Comic Script – Helmet (an alien noir)

the truth would be literally nothing but the shadows.
– Plato, The Republic

EXT. FOREST NIGHT
Redwood trees, lit by moonlight, tower over a clearing. A boy wearing pajamas stands in the center. He’s looking up. At what we do not know.

A beam of light hits him. The boy is frozen for a second but then bolts out of the clearing. Crashing through the underbrush, the kid moves fast. The beam of light moves behind him, not really chasing but keeping pace. Watching.

Darkness. The light disappears. The kid stops. He’s at the edge of the forest. A lake spreads out in front of him like a giant mirror. In the distance by the shore waits his family’s campsite.

The kid moves forward, stepping over a fallen tree. When he looks up a dark figure stands in front of him.

EXT. SPRAWLING METROPOLIS

Caption: Ten Years Later. Our Near Future.

Wide Shot of a dense downtown full of skyscrapers that spreads out to rows and rows of townhouses (brownstones) – neat, clean. The sun rises high. The city swelters under an unusual heat wave. A washed-out utopia.

EXT. BROWNSTONE

Short flight of steps. Neighbors are out picking up the mail, walking dogs, and watering small lawns.

Postman (sweating) drops a rectangular package on a MS. STEPHENSON’S doorstep.

INT. BROWNSTONE

Thick door with several locks. Heavy duty steel bars reinforce it. Small mail slot. A thin hand unlocks the door using an oversized key chain.

Door Opens

Ms. Stephenson bends over to pick up package. She’s blonde, middle aged, and was once very good-looking. Now she has bags under her eyes and lines on her face. Tired looking.

A note reads: They are real. This will help. Wear tonight. – H

EXT. OLD MILL

Night. Street lights illuminate a run down mill building . A few bare light bulbs flicker in the windows. Huge empty lots make up the rest of the area. A “No Trespassing” sign hangs on the chain link fence surrounding the building, along with a flyer for an art show. Trash, rubble. The lights from a low flying airliner float overhead. A polluted canal runs nearby, thick with gunk.

A figure in shadow skateboards towards the mill.

INT. OLD MILL

HENRY AUSTER, average in every way, a classic young every man, sits at a table full of electronic parts (wires, LCD’s, motherboards). He’s soldering a connection onto what looks like a skateboarding helmet with a small metal box attached to it. The glow from a laptop computer throws it into shadow. A small lamp shines in the corner. A bottle of no-doze (spilled) and a huge iced-coffee are on the desk. Henry’s wearing a black t-shirt with a mushroom cloud on it.

EXT. BROWNSTONE

Ms. Stephenson’s building at night. The neighborhood is quite now, deserted.

INT. MS. STEPHENSON’S BEDROOM

Dark shades are pulled. She’s asleep wearing a helmet like the one seen in Henry’s apartment. Locks on bedroom door. The TV fuzzes out. A handgun and sleeping pills sit on the night stand.

A Bright green glow overtakes the room. It’s murky, hard to see.

Ms. Stephenson’s eyes open. She can make out only the form of three intruders. They are shaped like the classic gray aliens. Nondescript. Only vague outlines. They move towards her.

She stands up. They stop. Ms. Stephenson grabs her gun. She stands.

Ms. Stephenson
I’m not crazy.

She raises the gun. Fires.

The light vanishes. Ms. S stands there in the helmet breathing hard. Gunsmoke encircles her.

EXT. BROWNSTONE

Night. Stephenson House. A dark car pulls up. Two men who look like FBI agents crossed with pro wrestlers in matching dark suits and dark sunglasses (even though it’s after sundown) get out. AGENT 1 is blond. Agent 2 has black hair.

INT. STEPHENSON BEDROOM

Ms. Stephenson crouched on the floor of her bedroom. From her perspective we see Agent 1 reaching out his hand.

AGENT 1
We can help you.

EXT. OLD MILL

A police car slips by and then another and another.

INT. OLD MILL

Long Hallway. Nondescript series of doors, except for one with a flower and sun painted on it. It’s the apartment of the girl walking down the hallway, LUCINDA GRACE.

She’s lanky, all hips and sharp angles. Her hair is dyed red and cut short. Jeans, boots. Luce, as she likes to be called, is an artist, a painter. Tattoos run down her left arm.

