FILE 1.12 - Escape
(Story Idea by Vokal; Development and Screenplay by Jack (28.2.02 – )
EXT: CENTRE 16 (WIDE) – EVENING
Text on Screen: Centre 16
Salt Lake City, UtahINT: LUKE'S CELL/SURVEILLANCE ROOM
ROSCHELLE is packing up for the day. She gathers up notebooks and pens into neat piles and looks up through the mirrored glass into LUKE'S cell. Two sweepers are strapping him to the bed. She has a FLASHBACK:
(FILE 1.11 – Kill the Messenger)
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 lying 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?
END FLASHBACK
Roschelle shakes her head, snapping out of the flashback. She looks up through the window again and sees that the sweepers have finished and left. She puts a hand up against the window.
ROSCHELLE
(softly)
Goodnight, Luke.
Roschelle picks up her jacket and ID card and leaves the room, snapping off the lights as she leaves the room.
We cut to an overhead shot of Luke laying in his cot. His eyes are wide open, muscles taunt and fists clenched.
CUT TO: CITY - - SIDE ALLEY – MORNING
CLOSE UP on a pile of rubbish next to a large industrial Dumpster. The pile starts to wobble and a male figure clothed roughly, a beanie jammed down on his head; steps out. He stretches, back to the camera, and we CLOSE IN to see the number 07 tattooed in the centre of his lower back as his shirt lifts up. He walks stiffly away down the alley, as we rise up above the buildings to see him walking into the large city.
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…
EXT: LARGE SUBURBAN HOUSE
Text on Screen: Springfield, MissouriA bright, cloudless day, the sun is high in the sky.
CUT TO: BACKYARD
JUSTIN pushes a lawn mower back and forth across the lush green grass. He is hot and sweaty; face smudged with dirt and bits of grass.
A middle-aged woman we will know as NANCY MARTIN steps out of the house onto the covered porch and calls to Justin.
NANCY
Justin, would you like something to drink?
Justin smiles gratefully.
JUSTIN
That would be wonderful, Mrs. Martin.
He turns off the mower and jogs lightly toward the porch. He swings himself around one of the supporting poles and onto the platform. Nancy comes back out of the house again, carrying a tray with a jug of lemonade and two glasses.
Justin picks up a newspaper sitting on the coffee table to make room for the tray. Nancy smiles a thankyou and begins to pour as Justin flicks idly through the newspaper.
We close in on the newspaper as he reaches the "classifieds" section, following his eyeline as he scans the notices.
NANCY
Oh, that's yesterday's paper. Have a look at this one.
Nancy takes a newspaper from a sideboard and hands it to Justin. He turns to the classifieds and begins scanning again.
NANCY
Justin – Your lemonade.
Justin looks up and smiles, taking the glass of offered lemonade. He takes a long gulp and sighs appreciatively.
JUSTIN
That's wonderful, Mrs. Martin.
NANCY
Oh, call me Nancy. I'm glad you like it. My children always raved about it too…
Justin looks back to the classifieds and Nancy Martin is tuned out as we CLOSE IN on one advertisement that begins
SEEKING OLD FRIENDS
Professional Rodeo Orator
decides its great! Your
subordinates usually better.
Justin looks up in alarm at Mrs. Martin, who is still chattering.
NANCY
… And their friends always came over here just for my lemonade…
JUSTIN
(interrupting)
Mrs. Martin; Nancy, I know this is very rude of me, but I've just remembered I have a very important appointment at –
(Justin looks at the clock above Nancy's head and sees that the time is 12:37)
– 1 pm. Would you mind if I came back later today to finish off the lawn?
NANCY
(surprised)
Well, not at all, Justin.
JUSTIN
(relieved)
Thanks, Mrs. Martin. Could I borrow this newspaper?
NANCY
(puzzled)
Of course.
JUSTIN
Thanks!
Justin dives off the porch and runs away, newspaper clutched in hand. Nancy looks on in wonder.
INT: PRODIGY APARTMENT – LOUNGE ROOM
Plain white walls everywhere. MERCEDES and DINA sit knitting jumpers. Mercedes is obviously the expert at this and constantly leans toward Dina to show her things. Justin bursts in the door, newspaper still in hand, startling the two girls.
MERCEDES
What are you doing back?
JUSTIN
I found this.
He spreads the newspaper out over their knitting and flicks through until he reaches the classifieds. He jabs a finger at a page.
JUSTIN
Look at this.
Mercedes and Dina lean forward and we CLOSE IN on the personals ad again, only this time the entire ad is revealed.
SEEKING OLD FRIENDS
Professional Rodeo Orator
decides its great! Your
subordinates usually better.
Just email Curtis Tasmin-Smyth.
Presently Leased, Easily
Avoided, Seek Evermore
Heathens. Earnest Learners
Please – Let Unis Know
Explanations.
Mercedes and Dina look up, puzzled. Justin is exasperated.
JUSTIN
Well?
MERCEDES
It's certainly a very strange ad.
JUSTIN
Didn't you guys ever –
(he realises something and whispers to himself)
Of course.
The door opens again and TRINITY walks in lethargically, carrying a large paper bag of groceries.
