FILE
1.11
-
Kill the Messenger
(Story by
Vokal, Screenplay by
Jack: 14.2.02 – 23.02.02)
(Edited
by Vokal)
EXT: DILAPIDATED WAREHOUSE
Text on Screen: Blackpool, IndianaINT: DARKROOM
A red light glows in the darkroom where two figures stand. They have an enlarger lamp turned on and it is by its white light that we see the figures are JUSTIN and MERCEDES
JUSTIN
Is that right?
MERCEDES
Just
a second…
Mercedes adjusts a graduated dial on the side of the machine and we see the image come into focus.
JUSTIN
Can you grab the… you know…
MERCEDES
On my way.
Mercedes exits the darkroom through a double-doored light trap and steps out into the converted warehouse, which has been closed into decent rooms and looks quite comfortable. It is obvious that the Prodigies have been here for some time.
Mercedes comes up behind TRINITY, who is sitting ramrod straight at a typewriter, typing at light speed. Mercedes seems impressed.
MERCIE
How did you learn to type like that?
TRINITY
(not breaking her rhythm)
A speed-typing course I did awhile ago.
MERCIE
Wow.
Trinity finishes the page, pulls the piece of paper out of the typewriter with a flourish, and hands it to Mercie
TRINITY
Here you go.
MERCEDES
Thanks…
Trinity places another piece of paper into the typewriter and begins typing again.
MERCEDES (cont.)
Trini… do you think this'll work?
TRINITY
(pauses thoughtfully, then resumes. Her words are determined)
It has to. It just has to.
MERCEDES
(carefully, trying not to intrude)
Trini, if… if you ever want to talk… you can.
TRINITY
I know. Just… trying to keep busy, y'know?
MERCEDES
(nods thoughtfully)
I know.
(looks at the paper)
Thanks again.
TRINITY
No problem.
Mercedes turns and goes back into the darkroom. We hear the door of the light-trap close behind her and Trinity stops typing, slumps over the typewriter, her face crumpled. A sob escapes, as we pull away…
EXT: (WIDE) CENTRE 16, DAY
MISS MONROE (VO)
Have you got anything out of psycho boy yet?
INT: LUKE'S CELL/SURVEILLANCE ROOM
Text on Screen: Lab 7
Sublevel 2, Prodigy WingLUKE sits on a stool in the centre of a floodlit room. He sits rigidly, gripping the underside of the chair tightly. In the background we see a metal cot with restraining straps flung over the sides. Other than these two pieces of furniture, the room is bleak and bare.
Luke stares at a large piece of reflective glass. He obviously knows he is under surveillance, and does nothing except rock back and forward slightly, still keeping his balance on the stool.
On the other side of the glass, CALVIN and ROSCHELLE sit at a desk, MISS MONROE stands behind them, having just walked in.
ROSCHELLE
Nothing as yet.
CALVIN
(staring straight ahead, almost to himself)
In POW simulations, 07 resisted weeks of psychological torture before giving
even the barest threads of intel.
(rouses himself from this state, turns around to face Miss Monroe with an ironic
smirk on his face.)
I don't think we'll be getting anything out of him anytime soon.
Miss Monroe paces in the background.
MISS MONROE
We have to find out where the others are. And what they're up to.
Miss Monroe steps out of the room, and pauses outside the door.
MISS MONROE (cont.)
(sighing)
Or something serious is going to hit the fan.
OPENING CREDITS
From 1982 – 1998, an insular, secretive agency known only as 'The Centre', carried out the most advanced program ever attempted by such an organization. The program, deemed 'Project Prodigy', involved the most talented and intelligent minds of this millennia; 15 children, raised from infancy in the sub-levels of Centre 16, Salt Lake City, Utah, whose collective intelligence exceeded even advanced computer systems. They were The Prodigies. Child Geniuses. A resource unlike any other. A living super-computer with the ability to think, feel and predict. For more than a decade these children fabricated some of the most highly developed systems and programs ever created by the human mind… until one night, The Prodigies ran away…
INT: MISS MONROE'S OFFICE
Miss Monroe leans back in her chair, flicking a pen against one of her hands, overlooking the desert outside. Rhoda's voice comes through the intercom.
RHODA
Miss Monroe, Mr. Johanesson called, he'd like to see you in his office.
Miss Monroe turns spins around in her chair, an annoyed look on her face. She depresses a button on the intercom.
MISS MONROE
Tell him I'll be up in a minute.
RHODA
(pause)
He specifically requested you go immediately, Ma'am.
MISS MONROE
(fed up)
Then tell him I'll be up immediately, Rhoda.
RHODA
Yes, Miss Monroe.
Miss Monroe stands up gracefully and walks towards the doors of her office, straightening her suit as she goes. She pulls open the double doors, and walks out.
INT: PRODIGY WAREHOUSE – TRINITY'S OFFICE – DAY
Trinity murmurs to herself as she types at her amazing pace.
TRINITY
Mentor T13… destroyed… No other… cure… for 'Tar-quin
Insanity'… available… at this time…
Justin enters.
JUSTIN
Trini, have you finished the article yet? I need to have it in before midday for
proofreading.
TRINITY
What if they change something? It'll throw the entire message out.
JUSTIN
They can't change anything without my okay. I just won't okay it today.
TRINITY
Fine.
She pulls the paper out of the typewriter and holds it up for Justin to read. He takes it and scans through it, reading out the hidden message contained within the article
JUSTIN
"Attention: Centre 16 Prodigy Subjects, Mentor T13 has been destroyed. No other
cure for the 'Tarquin Insanity' is available at this time…"
(Justin looks at Trinity)
What on earth does "Peace, out," mean?
TRINITY
(shrugs)
I saw it on TV. It has a nice ring to it…
(anxiously)
What about the cover article?
Justin looks at the article again.
JUSTIN
"The Prodigal Son Returns", a study of runaway boys? It's fine. A nice play on
words.
Mercedes enters the room from the darkroom, wiping her hands on a rag. Justin holds out the paper for her to read.
JUSTIN
What do you think, Mercedes?
