"X-MEN 2"
(as I see it g)
by
ARTEMIS
* No copyright infringement intended. I wrote this story solely for your and my pleasure *
FADE IN:
CLOSE on a small green shoot in dry desert ground.
We HEAR PROFESSOR XAVIER'S VOICE.
PROFESSOR X (V.O.)
The Earth.
We ZOOM OUT very quickly until we see the Earth as a whole in front of a black background.
PROFESSOR X (V.O.)
The Blue Planet. Home of 6 billion
individuals of a race called man.
The Earth rotates and seemingly moves away until it is only a small spot against the black
background. The spot extends to the right and soon looks like a lying "8", and next we see two separate little spots. We realize that we are watching a cell as it divides.
PROFESSOR X (V.O.)
Homo sapiens sapiens. The most
highly developed species on our planet.
Until now, that is.
While the Professor is talking, the cells keep dividing, and soon we recognize a human
embryo.
PROFESSOR X (V.O.)
A new generation of humans has
evolved, one whose DNA endows
it with special gifts. Gifts that are
regarded as a threat by normal humans.
The human embryo grows and finally puts a thumb into its mouth.
PROFESSOR X (V.O.)
The question is not whether this leap in
human evolution is a mistake of nature
or a work of art. It is not whether normal
humans have the right to track down the
mutants and rid the planet of what they
think is abnormal and dangerous.
The fetus is now fully developed.
PROFESSOR X (V.O.)
The question is -
The fetus opens its eyes that are yellow and have elliptic pupils, and looks directly at us.
PROFESSOR X (V.O.)
What will happen if they try?
We HEAR THE WELL-KNOWN SOUND OF WOLVERINE'S EXTENDING CLAWS, and the
picture is ripped off the screen to reveal metallic letters spelling "X-MEN 2".
FADE OUT.
FADE IN:
INT. PROFESSOR XAVIER'S OFFICE IN HIS SCHOOL FOR THE GIFTED - NIGHT
PROFESSOR X sits behind his desk while SCOTT SUMMERS agitatedly walks around in the room, fiercely gesticulating while he talks.
SCOTT
He's done it again! Professor, he can't
be part of the team!
PROFESSOR X
Why, because he took your motorcycle?
SCOTT stops in front of the desk and puts both hands on the top.
SCOTT
You know what I mean. Sure, he helped
us defeat Magneto, and we owe him a lot.
But this man has no discipline - he doesn't
know anything about teamwork. He just doesn't fit in.
PROFESSOR X
Your report proves you wrong. Scott,
Logan has been on his own for over 15
years. Give him some time to integrate,
to find his place in the X-team. It's not
easy for him.
SCOTT
Neither for us. Where is he, anyway?
He's been gone for two days.
PROFESSOR X
He is on his way to Canada, trying to find
out about his past.
SCOTT'S anger seems to fade. His face shows a pensive and concerned expression.
SCOTT
The experiments?
PROFESSOR X nods.
SCOTT
I hope he'll find the bastards.
CLOSE ANGLE ON PROFESSOR X, whose expression doesn't show what he thinks, but is very serious.
FADE OUT
FADE IN:
EXT. SHABBY AREA OF CHICAO - NIGHT
FADE-IN TITLE: "CHICAGO"
A MOTORBIKE that we recognize as the X-Cycle Logan "borrowed" from Scott stands in front of a run-down bar.
INT. THE BAR - SAME TIME
Dark figures are sitting at tables and at the counter. Talking and the clinking of glass can be heard, and the smoke is so thick it could be cut with a knife.
CLOSE ON A HAND holding a stogie, and we get the impression that most of the smoke originates from this very cigar.
The hand reaches for a glass filled with a clear liquid, apparently no water, and we
ZOOM OUT until we realize that the person we have been watching is LOGAN.
LOGAN ignores the people around him and seems to focus on his glass when the TV SET
catches his attention.
The screen shows A REPORTER standing in front of the Congress Hall.
REPORTER
The upcoming debate in New York about
the controversial law that would mean
the revelation of all mutants living in the
United States has been stirred up by an
unexpected event. The sudden swing in
Senator Kelly's attitude towards the enforced
registration of mutants has caused a
downright tumult in the Senate.
Nobody can quite explain what made him
change his mind like this, there has even been
talk that he was brainwashed by a mutant
with telepathic abilities.
LOGAN
Crap!
LOGAN slams his glass on the counter, and while the TV report continues in the
background, he stands up and walks out of the bar.
EXT. THE BAR - CONTINUED ACTION
LOGAN takes a deep breath, his breath forming clouds in front of his face. He is still
standing in the doorframe when a HUGE BLACK GUY approaches the bar.
LOGAN doesn't move but scrutinizes the man who stops right in front of him and returns his
look without any sign of emotion.
CLOSER ANGLE ON THE BLACK MAN that shows a tattoo shaped like the letter "M"
right around his right eye.
LOGAN frowns and steps aside, and the BLACK MAN enters the bar. For the regular movie-
goer, this has only been a strange encounter with a strange man, but we know that Logan
has just met BISHOP.
LOGAN looks around again, then at his motorbike.
LOGAN
Brainwashed my ass. If I get my hands
on you, there'll be no more mimicking,
Missy.
CONTINUED:
LOGAN carelessly throws his cigar on the sidewalk, pulls his leather jacket tighter and
seems to decide that he needs a little walk to cool down.
FULL SHOT ON THE STREET as Logan walks away.
EXT. ANOTHER DARK STREET - SHORTLY AFTER
A small BUNCH OF HOMELESS PEOPLE has gathered in front of a YOUNG GIRL of
maybe 18 years with short blond hair who is sitting in front of a house with a guitar, her opened guitar case on the ground beside her.
The GIRL is playing a sad song, and her voice as she is singing along shows that she
sings about her own hopeless life. The reason why her play attracts people, though, is an
amazing light show that the girl doesn't seem to notice. Those few street lamps that are not
broken seem to flicker in the rhythm, and flashes of colourful light appear, seemingly from
out of nowhere.
LOGAN approaches the spot where the GIRL is sitting. A mildly astounded expression on
his face, he listens to the song for a few seconds, then pulls a few coins out of his pocket
and throws them into the girl's guitar case before he moves on.
The GIRL'S POV:
BACK VIEW OF LOGAN walking down the street.
CLOSE ON THE GIRL. She continues playing, but isn't as absorbed as before, her gaze
following Logan. When Logan turns around a corner, she grabs the coins from her guitar
case, hurls the guitar inside and closes the lid on which green, snake-like eyes are painted.
She nods at the HOMELESS PEOPLE who gently applaud, takes the case and follows
Logan down the street.
EXT. A NARROW ALLEY - CONTINUED ACTION
The alley that connects two streets is covered with litter. Trash, cardboard boxes and
heaps of something we rather don't want to identify are piled up at house walls on both
sides.
We see a FRONT VIEW OF LOGAN as he walks, and in the background the GIRL entering
the alley, slowly dropping her guitar case.
LOGAN stops, obviously on alert because he heard a sound.
The GIRL notices that he heard her and walks closer to him.
LOGAN slowly turns around. He looks at the GIRL, immediately recognizing her.
LOGAN
You. What do you want?
GIRL
Your wallet, Rich Man. If you don't
make any trouble, I won't hurt you.
LOGAN smiles sympathetically.
CONTINUED:
LOGAN
Buzz off, kid. I'm not in the mood.
LOGAN turns to go.
The GIRL is stunned by his reaction, but in the next instant, she reaches down for her
right leg.
CLOSE ON THE GIRL'S LOWER LEG where a jack-knife is hidden under her ragged jeans.
She pulls it out and straightens herself.
The GIRL'S POV:
BACK VIEW OF LOGAN walking. Suddenly the sound of the EXTENDING JACKKNIFE is
HEARD, and he tenses.
LOGAN
Kiddie, you better don't do that.
The GIRL raises the knife, a tight grin on her face.
GIRL
Oh yeah? Why?
LOGAN
'Cause I don't wanna hurt you.
GIRL
I'll tell ya something, Bigmouth. I've been
living on the streets for quite a while, and
I'm the one with the knife.
So who's gonna hurt who, huh?
The GIRL has now reached Logan and is standing directly behind him, the knife raised.
CLOSE BACK VIEW OF LOGAN: We HEAR the sound of WOLVERINE'S EXTENDING
CLAWS, and in the same instant, he spins around.
CLOSE ANGLE ON THE GIRL'S FACE as she stares at WOLVERINE. She raises the
knife until it is closely in front of her face. We see that the BLADE has been neatly CUT
OFF.
We ZOOM OUT until we see both of them, the GIRL standing like a statue, WOLVERINE
slowly retracting his claws.
GIRL
You're a mutant!
LOGAN gives her a look half reproaching, half sad, turns around and walks away.
GIRL (V.O.)
Rich Man!
LOGAN ignores her.
We see the GIRL as she hurls the remains of the knife to the ground.
GIRL
You don't just walk away from Dazzler.
Not tonight, pal.
CONTINUED (2):
DAZZLER raises her hands to her face and utters a soft, but very high-pitched sound. She
forms a bowl with her hands, and as if she had filled them with sound, a reddish light
starts to glow between them. She stretches out her arms as if she was reaching for Logan.
LOGAN'S keen senses tell him that there is something going on behind him. About 20 yards
away from Dazzler, he stops and turns around.
DAZZLER utters a shrill yell, and a dazzling white ray of light emerges from her hands. It
hits LOGAN straight in the chest and flings him a good 30 feet through the air before he
crashes into a pile of cardboard boxes and trash. There he lies on his back, unmoving.
DAZZLER clenches her fists and presses them to her chest, her eyes wide open with
shock. Although she knew what she was doing, she apparently didn't intend to strike
Logan with such a force.
After staring at him for a few seconds, she slowly moves towards him.
We approach LOGAN, shown from DAZZLER'S POV.
DAZZLER kneels down beside him and feels for a pulse. She slowly pulls her hand back,
and in her face we read that she didn't find anything.
DAZZLER
Shit. Sorry, pal. Powers ain't easy
to control, guess you knew.
She strokes his hair, her eyes glistening with what could be, but needn't be, tears.
DAZZLER
Let's see what you've got.
She searches the pockets of his jacket, where she finds only a flat metal box with cigars.
DAZZLER
Yuk, El Disgusto brand.
She drops the cigars and starts searching Logan's jeans pockets. In one pocket, she finds
coins and a single Dollar bill. When she reaches in a back pocket, a grin shows that she
found something. She pulls her hand out, holding a bundle of bills. When she regards the
money, her jaw drops in disappointment.
DAZZLER
Canadian.
(beat)
Oh, what the heck.
DAZZLER puts the money into her own pocket, and with an almost sad look at Logan, she
stands up and turns to go.
She has almost reached the entrance of the alley where she dropped her guitar case
when a low GROAN is HEARD.
DAZZLER spins around.
LOGAN utters another low moan and weakly tries to sit up - without success.
DAZZLER gives him an insecure look, and her hand wanders to the pocket where she put
his money.
CONTINUED (3):
While she is still standing in the same spot, FIVE YOUNG MEN, obviously a street gang,
appear on the other end of the alley, shouting and laughing.
An instant later, they see LOGAN who doesn't even notice them.
An exceptionally THIN YOUTH in black leather clothes, apparently the GANG LEADER,
raises his hand.
GANG LEADER
Look what we've got here.
The OTHER GANG MEMBERS laugh and form a circle around Logan, obstructing
Dazzler's view at him.
One of the boys, we'll call him GANG MEMBER #1, kicks Logan.
GANG MEMBER #1
He's finished.
GANG LEADER
He's finished when I say he is.
He's still good for some fun.
The GANG LEADER also kicks Logan, so hard that he utters another moan that can
be heard by DAZZLER.
DAZZLER
Leave him alone!
Only one of the younger gang members, we'll call him GANG MEMBER #2, turns
around and looks at her.
GANG MEMBER #2
It's the mutant!
All the other boys now look at her, too.
DAZZLER
I said, leave him alone!
The GANG LEADER emerges from the group, apparently scared but still trying to seem
cool.
GANG LEADER
Why should we?
DAZZLER doesn't answer but only raises her hands, uttering a soft, high hum.
ALL GANG MEMBERS talk at once, starting to retreat.
GANG MEMBER #1 seizes the gang leader by his jacket.
GANG MEMBER #1
Come on, she's doing it again.
Do you want to be fried?
With a LOW CURSE, the GANG LEADER turns around and follows his men who are
running down the alley.
CONTINUED (4):
DAZZLER heaves a sigh and loosely drops her arms to her side. Then she walks towards
LOGAN, who has managed to sit up meanwhile.
DAZZLER
You okay?
LOGAN
You crazy?
DAZZLER
Listen, I'm sorry. I didn't mean to -
With a quick movement, LOGAN grabs her throat, and all of a sudden, DAZZLER is lying on
the ground with Logan kneeling over her.
LOGAN
You could've killed me!
DAZZLER
Don't get me wrong, but I thought I did.
LOGAN hesitates, but doesn't let go of her. With his free hand, he touches his chest that is
seriously burned under the scorched remains of his shirt.
LOGAN
I'll live.
DAZZLER
Hey, I tell you somethin'. I give you back
your money, you let me go, and
we'll act as if this never happened.
LOGAN
Yah, sure.
DAZZLER
Why don't we just -
LOGAN presses a little harder, and DAZZLER falls silent.
LOGAN
Let me think. Oh darn, couldn't you have
mugged somebody else?
LOGAN stands up and pulls DAZZLER up with him.
LOGAN
You're coming with me.
DAZZLER
What? Where - oh come on, you can't
take me to the cops.
LOGAN
Who said I was gonna do that?
LOGAN picks up a strip of plastic from the ground and ties DAZZLER'S hands behind her
back.
CONTINUED (5):
DAZZLER
Hey, you pervert, what's that supposed to be?
What about my guitar, anyways?
LOGAN totally ignores her, dragging her behind him as he walks down the alley and
towards the street. A menacing look on his face, he starts to talk to himself.
LOGAN
700 miles for nothin'. Freaking kids playin'
games. Should've known better than that.
Should've just killed her.
We see DAZZLER becoming more scared with every word he says.
FADE OUT.
EXT. THE BAR - SHORTLY AFTER
For want of a pillion, LOGAN roughly heaves DAZZLER on the back edge of the motorbike's
seat, and after short consideration, puts his jacket around her shoulders. Then he mounts
the bike and starts the engine.
DAZZLER
Where are we going?
LOGAN
New York.
Ignoring her protest, LOGAN lets the engine roar and speeds down the street.
FADE OUT.
FADE IN: INT. A CLASSROOM IN PROFESSOR XAVIER'S SCHOOL - DAY
PROFESSOR X is sitting in front of about 15 students, on a chalkboard behind him
drawings that look like he's giving a physics lesson.
We HEAR the DOOR BEING OPENED, and all heads turn. Also PROFESSOR X looks up.
VIEW AT THE DOOR with SCOTT sticking his head inside.
PROFESSOR X
Scott, what is it?
SCOTT
We have a new student. You should come
and see her.
PROFESSOR X
Oh, fine. I will greet her as soon as I
finished my lesson.
SCOTT
Professor, Logan brought her. You should
really have a look at this.
CONTINUED:
PROFESSOR X
All right. Students, please finish your task.
When you are done, you are free for
an early break.
Approving MURMUR among the students.
PROFESSOR X steers his wheelchair out of the room while SCOTT holds the door open for
him.
INT. A ROOM IN THE SUBLEVELS OF THE SCHOOL - SHORTLY AFTER
LOGAN stands with his legs apart, arms crossed in front of his chest and looks at something o.s. with an expression of amusement. We see the door open behind him, and
PROFESSOR X comes in, followed by SCOTT.
After a short glance at Logan, PROFESSOR X concentrates on the o.s. person Logan has been looking at.
PROFESSOR X
Hello, and welcome at my school for the gifted.
I am Charles Xavier.
DAZZLER is sitting on a wooden chair, her arms crossed just like Logan's.
DAZZLER
Hi.
PROFESSOR X looks puzzled as Dazzler doesn't seem enthusiastic about her arrival.
PROFESSOR X
Did Logan tell you about this place?
DAZZLER
So far, he hasn't even told me his name.
This is kidnapping, you know.
PROFESSOR X offers her his hand.
PROFESSOR X
Come, dear. I will show you around.
DAZZLER doesn't stand up or take the Professor's hand.
PROFESSOR X
Nobody is going to do you any harm here.
DAZZLER
Oh yeah?
DAZZLER lifts her elbows, and we see that she is tied to the chair so tightly that she can't even move her hands.
DAZZLER
And what about this? I'm gonna sue
your collective asses.
CONTINUED:
PROFESSOR X
Logan!
LOGAN
Hey, cool it. See what she did to me?
LOGAN opens his jacket to show his burned shirt.
LOGAN
She nearly killed me. I had to protect myself.
PROFESSOR X
I think we can handle this. Scott?
SCOTT walks over to the chair and unties Dazzler.
DAZZLER rubs her wrists and shakes her hands to make the blood circulate.
DAZZLER
Thanks. I've been tied up since Chicago,
you know.
PROFESSOR X
Well then, I think I introduced myself.
What is your name?
DAZZLER
The real one?
PROFESSOR X
Whichever one you prefer.
DAZZLER
Alison. But my street name's Dazzler.
PROFESSOR X
I was told that you are a mutant. What is
your gift?
ALISON
You call that a gift?
PROFESSOR X
It can be one. It depends on what you
make of it. This school is a safe place
to live and learn for young mutants,
just like you.
ALISON
(looks at LOGAN)
Well, not quite like me. That guy's got claws.
PROFESSOR X
(smiles)
Yes, I know. Well, Alison, if you tell us what
your gift is, we can help you control and use it.
CONTINUED (2)
:
ALISON
Using it ain't the problem.
(beat)
But I could need some help with the
control part.
PROFESSOR X
We will be happy to help you there.
He offers her his hand again, and this time, she takes it, stands up and leaves the room with
him.
SCOTT grins at Logan.
SCOTT
And yet another rebel.
WOLVERINE
You wanna tell me something, Bub?
WOLVERINE pushes Scott aside and walks out of the room.
SCOTT rubs his shoulder.
SCOTT
Oh yeah, he's not used to it.
FADE OUT.
EXT. THE SCHOOL'S BACKYARD - DAY
ORORO MONROE and a BOY of approximately 14 years are standing a few yards away
from a target.
ORORO
That was great, now try and focus on
the target rather than on the shape
of the bolt.
BOY
Okay.
The BOY closes his eyes, and from a fountain beside him, a small ball of water rises,
changes shape until it has a pointed tip, and after hovering in the air for another second,
it suddenly darts right through the bull's eye of the target.
ORORO
Yes, now you get the point!
ORORO looks up and sees PROFESSOR X, DAZZLER, SCOTT and LOGAN approaching.
She pats the boy's shoulder.
ORORO
That's enough for now. Go and have some
fun with your friends.
The BOY nods and dashes off.
CONTINUED:
PROFESSOR X
Ororo, I'd like to introduce you to Alison.
Alison, this is Ororo Monroe, or Storm.
Would you like her to show you around and
help you get acquainted with the facility and
the other students?
ALISON
Sure, why not?
ALISON and ORORO walk away, ORORO obviously telling Alison about the school.
LOGAN sits down on the edge of the fountain, looking after them.
PROFESSOR X
It was good that you brought her here, but
what about your search?
LOGAN
After 15 years, a few days more don't matter.
I'll set out tonight.
SCOTT opens his mouth to say something, but PROFESSOR X is faster.
PROFESSOR X
You might want to take a car. It's cold in the
Canadian Rockies.
LOGAN
I don't have a car. Mine blew up, remember?
PROFESSOR X
Maybe you want to take one of the school's cars?
LOGAN
I don't think I'd like the school's cars.
PROFESSOR X
You might want to have a look at them first.
CUT TO:
INT. THE SCHOOL'S GARAGE - SHORTLY AFTER
Along with the Professor's car, there are a few others, including a seemingly old Pick-Up
truck.
LOGAN, SCOTT and the PROFESSOR approach the car.
LOGAN
Nice car.
PROFESSOR X
I thought you might like it. It is not your average
pick-up, though. It has a few little extras that might
help you on your journey.
LOGAN
Extras.
CUT TO:
EXT. AN EMPTY HIGHWAY - SUNSET
Logan's CAR driving along at normal speed.
INT. THE CAR'S COCKPIT - CONTINUED ACTION
CLOSE ON THE DASHBOARD that is equipped with some extra buttons. We PAN
ACROSS THE DASHBOARD from LOGAN'S POV and focus on a button that resembles the
turbo button on Scott's motorbike.
CLOSE ANGLE ON LOGAN'S FACE who grins and slowly lifts his hand to press the button.
EXT. THE SAME EMPTY HIGHWAY - CONTINUED ACTION
Logan's CAR racing off into the sunset at enormous speed, leaving only a trail of dust that
slowly settles once the car is out of the frame.
FADE OUT.
INT. THE WAR ROOM IN THE SCHOOL'S SUBLEVELS - NIGHT
The room is austere and cool like every room in the lower levels of the school. White tiles
cover the walls and the floor, and the only piece of furniture is a large metal table.
PROFESSOR X, ORORO, SCOTT and JEAN GREY are sitting around the table. The
Professor is holding a small device in his hand that looks like a wristwatch.
SCOTT
This little thing is the pocket version of Cerebro?
PROFESSOR X
Well, not exactly, but it works as a kind of remote
scanner. Whenever you are in town, I want you to
carry it with you. Using it, you can find mutants
that the main Cerebro device already detected
within remarkable distance.
JEAN
This sounds like we're recruiting.
PROFESSOR X
Well, in a sense we are. We don't know what
Magneto and his associates are capable of,
even now that he is imprisoned. It can't hurt
to show young mutants the right side before
they can be corrupted by the rebellious ones.
And as we have seen, many live on the streets,
without friends, shelter or hope. We should try
and give as many of them a home as we can.
CONTINUED:
SCOTT takes the device and turns it in his hands.
SCOTT
How does it work?
FADE OUT.
INT. A DORM ROOM IN THE SCHOOL - NIGHT
The room that was obviously decorated by a girl is furnished with two sets of bed, cupboard
and desk, one apparently not yet occupied.
MARIE is lying on her bed reading a book, dressed in casual but dark clothes.
THE DOOR opens, and ALISON comes inside, accompanied by ORORO.
ORORO
Hello Marie. I have a roommate for
you if you'd like.
MARIE
Sure.
MARIE stands up and puts her book on the mattress.
MARIE
Hi, I'm Marie.
ALISON offers her hand.
ALISON
Alison.
MARIE takes her hand, and ALISON shows a puzzled look because of the gloves she is
wearing.
ORORO
I take it that you two have a lot to tell each other.
Good night!
MARIE and ALISON
Good night!
ORORO leaves and closes the door, and the two girls look at each other. It is silent for a few
seconds.
Finally, ALISON points at Marie's white strand of hair.
ALISON
Cool hair.
MARIE
Thanks.
CUT TO:
INT. THE SAME DORM ROOM - LATER THAT NIGHT
Both girls are lying each on her bed. ALISON is now wearing new clothes that obviously
come from Marie's cupboard.
ALISON
So you can take other mutants' powers?
MARIE
Not only their powers. I always take a little
of their energy, their life force if you want to
use that word. But I think I'm slowly getting
some degree of control. Maybe someday I
can use this power to help, not only to steal.
ALISON
I'm pretty sure you'll get this settled somehow.
A beat as the girls look at each other, Marie less optimistic than Alison.
MARIE
So where are you from?
ALISON
Chicago.
MARIE
Chicago? Did you tramp here? How did you
find the school, anyway?
ALISON
You could say the school found me. I bumped
into that hairy guy with the claws. He brought
me here, and I can tell ya, I didn't go voluntarily.
MARIE
Logan?
ALISON
Yeah, that's him. Do you know him?
MARIE
He was here?
ALISON
Yeah, why? Don't tell me you like him?
MARIE
Well…
ALISON
Did I miss something about him? This guy's
got no manners. He's rude and behaves
like some left-over caveman.
MARIE
He saved my life.
CONTINUED:
ALISON
Now this gives the matter a whole new point
of view.
(beat)
Sorry if I said something wrong.
MARIE
It's okay. You just don't know him yet.
ALISON
Yeah, not yet.
(beat)
G'night.
MARIE
Night.
They press each other's hand over the gap between the beds, and MARIE turns off the light.
As the LIGHTS GO OUT, we
FADE OUT.
FADE IN: INT. A HALL IN THE PRISON WHERE MAGNETO IS KEPT - NIGHT
The walls and floor are covered with white shiny tiles. Behind a round desk covered with
monitors, two young guards are sitting.
GUARD #1, a likeable tall man in his mid-twenties with short blond hair, stands up.
GUARD #1
Hey Danny, call of nature. Could you
open the door for me?
DANNY, a just as likeable young man with short brown hair, nods.
DANNY
Okay. Man, my daughter's little puppy
bears it longer than you, Jeff.
JEFF grins.
JEFF
Just open the door, pal.
JEFF walks towards a solid metal door and waits until DANNY has pressed a button on the
panel in front of him. The door opens, and JEFF looks back at Danny.
JEFF
You still in for the baseball game
tomorrow night?
DANNY
Wouldn't miss that on your life.
JEFF waves and walks outside. The door closes behind him.
CONTINUED:
We see a monitor from DANNY'S POV. It shows the corridor on the other side of the door
where JEFF walks in quite a hurry.
DANNY leans back on his chair and grins. He looks at a few other monitors that show more
corridors and rooms, including the one where MAGNETO is sitting, far away from any metal
objects. Then his attention is again caught by the first monitor. It shows JEFF who waves.
DANNY grins, shakes his head and presses a button, and the door opens.
JEFF enters the hall, and still smiling, he walks back to the desk. Casually, he assumes
position behind Danny's chair, places his hands on his shoulders, and with a sudden
movement, takes his head and turns it. A DULL SNAPPING SOUND IS HEARD, and
DANNY slumps in his chair.
JEFF'S eyes turn yellow, and in this instant, we realize that it is MYSTIQUE. Whether it has
been her all the time or only from the point on that she returned from the restrooms as Jeff,
we'll never learn.
MYSTIQUE, now in her original blue shape, presses another button, and the door opens
again.
FOUR MEN, obviously mutants, come inside. MUTANT #1 is a tall man with short black
hair and strange silvery skin. He radiates authority as if he was the leader of the troop. We
recognize the second one as SABRETOOTH, the third one is small with red skin. He wears
black shorts and a black tank top that reveal sharp spikes on his arms and legs. MUTANT #4
is a tall, muscular man with white hair.
SABRETOOTH walks towards the desk, reaches across it and softly touches MYSTIQUE'S
chin with one finger.
SABRETOOTH
Well done, Mystique.
(to MUTANT #4)
Riptide, I need you over here.
(to the RED-SKINNED MUTANT)
Foxbat, guard the door.
RIPTIDE comes over to the desk while FOXBAT assumes position at the door, and quickly
presses a few buttons.
RIPTIDE
Well then, let's get him out of there.
RIPTIDE grins at MYSTIQUE who smiles back, and RIPTIDE, MYSTIQUE and
SABRETOOTH march towards another door while MUTANT #1 stays in the room with
FOXBAT, leaning against the desk in a relaxed and expectant posture.
EXT. A STREET IN DOWNTOWN NEW YORK - DAY
Many people are on the street, minding their own business as they follow the human river
downstream.
SCOTT stands on the sidewalk, wearing a coat and a baseball hat and the inevitable
sunglasses. He is wearing the Cerebro scanner on his left wrist like a watch, and the device
gives low beeps and a flashing light signal.
CONTINUED:
We assume SCOTT'S POV and PAN ACROSS THE STREET as he looks around searching
for the mutant that Cerebro has apparently detected, but in the broiling mass of people, it is
impossible to find a single person, even if he or she is a mutant.
CLOSER ANGLE ON A YOUNG WOMAN who is about to walk on the street without
watching her steps.
A BUS approaches her from the left.
SCOTT raises his head in alarm as he sees what is about to happen, but he is too far away
to intervene.
At the same time, we see a YOUNG MAN with long blond hair, wearing a leather jacket and
blue jeans, who has also seen the peril coming. With an impossibly long and high leap, he
jumps on the street and pulls the woman out of the way, only a split second before she can
be hit by the bus. He loses his balance and threatens to fall on the street and right against
the still moving bus, but somehow he manages to stay on his feet and makes a step further
into the safety of the sidewalk.
SCOTT frowns and looks at the Cerebro scanner, obviously suspecting that the young man
might be the mutant he has been looking for.
While SCOTT makes his way towards the young man through the crowd, the woman flings
her arms round the man's neck and gives him a kiss. They both laugh, and the YOUNG MAN waves at the woman as he turns and walks away.
SCOTT needn't follow him any further as the YOUNG MAN bumps right into him.
SCOTT
How did you do that?
YOUNG MAN
What - oh, the bus. Luck, I guess.
SCOTT
I've never seen anybody jump like this.
YOUNG MAN
I'm in training.
SCOTT scrutinizes the man, and we see that the black leather gloves he's wearing each
only have three fingers and a thumb.
SCOTT
No, I think you might be something else.
The YOUNG MAN looks around like he was afraid of somebody eavesdropping their conversation.
YOUNG MAN
I've got to go.
SCOTT
Wait, I'm a friend.
YOUNG MAN
Oh yeah? Why should I believe you?
SCOTT
I'm of your kind.
CONTINUED (2):
YOUNG MAN
Even if. Everybody for himself.
SCOTT
And why did you help this woman?
YOUNG MAN
I couldn't just let her die. I think that's quite
a reason.
SCOTT
Why not do it big style? Trust me. We're a group of,
uh, people, that try to save mankind, or at least
do our share. Heard about that big light wave
at the U.N. summit?
YOUNG MAN
Your job?
SCOTT
We prevented it from erasing Manhattan's
population.
YOUNG MAN
Not bad.
SCOTT
Do you at least want to come with me
and have a look at what we're doing
and how we're living?
YOUNG MAN
Can't do any harm.
SCOTT
My name's Scott Summers.
YOUNG MAN
Call me Longshot.
INT. PROFESSOR XAVIER'S OFFICE - DAY
PROFESSOR X is sitting behind his desk with MARIE and ALISON sitting in front of it.
PROFESSOR X
Well, Alison, have you settled into the school
already?
ALISON
I've had some help, Professor.
PROFESSOR X
(smiles)
I'm glad that you and Marie get along so well.
We HEAR a KNOCKING at the door.
CONTINUED:
PROFESSOR X
Yes, come in, please.
SCOTT opens the door and lets Longshot enter first.
PROFESSOR X
Ah, you found him. Welcome. I'm Charles
Xavier. You are at my School for Gifted
Youngsters, but of course you needn't be
a teenager to be accommodated. These
are two of my students, Alison and Marie.
LONGSHOT nods and gives them a grin and a look from irresistibly green eyes.
LONGSHOT
Ladies.
MARIE and ALISON smile back.
PROFESSOR X
(to MARIE and ALISON)
If you could excuse us now - I have to
introduce our new guest to the school.
MARIE
Sure. Bye Professor, bye Scott.
MARIE and ALISON walk towards the door and wink at Longshot as they walk past him.
MARIE and ALISON
(to LONGSHOT)
Bye.
CUT TO:
INT. THE CORRIDOR IN FRONT OF THE OFFICE - CONTINUED ACTION
MARIE and ALISON fling their arms round each other's neck and dance through the
hallway, chuckling like the schoolgirls that they are.
ALISON
Did you see this cutie?
MARIE
Oh, I so hope he'll stay at the school.
ALISON
Aw, the way he smiled at us. Awesome.
They take each other's hand and walk down the corridor, still chuckling and curiously
watched by a few BOYS that have left a classroom nearby.
INT. PROFESSOR XAVIER'S OFFICE - SAME TIME
PROFESSOR X
Please, sit down.
CONTINUED:
LONGSHOT sits down on a chair while SCOTT remains standing and looks around in the
room.
LONGSHOT
Nice place.
PROFESSOR X
Thank you. So, may I ask your name?
LONGSHOT
It's Longshot.
PROFESSOR X
Only Longshot?
LONGSHOT nods.
The PROFESSOR seems nonplussed, but doesn't inquire any further.
PROFESSOR X
And may I also ask what exactly your mutation is?
LONGSHOT
Wait a sec - how can you know? I mean,
we just got here. You didn't send Scott to get
me here, did you?
PROFESSOR X
Well, actually I did. We have a device that can
detect mutants. Unfortunately, it can't tell us what
their gift is.
LONGSHOT
Why do I have the feeling I've just been recruited?
We see a CLOSE-UP on Scott who grins.
PROFESSOR X
Of course you are free to go at any time.
LONGSHOT
Didn't feel like a prisoner in the first place.
Okay, you guys seem to be okay. You wanted
to hear about my mutation. I'm proud to say
that it consists of two little changes compared
to your average homo sapiens. First of all,
my bones are hollow, so to say. It makes them
really light, which can be quite a cool thing to have.
SCOTT
And mutation number two?
LONGSHOT
Luck.
SCOTT
Excuse me?
CLOSE on the PROFESSOR who arches an eyebrow.
CONTINUED:
LONGSHOT
As long as I don't abuse it, I have literally
infallible luck that almost always pulls me through.
SCOTT
Sorry, but I have a problem with that.
Luck as a mutation?
LONGSHOT
Call it a PSI power. Whatever you call it,
it works.
PROFESSOR X
Would you agree on some tests?
Nothing painful, only checks on your health
and of course your mutation.
LONGSHOT
Whatever is necessary.
PROFESSOR X
Scott will leave you in the capable hands
of Dr. Jean Grey, a gifted scientist and
promising PSI talent.
LONGSHOT nods, stands up and follows Scott outside.
The PROFESSOR thoughtfully leans back, folding his hands in front of his chest like for
prayer.
FADE OUT.
INT. A LAB ROOM IN THE SUBLEVELS OF THE SCHOOL - SHORTLY AFTER
LONGSHOT is lying on an examination table in a lab room that looks exactly like the one
where Wolverine has once been examined, while JEAN works on a computer nearby,
jealously guarded by SCOTT.
LONGSHOT
So you guys fight against this Brotherhood
of Mutants because they want to kill all
normal humans?
JEAN
Well, last time, they wanted to transform them
all into mutants.
SCOTT
Which sooner or later would have had the
same effect.
LONGSHOT
But right now their boss, this Magneto,
is safely locked up?
CONTINUED:
JEAN
For now, he is. But we have to be on guard.
And even if it's not for the normal people,
you still have a safe place to live here.
LONGSHOT
Well, until now I always got along somehow.
I'm lucky, you know.
LONGSHOT winks at JEAN who smiles back.
JEAN
I see.
SCOTT steps between them.
SCOTT
(to JEAN)
Are you done with your tests?
JEAN
Almost. I just have to finish this calculation…
Okay, he's yours again.
LONGSHOT
(to JEAN)
And whenever you need me, I'll be all
yours, Ma'am.
He has hardly stood up from the table when SCOTT roughly pulls him towards the door.
They leave the room, and SCOTT slams the door shut.
JEAN remains in the room, smiling.
INT. THE CORRIDOR IN FRONT OF THE LAB ROOM - SECONDS LATER
LONGSHOT stops and forces Scott to come to a halt, too.
LONGSHOT
Hold it, Scott.
SCOTT
What?
LONGSHOT
I'm not blind, pal. The lady is yours.
Just can't help turning on the old charm
when women of her calibre are around.
You okay now?
SCOTT sheepishly releases Longshot and shrugs.
SCOTT
Sorry.
LONGSHOT
Never mind.
CONTINUED:
They walk down the corridor, this time considerably more slowly.
CUT TO:
INT. A LIVING ROOM IN MAGNETO'S MANSION - NIGHT
CLOSE ON MAGNETO who is sitting on a sofa with a cup of tea in his hand. In the
background we see a flickering fireplace.
MALE VOICE (O.S.)
I can almost see them in their neat little
school, wondering what our next move
might be.
MAGNETO
(looking up)
You speak of us as if we were a team.
A MAN WITH SILVERY SKIN AND SHORT BLACK HAIR, the one we know from the prison,
enters the screen, smiling quietly.
MAGNETO
I did not ask you to free me, Nathaniel.
NATHANIEL
But aren't you glad to be home again,
with your loved ones?
MAGNETO
My time would have come. With you or
without you.
NATHANIEL
Without me, it might have taken a little
too long, old friend. But not to worry, I'm
happy to help you.
MAGNETO
But it will have a price.
NATHANIEL
Certainly.
MYSTIQUE enters the screen and sits down beside Magneto while a BLOND WOMAN
appears beside Nathaniel.
NATHANIEL
Ah, Vertigo. How are you doing in our
little workshop?
VERTIGO
We had a few problems but now everything
runs smoothly.
CLOSE ON NATHANIEL - in his face, the flames in the fireplace are reflected.
CONTINUED:
NATHANIEL
Excellent.
(beat)
(turning to MAGNETO)
What do you think, old friend?
Shall we lure the rabbits out of
their burrow?
MAGNETO quietly looks at him, still holding his cup of tea.
CLOSE-UP ON NATHANIEL who grins amusedly, the silvery skin on his face still
reflecting the fire.
FADE OUT.
EXT. A DESERTED MILITARY COMPOUND IN CANADA - NIGHT
The scenery is a wooded area in the mountains. We see the silhouette of a wire netting
fence in front of trees and shrubs - it is nearly dark. Then we HEAR the SOUND OF A CAR APPROACHING, and its headlights illuminate a sign saying "MILITARY AREA - NO TRESPASSING. USE OF DEADLY WEAPONS APPROVED", before the car even comes into the picture.
Then it enters the frame, and we see that it is Logan's pick-up. The car stops in front of the fence, its headlights still pointed at the sign, until the car's engine is turned off, the headlights fade and LOGAN gets out of the car.
While he is walking towards the fence, he extends his claws, and when he reaches it, we HEAR adamantium CUTTING through steel, and the sign falls to the ground, together with a door-sized piece of the fence.
LOGAN scents to all sides and glances at the full moon before he slips through the hole in the fence.
LOGAN'S POV:
We see his way through the woods and rocky clearings.
When he parts shrubs to move on, he hesitates, and as we follow his gaze through between the bushes, we realize why. A large complex of buildings covers several thousand square yards, and in the cold white light of the moon, it looks like a Nazi concentration camp.
CLOSE-UP on LOGAN'S shocked face. His eyes widen before a memory flashback hits him, and he closes them.
CUT TO:
MEMORY FLASHBACK FROM LOGAN'S POV:
INT. A LABORATORY
PEOPLE in strange alien-like suits walk around, everybody seems to know what he is doing.
CUT TO:
EXT. A JAIL-LIKE YARD - DAY
Several MEN in simple, grey uniforms stand around or walk slowly, most of them looking bored, some rather scared. All men seem to be in excellent physical shape.
Still from Logan's POV, we approach an exceptionally tall man from behind and pat his shoulder. The man turns around, and for the split second that we can see his face, we are almost entirely sure that it is Sabretooth.
END OF MEMORY FLASHBACK
CUT TO:
EXT. THE SAME MILITARY COMPOUND - CONTINUED ACTION
CLOSE-UP ON LOGAN'S FACE, slowly ZOOMING OUT until we see his whole upper body
and his chest pumping as he breathes heavily, still staring at the complex.
LOGAN shakes his head, stands up and walks through the gap he created between the
bushes.
CUT TO:
EXT. THE SAME MILITARY COMPUND, AT THE FIRST BUILDINGS
LOGAN walks towards the buildings and therefore towards us. His whole body tense, we
only wait for him to extend his claws, but he doesn't do so.
We follow him as he walks through the compound, leaving some buildings disregarded as if
he'd been here before and knew where to go. Finally, he steers towards a small building.
Not wasting any time by trying if the door is locked, he forces it open.
CUT TO:
INT. THE BUILDING - CONTINUED ACTION
The DOOR crashes into the room, stirring up a huge cloud of dust.
We see WOLVERINE'S SILHOUETTE in the doorframe for a second before he steps into
the room.
WOLVERINE'S POV:
The inside of the room looks like an office, with lots of filing cabinets, two desks and several
cupboards and empty shelves. It looks like it has been left in a hurry, for there are sheets of
paper lying everywhere.
