REVELATION
EVANGELION
A screenplay series
by
Chenalos
IMAGE - NIGHT
THE FULL MOON
BLACKOUT
TITLE
ACT 1
TITLE
In a world much alike to our own
TITLE
In 2017
EXT - SEATTLE ABOVE WATER - DAY
Seattle has been destroyed. The Pacific Ocean has washed over the city completely, which lay submerged and in ruin. The space needle is underwater to nearly its midsection. It has been cracked and it points to a one o'clock list as waves pass serenely beneath its crooked, abandoned observation deck. A helicopter is heard flying overhead. It revs its engine over the water, and hovers out to sea, before circling itself around. Radio chatter is garbled and indistinguishable over the roar of the chopper. Directly below, and without warning a shadow emerges from the deep and some great creature surfaces and opens tremendously large gills from what appear to be its shoulders. The gills heave in a gusting gasp of air before the creature once more submerges and its shadow disappears once more below the waves. The helicopter fires off a volley of flares and the chatter resumes and intensifies. The helicopter rushes towards land and the sea seems calm again, but foreboding the great monster hiding just below the surface
EXT – SEATTLE UNDER THE SEA
The Creature stands towering over submerged apartment buildings of what was once NE 119th way and through the dark and murk a shape emerges. Enormous, multi-layered sheathed shoulders with undulating gills mounted beneath. The breadth of each breathing apparatus is the size of the mouth of a baleen whale. The creatures' main body is a foreboding and carapace hard, dark olive green body framed by curved, thick, exposed ribs each of which comes to point to a deeply crimson half sphere of blood red at the center of its mass, above which is mounted a beaked, rigid skull of an abrasive texture with dead black indentations for eyes. It's bizarre and elongated arms bear spear like bones which extend back from each elbow and at the end of its lengthy but apparently spindly arms are hands which bear four fingers that appear more as tendrils than digits. It's comparably slender pelvis bears long, black legs each of which has mounted upon the knees pulsating gills below the great sheathes alike to those upon its shoulder and the beast plods on rigid, toeless feet.
The monster turns and opens its gill apparatuses which then contract and force a great plume of water towards its feet propelling it to scuttle away at great force, not to the surface but into the dark of the sea once more.
EXT – LANDSIDE
Abrams tanks roll down a street in an alarmingly tight formation. Radio chatter continues overhead and one can barely hear the words "Headed south" over the garbled noise and overlaying static. Several tanks line up along an improvised seaside road and aim their guns in unison out to sea. A formation of helicopters bug out from the sea shore as a squadron of heavy fighter jet VTOLs with powerful wingtip directional jet engines roar into the theatre. Their slender wings boast numerous hard-points bristling with rocket launcher pods and TOW missiles. They, like the tanks, form a line of defense above the shore, but over a Cliffside where only their airborne vehicles can form a line. Terse moments pass as all the weapons of war await the creature from the sea.
A humming, oscillating radar antenna scours the horizon over the sound of roaring jet engines from both tanks and VTOLS alike.
The oscillating stops for a moment. It sweeps again, twice like a windshield wiper cleaning its grid to find a certain target. The Antennae then stops directly in line to a seemingly indistinct line out to the sea. Alarms sound from all over. At great distance a giant plume of water explodes from the ocean and everything with weapons trained opens fire in a hailing hell storm of ballistics and rockets that race off and explode in the far distance obscuring whatever target they may be attacking.
CAR – EN ROUTE
SONYA Quinones, a 29 year old, blisteringly attractive Captain in the NERV project, the last organization of order and stability in the post-apocalyptic world revs her car through the abandoned streets of Old Enumclaw. On the stereo she's playing Green Days' "Welcome to Paradise." which is at this point audible only to the point of recognition.
SONYA
Thanks a lot, guys. Please put
your goddam armored division in
my way again next time I need
to get somewhere.
The rumble of the attack is now audible in the distance.
SONYA (CTD)
Of all times, now!
CORNER
Payphone. Bench.
Soundtrack: summer crickets.
SHANE Eastman lays out on the bench, listening to the song on his DAT Walkman. He gazes into the sun, bored and finally holds up a photograph. The photo is of SONYA peering her eyes over low slung sunglasses, in a pose meant to extol her voluptuous figure. "Really draws the eyes, huh?" is written on an arrow that points into her cleavage, exposed from her low cut top. In one corner of the picture is written "Can't wait to meet you. This is going to be so much fun!" The other corner is a sharply pink kiss of lipstick.
SHANE walks to the payphone and as he picks up there is no dial tone, just a recorded message being run on a loop.
RECORDING
By defense committee order
communications services have
been temporarily suspended.
we apologize for the
inconvenience. This is a
recording.
With a consigned and defeated expression SHANE listens to the recoding while in the background the concussive impacts of the conflict intensify. SHANE has lived through insurrection and revolutionary conflict before so the sound is not a surprise to him, but he looks around to assess if the danger is nearby. A loud blast is audible with a deep thump that drops the line dead. SHANE hangs up the dead phone before lying back on the bench once more, looking again at the photo.
SHANE puts the photo away, kills the music, rights himself before yelling into the air indignantly,
SHANE
Did I come at a bad time?
Amidst the rumbling SHANE peers into the distance and sees an albino looking teenage girl with ruby red eyes, and pale blue bob-cut hair. She looks like a ghost. This is ZERA whom he does not know but will soon meet.
The rumble is suddenly accompanied by jet engines and a constant strange, deep plodding piques his interest and he moves to the other side of the street to see around an up jutting of rock which appears to have thrust from the earth during a great cataclysm. From behind this rock Heavy VTOL gunships are in reverse trajectory retreat and in front of them marches forward the monster from the sea. SHANE is immediately immobilized by wonder and fear at the sight of the creature.
INT – COMMAND BASE
This situation is being closely monitored by the command staff of NERV. EARL EASTMAN, commander of the project and facilities of NERV. He is a cunning, stern and emotionally secretive man behind whose dark lensed glasses peers a sinister and constantly judgmental glare. He is a lean man in his 40s and is easily recognized by his purely black hair, tall stature and chin-strap beard. At his side, his deputy Eugene Winters an elderly scholar with a white head of hair. Far less cold, ironically, than his counterpart, WINTERS still bears EARLs' strong attention to detail and enforcement of command and orderly conduct.
