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I hope you all can read this. It took me a long time to realign the dialogue, etc. Let me know if you cannot read it and I will try to fix it. Enjoy. It was a labor of love. Please note it is registered and so anyone copying this or trying to sell it as their own will not be tolerated by me or my agent. P. S. Also let me know if something is missing in it. The text disappeared on me a few times.

 

WGA EAST REGISTRATION NO.

 

R23783

 

FADE IN:

 

PROLOGUE

 

EXT. -- THIRD DISTRICT, WASHINGTON D.C., ARIEL VIEW -- DAY

 

2056 A. D. Washington, D.C. rebuilding after the devastating war and Holocaust. The area, looking more like a pristine rural part of the new country than a city, a remnant of survivors are hard at work building a new White House, a new Capitol building—a new Washington.

 

INT. -- FUTURE PRESIDENTIAL HEADQUARTERS

 

RAYNE SOMMERS labors in the new offices of the President of the Third District--his brother, OLIVER SOMMERS. Rayne is a tall dark, sullen-looking man, age 56. A YOUNG MAN, one of the AIDES, walks through the door with prototypes of posters to show Sommers. He is running for the president of the Fourth District, located in the Midwest. As he looks them over, he finds the one he likes best. The lad leaves. Rayne turns to some old picture frames housing some old world news clippings he's about to hang on the walls, headlines they never want see again: WORLD GONE MAD; WORLD WAR III BEGINS; and one he does about his ACCELERON CORP.: ACCELERON BREAKS TIME BARRIER. He lingers over that one for a moment. And then there is the one about his father, TRENTON SOMMERS, ASSASSINATED at the presidential forum he attended long ago. It is coupled with a follow-up headline: PRESIDENT MARS CAHILL REMAINS IN CRITICAL CONDITION. Rayne thinks on that time for a moment, and how he loathed his father, as his brother, OLIVER, prances in, wiping the sweat from his brow from a hard day's work. He is all smiles and still looking quite refreshed, excited, about his future new role. Oliver is handsome, 49, looks very much like his deceased father—unlike Rayne--which makes Rayne loathe his father all the more—not to mention his brother.

 

OLIVER

 

I'd thought you'd have the office finished by now.

 

(sadly lingers over clippings) That was

 

a long time ago.

 

RAYNE

 

We were just boys then.

 

OLIVER

 

And living miles apart. You were what,

 

twelve, then? I was only seven.

 

RAYNE

 

You were the lucky one—living away from that

 

monster of a father.

 

OLIVER

 

If Pop had had his way, though.

 

RAYNE

 

You were too young and Mother too vulnerable.

 

OLIVER

 

May God rest both their souls.

 

RAYNE

 

May he burn in hell, that son-of-a-bitch.

 

OLIVER

 

Let it rest, Rayne.

 

RAYNE

 

He never laid a hand on you. You were safe

 

with Mother—in California.

 

OLIVER

 

No. You're right. He didn't. But he's gone

 

Now, and I promise you this world-our world's going

 

to be—better—for all of us. You'll see. Now that

 

I'm president of the Washington district.

 

RAYNE

 

Do you honestly think five districts run by five presidents

 

will help our country to grow strong again, like it once was?

 

OLIVER

 

Always the skeptic. Did Father teach you to be

 

so cynical?--Oh, by the way, before I forget.

 

A Doctor Ed Saunders called. Something about opening up a

 

portion of the Acceleron laboratories again and needing an

 

old style nineteen seventy's computer the company manufactured

 

when it was still a part of IBM. I told him you'd get back to

 

him sometime this afternoon. After all, you are the CEO of

 

the company. You still are CEO, aren't you?

 

RAYNE

 

Not for long, I hope.

 

OLIVER

 

Oh, and that Prescott friend of yours. Some-

 

thing about your promising him a job after the elections.

 

I told him, we didn't have any openings at the moment and

 

I didn't think we were going to have any anytime soon. I

 

promised my constituents this was going to be a new, leaner

 

—meaner government machine—run like the true democracies in

 

ancient times. But we still have to take care of the little

 

people. Maybe you have an opening at Acceleron?

 

RAYNE

 

I told him he could help me with my campaign

 

for the Midwest District presidency.

 

OLIVER

 

Come on. Be realistic, Rayne. Do you really think you can

 

beat Senator Marion Brooks for that office?

 

Oliver has struck and sour chord with his brother. Rayne's temper is beginning to rise deep inside him. Oliver is just like their father was toward Rayne—a bully.

 

OLIVER

 

Since our time together I've learned Dad was right about one

 

thing—you're just not presidential material. You can't even

 

finish the job I've assigned you on time. How do you

 

think you're going to run the midwestern district

 

by yourself?--A president's gotta have an office. (exiting)

 

Don't forget to call Saunders.

 

As soon as Oliver is out of sight, Rayne takes his cell phone out of his pocket, dials.

 

RAYNE

 

Hayden. How soon can you meet me? I've just been given

 

confirmation—by my own brother--I've been dumped as his

 

candidate of choice for third district presidency. That

 

means our little project's a go.--No, they still don't

 

know we have the machine—and they won't if you don't tell

 

them.--I'm ready now. I'll be there in a few

 

minutes. Wait for me. I just have one more phone call to

 

make.

 

Rayne dials his cell phone again.

 

RAYNE

 

You just wait, little brother. By this time tomorrow,

 

you'll be the one who is gone, dead, buried in time forever,

 

and I'll be the sole ruler of this--new world. And then

 

we'll see just who is presidential material. You are SO

 

like that monster who dared to call himself our father.

 

(leaves as he talks on the phone) Dr. Saunders . . . .I'm

 

glad I caught you.

 

TIME LAPSE.

 

ACT I

 

INT. -- THE OLD ACCELERON BUILDING NOW THE DE HAVILAND MUSEUM OF SCIENCE AND COMPUTER TECHNOLOGIES -- NIGHT

 

2012 A. D. CHARLES MARTEL, a TIME TRAVELER from the year 2056 A. D., has just broken into the museum and is now in the process of looking for an old-style, 1970's 5100 word processing computer. It is needed back in his time, 2056 A. D., to read and translate the older codes to program into their computers. Charles is about 49-50, smart, savvy, quite handsome, a vigorous man. He is part of the remnant who've survived the war and holocaust and are now in the process of rebuilding. He works for the company called ACCELERON ELECTRONICS AND SEMI-CONDUCTORS, CORP., the company that discovered time travel. The museum is dark, almost deserted, except for a few security guards patrolling. He's brought a gun with him, just in case. A voice on his communicator keeps repeating:

 

VOICE ON COMMUNICATOR

 

Charlie. Are you in?

 

INT. -- ACCELERON CORP. OFFICE -- DAY

 

DR. ED SAUNDERS, Charles' partner, friend and co-adventurer in their little undertaking for ACCELERON, guides Charles to his destination and prize. He is much older, in his 60's, a white-collar, conservative, family-oriented kind of guy, a very squeaky clean, nerdy-looking neatnik. Two men in the background, one very large, clean-shaven, THOMAS, the smaller, GEORGE, looking like a rumpled hippie left over from the 60's, are both also in their sixties. They monitor the machines as Charles remains in the past. George is at a TV screen, also keeping watch on a broadcast in progress: a news report from WSGT-TV news anchor ROSS KENYON. The anchor is an older, silver-haired, respected man in their time period, also in his sixties. A photo of RAYNE SOMMERS is projected along side Ross as he reports, the man is apparently missing.

 

ROSS ON SCREEN

 

In the news tonight, philanthropist and

 

head of the Acceleron Corporation—Rayne

 

Sommers is missing. Sommers, son and only

 

child of the late, once-Vice-president of

 

the United States, Trenton Sommers . . .

 

As Ross's words fade into the background . . .

 

GEORGE

 

(to Thomas) Wait a minute. Didn't Sommers

 

have a younger brother named Orlando?

 

THOMAS

 

I think the name was Oliver.

 

ROSS ON SCREEN

 

. . . who was known for his work in cyber-electronics as

 

well as space exploration has vanished. No one seems to

 

know . . .

 

EMILY, Ed's daughter, comes over to take a quick look, herself, at George's monitors. She sees nothing wrong, but George and Thomas do. Emily is a dark haired, comely woman, age 44.

 

EMILY

 

How's everything else looking?

 

GEORGE

 

(feigning smile, thumbs up) Still on target.

 

It's just that one anomaly.

 

EMILY

 

If that's all that changes . . .

 

Emily leaves, heads toward her father.

 

THOMAS

 

(unhappy with George) You couldn't tell her?

 

CUT TO:

 

Ed, still on the communicator with Charles. He has a newspaper spread out over the top of his desk. Headlines skirting Rayne's picture: HAVE YOU SEEN THIS MAN? FORMER PRESIDENT AND CEO OF ACCELERON. DR. HAYDEN PRESCOTT WANTED FOR QUESTIONING.

 

EMILY

 

This wasn't in the test run two weeks ago.

 

ED

 

I know. I've had a bad feeling about this all day. Something's not right.

 

EMILY

 

George didn't say anything else was wrong when

 

I was just over there.

 

They see Thomas approach. The looks on their faces turn stark.

 

THOMAS

 

We've got problems. Big ones. We gotta

 

get Charlie out of there a-s-a-p.

 

INT. -- MUSEUM, 2012 A. D. -- NIGHT

 

CHARLES

 

Okay, Ed. I'm in. (checks for more guards)

 

Where do I go now?

 

VOICE ON COMMUNICATOR: ED

 

It's in the next room.

 

CHARLES

 

I see it. But it's so dark in here, I can

 

hardly see where I'm going.

 

IMT. -- ACCELERON

 

CAMERA SHOT: EMILY, ED, THOMAS.

 

THOMAS

 

Something's created a massive fracture in the timeline.

 

If we don't get him out of there now, we may lose him.

 

INT. -- DE HAVILAND

 

CAMERA SHOT, CHARLES. He hears the conversation on his communicator and worries.

 

CHARLES

 

Ed, is anything wrong?

 

But no one hears Charles.

 

CUT BACK TO:

 

INT. -- ACCELERON

 

EMILY

 

Dad.

 

THOMAS

 

Forget about the disks, Ed. It's now or never.

 

EMILY

 

(to Thomas) Can you see what created it?

 

Thomas shakes his head no. Ed shouts into the communicator as things begin to change/alter their appearance around them.

 

ED

 

Charlie. We've gotta get you out of there now!

 

INT.-- DE HAVILAND

 

CHARLES

 

I'm almost there, Ed.

 

ED

 

How far away are you from the time machine?

 

Charles spots the computer. But there are still a couple of guards in the hallway.

 

CHARLES

 

It's at my mother's.

 

ED

 

Leave the computer, Charlie. We can try again later.

 

CHARLES

 

I'm almost there, Ed. Just give me a couple

 

more minutes.

 

But Charles has to cut the conversation off quickly as more guards pass by, shining their flashlights into the room, allowing Charles to see where the electronic laser beams crisscross so he can finally to get to the computer. The task isn't easy, but, finally, the coast clears long enough, he gets to the computer, grabs his prize and leaves undetected.

 

EXT. -- DE HAVILAND GROUNDS -- NIGHT

 

CHARLES

 

(into communicator) I got it. I'm on my way. I'll

 

see you soon.

 

But there is no answer back, only dead air, as he hurries back to his mother's car and his childhood home totally unaware of the problem back in the future.

 

TIME LAPSE.

 

INT. -- CHARLIE'S BEDROOM/MARTEL HOME -- NIGHT

 

The Martel home, 2012. Charles is in his bedroom working on a computer. The room is decorated with all sorts of little boy items: action figures, a baseball cap, glove, a ball—along with a few items Charles brought from the future—a HIGH TECH FLASH DRIVE ENCYCLOPEDIA COLLECTION from the year 2056, a few, well-worn paperback novels, RAIN BEAR by ANDREW CORRIGAN, H.G. WELL'S TIME MACHINE, a BIBLE, an old dog-eared copy of the U. S. CONSTITUTION, as well as a well-loved brown, stuffed teddy bear Charles gave to Charlie. He surfs the Time Traveler message boards on the Net. As he reads some of the anonymous messages, he thinks about going home again and WHO he's left behind: ARIEL DU BOIS, a dazzling FRENCH BEAUTY who works for Senator Marion Brooks.

 

FLASHBACK:

 

INT. -- ARIEL'S BOUDOIR -- NIGHT

 

Charles and Ariel are in bed together making passionately love and talking about their respective jobs.

 

CHARLES

 

Ooh, Ariel. You're so good for me.

 

ARIEL

 

Do you really have to go? Can't they send somebody else?

 

CHARLES

 

Come with me. There's room enough for two.

 

ARIEL

 

Can't. My boss is announcing her candidacy tomorrow for the fourth district presidency and

 

I have to be there to write the press releases,

 

take notes, greet people. You know, the whole political drill.

 

CHARLES

 

Maybe next time?

 

ARIEL

 

Absolutely. In the meantime, let's not waste

 

the rest of tonight talking about it.

 

CHARLES

 

I'll drink to that.

 

They kiss passionately, make love.

 

END FLASHBACK

 

Charles is brought back to the 'present' by a question on the message board.

 

ON COMPUTER SCREEN:

 

'When will World War III begin?'

 

He's about to reply when a toe-headed little boy, five years of age, plods into the room, dressed in his pajamas, ready for bed. It's young Charles, AS HE WAS AS A YOUNG BOY. Young Charles believes the older Charles is his uncle. He plops onto his bed, grabs the TV remote and begins surfing channels. But all he can find is a news-breaking story: PRESIDENT MARS CAHILL being questioned by a very blonde, very beautiful, star reporter, WILHELMINA JONES. His Vice-Present, TRENTON SOMMERS, stands behind him.

 

Another question pops onto the computer screen.

 

ON COMPUTER SCREEN:

 

'Did Jesus return?'

 

SOUND ON TV: an angry crowd rails against the president, waving placards, threatening revolution as they boldly proclaim the opposing candidate: JACKSON STRYKER, as their candidate.

 

YOUNG CHARLIE

 

(sighs) There's nothing on.

 

CHARLES

 

Tough luck, pal. Next time I come for a visit, I'll see if I can get you some cable.

 

CHARLIE

 

Uncle Charles? Do you really have to go?

 

Young Charlie goes to hug the older Charles. He climbs onto his lap. Charles hugs back and kisses him on the forehead.

 

CHARLES

 

Yes. I really have to go. People are waiting

 

for me back home. I can't let them down now,

 

can I? But I promise. I'll be back, soon.

 

Okay?

 

YOUNG CHARLIE

 

I wish you could stay.

 

CHARLES

 

I wish I could stay, too, Bud.--But I can't.

 

So . . .let's get you tucked into bed.

 

Grabbing his brown teddy bear, Charlie crawls under the covers.

 

CHARLES

 

I know how hard it is not having a dad around

 

to do things with. But, hey . . . know what? Next time

 

I come for a visit I'll take you to that baseball game

 

I promised. How's that sound?

 

CHARLIE

 

(excited) Yeah! . . . Goodnight, Uncle

 

Charles.

 

CHARLES

 

Goodnight, Charlie.

 

Charlie rolls over, closes his eyes.

 

CHARLES

 

Love you. (peers at young Charlie) If only I could be

 

you again—in this place—in this time.

 

Charles gathers up the TV remote to turn the TV off. He stops a moment to watch. Newscaster Wilhelmina Jones, still in relentless pursuit of a story, has captured Charles's attention.

 

EXT. -- PRESIDENTIAL FORUM -- NIGHT

 

Wilhelmina is at the presidential platform with her cameraman.

 

WILHELMINA

 

President Cahill, with China's recent forced annexation of

 

both Koreas and now with their threat to take over Taiwan,

 

how do you plan on handling this volatile situation in the

 

Far East?

 

CAHILL

 

Of course, we've been pursuing every avenue to get Chairman

 

Yang to relinquish China's claim on Taiwan, while

 

maintaining our current status of friendship between our

 

two countries.

 

WILHELMINA

 

President Cahill. Rumor has it the Premier of China has,

 

in effect, thrown down the political gauntlet and issued

 

an ultimatum against the United States warning us to back

 

off or face severe consequences.

 

CAHILL

 

As I said before, Ms. Jones, we will continue to pursue

 

our policy of peaceful negotiations with the People's

 

Republic of China. But make no mistake, if Chairman Yang

 

wants to start a war with us, I will defend my country to

 

the death.

 

CAMERA SHOT. LARGE, BUSHY HEDGE IN THE DISTANCE. A GUN BARREL SLOWLY EMERGES FROM ITS DENSE THICKET, AIMED DIRECTLY AT THE PRESIDENT.

 

ANGRY MOB MEMBER #1

 

War! Is that all you politicians like to

 

talk about?

 

WILHELMINA

 

Mr. President . . .

 

ANGRY MOB MEMBER #2

 

What about food, Mr. President? The people

 

are starving. We have no food.

 

ANGRY MOB MEMBER #3

 

Jobs? What about jobs? We need work!

 

Wilhelmina directs her cameraman, AL, to pan the crowd.

 

WILHELMINA

 

Al, can you get some of this on camera?

 

ANGRY MOB MEMBER#4

 

I have two kids and no place to live.

 

ANGRY MOB MEMBER #5

 

Don't we count for something, to, Mr.

 

President?

 

CAHILL

 

I assure you. My administration is doing everything

 

it can . . .

 

ANGRY MOB MEMBER #6

 

Bull!

 

ANGRY MOB MEMBER #7

 

Oil and gas prices are so high only you rich

 

can afford to live here anymore.

 

ANGRY MOB MEMBER #6

 

We're tired of your empty promises. We want action

 

--now!

 

ANGRY MOB MEMBER # 7

 

Yeah! We want a man who will really lead us.

 

We want Jackson Stryker!

 

ANGRY MOB MEMBER #8

 

(leading chant) Yeah, Stryker. We want

 

Senator Stryker. Stryker, Stryker.

 

As others join in with the chanting, police struggle to hold the crowd back. As tempers flare, they begin to push toward the platform. Part of the protestors starts throwing things at President Cahill, Vice-president Sommers.

 

CAHILL

 

(shielding self, trying to step out of the way)

 

Ladies! Gentlemen!

 

Chanting grows louder.

 

CAHILL

 

Citizens of this great country. I assure you

 

I am ready to do whatever it takes . . .

 

SOUND: GUNSHOTS SUDDENLY SILENCE THE CHANTING. AND THEN, A SHRILL SCREAM.

 

Quickly, the crowd begins to scatters as Cahill falls to the ground, he is hit. SECRET SERVICEMEN swarm in around, to late for the president, to protect the vice-president and other dignitaries still standing on the platform. A secret serviceman kneels by President Cahill, reaches for his walkie-talkie.

 

SECRET SERVICEMAN #1

 

Sector one to Sector two. Shots fired. The president

 

is down. I repeat. The president is down. We need

 

back up—NOW!

 

At once, a dark, tall, handsome, sullen-looking man, known

 

as JACKSON STRYKER, takes the podium. In truth, it is RAYNE SOMMERS.

 

INT. -- CHARLIE'S BEDROOM

 

Charles spots the man he knows in their time as Rayne Sommers taking the podium. He begins to realize a new timeline has begun to unfold before his eyes on the screen. Someone has tampered with time!

 

CHARLES

 

What are you doing here?

 

EXT. -- PRESIDENTIAL FORUM/ PODIUM

 

JACKSON/RAYNE

 

People! Listen to me!

 

ANGRY MOB MEMBER #5

 

(hearing familiar voice, turns) Stryker.

 

It's Stryker!

 

Quickly, the crowd turns silent.

 

CAMERA SHOT. Wilhelmina, with her cameraman, still reporting furiously--on the condition of the president.

 

WILHELMINA

 

Ladies and gentlemen. The president has been shot.

 

No word yet as to his condition.

 

As the crowd presses in towards Stryker, the police, secret service struggle to hold them back.

 

JACKSON/RAYNE

 

Please. Everyone. Let the authorities do

 

their jobs.

 

Behind Jackson/Rayne, stand TRENTON SOMMERS. He grabs hold of Rayne.

 

TRENTON

 

(whispering, angry) This wasn't in our bargain.

 

JACKSON/RAYNE

 

It is now.--Don't tell me you've gotten cold

 

feet already.

 

TRENTON

 

I thought we were going to wait until after

 

the election to kill Cahill.

 

JACKSON/RAYNE

 

Haven't you gotten it yet, you fool? You were

 

the one who was supposed to die tonight--on

 

this platform!—And now the world is ours—ripe

 

for the taking! Now let me finish!

 

Trenton is silenced momentarily. Jackson/Rayne returns to the crowd.

 

JACKSON/RAYNE

 

Please, everyone, go home. Put aside your

 

anger. I, Jackson Stryker, when elected as

 

your president, promise you that my administration will

 

do what Cahill's failed to do these last four years—

 

LEAD THIS COUNTRY into a new era of peace and of world

 

class status and renewed power!

 

The crowd roars. Trenton grabs Rayne again.

 

TRENTON

 

What the hell are you doing?

 

JACKSON/RAYNE

 

What the hell do you think I'm doing? Now shut up

 

and take the oath of office—like a man!

 

TRENTON

 

You're mad.

 

JACKSON/RAYNE

 

And you don't deserve what I'm about to hand

 

you on a silver platter. Some men never do

 

seem to learn. If you want to have power,

 

this is how you take it.

 

CAMERA SHOT: SECRET SERVICEMAN BY CAHILL.

 

SECRET SERVICEMAN #1

 

(to another serviceman entering scene) Get

 

them off the stage. Now!

 

Rayne reaches into an inner coat pocket, pulling out a derringer-sized pistol. Holding next to his body it so no one can see it, he turns toward the podium as if he's going to speak again and, instead, shoots himself in the abdomen, making sure the wound is not fatal. Falling into the arms of Trenton, he quickly shoves the pistol into his hands.

 

RAYNE

 

(whispers) Hide this in my machine.

 

SOUND: MORE GUNSHOTS. MORE SCREAMS.

 

CAMERA SHOT, WILHELMINA JONES, along with her cameraman, falls to the ground, they are shot dead.

 

VOICE ON PLATFORM

 

Someone administer the oath of office to

 

Vice-president Sommers.

 

As more Secret Service, policemen rush in, Trenton Sommers and the remainder of the political guests are ushered from the platform. Jackson/Rayne is taken away on a stretcher by paramedics as people in the crowd surrounding the platform are quickly arrested and/or scattered by the authorities.

 

CAMERA SHOT: A second secret serviceman kneels beside the president's body, trying to find a pulse, as more paramedics rush in to tend to Cahill.

 

SECRET SERVICEMAN #2

 

I can't feel a pulse. I think he's dead.

 

A judge administers the oath of office to Trenton as the dignitaries are escorted away from the chaos.

 

INT. -- CHARLIE'S ROOM

 

Charles's eyes remain fixed on the tube as a pretty young woman, about thirty, enters. She takes hold of Charles' arm, cradling it, watching what's happening. It's KATHRYN MARTEL, Charlie's/Charles's mother.

 

KATHRYN

 

The world as we know it is over, isn't it?

 

CHARLES

 

Wasn't Trenton Sommers the one who was killed that

 

night?

 

KATHRYN

 

History was never your best subject in school.

 

CHARLES

 

(not convinced) I'm sure it was Sommers. Something's

 

wrong here, Mom.

 

KATHRYN

 

You didn't . . .

 

CHARLES

 

No. (trying not to alarm her) But someone, I

 

think, did. Maybe that's what Ed was trying to tell me before . . .

 

Charles hops to the computer, scavenging his Encyclopedia flash drives until he finds what he's looking for: Trenton Sommers' biog and obituary. He then hits the Internet for news on Stryker and Cahill and what is currently happening on the television. He finds a news bulletin with Rayne Sommers' picture/profile labeled as Senator Jackson Stryker, along with the breaking news about Cahill's assassination—and the resulting riot.

 

CHARLES

 

(to self) It's Sommers, all right. Mom,

 

I don't like the looks of this. I'm leaving

 

you and Charlie my gun—just in case.

 

KATHRYN

 

Oh no, Charlie, they're so dangerous.

 

CHARLES

 

It'll keep you and Charlie safe until you're

 

out of the country and headed north.

 

KATHRYN

 

No, Charlie.

 

CHARLES

 

Mother!

 

Kathryn reluctantly takes the gun.

 

KATHRYN

 

Are you sure we have to leave?

 

CHARLES

 

Only until things have calmed down again.

 

And then you can come back--if you want to.

 

KATHRYN

 

Charlie, I'm so afraid. Please don't leave

 

us the gun. It won't do us any good anyway.

 

CHARLES

 

Then hide it in my desk at Acceleron after I leave.—I

 

insist. There's a secret compartment behind the top

 

right-hand drawer. Ask for an Ed Saunders when you get

 

there. It was his desk before it was mine. Explain

 

everything to him. He'll understand.

 

Kathryn reluctantly agrees.

 

KATHRYN

 

When are you leaving?

 

CHARLES

 

In the morning. I've got a couple of things to do and

 

then I'll come right back. (another pause to watch the

 

mayhem on the television) Maybe Ed and the boys can help

 

me figure out how Sommers changed the timeline, so I can

 

fix it back when I return.

 

KATHRYN

 

(distressed) Be careful, Charlie. That

 

Senator Stryker looks like a very dangerous

 

man.

 

CHARLES

 

It's not him I'm worried about. . . Just keep remembering

 

the world does survive, Mom. We survive. And go to Canada

 

as we planned. Please?

 

KATHRYN

 

When I first saw you like this—all grown up, learning

 

there were such things in the universe as time travel

 

(smiles feeling a great peace in her heart) . . . forget

 

about the damned politicians. They've never really

 

cared about us anyway, only what was in it for them.

 

(toward television) In a few more days, it won't matter

 

anyway who's our president.

 

CHARLES

 

What does matter is that you and Charlie will

 

be gone from this place. You'll be safe--in Canada.

 

Everything will be okay until I get back. I promise.

 

KATHRYN

 

How long do we have until they drop the bomb

 

on Washington?

 

CHARLES

 

Not long. Only a couple of days.

 

Kathryn clings to Charles as they stare at the TV together.

 

NEWSCASTER'S VOICE

 

President Mars Cahill, news reporter Wilhelmina Jones and

 

her cameraman, Alan Remington, are dead . . .

 

TIME LAPSE.

 

EXT. -- KATHRYN'S HOME/ BACKYARD -- EARLY NEXT MORNING

 

Charles is ready to leave, back to the future. His TIME MACHINE looks like an ordinary beat up old truck and camper instead of a time travel vehicle. The 5100 computer is safely stashed away in the back. Young Charlie plays in the distance as Kathryn emerges from the back door of her house, a jacket in hand for Charles. She also has with her his flash drives he left in Charlie's computer. The air is clean, fresh, the rural scenery just outside Washington D.C. is green, pristine as a cool, crisp, early spring morning.

 

KATHRYN

 

Here. You almost forgot these. (gives Charles

 

his flash drives) You don't need anyone finding these here.

 

(helps him with jacket) It'll be cold where you're going.

 

CHARLES

 

You're such a worry wart. Thanks, Mom.

 

Charles tucks his flash drives away in his jacket pocket, as Kathryn fawns over her grown son a bit longer.

 

CHARLES

 

You've got your plane tickets? Passports?

 

KATHRYN

 

Yes. We leave in two hours.—I hear Canada's really

 

nice this time of year. Especially in the mountains.

 

CHARLES

 

Good. You're okay with it. In a few years you'll

 

be able to come back home and start over again.

 

And I'll be here to help. It won't be the same,

 

but it'll be okay.

 

Charles gives his mother a long hug/kiss goodbye. In turn, Kathryn gives him one last gift to take with him, placing it around his neck: a Saint Christopher's medallion. But Charles objects.

 

CHARLES

 

Mom, this isn't . . .

 

KATHRYN

 

It will keep you safe. Humor me—for once.

 

Charles tacitly accepts.

 

CHARLES

 

I'll see you in Canada. Say goodbye to

 

Charlie for me. He must never know.

 

KATHRYN

 

I know. You take care of yourself,

 

'Charlie.' I want lots of grandchildren—

 

and you're getting up there in age.

 

CHARLES

 

Ariel is still young enough. We'll name

 

our first daughter after you.—I'm gonna

 

miss your vegetable garden.

 

They laugh.

 

KATHRYN

 

I'm glad we had this time together.

 

CHARLES

 

So am I.

 

They hug. Charles takes out his communicator.

