The Fantastic Four:
The Heroes Within
Written by:
Clark Ratliff
Dedicated with love and respect to:
Stan Lee
Jack Kirby
John Byrne
Trailer for FF 1, The Fantastic Four: the heroes within
studio logos appear.
Blackness.
H. M. Unger (V.O.)
People fear what they cannot understand.
We see crowds of people looking up. Some point to the sky. We see a reflective-metallic spacecraft slowly, quietly, hover. Then, it docks atop the Baxter building.
Blackness.
H. M. Unger (V.O.)
They fear what you have become.
Show Sue Richards, Johnny Storm, Reed Richards and Ben Grimm, in space inside a space craft. As Johnny Storm ignites into flames. The others try to extinguish him with blankets. He screams (no sound).
Blackness.
H. M. Unger (V.O.)
Will there be others like them?
Show Sue Richards invisible, on a New York street. She reaches out to passers-by, desperate to be seen. The crowd backs away from her, as a reflective-metallic pod drops from the sky, to hover above Sue. She is then engulfed into the pod, it ascends.
Blackness.
H. M. Unger (V.O.)
They will envision the possibilities.
We see the Fantastic Four as they are now:
A building several stories on fire.
Mr. Fantastic stretches into the building and pulls out a mother and child.
The Thing supports a section of the building giving the others time to act.
The Human Torch, floats just off to the side of the building. He draws the flames into himself, extinguishing the flames of the building.
We see the Fantastic Four surrounded by people as they cheer. People take pictures.
H. M. Unger (V.O.)
They will become idols.
The Invisible Girl, steps from the three and turns invisible. She leaves through the crowd. No one notices.
Blackness.
H. M. Unger (V.O.)
Then they will ask. How long before
they turn on us?
Show the back of Sue Richards' head, with chopped hair, as she pulls the mask of Malice over her head.
Blackness.
H. M. Unger (V.O.)
They will try to rise up against you.
We see military and police, readying themselves with various firearms.
Blackness.
We HEAR gun shots echo.
Show where the bullets have stopped in their tracks, midair. Malice with her hand out holds them at bay. She relaxes her hand, the bullets drop to the ground with the sound of metal on pavement.
Malice moves her hand again; close up on the space from her hand. She forms, what looks like invisible bullets, then, they extend to be more spear shaped. She holds them there a moment. She looks to them, almost contemplating what she has created.
She then looks to the police and military, and with a wave of her hand, she unleashes them. They do not see them coming. We see the effects of them, as the spears pass through the Armour of the men, blood and meat splatters.
Blackness.
H. M. Unger (V.O.)
All thanks to me.
Show New York burning as the smoke rises to the top of a building. The up light shows a man, the Hate Monger in simple jeans and a jacket. He relishes in what he has created. He laughs madly.
Blackness.
Superimpose lettering:
The Fantastic Four
the heroes within
00/00/00
Superimpose lettering:
The feeling of loneliness never quite leaves you. -
Tim Burton
The fantastic Four: The Heroes Within
Studio logos appear.
Blackness.
Fade in:
EXT. AN AGED PRIVATE SCHOOL - DAY
Superimpose lettering:
New York: Zachary Taylor Academy.
INT. ACADEMY CLASSROOM - DAY
A class room filled with 30 all caucasian teens. A teacher, an older caucasian woman. She walks into class with an African-American student. He is thin. He appears uncomfortable.
TEACHER
Class. This is Laurence James Cheadle.
He has transferred here from Pennsylvania.
Please welcome him as you would like to be welcomed.
Show the class deadpan. Close up on UNGER. A thin child, blonde.
Cut to:
INT. SCHOOL CAFETERIA - DAY
The cafeteria is packed with students engaged in their own clicks. There are no staff, no teachers present.
Laurence leaves the lunch line. He walks through the cafeteria. It is obvious no student is welcoming him into their circle. He walks on to the outdoor courtyard.
EXT. COURTYARD - DAY
There are no other students in the courtyard. Laurence continues to walk to sit under a tree. At that moment, Unger steps from behind the tree. He looks to Laurence. Laurence starts to speak, but can tell he may become confrontational.
Laurence takes a step back. He looks to the side, the cafeteria. The students are still in their own worlds. He is alone. Laurence again looks to Unger. Unger has not moved, has not blinked, he just continues to look at Laurence.
Then, Unger begins striking himself violently. He brings the blood out from his own nose and tears a chunk of hair out of his own head. He slaps his own face several times till he tears up.
Laurence drops his tray and books. He runs for his life back into the cafeteria. The students finally notice him, but the cafeteria is so thick with students he can't get through in time. To see Unger appear at the doorway of the courtyard. He stands there a moment, again looks to Laurence. Unger drops to the ground, we believe he may be dead. The students swarm around Laurence, some to Unger.
CUT TO:
EXT. NEW YORK STREET – MORNING
A street side news stand opens as a newspaper delivery truck tosses a stack onto the curb. On the front page an article: Zachary Taylor Academy student; Laurence James Cheadle found dead off campus. Police chief Sampson will be conducting the investigation.
Blackness.
FADE IN:
EXT. STORM HOUSE - NIGHT
An upper class neighborhood, Long island, NY.
We come to rest on a three story home. The mail box reads : Storm. We HEAR the sound of Carly Simon songs.
INT. LIVING ROOM - NIGHT
The home is very inviting. In a chair holding young Johnny Storm is MARY STORM (a Mandy Moore, type). In the center of the room is young SUE STORM playing with an extravagant doll house with Ken and Barbie dolls.
Through the front door walks FRANKLIN STORM a virile (Matthew McConaughey, type). He is carrying a medical bag and his coat and hat in arm. He places them in the foyer.
MARY STORM
Hello Dear.
Franklin smiles warmly. He walks over to Sue and kisses her on the head. Sue giggles.
SUE STORM
Dad, I'm playing.
Franklin looks to his wife. She laughs.
FRANKLIN STORM
(to Sue)
And what are we playing,
Big eyes. He said.
Sue holds the dolls up to show her dad and then plays with them inside the doll house.
SUE STORM
They're in love.
Franklin looks to his wife.
MARY STORM
(mouths, to Franklin)
I love you.
He in kind.
FRANKLIN STORM
(mouths to Mary)
I love you, too.
Sue places the dolls. She takes a flashlight and shines it on the girl doll.
FRANKLIN STORM
Tell me, Susan. What makes you think
they're in love?
SUE STORM
She's gonna be a star. See?
Everyone will love her, but
he'll love her the most. And
they'll always be happy.
Franklin tickles, Susan.
FRANKLIN STORM
Just like who?
SUE STORM
(laughing)
Me, daddy, me.
He lets her go. She is smiling. She goes back to playing.
FRANKLIN STORM
That's important is it?
Sue no longer smiles.
SUE STORM
It's everything. The only thing.
Sue plays with the dolls looking intently at them. The mother stops smiling looks concerned. She looks to her husband with a questioning look. Franklin smiles softly, kisses his wife on top of her head.
FRANKLIN
(softly)
She'll grow out of it.
Sue continues to play intently as both parents watch her with concern.
Blackness.
Superimpose lettering that will fade:
The Fantastic Four
the heroes within
Fade in:
EXT. NEW YORK, FALL – EVENING
Superimpose lettering:
State of New York: present.
EXT. RICHARDS CORRECTIONAL FACILITY - EVENING
A Lincoln Town Car turns from the main road onto a road leading to the penitentiary.
INT. PRISON MEETING ROOM - EVENING
A guard escorts into the room, SUE RICHARDS, late-twenties, (a Cristin Milioti type). Large eyes, brunette hair past her shoulders. She is a beautiful woman, who has given up. The thought that comes to mind when you first see her is, she could pass for "Adrian" from "Rocky". Her clothing is that of an older lady's that has been altered to fit her. Almost as if a grown woman is playing dress up. She appears almost nervous.
Sue quietly sits at the table with her purse on her lap. The guard closes the prison door. The sound unnerves her, putting her on edge. The sound is repeated, as another guard escorts into the room, Franklin Storm. He is older, thin, a frail man. He is escorted to the table. He sits. The guard nods to Mrs. Richards and leaves the room, the sound of the door grates on her nerves.
They sit in silence. Franklin waits for his daughter to speak.
When Sue's nerves are more calm. She tries to speak, but can't form the words. She fumbles around in her purse. She pulls out what was once a mint condition copy of The Grimm's "Little red riding hood." Which is now tattered and torn.
It captures her fathers attention. He too almost speaks, but can't. (As Sue will talk, she'll fumble with the book combing through the pages, looking down to it. Never facing her dad)
SUE RICHARDS
I know you didn't want me to visit
you anymore and I did tell Johnny
you were dead, like you asked. I
just wanted to see you in case I
never get the chance again. I mean
anything can happen going into space.
At least Johnny won't be going, I won't
have to worry about him up there.
Johnny's made something of himself. He's
a race car driver now, among other things.
The world just opens up for him. Which is
so amazing, considering how he used to be,
when I had to look after him, after we
moved in with Aunt Mary. The things we had
to do to keep him from being sent off,
because of his hotheadedness, setting fires,
joyriding (stops herself). Thanks for that, dad.
Then there's Ben of course. Reed's friend
for like a hundred years. Ben, he's our
rock. That's how he sees himself, a rock.
A rock, that isn't a part of our family,
not that any of us are much of that. No,
he's Reed's rock. He always looks out for
Reed and us I guess. It's funny, he used
to go by 'Rock' till that actor/wrestler
got known for it. I know he'd be the
first one there if anything happened. Well,
for Reed, because of Reed, not so much
because of me or Johnny. I always felt
deep down he never thought I was good
enough for Reed. I never wanted to hurt
Reed, or stop them from being friends.
What can I say about Reed and me?
I loved him from the first time I saw him.
I just knew, dad. I just knew. When I meet
him at Aunt Mary's boarding house.
SUE RICHARDS (CONT'D)
The things he said, the thoughts he had,
was so brilliant, they took my breath
away. I guess it makes me a little
different to be attracted to a man's
mind, but I was. That and the fact he
was so mature. He was so much older than
his age, I felt so at ease with him.
I could listen to him talk for hours
about what he wanted to do with his
life, his goals, his plans. I knew I
had to be a part of them.
Then, Mary drove him away. She never
told me everything she said to him and
to this day, Reed has never told me
what was said.
I did finally get my chance to go to
college. I wanted to study something
I could use anywhere and be there for
Johnny when he needed me. So I studied
computers. I also figured a business
degree couldn't hurt. For myself, I
studied acting. I got to do a few
plays a few TV appearances, commercials.
Nothing huge. That was for me.
Then, I met Reed again and we began
dating. He was chasing his dream to
fulfill his father's goal of studying
the cosmic rays event that occurs every,
whatever years. Still planning his ship.
It was the last time I remember being
close to him, when we were working
together on his ship. I helped design
the software and, (almost proud) I
contributed to something that will go
into space, dad. Me. We were okay, as
long as I did what he wanted or needed.
Shared in his dream. That's all that
really mattered, isn't it?
It almost all worked out, till Mary
and Johnny.
She stops talking, looks down to the book.
SUE RICHARDS (CONT'D)
So I left everything. I went back.
She and then I-
She stops talking again.
SUE RICHARDS (CONT'D)
It wasn't until the end, she told me
she loved Johnny and me. Never said
it once, from the time we came to stay.
It never bothered Johnny, he's just that
way. I looked her in the eyes when she
said it to me.
Sue stares intently into the room. She stops talking.
SUE RICHARDS (CONT'D)
So she died.
Sue runs her hand through her hair several times, uncontrollably. She then plays with her nails. Looking to them. She then speaks just looking out into the room.
SUE RICHARDS (CONT'D)
Then, Reed finally took me in, married
me, but I think the magic was gone.
We're together, but we're not. I think
everyday what it would have been like
if she hadn't drove him away. If things
could have happened naturally. There's
always that what-if.
Maybe we moved too quick after what
happened at the boardinghouse with
Mary and with me. Maybe he just felt
sorry for me.
Ever since college Reed, it seems,
it's as if he's pulled in so many
different directions. Always reaching
for what is beyond his grasp. He is
stretched so thin too. Sometimes I
don't think he'll bounce back, but he
does. He always does. He has one
obsession after another. Between his
plans to go into space, to god knows
what he'll invent next.
SUE RICHARDS (CONT'D)
I've just became one of the things
he never reaches for.
Then, Mr. Baxter, he was the closest
thing to a father for all of us.
Reed's dad is gone and you're here.
I would hate for him to see us now.
He ran the company so Reed could-
Then, he became ill and Reed wanted
me to step in till he recovered, but
he never did.
She stops talking. She stares at the floor.
SUE RICHARDS (CONT'D)
It's been that way for years now.
I just feel for so long now, it's
like I'm not even there. Like no
one sees me at all. I might as
well be-
Maybe if there is fate, dad. Maybe
we were thrown together, for me to
distract him, to keep him from
going into space. I don't know.
Why bring two people together to be
like this? Maybe I did my part
already with the software and, and
maybe that's all I was meant to do?
Once he gets to go into space, I'm
sure he won't see me at all after
that. So why wait for the last nail
in the coffin, dad? He'll have
everything he ever wanted. I just
never really listened to his dreams
at the boarding house. I wasn't a
part of them. Not just me. No mention
of a wife or kids. No.
She sits on the floor like a child. Holding her purse.
SUE RICHARDS (CONT'D)
I know people talk about us, that
we're odd.
SUE RICHARDS (CONT'D)
A husband and wife living with
her brother and his friend. I
thought we would be a family.
I thought we would all be close.
I suppose we're more like a
family than I imagined we
could be. We just do barely
tolerate each other. I'll never
get back what we had growing up,
dad. Up until mom died.
Maybe my life would've been different
if you had stayed, in mine and Johnny's
life. I still needed you to be my dad.
I know you wanted to do the right
thing. When you killed that man. But
we needed a father. Guilt works just
like a prison.
You put yourself here, dad. Maybe
you could have thought about how
it would've affected us.
I know you tried to save mom.
What you did, the drinking, the
gambling, didn't matter to me. I
just wanted my dad. I know when
you killed that man, you couldn't
accept it. None of it mattered
to me, just you.
Mary. I know Mary only took us in
because of you.
Things just didn't have to be this
way. I just wish we could all go
back, when mom was here. I just
can't seem to make things right,
dad. I try so hard. And no one
appreciates it. No one cares. I'm
not a mom to them. I tried to have
everyone care for each other, but
no matter how hard I try.
No one will.
SUE RICHARDS (CONT'D)
I remember when you would read this
to me when I was little. I never
thought it would be like this,
growing up, dad. You used to always
when you would read it to me, change
it to include me. "what big eyes you
have, Susan." Remember?
She once again goes quiet.
SUE RICHARDS (CONT'D)
I'm to big for stories now.
I don't need fairy tales any longer,
dad.
I just wanted to see you is all.
Case I don't make it back, is all.
Give you this back.
Sue holds the book up from floor level.
Franklin reaches over the table, takes it. He sits, it is like a kick to the gut.
SUE RICHARDS (CONT'D)
I have to leave all of this
behind. I have to leave you.
I have to leave it all behind.
I have to grow up and live
my life.
Then, she stands and straightens herself up, brushes herself off.
SUE RICHARDS (CONT'D)
I just can't do either letting the
men in my life treat me as if I'm
not there.
Sue takes a seat. Still straightening herself.
SUE RICHARDS (CONT'D)
And that's been my life, dad.
Between Johnny and Reed, you.
I gave up everything.
SUE RICHARDS (CONT'D)
I wanted to be an actress, gave
it up. I got into computer science,
and engineering, I thought I was
pretty good at it. Now I don't
even do that. The business degree
helps. I didn't want to do what
I'm doing.
I'm more of a secretary now. I
have to keep going to Reed to
sign or approve anything. It's
the only time I see him. Most
times one of the staff just takes
it to him for me.
I'm sorry to say this to you, dad,
but I don't believe it would matter
if one of the times, I went to have
him sign some papers, if I stood
there naked, he wouldn't even notice,
or worse, he would and wouldn't care.
I can't believe he is the same man
who came here to ask you for your
blessing.
Dad, I'm disappearing from my own life.
Franklin wipes a tear from himself.
SUE RICHARDS (CONT'D)
I'm sorry to come here like this.
Sue almost cries. She stares to the side till she keeps herself from crying. She takes a deep breath.
SUE RICHARDS (CONT'D)
How's that for acting?
She puts her hand over her face for a moment.
SUE RICHARDS (CONT'D)
I'm smart, dad. I have degrees
on top of degrees. So why do I stay?
She fumbles with her purse. She takes out a compact. She freshens up her make-up.
SUE RICHARDS (CONT'D)
I could still-
She stares into the compact mirror, then closes it up.
SUE RICHARDS (CONT'D)
Who am I kidding. Who the hell
would want this now? Who?
She puts the compact in her purse. She gets up walks over to the window and stares out it.
SUE RICHARDS (CONT'D)
You know you may only get one
shot, dad. At whatever.
If I was ever considered the glue
of the four of us, maybe I'm the
wrong glue. There should never
have been the four of us.
Because of me. We're trapped
together.
Sue stops talking, stares out blankly into the room. She then walks over and sits back down. She looks down to her purse and opens it up and takes out a set of papers that has a pen attached to them. She clutches them in her hand.
SUE RICHARDS (CONT'D)
I just want out, dad.
She tosses the papers onto the table in front of her dad.
She finally finds the courage to look at him.
He takes them, he takes the pen from the papers and sets it on the table. He opens the papers. He looks them over, sees they are divorce papers. He is left speechless.
He just keeps looking over them in disbelief.
SUE RICHARDS (CONT'D)
Before coming here, I came from
there. Steven Franco's office.
He wants me to wait to file these
till after we return.
SUE RICHARDS (CONT'D)
I suppose he feels if I try to
divorce Reed now with this- his
big moment. He should have this.
He's worked so hard. I don't want
to take that from him. I know he
needs to be focused.
I've known Steven for years. God
knows of all the people he
represented over the years. I
just never thought I'd be one of
'em. I respect him. Though, I
believe he feels waiting till
after the mission, I will change
my mind.
I don't know if it'll change
anything. I don't think one event
will make someone see you again. If
they don't see you at all.
There's been talks that they'll cut
funding to the project, maybe even
end it all together. If it gets
canceled, that will be a sign I
should go through with it and serve
him. If for some reason if it
goes through-
Reed has been good to me, dad.
He has. He has never mistreated me.
Never hit me, or yelled at me. The
only time he ever was stern with me,
was when we first moved in together
and I can't remember if it was about
the penthouse, or when he first had
me help him with the company, or
both maybe. I don't recall.
I felt it was his place his company.
I told him as much. That was how I
saw it. And he told me never to speak
of it again, that it was our home and
our company. It was the only time I
felt a little like a child to parent
dynamic. Other than that, he has never
spoke in a harsh way to me.
SUE RICHARDS (CONT'D)
I know I should be grateful… for
everything. And I am. The food, the
clothing, a penthouse in Manhattan.
Taking Johnny in and lord knows how
many times he's bailed him out. Just
because he is my brother. Let alone
this place. He bought a penitentiary,
just to make sure you were taken care
of, because you were my dad. Being
married to one of the smartest and
richest men on the planet, but despite
it all, I feel I don't belong. And
maybe he loves me in his own way, but
it's not the way I always dreamed it
would be, dad.
He was my knight on a white horse, but
when he rescues the girl, isn't he
supposed to- doesn't mean anything
without love. I just wanted someone
to care if I showed up or not and
other things.
She looks sad.
SUE RICHARDS (CONT'D)
You never see what happens after
the fairy tale ends. Nobody wants
to know Cinderella gets fat, or
that the prince cheats on her. Or
worst of all, they just fall out
of love.
I guess sometimes it's not a white
knight you see... It's just how you
see them, or how you see yourself
with them. I don't need to see anymore.
I won't take anything in the divorce,
so it should be quick. Just another
signature from him and it's over. Just
like that. The time it takes to sign
his name and our years of marriage are-
It dawns on her. She reaches over the table and takes the papers back and puts them in her purse.
Sue, then picks up the pen and puts it in her purse.
SUE RICHARDS (CONT'D)
Can't forget the most important part.
I've never been comfortable with it.
Reed's wealth. Never really spent it,
on myself, (she looks to herself,
rundown look) Maybe that's why he,
why it feels like he doesn't care if
I'm there or not. I always felt it
was his money, his home, his company.
I was just there. One more thing to
put his families' name on. And then
it became my turn.
She looks to her ring, she plays with it.
SUE RICHARDS (CONT'D)
Take my name back, maybe. Should.
I can always do something with
computers. Maybe even become a
CEO somewhere else, or maybe,
(laughs) I could finally be an
actress. That Stark guy seemed
interested in me when they were
recruiting from colleges, but I
stayed with Reed. Of course the
whole family rivalry thing that
has gone on since their fathers.
No, I wouldn't hurt Reed like
that. No job or career is worth
that.
I knew he would become someone
that he would go far, but I thought
he would notice, if I wasn't with
him. Maybe I hold him back, or maybe
he keeps me down. I don't know.
She stands up. She looks to her dad.
SUE RICHARDS (CONT'D)
If I don't get out of this, dad.
It's going to kill me.