The two sit at the high seated command post of NERV headquarters consisting of an upraised observation deck manned by EARL and WINTERS, and below three terminals stationed by AUTUMN, JEFF and VANCE. It's the bridge from EVA. Moving on. They watch on a large projection screen as the creature stomps through the valley opposed but undeterred.
WINTERS
The promised time after 17 years.
The revelation is upon us.
EARL
For the glory of all mankind we shall
slay the angels, Nadine.
The angel on screen turns to look in the direction of the observers.
TITLE
REVELATION
EVANGELION
TITLE
NEW CENTURY GOSPEL
CUT BACK TO SHANE
Guided rockets fly over SHANE's head. He screams and he ducks as the rockets streak towards the angel and explode. The explosions are complimented by barrages from every direction. A bus stop at the base of the Angels' feet is destroyed in the explosion: Blinding light and smoke. The figure of the beast emerges from behind the inferno. A fighter foolishly moves in to examine the angel.
PILOT (RADIO V.O.)
Multiple salvo barrages. Target
fully involved. No effect.
A blast cuts through the craft and the pilots' scream is cut off as a beam of light destroys it's left wing. The craft tumbles out of the sky and SHANE guards himself just as SONYA's car skids into the way, blocking the explosion. SONYA pops open the passenger door, and the sound of the song pounds out of the open cabin.
SONYA
Shane, right? Hop in!
SHANE jumps into the car as the bass riff kicks in.
SHANE
You're Sonya?
SONYA
Hi. Let's get out of here.
SONYA puts the car in reverse and pulls away just as the Angels' foot comes down exactly where her car was parked. The car tears ass through the town as explosions blast all around her.
SONYA
This is such a relief. You
wouldn't believe the traffic
getting in here.
SONYA guns it onto the onramp headed to Morning Star, Washington.
SONYA
Don't worry. It's a straight
shot to base as long as they
cleared off the-SHIT!
The onramp is cluttered with abandoned cars.
SHANE
We got to get out of here!
SONYA
Hang on.
SONYA maneuvers around the cars as bombs explode and the angel knocks another plane out of the air.
SHANE
It's right behind us.
SONYA
That's your problem. In
life you have to look
forward!
With tight burnouts the car negotiates around the abandoned car maze and with a straight shot into a tunnel. An iron grate is lowering on the entrance to the tunnel.
SHANE
Oh my god! They're sealing
the tunnel!
SONYA
OK. That's standard procedure.
SONYA guns it, SHANE screams and the car makes it just under the bulkhead as it seals. Immediately behind that the angel stomps on the hill above the tunnel, causing a cave in on the other side that barely misses SONYAs' car as she belts away from the war zone.
SHANE
Holy shit.
SONYA
Wow. The difference between
anxiety and thrill is what you
do with it. Welcome to town,
Kid.
SHANE looks at SONYA still shaken and perplexed as the car makes it out of the other side of the tunnel and in the distance the headquarter town of NERV, Morning Star, is seen gleaming in the distance. As the song ends the screen goes to black.
TITLE
SHANES' TOWN
The car comes around the bend of a curve and SONYA jumps out, SHANE following along. SONYA mounts up her binoculars from the high ground and watches the Angel march from beyond a ridge.
SONYA
I don't see the direct air cover.
Overhead a jet streaks by at high speed. SONYA re-centers her binoculars to see another aircraft flying away to the right. She spots another that is flying directly away from her.
SONYA (CTD)
Why are they bugging out?
SONYA looks around to see the contrails of a high flying v-winged bomber. She focuses the binoculars enough to see that the bomb doors has deployed and the bomb within drops.
MEDIUM SHOT – SONYA
SONYA (CTD)
No way! Oh, my God!
SONYA finds and tracks the bomb as it falls.
SONYA (CTD)
Don't deploy. Don't deploy.
Don't deploy. Don't deploy.
Don't deploy. Don't deploy.
The bomb deploys two fairings on the side, arming the center warhead with arcs of electricity sparking from the fuselage to the extended armature.
SONYA - MEDIUM SHOT
SONYA
Oh my god! It's a Hawking
bomb! Run!
The pair run back to the car, SONYA throws open the back seat, tosses in SHANE and dives on top of him to protect his body. She shuts the door with her foot just as the bomb blows away with hot white light in the distance.
The form of the ANGEL is highlighted behind the fading flash, now with a giant gash across its shoulder. The sonic shockwave blasts over the car followed almost instantaneously by the subsonic blast wave that rolls the car on its side. The image is blown to the side as though its' camera had been hit by flying debris.
BLACKOUT
SHANE comes to, crumpled on the side of the car, embracing SONYA unconscious. He starts to shake her.
SHANE
Ma'am, Miss? Wake up.
Wake up.
SONYA awakens.
SONYA
You're, Shane, right?
SHANE
Yeah. Are you alright?
SONYA
I'm fine. What's going on?
SHANE
I don't know, this giant-
SONYA
We have to go. Get out. Move!
The two of them crawl out of car and immediately sees that two of the tires are flat.
SONYA
Well, fuck.
SHANE
Now what?
SONYA
The next town over is probably
evacuated. We'll borrow a car
there.
SHANE
Borrow? You mean steal? We steal a car?
SONYA
OK, let's say we're renting it!
SHANE
How do you figure?
SONYA
I'll pay them back.
I'm good for the money.
Let's go.
SHANE
Doesn't seem right.
SONYA
Oh, being all moral. You're
cute. Come on.
INT – MEETING ROOM
At one end of a long table four generals sit, arguing and at the other side, EARL waits and listens with WINTERS by his side. They stare at a screen with static showing.
GENERAL 1
There's no way that didn't
kill it.
GENERAL 2
Where's the image?
GENERAL 3
We have to let the EMP effect pass.
GENERAL 4
Sorry to bust your bubble, Eastman
but I don't think you'll have
a chance.