Justin walks up to her and grabs her by the elbow, dragging her to the table, taking Trinity by surprise.
TRINITY
(puzzled, surprised)
What's going on?
JUSTIN
(pointing at the ad again)
Have a look.
Trinity leans over to look at the newspaper, pushing a lock of hair out of her eyes. The expression on her face goes from puzzlement to utter disbelief. She drops the bag of groceries, and it lands on Dina's foot.
DINA
OUCH!
Trinity doesn't seem to notice the noise, or the dirty look that Dina is shooting her.
MERCEDES
What's going on here?
Instead of answering, Trinity picks up a nearby pen and starts scrawling on the jumper pattern.
"PRODIGY SUBJECTS PLEASE HELP – LUKE"
Mercedes and Dina look at her in amazement.
DINA
How'd you get that
(gestures to her scribbled words)
out of that?
(points to the article)
Justin takes the pen from Trinity's hands and starts underlining every first letter of the notice. Mercedes and Dina watch on in growing understanding. When Justin is finished underlining, he caps the pen and drops it on the table. He turns around to see Trinity sitting on the edge of the sofa, playing with the ring on her right hand. She looks up at him, with imploring eyes.
TRINITY
We are going to answer this, aren't we?
EXT: CENTRE 16 (DAY)
MR FALLEN (VO)
You know, Monroe, you're a very lucky young woman.
CUT TO – INT: MISS MONROE'S OFFICE
MISS MONROE is standing at the window but facing the door, having heard MR FALLEN enter the room. She gives him a docile smile and stands behind her desk.
MISS MONROE
And you come to that conclusion how, exactly?
MR FALLEN
You lost Subject Seven on a night with a Level 4 lockdown. If Johanesson were still here he would've had your head.
MISS MONROE
(flippantly)
Good thing he decided to go for a swim when he did.
MR FALLEN
The Director will not be able to ignore your inability to contain a subject when you're lucky enough for one of them to give themselves up.
MISS MONROE
Calvin knows exactly how difficult it is to keep these kids in. I'm sure he will be very understanding.
MR FALLEN
Sure, Calvin will be understanding. I was thinking more of a certain Blue Cove Director.
MISS MONROE
Spit it out, Fallen, I don't have time for games.
MR FALLEN
I'm sure you get enough of those from your little old playmates. My point is; Lyle called an hour ago and I had to deliver the regretful news that we had lost the one subject we had managed to retrieve. Needless to say, Lyle was very disappointed… he said he'd had some research plans for Seven.
MISS MONROE
Somehow I doubt he needed Luke to do research… more like play some twisted little games.
MR FALLEN
Luke? Games?
MISS MONROE
Oh, come on, Fallen, stop acting oh-so-scientific. They've all given themselves names now. He isn't Seven. He's Luke. And I've done some research on Lyle –
MR FALLEN
– You mean, JC has done some research on Lyle.
MISS MONROE
(ignoring the interruption)
and he's sick.. Do you have any idea what he did to one of the Pretenders they recaptured a few years back? They –
MR FALLEN
– I'm sure whatever he did was justified.
MISS MONROE
My butt it was justified, they strung him up by his wrists and shocked him with jumper leads. What does that tell you?
MR FALLEN
(mildly)
That Mr. Lyle is a very resourceful man.
MISS MONROE
More like a very resourceful sicko –
Miss Monroe's words die in her throat as LYLE enters the room and stands slightly behind Mr Fallen.
MR FALLEN
Uh, like I said, Mr Lyle called by to see what was happening in this part of the world. I took him down to show him the Surveillance Lab, and he was very impressed by the technology –
LYLE
– But very disappointed by the lack of someone to use it on.
MISS MONROE
(forcing politeness)
Nice to see you again, Mr Lyle.
LYLE
Somehow I doubt that, but let's say for argument's sake that you're telling me the truth.
Lyle walks around the desk and seats himself in Miss Monroe's chair.
LYLE
The fact of the matter is, Miss Monroe, you did lose a retrieved subject during a Level 4 lockdown. A very important subject, so I understand.
MISS MONROE
Yes, he was to be intrinsic to our understanding of the subject's frame of mind in the open world. Unfortunately, he had former POW training and we didn't get anything out of him during his time with us.
Miss Monroe has a brief FLASHBACK
Miss Monroe stands next to Luke's cot, gun drawn, pointed unflinchingly at his chest. Her eyes and voice are full of barely controlled anger.
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.
END FLASHBACK
LYLE
Miss Monroe? Would you care to join us back in the land of the living?
Miss Monroe shakes her head clear of the flashback and smiles slightly; more a polite gesture than anything meaningful.
MISS MONROE
(firmly)
I assure you, Mr Lyle, my team and I will soon reapprehend the escaped subject, along with all the others who escaped in 1998.
LYLE
Is this bravado or a firm promise, Miss Monroe?
MISS MONROE
A promise, Sir. We intend to return as many as we can to Centre 16.
LYLE
As many as you can?
MISS MONROE
As many as we can take alive. I'm sure you're aware that many of these subjects would rather die than come back. Some of them may wish to commit suicide in preference to returning. But we will do our best.