MERCEDES
(scanning the article)
This is great, Trini. Better than the one you did in Seattle…
JUSTIN
Even better than the one for the
New York Times.
TRINITY
(sighing)
Thanks. I just hope the others
get the message.
JUSTIN
I know they will. Come on, you
two, can you ever read anything without checking every forth letter to
see if it spells something out?
MERCEDES
I've been doing it since I was
ten.
Justin tucks Trinity's article into a leather portfolio, along with the photo seen earlier, two street boys leaning against an alley wall.
JUSTIN
(slipping on a pair of rectangular
shaped glasses)
I better be going. See you both
later.
Justin leaves, and Mercedes turns to Trinity.
MERCEDES
Want to grab some early lunch?
TRINITY
No, thanks.
MERCEDES
(confused)
Should I bring something back for
you?
Trinity doesn't appear to hear the question, staring off into space. Then we see from Trinity's point of view. She hears Luke's voice in place of Mercedes'.
MERCEDES (cont.)/ LUKE
Trinity… are you okay?
Again, Trinity doesn't appear to hear, her mouth opens slightly, she is too shocked to answer.
MERCEDES (cont.)/ LUKE
TRINITY!
Trinity turns around (SLOW-MO) and sees that it's Mercedes behind her. For a moment she seems to look past Mercedes, searching for something. Mercedes turns around to see if there is anyone or anything behind her. Fed up with Trinity's dreamy state, she gives up.
MERCEDES
I'll bring something back for you
later.
Mercedes leaves the room. Trinity stands up, eyes clouded with tears. She runs through the warehouse to what we assume is her room, where she tears through a small suitcase to find a jewellery bag.
She pulls out a ring decorated with small silver flowers. The tiny diamonds at the flowers' centres sparkle. Trinity holds it gently in her palm, and looks down at it sadly. She has a FLASHBACK – File 1.08: Ho, Ho, Who?
Trinity looks up at Luke, a smile spread across her face and tears almost welling in her eyes.
TRINITY
It's beautiful...
LUKE
They're 'forget-me-not' flowers,
so that we'll always...
Trinity finishes his sentence
TRINITY
...remember each other...
END FLASHBACK
Trinity grips the ring tightly in her hand, and kneeling where she is, starts crying. She leans over against the bed and slides down, ending up curled up on her side as she sobs noisily, her cries full of deep pain.
EXT: CENTRE 16 (WIDE) – DAY
MISS MONROE (VO)
I'm happy to see you've had a nice
vacation, Sir.
INT: JOHANESSON'S OFFICE
Johanesson sits behind his desk, hands clasped. Miss Monroe stands in front of his desk expectantly, but he doesn't offer her a chair. She remains standing.
JOHANESSON
I'm very disappointed, Miss
Monroe.
MISS MONROE
Disappointed about what, Sir?
JOHANESSON
That you would do a deal with the
Prodigy Subjects, and swap a valuable genetic empath for a chemically enhanced
genius. We have plenty of geniuses around. The Empath, on the other hand, is a
rare and priceless commodity which could have also helped us track down all the
others.
MISS MONROE
I did what I thought was right at
the time, Sir. The Empath would have been more trouble than this one will be.
He offered himself voluntarily in her place. I believe we'll have more
information out of him in a shorter time span than relying on the fickle
energies of an empath.
JOHANESSON
And did you happen to discuss this
plan, these thoughts, with anyone else?
MISS MONROE
There was no time for that, Sir.
It was an instant deal, one that had to occur immediately.
JOHANESSON
I see. So why haven't you told me
about your suspicions that this subject killed your father?
MISS MONROE
(taken by surprise)
Excuse me, Sir?
JOHANESSON
I am not stupid, Miss Monroe, and
despite the fact my eyesight's going a bit; I can see what is happening
under my own nose. It would be wise of you to remember that! Now, I asked you
why you didn't tell me that you suspect that this subject killed your father;
and I would like an answer if it's not too much trouble.
MISS MONROE
Well, Sir, that never really came
into the picture, it was more the fact that it was a quick, hurried event that
seemed to benefit us in the long run that was my main motivation in accepting
the deal.
JOHANESSON
(suspicious)
I'm sure. Consider this a warning,
Miss Monroe. If I hear of any more deals cut with the subjects, something else
will be cut too. You. You'll be cut loose. Need I remind you that being cut
loose is not a good thing? That it simply doesn't bode well for future
opportunities?
MISS MONROE
No, Sir, I understand.
JOHANESSON
See that you continue to
understand.
MISS MONROE
Of course, Sir.
Miss Monroe turns to leave.
JOHANESSON
By the way, Miss Monroe?
Miss Monroe turns back to face Johanesson, but he has swung around in his chair so he looks out over the desert. The shot is reversed so we see his face, Miss Monroe standing in the background.
JOHANESSON (cont.)
I'd suggest you confer with your
Co-director before making any other big career moves. A trouble shared is a
trouble halved.
Miss Monroe leaves the room. We follow her outside the door and as she walks away, the camera pans around to where Calvin stands next to the door, stroking his chin.
INT: PRODIGY WAREHOUSE (Entry area) – AFTERNOON
Justin comes in the door carrying his leather portfolio, looking satisfied.
JUSTIN
(calling loudly)
Mercedes? Trini?
(pause, and after no one answers)
Anyone here?
Justin walks down the hallway and starts ducking his head inside rooms, looking for the girls.
JUSTIN (cont.)
(calling loudly)
Mercedes? Trini?
Justin comes upon the room where Trinity now lies on her bed, facing the wall. Her back is towards Justin and she doesn't move in response to Justin's call.
JUSTIN (cont.)
(softly, concerned)
Trinity, are you okay?
We see a reverse shot of Trinity, wide awake, a CLOSE UP of her red, tear-stained eyes with Justin's distance closing in the background.
JUSTIN (cont.)
(questioning)
Trini?
Trinity still doesn't move, and Justin sits down on the edge of the bed. He touches her lightly on the shoulder, as if to wake her. He is surprised when she turns over and grabs his throat.
