V: Episode One “Liberation Day” Written by Paul Monash Final Draft: July 10, 1984 © Warner Bros. Inc. Cast: Mike Donovan Julie Parrish Martin Diana Elias Robin Elizabeth Ham Robert Maxwell Nathan Bates Keith Chavez (V.O.) Secretary (V.O.) Worker Country Boy Sergeant Reporter (V.O.) Moscow Reporter Jerusalem Reporter L.A. Reporter Woman Reporter Anchorman Sets: Int: Ext: Mother Ship Skyfighter Mountains Mother ship Clearing Master Control Rocket (Stock) Docking Bay Moscow (Stock) Lab Red Square (Stock) Donovan’s House Jerusalem Parade (Stock) Living Room Club Creole Helicopter Maxwell Ranch Bates Science Frontiers Elizabeth’s Bedroom Bates’ Office Helicopter Donovan’s Corvette Bates Science Frontiers Courthouse Donovan’s Corvette Garage Los Angeles Street Maxwell Ranch House Courthouse Den Roof Elizabeth’s Bedroom Quonset Hut Quonset Hut Field 4x4 Trees Cave Sunrise (Stock) Mount Monash Side of Road Guardhouse Sky Observatory Abandoned Jeep Observation Room Another Road Second Doorway Rugged Terrain First Doorway Cave Entrance Storage Room Mount Monash Guardhouse Observatory Area Near Dish Parking Lot Act One: Fade in: (After Reprise…) Ext. Mother Ship—Day Diana’s skyfighter is spit out of the Mother Ship. Int. Skyfighter—Day Diana looks back at the Earth. Int. Mother Ship—Master Control—TV Monitors—Day Flashing different pictures of activity all over the world. Donovan: Martin…take us home. Martin smiles, salutes, then suddenly— Donovan reacts to something off screen: She’s getting away! Com on! Angle on Diana in skyfighter She continues to make her escape. Back on Donovan and Julie As they start toward the docking bay, Julie spots Elizabeth just as the child starts to collapse. Instinctively, Julie rushes to the little girl’s side. Julie to Donovan: You go after her. I’ll stay with Elizabeth. With a nod of his head, Donovan races out through the escape hatch on the dead run. Closer on Julie and Elizabeth As Julie checks the little girl’s pulse, Elizabeth’s eyelids flutter open. Julie: Lie still…You fainted…Everything’s going to be all right. As Elizabeth smiles weakly, we go to: Int. Docking Bay—Day As Donovan climbs into a skyfighter and shuts the hatch behind him. On Donovan in cockpit He quickly straps himself in, adjusts the controls, and blasts off. Ext. Mother Ship—Day As Donovan sweeps away from the ship. Int. Donovan’s skyfighter—Day He is working the controls, his eyes fixed on: His POV—Diana’s skyfighter A dot in the sky. It is doing a looping turn and: Int. Diana’s Skyfighter—Day Diana, looking back and down, can see Donovan’s ship racing toward her. Series of shots—aerial dogfight In essence, what happens is this: Diana starts by taking evasive action; Donovan narrows the gap no matter what she does; Diana turns on Donovan, ripping at his ship with her lasers; Donovan rips at Diana with his lasers; Diana’s ship is hit; Diana’s ship, wobbling, begins to fall toward Earth; Donovan is following her down. Ext. Mountains—Day Diana’s ship, followed by Donovan’s, is heading toward a clearing. Resistance Fighters A couple of rugged fellows, who have witnessed the air battle, leap to their feet as the ships plunge toward them. Ext. Clearing—Day Diana’s ship hits with a jolt. But immediately the hatch starts opening, as: Donovan’s ship It comes down hard, and the hatch also begins to open. Diana She leaps from her ship, twists her ankle, falls. Donovan He hits the ground hard, but stays upright, running toward Diana. Resistance Fighters They top a ridge, looking down at; POV shot—Downward—Diana and Donovan Donovan is running after the limping Diana. Resistance Fighters They come running down the ridge, toward where: Diana and Donovan Diana is turning, picking up a large rock, hurling it at Donovan, who dodges it, throws himself at her, knocking her down. She knees him, twists him around with superhuman strength, and suddenly Donovan is face to face with Diana. Her eyes begin to glow lizard red. Resistance Fighters They are about a hundred feet away now. They stop. The first begins to raise his rifle. Diana and Donovan Driving her fist into his throat, Diana pulls free and starts to run. Recovering, Donovan starts after her only to see: Resistance Fighter—Zoom A very fast zoom on the marksman as he aims his rifle. Donovan—Close Donovan: Don’t shoot! We hear a loud bang. And we see: A Rocket (Stock) Exploding in a great multicolored burst against a dark night sky. And then another and another, and with this we hear: Reporter (V.O.): Breathtaking…For those of you joining us late, the picture on your screens is coming to us live via satellite from Beijing, where it is already night on this, the first anniversary of Liberation Day—the day the Visitors were driven from Earth never to return… As the explosions continue into the night sky, we go to: Int. Club Creole—Day The cork of a champagne bottle has been popped by Willie and his is pouring for a female reporter, who looks West Coast with nice straight blonde hair and