
So why Cascadia?
SORENSON
It's my home. It's where I grew up.
I've done more than my share for
God, Country and the Queen.
Raymond is quiet.
SORENSON (CONT'D)
Besides, my daughter doesn't even
know who I am anymore.
CARDINAL
You still have that place outside
Calgary?
SORENSON
You've never been there, have you?
CARDINAL
No.
SORENSON
Tell you what. This summer you and
your wife will have to come out and
meet my husband and my daughter.
It'll be fun.
CARDINAL
Sounds like a plan.
Sorenso1n smiles.
CARDINAL (CONT'D)
Miss'em, huh?
SORENSON
Yes... very much.
Sorenson nods and looks out the window.
SORENSON (CONT'D)
It's a nasty one out there. Radar?
CARDINAL
Doesn't look like it'll get much
worse.
CUT TO:
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
12 -
Turbulence and Tensions
24 INT. AFT CARGO DECK / SU-120 - TWILIGHT 24
A small cardboard box smashes to the floor as the aircraft
shudders. Several cans spill from it, rolling across the
grating. A label on the side of the box reads: Ship to
Fairbanks Correctional Facility, Fairbanks, Alaska.
Burns wakes with a start when the coffee beside her spills
across her leg.
BURNS
Ahhh! Shit!
Harris turns with surprise.
HARRIS
Gonna make it Burns?
Burns throws an indignant glance. Harris smiles as he undoes
his harness and bends over to pick up the can that has rolled
to his foot. Rising, he moves to the rear of the aircraft
where he picks up several more cans and stuffs them back
into the box. He shoves the box back onto the storage shelf.
A sudden wave of turbulence sends Harris headlong toward one
of the Cryo-con tubes, slamming him into it. He suddenly
finds himself face to face with its frozen cargo. His eyes
slowly study the unidentified corpse, pondering its state of
consciousness. Burns looks up from her seat.
BURNS
(facetiously)
I wouldn't mess with her if I were
you.
With a scowl, Harris pushes himself off the tube, straightens
himself and moves back to his seat where he straps himself
back in.
BURNS (CONT'D)
I've had it with this dog-run.
Harris turns.
HARRIS
You've certainly changed your tune.
BURNS
It's been two years Harris. Enough's
enough!
HARRIS
What's with you all of a sudden?
BURNS
It's not all of a sudden...
HARRIS
What's goin' on?
BURNS
Harris... I've been giving it some
thought...
(beat)
God knows I've had time to think
aboutit...
HARRIS
About what?
Long pause.
BURNS
Quitting.
HARRIS
Quitting?!
BURNS
Both of us.
HARRIS
Why?
BURNS
Because we're police officers and we
shouldn't have been doing this shit
job in the first place!
Harris is dumbfounded.
HARRIS
Where the hell were you two years
ago?!
BURNS
And what's that suppose to mean?
HARRIS
Is this the same person who said,
'the world is shit Harris, at least
we'll still have a job' ?!
BURNS
We got screwed!
HARRIS
So now you believe me?
BURNS
(quietly)
I always did.
Harris is genuinely surprised.
BURNS (CONT'D)
What if we made this our last run?
The Captain's going home... it's
time for us to do the same.
HARRIS
We don't have anything to go home
to. And you can forget about any
policing duties.
BURNS
Exactly.
Harris looks at her curiously.
BURNS (CONT'D)
Harris, I know some people in
Cascadia... they might be able to
help us get in there.
HARRIS
That'll be a cold day in hell.
BURNS
And where do you think we are?
Harris smiles.
BURNS (CONT'D)
We've done our time... I want a
future, for both of us.
Harris punches the intercom switch near the armrest.
HARRIS
How long til we land this thing?
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
13 -
Emergency Descent
25 INT. FLIGHT DECK / SU-120 - TWILIGHT 25
Cardinal responds to the intercom.
CARDINAL
Say again?
HARRIS (V.O.)
How long before we land?
CARDINAL
At least forty minutes.
HARRIS (V.O.)
Thanks.
Sorenson smacks at the harness which quickly falls away.
SORENSON
It's all yours... I'll be back.
A small indicator light on the instrument panel begins to
FLASH along with a warning SOUND.
SORENSON (CONT'D)
What is it?
Sorenson settles back in her seat.
CARDINAL
We're losing altitude.
SORENSON
Why?
Cardinal stabs his finger on the touch-sensitive panel looking
for answers.
CARDINAL
We're losing lift... De-icing failure!
SORENSON
Shit! Full power!
CARDINAL
Full power!
Cardinal proceeds to throttle up on the main engines. The
SOUND of the engines powering up is quickly heard.
CUT TO:
26 EXT. SU-120 - TWILIGHT 26
The aircraft begins to descend through the howling storm.
CUT TO:
27 INT. AFT CARGO DECK / SU-120 - TWILIGHT 27
Harris and Burns react to the SOUND of the engines.
CUT TO:
Genres:
["Thriller","Drama","Action"]
Ratings
Scene
14 -
Descent into Chaos
28 INT. FLIGHT DECK / SU-120 - TWILIGHT 28
Cardinal struggles with the controls.
CARDINAL
No good! Still sinking!
SORENSON
Altitude eight hundred... sinking!
Radar?
CARDINAL
Mountain range two-one-eight.
A warning SOUND suddenly cuts through the din followed by
the soothing SOUND of a synthetic female voice.
FLIGHT SYSTEM (V.O.)
Terrain... Terrain... Pull up...
Pull up...
Both pilots struggle with the controls as the transport begins
to shudder in the fierce storm. Very little of the blue
northern twilight can be seen through the blowing snow that
pelts the windscreen.
SORENSON
Send a May Day!
CUT TO:
29 INT. AFT CARGO DECK / SU-120 - TWILIGHT 29
Burns is looking at a small photo she carries - it is of her
and Harris taken at what appears to be a party of sorts.
She turns and looks toward Harris who stares into the rear
cargo hold. Harris begins to look around as the SOUND of
the engines running at full power begin to make their presence
felt.
SORENSON (V.O.)
Strap yourself in! We're gonna have
to make an emergency landing!
Burns turns and looks out the window.
BURNS
Where the hell are we gonna land?
Harris?!
Burns undoes her harness and begins to stand. Harris grabs
her.
HARRIS
Burns sit down!
BURNS
What the hell is going on?
CUT TO:
30 INT FLIGHT DECK / SU-120 - TWILIGHT 30
Cardinal proceeds to send an emergency call out over his
wireless headset.
CARDINAL
May Day, May Day, May Day. This is
Canforce 8. We are in severe icing
and have an anti-icing system failure.
We're unable to hold
altitude,commencing emergency landing
proceedures in grid reference Alpha -
75 43 North, 104 13 West. There are
four souls on board plus three Cryo-
con prisoners!
Sorenson looks over with a defeated shake of her head.
CUT TO:
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
15 -
Descent into Darkness
31 INT. AFT CARGO DECK / SU-120 - TWILIGHT 31
Harris grips the armrest tighter and closes his eyes. Burns
struggles with the clips on the harness, trying desperately
to engage them.
CUT TO:
32 INT. FLIGHT DECK / SU-120 - TWILIGHT 32
The pilots continue their life and death struggle, trying to
keep one step ahead of the raging elements.
SORENSON
Flaps ten!
Cardinal sets the flaps at ten degrees.
CARDINAL
Flaps ten... Five hundred above...
Still sinking fast.
FLIGHT SYSTEM (V.O.)
Sink rate... Sink rate...
SORENSON
Flaps twenty!!
Suddenly an ear-piercing stall-warning is heard, followed by
the voice of the flight system.
FLIGHT SYSTEM (V.O.)
Stall warning... Stall warning...
CARDINAL
Hundred above!!
SORENSON
Brace yourself! We're gonna hit heavy!
The two pilots stiffen in their seats, bracing themselves.
CUT TO:
33 INT. AFT CARGO DECK / SU-120 - TWILIGHT 33
Harris looks at the ceiling as he braces himself. Burns'
harness finally clicks together.
CUT TO:
34 EXT. SNOW COVERED PLAINS - TWILIGHT 34
The transport approaches. The landing lights on the swept
Delta wings and landing gear pods, blaze into the blowing
snow.
With a CRASH, the sleek twin engine slams belly firts into
the ice and snow covered terrain, sliding directly toward
CAMERA. The nose plows a deep drift, shooting a plume of
snow high into the frozen air.
CUT TO:
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
16 -
Chaos in the Skies
35 INT. AFT CARGO DECK / SU-120 - TWILIGHT 35
Both Burns and Harris are violently tossed about in their
seats as they struggle to hold on.
CUT TO:
36 INT. FLIGHT DECK / SU-120 - TWILIGHT 36
Sorenson and Cardinal are hurled forward in their harnesses
as snow and ice cover the windshield. The impact and
vibration knock out the overhead lights, leaving only a few
of the instrument lights to illuminate the scene.
CUT TO:
37 INT. AFT CARGO DECK / SU-120 - TWILIGHT 37
Storage boxes and equipment cases are launched forward,
slamming their contents against the bulkhead. Cans of
pineapples and other food stuffs explode on impact.
CUT TO:
38 INT. GALLEY / SU-120 - TWILIGHT 38
Storage locker doors shoot open as their contents are hurled
across the galley.
CUT TO:
39 INT. AFT CARGO DECK / SU-120 - TWILIGHT 39
The Cryo-con tubes are ripped from the walls as their mounting
brackets are sheared off by the tremendous force of impact.
One of the tubes is launched forward, smashing into the
control console in front of Harris. The console breaks free
and slams into Harris's right leg. Harris screams in pain.
The tube on the opposite side of the aircraft is
simultaneously hurled forward, sliding along the floor,
finally slamming into Burns.
CUT TO:
40 EXT. SNOW COVERED PLAINS - TWILIGHT 40
The crippled transport slides by on the left side of CAMERA.
A sharp rock catches the wing, tearing it open. Fuel in the
damaged wing ignites into a huge fireball as it passes
overhead by inches.
CUT TO:
41 INT. FLIGHT DECK / SU-120 - TWILIGHT 41
Anything not tied down is hurled about the flight deck. The
windscreen suddenly shatters as snow and ice whip through
the opening.
CUT TO:
42 INT. AFT CARGO DECK / SU-120 - TWILIGHT 42
The red light of the explosion blazes through the side
windows, illuminating the scene with an eerie glow. Burns
has been knocked unconscious while Harris reels in agony as
the aircraft slows to a halt.
CUT TO:
43 EXT. SNOW COVERED PLAINS - TWILIGHT 43
The SU-120 finally comes to rest with a sudden explosion of
snow.
CUT TO:
44 INT. GALLEY / SU-120 - TWILIGHT 44
A fireball rips through the galley, engulfing it in flames.
FADE TO BLACK
FLASHBACK
45 INT. BUILDING / ROOFTOP MACHINE ROOM - NIGHT 45
In SLOW-MOTION, Harris makes his entrance with Weyland. The
two of them move through the machine room slowly. The whole
feel of the action is surreal - dreamlike. Suddenly, out of
the corner of Harris' eye he sees a FIGURE laying prone,
next to what looks like a rifle. Harris raises his gun.
HARRIS
You there! Police! Stop what you're
doing and raise your hands where I
can see them!
He turns to Weyland.
HARRIS (CONT'D)
Weyland?
A SHOT rings out.
POV of Harris as his world suddenly begins to spin around
and around.
FLASHCUT TO:
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
17 -
Emergency Report at Ottawa Control
46 INT. OTTAWA CONTROL / SENTINEL - NIGHT 46
A dimly lit command center sits quietly as only two personnel
are on duty. The glow of the various consoles cast a dream-
like feel over the room. The shift controller is quietly
sitting at his workstation sipping a coffee when...
FAIRBANKS (V.O.)
Sentinel, this is Fairbanks. Do you
copy? Sentinel, this is Fairbanks.
The controller turns and rolls his chair back to position in
front of the console.
CONTROLLER
Fairbanks go ahead. Recieving you
strength four.
FAIRBANKS (V.O.)
Sentinel, we are reading an SU-120
down, enroute to our location, call
sign Canforce 8, registration Charley
Golf Romeo One Seven Four Niner...
Aircraft's last position would seem
to be inside Cascadian airspace.
The controller turns to the night assistant.
CONTROLLER
Run me a cross-check on Canforce 8.
The assistant turns and begins to comply.
CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
18 -
Emergency Call
47 INT. BEDROOM / CONNELY HOME - NIGHT 47
The quiet of the dark is broken with the SOUND of a phone
beeping.
CONNELY, a man in his late forties, wakes from his sleep and
fumbles to the phone on the bedside table.
CONNELY
Hello... Connely here.
Connely turns toward the table lamp and turns it on.
CONNELY (CONT'D)
Where?... WHERE?!! Shit! Are you
sure about this?... How many on
board?... Any word on survivors?...
Alright, I'm on my way... give me
about an hour to get there. In the
meantime contact Cascadia's Air
Command and inform them we've lost
one of our aircraft and we believe
it's in their air space... I realize
that, but do it anyway! Goodbye.
Connely hangs up the phone and lays back in his bed, staring
at the ceiling. From behind him, his WIFE appears.
CONNELY (CONT'D)
Shit.
WIFE
What is it?
CONNELY
I have to go in and deal with a small
matter. It appears one of the Canforce
flights went down.
CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
19 -
Tension at the Cascadia Air Command Bunker
48 EXT. CASCADIA AIR COMMAND BUNKER - NIGHT 48
A large concrete structure protrudes from the side of a
mountain range, overlooking a valley below. The lights from
the few visible windows are the only sign of life coming
from this imposing fortress.
TITLE CARD READS:
CASCADIA AIR COMMAND BUNKER MT. ROBSON, JASPER, ALBERTA
CUT TO:
49 INT. CASCADIA AIR COMMAND BUNKER - NIGHT 49
The Cascadian Air Command bunker is a dark, re-inforced
concrete room with a staff of five. As with the other control
center, this one too is a scene out of STAR WARS. The room
sits silent but for the SOUND of the machines running in the
background. There is some activity - something is up.
A large backlit map makes up the wall ahead of the control
staff. On the map is an outline of Western Canada now called
Cascadia. More importantly, we see an outline of Alberta,
British Columbia, and the Yukon Territories together with
Montana, Oregon, and Washington State. In the far north
western region of the Yukon sector is a blinking marker with
a blurb of information next to it. The information is
constantly being updated as we watch.
The CAMERA begins to move through the room, up a set of stairs
and down through a long hallway, finally approaching an office
door where a small plaque reads "DIRECTOR of OPERATIONS".
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
20 -
Urgent Decisions in the Operations Office
50 INT. OPERATIONS DIRECTORS OFFICE - NIGHT 50
The office belongs to DYANN RICHARDS, the on-duty Director
of the complex. She sits behind a large glass desk. Next
to her is a computer and behind her, a large painting of a
beautiful sunset. She is working her way through what appears
to be reports. The intercom SOUNDS.
DYANN
Yes?
REESE (V.O.)
It's Reese.
DYANN
Is there a problem?
REESE (V.O.)
We have indications of a Canforce
transport down in our northern sector.
DYANN
Where?
REESE (V.O.)
I'm sending through the location.
Dyann turns to her computer and looks to see the same
information as seen earlier on the big map. She studies it.
Suddenly a flight track appears on the map, showing where
the aircraft took off from and its destination in Fairbanks.
REESE (V.O.) (CONT'D)
The computer is telling us its out
of Winnipeg and looks to have been
enroute to Fairbanks, Alaska.
Just then the phone rings.
DYANN
Hang on...
She answers the call.
DYANN (CONT'D)
Hello... Send them down.
Dyann returns to the matter at hand.
DYANN (CONT'D)
What other information do we have on
this flight?
REESE (V.O.)
We're running a cross-check and
background on the aircraft. All we
know right now is that it's a Canforce
flight. Probably went down in the
storm that's goin' on up there.
DYANN
Are you certain it's in our air space?
(MORE)
DYANN (CONT'D)
It could just as easily be in
U.S.territory.
REESE (V.O.)
The numbers indicate it is... not by
much though.
Just then, a knock on her door. The door swings open to
reveal TWO MEN who stride in. PAUL JORDAN and WILLIAM AUBIN
look concerned.
DYANN
Paul!
PAUL
This is William Aubin. We have to
talk. Dyann bares a look of surprise.
DYANN
Sure...
(to Reese)
Find out what you can Reese. But if
it is a Canforce flight, let the
Canadians or the Americans deal with
it. I can't see us wasting our
resources to deal with it. Keep me
posted.
Dyann hangs up and turns to face the two men.
DYANN (CONT'D)
What seems to be the problem?
PAUL
What makes you think there's a
problem?
DYANN
How long have we known each other
Paul? I can read you like a book.
WILLIAM
We have a somewhat pressing matter.
Could you make sure no one disturbs
us?
DYANN
(curiously)
Alright.
Dyann picks up the phone again.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
21 -
Aircraft Incident Report
51 INT. CASCADIAN AIR COMMAND BUNKER - NIGHT 51
The Junior Controller makes her way over to Reese with several
printouts in hand. Seated nearby is JANE.
JUNIOR CONTROLLER
What we've heard from Fairbanks is
that it's definitely a Canforce trans-
port and was most likely downed by
the storm.
REESE
Yeah, and on our side of the frontier.
You have any information on the
aircraft itself?
JANE
Uh, if I know my Canadian military
aircraft, I would guess an SU-120
transport.
REESE
A Sucof-120, Russian.
JANE
If the price is right... nothing
wrong with them. They're a good
aircraft, robust.
CUT TO:
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
22 -
The Loose End
52 INT. OPERATIONS DIRECTOR OFFICE - NIGHT 52
Paul and William have now made themselves at home in front
of Dyann's desk.
DYANN
Gentlemen...
PAUL
William is with --
WILLIAM
(interjects)
It's not important who I am. You
see, Dyann, you don't mind if I call
you that?...
William is now playing with a small, snow-filled glass
figurine. He shakes it.
DYANN
No, not at all.
WILLIAM
Yes, well, you see, we have a slight
problem... a certain, how shall I
put this... a 'loose end' you might
say, which, uh, seems to have landed
on our doorstep.
William sets the figurine on the edge of Dyann's desk. The
CAMERA PUSHES IN on the small snow storm inside the glass.
The SOUND of the howling Arctic wind and high pitched whine
of the gyros comes in over as we...
DISSOLVE TO:
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
23 -
Descent into Darkness
53 INT. FLIGHT DECK / SU-120 - NIGHT 53
Sorenson and Cardinal are now half buried by snow, shards of
glass and parts of the flight deck. Sorenson is slumped in
her harness with her head hanging down. Her long hair swirls
around in the icy wind.
Cardinal's lifeless body is twisted in his restraining
harness. The wind is blowing right on his head, turning his
face a sickly blue color. Most of the instruments and
controls are damaged or shut down from the lack of power. A
few lights from battery powered instruments still flicker in
the dim flight deck.
CUT TO:
54 INT. AFT CARGO DECK / SU-120 - NIGHT 54
The cabin lights are out, leaving only the white shafts from
the emergency lights illuminating the icy blue air. Like a
spirit, the CAMERA floats smoothly through the wreckage in
the cargo deck.
The CAMERA continues forward, panning along one of the Cryo-
con tubes. The body inside is motionless. A plate on the
side of the unit reads: "Cryo-Con Prison Storage Unit /
Cryo-Con Cryogenics Corp., USA".
The CAMERA continues moving past the plate and glass section
to the front of the tube. An LED light flashes beside the
computer screen which displays the prisoner's vital signs as
being in stable condition. The tube is fully operational.
Moving further, we come upon Harris who is passed out in his
seat. The CAMERA stops with his face in close up. He has a
gash over his left eye which has trickled blood down his
face and into his mustache.
With a start, Harris snaps his eyes open. He lets out a
gasp, then shakes his head, trying to make sense out of what
he sees. Coming back to his senses, he smacks at the release
button on his harness. The straps fall away. Harris jumps
out of his seat and steps forward, only to fall to the floor
in pain.
It is obvious by the man's pain that his leg is broken.
Harris glances around, trying to find his machine pistol.
He spots it about two meters away.
Gritting his teeth, he drags himself forward on the frozen
floor by his bare hands. When he reaches the gun he can
hardly pick it up - his hands are barely working. He flicks
on the laser sight and points the muzzle around the cargo
deck. The red beam from the laser cuts through the icy,
smoke filled air. Seeing no immediate threat, Harris props
himself against a wall and sets the gun down in his lap.
Shivering uncontrollably, Harris closes his eyes for a moment.
He snaps them back open in panic, looking over to Burns.
Burns sits slumped in her seat which has been torn from its
mounts. She moans unconsciously. Harris struggles toward
her. Hunched beside her, he withdraws a Chem-lite stick
from his pocket and breaks it. It begins to light the scene
with a pale blue light. He quickly attempts to assess the
severity of her injuries in the dim light.
HARRIS
Burns... Burns!
CUT TO:
Genres:
["Drama","Thriller","Action"]
Ratings
Scene
24 -
Crisis Command: The Canforce 8 Incident
55 EXT. PARLIAMENT HILL - NIGHT 55
The Parliament buildings still lay in ruin.
CUT TO:
56 INT. OTTAWA CONTROL / SENTINEL - NIGHT 56
Connely enters, handing his heavy winter coat to an assistant.
He makes his way to the operations desk.
CONNELY
Let me tell ya, that's one cold night
out there. So where do we stand
Nelson?
NELSON
Canforce 8 is definitely down in
Cascadian air space. I would guess
by as little as 15 kilometers short
of the U.S. Alaska border.
Connely looks up to the big situation map on the wall. This
map is similar to the Cascadian one, but it shows more of
the eastern regions.
CONNELY
What were they doing in Cascadian
air space in the first place?
NELSON
The transports always pass through
that air space enroute to Fairbanks.
CONNELY
Fairbanks, huh?
Connely makes his way around the desks and stands before the
large map.
CONNELY (CONT'D)
Any survivors we know of?
NELSON
Nothing yet. We have Fairbanks and
Norman Wells still trying to make
contact.
CONNELY
If there are survivors, what're their
chances of riding out the storm?
NELSON
The aircraft should be equiped with
thermal suits. They should be able
to last for 48 hours or so. The big
question is, what shape is the
aircraft in?
CONNELY
Options?
The room goes quiet.
CONNELY (CONT'D)
Come on, I know you people are always
one step ahead when it comes to these
things.
Connely turns back to Nelson.
NELSON
I, uh... I don't know if you're gonna
like it... Shit, I don't even know
if we can make it work.
Connely is now curious.
NELSON (CONT'D)
Uh, well, as things stand... nothing
on our side or theirs is gonna fly
in this storm... it's blanketing the
region. The only option, as I see
it, lies with asmall Nordoil
outpost...
(indicates it)
here, just beyond the border, some
ten or so hours away.
CONNELY
That outpost is on the U.S. side.
NELSON
Yes... I know.
CONNELY
Do you think for one minute that the
U.S. would have anything to do with
sending a team of oil workers across
the line... it would be an incursion
into a foreign territory.
NELSON
Perhaps Allen, but --
CONNELY
Perhaps nothing! I don't intend to
make an international incident out
of this, understood?... Any word
from Cascadia?
NELSON
Not yet.
CONNELY
I can't believe they don't know about
the aircraft.
NELSON
Even if they do, I can't see them
being able to put anything in the
air. The storm's just too bad.
Connely thinks for a moment.
CONNELY
Never the less, contact Cascadia Air
Command and fill them in on what's
happening. See if they can help us
out with this.
NELSON
But sir --
CONNELY
The war's over and it's time we
started working together again.
NELSON
Yes sir.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
25 -
Jurisdictional Tensions
57 INT. CASCADIA AIR COMMAND BUNKER - NIGHT 57
Reese sits at his workstation keeping an eye on the situation
when Jane taps him on the shoulder.
JANE
Connely is on line one from Ottawa.
REESE
Thanks.
Reese turns and activates a video screen. Connely appears.
REESE (CONT'D)
(facetiously)
Connely, my old friend... how are
you?
CONNELY
Not good as you can imagine. I'm
sure you must know by now that we've
lost one of our aircraft near your
border.
REESE
We're monitoring the situation as we
speak.
CONNELY
What you may not know is that we're
attempting to mount a rescue operation
to recover the crew. But due to the
storm, it's not going to be easy.
REESE
You realize the aircraft is in our
territory --
CONNELY
It hasn't been confirmed --
REESE
Please, Connely, we both know it's
15 kilometers inside the border. For
godsakes, it's closer to the Americans
than you guys!