LYLE
I'm sure that you will.
(he stands and walks around the desk, heads for the door)
Come along, Mr Fallen; show me the way to your new Centre Director.
Fallen shoots Miss Monroe a dirty look as he follows Lyle from the room. A bit of a commotion at the doorway before Lyle and Fallen leaves results from JC trying to enter at the same time. As soon as they are out the door, he is inside, holding a tiny laptop computer in his hand.
JC
You wanted to see me?
Miss Monroe sits down behind her desk
MISS MONROE
(sighing)
Just… hurry up with Luke, OK?
JC
(slightly puzzled)
We've been chasing them for over six months and now you want me to hurry up?
MISS MONROE
The stakes have risen, JC, surely even you can see that.
JC
On the contrary, I thought that with Johanesson gone, the stakes were nowhere near as high.
Miss Monroe shoots him a dirty look.
JC
But, I might be mistaken…
MISS MONROE
Why do I think the second option is the more likely one?
JC
Because you underestimate me.
INT: LOUNGE ROOM, PRODIGY APARTMENT
Trinity and Justin are arguing. Dina and Mercedes are nowhere in sight.
TRINITY
Justin, please, we have to help him!
JUSTIN
How likely do you think it is that he got out alone, Trinity?
CUT TO: BEDROOM
Mercedes and Dina sit side by side on the edge of a bed, knitting as they listen to the fight.
CUT TO: LOUNGE ROOM
TRINITY
(eyes narrowed)
What are you saying?
JUSTIN
I'm just saying, it's possible that he's been turned. That they let him out to reel us in –
Justin is cut off as Trinity goes to slap him across the face. He catches her hand in time and holds it tightly halfway between them.
TRINITY
He'd never do that!
JUSTIN
(soothingly, letting go of her hand)
He might not want to, Trini. If they took him to Renewal Wing, who knows what happened to him? He could think that we're all indians that he has a cowboy responsibility to round up.
TRINITY
He'd never let them turn him. Never! They can't turn him... he's a pretender...
JUSTIN
Their technology has improved... I heard that up at Centre 33 they had got a pretender so whacked out he didn't even remember... well... anything.
TRINITY
He wouldn't forget us... he couldn't.
JUSTIN
They would at least try to make him forget. Trinity, you and I have both seen
what happens to people when the Centre tries 'Renewal' and it doesn't work.
They're never the same...
Silence ensues.
JUSTIN
They would have tried. I think it'd be a very strategic thing to do.
TRINITY
You would.
JUSTIN
(ignoring the snide remark about his past)
So, please, just calm down. If he sends out another notice in a week or so, we'll think about it. But I think it's a little premature to go running off as soon we hear a single word. Especially in such a conspicuous code.
TRINITY
So conspicuous that even Mercedes and Dina didn't see it?
JUSTIN
You seem to forget that we're not only up against humans, Trinity. The Centre probably has computers working overtime looking for the slightest reference to anyone that just might be us. It would surely be encoded with the various ciphers we were taught and I seriously doubt that they haven't already picked it up.
TRINITY
Just say that you're wrong. What'll happen to Luke if no one goes to help him?
JUSTIN
Luke's a big boy, Trinity; he can take care of himself.
TRINITY
Physically, yes. But he has to be in pain, Justin.
JUSTIN
Look, I –
(Pause)
What do you mean, 'he has to be in pain'? Can't you feel him?
TRINITY
(slightly ashamed, worried)
No, I can't.
JUSTIN
But, I thought you two were, I dunno…
Justin gives up on words and holds up his two forefingers with the fingertips touching.
JUSTIN (cont.)
(feebly)
Close.
Trinity sits down on a chair, her bravado and fight gone.
TRINITY
Up until a few days ago I could. Then suddenly I couldn't. I have no idea what happened to him, Justin, but whatever it was, he's blocking me off. He won't let me inside his head.
JUSTIN
He can do that?
TRINITY
If he was right here, no, but since he's so far away I can't project anything onto him. I can't make him open his mind, and as long as he's closed off, I can't get anything.
JUSTIN
Makes you sound like a TV Ariel.
TRINITY
(sarcastic)
Thanks.
Mercedes enters from the other room.
MERCEDES
Look, Justin, if Trini wants to see if she can get something on her sonar –
Dina pops into the room and corrects Mercedes
DINA
Radar.
MERCEDES
Whatever. If she wants to, let her go. She knows she has to be careful.
TRINITY
Come on, Justin, you know she's right. I promise I'll stay out of trouble. I'm just going to do a bit of digging around to see if I can find out how the newspaper received that ad.
JUSTIN
(sighs)
Fine. But you take good care of yourself. And if you find anything out, you call us. And if you get a message from Luke saying that he wants to meet –
TRINITY
(earnestly)
I'll call you. I promise.
Justin looks at his watch.
JUSTIN
I have to get back to Mrs. Martin's. You want me to walk you to the station?
TRINITY
Yeah, just a minute.
Trinity leaves the room and so does Mercedes. Dina speaks in a low voice to Justin.