Five doors before her apartment she stops, turns and knocks.

LUCE
Henry are you home? It’s me Luce.
Landlord’s been looking for you again.

No answer.

Hey. I know you’re in there.

INT. HENRY’S APARTMENT

Close up of hand turning several dead bolt locks.

INT. OLD MILL

The door swings open. HENRY AUSTER looks nervous. There’s little light in his apartment. Darkness except for a computer screen.

HENRY
Sorry I was…. I was asleep.

LUCE
For once. What is it you do all
night anyway?

She stares at him. She’s looking really good but he’s distracted.

LUCE
Come out with me. You need to get out.
You always say no but not tonight.

Henry turns back toward the inside of his apartment as if there’s something pressing in there. The laptop shows (youtube style) PROFESSOR RADFORD, a talking head on a news program. He’s a white haired college professor. He responds to an unheard question.

RADFORD
We are not alone in the Universe. Think of it.
What are the odds that humans are the only
intelligent life in the vast expanse of existence?

HOST
You are referring to the Drake Equation.

Radford
Yes, but that’s only part of it. I’m talking about
intelligent LIFE, more intelligent than humans.

HOST
That’s (laughing) hard to believe.

Luce grabs Henry’s hand.

LUCE
Let’s Go!

INT. BAR

Dark, lonely place. Grime, neon lights, dusty liquor bottles behind the bar. The place is full of locals from the art scene, people like Luce.

As Henry and Luce make there way to the bar, a huge bouncer bumps into Henry. He slides out of the way, trying to avoid eye contact.

LUCE
So what’s your deal? You work nights down at
that theatre. Then you sleep all day.

HENRY
(takes a long sip of his beer)
That’s about it.

Luce
Except sometimes I hear you, up early in the
morning. What are you doing?

HENRY
(he wants to tell her) I can’t – sleep.
I have weird dreams.

Luce puts her arm around him. Henry looks uncomfortable as if he’s fighting something that feels good.

LUCE
Me too. I’ve always been chased in dreams.
Sometimes I’m not sure if being caught
would be a bad thing.

HENRY
Thanks for taking… getting me out.

LUCE
You need to have more fun. You can’t
be dark and mysterious all the time.

EXT. STREET

Well lit city avenue. Lot’s of young people are around. They’re out having a good time.

Luce and Henry walk for a while and then stop in front of a used furniture store. Henry appears more relaxed. She’s wearing down his defenses. The TV in the window shows footage of a man wearing a placard that says “The END is near. The man keeps repeating something, it’s Closed Caption along the bottom of the screen. “They are among us. They are among us. They are among us.”

LUCE
I don’t believe in all that stuff. People are
just going crazy.

HENRY
I don’t know. More and more go missing.
And these wild temperature swings.

Luce playfully pushes Henry. They stumble down the street. Happy.

HENRY
Watch it sweetheart.

LUCE
Sweetheart. Who said you could start calling
sweetheart?

She smiles
LUCE
So what do you want out of life. It’s got to
be more than that rat hole we live in.

HENRY
There’s something I’m looking for. I
just don’t know what it is. And what about you?
The city’s a dangerous place. No one stays
for very long.

LUCE
That’s what I like about it. Lost in the crowd.
Otherwise I get the feeling, like I stand out too
much. Like there are these eyes on me, you know
like that billboard in The Great Gatsby. Besides me
and daddy Senator don’t get along.

EXT. STEPHENSON APARTMENT

Police have the place roped off. There are several squad cars around. Cops are checking with people as they drive by or pull into driveways.

A reporter (THOMPSON), obvious in a trench coat and carrying a notebook, asks Ms. Stephenson’s next door neighbor (a woman in a bathrobe and curlers, crooked teeth) a few questions.

THOMPSON
What can you tell me about the woman
who lived here?

NEIGHBOR
Not much. Kept to herself. Strange hours.
Not very friendly. Always looked tired.

An unmarked car pulls up in a hurry. A detective gets out, he’s a prototypical old school plain clothes cop. He strides to the scene, tossing his cigarette aside. A tough guy.

Thompson takes notes. But he’s not really listening. Instead he surveys the area. A dark car sits across the street with government plates.

THOMPSON
Detective. Detective McKenna, what happened
here last night?