 

CHARLES

 

Ed. Do you read me? Over.

 

Still no answer from Ed. SOUND: ONLY STATIC FILLS THE AIRWAVES.

 

CHARLES

 

Ed.--I'm on my way. (puts communicator away, mumbles

 

to self) Okay, Charlie. So, Ed's not answering, let's

 

go see what else has been changed--in your present.

 

Charles gets into the beat-up old camper/truck. The

 

two say their last goodbyes as Charles turns on his

 

machine and readies to leave. He checks to see young

 

Charlie isn't watching and, then, disappears.

 

INT. -– TIME MACHINE, IN LIMBO

 

Charles is on route to 2056 A. D.

 

COMPUTER VOICE

 

Accelerating to sixty-five hours per second.

 

CHARLES

 

Computer. Could we make a quick stop at that little

 

out of the way flower and candy shop we found in 2036?

 

I need to pick something up for Ariel.

 

COMPUTER VOICE

 

What flower and candy shop were you referring

 

to?

 

CHARLES

 

(puzzled) Don't you remember?

 

The computer beeps, flashes 2056 is fast approaching.

 

CHARLES

 

Okay then. Take me home.

 

Machine accelerates.

 

INT. -- KATHRYN'S HOME 2056 A. D., CHARLIE'S WORKSHOP/GARAGE -- DAY

 

Home. As Charles emerges from his machine and steps foot into the garage/workshop he had added on to the house as an adult, everything, at first, 'appears' as he left it.

 

CHARLES

 

Mom. I'm home.

 

INT. -- LIVING AREA

 

But things are beginning to look frighteningly different, as Charles strolls further into the house.

 

CHARLES

 

Mom?

 

It looks like the place has been deserted--for quite some time. Charles spots mail piled up on the floor by the front door, untouched for days. Picking up the letter lying on top of the pile, he reads 'SUNNY ACRES NURSING HOME.' The letter is addressed to his mother c/o a BRYCE KENYON.

 

CHARLES

 

Bryce Kenyon? Who's Bryce Kenyon?

 

Charles opens, reads it. It's about his mother's stay at the facility. A large of money is owed them.

 

CHARLES

 

Nursing home? Mom's in a nursing home?

 

Maybe getting those plane tickets wasn't

 

such a hot idea after all.

 

Charles spots a set of car keys on the lamp stand in the hallway—next to the phone and picture of his fianc, Ariel Du Bois. Ariel isn't alone in the picture. A younger man, looking very much like Charles (but it isn't Charles) is holding her. He is bald, wears a distinguished alternative band type beard, and is extremely good looking. Charles notices the phone's message machine is blinking. He plays the messages. They're from Ariel.

 

FIRST PHONE MESSAGE: ARIEL

 

Bryce. It's me. Ariel. Where are you? I've been

 

calling and calling. I'm starting to get

 

a bit worried. I hope you haven't forgotten

 

our little dinner engagement. It's still on

 

for tomorrow night. (pause, silence) Okay.

 

I'll try again later.

 

SOUND: BEEP.

 

SECOND PHONE MESSAGE: ARIEL

 

It's me again. Don't forget. It's black tie. I'll

 

wait for you at the restaurant. Bye.

 

Charles sets the picture back down again and snatches the car keys. Rushing out the door, he finds a car parked in the driveway, climbs in, turns over the engine, and driving off, heads for the nursing home.

 

EXT. -- ON ROUTE TO SUNNY ACRES NURSING HOME -- DAY

 

Charles drinks in the brand new world unfolding before his eyes as he speeds toward the nursing home. Everything now looks more like an armed camp than the Washington, D.C. he left behind. Troops, tanks, armored vehicles fill the streets. Military police pound the pavement looking for insurgents and troublemakers as he hurries by.

 

CHARLES

 

(to self) God, Charlie. What did you come

 

back to?

 

Locating the nursing home, he drives into an empty space close to the entrance, gets out, heads for the doors.

 

INT. -- SUNNY ACRES NURSING HOME -- DAY

 

Even the nursing home looks more like a concentration camp than a rest home, the workers, aides, nurses all acting like the Gestapo as he enters. Charles spots a DUTY NURSE at one of the stations. He cautiously approaches.

 

CHARLES

 

Excuse me. Could you tell me where I can

 

find Kathryn Martel?

 

DUTY NURSE

 

She's in room thirty-two, just down the

 

hallway, to your right.

 

CHARLES

 

Thank you.

 

As Charles starts down the corridor, a SINISTER LOOKING SUIT, hiding in the background, raises a communicator to his lips.

 

SINISTER LOOKING SUIT

 

He's in the building.

 

VOICE ON COMMUNICATOR

 

(acknowledging) Roger.

 

INT. -- HALLWAY JUST OUTSIDE ROOM THIRTY-TWO

 

Charles spots the room as the door opens. A nurse pushing a medications cart exits. He waits for the nurse to leave before entering.

 

INT. -- ROOM THIRTY-TWO

 

It is a pleasant room. A silver-haired old woman, about 75, sits in her rocking chair by her bed. She stares out a picture window overlooking the gardens. She appears almost catatonic. Her back is turned to Charles, but he can tell by the shape of her head, the woman is his mother. He walks over to her, kneeling beside the chair, to find the once beautiful face he left behind, now full of scars from old wounds left from the war. He is shocked.

 

CHARLES

 

Mom. Mom? It's Charlie, your son. I'm

 

home.--You were fine when I left. What

 

happened to you?

 

Kathryn rocks and rocks just staring out the window unable to speak. A tear trickles down her cheek.

 

KATHRYN

 

I have no son. Charlie died long ago—-in

 

the war.

 

Charles startles. He hears another duty nurse entering and rises.

 

CHARLES

 

What did you do to her?—-She was fine when I left.

 

DUTY NURSE #2

 

Sir, I have no idea what you're talking about. Mrs.

 

Martel has been here for over forty years.

 

CHARLES

 

Forty years? But that's impossible. I sent

 

her to Canada.

 

NURSE

 

I don't know anything about that, Sir. Mrs.

 

Martel was a victim of the war—when the bomb

 

hit Washington.

 

Two policemen burst into the room, followed by the sinister looking suit.

 

SINISTER LOOKING SUIT

 

Charles Martel?

 

CHARLES

 

Who wants to know?

 

SINISTER LOOKING SUIT

 

You're under arrest for the murder of Deputy Chief

 

Marian Brooks (looks into his little black notebook)

 

and her assistant, a Miss Ariel Du Bois.

 

CHARLES

 

confused) Deputy Chief Brooks . . . Ariel

 

. . . murdered?

 

SINISTER LOOKING SUIT

 

TAKE HIM!

 

As the policemen move in to arrest him, Charles realizes he must flee, fight or face death. Running for his life, smashing, crashing, fights his way out of the nursing home. A long, grueling chase, Charles finally reaches familiar ground, ACCELERON CORP. The buildings are empty, long abandoned, barbed wire around the entrances, NO TRESSPASSING SIGNS are everywhere. Finding a little known entranceway, eluding the police, Charles disappears into the concrete buildings, heading directly for the offices where he works/worked.

 

INT. -- CHARLES'S ACCELERON WORK AREA -- DARK

 

Dust, cobwebs everywhere, the offices appear to have, otherwise, changed very little. All is pretty much as he remembers—just abandoned. Charles begins to rummage around for clues that could possibly tell him what happened.

 

SOUND: POLICE SIRENS BLARE IN THE DISTANCE.

 

Charles locates his desk. The few items he left behind are still on it: another set of his FLASH DRIVE ENCYCLOPEDIA collection, the same well-worn paperback novels he had when he was a boy, some old papers, a logbook, a picture of Ariel. He picks up his name-plate, but instead of reading 'Charles Martel,' it reads 'BRYCE KENYON.' Picking up Ariel's picture, staring at it a few moments, he realizes she is dead now. He will never see her again. He puts he picture down again

 

CHARLES

 

So. You've been taking care of my mother AND romancing

 

my girl. And it pretty much looks like you've taken over

 

my job here at Acceleron, too—if that still exists. What

 

else have you stolen that was mine, Mr. Bryce Kenyon?

 

Suddenly, Charles remembers something. Reaching into the back of one of the drawers of his desk—-he finds the secret compartment Ed had built into it long ago. He rummages around a minute, finding something familiar-feeling.

 

CHARLES

 

It is here.

 

The handgun he left with his mother years ago and the cartridges. Pulling it out from its hiding place, he checks it out. It still looks quite new, usable—for an old gun.

 

CHARLES

 

Good, old Ed and his secret compartments. I

 

knew you'd come through. Thanks, Mom.

 

Tucking the gun in his pants, Charles explores further. He spots a stack of old news magazines neatly piled on another, extremely well-organized—very clean desk. Grinning, he goes over to look at them a moment.

 

CHARLES

 

Still the same old neat freak in this

 

timeline, too, eh, Ed? Well at least, you

 

haven't changed.

 

Charles breathes a small sigh of relief until he finds a DEAD BODY lying on the floor behind the next desk, dressed in a similar uniform he encountered at the nursing home. Charles continues to rifle through, trying to learn what he can about the timeline he's found himself in. He finds a news magazine on one of the abandoned desks: 'THE NEW ALEXANDER FOR A NEW AGE. RAYNE SOMMERS, CONQUERER, HERO.' There is another face is in the picture beside Sommers': that of DR. HAYDEN PRESCOTT'S.

 

CHARLES

 

Well, well, well. Mr. President and CEO OF

 

ACCELERON, INK. It was you in that broadcast.

 

What have you been up to lately—as if I needed

 

to ask.

 

SOUND: THE CLICK OF A GUN TRIGGER COCKING INTO PLACE.

 

Slowly raising his hands over his head, Charles can almost feel the gun barrel, and its holder, breathing down his neck.

 

ED'S VOICE

 

I don't know who you are, pal, but if I find you're

 

another one of Herr Sommers' men come to snoop

 

around here again, you're gonna be as dead as the

 

first one over there in about two shakes of a lamb's

 

tail.

 

Charles drops his hands, breathing a sigh of relief, recognizing the voice.

 

CHARLES

 

Ed. It's me, Charlie.

 

ED

 

I said--DON'T MOVE, MISTER!

 

SOUND: MORE TRIGGERS COCKING INTO PLACE.

 

Suddenly, Charles finds himself at the business end of several automatic rifles, all pointing at him, held by a dirty, scraggly, dressed in camouflage khakis and bullets, ragtag band of freedom fighters--looking ready for a fight—and as if they haven't bathed in weeks. Ed, Charles' old buddy and Acceleron colleague, is their leader. The all businesswoman with them is Ed's daughter, Emily. Her teenage son, DANIEL, stands beside. The odd-looking hippie fellow, George, and the very grizzly bear of a brute, Thomas, complete the group. Charles readily recognizes all of them, but he is finding out rapidly, they have a lot of trouble recognizing him.

 

CHARLES

 

Okay. I'm not moving.

 

(beat)

 

ED

 

(pondering) You sure do seem to know me.

 

But I'll be damned if I can recall you.

 

CHARLES

 

Martel's the name. Charles Martel.

 

ED

 

The name does sound sort of familiar.

 

(beat)

 

Search him.

 

Emily, Thomas frisk Charles as George remains at a window keeping surveillance. He spots some suspicious activity outside on a far-off hill by a dugout cave where Acceleron used to do its more risky testings and observes for the time being, just to make certain. Thomas promptly finds Charles's gun, tosses it to Ed.

 

ED

 

My, my, my. It seems you knew right where

 

to find this. (pockets it) I'll just keep

 

it for the time being.

 

CHARLES

 

I--my uncle used to work for Acceleron. His

 

name was Charles Martel. That was in his

 

desk—where I found it.

 

ED

 

I think you'd better try again, Mr. Martel.

 

I think it was Bryce Kenyon's desk—where

 

you found the gun.

 

GEORGE

 

Ed. Looks like we got a little company.

 

ED

 

Keep an eye on 'em, George.

 

Emily finds the flash drives. She throws them over to Ed.

 

EMILY

 

Looks like our friend here's been scavenging around

 

a lot more than he's been letting on.

 

CHARLES

 

Those are mine.

 

ED

 

(pocketing drives) Well, we'll just see about that.

 

I'll have Daniel take a look at 'em

 

when we get back to headquarters.

 

Emily, Thomas continue their search.

 

CHARLES

 

I'm sure you've also heard—somewhere around

 

town . . .

 

EMILY

 

(looking closely, directly into Charles'

 

eyes) We've seen the wanted posters.

 

THOMAS

 

He's clean now.

 

Ed sits down on a nearby desk, pulls out a cigar, lights it, takes a puff.

 

ED

 

Wasn't the one woman who was killed, Ariel Du

 

Bois, Bryce's fianc?

 

EMILY

 

I'll never understand what he saw in her.

 

Those kind of women, they're all shallow--and

 

vain.

 

THOMAS

 

Are you kidding? A looker like Ariel Du Bois?

 

Give me shallow and vain anytime.

 

GEORGE

 

(chuckling, directed at Charles) If you ask

 

me, I think she's just jealous.

 

EMILY

 

Men. You're all alike.

 

ED

 

Don't start, Emily.

 

CHARLES

 

Ariel wasn't like that. I was framed.

 

ED

 

That's what they all say.

 

Ed takes another, thought-filled puff.

 

ED

 

You say you knew Ariel Du Bois?--Just what

 

kind of nefarious connections do you have

 

with Herr Sommers—besides being wanted for

 

two murders?

 

CHARLES

 

None.

 

Emily pokes him hard in the side with her gun.

 

CHARLES

 

I swear!

 

EMILY

 

He's lying. You can see it in his eyes.

 

CHARLES

 

I'm not lying.--My uncle worked for him at Acceleron.

 

That's all. (frustrated/angry) Could you remove that

 

thing--please?

 

ED

 

Emily.

 

Emily finally backs off.

 

CHARLES

 

I'd bet money Sommers is the one who had

 

Ariel murdered--and sentenced my mother to

 

that—concentration camp of a nursing home.

 

ED

 

(sarcastically) Director Sommers—a murderer?

 

Now where did you ever get that idea?

 

Ed approaches Charles, looks him straight in the eyes—as if he's about to strike him hard.

 

ED

 

Anyone who speaks in that tone of voice against

 

Director Rayne Sommers can't be all bad. (offers

 

a friendly hand) I'm Ed Saunders.

 

They shake. Ed pulls out a second cigar, hands it to Charles. Charles lights up, taking a long puff with Ed.

 

CHARLES

 

Havana. Can you still get these?

 

ED

 

Let's just say I still have a few well placed—

 

friends in Washington who can work a miracle or

 

two when I need 'em. These are my boys, George,

 

Thomas.

 

They greet each other.

 

ED

 

You'll have to forgive my daughter. Emily's

 

a bit outspoken on more than a few subjects.

 

EMILY

 

Like men who act like little boys over

 

floosies like Ariel Du Bois? My apologies,

 

Mr. Martel. One can never be too careful

 

these days.

 

CHARLES

 

You make Ariel sound like she was some gold-

 

digger. She wasn't. She was a good person—

 

And you're right, Thomas. She was some looker.

 

The boy approaches Ed, Charlie.

 

DANIEL

 

Grandpa? When are we leaving?

 

ED

 

(arm to shoulder hug) This is my grandson,

 

Daniel, my pride and joy.

 

CHARLES

 

Nice to meet you, Daniel. He looks a

 

little bit like you, Ed.

 

ED

 

Don't he for a fact? We'll be leaving

 

shortly, son.

 

Daniel turns back to rummaging around the area.

 

CHARLES

 

You've got quite a family, Ed Saunders.

 

ED

 

Can't be a job that brings you here to

 

Acceleron.

 

GEORGE

 

Cos' there ain't been none since Sommers

 

handed over the whole kit and caboodle to

 

that Hayden Prescott fella.

 

THOMAS

 

Prescott's had everything bottled up for

 

years with his cronies.

 

CHARLES

 

I—my uncle used to work for the company. We

 

share the same name actually. I just thought

 

I might find somebody here who remembered him.

 

THOMAS

 

Don't recall a Charles Martel. Do you, Ed?

 

ED

 

What division did your uncle work for?

 

CHARLES

 

He worked in the labs mostly--on experimental stuff.—

 

And he traveled a lot for Acceleron.

 

ED

 

No. Don't seem to recall anybody by that name working here.

 

CHARLES

 

He was gone most of the time.

 

THOMAS

 

Did he ever talk to you about Acceleron's

 

dream team?

 

ED

 

The baby Einsteins, that's what Trenton Sommers

 

used to call us. Back in the golden days, when

 

we were a whole lot younger, and the company

 

didn't belong to just one man. That U. S. Senator—

 

what was his name again, George? You know, the one

 

that ended up missing after that riot just before

 

the war began?

 

GEORGE

 

You mean Jackson Stryker?

 

ED

 

That's the one. Nice man, too. Or, at least,

 

I thought he was when he turned over all his

 

stock in the company to Trenton's boy, Rayne,

 

just before he disappeared and Sommers took

 

the company over. He treated us good, and

 

paid us all very well, too. Until that one

 

idea we came up with.

 

THOMAS

 

And then, one night he just up and fired George and me

 

—and turned everything over that Doctor Prescott.

 

GEORGE

 

I still think we did it, and one day I'm

 

going to prove it to the whole world!

 

ED

 

George still has pretty bitter memories over

 

that incident.

 

THOMAS

 

He's not the only one, Ed. The night of the riot,

 

the night Stryker disappeared, things weren't

 

supposed to happen that way. It was supposed to be

 

a peaceful demonstration, not a bloodbath.

 

EMILY

 

When you're a man obsessed with power and

 

hold the key to unlocking the secrets of

 

the universe to get that power . . .

 

ED

 

Emily, we still can't prove any of that.

 

EMILY

 

But it's the truth, Dad, the night they

 

Fired Thomas and George, and almost got

 

rid of you, too.

 

GEORGE

 

We just wanted Cahill and Sommers out on

 

their ears—for good. Didn't stop to think

 

our little protest might be putting a

 

dictator into power.

 

CHARLES

 

That's what happened? Rayne Sommers is

 

dictator because of Acceleron?

 

ED

 

And his father—once he got into office and

 

forced Congress to change the Constitution.

 

CHARLES

 

So, what you're saying is Trenton Sommers is pretty much

 

responsible for this whole thing.

 

THOMAS

 

Shutting down Acceleron—making our country

 

into one solid concentration camp? I'd

 

say so.

 

ED

 

He did have a little help from Jackson Stryker.

 

THOMAS

 

They were all in on it.

 

GEORGE

 

That's why we're here—like we are now.

 

ED

 

Our last little project,—the one your uncle was probably

 

working on, too—the one Stryker and Sommers shut Acceleron

 

down over.

 

EMILY

 

(hugging dad) They had discovered time travel-- a way to

 

travel through time and were about to release a statement

 

to the press when . . .

 

GEORGE

 

That prig Sommers fired us and turned everything over to

 

his crony, Prescott.

 

ED

 

But that's not the entire story. George's been

 

having these dreams, flashbacks—of a different memory,

 

a different timeline--lately.

 

GEORGE

 

You see, Prescott thought he had destroyed the

 

original blueprints, the hard copies, of our machine.

 

But, somehow, I keep remembering that I hid them

 

away in an old computer program nobody can read anymore,

 

except Thomas, Daniel and me.

 

EMILY

 

We're here to get the real, original blueprints.

 

We think somehow Sommers found a way to alter the

 

original timeline in order to seize power—and we

 

want to find a way to change it back. Without

 

a machine . . .

 

ED

 

We have no way.

 

CHARLES

 

Where's this computer program now?

 

Suddenly, out of the corner of his eye, George spots some men racing down the hill, toward the building the troupe presently occupies.

 

GEORGE

 

Ed, we got a few heading toward the building.

 

Ed goes over to check on the men descending the hill. Charles accompanies him.

 

CHARLES

 

You know, Ed. George is right about one

 

thing.

 

GEORGE

 

What's that?

 

CHARLES

 

You did break the time barrier.

 

GEORGE

 

I knew it!

 

CHARLES

 

And I'm your living proof. You know that

 

uncle I was telling you about?—I don't

 

have an Uncle named Charles Martel.

 

ED

 

You know, I thought there was something about

 

you I couldn't quite put my finger on.

 

CHARLES

 

Just wait til you hear the rest of my story.

 

ED

 

I'll bet it's a doozy. Come on. Before those men find us and figure out what we're doing here.

 

(beat) We can take the back way out. (men move from window)

 

DANIEL

 

Grandpa.

 

Daniel shows Ed flash drives he found on Bryce's desk.

 

DANIEL

 

They were right where Bryce left them. He

 

didn't lie.

 

Ed gives Charles a long, peculiar look—and then hands Charles his flash drives back.

 

ED

 

I know he didn't, son. Charlie Martel, if

 

you're really what you say you are, you and me

 

are going to get along in this timeline just fine.

 

CHARLES

 

I am.

 

A gas canister enters the building shattering a window and spewing out clouds of smoke, as Daniel pockets the flash drives he found. Rushing to protect themselves, George spots the two more men rushing toward the building.

 

GEORGE

 

Looks like there's a whole damned army

 

coming down the hill out there.

 

ED

 

(to Charles) George likes to exaggerate.

 

How many are there really, George?

 

GEORGE

 

Right now, four. But there could be more.

 

CHARLES

 

We can take 'em, Ed.

 

ED

 

Emily, you take Daniel out of here. We'll

 

meet you back at headquarters.

 

EMILY

 

This is our fight, too.

 

ED

 

Don't argue with me. Just go.

 

Emily, Daniel leave. Ed tosses Charles's gun back to him.

 

ED

 

Did 'your uncle' ever show you around the old

 

Carter building?

 

CHARLES

 

I took a tour once or twice—when it was the

 

De Haviland Museum.

 

ED

 

Smart nephew.

 

SOUND: GUNSHOTS. THEN AN EXPLOSION. Ed, Charles crawl to the windows, peeking out to see what's happening. They spot two men searching in the debris just created for a way in. Ed notices their specially trimmed uniforms.

 

ED

 

That's Sommers' elite force out there.

 

SOUND: MORE GUN SHOTS, bullets enter the building near Charles, George, Ed. Ed, Charles, Thomas, George fire back.

 

CHARLES

 

Tell me about it. They were at the nursing

 

home waiting for me.

 

ED

 

Now he tells us.

 

CHARLES

 

You didn't ask.

 

One of Sommers' men shouts out.

 

ELITE OFFICER #1

 

Charles Martel. We know you're in there.

 

ED

 

Sounds like they're out for blood.

 

CHARLES

 

You have to believe me. I didn't murder

 

anybody.

 

ED

 

These bad boys aren't usually sent out to

 

round up murder suspects.

 

ELITE OFFICER #1

 

Come out with your hands up.

 

GEORGE

 

(like he's enjoying it) Boy, you must've

 

done something really good for Sommers to

 

want you this bad.

 

THOMAS

 

What'd you do, Charlie? Can you give us a

 

little hint?

 

CHARLES

 

I'm still alive.

 

THOMAS

 

That's threatening enough.

 

SOUND: GUNFIRE. More bullets enter the building.

 

ED

 

George. (motions for him to lead the way out)

 

CHARLES

 

It's hell being so popular.

 

SOUND: MORE WINDOWS SHATTER. MORE GUNFIRE is exchanged, Thomas stops momentarily. Sommers' elites find a way into the Carter building as another gas container crashes in spewing more smoke as George returns.

 

GEORGE

 

Well, come on! What're you waiting for?

 

Thomas scurries out behind George. Ed pulls out two handkerchiefs handing one to Charles.

 

ED

 

You never know when you might need one of

 

these.

 

Tying them over their mouths, noses:

 

ED

 

There's an old testing cave out back.

 

CHARLES

 

I know the area.

 

ED

 

We built a back entranceway into it not too

 

many people know about, including Sommers.

 

If we can make it to there, we'll be able

 

to hold them off long enough until we can

 

find a way back to headquarters without them

 

following us.

 

CHARLES

 

You're on, pal. Lead the way.

 

They fight their way out of the building to the . . .

 

EXT. -- STEEP HILL BEHIND CARTER BUILDING -- DAY

 

outside; merging from the Carter Building's back entrance, Ed and Charles climb their way up the hill to where the old testing cave stands. Half way up, they're met with another barrage of bullets, more agents. Ed takes one man down, Charles kills a second as they near the cave's entrance, but their luck soon runs out. One of the agents' bullets finds Charles as he nears the boarded up entranceway, grazing his arm, puncturing his leg.

 

Ed helps Charles, limping, in.

 

INT. -- TESTING CAVE -- DARK

 

Ed pulls Charles safety, having suffered himself a slight gash on the forehead during the fracas. Emily and Daniel are there, watching, waiting, with George, Thomas. Ed is NOT PLEASED seeing Emily and Daniel.

 

ED

 

(removes bandana)

 

I thought I told you two to meet us at headquarters.

 

EMILY

 

You're hurt.

 

ED

 

Don't change the subject!

 

Emily sets right to work, cleaning her father's laceration as Thomas tends to Charles' wounds.

 

ED

 

Your just like your mother. She wouldn't

 

listen either.

 

EMILY

 

Shut up and let me take care of you.

 

Charles removes his bandana breathing heavily. He peeks out, trying to get a count of how many men are left gunning for them. He spots several more a distance away.

 

CHARLES

 

There's still a couple out there.

 

ED

 

I'm sure there're more than just two out

 

there.

 

THOMAS

 

(extracting bullet from leg, tying wound)

 

He'll live. You're lucky the bullets didn't

 

hit any bones.

 

EMILY

 

We've got to get them back to headquarters.

 

ED

 

We're not going anywhere—not just yet anyway.

 

—But YOU ARE.

 

Emily balks.

 

ED

 

No arguments. Daniel needs to be in a safe place.

 

George, you and Thomas take Emily and Daniel back

 

to headquarters--now. Charlie and I've got some

 

work to finish here.

 

EMILY

 

Now who's being the stubborn one?

 

Ed starts to talk back, but Emily cuts him off.

 

EMILY

 

I know, I know.

 

ED

 

Good. Now you're acting like the

 

reasonable daughter raised.

 

EMILY

 

(kisses father goodbye) Don't be long.

 

They leave.

 

ED

 

How're your bullets holding up?

 

CHARLES

 

(checking) I think I've got enough.

 

ED

 

Okay. (POV SHOT AGENTS) You take the ones

 

on the left. I'll take the ones on the

 

right.

 

They take aim. As Sommers' men attempt to rush the cave, Charles, Ed answer back with

 

 

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INT. -- TESTING CAVE -- DARK

 

Ed pulls Charles safety, having suffered himself a slight gash on the forehead during the fracas. Emily and Daniel are there, watching, waiting, with George, Thomas. Ed is NOT PLEASED seeing Emily and Daniel.

 

ED

 

(removes bandana)

 

I thought I told you two to meet us at headquarters.

 

EMILY

 

You're hurt.

 

ED

 

Don't change the subject!

 

Emily sets right to work, cleaning her father's laceration as Thomas tends to Charles' wounds.

 

ED

 

Your just like your mother. She wouldn't

 

listen either.

 

EMILY

 

Shut up and let me take care of you.

 

Charles removes his bandana breathing heavily. He peeks out, trying to get a count of how many men are left gunning for them. He spots several more a distance away.

 

CHARLES

 

There's still a couple out there.

 

ED

 

I'm sure there're more than just two out

 

there.

 

THOMAS

 

(extracting bullet from leg, tying wound)

 

He'll live. You're lucky the bullets didn't

 

hit any bones.

 

EMILY

 

We've got to get them back to headquarters.

 

ED

 

We're not going anywhere—not just yet anyway.

 

—But YOU ARE.

 

Emily balks.

 

ED

 

No arguments. Daniel needs to be in a safe place.

 

George, you and Thomas take Emily and Daniel back

 

to headquarters--now. Charlie and I've got some

 

work to finish here.

 

EMILY

 

Now who's being the stubborn one?

 

Ed starts to talk back, but Emily cuts him off.

 

EMILY

 

I know, I know.

 

ED

 

Good. Now you're acting like the

 

reasonable daughter raised.

 

EMILY

 

(kisses father goodbye) Don't be long.

 

They leave.

 

ED

 

How're your bullets holding up?

 

CHARLES

 

(checking) I think I've got enough.

 

ED

 

Okay. (POV SHOT AGENTS) You take the ones

 

on the left. I'll take the ones on the

 

right.