DINA
Are you sure this is a good idea?
JUSTIN
No. But I bet it's the only idea we would've come up with anyway. And that's saying something.
FLASHBACK (B & W TINT)
INT: LUKE'S CELL
Luke lies in his cot, and everything around is quiet. In the dim light we CLOSE IN on his fist, which is flexing and stretching alternatively. Suddenly we hear a 'CRACK' as Luke dislocates his thumb against the leather wrist buckles. He groans in pain, but wriggles his hand free of the restraint and undoes his other hand clumsily before popping his thumb back into place with a grimace. He quickly sets about undoing the other straps.
END FLASHBACK
EXT: STREET – EARLY TWILIGHT
A loud car horn shocks Luke out of his flashback and he looks around, startled from his place on the ground. He sees there is no threat nearby, and tiredly rubs his hands over his face before cupping his hands in front of his mouth and blowing into them as if to warm them up. He stand up stiffly and starts walking into a park. We RISE above the forested park and see that on the other side there is a large newspaper office with the words
THE MISSOURI MAIL
WHERE THE WORLD IS YOUR NEWS
Emblazoned on the front.
INT: MISSOURI MAIL RECEPTION DESK
Luke enters and waits behind someone else at the desk. The RECEPTIONIST finishes talking to them and turns to Luke. She screws her nose up slightly (supposedly) at his smell, but presents a reasonably friendly smile.
RECEPTIONIST
Can I help you?
LUKE
Yeah, uh… I've placed a notice in the paper and I want to know if you've had any response to it.
RECEPTIONIST
Right. Do you remember your customer number?
LUKE
503682
RECEPTIONIST
(taps the number into her computer and waits a minute)
I'm sorry, there's been no responses or inquiries.
LUKE
(knocks his knuckles on the counter absentmindedly, sighs)
Can I come back in another day or two?
RECEPTIONIST
Of course, Sir.
LUKE
Thanks.
Luke goes to leave and head for the door, pulling up the collar of his tattered jacket. As he pushes out one door, Trinity comes in through another one several metres away. She walks toward the desk but is stopped by a VISION
She watches a 'ghost' of Luke walking through the door as he did only seconds ago.
END VISION
Frowning, she steps up to the desk.
RECEPTIONIST
Hello, how can I help you today?
TRINITY
I'd like to know how I could reply to a notice in the classifieds.
RECEPTIONIST
Didn't the notice have a phone number or address in it?
TRINITY
No, I assumed I could do it here.
RECEPTIONIST
You can, I just thought I'd check. So, what ad would this be?
TRINITY
The one headed "Seeking Old Friends"
The receptionist types away on her keyboard and pauses. The shot is reversed and we see the file on the screen. We swing back again to see the surprised expression on the receptionists' face.
RECEPTIONIST
(pointing)
You just missed him.
TRINITY
What?
RECEPTIONIST
You just missed him. He was in here a moment ago.
TRINITY
(leans forward over the desk and speaks urgently)
Which way did he go?
RECEPTIONIST
Uh, he went… that way.
The receptionist points toward the door Luke exited through and Trinity runs towards it. Out in the street she is overrun by the twilight crowds. She stops in the middle of an open square, looking, but sees nothing but anonymous faces in every direction. She sighs hopelessly.
EXT: CENTRE 16 (WIDE) – MID-MORNING
INT: ROSCHELLE'S LAB
Roschelle sits on stool with a notepad on her lap, looking intently at a blackboard covered with white chalk mathematical equations. Miss Monroe enters.
MISS MONROE
Am I interrupting some soul-searching?
Roschelle puts a hand to her chest in surprise.
ROSCHELLE
I wouldn't quite say that.
MISS MONROE
So what are you doing? 'A Beautiful Mind' has already been made and released, in case you didn't know.
ROSCHELLE
(making marks on her notebook)
I can't believe that the quiet little girl I knew had such a driving wit inside her for so long and I never found out.
MISS MONROE
That's what happens when someone sends you to boarding school – You develop a driving wit. Something that my teachers are proud of, no doubt. So, what are you up to?
ROSCHELLE
I'm just trying to see if there's a mathematical pattern to the way these kids travel.
MISS MONROE
And…?
ROSCHELLE
At the moment, nothing seems to be eventuating, but I'm hoping that I can get JC to run a compilation program that will put all my results together and come up with something we can work with.
JC enters the room, his mini-laptop in hand.
JC
No need. I got this off the mainframe just now.
He holds the laptop with one hand and opens it with the other, then presses a button and turns it around so the screen faces Roschelle and Miss Monroe.
We CLOSE IN on the screen to show an enlarged version of Luke's ad on the right side, with his hidden message writing itself over and over again in capitals on the left.
Miss Monroe makes a grab for the computer. JC lets her take it and hooks his thumbs into his thumbs into his jeans pockets.
MISS MONROE
(scanning the screen)
This says it appeared in the Missouri Mail yesterday.
JC
(nodding)
That's right. Sometimes the computers get backlogged, so it takes a day or so to come up; but once the computer got to this it came up straight away.
ROSCHELLE
What I don't understand is why he would write a letter in a code that he knows we know that they used.