GENERAL 3
We're coming back online. Quiet.
VOICE (VO)
Contact confirmed.
GENERAL 2
Impossible!
The image clicks on and the Angel stands, wounded but healing and still well alive. A new face emerges from within its' torso.
GENERAL 1
How can it still be standing?
GENERAL 2
If we launch a second bomb, would
it-
GENERAL 3
And risk more civilian damage?
You can go to hell, I won't authorize
it.
GENERAL 2
We have to stop it somehow.
GENERAL 1
Ground forces?
GENERAL 4
Don't try to commit my men when
we both know they're going to be
combat ineffective.
GENERAL 3
Naval forces?
GENERAL 2
The nearest frigate is half way to
Hawaii. What would they even do?
Nothing. It's fucked!
BEAT
GENERAL 3
We don't have any option here.
If no one has a suggestion then
we'll have to turn command over
to NERV.
GENERAL 1
I am not turning this operation
over to that snake.
GENERAL 4
I don't think we have an option
here, General
GENERAL 1
Why weren't any of you paying
attention when he was getting
all the big budgets while monopolizing
the Eva technology? The only reason
we can't punch through the things'
AT field is because he made sure
we'd never know anything! He's
kept all the secrets of the angels
to himself and his precious
organization.
GENERAL 2
We are not authorized to discuss or
disclose the Evangelion project.
GENERAL 1
We should have never classified it!
Well now we're seventeen years too late
to stop this maniac! Damn you.
EARL
If you believe that General, then
you have no choice but to relinquish
command to me. NERV will defeat this
angel.
GENERAL 3
You were summoned here for your input
and now that you've given it, return
to the command bridge.
EARL
I will await your relief from duty.
EARL and WINTERS exit and walk down the hall.
WINTERS
It's only a matter of time, Eastman,
but what exactly are we going to
do with this operation? Omega unit
is still in cryo and even if it
weren't, Zera is in no condition-
EARL
We'll be launching the Alpha unit.
WINTERS
Alpha? You're not serious.
EARL
Is there a problem?
WINTERS
We don't even have a pilot.
EARL
We do now and he's on his way.
The pair step onto the command bridge with a huge holographic jumbotron screen and they are just in time to see the angel blast an aircraft out of the skies with a flash of energy from its' eyes.
WINTERS
Incredible. It can adapt,
supplement and upgrade its own
abilities.
EARL
It might even be getting smarter.
WINTERS
How long do we have?
EARL
Mere hours.
WINTERS
Your pilot better move mountains,
Commander.
Below the command deck are the three operatives; the long haired hippie VANCE, the comic book nerd JEFF and the disciplined but idealistic AUTUMN who are all coordinating the deployment.
VANCE
I should have stayed home today.
I was even hung over this morning.
JEFF
Why would you want to miss this?
This is history, man.
AUTUMN hands out a deck of papers.
AUTUMN
Dr. Archbold asked me to hand
this out, it's the UN directives
of engagement.
VANCE takes the stack.
VANCE
Thanks. I needed some rolling
papers.
AUTUMN
This is serious.
VANCE
No. That, what's going on up there,
that is serious. These paper people who
want to have control of this situation
when they're only capable at getting
their stamp of approval on everything?
Not serious.
JEFF
Well they write the checks.
VANCE
Yeah, and they're getting what they
paid for. Do I just have to sign it?
AUTUMN
Yeah. Last page. Sign and date.
VANCE signs and immediately goes back to work. He sees a screen that depicts three flashing icons that appear to be communicating with each other.
VANCE
The MAGI are deliberating.
AUTUMN
Yes. Balthazar is unhappy. She
thinks we should have launched
already. To be fair, she's right.
VANCE
Our situation is developing.
Balthazar's' architecture is designed
for controlled situations. So she's confused.
Maybe even nervous.
AUTUMN
That's why there are two other
computers to balance her out.
Let them do their thing.
VANCE
You ever think it's weird that
there are three people arguing
about three computers arguing?
AUTUMN
Dr. Archbold will handle any
needed adjustments.
VANCE
Sure, I mean if you want to trust her.
AUTUMN
Excuse me?
VANCE
I'm just saying. She's a genius,
probably better than her mother
but the second she got in power
she got everybody below her either
fired or in hot water.
JEFF
To be fair, that's how we got our
jobs.
AUTUMN
All that is in the past, Vance.
Dr. Archbold has gotten the entire base operational.
She's done more than enough to make
up for the shakeup, don't you think?
VANCE
A snake can shed its' skin a
thousand times and it's still a
snake.
AUTUMN
I'll pretend I didn't hear that.
Autumn returns to her desk at the command bridge.
SOUNDTRACK: Alarm buzzer. Distant rumble.
INT – KITCHEN – DAY
A rumble in the background. A set of keys on a table. SONYA takes them and there is one shot of a white board on the refrigerator saying "I have your car. Call NERV headquarters, ex. 55392." SONYA walks to the driveway where SHANE awaits.
SONYA
Let's get going.
SHANE
What if they need the car?
SONYA
This town was evacuated. They
won't get back until tomorrow.
SHANE
No one is going to buy that
excuse.
SONYA
This is official business.
Get in the car.
SHANE bites his teeth and the two of them take off in a 1998 SUV.
IN THE CAR
SONYA(VO)
I still have ten more payments on that
car. Now I have to pay for repairs
too!? And my new dress is ruined!
I looked so good in it!
SONYA
You still look surly. Come
on we're back on track.
SHANE
What was that giant creature?
SONYA
Don't worry about it.
SHANE
Excuse me!?
SONYA
I'm not going to talk about it
We just have to get you to
headquarters. To your father.
SHANE
Do they have anything to do
with this? Does he?
SONYA
All I can tell you is that
the right people are in control
of the situation.
SHANE
Don't I feel better?
SONYA
Why are you so cynical? You
know, you're not a cute as I
thought you were.
SHANE
That so?
SONYA
You upset? Sorry. You're
still a kid, though.
SHANE
You're not very mature, yourself.
SONYA
You don't say.
SONYA guns the throttle and heads to base.