nice straight teeth. As she takes up her glass, she is saying: Meanwhile, here in Los Angeles where it is early afternoon, I am at the Club Creole… Angle to show club The place is jumping. This is a party. Lots of streamers. A combo beating out some Caribbean music. A terrific-looking brown-skinned woman at a piano. And we can spot Elias, dressed in a white suit and wearing a trademark white Panama coming toward camera. L.A. Reporter: Where Elias Taylor, one of the Resistance heroes, is hosting this Liberation Day celebration in his new and already successful cabaret. Elias: Thanks for the plug. Reporter: From what I can see, the year since Liberation has been kind to you. Elias: I have been very fortunate, Wendy. As you know, I was asked to be the technical advisor on the movie “Lizard-Kill!” Along with the money I got for becoming spokesperson for Top-Kick Boots, I was able to open my own place. Reporter: And what a place it is. As anyone visiting the L.A. area can readily attest, the Club Creole is the place to go. But tell me, Elias, do you ever miss the camaraderie, the esprit de corps of being a member of the Resistance? Elias: (a bit nostalgic) We had some times. And I’d like to say to any of my buddies out there—you ever need a helping hand, you know where to come. Reporter: And I’m sure they will. But now let’s go “live” directly to the captured Mother Ship for a look at what scientific progress has been made in this year since Liberation. Take it away, Dirk Small. As Elias returns to his party, we go to: Int. Mother Ship Control Room—Day Anchorman Dirk Small stands, microphone in hand, on the bridge of the Mother Ship. Beside him are Julie and a distinguished-looking man in his early fifties named Nathan Bates. Tanned and massive, Bates’ power and wealth make him one of the most formidable human beings on the face of the Earth. Small: Thank you, Wendy. I’m standing here beside two of the key people working to unlock the secrets of the Visitor Mother Ship captured during the final battle a year ago: Nathan Bates, head of Science Frontiers, and former Resistance leader Dr. Julie Parrish. I want to thank you both for agreeing to speak with us. Bates: At Science Frontiers we see ourselves in the business of helping others. Angle to include Donovan and Martin As the interview continues, we realize that the cameraman is Mike Donovan. Martin acts as his soundman. Small: A modest description considering Science Frontiers was the mass producer of red dust bacteria for the Resistance. What convinced you to take such an enormous risk? Bates: (smiles) Dr. Parrish. She can be extremely persuasive… It is not so much what Bates says as the way he says it, his eyes all but devouring Julie Parrish. As Bates continues, we zoom slowly in on Donovan whose annoyance mounts. Bates: (O.S.) That’s why I placed her in charge of the Mother Ship project from the moment the government awarded us the contract. The Visitors were an advanced culture. I have every confidence Dr. Parrish will succeed in unlocking their mysteries. We have a very special working relationship. With Donovan’s face filling the frame, we go to: Ext. Ranch—Day Elizabeth is riding a very white horse over a green field, coming toward camera. As she approaches, angle includes Robin and Robert Maxwell who stand in front of a modest ranch house watching the star child. In contrast to her child’s pastoral innocence, Robin is troubled. Robin: She worries me. Robert puts his arms around his daughter: Robin… Robin: I love her…but she seems so—distant. Robert: She’s still learning about human emotions. Give her time. Robin: Look at her. A child riding a horse—the picture of innocence. Robin turns to her father: But she’s different. And she’s changed our lives. Nothing will ever be the same… Robert: I know. But the worst is behind us. Maybe you ought to take a couple of days and go up to Santa Cruz like you planned. Robin: Are you sure you can manage…? Robert: Of course I can. Elizabeth and I will be fine… In the b.g. there is a rhythmic sound as Robert abruptly breaks off, moving past his daughter with: What’s that…? Robert’s POV—Helicopter A helicopter is spiraling toward the field where Elizabeth sits her horse. Elizabeth She looks up at the approaching helicopter. Its shadow falls across her. Helicopter As it circles about a hundred feet above the ground, we can see the markings of a TV station. Int. Helicopter—Day Beside the pilot is a TV cameraman, aiming his camera downwards. A woman reporter is next to him, talking into her mike. Woman Reporter: (excited) That is Elizabeth…the star child…half human, half Visitor…down there… She looks at the cameraman, who nods asssent; he’s got her. Woman Reporter: We’re going in closer…we’re going to try to land and talk with Elizabeth… Ext. Ranch House—Day Robert and Robin react to the helicopter. Robert: They promised…it was promised. Robin: No!