McKENNA
No Comment, Thompson. Tell your editor
there’s no story. Why don’t you go look
into that business at city hall. The rolling blackouts.
The low water pressure. That’s what people care about.

THOMPSON
You have to give me something.

Collins steps towards Thompson and pulls him close.

McKENNA
Off the record. Several shots fired. None of the
people who heard it can accurately place the time.
Woman missing. No sign of forced entry.
Strange, like the others.

EXT. STREET NEAR OLD MILL

The Agents pull up in front of Henry’s building.

INT. OLD MILL

HENRY
I’ve got to get some work done tonight.

LUCE
Slow down buddy.

Henry laughs, looks at the floor.

HENRY
Not that kind of work. Work, work

Luce smiles puts her arm around him. They approach Luce’s apartment.

HENRY
Goodnight.

LUCE
Anytime.

HENRY
And thanks.

Luce heads into her place, the door with the sun and flowers painted on it.

Henry walks down the hall, smiling. When he reaches his apartment the door opens. Agent 1 stands in the doorway. Henry takes a step back. Agent 2 appears behind him.

AGENT 2
Mr. Auster I presume.

HENRY
Who are you?

Agent 2 stretches out his arm blocking Henry in.

AGENT 1 (smiling)
We are with the government. We can help you.

AGENT 2
The plans. We need your plans. We know
what you have been up to. It is easy to trace
the Postal Service.

Luce comes out of her place and starts walking down the hall.

Luce
What’s going on?

AGENT 1
(pointing at LUCE) Take her.

Agent 2
Trust us. This is the only way.

Agent 2 grabs Luce around the waist but leaves her arms free. Meanwhile, showing his strength he pushes and holds Henry up against the wall with his other arm.

AGENT 1
Your helmets.

Agent 1 holds up an in progress helmet, wires dangling.

AGENT 1
Mr. Auster, where are the plans for this device?

Luce frees up a small can of mace from a pocket on her boot. She sprays Agent 2 who snarls, reaches for his eyes and lets her go. Henry slips away. The pair dash down the hallway.

LUCE
Friends of yours?

They continue to run.

Agent 2 turns towards them (angry) and removes a large, Buck Rogers, chrome handgun from a shoulder holster. He fires a green plasma blast over their heads.

Agent 1 comes out of nowhere as they round the corner. He steps towards them, pointing his own handgun. Henry and Luce are cornered.

EXT. HIGHWAY

The Agents’ car moves fast down a wide boulevard away from the poor part of town. The city glows silver with street lights. The buildings in the background become smooth, perfect.

INT. BACK SEAT OF CAR

Henry and Luce, stunned, look out of the windows. There’s a divider, like a cop car but all black. The pair are isolated, closed in.

HENRY
I’m sorry.

LUCE
What’s is going on? Who are these guys?
Who are you?

HENRY
I’m not sure who they are but the less you
know the better.

Henry punches the window. Useless.

EXT. HIGHWAY

Another car, an old red Cadillac bares down on the Agents’ vehicle from behind. It pulls up even and swings into the right rear fender.

A violent collision sends both cars spinning. The Caddy flips. Glass, tire, metal debris spill all over the road. The Agents’ car, still upright, crumples up against a guardrail and begins to smoke.

EXT. SIDE OF THE ROAD

Henry crawls from the wreck, cut and bruised. A gnarly gash runs down his left cheek. He pulls Luce out. She’s limping but okay. The Agents are pinned in the front and appear to be dead.

Henry leaves Luce sitting on the side of the road and runs over to the Cadillac. The driver, who looks like an older, pudgier version of the Agents, opens his eyes.

HENRY
Are you all right?

The driver struggles to open his mouth.

DRIVER
We’ve been watching. I am a friend. Run.
They won’t be….

He gasps and dies.

Luce stands in the road watching. Behind her the Agents are revived and freeing themselves, pealing away the trashed metal and bending up the crumpled steering wheel. She turns to see them almost loose.

LUCE
Let’s get out of here.

She tugs at Henry, who takes a long last and bewildered look at the Cadillac wreck.

LUCE
MOVE.

AGENT 1
Do not let them get away.

Agent 2 manages to fire a green blast that leaves a huge hole in a highway sign. Henry and Luce make a run for it. With a big head start, they dash over a guardrail and down a hill towards a liquir store parking lot.

Luce picks up a brick and smashes a car window. Several people turn and look at her, shocked.

LUCE
No time to be subtle.

INT. SEDAN

She dives under the dash board and begins hot wiring the sedan.

HENRY
Where did you learn to do that?

LUCE
Old boyfriend.

The car turns over. She pushes Henry into the passenger seat.

LUCE
I’ll drive.

They swing out onto a city street. The car moves quick. Luce can really drive. A half moon hangs low over the horizon. They swerve through traffic. The car launches over a hill like a classic San Fran. car chase.

HENRY
Careful now Steve McQeen.

EXT. CITY STREETS

Luce and Henry are being followed. A close up of the windshield reveals it’s the Agents. Agent 2 brushes some dust off his shoulder. Otherwise, they are in pristine condition.

INT. SEDAN

HENRY
They’re back.

LUCE
Not for long.

EXT. CITY STREETS and INT 2 CARS

Quick cuts of the car chase. Luce takes a lot of chances. Sharp turns down narrow streets. There are several near misses. Henry looks terrified. As they try to keep up the Agents crash through an intersection, smashing a newsstand to pieces. Luckily for Henry and Luce the Agents blow a tire in the process. Their car slows.

AGENT 2
Inferior method of transportation.

After separating them from the Agents, Luce pulls into an alley.

HENRY
What now?

LUCE
We kill the lights and .. . pray.

Luce pushes Henry down. She’s on top of him. Their lips almost meet. She reaches out and kills the headlights.

The Agents car, riding only on the rim of the flat, crawls by.

All goes dark.

EXT. EARLY MORNING DESERT LANDSCAPE

Luce and Henry drive up a long road, kicking up dust.

EXT. MARK’S RANCH

They approach a modest house with a large barn. Outside are a few torn apart cars, a motorcycle and a pair of horses. A large collection of solar panels sits on the roof of the house. As Henry and Luce pull up close, 2 peacocks move to the side, flapping their wings. It looks like a survivalist camp for tree huggers.

LUCE
(as they get out of the car)
Be cool. Mark’s an old friend but he’s a bit…
(raises her hand)
Let me do the talking. We’ll be safe here.

The front door opens. Mark steps out. He’s holding a shotgun over his shoulder. Slowly he levels it.

MARK
Don’t’ take another step. Turn around and
get off my property.

LUCE
Mark it’s me.

Mark breaks into a wide grin.

MARK
I know. Saw you come in on the security
cams. Just foolin’. Scared the crap
out of your buddy.

He points the gun in Henry’s direction and the flips it back onto his shoulder.

Luce smiles.

LUCE
Same old Mark.

INT. MARK’S HOUSE

Kitchen table, beer cans, stacks of books and the remnants of diner. Luce and Mark are sitting. Henry leans up against the counter.

LUCE
We need help. We need a place to crash.

Mark
Cop trouble?

HENRY
You could say that.

Mark (to Luce)
Is this guy cool?

HENRY
I’m cool. What about you?

LUCE
You wouldn’t believe me if I told you.
And neither of you are cool.

The all smile.

EXT. DAY, DESERT

Mark
Let’s go. It isn’t much father.

Mark, Luce and Henry hike up a hillside, following a narrow path.

LUCE
This guy better be worth it.

Mark
He’s worth it. The Chief’s worth it. Besides I have to
give his this. ( He holds up a plastic bag full of green
leaves).

Over the hill they reach a small plateau. There’s nothing but a tin shack. Outside there’s a Vincent Black Shadow motorcycle. It looks brand new. Huge – Fast. Luce and Henry, look at each other as Mark leads them inside.

INT. SHACK

CHIEF
The fear. You (points at Henry) You have the fear.

Mark hands him the bag. They sit. We cut and only see the outside of the Chief’s shack. Mark emerges first.

Mark
What did I tell you. Great stuff huh.

INT. NOWHERE

Chrome/white room that hints at the technology in the Agent’s weapons. Medical, clean. Henry lays on an operating table. A long needle descends from off frame towards his eye. Henry struggles, arches back but is restrained. He’s breathing heavy.

VOICE
We won’t hurt you. Do not be afraid.

INT. BEDROOM IN MARK’S RANCH

A simple, end table dresser. Henry wakes up, sweating.

VOICE
Do not be afraid.

He sits up and looks out of the window. The moon and a billion stars are clear and bright. He stands up and goes to the window. A small statue of Buddha sits on the desk nearby.

HENRY
So many stars.

There’s a knock and the door opens. Luce slips in wearing a long baseball jersey.

HENRY (fingering the jersey)
Mark’s?

Luce puts her finger to her mouth telling him to be quiet. She leans in, almost kissing him but pulls away.

LUCE
All this, what’s happening?

HENRY
I try to help people. Some where I… I don’t’ know but I can protect them.

LUCE
From what?

Cut to scenes of various people opening packages from Henry. An old man in his underwear opens one. Another woman sits on a beach overlooking a light house. As the sun sets she put on her helmet. A man in a straight jacket, in a cell, calls for his helmet.

HENRY (voice)
One day I woke up and I had an idea.

LUCE
That’s what those guys were after, what
you know?

HENRY
I’ve got to get some answers. Why? Why me?
What’s really going on? I don’t even know what
it is I know.

Luce stands and steps towards Henry. She’s close.

HENRY
Even you don’t believe me.

LUCE
Belief. That’s all we got.

Blackness.

EXT. MARK’S RANCH

Sunrise in the desert.

MARK
(tossing Henry a set of keys)
Take my truck.

LUCE
I’m coming with you.

HENRY
Too dangerous. I don’t know if I can
trust Professor Radford.

MARK
Luce you’ll be safe here.

LUCE
Be careful.

HENRY
I will.

Henry pauses and then puts the key in the truck’s ignition. He peels out.

EXT. HIGHWAY

Truck moving across the desert highway. The city waits, small in the distance.

RADIO (crackling)
Police aren’t saying if foul play was involved
in the woman’s disappearance.

They are calling Henry Auster a person of interest.
Police stress, consider him armed and extremely
dangerous.

INT. TRUCK

Henry flips the radio to a country music station. Through the window we see the huge dust cloud the truck kicks up

RADIO
You’re a long long way – out there
but I’m, but I am at home

HENRY (narration)
I can’t go back. But was there ever anything
to get back to?

EXT. MOTSAM UNIVERSITY

Gates of school at mid-day. Ivy colored buildings (think Harvard yard.) The truck pulls through.

EXT. PSYCHOLOGY BUILDING.

Students filing out, attractive girls. Henry enters, walking past the crowd into a huge auditorium.

Prof. Radford shuffles papers down front. White hair, shooting off in all directions. Gray sweater. Henry stands in the doorway, back lit. He’s a shadow.

RADFORD
Class is over.

HENRY
I need your help.

Prof. looks up.

INT. PROF. OFFICE

Small and jammed with books. A window with a fire escape overlooks the yard. There’s a bust of a gray alien on top of a bookshelf along with a model of the solar system. Henry and Prof. are sitting in thick leather chairs at the professor’s desk, which faces the door. It too has several locks on it.

RADFORD
What you’ve told me. Incredible.

HENRY
True all of it.

RADFORD
No doubt. But why you?

HENRY
I was hoping you could tell me.

RADFORD
There’s more too this. Evil forces at work.
Your helmets, a part of some effort to thwart
abductions.

HENRY
The dreams?

RADFORD
Consistent with typical abductions scenarios.
Images. Visions of what happened to you.

A black cat jumps up on the desk.

RADFORD
Mulder get down from there. You are making
a mess. Sorry. That cat’s always causing
trouble.

Radford fumbles, knocking over a bunch of papers.

RADFORD
I had a patient with similar dreams. I’ve lost
touch but he lives about a 100 miles to the north.
Here’s a list of a dozen others. Take it and
go. I can’t do anymore. I’m being watched.

EXT. MOTSAM UNIVERSITY

Police cars with blazing sirens blow through the university gate. A security guard looks on astonished as he wakes up, spilling his coffee.

RADFORD
For you?

HENRY
I should be going.

RADFORD
Henry… Help these people and remember –
They are HERE.

Henry opens the window and heads towards the fire escape.

HENRY
I will.

Henry looks down. It’s a long drop. He takes a deep breath and lets go.

INT. ON THE OTHER SIDE OF PROF. RADFORD’S DOOR.

The Agents arrive with a S.W.A.T team.

AGENT 1
Professor. This is the police. Open up.

INT. PROF. OFFICE

Radford begins burning his files in a waste basket. He rips a hardrive out of his computer and puts it in the fire.

AGENT 1
Break down this door.

Prof. pulls a revolver out of his desk. The cops, using a battering ram, smash the door. Splinters fly everywhere. Mulder bolts out of the still open window.

RADFORD
We meet again.

Prof. puts the gun in his mouth.

AGENT 1
Stop him.

Cops dash towards the professor.

Black.

EXT. NOWHERE

Henry stands in a flat white/gray landscape. A road leads off to infinity. He looks far off, towards the horizon.

INT. SMALL ROOM

Caption: Several Weeks later

Henry wakes up. The cut on his face has turned into a scar. He’s been asleep among the rows of books in a public library. He grabs Prof. Radford’s list and leaves.

EXT. BUSY CITY STREET/STORE

Henry, in a ragged hooded sweatshirt, enters a Radio Hut electronics store. The clerk gives him a dirty look as he buys some transistors with a pile of change.

EXT. PSYCHOLOGY BUILDING

Thompson, the same reporter who showed up and Ms. Stephenson’s place, is there with his notebook, talking to the students. We see he has written down the initials HA and Luminous Corp.

In the background there’s the shadowed outline of an Agent. The reporter looks up at the sky and shakes his head, frustrated. A coed shrugs her shoulders at him.

EXT. JENKINS HOUSE

Run down suburbia. White washed, overexposed. Chain link fences divide the homes. Cracked sidewalks, weeds. Beat up cars line the street. Henry slinks up the walk, checking and rechecking his list. A low rider drives by. The locals watch him. He’s carrying a helmet. When he reaches the door he hears:

JOE JENKINS (Voice)
Whatever you are selling, I don’t want it.

HENRY
Mr. Jenkins I can help you.

JENKINS
Ain’t no one who can help me.

HENRY
I can. And I’m not leaving until you open this door.

JENKINS
You asked for it.

The door opens. Jenkins is a large, rough looking guy with a scraggly beard, a green army t-shirt, combat boots, and cut off jean shorts. Three heart tattoos run down his left arm. He rears back full of rage, ready to punch a hole through Henry.

JENKINS
What was it you could help me with.

HENRY
Your… (stares Jenkins in the eye) visitors.

Jenkins looks hard at Henry, drops his fist.

INT. LIVING ROOM

It looks like a family lived there once. There’s an old orange couch and a large TV. Knick knacks fill the shelves. Baby pictures hang on the walls.

Henry Hands the helmet over to Jenkins

HENRY
This will keep them at bay. It limits, somehow,
their power over your mind.

JENKINS
I heard on the news Dr. Radford has gone
missing. That man helped me.

Jenkins reaches out to steady himself. He’s trying to remain stoic. His eyes well up.

JENKINS
I’m not alone. The nightmares –
real. He helped me deal. To go on.
Are you a friend of his? Who are they?

HENRY
I’m going to find out.

JENKINS (standing up)
Are you now? I want to show you something.

They walk over to a grandfather clock. Jenkins slides it aside to reveal a staircase.

JENKINS
I’ve always been a bigtime Batman fan.

He leads Henry down towards a basement. Another door waits at the bottom of the stairs.

INT. BOMB SHELTER

Lit by a couple of bare bulbs, the walls are full of cans of food and bottles of water. Henry looks around the place. Jenkins watches him. On the wall behind Jenkins are weapons, lots of them, large and small, handguns, rifles, machine guns, RPG rounds and ammo boxes.

JENKINS
I’ve been getting ready.

HENRY
For what?

JENKINS
Who ever they are. Aliens, the government
or worse. They ARE COMING. I’m part of a
group based in cyberspace, a resistance. I never
even told Radford about this. For all I know he
might have been a member too. You never meet
the others, not until the time comes. Can’t trust
anyone. I’m not even sure I should trust you.

He stops and smiles.

JENKINS
Maybe I can’t let you leave here.
(laughs)

Jenkins walks over to a bare spot on the wall.

JENKINS
Look.

He lifts a nearly invisible door, revealing a tunnel cut through the concrete and into the dirt. Strings of red lights run as far as Henry can see, hanging from wooden supports.

JENKINS
Took me years to dig. Leads into the
national forest. Love The Great Escape too.

There’s a creaking sound coming from above. Henry and Jenkins both look up at the ceiling. A green glow can be seen around the edges of the door.

Jenkins reaches for an AK-47. He hands Henry a .45. It’s way too heavy for him. Jenkins puts his helmet on, tapping it a few times with his hand. He switches it on.

JENKINS (grinning wildly)
Hope this works.

Henry starts to say something but Jenkins holds up his hand and flips on an intercom.

AGENT 1 (voice out of intercom)
Spread out. They are here. I can feel it.

He points Henry towards the tunnel.

HENRY
Come with me. I’m sorry. I must have
led them here.

JENKINS
It’s too late (he looks at the tattoo on his arm).
Too late for a lot of things. Go. Don’t
worry, I have a surprise for our friends. He
tucks the gun into Henry’s sweatshirt.

Henry disappears into the tunnel. Jenkins seals the exit.

An Agent kicks at the basement door and crashes through.

JENKINS
Pay back.

Jenkins opens fire, knocking down the first Agent inside. Agent 2 falls, blown back by the force of several rounds.

In the tunnel Henry (scared) turns back to look. He waits for a heartbeat but keeps going.

Agent 1 rushes in, supernaturally quick and grabs Jenkins by the neck, lifting him Darth Vader style. Jenkins clings to a small red remote control.

AGENT 1
Pathetic.

AGENT 2 (stands up brushes off)
You are going to give us some answers.

AGENT 1
Painful for you.

A close up of Jenkins’ hand on the remote.

JENKINS
Too late for a lot of things.

EXT. HEAVY WOODS, LATE AFTERNOON

Henry pushes through the camouflaged manhole. He lifts out a crate marked “Reserves.” Inside he finds rolls of cash. Far in the distance he sees an explosion.

HENRY
What have I done?

Newspaper: One Dead. Police Uncertain what caused explosion. Victim’s family disappeared several years ago while he was serving in Iraq.

EXT. HIGHWAY

The American Great Plains. Wide Open. Brilliant blue sky, huge clouds.

A flatbed trucks zips along. Henry one of 4 riding in the back, thumps along. He has a light beard now. He looks older. They are migrant workers. A backpack rests next to Henry. Six military jets fly low over them. Everyone looks up.

EXT. GAS STATION

The place is on the edge of town, deserted and boarded up. The truck let’s Henry off. A man in the cab waves.

CREW FOREMAN
Hate to lose you.

Henry walks over to a phone booth, slides inside and dials.

Mark (voice)
Leave a message. (Beep)

HENRY
Luce, it’s me. I know it’s been forever. Just
letting you know I’m all right.

Henry hangs up and turns away. He starts walking back towards the gas station. He unloads his backpack and starts to make a campfire.

The pay phone rings. Henry freezes, then rushes back.

HENRY
Luce? ….. Luce?

VOICE
Kesey Reservoir.

HENRY
Who, What?

VOICE
3 days, Kesey Reservoir.

HENRY
Wait.

The phone goes dead.

EXT. EXTRA WIDE SHOT OF OPEN ROAD.

You can see for miles and miles but it’s all nothingness. Henry is in a huge space, alone, one man. The sun drops in front of him.

EXT. 100 FOOT DAM AT KESEY RESERVOIR

A massive lake, longer than wide, seems barely contained by the concrete. Huge tubes run into the water on one side, feeding large tanks. There’s small control room with a sign that reads, “Luminous Corp.”

Henry looks over the edge, down at water crashing through vents in the dam. No one appears to be around.

Thump – Thump. 2 black helicopters come over the trees. They land, one on either side of the dam, blocking Henry in. An Agent steps out of each, along with a SWAT team, curiously armed with the same type of weapons as the Agents.

Agent 2 advances towards Henry. Our hero looks around, ready to dive over the edge. But he steels himself.

HENRY
No. Not this time. I won’t run again.

Henry swings and hits Agent 2. It’s his best shot but has little effect. Agent 2 lands a crushing blow, knocking Henry down. Bloodied he gets up.

Again and again Henry takes the best Agent 2 can give. He must have serious internal injuries but he keeps getting back up.

Agent 2 (annoyed) drops a double fisted chop on to Henry’s back. This time he stays down. Agent 2 smiles and turns back towards his helicopter.

AGENT 2
Tougher than I thought.

Somehow Henry rises up. It’s like he’s getting stronger. Agent 2 turns.

HENRY
What do you want with me?

AGENT 3 steps out onto the dam. Slick with silver hair and pale skin, slightly larger than the other Agents and with bigger eyes, more chiseled features.

AGENT 3
Enough of this. It’s not what we want but
what we already have that’s important.

Agent 3 pulls Luce out of the helicopter. She squirms but he’s much too strong.

LUCE
Hi sweetheart.

AGENT 3
The plans Mr. Auster.

Henry stands there breathing heavy but looking more powerful.

AGENT 3
You are just one human.

AGENT 3 points towards the tubes taking water out of the lake.

AGENT 3
It’s all too far along. You can’t save everyone.
Save her.

Luce, seizing the moment, runs towards Henry. Agent 2 steps towards her. Henry pulls Jenkins’ gun from his pocket and slams it against Agent 2’s skull near his left eye. He turns swinging wildly and knocks Luce over the edge of the dam.

HENRY
No.

Henry looks over into the white spray.

Nothing. Henry stares into the rocks and foam below.

AGENT 3
Unfortunate. Now you have no one.

Agent 2 pulls Henry back, takes out his weapon and starts to lead him towards the helicopter.

AGENT 2
We have ways of getting the information we need.

AGENT 3
Silence.

They are nearly at the copter. A look of wonder appears on Henry’s face. The Agents and SWAT teams are horrified.

A silver, windowless disk rises up over the edge of the dam. It holds Luce, unconscious, in a beam of light.

The Agents and soldiers scramble to get away, boarding both black helicopters as fast as they can.

AGENT 3
Another time Mr. Auster.

The copters lift off. The disc pulls Luce inside and heads off in the opposite direction, disappearing in a pinpoint of light.

Alone again. Henry stands there stunned until a car, the same Cadillac from his first escape approaches. The driver rolls down his window. He’s the “friend/driver” from before.

HENRY
You’re not from around here are you?

FRIEND
We should talk.

EXT/INT. DINNER

Old fashioned place, dark nearly empty, neon and 18 wheelers. The waitress has her hair up, she’s snapping gum. A dusty motel sign with only the M and T lit up stands across the street. Henry and the friend (in long businessman type overcoat) sit in a booth.

FRIEND
I’ll never get used to this food. You want some? Even
dead guys must get hungry.

Henry stares at him.

FRIEND
Yes, according to the official records Henry Auster was
killed by the police. But believe it or not, you’ve come
a long way

HENRY
Luce?

FRIEND
I imagine she’s safe.

He waves over to the waitress.

FRIEND
But you can’t go to her. She wouldn’t know
you anyway.

HENRY
She’s all I have.

FRIEND
It’s better this way. For her sake, learn to forget.

HENRY
I want answers.

FRIEND
Don’t we all.

Henry doesn’t respond. He’s not happy

FRIEND
I can’t give you many. It wasn’t supposed
to work like this.

HENRY
The helmets?

FRIEND
A threat.

HENRY
And you?

FRIEND
A friend.

He pulls out a small flat silver disk. And slides it over to Henry.

FRIEND
Keep this. I’ll be in touch. But stay off the grid.

He motions towards the waitress.

HENRY
Just who are they?

FRIEND
More coffee Please.

FRIEND
(back at Henry) That I do love. Black coffee.

HENRY
Who are you?

FRIEND
(looking back down at his breakfast)
My only advice. Believe. Believe in what you do.

HENRY
Believe in what. The helmets? The plans
aren’t even written down. They’re in my head.

FRIEND
Exactly.

HENRY (standing up)
I’ve got to get out of here.

Henry heads for the door. In the foreground Friend leans forward revealing an Agent like pistol in his shoulder holster.

FRIEND
Good Luck.

EXT. THE ROAD.

Caption: Several Months Later

Henry hitchhiking. Then a wider shot of the United States and then the Earth. That pulls pack even further to reveal our planet as a dot of light in the Milky Way.

HENRY (narrator)
I am a fugitive who doesn’t exist. You won’t
believe. But I can help you. I will find you.

Pursued by the forces of evil
Pursued by a relentless reporter
Pursued by his own past
He will find you.