MISS MONROE
He doesn't know who he's writing to. He has no idea if his little group is in the area – but even if they're not, maybe some of the others are, and they'd surely try to help him too.
JC
So what do you want me to do?
Miss Monroe snaps the laptop closed and pushes it towards his chest; JC's hands come up to grab it protectively.
MISS MONROE
Keep watch on the papers. If another ad appears in this area, call me, and call the jet.
(tone becomes determined)
We're going to get them this time.
Miss Monroe stalks from the room, leaving JC grasping his laptop. JC and Roschelle swap looks.
EXT: PRODIGY APARTMENT – AFTERNOON
INT: KITCHEN
TRINITY (off screen)
Justin, please!
Mercedes and Dina sit at a table eating toast half-heartedly as they listen to Trinity and Justin argue heatedly.
JUSTIN
Trinity, I said no.
CUT TO
INT: LOUNGE ROOM
TRINITY
(holding her thumb and forefingers very close together)
I was this close yesterday! You have to let me put in a reply!
JUSTIN
I don't have to let you do anything. I think it's too early to respond.
TRINITY
The longer we leave it, the more likely it is that The Centre will figure it out!
JUSTIN
Trini, I –
Justin is cut off as his cell phone rings.
JUSTIN
(calmer)
Just a minute, 'kay?
Trinity nods her assent and Justin picks his phone off the table, presses a button and holds it to his ear.
JUSTIN
Hello?
INTERCUT: A young man in a black leather jacket and jeans stands in a phone booth. It is raining where he is and rivulets of water run down the plastiglass panels. He turns around and we see that it is UNO.
UNO
Justin, it's me.
JUSTIN
[intercut]
Uno… hey.
UNO
Look, I don't have too long. What's going on down there?
[intercut]
Why did I find a message from Luke in the Missouri Mail?
JUSTIN
How did you see the Mail?
UNO
I have my ways. The thing is, why are you guys being so conspicuous?
JUSTIN
[intercut]
It has nothing to do with us – Luke seems to have escaped and he put that in the paper to get some help.
UNO
So what are you going to do?
JUSTIN
Depends. Where are you?
UNO
([intercut], looking out at the rain)
I've been doing a bit of research up at Centre 5.
JUSTIN
(incredulously)
You're in Seattle?
UNO
This is not the time. The thing is, what are you going to do about this?
JUSTIN
[intercut]
What do you mean?
UNO
Stop him from putting in those ads, Justin. You have to find him before they do.
JUSTIN
It's too dangerous.
UNO
[intercut]
It's even more dangerous if they find him.
(looks at his watch)
Look, I have to go. Find him.
JUSTIN
Right. Bye.
UNO
Bye.
Uno hangs up and walks out into the rain, pulling his jacket collar up.
CUT BACK TO: PRODIGY APARTMENT – LOUNGE ROOM
Justin presses a button on the phone to end the call, and looks at it for a moment. Trinity stands in the background, waiting. Justin turns to her.
JUSTIN
We wait. If there's another message, we find some way to contact him.
TRINITY
(sighs)
Thanks, Justin.
Justin looks at Trinity worriedly.
FLASHBACK (B & W TINT)
NT: LUKE'S CELL/CENTRE 16 CORRIDOR
Luke rummages under his mattress and pulls out a cloth-wrapped bundle.
We see a door with the number '7' stencilled on it below an observation window with a keypad next to the door. A fist covered in cloth smashes through the window and clears the remaining glass before reaching out to find the keypad. Once found, the hand retreats back into the room and comes out a moment later with what looks like a credit card joined to a soft tape measure. The hand finds the keypad again and tries to swipe the card through a slot of the keypad. A second later, the card bumps against the keypad and the hand loses its grip. The card falls and hangs precariously by its cord.
LUKE
(muffled)
Damn!
CUT INTO Luke's cell, we see that one hand is sticking through the window while he holds a small machine in the other. A cord sticking out of the machine is obviously the cord clipped to the card.
We CUT BACK TO outside the room and watch Luke pull the cord carefully, entwining it between his fingers. He reaches out again and swipes the card.
Back inside the room, Luke looks intently at the readout on the screen of his machine.
END FLASHBACK
EXT: PARK – AFTERNOON
Luke jumps awake as a passer-by drops a few coins on his chest. He has another FLASHBACK of his escape.
INT: CORRIDOR
We CLOSE IN on the keypad and see Luke's hand tap 8 2 7 3 1 6. The red light above the numbers go off and a green one turns on.
Luke pushes the door open and takes his hand out of the window with some difficulty. With machine in hand, he starts sprinting up the corridor, which we see in sectioned cutaways as he runs toward the camera from the other end.
At the corner he stops and looks both ways cautiously. He steps forward a bit to get his bearings, then turns to his right.
Luke approaches a corner and looks around to see a sweeper standing guard outside another door. The sweeper paces, and as soon as he turns his back, Luke darts across the open floor quickly.