…Why won’t they leave us alone? Int. Helicopter—Day It is descending. Elizabeth She pulls up the horse, turns toward Robin and Robert. Recognizing her mother’s distress, Elizabeth turns back to the helicopter, focuses on it. Her power begins to surge, yet she remains afraid, uncertain as though she is not totally in control of the forces within her. Ext. Helicopter—Day The helicopter is buffeted, as though by a furious win and driven upwards. Int. Helicopter—Day Panic Woman Reporter: (O.S.) Something is…happening. We’re being pushed…Do something…! Robert Runs to Elizabeth, Robin right at his heels. As they reach the little girl, they find her afraid and confused by what she has just caused to happen. Robert takes her from the horse and holds her close as Robin gently strokes the child’s brow. As the helicopter disappears from sight Robin holds her father’s troubled look with one of her own and we cut to: Int. Mother Ship—Passageway—Day The interview with Bates and Julie is over. Martin is waiting for Donovan to finish wrapping up his gear as Julie hurries toward them. Martin: I think I’m finally getting the hang of this job. Donovan: Another six months and you’ll be the best soundman on the coast. Julie: Mike, wait… Martin: (to Donovan) I’ll see you outside. Martin exits as Julie reaches Donovan’s side. Julie: (forcing a smile) I’m sorry things happened so fast in there. I was hoping we’d get a chance to talk before the interview started… Donovan: Really? I guess I didn’t notice. Julie (reacting): Is everything all right? Donovan: Fine, fine. I can see now why you’ve been spending so much time on the project. Julie: Mike— Donovan: ‘We have a very special working relationship.’ I bet. Julie: That’s unfair. I work for Nathan Bates, nothing more. He’s a very powerful man. Donovan: I saw him. He could barely keep his hands off you. You’re never home— Julie: I’m never home? What about you? Between your job and your son, where do I fit in? Donovan: Don’t go bringing Sean into this. He needs me. Julie: So do I. Her words catch Donovan off-guard. By her tone, she clearly means it. By his look, he feels the same way. Donovan: I know. (draws near) I need you, too. They look at each other for a long beat, then kiss. Donovan: Listen, as soon as Sean is settled in this new school things will be easier. Julie: I don’t know. Ojai’s pretty far away. Donovan: It’s only temporary…he just needs time to adjust. Julie: Mike, I went through the conversion process, too, remember? If he’d let me, I’d try to help him. Donovan: Thanks, I’ll mention it. (beat) You know, for a scientist, you’re pretty nice. Julie: Then why are we always fighting? Donovan: Because it’s more fun making up? Without warning, Donovan sweeps her off her feet. Julie: (laughing) Put me down! What are you doing? Donovan: Haven’t you heard? It’s Liberation Day…and you’re about to be liberated. As her laughter echoes down the corridor, Donovan carries her off and we go to: Ext. Bates Science Frontiers—Night To establish the impressive headquarters of Nathan Bates. Int. Bates’ Office—Tight on Large Video Screen The last shot of Elizabeth before transmission was cut off fills the screen. As the little girl looks toward the camera in terror, the image is turned abruptly into the static. Instantly, the static is replaced by a close shot of TV anchorman. Anchorman: And that’s the way it was this afternoon when we attempted a live interview with the star child. We’ll have more on this later. But now let’s go to Keith Chavez and a report on the upcoming trial of Diana. Int. Bates’ Office—Night Nathan Bates is seated at a very large desk in a very large office overlooking the lights of Los Angeles. His eyes are fixed on the same large video screen where we now see a shot of a courthouse and hear: Keith Chavez: (V.O.) Not since the Nuremburg trials of World War II has there been this kind of international… A buzz emanates from the desk phone and Bates uses a remote control device to mute Keith Chavez. The picture remains on the video screen. Secretary: (V.O.) Mr. Tyler is here, Mr. Bates. Bates: Send him in. The door opens and Ham Tyler enters Ham As Ham crosses the large, impressive office—which doesn’t appear to impress Ham—he comes to a chair placed in front of the desk. Including Bates Bates smiles graciously. Bates: Sit down, Mr. Tyler. Ham sits down. Bates: I thought you might be celebrating Liberation Day. Ham: I ended the celebration a year ago. Bates: And got right to work. Ham: (concisely) I got to work. Bates: How would you like to work for me? Ham: Doing what? Bates: Doing what you do, Mr. Tyler. Providing security for the highest bidder. Ham: Meaning you? Bates: Meaning Science Frontiers. You know about our company? Ham: Of course. You manufactured the red dust. And now you’re studying the alien technology. Bates: My hope is that from this terrifying invasion, mankind will reap some benefits. Ham: While you reap the profits. Bates gives him a look, then gets up from his desk. As he crosses in front of the video screen we see a shot of Diana on TV. Bates: Tell