INT – BASE
THE GENERALS walk past the base under the condescending glare of EARL who sits at his console. WINTERS receives an envelope from GENERAL 1 who sneers something at WINTERS who moves to EARL as the GENERALS exit.
WINTERS
Here is the command portfolio,
Eastman. Dr. Arcbold is
prepping the Alpha unit. She
also estimates that the target
will arrive just after sundown.
EARL
Did the war dogs bark anything
before leaving with their tails
between their legs?
WINTERS
Just that you aren't the only
one with connections to the
committee.
EARL
We must move quickly. Idols
are always the most viscous
as they fall. We must defeat
the angels before they gain
their own edge.
WINTERS
How will we even defeat this
angel, suppose our pilot
is rejected or rejects us?
It is at that moment that WINTERS notices that one of the screens on EARLS' desk is monitoring ZERA STANLEY, whose vitals are being displayed presumably from a hospital room.
WINTERS (CTD)
Zera?
EARL
She's not dead yet.
WINTERS
But are you truly willing to
risk her?...Well I won't press
you.
SHOT of ZERA's faint but stable vitals.
CAR
SHANE and SONYA pull into an express train within the base. A door shutters behind them it bears the NERV logo.
SHANE
NERV?
SONYA
Yeah. It's your fathers'
organization. Why else do you
think you came here?
SHANE
I was told it was important.
I honestly, didn't believe
him.
SONYA
How are you feeling?
SHANE
I hate myself and I want to die.
SONYA
Really? You seemed pretty
scared of death earlier.
SHANE
OK. I hate myself and I want to live.
SONYA
Alright.
Did your father send you
a summons?
SHANE
Yeah.
SHANE presents an entirely redacted form with only a hand written "Get here now." in thick permanent marker but with a very official looking seal at the bottom of the page. SONYA takes the page and in return hands SHANE a pamphlet.
SONYA
Read this.
SHANE opens the paperwork. SONYA kicks back and shuts her eyes.
SHANE
What? Is he hiring me?
SONYA
I don't know, Shane.
SHANE
He needs me for something.
He wouldn't call on me
otherwise.
SONYA
Do you want to see him…Do you?
SHANE
No comment.
SONYA
So you don't get along with
your dad, huh? I can relate.
SHANE glances at SONYA but before he can say a word the train clears into the interior of the GEOFRONT base of NERV, revealing an underground fortress, with skycrapers hung from a domed cieling.
SHANE
Oh, my god! Amazing!
SONYA
Yeah. Welcome to the
Geofront. The Morning Star
fortress. This is where mankind
will make its' last stand, and
it's the fortress your father
built.
INT – BASE – ALPHA UNIT TANK
In a giant tank of purple fluid, an attractive blone woman, RACHEL ARCHBOLD swims in scuba gear past what appears to be an enormous arm. She surfaces and unzips her wetsuit.
OVERHEAD SPEAKER (VO)
Will Dr. Rachel Archbold please contact
Captain Sonya Quinones immediately
RACHEL
I don't believe it. Is she lost
again?
INT – BASE – LOBBY
SONYA and SHANE wait by an elevator. SONYA waits impatiently while SHANE is still reading the material.
SHANE
We've been at this lobby
three times.
SONYA
I know. I'm new here myself.
SHANE
Do you not know what you're
doing?
SONYA
Oh, don't hassle me. Everybody
is guessing their way through
life anyway.
The elevator dings, the door opens revealing RACHEL.
SONYA
Rachel!
RACHEL
I don't have time to run around
the base trying to keep you
on track, Captain.
SONYA winks and leans in with a hand up.
SONYA
Sorry.
RACHEL sighs.
RACHEL
Well, get on.
SONYA and SHANE enter and the elevator descends.
RACHEL
So this is the boy?
SONYA
Oh, yeah. Shane, meet Dr. Archbold
SHANE breaks his focus.
SHANE
Oh, Hello.
RACHEL
You can just call me Rachel.
SHANE
OK, Rachel. Can you tell me
why I'm here?
SONYA
He won't admit it, I bet but
he's a lot like his father.
The blunt and formal part,
anyway.
SHANE
Bite me.
SONYA chuckles.
INT – BASE – BRIDGE
WINTERS approaches EARL
WINTERS
Commander, it's time. He's
here.
EARL nods and moves to an elevator platform.
EARL
Prepare the base. We will
launch within the hour. Get going.
EARL takes the elevator down.
WINTERS
To think, he hasn't seen his
son in over three years…Just
to ask him for this.
VANCE
Sir, the angel has passed the
perimeter.
WINTERS.
Already? Battle stations. All hands
defensive readiness one.
VANCE
Yes, sir. The alpha unit?
WINTERS
We wait for Dr. Archbold and
the commander to release her.
Just make sure she's ready.
An alarm sounds.
INT – BASE – OUTSIDE THE ALPHA UNIT TANK.
SONYA, RACHEL and SHANE ride the elevator up against the background of the Alpha unit tank. SHANE is still reading and is unaware of the giant hand behind the glass looming ominously besides him as the elevator heads up.
AUTUMN (OVERHEAD)
All hands, battle stations.
SONYA
There we go.
RACHEL
Are you ready?
SONYA
Me? I have yet to see if the
technology works.
RACHEL
Well we will be attempting an
activation.
SONYA
Yeah. Attempting. Do you think
it will work?
RACHEL
Odds of activation are six point
six to the ten to the minus 6
percent. We started calling it
D-hablo.
SONYA
Diablo?
RACHEL
Close. Hablar. Speak of the
devil.
SONYA
Oh, clever. Anyway, nothing
we can do but apologize if
it doesn't boot up. We can
at least try.
The elevator gets to the top and the trio enters a blacked out hanger room.
SHANE
Can someone turn on the lights?
The lights turn on revealing the metal face of the Alpha unit, a giant cybernetic robot with a terrifying gaze.
SHANE (CTD)
What the hell?
SHANE goes back into the book, scanning the pages.
RACHEL
You won't find anything about
this in that notebook. This is
the ultimate project of the human
race. The only weapon capable
of repelling the coming onslaught.