CONNELY
That may indeed be the case, however,
considering the weather --
REESE
Listen... here's our position. We
have nothing in that area that can
get to your plane, and considering
the terrain, the chances of survivors
are slim at best. So the point I'm
trying to make is... do whatever you
think you have to to get your people
back --Just then, Dyann's VOICE is
heard from the back of the room.
DYANN
I'm sorry Connely. We won't be able
to permit that.
Surprised, Reese turns to see Dyann standing with Paul and
William at the back of the room.
REESE
What?!
Dyann makes her way over to the video display.
DYANN
Your aircraft is within Cascadian
boundaries... our jurisdiction.
CONNELY
Oh c'mon! You're not going to pull
that shit on me?!
DYANN
I'm not interested in your personal
observations. The fact remains that
the aircraft in question is within
our territory and therefore, it's
our problem and we will handle the
recovery and any survivors aboard.
CONNELY
Look lady, I don't know what your
problem is, but there's one helluva
storm blowing up there and you won't
be able to put anything in the air
for at least 36 hours!
DYANN
I repeat! This is a Cascadian matter.
We will see to the return of your
flight crew. Is that understood?!
CONNELY
Fine! But what I want to know is
what you are proposing to do to get
them!
DYANN
Again, we are handling the situation
and will keep you abreast of --
CONNELY
If there are survivors, they won't
last until the storm lifts!
DYANN
Your concern is noted. Goodbye Mr.
Connely.
With that, Dyann terminates the transmission, turns and begins
to walk out with Paul and William in tow.
REESE
What the hell's goin' on?!
Dyann stops and looks at Reese.
DYANN
Under no circumstances are any
Canadian or U.S. military personnel
to cross our borders. Any incursion
will be treated as a hostile act,
understood?
REESE
Why the hell are you drawing a line
in the sand now?! What's going on?
DYANN
None of your concern.
REESE
This is crazy --
DYANN
You have your orders! If you can't
follow them, we will find someone
who can. Understood?!
REESE
Understood.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
26 -
Desperate Measures
58 INT. OTTAWA CONTROL / SENTINEL - NIGHT 58
Connely stands facing the large wall map, as Nelson moves up
behind him.
NELSON
What the hell was that all about?
CONNELY
They have no intention of rescuing
the crew. What are they up to?
NELSON
They've definitely limited our
options.
CONNELY
Even if we could get something to
fly, they'd know about it.
NELSON
And not approve.
Connely turns to Nelson.
CONNELY
Get me... uh, no. Get me Fairbanks.
I want to talk to whoever's in charge
there.
CUT TO:
59 INT. GALLEY / SU-120 - NIGHT 59
Between the cargo hold and the flight deck is the burnt out
remnants of the galley and crew lockers. A large hole in
the fuselage lets the frozen snow blow in. Harris pauses
and pulls another Chem-lite tube from his pocket. He snaps
it in the middle and attaches it to a velcro strip on his
shoulder.
RADIO (V.O.)
Canforce 8... Canforce 8... This is
Fairbanks Control... Do you copy...?
Harris snaps his head in the direction of the flight deck.
He grits his teeth and starts toward the beckoning radio.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
27 -
Urgent Call to Action
60 INT. FAIRBANKS CONTROL / OFFICE - NIGHT 60
A man in his late forties is playing with his indoor golf
putting game. His name is COL. FRANK YENNS, the commander
of Fairbanks operations.
The intercom sounds.
INTERCOM (V.O.)
Sir, we have an incoming call from a
Mr. Connely, Sentinel Command, Ottawa.
Yenns pauses for a moment, thinking.
YENNS
Put him through.
Yenns continues to play his game as Connely comes online.
CONNELY
Hello sir.
YENNS
Connely, what can I do for you? I'm
assuming you need something.
CONNELY
I'm sure you know about our downed
aircraft.
YENNS
Yup. Sure do.
CONNELY
And I'm assuming that with those
listening posts of yours, you also
know that Cascadia is not going to
let us handle the recovery of our
flight crew.
YENNS
Know that too.
Yenns makes another putt.
CONNELY
If we wait for Cascadia to get off
their ass and handle the recue at
their own speed, there won't be any
survivors to rescue.
YENNS
The bottom line Connely?
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
28 -
Urgent Decisions
61 INT. OTTAWA CONTROL / CONNELYS OFFICE - NIGHT 61
Connely sits at his desk talking to Yenns on the com line.
CONNELY
It would take weeks to clear every-
thing through the proper government
channels to do what I believe is the
only chance those people have.
Yenns pauses from his golf game.
YENNS
I can't authorize sending U.S.
military personnel to handle the
rescue... those Cascadian buggers
will treat it as a hostile act.
CONNELY
I know that... but one of my brain
children here informs me that there
is a Nordoil outpost on the border,
some 8 to 10 hours away from the
crash site by track vehicle.
The room goes quiet.
CONNELY (CONT'D)
Are you still there?
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
29 -
Critical Communication
62 INT. FAIRBANKS CONTROL / OFFICE - NIGHT 62
YENNS
I'm still here...
CONNELY
I'm only asking because I believe
this is the only chance those crew
have.
YENNS
There's no other way?
CONNELY
Not one I know of.
YENNS
This is not a secure line you
understand --
CONNELY
Colonel --
YENNS
However... considering what is at
stake, the man you want to talk to
(MORE)
YENNS (CONT'D)
is Bill Carlton... he runs Outpost
16. He's a good ol' southern boy
from way back... I'll make an
unofficial call to feel him out.
After that my friend, the ball's in
your court.
CONNELY
Much appreciated, sir.
YENNS
And Connely?
CONNELY
Yes?
YENNS
Let's keep the job loss to a minimum,
alright? Yenns out.
The line goes dead. Yenns makes a final putt, then moves to
his desk and hits a button.
YENNS (CONT'D)
Get me a coded line to Nordoil 16.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
30 -
Descent into Despair
63 INT. FLIGHT DECK / SU-120 - NIGHT 63
Harris makes his way into the flight deck. Cardinal's face
is now buried by the snow that has blown in through the
smashed window. The lifeless Captain is slumped in her
harness, eyes fixed on the destroyed controls.
Harris' Chem-lite bathes the scene in a pale blue light,
adding to the dead cold appearance of the ghostly tableau.
The radio suddenly springs to life again.
RADIO (V.O.)
Canforce 8, this is Norman Wells
Control. Do you copy?
Harris struggles to shield himself from the freezing wind as
he begins frantically digging in the snow for one of the
headsets. He finds one and speaks anxiously into the mic.
HARRIS
May Day, May Day! This is Constable
Ned Harris. We need --
The radio cuts him off in mid-sentence.
RADIO (V.O.)
Canforce 8, this is Norman Wells
Control. Do you copy?
Harris yells back into the headset.
HARRIS
Norman Wells I copy! Canforce 8 copies
for godsakes!
RADIO (V.O.)
Canforce 8, if you copy, stay with
your aircraft. Weather has informed
us that the storm will not lift for
at least 48 hours. The severity of
the storm has grounded the military
air rescue units in all sectors.
We're arranging to have a team of
civilians from a Nordoil out-post
enroute to your location. Their ETA
should be about 10 to 12 hours.
Canforce 8, stay with your aircraft
and keep warm.
Harris calls back into the headset even while the wind makes
it difficult.
HARRIS
Norman Wells, I don't know if we
have that long --!
RADIO (V.O.)
Say again... Canforce 8, your signal
is weak... what is your status?
HARRIS
There's only two of us left. I don't
know how long we can --
The radio once again cuts him off.
RADIO (V.O.)
Canforce 8... understand two
survivors... stay with your
aircraft...
Harris drops the headset with defeat and glances around the
cabin for anything that might help. The sight of the crew's
frozen corpses overcome him; a grisly reminder of his
potential fate. Harris hobbles out of the flight deck to
the galley, struggling to push the cabin door closed behind
him.
CUT TO:
64 INT. GALLEY / SU-120 - NIGHT 64
Harris searches the blackened galley for anything that will
keep them alive. He moves to see inside the torn and twisted
storage lockers. He begins pulling out damaged and torn
thermal suits.
The white suits look similar to an astronaut's, with boots,
gloves, and a tight fitting hood that pulls out of a Velcro
pouch at the neck. A reflective orange stripe lines both
sides.
A compact battery slides into a special slot on the right
leg, powering the heat and communications systems. The LCD
readout and controls for the suits operation are built into
the left forearm.
As Harris inspects each of them, he systematically tosses
the defunct ones to the floor. Coming to the last, he finds
it intact and apparently functional. Looking to the floor
of the locker, he retrieves a small first-aid kit and several
charred blankets.
CUT TO:
Genres:
["Drama","Thriller","Action"]
Ratings
Scene
31 -
Survival's Dilemma
65 INT. AFT CARGO DECK / SU-120 - NIGHT 65
Burns is now awake as Harris returns with the thermal suit,
first-aid kit and blankets. He kneels next to her.
BURNS
(straining)
Helluva landing, huh?
Harris smiles weakly.
HARRIS
Sounds like it's gonna be a while
before a rescue team gets here.
BURNS
How long?
HARRIS
Ten to twelve hours by the sounds of
it.
BURNS
Oh god... how's Rene and Raymond?
HARRIS
(uneasily)
They didn't make it.
Harris begins to further examine Burns' injuries.
BURNS
(thoughtfully)
She was going home --
HARRIS
Don't talk. Save your strength.
BURNS
How bad is it up there?
HARRIS
Bad... I'm gonna try to get you out
from under this thing and into a
thermal suit before you freeze.
Harris awkwardly grabs the cylinder and struggles to push it
back off Burns.
BURNS
I don't feel anything...
(flash of panic)
Harris! I don't feel the cold on my
legs!
Harris pauses.
HARRIS
Once we get you inside the suit,
you'll be fine.
Harris resumes and manages to free her of the cylinder.
BURNS
It's no good Harris... I think my
back is broken. I can't move.
Harris looks at her. Burns lays there shivering, quiet for
a moment. Harris begins to shiver.
BURNS (CONT'D)
There's only one suit, isn't there?
HARRIS
(reluctantly)
Yeah.
BURNS
You use it... I'm not...
(begins to cry)
We both know I'm not gonna make it...
(pulling herself
together)
Maybe it's suppose to be this way --
HARRIS
(angrily)
What are you talking about?!... You
know what your problem is? You talk
too much!
She turns to look at him.
BURNS
Don't be a hero, Harris. Chivalry's
not your suit.
HARRIS
Why can't you ever do what you're
told?
BURNS
Put the damn suit on Harris! You're
not putting me on a guilt trip this
time... now put it on! One of us has
to make it.
HARRIS
We're both gonna make it Tyra!
Burns breaks a slight smile.
Reluctantly, Harris begins to suit up. He struggles with
it, cringing from the pain of his broken leg. Once the suit
is on, he pulls a battery from a side pocket and inserts it
into the slot. The display screen reads the following:
"External Air Temp: -12/Interior Suit Temp: -5C (climbs to) -
4C/Batteries: 84%/Time Remaining: 5.2 Hrs."
Harris leans back against the bulkhead as the suit begins to
take effect.
CUT TO:
Genres:
["Drama","Survival","Thriller"]
Ratings
Scene
32 -
Desperate Plea for Rescue
66 INT. OTTAWA CONTROL / CONNELYS OFFICE - NIGHT 66
Connely sits behind his desk, playing with a letter opener
when an operator suddenly appears on a large screen on the
wall facing him.
OPERATOR
Mr. Connely, we've finally made
contact with Nordoil --
CONNELY
(anxiously)
Put them on!
A middle-aged man, BILL CARLTON, appears, also sitting behind
a large desk.
Several models of oil drilling platforms surround him.
CARLTON
Bill Carlton here.
CONNELY
My god man, what's going on there?
We've been trying to contact you for --
CARLTON
We've been experiencing problems
with our communications link, but
now that we're talking, what can I
do for you?
CONNELY
We've got a 'situation' here that we
need your help with.
CARLTON
So Fairbanks tells me.
CONNELY
One of our aircraft has been downed
by the storm and, well... we aren't
in a position to get to it, due to
the storm and its location.
CARLTON
Yes, the location would seem to
present a problem.
CONNELY
Listen, I'm asking for your help
with this thing.
CARLTON
What is it exactly that you're asking?
CONNELY
Look, you don't have to be a rocket
scientist to realize that the only
hope this crew has is if ground
vehicles are sent to rescue them.
And you're the only ones close enough
to mount this kind of operation.