Sue walks to the door. She pecks on the door with her ring. The guard opens the door. Sue steps through it. She pauses and looks back to her dad.
SUE RICHARDS
(mouths)
I love you, dad.
Her father stands about to speak. He holds the book she gave him. She turns and walks on. The dad is not able to reply. The door closes and echoes.
Franklin doesn't hear the other door open. The guard speak to him. He is removed from everything. He is lead back to his cell. The door closes behind him. He steps to the window and sees his daughter's town car drive down the road.
Franklin turns and walks over to a wall. It is plastered with clippings, articles and pictures of his daughter and son, his wife, Reed Richards and Ben Grimm. He places the book Sue gave him upon a shelf. He walks backward and sits on his bed and just stares at the wall.
FRANKLIN STORM
What has your daddy done to you,
"big eyes."
Cut to:
EXT. NEW YORK GENERAL HOSPITAL - NIGHT
INT. HOSPITAL HALLWAY - NIGHT
There are several security men along the hall. The kind to shoot first and ask questions later type. From the hall we hear a voice.
STARK (O.S.)
I don't care what he's doing.
You tell him I want to speak
with him now!
INT. HOSPITAL ROOM - NIGHT
More of the same security men are there. Several nurses and doctors tend to ANTHONY STARK (a Ian Somerhalder, type). He looks like hell warmed in a microwave and someone forgot to go back and get it out. There is high tech medical equipment and wires and tubes going to his chest. Nurses are addressing wounds. A circular light shows below the bandages of his chest. Two beautiful women are showing Stark, reports on tablets, bringing him up to date.
STARK
(pissed)
Have me hold. Get a little piece
of metal in my chest go into a
little coma and then they forget
who really runs this show.
Cut to:
INT. WHITE HOUSE – NIGHT
NICK FURY (an Anthony Michael Hall, type). with an eye patch, over his left eye.
He takes the phone from a staffer. Covers receiver.
PRESIDENT FURY
(to staffer)
Always happy to hear from my
contributors.
Fury motions for everyone to leave the room.
PRESIDENT FURY
Stark. You up from your little nap,
or is there cell service in hell?
INT. HOSPITAL ROOM - NIGHT
STARK
I'm seeing right here. Right
in front of my eyes. Richards
is days away from launching.
Am I wrong?
PRESIDENT FURY
That would be correct. If you
didn't almost get yourself blown
to hell an' back. You would know
this.
STARK
Your men said it was secure.
PRESIDENT FURY
Their bad.
Stark is infuriated.
Fury looks to his nails nonchalant, with the possibility he knows more than he lets on.
STARK(O.S.)
If I didn't know better. I
would think you set me up!
PRESIDENT FURY
Now. Stark. You're talkin' like
Your head is up your ass.
(looks to phone)
It isn't is it? Heard you were
pretty bad.
STARK (O.S.)
I'm still here. Now if you
want to stay where you are.
You tell me why about Richards.
PRESIDENT FURY
Don't get 'em in a bunch. Just
hedgin' my bets. If you were
to see the inside of a body bag,
Richards, we move him up.
Granted he doesn't have the 'blow
up the world' mentality and
tech domination you have a knack
for, but we can always pervert
what he comes up with to make sure
the U.S. stays number one.
INT. HOSPITAL ROOM - NIGHT
STARK
How many presidents have my father
and I bought and paid for? I hope-
(listens) good, good. Just make that
little phone call for me and if you
have something pressing to do, make
sure it's where you can't be reached.
(laughs) well, not till his little
light show passes. You know with
him and running so many simulations
he may just miss it on his own, but
you see. I'm not a betting man.
Reed was always so cautious, I
never thought he would ever get
to this point. let's make sure
his dream stays just that.
Stark hangs up.
STARK
Just you wait till election year.
CUT TO:
EXT. AN OLD FASHIONED DINER ON A NEW YORK STREET - NIGHT
Three guys go into the diner from the street.
INT. DINER - NIGHT
Of the three men is JOHNNY STORM, (a Toby Regbo type), blond, mid-twenties he exudes a charismatic charm. Wearing tennis shoes, jeans and a t-shirt of himself from a video game called 'Storm front' and a jacket. He has charm, not fashion sense. With him are obviously two of his friends DAVID GEORGE MUNSON "GEORGIE" (a Rupert Grint, type). Thin redheaded a real trouble maker. With him is GREG MULLINS (a Cole Sprouse, type). A stringy haired thin person. The kind of person you just feel uneasy around. Both are dressed like they're trying to keep the 50's alive.
Behind the counter is an elderly African-American male, (a Cedric Yarbrough, type). LEVAR MORRIS, or "SCOOPS" as he is known for.
SCOOPS
Fellas.
Johnny happy to see Scoops.
JOHNNY STORM
Hey, Scoops. These are two of my old
buds from back in the day, remember
when we lived in Glenville.
SCOOPS
Don't remember livin' there with you.
JOHNNY STORM
Me and sis, smart ass.
SCOOPS
Dumbass. Learn to be clearer.
Johnny annoyed.
JOHNNY STORM
Anyway.
Johnny pulls Georgie to the front.
JOHNNY STORM
This is Georgie.
Georgie nods. Johnny points to Greg.
JOHNNY STORM (cont'd)
And not Georgie, we just call 'im Greg.
Greg does not nod.
Scoops starts to offer out his hand, but he sees they have a problem with him. Scoops blows it off.
JOHNNY STORM
Hey, we're gonna grab a booth, Scoops.
Care if we get three burger specials?
As the three go to a booth. A cook starts cooking the food while Scoops makes the shakes from hand dipped ice cream.
SCOOPS
Sure thing, Hotshot.
Scoops sets a tray up for the food. At the booth the three act like stupid teens. Scoops gets Johnny's attention. Johnny comes over to the counter. As the two talk, Greg, with a knife, carves something into table.
JOHNNY STORM
What's up?
Scoops gives Johnny a bottled soda. Johnny drinks as he talks.
SCOOPS
Isn't tonight the big night?
JOHNNY STORM
What? Ben's thing? It's just an
engagement blow out. No big deal.
SCOOPS
Might be to him. (to cook) Better
make them to go.
JOHNNY STORM
Yeah. I'm goin', I'm goin'. Soon
as I stuff my face. I could care
less. It's for family I guess,
even though Ben ain't no family.
'Sides at these things, I'm
no hors d'oeuvre kinda guy.
I gotta get some real food in me
'for I pretend to care.
Heck, If it weren't for Sue, I'd
be outta there. Don't care for Ben
and Reed (makes a noise) I guess his
wallet makes up for a lot.
Well, I'll take that back. Reed's
okay I guess. I get to live in
Manhattan, in a place I could never
afford. They're both working all the
time, him and sis.
JOHNNY STORM (CONT'D)
If I didn't know any better I'd
think they were avoiding each other,
and Ben has his girlfriend/fiance
anymore. I was against Reed at first,
but far as I can tell he's done
alright by sis, (finishes drink)
and me.
SCOOPS
You know you sure talk a lot about
that sister of yours, that you
never bring by.
JOHNNY STORM
Aw Sue, she's all big time now.
She probably forgot about food
and places like this, not me
though, I'm a burger and shake
kidda guy. Yeah, after she moved up,
she ain't got time for me anymore.
She's always held up in her office,
she's never around. She's just like
Reed in his lab and that just leaves
Ben and now he's up Alynn's ass
SCOOPS
What'd I tell you about that mouth?
JOHNNY STORM
Sorry. It's kinda great, It's like
I got the whole penthouse to myself.
Well, when I'm not makin' appearances
and races and all that.
SCOOPS
You know it's not like you have to
travel 'cross the city to see her,
isn't she a couple of flights down?
Why don't you go down an' see 'er?
JOHNNY STORM
I would. I would, but it's soooo
boring. Meetings blah, blah, blah. It
suuucks, so bad.
JOHNNY STORM (CONT'D)
I couldn't do what she does. Just
the thought of it makes me wanna-
(drops his head back pretends
to snore).
SCOOPS
Then that's on you.
JOHNNY STORM
I can live with that. Ya wanna know
somethin' stupid? We don't even own
a dog. Reed's got that Herbie thing,
it's annoying like a dog. Maybe his
parents wouldn't let him have a pet
so he invented that thing. Or friends.
SCOOPS
You know, you could always get one,
bring it home.
JOHNNY STORM
And take care of it? No thanks. I
can barely take care of me.
SCOOPS
Maybe get you a girl then, take care
of you instead of your family all
the time. Fill up that place with
babies? Babies bring people together.
Wouldn't trade mine for the world.
JOHNNY STORM
No way, no one's keeping me down.
I figured by now sis an' Reed
woulda knocked outta a few. Career,
ain't family you know.
SCOOPS
You're one to talk.
JOHNNY STORM
Hey, when I'm ready, it'll be like a
human rabbit farm, they'll be
everywhere.
SCOOPS
I'm sure she'll love that. You know
if you were mine, I'd done wore you
out the way you talk about your family.
JOHNNY STORM
Sue's my family.
SCOOPS
If you're under the same roof you're
family. Especially if someone's
providin' that roof for you.
Gives him look.
JOHNNY STORM
Damn, Scoops. You're bustin'
'em aren't you.
SCOOPS
You need to straighten up and appreciate
what you got. One day it won't be there. 'sides, it is what you make it.
JOHNNY STORM
Yeah, I guess.
SCOOPS
You know I'm right.
JOHNNY STORM
Heck, you're more family to me than they
are. I don't care to say you're my step
dad. Never really had a dad. He croaked.
SCOOPS
Can't blame a man for that.
JOHNNY STORM
Guess not. Whatever.
Cook sets three bags of food on the counter next to Scoops.
SCOOPS
Here you go burnin' man.
JOHNNY STORM
Burnin' man?
SCOOPS
Yeah, you burnin' it at both ends
ain't ya?
JOHNNY STORM
Probably.
(hollers to guys)
'ey, come on.
(to Scoops) What'll I owe ya?
SCOOPS
A kidney.
JOHNNY STORM
Seriously.
SCOOPS
We'll settle up one day.
Scoops comes out from behind the counter.
As they go to leave, Johnny and Scoops do a man hug thing where they go to shake hands and draw each other in and pat each other on the back.
GEORGIE
Kiss him already.
GREG
Careful Johnny it might rub off.
JOHNNY STORM
Shut up.
SCOOPS
(to Johnny, low voice)
Never figured you to hang around with
cross burners.
JOHNNY STORM
(low voice)
Them? Nah. They're just idiots.
SCOOPS
Maybe you should be hangin' 'round
with people you don't call idiots.
You know people judge you by the
company you keep.
JOHNNY STORM
Okay "dad". I gotta drop you guys off
on the way. Reed would have a shit fit
if you showed up to one of his balls.
GEORGIE
So you like showin' up to his balls,
eh, Johnny boy?
JOHNNY STORM
(laughs)
Hey, I'm not my, sis.
Scoops gets Johnny by the back of the neck. His two friends are ready to fight. Johnny motions for guys to cool it. Scoops shoves Johnny off.
JOHNNY STORM
What the hell, man?
SCOOPS
You know better than to talk about
your sister that way, even jokin'.
JOHNNY STORM
Jeez, I'm sure she could take a joke,
but I get it, I get it. (Tells guys,)
No jokes about Sue. That goes for me
too.
Scoops shakes head at him disappointed. Johnny feels bad. As they go to leave.
SCOOPS
(to Johnny)
Have fun hangin' out with your
brother-in-laws balls.
JOHNNY STORM
(laughs)
How come you get to do it?
SCOOPS
One, you got to be funny and two,
you got to respect family,
'specially the women of the world.
And you can take that to the balls.
Scoops taps Johnny's balls. He drops.
SCOOPS
Now go on get.
The guys leave. Scoops just shakes his head thinking about them. He goes to table the idiot guys were sitting at. He goes to wipe table. He moves the trash he sees "KKK" carved into table top. He looks out to Johnny's car in the parking lot, Johnny and Georgie are in the car. Greg looks to Scoops, pours his shake onto the ground then drops the styrofoam cup. Then backs around to other door and gets in. They back up and drive off. Scoops watches them drive off and wonders why bodily fluids were wasted making Johnny's friends.
CUT TO:
INT. BAXTER BUILDING, BALLROOM - NIGHT
The ballroom is an entire floor. 60's art deco. A pond and fountain are in the middle of the room. A band plays the hits of today and the past. The room is packed with upper class people and a few out of place, such as a few military and police. A film crew is scattered through out.
A waiter rushes carefully through the crowd to find REED RICHARDS a noble looking gentleman with dark brown hair, with silvery almost white to his temples. (a Daniel Gillies, type). Dressed in suit and tie. He is in the middle of a conversation with guests as a waiter urges his attention, with a look. The waiter waits to be spoken to.
REED RICHARDS
(to guests)
Pardon me one moment.
Reed steps from the guests to the side. He looks to the waiter to tell him what is so important.
WAITER 1
Sorry Mr. Richards, but there is
a call from the correctional facility.
A mister Storm is needing to speak
with you.
Reed sips his drink.
REED RICHARDS
I will tell my wife her father called.
Please, no further interruptions. And
one more thing, make sure no one is
to say a word about Mr. Storm in front
of Johnny, Am I clear? Not. One. Word.
The waiter nods and goes to walk away as Reed takes hold of his arm.
REED RICHARDS
Have you seen my wife?
WAITER 1
No sir.
Reed looks irritated at his watch.
REED RICHARDS
Fantastic!
Reed nods for him to go on. Reed is about to return to his guests when BEN GRIMM a large presence of a man, one you would believe to play football (a Robert Kazinsky, type). He is well dressed though his suit doesn't quite fit right. He also doesn't fit into his surroundings and being intoxicated doesn't help either.
Ben grabs Reed by the neck and shoulder.
BEN GRIMM
'Ey brain boy. This shit's alright
when it's for me.
Reed amused.
REED RICHARDS
I'm glad you like it, Ben.
BEN GRIMM
Well it's no Hooters,
(bumps Reed's chest)
but it ain't half bad. 'sides,
who wants to hear the missus-
to-be-
Ben motions with his hand to imply she'll bitch up a storm.
REED RICHARDS
(amused)
Your words, or lack of.
(Reed looks to the camera)
It's good that there's no possible
way she could ever learn of it.
BEN GRIMM
Oh shit!
(laughs)
(to camera men)
You guys'll cut that shit right out, right?
Ben laughs in Reed's face as camera POV shakes 'no'.
Ben grabs Reed's neck and shoulder again.
BEN GRIMM
Man who would'a thought all those
years ago you an' me here. Me
getting' a scholarship off your old
man you meeting your best bud.
(slaps his own chest) So your old
man sent me to college, that like
makes us brothers doesn't it?
REED RICHARDS
I would like to think so.
BEN GRIMM
(mocks Reed)
'I would like to think so'. Come on,
Reed, it's a party. (hollers)
whoo- yeah!
Ben offers Reed a beer.
REED RICHARDS
Thank you, Ben. Perhaps a few less
of these? I would hate to see anyone
make any rash decisions tonight.
BEN GRIMM
If you don't drink I'll-
Ben flexes like he could wreck the whole place. Reed nods with gesture to relax, he will have a drink. Reed takes a drink. He nods like he doesn't like it, but did drink.
REED RICHARDS
(dignified)
Woo-hoo.
(he looks to bottle)
I hope this won't effect me-
Reed takes another sip.
BEN GRIMM
Pussy.
Reed laughs, spitting out a lot of his drink. He covers his mouth.
REED RICHARDS
Thank you for that, Ben. I-
BEN GRIMM
Yeah, yeah. I remind you you're
not just a robot. Now, how 'bout
we drink a shit ton and we trash
this place. Have everyone screamin'
tryin' to get outta here?
Reed ponders it a second.
REED RICHARDS
Could you just imagine my father
seeing me do something like that?
To this place. His place.
Reed looks to his bottle almost a little angry. Ben takes the bottle from Reed.
BEN GRIMM
Okay. Calm down. Now I remember
why we don't get you shit faced.
REED RICHARDS
(absentminded)
What?
BEN GRIMM
You were just about to go into a
tirade about your old man. Man, he
messed with your head but good
didn't he? Somethin' fierce.
REED RICHARDS
Something... yes.
Reed dignifies himself. Straightening himself up.
REED RICHARDS (CONT'D)
Well that's all in the past. I'm
sorry Ben (touches Ben's shoulder)
tonight is your night.
(pretends to be happy)
My best friend in the world is
engaged and we're here to celebrate
that and nothing else.
BEN GRIMM
Don't you worry, that space thing,
we got this.
Ben holds the back of Reed's neck so they are head-to-head.
BEN GRIMM
We got this. An' what wuz it
you told me?
REED & BEN
'An ex-football star and a nerd
may not be able to handle what's
out there'.
BEN GRIMM
'Unless'?
REED RICHARDS
'Something about us changes'.
BEN GRIMM
And what's I tell you?
REED RICHARDS
That, 'I can always talk 'em to
death and you can tackle them'.
BEN GRIMM
We got this.
REED RICHARDS
Thanks Ben.
BEN GRIMM
That's why I'm 'ere. You 'n' me.
You an' me.
ALYNN CAMBERS comes up behind Ben. (A Kim Kardashian, type.) A striking woman with a spray tan, brunette hair and an outfit that is way to tight in a way it reviles way to much. Some may question if she had implants in more than one place and some might question if she was born this way.
Alynn grabs Ben and begins to pull him away.
ALYNN CAMBERS
Now.
Reed gives a nod to Alynn.
REED RICHARDS
Miss Cambers.
(distracted as Ben is lead away)
Yes. Of course. See you in a bit my
friend.
He looks to a table full of spirits.
REED RICHARDS (CONT'D)
My only friend.
Reed looks up to the painting of three men. Which has their names under them. Nathaniel Richards (a Hugh Laurie, type) Howard Stark (a Steven Weber, type) and Jackson Leigh Baxter (a Jason Alexander, type).
He stares intently. Then he realizes without knowing he has a drink in his hand. A waiter passes by. Reed stops him.
REED RICHARDS
(to waiter 2)
Would you take this?
Waiter takes it, walks on.
GENERAL ROSS comes over with two drinks in hand.
Ross offers one to Reed. (General Ross, a Martin Cummins, type).
GENERAL ROSS
You look like you could use a
drink, son.
Reed starts to say no, but politely takes it.
REED RICHARDS
Thank you, general.
Ross. Looks up to the painting with Reed.
GENERAL ROSS
Your father was a hell'va man,
Richards. Each one of 'em were.
Damn shame what happened between 'em.
REED RICHARDS
Yes. It was.
GENERAL ROSS
I know you're doing our country proud
by this mission and partnering with us.
REED RICHARDS
My father started this project with our government, I just wanted to honor that.
REED RICHARDS (CONT'D)
He and I felt this is more than
just a random phenomenon, which
seems to be occurring more
frequently and with more intensity and
even mass perhaps.
It will help us to get a better
understanding. I for one hope it
is something that will be of
benefit to us on earth, but
should it be a threat. I feel
it's best to let those better
equipped to handle it, handle
it. Bar any unforeseen problems
we intend to follow the rays
perhaps to a point of origin.
GENERAL ROSS
Still. Don't think it would've
hurt to have Stark and his boys
put a few weapons on it.
REED RICHARDS
This time around general, it is an
exploratory mission, collect data,
samples if we are able, send probes
to track the phenomenon, beyond our
solar system, and alert us to it
coming around again. Then, if we
assess it could be a credible threat
and there may be a need to take
action in the future, I would work
with Anthony to develop any defense
against it. If he were willing.
Ross pats Reed's back.
GENERAL ROSS
I'm damn glad to hear you talk like
that Reed. It'd be great to have you
boys work together.
REED RICHARDS
Never my choice, general. But, a
threat to the world its self, I
would do what was necessary.
GENERAL ROSS
Maybe down the road, how about we
all sit and talk?
REED RICHARDS
As I said general, it's never been
up to me. I always send invitations
to these events to him. And as you
can see-
Reed motions to room full of people, no Stark.
GENERAL ROSS
Well. Keep tryin'.
REED RICHARDS
I always have, sir.
GENERAL ROSS
Maybe you two can bond over fortunes,
since his seems to be in question
since he went into a coma. Of course
if you had gone this alone it might
have put you on food stamps, Richards.
REED RICHARDS
It will be worth it in the end, general.
I assure you.
GENERAL ROSS
Well in the end, it may be our ship,
but you own every patent on the damn
thing. Hell, that hyperspace you call
it and that artificial gravity alone if
it works, will set you up pretty good.
Hell, the design of the ship its self.
(makes a whistle sound)
REED RICHARDS
It will all work. It has to. It may
have taken some time, but I believe
as Johnny put it, I didn't just
build an engine, but the whole car
to go around it.
Reed seems almost amused by the thought. General Ross looks over to Ben and Alynn dancing.
Ben tries to dip Alynn and they go to far both hit the ground.
GENERAL ROSS
Are you sure you want him to pilot
the damn thing?
REED RICHARDS
I am sure. I wouldn't have
it any other way, general.
Ross puts his hand on Reed's shoulder.
GENERAL ROSS
Your funeral.
Reed appears perturbed as Ross walks off. Reed looks over his shoulder to father's image. His jaw clenched.
(camera crew films them)
Ben and Alynn dance, they see Reed.
ALYNN CAMBERS
What is up with your friend?