This is Evangelion. Mankinds' last
hope.
SHANE
So this is why my father has done?
all of this?
EARL (VO)
Correct.
SHANE looks up to a platform where EARL peers down.
SHANE
Oh, hi. It's been a while.
EARL
Indeed. We're mobilizing.
SONYA
Wait. I was told there would only
be an activation. We are not
ready for full on combat.
RACHEL
We have everything we need.
SONYA
No we don't Omega unit is still
in stasis-Hold on-You're activating
the Alpha unit?
RACHEL
It's all we have.
SONYA
But what about Zera? She's in
no condition to pilot and she's
never operated the Alpha unit.
RACHEL
She won't be piloting.
SONYA
Who then?
RACHEL glances at SHANE
SONYA (CTD)
Are you out of your mind?
SHANE
Can I just say something real
quick? Hey, Father, fuck you!
SHANE proudly extends a righteously indignant middle finger to EARL.
SHANE (CTD)
That's all I wanted to say.
I'm going to leave now.
EARL
You can't leave. You are needed.
SHANE
Oh, am I? What for?
EARL
The angel must be irradiated.
SHANE
Bye.
SHANE walks away.
EARL
You will be launched to face the angel.
You will fight it and kill it.
SHANE
Oh, am I? How?
RACHEL
We are going to put you in the
Eva, and you will pilot it.
SHANE
What? Sonya, is she serious?
SONYA
Are you ready?
SHANE
For what? I just got here!
SONYA
And now you're going to leave?
SHANE
Damn right. You people don't know
him like I do. This is a trap!
SONYA
You think flipping him off and
walking away will prove anything?
You have to confront your father.
SHANE points at the face of the Alpha unit.
SHANE
Father, what is this thing?
EARL
It is a gift.
SHANE
You don't give me any gifts!
EARL
And I wouldn't give you this, either.
But I've made a promise and I'm delivering.
SHANE
I'm not even supposed to be here.
SONYA
No, Shane. This is what you were
called here to do. Now that you
know that you mustn't run away.
EARL
Do this now. If not then leave.
The eyes of everyone, including the support staff in the base are upon SHANE who stands against the imposing face of the EVA.
SHANE
No.
S.O.S. A blast from above shakes the base. The angel is coming over the mountain ridge, and its' second faces' eyes flash and a blast vaporizes the ground before exploding upward into the form of a giant cross. Back at the base, SONYA stares SHANE in the eyes.
SHANE looks away.
EARL motions to a computer monitor.
EARL
Winters!
WINTERS appears on the screen.
WINTERS
Yes, sir?
EARL
We have to use Zera.
WINTERS
She's on her way.
EARL
I'll tell her myself.
WINTERS
Patching you through now.
A screen changes to SOUND ONLY. ZERA, a girl with a weak and compilant voice is on the other end.
EARL
Zera?
ZERA
Commander.
EARL
The alternate refused. You
will launch immediately.
ZERA
Understood.
RACHEL breaks away from SHANE. SONYA leaves him standing there as well.
RACHEL
Upload all the config data from
Omega unit to the Alpha unit.
Ready the core for Zera
AUTUMN (OVERHEAD)
Roger. Reconfiguring for launch.
SHANE (VO)
They doesn't need me. I shouldn't
have come here. He didn't even
care. But why should I care?
INT – BASE – HALL
ZERA, bandaged with a slung arm, in an eye patch and on an IV is being carted by nurses on a gurney to the launch bay. She looks a breath away from death. ZERA is carted by SHANE who looks at her with pity. EARL dismisses the nurses with a motion of his head. ZERA props herself up, struggling to even breathe over a presumed hairline fracture in one of her ribs.
At that moment another blast hits the base. A chunk of the georfront roof peels off as the inverted cross blasts inside. The plated shell crashes onto the ground. ZERA falls off her Gurney. A lamp fixture breaks off above SHANE. As it is about to fall upon him, The Alpha unit raises it's hand and protects SHANE from the falling debris. The lamp bounces off the robots' hand and flies toward EARL. Just before the light can impact the light fixture seems to shatter in midair, leaving EARL with a confident smirk. SHANE runs to ZERA and props her up. She winces in pain. SHANE checks his hand which is now stained with ZERAs' blood. In a near emotional breakdown, SHANE cradles ZERA, and he whispers something to himself before looking up at EARL.
SHANE
Alright. I'll pilot it.
Let's see what I can do.
INT – PLATFORM
SONYA waits by the open door of the entry plug, SHANE walks up to her.
SONYA
Take off your shoes and get in.
SHANE complies.
SONYA (CTD)
You're going in sideways,
then we'll straighten you
out.
A blast hits the base again.
SONYA (CTD)
Proximity?
JEFF
It's in the city. We can
insert within 200 meters.
SONYA turns to SHANE
SONYA
Don't get killed out there.
SHANE suddenly has a realization of the stakes just as the door of the entry plug closes on him. SOS of the plug being injected into the back of the EVA and twisting inside. The rear armor plating covers and internalizes the PLUG.
BRIDGE
AUTUMN
We have full injection and
the plug interface is green.
RACHEL
Let's see him.
The main screen pops up an image of SHANE.
SONYA
Shane, can you hear me.
SHANE
Yes.
SONYA
Breathe naturally.
The entry plug fills with fluid. SHANE panics.
SHANE
What the hell?
SONYA
I said breathe naturally. The
LCL will directly oxygenate
your lungs.
SHANE gasps out and his lungs fill. His voice garbles under the fluid.
SHANE
You bitch.
SONYA
It will get easier. Don't
complain.
AUTUMN
Projection interface online.
INSIDE THE PLUG
The walls of the entry plug vanish, the LCL appears to clear and the claustrophobic space around SHANE is replaced with a 360 degree view around the EVA broken up into seemingly huge display screen segments.
RACHEL
Try talking.
SHANE
What do you want me to say?
RACHEL
That's good enough.
BRIDGE
SONYA
Are we ready to synchronize?
RACHEL
Now or never. Think he'll
pass out?
SONYA
I almost hope he does.