CARLTON
Sorry Connely, but I've already had
this conversation with Fairbanks.
CONNELY
Sorry?! So why the hell are you
talking to me!
CARLTON
I have no problem sending a team to
rescue your people, but I have a
major problem crossing the border
into 'foreign' territory... especially
when it's not even a Nordoil matter.
CONNELY
Look, you're their only hope at this
point --
CARLTON
I'm sorry, but this isn't something
I can even authorize. I would need
to get clearance from head office --
CONNELY
Damn it, there isn't time... and I
think we both know what the answer
would be.
CARLTON
Do you realize what you're asking me
to do?!
CONNELY
I know exactly what I'm asking.
Listen, oil crews are always wandering
about out there... we could say they
just happened to stray into Cascadia
by mistake.
CARLTON
Easier said than done... especially
with the problem we're having with
our communications link.
CONNELY
If this was your problem, you'd be
crawling all over my ass!
Carlton pauses for a moment.
CARLTON
We could start another war over
something like this.
CONNELY
I know... but those survivors are my
responsibility, and I'll do or ask
whatever it takes to rescue them.
CARLTON
You Canadians are crazier than we
are.
CONNELY
Maybe so... but we don't have time
to play the political football game.
Carlton looks away, pondering.
CARLTON
(reluctantly)
Let me see what I can do. But I'm
not promising anything here... it's
not an official Nordoil matter, you
understand?
CONNELY
Anything you can do gives them a
chance.
CARLTON
We'll see... Nordoil 16 out.
With that, Carlton ends the transmission. Connely turns
from the screen and takes a deep breath.
CONNELY
God help them.
CUT TO:
67 EXT. ARCTIC PLAINS CRASH SITE - NIGHT 67
The SU-120 transport is silent and twisted, it's nose half
buried in the snow. The fuselage is torn, buckled and
blackened behind the flight deck.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
33 -
Tension in the Operations Office
68 INT. OPERATIONS DIRECTOR OFFICE - NIGHT 68
Dyann is at her desk when the phone rings. She answers.
DYANN
Hello... Just a minute.
She passes the phone off to William who is occupying himself
with a map.
DYANN (CONT'D)
It's for you.
William takes the call.
WILLIAM
Hello... I understand...
He leans forward in his chair.
WILLIAM (CONT'D)
Yes, I understand... no. I realize
that. You put me in charge, so let
me deal with it!
Dyann and Paul exchange looks then turn to William.
PAUL
Ya think a guy can get a drink around
here?
Dyann slowly stands.
DYANN
What would you like?
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
34 -
Unexpected Assignments
69 INT. NORDOIL COMPLEX / LUNCH ROOM - NIGHT 69
TWO MEN are preparing lunches for themselves. LARRY, a
balding and bespectacled man is making a sandwich while BRYAN,
a tall beefy sort, screws the lid onto a thermos.
Carlton appears at the door of the lunch room and looks in.
Bryan looks over while Larry stuffs the sandwich in his mouth.
CARLTON
Forget your run out to well 21... I
have a new assignment for you boys.
I think it's right up your alley.
Larry and Bryan look to one another.
BRYAN
Oh yeah?
CUT TO:
70 INT. OTTAWA CONTROL / CONNELYS OFFICE - NIGHT 70
Connely sits quietly thinking to himself when Nelson makes
contact on the screen.
NELSON
We've just heard from Norman Wells
that there are at least two survivors.
CONNELY
Any word on who they might be?
NELSON
We have reason to believe that one
may be a civilian officer.
Connely thinks for a moment.
CONNELY
What are they up to?... Why not let
us handle it?
Connely looks up to a big map on his wall where a flashing
marker indicates the location of Canforce 8.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
35 -
Into the Storm
71 EXT. NORDOIL COMPLEX - NIGHT 71
A howling wind blasts the fortified Nordoil complex. A klaxon
SOUNDS as a set of giant gantry doors with a large U.S. flag
painted on them, begin to roll open. Rotating beacons begin
to flash, illuminating the blowing snow.
A large track vehicle suddenly appears rising from the sloped
roadway leading down into the complex. Its presence is
imposing as it claws its way into the storm, headlights
blazing into the gusting snow.
CUT TO:
72 INT. NORDOIL TRACK VEHICLE - NIGHT 72
Inside we find Larry and Bryan. Larry drives while Bryan
navigates with a series of computer-assisted displays and
hand held charts.
LARRY
I can't fuckin' believe we're doin'
this... I can't see 10 inches past
the end of my fuckin' nose!
BRYAN
God, quit your whinning.
LARRY
I'd like to know whose bright idea
this was... with our luck, we'll
probably drive over a fuckin' cliff!
BRYAN
Larry, we're their only hope. You'd
expect the same.
LARRY
We're crossing borders goddamnit! I
don't want to spend the next four
years in some Cascadian jail somewhere
BRYAN
We won't... we just have to stay
frosty.
LARRY
That's what concerns me.
BRYAN
Be sure to switch off the ELT before
we hit the border.
Larry looks over dumbfounded.
LARRY
Are you out of your fuckin' mind?
What if something happens to us?
Who's gonna rescue us?
BRYAN
They have satellite tracking ya know.
Larry shakes his head with defeat.
LARRY
This is fuckin' insane.
CUT TO:
Genres:
["Action","Thriller"]
Ratings
Scene
36 -
Desperate Measures
73 INT. AFT CARGO DECK / SU-120 - NIGHT 73
Harris is wrapping a makeshift splint around his broken leg.
Burns is now covered with several blankets.
HARRIS
How's that?
BURNS
Good.
Harris breaks another Chem-lite and jams it between the seat
and the headrest. Struggling to his feet, he turns to the
galley door and begins to drape another blanket across it,
trying to block the cold wind.
Looking down to the arm display, a flash of panic sweeps
over his face. It reads: "Time Remaining: 4.8 Hrs. Temp: -
18 (moves to -19)".
Harris disappears into the galley.
CUT TO:
74 INT. GALLEY / SU-120 - NIGHT 74
Harris pulls open a door that covers a battery charging rack.
The batteries are the same size as the one in his suit.
HARRIS
(to himself)
Bingo.
The rack holds ten batteries. The top six are blackened and
melted from an electrical fire, but the bottom shelf are in
good physical condition. Harris slumps against the bulkhead
and reaches for the bottom batteries. He puls one from the
rack and replaces it for one in his suit. The control display
reads: "Time Remaining: 3 Min."
HARRIS (CONT'D)
What?
He tries another cell. The cell display reads: "Time
Remaining: 4 Min."
HARRIS (CONT'D)
C'mon, damn it!
The two remaining batteries yield similar results.
HARRIS (CONT'D)
Shit!
He continues his search, locating a case that reads:
"Emergency Space Heater".
HARRIS (CONT'D)
Now we're talkin'.
He drags the case out.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
37 -
In the Shadow of Mortality
75 INT. AFT CARGO DECK / SU-120 - NIGHT 75
Entering the cargo deck, he stops and holds up the case for
Burns to see.
HARRIS
Surprise! We're in luck.
Burns smiles slightly as Harris moves to settle beside her.
BURNS
Harris?
HARRIS
What?
BURNS
Don't leave me.
HARRIS
Don't worry... I'm not goin' anywhere.
BURNS
I'm starting to feel the cold.
Harris tucks the blankets tighter around her.
BURNS (CONT'D)
I've never thought much about dying...
HARRIS
Well now's not the time to start.
BURNS
What about you?
Caught of guard, Harris turns.
HARRIS
I try not to... but God knows, I
have.
Harris opens the case to find one heater, six glass tubes -
four of which are broken - with a flourescent orange liquid
inside. Each tube reads: "60 Min.". As Harris picks up
one of the tubes, the liquid spills on his hands. The
corrosive substance begins to eat at his gloves.
HARRIS (CONT'D)
Damn it!
Grabbing one of the blankets, he quickly wipes it off.
Closing the case, he settles himself against his seat. He
carefully engages the heater and props it up for Burns to
take advantage of the heat which quickly begins to take
effect.
HARRIS (CONT'D)
There, that should help.
BURNS
Thanks.
Leaning his head against the bulkhead, he bares a look of
defeat, trying to resolve in his mind, the fate which seems
to be growing inevitable.
BURNS (CONT'D)
How much longer?
HARRIS
Give or take, nine hours.
BURNS
My eyes...?
Harris looks over, searching for the right words but none
are at hand - he knows her condition is getting worse. He
reaches over and grabs her hand, squeezing it gently.
BURNS (CONT'D)
Harris?
BURNS (CONT'D)
Yeah?
BURNS (CONT'D)
Remember the summer we were first
assigned to one another?
HARRIS
Of course... how could I forget. The
snot-nosed rookie.
BURNS
Remember how hot it was... we used
to sit in the park across from the
station and eat ice cream cones.
HARRIS
Yeah... that's the summer the station
burned to the ground.
Burns chuckles to herself a moment, then looks to him softly.
BURNS
That's when I fell in love with you.
Harris turns to look at her.
BURNS (CONT'D)
No matter how bad thing's got, you
were always there for me... my 'pillar
of strength'.
HARRIS
(reflective)
Back then I cared... but then, didn't
we all.
BURNS
No Harris. We didn't. We all had a
bitterness we kept to ourselves...
no one trusted anyone. No one cared
(MORE)
BURNS (CONT'D)
about the things that once made this
country so special.
HARRIS
There comes a time when you realize
that there are forces at work, far
greater than you or I, and no matter
how hard we try, we're not gonna
change anything.
BURNS
Harris... if we all thought that
way, nothing would ever change.
HARRIS
My point exactly. It doesn't. Same
shit, different day.
BURNS
I was there, remember?
HARRIS
And I can't help thinking... I never
should have involved you.
Harris looks away, tending his leg. Burns keeps her eyes on
him, thinking.
BURNS
I was, and still am your partner,
aren't I?
Harris looks up.
HARRIS
(smiles)
I wouldn't have it any other way.
Both sit in silence for a moment.
HARRIS (CONT'D)
When we get ourselves out of this
one, I think we should look at taking
up that offer you spoke about.
Burns smiles as her eyes begin to fill with tears. She is
holding something back.
CUT TO:
Genres:
["Drama","Survival"]
Ratings
Scene
38 -
Survivors and Moral Dilemmas
76 INT. CASCADIA AIR COMMAND BUNKER - NIGHT 76
Dyann, Paul and William sit around a large table, pouring
over charts and other papers. The intercom cuts in.
DYANN
Yes?
INTERCOM
We have confirmation from Fairbanks
that there are two survivors aboard
Canforce 8.
DYANN
Thank you.
Dyann hits the intercom.
DYANN (CONT'D)
They're not just gonna walk away
from this now that they know there
are survivors.
WILLIAM
Exactly why it's imperative that we
get to it before they do.
PAUL
That's great Bill, but we have
absolutely nothing close to the
area... and they do.
DYANN
You don't even know if she survived.
WILLIAM
Ms. Richards... we cannot afford to
take the chance that she did. She is
now on our land and an opportunity
like this doesn't come every day.
Whatever happens, we need her back...
or this 'loose end' could become a
'loose cannon', get my drift?
DYANN
We should never have done it in the
first place.
WILLIAM
By keeping Canada and Quebec divided,
we maintain our position of power in
North America, and at the end of the
day, that's all that matters.
DYANN
Is that all you care about? These
are human lives you're playing with.
WILLIAM
Just like we've been played with!
DYANN
Excuse me?
WILLIAM
C'mon! We played the second class
citizen for too damn long...
mindlessly sending our wealth to the
east, and never seeing anything close
to what was sent back in the way of
government services. Year after year
it was squandered. And for what? So
they could line their pockets! No
more, damn it!
Dyann and Paul stand quietly, exchanging curiously looks.
WILLIAM (CONT'D)
Now... I suggest we come up with a
plan to recover her!
William turns back to the maps.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
39 -
Fractured Signals
77 EXT. SNOW COVERED PLAINS - NIGHT 77
The giant Nordoil vehicle lumbers through the storm, cutting
its path through trees and rocks.
CUT TO:
78 INT. NORDOIL TRACK VEHICLE - NIGHT 78
Larry and Bryan are growing frustrated with their lack of
progress.
LARRY
Anything?
BRYAN
No... the signal's bouncing all over
the place. I can't get a fix. Must
be the terrain. Until we get closer,
there's no way.
LARRY
This is fuckin' crazy! We shoulda
had a second unit with us!