me, Mr. Tyler, what would you do with Diana? Ham: Use her for target practice. Bates picks up a suitcase and places it on the desk in front of Ham. Bates: Then you reject the argument that she can atone for her crimes by helping us in our fight against disease? Ham: She is the disease. Bates: Yes, but if we take Diana’s life in vengeance we’ll be condemning millions of people to death because we won’t have the knowledge she can give us. Remember, the Visitors offered us a cure for cancer. Ham: You’re wasting my time. Bates: On the contrary, Mr. Tyler. I’m offering you the opportunity of a lifetime. Bates opens the suitcase. It contains $500,000 in cash. Ext. Donovan’s Car—Day It’s the next day. Martin rides alongside of Donovan who is at the wheel of his Corvette. Donovan: (V.O.) Any qualms about covering Diana’s trial? Int. Corvette—Day It is piled high with a video camera and sound equipment. Martin: None. But trying Diana still seems like a waste of money. Donovan: Martin, we’ve been through this a million times. In a democratic society a person is innocent until proven guilty. Martin: That’s nonsense. Society needs controls. Capital punishment is one of those controls. Diana should be wiped off the face of the earth. You don’t know her like I do, Mike. She’s a threat as long as she lives. Donovan: I happen to agree. But until that’s proven in court… (Donovan shrugs) Martin: There’s much I admire about humans, Mike, but in this case I think your principles are taking a back seat to your common sense. Diana doesn’t deserve justice. She deserves death. That is what is just. Suddenly Martin’s watch begins to flash red as an alarm sounds. Donovan: What’s that? Pill time? Insert—watch Martin turns off the beep and resets the watch to twelve. Martin: Yeah. Every twelve hours for the rest of my life… Donovan: Damn Nathan Bates and his red dust. Martin (stoic): Everything has its price. Martin takes a vial out of his pocket. He sprinkles the contents into his palm. He’s down to his last two pills. As he pops one: Donovan: Is that all you have left? Martin: It’s okay. Just remind me to pick some up on the way home. (beat, smiling) Or you’ll be looking for a new soundman. Ext. Maxwell Ranch—Day Robert places a suitcase in the trunk of a Sedan and shuts it tight. Robin stands next to him, jangling her keys. She speaks quietly, with an unmistakable trace of guilt. Robin: I’ll call as soon as I get to Santa Cruz. Robert: Have a good time. Robin: I will. Robert: And don’t worry about Elizabeth. She’s in good hands. Robin: I know. Grandpa. They smile and embrace Robert: Did you say goodbye to her? Robin: She was napping. I didn’t want to wake her. I gave her a kiss. Elizabeth comes out of the house, sleepy-eyed. Elizabeth: Where are you going? Robin: (guilty) Ah. Mommy’s going away, sweet heart. Elizabeth: Will you come back soon? Robin: In a couple of days. Grandpa will take care of you. Elizabeth: Oh. All right. Robin: (emotional) I’ll miss you, Elizabeth. Elizabeth reaches for her mother and embraces her tenderly for the first time. Robin, in tears, pulls the child close to her. After a beat, Robin kisses Elizabeth, then releases her and climbs into the car. She starts it quickly. Robin: You be a good little girl. A moment. Then Robin reaches for Elizabeth. Takes her in her arms. For a couple of seconds, Elizabeth is almost rigid. Robin looks hopelessly at Robert. Robert starts to turn away. And suddenly Elizabeth puts her arms around her mother. Elizabeth: I’ll miss you, Mommy. Robin and Robert exchange looks. A breakthrough? Cut to: Ext. Los Angeles Street—Day A van is rolling through empty streets—streets that have been cordoned off. Before and behind and beside are uniformed escorts, sirens blaring. The van is windowless, sealed. Ext. Courthouse—Day The van pulls into a side entrance of the courthouse, going into an underground parking garage. A small crowd has gathered; they scream and make angry gestures. Ext. Courthouse Parking Structure—Day Donovan and Martin are part of a media swarm waiting for the arrival of Diana. The van pulls up. The crowd reacts to the presence of this century’s most pernicious villain. Donovan: (to Martin) Ready or not…here she comes. The van comes to a halt and the rear is opened by two uniformed guards. As Diana emerges, in her Visitor’s garb, wearing a protective breathing device, a group of reporters, cameramen, photographers breaks through police lines. Diana is hustled toward a guarded elevator as a photo flashes. Then another. Then a barrage as the newspeople fight for a look at Diana. Amid the confusion we see: A Gun Raised along the side of a photographer’s camera. It fires and the sound reverberates through the crowd. Donovan A moment of alarm. Together with Martin he tries to push closer. Diana She clutches her chest as though hit by a terrible blow, and despite the guards’ efforts to hold her up, she sinks to the ground. Fade Out End of Act One Act Two Fade In: Ext. Courthouse Parking Structure—Day A whirlpool of media people and security engulfs the fallen Diana. Pandemonium—pure and simple. The media people are tumbling over one another. Including Donovan and Martin. Ad-libs of: “She’s been shot”… “Who did it?”