RACHEL
I'll pretend I didn't hear that.
Shane, we're going to synchronize.
SHANE (VO)
And that means?
RACHEL nods to AUTUMN
RACHEL
Hit it.
PLUG
SHANE braces his nerves as the EVA is connected to his brain. After five solid seconds of intense mental stress, SHANE releases his breath.
SHANE
Holy shit!
BRIDGE
SONYA
He made it. Holy shit.
RACHEL
Impossible. What's his
synchronization ratio?
AUTUMN
Forty percent.
RACHEL
More than good enough. We are
go for launch.
SONYA
Bring the EVA to the launch
platform.
As the EVANGELION traverses on a track to the electromagnetic launch platform SONYA turns to EARL.
SONYA
Is this really our only option,
sir?
EARL
We must defeat the angels, Captain.
What would you do in my place?
AUTUMN (V.O.)
Unit Alpha, ready for dispatch.
SONYA steels herself and turns.
SONYA
Eva lauch!
The EVA fires up a platform catapault launch shaft and SHANE feels the incredible force as if he was being fired upward by a rocket.
EXT – STREET – NIGHT
The Angel stomps from around a building, and before it a rectangular bulkhead lights up red and opens. The Aphpa unit emerges from within and comes to a cacophonous, booming stop.
PLUG
SHANE, horrified looks at the Angels staring back at him.
BASE
SONYA shakes her head, knowing that she has everything she needs and nothing to work with.
VANCE
Shall I deploy the arsenal, Ma'am?
SONYA
He'd have no clue how to use them.
Shane, I want you to walk forward
and punch it in the face.
SHANE (V.O)
Excuse me?
SONYA
You're in a fight. What are you
going to do? Clock the son of a bitch!
PLUG
SHANE with trepidation brings the Alpha unit to step off the platform.
BRIDGE
RACHEL
He walked!
PLUG
SHANE refocuses.
SHANE
One piece at a time. It
won't cost me a dime.
STREET
The EVA loses its' footing and tumbles down onto its face. The angel looms over the EVA. Shane watches his the EVA falls. He winces.
PLUG
SHANE looks up, frozen in fear. The angel looms.
SONYA (V.O.)
Shane! Get on your feet.
Move it. Right now.
SHANE screams.
STREET
The Angel grabs the Eva by the head and arm and raises it into the air. The angel violently torques the arm of the EVA.
PLUG
SHANE clutches his arm, feeling the agony of the EVAs' pain being sent directly into his mind.
RACHEL (V.O.)
Shane, calm down. That is
not your arm.
STREET
The angel shatters the arm.
PLUG
SHANE goes into shock.
AUTUMN
Neural overload.
VANCE
We've lost all readings. On
Shane.
JEFF
The EVA is feeding back on
the neural pathways. We're
looking at serious cerebral
trauma.
SONYA
Eject him.
RACHEL
Captain!
SONYA
If he can't fight, then it's
over. Ready the Omega unit
for a defensive deployment.
Once the AT field is neutralized
we'll hit it with the defense grid.
Get Shane out of there.
AUTUMN
Negative. The EVA must be
refusing to cut the nerve
pathway.
SONYA
Oh, my god. Shane!
STREET
The ANGEL charges it's arm-beam weapon and fires it into the skull of the EVA.
PLUG
SHANE clutches his eye and can see the beam blasting into the head of the EVA.
STREET
The beam blasts through the head of the EVA and pins the giant robot against a skyscraper before withdrawing and blood pours out of the impaled head.
PLUG
SHANE, highlighted in flame like red, motionless, still clutches his eye locked in an expression of agony. He is dead. His other eye is skewed off to the side. After a moment of deft stillness the eye swivels to look directly back at the angel.
STREET
The EVA reactivates, it's remaining eye glows a sharp, hot white. FREEZE FRAME
EXT – EVACUATION CENTER ROOF – NIGHT
From the roof of the building, TOMMY, an orphan, watches crouching when at great distance he can hear the echoing rumbles of the fight in the city. He is bitter and indifferent watching the spectacle, while below him crowding the windows are people crowding the windows and chattering at what they can see and wonder at the things they can only hear. Unseen, the EVA roars, the angel sends out cross shaped blasts. TOMMY is still unmoved. Reverse shot of TOMMY and a giant cross shaped flare explodes upward.
INT – HOSPITAL – DAY
SHANE snaps awake in a hospital bed. Confused, he stands and walks into a hall. Outside his window there are military vehicles and armaments being supplied to the city. In confusion, SHANE leaves his room. Down the hall there is one open door. He walks in. ZERA is asleep there on a bed. Before SHANE can enter a NURSE enters from the side and closes the door.
LATER
SHANE is dressed in his street clothes, sitting on a bed and looking outside at the bright day and utility vehicles carrying construction equipment and supplies into the city. He stares at his arm, which he was certain was broken last night. SONYA appears at the door of the room. SHANE turns to look at her.
INT – ELEVATOR LOBBY – DAY
An elevator door opens revealing EARL. SHANE and SONYA are in the lobby, and SONYA expects SHANE to go to his father.
SHANE
Go to hell.
The door closes leaving SHANE with SONYA.
SHANE (CTD)
Did you see his face? I saw
a man who doesn't give a fuck
about me.
SONYA feels pity for SHANE.
SONYA
Want to stay at my place?
SMASH CUT - INT – OFFICE – DAY
RACHEL is on the phone.
RACHEL
You what!?
HOSPITAL
SONYA is on the phone, SHANE sits waiting in the background.
SONYA
Relax. I already filled out
the paperwork. I figure a
little more structure in his
life would be a good thing.
Plus we can coordinate better.
RACHEL (V.O.)
What's that supposed to mean?
SONYA
What do you think it means?
RACHEL
You tell me! How do you want to coordinate
with a teenager?
SONYA
It's not like I'm going to
start coming on to him.
RACHEL shouts so loud into the phone that SONYA has to pull away the receiver.
RACHEL (V.O.)
Of course you're not! How
could you even think that.
SONYA
Geeze. It's just a joke.