BEN GRIMM
Daddy issues. You think I was
kiddin' when I told you his old
man was a dick to him. Well,
doll-face, I wasn't just runnin'
off at the mouth. They should
to make one of those movie of the
weeks about his life. His old man
treated his mom like shit, ignored
'em both, wasn't 'til Reed got
into science, the daddy know he was
alive. The mom wanted 'im to
'erself, guess cause she had no one.
Tried to sissy 'im up dance, piano,
opera all that shit. It was like
they were playin' 'im off each
other. Fuck, I'll bet neither of 'em
wanted 'im. Poor bastard.
Now his wife, she avoids him after
he took her in after her little
break down.
BEN GRIMM (CONT'D)
I thought it was a bad idea,
but you think it's love.
Whatever. You feel sorry for someone
you get 'em help, y'know? you don't
marry 'em. Then she moves her piece
of shit brother in on him. I think
I'm his only real friend. I'd take
a bullet for the guy. I just seen
'im needed a friend, hell the first
night I came here his old man
handin' out scholarships, Reed he
looked through hundreds. He told me,
mine was one he picked, he thought
I was somethin' came from nothin'
cause of him I got off yancy street,
out of the gangs, make my brother
proud, made it all the way to space.
And in a couple'a days I get to take
my friend with me. Fulfill his life
long dream, which is sad, not even
his. He still's trying to live up to
his dad, get his approval whatever.
Those cosmic rays was his dad's
baggage. Maybe, daddy thought they
were like a genie's bottle or
somethin' who knows. So Reed spends
his whole life chasin' his dad's
shit. Poor bastard.
Then on top of that, He doesn't
know what's out there, boogie men,
aliens, what have you. if we were
to find something out there,
Heck. if there was aliens out there,
I'd do like Will Smith in that movie
"welcome to earth, bitch"!
Ben then gestures like he would punch an alien out. Ben, then Stumbles forward a little. Alynn stops him from falling, he Laughs.
BEN GRIMM (CONT'D)
How much of his life's been doin'
this. What else could he have done?
Me, I'm there cause I feel sorry
for the guy.
BEN GRIMM (CONT'D)
Should'a seen him in college
like the ugly fat girl no
one wants to be friends with sit
at their table. I got 'im out, me.
I'm the one. I'm the first person
to get 'im high. I got him to live
a little life. When I can get 'im
out of that freakin' lab.
ALYNN CAMBERS
Reed Richards high. Now that, I
would love to have seen.
Alynn looks to her purse. Pulls out a bag of the good shit.
ALYNN CAMBERS (CONT'D)
Let's liven 'im up.
BEN GRIMM
(laughs)
Maybe I should'a fucked his shit
up years ago. Helped him out. Get
him so fucked up he forgets about
daddy. I'm a bad friend. Change
his life, what is that song,
(tries to sing)
I went to follow daddy's dreams,
but I got high (laughs), I got
into a shitty marriage, piece of
shit brother-
ALYNN & BEN
But I got high.
BEN GRIMM
(confused)
What was I sayin'? Yeah, Reed.
Maybe we should fix 'im up? You
got some hot friends? One time,
golf ball through the garden hose.
Change his life. How 'bout we do
that when we get back? We should
get my bud straightened out. Be
the four of us instead of the
four we got. Huh?
ALYNN CAMBERS
It'd take me a little bit. I Don't
quite know anyone who wants to marry
a billionaire.
(hand to mouth to holler to her friend)
Oh, Nan!
Ben and Alynn look to each other and laugh. Reed faces the direction of Ben and Alynn still seems lost. Ben flips Reed off from across the room. Reed comes out of trance, looks confused by it. Ben just waves him off to forget it.
BEN GRIMM
Aw, stupid bastard we're gonna
fix his wagon.
ALYNN CAMBERS
I think I'm going to like livin' here.
BEN GRIMM
Yeah. I'm just afraid he'll turn
out like his old man, well he
sorts is isn't he? ignore everyone
'round him. So I try to keep 'im
from jumpin' or pullin' the trigger,
or whatever rich people do. Have
one of the servants do it. (Laughs)
ALYNN CAMBERS
You're such a dick!
BEN GRIMM
An' that's why you love me, Doll-face.
Maybe-
Ben pulls Alynn to him smacks her ass.
BEN GRIMM (CONT'D)
Maybe you got daddy issues of yer own,
huh?
ALYNN CAMBERS
You're sick!
BEN GRIMM
Maybe later, huh, see what you'll
do to earn that allowance?
ALYNN CAMBERS
(disgusted look)
Yeah, fine.
Ben laughs. They continue to dance.
BEN GRIMM
Gotta piss.
ALYNN CAMBERS
Thank you for that.
Ben leaves. He is headed towards the restrooms, when he passes Johnny as he enters the ballroom.
BEN GRIMM
Hey hothead. I'm-
(belches in Johnny's face)
I'm pissin'.
JOHNNY STORM
Right now? As we're talkin'?
BEN GRIMM
You. You're funny. you're alright.
Ben stumbles off.
JOHNNY STORM
(to crowd)
Wow. Top ten signs you've had to
much to drink; number ten. Am I
right?
(crowd not give him a bone)
Who are these people anyways?
AMY STEINER, a voluptuous blonde woman, in a dress that reveals quite a lot. (a Amy Schumer, type)
AMY comes over to Johnny. She has several hors d'oeurves in her hand and a drink.
AMY STEINER
Nice you could show.
JOHNNY STORM
I got searched coming up to my
own place to live. Sometimes I
wonder if Reed puts 'em up to it.
AMY STEINER
(almost sympathetic laugh)
Aww. You think he'd waste his
time on you. Hashtag, sad. Oh,
and you're late.
JOHNNY STORM
As long as you never are.
Johnny waves to the crowd, they are unfazed by the presence he thinks he is.
AMY STEINER
You'd be raising it.
Amy pulls out switch blade, pops it.
AMY STEINER (CONT'D)
Maybe next time I'll open it.
Amy makes a motion like to poke hole in the condom pack.
AMY STEINER (CONT'D)
Trap you.
JOHNNY STORM
(shocked)
Put that away! Are you crazy?!
Why do you have that?
AMY STEINER
Hey, a girl's gotta protect 'er self.
She puts it away.
JOHNNY STORM
If we're out I'll protect you.
They look to each other and laugh.
JOHNNY STORM (CONT'D)
Now see, that's the kinda shit
they should be getting, but they
ain't.
AMY STEINER
Who?
JOHNNY STORM
The ones followin' Ben an' Alynn
around. I'm a bigger celebrity than
them. Why aren't they up my ass?
I'm Johnny Storm, ratings booster.
AMY STEINER
You keep telling yourself that and
I will tell myself, I won't date
losers.
JOHNNY STORM
Hey!
AMY STEINER
Are we dating?
JOHNNY STORM
Well... no.
AMY STEINER
I'm your agent with benefits.
JOHNNY STORM
If that's the case, do you take
less of a cut because you get to
be with this?
Amy eats one of her hors d'oeurves.
AMY STEINER
I should compensate percentages
over inches.
JOHNNY STORM
(cocky)
Yeah right.
Amy drinks her drink slowly looking to Johnny.
Johnny takes one of her hors d'oeurves. Looks around room.
JOHNNY STORM
Seriously. Why don't I have a
crew follow me around?
AMY STEINER
Probably same reason as me,
annoying as hell.
JOHNNY STORM
You are my agent.
AMY STEINER
Oh... yeah. I guess I could look
into that, sure.
JOHNNY STORM
Why do I put up with you?
AMY STEINER
'cause no one else will put up
with you. You know I can I put
a 'spin' on anything, but in here?
Well, it's a little hard to sell
you as an action junkie if you're
at places like this. I can spin,
but you make me dizzy. Now if you
had a parachute and jumped off the
balcony. People would eat that up.
A little jackass action, not being
just a jackass.
Amy laughs he doesn't. Amy spies Reed across the room.
AMY STEINER
Hey! Over there's Reed. We should
say 'hi.'
Johnny from where they are now.
JOHNNY STORM
(loud)
Hi!
Amy and Johnny laugh.
Alynn is sitting off from people with the film crew checking equipment and stylist are fixing her hair and dress. Ben was on his way back, but got stopped by a bunch of guys.
ALYNN CAMBERS
(sighs)
The things I do for fame. Fucking
reality show, marrying him, now I
gotta find his friend a new wife.
I better be getting a movie deal
outta this. One night with him
and I have to ride him to the top.
Could be worse, could have to work
a real job.
Alynn smiles and waves to him across the way.
ALYNN CAMBERS (CONT'D)
That's right dumb ass I'm waving
to you. Use your ape like paw to
wave back.
Ben grins back. Blows her a kiss.
ALYNN CAMBERS (CONT'D)
Jesus how hard is it to break into
this business? Hell, even Reed's
wife did some TV and commercials.
Maybe instead of dressing up, should
shop for my look in an alley way?
Crew laughs. At that moment a dark haired beauty with an intense look comes over. NAN FREEMAN(a Camila Mendes, type)
NAN FREEMAN
What were you yelling my name
about just a moment ago?
ALYNN CAMBERS
Took you long enough.
NAN FREEMAN
Tell them not me. you'd be
surprised how many creeps there
are at this party.
46.
NAN FREEMAN (CONT'D)
Apparently putting a suit on
doesn't make you less of a
sleaze ball. Reed should have
a better screening process.
ALYNN CAMBERS
Money is its own screening process.
Speaking of Reed, you're in.
NAN FREEMAN
What 'in'?
ALYNN CAMBERS
Reed. Ben wants you and Reed
together. So don't fuck this up.
Alynn motions with hands to go towards Reed.
ALYNN CAMBERS (CONT'D)
Get in there before Debbie-Sue
downer mopes it all up.
Nan dashes Reed's way.
ALYNN CAMBERS
Wouldn't that be a bitch. She
gets a billionaire and I get,
well him.
Crew laughs.
ALYNN CAMBERS (CONT'D)
I had implants in my ass, my tits,
lip injections, only thing real
on me anymore is my eyes... I think.
Hopefully he won't figure out any
of this isn't real until I'm famous
enough not to care. Seriously, how
could you not know? Tan so much skin
feels like leather. With all the
silicone and botox you think I'd
have a stroke. I used to have
strawberry blonde hair. now I look
like this, I was pretty for a
hometown girl, but fame doesn't come
to a home town.
47.
ALYNN CAMBERS (CONT'D)
Might help if we had a label that
worked, like "Brangelina"
"Benjaminlynn" "Alynnben", egh,
maybe I should change my name too?
Tell you what I better not get
pregnant unless his friend sets it
up with a trust-fund. How the hell
can he be an astronaut? couldn't
tell that night we meet, we had a
good scene planned with a basketball
star give him so much money we pretend
to fight and argue couple of months
break up does him some good sleeping
with a model and me, in the tabloids
every week. Then dunderhead, has to
step in and play Mr. shivery, and
punch the fucker right out. Then he
test through the roof, apparently
America still believes in shivery,
honor, all that crap. So I have to
start dating him for a chance at
the top. Now marry him. How much
worse can it get? What kind of
freak show am I getting myself into?
(to camera men)
You better not be filming this.
CAMERA MAN
Relax. Just checking specs.
On camera it says "rec".
Reed continues to look up to the painting of the three men. He exhales.
REED RICHARDS
I wish you were here.
A group of four couples; four old men, two with considerably younger wives, the other two with women closer to their own age. Walk up to Reed.
OLD MAN 1
Talking to ghost Richards?
48.
OLD MAN 2
I know he has a touch of the
silvery/gray, but you're not old
enough yet to hold conversations
with ones you know aren't there,
eh Richards my boy?
REED RICHARDS
No sir.
OLD MAN 3
Speaking of talking to ones not
there, where is that wife of yours?
Haven't seen much of her lately.
REED RICHARDS
She... keeps busy.
OLD MAN 3
Ah, I remember those days. That's
why I moved on to number three here.
A young bride to be sure. She giggles tipsy.
REED RICHARDS
I'm afraid there's only one for me.
Till death do us part.
OLD MAN 4
So a toast to death it is.
Old men raise glasses in a toast. They laugh amused with themselves. Clinking glasses and drink. Reed does not, he just looks off from the couples with a clenched jaw.
Nan comes up stands next to Reed. She tugs on his jacket sleeve. He turns to look to her.
NAN FREEMAN
(loud for group to hear, to Reed)
I'm here to rescue you.
REED RICHARDS
Rescue?
NAN FREEMAN
From these old fuddy duddies.
49.
Nan winks to the old men. They are taken with her.
NAN FREEMAN (CONT'D)
I believe you were about to ask me
to dance.
REED RICHARDS
I was?
NAN FREEMAN
You 'was'.
(she laughs)
A lady doesn't ask a gentleman.
The girls of the old men act snotty. The old men like Nan, a lot and it shows. All smiles when refer to her as she leads Reed away.
NAN FREEMAN
You're welcome.
REED RICHARDS
They were business colleges and-
NAN FREEMAN
'And' fresh fruit will wither just
the same next to old fruit. Now,
lead on.
Reed takes her to dance, In distance, Ben and Alynn grin.
NAN FREEMAN
So what were those old codgers
teasing you about?
REED RICHARDS
Ghosts.
NAN FREEMAN
Ooooo.
REED RICHARDS
More of the past, than roaming
the halls.
50.
NAN FREEMAN
Still you don't talk about the host
at his own event, to his face, you
do the descent thing, wait till his
back is turned. So is the painting
like the spice girls, which one is
your favorite? The Beatles, one
direction. How old are you?
REED RICHARDS
(almost smiles)
Then I would have to say Mr. Baxter.
NAN FREEMAN
How come?
REED RICHARDS
(fondly)
I suppose, in keeping with the
ghost theme, my mother's favorite
of all of the adaptations of
Charles Dickens' work, was the
film with George C Scott. She was
fond of a particular scene, with
"old Fezziwig", when he has
everyone put away their work and
dance, for it was Christmas eve.
I always seen Mr. Baxter in that
light. He was a fair man, stern
when he had to be, but a good man.
He knew family was important,
friends. He was admired. An
inspiration.
NAN FREEMAN
Is that why you host these events?
REED RICHARDS
I hadn't thought about it. On a
subconscious level, perhaps.
My father and Anthony Stark, his
father, they got to where they no
longer listened. Mr. Baxter
became more of a referee between
them. Work became more important.
The only importance.
51.
REED RICHARDS (CONT'D)
Howard Stark, he left, started
his own empire. My father stayed
here with Mr. Baxter He left my
father with all of this, what
they built together. Now it's
mine... and Susan's. Our family
as it were.
Reed looks as if he is lost in thought.
REED RICHARDS (CONT'D)
There is no one now to make us
clear everything away. "almost
caries no weight". Maybe he
envisioned something... more, when
he willed it to me. Everything he
stood for... there is no trace of
it, not anymore.
Nan is empathetic to Reed.
Ben comes by the two. They haven't yet made it to the dance floor. At some point Reed finds himself with yet another drink.
BEN GRIMM
How do these keep winding up in-
Ben takes the drink out of Reed's hand.
BEN GRIMM (CONT'D)
I think I know why you host so many
of these thing, pal. No one'd invite
you to theirs.
REED RICHARDS
(comes out of it)
Yes. That could very well be true.
BEN GRIMM
(laughs)
Hey-hey.
Like Reed finally got it.
52.
BEN GRIMM
(to Reed)
Go dance, either wit' her or wit' me.
REED RICHARDS
Very well.
a slower song begins.
NAN FREEMAN
Finally!
Reed and her walk to dance floor. They begin to dance.
REED RICHARDS
I'm afraid I usually only dance
with Susan and only Susan.
NAN FREEMAN
And how long has it been since
you... danced?
Reed stops dancing, he no longer enjoys the moment.
REED RICHARDS
I only... with Susan.
Nan 'forces' Reed to resume dance.
NAN FREEMAN
How 'bout I get you warmed up
for her and when she arrives
I'll step aside... if you want.
If that's what you want.
Reed and her continue to dance in silence. The song ends to quickly. Nan applauds as most do. A different song begins.
Reed is ready to walk away.
REED RICHARDS
Thank you, miss Freeman.
NAN FREEMAN
Drink?
53.
REED RICHARDS
I have to say no, miss Freeman.
I don't usually drink. I try to
avoid most things that impair
brain function.
NAN FREEMAN
Like smiling?
Reed finally smiles and laughs. She touches his arm as she takes and sips her drink.
NAN FREEMAN
Reed, if you don't mind my saying,
you seem a little defensive. Is it
because of your wife?
Another song begins she has him dancing without him realizing.
REED RICHARDS
She prefers to be alone most days.
So I... try to respect her wishes.
After I convinced her to head the
company she has made it her life,
with little time for anything else,
or any one else. She does so well
at it. Somehow I imagined our lives
a little different than they are now.
She is my wife and she heads our
company. I would never ask her to
step down for my sake alone. I
might as well ask that she become
bare foot and pregnant. No. She
has earned her place, but I want
a wife. There doesn't seem to be
room for the two.
NAN FREEMAN
Maybe what you really need is two.
She dances with him looking into his eyes. (Ben and Alynn high five. The music stops Reed still holds her at a respectable distance.
54.
NAN FREEMAN
Ah, Reed, the music stopped.
REED RICHARDS
(distracted)
Music. Yes. The music.
(he let's her go.)
I am sorry.
NAN FREEMAN
Don't be. Music is just an
accompaniment.
Nan smiles to him. Reed still seems distracted.
REED RICHARDS
I do apologize for my behavior,
miss Freeman.
She turns to get a drink.
NAN FREEMAN
Or, Mrs. Richards.
EXT. BAXTER BUILDING - NIGHT
It has begun to mist. Susan's town car stops outside the building. The doorman walks over and opens the door for her.
SUE RICHARDS
(to driver)
Thank you, Kirby.
She nods and shyly smiles to the doorman. She stands a moment. She looks up the building it is 60's art deco. She looks to the front entrance that says "Baxter Building" with a plague by the door says established 1961.
She feels nothing as she walks towards the door that another doorman holds open for her. She steps into a massive lobby looks around. She looks to a large wall that has a painting of an older man. Jackson Leigh Baxter. She almost smiles.
55.
She goes to a private elevator, which is guarded by police. They let her pass, no question. As the elevator doors open. She gets in, pressing the ballroom button. She steps to the back. She closes her eyes as the doors close, then opens them as the elevator starts to move. She looks up to see the numbers of the floors get higher.
She takes out her tablet, she looks to its screen. She brings up Baxter building security. Selects cameras/ballroom. We see her swiping then, we see on her screen of Reed and Nan dancing.
SUE RICHARDS
Bitch.
She holds the tablet to her side and looks to the floor intently.
INT. BALLROOM - NIGHT
The groups of old men and their wives watch Nan with Reed.
OLD MAN 4
She would certainly be a breath
of fresh air.
OLD MAN 2
She would light a fire under
Richards. I do say.
The elevator doors open. Sue steps out. She sees the party is in full swing. A world it seems, that can go on without her. She sinks inside of herself.
OLD MAN 1
Speaking of the ghost of
Mr. Richards.
He points his drink in Sue's direction. They turn to see her.
OLD WOMAN 2
Perhaps she was some sort of
obligation, like finding a stray
on the side of the road.
56.
OLD WOMAN 4
Or perhaps, when you were to
visit somewhere and bring back
a souvenir. I heard for the
life experience, he stayed in
boarding houses, instead of on
campus or letting his father put
him up in a suite somewhere.
OLD WOMAN 2
At least you can exchange a souvenir.
They laugh.
OLD WOMAN 4
I know the Richards family gave
to charity, I didn't know that it
extended to the bedroom.
YOUNG WOMAN 1
Why is he still with her?
OLD MAN 1
Blackmail?
OLD MAN 3
Pity I would say.
Sue finds a corner near some plants and trees to just wait. She feels numb. A waiter bumps into her.
WAITER 3
Oh, sorry ma'am. I didn't
see you.
Sue doesn't even care. She just covers her face with her hand. The waiter looks to her, pauses to see if she'll raise hell. She just doesn't care, or notice she was ran into. The waiter backs away and goes on.
WAITER 1
(whispers, to Reed)
Sir. Your wife just arrived.
She is by the elevators.
Reed looks almost mad.
57.
REED RICHARDS
(to waiter 1)
Thank you.
(to Nan, he starts to turn,)
Susan is he-
He sees she has vanished. Reed amazed he is talking to thin air.
REED RICHARDS
Very well then.
Johnny is making his way through the crowd in a hurried pace. Amy follows behind him.
AMY STEINER
Slow down will you? You don't
have heels on.
JOHNNY STORM
Gonna ask him what's up.
AMY STEINER
They were dancing. As long as
it's vertical, what's the big deal?
Johnny stops, turns to her annoyed.
AMY STEINER
What?
JOHNNY STORM
Bad enough he treats her like he
does. Now this? No way!
He turns to continue on when two cops and the police chief cut him off.
JOHNNY STORM
Great these guys.
COP 1
'ey Johnny, boy. I was hopin'
you haven't completely turned
over a new leaf.
58.
COP 1 (CONT'D)
'cause of you, we get sweet gigs
like this your brother-in-law
pays us to stand around as a way
to say thanks for losin' so much
paper work and lettin' him know
before we even report anything.