 

They take aim. As Sommers' men attempt to rush the cave, Charles, Ed answer back with precision marksmanship, felling Sommers' men.

 

ED

 

We're not out of the woods yet.

 

Ed helps Charles up and down the pathway

 

toward the secret back entrance.

 

ED

 

Just a few more yards to go. How's your

 

leg holding up?

 

CHARLES

 

It could be better. Let's just get us out

 

of here.

 

They hobble down the path together a few more steps.

 

ED

 

Bet you didn't know you were going to have

 

this much fun when we first met.

 

CHARLES

 

Just barrels. Remind me to tell you again

 

when this is all over.

 

ED

 

You got yourself a deal.

 

Charles pauses a moment.

 

CHARLES

 

You're a sick man, Ed Saunders.

 

ED

 

Rayne Sommers made us all this way.

 

(beat)

 

Come on. We're almost there.

 

CHARLES

 

I'm right with you, Doc.--Just one

 

question, though,--before we go.

 

ED

 

What's that?

 

CHARLES

 

Who the hell is Bryce Kenyon?

 

Ed lets out a hearty laugh.

 

ED

 

And you called me a sick man.

 

They exit . . .

 

EXT. -- SECRET DOORWAY OUT OF CAVE -- DAY

 

. . . into the sunlight and straight into . . .

 

SOUND: GUN COCKS CLICKING, barrels pointing directly at the backs of their heads.

 

ELITE OFFICER #2

 

Right this way, Mr. Martel.

 

ELITE OFFICER #3

 

You, too, Doctor Saunders.

 

Charles, Ed are reluctantly led away.

 

ACT II

 

INT. -- DIRECTOR SOMMERS' HEADQUARTERS -- DAY

 

Rayne Sommers anxiously waits for news of Martel's capture. Two of his elite officers are with him, presently on their phones. Sommers' office is huge, with high, reaching to the ceiling windows overlooking the city streets. His office is draped in typical male dcor. A high technology center is at the hub so he can keep tabs on various parts of the world at any given time—along with a state of the art transport machine: his personal time machine. Television monitors presently display Fort Knox, the Pyramids, the Louvre, the British Museum, China's Forbidden City, the interior of the Egyptian Museum of Antiquities and many priceless treasures such as the Blue Hope diamond, the Star of Africa diamond in the British Crown Jewels, and artworks and ongoing robberies and armies warring with each other. Sommers' secretary, HANNAH, opens the Director's door, showing DR. HAYDEN PRESCOTT, an exceedingly brilliant, middle-aged man and scientist, in. He carries an array of digital maps, papers, charts, timelines, etc., within a high tech brief case housing a laptop computer. A picture of his LATE brother, Oliver, prominently stands on one of the shelves in the background.

 

ELITE OFFICER #4

 

I'll let the director know. (hangs up)

 

Martel's been captured—along with Saunders.

 

RAYNE

 

Good. (sees Prescott entering) Ah, Doctor

 

Prescott. (to officers) If you will excuse

 

me, gentlemen. I have something equally as

 

pressing to attend to.

 

Officers exit.

 

RAYNE

 

(eager) Have you found it?

 

PRESCOTT

 

I believe I have.

 

Prescott opens his briefcase on a nearby table to reveal a computer screen filled with electronic data. Pulling up a time chart, he points to a very small, highlighted area on the timeline.

 

PRESCOTT

 

On the original timeline, the Martels had

 

traveled to Nebraska to visit relatives where

 

his mother died in the first attacks. A sister,

 

Agnes Covington, and her fianc, a Ross Kenyon,

 

were supposed to be traveling with them until

 

one of Kenyon's reporters and cameramen were

 

shot and killed along with your father. In the

 

new timeline, Kenyon and Covington went to

 

Aspen, Colorado . . .

 

RAYNE

 

Yes, yes, I know all that already. What

 

I want to know is how was Martel able to

 

change our new timeline so he and his

 

mother didn't die, as we had planned, when

 

Washington was attacked?

 

PRESCOTT

 

Plane tickets.

 

RAYNE

 

Plane tickets?

 

PRESCOTT

 

He bought plane tickets—to Canada—for him

 

and his mother.

 

RAYNE

 

I should have known it would be something

 

as trivial as plane tickets.

 

PRESCOTT

 

Knowing Martel, he could have just overslept

 

and corrupted your new timeline. I warned

 

you. You had to stay vigilant over every one

 

of their new lives you created for them—

 

extremely vigilant—over every single detail—

 

if you were going to do this.

 

RAYNE

 

So now we have a rift in our new timeline that

 

needs to be repaired. How do you propose we

 

rectify this--little conundrum—Doctor, before

 

Martel destroys all our hard work?

 

PRESCOTT

 

I read only two choices here. You can either kill

 

Martel outright, now, in this timeline,

 

now that your men have captured him. But, if

 

you do that, you still run the risk of having

 

the five year old Martel growing up and

 

changing the new line back at any time in his future.

 

But, kill Martel while he's still five years old,

 

along with the older counterpart, then, I believe,

 

will you have solved your 'little conundrum' permanently

 

and repaired your timeline with no further corruption.

 

—That, and, of course, keeping your time travel

 

abilities hidden from the rest of the world.

 

RAYNE

 

You're sure killing the child and the older

 

Martel together will solve everything?

 

PRESCOTT

 

There's always that small chance I could be wrong.

 

But I don't think so. Not the way I'm reading the

 

timelines. I've looked at all the possibilities a

 

thousand times, and they all point to killing Martel

 

before he's old enough to even know he's alive.

 

RAYNE

 

And I that's all I would have to do. Sounds

 

almost too simple.

 

PRESCOTT

 

Just make certain once, though, you've killed

 

the boy you find the original machine and

 

destroy that, too. Anyone can change the

 

future just by traveling back into the past.

 

And I'm certain you wouldn't want to take that

 

risk a second time.

 

RAYNE

 

No, I would not.

 

Rayne goes to his monitor to speak to his secretary.

 

RAYNE

 

Hannah. Send my Chief of Security in.

 

A man enters dressed in a similar type of suit worn by the agent in the nursing home.

 

SECURITY CHIEF

 

They're still not talking, Director.

 

RAYNE

 

Burn their eyes out. Castrate them, if you

 

have to. Once they've told you where Martel's

 

machine is, destroy it.--And then kill Saunders

 

along with Martel.

 

SECURITY CHIEF

 

Anything else, Director?

 

RAYNE

 

Find the rest of that nest of freedom fighters and kill

 

them, too. I want all those Acceleron geniuses dead

 

before I have to go back. And send a couple of your

 

best men to two thousand twelve--to Martel's childhood

 

home. Have them make certain--this time--the boy AND

 

his mother meet with a terrible—fatal accident—on their

 

way to Canada.

 

The security chief acknowledges his orders, turns to leave, but is delayed one more moment by Sommers.

 

RAYNE

 

Oh. And make certain nothing else is changed

 

in the process.

 

SECURITY CHIEF

 

Of course, Director. (bows, leaves)

 

RAYNE

 

(to Prescott) We can't be too careful, can we?

 

Prescott nods, leaves. As Rayne looks on, he touches his side where he shot himself at the presidential forum—the healing wound is still sore and tender and hurting him very much.

 

DISSOLVE TO:

 

INT. -- INTERROGATION ROOM

 

Charles receives a thorough pummeling from his INTERROGATOR as he's questioned. Ed, in the background, slumped in his chair, has already received his share.

 

INTERROGATOR

 

Where is it?

 

CHARLES

 

Go to hell.

 

INTERROGATOR

 

My patience is wearing thin.

 

CHARLES

 

And while you're at it, take Rayne Sommers

 

with you.

 

INTERROGATOR

 

(smacks him another one) Insolent son of

 

a . . .

 

The interrogator summons a guard standing in the background to approach him. The guard is young, inexperienced.

 

INTERROGATOR

 

This one's going to be a little harder to

 

break than I expected. Keep an eye on them

 

until I get back.

 

The guard steps to attention. The interrogator exits.

 

CHARLES

 

Ed. Are you okay?

 

ED

 

I didn't tell them a thing, Charlie, if

 

that's what you're asking. But I wanted

 

to.

 

CHARLES

 

It's okay, Ed. We'll find a way to get

 

us out of here.

 

The young guard approaches the two, threatens physical violence for talking.

 

YOUNG GUARD

 

Both of you! Shut up!

 

Suddenly, the guard is attacked, strangled from behind. As Thomas releases the limp, dead body of the young guard, Emily and George rush to untie Charles and Ed.

 

EMILY

 

(struggling with Ed's ropes) You never do

 

make things easy for us. Tom, help me

 

with Dad's ropes.

 

Thomas goes to help Emily as George finishes with Charles.

 

GEORGE

 

(looks at Charles' face, a few cuts)

 

They were still working you when we got

 

here, huh?

 

CHARLES

 

The guy's a pansy. A real woos. Couldn't

 

feel a thing.

 

George laughs, continues to work on the ropes.

 

CHARLES

 

George, do you know how to get to Bryce

 

Kenyon's house?

 

ED

 

What's this fascination you got with Bryce Kenyon?

 

Ed is freed from his ropes.

 

CHARLES

 

Let's just say for now--he stole my girl.

 

EMILY

 

And I'm sure she was well worth all of

 

this.

 

George cracks a laugh at Charles.

 

GEORGE

 

(lowered voice) If I was a few years

 

younger myself . . .

 

CHARLES

 

(grins, low voice) She was worth it, all

 

right.

 

George chuckles again as he releases Charles from his bonds.

 

CHARLES

 

I need to get something out of his house

 

before Sommers and his goons discover

 

where I left it.

 

GEORGE

 

Don't tell me you robbed his bank.

 

CHARLES

 

Get me to Bryce's and you can see for

 

yourself--what it is Sommers is so hot

 

for.

 

GEORGE

 

You got yourself a deal, bucko.

 

THOMAS

 

(picks up Ed, too weak to walk) we've got

 

to get him back to headquarters.

 

They quickly leave moments before Sommers enters, prepared to interrogate Charles himself, with his interrogator, Prescott, and more guards. Finding his prisoners have escaped, Rayne rages.

 

RAYNE

 

Find them! Whatever it takes! Find them

 

and kill them! My timeline must be

 

preserved at all costs!

 

Guards rush out the door, obeying.

 

PRESCOTT

 

(aside to Rayne) What about Martel's time machine?

 

RAYNE

 

It's here. We'll find it. If we have to

 

tear down all of Washington. But I want

 

Martel dead—now.

 

INT. -- FREEDOM FIGHTERS'SECRET HEADQUARTERS -- DARK

 

Emily tends to Charles's wounds, Thomas to Ed's as Daniel sits at two computers working on Charles and Bryce's flash drives. Other rebels in the background are hard at work monitoring the outside world on their instruments. Charles flinches from the antiseptic wipes.

 

CHARLES

 

Ow! Take it easy with that stuff, will

 

you?

 

EMILY

 

Sommers' men really did a job on you.

 

(at her dad) The both of you. (back

 

at Charles) You'll need a couple of

 

stitches to close this cut.

 

Emily prepares for her bit of surgery on Charles.

 

CHARLES

 

George, do you remember anything else at

 

all about that night President Cahill was

 

assassinated?

 

GEORGE

 

(shows old leg scars from bullet wounds)

 

Only the souvenirs. I'm lucky I can still

 

walk. Bullets tore my leg up pretty bad.

 

THOMAS

 

You were in a wheel chair six months as I

 

recall. And having been fired from Acceleron

 

didn't help any. Lost our health insurance.

 

EMILY

 

I wasn't even born yet.

 

ED

 

That was the night your mother went into

 

labor. Otherwise, I would've been there,

 

too, fighting along side Thomas and George.

 

(to Charles) But that was before the war.

 

Why rehash old history?

 

CHARLES

 

Because the way I remember history, Ed—

 

isn't—exactly the way you all remember it.

 

THOMAS

 

Ed, could Prescott have completed our lab

 

experiments—and . . .

 

ED

 

(silently acknowledges Thomas ) And all

 

these questions you've been asking about

 

Bryce Kenyon.

 

CHARLES

 

In my timeline, Bryce Kenyon doesn't exist.

 

DANIEL

 

(interrupting) Grandpa. I think you'd better

 

come and take a look.

 

Ed hobbles to the computer, begins reading the material Daniel's found on Charles' drives.

 

DANIEL

 

What Mr. Martel said about his history—it's

 

all here on his flash drives—and on Bryce's

 

. . . what we learned in school.

 

ED

 

(to Charles) You could be making this all

 

up—just to . . .

 

CHARLES

 

I'm not making it up.

 

ED

 

It says—on your flash drives the vice-

 

president was assassinated that night--not Cahill.

 

CHARLES

 

In the true timeline. Sommers was the one

 

assassinated. The timeline you're living

 

in now—has been manufactured. Everything

 

you know to be true is a lie.

 

Ed, Daniel approach Charles.

 

ED

 

Okay, Mr. Martel. I don't know what you're

 

trying to pull here. But unless you're

 

working for Sommers and trying to pull the

 

wool over our eyes just so you can get us

 

to reveal where we are and what we're doing

 

to end Sommer's reign of terror, you'd better

 

start explaining yourself—and fast.

 

CHARLES

 

I assure you, Ed, I'm not working for Sommers.

 

And, yeah, I do have a lot of explaining to do.

 

It's called screwing with time. Sommers did a

 

one hell of a job making the world safe for his

 

little dictatorship. And the best part of it,

 

he used your discovery of time travel to frame

 

me for two murders so he can silence you and

 

me and George and Thomas forever.

 

(beat)

 

ED

 

You're telling us it worked. We really had discover

 

time travel the night Sommers shut

 

Acceleron's laboratories down. And you're . . .

 

CHARLES

 

Yeah, Ed. I am. I think you realized that

 

back at that testing cave when we were taking

 

target practice on those men.

 

THOMAS

 

And all this time we thought Sommers had fired

 

us because we screwed up big time, cost the

 

company millions of dollars along with its

 

reputation in holding that premature press

 

conference. We were so sure we had discovered

 

time travel.

 

GEORGE

 

You really don't belong here—do you?

 

CHARLES

 

None of us do, George. And that's why you

 

have to help me get back to my time machine.

 

So I can go back and repair whatever fracture

 

Sommers created in the true timeline. And get

 

us all back home again—to our real home.

 

Ed

 

Put us back the way we were meant to be.

 

GEORGE

 

Hot damn! We did it! It worked! It really

 

worked!! (laughs) It worked! We really did

 

invent time travel!!

 

CHARLES

 

(to George) And you can be the first one to

 

see your baby—if you can get me to Bryce's

 

house.

 

EMILY

 

Dad, if what Charles says is true, Rayne Sommers's

 

already killed twice. I can't

 

let you put yourself or the cause in danger.

 

ED

 

Emily. If Sommers really did change history,

 

our cause doesn't really exist in the real

 

world.

 

CHARLES

 

Prescott may have been the one who did all

 

the test driving—and took all the kudos, but

 

it's your machine, all right, I've got stowed

 

away at Bryce's house.—And that's why I need

 

to get me back there.

 

EMILY

 

They could already be watching the house.

 

CHARLES

 

I know they are. But I have to take that risk, go

 

back into the past again and stop Sommers

 

from killing Cahill. And make certain, somehow,

 

he never tries to do it again.

 

ED

 

George knows the way from here.

 

CHARLES

 

Is there anything else any of you can

 

remember about the night Cahill was

 

assassinated—anything that might help me?

 

ED

 

It was all over the news.

 

GEORGE

 

Yeah. That reporter, what was her name again?—Jones.

 

Wilhelmina Jones—She and her cameraman,

 

they were killed in the crossfire.

 

CHARLES

 

I think I do remember seeing that on the TV.

 

GEORGE

 

She was always in Cahill's face about

 

something or other. I'll bet she could get

 

you real close to Cahill. God, he was an

 

awful president. No wonder Sommers got away

 

with what he did.

 

CHARLES

 

Maybe I can start with her.

 

EMILY

 

(finishing up the stitching)

 

You really shouldn't be traveling.

 

CHARLES

 

I don't really have much of a choice now, do

 

I? George. Help me up.

 

George obliges. Gingerly, Charles rises.

 

ED

 

How long do you reckon Sommers' has held our world

 

hostage—without anyone's knowledge?

 

CHARLES

 

(wincing from the pain) Long enough. And

 

I want to get back home again. Thanks,

 

George.

 

DANIEL

 

(fascinated) You really are a time traveler.

 

CHARLES

 

I am.

 

DANIEL

 

The world you left. How different was it—is

 

it—from ours?

 

CHARLES

 

When I went back the first time, to see what

 

we left behind us, before the war happened, I

 

was glad we were finally able to bury it all.

 

We were finally finished the hating, the warring,

 

killing one another. Those of us who survived

 

made a pact with one another--to build a whole,

 

brand new world—one where we could all be free

 

and finally live in peace.

 

ED

 

What about guns? Wouldn't you still need guns?

 

CHARLES

 

We tried to destroy them, but unfortunately, there

 

were times when we still needed to

 

protect ourselves from wild animals and the

 

few marauders roaming the outer reaches. The rest

 

of the baggage, all the madness, was

 

buried with our dead.

 

EMILY

 

It almost sounds like paradise.

 

CHARLES

 

It's been a lot of hard work. A lot of long years.

 

But it was working.

 

ED

 

If you go back, can you fix the timeline?

 

CHARLES

 

What I do know from the real flash drives

 

and history, Trenton Sommers, not Cahill,

 

was supposed to die that night. If I can go back

 

to the beginning of that timeline, I believe, yes,

 

I can stop Sommers from changing history, and

 

restore the original timeline.

 

THOMAS

 

And give us back the world the way it was

 

before Sommers turned it into this hellhole?

 

EMILY

 

And give you back Ariel?

 

(beat)

 

CHARLES

 

(tearing) I don't know for sure. It might

 

not revert back to exactly the way it was.

 

Some things might never be able to be fixed.

 

But I'm willing to try.

 

ED

 

George, take him to the Arlington Road

 

entrance. Use one of the Rovers parked there.

 

(offers a hand) We'll be waiting. God speed,

 

Charlie Martel.

 

CHARLES

 

(they shake) See you—in a suit and tie—and

 

those god awful horn-rimmed glasses when I

 

get back.

 

George, Charles leave the back way out.

 

EXT. -- ENROUTE TO KATHRYN MARTEL/BRYCE KENYON'S HOME -- DAY

 

The ride is bumpy, erratic as George speeds down a little traveled dirt road. Charles winces at every bump.

 

GEORGE

 

It's really true. You're a real, bona-fide

 

time traveler.

 

CHARLES

 

Yep. It's true. You can't begin to imagine

 

the places I've been to.

 

GEORGE

 

Did you get to see the great pyramid being

 

built?

 

CHARLES

 

That was next on my list. Actually, I went

 

back to watch the Kennedy assassination. I wanted

 

to see who was hiding on the grassy knoll.

 

GEORGE

 

(chuckles) So, LBJ really did have him

 

assassinated.

 

CHARLES

 

(smirks) I'll never tell.

 

(beat)

 

GEORGE

 

It wasn't really your uncle who worked for Acceleron.

 

CHARLES

 

Like I said, I don't have an uncle Charles.

 

GEORGE

 

(laughs) I knew you was just pullin' our

 

legs.

 

CHARLES

 

I was supposed to have an uncle Ross, though, until

 

Aunt Agnes found out he was already

 

married and trying to bilk her out of what

 

little inheritance my grandparents had left

 

her and Mom. Mom was so glad when she finally dumped

 

that jerk. Can't seem to recall what he looked liked

 

or even recall what his last name was, for that matter,

 

it was so long ago. Too busy being a little boy, I

 

guess, back then.

 

GEORGE

 

As Emily would say--men.

 

They laugh as George hits another solid bump in the road. Charlie winces.

 

CHARLES

 

Take it easy, George. I want to get there

 

in one piece.

 

GEORGE

 

Hey, Charlie. Do you think I could take your

 

machine out for a little spin when you get

 

back?

 

CHARLES

 

Not if you're gonna drive it like this bucket.

 

George laughs again.

 

EXT. -- KATHRYN MARTEL/BRYCE KENYON'S HOME -- DAY

 

As they approach the house from a wooded area behind it, they stop short just behind a hill to reconnoiter the area before proceeding. The house, lawn appear like they've been long abandoned. But they can see from their distance some of Sommers' goons are snooping around the house. One opens his communicator.

 

GOON NUMBER #1

 

Nothing here. Just an old beat up truck with

 

a camper attached to it inside the garage.

 

It looks like the whole house has been

 

abandoned—for days.

 

VOICE ON COMMUNICATOR: PRESCOTT

 

Have you seen Martel?

 

GOON NUMBER #1

 

No.

 

CAMERA SHOT: GEORGE AND CHARLES WAIT, OBSERVE SOMMERS' GOONS.

 

GEORGE

 

I hope you hid your machine good enough.

 

CHARLES

 

(smirking) Right in plain sight.

 

George emits another, muffled laugh.

 

CUT BACK TO:

 

GOON #1.

 

VOICE ON COMMUNICATOR: PRESCOTT

 

Did you find the machine?

 

GOON NUMBER #1

 

It's not here. This was Kathryn Martel's

 

house?

 

VOICE ON COMMUNICATOR: PRESCOTT

 

He must have hid it somewhere else. Return

 

to headquarters.

 

GOON NUMBER #1

 

Roger.

 

The man motions for the others to end their search. Charles and George continue to watch in the distance as they leave.

 

INT. -- SOMMERS' HEADQUARTERS

 

Sommers, Prescott are having words.

 

PRESCOTT

 

(closes communicator)

 

It's not at his mother's house.

 

RAYNE

 

(very upset) It has to be somewhere!

 

Sommers begins pacing the floor.

 

INTERROGATOR

 

Where else do you suggest we look?

 

PRESCOTT

 

Martel could very well be on his way back

 

into the past right now for all we know.

 

RAYNE

 

Or . . . he could still be with those rebels.

 

PRESCOTT

 

But if he has gone back . . .

 

RAYNE

 

I'm well aware, Doctor.

 

PRESCOTT

 

That's the only way you're going to insure

 

this timeline remains as we created it.

 

RAYNE

 

Don't you think I've been thinking about that

 

since Martel changed it?

 

PRESCOTT

 

I don't think you realize . . .

 

RAYNE

 

I do realize, all right, I may have to go back and

 

relive the whole thing all over again if I want to

 

make certain this timeline remains as

 

we created it—and that brother of mine remains dead

 

and buried in his grave.

 

PRESCOTT

 

I've already prepared your machine.

 

RAYNE

 

Then, I guess, what am I waiting for?

 

PRESCOTT

 

And if he hasn't gone back yet?

 

RAYNE

 

Then I will wait for him. And this time,

 

instead of shooting myself at the podium,

 

I will shoot Martel instead—to kill.

 

Rayne, Prescott head for the machine that is at the far end of his office/headquarters. Rayne enters as Prescott takes to the controls. As the machine begins to whir and hum, Rayne disappears.

 

EXT. -- KATHRYN MARTEL/BRYCE KENYON'S HOME

 

Charles, finding the key where he left it in the other timeline, and George enter the house through the workshop/garage entranceway.

 

INT. -- WORKSHOP/GARAGE

 

The place has been ransacked, turned upside down, but the machine, still hidden in the old beat up looking truck/camper

 

is untouched. George ogles it with surprise and delight, remembering it was once his old beat up truck/camper they built the first machine into.

 

GEORGE

 

My old camper! It is, isn't it? I wondered

 

where that thing went to.

 

CHARLES

 

It sure is.

 

Charlie reconnoiters the house.

 

INT. -- HALLWAY TO OTHER ROOMS

 

Everything has been toppled and turned; some things have been broken. Charlie notices the picture of Ariel and Bryce, also broken, lying in shattered pieces on the phone stand. George enters behind him.

 

GEORGE

 

You know, they'll keep looking until they

 

find you—or that machine.

 

CHARLES

 

I know.

 

Charles walks to a bedroom. George follows.

 

INT. -- BEDROOM

 

Charles begins rummaging around as George looks on.

 

CHARLES

 

George, the Rover out there.

 

GEORGE

 

We stole it, if that's what you're asking. They're

 

pretty easy to grab, if you know what you're doing.

 

CHARLES

 

Do you think you could transfer the time

 

machine into that?

 

GEORGE

 

Yeah. I think so. Shouldn't be much trick

 

to it.

 

Charles spots a vanity mirror and gives himself a good once over. Sees his hair a bit disheveled, his beard beginning to grow out.

 

GEORGE

 

Got something in mind?

 

Charles goes back into the hallway a moment, fetches the picture of Ariel and Bryce, returns to the bedroom, looks again at his reflection in the mirror.

 

CHARLES

 

I think I'll clean up a bit before leaving.

 

GEORGE

 

I'll meet you in the garage.

 

George exits.

 

TIME LAPSE.

 

INT. -- BATHROOM

 

Charles takes a long, hot, steamy shower.

 

MORE TIME LAPSES.

 

INT. -- BEDROOM

 

A change of clothing, Charles is almost ready. He gives himself one more, thorough, going over in the mirror before he finally takes a razor to his hair and beard.

 

MORE TIME LAPSES AS . . .

 

a totally new man emerges to stare back at Charles in the mirror. Bald head, a neatly trimmed alternative band type beard on his face. A face even he thinks his mother wouldn't be able to recognize now, Charles has totally transformed himself into a new person.

 

CHARLES

 

Looks pretty good on me, too, huh, Bryce?

 

Stares at Bryce's picture one last time.

 

CHARLES

 

Thanks, whoever the hell you are. I owe

 

you big time.

 

Charles exits.

 

INT. -- WORKSHOP/GARAGE

 

George spots Charles with his new look.

 

GEORGE

 

Holy, catfish! Look at you! You could be

 

Bryce's older brother.

 

CHARLES

 

Let's get outa here.

 

EXT. OUTSIDE MARTEL/KENYON HOME

 

Toting the 5100 computer to the Rover, Charles stashes the computer in the back and climbs into his new wagon. Turning on the engine/machine, he configures his dials for DESTINATION: 2012 A. D., his home at five years of age.

 

CHARLES

 

Computer. I want to make a slight change in my

 

return destination.--Set coordinates for Acceleron,

 

Carter building, time laboratory, Twenty-fifty-six a-d.

 

COMPUTER

 

Coordinates reset and confirmed for return at

 

Acceleron time laboratory, Carter building, twenty-

 

fifty-six. a-d. Are you sure you wish to return to

 

an abandoned building?

 

CHARLES

 

Yes, computer. I'm sure.

 

(beat)

 

The men say their last goodbyes.

 

CHARLES

 

(offers handshake) Thanks for everything, George.

 

Thank everyone for me.

 

GEORGE

 

Suppose I'll have to go and hotwire another

 

Rover now. I was kind of getting' partial

 

to this one.

 

CHARLES

 

Look on the bright side. You've got your

 

old camper back.

 

George cracks a solid laugh.

 

GEORGE

 

Just get our lives back the way they were—

 

for all of us.

 

CHARLES

 

Make it a humvee next time. Those things are damned expensive. See you when I get back—

 

in the old timeline.

 

CHARLES

 

Okay, computer. Let's get the hell out of

 

here.

 

As George steps back, Charles reaches for the power button that will take him back in time. The atmosphere around him quickly begins to change, as he begins his transit back again into the past.

 

EXT. – KATHRYN MARTEL'S HOME, 2012 A. D. -- DAY

 

Kathryn steps outside to take down some washing on the clotheslines. Young Charles, Charlie, at five, is outside in the back yard, running and playing, unawares.

 

KATHRYN

 

(calling) Charlie! It's time to go in and

 

wash up for dinner.

 

The boy continues to play unimpeded.

 

KATHRYN

 

(calling again) Charlie! (to self) That boy

 

will be the death of me. (calling again)

 

Charlie! Go inside and wash up! Now!

 

Kathryn suddenly hears a strange noise she recognizes. Dropping her basket, she runs to keep Charlie from seeing.

 

KATHRYN

 

Charlie. Get into the house now!

 

CHARLIE

 

Aw, Mom!

 

KATHRYN

 

Go!

 

Charlie slams the door behind him as the Rover materializes next to her own old, beat up, miles-driven car.

 

KATHRYN

 

Charlie?— What's wrong? I didn't expect you

 

back until we. . .Oh, my! (surprised by new look)

 

Look at you!

 

CAMERA SHOT: Charlie peeks through the screen door, sees his 'Uncle Charles.'