Larry grabs the map from Bryan.
LARRY (CONT'D)
Lemme see this... where the hell are
we? Do you know what the hell you're
doin'?
Bryan looks over.
BRYAN
And why don't you just fuck off.
CUT TO:
Genres:
["Action","Drama","Thriller"]
Ratings
Scene
40 -
Descent into Darkness
79 EXT. SNOW COVERED PLAINS - NIGHT 79
The aircraft continues to disappear under the gathering snow.
CUT TO:
80 INT. AFT CARGO DECK - NIGHT 80
Harris sits staring at Burns.
BURNS
Harris?
HARRIS
Yeah?
BURNS
I'm starting to feel warm.
HARRIS
Good... good to hear.
BURNS
Thank god, it's getting light.
Harris looks around, unsure of what she's referring to.
HARRIS
It's alright Burns.
Burns suddenly begins to gasp for air. Harris rushes to her
side, lifting her into his arms, cradling her.
BURNS
(weakly)
Harris... I'm... sorry...
HARRIS
Burns!
BURNS
I'm...
HARRIS
Damn you, you're not gonna die on
me, you understand?!
Burns looks at Harris, unable to respond.
HARRIS
Burns! Burns!! Don't you leave me!
Fight goddamn it! Fight!!
Burns' face turns slightly as she quietly slips away. Harris
stares at her in silence, fighting back his tears.
HARRIS (CONT'D)
(reeling back)
Noooooooo!
CUT TO:
81 EXT. SNOW COVERED PLAINS - NIGHT 81
Harris' scream is HEARD over the howling wind as the aircraft
continues to disappear.
CUT TO:
82 INT. AFT CARGO DECK - NIGHT 82
Harris gently lays Burns' limp body on the floor. He settles
back and wipes the frozen tears from his face. He leans
over Burns and closes her eyes. He softly kisses her.
The heater suddenly beeps THREE TIMES and shuts down as the
warm orange glow is lost to the cold blue dark.
Harris pulls the blanket over her face. He leans back against
the bulkhead and stares blankly into the back of the cargo
deck. He looks down at the display on his arm which now
reads: "3.6 hrs".
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
41 -
Urgent Preparations at Cascadia Air Command
83 INT. CASCADIA AIR COMMAND BUNKER - NIGHT 83
Dyann makes her way into the control room with William.
Reese makes his way over to them.
REESE
The forecast looks like it will clear
enough for us to get an RU-1050 in
the air out of Whitehorse.
WILLIAM
When?
REESE
Soon... in the next hour I would
hope.
William makes his way toward the large video wall. Perusing
the crash data, he looks to Whitehorse.
WILLIAM
I need you to get me a secure line
out off the mountain to Central.
Reese looks to Dyann.
DYANN
See to it.
Jane stands up.
JANE
This way.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
42 -
Fractured Communication
84 INT. OTTAWA CONTROL - NIGHT 84
Connely is standing by a computer station drinking a coffee.
CONNELY
What else can you tell me about
Canforce 8.
NELSON
Not much more than I said.
CONNELY
So why are they refusing to let us
undertake the rescue?
NELSON
Ever since the end of the war, they've
been a anal retentive.
CONNELY
That still doesn't explain what's
goin' on. What's so special about
Canforce 8?
Connely looks up at the large map.
NELSON
Canforce 8 was on a routine run to
Fairbanks.
CONNELY
How many on board?
NELSON
Four - two pilots and two police
officers.
CONNELY
Police officers? Anything special
about them?
NELSON
Not to my knowledge... but I can
pull up their records if you wish?
CONNELY
Do that. But why are there officers
on board?
NELSON
Apparently they always put two
officers aboard when they're
transporting Cryo-convicts...
(chuckles)
Don't know why. I've never heard of
one escaping.
CONNELY
(angrily)
No one told me it was a prison flight!
NELSON
(uneasily)
Uh, we've been sending prisoners to
Fairbanks for two years now. I assumed
you knew that?
CONNELY
No goddamn it! Is there anything
else you people failed to inform me
about?!
Nelson looks about the room as the others turn to look.
CONNELY (CONT'D)
Convicts! For godsakes, how many are
there?! And who?
Nelson starts to sift through his notes.
NELSON
There's three cylinders on the
manifest... presumably there's three
convicts.
Connely grabs the papers from Nelson.
CONNELY
I want to know who they are!
NELSON
That may be difficult --
CONNELY
I don't care! Find out...
Connely stuffs the papers back into Nelson's face.
CONNELY (CONT'D)
And I want that info on the crew.
With that, he hastily turns and begins to walk out. He
suddenly stops.
CONNELY (CONT'D)
What's the latest on that Nordoil
team?
NELSON
No word yet.
CONNELY
Well find out goddamn it!
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
43 -
Descent into Despair
85 INT. FLIGHT DECK / SU-120 - NIGHT 85
Hands desperately dig through the snow. They find and
retrieve a laminated map. Harris brushes the snow from it
and looks at it for a moment, verifying it's what he's after.
Hobbling to a side console, he comes upon the Emergency
Locator Beacon. Its slowly flashing indicator illuminates
his face. Next to the beacon is the GPS screen which displays
the aircraft's present location. Harris takes a marker from
his pocket and marks the location on the map. He suddenly
realizes the gravity of his situation.
HARRIS
My god... Cascadia?
Harris looks over to Sorenson's lifeless body.
HARRIS (CONT'D)
I guess you made it home afterall.
CUT TO:
86 INT. AFT CARGO DECK / SU-120 - NIGHT 86
Harris sits in his seat staring at the map in his hands. He
works out his position in relation to Nordoil.
As he runs his finger across the grid of the map, we come to
understand the immense distance between the two. He suddenly
bares a look of defeat.
As he looks up, something in the rear cargo hold catches his
interest.
A blinking red light on the Cryo-con cylinder flashes in the
still, frozen air. Harris picks up his gun and moves slowly
toward the cylinder.
The CRT on the side of the cylinder scrolls through vital
statistics of the captive inside. Harris scrubs away some
of the frost from the glass and peers inside. The occupant
is a peaceful looking Native woman in her late thirties.
She lies completely motionless.
Harris removes a glove, unzips the suit and reaches into his
jacket pocket to pull out a plastic security card. He looks
at the prisoner for a long moment, then runs the card through
the slot next to the CRT display. The screen prints out a
menu of options. Harris selects the one tagged "Prisoner
Name and Bio".
The screen displays: "Name: Waneta Little Feather / Age: 38
(Conscious Years) / Crimes: Murder 1 (Law Officer), Terrorism
/ Sentence: Two Life Sentences + 25 Years / Notes: Member of
the 'Lone Wolf Freedom Warriors'".
HARRIS
(quietly to himself)
Good god.
He sits down on a container and stares at the prisoner. He
raises his gun and points it at the woman's head, the muzzle
tapping the glass. After a long moment, Harris lowers the
weapon and looks at his suit display. It reads: "3 hrs
Remaining / Temp: -35".
Harris turns to look toward the cabin. He stares a moment,
then slowly turns the muzzle toward his own head and stares
down the barrel. He struggles with the painful reality of
his his inevitable fate. But he can't bring himself to do
it. He begins to wimper, laying his head across the cylinder
with defeat.
A moment later, he slowly lifts his head with a sudden
realization.
He quickly selects the option "Revive Prisoner". The CRT
screen then asks for an authorization code. Harris enters a
five digit number and waits. The screen then starts to count
down as it reads "52 Minutes to Consciousness" Harris steps
back, looking at the Cylinder.
CUT TO:
87 INT. FLIGHT DECK / SU-120 - NIGHT 87
The soft illuminating glow of the GPS is quickly snuffed out
as the stock of Harris machine pistol smashes the unit,
destroying it.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
44 -
Descent into Darkness
88 INT. GALLEY / SU-120 - NIGHT 88
Harris picks up three of the dead batteries from the snow
and cleans them off. He tosses them into an orange dufflebag,
then picks up Burns' machine pistol from the floor and and
heaves it through the gaping hole in the fuselage. He leaves
the area.
CUT TO:
89 INT. AFT CARGO DECK / SU-120 - NIGHT 89
Harris now sits across from the Cryo-con cylinder. He is
wrapped in the emergency blanket. He grips the gun, waiting
for the prisoner to revive. His eyes are heavy and blurred
with exhaustion. Slowly, he loses the battle to stay awake.
FADE TO BLACK:
We begin to hear familiar SOUNDS.
FLASHCUT TO:
FLASHBACK FROM ALTERNATE PERSPECTIVE:
90 INT. BUILDING / ROOFTOP MACHINE ROOM - NIGHT 90
Harris moves from behind a steel girder, gun ready.
HARRIS
You there! Police! Stop what you're
doing and raise your hands where I
can see them!
Harris turns to Weyland.
HARRIS (CONT'D)
Weyland?
This time we see Weyland point his gun at Harris. Weyland
fires TWO ROUNDS at Harris, both striking him in the chest.
Harris falls to the ground, but as he does, he manages to
fire off a SINGLE SHOT at Weyland. The bullet finds its
mark in Weyland's forehead. Weyland's body crumples to the
floor while Harris reels in pain on the ground. He begins
to gasp for air.
HARRIS' POV
He looks to Weyland, then swings around to see the DARK FIGURE
with the rifle.
HARRIS (CONT'D)
(weakly)
Police...
Harris feebly points his gun toward them. The figure turns
and heads toward him, unconcerned by his threat. Harris
slowly drops the gun as the world FADES TO BLACK.
FLASH CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
45 -
Awakening in the Cold
91 INT. AFT CARGO DECK / SU-120 - NIGHT 91
Harris jolts to attention with the beep of the Cryo-con
cylinder. Re-orienting himself, Harris struggles to his
feet and hobbles over to the small heater. Removing the
last glass tube, he inserts it into the unit. It comes to
life with a warm orange glow.
With his gun poised, Harris moves back to cylinder where he
looks down to see WANETA, who is now beginning to writhe in
pain. The process of 'thawing' is obviously intense. Harris
moves away from the tube, out of Wantea's sight. He takes a
look at the readout on his suit which reads: "Time Remaining:
2.1 hrs / Temp: -44 (Jumps to -43)".
After noting this, he carefully breaks the tiny LCD screen
so that the snowsuit's data cannot be retrieved. He then
picks up his machine pistol and moves back to the tube.
He stands for a moment, almost enjoying watching the convict
squirm in pain. His eyes are fixated.
Harris inserts his security card again and punches another
code. The seals hiss as the pressure inside equalizes.
Harris lifts the cover and steps back, training the muzzle
and the laser of the machine pistol on the convict.
Waneta is wearing what looks like one-piece long-johns with
built-in sensors and wires that run out of the suit and into
the body of the cylinder.
Waneta slowly sits up. Harris reaches behind him and tosses
a blanket to the shivering woman. She pulls the blanket
around herself, all the while struggling to see since the
freezing process has hampered her motor skills. She looks
around the aircraft, trying to determine where she is.
HARRIS
Take it easy. You still got ice in
your veins.
WANETA
(with difficulty)
Where am I?
HARRIS
Disconnect yourself.
Waneta begins to tug at the tubes that attaches her suit to
the cylinder.
HARRIS (CONT'D)
(panicked)
Carefully!
Waneta slowly pulls off the last tube. Her body is stiff
from months of being motionless.
WANETA
Is this prison?
HARRIS
Aaaa! Thank you for playing.
Waneta takes another glance around the aircraft, then looks
back at Harris.
WANETA
What's goin' on? Do I know you?
HARRIS
You're one lucky squaw.
WANETA
And why's that?
HARRIS
Because you and I are the only
survivors. The transport crashed.
Waneta thinks a moment.
WANETA
Transport?
HARRIS
You were being shipped to Fairbanks...
where you belong.
WANETA
What's in Fairbanks?
HARRIS
The deep freeze... 'Big Daddy'. And
no one comes back.
WANETA
Why?
HARRIS
Because no one gives a shit about
criminals anymore.. not like the
good ol' days when they still treated
you as if you had rights.
Waneta studies him for a moment.
WANETA
So who the hell are you?
Harris pauses a moment.
HARRIS
Ned Harris. I'm your escort.
Waneta acts somewhat surprised, then smiles and shakes her
head.
WANETA
Escort, eh?
HARRIS
Yeah... to make sure you get there.
WANETA
Looks like you failed.
HARRIS
It's not over til it's over.
WANETA
Now that's profound...So why'd we
crash?