… “Lemme in there”… (and anything necessary to clarify the situation). A couple of burly ambulance attendants push through the crowd toward Diana. Angle—Donovan Donovan looks toward the ambulance, parked toward one corner of the garage. Angle—Attendants The ambulance attendants carrying Diana on a stretcher toward the ambulance. Angle—Donovan Donovan, among others, is filming all the time. Diana is loaded into the ambulance. Donovan: Follow Following Donovan and Martin Donovan and Martin run toward their car. There is absolute confusion. Cars are pulling out, to follow the ambulance, which is speeding out the exit. As Donovan and Martin reach their car, they hear a crash. Angle—Two Cars They have collided at the exit, blocking it. Sound of car horns blaring. Angle—Media People Trapped, frustrated, trying to get out. Another Angle—Security and Media Personnel Mass confusion! Angle—Donovan and Martin Donovan: Come on! With Martin as he hastens toward: Angle—Helicopter There, from the TV pool. The pilot stands watching the confusion. Donovan and Martin run to the helicopter, clamber in. Start the engine. Angle—Pilot The pilot runs up, shouting. Another Angle—Helicopter (Including Pilot) Helicopter takes off. The pilot is almost blown down by the gush of air. Int. Helicopter—Day Donovan levels out the helicopter. Martin: For stealing this, what will they do to you? Donovan: Plenty. But it’ll be worth it. Where’s that ambulance? Ext. Los Angeles Streets—From Helicopter—Day No sign of the ambulance. Int. Helicopter—Day Donovan banks. Ext. Helicopter—Day And the helicopter maneuvers between buildings in the downtown area. Int. Helicopter—Day Donovan searching. Angle—from Helicopter No ambulance. Angle on helicopter Flipping around a building. Donovan Looking down, and seeing: Ambulance—from Helicopter Racing into an area under a freeway (such as the Grand Street exit of the Santa Monica Freeway). Donovan He banks lower. Ambulance—from Helicopter Now the ambulance reappears, racing southward. Donovan He starts to follow it, and then noticed: Truck—from helicopter It’s going north, exactly opposite to the direction taken by the ambulance. Donovan and Martin Donovan turns to Martin, shouting over the noise of the rotors. Donovan: That truck… Martin: Truck? Donovan: (pointing) There! I didn’t see it enter the underpass. Did you? Martin: No. Donovan: Then it was there. Waiting there. Martin: I don’t understand. What are you saying? Donovan: It’s what I’m thinking. If something doesn’t smell right, kick it over. See what you got. We’re following that truck. He banks the helicopter. Helicopter It spins around, in the direction taken by the truck. Cut to: Mother Ship—Establishing—Day (Same Time) On the ground. Lights are on. It’s being dissected. Int. Mother Ship—Lab—Day Julie is working in the lab. Sound of phone ringing as worker runs in at the same time. He rushes to the bank of TV monitors and turns one on. Worker: Diana’s been shot! Julie: What? Julie picks up the phone. Julie and Bank of televisions Chaos. TV blares out the news. An instant replay of the assassination is being shown. Julie talks into the phone as the reporter’s O.S. voice redefines the violent choreography. Julie: Hello! Reporter: (V.O.) Julie is trying to hear and watch at the same time. There she comes. Diana looks confident. Julie: Robert? Yes! I’m watching Confident she’ll be acquitted of crimes it now. It’s madness. against humanity. There’s even a hint (beat) of a smile on her face. There! In slow Did the assassin get away? motion is when she raised her arm, and (beat) you can see the bullet hit just below God knows everything on this planet had a reason her heart… to kill her. Intercut with: Int. Maxwell Ranch Den—Day (Same Time) Angle—Robert TV in b.g. He is on the phone. He turns back to: Elizabeth She’s scratching her arm. She pulls away a piece of skin. Robert: (into phone) It’s Elizabeth. She’s…I don’t know…peeling and breaking out in hives, but they don’t look like anything I’ve ever seen. Elizabeth She moves to her grandfather. Elizabeth: It itches. Robert: I’ll get something for it, honey. Intercut with: Julie: Does it look serious? (beat) Robert, I’d come out if I could. But when you work for Nathan Bates, it’s got to be nothing short of an emergency. (beat) Okay, I’ll come. She hangs up. Angle—Including Bank of TV Monitors Julie stares at it for a moment. She moves quickly. Int. Maxwell Ranch House—Day Robert and Elizabeth She looks up at her grandfather and begins to cry. Robert takes her in his arms, and through her tears: What is happening to me? Robert: It’s going to be okay, sweet heart. It’s going to be okay. Close on Elizabeth’s arm The hives look very much like lizard skin. Cut to: Ext. Quonset Hut—Dusk