INT - GARAGE – DAY
SONYA and SHANE walk to SONYAS' original car, looking beat up.
SONYA
Well, they fixed the tires
but I have to shell out for
the body work.
SHANE
Bummer.
SONYA
Let's not worry about that.
How about we have a little
welcoming party for my new
roommate?
SHANE shrugs.
SHANE
OK.
INT – RATION CENTER – LATE DAY
SHANE and SONYA wait in line, and SONYA is about to get confirmation to purchase non-ration items. As they wait, two women walk past.
WOMAN 1
It was bad enough when we
could barely keep the store
open, now they make us go
here.
WOMAN 2
Did you see the destruction
that thing left? You're
lucky to still have your
store.
WOMAN 1
It wouldn't matter if we can't
keep it open. These people
don't know what they're doing.
WOMAN 2
Do you think anyone will help
us out at the end of the
day?
WOMAN 1
You can't trust any of them.
We're on our own. To hell with
them all. I have no love for
them.
SHANEs' expression sours. SONYA bites her tongue.
INT – CAR – TWILIGHT.
SONYA drives with SHANE who is holding the bags of groceries.
SONYA
We have to see something
before we go home.
SHANE
What is it?
SONYA
You'll love it, trust me.
EXT - OVERLOOK - DUSK
The car has pulled off onto the overlook while SHANE and SONYA look down on the seemingly empty city. SONYA checks her watch.
SHANE
It's so desolate.
SONYA
Here we go.
From the ground, over an elaborate and cinematic sequence skyscrapers emerge by massive gears and hydraulics.
SONYA
This city is a fortress. This
fortress held today because
yesterday, you saved it.
The buildings lock into place with gigantic flanged foundations.
SHANE
Am I supposed to be impressed?
SONYA
What's the matter?
SHANE
Imagine a universe comes into
existence. Galaxies, stars,
nebulae, everything. But
no life is ever born.
Eventually all the stars die
away, just like it will happen
here. But since no one is ever born.
No one ever has to die, no
one ever has to struggle, or
fight or build a fortress to
protect themselves. A world
where nothing ever mattered
and where nobody ever cared.
That would have been the best
way for this place to be. A
world without us here to worry.
But this is how it is and I hate
it. The stars don't care if they
suffer or die. That's our trouble.
Let's get out of here.
SHANE walks back to the car. SONYA has to take in this new level of nihilism.
INT - CAR - NIGHT
SHANE and SONYA drive wordlessly and SHANE gazes out the window into the encroaching night.
EXT – SONYAS' APARTMENT BUILDING – NIGHT
SONYA unlocks her front door and goes in. SHANE, carrying both his bag on his back and the groceries does not. The moment sinks in on him.
SHANE
Are you for real about this?
SONYA
I'm for real, Shane. No matter
what happens out there, I want
you to be safe in here. This
is your home.
SHANE steps inside.
SHANE
Your funeral.
SONYA
My door is always open for you.
The door closes.
SONYA
I only just moved in, but it is
a little messy.
The apartment is littered with garbage from half-move in laziness and discarded instant food packages.
SHANE
A little messy?
SONYA
You can put the food in the
fridge.
SHANE opens the fridge to see it is filled with beer and snacks.
SHANE makes room but can't get all the bags inside. He notices a second refrigerator.
SHANE
Can I put the rest in the second
fridge?
SONYA
No. Don't worry about her.
She's probably sleeping.
SHANE
Sleeping?
SMASH CUT. The microwave dings. SONYA guzzles a beer. After a heavy chug she slams down the can.
SONYA
Yeah. I love unwinding after
a high stress situation.
SHANE
Yeah.
SONYA
You're not eating. It's
instant, but it's good.
SHANE
I'm not hungry.
SONYA
Yes you are! You're being
finicky!
SHANE
You want me to eat, I'll eat.
SONYA mounts the table and palms SHANEs' dome.
SONYA
You're just going to say 'yes'
to everything I say, too, aren't
you?
SHANE
Come on, Sonya, It's your place.
What am I supposed to say?
SONYA
It's our place. You know what?
Shower up.
SHANE
Do I smell?
SONYA
No. You just need to unwind.
Take a bath or something.
SHANE
And then what?
SONYA
You'll feel better when you
come out. Also, I want you
to be totally comfortable
here. No better way than
stripping down and soaking
your hide.
INT - HALL
SHANE exits his room in just a bath towel. He opens the door to the bathroom and there is a penguin standing in the way. The Penguin shakes off a large amount of water. SHANE screams, his towel drops and he runs to the kitchen. His cock and balls are blocked off by SONYAs' can of beer in the foreground.
SONYA
What?
SHANE
There's a bird in the bathroom.
In the bathroom a bird.
SONYA
Oh, yeah. Don't worry about
her. She's your other roommate,
Penny.
PENNY walks by and enters the second refrigerator.
SHANE
You own a penguin?
SONYA
You don't own pets, you make
friends with them. She's
our friend. Do I have to
keep looking at your little
friend?
SONYA takes her beer, revealing behind it a pickle jar which continues to cover our boy's bangles and flop. SHANE doesn't even bother to cover. He throws up his hands and heads back into the bathroom. SONYA goes back to drinking.
SONYA (V.O.)
Well, I know I haven't made a
good impression. Still, I'd
rather have him being watched
over than ignored.
INT - BATHROOM
SHANE soaks in the tub.
SHANE(VO)
She has good intentions it
seems. But what does she want
from me? What do they want?
How am I supposed to
make sense of what my father
is doing? (Aloud)Who is that girl
Zera?
SHANE looks at the arm that was in so much pain the night before. He examines to see if there is any damage. He could have sworn it broke in half. SHANE immerses his head below the water.
INT - HALL
SHANE exits the bathroom in pajamas. SONYA meets him going the other way.
SONYA
Feel better?
SHANE
A little.
SONYA
Good.
Shane walks away
SOUNDTRACK: Neutral Milk Hotel – The king of carrot flowers part one & part two.
INT - SHANES' BEDROOM - NIGHT
SHANE lays on his bed, uneasy, letting the incredible change that has occurred in the last 30 hours settle into his head. The song lingers on the headphones of his DAT cassette player.