HARRIS
You'd have to ask the pilot, but
since she's dead...
WANETA
Then, where are we?
Harris raises his gun and squeezes the trigger, activating
the laser sight. The red beam lands right on Waneta's chest.
Waneta glances down at the glowing dot.
HARRIS
Before I answer any more of your
questions, it's my turn.
Waneta looks at him strangely.
HARRIS (CONT'D)
What's it like... being frozen?
Waneta looks around the aircraft at their apparent situation.
WANETA
Give it an hour and you'll find out.
HARRIS
You're in no position to fuck with
me.
WANETA
(seriously)
It's a helluva lot warmer than being
out here.
HARRIS
(anxiously)
Do you feel anything? Are you aware?
Waneta becomes quiet, confused by Harris' interest. The two
stare at one another for a tense moment. Waneta begins to
shake.
HARRIS (CONT'D)
What? You scared?
WANETA
No. I'm cold you idiot!
Harris blurts out a laugh. The tension is broken. Harris
motions to the space heater. Waneta has a hard time getting
out so Harris lowers his gun and helps her out and over to
the heater. Waneta settles beside the glowing unit.
HARRIS
How's that?
WANETA
Better.
Both sit in silence as they quietly study each other.
WANETA (CONT'D)
What year is it?
HARRIS
2012... November 29.
WANETA
Two years. It's been two years, fuck
them..... why did they move me?
HARRIS
I guess they failed to tell you the
facts about being a Cryo-convict. No
one ever comes back from the pens.
WANETA
The judge said --
HARRIS
The judge said what the people wanted
to hear. The truth is... they don't
have the guts to kill people like
you outright... the public would
feel too guilty... so they freeze
you and send you away... far away.
Out of sight, out of mind. Isn't
that what they say? Your number came
up, and I guess your appeals ran
out.
Waneta's face reveals that she's not feeling too well.
HARRIS (CONT'D)
What's wrong?
WANETA
I don't feel too good.
HARRIS
What's the matter? Ya gonna --
Waneta lurches forward, falling to her hands and knees where
she suddenly spews her last dinner. Harris cringes at the
sight and smell.
HARRIS (CONT'D)
Fuck!
Waneta settles back on her haunches, clutching her stomach.
Falling onto her side, she pulls the blanket around herself.
Laying there, she attempts to regain her composure.
HARRIS (CONT'D)
Gonna live?
Waneta moans in pain as she tries to control it.
WANETA
(weakly)
You tell me.
Harris sits quiet a moment.
HARRIS
You're some piece of work... Cop
killer and terrorist huh?
Waneta remains silent.
HARRIS (CONT'D)
So what did ya do?
WANETA
A lot of things, but does it really
matter?
HARRIS
If I ask, it matters, yes.
Waneta breaks a thin smile.
WANETA
Why do you care to know.
HARRIS
I'm not playing games here!
Waneta continues to warm herself by the heater.
WANETA
Listen white man. Why don't you put
that gun down and relax. I'm in no
position to do you any harm.
Harris watches her for a moment as he relaxes the gun in his
arms. Waneta spies Burns' body, now covered by a blanket.
WANETA (CONT'D)
Who's that?
Harris is slow to answer.
HARRIS
Officer Tyra Burns... my... partner.
Waneta falls silent for a moment.
WANETA
Burns...? Sorry to hear that.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
46 -
Tensions in Ottawa Control
92 INT. OTTAWA CONTROL - NIGHT 92
Connely sits at a small duty desk in one corner of the room.
When Nelson comes over, Connely is just finishing a phone
call.
NELSON
We finally got some info on the crew.
CONNELY
Well? Let's have it.
NELSON
Nothing out of the ordinary... except
for the Flight Captain... a Rene
Sorenson. She's part of the Canadian
military. Her husband lives in
Cascadia with their daughter. This
was to be her last flight before
retirement. She was abouy to return
to Cascadia to join her family.
HARRIS
How the hell does that work?
NELSON
Apparently it's not that strange.
There's a number of Cascadians in
the military. They fought for Canada
during the war. They still have their
Cascadian citizen-ship and they can
go home at any time. I guess she did
her part and was planning on doing
just that.
CONNELY
Who else?
NELSON
The First Officer is Raymond Cardinal,
a Native from northern Manitoba.
CONNELY
A Native?
NELSON
He checks out eight years of service,
Canadian military.
Connely looks on.
NELSON (CONT'D)
The two police officers are Tyra
Burns and Ned Harris. Actually, Burns
was originally from Cascadia too.
What we know is that both are
fuckups... seems that's a sure way
to pull duty on Cryo-con flights.
CONNELY
Anything on the prisoners?
NELSON
It looks like one of them was Waneta
Little Feather.
Connely's eyes widen.
CONNELY
You mean --?
NELSON
None other. The only one to come to
trial for the assassination of the
Prime Minister. She never did tell
who initiated the plot or who the
gunman was.
CONNELY
And she's on that flight?
NELSON
They were putting her away for at
least 50 years. Out of sight ya know.
CONNELY
You mentioned Ned Harris. He had
something to do with the
assassination, didn't he?
NELSON
I can't remember.
CONNELY
And the other two?
NELSON
Nothing out of left field... 2 males,
petty stuff. 10 'so called' year
sentences.
CONNELY
Alright... Any word from Cascadia?
What are they doing about a rescue?
NELSON
Don't know... haven't heard a thing.
CONNELY
And Nordoil?
NELSON
The recovery team left at 00:45 hours
this morning. No one has heard from
them since. I doubt we'll hear
anything until they're back on their
side of the border.
CONNELY
Well, now we wait... and see who
gets there first.
NELSON
If they find out the Americans have
sent a team across, they'll shit.
CONNELY
Fuck'em if they can't take a joke.
Connely stands to leave.
CONNELY (CONT'D)
I'll be in my office making some
calls. Call me if you hear anything.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
47 -
Crossing the Line
93 EXT. SNOW COVERED PLAINS - NIGHT 93
The Nordoil track vehicle continues on its mission, rolling
over everything in its path along the rugged terrain.
CUT TO:
94 INT. NORDOIL TRACK VEHICLE - NIGHT 94
Bryan watches his computer displays carefully while Bryan
continues negotiating the path of the vehicle. Bryan finally
looks up to Larry.
BRYAN
Ten meters to the border.
Larry pulls the vehicle to a stop. Both men lurch forward
in their seats.
BRYAN (CONT'D)
What the hell?
LARRY
Ya sure about this?
BRYAN
Duh? We didn't come all this way to
turn around now!
LARRY
Once we cross that line --
BRYAN
That's why we get in and out before
we attract attention.
Larry shakes his head.
LARRY
I have a bad feelin' about this.
BRYAN
I have some aspirin in my pocket.
Now get this fucker movin'!
Larry slowly puts the vehicle in gear and heads off.
CUT TO:
Genres:
["Action","Thriller"]
Ratings
Scene
48 -
Secrets in the Atrium
95 INT. CASCADIA COMPLEX / ATRIUM LOUNGE - NIGHT 95
A small man-made garden sits quietly. The warm, soft overhead
lighting illuminates the lush vegetation with the feel of a
mid-summer's sunset. In one corner sits a lounge area for
the personnel of the complex. As we move upon the scene, we
find Dyann playing a game of pool by herself. She slowly
makes her way around the table taking shot after shot. As
she moves, we see through a large window behind her, the
cold bitter night . Seated in the background at a table is
an OFF-DUTY PERSON drinking coffee and reading a book.
Reese appears in the doorway behind her and makes his way
over.
REESE
I thought I might find you here.
Dyann doesn't look up. The person at the table rises and
leaves the atrium.
DYANN
It's getting stuffy in there. I needed
some air.
Dyann takes another shot - the ball flies into the side
pocket.
REESE
(inquisitively)
What's really goin' on here?
DYANN
I don't know what you're talking
about.
REESE
Dyann, c'mon... we go too far back
and have been through too much for
you to play dumb with me. Who the
hell is this William character?
Dyann takes another shot - this time she misses, sending the
ball off to the side and sinking the 8 ball.
DYANN
Let's just say, some things are better
left alone.
REESE
Bullshit. Who or what is on that
flight that we're willing to risk
countless lives to recover? It was
their problem... you said it yourself.
But now you've made it ours.
Dyann finally looks up.
DYANN
Trust me... you don't want to know.
REESE
I think I have a right to know.
DYANN
I'll tell you this... I wish to God
they'd never told me.
REESE
Why?
DYANN
Just ask yourself this... is it worth
your life? Or the lives of your
family?
REESE
What the fuck's goin' on Dyann?!
DYANN
(reflective)
Them and their games... nothing has
changed. Just a new set of players.
Ha. I guess that's no surprise.
Reese moves beside her.
DYANN (CONT'D)
A friendly word of advice... stay
out of William's way... don't trust
him no matter what.
REESE
Who is he? Who's he with?
Dyann returns to her private game.
DYANN
Even if I knew, I couldn't tell you.
Reese is perplexed.
DYANN (CONT'D)
Every government has people like
him, Reese... above the law. They do
what they please... you can draw
your own conclusions.
REESE
What does he want?
DYANN
Just something they fucked up with.
Reese is curious.
DYANN (CONT'D)
You'd think people would learn from
history. It's bad enough that we
lost so much during the war... but
war against your own people? West
fighting east?
REESE
North and south. The Americans went
through the same thing.
DYANN
They still have a country
REESE
We have a country and things couldn't
be better.
DYANN
At what cost? To you it was a game.
Reese slams his fist on the table, stopping the game.
REESE
It was no game! And we were fighting
for what was right!
DYANN
According to who?
REESE
There comes a time when you're pushed
too far and you no longer put up
with the shit... the abuses, the
corruption!
DYANN
And you're naive to think they no
longer exist!
REESE
Look, Wolff started us down this
path... we followed his dream, and
it was a good one.
DYANN
Please, Wolff didn't have a dream,
he had a cause and one day he and
his right-wing followers had had
enough.
REESE
Everyone had.
DYANN
Whatever... after three months of
fight-ing on the hill, it just became
a call for independence... and we
all happily jumped on the bandwagon.
REESE
You obviously don't think much of
him.
DYANN
Actually, I think a lot of him...
you lose anyone in the war?
REESE
No.
DYANN
I lost my sister.
REESE
I'm sorry, I didn't know.
DYANN
She was a reporter. She got to know
Michael Wolff very well... they were
about to get married when she was
killed.
(reflective)
It was the government, people like
William, who wanted to get rid of
Wolff. And they almost got him. I'm
told he was revenging her death.
Reese listens attentively.
DYANN (CONT'D)
I don't want to see anything happening
to you. Just do as you're told and
hope that William leaves us very
soon.
With that, Dyann stops playing and sets the pool cue down.
She turns and exits leaving Reese to watch after.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
49 -
Standoff in the Dark
96 INT. AFT CARGO DECK / SU-120 - NIGHT 96
Waneta and Harris still sit in silence until...
HARRIS
You still haven't told me... what's
it like?
WANETA
What?
HARRIS
Being frozen!
Waneta is slow to answer.
WANETA
(looks away)
What would you like it to be?
Harris eyes her coldly.
HARRIS
I'm asking the questions here! Is it
painful?
Waneta finally looks at him.
WANETA
It's black... quiet. But it's not
like sleeping either. It's and altered
state. I didn't feel anything until
you woke me up... then it was like...
fire.
HARRIS
So...?
WANETA
So what?
HARRIS
So what the fuck happens?! Either
you're sleeping or you're not!
Waneta looks at Harris for a long moment, pondering his
strange curiosity.
WANETA
What the hell do you want from me?
Why did you wake me?
Harris pauses for a moment, choosing his words.
HARRIS
I want to make you a deal.
Waneta breaks into laughter, scoffing at the notion.
WANETA
I don't make deals... especially
with the white man!
Lunging toward Waneta, Harris grabs her by the hair and shoves
the muzzle of the gun into her face.
HARRIS
(intensely)
I don't think you have a choice here!
Waneta stares back into Harris' eyes, revealing no weakness.
They each watch one another in the cold silence until Harris
finally releases her and settles back, keeping his gun trained
on her.
HARRIS (CONT'D)
Now listen to me carefully... if you
want to get out of here alive.
Waneta looks away to the heater, still trying to get warm.
HARRIS (CONT'D)
It's going to be at least three full
days before a rescue team gets to us
in this storm. I only have enough
batteries in my suit to last about
twenty five hours --
WANETA
I can see that being a problem. In
other words, you're screwed?