They roll off the single bed, Trinity landing on top, hands still squeezing Justin's throat tightly. Justin struggles and manages to reverse the situation; he now sits on top of Trinity, pinning her hands to the floor. Trinity begins to cry again.
JUSTIN
What's wrong, Trinity?
TRINITY
(screaming, distraught,
hysterical)
LUKE!!
You let him go, you let him go, you let him go! You let them take
him! What would they be doing to him now, Justin? I feel him! He's
alone and he's afraid but he still thinks he did the right thing and
he didn't! You didn't! Why did you let him go?
JUSTIN
We couldn't let them keep you,
Trinity! It put us all at risk! At anytime they could've shot you up and
before you knew it you'd be telling them anything and everything they wanted to
know!
TRINITY
I'm a risk? I'm such a risk in
their hands that when your friend, your brother, says he'll go and
take my place, you let him go? Why don't we all just carry cyanide pills? Make
things a hell of a lot easier!
JUSTIN
Trinity, your gift – your talent,
your what-ever-you-want-to-call-it, is so dangerous in the wrong hands! In the
hands of Centre 16… we'd all be back inside within days. Weeks…
TRINITY
Months, maybe. Years? C'mon,
Justin, I would have never said anything. Or maybe we'll all just end up back
there anyway.
JUSTIN
Don't speak like that. We're
never going back there. Never!
TRINITY
Luke did. He said he'd rather die
before he went back there, and then he went back there voluntarily. What does
that tell you?
JUSTIN
It seems to be telling me a lot
more than it's telling you.
TRINITY
(flushed, spitting out the words)
Spell it out.
JUSTIN
Luke said he'd rather die before
going back there. But he went back there, Trinity, for you. And if he'd go
back there for you, doesn't that tell you something of what he felt for you?
TRINITY
How would you know? You don't
care about anyone else! You sent your Dina away, a 'liability' just because she
was injured, and I'm a liability just because I am what I am.
(Trinity's voice scratches as she becomes more and more emotional)
TRINITY
You let Luke leave. How would
you know what love is about?
JUSTIN
(fiercely, pain obvious on his
face)
Because when everything inside you
longs for it…
(softer)
you have to know what it's about.
After a moment, Trinity's face dawns with understanding. She stops struggling, and Justin eases off. He sits up against the bed as she curls into a ball again, this time facing him. The scene is eerily silent for a moment after this large outburst. Trinity speaks first.
TRINITY
I'm sorry… what I said…
JUSTIN
It's okay… it doesn't matter.
TRINITY
It's just… I miss him, Justin. I
miss him…
INT: MISS MONROE'S OFFICE – AFTERNOON
Miss Monroe sits at her desk. She lifts her left wrist to check her watch. It reads
5:30. The watch also has a date square which reads 15 FEB.
As she lowers her watch, Fallen enters the room without knocking, wearing a bright, overly obvious tie.
FALLEN
Nice to see you, Monroe –
MISS MONRO
I doubt it.
FALLEN
– Alive.
MISS MONROE
Excuse me?
FALLEN
I heard you had an appointment
with Johanesson.
MISS MONROE
(wonderingly, to herself)
Remind me to tell Rhoda that my
schedule is no one else's business.
(back to business)
And yes, I had a meeting with the
old man upstairs.
FALLEN
And?
MISS MONROE
He said that next time I should
talk to you before I make such a big decision on my little young female own.
FALLEN
(smiling broadly)
That sounds like a good idea.
MISS MONROE
I told him to forget it.
FALLEN
(smile disappears)
That
doesn't.
MISS MONROE
I told him that if he's going to
cut me loose, well, it'd be doing me a huge favour. Nothing more I'd enjoy than
being made redundant by this place. Who knows, I might even get that pension at
last…
FALLEN
(stepping closer)
You are aware what being
redundant around this place calls for, aren't you?
MISS MONROE
Enlighten me.
FALLEN
You don't get made redundant at
The Centre, Monroe, you get made dead. Very dead.
MISS MONROE
(nodding her head as if deeply
comprehending)
Oh…
(calls)
JC!
JC steps out from behind an oriental screen, holding a mini-cassette recorder.
MISS MONROE (cont.)
Play that back for us, would you?
JC rewinds the tape, and presses play as he sets it down on Miss Monroe's side of the desk
FALLEN [on tape]
You are aware what being
redundant around this place calls for, aren't you?
MISS MONROE [on tape]
Enlighten me.
FALLEN [on tape]
You don't get made redundant at The
Centre, Monroe, you get made dead. Very dead.
Fallen reaches for the recorder, but Miss Monroe picks it up first, a satisfied look on her face.
MISS MONROE
Certainly sounds like a threat,
Fallen.
FALLEN
(confused)
What? Why – What on earth is
going on here?
MISS MONROE
This is all about insurance,
Fallen. My insurance. It's the classic thing: if I die suddenly, this is given
to the police, along with everyone and everything in this place on a platter.
FALLEN
(laughing)
And who's going to do that? Kind
old Mrs. Rosie next door? No chance of it being JC here, mmm? Can you imagine
it?
(Fallen imitates a security guard,
hands on hips and gruff voice)
"Why are you going out today, Mr.
JC?"
(Fallen switches into an overly
feminine version of JC, with a high pitched voice)
"Oh, just going to deliver Miss
Monroe's life insurance policy to the police! Nothing really!"
(Goes back to himself.)
So, Monroe, who would be dumb
enough to try it?
MISS MONROE
That's something I have to think
about. In the mean time, Fallen, I suggest you get some of your own.
FALLEN
Some… one dumb enough to try it?
MISS MONROE
Some insurance.
INT: PRODIGY WAREHOUSE – LOUNGE ROOM – AFTERNOON
Justin and Mercedes sit on a couch side-by-side, an open pizza box on the coffee table in front of them. Only a few pieces are gone, it is obvious Justin has lost his appetite, while Mercedes chews away complacently.
JUSTIN
(breaking the silence)
I forgot to tell you. When I went
to the newspaper office I –
MERCEDES
(with pizza still in her mouth)
Let me guess.