JOHNNY STORM
Don't tell me Reed's a cheap skate.
You're tellin' me he doesn't pay
you guys enough to just lay around?
You have to stand and ride the clock?
Seems more like an allowance than a
pay off.
The Chief steps towards him.
CHIEF
You might want to watch what you say.
JOHNNY STORM
Hey, I'm sure every year the
precinct needs it's squad cars
replaced and all those gadgets
Reed comes up with to make your
(coughs) jobs easier. I'm not as
smart as Reed, but all that
because you bozos look the other
way most times, doesn't really add
up, other than you guys's wallets.
COP 2
Say the word Chief, I think he's
got a concealed weapon.
JOHNNY STORM
(antagonistic)
Yeah, and it's getting harder
just hearin' you call it a
concealed weapon.
Cop 2 steps towards Johnny. Johnny is confident knowing he believes they won't shot him.
59.
JOHNNY STORM
(to Amy)
Care to put a spin on this?
Amy raises her fist, she flips Johnny off and then twists her wrist so she is flipping off the cop. Amy as goes to walk off sipping her drink.
AMY STEINER
My work here is done.
Amy simply walks off and goes over to the buffet table.
JOHNNY STORM
Ha!
He goes to Walk off. The two cops start to block johnny's way when Reed steps over.
REED RICHARDS
Chief.
A drink in hand he offers it to the chief, which he takes.
REED RICHARDS (CONT'D)
Officers. (long exhale) Johnny.
JOHNNY STORM
(to Reed)
Nice ball.
Johnny covers up his junk, so no one will tap it.
REED RICHARDS
(to Johnny)
This is not a ball, but a simple
gathering, an engagement party,
as Ben wanted, Though.
Reed looks to what Johnny is wearing.
REED RICHARDS (CONT'D)
It is nice to see you dressed
up for it.
Johnny looks to himself.
60.
JOHNNY STORM
What? Hey! Reed, I was just coming
to see you. I wanted-
REED RICHARDS
(abrupt, to Johnny)
Perhaps, in a moment. Chief. I
trust Johnny was thanking you
properly for looking after our
family.
Reed looks to Johnny, cold. Johnny leans forward to bow having his middle finger face the cops.
JOHNNY STORM
Couldn't do it without you guys.
Johnny stands upright laughs as Amy comes back over stands in front of him and flicks him on the forehead.
JOHNNY STORM
Ow!
Amy as she is dragging him away.
JOHNNY STORM
(to chief)
Remember to say 'how high'.
Reed holds firm to chief's shoulder, leads him in other direction. The chief wants to go tear Johnny's head off.
REED RICHARDS
Have I have never told you chief,
how I admire the restraint you and
your men show from day to day when
faced with persons who would make
lesser men snap.
CHIEF
You admire us? You're the one that
has to live with 'im.
REED RICHARDS
(slight smile)
Then perhaps I will admire myself
as well.
61.
REED RICHARDS (CONT'D)
(to cops)
Gentlemen, be sure to take some
food home to your families.
Cops nod like appreciate it. They walk off.
CHIEF
Y'know Reed. One of these days he's
gonna push someone that isn't lookin'
out fer family. I ain't sayin' it'll
be my boys, but he travels a lot.
REED RICHARDS
I do enjoy the peace and quiet
during those-
CHIEF
(abrupt)
I'm just sayin' maybe you'd like a
little more peace an' quiet 'round
here. You know a couple of my boys
could-
REED RICHARDS
No.(pauses)if I knew it wouldn't
devastate Susan.
Reed inhales with a smile, then exhales.
REED RICHARDS (CONT'D)
"There is always room in the garden".
As Ben's aunt Petunia might say. Ah,
we're just talking right? Perhaps
somethings are best left to
conversation. Do drink up.
Reed walks off from chief. At the buffet table;
AMY STEINER
Weren't you all enraged a moment ago?
JOHNNY STORM
Reed? I'll tear 'im a new one just
as soon as the chief gets done
tenderizing the old one.
62.
The two cops come over to buffet table stand next to Johnny.
JOHNNY STORM
Again? Aren't there real criminals
out there? Or doesn't their families
contribute anything to you guys's
summer homes?
Amy takes out her cell phone and starts filming.
AMY STEINER
(nonchalant)
Oh, my god film at eleven.
Cops walk off.
AMY STEINER
(still nonchalant)
Yay. Oh, there you are. I couldn't
see you for your adoring fans.
They laugh.
Reed steps over to Johnny and Amy.
REED RICHARDS
(to Amy)
I hope you will forgive my manners.
Reed touches his hand to his stomach gives a slight bow.
REED RICHARDS (CONT'D)
I wanted to complement you on
your dress, Amy. Stunning.
Amy blushes all speechless. Johnny looks to her like 'what is wrong with you'? Reed looks to Johnny nonchalant.
REED RICHARDS
(to Johnny)
You said you were looking for me?
63.
JOHNNY STORM
Well yeah, but first I gotta say,
people on your payroll should have
better manners.
REED RICHARDS
If you wouldn't put yourself in
situations to where they were
called for, I wouldn't have to
have them in our home at all.
JOHNNY STORM
How's this my fault?!
Amy laughs at his cluelessness.
AMY STEINER
It's a good thing you're cute.
REED RICHARDS
Is manners all you wanted to
discuss?
Johnny dumbfounded/slightly agitated.
JOHNNY STORM
What?! No!
REED RICHARDS
Good. There is more then.
JOHNNY STORM
What?! No! Yes! Stop doing that!
I'm pissed! I seen you with what's
'er face, Nan.
REED RICHARDS
Yes?
JOHNNY STORM
'Yes' And? What the hell, Reed?
You're not married to her. You
remember Sue, right?
64.
REED RICHARDS
Unless I miss my guess, the
things I do, they don't require
me to have someone bail me out.
But, for your information, Miss
Freeman, she got me away from a
conversation I preferred not to
be in, much like this one.
Amy turns to the side and laughs.
AMY STEINER
Damn!
Johnny shoves her.
REED RICHARDS
And as it so happens, my wife is
here. As I was headed in her
direction, which I will share
with her our business, perhaps
while you have so much time to
be concerned with others, you
and Amy could congratulate Ben
and his bride-to-be.
Reed starts to walk off, then turns.
REED RICHARDS
Oh, and Johnny-
He walks right up to Johnny. He straightens up Johnny's jacket.
REED RICHARDS (CONT'D)
You really shouldn't antagonize
them, part of the funds I supply
them with go for the common
element, lead. Which one day they
may just use on you. Provocation
or not. I would hate to think I
contributed to that in anyway.
I know that would bother Susan.
JOHNNY STORM
You too, right? Right?!
65.
Reed brushes Johnny's jacket shoulder then just walks away.
AMY STEINER
(amazed)
Damn! That's cold, but with
such class.
JOHNNY STORM
Shut up Amy.
Johnny watches Reed make his way through the crowd.
JOHNNY STORM
(mumbles)
Fucking asshole.
Amy grabs a beer as waiter passes by.
JOHNNY STORM
(pissy)
Reed better not cheat on my sis-
AMY STEINER
(finishes his thought)
Or I'll beat his ass.
JOHNNY STORM
No! I will!
Amy drinks her drink.
AMY STEINER
Please, I'd have you cryin'
before I finished this.
Johnny both offended and annoyed.
AMY STEINER (CONT'D)
I'll take my time with this and you.
Reed makes his way through the crowd to find Sue sitting on a bench near the elevators. She is focused on her tablet just swiping away.
66.
REED RICHARDS
(clinical)
I wasn't sure if you were going
to make it, Susan.
Sue does not look to him, still focused on her tablet
SUE RICHARDS
I did. Not everyone has time
to dance.
REED RICHARDS
(still clinical)
I assure you I did nothing
inappropriate, nor do I have any
intentions to, or have an interest
in.
SUE RICHARDS
(abrupt)
I believe you.
Reed clenches his jaw. A moment of silence passes between them. Sue closes her eyes, sets the tablet in her lap with one hand and her other hand, she holds to her face like having a headache.
REED RICHARDS
(cold)
Are you having one of your headaches,
yet again?
SUE RICHARDS
All of a sudden.
REED RICHARDS
Does it have anything to do with
your father?
Sue looks intently to the floor past him.
SUE RICHARDS
Why?
REED RICHARDS
He called earlier.
67.
SUE RICHARDS
(cautious)
Did he say anything?
Some guests pass by, shake Reed's hand, and go on.
REED RICHARDS
No. I was told he called. I knew
it had to be for you.
Sue tilts her head looking to the side with her hand on her head. looks mad. Sue as more guest come off elevator they greet Reed.
SUE RICHARDS
Now he wants to be a father.
REED RICHARDS
Did you say something, Susan?
Sue is looking to her tablet, on screen she brings up Baxter building phone service, touches 'block calls' she scrolls down a list till sees one of last is 'Richards correctional facility', she selects it, enters blocked.
REED RICHARDS
Susan? Your father? Do you need
to call him back?
Sue turns the tablet off but sees her reflection in it she looks lost.
SUE RICHARDS
No. I've taken care of
everything. Almost, everything.
She sets the tablet on her lap. She covers her face with both hands.
REED RICHARDS
(clinical)
Do you need to lie down? See doctor
Coalfield? The mission is but days
away. Will you be able to-?
Sue looks pale. She stands, seems confused.
68.
SUE RICHARDS
I-I'll make it. I have to. I just
have to. I'll make it.
Sue stops talking.
REED RICHARDS
(annoyed)
Susan?
Sue not knowing which way to turn.
SUE RICHARDS
I need some air.
REED RICHARDS
Didn't you just come from
the outside?
SUE RICHARDS
(hurriedly)
I need more.
She dashes off in the direction of the balcony.
Reed watches her run away. He starts to follow her, then just stops. He looks to the floor his jaw clenched. More guests arrive pat him on the back as they pass by he not aware.
Sue makes it to the balcony. She is alone. She is having a panic attack. She steps to the rail. She takes a few breaths till she calms herself.
SUE RICHARDS
Bastard.
She sits on a bench and starts pulling at her hair.
SUE RICHARDS
Oh god! I can't take this. Mom.
(She looks up)
Mommy?
Sue looks intently off to the side to the floor.
69.
SUE RICHARDS
I don't know why you had to
leave us. I hate it here.
(she looks down, so sad)
I hate it here.
She sits in silence a moment.
SUE RICHARDS
God. Grant me what it takes to
make it through this life.
Silence.
SUE RICHARDS
Just help me.
She stands looks into the ballroom full of people.
Amy and Johnny are walking near the balcony area.
AMY STEINER
I'm just sayin'. Your sister
could be hot, if she bagged
the sag, get her hair done and-
JOHNNY STORM
(abrupt)
Shut up, they were my aunts
clothes, she altered them to fit
her. If you talk to her about it
she just- so just don't- this is
why I don't want you talking to her.
AMY STEINER
Hey, I'm just pointin' it out. At
the moment Reed's hotter'n her,
sometimes a girl's gotta take
responsibility for herself and not
blame the guy when, welllll.
JOHNNY STORM
(pissy)
How about you just worry about my
career and not my sister's marriage,
or how she looks.
70.
AMY STEINER
Your choice. you already come from
a broken home why not two?
JOHNNY STORM
Why don't you mind your own
business?
AMY STEINER
(while eating)
Tryin' not to sound like a bitch,
but, you are my business, hotshot.
You go all weepy on me when all of
this goes south, and you can't do
what I book you for. Yeah it's my
business. I'm just tellin' it like
it is. I take her shopping one time
and he's all up in that. She be
barkin' like a seal. (laughs) can
you imagine?
JOHNNY STORM
No! That's my sister you're talkin'
'bout.
AMY STEINER
Sister. (sips drink) Divorcee.
JOHNNY STORM
I don't wanna see my sister dress
like you.
AMY STEINER
He noticed me. All I'm sayin'.
JOHNNY STORM
Yeah well, you ain't the kinda
girl I'd take home to mom. Anyway,
if she were still around. So yeah,
that's why I haven't brought you
around, Sue.
AMY STEINER
You're an asshole.
71.
JOHNNY STORM
Hey I'm just being honest. I don't
want her to think of me with girls
like you.
AMY STEINER
Helen Keller would have to be your
sister to not know the kind of
girls you hang with. Prick.
JOHNNY STORM
(oblivious)
What's got you so bent out
of shape? Jeez!
AMY STEINER
(walks off from him)
Had to be an agent.
Amy is walking away, as Alynn is headed to the buffet Amy bumps into Alynn. In background Johnny feeds his face. He takes a bite of something, doesn't like it puts it back on table, repeats. People look to him like he is a blight on humanity. He sees Amy with Alynn, he'll get more and more pissy the longer they talk.
AMY STEINER
Oh shit! Sorry. Hey, you're Ben's
fiancee. Right?
ALYNN CAMBERS
Alynn. Right.
AMY STEINER
Well, congrats.
ALYNN CAMBERS
(nonchalant)
Sure. So you and Johnny?
AMY STEINER
(laughs)
God, no. Could you imagine? No.
I just use 'im for sex and to
get ten percent off whatever
he makes. He's arm candy.
72.
ALYNN CAMBERS
That candy any good?
AMY STEINER
Surprisingly. Once he's focused
on, not himself.
Girls laugh.
ALYNN CAMBERS
So you're an agent?
AMY STEINER
Hell, yeah. So who's idea
was- (points to cameras).
ALYNN CAMBERS
My agent and manager.
AMY STEINER
(laughs)
Oh, sorry.
ALYNN CAMBERS
I need-
AMY STEINER
(laughs)
Yeah you do.
Amy reaches into her bra and pulls out a business card.
AMY STEINER
You really need to hit me up.
So what, you're an actress or
what?
ALYNN CAMBERS
Model, some acting. Got into
this reality show thing 'cause
Ben punched out this guy and-
AMY STEINER
Oh yeah, I remember. The big lung
saves pretty girl. So you do nudity?
Amy does air quotes with one hand, drink in the other.
73.
AMY STEINER
"If it's vital to the part?"
ALYNN CAMBERS
Sure. I didn't build this to have
it sit in the garage.
AMY STEINER
Great, I'm thinking some J-lo
type movies y'know maid marries
president whoever yadda-yadda,
y'know stuff J-lo thinks she's
to good for anymore.
ALYNN CAMBERS
I loved her in those movies.
AMY STEINER
I know, right? Now, eh. Definitely,
give me a call and Johnny's manager
she's the best. She used to be his
agent and got moved up now I got
her left overs (bumps Alynn) and her
old clients.
ALYNN CAMBERS
Whatever it takes. I'm in.
AMY STEINER
This should be fun.
Girls laugh.
Johnny finally has enough. He takes out his zippo lighter and flicking on and off. He walks over to Amy.
JOHNNY STORM
(to Amy)
I don't want you talkin' to her.
AMY STEINER
Well, that's a little hard since
I'm gonna be her agent.
JOHNNY STORM
No. You're not.
74.
AMY STEINER
Ugh, yeah!
JOHNNY STORM
It's her friend messin' with Reed.
AMY STEINER
Tired to help. Moving on.
JOHNNY STORM
So you're doin' this to spite me?
AMY STEINER
Remind me, what is it I do
for a living?
JOHNNY STORM
And you think you can sell her?
AMY STEINER
I can sell the shit out of her.
JOHNNY STORM
So, I guess we're done talkin'
'bout me?
Amy laughs at him. Johnny keeps flicking his lighter.
JOHNNY STORM
Seriously. Are you kidding me
with this? Really?
AMY STEINER
No. I'm good like that. I can
push all ya all, bitches. Why're
you so pissy, anyways?
JOHNNY STORM
It's called boundaries. Ever
heard of it? I'm thinkin' not.
AMY STEINER
Believe me, you guys take the
cake in boundaries.
75.
AMY STEINER (CONT'D)
Nobody seems to know what the
others are doing, or seems to
care. You know, for a family.
JOHNNY STORM
It works for us.
AMY STEINER
Doubt it.
Amy starts texting on her phone, ignoring Johnny. Johnny just keeps flicking his Zippo lighter. Ben and Nan come over to the table.
BEN GRIMM
'ey Johnny boy. what's got you
all fired up and I don't just
mean arson.
Alynn laughs. Nan is quiet.
JOHNNY STORM
Yeah. Well, there seems to be to
many people at this party messin'
where they don't belong. Everyone
it seems are connected to you.
Alynn's getting my agent-
BEN GRIMM
(cuts Johnny off)
(to Alynn)
Congrats baby.
Alynn smiles. Johnny steps in front of Ben blocking his view of Alynn.
JOHNNY STORM
(to Ben)
'ey, I'm talkin' here. She's got
her and then her friend there is
tryin' muscle in on my sister's
territory. They're your problem
and now they're becoming mine.
76.
BEN GRIMM
'ey, I just came fer a bite, but
if an ass whoopin's on the table,
it is a buffet. After all.
Nan steps in front of Ben.
NAN FREEMAN
Ben, no.
JOHNNY STORM
(to Nan)
You're saying 'no'? I didn't
think you had it inya.
Ben gets up in Johnny's face, pushes Nan to the side.
BEN GRIMM
What's yer problem hothead? You
got one with Nan or just the
whole world?
JOHNNY STORM
Well I'm sure the whole world
would like to be all rubbing
up on my brother-in-law-
Johnny looks at Nan, she is feeling nervous.
JOHNNY STORM (CONT'D)
But Nan there, seems to be the
first in line. (to Nan) Well
there ain't no line, He's
married to my sister, so go
dance or whatever you're
wanting to do with someone else.
Ben pushes a finger on Johnny's chest.
BEN GRIMM
You better watch yer mouth.
JOHNNY STORM
What? You know what she's after,
ain't you got any other friends?
77.
JOHNNY STORM (CONT'D)
(like dawns on him)
oh, none that ain't got money
like Reed.
Alynn and Nan walk off.
BEN GRIMM
Least my friends ain't in jail,
or just gettin' out. An' outta
the blue yer worrin' 'bout Reed?
Or you just worrin' 'bout yer
free ride endin'? Maybe if you
drove better, did everything
better, you wouldn't still be
livin' with yer sister and her
old man.
JOHNNY STORM
You don't worry 'bout me. What
about you, huh? You tell me, huh?
'Best friend'. What kinda friend
stays with his friend and his wife?
Ben shoves him back.
BEN GRIMM
A good friend.
(snarls at Johnny getting pissed)
Least I'm there fer 'im. I'm workin'
with 'im night an' day to get us
inta space. He's changin' what I do
fer a livin' to make it a hell'va
lot better an' safer. Time I could
be slumpin' 'cross town, I'm here,
ta save time. I'm earnin' my keep.
Never ask 'im fer nothin' You,
you're just a parasite.
It dawns on Johnny.
JOHNNY STORM
Oh my god! You. you're settin'
'em up. aren't you? You're tryin'
to get rid of-
Ben shoves him again.
78.
BEN GRIMM
You watch what yer sayin' and as
his best friend, I ain't begrudgin'
him gettin' what he ain't gettin'.
Johnny hits Ben (if you want to call it that).
BEN GRIMM
Hope you fight better'n that on
your way out the door. Cause I'll
be shovin' you out it.
JOHNNY STORM
(stunned)
You never liked Sue.
BEN GRIMM
Hey, I want Reed ta be happy,
but if that means a bother-in-law
like you bein' 'round, a lotta
guys would'a been onto marriage
two by now. Me. I got nothin'
'gainst no body. Nobody here's
goin' outta their way. Me I'm
Reed's friend plain 'n' simple.
Who he's with don't make a damn
to me. Long as he's happy. You
seein' anyone happy? You're so
worried 'bout Suzy. tell me,
where she at?
Johnny looks around.
JOHNNY STORM
...Um.
BEN GRIMM
Thought as much. Maybe you're
defendin' someone don't wanna
be defended.
Ben gestures to him like, 'think about it'.
BEN GRIMM
Nan, Suzy, Reed. They're grown-ups
they do what they want.
79.
BEN GRIMM (CONT'D)
If I could control people, I'd
have you off yer sisters apron
strings, long time ago.
See you're all up on me. When's
the last time you an' Suzy talked?
You know what she's goin' through?
You talk ta her what it takes to
keep her old man happy, or that
weird you out? She ain't got no
friends that I know of.
(looks to Johnny in disgust)
An' from what I can tell, not much
of'a family. You wanna be th' hero
hotshot, hero yer self.
JOHNNY STORM
What about you, huh? You talk to
Reed how he treats her?
BEN GRIMM
Nope. He don't talk 'bout it and
I don't ask. That's his business.
I don't pry. He wants ta talk I'm
here. Nobody in this chicken
outfit's talkin'. Me, I'm gettin'
fed up with it. Me. I'm gettin'
married, gonna knock out a few
kids, hav'a family. I'm lookin'
out fer me an' mine-to-be.
Anybody wants to come 'round,
they're welcome, Reed too, he
don't, what can I say? Man
prefers his own company. Me, I
want a woman under me, kids
botherin' me, friends get
drunk with, count on, do
somethin' 'sides work. Step
outside, fer Christ's sake.
Ben goes to walk by Johnny, pushes him off at the chest.
BEN GRIMM (CONT'D)
You guys can have this. Whatever
the hell this is.
80.
Reed comes over not wanting to hear it.
REED RICHARDS
Ben. Johnny.