An elevator tings and two people step out, two sweepers on their way to guard duty. They walk past a door marked "Janitorial Use". After a moment, Luke steps out and walking silently past the closing elevator, he finds a fire door with a keypad next to it. He swipes the card again and watches the readout of his machine before tapping 5 9 9 6 3 9. The lights change and Luke pushes the door open; then steps out onto small the fire escape balcony. Eyes closed; he smiles up at the bright moon, as if soaking up the moonlight.
END FLASHBACK
Luke sits up, running a hand through his hair. He takes a few deep breaths, then stands up and walks crookedly away, a piece of paper clutched in his hand.
EXT: PRODIGY APARTMENT – EVENING
Lights are on in several of the downstairs rooms.
INT: KITCHEN
Trinity stands at the counter, chopping vegetables. Justin enters the room and washes his hands at the sink. Trinity stops chopping and looks up.
TRINITY
Justin, I'm sorry –
JUSTIN
(interrupting)
It's okay, I know you're under a lot of stress at the moment.
He turns to face her as he wipes his hands on a dish towel.
JUSTIN (cont.)
Trini, I want Luke back as much as you do – well, nearly as much as you do. But as callous as it seems, I don't want you or anyone else put in danger to get him back.
Trinity looks down and starts chopping again, but nicks her finger with the knife.
TRINITY
(softly)
Ouch!
JUSTIN
Let me take a look.
Justin takes her hand and puts it under the cold running water. After a moment he takes it out and pats it dry on the dish towel. He takes a close look.
JUSTIN
Looks like it's fine.
TRINITY
(slightly embarrassed, shy)
Thanks.
Impulsively, Justin lifts her hand to his mouth and gives it a gentle kiss, then lowers and pats it calmly.
JUSTIN
(nonchalantly)
I read somewhere that that makes it better.
TRINITY
(trying to hide a smile)
Yeah, it feels much better.
JUSTIN
That's good.
Silence for a moment as Trinity returns to chopping and Justin stands listlessly.
JUSTIN (cont.)
Uh, can I… do anything? To help?
TRINITY
Well, you could…
(looks around for something for Justin to do)
You could wash the lettuce.
JUSTIN
Great. Wash the lettuce.
Justin looks around for the lettuce. Amused, Trinity points toward the fridge.
JUSTIN (cont.)
Ah, right.
He goes to the fridge and gets out a head of lettuce, then takes it back to the sink. As he starts to pull it apart and wash it, we PULL OUT of the kitchen and cut to the small hallway outside the room, where Mercedes and Dina stand watching Justin and Trinity through a crack between the two doors. They pull away and smile at each other.
MERCEDES
(whispering)
At least they've stopped fighting.
EXT: SPRINGFIELD NIGHT CITYSCAPE
The lights of Springfield – cars, homes, businesses and all.
EXT: PRODIGY APARTMENT – EARLY MORNING.
CLOSE IN as a newspaper is tossed onto the front porch. A screen door creaks and feet appear, legs clad in blue flannel pyjamas. The feet stop in front of the paper and Trinity bends over to pick it up. She unrolls it as she goes back inside.
INT: KITCHEN – MORNING
Mercedes enters the kitchen, already dressed in black jeans and teal sweater over a red polo-neck shirt. She stops suddenly and we PULL BACK slightly to reveal that Trinity, still in her pyjamas, is sitting at the table, head resting on her arms. Mercedes steps forward quietly and goes to touch Trinity on the shoulder, but Trinity pulls an arm out and holds up her hand in a 'stop' gesture. A moment later, she sits up. Her eyes are red.
MERCEDES
There's a message.
It is a statement, not a question. Trinity nods and pushes the paper toward Mercedes. One article is circled in red.
SEEKING OLD FRIENDS
Especially Scraped Cabbages
Always Prevent Ecoli. Dare
Colin "16"; Williams Another
Night To Title Over Merryl –
Ethan, Elijah Tennis – "07"
Below it, Trinity has scrawled over the other notices, also in red:
ESCAPED C 16; WANT TO MEET – 07
Mercedes looks at Trinity meaningfully. Trinity nods, and leaves the room.
INT: MISS MONROE'S OFFICE
Miss Monroe stands facing the window, reading something from a file. JC stands in front of her desk, laptop in hand. She tosses the print-off onto her desk.
MISS MONROE
He's getting sloppy – even put his number in.
JC
Maybe he figures that if any others are in the area they'll figure it out. I mean, he put "Luke" in the first one and they might not know it.
MISS MONROE
Well…
(she pulls her jacket off her chair and starts to put it on)
Have you called for the jet yet?
JC
Yeah. I also called Weston, Porter and Haley, we might need them.
MISS MONROE
I'll say. I don't think we could handle a crazy psycho all by ourselves, do you?
JC
Well, uh, I dunno.
MISS MONROE
Doesn't matter. What does matter is, we're going to have him back by this evening. And that just makes this world the tiniest little bit better to live in.
Miss Monroe strides from the room, JC watches her leave and shakes his head in disbelief before following.
INT: MISSOURI MAIL RECEPTION DESK
Trinity walks in, dressed in a deep purple jacket, white scarf and blue jeans.
She walks right up to the receptionist, a young woman dressed in more casual clothes than the first receptionist.