 

CHARLES

 

Where's Charlie?

 

KATHRYN

 

He's in the house washing up for dinner.

 

Why?

 

CHARLES

 

I picked up some information while I was back

 

in the future. Someone's planning to assassinate

 

President Cahill in a couple of days, and I know who

 

it is.

 

KATHRYN

 

God, no. Charlie. You're talking Thursday night's forum?

 

CHARLES

 

I had to come back to stop Sommers.

 

KATHRYN

 

Good Lord. Trenton Sommers is going to assassinate his own

 

. . . Lord, what is this world coming to?

 

CHARLES

 

You still have your plane tickets to Canada? Tell me

 

you didn't cash them in for tickets to Nebraska instead.

 

Charlie comes running out of the house. Runs into Charles' arms, giving him a great big bear hug.

 

YOUNG CHARLIE

 

Uncle Charles, you're back!

 

CHARLES

 

You know I wouldn't ever leave you for very

 

long.

 

Charlie fusses over his uncle's new 'haircut.'

 

CHARLES

 

Like the new look?

 

YOUNG CHARLIE

 

Yeah! Neat! How long can you stay?

 

CHARLES

 

Don't know, pal. A couple of days maybe.

 

YOUNG CHARLIE

 

Could we go see a baseball game while you're here?

 

CHARLES

 

We'll see. But work comes first.

 

Charlie climbs down, starts pulling him toward the house.

 

KATHRYN

 

I see you got yourself an S-U-V this time.

 

CHARLES

 

Yeah. It was such a great deal, I couldn't

 

pass it up.

 

TIME LAPSE.

 

INT. -- DINING TABLE -- EVENING

 

Kathryn, Charles, young Charlie dine together. Charlie plays with his food.

 

CHARLES

 

I just don't know how you do it, Kathryn.

 

(to Charlie) Hey. Are you gonna eat your vegetables

 

or are you just gonna let them sit there and get cold?

 

YOUNG CHARLIE

 

Do I have to?

 

CHARLES

 

Yes, you have to so you can grow up to be

 

big and strong like me.

 

KATRHYN

 

(anxious) Charles. It's okay for tonight. Charlie,

 

honey. Why don't you go watch some

 

TV for a while. Your Uncle Charles and I

 

have to talk.

 

Charlie leaves table.

 

CHARLES

 

See if there's a baseball game listed in

 

the paper for tomorrow night and I'll see

 

if I can get some tickets.

 

YOUNG CHARLIE

 

All right! (skips away, stops) But, Uncle Charles.

 

I can't read yet.

 

CHARLES

 

I know. Look for a picture of a baseball

 

player with a bat in one of the ads.

 

Charlie runs to the living room.

 

KATHRYN

 

How do you plan on stopping Trenton Sommers

 

from killing President Cahill?

 

CHARLES

 

It's not Trenton Sommers. It's his grown son, Rayne

 

Sommers who's going to kill Cahill.

 

That news reporter, Wilhelmina Jones. Do you

 

know where I can find her?

 

KATHRYN

 

That bloodhound? She's been after Cahill

 

since his inauguration. She works for

 

W-S-G-T T-V. The address should be in the telephone book.

 

Do you think she's part of it?

 

Charlie comes running back with part of the newspaper.

 

YOUNG CHARLIE

 

Here, Uncle Charles.

 

Shows Charles the ad he's found, along side a picture of Wilhelmina Jones and Ross Kenyon receiving a television award for their news work.

 

CHARLES

 

Speak of the devil.

 

INT. -- WSGT – TV STUDIOS NEWSROOM -- NEXT DAY

 

Wilhelmina is at her computer working on a story. ROSS KENYON, a good looking, no good, arrogant, money-grubber, lounges at his desk, feet up, reading a newspaper, sipping on a hot cup of coffee. He spots a headline in the BUSINESS SECTION: TIME TRAVEL A REALITY WITHIN YEAR, SAYS ACCELERON PRESIDENT.

 

WILHELMINA

 

This expose ought to wake a few more people up.

 

ROSS

 

And what political faux pa did our illustrious President

 

Cahill commit this time?

 

WILHELMINA

 

Stock fraud. Acceleron Corporation. And

 

it's not just Cahill. My source tells me

 

Trenton Sommers is in on the take, too.

 

ROSS

 

(peers out window, unmoved) Looks like it's turning into

 

a nice day for an impeachment.

 

Or should I say media lynching? (back to

 

paper) Which reminds me, don't you have a

 

have a press conference scheduled at the

 

White House this morning to go to?

 

WILHELMINA

 

(under breath) Agnes Covington on her way over for a

 

little press conference of her own, Ross?

 

ROSS

 

You say something?

 

WILHELMINA

 

(typing away) This president--with all his

 

high price flunkies--including Sommers—should

 

be impeached. But like you'd care anyway. You

 

love power and your high priced cars just as

 

much as they do.

 

ROSS

 

And just why do you think I bought this television

 

station in the first place? Just to show money-

 

making reruns?

 

WILHELMINA

 

(smirking) Well, did you?

 

Ross picks up his phone, dials.

 

ROSS

 

By the way. I'll be going out of town for a

 

few days.

 

WILHELMINA

 

To hobnob with the rich and famous—as usual—

 

I'm just making a guess, of course. (under breath)

 

Or should I say one, rich and famous person in

 

particular?

 

ROSS

 

It pays your salary. (into phone) Yeah, Ben Zuckerman,

 

por favor. Tell him it's Ross Kenyon.

 

WILHELMINA

 

Where's Agnes taking you this time, Ross?

 

ROSS

 

I told you, it's a business trip.

 

WILHELMINA

 

To our imaginary affiliate in Aspen, Colorado? Your travel

 

agent called yesterday while you were out to lunch.

 

ROSS

 

(angry) Agnes Covington happens to be our biggest

 

stockholder—AND the lady WE answer to—

 

or have you forgotten that little factoid?

 

WILHELMINA

 

And WE happen to be MARRIED, or have you forgotten to

 

tell Ms. Covington that little news bulletin?

 

ROSS

 

(in phone)--Ben. It's Ross—You saw this

 

morning's Business Section in the paper?

 

(to Wilhelmina) We'll discuss this later--when

 

I get back. (in phone) Yeah. That's the one.

 

WILHELMINA

 

(fuming, under breath) I want a baby, Ross, before I'm

 

too old to have one. But, I guess, it looks like I

 

won't be having one with you anytime soon. Especially

 

not after last night—after you called me Agnes one time

 

too many times before we were through. (beat)

 

Well. You know what, Ms. Agnes Covington?

 

You can have him. Slimy bloodworm. I'll be

 

filing for divorce as soon as this press conference is

 

over.

 

Wilhelmina saves story on computer, logs off, grabs pocketbook, steno pad, rises from her desk and heads straight for the door. Ross is still on the phone with his broker.

 

ROSS

 

Hey, where are you going?

 

WILHELMINA

 

Press conference. Remember? Don't wait up

 

for me.

 

ROSS

 

(watches Wilhelmina exit, reacts to Ben's

 

voice on phone) Yeah, Ben. What's good for

 

the goose . . . You got it. Get me all the

 

Acceleron stocks you can get your grubby little

 

hands on. And while you're at it, buy some for

 

yourself, too.

 

INT. -- WSGT–TV LOBBY -- DAY

 

Charles is at the sign in desk with FRANK, THE DOOR SECURITY GUARD at the studios. It is a huge typical news lobby, dressed in posters and information plaques. Workers, visitors bustle to and fro as Wilhelmina exits an elevator, heads for the exit door.

 

CHARLES

 

I'm here to see Wilhelmina Jones. I know I

 

don't have an appointment. I just got into

 

town.

 

Overhearing her name, Wilhelmina is intrigued by the handsome stranger asking for her, but approaches cautiously.

 

FRANK

 

I'm sorry, but Ms. Jones isn't . . .

 

The guard spots Wilhelmina.

 

FRANK

 

Ms. Jones.

 

WILHELMINA

 

It's okay, Frank. (offers hand) I'm

 

Wilhelmina Jones. Most people around here

 

call me W-J. What can I do for you—Mister

 

. . .

 

CHARLES

 

Martel. Charles Martel. Most people call

 

me Charlie.

 

WILHELMINA

 

Okay, Charlie Martel. You're sure it isn't something

 

more descriptive of your looks—

 

like Slash or Captain Blood, the Bone-crusher

 

or Al, my cameraman?

 

CHARLES

 

Oh, the new do. I'm experimenting.

 

WILHELMINA

 

Well, whatever, it seems to be working. I'm intrigued.

 

CHARLES

 

You know, I think I like you already.

 

Wilhelmina takes Charles by the arm.

 

WILHELMINA

 

I have a press conference to attend. Walk me

 

to my car? We can talk.

 

They exit together.

 

EXT. -- WSGT-TV PARKING LOT -- DAY

 

As they head toward Wilhelmina's car . . .

 

CAMERA CUTS TO:

 

ONE OF SOMMERS' SECURITY GUARDS ON WALKIE TALKIE BY A LIMOSINE parked nearby. Rayne Sommers sits in the limo awaiting word.

 

VOICE ON WALKIE TALKIE

 

She just left the building.

 

SOMMERS' GUARD

 

I see her. She's with someone.

 

VOICE ON WALKIE TALKIE

 

Looks like her cameraman.

 

SOMMERS' GUARD

 

There's no sign of Martel.

 

VOICE ON WALKIE TALKIE

 

That's a negative here, too.

 

SOMMERS' GUARD

 

We'll keep looking. Over and out.

 

Sommers looks quite disappointed.

 

RAYNE

 

I was sure Martel would have tried to

 

contact her by now.

 

SOMMERS' GUARD

 

Maybe he's still not here.

 

RAYNE

 

Oh, he's here, all right. I can smell him.

 

(beat)

 

I'm late for the press conference. (closes car window)

 

SOMMERS'GUARD

 

(into walkie talkie again) We're heading

 

for the White House. Keep your eyes open.

 

Martel may have decided to try to get to

 

Cahill on his own first. (Puts walkie

 

talkie away. To limo driver on other side

 

of car) Let's go.

 

Guard, limo driver get in. They leave.

 

CUT BACK TO:

 

Wilhelmina, Charles by her car. She opens door to get in.

 

WILHELMINA

 

So, Mr. Martel—Charlie. What's your story

 

you couldn't wait to see me about?

 

CHARLES

 

A friend of mine told me you could help me.

 

There's going to be an attempt on the

 

president's life--at the forum scheduled

 

in La Fayette Park two days from now. I'm

 

here to try and stop it.

 

WILHELMINA

 

Whoa. Wait a minute. And just how do you

 

know someone's going to try to assassinate

 

President Cahill?

 

CHARLES

 

I just know. That's all I can tell you—

 

for now.

 

WILHELMINA

 

You're not an FBI, are you, looking for some terrorists

 

plotting this deed? I don't do FBI. And I certainly

 

don't involve myself in any criminal activity that involves

 

possible assassination attempts on political leaders.

 

CHARLES

 

I'm not FBI. And I'm not a cop—and I'm not

 

here to kill Cahill myself--if that was your

 

next question.

 

WILHELMINA

 

Really? With those looks, honey? I think

 

you'd better start proving something to me

 

quick or you can kiss your ride to the White House

 

goodbye.

 

CHARLES

 

Look. I'm just a concerned citizen . . .

 

WILHELMINA

 

Who just happens to have some kind of inside information

 

--on a possible assassination attempt on President Cahill.

 

CHARLES

 

Look. I'm telling you the truth. Whether

 

you believe me or not . . . whether you

 

help me or not, it's going to happen.

 

WILHELMINA

 

And just what makes you think I'd help you

 

stop a bullet meant for that worse than a poor excuse

 

for a world leader anyway, Mr. Martel? Everyone

 

around here knows there's been no love loss between us

 

since day one. And for all I know, YOU could be the

 

one who's going to pump that silver bullet into Cahill.

 

CHARLES

 

Because--if you don't—help me stop Cahill's assassination

 

--you and your cameraman, Al, is that his name, will be

 

killed in the crossfire at that forum as well.

 

(beat)

 

Wilhelmina shivers from the foreboding news.

 

WILHELMINA

 

Who are you--really?

 

CHARLES

 

Someone who needs you to get me close enough

 

to Cahill to stop his assassination--and you

 

and Al from being killed. I'll tell you what

 

you need to know. Just get me to Cahill.

 

Or, at least, just near enough to warn him.

 

Silenced, Wilhelmina looks around, like she's in a daze. She spots some unsavory looking men she's unable to recognize who hanging around the TV Studios parking lot. For the moment,

 

the men aren't much paying attention, as she points them out

 

to Charles.

 

WILHELMINA

 

Do you see those men?

 

They look very much like Sommers' men from the alternate future to Charles.

 

WILHELMINA

 

Do you know who they are?

 

CHARLES

 

Yeah—I do. We gotta get out of here before

 

they catch on that I'm who they're looking

 

for.

 

WILHELMINA

 

I know a place where we can be safe—and talk

 

more about this assassination attempt—after

 

the press conference.

 

They pile into Wilhelmina's car, peel out of the parking lot. The men, are still reconnoitering the area. They spot Wilhelmina's car hightailing it away from the studios. One gets into his car and proceeds to follow.

 

EXT. -- IN CAR/ON ROUTE TO WHITE HOUSE

 

Wilhelmina's on her cell phone with Al.

 

WILHELMINA

 

Al.--I think I just got us a mega man bites

 

dog story.--Where do you think I am? On my

 

way to sixteen hundred Pennsylvania Avenue.

 

--Bring your reporter credentials. I'm going

 

to need your cameraman pass for the man with

 

the story. (hangs up). Sometimes Al doubles

 

as a reporter.

 

CHARLES

 

And you can just show up with anytime with anyone?

 

WILHELMINA

 

They never check too closely when they see

 

me coming. They know I'm legit. Besides,

 

what would Cahill's presidency be without a

 

little poke and jab now and then from their

 

favorite, roving reporter?

 

CHARLIE

 

Now that you mention it, I do seem to recall watching

 

some of your better work on TV

 

WILHELMINA

 

The secret servicemen absolutely love me.

 

They have a file on me this thick, and

 

they're ready and willing to use it

 

anytime.

 

CHARLES

 

I'm sure they are. (beat) George was right.

 

WILHELMINA

 

George?

 

CHARLES

 

That friend of mine—who said if anyone could

 

get me near President Cahill, you could.

 

WILHELMINA

 

Oh, yeah, right. Smart man--your friend.

 

Tell me again you're not just using me

 

to further your own agenda.

 

CHARLES

 

Moi? Surely you jest. Although, if I

 

wasn't already engaged, I might . . .

 

WILHELMINA

 

You had better be telling the truth, Mr.

 

Martel. I'd like to live just a little

 

while longer in this cold and heartless

 

world, thank you very much.—And, aren't

 

you just a little too old for me anyway?

 

CHARLES

 

You can take what I said to the bank.

 

Guaranteed.

 

WILHELMINA

 

That's good to know, Mr. Charlie Martel.

 

(beat)

 

You, know, I think I'm beginning to like

 

you.

 

CHARLES

 

That's a relief. I was worried there for

 

a second.

 

WILHELMINA

 

And I have this feeling we're going to

 

get along better than great.

 

As they pull into the security area of the White House, A WHITE HOUSE SECURITY GUARD stops them and checks out Wilhelmina's credentials, Al's card, and lets them pass through.

 

INT. THE WHITE HOUSE, LIBRARY AND STUDY NEAR PORTICO -- DAY

 

Senator Jackson Stryker, A.K.A. Rayne Sommers, arrives with his entourage. Sommers, as Stryker, enters the study, shake hands with Cahill. Trenton Sommers is already in the study along with his 12 year-old son, RAYNE, Rayne Sommers as a boy. Young Rayne is otherwise by himself, feeling very alone and melancholy. He's at one of Cahill's game tables looking like he is studying possible chess moves in the current game he plays with an unknown person. In reality, he is reliving/rehearing in his head the angry voices exchanged in an earlier conversation with, and beating from, his father.

 

FLASHBACK

 

SOUND: SOLID SMACKING ON A CHILD'S BODY.

 

TRENTON SOMMERS' VOICE

 

You little brat! Don't you EVER talk back

 

like that to me ever again! You hear me?

 

I'm your father, damn it! And you'll obey

 

me! You're just like your bitch of a mother.

 

Stubborn, willful. A complete embarrassment

 

to me in Washington!

 

END FLASHBACK

 

As Rayne enters and spots himself at the game table, he lingers over the sight of the boy/himself. It's almost as if he is also hearing, seeing, feeling what the boy is thinking at this very moment.

 

CAHILL

 

(awakening Rayne to his voice)

 

Senator, I was hoping you'd be able to

 

Make it. Are things better at home?

 

JACKSON/RAYNE

 

Much. Thank you for asking.

 

Trenton gives Rayne a 'look' and removes himself to the portico as Cahill continues to greet his other arriving guests. Rayne, alone now for the moment, approaches the boy, still hard at working studying the chessboard. A SERVANT interrupts momentarily, to offer Rayne a drink.

 

TV CREWMAN

 

(enters study from portico)

 

We're almost ready, Mr. President.

 

CAHILL

 

Thank you. (to Rayne) Please, make yourself

 

comfortable. We'll be starting shortly.

 

Cahill leaves to attend to other matters. Rayne cautiously sits at the table with the boy, studying the chessboard a moment himself.

 

JACKSON/RAYNE

 

You know, you can take your opponent's

 

bishop.

 

YOUNG RAYNE

 

But then that would leave my king

 

vulnerable.

 

JACKSON/RAYNE

 

True. But if you notice, in the next two

 

moves, you could take his queen and win

 

the game—checkmate.

 

YOUNG RAYNE

 

Yeah. Thanks—Mister . . .

 

JACKSON/RAYNE

 

Senator--Stryker. (moves a piece) You know,

 

often times certain—larger--sacrifices are

 

needed in order to obtain a desired goal—a

 

goal that is even greater than the one we

 

are about to sacrifice.

 

YOUNG RAYNE

 

Do you play chess with my Dad, too? (sad)

 

He makes me play all the time.

 

JACKSON/RAYNE

 

Think of it as a stern life lesson that

 

could well serve you one day.

 

YOUNG RAYNE

 

I've had enough of those for one day.

 

(getting up) I don't wanna play anymore.

 

I hate chess. I hate HIM.

 

Young Rayne flips the game board over, scattering the chess pieces across the floor. A servant immediately comes to pick them up as the older Rayne tries to reach out and comfort the younger Rayne, but the boy flinches, revealing wounds he is suffering from hidden under his clothing. The older Rayne remembers and relives the pain his father inflicted upon him. It makes him also remember Oliver's cruel words to him, too, before he began this venture: 'Father was right . . .'

 

JACKSON/RAYNE

 

One day, Rayne, I promise you, you will

 

not only have your father groveling at your

 

feet and begging for your forgiveness, the

 

entire world will be bowing down before you.

 

The power of the universe at your command,

 

with one stroke of your pen you will be able

 

to crush small, smarmy little men like

 

your father. Small minded, no heart, cruel

 

in their love. You will bury them deep in

 

their graves like the worthless little

 

rodents they are.

 

Young Rayne trods to the hallway and up the winding stairway as the older Rayne speaks words of encouragement to himself under his breath.

 

JACKSON/RAYNE

 

Savor this moment, young Rayne. You don't

 

know it yet, but this day is your beginning.

 

CAMERA PULLS BACK to reveal Charles working on setting camera cables in the study. He sees young Rayne, too, climbing the stairs. He has heard every word Rayne has spoken. The older Rayne hasn't been paying much attention elsewhere or to the camera crews setting up for the conference. Wilhelmina, Al enter the study from the portico trying to get a statement from the president/vice-president, who enter before them.

 

WILHELMINA

 

Mr. President, has Russia made any attempts

 

to stop China's invasion of North Korea on

 

your behalf?

 

CAHILL

 

Ms. Jones. That will all be addressed in my

 

statements. Now, if you will excuse me. (to Rayne)

 

Senator Stryker. It's time.

 

Hearing his pseudonym, Rayne rejoins them. Cahill steps back out onto the portico, as Charles keeps a watchful eye over both the Raynes—and the heads of state.

 

TRENTON

 

(with Rayne, spots servant still picking up

 

the chess pieces)

 

Senator, I see you've been entertaining my

 

son.

 

JACKSON/RAYNE

 

Yes. But I'm afraid I may have lost you your game.

 

TRENTON

 

He does have a temper, that one. Now my other son,

 

Oliver, he's the exact opposite of Rayne.

 

They exit the portico together.

 

EXT. -- PORTICO OF THE WHITE HOUSE -- DAY

 

Cahill stands at the podium, cameramen and reporters gather round, as Trenton, Rayne as Stryker join Cahill. Flashbulbs begin popping as the press conference begins.

 

CAHILL

 

(to Sommers, Jackson/Rayne, press)

 

Ladies and gentlemen, this is a sad day, to

 

be sure.

 

INT. -- WHITE HOUSE LIBRARY/STUDY

 

Charles, pretending to work, remains fixed, watching the men, the crowd surrounding the portico.

 

EXT. -- PORTICO OF THE WHITE HOUSE

 

CAHILL

 

I have been informed by my sources that just

 

a few hours ago China's army crossed the

 

borders into North Korea taking several government

 

officials hostage in both the north and the south.

 

Russia, as well as several other members of the

 

United Nations and NATO have declared a state of

 

emergency.

 

NEWS REPORTER'S VOICE IN CROWD

 

In response this obviously unprovoked attack,

 

has the United States decided to declare war

 

on China, Sir?

 

More news personnel press in clamoring, (as well as Wilhelmina and her cameraman, Al) trying to get a statement from the president.

 

INT. -- RESTAURANT -- EVENING

 

Wilhelmina and Charles are enjoying dinner at a local, favorite restaurant. Charles is working on a salad and broiled fish as Wilhelmina wolfs down a steak, washing it down with a large glass of red wine.

 

WILHELMINA

 

Wow. Can you imagine. World War three's

 

practically knocking down the door.

 

CHARLES

 

It was inevitable.

 

WILHELMINA

 

China did warn us--a long time ago-- they

 

were going to annex Korea—both Koreas--one

 

way or the other. Who will be next? Japan?

 

CHARLES

 

I'd tell you the United States will be nuked. But I

 

don't want to scare you.

 

WILHELMINA

 

Scare me?

 

CHARLES

 

I think you'll find Taiwan will be first on

 

their list of territories before they decide

 

to invade Japan.

 

WILHELMINA

 

My aren't we just full of the expertise on Far East

 

politics tonight.

 

CHARLES

 

History WAS my favorite subject in school—

 

even though I didn't do very well on the

 

tests—according to my mother.

 

WILHELMINA

 

But this is stuff that hasn't even happened

 

yet. Don't tell me you're the reincarnation

 

of Nostradamus and you can read crystal balls.

 

CHARLES

 

Something like that.

 

WILHELMINA

 

Hmm.--I was weaned on ESPN before Ross hired

 

me. Didn't know much about either sports or history

 

until then.

 

CHARLES

 

Sports can be like a war between nations. In fact, that's

 

how the ancients sometimes used to settle their disputes

 

between nations, mano a mano between their best guys.

 

How's that for knowing history.

 

WILHELMINA

 

War. Is that all this world can ever think about?

 

You'd think they'd get tired of killing each other off

 

after awhile.

 

CHARLES

 

Could you pass me the salt, please?

 

Wilhelmina gives him the salt-shaker amazed at his indifference.

 

WILHELMINA

 

You're not just a little bit concerned we

 

could be going to war with China any second?

 

CHARLES

 

We still have a few hours left. And we do have to eat.

 

Could you hand me the bread, too, please?

 

Wilhelmina hands him the bread, still amazed.

 

CHARLES

 

So, what can you tell me about Jackson

 

Stryker?

 

WILHELMINA

 

Ah, so you did notice our illustrious Foreign

 

Relations Senator at the press conference.

 

Some emergency back home, wherever that was,

 

caught him off guard and kept him out of Washington

 

for a few days.

 

CHARLES

 

I'll just bet I can guess what that was.

 

WILHELMINA

 

There's really not that much I can tell you

 

right now, to tell you the truth. He hasn't

 

been on the political scene all that long.

 

It's his first term in office as a U-S

 

senator, although, I understand he did serve

 

as senator in his home state before coming to

 

Washington. I also know from the Capitol Hill

 

grapevine—rumor has it he can't stand Sommers.

 

CHARLES

 

From what I saw today between the two of them, that's

 

really surprising to hear. Stryker was rather quite

 

chummy with the V-P's son before the conference began.

 

WILHELMINA

 

Now there's a strange duck.

 

CHARLES

 

Who, Stryker?

 

WILHELMINA

 

Sommers' son. I've never seen him around

 

other kids. Keeps to himself a lot. Won't

 

let anybody touch him—especially his father

 

--in public.

 

CHARLES

 

I dare say, you wouldn't either, if you saw

 

what I saw this morning.

 

WILHELMINA

 

You think Sommers beats on his kid, too?

 

There've been more than enough rumors to go around

 

Washington.

 

CHARLES

 

What about Cahill?

 

WILHELMINA

 

Oh, the two of them get along, all right.

 

They have to. Rumor also has it Cahill wants

 

to dump Sommers next election. That's what Thursday

 

night's forum is all about. But

 

Sommers is counting on running after Cahill,

 

so he's doing everything he can to prevent that.

 

(beat)

 

Come to think of it, that WAS strange Stryker, talking

 

to Sommers' kid today like they were best buds or

 

something.

 

CHARLES

 

Maybe the kid—reminded Stryker of himself a

 

little--and vice versa.

 

WILHELMINA

 

No, that's not it. Trenton Sommers never

 

allows anyone anywhere near his kid—unless

 

--the rumor really is true and he needs to squelch

 

it before it ruins his presidential aspirations.

 

It's been going around for

 

some time now, he beats on his kid regularly.

 

CHARLES

 

And no one's ever been able to prove it?

 

WILHELMINA

 

When it comes to Executive Branch shenanigans,

 

is there anything that can really be proven?

 

CHARLES

 

Do I detect a hint of cynicism in that top

 

 

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INT. -- RESTAURANT -- EVENING

 

Wilhelmina and Charles are enjoying dinner at a local, favorite restaurant. Charles is working on a salad and broiled fish as Wilhelmina wolfs down a steak, washing it down with a large glass of red wine.

 

WILHELMINA

 

Wow. Can you imagine. World War three's

 

practically knocking down the door.

 

CHARLES

 

It was inevitable.

 

WILHELMINA

 

China did warn us--a long time ago-- they

 

were going to annex Korea—both Koreas--one

 

way or the other. Who will be next? Japan?

 

CHARLES

 

I'd tell you the United States will be nuked. But I

 

don't want to scare you.

 

WILHELMINA

 

Scare me?

 

CHARLES

 

I think you'll find Taiwan will be first on

 

their list of territories before they decide

 

to invade Japan.

 

WILHELMINA

 

My aren't we just full of the expertise on Far East

 

politics tonight.

 

CHARLES

 

History WAS my favorite subject in school—

 

even though I didn't do very well on the

 

tests—according to my mother.

 

WILHELMINA

 

But this is stuff that hasn't even happened

 

yet. Don't tell me you're the reincarnation

 

of Nostradamus and you can read crystal balls.

 

CHARLES

 

Something like that.

 

WILHELMINA

 

Hmm.--I was weaned on ESPN before Ross hired

 

me. Didn't know much about either sports or history

 

until then.

 

CHARLES

 

Sports can be like a war between nations. In fact, that's

 

how the ancients sometimes used to settle their disputes

 

between nations, mano a mano between their best guys.

 

How's that for knowing history.

 

WILHELMINA

 

War. Is that all this world can ever think about?

 

You'd think they'd get tired of killing each other off

 

after awhile.

 

CHARLES

 

Could you pass me the salt, please?

 

Wilhelmina gives him the salt-shaker amazed at his indifference.

 

WILHELMINA

 

You're not just a little bit concerned we

 

could be going to war with China any second?

 

CHARLES

 

We still have a few hours left. And we do have to eat.

 

Could you hand me the bread, too, please?

 

Wilhelmina hands him the bread, still amazed.

 

CHARLES

 

So, what can you tell me about Jackson

 

Stryker?

 

WILHELMINA

 

Ah, so you did notice our illustrious Foreign

 

Relations Senator at the press conference.

 

Some emergency back home, wherever that was,

 

caught him off guard and kept him out of Washington

 

for a few days.