(she swallows)
You found a new quest.
JUSTIN
Kind of. The office was a
complete madhouse because one of their top reporters was killed a few days ago.
MERCEDES
Why haven't we heard about it?
JUSTIN
The Chief of Police took it upon
himself to declare it a suicide. The suicide of a top reporter doesn't seem to
raise as much attention as the murder of a top reporter… especially if said
reporter was investigating the Chief of Police himself.
MERCEDES
What makes you say that?
JUSTIN
When no one else was around I took
a quick look at her desk files. She hasn't filed any stories for the last two
and a half weeks which is pretty uncommon unless she was working on a big
story. And it just so happened that she had a few notes in code. And being the
unrecognised genius you know me to be…
MERCEDES
(grudgingly admiring)
You deciphered them on the spot.
JUSTIN
Bingo.
MERCEDES
And…
JUSTIN
I want you to come down there with
me tonight and help me break into her computer files.
MERCEDES
Sure, I have nothing better to do
on a Friday night.
(lowering her voice)
Now come on, tell me what's going
on.
JUSTIN
What?
MERCEDES
Trinity. She hasn't come out all
afternoon.
JUSTIN
Well, uh, she's not feeling too
good.
At that moment Trinity walks through the room dressed in baggy jeans, a man's long-sleeved shirt, thermal vest and boots too big for her feet. She heads straight for the door on the other side of the room, avoiding Justin and Mercedes' eyes.
TRINITY
I need some time alone. Be back
later.
She leaves the room and we hear the closing of the main door as she exits the building.
MERCEDES
(puzzled)
Aren't they –
JUSTIN
(nodding slowly)
Yep, they are.
EXT: CENTRE 16 (WIDE) NIGHT
INT: LUKE'S CELL
Luke lies on his bed, kept in place by the buckled straps. His eyes are open, and a tear slides down the side of his head. The lights are dimmer than during the daytime, but still quite bright.
Miss Monroe opens the door to the adjoining observation room to find it empty. She heads for the door to Luke's cell and opens it by pressing numbers on a keypad.
She opens the door and steps in. Luke turns his head to see who it is and when he realises it is Miss Monroe, turns away.
MISS MONROE
(coldly)
I need to talk to you.
LUKE
(keeps his face averted)
About time someone did. I
was starting to get the feeling you guys didn't like me so much after all.
MISS MONROE
I certainly don't, that's for
sure.
LUKE
(turns his head to face her)
So why are you here?
Miss Monroe pulls her gun, and points it unflinchingly at Luke's chest.
MISS MONROE
I need to know what happened to my
father.
LUKE
Why are you asking me?
MISS MONROE
Don't play your mind games with
me, 07. I want to know, and by God, you're going to tell me.
LUKE
Tell you what?
MISS MONROE
Tell me why you killed my father.
And how, how; for Christ's sake! And where, and everything. Everything… I want
to know everything.
We CLOSE IN on Luke's face to see the look of confusion and worry on his face.
EXT: NEWSPAPER OFFICE – NIGHT
A large sign on the building can be read in the light from the street:
"The Blackpool Post"
INT: NEWSROOM
Justin and Mercedes creep into the darkened newsroom. Mercedes sits down in front of the journalist's computer and boots it up. Justin stands guard, gun drawn, as Mercedes works.
MERCEDES
This girl is paranoid. This is
the third password tonight.
She types and obviously gets it, in the light from the computer screen, we see her smile.
MERCEDES
Yes!
The smile disappears just as quickly.
MERCEDES
No!
Mercedes starts typing rapidly, and after a moment looks up.
MERCEDES
Justin, it's not here. Someone's
cleared out her hard drive.
JUSTIN
What?
Justin comes around to see the screen flashing:
JUSTIN
What the hell is going on?
Just then, a tinkle of glass breaking. Mercedes turns off the computer and she and Justin run to take cover behind another desk.
Two men (who we find out are BRIAN and DYLAN) steal into the room as quietly as they can, unfortunately not as quiet as they think they are. They move over to the deceased journalist's desk and boot up her computer.
BRIAN, the short, stocky one sits down at the computer and types for a few minutes. The light from the screen clearly highlights his face, as well as his partners'
BRIAN
Hey, Dylan.
(beckons for his partner to come
to the computer.)
DYLAN
(coming over to look at the
computer)
What's it, Brian?
BRIAN
All the data's gone. Someone's
beaten us to it.
DYLAN
Jesus! The Captain's gonna have
our ass!
We see Justin and Mercedes mouth to each other, "The Captain?"
BRIAN
Look, we should just go. I think
I can hear one of those silent alarms
Mercedes gives Justin an incredulous look
DYLAN
I don't want to go back to The Cap
empty handed.
BRIAN
Too bad, there's nothing to take.
Told you we should have come last night.
Brian powers down the computer as they continue the argument.
BRIAN
But noooo, you had to keep that
date with Lisa.
(tries to croon the name
soulfully)
Liiiisssaaa! Liiiisssaaa!
DYLAN
You keep your mouth shut about
Lisa.
BRIAN
The Cap'd have your ass if he knew
you were with a girl. You know what he says…
DYLAN
"Only the smart guys can get a
girl."
BRIAN
I don't remember it like that…
Brian and Dylan leave the room. Mercedes and Justin pop up from behind the desk.
MERCEDES
The Captain? What stake would he
have in this?
JUSTIN
The Captain. Damn it.
(he pauses)
Mercedes – her house!
MERCEDES
What?
JUSTIN
Destiny Moore's house. Surely
she'd have back-ups there.
MERCEDES
They're
probably gone by now.
JUSTIN
We could still give it a shot…
MERCEDES
Okay, you're on.
EXT: CITY STREET – NIGHT
Trinity walks down the street, her hair now tucked up into a cap. Hands shoved in pockets, eyebrows furrowed, she looks deep in thought. A voice calls from behind.
PUNK #1
Hey, runt!
Trinity keeps walking.