TRINITY
(places a piece of paper torn from the newspaper on the desk)
I need to contact the man who placed this ad.
The receptionist takes the paper and taps at her computer for a moment.
RECEPTIONIST #2
Well, this ad was actually placed by a woman. But she gave me an envelope in case someone called…
TRINITY
Trinity?
RECEPTIONIST #2
(surprised)
Yeah. That's you?
TRINITY
That's me.
RECEPTIONIST #2
Just a minute.
The receptionist gets up and walks across to a large number of pigeon hole mailboxes. She stops at one and pulls out an envelope. She returns to the desk and hands it to Trinity, who tucks it away in her pocket.
TRINITY
Thanks very much.
RECEPTIONIST #2
No problems.
Trinity leaves the office and leans against a wall as she opens the envelope. She pulls out a sheet of paper and unfolds it; and her eyes widen as she reads it.
INT: KITCHEN
Mercedes, Dina and Justin sit at the table while Trinity paces, arguing her story.
TRINITY
That's Luke's handwriting. I'd know it anywhere.
DINA
And it just happened to be dropped off by a woman? Don't you think that's a dead give away, Trini?
TRINITY
Maybe he asked someone else to take it in for him.
JUSTIN
Yeah, someone as in Miss Monroe.
TRINITY
It could have been anyone. I know, I should have asked what this girl looked like, but I didn't. But I tell you what, this doesn't feel like her.
DINA
What do you mean?
TRINITY
I can't feel anything in this that would point to it being written as a trap. I don't think she's even handled the letter, let alone the envelope.
MERCEDES
(angrily)
Come on, Trini, that's not good enough. Sure, I didn't feel Monroe on this either, but that doesn't mean anything. Sometimes I think we depend too much on our insight rather than on the hard evidence.
TRINITY
(insulted, defensive)
I'm sorry to say that I haven't been as successful as you in shutting off an ingrained habit that seems to have gotten stronger and harder to control in the last few months.
MERCEDES
I'm not saying that you should shut it off. I'm just saying –
Triniy cuts Mercedes off with a hard look. The eye contact between them is intense and the tension in the air could be cut with a knife as Trinity stares down Mercedes. After a minute of silence, Mercedes pulls back suddenly, falling to the floor. At the same time, Trinity turns around, facing the wall. She grabs a cloth and begins to scrub the sink.
JUSTIN
(looking from one to the other, puzzled)
What was that?
MERCEDES
(getting up)
It's okay, J. Just a little mind-to-mind talk.
DINA
(matter-of-factly, to no one in particular)
This is freaky.
JUSTIN
(forceful but courteous)
You have something to say, Trini, please say it to all of us.
Trinity throws the cloth down and turns to face the others.
TRINITY
Luke is one of us, and you want to leave him out there for The Centre to track down.
JUSTIN
It's risky for us to make such public contact with him.
TRINITY
How about I leave a note for him at the newspaper?
DINA
I just don't think it's worth the risk yet. By exposing yourself, you expose all of us. You may as well send up a flare and tell the L&R team exactly where we are!
TRINITY
(sighing)
What if there's one more?
JUSTIN
If there's another one, we'll leave a note for him at the office and tell him where to meet us. But this time he's just going to have to let it slide.
Trinity walks to the table and picks up the letter and envelope.
TRINITY
Good night, everybody.
INT: TRINITY'S BEDROOM
Trinity sits in bed, reading Luke's letter by the light of the bedside lamp.
LUKE'S VOICE
To Trini, I know you're in the area, I can just feel it. Please meet me at the Richard Street Bridge at 11pm on Thursday night. Luke.
She looks at her bedside clock – 10:57 pm. Sighing, she folds the letter up, puts it on the bedside table and turns off the light. From the dim light of the streetlight outside we see her curl up in her bed, face troubled, as rain falls down heavily outside.
EXT: RICHARD STREET BRIDGE – NIGHT
Luke stands under the bridge to keep out of the pouring rain. In the background a bell starts tolling.
DONG! DONG!
DONG! As if in slow motion, a black van pulls up and the passenger door opens.
DONG! Miss Monroe jumps out, pulling her gun and starting to yell at Luke.
DONG! We see Luke's surprised face as he turns to run.
INTERCUT with Luke's escape into the rain is his escape from Centre 16 – the bells are slightly muffled as if they can't be heard properly.
FLASHBACK DONG! Luke pushes the emergency door open; then steps out onto small the fire escape balcony. Eyes closed; he smiles up at the bright moon, as if soaking up the moonlight.
PRESENT DONG! Luke runs across the road, looking back to see where Monroe is.
FLASHBACK DONG! Luke jumps the last few steps of the fire escape and begins running across the desert. He reaches the ring-barked tree and stops for a moment, placing his palm against its dead truck.
DONG! He senses movement behind him and turns; only to see 'ghosts' – visions of himself as a twenty-year-old, and the other subjects escaping as they did three years ago. He takes a deep breath and takes off again, running across the sand. He is silhouetted against the moon as he runs away.
PRESENT DONG! Luke makes it to the other side of the wide road and goes to run out into the rain. From behind the mini-waterfall created by the rain, a soaked Roschelle steps out, a gun in her hand.