WOLVERINE walks up to a filing cabinet and tears the top drawer open. A METALLIC
SOUND tells us that there has probably been a lock in the way, but Wolverine hasn't even
noticed its resistance. He pulls out the few files that are left in the drawer and puts them on
the table, only to walk back to the cabinet and start the same procedure with the second
drawer.
CLOSER ANGLE ON THE DESK where a giant heap of files is piled up. Another bunch of
papers is hurled on the already swaying heap, and a few sheets of paper flutter to the
ground.
CONTINUED:
WOLVERINE drops on the edge of the table and starts to pull out single files, obviously not
knowing what exactly he is looking for. Suddenly, the picture of a man that is attached to the
front page inside a file folder causes another MEMORY FLASHBACK.
CUT TO:
MEMORY FLASHBACK - WOLVERINE'S POV
EXT. THE JAIL-LIKE YARD - DAY
One of the men is called out, and we see that it is the MAN FROM THE PICTURE in the file.
A crooked grin on his face, the MAN waves at the others and leaves the yard through a small
gate. He is accompanied - or guarded? - by TWO SOLDIERS in uniforms that we have
never seen before.
CUT TO:
EXT. THE SAME YARD - SUNSET
The yard is much emptier than before, and only a few men are standing or sitting around.
Still from WOLVERINE'S POV, we look up and over at the soldiers who give us an expectant
look. We follow them.
CUT TO:
INT. THE OFFICE IN THE BUILDING - DUSK
A MAN with a brown buzz-cut and in the same uniform as the soldiers, only with more chevrons on his shoulder flaps, looks at us with a pitying expression, then back at a file that is lying on the desk in front of him. He says something, but we only HEAR a low HUMMING and an accelerated HEARTBEAT pounding seemingly right in our heads.
The man keeps talking, and from an INDEPENDENT POV we see that LOGAN rises from his chair and slams his fists on the desk. Suddenly the two soldiers are at his side and hold his arms. The man nods at them, and they drag Logan out of the room.
CUT TO:
INT. A LABORATORY
LOGAN is lying on a slab, tied to it at his wrists, ankles, waist and neck with broad leather strips. We see the same felt-tip markings on his body that we saw in the FLASHBACKS OF PART 1, and we realize that he is about to get the adamantium crafted to his skeleton.
MEN with masks on their faces approach him, holding instruments straight from a medieval torture chamber. The picture twists, and we don't know how much of this is a real memory, and how much a nightmare.
CUT TO:
INT. A ROOM INSIDE OF MILITARY BARRACKS - NIGHT
LOGAN is lying on a bed, not tied anymore, but obviously in agonizing pain. He writhes and helplessly raises his hands towards the ceiling as if there was somebody to help
(more)
CONTINUED:
him. All of a sudden, three claws pop out from between the knuckles of his right hand, and
he screams in pain. An expression of disbelief on his face, he stares at the shiny metal
before he raises both arms again and yells in despair and frustration.
END OF MEMORY FLASHBACK
CUT TO:
INT. THE OFFICE INSIDE THE BUILDING - NIGHT
LOGAN sits on a chair behind the desk, his face hidden in his hands. He slams his fists on
the desktop, and with the back of his right hand, he sweeps the files from the desk.
We see that some of the files remaining on the table are simply marked with single letters,
and we see a
CLOSE-UP ON A FILE MARKED WITH AN "X"
LOGAN looks up and at the file. Slowly, he takes it and opens it, and on the front page, there
is a picture of him.
Now trembling - we don't know whether it is with wrath or fear -, LOGAN closes the file
again. He takes it and puts it under his jacket, and as if he couldn't get out of the office
quickly enough, he stands up so fiercely that he painfully hits his knees on the desk. He
doesn't even notice it but hurries out of the office.
CUT TO:
EXT. THE AREA OF THE MILITARY COMPOUND - NIGHT
LOGAN runs away from the buildings and into the forest, not minding his way the least bit.
He pants heavily and presses his right arm to his belly, thus holding the file under his jacket.
CUT TO:
EXT. THE OUTSIDE OF THE MILITARY COMPOUND - NIGHT
LOGAN tears open the door of his car, climbs inside and drops on the driver's seat.
INT. LOGAN'S CAR - CONTINUED ACTION
The door still open, LOGAN heavily leans on the steering wheel, and in the white light of the
moon, we see hundreds of small scratches on his hands and face that now quickly heal.
When his skin is intact again, also Logan has calmed down. He takes the file out from under
his jacket and carelessly flings it on the front-passenger seat. With trembling fingers, he
rams the key in the ignition lock and turns it.
EXT. THE OUTSIDE OF THE MILITARY COMPOUND - CONTINUED ACTION
When the CAR'S engine is started, the headlights flash up and illuminate the fence, now with
(more)
CONTINUED:
a hole where the sign used to be. The engine roars, and the car backs up until it has left the
picture.
We HEAR TIRES scratching over gravel, gears being switched so roughly that the
transmission utters a rebellious CRACK, and again an ENGINE ROARING.
As the sound fades, also the picture
FADES OUT.
FADE IN: EXT. THE BACKYARD OF XAVIER'S SCHOOL - DAY
CLOSE ANGLE ON A SHRUB behind which MARIE and ALISON are cowering. Both girls
chuckle and motion each other to be quiet.
We PAN to follow their looks and see LONGSHOT strolling down a path that leads past the
shrub. When he has passed them, he hesitates but doesn't turn around.
LONGSHOT
I have a feeling like there's a mutant
ambush going on here.
MARIE and ALISON chuckle, but don't reveal their position.
LONGSHOT
Pity. I could've sworn I heard somebody.
Looks like I'll have to sit in the sun all alone
and eat that ice-cream I got myself on my own.
This is gonna be some stomach-ache.
LONGSHOT moves on.
Another CLOSE-UP on the shrub where MARIE and ALISON jump up.
MARIE and ALISON run after Longshot and link arms with him.
Together, ALISON, LONGSHOT and MARIE walk down the path.
CUT TO:
INT. PROFESSOR XAVIER'S OFFICE - DAY
PROFESSOR X, ORORO and JEAN are sitting in their chairs, apparently waiting for
something or somebody.
The DOOR is opened, and SCOTT bursts inside the room.
SCOTT
I was told it was urgent.
We now see that PROFESSOR X is holding an envelope.
PROFESSOR X
It is. I have received word that Magneto
has escaped.
CONTINUED:
SCOTT
What?
PROFESSOR X
He is said to have had help.
SCOTT
Mystique?
PROFESSOR X
Not only. Scott, I'm afraid we will have to
deal with an old adversary of ours.
PROFESSOR X hands Scott the envelope, and SCOTT opens it and takes out a few
photographs.
CLOSE ON A PHOTOGRAPH, a printout from a surveillance video, marked with date and
time, showing Nathaniel, the man with the silvery skin, standing in the supervision room in
the prison.
ORORO
It's Dr. Nathaniel Essex.
SCOTT
Sinister!
SCOTT looks up and flings the envelope and the pictures back on the desk.
SCOTT
Now it's personal.
PROFESSOR X
(with a placating look at SCOTT)
We have to prepare for a fight. It will be
hard, surely harder than last time. We are
encountering two highly intelligent villains
working together, and we don't know how
many followers we are dealing with.
SCOTT
And we just lost a member of the team.
PROFESSOR X
The car I gave Logan contains a highly
developed communications system. I already
contacted him. He hasn't replied yet -
SCOTT
(laughs)
Of course not.
PROFESSOR
But I expect him to report very soon.
Until then, the remaining X-Men, that's you,
Storm, and Jean, have to train.
JEAN
What about Rogue, or maybe Longshot?
CONTINUED:
PROFESSOR X
Rogue is way too young, she is merely a child.
We can't allow her to be involved in such a
dangerous situation. Of course Longshot isn't
a teenager anymore, but we don't know
what level of control he has over his powers.
SCOTT
So it's a three-men X-team against an unknown
number of enemies. Great. I love challenges.
ORORO
(to the Professor)
Have you thought of a special training?
PROFESSOR X
Oh yes, it is quite special. I have yet to find
an appropriate name for it, but meanwhile,
we'll just call it the Danger Room.
CUT TO:
INT. THE DANGER ROOM - DAY
It is a large room, about 50 feet high, which looks quite harmless at first sight. The walls are
white and smooth, and there is a silver metal cone, 30 feet long and about 5 feet in diameter,
hanging from the ceiling.
CYCLOPS, JEAN and STORM, now in their X-Men uniforms, are standing next to the door
that is almost invisible in the wall.
Now we HEAR PROFESSOR XAVIER'S VOICE coming from a loudspeaker that we don't
see, and by PANNING around the room, we see a window, about 10 by 5 feet, far above.
The figure behind the pane can hardly be recognized as PROFESSOR X.
PROFESSOR X (V.O.)
This room has been designed to measure
and train your specific abilities. It will adjust
to your level of skill and therefore always be
one step ahead of you. Oh, and you can't beat
it, if you were going to ask this. You will train
here so that you succeed in a real battle.
You are here to learn and grow, not to become
self-confident. There is no way that the machine
can be overpowered or outwitted.
STORM
Why do you call it Danger Room?
All of a sudden, sharp blades extend from the cone, and the thing starts rotating, first very
slowly.
PROFESSOR X (V.O.)
Because it can be quite dangerous in there.
Be on guard, children.
STORM, JEAN and CYCLOPS seek cover when the cone's rotation accelerates, and when
(more)
CONTINUED:
they learn that they have to keep moving to dodge the blades, Cyclops starts shooting laser
beams at the metal construction. Blades are cut off and start flying through the room, closely missing the three X-Men.
CYCLOPS
Jean, can you catch the blades and divert
them so that they don't move into our direction?
JEAN
I can try.
JEAN raises her hands and protects them from the flying blades that CYCLOPS shoots off
the cone, but now we see that where gaps are created in the arms of the machine, new
blades grow almost instantly.
CYCLOPS
It's a Hydra!
JEAN
It's useless, Scott! They are growing faster
than you can cut them off.
CYCLOPS desperately looks at the cone, and when he blasts a good piece away from the
top of the machine, we see a
CLOSE ON A TUBE from which cooling liquid drips and freezes whatever it touches.
CYCLOPS
Already giving up? Storm, freeze it!
STORM'S eyes turn all white, and her coat fills out with a wind that doesn't come from the
machine. Static energy creates little blue flashes of lightning around her head, and around
the top of the cone, snowflakes that are torn-away bits of the cooling liquid whirl faster and
faster until they create a solid shell of ice around it that grows downwards until the cone
looks like a giant stalactite. With an unpleasant screeching sound, the cone slows down, and
its rotation comes to a halt.
STORM
This was too easy.
They stand tensely and expectantly, and really, seemingly from out of nowhere, laser beams
flash all around them, some of them hitting the cone and melting the ice shell off. The floor
gets all slippery from the water, and the three X-Men struggle to stay on their feet while
dodging blades and laser beams.
CYCLOPS slips and falls, and although JEAN tries to give him a telekinetic push to get him
out of the line of fire, a laser beam hits his leg and leaves a smoking mark on his uniform.
CYCLOPS screams in surprise and gets on his feet, not seeing the blade that is coming right
his way from behind. JEAN sees the peril coming, but can't do anything.
JEAN
Scott, watch out!
CYCLOPS turns around, but the blade is already so close that he can't dodge it. Just before
it can decapitate him, the machine stops, and also the laser beams don't buzz around them
anymore.
We see a CLOSE-UP on CYCLOPS'S NECK where the blade had stopped from full swing,
so close to his neck that it touches his skin.
CONTINUED (2):
CLOSE ANGLE on CYCLOPS who pants heavily, trying not to make a false move.
PROFESSOR X (V.O.)
Well done! You did a marvellous job for the first time.
With a SOUND that resembles Wolverine's SNIKT, the blades vanish inside the cone, the
water trickles away into the floor within a split second, and the room looks as peaceful as
before.
CYCLOPS, JEAN and STORM stand like frozen, looking around as if waiting for more
surprises to come.
FADE OUT
FADE IN: INT. A MEDICAL LAB ROOM IN THE SUBLEVELS OF THE SCHOOL - DAY
Wearing civilian clothes again, JEAN treats a small burn wound on SCOTT'S thigh. He is
sitting on a slab, only wearing shorts and sunglasses. ORORO is leaning on a table nearby,
following the conversation.
SCOTT
He's going to kill us before we even get
out of this place!
JEAN
I don't think so, Scott.
ORORO
This machine makes us use our brains
as well as our gifts, and it's not designed
to kill anybody, Scott.
SCOTT
I still don't think this is a good idea.
We'll be fighting real people, not machines.
JEAN
It might be the best training we can get.
SCOTT
We should be working on a plan instead.
JEAN puts down her instruments and touches Scott's shoulder.
JEAN
Scott, we all know what you went through
in Sinister's orphanage. What he did to you
is just as inhuman as what has been done to
Logan. But we need to know what Magneto
and Sinister are going to do. Unless we
know their plans, we can't think of one
ourselves.
ORORO
I think what he means is that we should act,
not react. But Scott, this would mean we're no
better than them.
CONTINUED:
SCOTT
If it helps us get rid of them, I couldn't care less
about morals.
JEAN
Please. The Professor knows what he's doing.
Trust him.
SCOTT
We'll see.
FADE OUT
INT. JEAN'S ROOM - NIGHT
We see JEAN'S image in a mirror as she is trying to close the fastener of a necklace behind
her neck.
We HEAR a KNOCKING at the door.
JEAN
Come in!
Still looking into the mirror, we see the door open behind her. LONGSHOT comes in.
LONGSHOT
Hi. I hope I'm not disturbing…
JEAN
No, please come in. Can I help you?
LONGSHOT
Actually, yes. All this talk about the X-Men,
your mission to protect innocent humans
and so on, this really sounds great. But I feel
useless. I want to be part of it.
While he was talking, LONGSHOT has approached Jean and is now standing behind her, a
little to the right.
JEAN
Professor Xavier wants to chart your abilities
before you can join us on our missions.
LONGSHOT
I'd undergo any examination, however painful,
to do something useful again.
JEAN
(smiles)
Now this won't be necessary. There are only
a few tests we have to do on you.
(beat)
Meanwhile, could you help me? I don't
seem to be too dexterous tonight.
CONTINUED:
LONGSHOT steps closer and takes the ends of the necklace. All of a sudden, we see the
white in his eyes, and with a short sound of surprise, he makes a small step forward and
leans on Jean's shoulders.
JEAN stands up and supports him.
JEAN
Are you okay?
LONGSHOT
(astounded)
Scott gave this to you.
JEAN
Yes, but how do you know?
LONGSHOT
I have no idea. When I touched it, I
could suddenly see its past. This has
never happened before.
JEAN
Actually you're too old to develop new mutant
skills. This is strange. I wonder if this has
anything to do with my own PSI talents.
LONGSHOT
No matter how, but I can tell you that this
guy really loves you. Keep him.
LONGSHOT gives Jean a look that shows that he knows more than he just told her, and
JEAN returns a little smile.
INT. PROFESSOR XAVIER'S OFFICE - SHORTLY AFTER
PROFESSOR X sits in his wheelchair in front of his desk, with JEAN and LONGSHOT
standing in front of him.
PROFESSOR X
Psychometric powers? How very unusual.
And this is the first time you noticed that
you have this gift?
LONGSHOT
Yeah.
JEAN
It's possible that there is so much PSI
power concentrated in this place that it
somehow triggered an ability that has
been there before and that has maybe
just been buried.
PROFESSOR X
A reasonable theory.
CONTINUED:
LONGSHOT
Professor, I know that I'm new and all,
and I shouldn't be running around asking
for things, but as I told Jean, I want to
be part of the team.
PROFESSOR X
(smiles)
I was already wondering when you would
ask. You are so keen on helping people
that it was a matter of time until you would
want to be an X-Man.
LONGSHOT
(carefully)
So?
PROFESSOR X
Jean, if you take him downstairs, I think
there should be a new uniform that would
fit him perfectly.
JEAN nods with a smile, then she leaves the room, dragging an enthusiastic LONGSHOT
behind her who is leaning over the desk and seemingly doesn't want to let go of Professor
Xavier's hand.
When the door has closed, we see a CLOSE ON PROFESSOR X whose smile fades and is
replaced by a pensive expression.
PROFESSOR X
With this enemy outside, we need all the
luck we can get.
FADE OUT
INT- THE SCHOOL'S ENTRANCE HALL - NIGHT
The hall is empty and quiet. Suddenly we HEAR the ROARING OF AN ENGINE and
SCREECHING tires as a car stops outside.
The door is torn open, and LOGAN comes inside, obviously very agitated. He marches down
the hallway, fiercely running his hand through his hair several times. At one point, he stops
and seems to think about turning around and leaving again, but in this instant, the lights
upstairs are switched on, and on the upper end of the staircase, MARIE and ALISON
appear. MARIE'S face brightens up as she recognizes Logan.
MARIE
Logan!
MARIE runs down the stairs, followed more slowly by ALISON, and flings her arms round his
neck. LOGAN doesn't return the hug but even winces a little.
LOGAN
Hi Kid.
MARIE notices that there is something wrong with him, and steps back.
CONTINUED:
MARIE
What is it?
LOGAN
Nothin', Kiddie. I'm just tired.
LOGAN turns to go up the stairs, and MARIE quickly takes off the dog tags he gave her
before he left and that she has been wearing around her neck, and holds them up.
MARIE
Wait! You said you'd be back for these.
LOGAN
Keep 'em.
(beat)
(lowly)
I may not be finished yet.
LOGAN now walks up the stairs, past ALISON who gives him a funny look.
MARIE stares at his back, grasping the dog tags tightly. ALISON comes down to her and
lays an arm around her shoulder.
ALISON
Let him get some sleep. I'm sure he'll be
easier to talk with tomorrow.
MARIE
Yeah, probably.
They walk back up the stairs, and we
FADE OUT
FADE IN: INT. MARIE'S ROOM - MORNING
CLOSE ANGLE on MARIE'S upper body and face as she wakes up. After she has opened
her eyes, she looks insecure for a moment, trying to recall something that happened the
night before. Then she smiles and pulls her blanket off.
MARIE quietly stands up, obviously trying not to wake her roommate. In her nightshirt and
barefoot, she sneaks out of the room.
CUT TO:
INT. A CORRIDOR IN THE SCHOOL - SHORTLY AFTER
MARIE stands in front of a door and knocks. When there is no reply, she knocks again.
MARIE
Logan?
MARIE knocks again. When there still is no answer, she carefully opens the door.
CUT TO:
INT. LOGAN'S ROOM - CONTINUED ACTION
We see Logan's empty room, looking at the door across the bed.
The door is opened, and MARIE looks inside.
MARIE
Logan? Are you there?
MARIE looks around, and the camera FOCUSES on the BED when MARIE sees the file
lying on the mattress, marked with an "X".
MARIE comes closer, and after looking around again, she drops on the bed and takes the
file, fiddling around with it, but not opening it. Suddenly the picture of Logan that was
attached to the first page falls out.
MARIE looks at the picture, then opens the file to put it back inside. Suddenly her eyes
widen, and she starts to read, leafing through the file quickly once, then starting all over
again. Her eyes fill with tears, and she looks at the door like she expected to see Logan
come inside any moment. She closes the file with a jerky movement, drops it and stands up,
moving towards the door.
MARIE
(still looking for him, now sounding scared)
Logan!
INT. A CORRIDOR IN THE SUBLEVELS OF THE SCHOOL - DAY
JEAN stands there, dressed in her black uniform, apparently waiting for somebody, and after
a second, a sliding door opens with a HISS, and LONGSHOT comes out wearing his
uniform.
LONGSHOT
So, what am I wearing this for? We
tried it last night, and it fits.
JEAN
Today we are going to find out how you
move in it. Follow me.
INT. ANOTHER CORRIDOR - CONTINUED ACTION
JEAN walks down the corridor, followed by LONGSHOT. Suddenly, a loud ROW and
METALLIC CLANKING and SCREECHING is HEARD.
Both people stop.
LONGSHOT
What's that?
JEAN
I don't know.
JEAN starts running, and LONGSHOT tries to keep pace.
INT. THE DANGER ROOM'S CONTROL ROOM - SECONDS LATER
PROFESSOR X is sitting in his wheelchair in front of the window to the Danger Room.
SCOTT stands beside him, his face serious.
The door is opened, and JEAN and LONGSHOT burst inside.
JEAN
What's going on?
SCOTT
(wryly)
Logan has discovered the Danger Room.
JEAN and LONGSHOT walk closer to the window. Here is what they see:
VIEW INTO THE DANGER ROOM
WOLVERINE is raging through the room, wearing jeans and a shirt. His claws extended, he
runs around like a madman, uttering rough yells as he strikes for the blades and other
weaponry that the machine offers. He totally ignores the laser beams that buzz around him
and leave scorched spots on his skin and clothes.
VIEW AT THE SPECTATORS
LONGSHOT
Who's that guy?
JEAN
What is he doing?
SCOTT
(dryly)
Taking the Danger Room apart.
PROFESSOR X
I don't know why he is so furious, but it might
have to do with what he found out in Canada.
We should let him let off some steam.
LONGSHOT
He'll hurt himself.
SCOTT
Doesn't matter. And I'm not saying this
because I don't like him.
JEAN
(to LONGSHOT)
He'll heal within a few seconds.
(to the PROFESSOR)
But Professor, I've never seen him like
this before.
PROFESSOR X
Neither have I. I will talk to him as soon as
he is finished in there.
CONTINUED:
VIEW AT WOLVERINE IN THE DANGER ROOM as he is taking a deep breath, waiting for
the next attack.
FADE OUT
FADE IN: INT. THE DANGER ROOM - LATER
SCOTT, JEAN and LONGSHOT look at the remains of the machine that has literally been
chopped into slices in some places. Metal lies on the ground everywhere, and there are
deep scratches and even holes in the walls.
SCOTT
Thanks to Logan, there'll probably be no
training today.
LONGSHOT
(looking at the blades)
I've got to admit I'm glad to hear that.
JEAN picks up a sharp piece of metal, and when she runs her finger over it, we see that it is
blood-covered.
JEAN
I wonder what is driving him like this.
CLOSER ANGLE ON JEAN holding the metal part, and we
FADE OUT.
INT. PROFESSOR XAVIER'S OFFICE - DAY
PROFESSOR X behind his desk, and LOGAN walking up and down in the room.
LOGAN
Don't you see? I'm a machine, a monster.
I'm a living weapon, designed to kill. I don't
belong here. I can't stay.
PROFESSOR X
You are agitated. You -
LOGAN
Oh yeah? Agitated, huh? Hm, let's see:
a man without memory, running free, but
having no control whatsoever over the rage
that was planted into him. A danger to the
lives of everybody around. Correct me if
I'm wrong, but I think
(shouts)
I have a right to be agitated!
LOGAN leans on the desk, and PROFESSOR X, who obviously doesn't understand what
Logan is talking about, makes a placating gesture.
CONTINUED:
PROFESSOR X
Please, calm down. Don't make any
overhasty decisions. Stay here for a
few days, and we'll try and help you.
LOGAN
Help me, help me. It's not always that
easy, Professor. You may be psychic,
but you're not almighty, you know.
There are some things even you can't
change.
(beat)
And I'm one of them.
LOGAN fiercely turns around and heads for the door.
PROFESSOR X
Logan!
LOGAN opens the door, rushes out and slams it shut behind him.
CLOSE ON THE PROFESSOR who looks stunned and concerned.
EXT. THE SCHOOL'S YARD - AFTERNOON
BACK VIEW of LOGAN sitting on an erratic block in a quiet area of the school's yard.
MARIE approaches him from behind.
MARIE
(carefully)
Logan?
LOGAN
You're better off somewhere else, Kid.
MARIE
I want to be here now. And my name is
Marie, not Kid.
LOGAN turns his head and looks at her, mild amusement shimmering through his serious
and worried expression.
LOGAN
Suddenly grown up, huh?
MARIE climbs up onto the rock and sits down beside him.
MARIE
Still running?
LOGAN
Can't run away from this.
MARIE
That's what I used to think, too.
CONTINUED:
LOGAN
What do you mean?
MARIE
My so-called gift. I thought it was a curse
until I met you and the Professor.
I'm learning now. Learning to control this
power, to use it in the right way.
LOGAN
Yes, it works with some people.
MARIE
It can work with you, too.
LOGAN
(gives her a sharp look)
What are you talking about?
MARIE
I - didn't mean to snoop around, but I -
saw it.
LOGAN
You were in my room. I should have known.
LOGAN jumps from the rock and quickly walks away.
MARIE climbs down from the rock.
MARIE
Logan!
The firm tone of her voice makes him stop, but he doesn't turn around.
MARIE
How can you just walk out on us?
Now LOGAN turns around.
LOGAN
(angry yet surprised)
Walk out on you?
MARIE
Yes. We need you. You can't just leave
us alone here.
(beat)
Where do you want to go, anyway?
LOGAN
I'll find a place.
LOGAN turns away and walks down the path.
MARIE reaches for the dog tags under her shirt.
MARIE
(whispering)
But your place is here.
CONTINUED:
CLOSE ON MARIE holding the tags through her shirt.
FADE OUT
INT. MARIE'S ROOM - SHORTLY AFTER
ALISON is lying on her bed when MARIE opens the door and comes inside, still holding the
dog tags, now over her shirt.
ALISON
He's gone, huh?
MARIE drops on the bed, staring at the ceiling.
MARIE
He promised to protect me.
(beat)
He promised. And now he just walked away.
MARIE looks at ALISON with tears in her eyes.
ALISON stands up and drops on Marie's bed beside her. Carefully she strokes her hair,
cautious not to touch her skin. As MARIE starts to weep, we
FADE OUT.
INT. PROFESSOR XAVIER'S OFFICE - LATER THAT DAY
PROEFSSOR X. sitting at his desk, writing something down when a KNOCKING at the door
is HEARD.
PROFESSOR X
Come in, Rogue.
MARIE comes inside and sits down on a chair in front of the desk.
PROFESSOR X
I take it that you want to talk about Logan.
MARIE
Did he talk to you?
PROFESSOR X
Yes, but he didn't tell me much, and it was
all rather incoherent. I know quite a few things
through my research, though. How much
do you know?
MARIE
I'm afraid I might know more than you do.
And I'm scared.
PROFESSOR X
For yourself?
CONTINUED:
MARIE
For Logan.
MARIE pulls a file out from under her shirt and puts it on the table.
MARIE
He left this here.
PROFESSOR X opens the file and starts to read. After a while, he looks at Marie.
PROFESSOR X
This confirms my worst misgivings.
Marie, I know that you want to, but we
can't look for him and get him back now.
He wouldn't return of his own free will,
not yet. Please call the others. They have
a right to know why Logan won't be with us
in the battle that's ahead of us.
FADE OUT
INT. THE WAR ROOM - NIGHT
STORM, CYCLOPS, JEAN, ROGUE, LONGSHOT and PROFESSOR XAVIER (in this order)
have gathered around the table. The file marked with "X" is lying on the table in front of the Professor.
LONGSHOT
They created their own little team of
sleepers? Scary.
PROFESSOR X
And it is probably the reason why Logan
left in such a hurry. He's afraid of what he
doesn't remember. All he knows is that he,
together with a handful of other pitiable men,
was taken away his memories, with
fragmentary false memories implanted
instead. His already fierce nature was rid
of the control given to humans, so as to
make him a merciless killer when his time
would come. I believe that he and the others
were chosen because of the mutation they
have in common - the ability to heal quickly
that also slows their aging process. It was this
mutation that let them survive the implantation
of the adamantium that was apparently crafted
to the skeleton of each subject.
SCOTT
Those sleepers could be programmed years
and years in advance.
STORM
Do we know who the other men are,
and if they are still alive?
CONTINUED:
PROFESSOR X
We don't, but Logan might. The experience
of being confronted with his past might trigger
some memories. The problem is that neither
he nor we know if they are true or false.
JEAN
Would it be possible for you to scan his
memories and help him remember?
PROFESSOR X
If he comes back, I can try. It might be
necessary for us to combine our powers,
as the barrier blocking his memories is
very strong. Yet, whatever we find might
still be an implanted memory.
ROGUE
(lowly)
He must feel so lonely.
LONGSHOT who is sitting next to Rogue puts an arm around her.
LONGSHOT
He'll be fine. And he'll come back. Hey, he'd
be a fool to stay away from you longer than
necessary.
ROGUE returns a grateful smile.
FADE OUT.
INT. MARIE'S ROOM - NIGHT
ALISON is sitting at her desk writing something, her back to the door. When the door opens
behind her, she doesn't look up at first.
ALISON
Where have you been all day?
Now ALISON looks up, to see MARIE enter the room with LONGSHOT standing outside.
ALISON
Oh.
LONGSHOT
(overlapping)
Will you be okay?
MARIE
Yes, thanks.
LONGSHOT
Good night.
LONGSHOT pats MARIE'S shoulder and nods at ALISON.
CONTINUED:
MARIE
Night.
MARIE drops on the bed, and ALISON turns back to her notepad.
ALISON
He's very caring.
MARIE
Yes, he is.
ALISON
Does he like you?
MARIE
I think so - oh, you mean °like°.
Don't know.
ALISON
Hm. Do you like him?
MARIE
Yes.
ALISON
I mean, do you °like° him?
MARIE
Maybe. A bit.
MARIE looks at the ceiling, and we see a CLOSER ANGLE ON ALISON who puts down her
pen, on her face a mixture of happiness for her friend and sadness / envy.
FADE OUT.
INT. A HALLWAY IN THE SCHOOL - NIGHT
The hallway is empty, except for SCOTT who is trying to keep pace with PROFESSOR
XAVIER'S wheelchair.
SCOTT
All I'm saying, Professor, is that we
should think about a pre-emptive strike.
PROFESSOR X
The answer is no, Scott. Until now,
there haven't been any signs that Magneto
and Essex are planning something.
SCOTT
You can't be serious. Two of the most
vicious mutants in the world join forces,
and you seriously believe they don't
have some wicked plan in mind?
CONTINUED:
PROFESSOR X
I don't say they haven't, but we can't
attack them because they might scheme.
I don't want to see you in a fight that was
caused simply and solely by mutual aversion,
even though I understand your hatred.
SCOTT
So we're the ones who keep the peace?
But at what price? What if they attack °us°?
The PROFESSOR stops his wheelchair and thus forces SCOTT to stop as well and listen to
him.
PROFESSOR X
We will be prepared.
(beat)
°You° will be prepared.
SCOTT
(lowly)
You better be right.
SCOTT walks away in the opposite direction. We follow him for a second from XAVIER'S
POV.
EXT. A STREET IN DOWNTOWN NEW YORK - NIGHT
Although it is already dark, there are still quite a few people on the streets. Suddenly, people
on the sidewalk are pushed aside by a huge figure that we soon recognize as
SABRETOOTH. Walking behind him are SINISTER, RIPTIDE and a TALL MAN who has
somewhat reptile-like features. They are walking quickly and in a manner that looks like they
knew exactly where they were going.
And really - they steer towards the entrance of an upper-class hotel.
CUT TO:
INT. HOTEL LOBBY - NIGHT
The lobby is crowded with journalists, and a desk has been set up at the far end of the hall.
A sign near the door reads "Senator Gear Speaking Tonight". A man who we realize
must be GEAR is standing behind the desk, talking to a few JOURNALISTS.
The door is flung open, and the bunch of mutants comes inside, led by SINISTER. They walk
through the lobby and straight towards GEAR. All heads turn toward them, and TWO
BODYGUARDS in black suits step beside Gear.
The mutants stop about two yards away from the desk, and SINISTER nods at the TALL
MAN.
SINISTER
Tusk. Would you please…?
TUSK nods and clenches his fists. He starts to shake a little, and out of his back, little
creatures that look exactly like the mutant pop and drop to the ground.
CONTINUED:
THE BODYGUARDS seem insecure. With drawn weapons, they look at what is happening,
unsure whether the strange incident means any danger to their protégé.
All of a sudden, the LITTLE TUSKS pounce on THE BODYGUARDS who react too slowly.
Within seconds, they have been disarmed and brought down by the little creatures. We don't
see them as they disappear behind the table.
SABRETOOTH walks towards the SENATOR and seizes him by his throat.
SINISTER
Your political course is steering this country
directly into disaster. Don't you think it's
time to
(beat)
change gear?
SINISTER nods at SABRETOOTH who grabs the Senator's throat even tighter. GEAR
breathes stertorously for a second, then slumps in Sabretooth's grasp.
SINISTER turns towards the reporters who instinctively step back.
SINISTER
I couldn't help the pun. Please forgive me
if it was too blatant.
SINISTER takes a bow and nods at Sabretooth again.
SABRETOOTH drops GEAR who limply falls on the table and lies there with his face down.
THE LITTLE TUSKS return to TUSK and climb up his back to vanish below his skin.
SINISTER walks towards the door, and SABRETOOTH, RIPTIDE AND TUSK follow him outside.
Some of the journalists helplessly bend over the Senator while others assume position in
front of their cameramen and start talking into their microphones frantically.
FADE IN: EXT. REMOTE AREA OF XAVIER'S SCHOOL'S YARD - NIGHT
LONGSHOT strolls down a path, his hands in his pockets. Suddenly we HEAR A FEMALE
VOICE SINGING, very lowly at first. LONGSHOT raises his head and looks around, trying to
locate the source of the sound. He then walks a few steps and stops at a tree, hiding behind
it while he looks at something o.s.
LONGSHOT'S POV:
ALISON sits on a small rock with closed eyes. She sings the same sad tune that we have
heard in the dark street in Chicago, just without accompanying herself on a guitar. A soft red
glow illuminates her face, but there is no light source around.
CLOSE ON LONGSHOT'S FACE that is half in the shadows behind the tree. There is
fascination and a trace of surprise in his face, and then his expression turns pensive.
FADE OUT.
EXT. A SNOWY LANDSCAPE IN THE CANADIAN WILDERNESS - DAY
We PAN OVER A SNOW-COVERED FOREST until we see a small cabin from whose
chimney smoke emerges.
Still SLOWLY PANNING, we HEAR the SOUND OF WOOD BEING CHOPPED.
CLOSE-UP ON A PIECE OF WOOD falling to the ground.
Now we see a BACK VIEW of WOLVERINE in jeans and a grey t-shirt with cut-off
sleeves, who is putting another piece of wood on a trunk with his left hand. His right hand
hangs loosely at his side, and we don't see it. Only when he raises his hand for a back
swing, we see that he is not holding an axe, but has extended one of his claws to chop the
wood.
While WOLVERINE is working, we CIRCLE him until we see a giant heap of chopped wood
behind him, stacked up at the wall of the house. We realize that he doesn't need all the wood
to get through the winter but is rather seeking diversion.
Now from the front, we see WOLVERINE work so frantically as if it was a matter of life and
death to get the whole forest reduced to small pieces. He is not sweating, but the clouds that
his fast breath forms show how exhausted he already is.
After a while, WOLVERINE raises his right hand, and with a rough yell, he slams his claw on
the piece of wood so fiercely that also the trunk is neatly cut in half. WOLVERINE retracts his
claw, walks a few steps and heavily drops on a bigger trunk nearby.
We ZOOM OUT from above until he is merely a tiny spot amidst the overwhelming
landscape of the mountains.
EXT. THE YARD OF XAVIER'S SCHOOL - DAY
ORORO and ALISON are standing on the lawn. ORORO hangs up a target on a branch of a
tree and walks over to Alison.
ORORO
Okay, try again.
ALISON
It's useless. It won't work.
ORORO
Remember what I told you. Don't spend
yourself. Picture your hands as a
floodgate, and open the gate only a little bit.
ALISON
Sounds so easy when you say it.
ALISON takes a deep breath and shakes briefly like a young dog. Then she raises her hands
and hums, and we see the well-known red glow between her hands. All of a sudden, a bright
beam of light shoots towards the target and literally evaporates it.
ALISON
No!
(to ORORO)
I told you it wouldn't work.
Before ORORO can reply anything, LONGSHOT enters the scene from behind.
CONTINUED:
LONGSHOT
Looked good to me.
LONGSHOT looks at the target.
LONGSHOT
Wouldn't let you light the grill, but the
visual impression is excellent.
ALISON
That's not funny.
LONGSHOT
(seriously)
Wasn't making fun of you.
(to ORORO)
May I borrow her for a while?
ORORO nods.
LONGSHOT offers Alison his arm.
LONGSHOT
Come on, let's talk.
ALISON takes his arm, and they walk away.
CUT TO:
EXT. ANOTHER PART OF THE SCHOOL'S YARD - SHORTLY AFTER
ALISON and LONGSHOT are sitting on the back rest of a bench, their feet on the seat.
LONGSHOT
Could you try to explain to me how
exactly this fireball thing works?
ALISON
Somehow I can turn sound into light, or
some kind of energy.
I don't really understand it, but this
seems to be the core of it.
LONGSHOT
So that's why you do this humming thing?
ALISON
Yes.
LONGSHOT
Uh, wait a sec.
(beat)
Could it be that there's already enough
sound around?
ALISON
What do you mean?
CONTINUED:
LONGSHOT raises his index finger to his mouth and thus gestures ALISON to be quiet.
They sit in silence for a while, and we HEAR CHILDREN LAUGHING, FOUNTAINS
RIPPLING, BIRDS SINGING, THE WIND BEING CAUGHT IN THE TREES and MORE NATURAL SOUNDS.
LONGSHOT
It's never completely quiet.
(beat)
Pick a sound. Any sound. Focus on it
and picture what it would look like if it
was pure light. Hold it just between two
fingers of your hand.
LONGSHOT puts together the index finger and thumb of his left hand as he speaks.
ALISON gives him an insecure look and closes her eyes.
We HEAR ALL SOUNDS FADE EXCEPT FOR THE CHIRPING OF A SINGLE BIRD as we
ZOOM IN ON ALISON'S FACE.
ALISON raises her right hand in front of her face, bringing her index finger and thumb close
together. A tiny ball of reddish light appears between them, and ALISON opens her eyes.
LONGSHOT smiles at ALISON, and she smiles back, surprised and happy. ALISON opens
her hand and softly blows at the little ball of light, and it leaves her hand and rises about two
feet into the air before it explodes in a tiny shower of red light that looks like miniature
fireworks.
ALISON hugs LONGSHOT, but all of a sudden she releases him and gives him a sheepish
smile.
ALISON
Thank you.
LONGSHOT
My pleasure. Well done, Songbird.
ALISON
Songbird?
LONGSHOT
I heard you last night.
ALISON
(surprised)
I thought there had been nobody around.
LONGSHOT
(sheepishly)
I didn't want to disturb you. I hope you're
not angry with me.
ALISON
Uh, no.
(beat)
Did you like it?
LONGSHOT
Yes.
CONTINUED (2):
We see ALISON and LONGSHOT for another few seconds, sitting quietly, before we
CUT TO:
INT. MARIE'S ROOM - SHORTLY AFTER
MARIE is sitting at her desk with several physics books in front of her.
The door opens, and ALISON comes inside, a happy smile on her face. She walks over to
her bed and jumps onto it, landing flat on her back.
ALISON
Ain't life great?
MARIE looks up.
MARIE
Sometimes.
(beat)
Anything you want to tell me?
ALISON
(hesitates)
No.
(beat)
Just having a blast of a day. Look!
ALISON raises her index finger, and on its tip, a tiny reddish light ball appears. She flicks it in
the air, and it bursts into another little firework.
MARIE stands up, dashes over to ALISON and hugs her.
MARIE
You can control it. That's fantastic!
A KNOCKING ON THE DOOR IS HEARD.
MARIE and ALISON
Come in!
LONGSHOT opens the door. He looks at the two girls who both return an expectant look.
LONGSHOT
Hi.
(beat)
I just wanted -
(beat)
Ah, never mind.
LONGSHOT retreats and closes the door behind him.
Both girls look at the door, and MARIE is the first to turn to her friend again, seeing that
ALISON obviously has a crush on Longshot.
ALISON now looks at Marie, realizing that her feelings are all too visible for her.
ALISON
You like him, too, huh?
CONTINUED:
MARIE
He likes you.
ALISON
You don't know that.
MARIE
I can see it.
ALISON
He seemed pretty irresolute to me.
MARIE takes ALISON'S hand, which reminds us of her gloves again.