PUNK #1
Hey, runt! Wait up!
The punk and another two come up and push Trinity into a side alley, pinning her to a wall.
PUNK #2
When AJ calls yo name, runt, you
answer.
AJ (PUNK #1)
And when AJ says he'd like all
your cash, you hand it over.
Trinity passively resists, the cap still shielding her face.
PUNK #3
Looks like we have to "relieve"
this runt of his money, AJ.
TRINITY
(softly)
Her.
PUNK #2
(pushing his face close to
Trinity's)
What, runt?
TRINITY
(slightly louder, clearer)
Her.
Without warning, Trinity's hand comes up and strikes Punk #2 in the face with such force he is pushed clear across the alley, knocking his head on the opposite wall. The other two punks try to corner her.
PUNK #3
Yo gonna pay for that, bitch.
He pulls back his head as if to headbutt her, while AJ tries to hold her still. At the last moment she ducks and Punk #2's head hits the wall. He too goes down without a sound.
Trinity turns to AJ, who without his friends now seems a little less happy to fight as he tries to back away.
AJ
Look, I'm sorry, girl, both those
guys, they… they…
Trinity corners him in the back of the dead end alley.
TRINITY
Promise me a few things.
AJ
(falls to the ground, cowering)
Anything!
TRINITY
Give those two dropkicks the
flick. Get a haircut… and get a job.
AJ
Sure, sure. I will.
TRINITY
Good.
(she takes a good look at him)
Now put your head down and count
to thirty. You look up before that and I'll know. And I'll come back and kick
your ass. Understand?
AJ
Yeah, yeah, I understand, I
promise.
AJ does as he's told and Trinity takes off, running down the alley, leaping over the two motionless teenage boys near the entrance to it, and sprinting down the street, exhilarated.
EXT: BLACKPOOL PARK – EARLY MORNING
Trinity jumps awake and sighs; relieved it was a dream. She lifts a scratched, bloody hand to her face to rub her eyes, and looks at her hand in wonder when she realises that it wasn't.
EXT: CENTRE 16 – MORNING
INT: LUKE'S CELL/SURVEILLANCE ROOM
Roschelle carries her jacket over her shoulder as she walks into the surveillance room. She hangs it over the back of the chair before looking up to see a smear of blood on the mirrored glass.
Roschelle walks around to the outer door of Luke's cell and looks in through the small observation window. He is laying in his bed, as normal. She keys in the code and enters, walking towards Luke's bed. She stops a few metres away. In the lower corner of the screen we see Luke's hand on top of a sheet, covered with scratches and blood.
ROSCHELLE
(in a whisper)
What happened?
LUKE (off screen)
I think I must have fell out of
bed.
INT: PRODIGY WAREHOUSE – JUSTIN'S BEDROOM – MORNING
Justin sits on his bed, already dressed in jeans and T-shirt. He is intently studying the tiny portable computer in his lap and the many papers spread around.
Mercedes appears in the doorway in pyjamas.
MERCEDES
(sleepily)
Did you sleep at all last
night?
JUSTIN
A bit. Mostly I just read this.
And what a fascinating read it is too.
He passes the laptop to her as she sits down beside him on the neatly made bed. Her eyes widen.
MERCEDES
Is this for real?
JUSTIN
Unless you did something and
decrypted the files wrong…
MERCEDES
No way.
JUSTIN
Then it's true. The Chief of
Police, a certain Mr. Wallace Reed, has been drug smuggling from East to West
and back again.
MERCEDES
And this is a person elected by
the people. Tsk, tsk.
JUSTIN
Just goes to show that most people
don't look beyond the great, safe obvious.
MERCEDES
And they're probably safer that
way, too.
JUSTIN
Yeah… but since when has that
stopped us?
MERCEDES
I guess it hasn't. Yet.
JUSTIN
It never will.
MERCEDES
Right. Look, have you seen Trini
this morning? She's not in her room, the kitchen or the bathroom. I thought
she might be sleeping under your bed.
JUSTIN
My
bed? I doubt it.
(Justin pauses, then leans over
and checks under his bed.)
Nope, no Trinity's under there.
MERCEDES
Did you see her last night?
JUSTIN
I was so tired I didn't even think
about her… Look, she'll be back soon. She probably just spent the night out.
MERCEDES
And that doesn't worry you?
JUSTIN
(confidently)
Not at all.
Trinity enters, tired, battered and bloody from her night out. Mercedes jumps up, concerned.
MERCEDES
Trin, are you okay? What did you
do to yourself?
TRINITY
(blank and blunt)
I took on three punks and came off
best to them, second best to their knife. I slept out in the park and watched
four planes fly over. And I felt Dina –
Justin looks up, surprised.
TRINITY (cont.)
She misses us, Justin.
Trinity walks away and shuts herself in the bathroom. Mercedes and Justin look worriedly at each other.
MERCEDES
We have to do something to help
her, Justin.
JUSTIN
She misses Luke. I don't see
what we can do to help her. Maybe we just need to let her ride this out.
MERCEDES
Whatever happens, I just hope it
happens soon.
CUT TO: INT: BATHROOM
Trinity has already undressed and is in the shower. She wets her long dark hair and pushes it back from her face, begins to wash away the grime on her face. Face in her hands, her shoulders shake. She puts a hand out and leans against the shower wall, the sounds of her crying muffled by the running shower water.
INT: CENTRE 16 INFIRMARY
Text on Screen: InfirmaryLevel 2, Centre 16
Luke lies in a white hospital bed. His face now washed, we clearly see the bruises on his face, his black eye and scratches on his cheek. He sleeps restlessly, hands flung in two different directions as Roschelle watches on and takes notes.
Miss Monroe pushes aside white curtains and enters.
MISS MONROE
What on earth happened to him?
ROSCHELLE
That's what we're trying to find out, he hasn't told us anything yet.
MISS MONROE
We have to start somewhere… Who had the passcode to his cell?
ROSCHELLE
You, me, Calvin, and about half a dozen other sweepers and cleaners.
MISS MONROE
You do know that we'll probably never find out.