BEN GRIMM
(to Reed)
Don't you start on me. I was
mindin' my own business.
(pushes Reed off)
Maybe everybody needs to do that.
REED RICHARDS
(concerned)
Ben?
Ben keeps walking off. Reed looks to Johnny.
REED RICHARDS
If this was about-
Johnny gives up.
JOHNNY STORM
Who cares? Right, Reed? Who the
hell cares at all?
(as goes to walk off)
Not that anyone ever did.
Amy comes over to Johnny.
AMY STEINER
(to Reed)
Sorry, Reed.
Reed tries to speak, but can't, he is at a loss.
Amy as leads Johnny away.
AMY STEINER
(to Reed)
Nice party.
Amy as her and Johnny walk.
AMY STEINER
(to Johnny)
How about when this is over, we-
81.
JOHNNY STORM
(down in dumps)
It's over for me.
Amy spies a coat closet.
AMY STEINER
I know what'll cheer you up.
Come on.
Reed watches them walk off. He grabs an open champagne bottle off the buffet table and walks off in a hast. He walks right past Nan. She knows not to speak or to follow.
Reed pauses a second, seeing Sue on the balcony. She is looking intently to the floor. He clenches his jaw and walks on to the stairwell. He enters. As the door closes he leans against it.
REED RICHARDS
I truly dislike being here.
He starts to drink but doesn't.
REED RICHARDS
I don't think I will ever enjoy,
any time, I will ever spend here.
He walks to rail looks down, a long way down.
REED RICHARDS
I hope you're down their father.
With one hand holding the bottle, his other hand, he presses his tie against himself. He looks as if he has a thought. He places the bottle on the rail. He holds the bottle opening, balances it by one finger. Ponders it a moment.
REED RICHARDS
An engagement party…
He then removes his finger. It falls endlessly. He watches it a moment longer.
82.
REED RICHARDS (CONT'D)
Not a pity party.
He starts to walk back to the party, then pauses. A curious thought seems to cross his mind.
REED RICHARDS
...Hmm?
Then we HEAR the crash of the bottle(still scientist even when down). Reed almost smiles. Then pulls open the door.
Amy and Johnny walk near the balcony area where Sue is. Johnny finishes a beer. Amy takes it from him and hands it off to a waiter, which she then grabs another beer and gives it to Johnny.
AMY STEINER
Who'd thought a coat closet
would've been so busy?
JOHNNY STORM
Or the fact they didn't even let
up when you asked about makin'
it four.
They laugh.
AMY STEINER
Sooo. Crazy, huh? You don't
believe, really, all that about
Ben and what's 'er face do ya?
Maybe everybody's had a little
to much. Waddaya think?
JOHNNY STORM
Whatever. All I know is if Sue
gets the boot, we'll get a place
of our own. I guess.
AMY STEINER
Aww. That's so weird.
JOHNNY STORM
Shut up. I'll make sure she's
taken care of. We'll be just
fine. Believe me.
83.
Amy sips her drink, spies Sue on the balcony. Sue is still alone. She is just staring out at the city, from the bench.
AMY STEINER
(as wine still in mouth,
almost dribbles as she speaks)
Mm-hmm. Speaking of. (swallows it)
Screw it. I'm gonna say 'hi'.
JOHNNY STORM
I told you to leave her alone.
Amy starts to walk, Johnny trips her, she spills her drink on herself.
AMY STEINER
Ugh! You're such an asshole!
JOHNNY STORM
I will drop you as my agent if
you mess with Sue.
AMY STEINER
Whatever. Not like I can't find
another client, who thinks they're
hot-shit.
Johnny and Amy look to each other. Possibly gone to far?
AMY STEINER
(like whatever)
I'm gonna clean this off.
Amy walks off towards a bar to get club soda to rub on her dress. Johnny takes out his lighter. He strikes it several times across his leg without knowing. Opening and closing the lid as flames come out, closes it repeats it several times without knowing.
Ben (still drunk and a little high)holding a beer. He comes over to Johnny.
BEN GRIMM
Hot-shit. what's up with yer girl?
84.
JOHNNY STORM
(dumbfounded)
Seriously? You're talkin' to me?
Number nine, definitely. Nine.
Johnny can tell from aroma, Ben has been smoking pot.
JOHNNY STORM
How high are you? Seriously?
BEN GRIMM
Dunno. Old lady said I needed ta
chill. Puts it in fron'a me.
I'm good. Why?! What's yer
problem?
JOHNNY STORM
Ugh, You.
BEN GRIMM
No. You ain't got no problem
wit' me. You'd know if ya had
a problem wit' me.
Amy comes back over with a glass of club soda and a bar towel.
AMY STEINER
(as wipes)
See? All alcohol under the bridge.
JOHNNY STORM
Maybe we should just keep some
goin' all the time, in the air-vents.
Amy huffs to Johnny as she continues to wipe.
JOHNNY STORM
Yeah. Fine. Whatever.
(to Ben)
She wanted to meet Sue.
BEN GRIMM
So?
JOHNNY STORM
So? It's Amy.
85.
Amy still wiping spot on dress.
AMY STEINER
(infuriated)
Asshole!
BEN GRIMM
I wouldn't have no problem
with 'er. If I weren't engaged
I'd-
AMY STEINER
(stops rubbing)
He gets it.
JOHNNY STORM
(to Amy)
Just keep rubbin'.
(to Ben)
So you'd take 'er to meet your
dear aunt Petunia, huh?
Ben, starts to say something, stops, backs away.
AMY STEINER
Really?! I don't know why the
two of you fight, you're just
alike. (still wiping)
Fucking brothers!
Johnny and Ben look to each other. Amy catches Ben's aroma.
AMY STEINER
Got anymore?
BEN GRIMM
I can't get high. I'm a-
(forgetful) I'm a-
JOHNNY STORM
Houston, we have a problem.
We're comin' in fer a landin'
but we're not touchin' the
ground.
Amy and Johnny laugh.
86.
BEN GRIMM
(offended)
I'm a fuckin' astronaut.
Ben downs his beer.
JOHNNY STORM
Number eight, hell and seven for-
Johnny acts out like token a doobie. Ben shoves Johnny.
BEN GRIMM
Watch what yer doin' ya flamin'
shit-head! People watch!
JOHNNY STORM
Good thing their noses don't
work, huh?
BEN GRIMM
Anybody close enough ta smell me,
they're gonna have a problem, worse
than- (loses thought) what the hell
was I-
JOHNNY STORM
Six. So I could kick your ass
right now and you'd-
Johnny acts like he forgot what he was saying. Amy laughs. Ben snatches the lighter out of Johnny's hands.
JOHNNY STORM
Hey! What the hell, Ben?!
Ben spies a waiter passing by with several alcoholic drinks. Ben snatches a glass of alcohol. He then tosses an alcoholic drink on Johnny.
JOHNNY STORM
Hey! What the hell, Ben?!
BEN GRIMM
How about I turn you into a-
(flicks lighter on)
'human flame'?
87.
Johnny backs up.
JOHNNY STORM
Are you crazy?!
Amy flicks Ben's ear.
BEN GRIMM
Oww!
Amy snatches the lighter.
AMY STEINER
I can't sell a crisp.
(she looks to Johnny)
'The human crisp'?
JOHNNY STORM
Fuck you both. There's nothin'
funny about-
(snatches lighter from Amy)
'Human torch' what you should
call me.
Amy and Ben laugh.
BEN GRIMM
(to Amy)
Fire bug's got feelin's.
Johnny takes off his jacket and offers it to Ben.
JOHNNY STORM
Why don't you put this on?
Johnny holds his lighter by his side. Ready to light it.
Ben smacks the jacket to the floor.
BEN GRIMM
'Torchy! (laughs, to Amy)
Did I say 'torchy'?
On the balcony, Sue is alone. She is swiping at tablet, she just looks so unhappy. Reed opens the door, but doesn't step out.
88.
REED RICHARDS
Susan?
Sue does not hear him.
REED RICHARDS
(firm)
Susan?
She doesn't look to him, but does set the tablet down on her lap.
REED RICHARDS
It is almost time for the
toasts. Will you be-?
He looks to her. She still does not look to him. She places her hand to her head like she is having another headache. Reed straightens himself up.
REED RICHARDS
I have to give mine, in a few
moments. I will... tell him
something.
He turns, closes the door. He walks on. Reed walks through the crowd leaving Sue alone.
In the background Johnny and Ben are into a heated discussion.
Amy, stands next to the buffet and eats from it with her hands. People look to her like someone brought a hooker in and left her. She just looks to them with her mouth open. She points to her mouth.
AMY STEINER
'See food' (chews).
People start to walk away.
AMY STEINER (CONT'D)
Okay. Walk away. Go, or don't.
There's plenty to see here.
89.
She snarls her nose like THEY don't have a reason to be snotty. Alynn comes over stands next to Amy looking to Ben and Johnny.
ALYNN CAMBERS
You don't care?
AMY STEINER
Not really. This shit happens
all the time. Drama keeps me
busy. You'd be surprised how
many people can't work together.
But, the studios for the sake of
money makes them. (laughs) Just
like real life.
ALYNN CAMBERS
So who started it this time?
AMY STEINER
All I know is, Johnny gets a
few in him and then he thinks
he can take on, well, your
boyfriend.
ALYNN CAMBERS
Who got a few in him?
AMY STEINER
(laughs)
Me! He said some stupid things
earlier, I just didn't want to
let it go. So here we are. Again.
I figured it's better Ben beats
him, than me, a girl and his
agent, try selling that.
Girls laugh.
JOHNNY STORM
Oh my god! If I had a dollar
every time you mentioned you
played football or space I'd
make Reed look poor.
90.
JOHNNY STORM (CONT'D)
I'm surprised you haven't played
space-football. Moonball. What
the fuck ever.
BEN GRIMM
You ever listen at the shit you
spew? Why don't ya do us all a
favor and go for a few laps
with your car. Must be hard
going in a circle.
JOHNNY STORM
Oh and space is a big deal?
Ben gestures like it is.
BEN GRIMM
Hey, it is 'rocket science'. Not
'car science'.
JOHNNY STORM
Yeah?! Show me whatcha got,
ain't no Yancy street gangs
around. Rock-shot. Just you
'n' me.
BEN GRIMM
You leave 'em outta this. Ya, punk.
JOHNNY STORM
What's a matter Benji, not such
a big shot without a football
team, or a gang around ya?
BEN GRIMM
No one calls me that. Not even my
dear aunt Petunia. I'll clobber ya!
JOHNNY STORM
Nice catch phrase, needs a little
work though.
BEN GRIMM
I'm Grimm baby! Nothin' can
break this rock.
91.
BEN GRIMM (CONT'D)
Nothin' got past me on the field,
on Yancy street. Nothing! if I
wanted 'em down, they were down
and if I wanted to go threw 'em,
well, it's clobberin' time.
JOHNNY STORM
That's better.
Ben charges at Johnny, Johnny moves. Ben misses and goes into the pond. Ben splashing around trying to get a footing.
JOHNNY STORM
Ha! Rocks also sink and
surprise, you're not the only
one in the world to play football.
Ben getting pissed.
JOHNNY STORM
Anyone got a bar of soap? I think
this rock slide is all washed up.
Johnny laughs at his own joke. Ben pissed and surprisingly quick for his size, grabs Johnny and tosses him into the camera crew. They try to recover as
Johnny gets up. He looks to camera.
JOHNNY STORM
Did you get that?
Camera POV nods 'yes', as Ben is coming up behind Johnny.
Reed is with guests when police chief comes over to him.
CHIEF
Reed. Your boys are at it again.
Chief points with his thumb over his shoulder to direction they are. As we HEAR the crowd react.
CHIEF
Looks like it might spill over
into the crowd. You want us to-?
92.
Reed looks that way. His jaw clenches tight, as if his jaw has been wired shut.
REED RICHARDS
No. Chief. I will deal with those
two, yet again. Do make sure though,
no one is caught up in it, will you?
Chief tips his cap to Reed as walks away and gets on his radio to other cops. Reed still hasn't moved.
REED RICHARDS
Perhaps this time, I'll just
see who wins.
He takes a glass of champagne off a waiters tray. He takes a long sip. Then, a long exhale. He begins his slow walk across the ballroom.
Sue opens the door from the balcony. She looks drained. A large crowd dashes from the back area, towards the commotion. Sue stops walking and looks to see once again, Ben tries to tackle Johnny and lands in the pond.
Sue holds her hand to her chest. She strains to breath.
SUE RICHARDS
(under breath)
Mom. I don't know if I can wait
till after the mission. They're
going to kill me.
The crowd becomes so thick Sue can no longer see what is happening. Sue stands, her posture is one of someone who has given up.
SUE RICHARDS
I wish I had the power to end
all of this.
Nan and Alynn are conversing off to the side. Cops are keeping people back. Ben picks Johnny up, holds him above his head, about to slam him on to the buffet table. The crowd is stunned and gasps.
93.
AMY STEINER
(screams)
Wait!
Everyone pauses. Ben in state of confusion, slowly sets Johnny down on the floor. Amy walks over and gets a bowl of shrimp, then steps back. Ben and Johnny are just dumb founded. Amy waves her hand for them to continue.
AMY STEINER
(as eats)
Go on. He called your mom fat.
Whatever.
Ben grins to Johnny.
BEN GRIMM
You heard the lady.
JOHNNY STORM
That's no lady, she's my agent!
Amy hands off the bowl to a stranger who is confused by this. Amy motions to Ben, with a fist to her flat hand, to lay him out.
AMY STEINER
(to Johnny)
Not you baby, someone else.
She again motions to Ben, both hands like 'what are you waiting for'?
AMY STEINER
(to Ben)
Just not the face. That's mama's
money maker.
JOHNNY STORM
Oh, what the hell?!
AMY STEINER
(to Johnny)
Again. Someone else.
94.
BEN GRIMM
Screw it! You two talk to much.
Me?
Ben hits Johnny in the gut.
BEN GRIMM (CONT'D)
I'm a talk later kinda guy.
Johnny the air knocked out of him, clings to Ben, as is going down.
BEN GRIMM
Jeez. Ya make me wanna hit ya
again just for this.
Johnny finally slides off of Ben, out of frame.
Reed walks over stands next to Amy.
REED RICHARDS
I walk away, five, ten minutes.
How did this start?
AMY STEINER
Who knows how this stuff starts?
Amy turns her back to Reed, as he goes over to Ben and Johnny. Amy Open mouthed, excited, indicates herself to the stranger still holding her shrimp bowl, who is even more confused by that. Amy takes the bowl back, snarls at him for not thinking it was funny.
Johnny is on the ground trying to get air. Ben still has a fist drawn, waiting.
And in a stupid move, Reed steps up behind Ben and forcefully grabs Ben's shoulder to have him face him. Ben turns and pops Reed in the eye. Reed drops like a stone. Guests gasp. Chief smiles. Alynn stands next to Amy she and Alynn cover mouths, enjoy surprise.
AMY STEINER
Shit.
Amy whispers to Alynn. Ben looks down at Reed. Johnny is trying to breathe and laugh.
95.
BEN GRIMM
(to Reed)
'ey. Sorry pal. Ya shouldn't
a tried ta-
Ben helps Reed up.
BEN GRIMM (CONT'D)
Ya should probably walk that off.
REED RICHARDS
(little irate)
With my face?!
BEN GRIMM
You might want to calm down,
brains. You still got one
good eye.
Reed looks to him annoyed.
BEN GRIMM
Just sayin'.
Reed touches his eye area, hurts.
REED RICHARDS
Fantastic!
Amy walks over to Ben.
AMY STEINER
How's that for aunt Petunia?
BEN GRIMM
'ey! (to Johnny) I see what
ya mean.
JOHNNY STORM
(to Ben)
Thank you.
AMY STEINER
(fuck)You both.
Nan tries to run past Amy to Reed.
96.
NAN FREEMAN
Reed!
Amy trips her.
AMY STEINER
(says drawn out)
Yeahhh. That happened.
Nan looks to her like someone would trip her highness. Amy puts her hand on her purse. With a look to try something. Nan has a look on her face like annoyed and offended. A guest helps Nan up. She then pushes the guest off of her. Nan walks off as we concentrate on others.
Sue emerges from the crowd. Looks down to Johnny deadpan, then to Ben.
BEN GRIMM
'ey. Sorry, Suzy, he just- I'm
sure he's fine. I pulled my-
I didn't hit 'im that hard.
Sue looks intently at him, but not his face.
BEN GRIMM
Umm, ...okay.
Ben stops talking. Sue looks to Johnny with contempt.
JOHNNY STORM
(to Sue)
What?!
Sue keeps the look of contempt, then just turns and walks away. Amy, is taken aback by Sue's look.
AMY STEINER
Um. Maybe I won't say 'hi'
just now.
Johnny looks to her with contempt. She laughs.
AMY STEINER
Aww. you're trying to be like
your sister.
97.
Johnny like someone let the air out of his sails.
JOHNNY STORM
I hate everyone at this party.
AMY STEINER
(laughs)
And I'm sure they feel the same
about you.
Johnny laughs.
BEN GRIMM
(to Johnny)
You see the way she looked at me.
'cause of you.
Ben starts to go at Johnny again. Johnny stops laughing pushes Amy back. Reed again starts to reach for Ben as Alynn comes over.
ALYNN CAMBERS
(loud and firm)
Benjamin Jacob Grimm!
Ben stops.
BEN GRIMM
Aw, jeez!
Ben goes to hug her.
BEN GRIMM
Doll-face, c'mon. I was just-
ALYNN CAMBERS
Don't get me wet.
Johnny starts to say something.
BEN GRIMM
(to Johnny)
Shut it.
ALYNN CAMBERS
This is why I don't take you
on location with me.
98.
BEN GRIMM
But he- look at 'im. Ya just-
He makes ya wanna hit 'im.
JOHNNY STORM
I really do.
ALYNN CAMBERS
We're getting married. I want to
be on covers of magazines, not
tabloids. I don't want to spend
my career answering questions of
who you beat up this week, or
last week.
BEN GRIMM
Bah! (to Johnny) You're lucky.
JOHNNY STORM
No you're the lucky one.
Ben starts to get pissed.
JOHNNY STORM
I didn't mean that in a keep
fighting sort of way.
Johnny Holds up his hands. Reed steps over helps Johnny up. His hands on both Ben's and Johnny's shoulders.
REED RICHARDS
(to Ben & Johnny)
My arms can't stretch far
enough to keep you two apart,
or bring the two of you together.
That being said, this is Ben's
night, Johnny. If you-
JOHNNY STORM
Got it bro-in-law.
REED RICHARDS
Now shake hands. This is
supposed to be a celebration.
Ben, drops his head reaches out his hand. Johnny holds out his hand. They shake.
99.
Johnny has an "L" shape with other hand to his forehead. Ben about to crush Johnny hand. Johnny lets go.
ALYNN CAMBERS
(to Ben)
Change. And not just your clothes.
Alynn looks to Johnny like he is less than. Amy laughs at Johnny.
AMY STEINER
I can see why people don't
like you.
JOHNNY STORM
Maybe it is the company I keep?
AMY STEINER
(laughs)
Admit it. You thought this was
fun, don't lie.
JOHNNY STORM
(laughs) Yeah.
(looks over shoulder to Ben)
And he's wet too.
Reed looks to both Ben and Johnny.
REED RICHARDS
I hope this is the last time
the two of you squabble. Now
the both of you take a moment
to discuss calmly your
differences.
Reed takes a few steps back. His arm crossed at the elbow, his fist to his mouth, a finger to across his lip. He is waiting/thinking. Neither one says anything. After a moment or two, Reed finally gives up.
REED RICHARDS
Well. I think we should get to
the final portion of this evening
and do our toasts. Before anything
else spoils this evening.
100.
Amy comes over and flicks Johnny's ear. She pulls him away. Johnny laughs.
AMY STEINER
Oh my god! Now I know why you
stay here, you need adult
supervision.
JOHNNY STORM
(laughs)
I do.
Reed and Ben walk towards the stage. Reed still holding his eye.
REED RICHARDS
Ben. You are bigger than him.
You could easily kill him
without meaning to. Did you
even stop to consider that?
Ben doesn't say anything, like a father would say to an older sibling. They stand in silence a moment, then:
The band stops playing and a light shines to the stage/podium. There stands Johnny. He takes the mic, he taps it three/four times.
JOHNNY STORM
Check. Check. Visa. Master card.
He laughs at his own joke. The crowd does not.
Amy puts her face into her hand
AMY STEINER
Oh, god. Don't let me get
pregnant by him.
JOHNNY STORM
(like there would've been applause)
Thank you.
BEN GRIMM
(to Reed)
Do you invite him, or does he
just show up?
101.
Ben starts towards the stage like wanting to kill Johnny.
Reed stops him.
REED RICHARDS
Remember what I said. He is
family, Ben. Unfortunately.
BEN GRIMM
So if I stop to consider it?
Reed goes to smile, the smile hurts his eye.
Ben pushes Reed at the chest.
BEN GRIMM
Hey, sorry you can't duck.
Reed shakes his head with a slight laugh.
JOHNNY STORM
Hey, I'd like to say as few
words, before, Ben "the right
hook" Grimm. (laughs).
Ben grins, bumps Reed's chest, like he gets it. Reed clenches his jaw. Some in crowd laughs. Johnny points to whoever, like they got it.