HARRIS
Shut up and listen.
Harris sinks back. He sets his gun down on his lap, keeping
his finger in the trigger. He pulls out the map from a pocket
on his leg and points to a position on it for Waneta to see.
The position is NOT the one he pointed to earlier.
HARRIS (CONT'D)
This here is our crash position. And
this is Faro here... it's about a
fifteen hour walk.
WANETA
So?
HARRIS
So... once you're there, you're free.
WANETA
Fuck that!
HARRIS
It's the chance of a lifetime...
literally!
WANETA
You don't expect me to believe that
you're gonna let me go for nothing?
HARRIS
And why not?
(points to leg)
I'm not going anywhere like this...
my only chance is to wait for the
rescue team in that thing...
(motions to cylinder)
But I need you to turn it on for me.
Waneta ponders the deal.
HARRIS (CONT'D)
You'll get this suit and that bag of
batteries...
(points to orange
dufflebag)
That's the deal Waneta. You get a
shot at freedom and I get a chance
to live.
WANETA
No deal!
HARRIS
And why the hell not?!
WANETA
I only have your word. And I don't
trust your kind. You took an oath as
an officer... and now you're ready
to let an enemy free to save your
own skin. You're a spineless coward --
!
Harris lashes out with his gun, striking Waneta in the face.
Waneta falls back. Harris has the laser pointed on Waneta's
forehead. He is shaking with anger.
HARRIS
You crazy bitch! I'm giving you a
second chance!
Waneta stares back defiantly.
WANETA
Life's a bitch, isn't it?
Harris settles back.
HARRIS
You're right... you have no reason
to trust me... but guess what? You're
screwed too. Unless you do it my
way, you're gonna die... because
don't think for a second that I'm
putting you back in there.
WANETA
It's all your fault that I have no
choice.
HARRIS
True... but life's a bitch, isn't
it?
Harris smiles viciously at her. Waneta sits motionless. A
stream of blood from the cut on her forehead stings her eyes.
There is a long moment of silence.
WANETA
I'm not afraid of dying, white man.
HARRIS
What kind of freedom fighter are you
anyway? Do I have to beg you to
escape? What help are you to your
cause if you're frozen in this
wasteland?
WANETA
You know nothing about my people or
my cause.
HARRIS
No, I don't. In fact, ya know what?
I don't give a shit.
WANETA
I wouldn't expect anything less.
HARRIS
Cut the patriot shit! You think I'm
a fuckin' coward and I know you're a
terrorist... so let's give each other
a break here. After you make it to
Faro, you can join the KKK for all I
care. All I'm asking is for you to
turn on the freezer.
Waneta thinks for a moment.
WANETA
Give me the gun and you have a deal.
Harris shakes his head.
HARRIS
Fuck that. I may be desperate but
I'm not stupid. It stays with me.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
50 -
Mission Change at Midnight
97 INT. RU-1050 - NIGHT 97
The CAMERA moves towards the rear end of the aircraft's open
ramp. First Officer KAREN JEFFERIES stands outside the air
frame, finishing the last of her smoke. Behind her are FIVE
MEN who are checking their bags and weapons. All are dressed
in camouflage with winter white smocks. These boys are packed
for bear.
Jefferies sees one of the shoulder patches on their right
arms. The symbol is TWO WOLVES in silhouette, one howling
at the moon. At the bottom, the words "WOLF PACK".
Just then, CAPTAIN MARK DAGEL'S van pulls up and he steps
out. He makes his way over to Jefferies and the rest of the
crew. Mark is a wild man, posterboy for the Hell's Angels.
CAPTAIN DAGEL
Alright, what the fuck gives? Where
the hell's Charlie Team?
JEFFERIES
New orders.
Jefferies holds out a plastic card. Dagel drops his flight
bag and looks at it.
JEFFERIES (CONT'D)
These guys are replacing them. They
just landed a few minutes ago.
CAPTAIN DAGEL
Fuck, I hate when they pull this
shit.
(spies their
gear/shaking head)
Think they have enough hardware?
Jefferies shrugs as Dagel enters the aircraft and moves toward
the cockpit. As he does, he passes between the five men.
JEFFERIES
(calling after)
We're fueled and ready to go. The
storm's clearing here, but it doesn't
look promising over the crash site.
Jefferies stamps out her butt and follows after Dagel.
CAPTAIN DAGEL
Let's do this people!
The men glance up as Dagel passes, but ignore him, continuing
their conversation.
WOLF PACK #1
(to cohort)
So what did he have to say...?
Dagel is unimpressed as he moves into the cockpit. Jefferies
follows him in.
CUT TO:
Genres:
["Action","Thriller"]
Ratings
Scene
51 -
Tensions in the Cockpit
98 INT. RU-1050 - NIGHT 98
Dagel and Jefferies move to their seats and begin strapping
themselves in.
JEFFERIES
Did you see their shoulder emblem?
CAPTAIN DAGEL
No... why?
JEFFERIES
(discreetly)
They're Wolf Pack.
CAPTAIN DAGEL
Fuck... figures. By the look of it,
they were probably founding members.
Fuckers... when it rains it pours.
Through the cabin door, we can see the Wolf Pack boys
strapping themselves in.
CUT TO:
99 EXT. RU-1050 / WHITEHORSE - NIGHT 99
The sleek VTOL'S engines begin to rotate vertically. The
engines begin to power up, excellerating to maximum thrust
as the snow is quickly blasted from the tarmac. A moment
later, the aircraft slowly begins to rise into the storm,
its flashing strobes quickly disappearing from view.
CUT TO:
Genres:
["Action","Thriller"]
Ratings
Scene
52 -
Critical Updates at Cascadia Air Command
100 INT. CASCADIA AIR COMMAND BUNKER - NIGHT 100
Dyann, William and Paul enter and make their way to Reese
and Jane who tend to their stations.
DYANN
Talk to me.
JANE
We just got word from Whitehorse
that the RU-1050 is in the air enroute
to the crash site. ETA 72 minutes.
WILLIAM
Excellent. That's what I want to
hear. Who's in charge of that flight?
REESE
A Captain Mark Dagel. He's out of
CDB Edmonton.
WILLIAM
He any good?
REESE
If he's flying rescue, he's good...
they all are.
WILLIAM
Let's hope so.
DYANN
How's the weather conditions?
REESE
Bad. And not getting any better.
Let's hope Canforce 8's beacon keeps
going. If it doesn't, they'll never
find that plane until summer... if
ever.
DYANN
Keep us up to date with the rescue
flight.
Dyann and the gang head out.
WILLIAM
Well done people.
DYANN
They still have yet to get to the
crash site.
WILLIAM
They will.
CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
53 -
Unfinished Business
101 INT. RU-1050 - NIGHT 101
One of the WOLF PACK boys pokes his head into the cockpit.
Jefferies looks up but says nothing. The man just continues
to look out into the blinding snow.
CAPTAIN DAGEL
Where you guys out of?
WOLF PACK #1
We're not.
He turns to leave.
CAPTAIN DAGEL
Why the hell are you guys here? You
replaced a first class team. You
ever been on a rescue mission before.
WOLF PACK #1
Trust me. We've done everything.
CAPTAIN DAGEL
So answer me... what are you doing
here?
A moment.
WOLF PACK #1
Unfinished business.
He exits, leaving Dagel staring after.
CUT TO:
Genres:
["Action","Thriller"]
Ratings
Scene
54 -
Beneath the Snow: A Clash of Betrayals
102 EXT. SNOW COVERED PLAINS / SU-120 - NIGHT 102
The SU-120 transport continues to disappear under the drifting
snow, and at the present rate, it will most likely vanish
from sight in the coming hours.
CUT TO:
103 INT. AFT CARGO DECK / SU-120 - NIGHT 103
WANETA
Is there anything around to eat?
Harris retrieves a can of smashed and frozen pineapples from
the floor and tosses it to Waneta. She studies it a moment
then drops it.
HARRIS
You didn't tell me why you're here.
WANETA
Oh, c'mon Harris... it was on the
news. I'll give you a hint. Everyone
thought I was just a small little
fish in a much bigger event.
HARRIS
There you go again, talking mindless
yak. Speak like a white person for a
minute.
Waneta considers her response.
WANETA
(glances to Burns)
Fine. You were suppose to be dead
Harris.
Waneta has Harris' attention.
HARRIS
(confused)
Excuse me? What the hell are you
talking about?
WANETA
Both you and Weyland were there.
HARRIS
The assassination?
Harris has been hit by a truck with this news. He finally
realizes who she is.
WANETA
'I saw a dark figure' is what you
told the inquiry. A 'figure with a
rifle'... Weyland was the one who
shot you but you wouldn't die. And
then you shot him square in the
forehead.
Harris' eyes fill with rage.
WANETA (CONT'D)
(taunting)
Yeah, I killed your so called fucking
'saviour'.
HARRIS
It's because of you that I'm here...
WANETA
That's flattering... but you should
be looking to those who sent you
here. They're the one's responsible
for your demotion.
Harris turns away, furious. Waneta is obviously enjoying
this.
WANETA (CONT'D)
Doesn't take a PH.D to figure out
that you were set up.
Harris snaps around.
HARRIS
By who?!
Waneta just smiles.
HARRIS (CONT'D)
Who goddamnit! Winters?
WANETA
You'd have to ask him.
HARRIS
I'd love to, but he's dead.
WANETA
Just goes to prove that you can't
trust anyone anymore.
Harris turns away, trying to control his anger. He looks
back to Waneta.
HARRIS
You oughta be shot, hung and pissed
on!
Waneta smiles defiantly.
HARRIS (CONT'D)
You fucked up the one chance this
country had in LeBlanc!
WANETA
A chance for whom?!
HARRIS
LeBlanc was a visionary, even if he
was from Quebec. He was turning things
around, for the English and the
French!
WANETA
He was an enemy of the First Nations!
Harris fumes at the woman's indignation.
WANETA (CONT'D)
You arrogant English fuckers!... we
counted on the support that you signed
for our land claims, and what happens?
You fuck us over again!
HARRIS
What the hell are you talking about?
WANETA
When Quebec left to form their own
country, you said you'd be there to
help the Cree, but when things went
sour and you went crawling back to
the French, the first thing you gave
up was our sovereignty! You didn't
need us anymore... first you used us
to get back at the French, then when
you couldn't use us anymore, you
forgot about us and left us hanging
out to rot!
HARRIS
You and your land claims. They'll
never end.
WANETA
You're right. Not until we have what
is ours. Until the white man honours
what he has said and signed.
HARRIS
Things have changed... we don't live
in the past.
WANETA
And there is no future until that
happens. There will be no peace in
this land.
Harris looks away.
HARRIS
What did you expect?
WANETA
To do what you promised! To keep
your word for once!
Harris falls silent, unable to deny the hard truth. He
finally points the gun at Waneta. The laser comes on.
WANETA (CONT'D)
It's too late Harris... now you need
me. If you pull the trigger, you
kill yourself... but do what you
have to.
Harris pauses for a long moment.
WANETA (CONT'D)
Time's up.
HARRIS
I hope you rot in hell.
WANETA
Is that what you call Cascadia?
HARRIS
Huh?
WANETA
I was thinking that's where I might
head. After all, they were the ones
who trained and bankrolled me to do
the job.
Harris begins to shake.
HARRIS
You --
WANETA
You think you're so smart... LeBlanc
the 'saviour'. You and the Cascadians
brought this all on yourselves. No
one ever stopped to consider what
lay ahead. You didn't heed the
warnings. Did you really think we
would just stand back and let you
get away with it?
CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
55 -
Storm of Conflict
104 INT. NORDOIL TRACK VEHICLE - NIGHT 104
Bryan and Larry find themselves now in potential jeopardy.
Larry continues to try and move the vehicle but his efforts
are in vain.
BRYAN
Well this is perfect... way to go.
Larry shoots him a look.
LARRY
If you hadn't been sleeping over
there, we'd know where we were!
BRYAN
Give it a break... you're not doing
any good.
LARRY
You might actually help by getting
off your ass and dragging the winch
cable out --
BRYAN
Tell ya what. Why don't you!
LARRY
I'd love to, but unfortunately my
door doesn't open.
Bryan suddenly spies a small light flashing on the console.
His eyes grow wide.
BRYAN
Oh my god...
Larry looks over, his eyes following Bryan's. He sees the
flashing beacon.
LARRY
Oh shit.
BRYAN
You didn't turn it off?!
LARRY
(sheepishly)
I... forgot.
Larry moves to switch the unit off.
BRYAN
Just what we need. Finding our asses
in some Cascadian prison! That should
do wonders for international
relations.
LARRY
Two words for ya... fuck you.
Bryan remains silent. Turning angrily, he crawls out the
door into the howling storm, leaving Larry to watch after.
CUT TO:
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
56 -
Cryo Confrontation
105 INT. AFT CARGO DECK / SU-120 - NIGHT 105
Waneta reluctantly helps Harris into the Cryo-con suit. It
is a slow process and Harris grits his teeth, cursing with
the pain. Waneta notices the bullet wound in the middle of
his chest.
WANETA
Weyland shoulda aimed a little to
the right.
He can't believe her callous comment.
HARRIS
Lucky for you, he didn't.
Waneta smiles as she looks over to Burns' body.
WANETA
You cared for her a lot.
HARRIS
What?
WANETA
Burns.
HARRIS
Yeah... I did.
WANETA
Did you love her?
Harris is caught off guard by the question.
HARRIS
Why the hell do you care?
WANETA
I'm just curious to know how things
were between you.
Harris thinks a moment.
HARRIS
She was my partner. Of course I cared.
WANETA
But did you love her?
He looks up at Waneta. He doesn't respond.
WANETA (CONT'D)
Easy question. Did you love her?
HARRIS
(reflective)
Yes... I loved her.
WANETA
Did you tell her?
HARRIS
Yes.
Waneta breaks a slight smile as the heater finally dies and
fades out.
WANETA
Good... then all was not a waste in
life.
Harris just sits there in the darkness, shivering
uncontrollably.
HARRIS
There's a Chem-lite in the shoulder
pocket.
Waneta reaches inside the suit and pulls it out. She breaks
the stick and the darkness is slowly lifted.
HARRIS (CONT'D)
How could you bring yourself to do
it?
WANETA
Easy. Center the crosshairs on the
target, take a deep breath, hold
it... and ever so gently... squeeze
the trigger.
HARRIS
You took away a nation's hope.
WANETA
You took away a people's dignity.
Harris continues to moan in pain as he eyes her coldly.
HARRIS
What could you possibly have hoped
to gain by killing LeBlanc?
WANETA
It's part of something bigger...
some-thing I don't expect you to
understand.
HARRIS
Try me.
WANETA
You're a white man... it's the Earth
versus Mankind. You'll never
understand the struggle of my people.
HARRIS
Do you think you're the only ones
who've gotten a raw deal?
WANETA
The sad thing is, you have no idea
of the suffering you've caused...
you and your kind! It's your greed.
Nothing's ever enough for you. If
it's not the people you destroy,
it's the land! You have respect for
nothing!
HARRIS
Respect? You're one to talk!
WANETA
Incredible. You haven't heard a word
I've said. Has the wind frozen your
ears?
Harris looks away.
HARRIS
I think you're the ones who'll never
understand. You can't solve the
problem by killing someone... there'll
always be another to take their place.
Waneta chuckles.
WANETA
You go on believing whatever you
want white man... but things are
about to change...
(smiles)
The Natural Forces are at work and
the wolf is at the door.
HARRIS
Well Little Feather... you'll never
see...
Harris thinks a moment.
WANETA
See what?
HARRIS
Nothing... nothing at all.
WANETA
C'mon. Time's a wasting and I have a
long walk ahead of me. The further I
get away from you the better.
Harris carefully climbs into the cylinder as Waneta begins
to attach the tubes. Harris keeps the SMG by his side.
HARRIS
My security card is in your breast
pocket. The code is six-four-six-two-
nine. Got it?
WANETA
Yeah sure. Six-four-two-nine-six. No
problem.
HARRIS
Smartass. Let's get this over with...
Your spare batteries are in the bag
by the heater. You should have at
least twenty hours of heat.
Waneta smiles.
WANETA
I can't say it's been a pleasure.
HARRIS
Save it.
As Waneta lowers the cover, she leans close to Harris.
WANETA
Too bad we don't have time for a
bedtime story. I've got a good one.
POV
On Harris as the cover closes over him with a thud. The
incessant howl of the wind is cut off. The only sound is
Harris' breathing - laboured and nervous.
Waneta runs the card through the slot. The unit beeps to
life. Waneta enters the code. The screen on the Cryo-con
cylinder reads: "Security Code Accepted / 30 Minutes to
Stacis".
POV
Through the cover of the tube, we see Waneta stare directly
into CAMERA and give a thumbs up signal.
WANETA (CONT'D)
(to herself)
Sweet dreams, white man.
Without looking back, Waneta grabs the bag of faulty batteries
and heads into the Galley. Her light flickers for a moment,
then fades out as she exits the aircraft and is lost to the
storm.
Harris yells something from the tube, but all that is heard
is the howl of the wind. Harris looks drowsy. He closes
his eyes.
The CRT screen reads: "Twenty Seven Minutes to Stacis".
CUT TO:
106 INT. RU-1050 - NIGHT 106
The RU-1050 is encountering some violent turbulence. Dagel
and Jefferies are having a hard time controlling the unstable
aircraft as it buffets the storm. A sudden warning SOUNDS.
CAPTAIN DAGEL
Shit! No good...
Dagel turns to Jefferies.
CAPTAIN DAGEL (CONT'D)
See you on the other side.
CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
57 -
Flickering Hope Amidst Despair
107 INT. OTTAWA CONTROL - NIGHT 107
Connely and Nelson sit looking up at the big map. Both look
like hell.
Just then, the flashing marker on the map dies.
NELSON
Well... that's it. The beacon must've
died. I imagine the cold. If they
haven't found it by now, they never
will.
CONNELY
Anything from our 'neighbors' to the
west?
NELSON
Nothing... just some coded traffic
two hours ago. Nothing since.
CONNELY
And Nordoil?
NELSON
No word yet. It's late.
Connely glances to a clock on the wall. It reads: 08:34.
CONNELY
I'd say it's early.
NELSON
Whatever it is, it's time to go home.
I'll have the duty officer on the
next shift call you if he hears
anything, alright?
CONNELY
Fine.
CUT TO:
108 INT. AFT CARGO DECK / SU-120 - NIGHT 108
A shadow dances on the walls of the wreckage. A man in a
yellow suit is searching the foreward section of the aircraft
with a powerful flashlight.
BRYAN
(into radio)
I may have found a live one!
CUT TO:
109 INT. CASCADIA AIR COMMAND BUNKER - TWILIGHT 109
Dyann, Paul and William sit quietly in the office. They all
have a look of concern as each busy themselves with idle
activities. Paul is dosing off, fighting to stay awake.
A knock on the door. Reese and Jane enter as the others
look up.
DYANN
Yes?
WILLIAM
Well? What's the word? Talk to me!
REESE
At 08:17 this morning, the RU-1050
rescue aircraft was lost with all
hands on board. At 08:34, we lost
the beacon signal for Canforce 8.
There is no way of finding either
aircraft until the storm breaks.
WILLIAM
I see...
The room is deathly silent.
CUT TO:
FLASHBACK FROM DIFFERENT PERSPECTIVE
Genres:
["Thriller","Drama"]
Ratings
Scene
58 -
Betrayal on the Rooftop
110 INT. BUILDING / ROOFTOP MACHINE ROOM - NIGHT 110
Waneta lies beside her rifle, sighting through it.
CUT TO:
111 EXT. PARLIAMENT HILL - NIGHT 111
POV
Through the scope of Waneta's rifle reveals the crosshairs
finding their mark on Prime Minister LeBlanc. Standing next
to him, shaking his hand, we see WILLIAM AUBIN. Both men
are laughing.
OFFSCREEN we HEAR Harris and Weyland make their entrance.
HARRIS (O.S.)
You there! Police! Stop what you're
doing and raise your hands where I
can see them!
CUT TO:
112 INT. BUILDING / ROOFTOP MACHINE ROOM - NIGHT 112
Harris turns to Weyland.
HARRIS
Weyland?
This time we see Weyland point his gun at Harris. Weyland
fires TWO SHOTS at Harris, both striking him. Harris falls
to the ground, but as he does, he still manages to fire a
SINGLE SHOT off at Weyland. The bullet again finds its mark
in Weyland's forehead.
Weyland's body crumples to the floor while Harris still reels
in pain. Gasping for air, Harris looks up toward Weyland,
then swings around to see the DARK FIGURE (Waneta) with the
rifle.
HARRIS (CONT'D)
(weakly)
Police...
Harris feebly points his gun. Waneta turns her head towards
Harris, unconcerned by his threat. Harris drops his gun,
slowly yielding to unconsciousness. Waneta finally moves
from the shadows, yet still remaining half-lit.
She turns and repositions herself, sighting through the scope.
CUT TO:
113 EXT. BUILDING / PARLIAMENT HILL - NIGHT 113
POV
Through the scope reveals the setting seen earlier. The
crosshairs hold on LeBlanc. We can HEAR Wanet's breathing.
She finally takes a deep breath and pauses.
BOOM! Through the scope we see the hit. There is no question
LeBlanc is down.
CUT TO:
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
59 -
A Tense Standoff
114 INT. BUILDING / ROOFTOP MACHINE ROOM - NIGHT 114
Waneta quickly crawls to her feet and slings the rifle. She
moves to Harris who now lays unconscious.
She pulls a handgun from a holster and points it at his head.
Suddenly the SOUND of Burns is heard at the door.
BURNS (O.S.)
Harris? Damn it Harris, what's going
on?
Waneta cycles the slide, cocks the gun. Just then, SHOTS
rip through the door. Waneta turns and looks up to see Burns
enter, with her flashlight and gun drawn.
BURNS (CONT'D)
Oh my god, Harris!
Burns looks up to see Waneta poised to shoot Harris.
BURNS (CONT'D)
No!! Don't!
Waneta looks over.
WANETA
Did you want to do the honors, Burns?
BURNS
Don't hurt him. He's not a threat!
WANETA
Fine... but whatever happens, you'll
have to deal with the consequences.
Waneta pauses and looks at Burns. She withdraws her gun and
holsters it. With a glance, she turns and disappears into
the shadows.
Burns stares after her for a moment, then moves beside Harris.
The light of her flashlight suddenly illuminates Harris'
face as she kneels beside him, staring desperately. She
swings it away as we...
FLASHCUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
60 -
Abandonment in the Cold
115 INT. AFT CARGO DECK / SU-120 - NIGHT 115
The outline of a dark shapeless figure is suddenly awash in
light. It is the face of an almost frozen woman.
BRYAN
Over here!
Bryan removes the blankets, bags and other debris off the
figure as Larry hurries up beside him. He flashes his light
on the figure.
LARRY
Is she alive?
BRYAN
I think so. But barely.
Bryan leans down and pulls a toque from the woman - revealing
the frozen face of WANETA. He moves close to her face,
looking for signs of life.
LARRY
Must be the Captain.
BRYAN
She's hypothermic. Hand me a cell
for her suit.
Larry passes a battery to Bryan who places it into Waneta's
suit.
BRYAN (CONT'D)
Let's get her the hell out of here.
The men lift Waneta and start to carry her out. Larry looks
over to Harris in the cylinder.
LARRY
What about the guy in the tube?
BRYAN
Only the crew. That's what they told
us.
LARRY
They'll never find this thing after
the storm.
BRYAN
Someone else's problem, man.
The CAMERA slowly pans off the Nordoil workers to the floor.
LARRY (O.S.)
We have to do something for the dumb
bastard.
BRYAN (O.S.)
Send flowers.
The CAMERA slowly tracks along the floor, finally coming
upon the cylinder where it stops in a CLOSE UP on Harris.
His sleeping face disappears as the last light from the
worker's lamps slowly fades away to darkness.
The image becomes extremely grainy - the grain one sees in
photographs. The CAMERA begins to PULL BACK slowly. The
photo begins to reveal itself. First we see Waneta's face,
then Weyland and - Burns. Smiles beam. Each are wearing
the WOLF PACK camouflage uniform. Continuing to pull back,
more faces are added, some we have seen aboard the RU-1050 -
Wolf Pack #1 and #2. Winters also stands with the group.
Waneta is kneeling with the same rifle used to kill Leblanc.
The others proudly brandish assorted weaponry. The last
face to be revealed is that of William, dressed in a suit,
standing off to the side.
BURN TO WHITE
FADE OUT