 

CHARLES

 

I'll just bet I can guess what that was.

 

WILHELMINA

 

There's really not that much I can tell you

 

right now, to tell you the truth. He hasn't

 

been on the political scene all that long.

 

It's his first term in office as a U-S

 

senator, although, I understand he did serve

 

as senator in his home state before coming to

 

Washington. I also know from the Capitol Hill

 

grapevine—rumor has it he can't stand Sommers.

 

CHARLES

 

From what I saw today between the two of them, that's

 

really surprising to hear. Stryker was rather quite

 

chummy with the V-P's son before the conference began.

 

WILHELMINA

 

Now there's a strange duck.

 

CHARLES

 

Who, Stryker?

 

WILHELMINA

 

Sommers' son. I've never seen him around

 

other kids. Keeps to himself a lot. Won't

 

let anybody touch him—especially his father

 

--in public.

 

CHARLES

 

I dare say, you wouldn't either, if you saw

 

what I saw this morning.

 

WILHELMINA

 

You think Sommers beats on his kid, too?

 

There've been more than enough rumors to go around

 

Washington.

 

CHARLES

 

What about Cahill?

 

WILHELMINA

 

Oh, the two of them get along, all right.

 

They have to. Rumor also has it Cahill wants

 

to dump Sommers next election. That's what Thursday

 

night's forum is all about. But

 

Sommers is counting on running after Cahill,

 

so he's doing everything he can to prevent that.

 

(beat)

 

Come to think of it, that WAS strange Stryker, talking

 

to Sommers' kid today like they were best buds or

 

something.

 

CHARLES

 

Maybe the kid—reminded Stryker of himself a

 

little--and vice versa.

 

WILHELMINA

 

No, that's not it. Trenton Sommers never

 

allows anyone anywhere near his kid—unless

 

--the rumor really is true and he needs to squelch

 

it before it ruins his presidential aspirations.

 

It's been going around for

 

some time now, he beats on his kid regularly.

 

CHARLES

 

And no one's ever been able to prove it?

 

WILHELMINA

 

When it comes to Executive Branch shenanigans,

 

is there anything that can really be proven?

 

CHARLES

 

Do I detect a hint of cynicism in that top

 

notch TV reporter voice of yours? And in one

 

so young, too.

 

WILHELMINA

 

Believe me, after working the Washington beat

 

a few years anyone, young or old, can become

 

the devoutist of cynics.—And I'm not that

 

young.

 

CHARLES

 

Well, if it's any consolation, rumor has it if anyone

 

can prove Sommers regularly beats the crap out of his kid,

 

you'd be the one Washington would put its money on to find

 

the evidence.

 

WILHELMINA

 

Gee, thanks, I think, for the vote of

 

confidence. (sees wine glass empty) I could use some

 

more wine. How about you? (hailing) Waiter!

 

INT. -- WHITE HOUSE/STATE DINING HALL -- NIGHT

 

President Cahill hosts a state dinner for many foreign dignitaries in light of the events taking place. Congressional leaders attend as well as Vice-President Trenton Sommers and Senator Jackson Stryker (Rayne Sommers). Food and wine flow as servants hover.

 

UGANDAN AMBASSADOR

 

Mr. President, rumors are circulating around

 

our Embassy--your forum will not be so peaceful in

 

light of your announcement today.

 

CAHILL

 

There will always be protestors, Madam

 

Ambassador. Lord knows my first four years

 

have seen their fair share. It's really a

 

matter of how one handles the dissenters.

 

UGANDAN AMBASSADOR

 

That makes for an evening of pleasant dialog

 

and discussion--or arrests and convictions?

 

Those surrounding the ambassador and president laugh, all except for one woman U.S. senator.

 

WOMAN SENATOR

 

(to a male senator sitting nearby)

 

I take it the president hasn't heard the

 

latest results in the straw polls?

 

MALE SENATOR

 

Who pays attention to voters' opinions

 

anymore? Certainly not Cahill or Sommers.

 

RUSSIAN AMBASSADOR

 

We Russians haven't had to worry about

 

elections now for over four years since

 

Putin's dissolution of our parliament.

 

CAHILL

 

And as it should be—in all democratic governments.

 

Everyone laughs again, except for the woman senator and her companion.

 

CAHILL

 

(raises wine glass) A toast, Mr. Ambassador?

 

As they drink . . .

 

CUT TO: JACKSON/RAYNE, TRENTON SOMMERS sitting together, eating, quietly talking.

 

JACKSON/RAYNE

 

Smug son of a bitch, isn't he?

 

TRENTON

 

With a crisis on our hands that could send us hurling into

 

World War three just by the way he looked at Chairman Yang.

 

JACKSON/RAYNE

 

Is everything set for Thursday night?

 

SOUND: JACKSON/RAYNE'S CELL PHONE GOES OFF. He has a text message from Prescott:

 

REBEL LEADER LOCATED. WITHIN HOURS OF CAPTURE. BUT SITUATION HERE DESTABILIZING RAPIDLY. MAY HAVE TO RETURN BEFORE FORUM TOMORROW NIGHT.

 

Re-pockets phone as if nothing's wrong.

 

TRENTON

 

Is everything all right?

 

JACKSON/RAYNE

 

Just a few minor loose ends at home I

 

still have to clean up. Nothing to worry

 

about.

 

TRENTON

 

The 'protestors' have been paid—handsomely,

 

I might add. My operators assure me we will

 

be getting our money's worth before the

 

evening's over.

 

JACKSON/RAYNE

 

Good.

 

TRENTON

 

You know this goes against everything we're supposed to

 

stand for.

 

JACKSON/RAYNE

 

And who says this isn't what our country stands for? Helping

 

the voters rid themselves of slithering little tin gods like

 

Cahill before election day? You do want to be president of

 

the United States after Cahill . . .

 

TRENTON

 

I just never thought I'd be helping someone assassinate a

 

president of the United States in order to be the President

 

of the United States.

 

JACKSON/RAYNE

 

Keep your mouth shut, you imbecile, before the whole world hears

 

what we're planning.

 

TRENTON

 

You are sure this is what the future holds—for both you and me?

 

How do I know I can I trust you're really from the future—and

 

you're not just making this all up to grab power for yourself?

 

JACKSON/RAYNE

 

Oh, there will be power gained for myself in

 

this transaction--eventually. Make no mistake about

 

that--in the year 2036 as a bona fide

 

U.S. Congressman--under President Trenton Sommers' sixth

 

term in office. Come to my office tomorrow and I will

 

give you more than all the proof you will ever need. I

 

will take you into the future myself.

 

Cahill interrupts the two men's conversation. A dark haired, dark eyed French beauty clings to his arm—looking very much like Ariel Du Bois. She is FRANCESCA DU BOIS, a high priced prostitute disguised as an international newspaper reporter.

 

CAHILL

 

Senator Stryker. I have someone I'd like you

 

to meet. Madamemoiselle Francesca Du Bois, political

 

correspondent for Le Monde.

 

FRANCESCA

 

Senator Stryker. I've heard so much about

 

you. It is a pleasure to finally meet you.

 

CAHILL

 

One of the more pleasant amenities from

 

Europe.

 

RAYNE

 

(kisses hand, eyes her hungrily) Enchante,

 

Madamoiselle Du Bois.

 

FRANCESCA

 

Perhaps, Senator, later on you could honor

 

me with an interview?

 

RAYNE

 

If this your way of getting me to vote 'yes'

 

for the war, Mr. President . . .

 

Some laughter ensues, but not from the president.

 

CAHILL

 

(notices Rayne's tacit approval) Everything,

 

I take it then, is to you--satisfaction, gentlemen?

 

JACKSON/RAYNE

 

Very much so, Mr. President.

 

Cahill leaves, Francesca still on his arm.

 

EXT. -- RESTAURANT -- NIGHT

 

Wilhelmina and Charles exit the restaurant together, head for her car.

 

WILHELMINA

 

We can pick up your car tomorrow.

 

CHARLES

 

It's my mother's car. She lets me use it whenever

 

I'm in town.

 

WILHELMINA

 

Ah, still another mystery solved. The gentle-

 

man doesn't own his own car. Or does he?

 

CHARLES

 

Oh, I have a car all right. It's just--out of commission

 

right now.

 

WILHELMINA

 

(opens car door) Likely story. You just don't want to

 

put a lot of miles yet on brand new tires. Men. You're

 

all alike.

 

CHARLES

 

Something like that.

 

They get in, drive off.

 

INT. -- WHITE HOUSE STATE DINING HALL

 

Jackson/Rayne and Trenton still deep in conversation.

 

TRENTON

 

Why do you always have to act like your best

 

friends with him?

 

RAYNE

 

One hand continually washes the other in

 

order to get things done in this business.

 

Or has politics taught you nothing in

 

dealing with your enemies?

 

TRENTON

 

Cahill deserves what he's going to get.

 

JACKSON/RAYNE

 

I am sure, no less than you.

 

TRENTON

 

You're certain Cahill will be killed and

 

I will become the next president of the

 

United States?

 

JACKSON/RAYNE

 

If all goes to plan, it will ensure a dynasty

 

for the Sommers men--if you don't kill your

 

son first.

 

TRENTON

 

I do hope you're talking about my youngest

 

son, Oliver, and not that addle brained

 

mamma's boy, Rayne.

 

JACKSON/RAYNE

 

Speaking of your first born, I saw a new face

 

in the media crowd today with that Jones woman,

 

working in the study when I was with Rayne.

 

He'll need to be checked out.

 

TRENTON

 

(grabbing cell phone, dialing) I'll get right

 

on it. (into phone) Chief of Security . . .

 

INT. -- ROSS KENYON'S CONDO/LIVING ROOM -- NIGHT

 

Charles, Wilhelmina enter. Wilhelmina turns on the lights and heads for the bathroom.

 

WILHELMINA

 

There's a bottle of wine in the frig.

 

Glasses in the cupboard. I won't be long.

 

As Charles retrieves the bottle of wine, opens it as Wilhelmina enters the bathroom.

 

CHARLES

 

You're sure your boss won't mind my using

 

his digs for a couple of days.

 

WILHELMINA

 

He has guests staying here all the time.

 

Besides, he's in Aspen right now, with a

 

certain Agnes Covington . . .

 

CHARLES

 

(reacting to the name) Did you say Agnes Covington?

 

WILHELMINA

 

You know her?

 

CHARLES

 

Yeah, you could say I do, yeah. (spots a CD player)

 

Do you mind if I put some music on?

 

WILHELMINA

 

Help yourself. I'll just be a couple more minutes.

 

INT. -- BATHROOM

 

Wilhelmina sadly looks at herself in the mirror.

 

FLASHBACK: and recalls her argument with Ross earlier at the station, how it ended.

 

END FLASHBACK.

 

SOUND: THE ALARM ON HER WATCH GOES OFF, reminding her to take her medication. She takes her case of her birth control pills out of her handbag and reaches for a pill. Then stops, thinking a moment on it, about Charles and what an encounter with him could mean for her. Throwing caution to the wind, she opens her birth control pill case, drops the entire package of pills into the toilet, flushes it down, and leaves the bathroom.

 

INT. -- LIVING ROOM

 

As quiet music plays in the background, Wilhelmina grabs her wine, cozies up to Charles, preparing for her one night stand.

 

WILHELMINA

 

So. Tell me a little bit about yourself.

 

Your story. And how I'm going to die.

 

CHARLES

 

There isn't that much to tell. If

 

everything goes to plan, you won't die.

 

She spots his silver-coated St. Christopher's medallion, begins playing with it.

 

WILHELMINA

 

No? That's good to hear. You must be very religious

 

because--wasn't St. Christopher kicked out of sainthood—

 

or are you a man who just likes to wear jewelry?

 

Charles takes necklace off, gives it to Wilhelmina.

 

CHARLES

 

Old mother's superstition. Here. It'll

 

look much better on you.

 

Wilhelmina puts it on, continues seduction.

 

WILHELMINA

 

I think my luck is beginning to change

 

already—if I'm going to travel in the

 

next day or two.

 

CHARLES

 

(persuaded towards having sex with her)

 

You feel it--too?

 

WILHELMINA

 

You might say that. (long pause) You say

 

you're here because you know of a possible

 

assassination attempt on the president's

 

life—yet there isn't that much to tell

 

about who you are or where you come from.

 

CHARLES

 

I guess you could say that makes me a man

 

of mystery.

 

WILHELMINA

 

And me a hard-assed reporter, Mr. Martel, who

 

can smell a story miles away. You'll have to

 

do much better than that. Much better before

 

--I back off. —Ooh, I love this tune. It's my

 

favorite. Would you care to dance?

 

They begin to slow dance as the tune plays.

 

CHARLES

 

Okay. So, when should start expecting

 

the third degree?

 

WILHELMINA

 

You have a woman waiting for you back home?

 

CHARLES

 

Whoa. Wait. Back up for a second. Let me

 

rephrase that question. So, when should I

 

start expecting the personal third degree?

 

WILHELMINA

 

Isn't that what interrogating a suspect is supposed

 

to be all about?

 

CHARLES

 

I was expecting more of a question like:

 

are you the one who's planning to assassinate

 

the president?

 

WILHELMINA

 

(seductively) Well--are you?

 

(beat)

 

CHARLES

 

If I didn't know any better, I'd think you

 

were trying to seduce me.

 

WILHELMINA

 

Would that really be so bad if I was?

 

(beat)

 

CHARLES

 

(sobering, sad) No. I guess not. Not

 

anymore.

 

WILHELMINA

 

Oh?

 

CHARLES

 

It's nothing like that. My fianc—back

 

home--was murdered. And it all ties

 

somehow into this possible assassination.

 

I'm sure o

 

 

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INT. -- WHITE HOUSE/STATE DINING HALL -- NIGHT

 

President Cahill hosts a state dinner for many foreign dignitaries in light of the events taking place. Congressional leaders attend as well as Vice-President Trenton Sommers and Senator Jackson Stryker (Rayne Sommers). Food and wine flow as servants hover.

 

UGANDAN AMBASSADOR

 

Mr. President, rumors are circulating around

 

our Embassy--your forum will not be so peaceful in

 

light of your announcement today.

 

CAHILL

 

There will always be protestors, Madam

 

Ambassador. Lord knows my first four years

 

have seen their fair share. It's really a

 

matter of how one handles the dissenters.

 

UGANDAN AMBASSADOR

 

That makes for an evening of pleasant dialog

 

and discussion--or arrests and convictions?

 

Those surrounding the ambassador and president laugh, all except for one woman U.S. senator.

 

WOMAN SENATOR

 

(to a male senator sitting nearby)

 

I take it the president hasn't heard the

 

latest results in the straw polls?

 

MALE SENATOR

 

Who pays attention to voters' opinions

 

anymore? Certainly not Cahill or Sommers.

 

RUSSIAN AMBASSADOR

 

We Russians haven't had to worry about

 

elections now for over four years since

 

Putin's dissolution of our parliament.

 

CAHILL

 

And as it should be—in all democratic governments.

 

Everyone laughs again, except for the woman senator and her companion.

 

CAHILL

 

(raises wine glass) A toast, Mr. Ambassador?

 

As they drink . . .

 

CUT TO: JACKSON/RAYNE, TRENTON SOMMERS sitting together, eating, quietly talking.

 

JACKSON/RAYNE

 

Smug son of a bitch, isn't he?

 

TRENTON

 

With a crisis on our hands that could send us hurling into

 

World War three just by the way he looked at Chairman Yang.

 

JACKSON/RAYNE

 

Is everything set for Thursday night?

 

SOUND: JACKSON/RAYNE'S CELL PHONE GOES OFF. He has a text message from Prescott:

 

REBEL LEADER LOCATED. WITHIN HOURS OF CAPTURE. BUT SITUATION HERE DESTABILIZING RAPIDLY. MAY HAVE TO RETURN BEFORE FORUM TOMORROW NIGHT.

 

Re-pockets phone as if nothing's wrong.

 

TRENTON

 

Is everything all right?

 

JACKSON/RAYNE

 

Just a few minor loose ends at home I

 

still have to clean up. Nothing to worry

 

about.

 

TRENTON

 

The 'protestors' have been paid—handsomely,

 

I might add. My operators assure me we will

 

be getting our money's worth before the

 

evening's over.

 

JACKSON/RAYNE

 

Good.

 

TRENTON

 

You know this goes against everything we're supposed to

 

stand for.

 

JACKSON/RAYNE

 

And who says this isn't what our country stands for? Helping

 

the voters rid themselves of slithering little tin gods like

 

Cahill before election day? You do want to be president of

 

the United States after Cahill . . .

 

TRENTON

 

I just never thought I'd be helping someone assassinate a

 

president of the United States in order to be the President

 

of the United States.

 

JACKSON/RAYNE

 

Keep your mouth shut, you imbecile, before the whole world hears

 

what we're planning.

 

TRENTON

 

You are sure this is what the future holds—for both you and me?

 

How do I know I can I trust you're really from the future—and

 

you're not just making this all up to grab power for yourself?

 

JACKSON/RAYNE

 

Oh, there will be power gained for myself in

 

this transaction--eventually. Make no mistake about

 

that--in the year 2036 as a bona fide

 

U.S. Congressman--under President Trenton Sommers' sixth

 

term in office. Come to my office tomorrow and I will

 

give you more than all the proof you will ever need. I

 

will take you into the future myself.

 

Cahill interrupts the two men's conversation. A dark haired, dark eyed French beauty clings to his arm—looking very much like Ariel Du Bois. She is FRANCESCA DU BOIS, a high priced prostitute disguised as an international newspaper reporter.

 

CAHILL

 

Senator Stryker. I have someone I'd like you

 

to meet. Madamemoiselle Francesca Du Bois, political

 

correspondent for Le Monde.

 

FRANCESCA

 

Senator Stryker. I've heard so much about

 

you. It is a pleasure to finally meet you.

 

CAHILL

 

One of the more pleasant amenities from

 

Europe.

 

RAYNE

 

(kisses hand, eyes her hungrily) Enchante,

 

Madamoiselle Du Bois.

 

FRANCESCA

 

Perhaps, Senator, later on you could honor

 

me with an interview?

 

RAYNE

 

If this your way of getting me to vote 'yes'

 

for the war, Mr. President . . .

 

Some laughter ensues, but not from the president.

 

CAHILL

 

(notices Rayne's tacit approval) Everything,

 

I take it then, is to you--satisfaction, gentlemen?

 

JACKSON/RAYNE

 

Very much so, Mr. President.

 

Cahill leaves, Francesca still on his arm.

 

EXT. -- RESTAURANT -- NIGHT

 

Wilhelmina and Charles exit the restaurant together, head for her car.

 

WILHELMINA

 

We can pick up your car tomorrow.

 

CHARLES

 

It's my mother's car. She lets me use it whenever

 

I'm in town.

 

WILHELMINA

 

Ah, still another mystery solved. The gentle-

 

man doesn't own his own car. Or does he?

 

CHARLES

 

Oh, I have a car all right. It's just--out of commission

 

right now.

 

WILHELMINA

 

(opens car door) Likely story. You just don't want to

 

put a lot of miles yet on brand new tires. Men. You're

 

all alike.

 

CHARLES

 

Something like that.

 

They get in, drive off.

 

INT. -- WHITE HOUSE STATE DINING HALL

 

Jackson/Rayne and Trenton still deep in conversation.

 

TRENTON

 

Why do you always have to act like your best

 

friends with him?

 

RAYNE

 

One hand continually washes the other in

 

order to get things done in this business.

 

Or has politics taught you nothing in

 

dealing with your enemies?

 

TRENTON

 

Cahill deserves what he's going to get.

 

JACKSON/RAYNE

 

I am sure, no less than you.

 

TRENTON

 

You're certain Cahill will be killed and

 

I will become the next president of the

 

United States?

 

JACKSON/RAYNE

 

If all goes to plan, it will ensure a dynasty

 

for the Sommers men--if you don't kill your

 

son first.

 

TRENTON

 

I do hope you're talking about my youngest

 

son, Oliver, and not that addle brained

 

mamma's boy, Rayne.

 

JACKSON/RAYNE

 

Speaking of your first born, I saw a new face

 

in the media crowd today with that Jones woman,

 

working in the study when I was with Rayne.

 

He'll need to be checked out.

 

TRENTON

 

(grabbing cell phone, dialing) I'll get right

 

on it. (into phone) Chief of Security . . .

 

INT. -- ROSS KENYON'S CONDO/LIVING ROOM -- NIGHT

 

Charles, Wilhelmina enter. Wilhelmina turns on the lights and heads for the bathroom.

 

WILHELMINA

 

There's a bottle of wine in the frig.

 

Glasses in the cupboard. I won't be long.

 

As Charles retrieves the bottle of wine, opens it as Wilhelmina enters the bathroom.

 

CHARLES

 

You're sure your boss won't mind my using

 

his digs for a couple of days.

 

WILHELMINA

 

He has guests staying here all the time.

 

Besides, he's in Aspen right now, with a

 

certain Agnes Covington . . .

 

CHARLES

 

(reacting to the name) Did you say Agnes Covington?

 

WILHELMINA

 

You know her?

 

CHARLES

 

Yeah, you could say I do, yeah. (spots a CD player)

 

Do you mind if I put some music on?

 

WILHELMINA

 

Help yourself. I'll just be a couple more minutes.

 

INT. -- BATHROOM

 

Wilhelmina sadly looks at herself in the mirror.

 

FLASHBACK: and recalls her argument with Ross earlier at the station, how it ended.

 

END FLASHBACK.

 

SOUND: THE ALARM ON HER WATCH GOES OFF, reminding her to take her medication. She takes her case of her birth control pills out of her handbag and reaches for a pill. Then stops, thinking a moment on it, about Charles and what an encounter with him could mean for her. Throwing caution to the wind, she opens her birth control pill case, drops the entire package of pills into the toilet, flushes it down, and leaves the bathroom.

 

INT. -- LIVING ROOM

 

As quiet music plays in the background, Wilhelmina grabs her wine, cozies up to Charles, preparing for her one night stand.

 

WILHELMINA

 

So. Tell me a little bit about yourself.

 

Your story. And how I'm going to die.

 

CHARLES

 

There isn't that much to tell. If

 

everything goes to plan, you won't die.

 

She spots his silver-coated St. Christopher's medallion, begins playing with it.

 

WILHELMINA

 

No? That's good to hear. You must be very religious

 

because--wasn't St. Christopher kicked out of sainthood—

 

or are you a man who just likes to wear jewelry?

 

Charles takes necklace off, gives it to Wilhelmina.

 

CHARLES

 

Old mother's superstition. Here. It'll

 

look much better on you.

 

Wilhelmina puts it on, continues seduction.

 

WILHELMINA

 

I think my luck is beginning to change

 

already—if I'm going to travel in the

 

next day or two.

 

CHARLES

 

(persuaded towards having sex with her)

 

You feel it--too?

 

WILHELMINA

 

You might say that. (long pause) You say

 

you're here because you know of a possible

 

assassination attempt on the president's

 

life—yet there isn't that much to tell

 

about who you are or where you come from.

 

CHARLES

 

I guess you could say that makes me a man

 

of mystery.

 

WILHELMINA

 

And me a hard-assed reporter, Mr. Martel, who

 

can smell a story miles away. You'll have to

 

do much better than that. Much better before

 

--I back off. —Ooh, I love this tune. It's my

 

favorite. Would you care to dance?

 

They begin to slow dance as the tune plays.

 

CHARLES

 

Okay. So, when should start expecting

 

the third degree?

 

WILHELMINA

 

You have a woman waiting for you back home?

 

CHARLES

 

Whoa. Wait. Back up for a second. Let me

 

rephrase that question. So, when should I

 

start expecting the personal third degree?

 

WILHELMINA

 

Isn't that what interrogating a suspect is supposed

 

to be all about?

 

CHARLES

 

I was expecting more of a question like:

 

are you the one who's planning to assassinate

 

the president?

 

WILHELMINA

 

(seductively) Well--are you?

 

(beat)

 

CHARLES

 

If I didn't know any better, I'd think you

 

were trying to seduce me.

 

WILHELMINA

 

Would that really be so bad if I was?

 

(beat)

 

CHARLES

 

(sobering, sad) No. I guess not. Not

 

anymore.

 

WILHELMINA

 

Oh?

 

CHARLES

 

It's nothing like that. My fianc—back

 

home--was murdered. And it all ties

 

somehow into this possible assassination.

 

I'm sure o

 

 

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CHARLES

 

(sobering, sad) No. I guess not. Not

 

anymore.

 

WILHELMINA

 

Oh?

 

CHARLES

 

It's nothing like that. My fianc—back

 

home--was murdered. And it all ties

 

somehow into this possible assassination.

 

I'm sure of it.

 

WILHELMINA

 

You loved her very much.

 

CHARLES

 

We were going to be married as soon as I

 

returned from my original mission.

 

WILHELMINA

 

So, you ARE a cop, then, or a soldier of

 

fortune, or a G-man.

 

CHARLES

 

No. I'm just a brilliant scientist who got caught

 

up in someone's political endgame.

 

WILHELMINA

 

And you think you know who's going to make

 

an attempt on the president's life--the same

 

one who murdered your fianc?

 

CHARLES

 

If it were really only that simple.

 

WILHELMINA

 

Well, maybe we can both help each other out

 

--in more ways than one—if you catch my

 

drift. I'll help you stop this madman—if . . .

 

CHARLES

 

What about Ross? I think you're still in

 

love with the guy whose romancing someone

 

else.

 

WILHELMINA

 

To quote a brilliant scientist I met just a

 

few hours ago, no, not anymore. Not since

 

. . .

 

CHARLES

 

He took off with this Agnes Covington—am I right?

 

--I've got to admit, though, Ross

 

Kenyon sure has excellent taste in his women.

 

WILHELMINA

 

Gee, thanks! It WAS me you were talking

 

about.

 

CHARLES

 

If it keeps me in this apartment an extra

 

couple of days--absolutely. Who else could

 

I be talking about?

 

WILHELMINA

 

Good answer, Mr. Martel!

 

CHARLES

 

Call me Charlie.

 

WILHELMINA

 

You can call me W J.

 

She kisses Charles passionately. He kisses her back even more eagerly. In a very short time, they're in bed making passionate love.

 

INT. -- OLDER RAYNE SOMMERS/STRYKER'S BEDROOM -- NIGHT

 

Rayne Sommers is having rough sex with Francesca Du Bois. He receives a phone call—from Trenton.

 

VOICE ON PHONE: TRENTON

 

Jackson.

 

JACKSON/RAYNE

 

Did you find anything yet on that cameraman?

 

VOICE ON PHONE: TRENTON

 

No. Right now we've got bigger problems at Acceleron.

 

Francesca moves to get out of bed.

 

JACKSON/RAYNE

 

You'll leave when I tell you to leave!

 

She slowly eases back under the covers.

 

CAMERASHOT, TRENTON.

 

TRENTON

 

That high priced whore Cahill bought and paid

 

for will be there when you get back. You own

 

as much of the company as I do. Maybe more.

 

INT. -- TRENTON SOMMERS' LIVING ROOM -- NIGHT

 

CAMERA SHOT: TRENTON WITH 12-YEAR-OLD SON, RAYNE. TRENTON REMAINS ON THE PHONE. RAYNE HAS BEEN CRYING, HIS FACE BRUISED FROM ANOTHER BATTERING. In the background there is a beautiful wooden glass case, locked, where Trenton keeps it stocked with his hunting rifles, bullets. The room is littered with trophies of animal heads hanging on the walls.

 

TRENTON

 

So, get your butt out of bed and get down

 

there now--before it's too late!

 

He slams the receive down—still angry over his son's disobedience, and 'Jackson Stryker.'

 

TRENTON

 

You are never going to see that bitch again.

 

Do you understand me? And if your mother EVER calls

 

here again trying to get you to go live with her in

 

California, you'll be spending your days at that boarding

 

school in Europe instead of with your friends. Why can't

 

you be more like your brother, Oliver?--I have a job to

 

get to. DON'T disappoint me—AGAIN!

 

INT. -- JACKSON/RAYNE'S BEDROOM

 

JACKSON/RAYNE

 

(angry, getting out of bed) Why do I always

 

have to do everything for that miserable

 

excuse for a human being?

 

INT. -- ROSS KENYON'S CONDO/BEDROOM -- NIGHT

 

Charles is fast asleep. Wilhelmina is on the computer in the bedroom, still wearing Charles' necklace. She's stolen Charles's flash drives, looking for anything that will tell her anything about him. She, instead, encounters documented history that hasn't even happened yet--things still far into the future! In the background the television is on running a news program showing pictures of China's invasion into Korea and PREMIER YANG in Beijing vowing to go into Taiwan and Japan next. Wilhelmina pays no attention to the news bulletins.