JOHNNY STORM
Well, as Benjamin's aunt Petunia
might say 'if you can't say
anything nice-'
Johnny just walks off stage thinking he's funny. He is the only one. Amy is the only one to clap, then slowly stops. As he goes over to her.
AMY STEINER
Oh god don't stand next to me.
Johnny still thinking it's funny. Stands next to her.
AMY STEINER
Damn it.
Ben grabs Alynn pulls her on stage with him.
Some guests pat Reed on his back in support of him.
102.
Ben (full of himself) stands in front of the mic Alynn beside him.
BEN GRIMM
That's means a lot.
Ben gets a laugh from the crowd.
JOHNNY STORM (O.S.)
(loud)
Seriously?!
BEN GRIMM
I'd also like to give another
shout out to my aunt Petunia.
Who couldn't be here, even
though she wanted to. She's
takin' care of my uncle Jake.
So- 'nuff said 'bout that.
At that moment, portions of the walls give way to monitors that show various images of Ben and Alynn together and as kids, etc (continuous).
BEN GRIMM
Aw, that's nice right there.
When it shows Alynn, it shows her as she used to be with strawberry-blonde hair thin, nothing of the way she looks now. Alynn looks a little troubled by it.
BEN GRIMM
(stupidly to Alynn, with mic still on)
'ey! Remember when to looked like that?
Alynn looks hurt by the comment. She looks down, quiet.
The crowd is quiet as well. Amy covers Johnny's mouth.
BEN GRIMM
(oblivious)
So anyways where wuz I? I know.
I wuz gonna say I wuz the best
man at Reed's weddin' and I know
he'll be mine, at ours.
Crowd looks to Reed, who holds up a glass of champagne with a dip to his head as gesture that he would be.
103.
The crowd applauds.
BEN GRIMM
Yeah, that's nice ain't it? Reed,
he's like a brother to me. We wuz
jus' talkin' 'bout it earlier, I
meant it then and I mean it now.
He's done more for me than anybody.
Him and his old man. They gave out
scholarships and Reed, he was the
one who picked mine. Made sure
sure I got off Yancy street out of
the gangs better myself. Then he
got me to go back, help better the
'hood I came from built a community
center, which I named after my brother.
Daniel.
Ben gets little choked up.
BEN GRIMM (CONT'D)
Wish he were here. I made it out
he didn't. Reed got me into wantin'
ta make things better than just
runnin' aways from 'em, maybe so
others wouldn't always be runnin'
too, I guess.
Crowd applauds.
BEN GRIMM
Reed's got heart I tell ya.
Modest bastard too.
A light shines to Reed. He waves his hand to stop.
BEN GRIMM
(laughs)
You do alright in this world
with a friend like that. Yeah,
he got me all interested if
flight, jets all that, and space.
(to Reed)
Am I right?
Crowd again applauds.
104.
BEN GRIMM
Skinny little nerd tells me one
day he's gonna build a rocket
ship go explorin'. Me. I tell
'im. 'you build it and I'll pilot
the thing'.
Crowd applauds. General Ross, an aid comes over to him, whispers in his ear. Ross looks like he has been kicked in the gut, but still takes it like a man. He nods to the aid and continues to listen to Ben. He tries to hide his anger.
BEN GRIMM
I gotta tell ya. I got it great.
Hey I got a lot. I'm tellin' ya.
I got a hot babe. That's agreed
to marry me.
Crowd applauds. Ben slaps Alynn's ass. She is still unnerved by the photos and Ben.
BEN GRIMM (CONT'D)
And I gotta say, she ain't doin'
to bad for herself.
He flexes his arms and laughs. He drinks a drink.
BEN GRIMM
S'alright, s'alright. Seriously,
though. I wouldn't want ta lose
this, any of this, who wouldn't
want to be me, huh?
My aunt Petunia, she told me ta
shoot for the stars, so I did.
Ben puts his arm around fiance's waist.
BEN GRIMM (CONT'D
I've been up there, but I gotta
tell ya, this one right here,
makes me feel like I'm back there.
Crowd 'Aww's'.
105.
JOHNNY STORM (O.S.)
(loud)
I could use some space to hurl
after that.
Ben trying to look for Johnny with spotlight in his eyes. He points to the crowd
BEN GRIMM
(to Johnny)
I know where you live.
Alynn rushing him off stage.
BEN GRIMM
Anyways 'nuff 'bout me 'n' us.
We'll let someone else have at it.
As they walk off stage crowd applauds. Alynn goes over to Nan, they whisper. Nan looks over to Ben like he should have been aborted. Ben goes over to Reed who goes to set an empty glass on waiter's tray and misses, the waiter takes it from him and places it on the tray and goes on.
Ben slaps Reed's back who then turns to face Ben.
BEN GRIMM
So ya think Suzy'll say a few?
REED RICHARDS
I... wouldn't expect she will,
Ben. She seemed rather ill earlier.
BEN GRIMM
Yeah she did.
REED RICHARDS
I know she thinks the world of
you, though. Ben.
Reed goes to walk towards the stage. Ben pats Reed's back.
BEN GRIMM
Ya should'a been a politician,
ya rat bastard.
106.
Reed looks perplexed by the comment, but continues on.
Reed walks up to the mic. He waits, looks out to the crowd. He sees Ben is going through the crowd looking for Johnny, who is moving constantly with Amy to avoid him. Reed lets out a long exhale. then begins.
REED RICHARDS
I trust everyone has been
enjoying themselves?
Some applause from the crowd. A long pause from Reed.
REED RICHARDS
This room has seen so much
history. A room built by
Mr. Baxter to host and entertain
those that would change the world.
Those that will change history not
just be a part of it. A room for
family... and friends.
Reed looks to the floor his jaw clenched.
REED RICHARDS (CONT'D)
Thank you, Mr. Baxter.
Reed pauses a moment straightens himself up.
REED RICHARDS
I thought as Mr. Baxter did, he,
my father Nathaniel and... Howard
Stark, together would have made
the world as a whole, better.
Then each carved out their places
in the world. Not together, not at all.
Myself, Ben, my wife Susan our teams,
I hope to (trails off) to make it-
all of us and continue our endeavors.
Side by side.
Reed is sweating takes a handkerchief from his pocket pats his brow.
107.
REED RICHARDS
I remember in this very room
Mr. Baxter first meet Susan.
This room... we wed.
There is no applause from the crowd.
REED RICHARDS
Soon we will make history,
together. We will not go as
our fathers did and-
The crowd senses something is wrong with Reed. Hear chatter of speculation from the crowd.
REED RICHARDS
Ben. Ben is why we are here
tonight. Ben.
Ben in the crowd, knows Reed does not sound right, gives up looking for Johnny to return to the stage.
REED RICHARDS
When I met Ben, and the other
graduates, I seen the
extraordinary in him and now,
Alynn,
(holds glass out to Alynn)
he has someone else who sees that
in him as well. I only hope
they'll be as happy as-
Reed stops, looks to his ring. He straightens himself up.
REED RICHARDS
Well. I hope them all the
happiness in the world.
To friends and loved ones.
Reed holds up a glass, others at the party do as well.
REED RICHARDS
It seems like only yesterday I
married my wife here in this
very room.
Reed stops talking.
108.
Nan stops Ben, she pats him on the chest like she's got it. Nan dashes up to the stage with a glass of champagne, sets in front of Reed at the podium. She smiles, waves, shyly to the crowd, as she scurries off stage. The crowd laughs. She goes to the side. Reed comes out of it. He laughs, takes a sip.
REED RICHARDS
(smiles)
Thank you Miss Freeman. I just
wanted to say to... my brother.
Ben holds fist up, like 'yeah'.
REED RICHARDS (CONT'D)
I am so very eager to see him
and Miss Cambers, wed in this
very room.
Reed holds up a glass, so does the crowd. Reed goes to walk off stage. He turns goes back to the mic, the crowd thought he was done.
REED RICHARDS
Um... did I finish my thought?
JOHNNY STORM (O.S.)
(heckles him, loud)
You suck! Get off the stage!
REED RICHARDS
(into mike)
Thank you.
Amy to get them away, flicks Johnny on the forehead.
AMY STEINER
Come on, before he really Reed's
up your face.
Johnny laughs, then it dawns on him.
JOHNNY STORM
That would suck.
109.
AMY STEINER
Not if he can't find us.
(she spies coat closet)
I know just the place.
As Reed goes to walk off the stage, a little woozy. Nan comes up and helps him off the stage. She is arm and arm with him. As they come off stage, Sue comes over, Nan starts to speak to Sue.
Sue gives her a look like she could step through her. Nan lets go of Reed's arm and backs the hell up. Alynn pulls her away. They go on.
REED RICHARDS
(to Sue)
She is rather nice-
Sue gives him the same look, but not to his face. Sue turns to leave. Reed goes to follow, but trips over his own feet. Ben catches him before he hits the ground. Sue less than sympathetic to Reed starts to speak when general Ross comes over to them with other military personal. Ross goes up to Reed.
Camera crew all up in their business.
GENERAL ROSS
Reed. I hate to tell you this
on such a-
Ross looks to see Reed is a little buzzed, perhaps not quite coherent. Ben is drunk, still soaking wet. Sue looks as if she could punch a hole through their chests. Crowd seems puzzled.
GENERAL ROSS
Hell with it. The mission has
been canceled, Richards.
Reed tries to grasp what Ross just said.
REED RICHARDS
What? Why, General?!
110.
GENERAL ROSS
I got word from high up just
moments ago, all space travel
is postponed until further notice.
REED RICHARDS
What? That makes no sense. Why?
Did they give a treason, reason?
Let me speak to them, to him. I'm
sure I can convince him to allow us,
General. We have only a few days
for the rays to enter our solar
system. They are so close. We are
so close.
GENERAL ROSS
I'm afraid there's nothing I can
do Richards. The President will
be unreachable until he returns.
I'm on my way back to Washington
wheels up soon as I depart here.
Reed looks to the floor, so many emotions, swirly through his head. Ross puts his hand on Reed's shoulder.
GENERAL ROSS
I hate to be the one to say it,
but all the delays and simulations
you kept running, you could have
been up there by now. I am sorry
Richards.
General Ross and his men turn and walk away. There is a moment of stunned silence. Ben covers the camera lens with one hand, shoves them off.
BEN GRIMM
Give it a rest. Will ya?
Ben stands like he has been hit to the gut trying to catch his breath.
Sue deadpan. She steps up to Reed. She begins to pull out the divorce papers from her purse.
SUE RICHARDS
Reed.
111.
Reed turns, sees the papers, before he can ask, Ben comes over.
BEN GRIMM
What's that Suzy? Bah! Business
can wait.
Ben shoves the papers back into Sue's purse. Sue stares intently to her purse.
REED RICHARDS
What if it's only a matter of
time till they dismantle it?
BEN GRIMM
Well,... they can't dismantle
what ain't there.
Ben bumps Reed's chest with elbow, beer in hand. Reed smiles
BEN GRIMM (CONT'D)
Am I right, huh?
(grabs Reed's neck and forearm)
Fuck him. How about we just take
it? Tonight. You. Me. Her.
Sue continues to stare intently to her purse.
REED RICHARDS
Aunt Petunia would want us
to commit a felony?
BEN GRIMM
You know she would.
REED RICHARDS
(sly smile)
Well, we wouldn't want to let
your dear aunt down. Now would
we?
BEN GRIMM
Not if ya know what's good
fer ya. Come on.
112.
Ben ushers Reed and Sue to stand over by the coat closet away from everyone.
Inside the coat closet Johnny is next to the door. Him and Amy are hot 'n' heavy kissing. Suddenly, the door is hit, it stops Johnny not Amy.
BEN GRIMM (O.S.)
I outta break that piece of
shit in half!
JOHNNY STORM
(low voice)
Crap!
BEN GRIMM (O.S.)
I know. I know yer gonna say
he wuz just doin' his job. He
knows more than he's lettin'
on. Comin' up in here tellin'
us we can't go inta space.
Somethin's fishy. That's why
we're stealin' your ship
tonight. Who's gonna expect
that of ya? Nobody that's who.
JOHNNY STORM
(low voice)
What?!
AMY STEINER
If I'm doing this alone, then
get out of the way and let me
finish.
JOHNNY STORM
Shhh! I'm tryin' to listen.
AMY STEINER
Whatever.
She drops down below frame.
113.
BEN GRIMM (O.S.)
So how long it take you?
REED RICHARDS (O.S.)
An hour, possibly.
BEN GRIMM (O.S.)
Suzy, whoever ya got, give 'em
a call. For ya ain't gonna be
in tomorrow.
REED RICHARDS (O.S.)
What about you?
BEN GRIMM (O.S.)
Me? I just gotta knock one outta
the park wit' the old lady and
I'm good. (beat) Oh sorry, Suzy.
REED RICHARDS (O.S.)
So about an hour. We meet out
front. We'll have Stan drop
us off at the base.
BEN GRIMM (O.S.)
What about the other eggheads?
Hour's not much of'a notice,
ya feel me?
REED RICHARDS (O.S.)
There won't be time, we'll have
to do this with just the three
of us. Sue can run most of the
systems. So much is automated.
They're good people. I don't
want to jeopardize their
careers. I will have to run all
the tests myself. Who needs
sleep right?
BEN GRIMM (O.S.)
Like you'd sleep. A lifetime
happens tonight. You ready?
Give me one of those 'fantastic'
you always sayin'
114.
REED RICHARDS (O.S.)
Is it cliche to say, I was
born ready?
BEN GRIMM (O.S.)
Jeez. Maybe I should just
leave you here.
REED RICHARDS (O.S.)
Ben, what about- we have
been drinking.
BEN GRIMM (O.S.)
Not much to hit going straight
up. 'sides you'd be surprised
how many I've done this. Like
this.
REED RICHARDS (O.S.)
Ben. That is of little comfort
to me. And you'll have Sue and
myself.
BEN GRIMM (O.S.)
'ey. I promise ya. Ain't nothin'
gonna happen long as I'm behind
the wheel. I'm the guy gets ya
there 'n' back. It's all on me.
I ain't gonna let nothin' happen
to either of ya. I couldn't live
wit' that. Ya don't know what
that'd do ta me?
JOHNNY STORM
Yeah, that makes me feel better.
Stupid drunk ass.
(to Amy)
Hey, anything I got comin' up
put it on hold, I'm gonna be
tied up for awhile.
Amy, we just see her hand grab his chest, she digs her claws into chest. Johnny winces in pain.
JOHNNY STORM
What are you doing?
(Looks down)
115. JOHNNY STORM (CONT'D)
Oh. (like finally gets it)
Hey. I need to borrow a
buck or two.
Amy holds up her purse, from out of frame.
JOHNNY STORM
What? How much do you bribe
a driver so you can hide in
a trunk?
Purse goes down out of frame. Amy just shoving her, thin long wallet up on him from below frame. Johnny opens it, has assortment of fifties and hundreds. He holds it in his hand.
JOHNNY STORM
Damn! How much these guys make?
Maybe I'm drivin' the wrong car?
Are you even listening to me? Oww!
BEN GRIMM (O.S.)
You two think it over. We get in
that car there ain't no turnin'
back, got me? Me. I can handle
bein' locked up. You two got an
hour. An' Reed you back out on
me last minute you 'n' me. You
ain't gonna like it. You
prepared we might not make it
off the tarmac?
REED RICHARDS (O.S.)
Ben. I'm not letting a life's
work, two live's go by not
another decade. I will see
this through.
BEN GRIMM (O.S.)
Well, I always knew one day
yers would drop. Tonight we
ride. (laughs) Alright, I'm
findin' my doll-face and-
well you know.
A moment of silence, then Reed laughs excited.
Outside closet. Sue finally looks Reed in the eyes.
116.
SUE RICHARDS
(sincere)
I hope you get everything you
ever wanted.
REED RICHARDS
(ecstatic)
We, Sue! We!
He darts off.
SUE RICHARDS
"We"?
(she watches him leave)
I think you forgot someone.
Sue is left standing alone. It seems almost endless, then Amy and Johnny fall out of the closet, behind Sue. It's as bad as it appears, he has his pants around his ankles, in boxer shorts, with a fist full of dollar bills.
Sue turns. She is left speechless. Johnny tries to stand up, trying to pull his pants up.
JOHNNY STORM
(to crowd)
Nothing to see here, folks.
AMY STEINER
Sadly.
Sue looks to Johnny with such a look of disappointment.
It to seems endless. Before either one can speak, Sue goes to walk off.
AMY STEINER
(from floor, to Sue)
Hi, Sue.
Sue walks on without a look back.
JOHNNY STORM
I know that look.
Johnny like knows he's blown it.
117.
AMY STEINER
I don't think she heard me
say 'hi'.
JOHNNY STORM
(pissy)
Just one more word.
AMY STEINER
Word.
CUT TO:
EXT. BAXTER BUILDING - NIGHT.
The building appears quiet. A gentle rain falls as the bustling city which has relaxed.
INT. PENTHOUSE - NIGHT
Sue is alone sitting on the balcony. She is wearing a blue skintight flight suit with black gloves, boots and a belt. She finishes a letter by hand. She places the pages and a credit card into an envelope. She reaches out her hand to have the rain fall on her finger tips. She uses the rain drops on the envelope to seal it. She appears almost lost.
Sue looks to the inside, all the lights are on. She gets up goes inside, closing the balcony doors.
INT. JOHNNY STORM'S BEDROOM - NIGHT
It is like a teenager would have. Messed up, posters of girls, cars, himself from 'Storm front' video game, half eaten food, trophies, etc.
Sue walks in. She goes to place the envelope on his dresser next to a light.
SUE RICHARDS (V.O.)
Dear, Johnny. I'm leaving you this
letter because I'm a coward.
Sue places the envelope and sees a picture in a frame of herself and Johnny as kids, happy, hugging each other. She touches the picture.
118.
SUE RICHARDS (V.O.)(CONT'D)
I'm leaving Reed as soon as we
return. I won't be coming back
here. I wanted to do this one
last thing for Reed. I'm leaving
you this card. It's not Reed's
money. It's most of what I never
took for pay. I want to make sure
you're okay for awhile. With me
gone, I don't know if you would
want to stay.
I don't know if you will be
welcomed after I go. I just wanted
so much for all of us to be a
family. I waited, hoping for so
long. I can't wait anymore. Tonight,
I seen it will never be like it was
with mom and dad. All of our nights
and all of our days are tonight over
and over.
I have to leave you too, Johnny.
Sue sets the frame back, face down. She steps to the door turns off his light.
SUE RICHARDS (V.O.)(CONT'D)
I don't think I'm needed anymore
by anyone, so I'm not staying
where I'm not wanted. I tried to
look after you for so long. Like
mom wanted and I wanted too, but
I never did a good enough job. The
trouble you got into, I could never
be enough for you to stop.
It hurts me to leave you, but I
can't stay anymore. I don't think
you'll grow up with me around. I'm
sorry I let you down, Johnny. I
love you.
But I have to be on my own with
no one to look after and no one
to look after me.
119.
SUE RICHARDS (V.O.)(CONT'D)
I want you to be happy, fall
in love, get married, have
everything I could never have.
Better than I could ever have.
Sue goes into the master bedroom. She goes to the walk-in closet. All of her stuff is gone. She looks to Reed's side. It is immaculate. She pulls open a drawer of his cufflinks, watches. She closes the drawer. She runs her hand along his jackets and ties.
She sits a moment. She reaches over to a hamper for worn clothes. She picks up a shirt of his, holds it to her cheek, then to her face and breathes it in. She almost cries, but stops herself. She places the shirt back into the hamper. She stands going to the closet doors and turns off the light.
She walks by the bed. She sits on his side and touches his pillow. She has almost a sad smile. She looks at a picture of her and Reed on his nightstand, the day they were married. She picks up the picture and holds it firmly with both hands. After a moment, she then turns it over and takes the picture out of the frame and closes the frame back up and sets it back on his nightstand. She holds her chest looking to the picture. Then stands up goes to the door. She takes a last look and turns off the light and closes the door.
Sue stands at the front door with it open. There are several suit cases there on a luggage trolley. Sue slips on an overcoat. She writes an address on a piece of paper and gives it to the doorman.
SUE RICHARDS
(to doorman)
Have these sent to this address.
No one is to know.
The doorman nods. She takes from her wallet several large bills and gives them to the doorman. He takes the cash and wheels Sue's life away.
Sue stands at the threshold a moment.
120.
She slips a leather laptop bag onto her shoulder. She looks deadpan to the entire penthouse. She pulls out her tablet. A couple of swipes with her right hand. She pauses, then slides her fingers down the tablet and the entire penthouse slowly goes dark. From inside we see her take her laptop bag and a blue hard-shell suitcase with wheels. She closes the door.
Blackness.
INT. BAXTER BUILDING LOBBY - NIGHT
The private elevator doors open. Sue steps out with her suitcase and leather bag over her shoulder.
Sue stops in the lobby. She looks to Mr. Baxter's painting.
SUE RICHARDS
(to painting)
Take care of them.
Sue touches the wall. Takes a last look. Looks so sad.
SUE RICHARDS
Goodbye, Mr. Baxter...
and the house you built.
A doorman opens the door for Sue. She steps out onto the street. Sue looks up the building and can tell the ballroom, the party, is still going on. She steps to the waiting town car as another door man opens its door. She gets in. The doorman collapses the handle on the suitcase and hands it into Sue. She takes it and then the doorman closes the door and they drive off.