DONG! Luke skids to a stop, the butt of Roschelle's gun grazing his chest.
DONG! Miss Monroe crosses the road, a smile on her face and JC at her heels. She grabs Luke by the collar and they stand eye to eye silently for a moment, the only sound being the falling rain.
Haley and Weston come up and grab Luke by his jacket and drag him back across the road. They bundle him into the back on the van. Miss Monroe, JC and Roschelle also get in the back and slide the door closed as the car takes off.
We are left with the ordinarily peaceful scene of rain falling around the bridge, with no indication of what has just occurred.
INT/EXT: PRODIGY APARTMENT/JUSTIN'S JEEP
Trinity sits in the passenger seat, staring out the window. Mercedes and Dina are dragging their bags out of the house. As they exit, Justin runs up the stairs back into the house.
MERCEDES
What are you doing?
JUSTIN
I'll just be a minute.
INT: LOUNGE ROOM
All the furniture has been covered with drop cloths and the room is looking very bare compared to before. Justin leans against the sofa, holding his cell to his ear. We CUT TO Miss Monroe, who is striding through a car park. She pulls out her phone and flips it open.
MISS MONROE
Yes?
JUSTIN
Good morning, Monroe.
MISS MONROE
Ah, good morning, Mr. Elusive.
JUSTIN
In a good mood, I see.
MISS MONROE
(reaching the elevator bank and pressing the call button)
I recaptured Luke last night. Why wouldn't I be in a good mood?
JUSTIN
(pause)
How did you find him?
An elevator arrives, making a 'ding' sound as the door opens. Miss Monroe steps inside and presses a button. The doors close.
MISS MONROE
Oh come on, you don't think we were naive enough to not see those messages in the newspaper. Then it was simple matter of going to the newspaper office and getting JC to tell the receptionist that he was you. There was an envelope each there for you, Dina and Mercedes. And we picked him up at eleven last night.
(she yawns)
Although I must admit it played hell with my sleeping patterns.
JUSTIN
(realising that the messages were for real, that he has allowed Luke to be recaptured.)
What are you going to do with him now?
MISS MONROE
I'm the retriever, Justin. You know, as in a Labrador or something? I find you and I hand you over. That's where my involvement ends.
JUSTIN
And you like it that way?
The elevator doors open and Miss Monroe steps out, walking across a central open space.
MISS MONROE
It makes things a lot easier, yes.
JUSTIN
(pause)
Why do you suppose they chose you?
MISS MONROE
(puzzled by the change of subject)
Chose me for what?
JUSTIN
To chase us. After three years they called you in. Didn't that ring any alarm bells?
MISS MONROE
I just figured that… that it was because of my father.
JUSTIN
And you really believe that?
MISS MONROE
(pause)
… What are you suggesting, Justin? That Calvin had some other motivation for getting me in?
JUSTIN
(grinning wickedly)
Who said it was Calvin?… Have a nice day, Miss Monroe.
Justin hangs up, smiling; but quickly becomes serious as he looks out the window at Trinity sitting in his car.
Miss Monroe hears the beep tone and after a moment, leans the phone against her chin. Then, with a small, ironic grin on her face, she flips her mobile closed. As she comes to a corner, she pauses, then turns to the left.
INT: LUKE'S CELL/SURVEILLANCE ROOM
Roschelle sits at her desk in the surveillance room writing as Miss Monroe enters.
MISS MONROE
Anything yet?
ROSCHELLE
He hasn't spoken since we brought him in.
MISS MONROE
Could… Would I be able to have a moment with him, face to face?
ROSCHELLE
(shrugging)
If you want to.
MISS MONROE
Great. Uh, would you, ah, take a walk? Five minutes?
ROSCHELLE
(pulling on her white coat)
I'll give you ten. I was getting hungry anyway.
Roschelle leaves the room, but Miss Monroe remains, watching Luke through the one-way mirror as he sits motionless on the stool in the middle of the room. The focus shifts and she finds herself looking at her own reflection.
INT: CORRIDOR/LUKE'S CELL.
Miss Monroe shows her ID badge to the Sweeper positioned next to the cell door, then punches in a code and the door opens. She steps inside and closes the door behind her, then walks closer to Luke. He doesn't turn to face her, so she walks around in front of him. He stares at her blankly, as if looking through her rather than at her.
Miss Monroe seems to be trying to say something very difficult. After a moment, she whispers, almost sadly.
MISS MONROE
What made you kill my father?
Luke is unresponsive. Miss Monroe repeats her question.
MISS MONROE
Why did you kill my father, Luke?
Luke is still spaced out and hasn't moved. Miss Monroe sighs and walks around him on her way out. As she reaches the door, Luke speaks.
LUKE
Who am I?
Miss Monroe turns around to see that Luke is looking straight at her, a sad, confused; almost 'lost' look on his face. We reverse the shot and see Miss Monroe's own confused but thoughtful expression as the screen fades to black…
THE END
NEXT WEEK ON PRODIGY – ALONE: The Prodigies must rescue Uno from a high-security prison...