 

WILHELMINA

 

Jesus. Who are you, Charles Martel?

 

He stirs momentarily, alerting Wilhelmina, but remains asleep.

 

SOUND: HER CELL PHONE 'HUMS.' Shaking from what she's been reading, she snatches up the phone, answers.

 

WILHELMINA

 

Yeah, Al. What is it?

 

VOICE ON PHONE: AL

 

W J? Where are you?

 

WILHELMINA

 

I'm at Ross's condo. Why? Where are you?

 

VOICE ON PHONE: AL

 

Acceleron. You'd better get down here--now. Something's going down. There's a whole lot

 

of reporters here already.

 

WILHELMINA

 

Be right there.

 

She hangs up, grabs her clothes. Looking over at Charles one more time, still shaking, she tiptoes out the door, leaving everything on: the television, the computer, the flash drives and the last computer page she was scanning about Ariel Du Bois, the ILLEGIMATE DAUGHTER OF PRESIDENT CAHILL on screen.

 

EXT. -- ACCELRON, CARTER BUILDING -- NIGHT

 

CAMERA SHOT: The outside front façade of the building as workmen in the spotlights work to put of a new sign up across the building: DE HAVILAND MUSEUM.

 

INT. -- ACCELERON/CARTER BUILDING LABORATORIES TURNED MUSEUM -- NIGHT

 

Reporters are everywhere clamoring for the scoop as cameras flash away taking pictures of the young genius who's smiling into them. It is a very young Ed Saunders, accompanied by his also very young friends and co-workers and co-geniuses, George and Thomas. Behind them are all sorts of computers and lab equipment, including an old style 5100 computer from the 1970's, now set around the rooms as displays. Al is among

 

the reporters waiting for Wilhelmina to show.

 

NEWS REPORTER

 

Dr. Saunders. Is that correct? You've discovered a

 

way to travel through time?

 

ED

 

We have. And you've all been asked here

 

tonight to witness a little demonstration . . .

 

NEWS REPORTER

 

But, Doctor Saunders, haven't Acceleron Laboratories

 

recently been shut down and turned over to the De

 

Haviland Museum precisely because your team failed to

 

prove time travel exists as it promised?

 

INT. -- CORRIDOR LEADING TO LAB

 

Wilhelmina arrives late, encountering Rayne and Dr. Hayden Prescott in the hallway in the middle of a heated tet a tet.

 

She doesn't let them know she is listening in yet.

 

RAYNE

 

How could it have happened--again?

 

PRESCOTT

 

I warned you anything—ANYTHING could create

 

a rift in the timeline. And now this Kenyon

 

fellow is stirring up all sorts of trouble.

 

You've got to get back there as soon as this press

 

conference is over and do something about him

 

before there's a total riot on your hands.

 

Wilhelmina hears Kenyon's name and puzzles.

 

WILHELMINA

 

That can't be right. Ross, a troublemaker?

 

INT. -- YOUNG CHARLIE'S BEDROOM -- NIGHT

 

Charlie's awakened by voices on the television. His mother's doing some last minute things, getting the house and some things taken care of before they leave for Canada. Charlie peers out his window believing his Uncle Charles has come for another visit.

 

YOUNG CHARLIE

 

Uncle Charles?

 

But young Charlie only sees the Rover out in the driveway. No sign of his mom's car or his 'Uncle Charles.' Picking up his brown teddy bear, he walk to the hallway closet to get a jacket, puts it on and proceeds out the door, managing to totally avoid his mother's watchful eye.

 

EXT. -- KATHRYN'S HOME -- NIGHT

 

Young Charlie walks to the Rover, calling out for his uncle.

 

YOUNG CHARLIE

 

Uncle Charles?

 

The Sinister Looking Suit—is outside waiting for him. As Charlie climbs onto the Rover to look in, but unable to find his uncle in the vehicle, the Suit stealthily approaches the Rover.

 

YOUNG CHARLIE

 

Uncle Charles?

 

INT. -- ROSS'S CONDO

 

The older Charles awakens to find the television blaring the breaking news story at Acceleron. He sees the computer screen on, too, and the picture of Ariel Wilhelmina found on his drives. Quickly pulling on his clothes, he hurries to the computer to discover that's not the only page Wilhelmina has looked at. Pages printed out on Cahill, the two Sommers—along with a story on the disappearance of Jackson Stryker after Sommers' assassination, all marked in black felt pen with the date: 2056, litter the work desk.

 

CHARLES

 

Oh, my God. She knows.

 

INT. -- ACCELERON CORRIDOR

 

Wilhelmina still listens in on Prescott and Rayne, 'Stryker's,' conversation.

 

PRESCOTT

 

What if I can't find it before Cahill's

 

killed and World War three begins?

 

RAYNE

 

You'll locate the breach, or you'll be fired,

 

along with the rest of your incompetent technicians.

 

(tries to leave)

 

PRESCOTT

 

(grabs Rayne angrily) What did you do as

 

Senator Jackson Stryker in the past six

 

hours that you didn't do before?

 

Before Rayne shows his anger at Prescott for grabbing him, Trenton enters the corridor, no worse for the wear.

 

TRENTON

 

Sorry, I was a bit delayed. A family

 

emergency.

 

JACKSON/RAYNE

 

I'll just bet.

 

Wilhelmina gasps, beginning to understand the young 12-year old Rayne Sommers is the grown up man now standing before her known Jackson Stryker. Trenton spots Wilhelmina/panics.

 

TRENTON

 

It's that reporter!

 

The others see Wilhelmina. Found out, panicking, she flees.

 

TRENTON

 

How much has she heard?

 

JACKSON/RAYNE

 

ENOUGH!! GET HER!

 

Prescott, Rayne run after her as Trenton calls for backup on his communication device.

 

TRENTON

 

Security. We have a breach.

 

Trenton quickly follows after.

 

INT. -- ACCELERON CORRIDOR

 

Running as fast as she can, Wilhelmina tries to find an escape. She slips into to nook just big enough to hide her to avoid them until she can steal away again in the opposite direction. She runs until she locates an out of the way room and enters . . .

 

INT. -- ACCELERON TIME MACHINE ROOM

 

. . . where she encounters Rayne Sommers' PERSONAL TIME MACHINE. But she doesn't quite know, yet, it is a time machine. With just enough time for her to look it over, almost as quickly, the men, having back-tracked, follow her into the room. Hearing their voices just outside the door, she panics again as they burst in, and falls back into the time machine, which has already been primed and is waiting for Rayne to step in for his journey back.

 

Quickly, Wilhelmina is surrounded by a thick fog while greeted by a voice as the machine activates.

 

TIME MACHINE VOICE

 

Accelerating to sixteen years per minute.

 

WILHELMINA

 

Oh my God! Where are you taking me? Where

 

am I going? Let me out!

 

Outside, Prescott, Rayne and Trenton watch the machine as it vanishes into thin air.

 

JACKSON/RAYNE

 

MY MACHINE! We've got to stop her!

 

PRESCOTT

 

There's another--smaller machine--in

 

security.

 

Gets on his communication device.

 

TRENTON

 

(entering) How much does she know?

 

RAYNE

 

Enough.

 

INT. -- TIME MACHINE IN LIMBO

 

As the machine moves forward in time, Wilhelmina cries, surrendering to her predicament.

 

INT. -- ACCELERON TIME MACHINE ROOM

 

TRENTON

 

You've got to keep her away from the forum tomorrow

 

night.—Where is she anyway?

 

RAYNE

 

You just worry about becoming president of

 

the United States. I'll handle the Jones

 

woman.

 

TRENTON

 

Just like you've been handling everything

 

else?

 

PRESCOTT

 

The machine will be ready to go as soon as

 

your news conference is over.

 

TRENTON

 

I don't care how you do it. You just make

 

sure she dies on schedule.—And clean up

 

this mess your baby Einsteins've created

 

before the whole world learns they've

 

discovered time travel.

 

RAYNE

 

Oh, I'll make sure she dies, all right. As

 

for you and what you want—that will be taken

 

care of, too--in due time.

 

They head to the lab.

 

INT. -- VICE PRESIDENT'S HOME/LIVING ROOM

 

Young Rayne is in the living room, alone, bags packed. He's running away from home. One last thing, however, remains on his mind. Holding the key to his father's gun cabinet, he walks to the cabinet, unlocks and opens it, takes out a rifle and bullets, placing everything in the carrying case, then walks out the door, bag and baggage and gun.

 

EXT. -- KATHRYN'S HOME

 

The Sinister Looking Suit rouses Charlie and takes him from the Rover.

 

YOUNG CHARLIE

 

(sleepy) Do you know where my Uncle

 

Charles is?

 

SINISTER LOOKING SUIT

 

Yes, I do. I'll take you to him.

 

He leaves, Young Charlie in his arms.

 

INT. -- KATHRYN'S HOME

 

Kathryn, finishing the last of preparations, goes to check up on Charlie—to discover he's GONE! Panicking, she runs to and fro, hither and thither, trying to find him.

 

KATHRYN

 

CHARLIE!!!! CHARLIE!!!

 

EXT. -- KATHRYN'S HOME

 

Finally, she runs outside. She looks into the Rover—everywhere, but no luck. Charlie's gone! She runs back into the house . . .

 

INT. -- KATHRYN'S HOME

 

. . . and grabs the landline phone. She dials. The phone rings. She hears someone pick up.

 

KATHRYN

 

Agnes?!?!? Thank God you're home.

 

INT. -- ROSS'S CONDO

 

Charles answers.

 

CHARLES

 

No, Mom. It's me.

 

KATHRYN

 

Charlie. What are you doing at Agnes's?

 

CHARLES

 

She's out of town and I needed a place to

 

crash. What's the matter?

 

KATHRYN

 

Charlie's missing. He's not in his room.

 

I've looked everywhere!

 

CHARLES

 

(worried) Okay. Calm down, Mom. Don't

 

panic. I'm here. I'm healthy, I'm alive,

 

I'm an adult now.

 

KATHRYN

 

Charlie, I'm so afraid.

 

CHARLES

 

Mom, you know I'm known to do this. It's probably

 

nothing. I'm probably just down the street at Mr.

 

Benson's. You know how I loved that old dog of his.

 

KATHRYN

 

(whimpering) They're not home.

 

CHARLES

 

Okay then. Just calm down and call the

 

police. And then come and get me at Aunt Agnes's.

 

We'll look for him together. Okay? I left the

 

Rover's keys in Charlie's junk drawer.

 

KATHRYN

 

Okay.

 

She hangs up, dials for the police as . . .

 

INT. ROSS'S CONDO

 

Charles hurries to dress, leave the condo, then it dawns on him.

 

CHARLES

 

Oh my, God. I just realized. Bryce

 

Kenyon is my cousin.

 

He leaves.

 

INT. -- TIME 2056 A. D. DIRECTOR SOMMERS'S OFFICE -- NIGHT/WAR ACTIVITY LIGHTS UP THE DISTANT HORIZON

 

The time machine has stopped. Gingerly, Wilhelmina steps out into a whole, brave new world—the world of dictator Director Rayne Sommers. His office is abuzz with world events on the monitors, but no one seems to be around at the moment. The room is quiet except for a slight sobbing she can barely hear as the dim murmur of angry voices outside in the surrounding streets begin to reach her ears. The tall picture windows exposing people clustering into the middle of the street captures her attention for a moment, until she spies a beautiful woman, 44, alone, sitting in the director's chair, her back toward her. a gun—the derringer that Rayne used to shoot himself with-- rests squarely in her hands. Wilhelmina recognizes her from the pictures she found on Charles' flash drives. It is a very much alive Ariel Du Bois. She has come to Sommers' office to confront him. As Wilhelmina cautiously approaches, Ariel finally hears her, turns, and, seeing her, points her gun directly at Wilhelmina.

 

ARIEL

 

Don't come any closer. I have a right

 

to be here.

 

WILHELMINA

 

(extreme caution) I know who you are.

 

You're Ariel Du Bois. I'm not here to hurt

 

you. I'm a reporter, Wilhelmina Jones, my

 

friends call me W J. Can you please tell

 

me where I am?

 

ARIEL

 

You are a reporter and you don't know?

 

Wilhelmina tries to move closer, but Ariel, more determined than ever, points the gun dead straight at her. Wilhelmina slowly raises her hands.

 

WILHELMINA

 

No. I'm afraid I'm not from around here.

 

I guess you could say I'm lost.

 

ARIEL

 

You are in the headquarters of Director

 

Sommers, glorious dictator and leader of the

 

New World Order.

 

WILHELMINA

 

Trenton Sommers . . .

 

ARIEL

 

(confused) No. His son—Rayne. Some believe

 

Rayne had his own father murdered the day he

 

took power--and all his political opponents

 

arrested, tried and executed on trumped up

 

charges when they tried to stop him.

 

WILHELMINA

 

And you're here?

 

ARIEL

 

Some say he had my father murdered, too, but

 

his body was never found.

 

WILHELMINA

 

And your father was?

 

ARIEL

 

Now that is the question, isn't it? For years

 

I truly believed Mars Cahill was my father.

 

And for years that is what my mother always

 

told me, until, one day, I found a birth certificate

 

with my name on it while I was working on some secret

 

files for Director Sommers. It was buried with several

 

other confidential papers pertaining to a man by

 

the name of Jackson Stryker.

 

WILHELMINA

 

He's a Senator . . .(under breath) My God.

 

Charlie wasn't . . .

 

ARIEL

 

All these years, may God rest her soul—IN

 

HELL—my mother lied to me. All these years.

 

And I was so happy thinking my father was a

 

president of the United States.

 

WILHELMINA

 

Why would--Rayne Sommers--have your real

 

birth certificate in his files—unless . . .

 

ARIEL

 

He murdered my father, Jackson Stryker? That

 

is why I have come here— to his offices--to

 

learn the truth—and to kill him myself, if he did!

 

SOUND: VOICES OUTSIDE IN THE STREETS GROWING LOUDER AND ANGRIER as Wilhelmina reels from what she's just heard. She now knows she has traveled through time into the future and knows now that that is where Charles is from, too. Slowly walking to the huge picture windows encompassing Rayne's office, Wilhelmina watches the masses gather outside, joining in protest as she tries to absorb everything she's just learned.

 

WILHELMINA

 

What's going on outside?

 

ARIEL

 

(joining her) More of Director Sommers'

 

work.

 

INT. -- ACCELERON LABORATORIES TURNED MUSEUM -- NIGHT

 

Rayne, Trenton, and Prescott burst into the lab still filled with reporters and flashing cameras--and a very young Ed, Thomas, and George.

 

JACKSON/ RAYNE

 

(taking center stage)

 

Please. Ladies and gentlemen. Please.

 

Whatever these men have told you, there has

 

been no direct, substantiated, clinical

 

evidence as yet that time travel has been

 

proven possible. Without solid proof, their

 

announcement, I'm sorry to report, at best,

 

is grossly premature.

 

GEORGE

 

(balks, angry) That's not true! We have.

 

We have traveled through time.

 

JACKSON/RAYNE

 

Again, ladies and gentlemen of the press.

 

These have only been preliminary experiments

 

at our newest semi-conductor facility in Maryland.

 

There is no substantiated evidence

 

of any kind that time travel really exists.

 

PRESCOTT

 

(taking over) As this company's newest

 

president and CEO, and one of Washington's

 

leading physicists, I am also here to

 

personally confirm what these men have done

 

in the past months is remarkable, yes, but

 

that their announcement is still—quite-- premature.

 

Ed Saunders, now angered, confronts Prescott . . .

 

ED

 

And just how many of you does it take to

 

screw over a technological dream team

 

that's made millions of dollars for this

 

company, Dr. Prescott?

 

DR. PRESCOTT

 

What makes you think you're the geniuses

 

who've discovered time travel?

 

ED

 

That's a boldface lie, and you know it!

 

As Ed and Prescott argue, George and Thomas realize they've been had and go directly to work stealthily concealing some old standard floppy disks, with directions on how to make their time machine, inside an old-style 5100 computer they have sitting in an out of the way place in the lab/museum, as all eyes remain on Ed and Prescott.

 

PRESCOTT

 

Acceleron has not—I repeat—has not discovered

 

time travel. I have done and certified the

 

preliminary testings myself, and I can assure

 

you . . . .

 

ED

 

Bull!

 

CAMERA SHOT: JACKSON/RAYNE JOINS ED, PRESCOTT.

 

JACKSON/RAYNE

 

(aside to George, Thomas first) The two of

 

you are fired. Pack your things. You're

 

leaving now! (to Ed) As for you, Dr.

 

Saunders, you're damned lucky you're wife

 

is on the verge of giving birth. Report to

 

the Head custodian's office immediately!

 

ED

 

Tell the truth, Senator Stryker. Time

 

travel has become a reality.

 

JACKSON/RAYNE

 

As of this moment, Dr. Saunders, your office

 

is now located in the basement this museum

 

--as its assistant custodian.

 

Returns to join Prescott to roundly dismiss the press and escort them off the premises.

 

INT. -- 2056 A. D., SOMMERS' HEADQUARTERS

 

Ariel, Wilhelmina continue their conversation.

 

WILHELMINA

 

It almost looks like Paris out there,

 

during the French Revolution.

 

ARIEL

 

The people are starving. There's very little

 

work, very little to eat, unless you are one

 

of Sommers' people. Ever since the war and

 

Washington, D. C. was destroyed . . .

 

WILHELMINA

 

Washington, D. C.--was destroyed?

 

ARIEL

 

(surprised/confused ) Yes. Years ago.

 

WILHELMINA

 

And the United States? What's happened to

 

the United States?

 

ARIEL

 

This is very strange. Surely you must know.

 

It--doesn't exist anymore.

 

The noise of the crowd grows deafening. Some are beginning to chant the word 'Messiah.' Wilhelmina leans closer toward the window get a better look as the crowd begins to encircle a gigantic dais arising in their midst. A young man has suddenly appeared in the streets, dressed in the long, dark robes of a monk/priest, and wearing a large cross around his neck, along with a second, silvery-looking medallion Wilhelmina can't quite make out. He carries with him a long, crooked staff as he slowly ascends the steps to the podium. Wilhelmina notices

 

how very much he looks like Charles--how much he already commands the attention of his audience.

 

BRYCE

 

How long are we to endure more pain, more

 

suffering at the hands of this madman who

 

calls himself our protector—our savior?

 

INT. -- 2012 A. D. PRESCOTT'S ACCELERON OFFICES

 

The time machine for Jackson/Rayne is ready. Prescott helps him into it.

 

INT. -- 2056 A. D. SOMMERS' HEADQUARTERS

 

CAMERA SHOT: BRYCE KENYON as Wilhelmina, Ariel look on.

 

BRYCE

 

Since this earth was created, it has never

 

been the rich. They do not suffer from want,

 

from lack to buy food, clothing, and shelter,

 

and to take care of their children. It is not

 

the self-proclaimed despots who pretend they

 

are society's chosen, but us, destined to share

 

in the same fate. And certainly not those who

 

continue to assure us they rule justly and in

 

accordance with the divine laws, who say they

 

tirelessly, willingly burden themselves in the

 

name of their love for humanity, but in truth,

 

only live to satisfy their hunger and thirst

 

for power and dominance over us. They profess

 

to love the common man, while demanding just

 

one more act of legislation against us. One

 

more pound of flesh to keep us destitute and

 

poor. One more treaty to sign to further their

 

dreams of war and conquest, to keep us at bay,

 

until they have finally devoured and subjugated

 

the whole of humanity, our children, our

 

futures, herding us like sheep into the pens

 

for the sheering, like cattle for the slaughter!

 

Wilhelmina hears the dim roaring of the crowd. She feels their hearts stirring and marvels how easily this young man sways them. She marvels how easily she is persuaded by his words.

 

WILHELMINA

 

Who is he?

 

ARIEL

 

The man I'd hoped to marry one day.

 

WILHELMINA

 

He sounds like some sort of doomsayer.

 

ARIEL

 

Yet, not a doomsayer. More like a prophet

 

of God.

 

WILHELMINA

 

I've never really believed in a higher power

 

--or even destiny, for that matter, but there

 

is something in his voice. I can't explain it.

 

The people do seem to be hopelessly drawn to

 

him.

 

ARIEL

 

I will always love Bryce. But at least, I

 

know I have found some comfort in the arms of

 

a man who reminds me very much of him. Every

 

time I look into his eyes. I do love Charles,

 

but it will never be in the way I will always

 

love Bryce.

 

WILHELMINA

 

Bryce? That's his name?

 

ARIEL

 

Bryce Kenyon.

 

WILHELMINA

 

(taken back) Not Ross Kenyon's son?

 

ARIEL

 

This is very strange. I thought everyone knew

 

about Bryce Kenyon.

 

Wilhelmina shakes her head no.

 

ARIEL

 

Many claim he is the Messiah of the Second coming.

 

Others the coming of the prophet Elijah. To me,

 

he is just the man I will always love.

 

Wilhelmina turns away, unable to process it all. A tear trickles down her cheek.

 

WILHELMINA

 

(to herself, thinking about Ross)

 

You bastard!

 

CUT TO:

 

EXT. -- ROVER ON DESERTED STREETS -- NIGHT

 

Charles and Kathryn frantically search for Charlie.

 

CHARLES

 

Think, Mom. Where would I have gone? What

 

would I have done?

 

KATHRYN

 

You can't remember?

 

CHARLES

 

Mom. I was only five years old. Who

 

remembers everything they did at five?

 

KATHRYN

 

For God sakes, Charlie. Even when I turn my

 

back for just a moment--just to do the dishes!

 

You're always sneaking out of the house, going

 

off to God knows where. How can I keep track?

 

I should tie you to your bedposts every night.

 

Charles pulls into the WSGT-TV parking Lot.

 

CHARLES

 

You take the Rover, I'll take your car.

 

Maybe with the both of us driving we can

 

locate him faster.

 

SOUND: PHONE RINGS as Charles pulls up to Kathryn's parked car in the lot. It's Kathryn's cell phone. She pulls it out, opens it up, looks at dial.

 

KATHRYN

 

I don't recognize this number.

 

CHARLES

 

Answer it.

 

KATHRYN

 

Hello?

 

VOICE ON CELL PHONE

 

We have your son.

 

Kathryn panics.

 

KATHRYN

 

Charlie!!

 

VOICE ON PHONE

 

Put Martel on.

 

Kathryn, shaking, crying hands Charles the phone.

 

CHARLES

 

How did you get this number?

 

VOICE ON PHONE

 

If you want to continue to live, you'll

 

follow my directions to the letter.

 

Kathryn grabs the phone, screams into it.

 

KATHRYN

 

Where's my son?!!!!!!

 

Charles takes the phone back.

 

CHARLES

 

(to mother, calmly) Mom, it's okay.

 

Charlie's still alive—I'm alive. (into

 

phone) Okay. Where do you want us to

 

meet?

 

VOICE ON THE PHONE

 

You will drive to Arlington Cemetery.

 

Drive to McClellan Gate, then to Chaplain's

 

Hill. Charlie and I will be waiting for you

 

there by the memorial headstones. You have

 

one half hour.

 

SOUND: CLICK, PHONE IS HUNG UP.

 

EXT. -- 2056 A. D., DARK STREET

 

CAMERA SHOT: BRYCE KENYON.

 

BRYCE

 

Tonight, we take back that which by God's

 

divine word is ours!

 

SOUND: THE CROWD CHEERS, ROARS, CHANTS WITH EXCITEMENT.

 

INT. -- SOMMERS' HEADQUARTERS

 

ARIEL

 

His mother died a long time ago, he told me.

 

He never did tell me her name.

 

WILHELMINA

 

(recovering, but still hurting) Agnes. I

 

believe it was Agnes.

 

ARIEL

 

You knew of her, then, and Bryce?

 

Wilhelmina turns to listen a bit more to Bryce's words.

 

CAMERA SHOT: BRYCE.

 

EXT. -- CITY STREET/PODIUM

 

It is BEGINNING TO RAIN as more and more people clamor in to hear Bryce speak.

 

BRYCE

 

Let the dictators declare themselves holy

 

and sanctified before their gods. Let them

 

make sacrifice a false and dead god.

 

INT. -- SOMMERS' HEADQUARTERS

 

WILHELMINA

 

(wiping away a tear) I think I wrote an historical

 

piece on her once for a magazine.

 

ARIEL

 

Oh, you are crying.

 

Ariel sets her gun down, approaches Wilhelmina, offering her

 

a handkerchief.

 

ARIEL

 

I think you must have known them when you

 

were but a child. You are so young. They

 

were bad memories for you?

 

WILHELMINA

 

(evading) Look. Don't worry about me. I

 

cry all the time. I'm just--ecstatic--

 

because--today, I decided to end my marriage

 

to a lying, cheating scumbag.--Just like

 

your mother. He hid lots of secrets from

 

me, too.

 

ARIEL

 

Director Sommers won't be back for a while

 

yet. If you like, we could stay here in his

 

office a bit longer and plot our murders

 

together, yes? At least, think about them

 

over a cup of coffee?

 

A bit of laughter, smiles.

 

WILHELMINA

 

I think I'd like that. You know what? I

 

think I'm beginning to see what Charles and

 

Bryce see in you.

 

ARIEL

 

(smiles) I have found much comfort and consolation

 

myself in Bryce's new love. Maybe

 

together we can find something in his beliefs

 

for you, too, that will help you get through

 

your divorce.

 

Ariel wraps her arms around her, comforting her. Together, they walk to the door.

 

EXT. -- CITY STREET

 

CAMERA SHOT: BRYCE.

 

BRYCE

 

A world that has nearly been broken beyond

 

all hope of repair by such men, cries out

 

now to us—no more. It is time for change.

 

For a new world, a new life, one this world

 

is desperately in need of. A world, a people

 

that are finally living in love, in peace,

 

and in brotherhood, caring for one another—a

 

world where no man, woman or child has to

 

live in fear of the darkness or their lives

 

any longer. Never again finding themselves

 

cold and hungry, wallowing, in abject poverty

 

until they are dead and buried in common

 

graves.

 

At the door, Wilhelmina hesitates, but Ariel, holds out her hand, urging her to take it.

 

WILHELMINA

 

Can I ask you a stupid question?

 

Ariel nods.

 

WILHELMINA

 

What year is this?

 

ARIEL

 

Twenty,fifty-six.

 

(beat)

 

As she finally takes it all in she has traveled to the future, Wilhelmina accepts Ariel's offer. Together, they walk out into the street toward Bryce, the crowd, into a strange new world for Wilhelmina to learn all about.

 

BRYCE

 

It is time for the battle to begin. One

 

last despot to be finished with--forever.

 

One last dictator to suffer us no more.

 

Hear us, Sommers, hear our cry! WE HAVE HAD

 

OUR FILL OF YOU and all your kind. Time to

 

face your Armageddon. People of this brave

 

new world, know that you were born for such

 

a time as this. Unite and take back that

 

which is yours. Freedom is knocking at the

 

door. UNITE! AND FULFILL YOUR DESTINIES—

 

OR DIE TOGETHER IN THE TRYING!

 

CUT BACK TO:

 

EXT. -- WSGT-TV PARKING LOT -- NIGHT

 

CHARLES

 

Mom, go home. See if you can change the departure time on your tickets. I'll get Charlie, I promise.

 

KATHRYN

 

No! I'm going with you!

 

CHARLES

 

These men are dangerous. Go home now. I'll

 

be there—with Charlie as soon as I can.

 

Kathryn still refuses.

 

CHARLES

 

GO!

 

He gets into Kathryn's car as she reluctantly drives away. He watches her go, then pulls out and speeds toward Arlington Cemetery.

 

CUT TO:

 

EXT. 2056 A.D., STREET OUTSIDE SOMMERS' HEADQUATERS -- NIGHT

 

Troops have begun to gather to disperse the burgeoning crowd as Rayne emerges from his office building to find chaos brewing in the city street. He spots Ariel, Wilhelmina approaching Bryce.

 

CUT TO:

 

EXT. -- ARLINGTON CEMETERY -- NIGHT

 

Charles has followed his directions to the letter. He is at Chaplain's Hill where the man in the sinister suit stands beside a newly dug grave with Charlie in the shadows. A slight breeze blows. Charlie is bound and gagged like prey. The man in the sinister suit raises his gun and aims it at Charles. Charles, in response, raises his hands in the air, proceeding with caution.