MARIE
I told you what happened to the
first boy I kissed.
ALISON looks away, very uncomfortably.
MARIE
You want to know if I like him? I do,
and very much so. But don't you see
the point?
MARIE releases ALISON and raises her hands, showing her gloves.
MARIE
You learned to control your powers.
I still have a long way to go, and sad
as it is, I'll have to go it alone.
ALISON
(lowly)
Not all alone.
ALISON embraces MARIE, and the two girls sit on the bed, obviously very moved, without
the previously noticeable subliminal tension between them.
INT. A CORRIDOR IN THE SCHOOL - SAME TIME
LONGSHOT hastily walks down the corridor and is approaching the staircase leading
downwards when JEAN appears at the top of the stairs.
JEAN
Something happened.
CUT TO:
INT. THE WAR ROOM - SHORTLY AFTER
PROFESSOR X, SCOTT AND ORORO are sitting at a table. JEAN AND LONGSHOT come
inside, walk over to the table and sit down as well.
CONTINUED:
PROFESSOR X
As we are present in full number now,
I want to show you something that
happened at the Royal Hilton last night.
PROFESSOR X presses a button on a remote control, and a rectangular tile at the wall turns
into a TV screen. It shows the incident at the hotel. When the camera turns on a reporter
who comments the events, we PAN to PROFESSOR X.
PROFESSOR X
For those of you who haven't met him yet -
the leader of this group of mutants is
Dr. Nathaniel Essex, also called Sinister.
He is a brilliant scientist, unfortunately with
the wrong aims. Other than his genius,
his gifts include an exceptional control over
his body's molecules that allows him to
change shape, among other things.
LONGSHOT
Well, choosing a silver skin certainly makes
him eccentric then. Who are the others?
PROFESSOR X
They are all mutants. The tallest of them
is called Sabretooth, an old acquaintance
of ours. We thought him dead after our last
encounter, but apparently he survived,
which means that in addition to his abnormal
strength, he must possess healing abilities
similar to those that are given to Logan.
The other tall mutant that produced smaller
duplicates of himself was called Tusk by
Sinister. I don't know if this is his only ability,
but even so, he appears dangerous to me.
His duplicates seem to have intelligence
and act on their own yet together, which
means that if you fight him -
LONGSHOT
(overlapping)
You fight a whole bunch of -
(beat)
- "hims".
PROFESSOR X
Yes. The last mutant is unknown to me
as well. I don't know his name or what he
is capable of, so if you meet him, be very
careful.
LONGSHOT
Meet him? You mean, we finally get out
on the street?
PROFESSOR X hits another button on the remote, and a different TV report appears on the
screen, showing a JOURNALIST in front of another hotel.
CONTINUED (2):
JOURNALIST
…that Senator Jameson has been missing
from his hotel room since this morning. The
police remain silent about the circumstances
of his vanishing, but according to sources
within the hotel, he might have been abducted
by the same people who murdered Senator
Gear last night. The politicians who are visiting
New York for the conference that will take place
in three days are scared, some have even
announced their departure. Nobody knows what
we are dealing with. Is it a mad serial killer?
Maybe, but probably not. Looking at the culprits,
it seems to be certain that this is a vengeance
campaign led by mutants who don't approve
the government's course. And may God help
us when they are finished with the politicians.
ORORO
He's killing the leading politicians?
SCOTT
One after another. And all mutantkind
is blamed.
JEAN
Why should he do this?
PROFESSOR X
The question that is on my mind is -
why would Magneto do this? His declared
goal is a world that is safe for mutants.
SCOTT
Don't you think he would kill for this?
He's done it before.
PROFESSOR X
Certainly, but this doesn't make any sense.
It's simply not Magneto's line of action. He
is far more - subtle when he wants to achieve
something, and he must know that openly
killing politicians and, moreover, making it
obvious that mutants are responsible, doesn't
help his cause. No, I'm afraid this is Sinister's
plan. I feel very uncomfortable sending you out
there, but we must stop the killing.
LONGSHOT
Hey, wait. Are you telling us that the Senators
aren't necessarily what Sinister wants? You
mean, we're running directly into a trap?
PROFESSOR X
Honestly, I don't know. It might very well be a
trap, but it is also possible that he is really
planning to replace the whole government,
perhaps with his own people.
CONTINUED (3):
SCOTT
Who would be…?
PROFESSOR X
I have no idea. However, if this is his plan,
the conference in three days will be where
we will find him.
LONGSHOT
We'll need one heck of a plan, Sir. There are
hundreds of politicians attending the conference,
50 of them - okay, 48 of them - senators from
all over the States. If we screw it, this is gonna
be a disaster.
PROFESSOR X
I know. And this is why the training in the Danger
Room might just not be enough.
SCOTT
What are we going to do?
PROFESSOR X
In the days remaining until the conference,
we have to protect the other politicians
from Sinister and his men.
SCOTT
Excuse me? As Longshot just said, there
are hundreds of them that will attend the
meeting.
JEAN
Yes, but many of them haven't arrived yet.
Most of those who already are in town live
in the same hotel. This makes it a lot easier
to guard them.
SCOTT
What are you going to do meanwhile,
Professor?
PROFESSOR X
I need to talk to somebody who might know
more about this than we do.
FADE OUT
EXT. CENTRAL PARK, NEW YORK - AFTERNOON
It is a cold but clear day. Many strollers slowly make their way through the park, especially
many mothers with young children.
CLOSER ANGLE ON PROFESSOR X who is sitting in his wheelchair beside a bench whose edge we see.
PROFESSOR X
I am glad you could make it here.
CONTINUED:
Now we see that there is somebody sitting on the bench. It is Erik Lehnsherr.
ERIK
Why do you want to talk with me?
PROFESSOR X
Is it not obvious?
ERIK
The killings.
PROFESSOR X
Why?
ERIK
Don't ask.
PROFESSOR X
I have to know. Erik, this can't be what
you want. A world in which mutants are
understood and respected, hasn't that
always been your goal?
ERIK
Among other things, yes.
PROFESSOR X
So what did those people have to die for?
What is Sinister planning?
ERIK
Be careful, Charles. This is all I can tell you.
PROFESSOR X
Why are you working together with him?
Because he freed you? What did he promise
you? Freedom for all mutantkind? Erik, you
know Essex. Even if he keeps his promise,
it will have an awful price, one that might
destroy you.
ERIK looks at a YOUNG WOMAN that's passing by, pushing a baby carriage with an
exceptionally cute little baby inside.
ERIK
Look at those two. What a peaceful image.
A young mother with her child. She cares for
it, protects it from all peril. Don't you think
she wants it to grow up in joy?
(beat)
The pursuit of happiness. A right guaranteed
to all Americans - be it that they are different
by birth. Could you tell if this baby is a mutant?
And if it is, do its genes make it less human?
Charles, we are the ones who know best that it
is not your genotype that is responsible for your
humanity.
ERIK looks after the YOUNG WOMAN that is now walking away from them.
CONTINUED (2):
ERIK
What if somebody can promise you that what
has happened before will not happen again?
Would you not be willing to pay a price, however
high it might be? Charles, I don't want to have
to wear a star on my chest again.
(beat)
Not if I can help it.
ERIK stands up, and seemingly from out of nowhere, a NURSE appears that looks exactly
like we would picture MYSTIQUE if she wasn't all blue.
ERIK
Be on guard, Charles. And have a close eye on
Jean Grey.
ERIK and MYSTIQUE walk away, and PROFESSOR X remains at the bench, looking very
serious and thoughtful.
FADE OUT
INT. THE BLACKBIRD ROOM - NIGHT
JEAN, CYCLOPS, STORM AND LONGSHOT are preparing to leave, all wearing their
uniforms. Suddenly a sliding door opens, and PROFESSOR X comes inside.
PROFESSOR X
Jean, you will stay here.
CYCLOPS
What?
JEAN
(overlapping)
Why?
PROFESSOR X
Whatever Sinister is planning, it has to
do with you. I don't know how, though,
and until I know, you will stay at the
school where you are safe.
JEAN
But Professor -
PROFESSOR X
Jean, please.
JEAN bows her head and walks over to the Professor, away from the Blackbird.
CYCLOPS
How are we supposed to fight like this?
We are three people, and one of us doesn't
have any experience in battle. We'll have
to protect a whole hotel full of politicians.
CONTINUED:
PROFESSOR X
I trust in your abilities, Scott. You have an
exceptional talent to coordinate and to
overview dangerous situations, that is why
you are the leader of the X-team.
CYCLOPS nods silently and walks towards the Blackbird. JEAN quickly comes after him and
turns him around. She gives him a soft kiss.
JEAN
Be careful.
CYCLOPS
(smiles)
Sure. You too.
Meanwhile, STORM and LONGSHOT have entered the Blackbird. CYCLOPS follows them,
and the hatch closes.
JEAN and PROFESSOR X leave the room, and the sliding door closes behind them. The
engines of the Blackbird are started.
CUT TO:
EXT. THE SCHOOL'S BASKETBALL COURT - CONTINUED ACTION
The ground shakes, a large hatch slides open, and the Blackbird emerges from the
basement, hovering over the ground for a second before it shoots right up into the nightly
sky.
INT. A CORRIDOR IN THE SCHOOL - NIGHT
JEAN walks beside PROFESSOR X'S wheelchair.
JEAN
Can't you tell me what's so dangerous
that I can't leave the school? And why me?
PROFESSOR X
I only know that for some reason it is you
that Sinister wants. I will try to find out
more, but until then, we are in a difficult
situation. With Cyclops and Storm on a
mission, the school is less protected than
I feel comfortable with. I will contact Logan,
maybe he is ready to come back.
JEAN
Is there anything I can do?
PROFESSOR X
All I can give you is an administrative order.
There have been rumours of a mutant sighting
in Europe. The mutant is said to be quite (more)
(cont'd)
powerful. Please try to find out who he is and
what his gift is, and perhaps persuade him to
visit us.
JEAN
(dryly)
All this without leaving the school.
PROFESSOR X
I have to admit I am trying to keep you busy.
But please do me the favour. It is all we can
do right now.
JEAN
Of course.
JEAN takes PROFESSOR XAVIER'S hand and presses it gently, then she walks down the
corridor.
CUT TO:
INT. PROEFSSOR XAVIER'S OFFICE - SHORTLY AFTER
PROFESSOR X holds a little device that looks somewhat like a mixture of the pocket
Cerebro and a cell phone and presses some buttons.
CUT TO:
INT. A CABIN IN CANADA - SAME TIME
LOGAN is sitting on the ground in front of the fireplace, his legs crossed, and stares at the
flames.
CLOSE on his ears as he seems to HEAR something. He stands up and walks towards
the door.
CUT TO:
EXT. THE CABIN- CONTINUED ACTION
We see the cabin, its windows illuminated from inside, and the pick- up standing a few yards
away from the door. Something inside the car is flashing blue.
The cabin's door opens, and LOGAN comes outside. With heavy steps, he trudges through
the snow and towards the car. He tears the door open and glances inside.
CUT TO:
INT. LOGAN'S CAR - CONTINUED ACTION
LOGAN is leaning inside the car and staring at something that looks almost like a radio but is
now flashing blue. After a second, he presses a button and starts to read the message that
(more)
CONTINUED:
appears on the display and starts with "LOGAN - SERIOUS PROBLEMS - SCHOOL
UNPROTECTED -" - at that point, we PAN away from the communications device and to
LOGAN'S FACE who looks insecure and then angry. He tears the device out of its place and
flings it outside.
CUT TO:
EXT. THE CABIN - CONTINUED ACTION
We see the device fly through the air and crash to the ground where the flashing stops after
a second. LOGAN walks away from the car and back toward the cabin.
CUT TO:
INT. THE CABIN - CONTINUED ACTION
The door is opened, and LOGAN is about to walk inside when he suddenly stops. The
astounded expression on his face is illuminated by the flickering fireplace.
CUT TO:
INT. PROFESSOR XAVIER'S OFFICE - SAME TIME
PROFESSOR X is sitting behind his desk, his eyes closed, obviously very concentrated.
CUT TO:
INT. THE CABIN - CONTINUED ACTION
LOGAN is still standing in the doorframe. The expression on his face turns from
astonishment to desperate anger as he walks inside and slams the door shut.
LOGAN
(shouts)
Leave me alone!
CUT TO:
INT. PROFESSOR XAVIER'S OFFICE - CONTINUED ACTION
PROFESSOR XAVIER still behind his desk, his eyes closed.
PROFESSOR X
(whispers)
I'm sorry. I can't. Logan, we -
CUT TO:
INT. THE CABIN - CONTINUED ACTION
LOGAN holds his head with both hands as if he was in physical pain.
PROFESSOR X (V.O.)
(echoing)
- need you.
LOGAN
(shouts)
No!
He turns around, still holding his head, and looks at the flames in the fireplace. Suddenly, the fire seems to come to life. Shapes form that look like faces - faces that Logan knows too well.
LOGAN'S POV:
CLOSER ANGLE AT THE FIREPLACE as a hazy image of JEAN'S FACE appears. Though the image is not very clear, we see that she is in pain. A man that we recognize as SINISTER reaches out for her and pulls her towards him.
LOGAN stretches out his hand and reaches for the flames, getting so close to them that he actually burns his hand.
LOGAN
(whispers)
No.
LOGAN slowly pulls his hand back, and as he clenches his fist, we see how his wounds
heal. Then he fiercely turns around and walks towards the door. He goes outside and closes
the door behind him.
We HEAR AN ENGINE that is being started and then roars up.
CUT TO:
INT. PROFESSOR XAVIER'S OFFICE - CONTINUED ACTION
THE PROFESSOR opens his eyes and puts his hands on the table. Sweat glistens on his
forehead, and he looks very exhausted.
PROFESSOR X
Thank you.
FADE OUT
EXT. THE ROOF OF A HOTEL IN NEW YORK CITY - NIGHT
The roof is dark and quiet until we HEAR THE SOUND OF THE APPROACHING
BLACKBIRD. Seconds later, it comes into sight and softly touches down on the roof. The
engine is turned off, and everything is as silent as before.
CUT TO:
INT. THE INSIDE OF THE BLACKBIRD - NIGHT
LONGSHOT, STORM AND CYCLOPS are sitting each in their seats. CYCLOPS releases
his breath as if he had been very tense before.
LONGSHOT
Nice landing.
SCOTT
(grins)
I practiced.
CUT TO:
INT. THE HOTEL'S ELEVATOR SHAFT - NIGHT
CYCLOPS, STORM AND LONGSHOT (in this order) rope down through the shaft and stop
in front of a closed elevator door. CYCLOPS directs a brief laser beam at a case beside the
door, and the door slides open. CYCLOPS sticks his head through the frame and looks left
and right.
CYCLOPS' POV:
THE CORRIDOR TO THE LEFT - it is empty and quiet.
THE CORRIDOR TO THE RIGHT - same thing.
CYCLOPS
(lowly)
The coast is clear. Come on.
CUT TO:
INT. THE CORRIDOR - SECONDS LATER
CYCLOPS, STORM AND LONGSHOT quietly walk down the corridor and try a few doors.
When they find one that is not locked, they slip inside.
CUT TO:
INT. A HOTEL ROOM - CONTINUED ACTION
LONGSHOT closes the door and releases his breath.
LONGSHOT
Now we're inside, but how do we find out
if Sinister and his gang are here?
CYCLOPS raises his hand. On his wrist, the pocket Cerebro is attached.
CYCLOPS
Professor Xavier is going to continually
scan the hotel. If he finds any of the other
mutants' signatures, he will send the data
to the handheld device, and we can
detect them.
CONTINUED:
LONGSHOT
Ah. And what do we do until then?
CYCLOPS
We wait.
CUT TO:
INT. THE CEREBRO ROOM - NIGHT
PROFESSOR X is connected to Cerebro, and in this instant, the room changes. Through fog
that slowly clears up, we see a room in which obviously a dinner party is taking place. We
pass several people as if we were walking through the crowd, and stop at a man, dressed in
a black suit, who is talking to some others, laughing every now and then.
CLOSE ON THE PROFESSOR
PROFESSOR X
Sinister?
We see another short image of the same man, who doesn't look like Sinister at all.
CUT TO:
INT. THE HOTEL ROOM - LATER
LONGSHOT is lying on a couch watching TV while STORM AND CYCLOPS are standing
ready for action.
Suddenly the pocket Cerebro goes off with low beeps and a flashing red light.
CYCLOPS looks at the device.
CYCLOPS
Got him.
LONGSHOT jumps up.
LONGSHOT
Well then, what are we waiting for?
CYCLOPS
He's in the lobby. We have to change.
That is, you have to change.
LONGSHOT
Pardon me?
CUT TO:
INT. THE HOTEL ROOM - SHORTLY AFTER
We see a CLOSE-UP ON A BOW-TIE that is in this instant fastened by STORM. We ZOOM
OUT until we recognize that the man dressed in the suit is LONGSHOT.
CONTINUED:
STORM
You look great, we should just do
something about the hair.
LONGSHOT
I don't think this is a good idea.
CYCLOPS
You're the only one of us who can get
down into the lobby without causing a
panic. Except from your - hair, you fit
right into the party.
LONGSHOT runs his hand through his hair that looks rather wild.
LONGSHOT
Can't have everything.
STORM
It will have to do.
CYCLOPS gives LONGSHOT the pocket Cerebro.
CYCLOPS
You will need this. If you detect him,
try and get him up here. He doesn't
know you, so maybe you can outsmart
him.
LONGSHOT
Is this our plan?
CYCLOPS
Well - yes.
LONGSHOT
How well-prepared we are. Ah, maybe
we're lucky. I think I have another plan.
LONGSHOT gives a boyish grin and walks towards the door.
CUT TO:
INT. THE HOTEL'S LOBBY - SHORTLY AFTER
The room looks like we have seen it in the Cerebro room. It is festively decorated, and men
who can only be politicians, and also a few women, stand around having drinks and small-
talk.
LONGSHOT enters the room, wearing a page uniform that obviously doesn't fit him. He
looks at his wrist and then around, and we follow his look PANNING THROUGH THE
ROOM until we see the man from Xavier's Cerebro vision.
LONGSHOT straightens himself and marches towards the man.
LONGSHOT
Excuse me, Sir.
CONTINUED:
THE MAN turns around.
MAN
Yes?
LONGSHOT
Sir, I'm terribly sorry to interrupt you,
but there seems to be a problem in
your room.
MAN
Oh yes?
LONGSHOT
Yes, and I'm afraid we need you to
correct this.
MAN
Certainly.
The MAN turns back to his conversation partners.
MAN
I beg your pardon. I will be back with
you in a few minutes.
The OTHER GUESTS nod, and the MAN follows LONGSHOT.
CUT TO:
INT. AN ELEVATOR IN THE HOTEL - NIGHT
LONGSHOT AND THE MAN both stand facing the door.
MAN
So what exactly is the problem you
were talking about?
LONGSHOT
I think it has to do with vermin, Sir.
I was only sent to pick you up.
MAN
Vermin, aha.
THE MAN looks down at LONGSHOT.
CLOSE VIEW AT LONGSHOT'S WRIST where we can clearly see the pocket Cerebro.
MAN
Did you really think you could fool me?
LONGSHOT winces, but still keeps up his disguise as a page.
LONGSHOT
Pardon, Sir?
CONTINUED:
MAN
Your poor try to take me captive.
Whose idea was this? Xavier's?
Do you think you can protect the
politicians like this?
While he was talking, the MAN turned towards LONGSHOT.
LONGSHOT backs away but soon hits the wall of the elevator cage. The MAN slowly follows
him, and while he moves, his face changes and turns all silvery.
SINISTER
Give Xavier my greetings. He has
to send more than a hollow-boned
mutant greenhorn to even make the
game interesting for me.
SINISTER brings his face close to LONGSHOT'S.
LONGSHOT'S eyes widen with surprise and fear, and blood starts dripping from his nose.
LONGSHOT
(strained)
We'll get you.
SINISTER
(grins)
Certainly.
(beat)
Good night.
LONGSHOT moans lowly and slumps against the wall.
CUT TO:
INT. A ROOM IN THE SCHOOL'S SUBLEVELS - NIGHT
JEAN GREY is sitting in front of a whole bunch of computer monitors and other devices. She
hits several keys and looks a bit frantic. As the chair has wheels, she can push it between
the several computers and even halfway through the room while staying seated as she is
doing ten things at a time.
Suddenly one of the devices, a very futuristic looking thing, starts to beep.
JEAN heaves a relieved sigh.
JEAN
Finally.
JEAN picks up a headset and puts it on her head.
JEAN
Yes?
CUT TO:
INT. COLOGNE / BONN AIRPORT IN GERMANY - CONT. ACTION - DAWN
We see a MAN standing at a phone in a crowded hall in the Cologne / Bonn airport. Through
a large window, we see a concrete place and the taxiway with several big airplanes, and as
the sun is rising, it is reflected on the metal skins of the planes.
The MAN wears a trench coat, gloves some of whose fingers seem oddly limp, and a hat
that he has pulled deep down over his face so that we see only a shadow.
MAN
I was told to call you.
CUT TO:
INT. THE COMPUTER ROOM - CONTINUED ACTION - NIGHT
JEAN
Yes. We heard that you need a
place to stay.
CUT TO:
INT. THE AIRPORT - CONTINUED ACTION
JEAN (V.O.)
Did they give you the palmtop?
The MAN reaches inside his coat pocket.
MAN
Yes.
CUT TO:
INT. THE COMPUTER ROOM - CONTINUED ACTION
JEAN
I will now transfer the necessary data.
JEAN presses another button.
JEAN
Your new identity and the flight ticket
are now ready. In less than eight hours,
you will be in safety in the United States
of America.
CUT TO:
INT. THE AIRPORT - CONTINUED ACTION
The MAN looks up as a troop of MILITARY POLICE appears further down the hall,
apparently looking for somebody. Still, we don't see his face as he looks in the opposite
direction.
INT. THE AIRPORT - SAME TIME
One of the SOLDIERS shows a picture that we don't see to several people.
SOLDIER
Wir suchen einen gefährlichen Mutanten.
Haben Sie diesen Mann gesehen?
The SOLDIER looks up and sees the man in the trench coat stand at the telephone.
INT. THE TELEPHONE - CONTINUED ACTION
MAN
America, Europe, I could not care less
as long as I am out of here. Thank you
so much, Fräulein.
CUT TO:
INT. THE COMPUTER ROOM - CONTINUED ACTION
JEAN
(smiles)
Never mind. We are glad to help you.
Good luck, Herr Wagner.
WAGNER (V.O.)
Thank you.
We HEAR a CLICK as the line is cut, and JEAN smiles and leans back.
CUT TO:
INT. THE AIRPORT - TELEPHONE - CONTINUED ACTION
WAGNER hangs up and turns around, suspiciously regarding the soldiers that have come
closer. As he lifts his head, we see that his face is covered with blue fur, and that his eyes
have a soft yellow glow. He pulls his hat even deeper into his face and casually walks
towards the check-in area.
INT. THE AIRPORT - CONTINUED ACTION
The SOLDIER puts the picture into his pocket and makes his way through the crowd of
people, towards the telephone. When he looks at the booth, it is empty.
FADE OUT
INT. A CORRIDOR IN THE HOTEL - NIGHT
CYCLOPS AND STORM are waiting in front of the elevator.
CONTINUED:
CLOSE-UP ON THE DIGITS OVER THE ELEVATOR DOOR - they count up to "22", and
then a soft "ping" announces that the cage has stopped at this level.
CYCLOPS
Showtime.
CLOSE ANGLE ON THE ELEVATOR DOOR as it opens. Inside the cage, LONGSHOT
lies in a corner, blood covering his face below his nose.
VIEW AT STORM
STORM
Longshot!
VIEW AT THE ELEVATOR CAGE
STORM rushes forward and kneels down beside Longshot.
CYCLOPS
Is he okay?
STORM looks up.
STORM
I think so. He's alive and breathing.
(to LONGSHOT)
Hey, can you hear me?
LONGSHOT slowly opens his eyes.
LONGSHOT
Yes.
STORM
You okay?
LONGSHOT
Yeah.
LONGSHOT gets up, supported by STORM and CYCLOPS, then wipes the blood from his
face and grins.
LONGSHOT
Guess I was lucky. Folks, let's get
out of here.
CUT TO:
INT. THE BLACKBIRD - NIGHT
CYCLOPS, STORM AND LONGSHOT are sitting in their seats. LONGSHOT looks like he's
had it, but he doesn't seem too frustrated.
CYCLOPS
So what exactly happened?
CONTINUED:
LONGSHOT
It was Sinister. The bastard knew what
we were trying to do, and he - did
something to me. I don't know what it
was. He just looked at me, and I
somehow must have passed out.
CYCLOPS
He was one step ahead of us.
STORM
Maybe not only one step.
CYCLOPS
We need a new plan. And above all, we
need to know what he is planning.
CUT TO:
EXT. LIBERTY ISLAND - NIGHT
Only a few ships are on the water, and everything is quiet and peaceful until the
BALCKBIRD nosedives towards the surface and is pulled out only in the last instant. It rises
again and dashes off into the darkness.
FADE OUT
INT. A LAB ROOM IN THE SCHOOL'S SUBLEVELS - NIGHT
LONGSHOT is sitting on a slab while JEAN examines him and ORORO, SCOTT and THE
PROFESSOR stand nearby and watch.
JEAN points a flashlight at his eyes, and LONGSHOT turns his head away.
LONGSHOT
I told you I'm fine.
JEAN turns towards the PROFESSOR
JEAN
For all I can say, there is nothing
wrong with him.
PROFESSOR X
(to LONGSHOT)
You were lucky.
LONGSHOT
(grins)
That's what I'm saying.
PROFESSOR X
Nevertheless, you should get some rest.
The next days will be hard. The same
(more)
(cont'd)
goes for you - Scott, Ororo.
(to JEAN)
I need to talk to you.
LONGSHOT, ORORO and SCOTT leave the room, and PROFESSOR XAVIER turns to
JEAN.
PROFESSOR X
I'm not yet sure, but I think everything
that Sinister did was supposed to lure
you out of the school.
JEAN
But why should he want me?
PROFESSOR X
Your gift. Right now, your powers are not
yet fully developed, but I don't even dare
to estimate your full potential. He has been
experimenting with human and mutant DNA
in the past, so he might want your DNA.
JEAN
What for?
PROFESSOR X
I'm afraid to say it, but he has been trying to
create a kind of superior mutant.
JEAN
He wants to combine several powers in
one super-mutant?
PROFESSOR X
One that he preferably has control over, yes.
JEAN
Oh my God.
PROFESSOR X
Yes.
We see a CLOSE-UP ON THE PROFESSOR as we
FADE OUT.
EXT. A TERRACE OUTSIDE THE SCHOOL BUILDING - DAY
It is early morning. The sun has only just risen, and the day is still young.
PROFESSOR X and JEAN are having breakfast together on the terrace. They are sitting at a small round table.
JEAN
Running all those tests didn't help us
very much. Unless we know whose DNA
he wants to combine mine with, we have
(more)
(cont'd)
no idea what powers the - result might
possess.
PROFESSOR X
(smiles)
Well, at least it made us stay up long
enough to see this beautiful sunrise.
JEAN
(smiles)
Yes.
Suddenly a RINGING SOUND IS HEARD, and on a small panel at the table, lights flash up.
PROFESSOR X
(astounded)
We have a visitor?
JEAN rises from her chair, putting her napkin down with a sheepish smile.
JEAN
I completely forgot about him. I believe
it is somebody you'll be pleased to meet.
CUT TO:
EXT. THE SAME TERRACE - SHORTLY AFTER
THE PROFESSOR is still sitting in the same spot.
JEAN comes outside accompanied by WAGNER.
JEAN
Professor, I'd like you to meet Kurt
Wagner.
WAGNER
Professor Xavier, I believe. It's an
honour to meet you.
PROFESSOR X
The honour is all mine. I heard you
were in some trouble in Germany?
WAGNER
Yes. I don't know how you found me,
but I'm very grateful that you offer
me shelter here.
PROFESSOR X
Yet I have to admit that my offer was
not completely selfless. Please, sit down.
WAGNER takes off his hat to reveal a face that is covered with blue fur, plus pricked ears,
short-cut blue hair and yellow eyes, and sits down.
JEAN takes a seat as well.
CONTINUED:
PROFESSOR X
This school was created to educate,
support and protect young mutants.
Right now, though, we are dealing
with an extremist group that kills
politicians but actually means to attack us.
WAGNER
So no country is actually safe for us.
(beat)
Did you bring me here to fight? I'm not
a fighter, and I would never kill.
PROFESSOR X
The choice is yours. I hoped that you might
help us, but of course, this is not your battle.
You are more than welcome here, but I can't
promise that you will be safer here than you
were in your home country.
WAGNER
If you allow, I would like to stay here,
at least for a while. I may not be a fighter,
but I hope I can be of some use
nevertheless.
WAGNER smiles, we see a CLOSE-UP ON XAVIER who smiles and nods, and we
FADE OUT
INT. THE SCHOOL'S GARAGE - NIGHT
All vehicles except from Logan's pick-up are in the garage, but there are no people present.
Then we HEAR THE SOUND OF AN ENGINE, and the PICK-UP is steered onto a free spot.
CUT TO:
INT. LOGAN'S CAR - CONTINUED ACTION
LOGAN turns the ignition key, and the engine goes out. Despair on his face, he heavily leans
on the steering wheel before he straightens himself and opens the door.
CUT TO:
INT. A CORRIDOR IN THE SCHOOL - SHORTLY AFTER
LOGAN walks down the corridor and opens a wall panel that leads into an elevator cage.
After a short look inside, he closes it again and instead walks up the stairs.
CUT TO:
INT. MARIE'S ROOM - SECONDS LATER
The lights are turned off, and MARIE and ALISON are each lying in her bed, seemingly
sleeping.
The door is quietly opened, and LOGAN looks inside, his face only illuminated by the light
coming through the window. He looks at Marie first, then at Alison. Seeing that they are both
asleep, he slowly draws his head back.
MARIE
(whispers)
Are you back?
LOGAN hesitates, then comes inside, quietly closing the door behind him. He kneels down
beside the bed, and MARIE sits up.
LOGAN
Yes, I'm back.
MARIE
Then you might need these.
MARIE reaches under her nightshirt and pulls out the dog tags. LOGAN takes them and puts
them around his neck.
LOGAN
Thanks for taking care of them.
MARIE
Was the least I could do.
(beat)
You staying this time?
LOGAN
Yes.
(beat)
Yes, I think so.
MARIE hugs LOGAN.
LOGAN
I got work to do, Kid. There are
some mutants here who can't seem
to take care of their own problems.
MARIE
(smiles)
Guess you should help them out then.
LOGAN
See ya.
MARIE
Night.
(beat)
And Logan - my name's Marie. Not Kid.
LOGAN
(smiles)
Yeah.
LOGAN stands up and walks outside, closing the door behind him.
CONTINUED:
We see a CLOSE-UP on MARIE who smiles happily.
CUT TO:
INT. THE WAR ROOM - SHORTLY AFTER
It is the same room in which Xavier showed his men the TV clips about the killings.
XAVIER, STORM, CYCLOPS, JEAN, LONGSHOT and WAGNER are sitting around the
same table.
The door opens and LOGAN comes inside.
CLOSE on JEAN whose face is lit up by a smile.
PROFESSOR X
Ah, Logan. Good to have you back.
LOGAN
Couldn't let you have the fun all alone.
LOGAN looks around.
LOGAN
What the heck's been going on here?
Talk about population explosion. Anybody
mind introducing me to those guys?
PROFESSOR X
Our new team members are Longshot
and Kurt Wagner alias Nightcrawler.
LOGAN
(to NIGHTCRAWLER)
Cool hair.
NIGHTCRAWLER
Likewise.
LOGAN grins and sits down beside JEAN, giving her another suggestive smile.
CYCLOPS draws a face.
LOGAN
(to PROFESSOR X)
Well then, what are we up to?
PROFESSOR X
Tonight there will be a conference of
politicians who are to decide the fate
of our country, or at least that of the
mutant population. Sinister and Magneto
are planning something that will supposedly
change the government's course. We
have to stop them. Whatever their plan
is, we must make sure they don't succeed.
CONTINUED:
LOGAN
Sounds like a plan to me.
(beat)
One thing, Professor.
PROFESSOR X
Yes?
CLOSE ON LOGAN
LOGAN
Do I have to wear this uniform?
CUT TO:
INT. ANOTHER ROOM IN THE SCHOOL'S SUBLEVELS
The X-Men get dressed:
CLOSE ON STORM'S SHOULDERS as she attaches her coat
CLOSE ON CYCLOPS' EYES as he takes off his sunglasses and puts on his visor
CLOSE ANGLE ON LONGSHOT as he hangs a small brown bag over his shoulder
CLOSE ANGLE ON WOLVERINE as he zips up the jacket of his uniform. He smiles as it fits
perfectly.
CLOSE ON WOLVERINE'S HANDS - he puts on his gloves that have little tubes on their
back that allow his claws to extend. WOLVERINE looks at his gloves and extends his
claws. The tubes are measured perfectly.
WOLVERINE
Cool.
NIGHTCRAWLER helplessly holds up his uniform. WOLVERINE looks at him until he
discovers his tail and understands.
WOLVERINE
Watch your fingers.
WOLVERINE makes a quick movement towards the uniform NIGHTCRAWLER is holding.
CUT TO:
INT. THE SAME ROOM - SHORTLY AFTER
NIGHTCRAWLER zips up his uniform, turns around and moves his tail that easily fits
through a small hole in the back of the uniform. He lashes it like a whip and gives a satisfied
smile.
INT. THE BLACKBIRD - NIGHT
CYCLOPS, JEAN, STORM, WOLVERINE, LONGSHOT AND NIGHTCRAWLER each have
a seat, but it looks somewhat crowded.
WOLVERINE
Next time, we should get a bigger jet.
CYCLOPS
(looking at WOLVERINE)
Yeah, or somebody will have to go on foot.
WOLVERINE
(to LONGSHOT who's sitting beside him)
I don't know why, but he loves me.
(beat)
Luck, huh? Nice upgrade for the team.
Got any siblings looking for a job?
CYCLOPS is wearing his visor, but we can literally see him roll his eyes.
CUT TO:
EXT. NEW YORK'S SKYLINE - CONTINUED ACTION
The BLACKBIRD dashes over the city, heading for the conference hall.
FADE OUT
INT. SINISTER'S "WORKSHOP" - NIGHT
It's a huge hall that looks like a mixture of a hangar and a computerized control room. Two
jets that resemble the Blackbird are standing in the centre.
SINISTER, TUSK, VERTIGO, FOXBAT AND RIPTIDE are in the hall. SINISTER looks at
some computer screens while VERTIGO is standing beside him. TUSK and FOXBAT work
on the jets, and RIPTIDE works at a keyboard.
ENTER MAGNETO, SABRETOOTH AND MYSTIQUE
SINISTER looks up and smiles.
SINISTER
Ah, are you ready? We are almost finished
here.
MAGNETO
And you are certain that the adjustments
have eliminated the rejection?
SINISTER
Absolutely. The mutational process has
been slowed down considerably. This
means that you won't see any immediate
success, but the weak human bodies don't
- disintegrate as they did before with your
(more)
(cont'd)
unfortunate device. My changes also
eliminated the spectacular yet quite
conspicuous light effect. They won't even
know what struck them. All they will feel
might be a tingling sensation, but they will
think it's a cold draught.
(laughs)
MAGNETO
I would have liked to see your statement
proven before we test the device in the field.
SINISTER
As I told you, the change takes its time.
The experiment with Jameson should have
taken place earlier. However, he will be the
first to get the benefit of our combined genius.
CUT TO:
INT. A DARK ROOM IN MAGNETO'S MANSION - SAME TIME
The room is nearly empty. All we can recognize is a bed in a corner with a figure lying on it.
We slowly ZOOM IN ON THE PERSON until we recognize a skeleton-like body that is not
moving. Immediately, we assume that it is JAMESON, and that he is dead.
The face that looks like that of a mummy is twisted in an expression of agony, the eyes and
mouth wide open. Suddenly the person blinks once and utters a low moan without moving in
any other way.
CUT TO:
INT. MAGNETO'S JET - NIGHT
MAGNETO, SABRETOOTH AND MYSTIQUE are sitting in their seats. SABRETOOTH is
steering the jet. MAGNETO is wearing his helmet that protects his mind from being
detected or scanned by Xavier.
We HEAR SINISTER'S VOICE through the communications system.
SINISTER (V.O.)
It's time to part now, friend.
MAGNETO
Part?
SINISTER (V.O.)
While you care for the deployment of
the device, I will pay a visit to the school.
I told you what I want. If you and your
people fail to get the sample, we will
need a lever.
MAGNETO switches the radio off.
CONTINUED:
MAGNETO
(whispers)
Charles.
MAGNETO takes his helmet off.
MAGNETO
I know you better than you know
yourself. Now don't disappoint me.
CUT TO:
INT. THE CEREBRO ROOM - NIGHT
XAVIER is wearing the Cerebro headset. Suddenly, he opens his eyes in astonishment.
PROFESSOR X
Erik.
CUT TO:
INT. MAGNETO'S JET - NIGHT
MAGNETO sits with closed eyes.
SABRETOOTH turns back to Magneto.
SABRETOOTH
Where are we heading?
MAGNETO
No change of plans. The hotel.
SABRETOOTH turns back to the navigation controls.
INT. SINISTER'S JET - NIGHT
SINISTER, VERTIGO, TUSK, FOXBAT AND RIPTIDE each in their seat, with Sinister
steering the jet.
SINISTER is wearing a helmet that closely resembles the one Magneto uses to wear.
SINISTER
Ready or not.
(beat)
Rather not.
CLOSE-UP ON SINISTER grinning.
EXT. THE HOTEL ROOF - NIGHT
TWO JETS simultaneously land on the roof, one of them the Blackbird, the other one
Magneto's jet.
Doors open, and out of both gliders, the teams climb.
Tense silence as they stare at each other.
WOLVERINE extends his claws.
MAGNETO takes a step forward, towards the X-Men, raising his hands in a placating
gesture.
MAGNETO
Please leave.
WOLVERINE
(laughs)
I don't think so. Looks like you're
(beat)
outnumbered?
WOLVERINE looks around searching for the rest of the evil mutants.
WOLVERINE
What's going on here?
MAGNETO
Sinister is on his way to the school.
You must choose.
CYCLOPS
Choose between what?
MAGNETO
Save the politicians that are going to
destroy your lives, or save the man
who saved you.
WOLVERINE
Bastard!
WOLVERINE rushes forward but is stopped by MAGNETO'S force field.
MAGNETO
I am not going to hurt anybody. They
will all enter a new stage of their physical
life. But I cannot speak for Sinister.
CLOSE ANGLE ON CYCLOPS as he obviously tries to make a decision.
MAGNETO
If you don't leave now, I will have to put
your Blackbird out of action. You will not
be able to get back to the school in time.
CYCLOPS looks at JEAN AND STORM, his expression sad.
CYCLOPS
(lowly)
Attack.
CONTINUED:
In the same instant, CYCLOPS opens his visor and shoots a beam at MYSTIQUE who easily
dodges it.
MAGNETO raises his hand, and from inside the Blackbird, sparks and blue flashes of
lightning can be seen.
WOLVERINE falls backward and is literally nailed to the ground as his claws are stuck in the
concrete.
STORM'S eyes turn all white, and wind springs up.
SABRETOOTH takes a few large steps towards STORM and seizes her by the throat.
MYSTIQUE changes into her favourite shape as WOLVERINE and attacks LONGSHOT
whose eyes widen with surprise upon seeing her shape-shift.
INT.THE CEREBRO ROOM - NIGHT
PROFESSOR X takes off the Cerebro headset. Suddenly the whole room is shaken by strong vibrations. PROFESSOR X looks up.
PROFESSOR X
Sinister.
INT. MARIE'S ROOM - SAME TIME
MARIE and ALISON are lying in their beds when suddenly vibrations make the building
tremble. Both girls sit up.
ALISON
What's that?
MARIE
I don't know. Come on, out of here.
MARIE AND ALISON stand up, quickly put on jeans and run out of the room.
CUT TO:
INT. A CORRIDOR IN THE SCHOOL - CONTINUED ACTION
Several students are standing on the corridor, puzzled and scared. One of them, a boy that
we recognize as BOBBY, discovers MARIE and quickly walks towards her.
BOBBY
Marie! What's going on?
MARIE
Don't know. Let's find the Professor.
The students rush down the corridor, led by MARIE, BOBBY AND ALISON.
INT. ENTRANCE HALL OF THE SCHOOL - CONTINUED ACTION
The students come run down the stairs and stop abruptly when they see something o.s.
This is what they see:
SINISTER, VERTIGO, FOXBAT AND RIPTIDE are standing in the lobby. The white
moonlight is reflected on SINISTER'S silvery skin. He is still wearing his helmet.
SINISTER
(to the students)
Hello, children.
SINISTER nods at TUSK.
SINISTER
(to the students)
Would you please join us down here?
TUSK produces about a dozen smaller duplicates of himself who climb up the stairs and encircle the students.
BOBBY raises his hand and shoots a cold blue beam at one of the SMALL TUSKS who
freezes immediately.
SINISTER
What a hot-headed young man.
Ah, wrong choice of words. But
never mind.
SINISTER raises his hand towards BOBBY, and BOBBY slumps and falls down the stairs.
MARIE runs down the stairs toward Bobby and kneels down beside him. When she lifts his
head, we see that his nose is bleeding.
ALISON starts humming, and between her hands, a very bright reddish glow gets stronger.
Then a blinding ray of light dashes towards SINISTER and goes right through his chest,
hitting the wall behind him.
SINISTER smiles.
CUT TO:
EXT. THE HOTEL'S ROOF - NIGHT
LONGSHOT ducks, and right above his head, a glistening claw cuts through air.
LONGSHOT
Your other shape was far more
attractive, lady.
MYSTIQUE/WOLVERINE smiles and raises her left hand, beckoning LONGSHOT closer
with one claw. LONGSHOT returns the smile and raises his fists.
JEAN raises her hands and parts them, and SABRETOOTH'S grasp around STORM'S neck
is loosened until she comes free. SABRETOOTH turns around and growls at JEAN.
CONTINUED:
CYCLOPS touches his visor to open it, but MAGNETO makes a casual gesture, and it is torn
from his face. After shooting a beam right into the sky, CYCLOPS closes his eyes.
NIGHTCRAWLER sees the visor fly towards the edge of the roof.
NIGHTCRAWLER
Verdammt!
NIGHTCRAWLER dives after the visor, right over the edge of the hotel's roof. STORM runs
after him.
STORM
No!
STORM bends over the edge, searching for NIGHTCRAWLER.
STORM'S POV:
Nothing unusual can be seen at the hotel wall. Suddenly, a blue tail appears under a window
ledge, and a second later, NIGHTCRAWLER appears, climbing up the wall like a fly.
NIGHTCRAWLER looks up at STORM and grins.
NIGHTCRAWLER
How's it going, Fräulein?
NIGHTCRAWLER climbs the rest of the distance, and with one last leap, he is back on the
roof.
WOLVERINE is still nailed to the ground but tries to pull his claws from the concrete.
SABRETOOTH attacks JEAN, but she gives him a telekinetic push, and he flies backward.
LONGSHOT rolls away from another of MYSTIQUE'S attacks and gets to his feet.
LONGSHOT
(to nobody in particular)
Could somebody please help me
out here?
STORM'S eyes turn white again, and wind springs up.
MYSTIQUE/WOLVERINE raises one of her hands to hit Longshot, and a bolt of lightning
winces downward from the dark sky, striking the middle claw. MYSTIQUE is pushed back
and lies on her back unmoving.
LONGSHOT
(to STORM)
Well, thanks.
SABRETOOTH sees that NIGHTCRAWLER, standing at the edge of the roof, has Cyclops'
visor, and jumps at him. NIGHTCRAWLER dodges him and gives him a heavy push that
flings him over the edge. Nightcrawler bends over the handrail.
NIGHTCRAWLER'S POV:
SABRETOOTH is clinging to a ledge, his claws boring into the concrete.
VIEW AT NIGHTCRAWLER from below (SABRETOOTH'S POV):
CONTINUED:
NIGHTCRAWLER
Too many bad guys hanging around
here.
NIGHTCRAWLER draws his head back.
ON THE ROOF:
MAGNETO makes a gesture, and WOLVERINE rises from the ground. His body hovers
towards the edge of the building.
MAGNETO
Stop it, or he dies.
WOLVERINE
Li'l freefall won't kill me.
MAGNETO
I am not going to drop you.
WOLVERINE'S claws spread and bend upward, and WOLVERINE screams in pain.
MAGNETO
I will pull the adamantium out of your
body, bit by bit.
CLOSE ANGLE ON JEAN who looks scared.
CYCLOPS still stands with his eyes closed and clenched fists.
MAGNETO
Well?
LONGSHOT appears behind MAGNETO and puts one arm around his neck and one hand
under his chin.
LONGSHOT
Well what, old man? Release him.
VIEW AT WOLVERINE who still hovers in the air like crucified, throwing his head back and
screaming in pain. His skin bulges out in some spots, and we realize that Magneto is pulling
the adamantium from his bones.
LONGSHOT increases the pressure on MAGNETO'S neck.
LONGSHOT
Don't think about it too long.
MAGNETO closes his eyes.
VIEW AT WOLVERINE who sinks until he softly touches the ground. He drops to one knee
and bends his head.
LONGSHOT
Good choice.
CLOSE ON JEAN
JEAN
The school!
CONTINUED:
NIGHTCRAWLER hands CYCLOPS his visor, and CYCLOPS puts it over his eyes.
CYCLOPS
We have to get there as fast as possible!
LONGSHOT
But our jet's broken.
CYCLOPS
We'll take theirs.
STORM
He will let us crash as soon as we're
airborne.
CYCLOPS
(grins coldly)
That's why he's coming with us.
CLOSE ON MAGNETO who is still being held by LONGSHOT.
CUT TO:
EXT.THE HOTEL'S ROOF - SHORTLY AFTER
MAGNETO'S JET takes off, and the only person remaining on the roof is MYSTIQUE who
still isn't moving.
CLOSER ANGLE ON THE EDGE WITH THE HANDRAIL - SABRETOOTH'S hand reaches
over the edge and grabs the handrail.
SABRETOOTH pulls himself on the roof, stands up and looks at the jet that vanishes into
the darkness. He throws his head back and growls angrily.
CUT TO:
INT. THE SCHOOL'S ENTRANCE HALL - SAME TIME
SINISTER smiles at ALISON.
ALISON looks at her hands, stunned.
SINISTER
An impressive yet futile attempt, dear.
PROFESSOR X (V.O.)
Leave them alone, Sinister.
CUT TO:
SAME PLACE - CONTINUED ACTION
PROFESSOR X in his wheelchair.
SINISTER smiles.
CONTINUED:
SINISTER
Ah. Professor Charles Xavier. I've been
looking for you.
PROFESSOR X
What do you want?
SINISTER
For now, you. Come with us, and we'll
leave in peace. If you put up resistance,
your students will die.
MARIE
Professor, no!
PROFESSOR X smiles at MARIE
PROFESSOR X
(to MARIE)
Don't worry.
(to SINISTER)
I will come with you. But don't believe you
have won.
SINISTER
Ah, do you really think your pathetic X-Men
will come to the rescue? Oh please.
(beat, looking at the wheelchair)
I take it that bonds won't be necessary.
SINISTER presses a button on a device he is wearing around his wrist, and the wheelchair
rolls towards the exit. Suddenly, the wheelchair stops, and Xavier turns around to look at
Sinister.
SINISTER
But before we leave, don't you want to give
us a guided tour through the interesting parts
of the school, Professor?
(to TUSK)
You guard the glider.
(to FOXBAT and RIPTIDE)
You make sure the students don't get in our way.
SINISTER steers PROFESSOR XAVIER'S wheelchair down the hallway, and he and
VERTIGO follow the vehicle.
TUSK leaves the entrance hall heading towards the yard, and RIPTIDE and FOXBAT
assume position in front of the students.
VIEW AT THE STUDENTS who stand like frozen.
FADE OUT.
INT. MAGNETO'S JET - SHORTLY AFTER
JEAN points at the front window.
CONTINUED:
JEAN
Down there!
VIEW AT THE SCHOOL'S YARD:
SINISTER'S JET is standing on the yard. TUSK guards it.
CYCLOPS
Hold on, everybody.
WOLVERINE
What are you up to now, Cyke?
CYCLOPS pushes the steering wheel forward, and the jet nosedives toward the ground.
WOLVERINE
Wacko.
CUT TO:
EXT. THE SCHOOL'S YARD - CONTINUED ACTION
TUSK looks up as the HOWLING of the JET is HEARD.
THE JET comes into sight.
CLOSE ON TUSK who stares at the sky with a mixture of shock and anger.
CUT TO:
INT. THE JET - SAME TIME
CLOSE ON CYCLOPS
CYCLOPS
Brace yourselves.
CUT TO:
EXT. THE SCHOOL'S YARD - CONTINUED ACTION
The jet is pulled out but crashes right on Sinister's jet.
TUSK dives into cover.
INT. THE SCHOOL'S HALLWAY - SAME TIME
We HEAR A LOUD CRASH from outside, and while RIPTIDE and FOXBAT turn around,
MARIE winks at ALISON who smiles back, and softly touches BOBBY'S cheek who's
coming to.
INT. AN ELEVATOR CAGE IN THE SCHOOL - SAME TIME
SINISTER and VERTIGO are standing behind the PROFESSOR. When the crash of the
glider shakes the building, SINISTER looks up in angry concern while PROFESSOR X
smiles knowingly.
EXT. THE SCHOOL'S YARD - CONTINUED ACTION
A door in the glider opens with a hiss, and one after another, CYCLOPS, STORM, JEAN,
WOLVERINE AND LONGSHOT with MAGNETO climb out.
TUSK looks at his adversaries, his fists clenched. He seems to prepare for an attack, but
suddenly he turns around and runs away, back into the building.
WOLVERINE
I'll get him.
WOLVERINE sets after Tusk, the others following him more slowly.
CUT TO:
INT. THE SCHOOL'S ENTRANCE HALL - CONTINUED ACTION
TUSK comes run into the hall.
RIPTIDE
What was that?
Before TUSK can reply, WOLVERINE enters the hall.
WOLVERINE
Knock, knock.
A beat as he extends his claws.
WOLVERINE
Let's play.
RIPTIDE
Not so fast, wild one.
RIPTIDE nods at TUSK, and he pops a few SMALL TUSKS out of his back who jump at the
students.
RIPTIDE
Move, and the children die.
CYCLOPS, JEAN, STORM and LONGSHOT with MAGNETO enter the hall, trying to get an
overview of the situation.
RIPTIDE, FOXBAT and TUSK turn around to look at the arrivals, and BOBBY, who's fully
conscious now, freezes the SMALL TUSKS without being noticed by anybody but Wolverine.
TUSK winces in the same instant that his little selves are shock- frosted, and WOLVERINE
pounces at him.
CONTINUED:
RIPTIDE and FOXBAT turn back to the students, and Foxbat jumps at BOBBY with a hoarse
yell.
DAZZLER raises her hands, and uttering a war cry, she fires a beam of light at FOXBAT.
The beam hits him in the middle of his leap and evaporates him.
CLOSE ON A FLOOR TILE as ashes trickle to the ground, followed by a single burned
spike.
DAZZLER
Nice try, ugly.
RIPTIDE starts spinning faster and faster, and everybody looks at him without knowing what
to do.
TUSK obviously knows what's happening as he seeks cover behind a low brick wall.
CYCLOPS watches Tusk and turns to his companions.
CYCLOPS
Cover, everybody!
The adult and student mutants seek cover behind furniture respectively the staircase, only
WOLVERINE is standing right beside RIPTIDE.
NIGHTCRAWLER, from a safe point, sees WOLVERINE and the dangerous situation he's
in. Suddenly, a soft BAMF is HEARD, and Nightcrawler vanishes in a yellow cloud.
WOLVERINE concentrates on RIPTIDE and wants to stick his claws into the whirlwind that
he has become, but all of a sudden, NIGHTCRAWLER appears right beside him in a yellow
cloud and with another soft BAMF.
WOLVERINE
(looking at NIGHTCRAWLER)
What the flamin' -
NIGHTCRAWLER seizes WOLVERINE by his jacket and pulls him closer, and with another
BAMF, they vanish, in the very moment that from the whirling RIPTIDE a shower of
Shurikens covers the hall.
CUT TO:
INT. SAME PLACE, BEHIND THE STAIRCASE - CONTINUED ACTION
NIGHTCRAWLER and WOLVERINE reappear behind the staircase, in the same spot where
the students are hiding. Wolverine gazes at Nightcrawler, seemingly unsure what to say.
NIGHTCRAWLER
You're welcome.
WOLVERINE stares at Nightcrawler for another second, then turns around and bends over,
insecurely looking for a hold.
NIGHTCRAWLER looks at the puzzled students and gives a sheepish grin.
NIGHTCRAWLER
Side effect. Still working on that part.
CONTINUED:
WOLVERINE straightens himself and turns to NIGHTCRAWLER.
WOLVERINE
Thanks - I think.
ROGUE
What shall we do now?
WOLVERINE
(to ROGUE)
You kids stay in cover.
(to NIGHTCRAWLER)
Teleporter, huh? Can you get Longshot
an' me up the stairs?
NIGHTCRAWLER
Sure, but why?
WOLVERINE
I've got a plan. Pray that it works.
NIGHTCRAWLER takes WOLVERINE, and with another BAMF, they vanish in a yellow
cloud.
CUT TO:
SAME PLACE - TOP OF THE STAIRCASE - CONTINUED ACTION
WOLVERINE and NIGHTCRAWLER appear, and Wolverine bends over while Nightcrawler
vanishes again.
WOLVERINE
(groans)
Economy class. Yuk.
NIGHTCRAWLER appears with LONGSHOT who immediately turns a shade of green and
grabs for a hold, seizing WOLVERINE by his shirt. Wolverine and Nightcrawler support him.
WOLVERINE
Just breathe, it'll get better.
(to NIGHTCRAWLER)
Back into cover. Come on, get lost, Elf!
NIGHTCRAWLER gives him an asking look but disappears again.
LONGSHOT slowly recovers, and WOLVERINE puts a hand on his shoulder.
WOLVERINE
You feelin' lucky, Bub?
LONGSHOT
(suspiciously)
Why?
WOLVERINE points at the spinning RIPTIDE.
WOLVERINE
You're gonna knock out that guy.
CONTINUED:
LONGSHOT
But how - oh no.
WOLVERINE
Fastball Special, Bub. You're the only one
lucky enough to make it through to him
without being torn to bits. Besides, you're the
only one light enough.
WOLVERINE takes LONGSHOT by his belt.
WOLVERINE
Logan Air, Flight 13, ready for take-off.
LONGSHOT
Holy shit.
CUT TO:
SAME PLACE - DOWNSTAIRS - SAME TIME
CYCLOPS, STORM, JEAN and MAGNETO are cowering behind a shelf. They watch the
events upstairs.
CYCLOPS
What the hell is he doing there?
JEAN
I think he's going to - throw him.
CYCLOPS
Insane.
CUT TO:
SAME PLACE - UPSTAIRS - CONTINUED ACTION
WOLVERINE lifts LONGSHOT from the ground and hurls him down the stairs, towards
RIPTIDE.
CUT TO:
SAME PLACE - DOWNSTAIRS - CONTINUED ACTION
CLOSE ON RIPTIDE as LONGSHOT crashes into him head-on and makes him bounce off
the wall and roll on the floor carried by his own spinning movement. Both men then lie on the
ground, stunned and unmoving.
The Shuriken shower stops, and people start to leave their cover, CYCLOPS dragging
MAGNETO behind. WOLVERINE rushes down the stairs.
ALISON
Longshot!
CONTINUED:
ALISON dashes over to Longshot and kneels beside him. LONGSHOT slowly raises his
head, blood running down his forehead.
ALISON
You okay?
WOLVERINE has now reached them and looks down at Longshot.
LONGSHOT
What a ride.
(to WOLVERINE)
Remind me to kick your butt as soon
as we're done here.
WOLVERINE grins and helps LONGSHOT stand up. Suddenly, his grin fades and is
replaced by an expression of shock and pain. He lets go of Longshot and falls to his knees,
and we see three LITTLE TUSKS clinging to his back and literally digging into it.
CYCLOPS
Jean, get them off his back!
JEAN raises her hands, and the LITTLE TUSKS are ripped from WOLVERINE'S back and
flung into the air. CYCLOPS aims at them, and after three short laser beams, they're
vaporized.
WOLVERINE drops flat on his face. JEAN hurries over to him and examines him.
JEAN
He'll live, but it looks bad. It will take
a while to heal.
TUSK emerges from his cover and runs towards the door and outside, too quick for anybody
to react.
CYCLOPS
Longshot, stay with him. We have to
find Sinister and the Professor.
LONGSHOT nods and squats beside WOLVERINE.
ROGUE
(to CYCLOPS)
I'm coming with you.
CYCLOPS
No. It's too dangerous.
ROGUE
I saw where they went. And I can look
after myself.
CYCLOPS
Okay, but stay in cover.
ROGUE
Follow me.
CYCLOPS, STORM, JEAN and NIGHTCRAWLER with MAGNETO follow ROGUE down the
corridor.
CONTINUED:
LONGSHOT gives RIPTIDE a suspicious look and slowly takes a small but sharp blade out
of his brown bag.
LONGSHOT
(lowly, to RIPTIDE)
Do me a favour and don't wake up, okay?
(to WOLVERINE)
And you do me the favour and wake up
really soon.
(to ALISON, BOBBY and the other students)
Go upstairs and stay together. It's not safe
down here.
ALISON
(pointing at RIPTIDE)
You might need some help when Taz here
wakes up.
BOBBY
Yeah, somebody to make him keep a
cool head.
BOBBY makes a gesture towards RIPTIDE, and ice crystals start to grow on his hair and
eyebrows.
LONGSHOT
Okay, I guess it's safer if you stay down here.
(beat)
Safer for me, I mean.
CUT TO:
INT. THE CORRIDOR IN FRONT OF THE CEREBRO ROOM - SAME TIME
PROFESSOR X offers his eye to the scanner, and a female voice sounds.
FEMALE VOICE
Welcome, Professor.
CEREBRO'S door slides open.
SINISTER
I've always wanted to see this.
SINISTER and VERTIGO walk inside, following the PROFESSOR.
CUT TO:
INT. A CORRIDOR IN THE SUBLEVELS OF THE SCHOOL - SHORTLY AFTER
An elevator door opens, and CYCLOPS, STORM, JEAN and NIGHTCRAWLER with
MAGNETO exit. When ROGUE wants to come with them, Cyclops shoves her back into the
cage.
CONTINUED:
CYCLOPS
You stay upstairs.
ROGUE
But you said -
CYCLOPS
I told you to stay in cover. Not being down
here is the best cover you can get.
CYCLOPS gives ROGUE a severe look that she defiantly returns while the door slides shut
with her inside the elevator.
CYCLOPS
Let's go. I think I know where they are.
CYCLOPS, STORM, JEAN and NIGHTCRAWLER with MAGNETO rush down the corridor.
CUT TO:
INSIDE THE ELEVATOR - SAME TIME
ROGUE defiantly looks at the door.
ROGUE
(lowly)
Stay upstairs. Best cover you can get. Crap!
CUT TO:
OUTSIDE THE ELEVATOR - CONTINUED ACTION
The elevator door opens, and ROGUE comes out and quickly but carefully walks down the
corridor.
THE ENTRANCE HALL - SAME TIME
CLOSE ON WOLVERINE'S BACK as the last traces of the deep cuts close.
We ZOOM OUT as WOLVERINE groans and tries to get up, supported by LONGSHOT and
BOBBY.
LONGSHOT
You okay?
WOLVERINE
Pissed off.
(looking around)
Where are the others?
CONTINUED:
ALISON
Downstairs.
WOLVERINE has now stood up.
WOLVERINE
What are we waiting for?
LONGSHOT
(pointing at RIPTIDE)
What are we going to do with him and Tusk?
He's somewhere outside.
WOLVERINE
(to BOBBY)
Bobby, right? Keep him cool and fresh until
we're back.
(beat)
(to ALISON)
Watch his back.
WOLVERINE heads down the corridor, and LONGSHOT runs after him.
CUT TO:
THE CORRIDOR OUTSIDE CEREBRO - SHORTLY AFTER
CYCLOPS, STORM, JEAN and NIGHTCRAWLER with MAGNETO have arrived at the door,
and JEAN offers her eye to the scanner. The female voice sounds again.
FEMALE VOICE
Welcome, Dr. Grey.
The door slides open, and CYCLOPS runs inside.
CEREBRO ROOM - CONTINUED ACTION
The room is completely empty, and as CYCLOPS turns to look around, we PAN around the
room with him. He makes a full turn until he faces the door again, where JEAN, STORM
AND NIGHTCRAWLER with MAGNETO are standing.
CYCLOPS
They're not here.
SINISTER (V.O.)
Of course not.
CUT TO:
THE CORRIDOR OUTSIDE CEREBRO - CONTINUED ACTION
SINISTER and VERTIGO are standing beside the door and behind JEAN, STORM,
NIGHTCRAWLER and MAGNETO.
ANOTHER CORRIDOR IN THE SCHOOL'S SUBLEVELS - SAME TIME
ROGUE seeks cover when she hears steps come closer, and while she is hiding in a corner,
WOLVERINE and LONGSHOT run past her.
THE CORRIDOR OUTSIDE CEREBRO - CONTINUED ACTION
WOLVERINE and LONGSHOT turn around the corner and see what is going on. In the
same instant, CYCLOPS touches his visor.
CYCLOPS
Stand clear, everybody.
SINISTER
Your miserable laser beam won't help
you now.
(to VERTIGO)
Vertigo, please.
VERTIGO smiles, and all of a sudden, MAGNETO and all X-team members, including
WOLVERINE and LONGSHOT who are standing behind SINISTER and VERTIGO but have
been noticed, hold their heads and start to sway and seek for a hold.
CYCLOPS, still standing on the narrow footbridge inside the Cerebro room, almost falls off
and drops to his knees to keep his balance.
ROGUE sticks her head around the corner but draws it back when she sees what's going on.
CYCLOPS
What's he doing to us?
WOLVERINE is on his knees, too, and tries to get up using the wall for support.
WOLVERINE
You still don't get that name thing, Bub.
It's her!
CYCLOPS looks up, obviously not understanding.
WOLVERINE
Vertigo. Want me to spell it out?
CYCLOPS
If you can.
SINISTER smiles and walks towards JEAN who wants to back away but can't get on her
feet.
SINISTER
Well then, my dear.
ROGUE now dares to leave her cover. Her eyes narrow, and without VERTIGO noticing her,
she sneaks up on her and grabs her shoulder from behind.
ROGUE
May I borrow that?
CONTINUED:
VERTIGO turns around and gives ROGUE a puzzled look.
ROGUE raises her free hand and firmly touches Vertigo's face. It turns all grey, and
VERTIGO gasps for air. ROGUE closes her eyes as Vertigo's power is transferred into her,
and with a soft moan, she releases her. With a surprised sound, Vertigo drops to the ground,
and in this instant, the nausea seems to fall away from the X-Men and Magneto.
WOLVERINE is the first to recover and marches towards SINISTER, past ROGUE.
SINISTER turns around and now faces ROGUE, VERTIGO and WOLVERINE.
SINISTER
(to ROGUE)
Nice performance. I'm impressed.
SINISTER stares at ROGUE, and she gazes back at him, slowly dropping on her knees.
Blood starts dripping from her nose.
WOLVERINE turns around to see what is happening.
WOLVERINE
No!
CYCLOPS
Let her go!
SINISTER
(laughs)
Or else?
CYCLOPS touches his visor.
SINISTER
Go ahead.
CYCLOPS opens the visor, and a laser beam shoots at Sinister, going right through him and
hitting the wall behind him without harming him.
SINISTER
You fool. Have you really forgotten that your
pathetic beam doesn't harm me?
CLOSE ON ROGUE as from her right eye, a small drop of blood that looks like a tear runs down her cheek.
CYCLOPS
(to the X-team)
He is mine.
SINISTER
(grinning)
Why Scott, don't tell me you are still
mad with me?
CYCLOPS
(lowly)
After all those awful years? Yes, I am.
CLOSE ON WOLVERINE who apparently doesn't understand.
CONTINUED (2):
SINISTER
Well, if you want to try again, you are more
than welcome. But try not to hit your girlfriend.
SINISTER takes a few quick steps towards JEAN and pulls her on her feet, holding her like a
shield.
SINISTER
If one of you tries to stop me, she will die.
SINISTER backs away down the corridor, dragging JEAN with him. As soon as he is around
the corner, the invisible grasp on ROGUE'S mind vanishes, and she drops to the ground.
WOLVERINE rushes towards her and kneels down beside her. When she doesn't move, he
raises his hand to her face, on his face the expectation of pain.
Suddenly ROGUE raises her hand as well without opening her eyes, gently pushing
Wolverine's hand aside.
ROGUE
Don't. I'll be fine.
Now ROGUE opens her eyes and smiles at WOLVERINE who smiles back in relief.
CYCLOPS sets after Sinister.
WOLVERINE
(to STORM, re: ROGUE)
Stay with her!
WOLVERINE now sets after CYCLOPS and Sinister.
INT. THE SCHOOL'S ENTRANCE HALL - SAME TIME
RIPTIDE slowly starts moving.
LONGSHOT
(to BOBBY)
I think he needs another shot.
BOBBY points at RIPTIDE'S forehead, and again, ice crystals appear on his hair and
eyebrows, and he stops moving.
A LOW HISSING SOUND IS HEARD, accompanied by an unpleasant SCRAPING SOUND.
ALISON
What's that?
A SINGLE SMALL TUSK appears in the doorframe and slowly comes inside, and suddenly,
more SMALL TUSKS come from everywhere and attack the students and LONGSHOT.
LONGSHOT
That's what he's been doing!
TUSK appears in the doorframe, a satisfied grin on his face.
LONGSHOT and the students fight with the SMALL TUSKS, each in their own way.
CONTINUED:
BOBBY freezes as many small Tusks as he can while DAZZLER shoots her beams into the
wriggling mass of little bodies.
LONGSHOT kicks away a few of the smaller samples and then focuses on the tall Tusk. He
runs through the hall, stepping on a few Small Tusks, and takes a large leap on the big one.
Because of his light body, he doesn't even make Tusk stumble, but he struggles really hard.
Tusk puts his arms around Longshot's chest and presses, and his face twisted with pain,
Longshot tries to get free.
One of the boys uses his talent to dodge the Small Tusks while another one, the boy we
know from Ororo's training lesson, shoots water arrows at the creatures.
TUSK presses LONGSHOT'S chest a little harder, and we HEAR a DULL CRACKING
SOUND.
INT. A CORRIDOR IN THE SUBLEVELS OF THE SCHOOL - CONTINUED ACTION
WOLVERINE has now caught up with CYCLOPS, and side by side, they run down the corridor.
THE CORRIDOR OUTSIDE CEREBRO - SAME TIME
ROGUE sits up and wipes the blood from her face.
STORM
Are you okay?
ROGUE
Yeah.
(beat)
(shocked)
Where's the Professor?
STORM
Sinister must have taken him somewhere
before he came here.
A RUMBLE is HEARD, and STORM looks up.
STORM
Oh my God.
A beat as she stands up.
STORM
I know where he is. Follow me!
ROGUE gets on her feet and runs after STORM who hurries down the corridor.
NIGHTCRAWLER looks at MAGNETO, then at VERTIGO in almost funny despair.
NIGHTCRAWLER
(to MAGNETO)
I have a feeling we should go with them.
After you, mein Herr.
CONTINUED:
NIGHTCRAWLER gently shoves MAGNETO forward, following Storm and Rogue.
CLOSE ON VERTIGO who is lying on the floor with closed eyes.
INT. THE SCHOOL'S ENTRANCE HALL - SAME TIME
LONGSHOT is still in TUSK'S grasp. He is gasping for air, and his resistance gets weaker.
DAZZLER sees that he is about to be choked, and cracks her knuckles.
DAZZLER
Longshot, turn him around!
LONGSHOT understands, and with the last bit of power in his body, he knocks his head
against TUSK'S nose. The mutant loosens his grasp, and Longshot's hands come free. His
feet touch the ground again, and seizing Tusk by his shoulders, he turns him around so that
his back is turned towards DAZZLER with his front facing Longshot.
DAZZLER sends a bright beam of light at TUSK, who is hit in the back and falls on his face,
burying LONGSHOT under his heavy body.
DAZZLER
Oh no!
DAZZLER makes her way through the remaining SMALL TUSKS and tries to drag TUSK'S
body off Longshot.
LONGSHOT reaches out from under the body and helps by pushing it aside.
LONGSHOT
Adorable.
DAZZLER and LONGSHOT now help the students get rid of the SMALL TUSKS who seem a
bit disoriented.
THE CONTROL ROOM OF THE DANGER ROOM - SHORTLY AFTER
STORM and ROGUE enter the room and rush to the window. Here's what they see:
DANGER ROOM
PROFESSOR X is lying beside his wheelchair, face down, and doesn't move while all
around him, laser beams hit the ground and the blades from the cone cut the air above him.
CONTROL ROOM
ROGUE
Shut it off!
STORM hits buttons and presses keys, but we still HEAR RUMBLE and BUZZING
SOUNDS.
STORM
I can't! It doesn't react!
CONTINUED:
VIEW INTO THE DANGER ROOM where PROFESSOR X still isn't moving when one of the
laser beams hits him in the shoulder.
THE SCHOOL'S ENTRANCE HALL - SAME TIME
SINISTER comes run up the corridor, pulling JEAN with him whose nose is bleeding. JEAN
doesn't resist, and we conclude that he stunned her.
LONGSHOT looks up and notices them.
LONGSHOT
What the -
SINISTER again holds JEAN like a shield.
SINISTER
Don't even think about it.
SINISTER, dragging JEAN with him, moves forth towards the garden where Magneto's jet is
"parked".
WOLVERINE and CYCLOPS enter the hall and follow Sinister more slowly.
DAZZLER, BOBBY and LONGSHOT follow the strange group.
EXT. THE SCHOOL'S YARD - CONTINUED ACTION
DAZZLER, BOBBY and LONGSHOT exit the building in the instant that SINISTER with
JEAN has reached the jet.
SCOTT and WOLVERINE have stopped a few yards away from Sinister, not daring to come
any closer.
SCOTT
You won't get her!
SINISTER
I don't need her. Except as a little insurance,
of course.
SINISTER is standing half inside jet and now pushes JEAN from the vehicle.
SINISTER
There you go. Good-bye.
SINISTER vanishes into the jet, and the door closes.
CYCLOPS runs over to the jet and lifts JEAN up to carry her away from the dangerous spot.
The airplane slowly rises from the ground.
CYCLOPS puts JEAN to the ground in a safe distance and fires a laser beam at the
jet, but it doesn't show much effect.
CONTINUED:
LONGSHOT
Isn't the Blackbird armoured?
CYCLOPS
It is. And this one's, too. Damn!
The jet dashes off into the night, and the X-Men can only look at it vanish.
CYCLOPS
I can't believe we lost him.
JEAN moans, and CYCLOPS kneels down beside her.
CYCLOPS
Jean!
JEAN
Scott.
CYCLOPS strokes her hair, and JEAN smiles at him.
DAZZLER tiredly leans against LONGSHOT'S shoulder, and he puts an arm around her.
WOLVERINE sniffs and then turns toward the others.
WOLVERINE
Where's the Professor?
THE DANGER ROOM'S CONTROL ROOM - SAME TIME
NIGHTCRAWLER with MAGNETO enters the room.
NIGHTCRAWLER
What's going on?
STORM
Sinister activated the Danger Room with
the Professor inside, and I can't stop it!
ROGUE
(to NIGHTCRAWLER)
Can you teleport inside and get him out?
NIGHTCRAWLER
Too many moving parts. If I teleport in there,
I'll end up being part of the machine.
(beat)
(to MAGNETO)
But I believe you can help.
MAGNETO
Why should I?
ROGUE
You can't just let him die!
CONTINUED:
STORM
Please.
NIGHTCRAWLER releases MAGNETO.
NIGHTCRAWLER
I hardly know this man, but I do know that
he doesn't deserve to die. Please, save him.
MAGNETO steps closer to the window and makes a casual gesture.
VIEW INTO THE DANGER ROOM
With a SCREECHING SOUND, the blades stop moving, and in the same instant, the laser
beams stop as well.
NIGHTCRAWLER touches MAGNETO'S shoulder.
NIGHTCRAWLER
Thank you.
STORM, ROGUE and NIGHTCRAWLER quickly leave the Control room. NIGHTCRAWLER
gives Magneto another short look before he turns around the corner - a look that says 'if you
leave now, I won't notice'.
THE DANGER ROOM - SHORTLY AFTER
STORM, ROGUE and NIGHTCRAWLER enter the room and hurry towards the Professor.
STORM kneels down beside him.
STORM
Professor.
The PROFESSOR slowly turns his head aside and opens his eyes.
PROFESSOR X
It is good to see you.
The door flies open, and WOLVERINE, CYCLOPS, JEAN, DAZZLER, LONGSHOT and
BOBBY come inside, all looking at the Professor in concern.
PROFESSOR X
Help me up, children. I will be fine.
STORM and NIGHTCRAWLER help the Professor up, and WOLVERINE pushes his
wheelchair closer. All three help the Professor sit down in the chair.
PROFESSOR X
Sinister?
CYCLOPS
He got away.
PROFESSOR X
Magneto?
CONTINUED:
NIGHTCRAWLER pensively looks up at the window of the Control room.
NIGHTCRAWLER
I think he is gone, too.
(beat)
He was the one who stopped the machine.
PROFESSOR X
I don't know if this would have been
necessary. The machine is designed to
train, not to kill. Sinister didn't know that.
WOLVERINE
Or he knew it, and it was all a sick game.
NIGHTCRAWLER
Whatever for?
WOLVERINE
You wanna tell what's going on in that
twisted mind?
NIGHTCRAWLER slowly shakes his head.
We ZOOM OUT until we see the X-team as a whole.
FADE OUT
FADE IN: EXT THE TERRACE IN FRONT OF THE SCHOOL - MORNING
PROFESSOR X, JEAN, SCOTT, ORORO and KURT are sitting at the table. Professor X, a
band-aid on his forehead, wears a less formal shirt than usual and no tie, Scott is wearing
blue jeans and a grey and black pullover. Jean is dressed in black trousers and a red blouse,
Ororo wears a blue dress, and Kurt wears black pants and a black polo neck sweater.
LONGSHOT (big scratch on his forehead, black and blue all over his face, blue jeans, t-shirt,
leather jacket), ALISON (black jeans, blue t-shirt) and MARIE (light brown skirt and green
blouse) come outside, Longshot and Alison holding hands.
MARIE
Where's Logan?
(beat)
(worried)
Did he -
LOGAN (O.S.)
Leave? Nope.
LOGAN enters the frame, carrying a guitar case that suspiciously resembles the one Alison
had to leave in the dark alley.
LOGAN
He just forgot something in his car.
(to ALISON)
Couldn't stand the thought of you bugging
me for the rest of my life because of that thing.
CONTINUED:
LOGAN hands ALISON the guitar case. Alison briefly hugs him, and Logan walks over to
Marie.
LOGAN
(to NIGHTCRAWLER)
Any trace of that Vertigo gal?
NIGHTCRAWLER
She vanished.
WOLVERINE
Can anybody tell me who didn't vanish
last night? Sinister, Vertigo, Magneto -
ORORO
What about Magneto's plan?
SCOTT
The machine was inside the jet Sinister took.
If Magneto is still planning to do something like
mutating entire hotels full of people, he'll
first have to build a new one. The convention
last night was safe, however.
WOLVERINE
Yeah, but what about Sinister? What the heck
did he want?
PROFESSOR X
I believe he wanted Jean's DNA to experiment
with it.
JEAN
You said he might try to create a whole new
mutant from my DNA and that of somebody
else. Do you think he already has this other
DNA sample? I mean, he wasn't after anybody
else, except from you.
PROFESSOR X
Yes, and he doesn't have any samples from
me. This means he already has half of what
he needs.
JEAN
Maybe all he needs. A single hair of mine would
be enough.
PROFESSOR X
Yes. I didn't want to think about it, but we have
to consider the possibility that he is already
experimenting.
JEAN
But who could be the other person? The only
one that we know he has been experimenting
with in the past is Scott.
CLOSE ON THE PROFESSOR who looks up, shocked by a sudden realization.
CONTINUED:
PROFESSOR X
He is the other one.
A beat as he looks at SCOTT.
PROFESSOR X
You are the other part of the puzzle. You must
be. Your ability is so strong - a mutant carrying
it combined with Jean's gift would be incredibly
powerful.
A beat while everybody considers this idea.
SCOTT
What are we going to do about it? Or will we
wait until Sinister makes the first move?
PROFESSOR X
We must try to find him, and stop him before
he can realize his plan.
LOGAN
Sounds good to me.
MARIE
(to LOGAN)
What about you? What you found must have
given you more questions than answers.
LOGAN
I'm not sure I want to find out all about it. Still
getting over a few things. When I was at that
military compound, some memories returned.
I don't know how much of it was true, but I
could have sworn I saw Sabretooth.
LONGSHOT looks up, his expression pensive.
LONGSHOT
Maybe you did.
(to the PROFESSOR)
When you told me who Sabretooth is, you said
that his healing abilities are similar to those of
Logan. You also said that exactly these abilities
were something all victims of these experiments
had in common.
LOGAN
This means I knew him.
PROFESSOR X
You might even have worked together.
LOGAN
I think I still have some things to find out.
CLOSE ON LOGAN whose expression turns very serious.
EXT. THE SCHOOL'S YARD - LATER IN THE MORNING
ALISON and MARIE walk down a path.
ALISON
You simply drew her power? I wouldn't have
thought of that.
MARIE
That's because you don't think about how
to control your power all the time.
ALISON
Once you know how, it's suddenly not the
most important thing in your life anymore.
MARIE and ALISON look up when LONGSHOT appears on the path about 25 yards away.
MARIE
(smiling)
I see.
(beat)
I'm so happy for you.
ALISON
Can't wait for you to find somebody.
MARIE
I can wait.
(beat)
Hey, I guess I have to.
MARIE smiles, a somewhat sad but honest smile.
MARIE
But you're right, someday I'll know how to
control it.
MARIE gives an encouraging nod, and after hugging her, ALISON runs down the path
towards LONGSHOT who gives her a soft kiss. The couple walks away.
MARIE
(lowly)
Someday.
MARIE turns around and walks away in the opposite direction.
EXT. NEW YORK CENTRAL PARK - DAY
PROFESSOR X and MAGNETO are sitting on the same bench as last time.
MAGNETO
It is not over yet.
A young woman walks past them, pushing a baby carriage along.
CONTINUED:
PROFESSOR X
(nodding at the YOUNG WOMAN)
Don't you think it will be better to let them live
their lives? You say that mutants should be
granted a free life - the pursuit of happiness?
Do normal humans not have the same right?
By making them what nature hasn't intended
for them, you take away the lives they would
have had.
MAGNETO
What other way is there to make them understand?
PROFESSOR X
People fear what they don't know. But to make
them know us, you needn't make them be like us.
MAGNETO
What else could we do? Charles, do you really
know how to take away their fear of us? How to
make them see us as what we are?
A beat as PROFESSOR X thinks about what has been said.
PROFESSOR X
I don't know.
MAGNETO stands up.
MAGNETO
I trust in you to contact me when you find an
answer. Until then, I will do whatever I consider
necessary. And I recommend you do not try
to stop me.
A NURSE that we again recognize as MYSTIQUE appears and guides MAGNETO away.
PROFESSOR X pensively looks at two children running past him, laughing and shouting.
PROFESSOR X
We fought you back twice. And for the sake of
the innocent, we will fight you back again. As
often as necessary.
We PAN ACROSS THE MEADOW with lots of children, parents, older people and young
couples sitting, lying or playing on it, and as we do so, we ZOOM OUT.
FADE OUT.
FADE IN CREDITS.
THE END.
(as I see it g)
by
ARTEMIS
* No copyright infringement intended. I wrote this story solely for your and my pleasure *
FADE IN:
CLOSE on a small green shoot in dry desert ground.
We HEAR PROFESSOR XAVIER'S VOICE.
PROFESSOR X (V.O.)
The Earth.
We ZOOM OUT very quickly until we see the Earth as a whole in front of a black background.
PROFESSOR X (V.O.)
The Blue Planet. Home of 6 billion
individuals of a race called man.
The Earth rotates and seemingly moves away until it is only a small spot against the black
background. The spot extends to the right and soon looks like a lying "8", and next we see two separate little spots. We realize that we are watching a cell as it divides.
PROFESSOR X (V.O.)
Homo sapiens sapiens. The most
highly developed species on our planet.
Until now, that is.
While the Professor is talking, the cells keep dividing, and soon we recognize a human
embryo.
PROFESSOR X (V.O.)
A new generation of humans has
evolved, one whose DNA endows
it with special gifts. Gifts that are
regarded as a threat by normal humans.
The human embryo grows and finally puts a thumb into its mouth.
PROFESSOR X (V.O.)
The question is not whether this leap in
human evolution is a mistake of nature
or a work of art. It is not whether normal
humans have the right to track down the
mutants and rid the planet of what they
think is abnormal and dangerous.
The fetus is now fully developed.
PROFESSOR X (V.O.)
The question is -
The fetus opens its eyes that are yellow and have elliptic pupils, and looks directly at us.
PROFESSOR X (V.O.)
What will happen if they try?
We HEAR THE WELL-KNOWN SOUND OF WOLVERINE'S EXTENDING CLAWS, and the
picture is ripped off the screen to reveal metallic letters spelling "X-MEN 2".
FADE OUT.
FADE IN:
INT. PROFESSOR XAVIER'S OFFICE IN HIS SCHOOL FOR THE GIFTED - NIGHT
PROFESSOR X sits behind his desk while SCOTT SUMMERS agitatedly walks around in the room, fiercely gesticulating while he talks.
SCOTT
He's done it again! Professor, he can't
be part of the team!
PROFESSOR X
Why, because he took your motorcycle?
SCOTT stops in front of the desk and puts both hands on the top.
SCOTT
You know what I mean. Sure, he helped
us defeat Magneto, and we owe him a lot.
But this man has no discipline - he doesn't
know anything about teamwork. He just doesn't fit in.
PROFESSOR X
Your report proves you wrong. Scott,
Logan has been on his own for over 15
years. Give him some time to integrate,
to find his place in the X-team. It's not
easy for him.
SCOTT
Neither for us. Where is he, anyway?
He's been gone for two days.
PROFESSOR X
He is on his way to Canada, trying to find
out about his past.
SCOTT'S anger seems to fade. His face shows a pensive and concerned expression.
SCOTT
The experiments?
PROFESSOR X nods.
SCOTT
I hope he'll find the bastards.
CLOSE ANGLE ON PROFESSOR X, whose expression doesn't show what he thinks, but is very serious.
FADE OUT
FADE IN:
EXT. SHABBY AREA OF CHICAO - NIGHT
FADE-IN TITLE: "CHICAGO"
A MOTORBIKE that we recognize as the X-Cycle Logan "borrowed" from Scott stands in front of a run-down bar.
INT. THE BAR - SAME TIME
Dark figures are sitting at tables and at the counter. Talking and the clinking of glass can be heard, and the smoke is so thick it could be cut with a knife.
CLOSE ON A HAND holding a stogie, and we get the impression that most of the smoke originates from this very cigar.
The hand reaches for a glass filled with a clear liquid, apparently no water, and we
ZOOM OUT until we realize that the person we have been watching is LOGAN.
LOGAN ignores the people around him and seems to focus on his glass when the TV SET
catches his attention.
The screen shows A REPORTER standing in front of the Congress Hall.
REPORTER
The upcoming debate in New York about
the controversial law that would mean
the revelation of all mutants living in the
United States has been stirred up by an
unexpected event. The sudden swing in
Senator Kelly's attitude towards the enforced
registration of mutants has caused a
downright tumult in the Senate.
Nobody can quite explain what made him
change his mind like this, there has even been
talk that he was brainwashed by a mutant
with telepathic abilities.
LOGAN
Crap!
LOGAN slams his glass on the counter, and while the TV report continues in the
background, he stands up and walks out of the bar.
EXT. THE BAR - CONTINUED ACTION
LOGAN takes a deep breath, his breath forming clouds in front of his face. He is still
standing in the doorframe when a HUGE BLACK GUY approaches the bar.
LOGAN doesn't move but scrutinizes the man who stops right in front of him and returns his
look without any sign of emotion.
CLOSER ANGLE ON THE BLACK MAN that shows a tattoo shaped like the letter "M"
right around his right eye.
LOGAN frowns and steps aside, and the BLACK MAN enters the bar. For the regular movie-
goer, this has only been a strange encounter with a strange man, but we know that Logan
has just met BISHOP.
LOGAN looks around again, then at his motorbike.
LOGAN
Brainwashed my ass. If I get my hands
on you, there'll be no more mimicking,
Missy.
CONTINUED:
LOGAN carelessly throws his cigar on the sidewalk, pulls his leather jacket tighter and
seems to decide that he needs a little walk to cool down.
FULL SHOT ON THE STREET as Logan walks away.
EXT. ANOTHER DARK STREET - SHORTLY AFTER
A small BUNCH OF HOMELESS PEOPLE has gathered in front of a YOUNG GIRL of
maybe 18 years with short blond hair who is sitting in front of a house with a guitar, her opened guitar case on the ground beside her.
The GIRL is playing a sad song, and her voice as she is singing along shows that she
sings about her own hopeless life. The reason why her play attracts people, though, is an
amazing light show that the girl doesn't seem to notice. Those few street lamps that are not
broken seem to flicker in the rhythm, and flashes of colourful light appear, seemingly from
out of nowhere.
LOGAN approaches the spot where the GIRL is sitting. A mildly astounded expression on
his face, he listens to the song for a few seconds, then pulls a few coins out of his pocket
and throws them into the girl's guitar case before he moves on.
The GIRL'S POV:
BACK VIEW OF LOGAN walking down the street.
CLOSE ON THE GIRL. She continues playing, but isn't as absorbed as before, her gaze
following Logan. When Logan turns around a corner, she grabs the coins from her guitar
case, hurls the guitar inside and closes the lid on which green, snake-like eyes are painted.
She nods at the HOMELESS PEOPLE who gently applaud, takes the case and follows
Logan down the street.
EXT. A NARROW ALLEY - CONTINUED ACTION
The alley that connects two streets is covered with litter. Trash, cardboard boxes and
heaps of something we rather don't want to identify are piled up at house walls on both
sides.
We see a FRONT VIEW OF LOGAN as he walks, and in the background the GIRL entering
the alley, slowly dropping her guitar case.
LOGAN stops, obviously on alert because he heard a sound.
The GIRL notices that he heard her and walks closer to him.
LOGAN slowly turns around. He looks at the GIRL, immediately recognizing her.
LOGAN
You. What do you want?
GIRL
Your wallet, Rich Man. If you don't
make any trouble, I won't hurt you.
LOGAN smiles sympathetically.
CONTINUED:
LOGAN
Buzz off, kid. I'm not in the mood.
LOGAN turns to go.
The GIRL is stunned by his reaction, but in the next instant, she reaches down for her
right leg.
CLOSE ON THE GIRL'S LOWER LEG where a jack-knife is hidden under her ragged jeans.
She pulls it out and straightens herself.
The GIRL'S POV:
BACK VIEW OF LOGAN walking. Suddenly the sound of the EXTENDING JACKKNIFE is
HEARD, and he tenses.
LOGAN
Kiddie, you better don't do that.
The GIRL raises the knife, a tight grin on her face.
GIRL
Oh yeah? Why?
LOGAN
'Cause I don't wanna hurt you.
GIRL
I'll tell ya something, Bigmouth. I've been
living on the streets for quite a while, and
I'm the one with the knife.
So who's gonna hurt who, huh?
The GIRL has now reached Logan and is standing directly behind him, the knife raised.
CLOSE BACK VIEW OF LOGAN: We HEAR the sound of WOLVERINE'S EXTENDING
CLAWS, and in the same instant, he spins around.
CLOSE ANGLE ON THE GIRL'S FACE as she stares at WOLVERINE. She raises the
knife until it is closely in front of her face. We see that the BLADE has been neatly CUT
OFF.
We ZOOM OUT until we see both of them, the GIRL standing like a statue, WOLVERINE
slowly retracting his claws.
GIRL
You're a mutant!
LOGAN gives her a look half reproaching, half sad, turns around and walks away.
GIRL (V.O.)
Rich Man!
LOGAN ignores her.
We see the GIRL as she hurls the remains of the knife to the ground.
GIRL
You don't just walk away from Dazzler.
Not tonight, pal.
CONTINUED (2):
DAZZLER raises her hands to her face and utters a soft, but very high-pitched sound. She
forms a bowl with her hands, and as if she had filled them with sound, a reddish light
starts to glow between them. She stretches out her arms as if she was reaching for Logan.
LOGAN'S keen senses tell him that there is something going on behind him. About 20 yards
away from Dazzler, he stops and turns around.
DAZZLER utters a shrill yell, and a dazzling white ray of light emerges from her hands. It
hits LOGAN straight in the chest and flings him a good 30 feet through the air before he
crashes into a pile of cardboard boxes and trash. There he lies on his back, unmoving.
DAZZLER clenches her fists and presses them to her chest, her eyes wide open with
shock. Although she knew what she was doing, she apparently didn't intend to strike
Logan with such a force.
After staring at him for a few seconds, she slowly moves towards him.
We approach LOGAN, shown from DAZZLER'S POV.
DAZZLER kneels down beside him and feels for a pulse. She slowly pulls her hand back,
and in her face we read that she didn't find anything.
DAZZLER
Shit. Sorry, pal. Powers ain't easy
to control, guess you knew.
She strokes his hair, her eyes glistening with what could be, but needn't be, tears.
DAZZLER
Let's see what you've got.
She searches the pockets of his jacket, where she finds only a flat metal box with cigars.
DAZZLER
Yuk, El Disgusto brand.
She drops the cigars and starts searching Logan's jeans pockets. In one pocket, she finds
coins and a single Dollar bill. When she reaches in a back pocket, a grin shows that she
found something. She pulls her hand out, holding a bundle of bills. When she regards the
money, her jaw drops in disappointment.
DAZZLER
Canadian.
(beat)
Oh, what the heck.
DAZZLER puts the money into her own pocket, and with an almost sad look at Logan, she
stands up and turns to go.
She has almost reached the entrance of the alley where she dropped her guitar case
when a low GROAN is HEARD.
DAZZLER spins around.
LOGAN utters another low moan and weakly tries to sit up - without success.
DAZZLER gives him an insecure look, and her hand wanders to the pocket where she put
his money.
CONTINUED (3):
While she is still standing in the same spot, FIVE YOUNG MEN, obviously a street gang,
appear on the other end of the alley, shouting and laughing.
An instant later, they see LOGAN who doesn't even notice them.
An exceptionally THIN YOUTH in black leather clothes, apparently the GANG LEADER,
raises his hand.
GANG LEADER
Look what we've got here.
The OTHER GANG MEMBERS laugh and form a circle around Logan, obstructing
Dazzler's view at him.
One of the boys, we'll call him GANG MEMBER #1, kicks Logan.
GANG MEMBER #1
He's finished.
GANG LEADER
He's finished when I say he is.
He's still good for some fun.
The GANG LEADER also kicks Logan, so hard that he utters another moan that can
be heard by DAZZLER.
DAZZLER
Leave him alone!
Only one of the younger gang members, we'll call him GANG MEMBER #2, turns
around and looks at her.
GANG MEMBER #2
It's the mutant!
All the other boys now look at her, too.
DAZZLER
I said, leave him alone!
The GANG LEADER emerges from the group, apparently scared but still trying to seem
cool.
GANG LEADER
Why should we?
DAZZLER doesn't answer but only raises her hands, uttering a soft, high hum.
ALL GANG MEMBERS talk at once, starting to retreat.
GANG MEMBER #1 seizes the gang leader by his jacket.
GANG MEMBER #1
Come on, she's doing it again.
Do you want to be fried?
With a LOW CURSE, the GANG LEADER turns around and follows his men who are
running down the alley.
CONTINUED (4):
DAZZLER heaves a sigh and loosely drops her arms to her side. Then she walks towards
LOGAN, who has managed to sit up meanwhile.
DAZZLER
You okay?
LOGAN
You crazy?
DAZZLER
Listen, I'm sorry. I didn't mean to -
With a quick movement, LOGAN grabs her throat, and all of a sudden, DAZZLER is lying on
the ground with Logan kneeling over her.
LOGAN
You could've killed me!
DAZZLER
Don't get me wrong, but I thought I did.
LOGAN hesitates, but doesn't let go of her. With his free hand, he touches his chest that is
seriously burned under the scorched remains of his shirt.
LOGAN
I'll live.
DAZZLER
Hey, I tell you somethin'. I give you back
your money, you let me go, and
we'll act as if this never happened.
LOGAN
Yah, sure.
DAZZLER
Why don't we just -
LOGAN presses a little harder, and DAZZLER falls silent.
LOGAN
Let me think. Oh darn, couldn't you have
mugged somebody else?
LOGAN stands up and pulls DAZZLER up with him.
LOGAN
You're coming with me.
DAZZLER
What? Where - oh come on, you can't
take me to the cops.
LOGAN
Who said I was gonna do that?
LOGAN picks up a strip of plastic from the ground and ties DAZZLER'S hands behind her
back.
CONTINUED (5):
DAZZLER
Hey, you pervert, what's that supposed to be?
What about my guitar, anyways?
LOGAN totally ignores her, dragging her behind him as he walks down the alley and
towards the street. A menacing look on his face, he starts to talk to himself.
LOGAN
700 miles for nothin'. Freaking kids playin'
games. Should've known better than that.
Should've just killed her.
We see DAZZLER becoming more scared with every word he says.
FADE OUT.
EXT. THE BAR - SHORTLY AFTER
For want of a pillion, LOGAN roughly heaves DAZZLER on the back edge of the motorbike's
seat, and after short consideration, puts his jacket around her shoulders. Then he mounts
the bike and starts the engine.
DAZZLER
Where are we going?
LOGAN
New York.
Ignoring her protest, LOGAN lets the engine roar and speeds down the street.
FADE OUT.
FADE IN: INT. A CLASSROOM IN PROFESSOR XAVIER'S SCHOOL - DAY
PROFESSOR X is sitting in front of about 15 students, on a chalkboard behind him
drawings that look like he's giving a physics lesson.
We HEAR the DOOR BEING OPENED, and all heads turn. Also PROFESSOR X looks up.
VIEW AT THE DOOR with SCOTT sticking his head inside.
PROFESSOR X
Scott, what is it?
SCOTT
We have a new student. You should come
and see her.
PROFESSOR X
Oh, fine. I will greet her as soon as I
finished my lesson.
SCOTT
Professor, Logan brought her. You should
really have a look at this.
CONTINUED:
PROFESSOR X
All right. Students, please finish your task.
When you are done, you are free for
an early break.
Approving MURMUR among the students.
PROFESSOR X steers his wheelchair out of the room while SCOTT holds the door open for
him.
INT. A ROOM IN THE SUBLEVELS OF THE SCHOOL - SHORTLY AFTER
LOGAN stands with his legs apart, arms crossed in front of his chest and looks at something o.s. with an expression of amusement. We see the door open behind him, and
PROFESSOR X comes in, followed by SCOTT.
After a short glance at Logan, PROFESSOR X concentrates on the o.s. person Logan has been looking at.
PROFESSOR X
Hello, and welcome at my school for the gifted.
I am Charles Xavier.
DAZZLER is sitting on a wooden chair, her arms crossed just like Logan's.
DAZZLER
Hi.
PROFESSOR X looks puzzled as Dazzler doesn't seem enthusiastic about her arrival.
PROFESSOR X
Did Logan tell you about this place?
DAZZLER
So far, he hasn't even told me his name.
This is kidnapping, you know.
PROFESSOR X offers her his hand.
PROFESSOR X
Come, dear. I will show you around.
DAZZLER doesn't stand up or take the Professor's hand.
PROFESSOR X
Nobody is going to do you any harm here.
DAZZLER
Oh yeah?
DAZZLER lifts her elbows, and we see that she is tied to the chair so tightly that she can't even move her hands.
DAZZLER
And what about this? I'm gonna sue
your collective asses.
CONTINUED:
PROFESSOR X
Logan!
LOGAN
Hey, cool it. See what she did to me?
LOGAN opens his jacket to show his burned shirt.
LOGAN
She nearly killed me. I had to protect myself.
PROFESSOR X
I think we can handle this. Scott?
SCOTT walks over to the chair and unties Dazzler.
DAZZLER rubs her wrists and shakes her hands to make the blood circulate.
DAZZLER
Thanks. I've been tied up since Chicago,
you know.
PROFESSOR X
Well then, I think I introduced myself.
What is your name?
DAZZLER
The real one?
PROFESSOR X
Whichever one you prefer.
DAZZLER
Alison. But my street name's Dazzler.
PROFESSOR X
I was told that you are a mutant. What is
your gift?
ALISON
You call that a gift?
PROFESSOR X
It can be one. It depends on what you
make of it. This school is a safe place
to live and learn for young mutants,
just like you.
ALISON
(looks at LOGAN)
Well, not quite like me. That guy's got claws.
PROFESSOR X
(smiles)
Yes, I know. Well, Alison, if you tell us what
your gift is, we can help you control and use it.
CONTINUED (2)
:
ALISON
Using it ain't the problem.
(beat)
But I could need some help with the
control part.
PROFESSOR X
We will be happy to help you there.
He offers her his hand again, and this time, she takes it, stands up and leaves the room with
him.
SCOTT grins at Logan.
SCOTT
And yet another rebel.
WOLVERINE
You wanna tell me something, Bub?
WOLVERINE pushes Scott aside and walks out of the room.
SCOTT rubs his shoulder.
SCOTT
Oh yeah, he's not used to it.
FADE OUT.
EXT. THE SCHOOL'S BACKYARD - DAY
ORORO MONROE and a BOY of approximately 14 years are standing a few yards away
from a target.
ORORO
That was great, now try and focus on
the target rather than on the shape
of the bolt.
BOY
Okay.
The BOY closes his eyes, and from a fountain beside him, a small ball of water rises,
changes shape until it has a pointed tip, and after hovering in the air for another second,
it suddenly darts right through the bull's eye of the target.
ORORO
Yes, now you get the point!
ORORO looks up and sees PROFESSOR X, DAZZLER, SCOTT and LOGAN approaching.
She pats the boy's shoulder.
ORORO
That's enough for now. Go and have some
fun with your friends.
The BOY nods and dashes off.
CONTINUED:
PROFESSOR X
Ororo, I'd like to introduce you to Alison.
Alison, this is Ororo Monroe, or Storm.
Would you like her to show you around and
help you get acquainted with the facility and
the other students?
ALISON
Sure, why not?
ALISON and ORORO walk away, ORORO obviously telling Alison about the school.
LOGAN sits down on the edge of the fountain, looking after them.
PROFESSOR X
It was good that you brought her here, but
what about your search?
LOGAN
After 15 years, a few days more don't matter.
I'll set out tonight.
SCOTT opens his mouth to say something, but PROFESSOR X is faster.
PROFESSOR X
You might want to take a car. It's cold in the
Canadian Rockies.
LOGAN
I don't have a car. Mine blew up, remember?
PROFESSOR X
Maybe you want to take one of the school's cars?
LOGAN
I don't think I'd like the school's cars.
PROFESSOR X
You might want to have a look at them first.
CUT TO:
INT. THE SCHOOL'S GARAGE - SHORTLY AFTER
Along with the Professor's car, there are a few others, including a seemingly old Pick-Up
truck.
LOGAN, SCOTT and the PROFESSOR approach the car.
LOGAN
Nice car.
PROFESSOR X
I thought you might like it. It is not your average
pick-up, though. It has a few little extras that might
help you on your journey.
LOGAN
Extras.
CUT TO:
EXT. AN EMPTY HIGHWAY - SUNSET
Logan's CAR driving along at normal speed.
INT. THE CAR'S COCKPIT - CONTINUED ACTION
CLOSE ON THE DASHBOARD that is equipped with some extra buttons. We PAN
ACROSS THE DASHBOARD from LOGAN'S POV and focus on a button that resembles the
turbo button on Scott's motorbike.
CLOSE ANGLE ON LOGAN'S FACE who grins and slowly lifts his hand to press the button.
EXT. THE SAME EMPTY HIGHWAY - CONTINUED ACTION
Logan's CAR racing off into the sunset at enormous speed, leaving only a trail of dust that
slowly settles once the car is out of the frame.
FADE OUT.
INT. THE WAR ROOM IN THE SCHOOL'S SUBLEVELS - NIGHT
The room is austere and cool like every room in the lower levels of the school. White tiles
cover the walls and the floor, and the only piece of furniture is a large metal table.
PROFESSOR X, ORORO, SCOTT and JEAN GREY are sitting around the table. The
Professor is holding a small device in his hand that looks like a wristwatch.
SCOTT
This little thing is the pocket version of Cerebro?
PROFESSOR X
Well, not exactly, but it works as a kind of remote
scanner. Whenever you are in town, I want you to
carry it with you. Using it, you can find mutants
that the main Cerebro device already detected
within remarkable distance.
JEAN
This sounds like we're recruiting.
PROFESSOR X
Well, in a sense we are. We don't know what
Magneto and his associates are capable of,
even now that he is imprisoned. It can't hurt
to show young mutants the right side before
they can be corrupted by the rebellious ones.
And as we have seen, many live on the streets,
without friends, shelter or hope. We should try
and give as many of them a home as we can.
CONTINUED:
SCOTT takes the device and turns it in his hands.
SCOTT
How does it work?
FADE OUT.
INT. A DORM ROOM IN THE SCHOOL - NIGHT
The room that was obviously decorated by a girl is furnished with two sets of bed, cupboard
and desk, one apparently not yet occupied.
MARIE is lying on her bed reading a book, dressed in casual but dark clothes.
THE DOOR opens, and ALISON comes inside, accompanied by ORORO.
ORORO
Hello Marie. I have a roommate for
you if you'd like.
MARIE
Sure.
MARIE stands up and puts her book on the mattress.
MARIE
Hi, I'm Marie.
ALISON offers her hand.
ALISON
Alison.
MARIE takes her hand, and ALISON shows a puzzled look because of the gloves she is
wearing.
ORORO
I take it that you two have a lot to tell each other.
Good night!
MARIE and ALISON
Good night!
ORORO leaves and closes the door, and the two girls look at each other. It is silent for a few
seconds.
Finally, ALISON points at Marie's white strand of hair.
ALISON
Cool hair.
MARIE
Thanks.
CUT TO:
INT. THE SAME DORM ROOM - LATER THAT NIGHT
Both girls are lying each on her bed. ALISON is now wearing new clothes that obviously
come from Marie's cupboard.
ALISON
So you can take other mutants' powers?
MARIE
Not only their powers. I always take a little
of their energy, their life force if you want to
use that word. But I think I'm slowly getting
some degree of control. Maybe someday I
can use this power to help, not only to steal.
ALISON
I'm pretty sure you'll get this settled somehow.
A beat as the girls look at each other, Marie less optimistic than Alison.
MARIE
So where are you from?
ALISON
Chicago.
MARIE
Chicago? Did you tramp here? How did you
find the school, anyway?
ALISON
You could say the school found me. I bumped
into that hairy guy with the claws. He brought
me here, and I can tell ya, I didn't go voluntarily.
MARIE
Logan?
ALISON
Yeah, that's him. Do you know him?
MARIE
He was here?
ALISON
Yeah, why? Don't tell me you like him?
MARIE
Well…
ALISON
Did I miss something about him? This guy's
got no manners. He's rude and behaves
like some left-over caveman.
MARIE
He saved my life.
CONTINUED:
ALISON
Now this gives the matter a whole new point
of view.
(beat)
Sorry if I said something wrong.
MARIE
It's okay. You just don't know him yet.
ALISON
Yeah, not yet.
(beat)
G'night.
MARIE
Night.
They press each other's hand over the gap between the beds, and MARIE turns off the light.
As the LIGHTS GO OUT, we
FADE OUT.
FADE IN: INT. A HALL IN THE PRISON WHERE MAGNETO IS KEPT - NIGHT
The walls and floor are covered with white shiny tiles. Behind a round desk covered with
monitors, two young guards are sitting.
GUARD #1, a likeable tall man in his mid-twenties with short blond hair, stands up.
GUARD #1
Hey Danny, call of nature. Could you
open the door for me?
DANNY, a just as likeable young man with short brown hair, nods.
DANNY
Okay. Man, my daughter's little puppy
bears it longer than you, Jeff.
JEFF grins.
JEFF
Just open the door, pal.
JEFF walks towards a solid metal door and waits until DANNY has pressed a button on the
panel in front of him. The door opens, and JEFF looks back at Danny.
JEFF
You still in for the baseball game
tomorrow night?
DANNY
Wouldn't miss that on your life.
JEFF waves and walks outside. The door closes behind him.
CONTINUED:
We see a monitor from DANNY'S POV. It shows the corridor on the other side of the door
where JEFF walks in quite a hurry.
DANNY leans back on his chair and grins. He looks at a few other monitors that show more
corridors and rooms, including the one where MAGNETO is sitting, far away from any metal
objects. Then his attention is again caught by the first monitor. It shows JEFF who waves.
DANNY grins, shakes his head and presses a button, and the door opens.
JEFF enters the hall, and still smiling, he walks back to the desk. Casually, he assumes
position behind Danny's chair, places his hands on his shoulders, and with a sudden
movement, takes his head and turns it. A DULL SNAPPING SOUND IS HEARD, and
DANNY slumps in his chair.
JEFF'S eyes turn yellow, and in this instant, we realize that it is MYSTIQUE. Whether it has
been her all the time or only from the point on that she returned from the restrooms as Jeff,
we'll never learn.
MYSTIQUE, now in her original blue shape, presses another button, and the door opens
again.
FOUR MEN, obviously mutants, come inside. MUTANT #1 is a tall man with short black
hair and strange silvery skin. He radiates authority as if he was the leader of the troop. We
recognize the second one as SABRETOOTH, the third one is small with red skin. He wears
black shorts and a black tank top that reveal sharp spikes on his arms and legs. MUTANT #4
is a tall, muscular man with white hair.
SABRETOOTH walks towards the desk, reaches across it and softly touches MYSTIQUE'S
chin with one finger.
SABRETOOTH
Well done, Mystique.
(to MUTANT #4)
Riptide, I need you over here.
(to the RED-SKINNED MUTANT)
Foxbat, guard the door.
RIPTIDE comes over to the desk while FOXBAT assumes position at the door, and quickly
presses a few buttons.
RIPTIDE
Well then, let's get him out of there.
RIPTIDE grins at MYSTIQUE who smiles back, and RIPTIDE, MYSTIQUE and
SABRETOOTH march towards another door while MUTANT #1 stays in the room with
FOXBAT, leaning against the desk in a relaxed and expectant posture.
EXT. A STREET IN DOWNTOWN NEW YORK - DAY
Many people are on the street, minding their own business as they follow the human river
downstream.
SCOTT stands on the sidewalk, wearing a coat and a baseball hat and the inevitable
sunglasses. He is wearing the Cerebro scanner on his left wrist like a watch, and the device
gives low beeps and a flashing light signal.
CONTINUED:
We assume SCOTT'S POV and PAN ACROSS THE STREET as he looks around searching
for the mutant that Cerebro has apparently detected, but in the broiling mass of people, it is
impossible to find a single person, even if he or she is a mutant.
CLOSER ANGLE ON A YOUNG WOMAN who is about to walk on the street without
watching her steps.
A BUS approaches her from the left.
SCOTT raises his head in alarm as he sees what is about to happen, but he is too far away
to intervene.
At the same time, we see a YOUNG MAN with long blond hair, wearing a leather jacket and
blue jeans, who has also seen the peril coming. With an impossibly long and high leap, he
jumps on the street and pulls the woman out of the way, only a split second before she can
be hit by the bus. He loses his balance and threatens to fall on the street and right against
the still moving bus, but somehow he manages to stay on his feet and makes a step further
into the safety of the sidewalk.
SCOTT frowns and looks at the Cerebro scanner, obviously suspecting that the young man
might be the mutant he has been looking for.
While SCOTT makes his way towards the young man through the crowd, the woman flings
her arms round the man's neck and gives him a kiss. They both laugh, and the YOUNG MAN waves at the woman as he turns and walks away.
SCOTT needn't follow him any further as the YOUNG MAN bumps right into him.
SCOTT
How did you do that?
YOUNG MAN
What - oh, the bus. Luck, I guess.
SCOTT
I've never seen anybody jump like this.
YOUNG MAN
I'm in training.
SCOTT scrutinizes the man, and we see that the black leather gloves he's wearing each
only have three fingers and a thumb.
SCOTT
No, I think you might be something else.
The YOUNG MAN looks around like he was afraid of somebody eavesdropping their conversation.
YOUNG MAN
I've got to go.
SCOTT
Wait, I'm a friend.
YOUNG MAN
Oh yeah? Why should I believe you?
SCOTT
I'm of your kind.
CONTINUED (2):
YOUNG MAN
Even if. Everybody for himself.
SCOTT
And why did you help this woman?
YOUNG MAN
I couldn't just let her die. I think that's quite
a reason.
SCOTT
Why not do it big style? Trust me. We're a group of,
uh, people, that try to save mankind, or at least
do our share. Heard about that big light wave
at the U.N. summit?
YOUNG MAN
Your job?
SCOTT
We prevented it from erasing Manhattan's
population.
YOUNG MAN
Not bad.
SCOTT
Do you at least want to come with me
and have a look at what we're doing
and how we're living?
YOUNG MAN
Can't do any harm.
SCOTT
My name's Scott Summers.
YOUNG MAN
Call me Longshot.
INT. PROFESSOR XAVIER'S OFFICE - DAY
PROFESSOR X is sitting behind his desk with MARIE and ALISON sitting in front of it.
PROFESSOR X
Well, Alison, have you settled into the school
already?
ALISON
I've had some help, Professor.
PROFESSOR X
(smiles)
I'm glad that you and Marie get along so well.
We HEAR a KNOCKING at the door.
CONTINUED:
PROFESSOR X
Yes, come in, please.
SCOTT opens the door and lets Longshot enter first.
PROFESSOR X
Ah, you found him. Welcome. I'm Charles
Xavier. You are at my School for Gifted
Youngsters, but of course you needn't be
a teenager to be accommodated. These
are two of my students, Alison and Marie.
LONGSHOT nods and gives them a grin and a look from irresistibly green eyes.
LONGSHOT
Ladies.
MARIE and ALISON smile back.
PROFESSOR X
(to MARIE and ALISON)
If you could excuse us now - I have to
introduce our new guest to the school.
MARIE
Sure. Bye Professor, bye Scott.
MARIE and ALISON walk towards the door and wink at Longshot as they walk past him.
MARIE and ALISON
(to LONGSHOT)
Bye.
CUT TO:
INT. THE CORRIDOR IN FRONT OF THE OFFICE - CONTINUED ACTION
MARIE and ALISON fling their arms round each other's neck and dance through the
hallway, chuckling like the schoolgirls that they are.
ALISON
Did you see this cutie?
MARIE
Oh, I so hope he'll stay at the school.
ALISON
Aw, the way he smiled at us. Awesome.
They take each other's hand and walk down the corridor, still chuckling and curiously
watched by a few BOYS that have left a classroom nearby.
INT. PROFESSOR XAVIER'S OFFICE - SAME TIME
PROFESSOR X
Please, sit down.
CONTINUED:
LONGSHOT sits down on a chair while SCOTT remains standing and looks around in the
room.
LONGSHOT
Nice place.
PROFESSOR X
Thank you. So, may I ask your name?
LONGSHOT
It's Longshot.
PROFESSOR X
Only Longshot?
LONGSHOT nods.
The PROFESSOR seems nonplussed, but doesn't inquire any further.
PROFESSOR X
And may I also ask what exactly your mutation is?
LONGSHOT
Wait a sec - how can you know? I mean,
we just got here. You didn't send Scott to get
me here, did you?
PROFESSOR X
Well, actually I did. We have a device that can
detect mutants. Unfortunately, it can't tell us what
their gift is.
LONGSHOT
Why do I have the feeling I've just been recruited?
We see a CLOSE-UP on Scott who grins.
PROFESSOR X
Of course you are free to go at any time.
LONGSHOT
Didn't feel like a prisoner in the first place.
Okay, you guys seem to be okay. You wanted
to hear about my mutation. I'm proud to say
that it consists of two little changes compared
to your average homo sapiens. First of all,
my bones are hollow, so to say. It makes them
really light, which can be quite a cool thing to have.
SCOTT
And mutation number two?
LONGSHOT
Luck.
SCOTT
Excuse me?
CLOSE on the PROFESSOR who arches an eyebrow.
CONTINUED:
LONGSHOT
As long as I don't abuse it, I have literally
infallible luck that almost always pulls me through.
SCOTT
Sorry, but I have a problem with that.
Luck as a mutation?
LONGSHOT
Call it a PSI power. Whatever you call it,
it works.
PROFESSOR X
Would you agree on some tests?
Nothing painful, only checks on your health
and of course your mutation.
LONGSHOT
Whatever is necessary.
PROFESSOR X
Scott will leave you in the capable hands
of Dr. Jean Grey, a gifted scientist and
promising PSI talent.
LONGSHOT nods, stands up and follows Scott outside.
The PROFESSOR thoughtfully leans back, folding his hands in front of his chest like for
prayer.
FADE OUT.
INT. A LAB ROOM IN THE SUBLEVELS OF THE SCHOOL - SHORTLY AFTER
LONGSHOT is lying on an examination table in a lab room that looks exactly like the one
where Wolverine has once been examined, while JEAN works on a computer nearby,
jealously guarded by SCOTT.
LONGSHOT
So you guys fight against this Brotherhood
of Mutants because they want to kill all
normal humans?
JEAN
Well, last time, they wanted to transform them
all into mutants.
SCOTT
Which sooner or later would have had the
same effect.
LONGSHOT
But right now their boss, this Magneto,
is safely locked up?
CONTINUED:
JEAN
For now, he is. But we have to be on guard.
And even if it's not for the normal people,
you still have a safe place to live here.
LONGSHOT
Well, until now I always got along somehow.
I'm lucky, you know.
LONGSHOT winks at JEAN who smiles back.
JEAN
I see.
SCOTT steps between them.
SCOTT
(to JEAN)
Are you done with your tests?
JEAN
Almost. I just have to finish this calculation…
Okay, he's yours again.
LONGSHOT
(to JEAN)
And whenever you need me, I'll be all
yours, Ma'am.
He has hardly stood up from the table when SCOTT roughly pulls him towards the door.
They leave the room, and SCOTT slams the door shut.
JEAN remains in the room, smiling.
INT. THE CORRIDOR IN FRONT OF THE LAB ROOM - SECONDS LATER
LONGSHOT stops and forces Scott to come to a halt, too.
LONGSHOT
Hold it, Scott.
SCOTT
What?
LONGSHOT
I'm not blind, pal. The lady is yours.
Just can't help turning on the old charm
when women of her calibre are around.
You okay now?
SCOTT sheepishly releases Longshot and shrugs.
SCOTT
Sorry.
LONGSHOT
Never mind.
CONTINUED:
They walk down the corridor, this time considerably more slowly.
CUT TO:
INT. A LIVING ROOM IN MAGNETO'S MANSION - NIGHT
CLOSE ON MAGNETO who is sitting on a sofa with a cup of tea in his hand. In the
background we see a flickering fireplace.
MALE VOICE (O.S.)
I can almost see them in their neat little
school, wondering what our next move
might be.
MAGNETO
(looking up)
You speak of us as if we were a team.
A MAN WITH SILVERY SKIN AND SHORT BLACK HAIR, the one we know from the prison,
enters the screen, smiling quietly.
MAGNETO
I did not ask you to free me, Nathaniel.
NATHANIEL
But aren't you glad to be home again,
with your loved ones?
MAGNETO
My time would have come. With you or
without you.
NATHANIEL
Without me, it might have taken a little
too long, old friend. But not to worry, I'm
happy to help you.
MAGNETO
But it will have a price.
NATHANIEL
Certainly.
MYSTIQUE enters the screen and sits down beside Magneto while a BLOND WOMAN
appears beside Nathaniel.
NATHANIEL
Ah, Vertigo. How are you doing in our
little workshop?
VERTIGO
We had a few problems but now everything
runs smoothly.
CLOSE ON NATHANIEL - in his face, the flames in the fireplace are reflected.
CONTINUED:
NATHANIEL
Excellent.
(beat)
(turning to MAGNETO)
What do you think, old friend?
Shall we lure the rabbits out of
their burrow?
MAGNETO quietly looks at him, still holding his cup of tea.
CLOSE-UP ON NATHANIEL who grins amusedly, the silvery skin on his face still
reflecting the fire.
FADE OUT.
EXT. A DESERTED MILITARY COMPOUND IN CANADA - NIGHT
The scenery is a wooded area in the mountains. We see the silhouette of a wire netting
fence in front of trees and shrubs - it is nearly dark. Then we HEAR the SOUND OF A CAR APPROACHING, and its headlights illuminate a sign saying "MILITARY AREA - NO TRESPASSING. USE OF DEADLY WEAPONS APPROVED", before the car even comes into the picture.
Then it enters the frame, and we see that it is Logan's pick-up. The car stops in front of the fence, its headlights still pointed at the sign, until the car's engine is turned off, the headlights fade and LOGAN gets out of the car.
While he is walking towards the fence, he extends his claws, and when he reaches it, we HEAR adamantium CUTTING through steel, and the sign falls to the ground, together with a door-sized piece of the fence.
LOGAN scents to all sides and glances at the full moon before he slips through the hole in the fence.
LOGAN'S POV:
We see his way through the woods and rocky clearings.
When he parts shrubs to move on, he hesitates, and as we follow his gaze through between the bushes, we realize why. A large complex of buildings covers several thousand square yards, and in the cold white light of the moon, it looks like a Nazi concentration camp.
CLOSE-UP on LOGAN'S shocked face. His eyes widen before a memory flashback hits him, and he closes them.
CUT TO:
MEMORY FLASHBACK FROM LOGAN'S POV:
INT. A LABORATORY
PEOPLE in strange alien-like suits walk around, everybody seems to know what he is doing.
CUT TO:
EXT. A JAIL-LIKE YARD - DAY
Several MEN in simple, grey uniforms stand around or walk slowly, most of them looking bored, some rather scared. All men seem to be in excellent physical shape.
Still from Logan's POV, we approach an exceptionally tall man from behind and pat his shoulder. The man turns around, and for the split second that we can see his face, we are almost entirely sure that it is Sabretooth.
END OF MEMORY FLASHBACK
CUT TO:
EXT. THE SAME MILITARY COMPOUND - CONTINUED ACTION
CLOSE-UP ON LOGAN'S FACE, slowly ZOOMING OUT until we see his whole upper body
and his chest pumping as he breathes heavily, still staring at the complex.
LOGAN shakes his head, stands up and walks through the gap he created between the
bushes.
CUT TO:
EXT. THE SAME MILITARY COMPUND, AT THE FIRST BUILDINGS
LOGAN walks towards the buildings and therefore towards us. His whole body tense, we
only wait for him to extend his claws, but he doesn't do so.
We follow him as he walks through the compound, leaving some buildings disregarded as if
he'd been here before and knew where to go. Finally, he steers towards a small building.
Not wasting any time by trying if the door is locked, he forces it open.
CUT TO:
INT. THE BUILDING - CONTINUED ACTION
The DOOR crashes into the room, stirring up a huge cloud of dust.
We see WOLVERINE'S SILHOUETTE in the doorframe for a second before he steps into
the room.
WOLVERINE'S POV:
The inside of the room looks like an office, with lots of filing cabinets, two desks and several
cupboards and empty shelves. It looks like it has been left in a hurry, for there are sheets of
paper lying everywhere.
WOLVERINE walks up to a filing cabinet and tears the top drawer open. A METALLIC
SOUND tells us that there has probably been a lock in the way, but Wolverine hasn't even
noticed its resistance. He pulls out the few files that are left in the drawer and puts them on
the table, only to walk back to the cabinet and start the same procedure with the second
drawer.
CLOSER ANGLE ON THE DESK where a giant heap of files is piled up. Another bunch of
papers is hurled on the already swaying heap, and a few sheets of paper flutter to the
ground.
CONTINUED:
WOLVERINE drops on the edge of the table and starts to pull out single files, obviously not
knowing what exactly he is looking for. Suddenly, the picture of a man that is attached to the
front page inside a file folder causes another MEMORY FLASHBACK.
CUT TO:
MEMORY FLASHBACK - WOLVERINE'S POV
EXT. THE JAIL-LIKE YARD - DAY
One of the men is called out, and we see that it is the MAN FROM THE PICTURE in the file.
A crooked grin on his face, the MAN waves at the others and leaves the yard through a small
gate. He is accompanied - or guarded? - by TWO SOLDIERS in uniforms that we have
never seen before.
CUT TO:
EXT. THE SAME YARD - SUNSET
The yard is much emptier than before, and only a few men are standing or sitting around.
Still from WOLVERINE'S POV, we look up and over at the soldiers who give us an expectant
look. We follow them.
CUT TO:
INT. THE OFFICE IN THE BUILDING - DUSK
A MAN with a brown buzz-cut and in the same uniform as the soldiers, only with more chevrons on his shoulder flaps, looks at us with a pitying expression, then back at a file that is lying on the desk in front of him. He says something, but we only HEAR a low HUMMING and an accelerated HEARTBEAT pounding seemingly right in our heads.
The man keeps talking, and from an INDEPENDENT POV we see that LOGAN rises from his chair and slams his fists on the desk. Suddenly the two soldiers are at his side and hold his arms. The man nods at them, and they drag Logan out of the room.
CUT TO:
INT. A LABORATORY
LOGAN is lying on a slab, tied to it at his wrists, ankles, waist and neck with broad leather strips. We see the same felt-tip markings on his body that we saw in the FLASHBACKS OF PART 1, and we realize that he is about to get the adamantium crafted to his skeleton.
MEN with masks on their faces approach him, holding instruments straight from a medieval torture chamber. The picture twists, and we don't know how much of this is a real memory, and how much a nightmare.
CUT TO:
INT. A ROOM INSIDE OF MILITARY BARRACKS - NIGHT
LOGAN is lying on a bed, not tied anymore, but obviously in agonizing pain. He writhes and helplessly raises his hands towards the ceiling as if there was somebody to help
(more)
CONTINUED:
him. All of a sudden, three claws pop out from between the knuckles of his right hand, and
he screams in pain. An expression of disbelief on his face, he stares at the shiny metal
before he raises both arms again and yells in despair and frustration.
END OF MEMORY FLASHBACK
CUT TO:
INT. THE OFFICE INSIDE THE BUILDING - NIGHT
LOGAN sits on a chair behind the desk, his face hidden in his hands. He slams his fists on
the desktop, and with the back of his right hand, he sweeps the files from the desk.
We see that some of the files remaining on the table are simply marked with single letters,
and we see a
CLOSE-UP ON A FILE MARKED WITH AN "X"
LOGAN looks up and at the file. Slowly, he takes it and opens it, and on the front page, there
is a picture of him.
Now trembling - we don't know whether it is with wrath or fear -, LOGAN closes the file
again. He takes it and puts it under his jacket, and as if he couldn't get out of the office
quickly enough, he stands up so fiercely that he painfully hits his knees on the desk. He
doesn't even notice it but hurries out of the office.
CUT TO:
EXT. THE AREA OF THE MILITARY COMPOUND - NIGHT
LOGAN runs away from the buildings and into the forest, not minding his way the least bit.
He pants heavily and presses his right arm to his belly, thus holding the file under his jacket.
CUT TO:
EXT. THE OUTSIDE OF THE MILITARY COMPOUND - NIGHT
LOGAN tears open the door of his car, climbs inside and drops on the driver's seat.
INT. LOGAN'S CAR - CONTINUED ACTION
The door still open, LOGAN heavily leans on the steering wheel, and in the white light of the
moon, we see hundreds of small scratches on his hands and face that now quickly heal.
When his skin is intact again, also Logan has calmed down. He takes the file out from under
his jacket and carelessly flings it on the front-passenger seat. With trembling fingers, he
rams the key in the ignition lock and turns it.
EXT. THE OUTSIDE OF THE MILITARY COMPOUND - CONTINUED ACTION
When the CAR'S engine is started, the headlights flash up and illuminate the fence, now with
(more)
CONTINUED:
a hole where the sign used to be. The engine roars, and the car backs up until it has left the
picture.
We HEAR TIRES scratching over gravel, gears being switched so roughly that the
transmission utters a rebellious CRACK, and again an ENGINE ROARING.
As the sound fades, also the picture
FADES OUT.
FADE IN: EXT. THE BACKYARD OF XAVIER'S SCHOOL - DAY
CLOSE ANGLE ON A SHRUB behind which MARIE and ALISON are cowering. Both girls
chuckle and motion each other to be quiet.
We PAN to follow their looks and see LONGSHOT strolling down a path that leads past the
shrub. When he has passed them, he hesitates but doesn't turn around.
LONGSHOT
I have a feeling like there's a mutant
ambush going on here.
MARIE and ALISON chuckle, but don't reveal their position.
LONGSHOT
Pity. I could've sworn I heard somebody.
Looks like I'll have to sit in the sun all alone
and eat that ice-cream I got myself on my own.
This is gonna be some stomach-ache.
LONGSHOT moves on.
Another CLOSE-UP on the shrub where MARIE and ALISON jump up.
MARIE and ALISON run after Longshot and link arms with him.
Together, ALISON, LONGSHOT and MARIE walk down the path.
CUT TO:
INT. PROFESSOR XAVIER'S OFFICE - DAY
PROFESSOR X, ORORO and JEAN are sitting in their chairs, apparently waiting for
something or somebody.
The DOOR is opened, and SCOTT bursts inside the room.
SCOTT
I was told it was urgent.
We now see that PROFESSOR X is holding an envelope.
PROFESSOR X
It is. I have received word that Magneto
has escaped.
CONTINUED:
SCOTT
What?
PROFESSOR X
He is said to have had help.
SCOTT
Mystique?
PROFESSOR X
Not only. Scott, I'm afraid we will have to
deal with an old adversary of ours.
PROFESSOR X hands Scott the envelope, and SCOTT opens it and takes out a few
photographs.
CLOSE ON A PHOTOGRAPH, a printout from a surveillance video, marked with date and
time, showing Nathaniel, the man with the silvery skin, standing in the supervision room in
the prison.
ORORO
It's Dr. Nathaniel Essex.
SCOTT
Sinister!
SCOTT looks up and flings the envelope and the pictures back on the desk.
SCOTT
Now it's personal.
PROFESSOR X
(with a placating look at SCOTT)
We have to prepare for a fight. It will be
hard, surely harder than last time. We are
encountering two highly intelligent villains
working together, and we don't know how
many followers we are dealing with.
SCOTT
And we just lost a member of the team.
PROFESSOR X
The car I gave Logan contains a highly
developed communications system. I already
contacted him. He hasn't replied yet -
SCOTT
(laughs)
Of course not.
PROFESSOR
But I expect him to report very soon.
Until then, the remaining X-Men, that's you,
Storm, and Jean, have to train.
JEAN
What about Rogue, or maybe Longshot?
CONTINUED:
PROFESSOR X
Rogue is way too young, she is merely a child.
We can't allow her to be involved in such a
dangerous situation. Of course Longshot isn't
a teenager anymore, but we don't know
what level of control he has over his powers.
SCOTT
So it's a three-men X-team against an unknown
number of enemies. Great. I love challenges.
ORORO
(to the Professor)
Have you thought of a special training?
PROFESSOR X
Oh yes, it is quite special. I have yet to find
an appropriate name for it, but meanwhile,
we'll just call it the Danger Room.
CUT TO:
INT. THE DANGER ROOM - DAY
It is a large room, about 50 feet high, which looks quite harmless at first sight. The walls are
white and smooth, and there is a silver metal cone, 30 feet long and about 5 feet in diameter,
hanging from the ceiling.
CYCLOPS, JEAN and STORM, now in their X-Men uniforms, are standing next to the door
that is almost invisible in the wall.
Now we HEAR PROFESSOR XAVIER'S VOICE coming from a loudspeaker that we don't
see, and by PANNING around the room, we see a window, about 10 by 5 feet, far above.
The figure behind the pane can hardly be recognized as PROFESSOR X.
PROFESSOR X (V.O.)
This room has been designed to measure
and train your specific abilities. It will adjust
to your level of skill and therefore always be
one step ahead of you. Oh, and you can't beat
it, if you were going to ask this. You will train
here so that you succeed in a real battle.
You are here to learn and grow, not to become
self-confident. There is no way that the machine
can be overpowered or outwitted.
STORM
Why do you call it Danger Room?
All of a sudden, sharp blades extend from the cone, and the thing starts rotating, first very
slowly.
PROFESSOR X (V.O.)
Because it can be quite dangerous in there.
Be on guard, children.
STORM, JEAN and CYCLOPS seek cover when the cone's rotation accelerates, and when
(more)
CONTINUED:
they learn that they have to keep moving to dodge the blades, Cyclops starts shooting laser
beams at the metal construction. Blades are cut off and start flying through the room, closely missing the three X-Men.
CYCLOPS
Jean, can you catch the blades and divert
them so that they don't move into our direction?
JEAN
I can try.
JEAN raises her hands and protects them from the flying blades that CYCLOPS shoots off
the cone, but now we see that where gaps are created in the arms of the machine, new
blades grow almost instantly.
CYCLOPS
It's a Hydra!
JEAN
It's useless, Scott! They are growing faster
than you can cut them off.
CYCLOPS desperately looks at the cone, and when he blasts a good piece away from the
top of the machine, we see a
CLOSE ON A TUBE from which cooling liquid drips and freezes whatever it touches.
CYCLOPS
Already giving up? Storm, freeze it!
STORM'S eyes turn all white, and her coat fills out with a wind that doesn't come from the
machine. Static energy creates little blue flashes of lightning around her head, and around
the top of the cone, snowflakes that are torn-away bits of the cooling liquid whirl faster and
faster until they create a solid shell of ice around it that grows downwards until the cone
looks like a giant stalactite. With an unpleasant screeching sound, the cone slows down, and
its rotation comes to a halt.
STORM
This was too easy.
They stand tensely and expectantly, and really, seemingly from out of nowhere, laser beams
flash all around them, some of them hitting the cone and melting the ice shell off. The floor
gets all slippery from the water, and the three X-Men struggle to stay on their feet while
dodging blades and laser beams.
CYCLOPS slips and falls, and although JEAN tries to give him a telekinetic push to get him
out of the line of fire, a laser beam hits his leg and leaves a smoking mark on his uniform.
CYCLOPS screams in surprise and gets on his feet, not seeing the blade that is coming right
his way from behind. JEAN sees the peril coming, but can't do anything.
JEAN
Scott, watch out!
CYCLOPS turns around, but the blade is already so close that he can't dodge it. Just before
it can decapitate him, the machine stops, and also the laser beams don't buzz around them
anymore.
We see a CLOSE-UP on CYCLOPS'S NECK where the blade had stopped from full swing,
so close to his neck that it touches his skin.
CONTINUED (2):
CLOSE ANGLE on CYCLOPS who pants heavily, trying not to make a false move.
PROFESSOR X (V.O.)
Well done! You did a marvellous job for the first time.
With a SOUND that resembles Wolverine's SNIKT, the blades vanish inside the cone, the
water trickles away into the floor within a split second, and the room looks as peaceful as
before.
CYCLOPS, JEAN and STORM stand like frozen, looking around as if waiting for more
surprises to come.
FADE OUT
FADE IN: INT. A MEDICAL LAB ROOM IN THE SUBLEVELS OF THE SCHOOL - DAY
Wearing civilian clothes again, JEAN treats a small burn wound on SCOTT'S thigh. He is
sitting on a slab, only wearing shorts and sunglasses. ORORO is leaning on a table nearby,
following the conversation.
SCOTT
He's going to kill us before we even get
out of this place!
JEAN
I don't think so, Scott.
ORORO
This machine makes us use our brains
as well as our gifts, and it's not designed
to kill anybody, Scott.
SCOTT
I still don't think this is a good idea.
We'll be fighting real people, not machines.
JEAN
It might be the best training we can get.
SCOTT
We should be working on a plan instead.
JEAN puts down her instruments and touches Scott's shoulder.
JEAN
Scott, we all know what you went through
in Sinister's orphanage. What he did to you
is just as inhuman as what has been done to
Logan. But we need to know what Magneto
and Sinister are going to do. Unless we
know their plans, we can't think of one
ourselves.
ORORO
I think what he means is that we should act,
not react. But Scott, this would mean we're no
better than them.
CONTINUED:
SCOTT
If it helps us get rid of them, I couldn't care less
about morals.
JEAN
Please. The Professor knows what he's doing.
Trust him.
SCOTT
We'll see.
FADE OUT
INT. JEAN'S ROOM - NIGHT
We see JEAN'S image in a mirror as she is trying to close the fastener of a necklace behind
her neck.
We HEAR a KNOCKING at the door.
JEAN
Come in!
Still looking into the mirror, we see the door open behind her. LONGSHOT comes in.
LONGSHOT
Hi. I hope I'm not disturbing…
JEAN
No, please come in. Can I help you?
LONGSHOT
Actually, yes. All this talk about the X-Men,
your mission to protect innocent humans
and so on, this really sounds great. But I feel
useless. I want to be part of it.
While he was talking, LONGSHOT has approached Jean and is now standing behind her, a
little to the right.
JEAN
Professor Xavier wants to chart your abilities
before you can join us on our missions.
LONGSHOT
I'd undergo any examination, however painful,
to do something useful again.
JEAN
(smiles)
Now this won't be necessary. There are only
a few tests we have to do on you.
(beat)
Meanwhile, could you help me? I don't
seem to be too dexterous tonight.
CONTINUED:
LONGSHOT steps closer and takes the ends of the necklace. All of a sudden, we see the
white in his eyes, and with a short sound of surprise, he makes a small step forward and
leans on Jean's shoulders.
JEAN stands up and supports him.
JEAN
Are you okay?
LONGSHOT
(astounded)
Scott gave this to you.
JEAN
Yes, but how do you know?
LONGSHOT
I have no idea. When I touched it, I
could suddenly see its past. This has
never happened before.
JEAN
Actually you're too old to develop new mutant
skills. This is strange. I wonder if this has
anything to do with my own PSI talents.
LONGSHOT
No matter how, but I can tell you that this
guy really loves you. Keep him.
LONGSHOT gives Jean a look that shows that he knows more than he just told her, and
JEAN returns a little smile.
INT. PROFESSOR XAVIER'S OFFICE - SHORTLY AFTER
PROFESSOR X sits in his wheelchair in front of his desk, with JEAN and LONGSHOT
standing in front of him.
PROFESSOR X
Psychometric powers? How very unusual.
And this is the first time you noticed that
you have this gift?
LONGSHOT
Yeah.
JEAN
It's possible that there is so much PSI
power concentrated in this place that it
somehow triggered an ability that has
been there before and that has maybe
just been buried.
PROFESSOR X
A reasonable theory.
CONTINUED:
LONGSHOT
Professor, I know that I'm new and all,
and I shouldn't be running around asking
for things, but as I told Jean, I want to
be part of the team.
PROFESSOR X
(smiles)
I was already wondering when you would
ask. You are so keen on helping people
that it was a matter of time until you would
want to be an X-Man.
LONGSHOT
(carefully)
So?
PROFESSOR X
Jean, if you take him downstairs, I think
there should be a new uniform that would
fit him perfectly.
JEAN nods with a smile, then she leaves the room, dragging an enthusiastic LONGSHOT
behind her who is leaning over the desk and seemingly doesn't want to let go of Professor
Xavier's hand.
When the door has closed, we see a CLOSE ON PROFESSOR X whose smile fades and is
replaced by a pensive expression.
PROFESSOR X
With this enemy outside, we need all the
luck we can get.
FADE OUT
INT- THE SCHOOL'S ENTRANCE HALL - NIGHT
The hall is empty and quiet. Suddenly we HEAR the ROARING OF AN ENGINE and
SCREECHING tires as a car stops outside.
The door is torn open, and LOGAN comes inside, obviously very agitated. He marches down
the hallway, fiercely running his hand through his hair several times. At one point, he stops
and seems to think about turning around and leaving again, but in this instant, the lights
upstairs are switched on, and on the upper end of the staircase, MARIE and ALISON
appear. MARIE'S face brightens up as she recognizes Logan.
MARIE
Logan!
MARIE runs down the stairs, followed more slowly by ALISON, and flings her arms round his
neck. LOGAN doesn't return the hug but even winces a little.
LOGAN
Hi Kid.
MARIE notices that there is something wrong with him, and steps back.
CONTINUED:
MARIE
What is it?
LOGAN
Nothin', Kiddie. I'm just tired.
LOGAN turns to go up the stairs, and MARIE quickly takes off the dog tags he gave her
before he left and that she has been wearing around her neck, and holds them up.
MARIE
Wait! You said you'd be back for these.
LOGAN
Keep 'em.
(beat)
(lowly)
I may not be finished yet.
LOGAN now walks up the stairs, past ALISON who gives him a funny look.
MARIE stares at his back, grasping the dog tags tightly. ALISON comes down to her and
lays an arm around her shoulder.
ALISON
Let him get some sleep. I'm sure he'll be
easier to talk with tomorrow.
MARIE
Yeah, probably.
They walk back up the stairs, and we
FADE OUT
FADE IN: INT. MARIE'S ROOM - MORNING
CLOSE ANGLE on MARIE'S upper body and face as she wakes up. After she has opened
her eyes, she looks insecure for a moment, trying to recall something that happened the
night before. Then she smiles and pulls her blanket off.
MARIE quietly stands up, obviously trying not to wake her roommate. In her nightshirt and
barefoot, she sneaks out of the room.
CUT TO:
INT. A CORRIDOR IN THE SCHOOL - SHORTLY AFTER
MARIE stands in front of a door and knocks. When there is no reply, she knocks again.
MARIE
Logan?
MARIE knocks again. When there still is no answer, she carefully opens the door.
CUT TO:
INT. LOGAN'S ROOM - CONTINUED ACTION
We see Logan's empty room, looking at the door across the bed.
The door is opened, and MARIE looks inside.
MARIE
Logan? Are you there?
MARIE looks around, and the camera FOCUSES on the BED when MARIE sees the file
lying on the mattress, marked with an "X".
MARIE comes closer, and after looking around again, she drops on the bed and takes the
file, fiddling around with it, but not opening it. Suddenly the picture of Logan that was
attached to the first page falls out.
MARIE looks at the picture, then opens the file to put it back inside. Suddenly her eyes
widen, and she starts to read, leafing through the file quickly once, then starting all over
again. Her eyes fill with tears, and she looks at the door like she expected to see Logan
come inside any moment. She closes the file with a jerky movement, drops it and stands up,
moving towards the door.
MARIE
(still looking for him, now sounding scared)
Logan!
INT. A CORRIDOR IN THE SUBLEVELS OF THE SCHOOL - DAY
JEAN stands there, dressed in her black uniform, apparently waiting for somebody, and after
a second, a sliding door opens with a HISS, and LONGSHOT comes out wearing his
uniform.
LONGSHOT
So, what am I wearing this for? We
tried it last night, and it fits.
JEAN
Today we are going to find out how you
move in it. Follow me.
INT. ANOTHER CORRIDOR - CONTINUED ACTION
JEAN walks down the corridor, followed by LONGSHOT. Suddenly, a loud ROW and
METALLIC CLANKING and SCREECHING is HEARD.
Both people stop.
LONGSHOT
What's that?
JEAN
I don't know.
JEAN starts running, and LONGSHOT tries to keep pace.
INT. THE DANGER ROOM'S CONTROL ROOM - SECONDS LATER
PROFESSOR X is sitting in his wheelchair in front of the window to the Danger Room.
SCOTT stands beside him, his face serious.
The door is opened, and JEAN and LONGSHOT burst inside.
JEAN
What's going on?
SCOTT
(wryly)
Logan has discovered the Danger Room.
JEAN and LONGSHOT walk closer to the window. Here is what they see:
VIEW INTO THE DANGER ROOM
WOLVERINE is raging through the room, wearing jeans and a shirt. His claws extended, he
runs around like a madman, uttering rough yells as he strikes for the blades and other
weaponry that the machine offers. He totally ignores the laser beams that buzz around him
and leave scorched spots on his skin and clothes.
VIEW AT THE SPECTATORS
LONGSHOT
Who's that guy?
JEAN
What is he doing?
SCOTT
(dryly)
Taking the Danger Room apart.
PROFESSOR X
I don't know why he is so furious, but it might
have to do with what he found out in Canada.
We should let him let off some steam.
LONGSHOT
He'll hurt himself.
SCOTT
Doesn't matter. And I'm not saying this
because I don't like him.
JEAN
(to LONGSHOT)
He'll heal within a few seconds.
(to the PROFESSOR)
But Professor, I've never seen him like
this before.
PROFESSOR X
Neither have I. I will talk to him as soon as
he is finished in there.
CONTINUED:
VIEW AT WOLVERINE IN THE DANGER ROOM as he is taking a deep breath, waiting for
the next attack.
FADE OUT
FADE IN: INT. THE DANGER ROOM - LATER
SCOTT, JEAN and LONGSHOT look at the remains of the machine that has literally been
chopped into slices in some places. Metal lies on the ground everywhere, and there are
deep scratches and even holes in the walls.
SCOTT
Thanks to Logan, there'll probably be no
training today.
LONGSHOT
(looking at the blades)
I've got to admit I'm glad to hear that.
JEAN picks up a sharp piece of metal, and when she runs her finger over it, we see that it is
blood-covered.
JEAN
I wonder what is driving him like this.
CLOSER ANGLE ON JEAN holding the metal part, and we
FADE OUT.
INT. PROFESSOR XAVIER'S OFFICE - DAY
PROFESSOR X behind his desk, and LOGAN walking up and down in the room.
LOGAN
Don't you see? I'm a machine, a monster.
I'm a living weapon, designed to kill. I don't
belong here. I can't stay.
PROFESSOR X
You are agitated. You -
LOGAN
Oh yeah? Agitated, huh? Hm, let's see:
a man without memory, running free, but
having no control whatsoever over the rage
that was planted into him. A danger to the
lives of everybody around. Correct me if
I'm wrong, but I think
(shouts)
I have a right to be agitated!
LOGAN leans on the desk, and PROFESSOR X, who obviously doesn't understand what
Logan is talking about, makes a placating gesture.
CONTINUED:
PROFESSOR X
Please, calm down. Don't make any
overhasty decisions. Stay here for a
few days, and we'll try and help you.
LOGAN
Help me, help me. It's not always that
easy, Professor. You may be psychic,
but you're not almighty, you know.
There are some things even you can't
change.
(beat)
And I'm one of them.
LOGAN fiercely turns around and heads for the door.
PROFESSOR X
Logan!
LOGAN opens the door, rushes out and slams it shut behind him.
CLOSE ON THE PROFESSOR who looks stunned and concerned.
EXT. THE SCHOOL'S YARD - AFTERNOON
BACK VIEW of LOGAN sitting on an erratic block in a quiet area of the school's yard.
MARIE approaches him from behind.
MARIE
(carefully)
Logan?
LOGAN
You're better off somewhere else, Kid.
MARIE
I want to be here now. And my name is
Marie, not Kid.
LOGAN turns his head and looks at her, mild amusement shimmering through his serious
and worried expression.
LOGAN
Suddenly grown up, huh?
MARIE climbs up onto the rock and sits down beside him.
MARIE
Still running?
LOGAN
Can't run away from this.
MARIE
That's what I used to think, too.
CONTINUED:
LOGAN
What do you mean?
MARIE
My so-called gift. I thought it was a curse
until I met you and the Professor.
I'm learning now. Learning to control this
power, to use it in the right way.
LOGAN
Yes, it works with some people.
MARIE
It can work with you, too.
LOGAN
(gives her a sharp look)
What are you talking about?
MARIE
I - didn't mean to snoop around, but I -
saw it.
LOGAN
You were in my room. I should have known.
LOGAN jumps from the rock and quickly walks away.
MARIE climbs down from the rock.
MARIE
Logan!
The firm tone of her voice makes him stop, but he doesn't turn around.
MARIE
How can you just walk out on us?
Now LOGAN turns around.
LOGAN
(angry yet surprised)
Walk out on you?
MARIE
Yes. We need you. You can't just leave
us alone here.
(beat)
Where do you want to go, anyway?
LOGAN
I'll find a place.
LOGAN turns away and walks down the path.
MARIE reaches for the dog tags under her shirt.
MARIE
(whispering)
But your place is here.
CONTINUED:
CLOSE ON MARIE holding the tags through her shirt.
FADE OUT
INT. MARIE'S ROOM - SHORTLY AFTER
ALISON is lying on her bed when MARIE opens the door and comes inside, still holding the
dog tags, now over her shirt.
ALISON
He's gone, huh?
MARIE drops on the bed, staring at the ceiling.
MARIE
He promised to protect me.
(beat)
He promised. And now he just walked away.
MARIE looks at ALISON with tears in her eyes.
ALISON stands up and drops on Marie's bed beside her. Carefully she strokes her hair,
cautious not to touch her skin. As MARIE starts to weep, we
FADE OUT.
INT. PROFESSOR XAVIER'S OFFICE - LATER THAT DAY
PROEFSSOR X. sitting at his desk, writing something down when a KNOCKING at the door
is HEARD.
PROFESSOR X
Come in, Rogue.
MARIE comes inside and sits down on a chair in front of the desk.
PROFESSOR X
I take it that you want to talk about Logan.
MARIE
Did he talk to you?
PROFESSOR X
Yes, but he didn't tell me much, and it was
all rather incoherent. I know quite a few things
through my research, though. How much
do you know?
MARIE
I'm afraid I might know more than you do.
And I'm scared.
PROFESSOR X
For yourself?
CONTINUED:
MARIE
For Logan.
MARIE pulls a file out from under her shirt and puts it on the table.
MARIE
He left this here.
PROFESSOR X opens the file and starts to read. After a while, he looks at Marie.
PROFESSOR X
This confirms my worst misgivings.
Marie, I know that you want to, but we
can't look for him and get him back now.
He wouldn't return of his own free will,
not yet. Please call the others. They have
a right to know why Logan won't be with us
in the battle that's ahead of us.
FADE OUT
INT. THE WAR ROOM - NIGHT
STORM, CYCLOPS, JEAN, ROGUE, LONGSHOT and PROFESSOR XAVIER (in this order)
have gathered around the table. The file marked with "X" is lying on the table in front of the Professor.
LONGSHOT
They created their own little team of
sleepers? Scary.
PROFESSOR X
And it is probably the reason why Logan
left in such a hurry. He's afraid of what he
doesn't remember. All he knows is that he,
together with a handful of other pitiable men,
was taken away his memories, with
fragmentary false memories implanted
instead. His already fierce nature was rid
of the control given to humans, so as to
make him a merciless killer when his time
would come. I believe that he and the others
were chosen because of the mutation they
have in common - the ability to heal quickly
that also slows their aging process. It was this
mutation that let them survive the implantation
of the adamantium that was apparently crafted
to the skeleton of each subject.
SCOTT
Those sleepers could be programmed years
and years in advance.
STORM
Do we know who the other men are,
and if they are still alive?
CONTINUED:
PROFESSOR X
We don't, but Logan might. The experience
of being confronted with his past might trigger
some memories. The problem is that neither
he nor we know if they are true or false.
JEAN
Would it be possible for you to scan his
memories and help him remember?
PROFESSOR X
If he comes back, I can try. It might be
necessary for us to combine our powers,
as the barrier blocking his memories is
very strong. Yet, whatever we find might
still be an implanted memory.
ROGUE
(lowly)
He must feel so lonely.
LONGSHOT who is sitting next to Rogue puts an arm around her.
LONGSHOT
He'll be fine. And he'll come back. Hey, he'd
be a fool to stay away from you longer than
necessary.
ROGUE returns a grateful smile.
FADE OUT.
INT. MARIE'S ROOM - NIGHT
ALISON is sitting at her desk writing something, her back to the door. When the door opens
behind her, she doesn't look up at first.
ALISON
Where have you been all day?
Now ALISON looks up, to see MARIE enter the room with LONGSHOT standing outside.
ALISON
Oh.
LONGSHOT
(overlapping)
Will you be okay?
MARIE
Yes, thanks.
LONGSHOT
Good night.
LONGSHOT pats MARIE'S shoulder and nods at ALISON.
CONTINUED:
MARIE
Night.
MARIE drops on the bed, and ALISON turns back to her notepad.
ALISON
He's very caring.
MARIE
Yes, he is.
ALISON
Does he like you?
MARIE
I think so - oh, you mean °like°.
Don't know.
ALISON
Hm. Do you like him?
MARIE
Yes.
ALISON
I mean, do you °like° him?
MARIE
Maybe. A bit.
MARIE looks at the ceiling, and we see a CLOSER ANGLE ON ALISON who puts down her
pen, on her face a mixture of happiness for her friend and sadness / envy.
FADE OUT.
INT. A HALLWAY IN THE SCHOOL - NIGHT
The hallway is empty, except for SCOTT who is trying to keep pace with PROFESSOR
XAVIER'S wheelchair.
SCOTT
All I'm saying, Professor, is that we
should think about a pre-emptive strike.
PROFESSOR X
The answer is no, Scott. Until now,
there haven't been any signs that Magneto
and Essex are planning something.
SCOTT
You can't be serious. Two of the most
vicious mutants in the world join forces,
and you seriously believe they don't
have some wicked plan in mind?
CONTINUED:
PROFESSOR X
I don't say they haven't, but we can't
attack them because they might scheme.
I don't want to see you in a fight that was
caused simply and solely by mutual aversion,
even though I understand your hatred.
SCOTT
So we're the ones who keep the peace?
But at what price? What if they attack °us°?
The PROFESSOR stops his wheelchair and thus forces SCOTT to stop as well and listen to
him.
PROFESSOR X
We will be prepared.
(beat)
°You° will be prepared.
SCOTT
(lowly)
You better be right.
SCOTT walks away in the opposite direction. We follow him for a second from XAVIER'S
POV.
EXT. A STREET IN DOWNTOWN NEW YORK - NIGHT
Although it is already dark, there are still quite a few people on the streets. Suddenly, people
on the sidewalk are pushed aside by a huge figure that we soon recognize as
SABRETOOTH. Walking behind him are SINISTER, RIPTIDE and a TALL MAN who has
somewhat reptile-like features. They are walking quickly and in a manner that looks like they
knew exactly where they were going.
And really - they steer towards the entrance of an upper-class hotel.
CUT TO:
INT. HOTEL LOBBY - NIGHT
The lobby is crowded with journalists, and a desk has been set up at the far end of the hall.
A sign near the door reads "Senator Gear Speaking Tonight". A man who we realize
must be GEAR is standing behind the desk, talking to a few JOURNALISTS.
The door is flung open, and the bunch of mutants comes inside, led by SINISTER. They walk
through the lobby and straight towards GEAR. All heads turn toward them, and TWO
BODYGUARDS in black suits step beside Gear.
The mutants stop about two yards away from the desk, and SINISTER nods at the TALL
MAN.
SINISTER
Tusk. Would you please…?
TUSK nods and clenches his fists. He starts to shake a little, and out of his back, little
creatures that look exactly like the mutant pop and drop to the ground.
CONTINUED:
THE BODYGUARDS seem insecure. With drawn weapons, they look at what is happening,
unsure whether the strange incident means any danger to their protégé.
All of a sudden, the LITTLE TUSKS pounce on THE BODYGUARDS who react too slowly.
Within seconds, they have been disarmed and brought down by the little creatures. We don't
see them as they disappear behind the table.
SABRETOOTH walks towards the SENATOR and seizes him by his throat.
SINISTER
Your political course is steering this country
directly into disaster. Don't you think it's
time to
(beat)
change gear?
SINISTER nods at SABRETOOTH who grabs the Senator's throat even tighter. GEAR
breathes stertorously for a second, then slumps in Sabretooth's grasp.
SINISTER turns towards the reporters who instinctively step back.
SINISTER
I couldn't help the pun. Please forgive me
if it was too blatant.
SINISTER takes a bow and nods at Sabretooth again.
SABRETOOTH drops GEAR who limply falls on the table and lies there with his face down.
THE LITTLE TUSKS return to TUSK and climb up his back to vanish below his skin.
SINISTER walks towards the door, and SABRETOOTH, RIPTIDE AND TUSK follow him outside.
Some of the journalists helplessly bend over the Senator while others assume position in
front of their cameramen and start talking into their microphones frantically.
FADE IN: EXT. REMOTE AREA OF XAVIER'S SCHOOL'S YARD - NIGHT
LONGSHOT strolls down a path, his hands in his pockets. Suddenly we HEAR A FEMALE
VOICE SINGING, very lowly at first. LONGSHOT raises his head and looks around, trying to
locate the source of the sound. He then walks a few steps and stops at a tree, hiding behind
it while he looks at something o.s.
LONGSHOT'S POV:
ALISON sits on a small rock with closed eyes. She sings the same sad tune that we have
heard in the dark street in Chicago, just without accompanying herself on a guitar. A soft red
glow illuminates her face, but there is no light source around.
CLOSE ON LONGSHOT'S FACE that is half in the shadows behind the tree. There is
fascination and a trace of surprise in his face, and then his expression turns pensive.
FADE OUT.
EXT. A SNOWY LANDSCAPE IN THE CANADIAN WILDERNESS - DAY
We PAN OVER A SNOW-COVERED FOREST until we see a small cabin from whose
chimney smoke emerges.
Still SLOWLY PANNING, we HEAR the SOUND OF WOOD BEING CHOPPED.
CLOSE-UP ON A PIECE OF WOOD falling to the ground.
Now we see a BACK VIEW of WOLVERINE in jeans and a grey t-shirt with cut-off
sleeves, who is putting another piece of wood on a trunk with his left hand. His right hand
hangs loosely at his side, and we don't see it. Only when he raises his hand for a back
swing, we see that he is not holding an axe, but has extended one of his claws to chop the
wood.
While WOLVERINE is working, we CIRCLE him until we see a giant heap of chopped wood
behind him, stacked up at the wall of the house. We realize that he doesn't need all the wood
to get through the winter but is rather seeking diversion.
Now from the front, we see WOLVERINE work so frantically as if it was a matter of life and
death to get the whole forest reduced to small pieces. He is not sweating, but the clouds that
his fast breath forms show how exhausted he already is.
After a while, WOLVERINE raises his right hand, and with a rough yell, he slams his claw on
the piece of wood so fiercely that also the trunk is neatly cut in half. WOLVERINE retracts his
claw, walks a few steps and heavily drops on a bigger trunk nearby.
We ZOOM OUT from above until he is merely a tiny spot amidst the overwhelming
landscape of the mountains.
EXT. THE YARD OF XAVIER'S SCHOOL - DAY
ORORO and ALISON are standing on the lawn. ORORO hangs up a target on a branch of a
tree and walks over to Alison.
ORORO
Okay, try again.
ALISON
It's useless. It won't work.
ORORO
Remember what I told you. Don't spend
yourself. Picture your hands as a
floodgate, and open the gate only a little bit.
ALISON
Sounds so easy when you say it.
ALISON takes a deep breath and shakes briefly like a young dog. Then she raises her hands
and hums, and we see the well-known red glow between her hands. All of a sudden, a bright
beam of light shoots towards the target and literally evaporates it.
ALISON
No!
(to ORORO)
I told you it wouldn't work.
Before ORORO can reply anything, LONGSHOT enters the scene from behind.
CONTINUED:
LONGSHOT
Looked good to me.
LONGSHOT looks at the target.
LONGSHOT
Wouldn't let you light the grill, but the
visual impression is excellent.
ALISON
That's not funny.
LONGSHOT
(seriously)
Wasn't making fun of you.
(to ORORO)
May I borrow her for a while?
ORORO nods.
LONGSHOT offers Alison his arm.
LONGSHOT
Come on, let's talk.
ALISON takes his arm, and they walk away.
CUT TO:
EXT. ANOTHER PART OF THE SCHOOL'S YARD - SHORTLY AFTER
ALISON and LONGSHOT are sitting on the back rest of a bench, their feet on the seat.
LONGSHOT
Could you try to explain to me how
exactly this fireball thing works?
ALISON
Somehow I can turn sound into light, or
some kind of energy.
I don't really understand it, but this
seems to be the core of it.
LONGSHOT
So that's why you do this humming thing?
ALISON
Yes.
LONGSHOT
Uh, wait a sec.
(beat)
Could it be that there's already enough
sound around?
ALISON
What do you mean?
CONTINUED:
LONGSHOT raises his index finger to his mouth and thus gestures ALISON to be quiet.
They sit in silence for a while, and we HEAR CHILDREN LAUGHING, FOUNTAINS
RIPPLING, BIRDS SINGING, THE WIND BEING CAUGHT IN THE TREES and MORE NATURAL SOUNDS.
LONGSHOT
It's never completely quiet.
(beat)
Pick a sound. Any sound. Focus on it
and picture what it would look like if it
was pure light. Hold it just between two
fingers of your hand.
LONGSHOT puts together the index finger and thumb of his left hand as he speaks.
ALISON gives him an insecure look and closes her eyes.
We HEAR ALL SOUNDS FADE EXCEPT FOR THE CHIRPING OF A SINGLE BIRD as we
ZOOM IN ON ALISON'S FACE.
ALISON raises her right hand in front of her face, bringing her index finger and thumb close
together. A tiny ball of reddish light appears between them, and ALISON opens her eyes.
LONGSHOT smiles at ALISON, and she smiles back, surprised and happy. ALISON opens
her hand and softly blows at the little ball of light, and it leaves her hand and rises about two
feet into the air before it explodes in a tiny shower of red light that looks like miniature
fireworks.
ALISON hugs LONGSHOT, but all of a sudden she releases him and gives him a sheepish
smile.
ALISON
Thank you.
LONGSHOT
My pleasure. Well done, Songbird.
ALISON
Songbird?
LONGSHOT
I heard you last night.
ALISON
(surprised)
I thought there had been nobody around.
LONGSHOT
(sheepishly)
I didn't want to disturb you. I hope you're
not angry with me.
ALISON
Uh, no.
(beat)
Did you like it?
LONGSHOT
Yes.
CONTINUED (2):
We see ALISON and LONGSHOT for another few seconds, sitting quietly, before we
CUT TO:
INT. MARIE'S ROOM - SHORTLY AFTER
MARIE is sitting at her desk with several physics books in front of her.
The door opens, and ALISON comes inside, a happy smile on her face. She walks over to
her bed and jumps onto it, landing flat on her back.
ALISON
Ain't life great?
MARIE looks up.
MARIE
Sometimes.
(beat)
Anything you want to tell me?
ALISON
(hesitates)
No.
(beat)
Just having a blast of a day. Look!
ALISON raises her index finger, and on its tip, a tiny reddish light ball appears. She flicks it in
the air, and it bursts into another little firework.
MARIE stands up, dashes over to ALISON and hugs her.
MARIE
You can control it. That's fantastic!
A KNOCKING ON THE DOOR IS HEARD.
MARIE and ALISON
Come in!
LONGSHOT opens the door. He looks at the two girls who both return an expectant look.
LONGSHOT
Hi.
(beat)
I just wanted -
(beat)
Ah, never mind.
LONGSHOT retreats and closes the door behind him.
Both girls look at the door, and MARIE is the first to turn to her friend again, seeing that
ALISON obviously has a crush on Longshot.
ALISON now looks at Marie, realizing that her feelings are all too visible for her.
ALISON
You like him, too, huh?
CONTINUED:
MARIE
He likes you.
ALISON
You don't know that.
MARIE
I can see it.
ALISON
He seemed pretty irresolute to me.
MARIE takes ALISON'S hand, which reminds us of her gloves again.
MARIE
I told you what happened to the
first boy I kissed.
ALISON looks away, very uncomfortably.
MARIE
You want to know if I like him? I do,
and very much so. But don't you see
the point?
MARIE releases ALISON and raises her hands, showing her gloves.
MARIE
You learned to control your powers.
I still have a long way to go, and sad
as it is, I'll have to go it alone.
ALISON
(lowly)
Not all alone.
ALISON embraces MARIE, and the two girls sit on the bed, obviously very moved, without
the previously noticeable subliminal tension between them.
INT. A CORRIDOR IN THE SCHOOL - SAME TIME
LONGSHOT hastily walks down the corridor and is approaching the staircase leading
downwards when JEAN appears at the top of the stairs.
JEAN
Something happened.
CUT TO:
INT. THE WAR ROOM - SHORTLY AFTER
PROFESSOR X, SCOTT AND ORORO are sitting at a table. JEAN AND LONGSHOT come
inside, walk over to the table and sit down as well.
CONTINUED:
PROFESSOR X
As we are present in full number now,
I want to show you something that
happened at the Royal Hilton last night.
PROFESSOR X presses a button on a remote control, and a rectangular tile at the wall turns
into a TV screen. It shows the incident at the hotel. When the camera turns on a reporter
who comments the events, we PAN to PROFESSOR X.
PROFESSOR X
For those of you who haven't met him yet -
the leader of this group of mutants is
Dr. Nathaniel Essex, also called Sinister.
He is a brilliant scientist, unfortunately with
the wrong aims. Other than his genius,
his gifts include an exceptional control over
his body's molecules that allows him to
change shape, among other things.
LONGSHOT
Well, choosing a silver skin certainly makes
him eccentric then. Who are the others?
PROFESSOR X
They are all mutants. The tallest of them
is called Sabretooth, an old acquaintance
of ours. We thought him dead after our last
encounter, but apparently he survived,
which means that in addition to his abnormal
strength, he must possess healing abilities
similar to those that are given to Logan.
The other tall mutant that produced smaller
duplicates of himself was called Tusk by
Sinister. I don't know if this is his only ability,
but even so, he appears dangerous to me.
His duplicates seem to have intelligence
and act on their own yet together, which
means that if you fight him -
LONGSHOT
(overlapping)
You fight a whole bunch of -
(beat)
- "hims".
PROFESSOR X
Yes. The last mutant is unknown to me
as well. I don't know his name or what he
is capable of, so if you meet him, be very
careful.
LONGSHOT
Meet him? You mean, we finally get out
on the street?
PROFESSOR X hits another button on the remote, and a different TV report appears on the
screen, showing a JOURNALIST in front of another hotel.
CONTINUED (2):
JOURNALIST
…that Senator Jameson has been missing
from his hotel room since this morning. The
police remain silent about the circumstances
of his vanishing, but according to sources
within the hotel, he might have been abducted
by the same people who murdered Senator
Gear last night. The politicians who are visiting
New York for the conference that will take place
in three days are scared, some have even
announced their departure. Nobody knows what
we are dealing with. Is it a mad serial killer?
Maybe, but probably not. Looking at the culprits,
it seems to be certain that this is a vengeance
campaign led by mutants who don't approve
the government's course. And may God help
us when they are finished with the politicians.
ORORO
He's killing the leading politicians?
SCOTT
One after another. And all mutantkind
is blamed.
JEAN
Why should he do this?
PROFESSOR X
The question that is on my mind is -
why would Magneto do this? His declared
goal is a world that is safe for mutants.
SCOTT
Don't you think he would kill for this?
He's done it before.
PROFESSOR X
Certainly, but this doesn't make any sense.
It's simply not Magneto's line of action. He
is far more - subtle when he wants to achieve
something, and he must know that openly
killing politicians and, moreover, making it
obvious that mutants are responsible, doesn't
help his cause. No, I'm afraid this is Sinister's
plan. I feel very uncomfortable sending you out
there, but we must stop the killing.
LONGSHOT
Hey, wait. Are you telling us that the Senators
aren't necessarily what Sinister wants? You
mean, we're running directly into a trap?
PROFESSOR X
Honestly, I don't know. It might very well be a
trap, but it is also possible that he is really
planning to replace the whole government,
perhaps with his own people.
CONTINUED (3):
SCOTT
Who would be…?
PROFESSOR X
I have no idea. However, if this is his plan,
the conference in three days will be where
we will find him.
LONGSHOT
We'll need one heck of a plan, Sir. There are
hundreds of politicians attending the conference,
50 of them - okay, 48 of them - senators from
all over the States. If we screw it, this is gonna
be a disaster.
PROFESSOR X
I know. And this is why the training in the Danger
Room might just not be enough.
SCOTT
What are we going to do?
PROFESSOR X
In the days remaining until the conference,
we have to protect the other politicians
from Sinister and his men.
SCOTT
Excuse me? As Longshot just said, there
are hundreds of them that will attend the
meeting.
JEAN
Yes, but many of them haven't arrived yet.
Most of those who already are in town live
in the same hotel. This makes it a lot easier
to guard them.
SCOTT
What are you going to do meanwhile,
Professor?
PROFESSOR X
I need to talk to somebody who might know
more about this than we do.
FADE OUT
EXT. CENTRAL PARK, NEW YORK - AFTERNOON
It is a cold but clear day. Many strollers slowly make their way through the park, especially
many mothers with young children.
CLOSER ANGLE ON PROFESSOR X who is sitting in his wheelchair beside a bench whose edge we see.
PROFESSOR X
I am glad you could make it here.
CONTINUED:
Now we see that there is somebody sitting on the bench. It is Erik Lehnsherr.
ERIK
Why do you want to talk with me?
PROFESSOR X
Is it not obvious?
ERIK
The killings.
PROFESSOR X
Why?
ERIK
Don't ask.
PROFESSOR X
I have to know. Erik, this can't be what
you want. A world in which mutants are
understood and respected, hasn't that
always been your goal?
ERIK
Among other things, yes.
PROFESSOR X
So what did those people have to die for?
What is Sinister planning?
ERIK
Be careful, Charles. This is all I can tell you.
PROFESSOR X
Why are you working together with him?
Because he freed you? What did he promise
you? Freedom for all mutantkind? Erik, you
know Essex. Even if he keeps his promise,
it will have an awful price, one that might
destroy you.
ERIK looks at a YOUNG WOMAN that's passing by, pushing a baby carriage with an
exceptionally cute little baby inside.
ERIK
Look at those two. What a peaceful image.
A young mother with her child. She cares for
it, protects it from all peril. Don't you think
she wants it to grow up in joy?
(beat)
The pursuit of happiness. A right guaranteed
to all Americans - be it that they are different
by birth. Could you tell if this baby is a mutant?
And if it is, do its genes make it less human?
Charles, we are the ones who know best that it
is not your genotype that is responsible for your
humanity.
ERIK looks after the YOUNG WOMAN that is now walking away from them.
CONTINUED (2):
ERIK
What if somebody can promise you that what
has happened before will not happen again?
Would you not be willing to pay a price, however
high it might be? Charles, I don't want to have
to wear a star on my chest again.
(beat)
Not if I can help it.
ERIK stands up, and seemingly from out of nowhere, a NURSE appears that looks exactly
like we would picture MYSTIQUE if she wasn't all blue.
ERIK
Be on guard, Charles. And have a close eye on
Jean Grey.
ERIK and MYSTIQUE walk away, and PROFESSOR X remains at the bench, looking very
serious and thoughtful.
FADE OUT
INT. THE BLACKBIRD ROOM - NIGHT
JEAN, CYCLOPS, STORM AND LONGSHOT are preparing to leave, all wearing their
uniforms. Suddenly a sliding door opens, and PROFESSOR X comes inside.
PROFESSOR X
Jean, you will stay here.
CYCLOPS
What?
JEAN
(overlapping)
Why?
PROFESSOR X
Whatever Sinister is planning, it has to
do with you. I don't know how, though,
and until I know, you will stay at the
school where you are safe.
JEAN
But Professor -
PROFESSOR X
Jean, please.
JEAN bows her head and walks over to the Professor, away from the Blackbird.
CYCLOPS
How are we supposed to fight like this?
We are three people, and one of us doesn't
have any experience in battle. We'll have
to protect a whole hotel full of politicians.
CONTINUED:
PROFESSOR X
I trust in your abilities, Scott. You have an
exceptional talent to coordinate and to
overview dangerous situations, that is why
you are the leader of the X-team.
CYCLOPS nods silently and walks towards the Blackbird. JEAN quickly comes after him and
turns him around. She gives him a soft kiss.
JEAN
Be careful.
CYCLOPS
(smiles)
Sure. You too.
Meanwhile, STORM and LONGSHOT have entered the Blackbird. CYCLOPS follows them,
and the hatch closes.
JEAN and PROFESSOR X leave the room, and the sliding door closes behind them. The
engines of the Blackbird are started.
CUT TO:
EXT. THE SCHOOL'S BASKETBALL COURT - CONTINUED ACTION
The ground shakes, a large hatch slides open, and the Blackbird emerges from the
basement, hovering over the ground for a second before it shoots right up into the nightly
sky.
INT. A CORRIDOR IN THE SCHOOL - NIGHT
JEAN walks beside PROFESSOR X'S wheelchair.
JEAN
Can't you tell me what's so dangerous
that I can't leave the school? And why me?
PROFESSOR X
I only know that for some reason it is you
that Sinister wants. I will try to find out
more, but until then, we are in a difficult
situation. With Cyclops and Storm on a
mission, the school is less protected than
I feel comfortable with. I will contact Logan,
maybe he is ready to come back.
JEAN
Is there anything I can do?
PROFESSOR X
All I can give you is an administrative order.
There have been rumours of a mutant sighting
in Europe. The mutant is said to be quite (more)
(cont'd)
powerful. Please try to find out who he is and
what his gift is, and perhaps persuade him to
visit us.
JEAN
(dryly)
All this without leaving the school.
PROFESSOR X
I have to admit I am trying to keep you busy.
But please do me the favour. It is all we can
do right now.
JEAN
Of course.
JEAN takes PROFESSOR XAVIER'S hand and presses it gently, then she walks down the
corridor.
CUT TO:
INT. PROEFSSOR XAVIER'S OFFICE - SHORTLY AFTER
PROFESSOR X holds a little device that looks somewhat like a mixture of the pocket
Cerebro and a cell phone and presses some buttons.
CUT TO:
INT. A CABIN IN CANADA - SAME TIME
LOGAN is sitting on the ground in front of the fireplace, his legs crossed, and stares at the
flames.
CLOSE on his ears as he seems to HEAR something. He stands up and walks towards
the door.
CUT TO:
EXT. THE CABIN- CONTINUED ACTION
We see the cabin, its windows illuminated from inside, and the pick- up standing a few yards
away from the door. Something inside the car is flashing blue.
The cabin's door opens, and LOGAN comes outside. With heavy steps, he trudges through
the snow and towards the car. He tears the door open and glances inside.
CUT TO:
INT. LOGAN'S CAR - CONTINUED ACTION
LOGAN is leaning inside the car and staring at something that looks almost like a radio but is
now flashing blue. After a second, he presses a button and starts to read the message that
(more)
CONTINUED:
appears on the display and starts with "LOGAN - SERIOUS PROBLEMS - SCHOOL
UNPROTECTED -" - at that point, we PAN away from the communications device and to
LOGAN'S FACE who looks insecure and then angry. He tears the device out of its place and
flings it outside.
CUT TO:
EXT. THE CABIN - CONTINUED ACTION
We see the device fly through the air and crash to the ground where the flashing stops after
a second. LOGAN walks away from the car and back toward the cabin.
CUT TO:
INT. THE CABIN - CONTINUED ACTION
The door is opened, and LOGAN is about to walk inside when he suddenly stops. The
astounded expression on his face is illuminated by the flickering fireplace.
CUT TO:
INT. PROFESSOR XAVIER'S OFFICE - SAME TIME
PROFESSOR X is sitting behind his desk, his eyes closed, obviously very concentrated.
CUT TO:
INT. THE CABIN - CONTINUED ACTION
LOGAN is still standing in the doorframe. The expression on his face turns from
astonishment to desperate anger as he walks inside and slams the door shut.
LOGAN
(shouts)
Leave me alone!
CUT TO:
INT. PROFESSOR XAVIER'S OFFICE - CONTINUED ACTION
PROFESSOR XAVIER still behind his desk, his eyes closed.
PROFESSOR X
(whispers)
I'm sorry. I can't. Logan, we -
CUT TO:
INT. THE CABIN - CONTINUED ACTION
LOGAN holds his head with both hands as if he was in physical pain.
PROFESSOR X (V.O.)
(echoing)
- need you.
LOGAN
(shouts)
No!
He turns around, still holding his head, and looks at the flames in the fireplace. Suddenly, the fire seems to come to life. Shapes form that look like faces - faces that Logan knows too well.
LOGAN'S POV:
CLOSER ANGLE AT THE FIREPLACE as a hazy image of JEAN'S FACE appears. Though the image is not very clear, we see that she is in pain. A man that we recognize as SINISTER reaches out for her and pulls her towards him.
LOGAN stretches out his hand and reaches for the flames, getting so close to them that he actually burns his hand.
LOGAN
(whispers)
No.
LOGAN slowly pulls his hand back, and as he clenches his fist, we see how his wounds
heal. Then he fiercely turns around and walks towards the door. He goes outside and closes
the door behind him.
We HEAR AN ENGINE that is being started and then roars up.
CUT TO:
INT. PROFESSOR XAVIER'S OFFICE - CONTINUED ACTION
THE PROFESSOR opens his eyes and puts his hands on the table. Sweat glistens on his
forehead, and he looks very exhausted.
PROFESSOR X
Thank you.
FADE OUT
EXT. THE ROOF OF A HOTEL IN NEW YORK CITY - NIGHT
The roof is dark and quiet until we HEAR THE SOUND OF THE APPROACHING
BLACKBIRD. Seconds later, it comes into sight and softly touches down on the roof. The
engine is turned off, and everything is as silent as before.
CUT TO:
INT. THE INSIDE OF THE BLACKBIRD - NIGHT
LONGSHOT, STORM AND CYCLOPS are sitting each in their seats. CYCLOPS releases
his breath as if he had been very tense before.
LONGSHOT
Nice landing.
SCOTT
(grins)
I practiced.
CUT TO:
INT. THE HOTEL'S ELEVATOR SHAFT - NIGHT
CYCLOPS, STORM AND LONGSHOT (in this order) rope down through the shaft and stop
in front of a closed elevator door. CYCLOPS directs a brief laser beam at a case beside the
door, and the door slides open. CYCLOPS sticks his head through the frame and looks left
and right.
CYCLOPS' POV:
THE CORRIDOR TO THE LEFT - it is empty and quiet.
THE CORRIDOR TO THE RIGHT - same thing.
CYCLOPS
(lowly)
The coast is clear. Come on.
CUT TO:
INT. THE CORRIDOR - SECONDS LATER
CYCLOPS, STORM AND LONGSHOT quietly walk down the corridor and try a few doors.
When they find one that is not locked, they slip inside.
CUT TO:
INT. A HOTEL ROOM - CONTINUED ACTION
LONGSHOT closes the door and releases his breath.
LONGSHOT
Now we're inside, but how do we find out
if Sinister and his gang are here?
CYCLOPS raises his hand. On his wrist, the pocket Cerebro is attached.
CYCLOPS
Professor Xavier is going to continually
scan the hotel. If he finds any of the other
mutants' signatures, he will send the data
to the handheld device, and we can
detect them.
CONTINUED:
LONGSHOT
Ah. And what do we do until then?
CYCLOPS
We wait.
CUT TO:
INT. THE CEREBRO ROOM - NIGHT
PROFESSOR X is connected to Cerebro, and in this instant, the room changes. Through fog
that slowly clears up, we see a room in which obviously a dinner party is taking place. We
pass several people as if we were walking through the crowd, and stop at a man, dressed in
a black suit, who is talking to some others, laughing every now and then.
CLOSE ON THE PROFESSOR
PROFESSOR X
Sinister?
We see another short image of the same man, who doesn't look like Sinister at all.
CUT TO:
INT. THE HOTEL ROOM - LATER
LONGSHOT is lying on a couch watching TV while STORM AND CYCLOPS are standing
ready for action.
Suddenly the pocket Cerebro goes off with low beeps and a flashing red light.
CYCLOPS looks at the device.
CYCLOPS
Got him.
LONGSHOT jumps up.
LONGSHOT
Well then, what are we waiting for?
CYCLOPS
He's in the lobby. We have to change.
That is, you have to change.
LONGSHOT
Pardon me?
CUT TO:
INT. THE HOTEL ROOM - SHORTLY AFTER
We see a CLOSE-UP ON A BOW-TIE that is in this instant fastened by STORM. We ZOOM
OUT until we recognize that the man dressed in the suit is LONGSHOT.
CONTINUED:
STORM
You look great, we should just do
something about the hair.
LONGSHOT
I don't think this is a good idea.
CYCLOPS
You're the only one of us who can get
down into the lobby without causing a
panic. Except from your - hair, you fit
right into the party.
LONGSHOT runs his hand through his hair that looks rather wild.
LONGSHOT
Can't have everything.
STORM
It will have to do.
CYCLOPS gives LONGSHOT the pocket Cerebro.
CYCLOPS
You will need this. If you detect him,
try and get him up here. He doesn't
know you, so maybe you can outsmart
him.
LONGSHOT
Is this our plan?
CYCLOPS
Well - yes.
LONGSHOT
How well-prepared we are. Ah, maybe
we're lucky. I think I have another plan.
LONGSHOT gives a boyish grin and walks towards the door.
CUT TO:
INT. THE HOTEL'S LOBBY - SHORTLY AFTER
The room looks like we have seen it in the Cerebro room. It is festively decorated, and men
who can only be politicians, and also a few women, stand around having drinks and small-
talk.
LONGSHOT enters the room, wearing a page uniform that obviously doesn't fit him. He
looks at his wrist and then around, and we follow his look PANNING THROUGH THE
ROOM until we see the man from Xavier's Cerebro vision.
LONGSHOT straightens himself and marches towards the man.
LONGSHOT
Excuse me, Sir.
CONTINUED:
THE MAN turns around.
MAN
Yes?
LONGSHOT
Sir, I'm terribly sorry to interrupt you,
but there seems to be a problem in
your room.
MAN
Oh yes?
LONGSHOT
Yes, and I'm afraid we need you to
correct this.
MAN
Certainly.
The MAN turns back to his conversation partners.
MAN
I beg your pardon. I will be back with
you in a few minutes.
The OTHER GUESTS nod, and the MAN follows LONGSHOT.
CUT TO:
INT. AN ELEVATOR IN THE HOTEL - NIGHT
LONGSHOT AND THE MAN both stand facing the door.
MAN
So what exactly is the problem you
were talking about?
LONGSHOT
I think it has to do with vermin, Sir.
I was only sent to pick you up.
MAN
Vermin, aha.
THE MAN looks down at LONGSHOT.
CLOSE VIEW AT LONGSHOT'S WRIST where we can clearly see the pocket Cerebro.
MAN
Did you really think you could fool me?
LONGSHOT winces, but still keeps up his disguise as a page.
LONGSHOT
Pardon, Sir?
CONTINUED:
MAN
Your poor try to take me captive.
Whose idea was this? Xavier's?
Do you think you can protect the
politicians like this?
While he was talking, the MAN turned towards LONGSHOT.
LONGSHOT backs away but soon hits the wall of the elevator cage. The MAN slowly follows
him, and while he moves, his face changes and turns all silvery.
SINISTER
Give Xavier my greetings. He has
to send more than a hollow-boned
mutant greenhorn to even make the
game interesting for me.
SINISTER brings his face close to LONGSHOT'S.
LONGSHOT'S eyes widen with surprise and fear, and blood starts dripping from his nose.
LONGSHOT
(strained)
We'll get you.
SINISTER
(grins)
Certainly.
(beat)
Good night.
LONGSHOT moans lowly and slumps against the wall.
CUT TO:
INT. A ROOM IN THE SCHOOL'S SUBLEVELS - NIGHT
JEAN GREY is sitting in front of a whole bunch of computer monitors and other devices. She
hits several keys and looks a bit frantic. As the chair has wheels, she can push it between
the several computers and even halfway through the room while staying seated as she is
doing ten things at a time.
Suddenly one of the devices, a very futuristic looking thing, starts to beep.
JEAN heaves a relieved sigh.
JEAN
Finally.
JEAN picks up a headset and puts it on her head.
JEAN
Yes?
CUT TO:
INT. COLOGNE / BONN AIRPORT IN GERMANY - CONT. ACTION - DAWN
We see a MAN standing at a phone in a crowded hall in the Cologne / Bonn airport. Through
a large window, we see a concrete place and the taxiway with several big airplanes, and as
the sun is rising, it is reflected on the metal skins of the planes.
The MAN wears a trench coat, gloves some of whose fingers seem oddly limp, and a hat
that he has pulled deep down over his face so that we see only a shadow.
MAN
I was told to call you.
CUT TO:
INT. THE COMPUTER ROOM - CONTINUED ACTION - NIGHT
JEAN
Yes. We heard that you need a
place to stay.
CUT TO:
INT. THE AIRPORT - CONTINUED ACTION
JEAN (V.O.)
Did they give you the palmtop?
The MAN reaches inside his coat pocket.
MAN
Yes.
CUT TO:
INT. THE COMPUTER ROOM - CONTINUED ACTION
JEAN
I will now transfer the necessary data.
JEAN presses another button.
JEAN
Your new identity and the flight ticket
are now ready. In less than eight hours,
you will be in safety in the United States
of America.
CUT TO:
INT. THE AIRPORT - CONTINUED ACTION
The MAN looks up as a troop of MILITARY POLICE appears further down the hall,
apparently looking for somebody. Still, we don't see his face as he looks in the opposite
direction.
INT. THE AIRPORT - SAME TIME
One of the SOLDIERS shows a picture that we don't see to several people.
SOLDIER
Wir suchen einen gefährlichen Mutanten.
Haben Sie diesen Mann gesehen?
The SOLDIER looks up and sees the man in the trench coat stand at the telephone.
INT. THE TELEPHONE - CONTINUED ACTION
MAN
America, Europe, I could not care less
as long as I am out of here. Thank you
so much, Fräulein.
CUT TO:
INT. THE COMPUTER ROOM - CONTINUED ACTION
JEAN
(smiles)
Never mind. We are glad to help you.
Good luck, Herr Wagner.
WAGNER (V.O.)
Thank you.
We HEAR a CLICK as the line is cut, and JEAN smiles and leans back.
CUT TO:
INT. THE AIRPORT - TELEPHONE - CONTINUED ACTION
WAGNER hangs up and turns around, suspiciously regarding the soldiers that have come
closer. As he lifts his head, we see that his face is covered with blue fur, and that his eyes
have a soft yellow glow. He pulls his hat even deeper into his face and casually walks
towards the check-in area.
INT. THE AIRPORT - CONTINUED ACTION
The SOLDIER puts the picture into his pocket and makes his way through the crowd of
people, towards the telephone. When he looks at the booth, it is empty.
FADE OUT
INT. A CORRIDOR IN THE HOTEL - NIGHT
CYCLOPS AND STORM are waiting in front of the elevator.
CONTINUED:
CLOSE-UP ON THE DIGITS OVER THE ELEVATOR DOOR - they count up to "22", and
then a soft "ping" announces that the cage has stopped at this level.
CYCLOPS
Showtime.
CLOSE ANGLE ON THE ELEVATOR DOOR as it opens. Inside the cage, LONGSHOT
lies in a corner, blood covering his face below his nose.
VIEW AT STORM
STORM
Longshot!
VIEW AT THE ELEVATOR CAGE
STORM rushes forward and kneels down beside Longshot.
CYCLOPS
Is he okay?
STORM looks up.
STORM
I think so. He's alive and breathing.
(to LONGSHOT)
Hey, can you hear me?
LONGSHOT slowly opens his eyes.
LONGSHOT
Yes.
STORM
You okay?
LONGSHOT
Yeah.
LONGSHOT gets up, supported by STORM and CYCLOPS, then wipes the blood from his
face and grins.
LONGSHOT
Guess I was lucky. Folks, let's get
out of here.
CUT TO:
INT. THE BLACKBIRD - NIGHT
CYCLOPS, STORM AND LONGSHOT are sitting in their seats. LONGSHOT looks like he's
had it, but he doesn't seem too frustrated.
CYCLOPS
So what exactly happened?
CONTINUED:
LONGSHOT
It was Sinister. The bastard knew what
we were trying to do, and he - did
something to me. I don't know what it
was. He just looked at me, and I
somehow must have passed out.
CYCLOPS
He was one step ahead of us.
STORM
Maybe not only one step.
CYCLOPS
We need a new plan. And above all, we
need to know what he is planning.
CUT TO:
EXT. LIBERTY ISLAND - NIGHT
Only a few ships are on the water, and everything is quiet and peaceful until the
BALCKBIRD nosedives towards the surface and is pulled out only in the last instant. It rises
again and dashes off into the darkness.
FADE OUT
INT. A LAB ROOM IN THE SCHOOL'S SUBLEVELS - NIGHT
LONGSHOT is sitting on a slab while JEAN examines him and ORORO, SCOTT and THE
PROFESSOR stand nearby and watch.
JEAN points a flashlight at his eyes, and LONGSHOT turns his head away.
LONGSHOT
I told you I'm fine.
JEAN turns towards the PROFESSOR
JEAN
For all I can say, there is nothing
wrong with him.
PROFESSOR X
(to LONGSHOT)
You were lucky.
LONGSHOT
(grins)
That's what I'm saying.
PROFESSOR X
Nevertheless, you should get some rest.
The next days will be hard. The same
(more)
(cont'd)
goes for you - Scott, Ororo.
(to JEAN)
I need to talk to you.
LONGSHOT, ORORO and SCOTT leave the room, and PROFESSOR XAVIER turns to
JEAN.
PROFESSOR X
I'm not yet sure, but I think everything
that Sinister did was supposed to lure
you out of the school.
JEAN
But why should he want me?
PROFESSOR X
Your gift. Right now, your powers are not
yet fully developed, but I don't even dare
to estimate your full potential. He has been
experimenting with human and mutant DNA
in the past, so he might want your DNA.
JEAN
What for?
PROFESSOR X
I'm afraid to say it, but he has been trying to
create a kind of superior mutant.
JEAN
He wants to combine several powers in
one super-mutant?
PROFESSOR X
One that he preferably has control over, yes.
JEAN
Oh my God.
PROFESSOR X
Yes.
We see a CLOSE-UP ON THE PROFESSOR as we
FADE OUT.
EXT. A TERRACE OUTSIDE THE SCHOOL BUILDING - DAY
It is early morning. The sun has only just risen, and the day is still young.
PROFESSOR X and JEAN are having breakfast together on the terrace. They are sitting at a small round table.
JEAN
Running all those tests didn't help us
very much. Unless we know whose DNA
he wants to combine mine with, we have
(more)
(cont'd)
no idea what powers the - result might
possess.
PROFESSOR X
(smiles)
Well, at least it made us stay up long
enough to see this beautiful sunrise.
JEAN
(smiles)
Yes.
Suddenly a RINGING SOUND IS HEARD, and on a small panel at the table, lights flash up.
PROFESSOR X
(astounded)
We have a visitor?
JEAN rises from her chair, putting her napkin down with a sheepish smile.
JEAN
I completely forgot about him. I believe
it is somebody you'll be pleased to meet.
CUT TO:
EXT. THE SAME TERRACE - SHORTLY AFTER
THE PROFESSOR is still sitting in the same spot.
JEAN comes outside accompanied by WAGNER.
JEAN
Professor, I'd like you to meet Kurt
Wagner.
WAGNER
Professor Xavier, I believe. It's an
honour to meet you.
PROFESSOR X
The honour is all mine. I heard you
were in some trouble in Germany?
WAGNER
Yes. I don't know how you found me,
but I'm very grateful that you offer
me shelter here.
PROFESSOR X
Yet I have to admit that my offer was
not completely selfless. Please, sit down.
WAGNER takes off his hat to reveal a face that is covered with blue fur, plus pricked ears,
short-cut blue hair and yellow eyes, and sits down.
JEAN takes a seat as well.
CONTINUED:
PROFESSOR X
This school was created to educate,
support and protect young mutants.
Right now, though, we are dealing
with an extremist group that kills
politicians but actually means to attack us.
WAGNER
So no country is actually safe for us.
(beat)
Did you bring me here to fight? I'm not
a fighter, and I would never kill.
PROFESSOR X
The choice is yours. I hoped that you might
help us, but of course, this is not your battle.
You are more than welcome here, but I can't
promise that you will be safer here than you
were in your home country.
WAGNER
If you allow, I would like to stay here,
at least for a while. I may not be a fighter,
but I hope I can be of some use
nevertheless.
WAGNER smiles, we see a CLOSE-UP ON XAVIER who smiles and nods, and we
FADE OUT
INT. THE SCHOOL'S GARAGE - NIGHT
All vehicles except from Logan's pick-up are in the garage, but there are no people present.
Then we HEAR THE SOUND OF AN ENGINE, and the PICK-UP is steered onto a free spot.
CUT TO:
INT. LOGAN'S CAR - CONTINUED ACTION
LOGAN turns the ignition key, and the engine goes out. Despair on his face, he heavily leans
on the steering wheel before he straightens himself and opens the door.
CUT TO:
INT. A CORRIDOR IN THE SCHOOL - SHORTLY AFTER
LOGAN walks down the corridor and opens a wall panel that leads into an elevator cage.
After a short look inside, he closes it again and instead walks up the stairs.
CUT TO:
INT. MARIE'S ROOM - SECONDS LATER
The lights are turned off, and MARIE and ALISON are each lying in her bed, seemingly
sleeping.
The door is quietly opened, and LOGAN looks inside, his face only illuminated by the light
coming through the window. He looks at Marie first, then at Alison. Seeing that they are both
asleep, he slowly draws his head back.
MARIE
(whispers)
Are you back?
LOGAN hesitates, then comes inside, quietly closing the door behind him. He kneels down
beside the bed, and MARIE sits up.
LOGAN
Yes, I'm back.
MARIE
Then you might need these.
MARIE reaches under her nightshirt and pulls out the dog tags. LOGAN takes them and puts
them around his neck.
LOGAN
Thanks for taking care of them.
MARIE
Was the least I could do.
(beat)
You staying this time?
LOGAN
Yes.
(beat)
Yes, I think so.
MARIE hugs LOGAN.
LOGAN
I got work to do, Kid. There are
some mutants here who can't seem
to take care of their own problems.
MARIE
(smiles)
Guess you should help them out then.
LOGAN
See ya.
MARIE
Night.
(beat)
And Logan - my name's Marie. Not Kid.
LOGAN
(smiles)
Yeah.
LOGAN stands up and walks outside, closing the door behind him.
CONTINUED:
We see a CLOSE-UP on MARIE who smiles happily.
CUT TO:
INT. THE WAR ROOM - SHORTLY AFTER
It is the same room in which Xavier showed his men the TV clips about the killings.
XAVIER, STORM, CYCLOPS, JEAN, LONGSHOT and WAGNER are sitting around the
same table.
The door opens and LOGAN comes inside.
CLOSE on JEAN whose face is lit up by a smile.
PROFESSOR X
Ah, Logan. Good to have you back.
LOGAN
Couldn't let you have the fun all alone.
LOGAN looks around.
LOGAN
What the heck's been going on here?
Talk about population explosion. Anybody
mind introducing me to those guys?
PROFESSOR X
Our new team members are Longshot
and Kurt Wagner alias Nightcrawler.
LOGAN
(to NIGHTCRAWLER)
Cool hair.
NIGHTCRAWLER
Likewise.
LOGAN grins and sits down beside JEAN, giving her another suggestive smile.
CYCLOPS draws a face.
LOGAN
(to PROFESSOR X)
Well then, what are we up to?
PROFESSOR X
Tonight there will be a conference of
politicians who are to decide the fate
of our country, or at least that of the
mutant population. Sinister and Magneto
are planning something that will supposedly
change the government's course. We
have to stop them. Whatever their plan
is, we must make sure they don't succeed.
CONTINUED:
LOGAN
Sounds like a plan to me.
(beat)
One thing, Professor.
PROFESSOR X
Yes?
CLOSE ON LOGAN
LOGAN
Do I have to wear this uniform?
CUT TO:
INT. ANOTHER ROOM IN THE SCHOOL'S SUBLEVELS
The X-Men get dressed:
CLOSE ON STORM'S SHOULDERS as she attaches her coat
CLOSE ON CYCLOPS' EYES as he takes off his sunglasses and puts on his visor
CLOSE ANGLE ON LONGSHOT as he hangs a small brown bag over his shoulder
CLOSE ANGLE ON WOLVERINE as he zips up the jacket of his uniform. He smiles as it fits
perfectly.
CLOSE ON WOLVERINE'S HANDS - he puts on his gloves that have little tubes on their
back that allow his claws to extend. WOLVERINE looks at his gloves and extends his
claws. The tubes are measured perfectly.
WOLVERINE
Cool.
NIGHTCRAWLER helplessly holds up his uniform. WOLVERINE looks at him until he
discovers his tail and understands.
WOLVERINE
Watch your fingers.
WOLVERINE makes a quick movement towards the uniform NIGHTCRAWLER is holding.
CUT TO:
INT. THE SAME ROOM - SHORTLY AFTER
NIGHTCRAWLER zips up his uniform, turns around and moves his tail that easily fits
through a small hole in the back of the uniform. He lashes it like a whip and gives a satisfied
smile.
INT. THE BLACKBIRD - NIGHT
CYCLOPS, JEAN, STORM, WOLVERINE, LONGSHOT AND NIGHTCRAWLER each have
a seat, but it looks somewhat crowded.
WOLVERINE
Next time, we should get a bigger jet.
CYCLOPS
(looking at WOLVERINE)
Yeah, or somebody will have to go on foot.
WOLVERINE
(to LONGSHOT who's sitting beside him)
I don't know why, but he loves me.
(beat)
Luck, huh? Nice upgrade for the team.
Got any siblings looking for a job?
CYCLOPS is wearing his visor, but we can literally see him roll his eyes.
CUT TO:
EXT. NEW YORK'S SKYLINE - CONTINUED ACTION
The BLACKBIRD dashes over the city, heading for the conference hall.
FADE OUT
INT. SINISTER'S "WORKSHOP" - NIGHT
It's a huge hall that looks like a mixture of a hangar and a computerized control room. Two
jets that resemble the Blackbird are standing in the centre.
SINISTER, TUSK, VERTIGO, FOXBAT AND RIPTIDE are in the hall. SINISTER looks at
some computer screens while VERTIGO is standing beside him. TUSK and FOXBAT work
on the jets, and RIPTIDE works at a keyboard.
ENTER MAGNETO, SABRETOOTH AND MYSTIQUE
SINISTER looks up and smiles.
SINISTER
Ah, are you ready? We are almost finished
here.
MAGNETO
And you are certain that the adjustments
have eliminated the rejection?
SINISTER
Absolutely. The mutational process has
been slowed down considerably. This
means that you won't see any immediate
success, but the weak human bodies don't
- disintegrate as they did before with your
(more)
(cont'd)
unfortunate device. My changes also
eliminated the spectacular yet quite
conspicuous light effect. They won't even
know what struck them. All they will feel
might be a tingling sensation, but they will
think it's a cold draught.
(laughs)
MAGNETO
I would have liked to see your statement
proven before we test the device in the field.
SINISTER
As I told you, the change takes its time.
The experiment with Jameson should have
taken place earlier. However, he will be the
first to get the benefit of our combined genius.
CUT TO:
INT. A DARK ROOM IN MAGNETO'S MANSION - SAME TIME
The room is nearly empty. All we can recognize is a bed in a corner with a figure lying on it.
We slowly ZOOM IN ON THE PERSON until we recognize a skeleton-like body that is not
moving. Immediately, we assume that it is JAMESON, and that he is dead.
The face that looks like that of a mummy is twisted in an expression of agony, the eyes and
mouth wide open. Suddenly the person blinks once and utters a low moan without moving in
any other way.
CUT TO:
INT. MAGNETO'S JET - NIGHT
MAGNETO, SABRETOOTH AND MYSTIQUE are sitting in their seats. SABRETOOTH is
steering the jet. MAGNETO is wearing his helmet that protects his mind from being
detected or scanned by Xavier.
We HEAR SINISTER'S VOICE through the communications system.
SINISTER (V.O.)
It's time to part now, friend.
MAGNETO
Part?
SINISTER (V.O.)
While you care for the deployment of
the device, I will pay a visit to the school.
I told you what I want. If you and your
people fail to get the sample, we will
need a lever.
MAGNETO switches the radio off.
CONTINUED:
MAGNETO
(whispers)
Charles.
MAGNETO takes his helmet off.
MAGNETO
I know you better than you know
yourself. Now don't disappoint me.
CUT TO:
INT. THE CEREBRO ROOM - NIGHT
XAVIER is wearing the Cerebro headset. Suddenly, he opens his eyes in astonishment.
PROFESSOR X
Erik.
CUT TO:
INT. MAGNETO'S JET - NIGHT
MAGNETO sits with closed eyes.
SABRETOOTH turns back to Magneto.
SABRETOOTH
Where are we heading?
MAGNETO
No change of plans. The hotel.
SABRETOOTH turns back to the navigation controls.
INT. SINISTER'S JET - NIGHT
SINISTER, VERTIGO, TUSK, FOXBAT AND RIPTIDE each in their seat, with Sinister
steering the jet.
SINISTER is wearing a helmet that closely resembles the one Magneto uses to wear.
SINISTER
Ready or not.
(beat)
Rather not.
CLOSE-UP ON SINISTER grinning.
EXT. THE HOTEL ROOF - NIGHT
TWO JETS simultaneously land on the roof, one of them the Blackbird, the other one
Magneto's jet.
Doors open, and out of both gliders, the teams climb.
Tense silence as they stare at each other.
WOLVERINE extends his claws.
MAGNETO takes a step forward, towards the X-Men, raising his hands in a placating
gesture.
MAGNETO
Please leave.
WOLVERINE
(laughs)
I don't think so. Looks like you're
(beat)
outnumbered?
WOLVERINE looks around searching for the rest of the evil mutants.
WOLVERINE
What's going on here?
MAGNETO
Sinister is on his way to the school.
You must choose.
CYCLOPS
Choose between what?
MAGNETO
Save the politicians that are going to
destroy your lives, or save the man
who saved you.
WOLVERINE
Bastard!
WOLVERINE rushes forward but is stopped by MAGNETO'S force field.
MAGNETO
I am not going to hurt anybody. They
will all enter a new stage of their physical
life. But I cannot speak for Sinister.
CLOSE ANGLE ON CYCLOPS as he obviously tries to make a decision.
MAGNETO
If you don't leave now, I will have to put
your Blackbird out of action. You will not
be able to get back to the school in time.
CYCLOPS looks at JEAN AND STORM, his expression sad.
CYCLOPS
(lowly)
Attack.
CONTINUED:
In the same instant, CYCLOPS opens his visor and shoots a beam at MYSTIQUE who easily
dodges it.
MAGNETO raises his hand, and from inside the Blackbird, sparks and blue flashes of
lightning can be seen.
WOLVERINE falls backward and is literally nailed to the ground as his claws are stuck in the
concrete.
STORM'S eyes turn all white, and wind springs up.
SABRETOOTH takes a few large steps towards STORM and seizes her by the throat.
MYSTIQUE changes into her favourite shape as WOLVERINE and attacks LONGSHOT
whose eyes widen with surprise upon seeing her shape-shift.
INT.THE CEREBRO ROOM - NIGHT
PROFESSOR X takes off the Cerebro headset. Suddenly the whole room is shaken by strong vibrations. PROFESSOR X looks up.
PROFESSOR X
Sinister.
INT. MARIE'S ROOM - SAME TIME
MARIE and ALISON are lying in their beds when suddenly vibrations make the building
tremble. Both girls sit up.
ALISON
What's that?
MARIE
I don't know. Come on, out of here.
MARIE AND ALISON stand up, quickly put on jeans and run out of the room.
CUT TO:
INT. A CORRIDOR IN THE SCHOOL - CONTINUED ACTION
Several students are standing on the corridor, puzzled and scared. One of them, a boy that
we recognize as BOBBY, discovers MARIE and quickly walks towards her.
BOBBY
Marie! What's going on?
MARIE
Don't know. Let's find the Professor.
The students rush down the corridor, led by MARIE, BOBBY AND ALISON.
INT. ENTRANCE HALL OF THE SCHOOL - CONTINUED ACTION
The students come run down the stairs and stop abruptly when they see something o.s.
This is what they see:
SINISTER, VERTIGO, FOXBAT AND RIPTIDE are standing in the lobby. The white
moonlight is reflected on SINISTER'S silvery skin. He is still wearing his helmet.
SINISTER
(to the students)
Hello, children.
SINISTER nods at TUSK.
SINISTER
(to the students)
Would you please join us down here?
TUSK produces about a dozen smaller duplicates of himself who climb up the stairs and encircle the students.
BOBBY raises his hand and shoots a cold blue beam at one of the SMALL TUSKS who
freezes immediately.
SINISTER
What a hot-headed young man.
Ah, wrong choice of words. But
never mind.
SINISTER raises his hand towards BOBBY, and BOBBY slumps and falls down the stairs.
MARIE runs down the stairs toward Bobby and kneels down beside him. When she lifts his
head, we see that his nose is bleeding.
ALISON starts humming, and between her hands, a very bright reddish glow gets stronger.
Then a blinding ray of light dashes towards SINISTER and goes right through his chest,
hitting the wall behind him.
SINISTER smiles.
CUT TO:
EXT. THE HOTEL'S ROOF - NIGHT
LONGSHOT ducks, and right above his head, a glistening claw cuts through air.
LONGSHOT
Your other shape was far more
attractive, lady.
MYSTIQUE/WOLVERINE smiles and raises her left hand, beckoning LONGSHOT closer
with one claw. LONGSHOT returns the smile and raises his fists.
JEAN raises her hands and parts them, and SABRETOOTH'S grasp around STORM'S neck
is loosened until she comes free. SABRETOOTH turns around and growls at JEAN.
CONTINUED:
CYCLOPS touches his visor to open it, but MAGNETO makes a casual gesture, and it is torn
from his face. After shooting a beam right into the sky, CYCLOPS closes his eyes.
NIGHTCRAWLER sees the visor fly towards the edge of the roof.
NIGHTCRAWLER
Verdammt!
NIGHTCRAWLER dives after the visor, right over the edge of the hotel's roof. STORM runs
after him.
STORM
No!
STORM bends over the edge, searching for NIGHTCRAWLER.
STORM'S POV:
Nothing unusual can be seen at the hotel wall. Suddenly, a blue tail appears under a window
ledge, and a second later, NIGHTCRAWLER appears, climbing up the wall like a fly.
NIGHTCRAWLER looks up at STORM and grins.
NIGHTCRAWLER
How's it going, Fräulein?
NIGHTCRAWLER climbs the rest of the distance, and with one last leap, he is back on the
roof.
WOLVERINE is still nailed to the ground but tries to pull his claws from the concrete.
SABRETOOTH attacks JEAN, but she gives him a telekinetic push, and he flies backward.
LONGSHOT rolls away from another of MYSTIQUE'S attacks and gets to his feet.
LONGSHOT
(to nobody in particular)
Could somebody please help me
out here?
STORM'S eyes turn white again, and wind springs up.
MYSTIQUE/WOLVERINE raises one of her hands to hit Longshot, and a bolt of lightning
winces downward from the dark sky, striking the middle claw. MYSTIQUE is pushed back
and lies on her back unmoving.
LONGSHOT
(to STORM)
Well, thanks.
SABRETOOTH sees that NIGHTCRAWLER, standing at the edge of the roof, has Cyclops'
visor, and jumps at him. NIGHTCRAWLER dodges him and gives him a heavy push that
flings him over the edge. Nightcrawler bends over the handrail.
NIGHTCRAWLER'S POV:
SABRETOOTH is clinging to a ledge, his claws boring into the concrete.
VIEW AT NIGHTCRAWLER from below (SABRETOOTH'S POV):
CONTINUED:
NIGHTCRAWLER
Too many bad guys hanging around
here.
NIGHTCRAWLER draws his head back.
ON THE ROOF:
MAGNETO makes a gesture, and WOLVERINE rises from the ground. His body hovers
towards the edge of the building.
MAGNETO
Stop it, or he dies.
WOLVERINE
Li'l freefall won't kill me.
MAGNETO
I am not going to drop you.
WOLVERINE'S claws spread and bend upward, and WOLVERINE screams in pain.
MAGNETO
I will pull the adamantium out of your
body, bit by bit.
CLOSE ANGLE ON JEAN who looks scared.
CYCLOPS still stands with his eyes closed and clenched fists.
MAGNETO
Well?
LONGSHOT appears behind MAGNETO and puts one arm around his neck and one hand
under his chin.
LONGSHOT
Well what, old man? Release him.
VIEW AT WOLVERINE who still hovers in the air like crucified, throwing his head back and
screaming in pain. His skin bulges out in some spots, and we realize that Magneto is pulling
the adamantium from his bones.
LONGSHOT increases the pressure on MAGNETO'S neck.
LONGSHOT
Don't think about it too long.
MAGNETO closes his eyes.
VIEW AT WOLVERINE who sinks until he softly touches the ground. He drops to one knee
and bends his head.
LONGSHOT
Good choice.
CLOSE ON JEAN
JEAN
The school!
CONTINUED:
NIGHTCRAWLER hands CYCLOPS his visor, and CYCLOPS puts it over his eyes.
CYCLOPS
We have to get there as fast as possible!
LONGSHOT
But our jet's broken.
CYCLOPS
We'll take theirs.
STORM
He will let us crash as soon as we're
airborne.
CYCLOPS
(grins coldly)
That's why he's coming with us.
CLOSE ON MAGNETO who is still being held by LONGSHOT.
CUT TO:
EXT.THE HOTEL'S ROOF - SHORTLY AFTER
MAGNETO'S JET takes off, and the only person remaining on the roof is MYSTIQUE who
still isn't moving.
CLOSER ANGLE ON THE EDGE WITH THE HANDRAIL - SABRETOOTH'S hand reaches
over the edge and grabs the handrail.
SABRETOOTH pulls himself on the roof, stands up and looks at the jet that vanishes into
the darkness. He throws his head back and growls angrily.
CUT TO:
INT. THE SCHOOL'S ENTRANCE HALL - SAME TIME
SINISTER smiles at ALISON.
ALISON looks at her hands, stunned.
SINISTER
An impressive yet futile attempt, dear.
PROFESSOR X (V.O.)
Leave them alone, Sinister.
CUT TO:
SAME PLACE - CONTINUED ACTION
PROFESSOR X in his wheelchair.
SINISTER smiles.
CONTINUED:
SINISTER
Ah. Professor Charles Xavier. I've been
looking for you.
PROFESSOR X
What do you want?
SINISTER
For now, you. Come with us, and we'll
leave in peace. If you put up resistance,
your students will die.
MARIE
Professor, no!
PROFESSOR X smiles at MARIE
PROFESSOR X
(to MARIE)
Don't worry.
(to SINISTER)
I will come with you. But don't believe you
have won.
SINISTER
Ah, do you really think your pathetic X-Men
will come to the rescue? Oh please.
(beat, looking at the wheelchair)
I take it that bonds won't be necessary.
SINISTER presses a button on a device he is wearing around his wrist, and the wheelchair
rolls towards the exit. Suddenly, the wheelchair stops, and Xavier turns around to look at
Sinister.
SINISTER
But before we leave, don't you want to give
us a guided tour through the interesting parts
of the school, Professor?
(to TUSK)
You guard the glider.
(to FOXBAT and RIPTIDE)
You make sure the students don't get in our way.
SINISTER steers PROFESSOR XAVIER'S wheelchair down the hallway, and he and
VERTIGO follow the vehicle.
TUSK leaves the entrance hall heading towards the yard, and RIPTIDE and FOXBAT
assume position in front of the students.
VIEW AT THE STUDENTS who stand like frozen.
FADE OUT.
INT. MAGNETO'S JET - SHORTLY AFTER
JEAN points at the front window.
CONTINUED:
JEAN
Down there!
VIEW AT THE SCHOOL'S YARD:
SINISTER'S JET is standing on the yard. TUSK guards it.
CYCLOPS
Hold on, everybody.
WOLVERINE
What are you up to now, Cyke?
CYCLOPS pushes the steering wheel forward, and the jet nosedives toward the ground.
WOLVERINE
Wacko.
CUT TO:
EXT. THE SCHOOL'S YARD - CONTINUED ACTION
TUSK looks up as the HOWLING of the JET is HEARD.
THE JET comes into sight.
CLOSE ON TUSK who stares at the sky with a mixture of shock and anger.
CUT TO:
INT. THE JET - SAME TIME
CLOSE ON CYCLOPS
CYCLOPS
Brace yourselves.
CUT TO:
EXT. THE SCHOOL'S YARD - CONTINUED ACTION
The jet is pulled out but crashes right on Sinister's jet.
TUSK dives into cover.
INT. THE SCHOOL'S HALLWAY - SAME TIME
We HEAR A LOUD CRASH from outside, and while RIPTIDE and FOXBAT turn around,
MARIE winks at ALISON who smiles back, and softly touches BOBBY'S cheek who's
coming to.
INT. AN ELEVATOR CAGE IN THE SCHOOL - SAME TIME
SINISTER and VERTIGO are standing behind the PROFESSOR. When the crash of the
glider shakes the building, SINISTER looks up in angry concern while PROFESSOR X
smiles knowingly.
EXT. THE SCHOOL'S YARD - CONTINUED ACTION
A door in the glider opens with a hiss, and one after another, CYCLOPS, STORM, JEAN,
WOLVERINE AND LONGSHOT with MAGNETO climb out.
TUSK looks at his adversaries, his fists clenched. He seems to prepare for an attack, but
suddenly he turns around and runs away, back into the building.
WOLVERINE
I'll get him.
WOLVERINE sets after Tusk, the others following him more slowly.
CUT TO:
INT. THE SCHOOL'S ENTRANCE HALL - CONTINUED ACTION
TUSK comes run into the hall.
RIPTIDE
What was that?
Before TUSK can reply, WOLVERINE enters the hall.
WOLVERINE
Knock, knock.
A beat as he extends his claws.
WOLVERINE
Let's play.
RIPTIDE
Not so fast, wild one.
RIPTIDE nods at TUSK, and he pops a few SMALL TUSKS out of his back who jump at the
students.
RIPTIDE
Move, and the children die.
CYCLOPS, JEAN, STORM and LONGSHOT with MAGNETO enter the hall, trying to get an
overview of the situation.
RIPTIDE, FOXBAT and TUSK turn around to look at the arrivals, and BOBBY, who's fully
conscious now, freezes the SMALL TUSKS without being noticed by anybody but Wolverine.
TUSK winces in the same instant that his little selves are shock- frosted, and WOLVERINE
pounces at him.
CONTINUED:
RIPTIDE and FOXBAT turn back to the students, and Foxbat jumps at BOBBY with a hoarse
yell.
DAZZLER raises her hands, and uttering a war cry, she fires a beam of light at FOXBAT.
The beam hits him in the middle of his leap and evaporates him.
CLOSE ON A FLOOR TILE as ashes trickle to the ground, followed by a single burned
spike.
DAZZLER
Nice try, ugly.
RIPTIDE starts spinning faster and faster, and everybody looks at him without knowing what
to do.
TUSK obviously knows what's happening as he seeks cover behind a low brick wall.
CYCLOPS watches Tusk and turns to his companions.
CYCLOPS
Cover, everybody!
The adult and student mutants seek cover behind furniture respectively the staircase, only
WOLVERINE is standing right beside RIPTIDE.
NIGHTCRAWLER, from a safe point, sees WOLVERINE and the dangerous situation he's
in. Suddenly, a soft BAMF is HEARD, and Nightcrawler vanishes in a yellow cloud.
WOLVERINE concentrates on RIPTIDE and wants to stick his claws into the whirlwind that
he has become, but all of a sudden, NIGHTCRAWLER appears right beside him in a yellow
cloud and with another soft BAMF.
WOLVERINE
(looking at NIGHTCRAWLER)
What the flamin' -
NIGHTCRAWLER seizes WOLVERINE by his jacket and pulls him closer, and with another
BAMF, they vanish, in the very moment that from the whirling RIPTIDE a shower of
Shurikens covers the hall.
CUT TO:
INT. SAME PLACE, BEHIND THE STAIRCASE - CONTINUED ACTION
NIGHTCRAWLER and WOLVERINE reappear behind the staircase, in the same spot where
the students are hiding. Wolverine gazes at Nightcrawler, seemingly unsure what to say.
NIGHTCRAWLER
You're welcome.
WOLVERINE stares at Nightcrawler for another second, then turns around and bends over,
insecurely looking for a hold.
NIGHTCRAWLER looks at the puzzled students and gives a sheepish grin.
NIGHTCRAWLER
Side effect. Still working on that part.
CONTINUED:
WOLVERINE straightens himself and turns to NIGHTCRAWLER.
WOLVERINE
Thanks - I think.
ROGUE
What shall we do now?
WOLVERINE
(to ROGUE)
You kids stay in cover.
(to NIGHTCRAWLER)
Teleporter, huh? Can you get Longshot
an' me up the stairs?
NIGHTCRAWLER
Sure, but why?
WOLVERINE
I've got a plan. Pray that it works.
NIGHTCRAWLER takes WOLVERINE, and with another BAMF, they vanish in a yellow
cloud.
CUT TO:
SAME PLACE - TOP OF THE STAIRCASE - CONTINUED ACTION
WOLVERINE and NIGHTCRAWLER appear, and Wolverine bends over while Nightcrawler
vanishes again.
WOLVERINE
(groans)
Economy class. Yuk.
NIGHTCRAWLER appears with LONGSHOT who immediately turns a shade of green and
grabs for a hold, seizing WOLVERINE by his shirt. Wolverine and Nightcrawler support him.
WOLVERINE
Just breathe, it'll get better.
(to NIGHTCRAWLER)
Back into cover. Come on, get lost, Elf!
NIGHTCRAWLER gives him an asking look but disappears again.
LONGSHOT slowly recovers, and WOLVERINE puts a hand on his shoulder.
WOLVERINE
You feelin' lucky, Bub?
LONGSHOT
(suspiciously)
Why?
WOLVERINE points at the spinning RIPTIDE.
WOLVERINE
You're gonna knock out that guy.
CONTINUED:
LONGSHOT
But how - oh no.
WOLVERINE
Fastball Special, Bub. You're the only one
lucky enough to make it through to him
without being torn to bits. Besides, you're the
only one light enough.
WOLVERINE takes LONGSHOT by his belt.
WOLVERINE
Logan Air, Flight 13, ready for take-off.
LONGSHOT
Holy shit.
CUT TO:
SAME PLACE - DOWNSTAIRS - SAME TIME
CYCLOPS, STORM, JEAN and MAGNETO are cowering behind a shelf. They watch the
events upstairs.
CYCLOPS
What the hell is he doing there?
JEAN
I think he's going to - throw him.
CYCLOPS
Insane.
CUT TO:
SAME PLACE - UPSTAIRS - CONTINUED ACTION
WOLVERINE lifts LONGSHOT from the ground and hurls him down the stairs, towards
RIPTIDE.
CUT TO:
SAME PLACE - DOWNSTAIRS - CONTINUED ACTION
CLOSE ON RIPTIDE as LONGSHOT crashes into him head-on and makes him bounce off
the wall and roll on the floor carried by his own spinning movement. Both men then lie on the
ground, stunned and unmoving.
The Shuriken shower stops, and people start to leave their cover, CYCLOPS dragging
MAGNETO behind. WOLVERINE rushes down the stairs.
ALISON
Longshot!
CONTINUED:
ALISON dashes over to Longshot and kneels beside him. LONGSHOT slowly raises his
head, blood running down his forehead.
ALISON
You okay?
WOLVERINE has now reached them and looks down at Longshot.
LONGSHOT
What a ride.
(to WOLVERINE)
Remind me to kick your butt as soon
as we're done here.
WOLVERINE grins and helps LONGSHOT stand up. Suddenly, his grin fades and is
replaced by an expression of shock and pain. He lets go of Longshot and falls to his knees,
and we see three LITTLE TUSKS clinging to his back and literally digging into it.
CYCLOPS
Jean, get them off his back!
JEAN raises her hands, and the LITTLE TUSKS are ripped from WOLVERINE'S back and
flung into the air. CYCLOPS aims at them, and after three short laser beams, they're
vaporized.
WOLVERINE drops flat on his face. JEAN hurries over to him and examines him.
JEAN
He'll live, but it looks bad. It will take
a while to heal.
TUSK emerges from his cover and runs towards the door and outside, too quick for anybody
to react.
CYCLOPS
Longshot, stay with him. We have to
find Sinister and the Professor.
LONGSHOT nods and squats beside WOLVERINE.
ROGUE
(to CYCLOPS)
I'm coming with you.
CYCLOPS
No. It's too dangerous.
ROGUE
I saw where they went. And I can look
after myself.
CYCLOPS
Okay, but stay in cover.
ROGUE
Follow me.
CYCLOPS, STORM, JEAN and NIGHTCRAWLER with MAGNETO follow ROGUE down the
corridor.
CONTINUED:
LONGSHOT gives RIPTIDE a suspicious look and slowly takes a small but sharp blade out
of his brown bag.
LONGSHOT
(lowly, to RIPTIDE)
Do me a favour and don't wake up, okay?
(to WOLVERINE)
And you do me the favour and wake up
really soon.
(to ALISON, BOBBY and the other students)
Go upstairs and stay together. It's not safe
down here.
ALISON
(pointing at RIPTIDE)
You might need some help when Taz here
wakes up.
BOBBY
Yeah, somebody to make him keep a
cool head.
BOBBY makes a gesture towards RIPTIDE, and ice crystals start to grow on his hair and
eyebrows.
LONGSHOT
Okay, I guess it's safer if you stay down here.
(beat)
Safer for me, I mean.
CUT TO:
INT. THE CORRIDOR IN FRONT OF THE CEREBRO ROOM - SAME TIME
PROFESSOR X offers his eye to the scanner, and a female voice sounds.
FEMALE VOICE
Welcome, Professor.
CEREBRO'S door slides open.
SINISTER
I've always wanted to see this.
SINISTER and VERTIGO walk inside, following the PROFESSOR.
CUT TO:
INT. A CORRIDOR IN THE SUBLEVELS OF THE SCHOOL - SHORTLY AFTER
An elevator door opens, and CYCLOPS, STORM, JEAN and NIGHTCRAWLER with
MAGNETO exit. When ROGUE wants to come with them, Cyclops shoves her back into the
cage.
CONTINUED:
CYCLOPS
You stay upstairs.
ROGUE
But you said -
CYCLOPS
I told you to stay in cover. Not being down
here is the best cover you can get.
CYCLOPS gives ROGUE a severe look that she defiantly returns while the door slides shut
with her inside the elevator.
CYCLOPS
Let's go. I think I know where they are.
CYCLOPS, STORM, JEAN and NIGHTCRAWLER with MAGNETO rush down the corridor.
CUT TO:
INSIDE THE ELEVATOR - SAME TIME
ROGUE defiantly looks at the door.
ROGUE
(lowly)
Stay upstairs. Best cover you can get. Crap!
CUT TO:
OUTSIDE THE ELEVATOR - CONTINUED ACTION
The elevator door opens, and ROGUE comes out and quickly but carefully walks down the
corridor.
THE ENTRANCE HALL - SAME TIME
CLOSE ON WOLVERINE'S BACK as the last traces of the deep cuts close.
We ZOOM OUT as WOLVERINE groans and tries to get up, supported by LONGSHOT and
BOBBY.
LONGSHOT
You okay?
WOLVERINE
Pissed off.
(looking around)
Where are the others?
CONTINUED:
ALISON
Downstairs.
WOLVERINE has now stood up.
WOLVERINE
What are we waiting for?
LONGSHOT
(pointing at RIPTIDE)
What are we going to do with him and Tusk?
He's somewhere outside.
WOLVERINE
(to BOBBY)
Bobby, right? Keep him cool and fresh until
we're back.
(beat)
(to ALISON)
Watch his back.
WOLVERINE heads down the corridor, and LONGSHOT runs after him.
CUT TO:
THE CORRIDOR OUTSIDE CEREBRO - SHORTLY AFTER
CYCLOPS, STORM, JEAN and NIGHTCRAWLER with MAGNETO have arrived at the door,
and JEAN offers her eye to the scanner. The female voice sounds again.
FEMALE VOICE
Welcome, Dr. Grey.
The door slides open, and CYCLOPS runs inside.
CEREBRO ROOM - CONTINUED ACTION
The room is completely empty, and as CYCLOPS turns to look around, we PAN around the
room with him. He makes a full turn until he faces the door again, where JEAN, STORM
AND NIGHTCRAWLER with MAGNETO are standing.
CYCLOPS
They're not here.
SINISTER (V.O.)
Of course not.
CUT TO:
THE CORRIDOR OUTSIDE CEREBRO - CONTINUED ACTION
SINISTER and VERTIGO are standing beside the door and behind JEAN, STORM,
NIGHTCRAWLER and MAGNETO.
ANOTHER CORRIDOR IN THE SCHOOL'S SUBLEVELS - SAME TIME
ROGUE seeks cover when she hears steps come closer, and while she is hiding in a corner,
WOLVERINE and LONGSHOT run past her.
THE CORRIDOR OUTSIDE CEREBRO - CONTINUED ACTION
WOLVERINE and LONGSHOT turn around the corner and see what is going on. In the
same instant, CYCLOPS touches his visor.
CYCLOPS
Stand clear, everybody.
SINISTER
Your miserable laser beam won't help
you now.
(to VERTIGO)
Vertigo, please.
VERTIGO smiles, and all of a sudden, MAGNETO and all X-team members, including
WOLVERINE and LONGSHOT who are standing behind SINISTER and VERTIGO but have
been noticed, hold their heads and start to sway and seek for a hold.
CYCLOPS, still standing on the narrow footbridge inside the Cerebro room, almost falls off
and drops to his knees to keep his balance.
ROGUE sticks her head around the corner but draws it back when she sees what's going on.
CYCLOPS
What's he doing to us?
WOLVERINE is on his knees, too, and tries to get up using the wall for support.
WOLVERINE
You still don't get that name thing, Bub.
It's her!
CYCLOPS looks up, obviously not understanding.
WOLVERINE
Vertigo. Want me to spell it out?
CYCLOPS
If you can.
SINISTER smiles and walks towards JEAN who wants to back away but can't get on her
feet.
SINISTER
Well then, my dear.
ROGUE now dares to leave her cover. Her eyes narrow, and without VERTIGO noticing her,
she sneaks up on her and grabs her shoulder from behind.
ROGUE
May I borrow that?
CONTINUED:
VERTIGO turns around and gives ROGUE a puzzled look.
ROGUE raises her free hand and firmly touches Vertigo's face. It turns all grey, and
VERTIGO gasps for air. ROGUE closes her eyes as Vertigo's power is transferred into her,
and with a soft moan, she releases her. With a surprised sound, Vertigo drops to the ground,
and in this instant, the nausea seems to fall away from the X-Men and Magneto.
WOLVERINE is the first to recover and marches towards SINISTER, past ROGUE.
SINISTER turns around and now faces ROGUE, VERTIGO and WOLVERINE.
SINISTER
(to ROGUE)
Nice performance. I'm impressed.
SINISTER stares at ROGUE, and she gazes back at him, slowly dropping on her knees.
Blood starts dripping from her nose.
WOLVERINE turns around to see what is happening.
WOLVERINE
No!
CYCLOPS
Let her go!
SINISTER
(laughs)
Or else?
CYCLOPS touches his visor.
SINISTER
Go ahead.
CYCLOPS opens the visor, and a laser beam shoots at Sinister, going right through him and
hitting the wall behind him without harming him.
SINISTER
You fool. Have you really forgotten that your
pathetic beam doesn't harm me?
CLOSE ON ROGUE as from her right eye, a small drop of blood that looks like a tear runs down her cheek.
CYCLOPS
(to the X-team)
He is mine.
SINISTER
(grinning)
Why Scott, don't tell me you are still
mad with me?
CYCLOPS
(lowly)
After all those awful years? Yes, I am.
CLOSE ON WOLVERINE who apparently doesn't understand.
CONTINUED (2):
SINISTER
Well, if you want to try again, you are more
than welcome. But try not to hit your girlfriend.
SINISTER takes a few quick steps towards JEAN and pulls her on her feet, holding her like a
shield.
SINISTER
If one of you tries to stop me, she will die.
SINISTER backs away down the corridor, dragging JEAN with him. As soon as he is around
the corner, the invisible grasp on ROGUE'S mind vanishes, and she drops to the ground.
WOLVERINE rushes towards her and kneels down beside her. When she doesn't move, he
raises his hand to her face, on his face the expectation of pain.
Suddenly ROGUE raises her hand as well without opening her eyes, gently pushing
Wolverine's hand aside.
ROGUE
Don't. I'll be fine.
Now ROGUE opens her eyes and smiles at WOLVERINE who smiles back in relief.
CYCLOPS sets after Sinister.
WOLVERINE
(to STORM, re: ROGUE)
Stay with her!
WOLVERINE now sets after CYCLOPS and Sinister.
INT. THE SCHOOL'S ENTRANCE HALL - SAME TIME
RIPTIDE slowly starts moving.
LONGSHOT
(to BOBBY)
I think he needs another shot.
BOBBY points at RIPTIDE'S forehead, and again, ice crystals appear on his hair and
eyebrows, and he stops moving.
A LOW HISSING SOUND IS HEARD, accompanied by an unpleasant SCRAPING SOUND.
ALISON
What's that?
A SINGLE SMALL TUSK appears in the doorframe and slowly comes inside, and suddenly,
more SMALL TUSKS come from everywhere and attack the students and LONGSHOT.
LONGSHOT
That's what he's been doing!
TUSK appears in the doorframe, a satisfied grin on his face.
LONGSHOT and the students fight with the SMALL TUSKS, each in their own way.
CONTINUED:
BOBBY freezes as many small Tusks as he can while DAZZLER shoots her beams into the
wriggling mass of little bodies.
LONGSHOT kicks away a few of the smaller samples and then focuses on the tall Tusk. He
runs through the hall, stepping on a few Small Tusks, and takes a large leap on the big one.
Because of his light body, he doesn't even make Tusk stumble, but he struggles really hard.
Tusk puts his arms around Longshot's chest and presses, and his face twisted with pain,
Longshot tries to get free.
One of the boys uses his talent to dodge the Small Tusks while another one, the boy we
know from Ororo's training lesson, shoots water arrows at the creatures.
TUSK presses LONGSHOT'S chest a little harder, and we HEAR a DULL CRACKING
SOUND.
INT. A CORRIDOR IN THE SUBLEVELS OF THE SCHOOL - CONTINUED ACTION
WOLVERINE has now caught up with CYCLOPS, and side by side, they run down the corridor.
THE CORRIDOR OUTSIDE CEREBRO - SAME TIME
ROGUE sits up and wipes the blood from her face.
STORM
Are you okay?
ROGUE
Yeah.
(beat)
(shocked)
Where's the Professor?
STORM
Sinister must have taken him somewhere
before he came here.
A RUMBLE is HEARD, and STORM looks up.
STORM
Oh my God.
A beat as she stands up.
STORM
I know where he is. Follow me!
ROGUE gets on her feet and runs after STORM who hurries down the corridor.
NIGHTCRAWLER looks at MAGNETO, then at VERTIGO in almost funny despair.
NIGHTCRAWLER
(to MAGNETO)
I have a feeling we should go with them.
After you, mein Herr.
CONTINUED:
NIGHTCRAWLER gently shoves MAGNETO forward, following Storm and Rogue.
CLOSE ON VERTIGO who is lying on the floor with closed eyes.
INT. THE SCHOOL'S ENTRANCE HALL - SAME TIME
LONGSHOT is still in TUSK'S grasp. He is gasping for air, and his resistance gets weaker.
DAZZLER sees that he is about to be choked, and cracks her knuckles.
DAZZLER
Longshot, turn him around!
LONGSHOT understands, and with the last bit of power in his body, he knocks his head
against TUSK'S nose. The mutant loosens his grasp, and Longshot's hands come free. His
feet touch the ground again, and seizing Tusk by his shoulders, he turns him around so that
his back is turned towards DAZZLER with his front facing Longshot.
DAZZLER sends a bright beam of light at TUSK, who is hit in the back and falls on his face,
burying LONGSHOT under his heavy body.
DAZZLER
Oh no!
DAZZLER makes her way through the remaining SMALL TUSKS and tries to drag TUSK'S
body off Longshot.
LONGSHOT reaches out from under the body and helps by pushing it aside.
LONGSHOT
Adorable.
DAZZLER and LONGSHOT now help the students get rid of the SMALL TUSKS who seem a
bit disoriented.
THE CONTROL ROOM OF THE DANGER ROOM - SHORTLY AFTER
STORM and ROGUE enter the room and rush to the window. Here's what they see:
DANGER ROOM
PROFESSOR X is lying beside his wheelchair, face down, and doesn't move while all
around him, laser beams hit the ground and the blades from the cone cut the air above him.
CONTROL ROOM
ROGUE
Shut it off!
STORM hits buttons and presses keys, but we still HEAR RUMBLE and BUZZING
SOUNDS.
STORM
I can't! It doesn't react!
CONTINUED:
VIEW INTO THE DANGER ROOM where PROFESSOR X still isn't moving when one of the
laser beams hits him in the shoulder.
THE SCHOOL'S ENTRANCE HALL - SAME TIME
SINISTER comes run up the corridor, pulling JEAN with him whose nose is bleeding. JEAN
doesn't resist, and we conclude that he stunned her.
LONGSHOT looks up and notices them.
LONGSHOT
What the -
SINISTER again holds JEAN like a shield.
SINISTER
Don't even think about it.
SINISTER, dragging JEAN with him, moves forth towards the garden where Magneto's jet is
"parked".
WOLVERINE and CYCLOPS enter the hall and follow Sinister more slowly.
DAZZLER, BOBBY and LONGSHOT follow the strange group.
EXT. THE SCHOOL'S YARD - CONTINUED ACTION
DAZZLER, BOBBY and LONGSHOT exit the building in the instant that SINISTER with
JEAN has reached the jet.
SCOTT and WOLVERINE have stopped a few yards away from Sinister, not daring to come
any closer.
SCOTT
You won't get her!
SINISTER
I don't need her. Except as a little insurance,
of course.
SINISTER is standing half inside jet and now pushes JEAN from the vehicle.
SINISTER
There you go. Good-bye.
SINISTER vanishes into the jet, and the door closes.
CYCLOPS runs over to the jet and lifts JEAN up to carry her away from the dangerous spot.
The airplane slowly rises from the ground.
CYCLOPS puts JEAN to the ground in a safe distance and fires a laser beam at the
jet, but it doesn't show much effect.
CONTINUED:
LONGSHOT
Isn't the Blackbird armoured?
CYCLOPS
It is. And this one's, too. Damn!
The jet dashes off into the night, and the X-Men can only look at it vanish.
CYCLOPS
I can't believe we lost him.
JEAN moans, and CYCLOPS kneels down beside her.
CYCLOPS
Jean!
JEAN
Scott.
CYCLOPS strokes her hair, and JEAN smiles at him.
DAZZLER tiredly leans against LONGSHOT'S shoulder, and he puts an arm around her.
WOLVERINE sniffs and then turns toward the others.
WOLVERINE
Where's the Professor?
THE DANGER ROOM'S CONTROL ROOM - SAME TIME
NIGHTCRAWLER with MAGNETO enters the room.
NIGHTCRAWLER
What's going on?
STORM
Sinister activated the Danger Room with
the Professor inside, and I can't stop it!
ROGUE
(to NIGHTCRAWLER)
Can you teleport inside and get him out?
NIGHTCRAWLER
Too many moving parts. If I teleport in there,
I'll end up being part of the machine.
(beat)
(to MAGNETO)
But I believe you can help.
MAGNETO
Why should I?
ROGUE
You can't just let him die!
CONTINUED:
STORM
Please.
NIGHTCRAWLER releases MAGNETO.
NIGHTCRAWLER
I hardly know this man, but I do know that
he doesn't deserve to die. Please, save him.
MAGNETO steps closer to the window and makes a casual gesture.
VIEW INTO THE DANGER ROOM
With a SCREECHING SOUND, the blades stop moving, and in the same instant, the laser
beams stop as well.
NIGHTCRAWLER touches MAGNETO'S shoulder.
NIGHTCRAWLER
Thank you.
STORM, ROGUE and NIGHTCRAWLER quickly leave the Control room. NIGHTCRAWLER
gives Magneto another short look before he turns around the corner - a look that says 'if you
leave now, I won't notice'.
THE DANGER ROOM - SHORTLY AFTER
STORM, ROGUE and NIGHTCRAWLER enter the room and hurry towards the Professor.
STORM kneels down beside him.
STORM
Professor.
The PROFESSOR slowly turns his head aside and opens his eyes.
PROFESSOR X
It is good to see you.
The door flies open, and WOLVERINE, CYCLOPS, JEAN, DAZZLER, LONGSHOT and
BOBBY come inside, all looking at the Professor in concern.
PROFESSOR X
Help me up, children. I will be fine.
STORM and NIGHTCRAWLER help the Professor up, and WOLVERINE pushes his
wheelchair closer. All three help the Professor sit down in the chair.
PROFESSOR X
Sinister?
CYCLOPS
He got away.
PROFESSOR X
Magneto?
CONTINUED:
NIGHTCRAWLER pensively looks up at the window of the Control room.
NIGHTCRAWLER
I think he is gone, too.
(beat)
He was the one who stopped the machine.
PROFESSOR X
I don't know if this would have been
necessary. The machine is designed to
train, not to kill. Sinister didn't know that.
WOLVERINE
Or he knew it, and it was all a sick game.
NIGHTCRAWLER
Whatever for?
WOLVERINE
You wanna tell what's going on in that
twisted mind?
NIGHTCRAWLER slowly shakes his head.
We ZOOM OUT until we see the X-team as a whole.
FADE OUT
FADE IN: EXT THE TERRACE IN FRONT OF THE SCHOOL - MORNING
PROFESSOR X, JEAN, SCOTT, ORORO and KURT are sitting at the table. Professor X, a
band-aid on his forehead, wears a less formal shirt than usual and no tie, Scott is wearing
blue jeans and a grey and black pullover. Jean is dressed in black trousers and a red blouse,
Ororo wears a blue dress, and Kurt wears black pants and a black polo neck sweater.
LONGSHOT (big scratch on his forehead, black and blue all over his face, blue jeans, t-shirt,
leather jacket), ALISON (black jeans, blue t-shirt) and MARIE (light brown skirt and green
blouse) come outside, Longshot and Alison holding hands.
MARIE
Where's Logan?
(beat)
(worried)
Did he -
LOGAN (O.S.)
Leave? Nope.
LOGAN enters the frame, carrying a guitar case that suspiciously resembles the one Alison
had to leave in the dark alley.
LOGAN
He just forgot something in his car.
(to ALISON)
Couldn't stand the thought of you bugging
me for the rest of my life because of that thing.
CONTINUED:
LOGAN hands ALISON the guitar case. Alison briefly hugs him, and Logan walks over to
Marie.
LOGAN
(to NIGHTCRAWLER)
Any trace of that Vertigo gal?
NIGHTCRAWLER
She vanished.
WOLVERINE
Can anybody tell me who didn't vanish
last night? Sinister, Vertigo, Magneto -
ORORO
What about Magneto's plan?
SCOTT
The machine was inside the jet Sinister took.
If Magneto is still planning to do something like
mutating entire hotels full of people, he'll
first have to build a new one. The convention
last night was safe, however.
WOLVERINE
Yeah, but what about Sinister? What the heck
did he want?
PROFESSOR X
I believe he wanted Jean's DNA to experiment
with it.
JEAN
You said he might try to create a whole new
mutant from my DNA and that of somebody
else. Do you think he already has this other
DNA sample? I mean, he wasn't after anybody
else, except from you.
PROFESSOR X
Yes, and he doesn't have any samples from
me. This means he already has half of what
he needs.
JEAN
Maybe all he needs. A single hair of mine would
be enough.
PROFESSOR X
Yes. I didn't want to think about it, but we have
to consider the possibility that he is already
experimenting.
JEAN
But who could be the other person? The only
one that we know he has been experimenting
with in the past is Scott.
CLOSE ON THE PROFESSOR who looks up, shocked by a sudden realization.
CONTINUED:
PROFESSOR X
He is the other one.
A beat as he looks at SCOTT.
PROFESSOR X
You are the other part of the puzzle. You must
be. Your ability is so strong - a mutant carrying
it combined with Jean's gift would be incredibly
powerful.
A beat while everybody considers this idea.
SCOTT
What are we going to do about it? Or will we
wait until Sinister makes the first move?
PROFESSOR X
We must try to find him, and stop him before
he can realize his plan.
LOGAN
Sounds good to me.
MARIE
(to LOGAN)
What about you? What you found must have
given you more questions than answers.
LOGAN
I'm not sure I want to find out all about it. Still
getting over a few things. When I was at that
military compound, some memories returned.
I don't know how much of it was true, but I
could have sworn I saw Sabretooth.
LONGSHOT looks up, his expression pensive.
LONGSHOT
Maybe you did.
(to the PROFESSOR)
When you told me who Sabretooth is, you said
that his healing abilities are similar to those of
Logan. You also said that exactly these abilities
were something all victims of these experiments
had in common.
LOGAN
This means I knew him.
PROFESSOR X
You might even have worked together.
LOGAN
I think I still have some things to find out.
CLOSE ON LOGAN whose expression turns very serious.
EXT. THE SCHOOL'S YARD - LATER IN THE MORNING
ALISON and MARIE walk down a path.
ALISON
You simply drew her power? I wouldn't have
thought of that.
MARIE
That's because you don't think about how
to control your power all the time.
ALISON
Once you know how, it's suddenly not the
most important thing in your life anymore.
MARIE and ALISON look up when LONGSHOT appears on the path about 25 yards away.
MARIE
(smiling)
I see.
(beat)
I'm so happy for you.
ALISON
Can't wait for you to find somebody.
MARIE
I can wait.
(beat)
Hey, I guess I have to.
MARIE smiles, a somewhat sad but honest smile.
MARIE
But you're right, someday I'll know how to
control it.
MARIE gives an encouraging nod, and after hugging her, ALISON runs down the path
towards LONGSHOT who gives her a soft kiss. The couple walks away.
MARIE
(lowly)
Someday.
MARIE turns around and walks away in the opposite direction.
EXT. NEW YORK CENTRAL PARK - DAY
PROFESSOR X and MAGNETO are sitting on the same bench as last time.
MAGNETO
It is not over yet.
A young woman walks past them, pushing a baby carriage along.
CONTINUED:
PROFESSOR X
(nodding at the YOUNG WOMAN)
Don't you think it will be better to let them live
their lives? You say that mutants should be
granted a free life - the pursuit of happiness?
Do normal humans not have the same right?
By making them what nature hasn't intended
for them, you take away the lives they would
have had.
MAGNETO
What other way is there to make them understand?
PROFESSOR X
People fear what they don't know. But to make
them know us, you needn't make them be like us.
MAGNETO
What else could we do? Charles, do you really
know how to take away their fear of us? How to
make them see us as what we are?
A beat as PROFESSOR X thinks about what has been said.
PROFESSOR X
I don't know.
MAGNETO stands up.
MAGNETO
I trust in you to contact me when you find an
answer. Until then, I will do whatever I consider
necessary. And I recommend you do not try
to stop me.
A NURSE that we again recognize as MYSTIQUE appears and guides MAGNETO away.
PROFESSOR X pensively looks at two children running past him, laughing and shouting.
PROFESSOR X
We fought you back twice. And for the sake of
the innocent, we will fight you back again. As
often as necessary.
We PAN ACROSS THE MEADOW with lots of children, parents, older people and young
couples sitting, lying or playing on it, and as we do so, we ZOOM OUT.
FADE OUT.
FADE IN CREDITS.
THE END.