The truck is lurching over a rough road, hardly more than a track, toward the quonset hut, which is buried deep in woods. Another angle A couple of rusting pieces of machinery lie about; the place looks as though it was abandoned years before. The truck jolts to a stop. Its back opens, dropping a ramp. Inside the truck is an ambulance. Immediately, it maneuvers down the ramp. As soon as it is stopped in front of the quonset hut, the ambulance attendants open its door to remove Diana, who is still wearing her protective apparatus. Now Ham comes into shot. He looks down on Diana. Diana She is unconscious but alive. Ham He looks at her with loathing. Then he cocks his head, alert. He’s heard a sound. Flapping wings (helicopter) in the distance. It dies down. He relaxes. Ham: (to attendants) Take her in. Ext. Field—Night The helicopter lands. The whirring blades is what Ham thought he heard. Donovan and Martin jump out. They move through the field. Donovan: That hut’s a good mile beyond those trees. Martin: What do you think has happened? Donovan: I’m not sure. It could be a switch. Martin: Switch…? Donovan: Everyone thinks she’s going one place, but she’s going another. Martin: What for? Donovan: Who knows what for? Maybe they want to cut her up to see what make her tick. Martin: If she’s still breathing, your world is at risk. Donovan: If she’s alive, it’s the story of a lifetime. Martin: If she’s still alive, she must be killed. Donovan: You don’t touch her, Martin. Martin: Are you crazy, Mike? She almost destroyed your whole planet. One person. How can you look into the face of evil and forget? Donovan: I haven’t forgotten. But if she’s alive and there’s been a switch, we may be onto something that will make Watergate look like a childish prank. Until I can prove it, Diana stays out of the microwave. Understand? On Martin’s nod they move through trees. Ext. Elizabeth’s Bedroom (Maxwell Ranch)—That Night Elizabeth sits in front of the mirror looking at her arm. The room is dark save blue shadows which cross cut the room, turning it into a silent unearthly ward where Elizabeth faces her nightmares. The hives are pulsating. Cut to: Int. Quonset Hut—Night Eerie. In the center of the quonset hut is an hermetically sealed inner room, a rectangular bubble. Two guards stand outside the bubble. Moving toward it we see Diana, distorted behind the translucent shell, sitting in a steel chair. Suddenly: Bates: (O.S.) Good evening, Diana. Diana moves towards camera. Her protective membrane giving her an otherworldly look, an alien in transparent aspic. Bates is outside the cage, with Ham off to the side, watching and listening. Diana glances at him and turns her attention to Bates. Bates: My name is Nathan Bates. I have been in charge of exploring your technology. A losing proposition—so far. Diana glances toward Ham before looking again at Bates. Diana: What is this all about? Bates: (indicates bag) You’ll find a change of clothes in there. Make yourself comfortable. Diana: Why are you so concerned with my comfort? Bates: Because you’re more valuable alive than dead. Things of value should be taken care of. Another glance at Ham. Diana: So…? Bates: We arranged your ‘assassination’—a tranquilizer dart. Diana: (ironically) How thoughtful. But the court… Bates: Guilty, Diana. Of genocide, crimes against humanity, and…oh yes…cannibalism. The whole world was clamoring for your death as a loathsome and dangerous creature. Diana: Flattery…flattery. (moment) What do you want? Bates: I will keep you alive. I will provide…let’s call it lodging for you. And appropriate food…non-human, of course. Diana: And in return? Bates: You will share knowledge with us. Cures for disease. We’ll start with cancer. Diana: I cure the ills of the world and you take the credit. Bates: That’s our deal. Ham: Or I could turn you into a pair of shoes. Diana: Still crude, Mr. Tyler. [really says Taylor—must be typo] (beat) My options seem limited. Bates: Very. Diana: As well as my space. Bates: If you cooperate, you could live outside, under guard of course. Diana: (interested) Oh? How? Bates holds up the antidote for the red dust. Bates: One of my companies controls the manufacture of the red dust and the antidote. That is how the Visitors like Martin and Willie have survived. You can, too, Diana. (a beat) I will be back for your answer. Bates exits with Ham. Ext. Quonset Hut—Night Bates and Ham emerge. Ham looks back at the hut. Ham: Remember our little bargain. Bates: When there’s no more she can give us…What about the assassin? Ham: Already out of the country. They go toward a waiting car. Ext. Trees—Near Quonset Hut—Night Donovan and Martin drop down into the high grass. We hear a car driving off. Martin: I hear a car…driving away… Donovan: Can’t see it. (starts moving forward) Careful. They edge to the rear of the hut, carefully peer in. Angle—Quonset Hut—Night Through the window, the hermetically sealed tent can be seen. Diana paces. Angle—Donovan and Martin