ROSCHELLE
Unless he knows who it was.
MISS MONROE
Come on, Roschelle, do you think anyone would take Luke's word for it?
ROSCHELLE
(seeing Monroe's point)
Probably not.
Calvin enters the room and stops sharply when he sees Luke.
CALVIN
What happened to him?
ROSCHELLE
(sighing)
We're not sure.
CALVIN
Well, whoever did Seven over, at least they didn't go to the lengths Johanesson
did.
ROSCHELLE
What are you talking about?
CALVIN
Don't you know?
Calvin is met by blank looks from Miss Monroe and Roschelle.
MISS MONROE
Know what?
CALVIN
(deep breath, then speaks)
Johanesson died last night.
ROSCHELLE
How?
CALVIN
(scratches his chin)
I'm a little sketchy on the details, but I heard he drowned in his swimming
pool. Seems like it was an accident… I never knew he swam.
MISS MONROE
How'd you find out?
CALVIN
I was called to a meeting in the Tower. I asked what was going on and they told
me that the position of Centre 16 Director is now an empty slot, waiting to be
filled.
ROSCHELLE
So you're a candidate?
CALVIN
(smiling slightly)
Quite a probable one, I think.
MISS MONROE
What about the Prodigies?
CALVIN
In the quite likely event that I'm appointed Director, I'll source some more
funding to the area so we can finish this off, once and for all
MISS MONROE
So you're confident you'll be getting it?
CALVIN
Absolutely. Who else would be?
MISS MONROE
I don't know…
MISS MONROE/ROSCHELLE (in unison)
Fallen?
EXT: BLACKPOOL POLICE STATION – DAY
A multi-storied, modern building.
INT: RECEPTION AREA
Justin walks in, dressed in a respectable charcoal suit. He speaks a few words to the secretary and is pointed towards the lifts. He walks toward them confidently, carrying the leather portfolio under one arm. He steps into the lift with a few other people and smiles slightly as the doors close.
INT: ADMINISTRATION OFFICES
Justin steps out of the lift and heads towards an office door marked "Chief". He is stopped by a woman dressed in police uniform.
FEMALE OFFICER #1
I'm sorry, Sir, but I can't allow
you in there.
Justin pulls out a wallet and flicks it open to reveal an FBI ID card and Badge. He leans his head to the side slightly, inviting a reaction.
FEMALE OFFICER #1
My apologies, Sir. I'll let the Chief know you're here.
JUSTIN
(smiles
indulgently as he puts away his badge)
No hurry.
Justin opens the door and slips in. He places various things on the Chief's desk, in the drawers, and finally pulls out a capped syringe then hides in a closet, leaving the door slightly ajar.
A moment later, the Chief enters, a trim, middle-aged man in uniform. From Justin's POV, we see him lean over the desk and examine the papers in front of him. He looks up, panicked. Justin steps out, a gun in one hand, the syringe in the other. The Chief turns and sees Justin, reaches for his own gun, but Justin shakes his head and the Chief gives up on the idea.
The two stand there a moment, until Justin speaks.
JUSTIN
You should have quit while you where ahead, Chief. But, no, you were greedy.
(Justin wags his finger slightly)
Tusk, tusk, that was a silly thing to do.
CHIEF
Who's gonna believe this rubbish? It's all fake! You can't prove any of it.
JUSTIN
I don't have to. Destiny Moore did. Before you had her killed to stop her from
printing an expose on you and your coast to coast drug trade.
CHIEF
Lies! Why would I have Destiny Moore killed? She's a great reporter, a friend
of mine! You're crazy.
JUSTIN
Oh, sure, she was a friend of yours until she realised that the drugs smuggled
through here, through your own precinct and jurisdiction were what killed her
brother four years ago. You care nothing for human life, you only care for your
money and your profits.
CHIEF
(pulls his gun quickly and releases the safety)
I ought to kill you right now.
JUSTIN
Why? Because I'm right? Well, Chief, if you look out the window right now, you
might find a very compelling reason to change your mind.
The Chief edges over to the window and looks outside. Across the street sit Mercedes and Trinity with a large betacam video camera, capturing every moment. The Chief looks back toward Justin, then leans against his desk.
CHIEF
(sighs, as if in defeat)
So what are you going to do?
JUSTIN
(giving a shifty smile)
I think I'll give you a taste of your own medicine.
INT: CHIEF'S OFFICE
We see Justin walk out the door; the Chief sprawled on the carpet. Justin closes the door behind him firmly, a small smile on his face as he walks toward the elevator.
EXT: CITY STREET NEWSSTAND – TWILIGHT
A young man stands (back to the camera) at the busy newsstand looking through the paper. He pauses at one page and we CLOSE IN to see that it is Trinity, Justin and Mercedes's encrypted article and subliminal photograph. We swing around the young man to reveal it is UNO, who shakes his head slightly in disbelief as he scans the page. Then he smiles as he closes the paper and folds it up. He hands a note to the vendor before tucking the paper under his arm and walking away.
EXT: CENTRE 16 (WIDE) – EARLY EVENING
INT: ROSCHELLE'S LAB
Roschelle sits at a lab bench, looking at something through a microscope and then pulling away to take notes. Miss Monroe enters silently from behind and surprises Roschelle when she speaks.
MISS MONROE
Roschelle, what are you doing here?
ROSCHELLE
Working. What else? But what are you doing here? I thought you were invited
to Johanesson's wake.
MISS MONROE
Family only.
ROSCHELLE
I didn't know he had any family.
Miss Monroe shrugs, uninterested. She wouldn't want to be there anyway.
MISS MONROE
That's what Calvin told me, anyway. So… what are you working on?
ROSCHELLE
Just
some blood analysis, that kind of thing. Nothing very exciting.
MISS MONROE
(reaching for the microscope)
Can I take a look?
Miss Monroe leans down to examine the samples without waiting for an answer. Roschelle looks slightly worried.
MISS MONROE
(still peering into the eye piece)
This blood looks a little weird.
ROSCHELLE
(nervously)
It's been mutated with an extra gene or two. One of the other researchers
wanted me to take a look at their work and tell them what I think.
MISS MONROE
Consultancy, huh? Good luck.
Roschelle looks sharply at Miss Monroe, as if she's being sarcastic. Miss Monroe doesn't see the look and turns to leave. As she reaches the door she turns back to face Roschelle.
MISS MONROE
Roschelle?
Roschelle looks up.
ROSCHELLE
Yes?
MISS MONROE
How much longer do you think it'll take us?
ROSCHELLE
To catch them?
MISS MONROE
Yeah.
ROSCHELLE
If Calvin can allocate extra money and people to us, we might be able to wrap it
all up in a few months.
MISS MONROE
Starting to look like a goal we can achieve.
(she smiles, a rare honesty showing through)
See you tomorrow, Roschelle.
ROSCHELLE
(already bending over the microscope again)
Good night, Miss Monroe.
INT: FALLEN'S OFFICE – NIGHT
Fallen leans back in his chair fingering a small cassette tape, still wearing his bright new tie. Smiling, he slips it into a player and clicks the 'play' button.
MISS MONROE [on tape]
Hello, Fallen. If you're listening to this, I guess that you've stolen this
tape from my office. Bad move.
As Miss Monroe's voice continues to speak, we see Fallen's face grow more shocked by the second as he realises he has been duped.
MISS MONROE [on tape]
Because of course, this tape being in your possession means that you
intended to take the other tape. In case you haven't guessed by now, this
isn't it. So I'd suggest that you return it to my office before I find out it's
gone.
(pause)
And by the way, Fallen… get a new tie.
Fallen stops the tape, and takes it out of the recorder. He puts it into a side pocket and walks out of his office with a purpose.
EXT: PRODIGY WAREHOUSE – EARLY MORNING
The sun dawns from behind the warehouse. We close in on the small door for people cut into the larger vehicle door as Trinity exits the warehouse.
EXT: PARK – EARLY MORNING
Trinity walks through the empty park, gazing off into the distance. She abruptly stops and pulls Luke's ring from her pocket. She brings it up towards her face and looks at it carefully.
She has a series of FLASHBACKS:
FILE 1.01 – REUNION(Trinity's apartment.) Sitting on her bed, Trinity leans against the window beside her bed. Her hair is dishevelled, and dark circles have developed underneath her eyes. She sniffles, sighs then turns to lie on her side, only to notice Luke standing in her doorway.
LUKE
Nice place.
TRINITY
It's a dump
LUKE
Funny, a Prodigy, in Las Vegas, of all places, living in a hole like this
He smiles, a warm, infectious smile. Trinity smiles back at him.
TRINITY
Hello, Luke.
FILE 1.02 – ORIGIN
Abandoned warehouse. Luke, Justin, Dina and Mercedes sit together around a table made of overturned fuel drums and rotting board. Trinity sits away from them, lost in her own thoughts, staring out a window at the moon. The others realise something is wrong; they all look at each other, deciding who will talk to her. Luke gets up, carrying a plate, and heads toward her. He approaches her, offering her the plate.
LUKE
Hey, Trinity, I've got an extra sized piece of melted cheesecake with your name
on it.
Trinity looks up at him and smiles weakly, accepting the plate, and poking at the runny cheesecake with a spoon.
FILE 1.03 – KICK
LUKE
An urban legend the lot of it, told to snivelling Directors so that they won't
allow their subjects to escape and risk turning America into a nice place to
live…
MERCEDES
Justin believes…
LUKE
It's more like Justin just wants to be a hero…
TRINITY
Well I think it's good that he would want to help…
Camera CLOSES IN on line of cards Trinity has created on the bed. They are all organised in matching pairs. MOVE TO Luke's face, as he looks earnestly at Trinity.
LUKE
Yeah, but one day it's gonna get us all killed…or reclaimed.
FLASHBACK BREAK: We cut back to Trinity in the park, now sitting on a bench with a sad, lonely look on her face.
FILE 1.03 – KICK (cont.)
Luke and Trinity are asleep. Trinity lay wrapped in Luke's arms, and not underneath the bed.
FILE 1.04 – SURVIVAL
LUKE
You know, it's sort of not a quest, you know, just a little insignificant search
for something integral to our survival, but whatever you want to call it…
TRINITY
I am sure that if we do not search for the answers to this whole 'Mentor T13'
thing than we'd be making a big mistake…
JUSTIN
You're just saying that because you and Luke are…
LUKE
(standing up and grabbing Justin by his shirt front)
I warn you not to finish that sentence, my friend
(Lying sandwiched between two elevators in an elevator shaft)
LUKE
(Through his laughter)
You know, I think we're dying. Our brains are being deprived of oxygen, and
that's why we're laughing in this completely and utterly inappropriate place.
TRINITY
(Through her laughter)
Well, at least I'll die with the man I love.
Luke stops laughing immediately and looks at her seriously. Trinity doesn't seem to realise what she has said for a moment, and then she too stops laughing, returning Luke's serious stare.
They move closer together in an effort to kiss… but Luke's laptop is pressed between them and their heads are stuck only inches away from each other. They give each other another look, and burst into laughter again.
FLASHBACK BREAK: We cut back to Trinity again. She has pulled knees up to her chin, feet resting on the edge of the bench, arms wrapped around her legs, a small, ironic smile on her face.
FILE 1.08 – HO, HO, WHO?
Luke hangs a sprig of mistletoe in the doorway, as Trinity stops what she is doing and walks toward him. Luke has his arms in the air, putting up the mistletoe, as Trinity approaches him, placing her hands gently on his cheeks and kisses him. Luke moves back slightly, shocked, and stares at Trinity incredulously. He stammers as he speaks.
LUKE
Wha... wha..., I mean, umm...
Trinity smiles shyly.
TRINITY
It's what you do, people under mistletoe, you kiss them.
LUKE
(somewhat relieved)
Oh... so it is another one of the strange practices associated with this holiday
festival? Kissing people under what is in all actuality, a plastic replica of a
parasitic plant?
TRINITY
Yes.
Trinity walks closer toward him, her face merely inches from his
LUKE
(swallowing hard at Trinity's closeness)
It seems that I am unfamiliar with this custom.
TRINITY
Then it would seem that perhaps you need to practice
She moves in to kiss him again, and Luke nods at her suggestion
LUKE
Maybe.
And they kiss passionately, until we hear a mechanical crashing sound from Luke's laptop, signalling the finishing of some task. Trinity and Luke break apart, and Luke races away.
FLASHBACK BREAK: Back to Trinity. Her smile is fading as she remembers something else…
FILE 11: MENTOR T13 Pt. 2Luke steps forward slowly, walking toward the C16 staff. Miss Monroe glares at him. Fallen watches as Haley lets go of Trinity. Trinity walks toward Luke. In SLOW-MO she approaches him. Her hands and feet are cuffed, she is gagged. END SLOW-MO. The rain wets her hair, water mixing with tears on her weary face. Luke too is crying as he reaches for her, pulling her gag away.
TRINITY (sobbing)
Luke don't do this...
LUKE
I have to Trini, I killed, not you, I should be the one to be punished...
TRINITY (whispered in
desperation)
Please, Luke, no-one has to be punished...
She reaches up and kisses him in the pouring rain. Haley moves forward and cuffs him, undoing Trinity's.
TRINITY (sobbing)
No.. no..
Justin comes forward and takes Trinity by the shoulder, she brushes him off. Mercedes is crying and Dina mouths the words "We love you" as Luke turns his back on them and walks toward the van slowly. Trinity tries to go after him, but Justin puts his arms around her waist, holding her back.
TRINITY (crying, almost
screaming)
Luke! No.. Luke... please.. don't take him...
Haley puts Luke in the van followed by Fallen and Monroe, then closes the door as she hops in herself. The van begins to drive away. Luke looks out the back window at Trinity one last time. Justin pulls Trinity back as she screams and cries for Luke. The rain pours as the subjects watch their brother sacrifice himself. Inside the van, Miss Monroe looks across at Luke, who stares out the window, a single tear rolling down his cheek as he closes his eyes. Fallen seems grim. Trinity drops to her knees in the rain, sobbing at Justin's feet as the light from van fades as it drives away.
FLASHBACK BREAK: Tears now pour silently down Trinity's cheeks as she holds the ring between her forefinger and thumb. Then she takes it in her left hand and puts it on her right ring finger. She holds it up to the light and smiles sadly, erupting into a new flood of tears. She covers her face with her hands and sobs. We CLOSE IN on the ring as we fade out…
INT: CENTRE 16 INFIRMARY
Luke lies alone in the white-curtained area, looking straight ahead. A Centre orderly enters, pushing a small cart.
ORDERLY
(curtly)
Arm out.
Luke doesn't raise his arm, so the orderly takes it roughly and pulls up the wide sleeve of his gown to reveal several bruises and prick-marks from needles. We see from Luke's wince that it hurts, but he doesn't say anything. The orderly takes a needle off her cart and places the plunger correctly before pushing it into Luke's arm and pulling back the plunger, filling the syringe with blood. Once done, the orderly withdraws the needle and places it on a tray the cart, then turns and wheels the cart away. We CLOSE IN on Luke's haggard face, still covered with scratches and bruises. We MOVE IN further, CLOSING IN on his left eye.
We see a montage of visions of Trinity, from when she lay in her Las Vegas apartment, to several cities on their travels. Smiling, laughing, sad, hurt. We see the scene from "MENTOR T13 Pt. 2" again; Trinity's sad face, tears running down her cheeks.
We CUT BACK TO Luke, sitting in his hospital bed. Still sitting stoically, a few tears leave his eyes, fall down his face as we pull away.
SILENT MONTAGE:
Calvin stands in front of a mirror, tying a tie. He reaches down to pick up the phone and he listens for a few moments. He nods and puts the phone down, resumes tying his tie with a slight smile on his face.
CUT TO: Justin sits in his car, Mercedes beside him. He looks impatient as he toots the horn. Trinity leaves the Prodigy warehouse and throws her bag in the car, then jumps into the backseat. She holds the frame with her right hand and we see she is wearing Luke's ring as they drive off.
CUT TO: JC's cell on SL-11. It is dimly lit, but we see that he's already dressed as normal, sitting on the edge of his bed. The door opens and a shaft of light illuminates him as he gets up and walks out into the corridor.
CUT TO: Miss Monroe driving to work, stern and uptight. She gets a call on her cell and she lifts it to her ear. She listens, then flips it shut and tosses it onto the passenger seat. She looks slightly happier.
SILENT MONTAGE ENDSINT/EXT: JUSTIN'S JEEP – HIGHWAY
Justin is driving through the midday heat and haze. Mercedes is asleep in the passenger seat and Trinity is in the backseat, looking out on the flat, land outside. The wind whips everyone's hair around wildly. Justin gets a call on his cell phone.
JUSTIN [into phone]
Hello?
UNO [intercut, into phone]
Sup?
JUSTIN
Um..?
UNO
Common slang usage. I'm down with the lingo brother... What are ya doin'?
JUSTIN
On our way to get Dina... she's feeling better
UNO
Are you serious about
Mentor T13? There's none left?
JUSTIN
We're pretty sure. So don't go around accepting any rotten Centre offers, will
you?
UNO
No way, Jòse. Look, is Trinity
okay?
JUSTIN
She's…
(looks at Trinity in the rear view mirror)
I'll pass her on. Later, Uno.
Justin half turns in his seat and passes Trinity the phone.
JUSTIN
(calling over the noise of the wind)
It's Uno.
Trinity takes the phone and holds it to her ear. Justin watches her again in the rear view mirror. She doesn't look extremely happy, but the sad look leaves her face as she talks.
We PULL OUT of the car and watch it drive away along the highway.
THE END NEXT WEEK ON PRODIGYFILE 1.12 – ESCAPE: After Luke escapes from Centre 16, the Prodigies are unsure of who to trust...