INT. TOWN CAR - NIGHT
The seats face each other. Reed and Ben are dressed the same as Sue. Reed is sitting behind the drivers side. Ben sits across from him, the seat next to him is empty. Sue is sitting next to Reed with her suitcase and leather bag between them. No one is saying anything. Sue keeps swiping at her tablet.
The car travels on to the highway.
121.
INT. TOWN CAR, TRUNK - NIGHT
Blackness.
JOHNNY STORM
Damn! I can't believe Reed made
these outfits. Not that the
ladies would mind 'em being this
tight. Not a fan of the pressure
though. Think my grapes'll be
raisins.
A lot of NOISE inside the trunk as the car hits a pot hole.
JOHNNY STORM
Really? I bet he's doin' that on
purpose. Last time I bribe one of
Reed's people.
Another pothole.
JOHNNY STORM
Damn it to hell! I need to see what
the hell. Where's my lighter at?
A couple of flicks of the lighter and we see Johnny holding the lighter. He too is wearing the blue skintight fight suit.
JOHNNY STORM
That's better. Never thought of
myself as afraid of the dark,
but trunks I could do without!
Johnny laughs then looks over to see a full gas can.
JOHNNY STORM
Well. That would suck.
Johnny laughs as moves the lighter around to imply he'd be on fire running around.
JOHNNY STORM
(muffled play screaming)
Ahhhh!
122.
He cracks himself up even more.
JOHNNY STORM
Seriously? Who keeps a gas can in
a fancy car? I mean really? Who
talks to themselves in the trunk
of a fancy car, with a can of
gasoline? I'm getting hungry.
How long've I been in here?
Johnny starts getting antsy. Looks over to the gas can and then to his lighter and then to the gas can again.
JOHNNY STORM
To much temptation for me.
I gotta get outta here. Time to
crash this party!
Johnny shines the light to the back of the backseats. There is a switch to flip, to be able to open the backseat to escape. He pulls on it and goes to push on it.
Inside the car no one is talking. The seat flies open and he pops out.
Ben screams like a bitch!
BEN GRIMM
Oh, my aunt Petunia!
JOHNNY STORM
(laughs)
Hereeeee's, Johnny. Cause well,
I'm Johnny. Hey, are we there yet?
Are we gonna eat before, or after
we're up?
SUE RICHARDS
(shock and rage)
Johnny!?
REED RICHARDS
(perturbed)
Fantastic!
123.
Johnny laughing. Sue open mouthed stunned. Reed a stern annoyed look. Ben holding his chest looks up to roof of the car.
JOHNNY STORM
(to Ben)
Hey. Little help?
Ben pulls him out. Sue raises her legs as Ben dumps him on the floorboard.
JOHNNY STORM (O.S.)
(from floorboard)
Thank you.
Sue slaps car partition.
SUE RICHARDS
Stan! Stan! Stop this car! Now!
REED RICHARDS
Sue there is no time.
(to driver)
Keep driving, Stan.
(to Johnny)
Jonathan. Why are you here?
JOHNNY STORM
'Jonathan'? Sounds like I'm in
trouble.
SUE RICHARDS
(screams)
Oh my god!
REED RICHARDS
(calm)
Susan.
JOHNNY STORM
Sue. Come on.
REED RICHARDS
Perhaps you should not speak to
her at this time.
124.
Johnny looks over to Sue. She is pulling on her hair, lost in rage.
JOHNNY STORM
Umm. Okay.
Reed looks over to Sue.
REED RICHARDS
Perhaps, until we arrive, it might
be best if no one were to speak.
Each one of them does not look to the other.
Sue sucks on her finger tips of her right hand. Sue looks to the window takes her hand, the finger tips brings them down the glass making a noise, unbearable. She stares intently through the glass.
SUE RICHARDS
(to Johnny)
When we get there. You go back in
the car. You go back!
No one speaks.
Johnny gets up sits in the empty seat. After a moment.
JOHNNY STORM
Hey. How long has it been since
we were all in a car together?
Each one looks to the other. Not one has the answer.
The car drives down the highway.
JOHNNY STORM (O.S.)
We suck.
EXT. HIGHWAY, NEAR BASE - NIGHT
The town car pulls off to the side of the road. Sue steps out of the car with her suitcase not saying a word. Leaving the door open. She goes to the trunk sets it up. In the distance a large commercial jet is approaching.
125.
JOHNNY STORM
Okay. All I wanna know is: was
anyone gonna open the trunk?
Ben and Reed just look to him.
JOHNNY STORM
What's she doin' anyway?
BEN GRIMM
Stuff.
JOHNNY STORM
What kind of stuff? The ship's
over there ain't it?
From the road they see a storage building lights up and the fuel depot. Parts of the ship lights up.
BEN GRIMM
Ya got no idea what yer
sister does do ya?
Johnny looks on in disbelief.
JOHNNY STORM
Stuff.
INT. GUARD SHACK - NIGHT
A private and corporal are doing paper work and checking monitors.
PRIVATE 1
Corporal. I got activity around
the Richards ship. It is being
fueled and-
CORPORAL
It got a code?
PRIVATE 1
(looks)
Yes sir.
CORPORAL
Then let the 'bots do what they do.
126.
PRIVATE 1
I thought they canceled it?
CORPORAL
Who knows? It's got a code.
PRIVATE 1
Still. Should we get the major?
CORPORAL
You're just afraid of
(says in a Schwarzenegger voice)
Ah-nold, he come for you. He'll
kill us all.
Private like freaking him out.
PRIVATE 1
Cut that out. Bad enough those
things take our jobs.
CORPORAL
Yeah. I guess if ole Stark had
his way, the Army'd be a bunch'a
kiosk.
EXT. TOWN CAR - NIGHT
Johnny looks up to the night sky in the direction of the jet.
JOHNNY STORM
Hey. I fly planes. I'm thinkin'
they shouldn't be near a ship goin'
up. Should they?
BEN GRIMM
Dumbass. We're not supposed to be
goin' up. Give 'er a minute.
JOHNNY STORM
What's she gonna do?
Sue on her computer. Brings up FAA security. She changes area to a no fly zone. A moment later the jet changes course.
127.
JOHNNY STORM
Holy crap! Are you tellin' me
she's doin' all that?
Reed smiles. Ben shakes his head at Johnny like he is stupid.
JOHNNY STORM
Damn. Why haven't we been robbin'
banks or-
Ben reaches over smacks the back of Johnny's head.
JOHNNY STORM
You think she's still mad at me?
Johnny puts his face near the back glass. Sue slaps the back window. Johnny moves the hell back. Ben laughs.
BEN GRIMM
Alright ya flamin' turd. What
really gives?
Sue gets in.
SUE RICHARDS
Go.
Reed reaches behind him taps the glass. The car moves down the road to the gate. Armed guards stop them. One steps to the side of the car. Reed rolls down his window shows the guard his I.D. The guard waves them on.
They drive to a secure area the car stops.
BEN GRIMM
(to Johnny)
Far as ya go kid. Jeep'll
be here in a minute take us up
ta the shack.
Johnny like a kid that you hurt his feelings. Sue gets out of the car. Looks back in on him.
128.
SUE RICHARDS
(to Johnny)
You go home. Go home!
Sue grabs her bag and suit case. She slams the door and goes to walk to the waiting area.
JOHNNY STORM
Come on guys. Don't send me off,
come on.
BEN GRIMM
I'm convinced. Let him go.
REED RICHARDS
Ben. Johnny. Sue doesn't want you
to go, Johnny. You're not trained
for this. I'm sure she is only
looking out for you. Do what you
sister asks, Johnny.
JOHNNY STORM
I'm goin'.
BEN GRIMM
Good.
JOHNNY STORM
I mean goin' with you. Not home.
What I meant.
Reed gets out of the car.
REED RICHARDS
Ben. Handle this.
Reed tries to straighten a tie he does not have.
BEN GRIMM
Are ya straightenin' a tie you
don't have on?
Reed embarrassed as a gentleman.
REED RICHARDS
Habit. Shut up.
129.
Reed walks off. Ben gets out goes over to Reed. Ben laughs as taps Reed's chest.
BEN GRIMM
Oh, he's goin' alright.
REED RICHARDS
Ben?
BEN GRIMM
It'll be worth it, trust me on
this. Teach him good ta be a
fourth wheel. 'sides we couldn't
get everyone we should'a since
we're borrowin' without askin'.
Now we'll go back bust 'is balls
a bit. C'mon it'll be a hoot.
Reed follows behind Ben.
REED RICHARDS
Yes. A 'hoot'. Exactly my
intention.
Ben and Reed walk back over. Ben gets in.
BEN GRIMM
What's really goin' on. You on
the run? How'd ya fuck up this
time?
JOHNNY STORM
I didn't. Not that I know of.
please guys. It's Sue. She's
my sister. Come on. I just-
I want to protect 'er is all.
At least this once. I thought
she'd be okay, when you had
everybody going, but it's
just the three of you now.
(to Reed)
I know you planned this with
a bigger crew, Reed. I'll do
anything. Whatever you want.
I swear. I know it's stupid,
I just feel I got to be with
you all.
130.
JOHNNY STORM (CONT'D)
(his eyes water up)
Fuck. I just wanna to go. Okay?
BEN GRIMM
(to Reed)
Is he gonna do this the whole trip?
JOHNNY STORM
(excited)
Really?!
Reed and Ben look to each other.
BEN GRIMM
Shouldn't be that hard ta sneak a
stow away on'a stolen ship.
Reed puts his hand to his face.
REED RICHARDS
Just fantastic! All these years
of planning and-
BEN GRIMM
Please paw. Let me keep 'im.
Reed annoyed, then look of 'what'? Ben and Johnny grin at Reed. Reed disgusted look.
BEN GRIMM
We could try honesty fer once?
Worth a shot?
JOHNNY STORM
I already got the outfit and
everything.
Reed starts to speak then is dumbfounded.
REED RICHARDS
I want to ask how, but-
Reed stands his hand a top the car.
131.
REED RICHARDS
Sue, darling. Um, Johnny is coming
with us. (low voice) if that's okay.
Sue busy on tablet.
SUE RICHARDS
(pissed and distracted)
Oh my god! No!
REED RICHARDS
(calm, but hesitant)
Susan. We could use him.
Sue has her back to them just stops doesn't face them.
She puts the bag over her arm. She goes to throw her tablet, being pissed, but doesn't let it go.
REED RICHARDS
(calm)
Susan. We have to do this now.
Any delay-
Sue doesn't face them.
SUE RICHARDS
We have to do this now.
Reed waits. Sue still doesn't turn to face him.
SUE RICHARDS
He better not get in the way.
And he better not get killed.
You want him. You take
responsibility for him. This,
all of this, is on you.
BEN GRIMM
(to Reed)
Did we just get in trouble
over her brother?
REED RICHARDS
I believe we did.
132.
JOHNNY STORM
(laughs)
Classic.
Johnny pulls his duffle bag out from the trunk.
BEN GRIMM
I think I liked it better when
she was ignoring us, like she
has been for years.
Reed has a clenched jaw believing there may be truth to Ben's words. Ben taps the top of the car. As the driver drives off, he honks the horn, two-three times.
BEN GRIMM
Jeez! Where do you get these
guys?
REED RICHARDS
(distracted, to Ben)
They are the ones who drive
us, Ben.
BEN GRIMM
So yer sayin' without 'em we
wouldn't be here?
REED RICHARDS
(annoyed)
Frankly, yes.
BEN GRIMM
Me. I miss the Byrne guy.
JOHNNY STORM
We all do.
REED RICHARDS
(pissy)
Perhaps we can put the mission
aside and discuss drivers.
JOHNNY STORM
So-rry. Jeez. What'a dick.
133.
BEN GRIMM
Right?
Reed perturbed. Ben pushes Reed off at the chest.
BEN GRIMM
'ey. Ya got me started with
Honker-man there.
JOHNNY STORM
Guys. Guys.
They look to him.
JOHNNY STORM
That's all I had to say.
Johnny motions for them to continue on. As they make their way:
BEN GRIMM
(to Reed)
Somebody should'a erased him
years ago.
Reed smiles. Sue has stopped, still on her tablet. Her hand still on the suitcase handle. Ben closest to her as the guys pass by. He swings his arm down, in one swoop he picks up the case.
BEN GRIMM
I got this.
SUE RICHARDS
(astonished)
Ben! Be careful that is delicate-
I'm still connected through it.
BEN GRIMM
Relax Suzy. Ain't nothin' gonna
happen to yer stuff, or us.
Sue holds her hand to her head like a headache coming on.
BEN GRIMM
'sides what's left ta do?
134.
SUE RICHARDS
I went through Ross's computer
so it looks as though Ross sent
us a message to leave tonight.
So we were doing what we were
told. A mix up?
BEN GRIMM
You're sneaky as hell, Suzy.
SUE RICHARDS
I just need this to be over.
She walks off from him. Ben doesn't give it a second thought. Sue walks past Johnny and Reed.
JOHNNY STORM
(to Sue)
Hey, Sue. Sue?
Johnny reaches for her coat arm, placing his hand on it. She jerks it away from him and keeps walking.
Johnny stops walking, hurt.
JOHNNY STORM
I thought space travel was
supposed to be fun?
Ben comes up beside him pushes him on.
BEN GRIMM
Yeah, fucking joyride, kid.
All four stand at the waiting area. Ben looks ill to Johnny.
BEN GRIMM
(to Johnny)
Ya know ya bring out the
worst in people.
Johnny starts to say something, then looks over to Sue still on her tablet. He just lowers his head. After a moment a jeep pulls up. They go over to it and get in back. The jeep takes off.
135.
As they drive, Sue on her tablet, the jeep hesitates for a second. Sue looks up long enough to where we know it is her doing.
PRIVATE 1
(mumbles)
You'd think a guy like Stark
would make a better jeep.
Ben leans past Johnny to speak low voice to Reed:
BEN GRIMM
(low voice, to Reed)
Good thing about government work,
one hand doesn't know what the
other is doing. We just need ta
get out'a the shack quick.
As they continue on. They see another robot controlled machine transport several crates to the ship.
BEN GRIMM
(to Johnny)
Glad to see that. That's our
supplies, food 'n' shit. Would
hate to starve up there.
JOHNNY STORM
Starve?
Ben grabs Johnny's shoulder/neck.
BEN GRIMM
Good thing you're comin' along.
We might need a protein source.
JOHNNY STORM
I'm not food!
Reed smiles almost laughs.
BEN GRIMM
Hannibal you right up.
JOHNNY STORM
Sue!
136.
Sue looks up from her tablet, still pissed. Johnny taken-a-back.
JOHNNY STORM
Might be better than that.
Ben laughs, patting his belly.
BEN GRIMM
Get in my belly, ya flamin' bastard.
JOHNNY STORM
Oh god.
The jeep makes it to the guard shack. It parks. The four get out and make their way up the stairs.
INT. GUARD SHACK - NIGHT
Inside, there is the corporal joined by a major.
CORPORAL
Company.
Reed opens the door up for the others. The four step in. Sue looks up from her tablet. It becomes very real now for her, that they could be killed. She looks to see the rifles and firearms of the soldiers. Sue backs herself into a corner. She is like a child who knows its punishment is coming. She doesn't take her eyes off the men.
CORPORAL
Mr. Richards.
REED RICHARDS
Corporal.
CORPORAL
It looks as though you've already
seen stars.
Corporal taps his own eye to imply Reed's shiner. Reed looks over to Ben with a bit of disdain. Ben grins.
REED RICHARDS
A few.
137.
CORPORAL
Well, these orders say you'll
be up among 'em, not just
seein' 'em.
REED RICHARDS
Yes.
Corporal looks on screen, looking it over. Ben looks over to Sue. She still looking to the men.
BEN GRIMM
(quiet, to Sue)
Ya ready to work yer magic
if'n ya need ta?
Sue can't speak. Ben steps in front of Sue blocking her view. She comes out of it.
BEN GRIMM
Ya sure about doin' this, Suzy?
SUE RICHARDS
No.
MAJOR
We just have to make sure.
Lot've paper work. Lot've
money tied up in that toy.
Reed wants to interject, but bites his tongue, to the 'toy' comment. Ben grins at that.
MAJOR
No press for the big send off?
REED RICHARDS
No. Not this time.
The phone rings. The corporal picks it up. Listens. Hands the phone to the major.
CORPORAL
It's the lieutenant colonel.
138.
The major takes the phone outside and goes down the back stairs. Ben grabs Reed's shoulder/neck like a coach. Ben leans in next to Reed's ear.
BEN GRIMM
(low voice, to Reed)
Grow a pair and make 'em hurt.
We gotta sell this shit.
Remember the old days and the
commies?
Private 1 comes back into shack.
PRIVATE 1
I tell ya, you never know what
goes on at this base. First
it's next week, then it's
scrubbed, then-
REED RICHARDS
Son this mission is top secret.
Do you really think we're goin'
up to for a light show? We had
to make it look to the commies
we were out. These orders son,
say we're in.
PRIVATE 1
'Commies' sir? You believe
we're still in the cold war?
BEN GRIMM
Ya ever reach our level of
clearance yer mind'll explode.
Johnny walks by, behind Reed and Ben, and does hands to head gestures like mind exploding. Ben pulls Reed off to the side.
BEN GRIMM
When did you become a chatty Kathy?'
Reed amazed at self
139.
REED RICHARDS
I just hope this thing'll launch
with all the bricks I'm smuggling
aboard.
BEN GRIMM
Bricks?(He pauses a second) Bricks.
Ha. Reed made a funny.
(to corporal)
Okay. Less talk, more fly. So
we good ta go or what?
CORPORAL
I'm just the corporal.
BEN GRIMM
Not much of'a corporal.
Reed pulls Ben back to get him to quit. At that moment the major comes back in.
BEN GRIMM
I'm just sayin' we could walk
there by now.
MAJOR
He wants me to get a
hold'a Ross.
Sue pulls Ben back to stand beside her next to windows away from everyone. Johnny just looking out the windows Reed is hovering at the counter being agitated. Johnny sees Ben and Sue are up to something. Johnny stands beside them.
Sue turns her back to them, on her tablet, we see, out going call to General Ross, captured, routing to tablet, in silent mode.
SUE RICHARDS
(to Ben)
You know how general Ross talks?
BEN GRIMM
Like a di- er, yeah.
140.
Sue shows him tablet, that synthesizer ready to synthesize voice to simulate General Ross.
SUE RICHARDS
Answer it like he would.
Ben amused. Johnny sees.
JOHNNY STORM
That is cool as shit!
BEN GRIMM
(to Johnny)
Ya said ya'd mind. So sit
down an' mind.
Johnny pouts as goes to sit on the bench.
MAJOR
Sorry, Mr. Richards. Just
followin' orders. Still need to
get clearance from high up the
totem pole.
(as goes to get on phone)
We'll try an' get you goin'
in'a minute.
Ben and Sue step more off to themselves. The tablet indicates it is receiving the call. Ben touches the tablet and answers it. Ben speaks, but on the major's phone he sounds like the general.
BEN/"Ross"
What in blazes?! I'll have your
head for this.
MAJOR
Sir. Sorry to disturb you. I
have here, Reed Richards and
his crew for the craft. I have
an authorization code, but the
lieutenant colonel wanted-
BEN/"Ross"
I know what he wanted. Can't wipe
his own ass without- You want my
blessing?
141.
BEN/"Ross" (CONT'D)
Come down there with a
bottle of champagne, christen the
damn thing? That bird needs to be
in the air. Do I need to come down
there and open the cage? Do I
private?!
MAJOR
It's major, sir.
BEN/"ROSS"
Not when I'm through. That's why
we have codes, so every private
in these god damn united states
doesn't call me in the wee hours
of the morning.
MAJOR
Sir, yes sir. Goodnight sir.
BEN/"ROSS"
Well I hope you like being a
private, you're going to be
that for-
Sue pulls on tablet.
BEN/"ROSS" (CONT'D)
Gotta go. (panics) Love you.
Sue hangs up. The major's eyes are huge like he is stunned. He still holding phone in shock. Sue floored/horrified, looks to Ben.
BEN GRIMM
I'm used to talkin' to Aylnn.
Maybe he won't tell and no one
will ask. Think?
They turn look to the major, who is staring with bewilderment at the phone. Johnny nervously playing with cigarette lighter.
PRIVATE 1
(to Johnny)
Sir there's no smoking in here.
142.
JOHNNY STORM
I don't smoke.
The four seem suspicious. Sue more and more, nervous, holds her hand to her head like she is having a headache. Reed snatches Johnny's lighter out of his hands. The lieutenant colonel bursts in, in his robe and pajamas.
LIEUTENANT COLONEL
(mumbles)
Launch this late, someone could
wake me, or were you men
waiting for the rockets to do
that?
(to major)
You still talkin' to Ross?
The major comes out of the trance of staring at the phone.
MAJOR
No. No I am not, sir.
LIEUTENANT COLONEL
Bet he couldn't get off there fast
enough could he? So?
The major has a look on his face.
LIEUTENANT COLONEL (CONT'D)
Tore you a new one?
MAJOR
I believe he gave that
impression, sir. But to answer
your question: He says we're
good.
LIEUTENANT COLONEL
That's all he said?