Martin is holding the camera. Donovan: There she is. All sealed up in somebody’s pocket. Hand me the camera. Angle—Martin He slams it down on Donovan’s head. Angle—Donovan He drops. Angle—Martin and Donovan Martin: I’m sorry, Mike. Quick cut to: Int. Elizabeth’s Bedroom—Night Angle—Door A pool of light breaks the monotony of night shadows. Julie and Robert in the door. Angle—Elizabeth She sits up in bed. Robert and Julie come into frame. Julie: Hi, honey. She strokes the child’s head. Elizabeth tries to smile. Julie: Can I see your arm? Elizabeth holds it out. The hives spread before our eyes! Julie and Robert They try not to look concerned. Julie: Robert, get me some ice. Robert exits. Julie sits with Elizabeth Int. Quonset Hut—Night Martin stands at the window, a man committed. Resolute. Picking up a rock, he tosses it against the far end of the hut, then crouches beside the door. Momentarily, the door opens as one of the guards steps out to check out the disturbance. Martin hits him with all the force of a man on the final mission of his life. The face is blank of emotion. Martin reaches into a pocket of his Windbreaker. The camera follows this action…he removes something: A Visitor’s laser gun. Then he opens the door of the quonset hut. Int. Quonset Hut—Night Angle—Second Guard The translucent tent containing Diana is in the b.g. The second guard turns, but before he can act: Angle—Martin Martin: Drop it…! Angle—Guard He drops his weapon. Angle—Guard and Martin Diana in b.g. Martin moves to Diana’s tent. For an instant it almost appears as though he may set her free. But holding her stare with one of his own, he raises his left foot and, in a single blow, rips the tent asunder. Diana: (horrified) Traitor! I can’t breathe that air! Martin: Suffocation takes too long. I’m going to do the job right. Diana: No! Martin, listen to me… She backs off into the center of the tent. Martin He watches the guard as he moves closer to the torn entrance to the plastic tent. Martin: You’re a destroyer, Diana. An evil. A sickness. Everything you touch dies. You don’t bargain with a pestilence, you wipe it out. Martin raises his weapon. Angle—Guard He kicks a chair at Martin. It hits Martin’s gun hand. The laser gun flies into the now no longer sealed tent. As the guard leaps on Martin attempting to force him down, suddenly, a shadow falls over them. Angle—Diana She is holding the laser gun on them. She smiles. Diana: Martin, you have something I want. Freeze frame. Fade out. End of Act Two Act Three Fade In: Ext. Maxwell Ranch—To Establish—Night Int. Maxwell Ranch—Night Robert paces the room, worried. Hearing footsteps, he turns, expectant. New Angle Julie comes out of Elizabeth’s bedroom. She is deep in thought. She closes the door, removes a stethoscope from her neck. Robert: Julie…what is it? What’s wrong with her? Julie? Julie: She’s sleeping…fitfully, but asleep. The rash has peaked…but now she’s retaining fluid…and…she has …a temperature…(disbelieving)…120 degrees. Robert: My God— Julie: (nervous laugh) I had to use my lab thermometer…the medical one doesn’t even go that high… Robert: We’ve got to get her to a hospital. Julie: I’m…not so sure. Robert: Julie, you can’t be serious. Julie: A hospital will take drastic steps to lower her temperature…ice baths, transfusions, you name it. But what if that’s a mistake? Robert: A mistake? The mistake is standing here and talking when that little girl may be— He tries to go to the bedroom. Julie blocks his way. Julie: Robert, you listen to me. Elizabeth’s physiology is totally unique. Outside of that incredible temperature, all of her vital signs are well within normal range. That could mean that—for Elizabeth—120 is a normal infection fighting level. If I bring it down by artificial means, I could be doing more harm than good. Robert: Julie. What if…what if she’s not fighting an infection…all these symptoms could be a sign of something else…of…(finally, reluctantly)…an imminent metabolic change. Julie: (too quickly) I really don’t think that— Robert: You mean you don’t WANT to think. Neither do I. But what if she’s starting to turn into…(pause)…into one of them? A long, long pause as they both consider that…then we— Cut to: Ext. Quonset Hut—Night Tight on a flame which fills the screen. Camera pulls back and we see that the quonset building is demolished, fire licking at its windows from within. Close on Donovan He’s face down on the ground, a set of raw tread marks in the ground near him the only indication of the now vanished Jeep. Donovan stirs, shakes his head. Still groggy, he starts to rise—and then a green clawed hand reaches into the shot, clasps his wrist. Donovan reacts, turns. New Angle The hand is Martin’s. The false skin covering—and the sleeve—have been ripped away to his elbow. Smoke and soot mark the rest of his clothes. Martin painfully drags himself closer as Donovan tries to aid him. Martin: (with difficulty) Mike…Mike…she’s gone…Diana’s escaped…and it’s my fault, Mike, it’s my fault… Donovan takes off his own jacket, covers Martin. His hand comes up from this act covered in green blood. Donovan: (anguished) No, Martin. Don’t think that…it wasn’t your fault… Martin:…But you trusted me…and when your back was turned I… Donovan: Martin, don’t blame yourself. You hated her too much, that’s all. And someone else…whoever arranged all this…they didn’t hate her enough. But you’ll get what you wanted. She can’t survive on Earth. The red dust in the air will kill her. She’s finished. Martin painfully pulls himself up, hands something to Donovan. It’s an empty pill bottle. Donovan: (realizing) Oh, no…the antidote? Martin: (nodding) She took my last pill…she’s safe for twelve hours, Mike…she’s got twelve hours…twelve hours to…to… Donovan: To what, Martin? To what? Martin, what’s she going to do? Where’s she going to go? Martin struggles to speak, but only a whisper comes out. Donovan leans closer to his friend, and Martin suddenly finds the strength to pull him even closer. With his dying breath Martin says something…he points into the sky…Donovan turns to look…and sees the hand falter and drop, lifeless. Donovan allows himself a moment to grieve. And then he stands, quickly exits. Cut to: Ext. Maxwell Ranch—Night Robert: (V.O.) I can’t take this, Julie… Cut to: Int. Ranch House—Night The vigil is continuing. Both scientists look haggard, worried. Robert: What if we’re wrong? What if she’s dying, and we’re doing nothing about it? Julie: All right. Let’s give the fever one more hour to break. If it doesn’t, we’ll have to— That’s as far as she gets. They both react at an offstage crash. It’s from Elizabeth’s bedroom. Julie and Robert rush to the door, open it. Int. Elizabeth’s Bedroom—Section—Night The window is shattered. The wind blows the curtains into the room. The bedcovers are thrown back and empty. The two adults race to the window, look outside. Ext. Maxwell Ranch—Their POV Elizabeth’s form can be seen, running towards the stables. She stumbles, regains her balance…mounts her pony and gallops off into the darkness. Back to Scene Julie: She must be delirious! Take the blankets and follow me! Robert strips the bed. Julie grabs her medical bag and they both rush outside. Ext. Maxwell Ranch—Night The wind has picked up. Robert and Julie are silhouetted as they come out of the house. They get their bearings, rush off. Ext. Sunrise—(Stock) Over the dawn of a new day we hear the sound of a grinding automobile engine. The sound continues as we— Cut to: Ext. Side of Road—Day The Jeep from the quonset hut is here, its hood thrown up. Under the hood is Diana. Her hair is pinned up and she is wearing a shirt stolen from one of the Bates security guards. It is tied at the waist and its patches have been torn off. She beats at the engine with a wrench, frustrated. A voice: Got a problem, little lady? Diana whirls, the wrench held ready… Another angle A good old boy is standing a few yards away, his beer belly precariously held back by a Western belt, a baseball cap on his head. Good Old Boy: (voice) Lessee. Maybe I can help ya. Diana watches cautiously while he moves to the Jeep, pokes his head under the hood. Good Old Boy: Women just never get the hang of this. Diana: Yes, we’re so helpless. Good Old Boy: Ain’t that the truth? He comes out from under the hood. Good Old Boy: Nothin’ wrong at all…(that kind of grin)…’cept you’re outta gas, little lady. Diana: Out of gas? Is there a…supply depot…?j Good Old Boy: A what? Diana: Supply…you know… Good Old Boy: You mean, a gas station. Diana: Yes, of course. Good Old Boy: ‘Supply depot’! He looks at her narrowly for a moment, and then decides to laugh. Good Old Boy: We can get you gas about ten miles up the road. I’ll give you a lift. And he gestures towards: Across the road—Good Old Boy’s Wheels A gleaming 4x4 with every bell and whistle. Back to scene Diana’s eyes take in the 4x4. She visibly relaxes, softens her attitude. Diana: Why, how very kind of you. Thank you. She reaches into her driver’s window, takes out a bundle we recognize as her uniform. Good Old Boy: Honey, the pleasure’s all mine. Diana looks him in the eye, smiles, laughs softly, knowingly. That does it. He leads her to his 4x4, putting his arm around her waist as he does. Diana playfully slaps his hand away. He boosts her into the passenger side, managing to touch her bare midriff as he does. He hesitates, reacts. Good Old Boy: Hey. Your skin’s like ice. Diana: (smoothly) I know. I get these terrible chills. Good Old Boy: (suggestively) Maybe I could warm you up. Diana: (a hungry smile) Funny. I was just thinking the same thing. Good Old Boy can’t believe his luck. He runs around to the other side of the car, hops in and roars off. The camera pans the 4x4 offscreen, then holds on a highway direction sign. It reads: “Mt. Shannon Radio Telescope—14 Miles.” Cut to: Ext. Science Frontiers—Day Ham: (V.O.) She’s loose, Bates. Cut to: Int. Bates’ Office—Day Ham is at the door of Bates’ office.