 

SINISTER LOOKING SUIT

 

Stop right there, Mr. Martel.

 

Charles obeys.

 

CHARLES

 

You have me. Release the boy.

 

SOUND: GUN IS COCKED. Man slowly approaches Charles.

 

SINISTER LOOKING SUIT

 

I don't think so.

 

CHARLES

 

He has nothing to do with this.

 

SINISTER LOOKING SUIT

 

He has everything to do with this. As

 

much as you. More. Your time traveling

 

has come to an end, Mr. Martel—for the

 

both of you. Director Sommers' orders.

 

Now slowly—turn around.

 

Charles obeys.

 

CHARLES

 

At least, I'll be in good company.

 

SINISTER LOOKING SUIT

 

Both of you—will be in good company. No

 

one will ever know either of you existed

 

when I'm finished here.

 

The man gets ready to shoot his gun as he takes one last, direct aim at the back of Charles' skull . . .

 

SOUND: A HARD SHOT RINGS OUT. But it's not from the man's gun, as the Sinister Looking Suit falls to the ground dead . . .

 

CUT TO:

 

CAMERA SHOT: KATHRYN standing at a distance holding Charles' gun she's fired.

 

Quickly, Charles scoops up Charlie and runs to Kathryn, hands him over as she hands Charles the gun.

 

CHARLES

 

Mom! I thought you hated guns. Weren't

 

you going to take this to Acceleron?

 

KATHRYN

 

You didn't think I was going to try to

 

find Charlie without it now, did you?

 

Besides, my appointment with Dr. Saunders

 

isn't until tomorrow.

 

CHARLES

 

Get Charlie out of here before someone sees

 

us. As soon as I've cleaned up the mess,

 

I'll follow.

 

Kathryn removes Charlie's blindfold. Charlie wraps his arms around his mother's neck and hugs her for dear life.

 

KATHRYN

 

I had to follow you.

 

Charlie hugs them both tight.

 

CHARLES

 

I know, and I'm glad you did, but now's not

 

the time. Go home. I'll be there as soon

 

as I take care of this.

 

Kathryn, with Charlie, hurries to the Rover and quickly leaves.

 

Charles stows the gun in his pants, dumps the body into the opened grave, then speeds out of the cemetery before he's discovered by authorities.

 

CUT BACK TO:

 

EXT. -- 2056 A. D., STREET NEAR SOMMERS' HEADQUARTERS

 

Rayne, emerging from his headquarter (his derringer in hand) backed by his troops, goes after Wilhelmina.

 

RAYNE

 

Seize that woman!

 

CUT TO:

 

WILHELMINA, ARIEL hearing Rayne's voice ringing out over the boisterous crowd. They panic.

 

ARIEL

 

Run!

 

Wilhelmina quickly disappears into the massive crowed as Ariel runs toward Rayne to stop him. But, it's too late. As Rayne catches up to her.

 

SOUND: SHOTS RING OUT.

 

CAMERA SHOT: WILHELMINA, stops, turns for a moment, hearing the gun shot while, in a panic, the crowd begins to frantically disperse. She is quick enough to see Ariel falling into Rayne's arms. She is shot by a stray bullet and is dying. Wilhelmina believes it is Jackson Stryker/Rayne Sommers who has shot and killed her.

 

CAMERA SHOT: BRYCE, sees Ariel shot, falling into Rayne's arms. He believes Rayne has killed her.

 

BRYCE

 

(grieved) ARIEL!!!!!!!!!!!

 

The crowd continues to roar midst the chaos, screaming in terror as troops brutally flush them out of the streets.

 

ARIEL

 

(last breaths) My father. Where is

 

Jackson Stryker? (dies)

 

Also grieved, shocked Ariel has been shot and killed, begins weeping bitterly over her delicately body lying limp in his arms.

 

RAYNE

 

Ariel!--My baby!--My baby!

 

Rayne regains his composure, as he lays her body gently to the ground, his grief turning into hate-filled revenge. He turns angrily to the surrounding troops.

 

RAYNE

 

Kill them, kill them all!!

 

(beat)

 

AND FIND ME THAT REPORTER!!!!

 

Part of the troops rush to locate Wilhelmina as the rest continues to round up the masses, killing many, shackling others.

 

A loyal group of armed followers/freedom fighters, ED, GEORGE, THOMAS and EMILY come to whisk Bryce away before troops can reach him.

 

ED

 

Get him out of here!

 

BRYCE

 

(fighting them) Ariel!

 

THOMAS

 

Don't be too long!

 

ED

 

As soon as I take care something.

 

GEORGE

 

Don't do what I think you're going to do,

 

Ed.

 

ED

 

Just GO! GET BRYCE OUT OF HERE!

 

CUT TO:

 

WILHELMINA, still running, down a dark street. She turns a corner, hiding from the troops passing by. She watches them leave, then turns to run back to Sommers' headquarters. Quickly, easily, she finds her way back to the door and enters.

 

INT. -- SOMMERS' HEADQUARTERS OFFICE

 

Running to the time machine, she enters. The doors quickly close on her. She is weeping bitterly. The machine, computer turns on, computer speaks.

 

COMPUTER VOICE

 

Destination.

 

WILHELMINA

 

Take me home.

 

COMPUTER VOICE

 

Please be more specific.

 

WILHELMINA

 

Take me to Washington, D-C, twenty,

 

twelve a-d. The eve of President Cahill's

 

assassination.

 

SOUND: AS THE MACHINE BEGINS TO WHIR and the air surrounding it clouds up . . .

 

COMPUTER VOICE

 

Accelerating to 16 hours per second.

 

DISSOLVE TO:

 

EXT. -- 2012 A. D., KATHRYN'S HOME -- NIGHT

 

Charles has returned, but not for long. He's returned only long enough to check on Charlie, his mother. Kathryn spots him, runs to him, hugs him tightly.

 

KATHRYN

 

Oh! Thank God!

 

CHARLES

 

Mom, are you and Charlie okay?

 

KATHRYN

 

I couldn't change the tickets.

 

CHARLES

 

It's okay. Just pretend like you've already

 

gone. Cover everything with sheets. Throw

 

out everything, except what you'll need for

 

today and the trip. Pack everything you can

 

into your car and then lie low until it's

 

time to go.

 

KATHRYN

 

Charlie. Don't go. They want to kill you.

 

CHARLES

 

I don't have a choice, Mom. I have to go. I

 

have to stop Sommers somehow. I'll be back

 

before you and Charlie leave. I promise.

 

Kathryn begins to weep bitterly. She won't let go of Charles.

 

KATHRYN

 

No you won't! No you won't!

 

Kathryn forces herself from Charles. They say their silent goodbye as Kathryn continues to weep bitterly. Charles hurries to the Rover and piles in, speeds off.

 

INT. -- ROSS'S CONDO -- NIGHT

 

Wilhelmina enters, tired, spent, dirty from her ordeal. She is at once utterly confused, and yet, seemingly, in complete enlightenment as to what has just happened to her. She turns on a light and then crashes on the couch, bitterly weeping.

 

EXT. -- 2056 A. D., CITY STREETS, LAW ENFORCEMENT AREA -- NIGHT

 

A torrential rainstorm is beating down on the city that was once Washington, DC.

 

INDIVIUAL CAMERA SHOTS: THOMAS, GEORGE, EMILY LYING IN THE STREETS, SHOT DEAD BY SOMMERS' ARMY. ED'S BODY LIES, RAIN-SOAKED, BY SOMMERS' FEET. The streets run red with blood of the martyrs. Rayne and his troops have succeeded in capturing Bryce Kenyon. They now have him in custody, in shackles. Bryce, now a torn, defeated man, still remains defiant—raging against the powers that have prevailed. Rayne prepares a fit death for Bryce: he has stripped him nearly naked and is now about to CRUCIFY him before a remnant of the defeated street mob that worships him.

 

RAYNE

 

Some kind of Messiah you've turned out

 

to be.

 

BRYCE

 

I am not the Messiah. He is yet to come.

 

I am only one of His many voices crying out

 

—in this wilderness—for freedom and justice

 

for his people.

 

RAYNE

 

If you are not the Messiah, then, where is

 

he—that I may—kill him—for the people?

 

BRYCE

 

As you've killed your own flesh and blood

 

over the years--as it suited you?

 

RAYNE

 

I loved Ariel. I would not kill my own

 

daughter.

 

BRYCE

 

I LOVED HER, TOO!

 

More than angered by Bryce's defiance, he strikes him hard in the face. Then orders his men.

 

RAYNE

 

And yet, you abandoned her, for this

 

madness? Finish him off.

 

Quickly, they pound the nails into Bryce's hands, as Bryce cries out in searing pain, and set the cross up for the whole world to see, as the rain continues to pound the streets and all who remain in them.

 

RAYNE

 

(eyeing the man for a long, contemplative

 

moment, on the cross). Let it all be

 

finished—now.

 

Quickly, Rayne walks away back to his headquarters as mourners line the streets over their dead, crying and howling from the tragedy of the night's events.

 

EXT. -- DE HAVILAND MUSEUM/ABANDONED ACCELERON BUILDINGS --

 

NIGHT

 

Charles parks in front of the once bustling Acceleron laboratories to find their building turned into a museum and the rest of the building with harboring trucks and eighteen-wheelers loading up equipment to transport it to other places. Acceleron is now officially closed, and in the midst of being dismantled. The grounds are crawling with security guards. Charles looks down at the discharged gun. He can't hide it now in the office building as he'd planned.

 

CHARLES

 

I guess you're gonna have to come home

 

with me now.

 

Charles puts his Rover in gear and heads out again to Ross Kenyon's condo.

 

INT. -- ROSS KENYON'S CONDO -- DARK

 

As Charles enters the apartment, Wilhelmina is still sitting in the dark on the couch weeping, crazed with fear, grief, confusion. He finds her there as she finds him entering. They run to each other, half filled with relief, still half in fear for each other's safety. They kiss.

 

WILHELMINA

 

Oh, God! Charlie! He killed her! He

 

killed her! He killed all of them--in

 

cold blood.

 

CHARLES

 

Who killed who?

 

WILHELMINA

 

Jackson Stryker. He killed Ariel.—But—

 

it wasn't--Jackson Stryker.

 

Wilhelmina looks deeply into Charlie's eyes, his face, and suddenly something deep strikes a chord within her.

 

WILHELMINA

 

You're Bryce . . . Kenyon. You . . .

 

CHARLES

 

Wilhelmina. No. I only look like Bryce.

 

Kenyon. I did it to disguise myself in

 

this time period. I don't really look

 

like this.

 

(beat)

 

You were there.

 

WILHELMINA

 

Charlie. Oh, God. Charlie! I want to

 

die!

 

In the moment of her deepest grief, she and Charles reach out to her and make made passionate love one more time.

 

DISSOLVE TO:

 

INT. -- CONDO BEDROOM

 

TIME HAS LAPSED. Wilhelmina and Charles are fast asleep. Wilhelmina is having a HORRIBLE DREAM. In her dream she sees Bryce being crucified on the cross and crying out to her. It sounds as if he is crying out the word 'Mother' to her. It startles her awake out of her deep sleep. She is damp with a cold sweat. Her cell phone is humming again. It's Al on the other end. Finally hearing it, she answers it, still in a grand stupor. She is still wearing Charles' medallion.

 

WILHELMINA

 

Yeah.

 

VOICE ON PHONE: AL

 

W J. Where've you been? I've been

 

calling and calling.

 

WILHELMINA

 

I've been—chasing down a story.

 

VOICE ON PHONE: AL

 

Something's going down. It's all over the

 

wire. The Russian premier's plane is

 

missing—somewhere over the Urals. They

 

think it was sabotaged. China's million

 

man army's on the move—headed straight for

 

Taiwan. And Rayne Sommers, Trenton Sommers'

 

kid is reported missing. We've got that

 

forum tonight and Ross isn't back yet. I

 

need you at the studios—NOW.

 

WILHELMINA

 

Yeah, yeah, I know, Al. Give me a few.

 

I'm not awake yet. I have to get dressed.

 

I'll be there as soon as I can.

 

She hangs up the phone, looks at Charles one more time and then heads for the bathroom to shower and dress. Charles is still fast asleep.

 

SHORT TIME LAPSE.

 

Dressed, ready to go, Wilhelmina leaves a note for Charles to read when she's gone. She leaves as Charles still sleeps the early morning hours away.

 

INT. -- KATHRYN'S HOME -- DAY

 

Kathryn is bustling around the house, putting things away, covering the furniture with sheets, preparing to leave for Canada the next morning. The TV is on. She is listening to the news. A morning newscaster reports among the items going on around the world:

 

MORNING NEWSCASTER

 

In the news this morning: Russia's premier,

 

Illya Kovinoski, is still reported missing.

 

And China has launched and all out attack on

 

Taiwan as Iran continues its threats to

 

invade Jerusalem. On the local scene: in

 

Washington,(picture) Have you seen this child?

 

White House chief of staff Henri Dickerson

 

reports this morning Rayne Sommers, twelve

 

year old son of Vice-president Trenton Sommers

 

has been missing since midnight last night . . .

 

Young Charlie is helping Kathryn. At the moment, he has his brown teddy bear in his arms and his jacket on ready to play outside.

 

KATHRYN

 

Charlie. Do you have everything you want

 

to take with you? Once we're gone we won't

 

be coming back for a very long time.

 

Charlie doesn't answer. He silently exits the door with his teddy bear . . .

 

EXT. -- OUTSIDE KATHRYN'S HOME

 

and heads for his mother's car. He opens the back door, lays his teddy bear down on the back seat and then closes the door again, re-entering the house.

 

CAMERA SHOT: ANOTHER MAN IN A SINISTER LOOKING SUIT has been watching the house and Charlie. Once Charlie is back inside, the man goes to the back of Kathryn's car and places a bomb under the bumper, beside the gas tank, and setting the detonator to go off when prompted. When finished, he vanishes.

 

INT. -- ROSS'S CONDO/BEDROOM -- DAY

 

Charlie finally awakens.

 

CHARLES

 

Wilhelmina?--W J.

 

When he finally realizes she has gone, he spots the note she's left him. He reads it.

 

CHARLES

 

Please don't try to follow me. This is

 

goodbye. I'll be all right. I promise

 

I'll be careful. It's been fun, Charlie,

 

but now, go home. Go back to when you

 

belong. W J.

 

CHARLES

 

(out loud, to self) Charlie. You've got

 

to stop her.

 

He grabs for the phone, tries to call her. But the voice mail kicks in.

 

WILHELMINA'S VOICE MAIL MESSAGE

 

This is W J. I'm out of my office right now tracking

 

down a hot story. But if you leave me a tip on a

 

better one, I'll get back to you a-s-a-p.

 

SOUND: BEEP.

 

CHARLES

 

Wilhelmina. It's Charlie. I know you're

 

confused, but it'll be okay after I explain

 

everything. Look. Whether you want me to

 

or not, I'm coming out there—after . . .

 

SOUND: CLICK. THE VOICE MAIL MACHINE SHUTS OFF. Charles hangs up, gets up, gets dressed.

 

DISSOLVE TO:

 

EXT. -- WSGT-TV STUDIOS LOADING AREA -- DAY

 

Wilhelmina and Al have the broadcasting van packed, just about ready to head out to Lafayette Park to set up for the forum.

 

WILHELMINA

 

That oughta do it. I don't think we can

 

get another piece of equipment in this

 

old rattletrap.

 

AL

 

(picking up) What's wrong Wil? Something's

 

changed. I can't quite put my finger on it.

 

Something has changed. Wilhelmina hands Al the 'keys to the kingdom,' WSGT-TV.

 

WILHELMINA

 

I handed in my resignation this morning.

 

--And I'm divorcing Ross. Oh, by the way,

 

tomorrow you'll be contacted by my lawyer.

 

Congratulations, Al. You're now the proud

 

owner of half of Ross's WSGT – TV stock.

 

She piles into the van.

 

WILHELMINA

 

Let's roll.

 

Al follows, dumbfounded.

 

EXT. -- LA FAYETTE PARK -- DAY

 

Charlie enters the park looking for Wilhelmina.

 

CAMERA SHOT: IN ANOTHER SECTION OF THE PARK NEAR PLATFORM.

 

YOUNG THOMAS AND GEORGE sit waiting in an out of the way place near the platform for the forum to begin. They harbor guns, rifles secretively in hidden receptacles. As protestors gather round them, they each grab a gun or rifle for themselves.

 

PROTESTOR

 

Thanks, Thomas, George. I hope we won't

 

have to use these. But if we have to . . .

 

THOMAS

 

I hope we won't have to either.

 

The satisfied protestor leaves as young Ed comes joins Thomas and George. More protestors continue to come and go. Ed's on pins and needles. His wife is about to birth any moment. He awaits the phone call.

 

ED

 

Let's hope it stays peaceful.

 

GEORGE

 

How's Jenny?

 

ED

 

No contractions yet. Emily sure is taking

 

her sweet time coming into this world.

 

INT. -– KATHRYN'S HOME -- DAY

 

Kathryn and young Charlie are just about finished closing up the house.

 

KATHRYN

 

We have to go to the store and pick up a

 

few things.

 

YOUNG CHARLIE

 

We won't miss, Uncle Charles, will we?

 

He promised to come see us before we go.

 

KATHRYN

 

We'll be back in plenty of time.— I promise.

 

Besides. We've got a lot to do yet before

 

we head for the airport. Come on.

 

They leave the house.

 

EXT. -- LA FAYETTE PARK

 

Wilhelmina and Al arrive at the platform, begin setting up shop.

 

AL

 

I'll hook up the TVS first so we can

 

monitor the news.

 

WILHELMINA

 

I'll check my messages.

 

As Al climbs back into the van, Wilhelmina opens her cell phone. She hears Charles's voice/message, but quickly deletes it and puts her phone away again. Al calls out.

 

AL

 

Anything to report?

 

WILHELMINA

 

No. Nothing so important it can't wait.

 

CUT TO:

 

Another far off corner of the park behind a hedge of bushes a young boy sits on the steps of a nearby building, surrounded by his bags, backpack and gun case. He is very sad. It is young Rayne Sommers. Charles spots him and gingerly approaches. He starts talking to him, readily noticing the prominent bruises on the boy's face. Charles realizes the boy has had yet another, recent, beating from his father.

 

CHARLES

 

Rayne, what are you doing here?

 

But the boy won't speak at first.

 

CHARLES

 

I'm sure your father's told you never to

 

speak to strangers, but I'm not really a

 

stranger. Remember I was the cameraman

 

at the White House—in the study--the

 

other day.

 

Young Rayne nods, he remembers.

 

CHARLES

 

Looks like you're all packed and ready to

 

go. Are you going somewhere?

 

YOUNG RAYNE

 

To California to see my mother. But I

 

don't have enough money to buy the ticket.

 

CHARLES

 

(reaching into pocket) I think I can fix

 

that. (pulls out some money) I won't be

 

needing these after tonight. There's a

 

bus depot nearby. Why don't I take you so

 

you can buy your ticket and get on the bus

 

there?

 

Rayne agrees, and picking up everything, goes with Charles.

 

TIME LAPSE.

 

EXT. -- 2056 A. D., WASHINGTON CITY STREETS

 

Rain still pours down. Bryce has been crucified. His body is being taken down by some of Sommers' men as Rayne looks on, assuring himself he is dead.

 

EXT. -- BUS DEPOT -- DAY

 

Charles is at the window with young Rayne. They buy the ticket and then Charles gives Rayne the rest of the money to take with him on the trip.

 

CHARLES

 

(to ticket master) Thanks. (to Rayne)

 

Here you go. One ticket to Sacramento.

 

(hands young Rayne ticket, offers money)

 

Why don't you take the rest of this, too.

 

You'll be needing something to eat along

 

the way. Sacramento's a long way from

 

Washington.

 

YOUNG RAYNE

 

Thanks. (pockets money, ticket)

 

CHARLES

 

You can call me Charlie. There's a bench

 

right next to the building over there (points).

 

You'll be safe there until the bus comes to

 

pick you and the other passengers up. Okay?

 

Young Rayne walks to the bench. Charles watches him go confidentially.

 

CHARLES

 

Goodbye, Rayne. Have a better life.

 

EXT. -- 2056 A. D., WASHINGTON CITY STREETS

 

Older Rayne stands in the pouring rain satisfied Bryce is dead.

 

POV SHOT: Older Rayne holds something in his hand: the cross and the silver medallion that he wore around his neck. IT IS THE SILVER MEDALLION THAT CHARLES GAVE TO WILHELMINA.

 

An OFFICER OF THE GUARD stands by him, awaiting orders.

 

OLDER RAYNE

 

I have just one last, little detail to

 

take care of before I will be able to

 

return to this world for good.

 

OFFICER OF THE GUARD

 

We will be waiting your return, Director

 

Sommers.

 

Angrily, Older Rayne tosses the necklace and medallion far from him into the darkness and heads for his headquarters to return to the past.

 

EXT. -- LA FAYETTE PARK

 

The day is wearing on. Charles has returned from taking Rayne to the bus depot. He crosses to the platform area where he spots Al and Wilhelmina setting up the equipment for the night's forum. Wilhelmina spots Charles. Charles approaches the van.

 

AL

 

(giving them space) I'm gonna go

 

get something to eat. (leaves)

 

CHARLES

 

What do you think you're doing?

 

WILHELMINA

 

I have a job to do, Charlie.

 

CHARLES

 

Not if it means it is going to kill you.

 

WILHELMINA

 

There are worse things in this life,

 

like being lied to--over and over.

 

CHARLES

 

I'm not Ross. And I was going to tell

 

you the truth--eventually.

 

WILHELMINA

 

Yeah? Well, here's a scoop for you.

 

I already know the truth. And it hurts

 

really bad. As far as I know, you don't

 

even exist yet! God! I'm making love

 

to a man that doesn't even exist yet!

 

CHARLES

 

Wilhelmina. Time. It really is all

 

relative. Yesterday, today, tomorrow. How

 

ever it comes to us. That's what makes it

 

so beautiful—so unique. For you, right now,

 

I do exist, here, in this now. And I'm not

 

about to let some maniac loose out there in

 

the few hours we have left together kill what

 

little happiness we've found with each other

 

—in this now. I won't let him kill you. So,

 

get over it! You're not going to die tonight

 

--not on this time traveler's watch.

 

Wilhelmina hugs, kisses him.

 

CHARLES

 

I'll be back. I want to scour this park

 

before it gets dark.

 

WILHELMINA

 

Charlie, don't go.

 

CHARLES

 

(leaving) I won't be far away.

 

TIME LAPSES.

 

CAMERA SHOT. Charles walks behind a hedge of bushes, examining them thoroughly, but there is no one hiding there in them.

 

CUT TO:

 

A restless, disgruntled crowd has since gathered, grown to a large number, around the forum. Ed, George and Thomas are in the midst of the crowd no less angry, ready for a change.

 

SOUND: CELL PHONE RINGS. It's Ed's.

 

ED

 

Talk to me. (to Thomas, George) It's

 

the hospital. Emily's on her way.

 

(in phone) I'm on my way. (hangs up phone)

 

I've gotta go.

 

Ed hurries away.

 

THOMAS, GEORGE TOGETHER

 

Good luck, Ed. Give Jenny our best.

 

Finally, the president's entourage begins to enter the park to gather on the platform. Next, the president and vice-president, surrounded by secret service agents, enter. Wilhelmina gets ready to pounce on the president.

 

WILHELMINA

 

(to Al) Make sure you focus on the

 

president.

 

AL

 

Can I make him sweat?

 

EXT. BUS DEPOT -- NIGHT

 

A bus rolls in to pick up passengers headed for Sacramento, California. Young Rayne stands, ticket in hand, watching the bus stop, passengers board. He is also about to board the bus

 

. . .

 

BUS DRIVER

 

You gonna get on, kid?

 

. . . but in the last moment changes his mind. The bus driver closes the door, drives away. Rayne, bag and baggage and gun case, heads back for La Fayette Park.

 

EXT. -- LA FAYETTE PARK/ PODIUM

 

Men and women greet the president, vice-president as they join them on the platform.

 

DIGNITARY

 

(to Trenton) So sorry to hear about

 

your son. Has there been any word?

 

TRENTON

 

The authorities are out there looking for

 

him. I'm sure he'll be found any moment.

 

A staff aide approaches President Cahill.

 

STAFF AIDE

 

It's time, Mr. President.

 

Cahill approaches the podium as the crowd draws closer to the platform waiving their placards filled with protest slogans.

 

Charles has returned from the hunt.

 

INT. -- KATHRYN'S HOME/LIVING ROOM -- NIGHT

 

Kathryn waits Charles return, all ready and packed, with the exception of a couple bags by the couch. She waits in a darkened house, living room, waiting for him to show so they can finally be on their way. Charles has fallen asleep beside her on the couch. She smiles as she watches over him. She looks at her watch, worries Charles might not be able to make it before she must go.

 

KATHRYN

 

Charlie.

 

EXT. -- LA FAYETTE PARK/ PODIUM -- NIGHT

 

Charles is with Wilhelmina.

 

CHARLES

 

I couldn't find anyone or anything out

 

of place—nothing. Not even a suspicious

 

-looking bum behind the bushes.

 

WILHELMINA

 

It's okay.--I do--believe you.

 

President Cahill is about to speak. The crowd resonates with extreme unhappiness.

 

INT. -- KATHRYN'S HOME -- NIGHT

 

Kathryn is beginning to really worry now. It's almost time to depart for the airport. Gently, she picks up Charles so as not to wake him, bundling him up in a blanket so no one can see what she is carrying out of the house and, . . .

 

EXT. -- KATHRYN'S HOME -- NIGHT

 

Stealthily, she heads out the door, Charlie in her arms, to her car. Laying him in the back seat, she covers him up so no one can see him sleeping in the car. She locks the doors and goes back into the house—and turns on her TV hoping to learn what's keeping Charles.

 

ACT III

 

EXT. -- CAHILL'S PRESIDENTIAL FORUM -- NIGHT

 

(SEMI-REPEATING SCENES) Cahill speaks, Trenton Sommers stands close behind him. He is trying to cajole the people, but it's apparent they don't want to be promised anything more by this administration. The crowd is turning ugly, waving their JACKSON STRYKER placards, chanting his name. Wilhelmina Jones frantically reports the events now as Cahill tries to speak to the crowd. In the background, Charles continues to keep a sharp eye out for the assassin—remembering where he saw the gun barrel appear.

 

SEVERAL NEWSCASTERS TOGETHER

 

Mr. President!

 

RIVAL NEWSCASTER

 

Mr. President. Russia is reportedly blaming

 

the U S for their premier's plane missing over

 

the Urals. Would you care to elaborate on that?

 

Cahill tries to answer, but Wilhelmina jumps on his words.

 

WILHELMINA

 

President Cahill, China's recent forced annexation

 

of both Koreas and now with their

 

move this morning against Taiwan, what do you

 

intend to do? Will there be a confrontation

 

in the Far East?

 

CAHILL

 

There has been no word as yet on Premier Kovinoski.

 

And no, the U-S is not responsible.

 

WILHELMINA

 

But there have been indications the CIA has

 

been operating in Eastern Europe recently.

 

CAHILL

 

(getting frustrated, angry) As far as the

 

Far East is concerned, Ms. Jones, of course,

 

we will continue to pursue our policies of

 

peaceful negotiations with the Chinese. As

 

for the CIA being involved in covert opera-

 

tions in Eastern Europe, there is no truth

 

to the rumor.

 

RIVAL NEWSCASTER

 

What about the elections?

 

WILHELMINA

 

Polls show stronger than ever support for

 

Senator Stryker.

 

CAHILL

 

WHAT IS YOUR QUESTION, Ms. Jones? (off side

 

to his staff aide) Have her investigated.

 

WILHELMINA

 

It's a real possibility now Jackson Stryker

 

will be elected the next president. Will it

 

change current policies if Stryker is elected?

 

CAHILL

 

That question is out of line, Ms. Jones.

 

(very angry) I intend to be re-elected come

 

this November. And I have no intention

 

of relinquishing power to a wet behind the

 

ears Senator OR changing current policies in

 

midstream. But make no mistake. If China is

 

hell bent on starting a war with the United

 

States, I WILL defend my country to the death.

 

SOUND: CROWD OBVIOUSLY DISTRESSED, RESTLESS.

 

ANGRY MOB MEMBER #1

 

War. Is that all you candidates ever talk

 

about?

 

ANGRY MOB MEMBER #2

 

(shouts) What about those of us who are starving,

 

Mr. President? Don't you care about us?

 

CAMERA SHOT: CHARLES WITH WILHELMINA. The crowd's anger is visibly rising, alerting Charles.

 

CHARLES

 

Boy, you sure know how to stir up a crowd

 

--and a president.

 

WILHELMINA

 

Born muckraker.--I've never seen a crowd so

 

angry before. (to Al) Al, can you get a shot

 

of some of the protestors' faces?

 

CAMERA SHOT: THOMAS, GEORGE SLOWLY AMBLE AMONG THE PROTESTORS,

 

TAKING IN ALL THE ANGER AND FRUSTRATION OF THE MOB.

 

CHARLES

 

 

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WILHELMINA

 

Born muckraker.--I've never seen a crowd so

 

angry before. (to Al) Al, can you get a shot

 

of some of the protestors' faces?

 

CAMERA SHOT: THOMAS, GEORGE SLOWLY AMBLE AMONG THE PROTESTORS,

 

TAKING IN ALL THE ANGER AND FRUSTRATION OF THE MOB.

 

CHARLES

 

It'll be starting any moment. Stay close

 

to me.

 

WILHELMINA

 

Charlie—I do trust you, but I'm really

 

scared.

 

As she turns to look at Charles, and Charles her, Wilhelmina begins to see something in his face. She can't quite yet put her finger on it—it's almost like Djà vu.

 

ANGRY MOB MEMBEE #3

 

What about those of us without jobs and no

 

place to live? Don't we count for something,

 

Mr. President?

 

CAHILL

 

I assure you. The government's doing

 

everything it can . . .

 

CUT TO:

 

INT. -- KATHRYN'S HOME -- NIGHT

 

Kathryn peeks outside her window, one more time, at her car, very nervous, very worried, POV SHOT, making sure everything is peaceful, nothing has been disturbed. The noise on the TV is becoming deafening. She anxiously looks at her watch again. Then goes to her landline phone, picks up the receiver and dials.

 

KATHYRN

 

I'd better let Agnes know where Charlie

 

and I are going.

 

(beat)

 

But Kathryn's reached only Agnes's voice mail.

 

AGNES'S VOICE MAIL

 

Leave us a message at the sound of the

 

beep.

 

SOUND: BEEP.

 

KATHRYN

 

Agnes. It's me. Don't come home. Charlie

 

and I are leaving Washington in a couple of hours.

 

I'll try to call again as soon as I

 

can to let you know where we'll be.

 

She hangs up, returns to the window.

 

EXT. -- PRESIDENTIAL FORUM

 

Cahill's starting to break down over the crowd's enmity.

 

STAFF AIDE

 

(interrupts) President Cahill and Vice-

 

president Sommers are on top of the situation.

 

They are doing everything they can to address

 

all of your concerns . . .

 

ANGRY MOB MEMBER #5

 

Bull! We're tired of your empty promises!

 

ANGRY MOB MEMBER #6

 

That's not good enough! We want action now!

 

We want a new president now!

 

ANGRY MOB MEMBER #7

 

How can we afford to go to work anymore

 

with the gas prices through the roof!

 

ANGRY MOB MEMBER #4

 

Do something, Mr. President! Mr. Vice-

 

president. Before they destroy our country.

 

Or are you both cowards?

 

CUT TO: Some of the more belligerent members of the crowd are now starting to pass guns around--among other things--as the mob becomes more unmanageable, more unruly. Police start to move in. George and Thomas slowly approach the platform trying to stay calm and keep others of their group calm, too, before the law enforcers now appearing.

 

CUT BACK TO:

 

ANGRY MOB MEMBER #3

 

Yeah! We don't want another four years of

 

spineless leadership.

 

The crowd roars angrier and angrier. They are beginning to throw things at the president, vice-president and staff aide.

 

CUT TO:

 

BEHIND THE HEDGE CHARLES ALREADY INSPECTED AND A DISTANCE AWAY FROM THE PLATFORM AND CROWD, YOUNG RAYNE kneels behind the bushes, watching, tears steaming down his face as he stares at the podium, his father. He has taken the rifle from its case. It now lies beside him on the ground—waiting.

 

CUT BACK TO:

 

CAHILL AT PODIUM. Still being barraged by the crowd with various, rotten items, he has decided to make one last statement.

 

CAHILL

 

(scared, whispers to Sommers) Sorry, Trenton.

 

But I can't afford having my political career

 

going down the tubes any further with a future

 

appointment to the U. N. at stake. You've

 

always been just too much dead weight anyway—

 

with all the rumors. And it's better we get

 

out now while the getting's good.

 

As Cahill turns back to the angry crowd, Trenton is visibly angered now. He grabs Cahill.

 

TRENTON

 

What do you mean—WE'RE getting out now

 

while the getting's good?

 

CAHILL

 

Just what I said.

 

Cahill angrily flings off Trenton's hands from his coat lapels, straightens his coat again and then slowly turns to address the crowd—one more moment.

 

CAHILL

 

Citizens. I assure you. I am ready to do whatever it

 

takes to move this country forward. To keep her number

 

one. So, without further adieu, I am here tonight to

 

announce vice-president Sommers and my resignations and

 

our support for your candidate, the people's candidate,

 

for president of the United States, Jackson Stryker.

 

Trenton Sommers angrily grabs him again.

 

TRENTON

 

YOU SON-OF A BITCH! YOU'VE JUST BLOWN MY

 

CHANCE TO BE PRESIDENT OF THE UNITED STATES!

 

THE ANGRY CROWD now presses in, chanting, begging to see Stryker. They want Cahill and Sommers off the podium--NOW. The police are having a difficult time holding the crowd back. They're throwing more and more things at the podium, the president and vice-president. Some have already drawn guns, ready to fire as police take their stand. Wilhelmina tries to get closer to Cahill, Sommers. Charles tries to stop her.

 

WILHELMINA

 

Mr. President!

 

CHARLES

 

(grabbing her) You can't go up there.

 

Wilhelmina

 

(fighting Charles) This is the scoop of the century. Who would've thought Cahill and

 

Sommers would be resigning?

 

CHARLES

 

Wilhelmina. In a few more hours it's not

 

going to matter.

 

But Wilhelmina fights to get to Cahill to get more quotes. Charles struggles to stop her.

 

WILHELMINA

 

Mr. President. Tell us why . . .

 

CUT BACK TO:

 

YOUNG RAYNE kneeling behind the bushes, weeping. The older Rayne Sommers, out of the blue appears in an out of the way place behind the boy in his mini time machine. Stepping out, Rayne sees his young self at the bushes. He walks goes over to young Rayne to strike up a stern conversation.

 

OLDER RAYNE

 

If it weren't for that monster Cahill,

 

you're father wouldn't have beaten you the

 

other day like he did. For four years you

 

have been your father's personal punching

 

bag—because of that man. The one you

 

really want to kill is President Cahill

 

--not your father.

 

The boy reaches for the gun, delighting Rayne.

 

OLDER RAYNE

 

Yes. That's right. Aim it right at

 

Cahill's heart.

 

But as he poises the gun, the boy hesitates. Frustrated young Rayne hesitates, the older Rayne takes to bullying the younger Rayne into pulling the trigger—and quickly.

 

OLDER RAYNE

 

Well? What are you waiting for? Or are

 

you the sniveling little coward that

 

excuse for a father says you are?

 

Sill crying, younger Rayne points the gun, but he cannot bring himself to pulling the trigger. Very angry now, the older Rayne rips the rifle out of the younger Rayne's hands.

 

OLDER RAYNE

 

Here. Give it to me. I'll do it!

 

He takes direct aim.

 

OLDER RAYNE

 

Die, you son-of-a-bitch!

 

CUT TO:

 

CHARLES. Suddenly, he sees the rifle barrel flashing as it emerges from the thickness of the bushes. Immediately, he dives for Wilhelmina.

 

CHARLES

 

(shouts, warning,) GET DOWN!

 

But as Charles tries to pull her to the ground, to protect her

 

. . .

 

SOUND: A LOUD, DEAFENING, GUNSHOT GOES OFF.

 

Charles takes the hit in his side instead, crumpling from the pain. Wilhelmina, the president, both still unscathed, Wilhelmina turns in time to see Charles shot.

 

WILHELMINA

 

CHARLIE!!!!

 

CUT TO:

 

OLDER RAYNE. Seeing his first bullet has hit Charles, he takes aim again.

 

OLDER RAYNE

 

(to younger Rayne still weeping)

 

Remember this day when you become ruler

 

of the world.

 

Older Rayne shoots again.

 

CAMERA SHOT: This time, the president is hit. Cahill falls, but his wound is not fatal in this timeline. Secret Service rush in to get him to a safe place, surround Sommers, as others take off in the direction of the shot.

 

SECRET SERVICE MAN #1

 

(examining wound) He's okay. Get him

 

out of here and to a hospital, fast!

 

More Secret servicemen coming on the scene remove the president to safety. More gunshots.

 

CAMERA SHOT: George has been hit several times in the leg. Thomas tries to get him out of there before more shots are fired in the fracas and hits him.

 

CUT TO:

 

THE OLDER RAYNE rushes to re-enter his time machine, taking the gun with him, but has to turn back a moment, seeing young Rayne out of the corner of his eye still kneeling behind the bushes.

 

OLDER RAYNE

 

Come on. You have to leave. Now.

 

Before they find you!

 

But the younger Rayne will not budge. He just stares at the bushes, crying.

 

SOUND: MORE GUNSHOTS RING OUT, this time they are randomly firing from the crowd, then the police.

 

OLDER RAYNE

 

Do you want them to catch you? The

 

police to arrest you? You've got to

 

get out of here, now! Go on! Get

 

out of here!

 

But the boy will not budge. He is paralyzed by what he has just witnessed.

 

CUT TO:

 

Wilhelmina is arguing with Charles. She refuses to leave him.

 

CHARLES

 

Get out of here. NOW!

 

WILHELMINA

 

I'm not leaving you!

 

CHARLES

 

(in pain) GO! I'll be okay!

 

CAMERA SHOT: As Secret Service surround the vice-president, another bullet makes its way to the podium, this time into Trenton Sommers. Sommers falls to the floor of the platform, dead.

 

CAMERA SHOT: Wilhelmina and Charles.

 

CHARLES

 

(pushing her away) GO! NOW!

 

SOUND: JUST AS ANOTHER SHOT GOES OFF, Wilhelmina races out of there just in time for the bullet, meant for her, to strike Charles squarely in the arm instead.

 

CUT TO:

 

Older Rayne, still urging his younger self to leave.

 

OLDEER RAYNE

 

Leave now, or I will have to take you

 

with me.

 

But the boy won't move. His eyes are glued to the podium where his father has been shot and killed by a stray bullet. The older Rayne runs to gather up the boy.

 

SOUND: ONE LAST GUNSHOT RINGS OUT. It is almost deafening, like it is reaching across time itself to find its target. As Rayne closes in on the boy he is suddenly stopped dead in his tracks as he witnesses the younger Rayne's body stiffen then drop to the ground, the blood oozing from the fatal wound. The boy is shot dead. Rayne rages, horrified . . .

 

OLDER RAYNE

 

NO!!!!!!!!!!!!!!!!!!!!!!!!!

 

In an instant the older Rayne VANISHES into thin air--from the face of the earth, his time machine following after.

 

CUT TO:

 

CHARLES NEAR PLATFORM. Some of the crowd is still pressing in around him. Some have now scattered, pursued by the police. Charles is hurt, bleeding from his abdomen. Wilhelmina, spent with worry, fear, reappears. Seeing Charles' wound, she tries to help him, tearing some of the cloth from her clothes to make a tourniquet to stop the bleeding. To her, the wound looks pretty bad.

 

WILHELMINA

 

Let me take you to the hospital.

 

CHARLES

 

It's not as bad as it looks. You're the

 

one who needs to get out of here before

 

you're hurt.

 

WILHELMINA

 

I'm not going to leave you.

 

CHARLES

 

Yes, you are.

 

But she insists on continuing wrapping her rags around Charles' wounds. Charles tries to push her away again.

 

CHARLES

 

I need to go back—to finish what I

 

started. I can get the help I need

 

there.

 

WILHELMINA

 

Take me with you.

 

CHARLES

 

I'll come back for you in a few days.

 

I promise. But right now, what you

 

need to do—for me--is get out of

 

Washington as soon as you can--go to

 

Canada. You'll be safe there.

 

Wilhelmina doesn't want to leave him.

 

CHARLES

 

I promise. I will come for you. No matter

 

how long it takes. I just need to know

 

right now you're safe and out of

 

Washington.

 

Reluctantly, Wilhelmina goes. One last kiss goodbye. Wilhelmina suddenly realizes deep inside what Charles truly means for her and hesitates no more. As Charles watches her disappear, he knows he has little time left. The wound is bad. But Wilhelmina's bound it tight. There might be time enough to get home, finish his work and get help. He heads to his Rover, gets in and speeds away for Kathryn's.

 

DISSOLVE TO:

 

CAMERA SHOT: CHARLES DRIVING DOWN A ROAD, ON ROUTE TO KATHRYN'S.

 

EXT. -- KATHRYN'S BACKYARD/HOME -- NIGHT

 

Charles has made it back. As he pulls in and exits the Rover, Kathryn frantically exits the house, relieved to see him at last. Charles tries to hide his wounds as best he can from her. But she knows something's amiss.

 

KATHRYN

 

Charlie. What's wrong?

 

CHARLES

 

Mom. Are you ready to leave?

 

KATHRYN

 

Just a couple more bags to bring out

 

of the house. Charlie. What's wrong?

 

CHARLES

 

No time to explain. You have your plane

 

tickets and passports.

 

KATHRYN

 

Yes, they're in the glove compartment.

 

Charlie. Don't hide it from me. Tell

 

me what's wrong.

 

CHARLES

 

I'll be fine as soon as I get back to

 

my own time. The timeline isn't quite

 

repaired yet. That's all. Where's

 

Charlie?

 

KATHRYN

 

He's in the car, asleep.

 

CHARLES

 

Good.

 

POV SHOT. Kathryn opens the car for Charles. He reaches in to pet Charlie as he's sleeping. He's satisfied and closes the car door again.

 

CHARLES

 

Let's get those bags.

 

They go into the house. But Charlie hasn't been asleep. He gets up.

 

YOUNG CHARLIE

 

Uncle Charles?

 

But Uncle Charles is not there. Young Charlie opens the door and gets out the car, taking his teddy bear with him, he begins searching for his Uncle Charles.

 

YOUNG CHARLIE

 

Uncle Charles.

 

He heads for the back of the house.

 

INT. -- KATHRYN'S HOME/HALLWAY

 

They are ready to exit the house.

 

CHARLES

 

You're sure this is everything.

 

KATHRYN

 

Yes. (beat) I don't think I'll be

 

missing this place for a very long

 

time. Let's go.

 

Charles, Kathryn exit the house with her remaining items.

 

EXT. -- KATHRYN'S HOME

 

They put them into the trunk of her car. Charles shuts the trunk again, trying to hide his condition the best he can.

 

He gives his mother a long hug, kiss goodbye.

 

CHARLES

 

Goodbye, Mom.

 

KATHRYN

 

(Long silent pause)

 

I hear the mountains in Canada are

 

nice this time of year.

 

CHARLES

 

You haven't got much time left. You

 

need to get on that plane.

 

They hug again.

 

CHARLES

 

I'll see you when I get back. (one

 

last kiss goodbye) Go. Hurry.

 

Kathryn gets into her car, starts it and drives off waving behind her. Charles waves back. He then, slowly, gingerly, almost collapsing at one point, finally gets back into his Rover, time machine, turns it on.

 

INT. -- ROVER

 

COMPUTER

 

Destination?

 

CHARLES

 

Get me home as fast as you can.

 

Acceleron Corporation, twenty-fifty

 

six, A-D.

 

In seconds, Charles, his Rover disappears.

 

CUT TO:

 

INT. -- TIME MACHINE -- IN TRANSIT TO THE FUTURE

 

As Charles configures the dials, the computer talks back to him.

 

COMPUTER VOICE

 

Accelerating to twenty hours per second.

 

Would you like to stop at that candy and

 

flower shop when we reach twenty thirty-

 

six A-D?

 

CHARLES

 

No. Not tonight.

 

Only moments pass, it seems, and Charles is finally on his way back to the future he left behind, untouched, intact, with only a few minor changes in the timeline—barely noticeable at first.

 

DISSOLVE TO:

 

EXT. -- STREET OUTSIDE A CITY -- NIGHT

 

Kathryn has been driving for some time. She's smiling, happy she's on her way to a place of peace and safety.

 

CAMERA SHOT: TWO MEN IN A CAR, DRESSED IN SINISTER LOOKING SUITS, FOLLOW HER. One has a detonator in his hands ready to use it.

 

MAN #1 IN CAR

 

Let's blow this thing.

 

MAN#2 IN CAR

 

I'm definitely ready to go home.

 

CUT BACK TO:

 

KATHRYN DRIVING.

 

KATHRYN

 

We're almost there, Charlie. Soon, we'll

 

be in the air, and on our way to Canada.

 

But there is no answer. Only silence.

 

KATHRYN

 

Charlie, honey? Are you awake?

 

She looks back into the back seat, discovering Charlie is gone! She panics.

 

KATHRYN

 

CHARLIE!!

 

The car behind her has been following close behind. As the first man in the car pushes the detonator button, Kathryn's car suddenly careens out of control, hitting the car following her, heading directly for the curb in the street. As it smashes into the other car, the planted bomb goes off. Both cars burst into flames. The two men are burned alive. Kathryn manages to escape, but she is badly burned in the fire as she falls to the ground screaming to put the fires out on her body.

 

DISSOLVE TO:

 

INT. -- ACCELERON, INC. OLD CARTER BUILDING, HQ OF TIME MACHINE LAB, 2056 A. D. -- NIGHT

 

Charles has finally returned to his own time, landing in the experimental lab of Acceleron as he had earlier planned. As he reappears, everything is as it was before he left. As the machine stops and turns off, Charles gingerly, removes himself from the machine. He is bleeding now profusely. Wilhelmina's tourniquet is no longer able to stop the bleeding.

 

CHARLES

 

(looking around) So far, everything

 

looks back to normal.

 

As Charles struggles to walk down the corridor toward the offices and his friends, Ed and the others are coming to meet him, knowing he is finally on his way back from their instrument panels. They spot Charles and notice he's been hurt very badly.

 

ED

 

Charlie!!

 

Ed rushes to him, as the others, the older Emily, Thomas, George, directly behind. Charles collapses onto the floor, into Ed's arms.

 

ED

 

Someone call an ambulance!

 

Emily instantly takes off.

 

CHARLIE

 

(gasping for breath) Is everything

 

back the way it was?

 

ED

 

(confused, looks at others) It's never

 

changed.

 

CHARLES

 

(fading) Good.

 

Emily's back.

 

EMILY

 

The paramedics are on their way.

 

CHARLES

 

It's too late.

 

ED

 

Did you get the computer?

 

CHARLES

 

(shakes head yes) It's in the time

 

machine.

 

GEORGE

 

They should still be in the back part

 

of the computer.

 

THOMAS

 

I'll get the Phillips-head.

 

George, Thomas instantly take off.

 

SOUND: AMBULANCE SIRENS IN THE BACKGROUND.

 

INT. -- TIME LABORATORY/ CARTER BUILDING

 

Back in the time lab, something stirs in the Rover/time

 

machine: Young Charlie. Taking his teddy bear with him, he climbs out of the Rover and slowly starts making his way out

 

of the lab, into the corridor. The place looks very strange to him.

 

YOUNG CHARLIE

 

Uncle Charles.

 

CUT BACK TO:

 

CHARLES, THE OTHERS. Just then a man, a bit younger than Charles, yet carrying a striking resemblance to him, enters. He is dressed in the robes and collar of a priest/minister. He wears his cross necklace, along with another, silvery necklace medallion depicting St. Christopher. It's BRYCE KENYON, ADOPTED SON OF ACCELERON PRESIDENT AND CEO, ROSS KENYON. He sees Charles is hurt and hurries to him. Charles's wounds are very bad, bleeding. Bryce begins to administer last rites.

 

BRYCE

 

In the name of the father, the son . . .

 

(beat)

 

(nervous, yet delighted) I knew you would

 

return.

 

As the paramedics enter, they immediately begin their work. Bryce stays with Charles continuing to pray over him. As the two look at each other, Charles sees the striking resemblance.

 

BRYCE

 

The Lord is my shepherd. I shall not

 

want. He maketh me to lie down . . .

 

CHARLES

 

Do . . . I know you?

 

BRYCE

 

You knew my stepfather, Ross Kenyon—and

 

my mother, Wilhelmina Jones. You're

 

Charles Martel. I recognized you from

 

your pictures. I have something that

 

belongs to you.

 

Bryce pulls out from a pocket the flash drives Wilhelmina took from Charles long ago.

 

CHARLES

 

I remember now . . .

 

BRYCE

 

Mother wanted you to have them when you returned.—I also have something else

 

that's yours.

 

(long beat)

 

Charles looks at Bryce, then realizes he is wearing the necklace he gave to Wilhelmina long ago. He reaches out to take it into his hand.

 

CHARLES

 

Oh, my God. You're . . . .

 

BRYCE

 

I'm your son.

 

(beat)

 

Elated, Charles begins to weep.

 

CHARLES

 

(revelation) I . . . have son.

 

BRYCE

 

Don't talk. Let the paramedics do

 

their work.

 

CUT BACK TO:

 

INT. -- CORRIDOR LEADING OUT OF THE TIME LAB

 

Young Charlie wanders the corridor looking for his Uncle Charles.

 

YOUNG CHARLIE

 

Uncle Charles. Uncle Charles.

 

George and Thomas coming down the path to retrieve their disks from the computer spot the lad and are very surprised.

 

GEORGE

 

Lord in Heaven!

 

Almost speechless, Thomas reacts first.

 

THOMAS

 

I'll get the disks.

 

GEORGE

 

I'll take the boy.

 

George, smiling with delight, goes to Young Charlie, offers him assistance.

 

GEORGE

 

Come on, little feller. I'll take you

 

to see your Uncle Charlie.

 

They begin walking down the corridor to where Charles is together.

 

GEORGE

 

Would you like some ice cream? I got

 

a quart of chocolate—nobody knows about

 

stashed away in the freezer.

 

CUT BACK TO:

 

CHARLES, BRYCE. The paramedics work furiously, but it is in vain. Charles is dying.

 

CHARLES

 

Don't leave me.

 

BRYCE

 

I'm not going to leave you.

 

CHARLES

 

(astonished, but happy, at peace) I

 

have a son. (touches him on the cheek)

 

Where's Wilhelmina?

 

BRYCE

 

She died a long ago--after you disappeared.

 

I never really knew her. I was still a

 

baby when she died. After he sold the

 

television station and became President and

 

CEO of Acceleron, Ross raised me as his

 

own.

 

CHARLES

 

What about Aunt Agnes?

 

BRYCE

 

They never married.

 

CHARLES

 

She was some looker, your mother. Just

 

like you. And stubborn. Your grandmother

 

would have been so happy to know I gave

 

her a grandson.

 

BRYCE

 

She knows.

 

CHARLES

 

She's still alive?

 

Bryce shakes his head affirmatively.

 

BRYCE

 

Yes. But she never made it to Canada.

 

She was in a terrible automobile

 

accident on her way to the airport.

 

CHARLES

 

(worried—the timeline ISN'T the same

 

as it was) What happened to Charlie?

 

What happened to--me?

 

Just then George enters with young Charlie still carrying his teddy bear. He spots his Uncle Charles hurt very badly, bleeding. He runs to him, scared, crying with grief. He flings himself onto his 'uncle.

 

YOUNG CHARLIE

 

Uncle Charles! Uncle Charles!

 

CHARLES

 

(sighing, fading, but happy, hugs him)

 

It's okay. It's okay. You're alive.

 

It's okay.

 

YOUNG CHARLIE

 

You can't die! I need you. Please

 

don't die!

 

CHARLES

 

It's okay. I have to go. Bryce.

 

Would you take him?

 

Bryce tries to take him away. But Charlie fights him with everything he has.

 

CHARLES

 

No! I won't go! You can't make me!

 

BRYCE

 

It's okay.—Take him.

 

As Bryce takes young Charlie into his arms, comforting him,

 

Charlie, after awhile, begins to calm down, but continues to cry.

 

CHARLES

 

I'm glad we met--had this time together.

 

BRYCE

 

(comforting Charles) So am I—Pop. I

 

love you.

 

CHARLES

 

Take care of Charlie for me.

 

BRYCE

 

I will.

 

Charles takes one last, contented breath as he longingly gazes into Bryce's eyes, then closes his and dies. Charles continues to cling to Bryce, crying. Bryce tries to comfort him.

 

YOUNG CHARLIE

 

No! No! Uncle Charles!

 

BRYCE

 

Charlie. I want you to come with me.

 

There's someone I'd like you to meet.

 

CHARLIE

 

Why did Uncle Charles have to die?

 

BRYCE

 

I don't know. I can't answer that. But

 

I do know he loved you very much and that

 

he wanted me to take care of you and

 

that's what I'm going to do, starting

 

right now.

 

As they prepare to leave, the paramedics prepare Charles body for transport.

 

ED

 

We'll take care of everything here.

 

EMILY

 

If you need anything.

 

Bryce nods a grateful thank-you and exits with Charlie in his arms.

 

TIME LAPSE.

 

DISSOLVE TO:

 

EXT. -- SUNNY ACRES NURSING HOME -- DAY

 

Bryce and Charlie arrive at the nursing home.

 

INT. -- CORRIDOR LEADING TO KATHRYN'S ROOM

 

As they enter, POV SHOT, Bryce sees Kathryn sitting in her rocking chair staring out the big picture window toward the gardens. A nurse is, at the moment, attending to her needs. Seeing Bryce with Young Charlie, she immediately leaves to give them some privacy with Kathryn.

 

BRYCE

 

Grandmother?

 

Slowly, Kathryn's eyes turn towards Bryce's. They are full of tears and sorrow. Her face is horribly scarred by her accident long ago.

 

BRYCE

 

I'd like you to meet someone.

 

CHARLIE

 

Is she my grandmother, too?

 

Recognizing her son's voice, her eyes suddenly light up with surprise and delight. She turns them to find her boy still alive and well—as he was long ago. She beckons the boy to come into her arms. Charlie goes to her. She hugs him for all she's worth, he hugs her back, as she cradles him in her arms and rocks him like she used to when he was just a baby.

 

BRYCE

 

Great grandmother, Charlie. For now,

 

that's all you need to know.

 

CHARLIE

 

Great grandma.

 

Kathryn looks up and smiles a smile of deep abiding peace at Bryce. Happy again, she is fulfilled knowing she has her son—her life back again.

 

KATHRYN

 

Oh, Charlie. I didn't lose you after

 

all.

 

Kathryn mouths the words, 'Thank you,' to Bryce as he kneels beside her chair. He pets Charlie lovingly.

 

BRYCE

 

I'll leave you two alone for a while to

 

get re-acquainted.

 

As Bryce exits the room . . .

 

INT. -- NURSING HOME CORRIDOR

 

. . . he walks the corridor . . .

 

INT. -- COMMON LIVING AREA

 

. . . to the common living area. He walks to the large picture window in the living room that also overlooks the gardens. He is at peace, knowing he has finally met his true father.

 

(beat)

 

As he stands gazing out toward the skies, a pair of gentle, loving arms wrap around him. He caresses them back lovingly and smiles. IT IS WILHELMINA NOW IN HER SIXTIES. She gives her son a gentle kiss.

 

BRYCE

 

God, forgive me. I lied to him, Mother.

 

I told him you had died a long time ago.

 

WILHELMINA

 

I did—when he never came back for me--us.

 

But now, I understand why. It's just as

 

well. He was never really mine anyway.

 

And now he belongs to God.

 

BRYCE

 

We will see him again someday.

 

WILHELMINA

 

In this brave new world--and with your

 

faith, I don't doubt it one day we shall

 

my baby.--I don't doubt it one bi--at all.

 

Wilhelmina smiles contentedly as she loves her son and he her.

 

CAMERA SHOT: YOUNG CHARLIE BEING GENTLY ROCKED IN KATHRYN'S ARMS.

 

AS Wilhelmina and Bryce, together, remain fixed on the garden at the window . . .

 

CAMERA FADES OUT.

 

THE END

 

 

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