INT – BATHROOM
SONYA soaks in the tub, and she gets on the phone to call RACHEL.
SONYA
Hi, Dr. Did everything work
out there today after I left?
RACHEL (V.O.)
The commander was not moved.
I'll be honest in taking in Shane
I think you took some pressure
off of him.
SONYA
I'm pretty sure they'll make
amends. They just can't be
thrown back together right now.
RACHEL (V.O.)
Is that why you took him in?
SONYA
No. I took him in because I
felt like I needed-
RACHEL (V.O.)
What is it you needed?
SONYA
Oh, Shut up.
SONYA hangs up the phone and sinks into the bath.
SONYA (V.O.)
Maybe they are using him like
a pawn. If they are does that
make me no better? The last
time we fought the angels they
almost killed us off. Yesterday
we beat one. Why aren't I happy
about that?
INT – SHANES' bedroom.
SHANE stares at the ceiling.
SHANE
I wake up in a hospital. Tomorrow
I'll wake up here. I'm going
to wake up to ceilings I've never
seen before. Where am I going?
What am I doing?
SHANE remembers being in the EVA as the soundtrack begins the "I love you Jesus Christ" section and the soundtrack continues over a flashback.
FLASHBACK – STREET – PREVIOUS NIGHT
Just as the big bass note drops, the EVA is slammed against the skyscraper, the Angels' beam withdraws, and the head of the EVA bleeds profusely.
INT – BASE – MEANWHILE
The red alert warning signs flash all over. The command staff is in a panic.
SONYA
We need to scrub the mission
right now.
AUTUMN
The Eva is still non-compliant.
JEFF
Life support is crashing.
VANCE
We're losing synch connections
one after the other but there's
still some kind of mental feedback
I can't stop it.
RACHEL
Prioritize Life support and try
to phase synchronization into
null mode. Maybe he'll just pass
out.
VANCE
Then what?
RACHEL
One thing at a time, Vance, just
keep him alive.
Just as the monitors start to crash, suddenly all the systems reverse and start to go green. The soundtrack starts building intensity.
JEFF
What the hell?
AUTUNMN
Impossible. The Eva is
reactivating.
RACHEL
What's his synchronization?
VANCE
I don't know. It looks like
some kind of neural interface.
I've never seen it before.
AUTUMN
The EVA has reestablished
all sensory neurons. Whatever
it's doing, we can't stop it.
RACHEL
It's gone berserk.
EXT – STREET
The EVA lumbers to life, breaks the bindings on its jaw and roars into the night before leaping into the air. It comes down with both feet on the front of the angel. The Electrical umbilical cable attached to the back of the EVA whips across the street as the Alpha unit claws at the skull of the Angel before the Angel smashes at the EVA with it's clawed, hand and dispels a blast that sends the EVA tumbling backwards. The EVA lands on its feet and swivels around to attack once more.
INT – BRIDGE
EARL and WINTERS watch the unfolding chaos with downplayed satisfaction.
WINTERS
We've done it.
EARL cracks a crooked smile.
EXT – STREET
The EVA charges just as the ANGEL lumbers itself upright. The EVA impacts a hexagonal energetic force field that STOPS its Charge suddenly and with a great impact.
INT – BASE
SONYA
It spread its' AT-Field
RACHEL
That field is way too powerful
for the EVA to get through.
EXT - STREET
The EVA sets and regenerates the broken bones in its arm.
INT - BASE
AUTUMN
Arm damage regenerated.
SONYA
I don't believe it.
EXT - STREET
The EVA claws at the AT field monstrously.
INT – BASE
AUTUMN
The EVA is projecting its'
AT field and neutralizing
the barrier.
RACHEL
You mean it can-
EXT – STREET
The EVA claws through and shreds the AT field.
INT – BASE – CLOSE UP OF SONYA
SONYA
It ripped through like it
was nothing.
EXT – STREET
The EVA looms forward, growling menacingly. The Angels eyes flare up, and the EVA defends itself from a cross blast at point blank range. The cross shoots sideways, parallel to the ground and when it fades, the EVA stands confidently behind its' own AT field, unscathed. The EVA reaches out, taking both the angels' arms, crushing them in its' iron grip before kicking the Angel mightily down the street before charging into it and railing its' body through the city, before pinning it down and beating at its core. The EVA tears a rib from the side of the Angel and stabs repeatedly at the core until it begins to crack. The Angel jumps at the EVA, wraps its body around the head of the Mechanical beast and begins expelling brilliant light.
INT - BASE
SONYA
It's self destructing!
EXT – STREET
The angel explodes in the same cross blast that TOMMY watched from the shelter. The music comes to an end.
INT - BASE
From behind the fading light of the dead angel, the EVA walks forward on the overhead display. One bright eye beams against its' black silhouette.
SONYA
Is that what's really beneath
all the armor and wires? A
true monster?
EARL beams with satisfaction.
INT - PLUG
The light comes in and SHANE sits there, just coming out of shock. The EVA stands next to a skyscraper that reflects its' image.
AUTUMN
We've reestablished contact.
SONYA
Focus on pilot recovery.
VANCE
Cranial case is-
The cranial case of the EVA falls off and crashes do the street below, killing the radio. Shane looks at the reflection of the EVA. Its eye destroyed, and the orbital socket empty. The flesh of the head of the EVA encloses around the orbit and then slits open, revealing a fresh new eye, a deep emerald green. Horrified, SHANEs' gaze is transfixed. Three additional irises open around the central iris as the central iris dilates, as though looking right back at SHANE.
BLACKOUT
SHANE (Shouted)
What the hell is this thing?
INT - SHANEs' BEDROOM – NIGHT
Shane, the player now stopped rolls over in bed, still unable to calm his nerves. There is a knock on the door. SONYA opens the door and stands wrapped in a towel, but SHANE does not look at her.
SONYA
You need to hear something,
Shane. What you did yesterday
was noble, brave and selfless.
I want you to always be proud
of yourself for doing it, no
matter what happens, OK?
Stick to it.
BLACKOUT