MAJOR
All I'm sayin', sir.
143.
LIEUTENANT COLONEL
I don't trust a man that chases
big green men around. Get me
Washington on the horn. Fury
says nothing's supposed to go up.
Major begins to look for the number.
LIEUTENANT COLONEL (CONT'D)
(mumbles)
I need clearance above a
goblin chaser.
BEN GRIMM
Great! We hav'ta get super
soldier here.
LIEUTENANT COLONEL
(to Reed)
Nice eye. You know, it says here,
yours was to be a complement of
seven, wasn't it?
REED RICHARDS
...um. Budget cuts.
JOHNNY STORM
Really?
Reed kicks Johnny's leg.
JOHNNY STORM
Ow! (dawns on him) Ohhh! Ow.
The Lieutenant colonel appears relentless. Sue in a state of regression.
SUE RICHARDS
(underbreath)
No. No. They'll stop it. No.
Can't stop it. I can't. Not
anymore. Have to go. Have to-
She starts backing up from the others.
144.
SUE RICHARDS
(underbreath)
They can't prevent it, they
can't. We have to go. We have
to go now.
Sue looks to her tablet. She captures the out going call and places it in continuous loop, so it will only ring.
The phone keeps ringing and ringing. The Lieutenant colonel seems more annoyed, as Sue begins to lose it.
SUE RICHARDS
(underbreath)
Why can't we just go? Everything
was covered. He'll stop us. We
won't be able to go. We won't be
able to go. We'll be trapped here.
I'll be trapped here. I can't.
I can't be.
Sue on her tablet, brings up the ship, it shows it is fueled. Sue then brings up the fuel depot. She builds up controls to overload.
SUE RICHARDS
(underbreath)
We have to go. We have to go.
We need to go.
MAJOR
(to Lieutenant colonel)
Sir. It seems Washington isn't
there. No one is answering.
The Lieutenant colonel snatches the phone
LIEUTENANT COLONEL
Give me that!
He listens as phone continues to ring. Ben looks over to Sue with a smile that quickly fades as he sees she has tensed up in anticipation of something.
BEN GRIMM
Suzy?
145.
At that moment there is an incredible explosion at the fuel depot. It appears the flames are more than a mile or two high. The shock wave blows out the windows in the shack. Shaking the ground its self. Everyone but Sue is shocked by it. Sue closes her eyes as Ben instinctively shields Sue from the glass. She doesn't know he does it.
All there, their ears are ringing. Ben gets up looks over, Sue is gone, the door is wide open. Reed is still standing in bewilderment. Chunks of glass in his hair, a few minor cuts.
REED RICHARDS
(stunned)
...must be the commies.
PRIVATE 1
(in disbelief)
Fuck!
Ben helps Johnny off of the floor, gets them together.
BEN GRIMM
We got to go now.
Reed looks around.
BEN GRIMM
(to Reed)
Between me and this explosion
here, you ain't lookin' to good.
Ben brushes Reed off a bit.
REED RICHARDS
Sue?
BEN GRIMM
Unless she can turn invisible,
she's gone on. You two get.
Me, I got this.
The major tries to help up the lieutenant colonel.
LIEUTENANT COLONEL
(to the corporal)
Corporal. Sound those damn sirens!
146.
Which the corporal does.
LIEUTENANT COLONEL (CONT'D)
Get a line out!
Outside, the base is in a panic. Sue is running. She is on her tablet, all out going calls, landlines and cell phones/internet communications, no service.
CORPORAL
I can't get a line out, sir.
MAJOR
Where is Mrs. Richards?
Ben goes over, pulls back his fist.
BEN GRIMM
When ya wake up, you'd've
figured it out by then.
Ben knocks the major out. The corporal pushes the lieutenant colonel back behind the counter. The corporal goes to reach down to grab a rifle. Ben steps on it. The corporal looks up to Ben. One good hit, it's lights out for the corporal. The private nervously tries to draw his weapon. The lieutenant colonel pulls it away from the private.
Ben for his size is surprisingly fast. He jumps over the counter
BEN GRIMM
You're slower than anyone on
the field, boy!
Ben lands on the lieutenant colonel. Ben holds the gun and the lieutenant colonel's hand, with one hand, and pops the lieutenant colonel, two-three good times. He's out. The private cowers.
Ben while on the lieutenant colonel's chest, spies under the counter, all the wiring to various controls. Ben as reaches for them:
BEN GRIMM
Can't let 'er have all the fun!
147.
Ben gets up looks over to the private.
BEN GRIMM
You almost ain't worth it.
Ben his body language implies he's letting the private off the hook. The private has a moment of relief.
BEN GRIMM
Eh, who'm I kidin'? Come 'ere
you. Get ya some.
Ben pops the private two-three times. Ben stands.
BEN GRIMM
I'm Grimm baby.
Johnny laughs amazed.
JOHNNY STORM
H-holy shit!
REED RICHARDS
Was that necessary, Ben?
BEN GRIMM
(grins)
Not really.
Ben grins to Johnny up close.
JOHNNY STORM
I'm sorry for anything I did
to you in the past, or will
ever do in the future.
Ben pats Johnny's chest a time or two, then pushes him off.
BEN GRIMM
Well. I'm ready fer space.
How 'bout you boys?
Ben goes out the door.
148.
JOHNNY STORM
Boy! I'm glad you guys are
on our side.
Johnny pauses thinking about it.
JOHNNY STORM
You guys're on our side right?
Sis? Reed?! Ben?
Ben jerks him (O.S.) out the door.
BEN GRIMM (O.S.)
If we weren't, there'd only
be three comin' back.
Johnny screams (O.S.).
Reed looks around the room and out to the destruction on the field. The utter chaos. Shakes his head.
REED RICHARDS
Fantastic.
EXT. BASE - NIGHT
Soldiers are scrabbling. There is yelling and orders being shouted as more explosions occur. Sue is running.
Soldiers are entering jets, helicopters and jeeps, preparing to pursue them. Lights shine onto the ship.
Ben, Johnny and Reed are going down the stairs of the shack. Ben is carrying Sue's suitcase.
JOHNNY STORM
(amazed)
Holy shit! A jail break! I mean
a ship break.. we're breaking
something! (Laughs)
Ben, Johnny and Reed begin to pick up their pace.
149.
BEN GRIMM
(to Reed/Johnny)
I think yer wife, yer sister,
has gone nuts.
JOHNNY STORM
What do you mean by that?
Another explosion happens.
BEN GRIMM
Who do ya think is blowin'
this shit up?
Reed and Johnny stop running.
JOHNNY STORM & REED RICHARDS
Sue?!
The three look to the field to see the Crew Transport Vehicle go past the shack (it is raised one to two levels) and Sue runs after it. She climbs it like a squirrel and enters it. Ben looks back to Reed, who pauses a second and smiles fondly.
BEN GRIMM
Ya don't seem surprised by that.
REED RICHARDS
I'm not surprised. She would climb
the tree all the time next to-
Johnny stops, looks to Reed with a hard questioning look.
REED RICHARDS (CONT'D)
(cautious)
at the boarding house...
Johnny like 'what the hell' look.
REED RICHARDS (CONT'D)
to um... see me. Experiments.
BEN GRIMM
We get it. Little midnight visits.
Johnny looks slightly pissed.
150.
REED RICHARDS
(to Johnny)
I assure you. Nothing
inappropriate took place-
BEN GRIMM
(disappointed)
Way to go, stretch. Just when
I thought fer a minute you were-
JOHNNY STORM
That's my sister you're talkin'
about!
BEN GRIMM
What?! He married 'er didn't he?
like free milk never hurt nobody.
Johnny pushes Ben's back.
BEN GRIMM
Ya wantin' to go now, hothead?
JOHNNY STORM
You guys run your mouths about
Sue one more time and I'll-
Ben stops gets in Johnny's face.
BEN GRIMM
This might be one'r those times
fer an apology.
Ben grins, cracks his neck. Johnny back peddles, but still pissy.
JOHNNY STORM
(forced)
I. Am. Sorry.
Ben slaps Johnny's chest flattens him onto the stairs.
BEN GRIMM
It's good ya run yer mouth
over yer sister.
151.
BEN GRIMM (CONT'D)
Like I wuz sayin' He married
'er and not nothin' ta be
dirty 'bout.
Reed helps Johnny up as gives a look to Ben that there may have been a little inappropriateness.
JOHNNY STORM
Oh come on!
Johnny pushes Reed off and walks ahead of them. Ben grabs Reed's neck and shoulder like a coach, roughly.
BEN GRIMM
(proud)
Not such a bookworm after all!
REED RICHARDS
(stern)
Ben!
BEN GRIMM
'ey! Im just sayin' I'd marry
a girl that'd climb a tree fer
me. Just sayin'. Where's this
Suzy been?
Reed stops walking down the stairs, ponders it.
REED RICHARDS
I. don't. Know.
Ben grabs him to come on.
BEN GRIMM
We ain't got time fer this. The
two of ya can talk on the flight.
An' if we don't move faster,
she's gonna leave without us.
The three haul ass down the stairs and onto the field. The field is covered with large debris from earlier explosions.
152.
INT. CREW TRANSPORT VEHICLE - NIGHT
The transport is traveling at a high rate of speed. Sue is in the isle on her knees as shots hit the transport. She is driving the transport by her tablet. Sue on her tablet tries to bring up data on vehicles and aircraft, but her signal is to weak. With a message of:
'unable to obtain data'.
SUE RICHARDS
(desperate)
No. No. No. The suitcase.
Sue drops to the floor, devastated. A bullet comes through a window at the rear of the transport.
SUE RICHARDS
(stunned)
Have to go back for it.
I have to go back.
Sue looks up through the shattered window. She sees the other three running. Ben has the suitcase.
SUE RICHARDS
(desperate)
You have to hurry. Oh god. Hurry.
How could I mess this up?! Why
didn't I- Why didn't I-
The three are still running when Johnny slows to a stop. Dumbfounded. As the Crew Transport Vehicle keeps getting smaller and smaller in the distance.
JOHNNY STORM
She is comin' back for us, isn't she?
Reed turns to look at Johnny. Johnny stand there with his arms out, questioning look. Gestures like WTF? Ben stops then Reed.
BEN GRIMM
Kid's right, Reed. What the fuck?
I can't pilot it, if I ain't on it.
Reed like this is just dawning on him now. He looks out to the distant Transport.
153.
REED RICHARDS
Sue?
More jeeps wiz by. More shots are fired at the Transport. Reed snaps out of it.
REED RICHARDS
(pissed)
Right now, Ben, I'm more concerned
over my wife being shot at.
JOHNNY STORM
My sister too!
BEN GRIMM
Listen ya shit head twins, that's
what they do. We're stealin' that
thing and, she did kinda start it.
Reed starts to speak when:
BEN GRIMM
(abrupt)
I gave ya an hour ta decide. Being
shot at never occurred to ya? This
is a fuckin' military base there's
a good chance more'n one of us is
gonna get a bullet in the brain.
If it ain't her, then one of us.
REED RICHARDS
(perplexed)
Then why did we do this, Ben? Why
did I put us all in danger?
BEN GRIMM
Ya wanted it. I'm yer friend. I made
a promise. So I'm here, dead or alive.
Them. You're the one has to live with
yer little light show may just get us
all killed.
REED RICHARDS
I can stop it. I'll tell them it
was me.
154.
BEN GRIMM & JOHNNY STORM
No!
Ben and Johnny look to each other.
JOHNNY STORM
What? We're in this together. All
for one and all that musketeer crap.
All we gotta do is steal the ship
and not get shot, right? And that
might be a little easier with Sue-
Johnny motions with his arm, pissed, in Sue's direction.
JOHNNY STORM (CONT'D)
-not forgetting us!
BEN GRIMM
(to Johnny)
Never figured ya had it in ya.
Johnny shrugs like didn't either.
BEN GRIMM
Hope ya don't mind it in ya
when ya go ta prison fer this.
Johnny's jaw drops.
JOHNNY STORM
Sorry bro-in-law, but I'm sellin'
you out when the time comes.
REED RICHARDS
I would expect nothing less.
BEN GRIMM
I'm ready ta shoot us all. Save
'em the trouble.
JOHNNY STORM
And you would do that for me?
Aww. Thanks, Ben.
Ben lunges at Johnny as Johnny sees around Ben that the transport has stopped and is reversing. The jeeps pursuing swerve out of the way.
155.
JOHNNY STORM
Sorry, Ben. I don't have time
for an ass woopin' right now.
Johnny straightens himself up like Reed does.
JOHNNY STORM
I have a bus to catch.
Johnny sticks out his thumb like a hitch hiker. His foot rests atop a large piece of debris.
Ben just looks to Johnny and believes there's nothing he couldn't do to him, that his mother didn't do already, by dropping him on his head.
REED RICHARDS
(astounded)
It was one drink multiplied by-
Ben gives Reed a go-to-hell look.
The jeeps are following the transport. Firing on it.
INT. CREW TRANSPORT VEHICLE - NIGHT
Sue is holding her hand on the tablet as if it were a gas peddle.
SUE RICHARDS
(desperate)
I need that suitcase!
A PING on the tablet. Sue looks to it. It has detected the class of Stark jeeps pursuing her. She selects disable. The jeeps come to a rolling stop.
The transport is barreling at Ben, Johnny and Ben.
SUE RICHARDS
(desperate)
Has to be lower!
She touches another spot on the tablet.
EXT. CREW TRANSPORT VEHICLE - NIGHT
156.
The transport begins to lower to ground level.
BEN GRIMM
(to Reed & Johnny)
How often she drive?
JOHNNY STORM
Maybe that's it? Her foot got
stuck, right?
BEN GRIMM
Sure, kid.
The transport, coming up is still being shot at.
JOHNNY STORM
Jeez! These guy'll shoot anything
that moves. Don't move!
Johnny freezes and laughs. Ben slaps the back of his head.
BEN GRIMM
Dumbass!
The transport comes to a screeching halt off from the three.
JOHNNY STORM
And you guys were worried.
Reed and Ben look to each other. Johnny begins to go towards the transport. Sue bursts out of the transport runs past Johnny to Ben. She jerks the suit case out of Ben's hand.
BEN GRIMM
(to Sue)
Forget something?
Sue drops to the ground works on reestablishing contact.
JOHNNY STORM
(laughs)
Like us? Maybe?
157.
SUE RICHARDS
(desperate)
We have to go! We have to
go now! Have to go!
REED RICHARDS
(concerned)
Susan?
She reestablishes contact gets up starts in hast to run back to the transport. Reed goes to reach for her. Sue moves to fast. Reed reaches down picks up Sue's suitcase. All four begin to run. The concern on Reed's face is apparent.
Johnny slaps Reed's and Ben's back.
JOHNNY STORM
Hey come on it's Sue. She's
got this. She always does.
You'll see. Last one on the
ship is a-
Johnny runs ahead, can't hear the rest.
BEN GRIMM
(to Reed)
You know we're gonna die, right?
Reed determined. Looks ahead as they move forward.
REED RICHARDS
Probably.
More jeeps are coming firing and hitting the transport.
Ben runs along side Sue. Across the field they HEAR the men yelling and battling the blaze of the fuel depot.
BEN GRIMM
(to Sue)
Good thing there weren't any
men 'round when ya blew that.
Sue stops. The look on her face tells us she didn't know if there were. Sue agonizes over it. She grips her chest.
158.
Across the field men holler as fire reaches a tanker. The men escape in time before it blows. Next to a few more vehicles. The explosion unnerves Sue as did the sounds of the prison doors. She is lost.
SUE RICHARDS
Dad?
Johnny brings up the rear. He is having fun. A blast. Johnny calls out to his sister.
JOHNNY STORM
Sue! Sue! This is so awesome-
Sue does not reply. She has not moved. He stops in front of Sue and grabs her shoulders with a little to much excitement.
JOHNNY STORM
Woo-hoo! Did you see that, Sue?!
Sue! How awesome is this?!
Sue snaps. She pushes him to the ground, hard. Johnny is blindsided by this.
SUE RICHARDS
(ranting)
You'll ruin this! You always ruin
everything!
Reed and Ben turn to see Sue standing over Johnny yelling. Johnny is trying to get away from her. They turn to run back to them.
JOHNNY STORM
(a little afraid)
Come on, Sue. I'm sorry I'm-
SUE RICHARDS
(ranting)
I need this to be over! Over!
Do you hear me?! And you have
to muck it up like everything
you do! Every! Single! Thing!
Sue enraged screams at him. Johnny doesn't know who the hell she is.
159.
He crawls backward till he can get himself up. As he stands he takes a bullet (a flesh wound) to his arm. Johnny cries out in pain. Sue becomes even more angry. She starts hitting him in his arm where he was shot. He drops to the ground crying. Sue continues to keep hitting her brother. He tries to block his face.
SUE RICHARDS
(ranting)
You see?! You're going to get
yourself killed! You're going
to get us all killed!
Ben out of nowhere picks Sue up, as he does, Sue gets a good kick into Johnny's ribs. Ben places her to one side away from Johnny. Reed goes to tend to Johnny. Johnny is screaming and crying like a kid covering his face not wanting Reed to touch him.
Sue tries to push Ben. He's sold as they come. He ain't moving. Ben to Sue, (gestures)like 'come on Suzy. Seriously'.
SUE RICHARDS
You two want him?! Then the two
of you look after him! Get us
all killed!
Sue just huffs at Ben. She goes over picks up her tablet. Reed gets Johnny to hold his arm, the place, with his other hand to apply pressure. Johnny, like hurt kid, not moving. Reed is speechless.
SUE RICHARDS
We need to go now!
(to Johnny)
You should've stayed at home!
You never do what you're told!
Ever!
Reed starts to say something.
SUE RICHARDS
(abrupt, to Reed)
You wanted this! You did!
160.
Johnny goes to reach out to Sue like a child. Sue looks to him cold as death. Reed helps Johnny up as a chopper fires down on them as comes into range. Ben in time is able to grab a large piece of debris and hold it to keep the rounds of bullets from striking them. The chopper continues on.
Several jeeps charge at the four. Firing their weapons. The debris is getting pounded. Sue still outraged. Her tablets keeps PINGING.
BEN GRIMM
You guys wanna move yer asses?
This thing'll be fillin' up with
holes! Then, those holes'll wanna
go somewhere new, like me!
REED RICHARDS
Ben's right. We need to go now.
Sue walks up to and past Ben with her tablet. Before Ben can utter a word. Sue touches her tablet. We HEAR the jeeps screech to a halt. Then, Sue moves her hand across the tablet towards them and the jeeps start going backwards at a high rate of speed.
Ben drops the debris in disbelief. Sue looks to Ben and just huffs. Sue starts walking towards transport.
BEN GRIMM
(to Reed)
You should carry her purse.
Reed gives Ben a dirty look, as he does, of course, he picks up the suitcase. Ben picks up Johnny and carries him. They move at a fast pace.
INT. CREW TRANSPORT VEHICLE – NIGHT.
Sue is first in. She kneels on the floor and starts the transport rolling before the other three are fully on. Ben sets Johnny down in the isle. Ben reaches over and grabs the belt from Sue's coat.
161.
BEN GRIMM
(to Sue)
Mind?
Ben wraps the belt around Johnny's arm. Pats Johnny's chest, as way to say he'll be okay. Reed goes over and sits next to Johnny. Both are quiet. Ben as goes to go past sue:
BEN GRIMM
If'n ya don't mind, Suzy. Let
me have this. If I'm gonna die,
I want it to be at my hands.
Ben sits at the wheel. Sue releases it.
SUE RICHARDS
It's done.
JOHNNY STORM
I prefer not to die at anyone's
hands.
Reed puts his hand on Johnny to keep him quiet, before Sue finishes the job. Ben floors the transport. A smile comes to his face.
BEN GRIMM
I see ya disabled the governor.
Nice. Aunt Petunia always said
if yer gonna get there, get
there.
Sue does not respond to his complement, or his small talk. Sue moves her hand over the tablet. The entire platform to the ship lights up. A spectacle.
The chopper flies over them to block the ship. The sound is deafening. Sue looks up.
SUE RICHARDS
No.
Sue once again goes to her tablet. Ben becomes suspicious. He looks over his shoulder. On Sue's tablet she brings up all vehicles, Stark industries, class. The first to come up are jeeps. She disables them. Two fire trucks rush down the field with sirens.
162.
The tablet asks: Are you sure you want to disable fire engine 283 and 245? Sue almost hits yes, but hits no. The chopper comes up. She sees it is in front of them, above them. She taps it. Ben can see the chopper is having difficulty about to crash.
Ben lets the transport roll to slow speed as he gets up to confront Sue. He comes at her.
BEN GRIMM
Sue! Those are men in there!
Sue makes the chopper land and builds it up. Ben goes to grab the tablet. He has his hands on it when; as the men in the chopper hear it is building to detonate, they get out in time and run. They clear it as it explodes. Sue looks to him cold, snatches the tablet back. Sue still on tablet.
SUE RICHARDS
No one is stopping us.
Ben goes back sits down in the drivers seat, enraged. Ben begins to accelerate the transporter. Reed comes up, by Sue, to check on Ben.
BEN GRIMM
(mumbling)
Our boys.
As Ben drives around the burning wreckage of the chopper.
Reed touches Ben's shoulder in support. Ben brushes him off.
CUT TO: