CALIFORNIA STATE UNIVERSITY NORTHRIDGE
OPERATION SEA SPRAY
A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts In Screenwriting
By
Lisa Lumar
December 2012 The thesis of Lisa Lumar is approved.
______Professor Jared Rappaport Date
______Professor Alexis Krasilovsky Date
______Professor Eric Edson, Chair Date
California State University, Northridge
ii Table of Contents:
Signature page ...... ii
Abstract ...... iv
Operation Seaspray...... 1
References...... 97
iii ABSTRACT
OPERATION SEA SPRAY
By
Lisa Lumar
Master of Arts
In Screenwriting
Professor Sam Redding, a medical microbiologist with a serious case of distrust and abandonment issues that stem from death of his mother when he was five years old, is trying to keep his head above water and get over his lost relationship with a former graduate student, Yara Diaz. However, when a dying scientist arrives in his lab and pleads for him to help prevent Operation Seaspray from happening again and that Grace, Sam's mother, died trying to stop it, Sam is driven to find out who this man is, what his mother's involvement was and what is Operation Seaspray. The pressure increases when government thugs appear ready to eliminate any traces to Operation Seapsray, including Sam, he finds himself in a fight for his life and ultimately stop history from repeating itself.
iv TITLE: OPERATION SEASPRAY
WHITENESS. SEAGULLS SQUAWK. A CLANGING NOISE. WAVES CRASH.
EXT. CLOUDS - DUSK
The whiteness swirls and parts. We see that it’s fog. A GUSH OF WIND pushes forth a cheery red balloon. It bobs and weaves in the air currents.
Then five more red balloons appear. The five become fifty. Fifty become two hundred! Balloons multiply by the minute until the sky fills with a red haze -- thousands of balloons.
The ballons descend over the orange CLANGING CABLES of the Golden Gate Bridge.
EXT. GOLDEN GATE BRIDGE
Traffic zooms by. HORNS BLARE. A white 1960’s Ford Falcon barrels by.
SUPER: 1969. SAN FRANCISCO.
INT. FORD FALCON
ROSIE, a small five year old with pigtails, sulks in the back seat. A party bag rests beside her.
Her mother, CAROL, drives the car. Dressed in scrubs, Carol glances in the rear view mirror at her daughter.
CAROL Look, baby...I’m sorry we had to go.
ROSIE Claire’s mommy doesn’t have to work.
CAROL (under her breath) Claire’s mommy didn’t choose to sleep with a deadbeat dad either. (sighs) Next time we’ll stay longer. I promise --
Something red bumps against her windshield. She yelps and jerks the car right and then straightens out. A HORN HONKS.
She looks behind her, as if to say what was that? She peers through her windshield and sees the red cascade of balloons.
CAROL (CONT’D) Baby, look! Someone didn’t want you to miss the best part of the birthday party!
Rosie glances up. The sulking act gone, she presses her face up against the glass in wonder.
1 ROSIE Look at them all!
Giggling, she rolls down her window and stretches to grab one.
CAROL Careful!
Rosie catches one in her hands and pulls it inside the car.
ROSIE Mom! I got one! I got one --
It pops in her hands. A fine, red dust hovers in the air.
ROSIE (CONT’D) Aww.
She sticks her head outside the window. Her eyes follow the ballons as they float over their car and into the city.
EXT. DOWNTOWN SAN FRANCISCO
Balloons drift by giant CHINESE DRAGON STATUES that sit in front of Chinese restaurants and novelty stores.
YAO, an eighty year old Chinese man, bats a balloon with his cane. BLAM! The globe explodes. RED MIST scatters in the air.
A TROLLEY TRAIN BELL DINGS. Balloons scatter with the whush of the arriving train. While others POP, POP, POP!
Red particles fly into the eyes and noses of RIDERS, who hop on and off. They cough and rub their eyes.
INT. FORD FALCON/EXT. CAROL’S DRIVEWAY - NIGHT
CAR DOORS SLAM outside a modest one-story, home. Carol watches as ROSIE’S GRANDMOTHER (50’s) ushers Rosie up the porch steps.
CAROL My shift’s over at two, Mom. (to Rosie) Be good!
Rosie’s Grandmother and Rosie wave to Carol, who brings her hand up to her mouth --
ON HER HAND: FINE RED DUST.
Carol blows a kiss to Rosie and waves goodbye.
EXT. SAN FRANCISCO GENERAL HOSPITAL - DAWN
Lights glow from the concrete six-story hospital towers.
2 INT. WOMEN’S LOCKER ROOM
EIGHT NURSES stand in front of metal lockers that line the wall.
Carol pulls her purse from an open locker. A picture of James Garner from “How Sweet It Is” is posted up inside. Sweating and flushed, she wipes her forehead. A young nurse, EMILY notices.
EMILY You okay? Hard night?
CAROL I think I’m coming down with something.
A CHARGE NURSE pops her head in the changing room.
CHARGE NURSE (stressed) We just got slammed. Flu outbreak. Who can stay?
Everyone groans and throws their belongings back in the locker.
INT. TRIAGE OFFICE - DAY
Emily and Carol walk up to the triage desk. Surrounded on all sides by white walls and a door save for a small area covered by what looks like a miniature rolling garage door panel.
Carol coughs hard. Pulls open the metal panel.
CAROL’s POV: Through the glass HUNDRED’s of SICK PEOPLE fill the waiting room.
CAROL There’s so many...
Yao, the old Chinese man with the cane, grips the area in front of the window, hacks deep wet coughs, and then collapses.
Carol rushes for the door and runs out to the
WAITING AREA.
Carol dodges people and runs to Yao, who lays wheezing on the floor. Emily stares out through her window.
CAROL (shouts to Emily) Oxygen, STAT!
Carol watches as Emily disappears from the window. She looks back to Yao, who grips her hand in fear.
CAROL (CONT’D) You’re going to be okay.
She glances up. Emily arrives with a tank and mask.
CAROL (CONT’D) 2 liters blow by.
3 Emily nods and Carol stands.
CAROL’S POV: The shear number of sick people is staggering.
NURSES administer I.V.’s, oxygen, and scuttle between the sick. A DOCTOR does CPR on a FALLEN PATIENT in the corner. Carol sees an older woman sobbing next to the Doctor. Carol recognizes the older woman. It’s Rosie’s Grandmother.
Carol sprints over.
CAROL (CONT’D) Mom?
Carol looks down and stares in horror as a Doctor pummels Rosie’s chest. She kneels and screams:
CAROL (CONT’D) Baby!
ROSIE’S GRANDMOTHER I didn’t know what to do. She was so hot --
The Doctor stops and fixes a sympathetic gaze on Carol.
DOCTOR I’m sorry.
Carol scoops up Rosie in her arms.
CAROL My baby!
Wailing, she rocks her back and forth in her arms. Tears pour down her cheeks. Carol’s eyes look to Rosie’s Grandmother and then stare vacantly out the hospital’s glass window -- a solitary balloon bobs along outside in the morning sun.
EXT. HOSPITAL ENTRANCE
The Red Globe drifts by. A dark shadow at its base.
ON SHADOW: a set of stamps mark the balloon, an eagle and a serial number, “US09261951.” Beside the stamps, a dime-sized, black disk blinks on and off. Faster and faster until -- POP!
CUT TO:
EXT. SAN FRANCISCO - NIGHT
The SOUND of intermittent POPS continue.
A blood red moon rises over the familiar downtown skyline over the Golden Gate Bridge to a
MARIN COUNTY SUBURBAN NEIGHBORHOOD HOME.
SUPER: PRESENT DAY.
4 INT. DEAN’S BASEMENT
Family photos of a Man, Woman and three smiling Kids through the years line the walls.
The POPS explode faster and faster.
A foosball table and bean bags line the floor in front of a huge flat screen television.
ON THE TV: C-SPAN shows a shot of the Pentagon.
TV ANNOUNCER (V.O.) Tonight marks the final meeting for the D.O.D.’s appropriations bill.
Next to it is a bookshelf lined with video games and a microwave.
POP! POP! POP!
With each rapid fire pop, a popcorn bag expands inside the microwave. The light turns off with a DING. The pops cease.
TV ANNOUNCER (V.O.) By all reports, this bill doesn’t stand a chance of passing due to the largely democratic Senate.
PROFESSOR SAM REDDING, 40’s, disheveled, throws back his glass of scotch and clicks the microwave door open. His tie hangs loosely from his collar.
TV ANNOUNCER Members of the Department of Defense have asked for a twelve percent increase in their annual appropriations bill.
Intelligent eyes hide behind a shroud of scotch. Redding stumbles a little as he removes the bag of popcorn. He opens it. Steam pours from the bag and he drops it. Shakes his burned fingers.
REDDING Damn it!
He bends over. Follows the trail of fallen white kernels, picking each one up.
REDDING POV: Under the shelf a white blur.
Redding reaches under the book shelf and comes out with a child’s lego. He falls back into a bean bag, staring at the lego.
The TV goes mute.
WOMAN’S VOICE/DEAN (O.S.) That’s my grandson’s.
Redding looks up and sees the woman in the pictures, DEAN HARDING, standing in front of him. Only she’s much older. She wears casual cocktail attire.
REDDING What is it?
5 DEAN A lego. (off his head shake) You know...you build things with it. Didn’t you play with them as a kid?
REDDING Guess they weren’t too popular in the foster homes I frequented.
He stuffs some popcorn in his mouth and watches the C-SPAN proceedings from the bean bag chair.
DEAN Ah. I’m sorry. I forgot.
He stares at the T.V.
DEAN (CONT’D) You know, the food’s pretty decent upstairs. I ought to know I paid for it. (gently) The company’s not bad either.
REDDING Are we talking about the same party?
DEAN They’re here to celebrate your achievements.
REDDING We both know I’m not drunk enough to believe that and I’m not sober enough to pretend.
DEAN Fair enough. I’ve always appreciated your candor. So, I’m hoping you’ll appreciate mine.
He turns his gaze towards her.
DEAN (CONT’D) You haven’t published in a year. Your work -- it’s been suffering. We -- I’m worried about you. Sam, I’m hopeful you can use this sabbatical as time to refocus.
REDDING I’m focused.
DEAN The students have been talking --
REDDING I push the kids to learn, Claire.
DEAN And some you just push away.
Redding fixes his gaze on his drink.
6 REDDING She left of her own accord.
DEAN Right.
REDDING (stands, angry) Everybody leaves at some point or another, Claire. You’ve got to learn to quit expecting the opposite.
He looks at his empty glass and then at her.
REDDING (CONT’D) I need a refill.
Redding passes in front of the TV.
DEAN Sam!
He ignores her and climbs the stairs.
Exasperated, the Dean stands in front of the TV.
BEHIND HER ON TV: COLONEL McCALLISTER avoids a barrage of REPORTERS and news cameras. His army service uniform heavily decorated with medals and his face is creased from years of burdens to heavy for a civilian to bear. He waves the crowd off before entering a conference room.
The Dean picks up the remote, sighs, and taps the power button. The screen goes black.
EXT. PENTAGON - NIGHT
Lights shine out from the five-sided concrete building as traffic zooms by on I-395.
INT. PENTAGON CONFERENCE ROOM - NIGHT
McCallister sits at a mahogany table, which is polished to such a shine, you can see the distorted reflections of twelve SENATORS sitting across from him.
A self-assured SENATOR YOUNG heads the committee. A thirty something whose hard life has consisted of sitting behind a desk pushing papers or in front of a bar ordering drinks.
MCCALLISTER I urge you to reconsider, Senator. Our Intel --
SENATOR YOUNG Has been wrong in the past.
MCCALLISTER The Russians and North Koreans are both developing mass supplies of bioweaponery --
McCallister slides a manila folder marked “Confidential” down the table towards the Senators. Pictures of dead Russian and Korean villagers slip out.
7 Not even looking, Young tucks the photos back inside.
SENATOR YOUNG The risk doesn’t mitigate a budget of this size.
MCCALLISTER After the anthrax scare and nine eleven, I think six hundred thousand people in this city alone would beg to differ with you.
SENATOR YOUNG The chances of those weapons making it to U.S. soil is unlikely. Isn’t that what the report said or didn’t you read it to the end?
MCCALLISTER There’s more to consider than statistics on a piece of paper. Anyone with access to a lab catalog and basic reading skills can construct a biological weapon.
SENATOR YOUNG Then let’s be thankful our enemies don’t have more than a fourth grade reading level. (slams a gavel) Request denied. This hearing is adjourned.
McCallister grabs his hat off the table and shakes his head in disgust the committee.
EXT. CAMP PARKS ARMY BASE -- PLEASANTON, CA - NIGHT
White buildings sit in rows behind barb wire fencing. A quiet night on campus, few soldiers are seen.
SUPER: CAMP PARKS TRAINING CENTER. PLEASANTON, CA.
A two story facility that resembles a V.A. Hospital sits in the center of the campus.
INT. CAMP PARKS HOSPITAL
Faded 70’s style tile lines the hallways of the re-purposed old naval hospital.
An overhead neon bulb flickers in the empty corridor. Through the windows in the wall we can see that the old patient rooms have been converted into make-shift labs.
With the staff gone for the night, the labs appear empty except for a far wall lined with cages. Rats scurry inside and sip from their water bottles.
Each lab we pass increases in complexity of gear inside and safety precaution signs.
The last lab -- BIOSAFETY LEVEL THREE LAB has no window. Just a red number “3” outside the entry door.
INT. BIOSAFETY LEVEL THREE LAB
Microscopes sit on the black counter top with rounded edges. A thick metal door is the only entrance and exit.
8 Ports for air hoses dot the ceiling, all empty, save one. A yellow, squiggly tube connects from the port down to a PERSON dressed in what looks like space suit -- a positive pressure suit. This is DR. FLAMM, sixties, furrows his silver brows with concern.
He places a cage on the black lab bench. A sick rabbit lies in a heap in the corner of the cage.
DR. FLAMM C’mon, buddy.
He reaches in and lifts the rabbit out with a tender hand. He reaches in a drawer, pulls out some tubing and a bag of fluids. Hooks up an I.V. Bag to the tubing.
DR. FLAMM (CONT’D) You gotta beat this so we can too.
He inserts the I.V. needle into the rabbit’s shaved leg. It jumps. He pets it.
DR. FLAMM (CONT’D) Easy now.
The rabbit relaxes.
EXT. CAMP PARKS ARMY BASE
A TAN HUMVEE pulls up to the entrance gate. A GUARD approaches the vehicle. A SCARRED HAND withdraws a silenced pistol.
THWUMP!
Blood splatters from the Guard’s back and he goes limp.
A CROOKED NOSED MAN gets out of the Humvee and drags the dead Guard inside the Guard booth.
The Humvee drives through.
EXT. CAMP PARKS HOSPITAL
The Humvee pulls up, MEN IN ARMY UNIFORMS jump out and jog up the steps.
INT. BIOSAFETY LEVEL THREE LAB
The rabbit begins to perk up on the counter. Lifting its head. Flamm’s eyes light up with hope.
INT. HALLWAY OUTSIDE BIOSAFETY LEVEL THREE
The hallway vacant, the Men in Army Uniforms stand outside a steel door and punch in a code on a keypad. The light turns green.
INT. BIOSAFETY LEVEL THREE LAB
The rabbit rolls over to a sitting position. Flamm reaches over and strokes the white fur.
9 A CLICK and a HISS -- the steel door opens. Flamm looks up to see five men in biohazard suits with guns enter the room.
One of them, GREATHOUSE, holds a pistol with a silencer. Everything about him says hardliner, from the scars on his face to his regulation buzz cut.
DR. FLAMM You can’t just come in here!
Greathouse nods and one of his men fires.
DR. FLAMM (CONT’D) No!
The rabbit buckles. A flurry of white fur marred with scarlet. Flamm, horrified, instinctively reaches out to the rabbit, but the men seize him and force him out of the lab.
Flamm struggles and glass beakers crash to the floor.
INT. DEAN’S KITCHEN - NIGHT
A broken liquor bottle smashes to bits on a hardwood floor.
REDDING (O.S.) Shit.
Redding searches the immaculate, granite kitchen for anything he can use to clean up the mess. He grabs a handful of paper towels and scoops up the shards with his hands and the towels.
He dumps them in the garbage. He goes back for the rest and the bottle neck rests on the floor -- still with some brown liquor inside. He licks his lips and reaches for it.
COLLEAGUES (O.S.) For he’s the jolly good fellow...
Sam spins to see a group of professorial type COLLEAGUES holding a cake. He smiles weakly as the continue.
COLLEAGUES (CONT’D) He’s the jolly good fellow...which nobody can deny.
They clap. He nods his head with forced appreciation.
INT. CAMP PARKS HOSPITAL - NIGHT
Greathouse and his men push Flamm towards another metal door with several locking pin mechanisms on the outside.
GREATHOUSE (in Russian accent) Open. (Flamm pauses) Now.
Flamm types numbers into the keypad.
10 INT. DEAN’S KITCHEN - NIGHT
Colleagues push a plate with cake into Redding’s hands. Disconnected, he watches his colleagues talk and eat around him.
INT. CAMP PARKS BIOHAZARD STORAGE - NIGHT
A gloved hand wipes away frost revealing a set of serial numbers on drawer. The entire refrigerated room is floor to ceiling drawers. Wearing Biosafety suits, three men gesture with their guns for Flamm to open one.
FLAMM I don’t know what you want.
One of the guys yells again in Russian and shoves Flamm to a vault drawer.
ON VAULT DRAWER: Flamm pulls it open.
Inside: a slender silver case. He opens it. Two test tubes rest inside. Each tube is marked with an eagle and the serial number US09261951-2. Red fuzzy spots cover the interior of the test tube.
Flamm’s eyes grow wide with recognition. One the Men barks in Russian and prods Flamm towards the door. Flamm grabs the silver case and lifts it out of the drawer.
Flamm bends over, feigning trouble with his helmet.
FLAMM (CONT’D) Agh! My helmet...
The two men lean over. Flamm’s arms shoot up and wrap around the men’s necks.
Using his leverage to flip them both -- SLAM!
They hit the ground hard. Their glass helmets crack. Their guns skid across the floor. One man is out cold. The other grabs Flamm’s leg.
Flamm pulls out a vial from the silver case and smashes it against the mans cracked face shield.
A red poof of air seeps through the crack. The man claws at his helmet, then begins to cough violently.
INT. DEAN’S LIVING ROOM - NIGHT
PARTYGOERS mingle, eat cake, and drink near the sofas in the modest living room.
From the corner of his eye, Redding sees a MARRIED COUPLE cuddle in the corner. The HUSBAND reaches for a handful of peanuts in a coffee table dish. The WIFE caresses his hand as she takes one from his palm.
Redding looks away, pained. He rises to escape their intimacy, but turns back when he hears violent coughing:
WIFE Oh my god! Help! Somebody!
Redding turns and sees the Husband holding his throat. His eyes bug out. The coughs stopped, but now no sound comes from his panicked body.
11 Everyone else freezes in fear, Redding pushes people out of the way and grabs the man’s waist.
WIFE (CONT’D) Jerry!
Redding gives Heimlich thrust after thrust, until a peanut flies from the husband’s mouth and lands on the designer throw rug.
Redding releases him and the Husband falls to his knees gasping.
Redding collects himself. Straightens his shirt as the Wife clasps his hand.
WIFE (CONT’D) Thank you so much. (turns to Husband) Baby, you okay
The Husband nods and rolls onto his back. Still panting, he wipes his lips, wet with saliva.
INT. CAMP PARKS BIOHAZARD STORAGE - NIGHT
The man with the cracked helmet lays on the tile floor. Each breath quivers the bubbles of blood that rest on his lips. Then, the breaths stop.
Terrified, Flamm flings open the door. The silver case tucked under his arm. But before he leaves, he punches an orange button.
ALARMS SOUND.
RECORDED VOICE Contamination alert. Contamination alert.
The door locks. Sprinklers douse the containment area. Blue water beads up on the two dead men inside.
INT. CAMP PARKS HOSPITAL - NIGHT
Greathouse and his Men wait outside the large door with pins and bolts.
ALARMS SOUND. Greathouse and his men point their weapons at the door. It opens.
Leading with a pistol, Flamm comes out.
GREATHOUSE (Russian accent) Put weapon down.
FLAMM You put your goddamned weapon down.
They eye each other. One of the men squeezes his trigger and Flamm fires. Two of Greathouse’s men go down. Greathouse ducks and Flamm takes off running down a
HALLWAY.
Flamm pulls several fire ALARMS along the way.
12 LIGHTS FLASH OVERHEAD. ALARMS sound: WHOOP, WHOOP!
Water streams from the ceilings.
Greathouse chases after him and slips on the wet tile floor, but recovers quickly.
EXT. ARMY STAFF PARKING LOT - NIGHT
SOLDIERS dash by the concrete parking lot towards the hospital.
Aside from a few cars and an old station wagon, the parking lot sits vacant. Flamm ducks and dives between cars.
Flamm slips into the station wagon and fires it up.
EXT. GUARD GATE - NIGHT
Flamm drives to the guard gate and pauses.
FLAMM Call for back-up! We’ve been --
Crooked Nose Man fires his gun right at Flamm.
The station wagon windows shatter.
Flamm ducks and hits the gas, crashing through the wooden gate.
Greathouse hops in the Humvee in hot pursuit.
They hop on the freeway.
INT./EXT. CAB, SAN FRANCISCO- NIGHT
A dingy yellow cab plows through the city streets. Redding stares out at the San Francisco. Everything seems so big-- a small man amongst giants.
EXT. SAN FRANCISCO I-580 FREEWAY - NIGHT
Flamm’s station wagon barrels through traffic -- the Humvee hot pursuit.
INT. STATIONWAGON
Ripped upholstery flaps in the wind as Flamm yanks the wheel to and fro. The silver case slides in a mess of papers and fast-food wrappers on the front seat.
Flamm holds a phone to his ear.
FLAMM C’mon. C’mon!
OPERATOR (V.O.) This number has been disconn--
13 Flamm hangs up.
FLAMM Shit! Shit!
His eyes dart to and fro as if trying to come up with something anything. He hits a button on his phone.
FLAMM (CONT’D) Samuel Redding.
PHONE (V.O.) Searching. (beat) City?
FLAMM Fuck if I know!!
PHONE Please repeat.
FLAMM San Francisco.
PHONE Searching.
The interior of the station wagon glows with white light.
Then CRASH! The Humvee slams into the station wagon.
Flamm -- struggles to regain control. The car swings sideways. The Humvee follows.
He looks ahead.
EXT. SAN FRANCISCO I-580 & I-880 JUNCTION
Cars are splitting off to the right or left with the freeway division.
The Humvee pushes the station wagon further and further to the right -- forcing it to take I-580.
INT. STATIONWAGON
Glass and metal screech with each Humvee hit.
PHONE (V.O.) Samuel Redding found.
Flamm takes a deep breath, slams on the brakes and cuts hard left.
EXT. SAN FRANCISCO I-580 & I-880 JUNCTION
The stationwagon zooms across five lanes of traffic at the last second and escapes on the I-880 exit.
14 EXT. REDDING’S HOME - NIGHT
The taxi pulls up to the simple one-story craftsman home. Redding totters out.
INT. REDDING’S HOME
KEYS JANGLE, then the door opens. Redding cross the door’s threshold.
SNORES greet him as MAGGIE, a 70 year old woman with dyed bronze hair, sleeps on his couch. Redding places a blanket over the sleeping woman.
BOB, a cross between a lab and a rottweiler, lays on the couch at Maggie’s feet and chews on something hot pink.
Redding pats Bob.
REDDING Hey boy. What’s this?
He pulls out a pair of shredded women’s panties from his mouth.
REDDING (CONT’D) Where’d you find these? (dog barks) Shh. Yeah, yeah, I know.
The dog gives a smaller woof. He gestures and the dog follows him through the
KITCHEN.
The stove is covered in journals. A film of dust coats the table. The garbage is full of take-out boxes.
Bob latches on to the underwear in Redding’s hand in a playful tug of war as they walk to the back door.
REDDING (CONT’D) Drop it, Bob!
Redding opens the back door. Bob growls and tugs harder on the underwear locked in his grasp.
The Underwear RIPS. Bob dashes out to the yard with the pink fabric hanging from his mouth.
Redding leans on the railing and stares at the shred of pink fabric left in his hand. Bob snaps his head to and fro and continues to chew on them.
REDDING (CONT’D) You can’t kill what’s already dead, Bob.
Bob barks at him incessantly.
REDDING (CONT’D) What? What? Fine!
Redding pulls out his cell phone from his pocket. Bob quits barking. Redding dials and sits down on the porch steps. Redding shakes his head.
RING. RING. RING.
15 Panting, Bob sits at his feet as the phone picks up.
WOMAN’S VOICE (V.O.) Hi. You’ve reached 510-555-0322. Leave a message at the beep and I’ll get back to you as soon as possible.
BEEP!
REDDING (slurred) You know that’s not true. I’ve been waiting for you to get back with... (corrects himself) To! Get back to me for over a year now. (Bob nuzzles his hand) Hold on, Bob wanted to talk to you.
Redding extends the phone to Bob, who just looks at it.
REDDING (CONT’D) (to Bob) Coward. (holds phone to ear) He misses you. (sighs) Hell, Yara...I miss yo--
MAN’S VOICE (V.O.) Hello?
WOMAN’S VOICE (V.O.) Who is it, babe?
Sam hangs up. He sees a chewed-up tennis ball on the porch step. In a fit of anger, he rises. Nearly falls over. He grunts and throws the ball hard into the darkness.
Bob sprints after it. Redding slumps on the stairs and rubs his face as if he’s trying to make sense of what just happened.
The ball drops and bounces beside him. Redding raises his eyes. Bob wags his tail.
REDDING A couple more brain cells and you’d probably leave me too. Wouldn’t you, Bob?
He scratches Bob’s chest.
EXT. WASHINGTON D.C. HOTEL - DAWN
The sun glints off the Lincoln Memorial and reflecting pool. A few blocks away, a hotel window’s blinds part and then come back together.
INT. HOTEL ROOM - DAY
A standard hotel room: pictures on the wall, two lamps bolted to the walls on either side of the headboard.
16 McCallister turns away from the window and holds a phone up to his ear.
MCCALLISTER What do you mean a breech? (listens) Is it containable? (beat) Damage? (shouts) Find the fuck out!
He hangs up, dials again, and paces.
MCCALLISTER (CONT’D) Senator, the enemy just graduated past the fourth grade reading level.
Heads to the closet and pulls out his uniform on the bed.
INT. REDDING’S BEDROOM - DAY
A sparse bedroom, only the essentials. No pictures of loved ones anywhere in sight. A wallet and keys sit on a simple bureau. A worn, soft-sided briefcase rests against it.
Bob whines and paws at the door. Redding groans from beneath the pillows. DISHES CLINK downstairs. Bob whines some more and trots over to Redding. The dog pushes a pillow aside, revealing Redding, and licks his face.
REDDING Okay. Okay.
Pushes himself up.
INT. REDDING’S KITCHEN
Maggie, who was sleeping on the couch the night before, sets the table. Eggs cook on the stove.
Redding frowns at the state of the kitchen.
REDDING Where’d my papers go?
MAGGIE Mornin’ to you too. (beat) I put your papers over there. Now, I can watch Bob until five- thirty, but after that I’ve got plans.
Redding nods as she sets a plate of eggs in front of him.
REDDING I had eggs?
MAGGIE No, I had eggs.
17 REDDING Oh. Thanks.
MAGGIE What are neighbors for? You really need to do some shopping.
REDDING (sarcastic) Then you’d never come over.
She ignores this and leashes up Bob.
MAGGIE C’mon Bob. Good luck, today.
Bob follows Maggie outside.
REDDING (shouts after her) There’s no need for luck. It’s just a sabbatical.
The door closes.
EXT. BAY BRIDGE - DAY
Flamm’s beat-up station wagon drives along the double-decker, grey bridge.
On either side of the bridge, the bright blue bay rises and falls.
INT. STATIONWAGON
Flamm glances over his shoulder repeatedly, then touches his smart phone screen.
With one finger, he flips through search results on his phone and stops when he sees: Samuel Redding, M.D./Ph.D., U.C.S.F.
He glances over at the silver box on his bullet-ridden seat.
EXT. BAY BRIDGE
The station wagon zips by other vehicles.
TWENTY CARS BEHIND
A humvee lessens the distance.
EXT. UNIVERSITY OF CALIFORNIA, SAN FRANCISCO - DAY
Nestled in the green, forested hills, with the bay at its base, the MEDICAL CAMPUS bustles around the medical and research buildings.
STUDENTS, some in casual attire, others in white lab coats, hurry to class. Redding sets his own pace and climbs the steps to the grey concrete building, PARNASSUS HALL.
18 INT. UCSF CAMPUS PARKING LOT - DAY
The station wagon pulls into the lot and parks half on the sidewalk. Flamm rushes out of the car and scrambles across the green campus.
The humvee parks right behind the stationwagon.
EXT. UCSF HOSPITAL ENTRANCE
Flamm blazes towards the hospital entrance.
Out front, a PARAMEDIC closes the door to an ambulance and then turns to a gurney that holds an elderly African-American man, JOE.
Ranting and raving nonsense, JOE struggles against his restraints on the gurney.
JOE Save yourselves. The time of wrath is upon us!
Flamm, not looking ahead of him, runs into the gurney.
JOE (CONT’D) (meets Flamm’s eyes) They’re coming for you! (to anyone listening) For all of us! Ask for forgiveness.
Shaken, Flamm heads towards the hospital entrance doors.
INT. UCSF HOSPITAL ENTRANCE- DAY
The waiting area is a mix of students, single moms with multitudes of children, drug addicts and the elderly.
Panting, Flamm searches for his next move. Sees an elevator beyond the waiting area.
He races to it. The doors slide shut. Flamm jams his hand between the doors and they pop back open. He steps inside.
Calm and collected, Greathouse pushes open the hospital’s front doors, scans for Flamm and catches a flutter of Flamm entering the elevator.
INT. ELEVATOR
It’s crowded. Sick patients, family members and hospital staff.
Flamm stands next to a PHLEBOTOMIST, who carries a basket full of test tubes, syringes and needles. The elevator doors DING OPEN and Flamm bumps into the PHLEBOTOMIST on the way out and in a quick maneuver palms a syringe.
FLAMM Excuse me.
ON BASKET: an empty slot next to several syringes and test tubes.
19 INT. ONCOLOGY FLOOR
A few patients walk the halls with care givers. Flamm approaches the
NURSE’S STATION.
Flamm, ready to ask a NURSE questions, sees Greathouse on the opposite side talking with a DOCTOR in perfect English.
Ducking to stay out of view. Flamm hugs the wall and listens while searching for a place to hide. His panic obvious.
DOCTOR No. I haven’t seen him. Sorry. Maybe we should call someone --
GREATHOUSE I don’t want to trouble anyone... (edges closer to Flamm’s side) The meds make him a little loopy. I’m sure we’ll find him.
Desperation oozing from his being, Flamm eyes the Women’s Bathroom.
INT. WOMEN’S BATHROOM
Bright blue stalls and white porcelain sinks decorate the bathroom. Flamm pushes opens the stalls -- EMPTY. He closes himself in the last one.
Stands on the toilet. Sets down the silver box on the toilet’s tank and focuses on the syringe packet. His hands shake as he unwraps it.
He carefully opens the silver box. Removes the bacterium filled test tube. He thrusts the needle deep inside the medium.
The DOOR SWISHES OPEN.
On the defense, he raises the scarlet-filled syringe, ready to strike.
Heels click against the linoleum floor.
Eyes darting to and fro, Flamm PLUNGES the needle into his arm! He pushes the plunger down.
Withdraws the needle and drops it in the toilet with a small splash.
The stall door BANGS open, revealing Greathouse, who charges Flamm.
The porcelain tank explodes with the shear force of Greathouse’s impact. Water gushes everywhere.
Greathouse pushes Flamm’s neck towards the sharp, broken tank.
GREATHOUSE Where is it?
Flamm sees the silver box on the floor reaches for it. His fingers brush against its sides.
GREATHOUSE (CONT’D) Where is it?
20 The MAIN BATHROOM DOOR OPENS. Both men freeze.
A TEENAGE GIRL enters humming and texting on her phone, clueless, stepping towards the stalls.
Her feet make a squishing noise. She looks down at her feet and then up. Sees the two men and screams.
Flamm uses the moment. His fingers seize the silver box and he plows it into Greathouse’s head. Its sharp edges drawing blood. Greathouse releases Flamm, who barrels towards the door.
FLAMM (to teenager) Get out of here!
She bolts out ahead of him.
INT. PARNASSUS HALL - DAY
Redding strides down the hallway lined with photo after photo of medical school classes, trophies and awards. STUDENTS cluster outside classroom doors.
He rounds a corner and arrives at a metal door with a small window. He takes out his keys, only to find the door already open.
INT. REDDING’S LAB
Incubators line half the wall. Lab benches sit in neat rows. DNA analyzing equipment rests on the counter tops. Beakers and agar plates sit in stacks.
GEOFF, twenty-six, a lab geek, prepares agar plates. He could pass for the live version of “Shaggy” from Scooby Doo, from his Ramones T-shirt to his black converse shoes.
Redding enters and furrow’s his brows.
GEOFF Professor Redding! I’m so excited to have this opportunity to work with you.
REDDING Who let you in here?
GEOFF The Dean.
Redding grunts.
GEOFF (CONT’D) Can I just say --
REDDING No you can’t. (beat) Look kid. I don’t know what she told you but I’m not taking any students this semester.
GEOFF I’ve read all your work --
21 REDDING Haven’t you heard? I don’t play well with others... (reaches for the door) And I’m not about to start now.
Redding’s fingers wrap around the handle. The door opens and Flamm collides right into Redding. They topple over. Flamm’s sweaty, flushed face is inches away from Redding’s.
FLAMM I found you.
His skin ashen, Flamm shivers violently and rolls off Redding. Trying to place him, Redding searches his face as he pulls off his blazer and drapes it over him.
REDDING (to Geoff) Call 911.
GEOFF On it!
Geoff reaches for the lab phone.
REDDING (checks Flamm’s vitals) We’re getting you help.
FLAMM (delirious) We shouldn’t have done it. Your mother, she knew. (drifting off) She was always so proud of you.
REDDING Uh-huh.
Brushing what he says off like the ravings of a madman, Redding touches his forehead and yanks off his blazer.
REDDING (CONT’D) Jesus, he’s burning up. (to Geoff) How long?
GEOFF They said three minutes to get across campus.
FLAMM Grace was right. And now we’re being punished.
This stops Redding in his tracks.
REDDING What’d you say?
FLAMM Don’t let them have it, Sammy. You can’t.
22 REDDING What’s your name? (Flamm closes his eyes) Look at me! C’mon!
FLAMM So hot!
Flamm flings Redding’s jacket off and claws at his clothes, but he’s too weak and gives up. His shivers become tremors. His body arcs and stiffens.
REDDING He’s seizing!!
Redding tries to protect Flamm’s head as he thrashes around on the floor.
GEOFF Ice?
REDDING Refrigerator!
Geoff hurries to the refrigerator. Pulls out baggies of ice.
REDDING (CONT’D) Quick. Go for the groin. Then the arms and the chest.
Geoff rips off Flamm’s pants and places the ice bags on his rigid body.
GEOFF Dr. Redding!
Redding looks. Severe bruises riddle the lower half of his body.
REDDING Holy mother of --
The seizure passes. Flamm’s body relaxes. Redding checks his pulse.
REDDING (CONT’D) Tachycardic.
A MED TEAM rushes in with supplies and a gurney.
MED TEAM MEMBER What’ve we got here?
REDDING Febrile seizure, unusual ecchymotic markings on his extremities...
MED TEAM MEMBER Meds?
The team loads Flamm on the gurney and wheels him towards the door.
REDDING I don’t know.
23 Flamm grabs Redding’s arm and pulls him close.
FLAMM It’s in me, Sammy. It’s in me.
REDDING What? What’s in you?
FLAMM (whispers) Sea spray.
Flamm’s eyes roll back and seizes again. Something flies from his pocket and lands on the floor.
MED TEAM MEMBER Valium, now!
Redding lets the gurney go as the team scrambles to stabilize Flamm on their way out.
Redding walks over and picks up the dropped item up -- Flamm’s Army I.D. badge.
INT. OUTSIDE REDDING’S OFFICE - DAY
Greathouse mixes in with a group of students. He watches the medical team wheel Flamm down the hallway.
Greathouse breaks away from the group of students.
INT. REDDING’S LAB - DAY
Thinking, Redding tucks Flamm’s badge in his pocket as Geoff collects the bags of ice.
GEOFF You know him?
REDDING No. He was just mumbling nonsense.
GEOFF How’d you know?
REDDING My mother never was proud of me. (observes Geoff) You want to work with me? (off Geoff’s nod) How do you feel about malt?
GEOFF As an agar?
REDDING As in whisky. C’mon.
Redding grabs his keys and opens the door. Geoff hastens after him.
24 EXT. FRANK’S BAR - DAY
Just across the street from campus, the dive bar’s windows are covered with iron bars.
Redding walks in. Geoff hesitates and then follows Redding inside.
INT. FRANK’S BAR - DAY
Dark inside, old green booths sit empty. A BARTENDER dries glasses behind a wooden bar gouged with a mix of initials, profanities and declarations of love.
REDDING Two, neat.
GEOFF I, don’t normally drink in the morning.
The bartender sets two drinks in front of them. Redding picks up his and tilts it to Geoff, who waits and then picks his glass up. CLINK.
Redding throws his drink back. Geoff takes a gulp. Coughs and hits his chest. The bartender raises an eyebrow.
GEOFF (CONT’D) I’m more of a yoohoo kind of guy.
The bartender shakes his head and walks away.
REDDING I haven’t heard anyone say her name in a long time.
GEOFF Who?
REDDING It’s not important.
Redding pulls out Flamm’s badge from his pocket and taps it on the counter. He stands and Geoff does the same.
REDDING (CONT’D) Little boy’s room. I think I can handle it on my own. (waves at the bartender) Another two over here.
GEOFF I don’t -- (bartender brings the scotch over) Okay.
Redding heads around a corner towards the restrooms and strides past a set of pay phones on the wall. He pauses, contemplating, and then digs a couple quarters from his pocket.
Punches in numbers. Waits.
25 EXT. CAMP PARK ARMY BASE -- PLEASANTON, CA
Army Jeeps drive down single lane concrete roads. Uniformed Soldiers raise a flag and while others in sweatpants jog by in formation.
CAPTAIN YARA DIAZ, dressed in fatigues, crosses the lawn to the Hospital. Her Puerto Rican fire can’t be hidden by her army uniform, neither can her curves.
As she climbs the steps her PHONE RINGS. She answers it.
YARA Hello?
REDDING Hey.
YARA Hey.
Silence for a second, then they both speak at the same time... YARA REDDING About last night, he’s my I need to ask you something-- fiance --
REDDING I don’t need to know, Yara.
YARA’S VOICEMAIL Sam --
REDDING Do you know a Flamm? A Dr. Gregory A. Flamm.
YARA Not ringing any bells. Not in my department. I can look it up --
REDDING No. Don’t. I’ll do it on my own --
YARA (sarcastic) That’s your usual M.O. Isn’t it?
REDDING They say marriage is like going to battle. I hope for his sake, he’s got an armory on his side.
She laughs and so does he, but his has a sadness behind it.
REDDING (CONT’D) Take care of yourself, Yara. I mean it.
He hangs up and Yara looks at her phone that reads: call ended.
26 EXT. PENTAGON - AFTERNOON
LOBBYISTS and TOURISTS cross in front of the concrete building.
INT. PENTAGON CONFERENCE ROOM
McCallister stands as Senator Young and a JOINT CHIEF OF STAFF flip through photos of: Flamm, the damaged army base, Greathouse, until finally they land on a photo of Redding.
JOINT CHIEF OF STAFF What’s the intel on the situation?
MCCALLISTER There is no intel. We need to assume maximum damage here. If they go aerosol, we’re dead. I tried to warn Senator Young --
SENATOR YOUNG Hold on a minute --
MCCALLISTER No, you hold on! You don’t know what these men are capable of, but I’ve seen it. And it’s enough to make you stain your pretty little panties brown. So, sit down, shut up and give me what I need.
Speechless Senator Young sits. The Joint Chief of Staff closes his folder and looks to Senator Young.
JOINT CHIEF OF STAFF Get him what he needs. (to McCallister) Take care of this, Michael.
MCCALLISTER Yes, sir.
McCallister salutes him.
EXT. UCSF LIBRARY - NIGHT
LIBRARY PATRONS come and go from the modern building with its square, Frank Lloyd Wright windows.
INT. LIBRARY
Wood walls give the library a cozy feel. A few STUDENTS work away behind piles of books.
Geoff stands impatiently behind Redding as he hunt and pecks on the keyboard.
REDDING He’s not coming up.
GEOFF Did you google him?
27 REDDING (nods) There’s nothing.
He thinks and types in: Flamm and Sea Spray. Zero results. He studies Flamm’s badge. Then types in Sea Spray and Army.
GEOFF Holy shit.
ON SCREEN, THESE WORDS STAND OUT: OPERATION SEA SPRAY, GOVERNMENT GOES ON TRIAL FOR BIOLOGICAL TESTING.
Redding clicks on the link.
ON COMPUTER: LINK UNAVAILABLE.
Redding clicks a different link. Unavailable. He moves his mouse, clicking incessantly.
REDDING None of them are working!
GEOFF That’s weird. Search again.
REDDING Zero results? We just had a ton. (realizes) They’re deleting everything.
Geoff scoots in front of the computer.
GEOFF Let me try something.
A few clicks.
GEOFF (CONT’D) The computer keeps a cache of what you’ve looked at...
Geoff brings up the old search page. One of the links has a photo.
REDDING Can you get the photo?
GEOFF On it.
Geoff clicks again and the screen fills with a photo of Flamm and another man, FIORE (horn-rimmed glasses, appears charming) sitting in court.
GEOFF (CONT’D) Shit. There’s no names in the caption.
Redding reaches over and hits print.
28 REDDING Flamm said Sea Spray was in him. If they won’t tell us what it is -- then maybe he will.
GEOFF Wait, wait, wait!
REDDING You wait too long and sometimes opportunity passes you by.
GEOFF You said he was delusional.
REDDING Maybe. Maybe not. There’s only one way to find out.
Geoff scrambles to grab the papers off the printer as Redding leaves.
INT. UCSF MED-SURG FLOOR
Patients moan in hospital rooms. Redding brushes past ORDERLIES and DOCTORS in the hallway. Geoff skirts behind.
Redding comes to the Nurse’s Station.
He searches the PATIENT BOARD. Finds the name, FLAMM, scrawled in a box labeled: 646A.
A NURSE moves to the board and erases Flamm’s name from the box.
REDDING Excuse me! That patient...he was transferred to another floor?
NURSE No. Died en route. Probably at the morgue by now.
Redding and Geoff exchange suspicious glances.
REDDING Cause of death?
NURSE No chart. No idea. Sorry.
She walks off.
INT. CAMP PARK ARMY BASE -- PLEASANTON, CA
Yara walks by INVESTIGATORS and McCallister speaking inside Flamm’s lab and goes
UPSTAIRS.
It’s another old ward, but instead of being converted into labs -- the patient rooms have been converted into offices.
Yara passes by a name plate: Captain Diaz. She enters.
29 INT. YARA’S OFFICE
Her office is immaculate. Every item has its place in her world. She opens her drawer: taped to the bottom of it, is a picture of her and Sam laughing. She puts her purse on top of it. She sits at her desk and turns on her computer --
A green glow from the monitor illuminates her face.
ON COMPUTER: A blinking cursor. Then one by one, letters appear: F L A M M.
INT. REDDING’S LAB/OFFICE
Greathouse and his MEN IN SUITS rip apart the lab.
Greathouse pushes a button below the phone’s L.C.D. display: DIAL RECENT CALL.
It RINGS. He pushes the speakerphone button.
NURSE (V.O.) (filtered) Med surg floor. How can I help you?
GREATHOUSE I just heard my brother was in the hospital and the desk patched me up to you...
NURSE (V.O.) Name?
GREATHOUSE Flamm.
NURSE (V.O.) Oh. I’m sorry. He’s no longer on our floor.
GREATHOUSE You mean he was transferred?
NURSE No. He died en route. I’m sorry. I would have thought your brother would have told you.
GREATHOUSE My brother?
NURSE Yeah, he’s on his way to the morgue now to collect his things.
Greathouse hangs up on her.
INT. MORGUE RECEPTION DESK - DAY
Redding and Geoff step up to the MORGUE RECEPTIONIST, who sits behind a counter.
30 MORGUE RECEPTIONIST Can I help you?
Redding flashes his hospital I.D. badge and tries to breeze right past her. She blocks his way.
MORGUE RECEPTIONIST (CONT’D) You need to sign in!
GEOFF I’ll do it.
She looks at them with suspicion as Geoff picks up the clipboard. She moves out of the way. Redding swipes his badge on the card reader and opens the door.
INT. MORGUE
Geoff blows into his hands for warmth and watches Redding head toward a wall full of silver cabinets.
GEOFF So, how do we know which one he’s in?
Redding unhinges the latches on two doors at a time and pulls out the slabs partway.
GEOFF (CONT’D) (gulps) O.K. That’s one way.
REDDING yanks off the white sheets that cover the CORPSES.
SLAB ONE: A FAT MAN.
SLAB TWO: A THIN OLD WOMAN
REDDING Start down there.
They pull out SLABS of BODIES. White sheets cover the linoleum floor.
Redding and Geoff, now back to back, pull out the remaining two slabs. Geoff pulls off the sheet and stumbles back into Redding.
GEOFF Mother of God.
Redding turns.
Flamm lies on the table. His skin covered in BLUE, PURPLE and RED BRUISES. Dried blood caked at the corner of his eyes.
GEOFF (CONT’D) Systemic hemolysis? Staph? TENS? Ebola?
REDDING If it were Ebola, a pile of bodies would be left in his wake -- including us.
31 Redding gloves up, rips open the supplies, and uses Flamm’s chest as a makeshift table. He assembles the syringe and needle.
REDDING (CONT’D) Geoff, you should go home.
GEOFF No way.
Geoff steps forward and extends his hand. Redding slaps a package with a syringe in his hand.
REDDING You draw from that side. I’ll take this one.
Redding crouches next to Flamm.
INT. HOSPITAL HALLWAY
Greathouse and his MEN cruise the hallway. One pushes the elevator button. Greathouse looks around. Sees the sign for the stairs.
INT. MORGUE
Redding removes the syringe from Flamm’s arm and inserts it into the culture bottle. A dark scarlet stream fills the container. Geoff works on the other side.
GEOFF Almost there. His skin’s like paper.
REDDING Get as much as you can.
Geoff’s syringe is almost full.
INT. MORGUE RECEPTION DESK
Greathouse and his Men approach the desk. The Morgue Receptionist stands with her clipboard.
MORGUE RECEPTIONIST Hi! Sign in right here.
One of his men removes his pistol and BLAM BLAM BLAM!
BULLETS RIP through her chest and she slumps over the counter.
Greathouse picks up the clipboard, reads.
GREATHOUSE He’s inside.
Great house rips off the sheet of paper.
32 INT. MORGUE
Redding and Geoff jolt and stare at the door.
They rush to shove the samples in their pockets. Redding eyeballs the room. No windows. No other doors.
His eyes fall on an the AUTOPSY TABLE.
ON TABLE: RIB CUTTERS. SKULL CHISEL. BONE SAW. LARGE SCISSORS.
INT. MORGUE RECEPTION DESK
Short Suit tries the door. Locked. Greathouse lifts the Morgue Receptionists limp body and rips her I.D. from her chest.
He presses her card on the CARD READER. BEEP. The display flashes: CARD FAILURE.
Greathouse looks at the I.D. badge -- red with blood. He wipes it on Stocky Suit’s lapel and holds it up again.
BEEP. CLICK.
ON DISPLAY: ACCESS GRANTED.
INT. MORGUE
Guns out, Greathouse and his men scan the room. Short Suit sees the table -- but now only scissors and rib cutters are on it.
Greathouse fixes his gaze on something:
A SILVER MORGUE CABINET’S DOOR -- CRACKED OPEN A HAIR.
INT. MORGUE DRAWER ONE
Redding’s cold breath flutters the white sheet draped over him. Beside him -- a thin old woman’s corpse. Her lips curl back in a creepy smile.
INT. MORGUE DRAWER TWO
Geoff grips the skull chisel and clings to the dead Fat Man under the sheet. Shivers.
INT. MORGUE
Stocky Suit pulls open the CRACKED DRAWER. Short suit aims his weapon.
Stocky Suit FIRES FIRST. BLAM BLAM! BLAM BLAM! He pulls back the sheet -- a DEAD BLONDE WOMAN full of smoking holes.
Greathouse motions to open the other drawers.
Short Suit reaches for lower corner drawer.
33 UNDER THE SHEET
Geoff clenches the skull chisel. Hears a click. Shit -- it’s now or never.
HIS POV: Movement. Whiteness. Then a dark shadow above him.
INT. MORGUE
Finger poised on the trigger, Short Suit aims.
Geoff sits up -- hidden behind the Dead Fat Man. The three men let loose -- THUD. THUD. Bits and pieces fly off the dead man.
From out of nowhere - A SHEET flies over Greathouse and Stocky Suits heads -- it’s Redding.
Geoff skewers Short Suit’s thigh with the skull chisel! Runs for the Autopsy table - tips it over. CRASH! Tools scatter.
Short Suit’s down -- screaming. Blood pours out from his speared leg.
Redding punches and strikes hard with butt of the bone saw at the two heads-- Stocky Suit’s out.
Greathouse -- staggers -- pulls off the sheet. Then lunges. Playing with him.
Redding flips on the bone saw. It BUZZES to life!
Greathouse -- he goes for it this time -- lunges hard.
Their bodies hit cold, hard tile.
A CRUNCHING GLASS SOUND. Redding’s lab coat pocket -- a growing shade of scarlet -- the culture -- broken.
Greathouse slams Redding’s face with his fists. Redding takes it and pushes the blade close to Greathouse’s face.
Geoff -- behind the crashed table - reaches for the rib cutters.
PING! A bullet cracks the tile to the left of the rib cutters.
Geoff recoils -- searches for anything near -- sees a clean up kit -- a bottle of bleach and a plastic tub.
Redding -- the bone saw grazes Greathouse’s neck.
Greathouse -- Unphased. Psycho mode. Smiles -- before -- pushing his neck into closer to the saw. A WET NOISE.
Redding turns his face -- blood spots Redding’s neck --
Greathouse -- in control now -- moves the saw to Redding’s temple.
Redding -- fights to free a hand -- it dives into his
Fingers searching the pocket and find two capped syringes -- one clean and one dirty.
34 Geoff -- peeks above the table. Bullets fire and dent the steel. PING! PING!
SHORT SUIT (laughs) I can play this game all day.
Geoff -- throws the contents of the plastic tub at Short Suit’s face.
Short Suit -- cover his eyes -- screaming!
Greathouse -- elbows Redding’s throat --
Redding jerks and gasps -- the bone saw zips off some of his hair. Redding’s arm makes a swinging motion -- then jams the syringe into Greathouse’s jaw.
Greathouse howls.
Redding -- pushes him off -- bolts for the door with Geoff.
INT. MORGUE RECEPTION DESK
Out the morgue doors. Geoff stares at the dead receptionist as they race down the
HALLWAY to the
STAIRS.
Quiet. Bare bones stairwell. Redding leads -- two, three stairs at time. Geoff follows.
INT. MORGUE
Greathouse opens his mouth. The needle passes through his cheek and just beneath his teeth. He slowly withdraws the needle. Eyes afire with revenge.
INT. STAIRS
Redding and Geoff continue to climb.
Below - a door creaks open.
Redding and Geoff -- hear it. They climb the last flight -- there it is.
THE EXIT DOOR.
EXT. SIDE OF HOSPITAL -- NIGHT
Dark. Poorly lit. Redding and Geoff jog past dumpsters and loading docks.
BRIGHT LIGHTS shine on them. A TRUCK ENGINE RUMBLES AHEAD.
Redding runs towards it, pulls Geoff along.
GEOFF Are you crazy?
35 The lights veer off them as a delivery truck passes them.
REDDING Keep running.
They race down the driveway.
Redding looks back --
BEHIND THEM
Greathouse throws open the hospital door.
IN FRONT OF THEM
Trees. Branches brush against their faces as they hurry.
A SHRILL STEEL-ON-STEEL noise -- Redding and Geoff share a knowing look.
EXT. SUBWAY STATION - NIGHT
Graffiti lines the walls. Neon lights blink over head. PEOPLE scramble to get on silver subway cars. An ANNOUNCEMENT SOUNDS overhead.
ANNOUNCER (V.O.) Please clear all doors. (beat) Por favor borra todas las puertas.
The doors slide close -- a hand -- Redding’s -- forces it open.
He and Geoff climb inside.
ANNOUNCER (V.O.) Please clear all doors.
The doors shut.
INT. SUBWAY CAR
Tense, Redding and Geoff grip the metal bars overhead. There’s no noise but the ELECTRIC HUM of the subway car.
They peer through the glass. Dark outside. Redding’s jaw rigid.
A LURCH -- the car shifts. They visibly relax as the station moves from view.
Then a TINK TINK noise.
Greathouse -- face bloody -- runs beside the train -- tapping against the glass. Tries the doors -- they won’t open.
GEOFF Jesus.
36 The train picks up speed. Greathouse disappears in the black.
Redding looks around the train car -- KIDS stare. A MOTHER turns her child’s gaze elsewhere.
He looks to the glass. His face -- black and blue. Blood caked on his chin from his split lip. Nothing he can do about it now.
GEOFF (CONT’D) (in his ear) You’re bleeding.
REDDING I’m fine.
GEOFF No. Look.
He looks down. His jacket pocket smeared with a dark brown spot. He strips it off. Checks his body -- nothing. No cuts. His clothes intact. Opens the pocket -- hope dashed.
REDDING The sample. (beat) How’s yours?
GEOFF I gave it to you.
Redding checks the other pocket. Inside: the one quarter full plastic syringe, capped. Instant relief washes over his being.
GEOFF (CONT’D) What now?
REDDING We find out what this is and why they want it so bad.
EXT. DOWNTOWN BART STATION - NIGHT
Redding and Geoff get off the train station. People sit on the dirty benches. Gang graffiti marks the information kiosks.
Redding and Geoff cross the street and come to
REDDING’s Home.
Yara sits on his steps. Tears run down her face. Redding bolts up the steps.
REDDING Yara?
She holds Bob’s collar in her hands. She strides over to him and hugs him hard.
YARA You’re okay.
37 REDDING I’m fine. What are you doing here?
YARA It was open -- Maggie, she’s...she’s inside.
Redding dashes inside.
INT. REDDING’S HOME
Couches overturned. His TV cracked as if beaten with a bat. Absolute chaos.
He pokes his head downstairs to his
BASEMENT.
The basement is covered in broken beakers. Chemicals drip from overturned Erlenmeyer flasks. His personal lab destroyed.
A HIGH PITCHED WHISTLE BLOWS.
Redding pulls his head back from the basement door and follows the noise into the
KITCHEN.
On the front burner, a boiling tea kettle blows hot steam. Redding turns off the burner and then he sees her.
Bent in unnatural angles, Maggie’s legs peak out from behind the kitchen table. A cracked plate lies next to her.
Redding turns away. Swallows hard, he opens a cabinet. Inside, bottles of bourbon and folded tablecloths. His hand wavers as he reaches for the bottle.
Geoff enters and Redding sees him. His hand grabs the tablecloth instead of the bottle.
REDDING Help me turn her.
Redding places the table cloth beside her body on the floor. They roll her body to the side. Redding notes the bluish color on her back.
REDDING (CONT’D) The lividity, it’s just starting to show.
GEOFF But that’d mean she’d have died three hours ago.
REDDING They knew he was coming to see me.
He covers Maggie with the table cloth.
POLICE SIRENS sound faint in the distance. Yara enters.
REDDING (CONT’D) Did you call them?
38 YARA No.
The SIRENS grow LOUDER.
REDDING We gotta go.
YARA I can’t find Bob!
He shoos them to the front door.
REDDING Good.
He takes a last look at his home, before crossing the threshold and slamming the door shut.
EXT. REDDING’S HOME/YARA’S CAR
They climb into her red Karmen Ghia. Yara starts the car.
The SIRENS WHINE LOUDER.
REDDING I just need a minute to think.
YARA We don’t have a minute, Sam!
He hands are shaking. He needs a drink. Yara sees it. He tries to hide it.
REDDING Just drive. Anywhere.
She peels out into traffic, just as police cars pull up in front of Redding’s home.
EXT. MARKET STREET - DAWN
JOGGERS and EARLY COMMUTERS dot the sidewalks. A Metro Bus waits for PASSENGERS on the side of the road.
Yara’s antique car zips through yellow lights bypassing it all.
REDDING Slow down.
YARA You told me to drive. So I’m driving!
REDDING Yara. Why did you come over?
YARA I looked up Flamm.
39 REDDING I shouldn’t have called you.
Redding rubs his temples.
REDDING (CONT’D) Drop us off.
YARA Are you crazy?
REDDING (roars) Pull over!
She swerves the car to the side of the road. CAR HORNS BLARE.
Redding gets out and pushes the seat up so Geoff can climb out.
YARA You can’t push this away, Sam! Not like you do with everything else.
REDDING I’m trying to keep you safe, goddamnit!
YARA I’m in it now, whether you like or not.
Redding scrutinizes her.
REDDING Fine. We keep your involvement minimal. Got it?
YARA Got it.
Reluctant, he gets back in the car.
EXT. YARA’S HOUSE - DAY
The porch light off, dark shadows cover the small stoop. A porch swing creaks in the slight breeze.
Yara fits her keys in the lock, Redding and Geoff stand behind her.
REDDING Is he --
Redding on alert, eyeballs everyone and everything on her block.
YARA No. He’s working.
Something in her tone, reads that there’s more to it than that.
The lock clicks open and she enters.
40 INT. YARA’S KITCHEN
Quaint and homey. White lace curtains hang above the kitchen window.
Redding moves around the kitchen with complete familiarity. He opens the cabinet under the sink -- removes the bottle of bleach and a few plastic bags. Geoff, exhausted, leans against the door frame.
GEOFF I would kill for a shower, right now.
YARA Upstairs on the left. REDDING YARA Towels are in the linen Towels are in the linen closet. closet.
GEOFF Thanks.
Geoff heads out to take a shower. Redding looks at Yara, who smiles.
REDDING Old habits...
Yara sits at the breakfast table with a cup of tea and studies the print out of the trial photo.
YARA So, this is Flamm. Did he say anything else?
REDDING Not really.
YARA You know how I said I looked him up at the base?
REDDING Yeah?
YARA He wrote some research papers.
REDDING Uh-huh.
YARA With your mother.
REDDING What?
YARA I couldn’t print them out. They said they were --
REDDING Unavailable?
YARA Yeah! How’d you know?
41 Trying to keep the syringe from Yara’s view, Redding takes it out from his jacket pocket and hides it in the plastic bag. He triple bags it.
REDDING The same thing happened to us at the library. Whoever’s involved is trying to cover up their tracks and quick.
YARA But why go after you?
REDDING The only thing I know is that he had something they want and now they think I’ve got it.
He pours bleach on bloody pocket of his lab jacket. The brown stain begins to break apart as he scrubs it.
He sees a spot on his shirt and peels it off too. Now shirtless, he scrubs at the spotted shirt over the sink.
Yara admires his body -- it brings back memories.
Redding soaps up his hands, his arms, his face. Rinses. Face and arms dripping -- he squints to find a towel. Opens a drawer, finds note pads instead.
YARA Ben likes the hand towels by the fridge.
He stiffens with the mention of Ben’s name. She rises and pulls out a towel.
REDDING Thanks.
She dangles the towel in front of him.
YARA So, do you?
REDDING (grabs the towel) What?
YARA Have what they’re looking for?
Redding hesitates and covers his face with the towel -- comes back up.
REDDING It broke. In the morgue.
Yara stares at him. A weighted silence. Redding puts on his best poker face.
YARA (sighs) Is it worth going back for?
REDDING No. Too dangerous. (sits and looks at the photo) He’s my best bet.
42 He circles Fiore in the photo. A noise outside. Yara puts up a finger.
REDDING (CONT’D) The articles you saw didn’t mention anyone else?
A NOISE OUTSIDE.
YARA Oite’.
SOUND OF CAR ENGINES TURNING OFF outside.
REDDING What?
YARA No one parks on the street. Break-ins.
INT. BATHROOM
Steamy mist fills the tiny bathroom. Trying to slip on his jeans, Geoff hops up and down on a bath mat. KNOCK. KNOCK.
REDDING (V.O.) Geoff! Time to move.
Geoff pulls on his T-shirt and reaches for his shoes.
INT. YARA’S OFFICE
Redding walks into the office right across from Yara’s bedroom. The bright yellow and orange walls lend a Spanish flair to the office.
As Redding peers through the blinds, he catches glimpses of Yara changing clothes in
HER BEDROOM ACROSS THE HALL.
Her body toned and trim --definitely property of the U.S. Government. She throws on a bra, jeans and a sweatshirt.
A CAR DOOR SLAMS outside.
Redding’s POV: Through parted blinds we see Greathouse and his men move up the street on foot.
INT. YARA’S BACK STAIRWELL
Redding, Yara and Geoff descend the short, steep stairs. Built in olden times -- the kind that require you to hold on to the walls so you don’t fall to your death.
EXT. ALLEY WAY
A white wooden wall marked with graffiti lifts up and inward -- it’s a garage.
INT. YARA’s GARAGE
43 Yara’s Karmann Ghia revs. Geoff sits in the back seat and Yara shifts as Redding starts to get in.
REDDING Wait!
Redding looks towards the house.
REDDING (CONT’D) The photo.
Geoff and Yara watch as he runs to the back door.
YARA A lo loco! I have the photo.
Geoff shrugs.
INT. YARA’S KITCHEN
Alert. Redding sneaks in. All clear.
BOARDS CREAK and FOOTSTEPS SHUFFLE above.
Redding grabs the plastic bag off the counter -- doesn’t see a juice glass next to it. The glass tips -- falls -- shatters.
The footsteps stop. Then quicken.
Redding tears out the back door.
EXT./INT. GARAGE
The Karmann Ghia idles in the garage. Yara keeps looking in her rear view mirror for Redding.
IN THE REARVIEW: Redding sprints towards them.
He jumps in.
Yara pops the clutch and the car shoots out of the garage.
EXT. OAKLAND STREET /INT. KARMANN GHIA
Oncoming traffic BEEPS as Yara narrowly misses an oncoming car.
YARA (to car) Yeah, yeah, yeah! (furious) Did you get it?
REDDING (looks away) Yeah.
44 YARA Liar. You always look right when you’re lying.
She digs in her sweatshirt pocket and throws the photo at him.
YARA (CONT’D) I have the photo. (demands) What did you go back for?
GEOFF (looking behind him) Guys? They’re gaining...
BEHIND THEM:
The navy blue cars bear down on them.
IN FRONT OF THEM:
A street light flashes. Red and white striped wooden beams lower indicating a subway train is coming.
INT. KARMANN GHIA
Redding grips the dashboard and looks ahead. Geoff braces himself in the back.
REDDING You see it?
YARA I don’t think we can make it.
REDDING We can make it.
She shifts gears and guns the engine.
EXT. TRAIN CROSSING/STREET
The Karmann Ghia races ahead. The striped wooden beam smacks the back of the red sports car.
The car drives over the tracks!
The oncoming subway car careens toward them and misses them by inches!
Nearly slamming into the subway car, the blue cars screech to a halt.
EXT. 101 FREEWAY - DAY
The red car cruises by a brown highway sign that reads: SAN FRANCISCO SUPREME COURT, CITY HALL NEXT RIGHT.
45 EXT. SAN FRANCISCO SUPREME COURT
The Supreme Court’s Greco-Roman Columns give a sense of majesty to the street corner. ATTORNEYS and BUSINESS MEN dash up the multitude of steps.
Near the base of the steps, A METER MAID writes up a ticket on the sidewalk. She leaves it on Yara’s car, which is parked in the loading zone.
INT. SAN FRANCISCO SUPREME COURT
Beams of sunlight shine through the windows from the domed ceiling. Gold framed paintings, marble floors, and carved stone everywhere you look.
Redding, Yara and Geoff approach the information desk. HILLARY, a twenty-two year old Asian woman snaps her gum behind the desk.
REDDING Records department?
HILLARY Everything’s online.
REDDING I want the archives.
HILLARY The what?
REDDING Where they keep the paper records... (off her blank look) The really old stuff.
HILLARY Oh. I don’t think we have that.
REDDING Can you call someone and ask please?
Annoyed with him, she dials each number on the phone painfully slow.
HILLARY There’s this guy who wants the old stuff.
REDDING The archives.
HILLARY Huh. Downstairs to the right.
Redding, Geoff and Yara run for the stairs.
INT. ARCHIVES DEPARTMENT
A DOCENT, who looks like she’s 84, leads them through rows and rows of banker’s boxes. Thin tables divide the aisles.
46 She stops.
DOCENT Here we are. (points) It should be in there...
REDDING Thank you.
She dodders off down the row. Redding hefts the box on to the thin aisle table. Opens the lid. Thumbs through the files.
Pulls out four thick binders filled with papers, yellowed with age.
INT. ARCHIVES DEPARTMENT - LATER
Redding, Yara and Geoff sift through the paperwork.
GEOFF Unbelievable. They released it over Minnesota, Missouri, New York, Florida and San Francisco just to see what would happen.
YARA It was a different time then. The cold war made everybody crazy.
GEOFF You’re sticking up for them? They killed people.
YARA The bacteria --
REDDING Serratia.
YARA -- was thought to be benign.
GEOFF Key word -- thought not proven. And if it was benign, then why not tell people? “Hey, Mr. and Mrs. Average American, we’re going to douse your city with enough bacteria to line your lungs five times over, just for grins! Whaddya say?” (beat) Benign my ass.
REDDING They knew. They just didn’t care.
GEOFF (suspicious) Do you guys still do this?
YARA How would I know?
47 GEOFF (shrugs) You’re one of them.
YARA Watch it.
Engrossed in what he’s found, Redding stands up.
REDDING Meet our man in the photo.
YARA (reads) The United States Supreme Court finds doctors: Gregory Flamm, Peter Fiore and Grace Redding immune from all lawsuits...
INT. ARCHIVES RECEPTION AREA
The Docent nibbles on a tuna and white bread sandwich at her desk. She tucks it out of view as Redding, Yara and Geoff come around the corner.
DOCENT Did you find what you need?
REDDING Almost...is there a computer we can use?
DOCENT Mm. Not in this building. Our are off limits to the public, otherwise, I’d let you use mine.
REDDING Well, maybe you can look something up for me?
He smiles at her and she giggles.
EXT. SUPREME COURT STEPS - DAY
Yara shakes her head as Redding glances at piece of paper. They trot down the stairs. Geoff follows behind.
YARA Just shameless. I can’t believe she fell for that.
REDDING As I recall, that smile worked on you, too.
Yara’s mouth drops in disbelief and then she laughs.
GEOFF Twenty listings in the white pages and only addresses for two. (takes out his phone) You want me to start dialing?
48 REDDING No. In fact, power it off. Take out the battery.
YARA He’s right. Better from a pay phone --
REDDING Or we get a burner.
They look at him shocked as they descend the last of the stairs and come to the car.
REDDING (CONT’D) What? I watch the Wire.
He opens the passenger door.
EXT. BAY AREA - DAY
Redding rips open a pre-paid cell phone package. He dials the first number -- RING, RING. His mouth moves.
ON The LIST: a PEN circles names, crosses out others.
EXT. TWO STORY HOUSE
Yara knocks on a door. No answer. Checks the mailbox. Shuffles through letters.
Defeated, Yara shakes her head no.
ON The LIST: less names circled. More names crossed out.
EXT. APARTMENT - DAY
Geoff knocks on a purple door -- an ASIAN WOMAN answers. He asks her something -- she shakes her head no.
INT. KARMEN GHIA - LATER
Redding crosses off the last name. Yara shakes her head in the front seat.
YARA A wild goose chase.
REDDING We just have to think.
YARA All you do is think!
REDDING Some of us like to make informed decisions instead of leaping at the next best thing that comes along.
She gives him a dirty look.
49 GEOFF What if they got him first? And he’s already dead? They looked like they meant business.
REDDING What’d you say?
GEOFF What if they got him first--
REDDING No! Business. That’s it.
Redding leaps out of the car.
EXT. OAKLAND STREET - NIGHT
Drizzle falls. Redding covers his head and races to a phone booth.
INT. PHONE BOOTH
Disgusting inside. Broken Glass. A used Condom on the floor. He opens the phone book case. Empty.
Looks up. Rain dripping from his coat collar. Sees another one down a block.
INT. OTHER PHONE BOOTH
Redding pops inside. Checks -- Eureka. A phone book inside. He flips through the pages -- half of it’s ripped out. He slams the case closed.
Through the glass, he sees a little Quik-mart.
INT. MINI-MART
Wall to wall crap food -- Ho-ho’s, Ding Dong’s, Pringles. A Hispanic woman, LUPITA works behind the counter.
Redding cracks his neck as he waits in line behind MARTIN, a customer dressed like a cholo.
MARTIN Mija, tres Newports.
Lupita throws the cigarette boxes on the counter. Martin pulls out a wad of bills and throws a fifty on the counter. Struts out, not bothering to collect his change.
REDDING Could I use your phone book?
She looks at him blankly. He looks behind him. Everyone in line is Hispanic.
REDDING (CONT’D) Shit. (bumbling) Un libro del telefono, por favor.
50 HISPANIC WOMAN Buy. (gestures at the goods) Compra algo.
REDDING You want me to buy something! Okay. Uh...
He grabs a handful of Ding-Dongs and puts them on the counter. Pulls out his wallet and slaps a twenty down.
LUPITA Thanks.
Lupita takes his twenty and pulls out a tattered phone book from under the counter.
INT. KARMEN GHIA
Yara wipes down the fogged up windshield -- through it we see Redding running up.
Car door closes. He’s inside.
Redding flips open the yellow pages.
REDDING Fiore’s Whorlwind Flowers.
He rips the page out.
EXT. FIORE’S WHORLWIND FLOWERS/INT. YARA’S CAR - NIGHT
Geoff sits inside. This time at the driver’s seat. Water beads on the windshield.
INT. WHORLWIND FLOWERS
The front door opens. A BELL RINGS. The Windows are fogged up -- muggy inside. Yara and Geoff strip off their jackets.
Exotic flowers surround them -- unlike anything we’ve ever seen. Giant vibrant blooms.
FIORE (O.S.) I’ll be right with you!
The plants part. A bald man with bifocals and a mustache, FIORE pops his head through.
FIORE (CONT’D) Boo!
Both Yara and Redding jump.
FIORE (CONT’D) Skittish little love birds, aren’t you! (sizes them up) So, when’s the big day?
51 YARA Excuse me?
Fiore points to Yara’s diamond ring.
YARA (CONT’D) Oh!
REDDING We haven’t decided yet. She’s big on June. I’d rather just elope, if you know what I’m saying.
Redding wraps his arm around Yara.
YARA What can I say? The bigger the wedding the better. And these flowers...so gorgeous.
FIORE They should be. I grow them myself. Hybrids.
Redding breaks off as they talk, cuts through a clump of tropical plants. Brushes against something sharp - - he plucks a thorn from his jacket.
YARA (O.S.) The only hybrid I know is my car.
FIORE (O.S.) This is a little different. (guides Yara through the flowers) Now what are you colors, m’dear?
Fiore laughs in the background.
Redding wanders further back in the shop.
Opens a door.
INT. KARMEN GHIA -
Geoff taps the steering wheel like a snare drum -- bored. Peers at the shop. No movement. He reaches in his pocket, takes out his phone, puts in the battery, powers it up.
Chooses the game app, “Angry birds” and begins to play.
GEOFF Uh! Who’s angry now?
He fiddles with his phone to play the game.
INT. FIORE’S OFFICE
Military regalia on the walls. Medals of honor framed. Photos on the wall. Redding removes the photo of Flamm and Fiore from his pocket. He holds it up to another photo on the wall -- A YOUNGER FLAMM, PETERS and GRACE REDDING accepting an AWARD from NIXON. All in dress blues.
52 FIORE (O.S.) You know where I come from it’s not polite to enter closed doors.
REDDING You don’t remember me, do you?
The friendly demeanor gone -- Fiore closes off.
FIORE I just met you, son.
REDDING Sam Redding. Lieutenant Grace Redding was my mother.
FIORE I think it’s time you go.
He pushes Redding towards the front door.
REDDING I know. I know about Sea Spray. I know what you, Flamm and my mother did.
FIORE If you knew anything at all, you’d shut your mouth. Now, get out! Both of you.
Fiore forces them outside.
EXT. FIORE’S WHORLWIND FLOWERS - CONTINUOUS
An absolute downpour outside, ran drips in torrents from the store’s awnings. Redding gets in Fiore’s face.
REDDING Flamm’s dead.
This registers with Fiore -- gives him pause. Redding sees his window -- seizes it.
REDDING (CONT’D) He told me to stop it.
FIORE To stop what?
Redding digs in his coat pocket -- pulls out the syringe.
REDDING Serratia.
Yara’s pissed and dumbfounded, but mostly pissed.
Fiore puts Redding’s hand down. Looks around.
FIORE Did any one follow you here?
53 REDDING No.
Fiore turns to the building, locks the front door and slides the safety gates closed.
FIORE You got a car?
REDDING (motions to it) Yeah.
FIORE Damn shame. Nice car.
EXT./INT. KARMEN GHIA
Fiore walks over. Taps on the glass. Geoff jumps. Tucks his phone in his pocket. Rolls down the window.
FIORE You. Park this car as far away from my shop as possible.
GEOFF But --
REDDING Do it. (hands him some money) Cab it back.
FIORE No. (writes on a receipt) You meet us here. The more cabs the better. Leave nothing behind. And no calls either. Got it?
Everyone nods.
FIORE (CONT’D) Let’s move!
Geoff starts the car and drives off. Yara and Redding turn to Fiore, he’s already halfway down the block. They race to catch-up.
EXT. OAKLAND STREETS - NIGHT
A real storm now. THUNDER RUMBLES. Drain pipes gush. Definitely not the best side of town. Homeless people curled up next to dumpsters. Drug addicts beg them for change.
Blind to them all or perhaps just uncaring, Fiore charges ahead.
Yara snarls at Redding.
YARA You lied. To my face. In my home. Twice.
54 REDDING The sample I had broke in the lab. This was a spare. (she turns, he grabs her) Yara, half truths are safer right now than no truth’s at all.
YARA You’ve always done this. It’s not just now. (beat) You don’t see it, do you? (with disdain and pity) These confidences you keep -- how valuable will they be when you’re all alone?
The two lock gazes -- a CLANK breaks the moment. Fiore has pulled down a rusted fire escape. He scales it and shouts from above.
FIORE Should I get some popcorn?
Yara hustles, climbs the escape, mumbling in Spanish.
At a loss, Redding absorbs her words. He grips the fire escape’s handrails. A barrage of rain descends on him.
INT. FIORE’S LAB
Redding crawls through the open window. Astounded at what he sees.
FIORE (O.C.) Welcome.
Beyond an unkempt office space and piles of papers is a glassed-in working lab. PCR Machines, Sequencers. The works. Good enough to be a biosafety level three.
Another area is blocked off by plastic -- blue grow lights give an eerie glow. It’s a makeshift greenhouse.
INT. GREENHOUSE
Fiore leads them through the greenhouse. The blue lights make it feel like night.
Redding and Yara take in the plants in various of stages of development, buds to blooms the size of your head. Even more magnificent than the plants in his shop.
FIORE You said you know about Sea Spray...but you don’t know anything until you lived it son. (beat) Those were dark times. The Russians breathing down our necks, The Chinese right behind them. We thought we were doing the right thing. The only one who thought differently was your mother.
REDDING I wouldn’t know.
55 FIORE? How could you? You were, what? Four when she died? (beat) She used to bring you to the lab sometimes.
REDDING I don’t remember that.
Yara reaches out to touch a host of scarlet flowers with hood-like caps. Fiore grabs her hand before her fingers hit the petals.
FIORE I wouldn’t.
YARA What is it?
FIORE It’s in the Arendsii group, but one touch and its sap can asphyxiate you like that.
YARA So why keep it?
FIORE Some of my more specialized clients recognize with great beauty frequently comes risk.
REDDING You said my mother thought differently...
FIORE Grace had her doubts from the beginning about a mass release. And when she got wind, pardon the pun, of the infection rates after the first release, she tried to stop the others. (beat) But they stopped her first.
REDDING She died from pneumonia.
FIORE If that’s what you call a bullet to the brain...
Redding staggers and almost hits the poisonous plant. Yara catches him.
YARA (defensive) Jesus! How about some tact?
FIORE Why do you think I work with plants? No tact required.
REDDING I don’t...She --
56 FIORE (guilty) She was a good woman. I don’t know if this makes it any easier, but she died fighting for what she believed in.
Redding takes this in and reaches in his pocket.
REDDING Let’s hope we don’t follow suit.
His fingers hold the syringe filled with bacterium.
EXT. BERKELEY BREAD BOWL PARKING LOT - NIGHT
A bunch of HIPPIES carry their groceries out in home-knit bags and walk past the Karmen Ghia. Geoff slams the door, nods to them.
GEOFF Can I use your phone?
A DREADLOCKED DUDE shrugs.
DREADLOCKED DUDE Don’t believe in them, man!
GEOFF Right. Course you don’t.
He jogs towards the store.
EXT. FIORE’S WHORLWIND FLOWERS - NIGHT
Flashlight beams dance inside the store. The navy blue car idles outside the shop. Tinted windows reveal nothing.
INT. BLUE CAR
Cell phone to his ear, Greathouse stares at his face in the rearview -- he’s seen worse.
GREATHOUSE They’re checking now.
MCCALLISTER (V.O.) (filtered) Flamm?
GREATHOUSE Self-terminated. We recovered the body. It just damage control from here.
MCCALLISTER(V.O.) (filtered) Replicate what you can...
57 GREATHOUSE We’re close. We’ll find them.
MCCALLISTER(V.O.) (filtered) Maybe we don’t need to.
INT. FIORE’S CHANGING AREA - DAY
Fiore points them to the row of shelves filled with positive pressure suits. Redding and Yara reach for a pair.
REDDING Seems a little extreme for plants.
FIORE Not when there’s money to back it. You’d be surprised what people would pay for a plant with good genes. (beat) You should have what you need for the most part. I’ll be back as soon as I can.
Fiore leaves them to it. Alone again. Redding starts to attach his helmet, thinks better of it and takes a sincere stab at talking to Yara.
REDDING I’m not good at saying this and I never was when we were together, but I’m glad you’re here with me.
She has no comeback. He puts on his helmet and holds the door open as they step into --
INT. RINSING ROOM
A hose on the wall connected to a special tank. Chemical markings line its side.
Redding lifts the hose and rinses Yara off.
INT. FIORE’S LAB
Redding removes the syringe’s plunger. Black clots rest inside along with bright red, fuzzy spots.
REDDING Let’s get to know each other --
Redding takes a wire loop and touches it to the red fuzz.
EXT. SAN FRANCISCO PARK - DAY
Greathouse sits on the bench and watches as a DOG WALKER plays fetch with a golden retriever. He sits beside Greathouse, who hands him a manila folder.
GREATHOUSE Level Orange. Now.
58 INT. FIORE’S LAB - LATER
Redding titrates pipettes and deposits fluid into tiny tubes. They turn purple.
Yara puts a set of agar trays in an oven - sets the temperature for 40 degrees Celsius.
A HISS. Redding and Yara look up. Fiore, fully suited up, approaches the table.
FIORE Last ingredient -- test subjects.
He plops a wire cage full of BLACK RATS on the counter.
INT. MCCALLISTER’S LAB - SAME TIME
SCIENTISTS dissect Flamm’s decaying body.
INT. FIORE’S LAB - LATER
A Rat squeals and squirms as Yara ushers one into a glass terrarium.
The terrarium has a three small holes drilled into its Plexiglass lid. Desperate to escape, the rat climbs the walls. Fiore tapes over the edges and the holes, save one.
Redding draws up a pink fluid mixture into a home-made perfume atomizer. He sprays the fluid through the hole.
They watch. Not even seconds pass. The rat-- coughs pink foam -- struggles to breathe.
Fiore’s expression darkens with the rat’s response.
YARA Guys...
FIORE Serratia never did that.
Back on the rat -- bleeding out of every orifice.
INT. FIORE’S OFFICE
Yara sits half outside the fire-escape window. Redding paces. Fiore sketches on a note pad.
FIORE Serratia’s infectivity level was never that fast.
YARA We won’t know anything until the sequencer tells us.
REDDING It’s not that hard to modify -- sink in a plasmid with the right DNA. Flamm --
FIORE Flamm was sick -- delirious. You’re reaching.
59 REDDING Am I? Is that what you said when she tried to stop it?
FIORE Your mother was a casualty of war and science not knowing any better.
REDDING Bullshit. She knew, that means you knew.
FIORE When did this become about me? I’m on your side, asshole.
YARA We’ll know soon enough.
A RUMBLE IN THE DISTANCE.
YARA (CONT’D) (looks to the sky) Do you all hear that?
RAPID KNOCKING.
Fiore peers through a peephole. Unbolts seven locks.
Flipping out, Geoff enters.
GEOFF This is bad -- real bad.
He sees a T.V. on FIORE’s desk.
GEOFF (CONT’D) Does that thing work?
Redding moves to turn it on. STATIC. He flips the channels. One comes in.
ON TV: FOOTAGE OF a blood-splattered Geoff and Redding running through the hospital. Satellite images of Yara driving them in the car.
ANNOUNCER (V.O.) Homeland Security has issued an Orange Alert. The suspects were last seen in Oakland.
FIORE Jesus.
The RUMBLE GROWS LOUDER. Yara peers out the window.
EXT. WINDOW/SKY - DAY
Black helicopters swarm the sky.
60 INT. FIORE’S OFFICE - AS BEFORE
Redding runs to the lab. Yara races after him.
YARA Sam!
Geoff’s CELL PHONE BINGS with a text message.
Fiore storms over.
FIORE I said no phones! (beat) You lead them right to us.
Geoff horrified.
INT. FIORE’S CHANGING AREA - DAY
Sam suited up. Reaches for his helmet. Sees Yara coming.
SAM REDDING You get the other’s out. Now. I’ll meet you. The Wharf.
She hesitates --
REDDING Now!
She jumps and he puts on his helmet. There’s not much time.
EXT. FIORE’S BUILDING -
SWAT TRUCKS pull over. ARMED MEN pour out.
INT. FIORE’S BUILDING -
Fiore, Yara, and Geoff run the stairs. They look down the STAIRWELL.
DARK SHADOWS and MARCHING FEET echo up from floors below.
INT. FIORE’S LAB
Redding waits beside a giant machine -- the sequencer.
A USB KEY sticks out of the front of it.
A timer blinks nearby: 3:59, 3:58, 3:57.
He looks around -- sees an a giant bottle of ethyl alcohol. Other chemicals in jars. Wicks and a striker.
61 INT. FIORE’S OFFICE
FRONT DOOR SLAM’s OPEN. SWAT Guys everywhere.
INT. FIORE’S LAB
SWAT MEN in GAS MASKS go in. The timer still beeps 0:30, but the USB Key is gone.
The MEN look around. No samples anywhere.
CUT TO:
UNDER THE LAB BENCH: the red fuzzy samples float in a sea of chemicals inside the glass terrarium.
Inserted into one of the terrarium’s holes is a wick. We trace it along the floor to the end where Redding squats. He clicks the striker and sparks fly.
BOOM!
Glass and SWAT MEN fly.
EXT. ROOF - DAY
Fiore, Geoff, and Yara search for options. They hear the BOOM!
Motion from the fire escape -- a SWAT GUY grabs Yara’s leg.
INT. FIORE’S LAB/UNDER THE LAB BENCH - AS BEFORE
The samples in the terrarium - nothing but black char -- destroyed.
INT. RINSING ROOM
Flames cover Redding’s back. He rinses with the hose. Pulls off the positive pressure suit. Runs out the door.
INT. FIORE’S OFFICE
SMOKE clouds the room. Redding feels for the exit. Finds it.
INT. FIORE’S BUILDING - STAIRWELL
Absolute mayhem. TENANTS try to flee. A hat falls from one tenant’s head. Redding puts it on. Blends in. Follows the fish downstream and outside.
EXT. ROOF - AS BEFORE
The SWAT GUY grips Yara’s leg. In one move she strikes with a solid punch to his temple. He releases his grip.
TWO MORE SWAT MEN Appear -- Yara runs at them. Punching, kicking. Her army training kicking in.
62 Geoff and Fiore search for anything they can use to fight them off.
Geoff breaks off a thin vent-exhaust pipe. Swings and connects to a SWAT GUY’s HEAD.
Fiore pulls out a gun -- fires at them.
THE SWAT GUYS just keep COMING -- until Yara, Geoff and Fiore are cornered.
They back up on the roof. Yara, Geoff and Fiore back up. Yara looks down -- sees it. So does Fiore. A knowing look between them. Just underneath their feet -- a skylight.
SWAT GUY Put down your weapons!
Yara and Fiore fire their weapons downward -- the glass shatters and breaks.
Yara, Geoff and Fiore tumble downward.
INT. UPSTAIRS LOFT
An empty loft. Bare wood floors -- scratched from years of use. And piles of drop cloths. A ladder. Paint buckets near by.
From the broken skylight, YARA, Fiore and Geoff fall in a heap of drop cloths.
Yara rolls. Then looks up -- SWAT GUYS look down on them and disappear.
Yara stands, winces. Looks down. Her arm has a giant shard of glass protruding from her tan flesh.
YARA We’ve gotta keep moving.
Fiore groans as he picks himself up. Geoff dusts glass from his hair and follows Fiore to a window.
EXT. WINDOW/FIRE ESCAPE
Fiore, Yara, and Geoff hustle out the window and down the fire escape.
EXT. FISHERMAN’S WHARF - NIGHT
SEA LIONS BARK, as Redding wanders to the dock. Nearby, a fisherman casts his line out. A mini-tv propped up on a bucket next to his chair.
The TV audio blares:
MCCALLISTER (V.O.) He’s a textbook case. Violent outbursts. An alcoholic. Recently placed on probation at his work.
A trolley car dings. He looks up. Just strangers -- couples kissing and holding hands.
MCCALLISTER (V.O.) Unable to maintain social relationships.
Redding glances at his watch -- how much longer should he wait. They should have been here by now.
63 ANNOUNCER (V.O.) I get chills just knowing he’s out there.
MCCALLISTER (V.O.) Me too, Mary. Me too.
Cold, he rubs his hands together, glimpses a bar across the street.
INT. BAR - NIGHT
A tourist trap, iconic San Francisco trinkets and photos line the walls. Redding slides into one of the booths.
He peels off his gloves. His hands shake violently. He rubs them together.
PERKY WAITRESS (O.S.) Can I help you?
Redding doesn’t even look up at the PERKY WAITRESS.
REDDING Scotch. Neat. A double, please.
She gets the hint -- he’s not here for company. She jettisons for the bar to put in his order.
Leaning over in the booth, Redding parts a pair of curtains, peeks outside. Still no sign of them.
A CLUNK. His drink is on the table. He reaches for it. Hands shaking.
He moves it closer. Swirls it as if searching for answers. The glass heavy in his hand. He sets it back on the table.
Redding peers through the window again.
THROUGH THE WINDOW: A wide SHADOW on the pier obscured by a passing trolley car. Redding pushes away the drink. Rushes out of the booth, leaves a ten on the table.
EXT. FISHERMAN’S WHARF
Redding proceeds with caution. The shadow ahead splits into three distinct forms -- Geoff and Fiore helping Yara along.
Redding jogs forward, but another trolley car cuts between them, then passes.
REDDING Yara!
Limping and cradling her right arm, relief washes over Yara’s face when she sees him. He embraces her tightly and she lets him, despite the pain.
Redding breaks the embrace and looks to Fiore and Geoff -- as if to say “are you hurt?”
GEOFF We’re okay.
64 FIORE Yeah. Yeah. Fine. We’re too open here.
REDDING C’mon.
EXT. TROLLEY CAR / PRESIDIO NEIGHBORHOOD - NIGHT
Redding helps Yara off the car as Geoff and Fiore hop down from the trolley car.
The old white military base looms below them and the lights of the Golden Gate Bridge glow beneath a hazy fog in the distance. Quaint side-by-side homes rest on the hillside above them.
Fiore flips his collar up and pulls his hat down. Unnerved to be so close to his past.
Redding leads them to a modest older, flat-faced building. Crackled paint flakes from the weathered window panes above.
His KEYS JINGLE as he fits them into the front door.
INT. GRACE REDDING’S HOME - NIGHT
Holding Yara up with one arm, Redding flips on a light with the other hand. The BULB flickers and BUZZES. Dust covers 1970’s style furniture.
Geoff bolts the door. Fiore pulls closed the moth-eaten curtains -- pissed and edgy. He sees an old army cap and jacket still hangs on a coat hook near the door.
FIORE Why the hell did you bring us here?
REDDING Because it’s the only place I have left.
Fiore has no words and watches as Redding helps Yara up the steep stairs.
Fiore throws his hat on the coffee table and dust flies. He rubs his bald head. Grimaces at Geoff.
FIORE Let’s see what we’ve got here.
Stands up and motions for him to follow him into the kitchen.
INT. GRACE REDDING’S BEDROOM
Redding eases Yara onto the old double bed.
YARA I can take care of myself.
She scoots back on the bed and pain rockets through her arm.
65 REDDING Doesn’t mean you have to all the time... (beat) Or so I’m told.
Redding offers to help and she nods, begrudging the need for his help. He gently takes off her blood- stained jacket. Assesses her forearm wound.
REDDING (CONT’D) Lay down.
Too exhausted to argue, she does so. He moves to her lower body. His fingers trace the jagged hole in the side of her pants before he rips them open.
YARA Watch it!
Her muscular leg exposed, his hands palpate around a deep gash runs along the side -- scarlet blood oozes out.
REDDING You need stitches.
He rises from the bed and goes into the adjacent
BATHROOM.
RUMMAGING NOISES.
Trying to not think about the pain, Yara stares at the ceiling.
YARA Is this how you remember it?
REDDING (V.O.) Hmm. More or less. I didn’t come in here much and she was gone most of the time. Always working on the next big project.
YARA Sounds familiar.
REDDING I’m trying so hard to remember something good about her.
Redding returns with an armful of supplies, tweezers, faded brown packages, saline, iodine, alcohol, and towels.
REDDING (CONT’D) Something we did together. And I’ve got nothing.
YARA Sometimes you get so used thinking one thing about someone, it’s hard to see them any other way.
REDDING Roll on your side, please.
66 She turns. He places the supplies on the bed. Unscrews a cap of saline.
YARA How old is that stuff?
REDDING Old. But silk sewing thread hasn’t changed much in forty years.
He pours it over her wound, rinsing it out. She shivers. Fresh blood bubbles up and out of the gash. He pries the wound apart -- reaches in with the tweezers. Removes a shard of glass. Yara grips the bed covers as he continues.
YARA Sam?
REDDING Yeah?
He wipes her leg clean.
YARA I’m sorry I didn’t believe you.
He unscrews the alcohol bottle.
REDDING It’s ok. I quit believing me a long time ago. Ready?
YARA Go ahead.
He pours the alcohol on the wound.
INT. GRACE REDDING’S KITCHEN -
Geoff and Fiore open and shut cupboards. Yara’s PAINFUL MOANS echo down through the air vents. Geoff looks to Fiore.
It’s quiet again. They resume their search. Faded plastic kiddie cups and grimy dishes line the shelves.
Geoff opens up the fridge, gasps and makes a face from the smell.
GEOFF It smells like somebody died in here.
FIORE (under his breath) Somebody did.
Fiore pulls open a pantry door.
FIORE (CONT’D) Bingo bango.
He holds up two brown aluminum packages and some cans -- old vintage army survival food.
67 INT. GRACE REDDING’S BEDROOM - AS BEFORE
The dim light from the night stand creates a soft glow in the room.
Redding ties off the last stitch in her thigh. Trims the black, silk thread with scissors.
REDDING Arm.
Yara sits up and gives him her arm. She uses her left hand to pull back the fabric.
Redding pauses, taken off guard -- her engagement ring missing.
YARA I...I left it in the lab.
Redding nods, doesn’t know what to say. He wipes the hole in her skin clean.
REDDING Stitches would be pointless. The skin’s too tattered. Broken. (tapes gauze over it) I can’t patch it up.
She cranes her neck to see. Their faces close to one another. Yara leans forward kiss him. He guides her to the bed gently avoiding her wounds.
INT. GRACE REDDING’S LIVING ROOM - NIGHT
Redding climbs down the last step, buttoning his shirt. Freshly showered, he looks worn-out.
His gaze falls on the half-eaten cans of army stew that sit on the coffee table.
Geoff snoozes on the couch and Fiore sips his coffee.
FIORE It’s not french press, but it’s better than nothin’.
Redding goes into the
KITCHEN.
He opens a cupboard. Sees a kiddie cup - his. Reaches for a mug instead, closes the cupboard and starts. Fiore leans against the wall. Drinks from the mug.
FIORE (CONT’D) Water’s still hot.
Contemplative, Redding moves to the stove and grabs the kettle.
REDDING I don’t get it.
FIORE What?
68 REDDING We had a whole fucking SWAT team after us and they just let us walk?
FIORE I don’t know.
REDDING You sure about that?
FIORE (offended) You are your mother’s son. Grace never minced words either. Just remember you came to me for help. Not the other way around. I’m no rat, but I can’t speak for your friends.
REDDING I trust them.
FIORE Do you? Let me ask you something. Did you go to them or did they find you?
Redding takes a seat, thinks this through.
FIORE (CONT’D) She was out of my sight for ten minutes after we got out of there. Ten minutes is a lot of time. She could have been with them.
REDDING She’s not a traitor.
FIORE The army fucked Grace. Flamm. Me. (motions upstairs) Don’t let that spicey jalapeno upstairs fuck you over too.
REDDING Hey!
Fiore sets down his cup and puts on his jacket. He reaches for the back door.
FIORE This is beyond done anyway. You’ve got no lab and no sample. Pack it up, while you still can.
YARA I think I can get us a lab.
Both men turn. Hands on her hips, Yara wears an old army sweat suit.
FIORE To analyze what? You’ve got nothing.
REDDING I wouldn’t say nothing.
69 Redding holds up the USB card from the sequencer.
EXT. ENTERPRISE RENTAL CAR - DAY
CAR ATTENDANTS check rental cars in, while others wash and vacuum the returns.
Fiore walks inside the shop.
INT. COMPUTER STORE - DAY
Geoff throws more cell phones in his cart. Talks with a salesman about the USB card.
EXT. SHOPPING DISTRICT, PLEASANTON, CA - DAY
SHOPPERS carry bags and go into trendy store fronts. Occasional SERVICE MEN cross the square. Yara and Redding eye the coffee shop on the corner.
REDDING I don’t like this.
YARA Are you saying that because he gave me the ring or because something feels wrong?
REDDING Both.
YARA We’ve been through this, our sequencers on the base are four times as fast as the ones on campus. (beat) You said it yourself. We need to know what we’re dealing with here.
REDDING I’m just not sure it’s worth dealing with -- (motions to coffee shop) what’s in there.
YARA He’s a good man, Sam.
She kisses him on the cheek & runs towards the coffee shop.
REDDING (shouts after her) So am I.
She looks back and smiles.
INT. COFFEE SHOP - CONTINUOUS
Amidst TEENAGERS texting and BUSINESS MEN trying to grab a cup before the day ramps up, sits BEN GIVENS. Clean cut, honest eyes, chiseled chin. The kind of guy you take home to mom.
70 He blends in for the most part, except for the U.S. ARMY badge that’s clipped to his belt. His eyes sweep the crowd.
A KID WITH EARBUDS blocks the door. The KID WITH EARBUDS shifts and there she is -- Yara.
He rises, pulls out a chair at his table. He leans forward to kiss her. She tilts her head so she hugs him instead.
BEN When are you coming home?
YARA I can’t.
She winces as she sits across from him. She crosses her arms. He notices the ring’s off her finger.
BEN You’re still with him, aren’t you?
YARA I don’t know.
BEN You only say I don’t know, when you don’t want to say no to someone.
YARA That’s not fair.
BEN Not fair, but true.
He reaches for his wallet and notices his badge is gone.
BEN (CONT’D) You know, that’s a hell of a way to break up with a guy -- stealing his badge.
YARA Borrowed.
BEN So, it’s not over?
YARA I’m sorry. I have to go.
BEN I could report it stolen.
YARA You could.
She squeezes his and breaks away.
YARA (CONT’D) Goodbye, Ben.
71 As she limps out of the shop, Ben types in a number. His finger hovers over the “call” button. Resigned, he puts the phone back in his pocket.
EXT. SHOPPING DISTRICT/STREET- CONTINUOUS
Waiting inside a cheap rental car, Geoff, Fiore and Redding perk up as Yara rounds the corner.
INT./EXT. RENTAL CAR
Yara climbs into the back seat. Buckles up.
GEOFF Well? Is he going to help us?
YARA In his own way.
She holds up Ben’s badge in her hand.
INT. GRACE REDDING’S LIVING ROOM - DAY
Yara has a sheet of newspaper spread out on the table. Geoff, Redding and Fiore study the map. Each has a cheap pre-paid phone in front of them.
Redding watches as Yara draws a map on the newspaper.
YARA So this is the guard gate. Over here is the hospital and lab area. (circles a spot) The rapid sequencers should be there. They’re all B.S.L. two’s or higher.
FIORE What’s in this area?
YARA The big brass band. (thinks) Smith, Allen, McCallister. Upper level officers.
REDDING Laundry trucks arrive at three over here.
GEOFF And they drop off here?
YARA Yeah. Unless protocol’s changed. Then we find another way.
Everybody nods but Fiore. They rise and Yara winces in pain.
REDDING Hey, you’ll ruin my handiwork. Just stay put. We’ll back soon.
72 YARA I should be going with you.
REDDING We’ve got our phones. We’ll call if we get in trouble. (beat) I’ve got to finish what Grace started.
YARA You don’t have to.
He gives her a look as if to say “you know better than that.”
YARA (CONT’D) If you get in trouble, I’m calling Ben.
REDDING Then I’ll make extra sure we don’t.
She tries to smile to cover her worry, but Redding sense her doubt. He kisses her goodbye.
INT. RENTAL CAR /EXT. OUTSIDE OF CAMP PARKS ARMY BASE - DAY
Redding, Geoff and Fiore watch from inside the rental car parked on the side of the road.
INT. GRACE REDDING’S LIVING ROOM
Yara’s on the sofa. A rough sketch of the base in front of her. She shouts towards the phone on the table.
YARA Anything?
INT. RENTAL CAR /EXT. OUTSIDE OF CAMP PARKS ARMY BASE
Redding turns his head. Nothing but empty road behind him. He speaks into the phone.
REDDING Looks like they’re running late.
FIORE There’s too many variables.
GEOFF I see something.
Sun flashes off something in the distance.
YARA (V.O.) What do you see?
REDDING Opportunity.
73 EXT. OUTSIDE OF CAMP PARK ARMY BASE - PLEASANTON, CA. - NIGHT
An army laundry truck rumbles by. A DRIVER bebops to music in the front seat.
Redding, Geoff and Fiore run and hop up the back of the truck. The empty rental car left on the side of the road.
INT. BACK OF ARMY LAUNDRY TRUCK
Piles of white canvas bags, stacked neatly on top of each other. Redding tugs one out of the stack, but falls back as the truck bed bounces with each pothole.
Redding rips a bag open. Inside -- army uniforms. He throws a set at Geoff and Fiore, who quickly get undressed.
EXT. M.P. GATE - NIGHT
A windy night. The guard booth sits on a little patch of green lawn with a flag mounted to the roof.
The Flag snaps in the breeze as the NIGHT GUARD validates the DRIVER’s ID.
A GUSH OF WIND lifts the edges of canvas that covers the back of the truck.
INT. BACK OF ARMY TRUCK
Redding and Geoff hurry to snap it down.
EXT. M.P. GATE
The Guard writes down the truck’s plate number on his clipboard.
GUARD Watch the back...don’t want any laundry land mines on the base.
DRIVER Roger that, Sir. I’ll secure it up ahead.
Satisfied the guard waves him through.
EXT. CAMP PARK, ARMY BASE - PLEASANTON, CA.
The truck pulls up to the base. Redding and Geoff, dressed in army gear, hop out the back.
INT. HALLWAY OUTSIDE FLAMM’S LAB
Redding swipes Ben’s badge and the door clicks. They pop inside. Redding taps the bluetooth device on his ear.
REDDING We’re in. I’ll call if anything comes up.
74 He hangs up and pulls out the sequencer chip from his pans pocket.
EXT. CAMP PARK, ARMY BASE - PLEASANTON, CA - NIGHT
Two HUMVEES drive by the deserted rental car. Greathouse, dressed in army camouflage, drives one of them.
INT. FLAMM’S LAB
Redding and Geoff work with the DNA sequencer, while Fiore stands watch at the door.
Redding plugs in the USB chip into a large DNA sequencer. The LCD flashes “error, try again.”
He tries again. It flashes again. He takes it out and replaces it.
Again “error, try again.”
Geoff grabs a plastic specimen bag, puts the card inside and inserts it.
GEOFF C’mon baby.
He looks to the LCD -- it flashes for a second, then reads “analyze sequence?”
GEOFF (CONT’D) Papa’s hot tonight! Yes! Analyze the hell out of it.
REDDING Nice work.
GEOFF Always works for my debit card, Professor Redding --
REDDING Sam. I think our coup d’ etat puts us on first name basis.
GEOFF Okay, Sam.
REDDING Well, don’t say it once right after the other. It just sounds weird.
GEOFF Yes, sir.
Redding continues to punch in some numbers on the PCR device.
INT. OUTSIDE FLAMM’S LAB
A GUARD walks by shines the light in on Flamm’s office. His flashlight beam bobs and weaves around the office -- landing on nothing. He moves along.
75 INT. FLAMM’S ANALYSIS STATION
Hiding under the dark marble lab benches, Redding and Geoff poke their heads into the area, Geoff eyes his watch and the countdown on the Sequencer LCD.
FIORE How much longer?
GEOFF Five maybe six minutes.
FIORE I’ll meet you by the car in five.
REDDING What are you doing?
FIORE Tying up some loose ends.
Redding nods as Fiore pushes through the lab doors.
INT. HALLWAY
Fiore walks down the hallway, then picks up the pace. Comes to a door -- McCallister’s. He tries the handle. Locked.
Fiore looks right and left. All clear. He kicks hard and high. The door cracks. He kicks again. It buckles open.
ALARMS SOUND!
INT. FLAMM’S ANALYSIS STATION
Redding stands by a printer -- its output wheels start spinning.
GEOFF Anything?
Before Redding can respond, the ALARMS BLARE.
REDDING What’d we do?
GEOFF I don’t -- we didn’t...
REDDING Shit. Fiore. Meet me in the parking lot. Two minutes. Send it to Yara too. Just in case.
Geoff shakes his head in agreement. Redding follows the same path Fiore took.
INT. MCCALLISTER’S RECEPTION AREA -
Fiore storms beyond an empty reception desk, littered with papers and crosses into:
76 INT. MCCALLISTER’S OFFICE
Fiore flips on a light. Jumps back. Right in his face -- A GIANT EAGLE STATUE with a shredded flag in its talons hovers on the wall above McCallister’s desk.
He scours McCallister’s pile of papers. Comes across another smaller eagle that sits on his desk, with an army helmet and flap jacket at its feet along with the words “This We’ll Defend.”
FIORE C’mon. Where are you?
Redding enters. Sees Fiore ripping the desk apart.
REDDING We’ve got the sequence, c’mon.
Fiore continues to search McCallister’s desk.
FIORE I can’t go. Not without know where and when they’re going to do it.
REDDING There’s no time.
Fiore sees the life-size portrait of McCallister. He picks up an office chair and swings it like a bat at the portrait.
FIORE (screaming) You fucking ruined her!
CRASH. The blown-up picture of McCallister splinters into a million pieces. He strikes it over and over again, until his shoulders heave with emotion. Broken he turns to Redding.
FIORE (CONT’D) I can’t let Grace down again, Sam. I can’t.
Redding absorbs and accepts this in solidarity. He picks up his phone and dials.
REDDING Set your watch. You’ve got three minutes. (into phone) Geoff, buy us some time.
As Fiore sets his wrist alarm, Redding marches over to the secretary’s desk.
INT. FLAMM’S LAB - AS BEFORE
Geoff hangs up his phone. Searches around the lab for something, anything he can use. The lab is pretty vacant except for heavy machines.
He stops in front of two autoclaves and rows of glass test tubes.
77 EXT. SAN FRANCISCO AIRPORT - RESTRICTED AREA - DAY
In holding patterns, planes circle in the sky above.
THREE NAVAL PILOTS undo their gear as they walk away from their planes. Blue Angel markings cover their helmets.
SIX PILOTS dressed in green jumpsuits enter the restricted area. Greathouse is one of them.
He walks with great purpose to a set of three sleek, blue and yellow naval jets parked on the runway and the three naval pilots.
NAVAL PILOT Can we help you, boys?
Greathouse strokes one of the Blue Angel jets. The roar of a plane taking off. His men take out their pistols and pick off the Blue Angel pilots one at a time.
EXT. CAMP PARK ARMY BASE -- PLEASANTON, CA - DAY
ARMED SOLDIERS run up the stairs to the hospital.
INT. CAMP PARKS HALLWAY - DAY
Geoff props up the two centrifuges on an angle. He throws in the glass test tubes on one side of each centrifuge.
He hears a set of BOOTS CLOMPING around the corner.
Flipping the “on” switches up, Geoff high-tails it around a the next corner.
The unbalanced centrifuges pick up speed and wobble.
The Armed soldiers turn the corner, just as the Glass test tubes clink and work their way out of the machine.
Then WHOOSH. Test tubes fly out at random and strike the surrounding walls. CRACK CRACK CRACK CRACK CRACK!
The armed soldiers return fire! BLAM BLAM!
EXT. SAN FRANCISCO AIRPORT - RESTRICTED AREA - DAY
Outfitted with Respirator masks, Greathouse and his men work on the Blue Angel Jets. Their tail ends open.
Each plane’s rear condenser tank is filled with a different color -- red, white and blue. The men swap out the tanks with their own -- scarlet red filled ones.
A PHONE RINGS.
GREATHOUSE (answers) We’re on schedule. The tanks are installed. The flight test is -- (MORE)
78 GREATHOUSE (CONT'D) (listens) At the base? Copy.
Greathouse hangs up, turns to his men.
GREATHOUSE (CONT’D) Take them up for the drill.
They nod. Greathouse hurries to the nearby humvee.
INT. MCCALLISTER’S OFFICE - AS BEFORE
Redding cocks an ear and listens. Hears the gunfire.
Moves faster through a bin of papers labeled “To Shred.” Finds a set that piques his interest.
ON PAPERS: WEATHER CHARTS, AIR and SEA CURRENT MAPS. Each with tomorrow’s date stamped in the corner.
REDDING Jesus. These are all dated tomorrow.
Fiore thinks and both he and Redding realize it at the same time.
FIORE Fleet week is tomorrow.
A RUSTLE OUTSIDE. Some SHOUTS.
Redding turns off the light. They wait in the dark.
A DOOR CREAKS open. A PRIVATE holding a gun appears.
He flips on the lights. Everything appears in order aside from the door.
He reaches for his radio.
PRIVATE Check your six. No Tango’s in sight. I repeat check your six. Possible suspects on site.
Fiore and Redding crouch under the desk. The Private moves to the door. Flips off the light. Pulls the door closed...
Then BEEP BEEP BEEP BEEP! Fiore’s ALARM sounds!
The Private turns and pushes the door open. Fiore and Redding wait for it and then heave the heavy desk at the Private. The Private’s gun fires through the ceiling.
They dash for the door.
INT. HALLWAY
Redding leads and Fiore follows.
79 FIORE Split?
REDDING Fair enough. See you at the car.
Redding takes the left hallway while Fiore takes the right.
EXT. SKY
Three BLUE ANGELS tear through the blue atmosphere.
SUPER: AREA 22, NEVADA.
EXT. AREA 22
A herd of one hundred COWS MOO as they graze in an open pasture that abuts the Nevada foothills.
EXT. BLUE ANGELS/SKY
The planes twist and turn as the approach Area 22.
INT. BLUE ANGEL ALPHA
The PILOT still in his green jump suits and respirator, adjusts gauges and pulls the throttle.
A RED SQUARE blinks on his console screen. It turns green.
He reaches for a button labeled: VAPOR TRAIL.
EXT. BLUE ANGELS/SKY
The aircraft release bright red vapor trails.
EXT. AREA 22
Eerily quiet.
Dead cattle cover the pasture. Blood oozes from their nostrils and mouths.
INT. LEFT HALLWAY
This wing of the hospital has plastic draped over it. A sign reads “Sorry for our mess” and “Supplies down the Hall.”
Redding follows the sign to the Supply closet. A CLERK sits behind the desk rocking out on a set of head phones.
REDDING Lonely night, huh?
80 CLERK Yeah. Ever since the break-in, everybody’s been going home early. (conspiratorially) They keep saying it was the Reds.
REDDING Russians?
CLERK (shrugs) My personal opinion, I think it’s the Japs. Eh, but what do I know except ever since my nights are quieter. Look at me prattling on...whattaya need?
REDDING A couple of blood agar plates.
CLERK How many?
REDDING Ten.
The clerk stacks ten bloody red plates in front of him.
EXT. CAMP PARK ARMY BASE - PARKING AREA
Ten PATROL SOLDIERS check around the tall garage bay doors and dumpsters. They find nothing and run inside.
Fiore comes out from behind the dumpster and makes his to the rental car. He’s the first one there.
INT./EXT. CAMP PARKS ARMY BASE GARAGE - NIGHT
Geoff wanders in. A RADIO plays GOLDEN OLDIES. Several TRUCKS and HUMVEES sit in the bays. Garage doors wide open to the night air.
A pair of MECHANIC’S FEET poke out from under the hood of a standard issue ARMY TRUCK.
The FEET BOP to the song on the radio.
A CAR DOOR SNAPS SHUT.
INT. UNDER THE CAR
Beneath the oil stained engine and rusty metal parts, a MECHANIC stops working, listens, then...
MECHANIC Hello?
The ENGINE above him ROARS as it turns over.
81 INT. CAMP PARKS EAST HALLWAY
Redding lies in the hallway. Appears dead. Red goo oozes from his fingers that clutch his stomach. Blood stains mark his thigh, his arms and his hands.
PATROL SOLDIER (over radio) We’ve got one down in the east hallway.
The Patrol Soldiers leave and Redding cracks an eye. They’re gone. He heads for exit door. His pants brush against a nearby trash can.
ON TRASH CAN: AGAR plates with bits and pieces of blood agar scraped out.
EXT. PARKING AREA
Redding jogs along, wiping his hands on his pants.
AHEAD OF REDDING --
The rental car sits.
BEHIND REDDING --
An army truck fast approaching. The truck’s horn -- a series of sustained HONKS.
It bear down on Redding. He sprints left. The truck pulls up beside him.
EXT./INT. ARMY TRUCK
Redding looks over, preparing for the worst, but sees Geoff behind the wheel.
Redding hops on to the truck’s side rails. He works his way up to the driver’s door. Opens it and climbs inside.
INT. ARMY TRUCK
Geoff eases out of the way as Redding takes over driving.
GEOFF Fiore?
REDDING Waiting at the car.
Geoff plows ahead for the M.P. Gate.
Redding and Geoff both have their gazes set on their car in the distance.
EXT. MP GATE - NIGHT
Greathouse pulls up to the gate, hands over his I.D. Right as he does so; a truck comes barrelling through a nearby barricade fence.
The MP radios in. GREATHOUSE slams the HUMVEE in reverse and chases after the truck.
82 EXT. FIELD - NIGHT
The truck bounces along in the dirt field. Dust flies in the air. It creates a HAZY CLOUD.
AHEAD OF THEM --
The rental car explodes!
INT. TRUCK
Redding and Geoff’s eyes widen in shock at the fireball ahead.
Redding pushes on. He checks the rearview. A PAIR OF HEADLIGHTS GROW BIGGER.
A HUMVEE blazes past his window.
GEOFF They must think we’re one of them?
Redding sees something in the distance. The same pair of headlights, but this time coming straight at them.
REDDING I don’t think so. Buckle up.
EXT. FIELD
The two vehicles beeline for each other.
INT. TRUCK
Redding tries to maneuver left or right.
INT. HUMVEE
Greathouse grips the steering wheel and guns the engine harder.
EXT. FIELD
The Truck and the Humvee fly at each other at breakneck speeds.
INT. TRUCK
Redding, Geoff and Yara are bathed in white light from the Humvee’s headlights.
Almost on top of each other, Redding pulls a hard right.
EXT. FIELD
The humvee nails the middle rear of the truck, sending them both spinning.
83 CLOUDS Of DUST obscure the night sky.
Redding’s Truck regains control and zooms forward when CRASH!
The HUMVEE rear ends the truck.
ON TRUCK BUMPER: Bends closer to the rear tire.
The Humvee slams into the truck again and again. The sharp, jagged bumper getting closer to the rear tire.
Another hit and POP! The rear tire goes.
Redding loses control of the truck.
The Humvee rams it from the side and the truck rolls over and over.
INT. TRUCK
Broken glass, blood line the upside dashboard. Redding and Geoff lie in a broken heap.
FOOTSTEPS CRUNCH outside the broken window.
Redding moans, cracks open an eye, and then reaches for the gun.
Hands seize his shoulders and yank him out through the gaping hole in the windshield.
REDDING’s POV: a FIST with a silver, U.S. Army ring, speeds towards his face.
THEN BLACKNESS.
REDDING’s POV: Blackness. Then bright light as he opens and closes his eyes. Tries to focus.
EXT. AIRPLANE HANGAR - EARLY MORNING
Tied up and lying on the cold concrete floor, Redding lifts his head to see where the hell he is.
Geoff, his arms zip-tied behind him, lays still next to him.
He can see the three jets sitting on the tarmac through the open bay doors.
McCallister, Greathouse and the pilots cluster a few feet away.
McCallister studies surveillance photos of Area 22. Redding can just make them out.
MCCALLISTER Radius?
GREATHOUSE Without wind the vapor trails cover twenty miles. Thirty with wind. One hundred percent mortality.
MCCALLISTER And the carrier?
GREATHOUSE We land them at one. The show’s at two.
84 MCCALLISTER Carry on. (beat) And keep them alive if you can. Live terrorists do better press- wise then dead-ones.
GREATHOUSE Copy that.
Greathouse salutes as McCallister heads toward the hangar doors. Greathouse notices Redding’s awake.
He grabs Redding by the hair and pistol whips him.
BLACKNESS AGAIN.
SILENCE.
A VIBRATING NOISE.
REDDING’s POV: GREY METAL. It’s a wall. Seems to rock up and down.
INT. SHIP CABIN - DAY
Tight quarters, with no furniture. The walls -- nothing more than jagged metal and bolts. A single port side window lets sun in.
Geoff, still unconscious, lies in heap against the wall.
VIBRATING NOISE REPEATS. VRRRRRBB. VRRRRBBB.
Redding rolls over. Uses all his strength to sit up. Looks for the vibrating noise.
Redding crawls over to Geoff. Listens. VRRRRB. It’s loudest near Geoff’s feet.
He puts his head near his feet. VRRRB! He nudges a pantleg up.
ON GEOFF’s LEG: A cellphone lights up and shakes.
Redding flips his back to the leg. Tries to grab it, but struggles. His hands also zip-tied behind him. He knocks the phone out.
Stands. Steps on the phone to answer.
REDDING Hello? Yara! Can you hear me?
Nothing but Static. Then BEEP BEEP. No Signal.
Redding peers through the window.
REDDING’s POV: Through the glass, we see the runway of an aircraft carrier.
EXT. AIRCRAFT CARRIER
Twenty stories above the ocean, three Blue Angels are strapped to one end of the deck.
85 A MARCHING BAND PLAYS at the other.
EXT. AIRCRAFT CARRIER - VIEWING DECK
Railed off, WAITERS pass by with food trays and wine. McCallister shakes hands and hobnobs with wealthy ELITES.
Spear Sam Missile Launchers decorated with patriotic ribbons flank the corners of the viewing deck.
EXT. EDGE OF AIRCRAFT CARRIER
At the end of the deck, blue choppy ocean then the San Francisco skyline dips in and out of view with the rise and fall of the ocean.
EXT. SAN FRANCISCO
A total party. Balloons. MARCHING BANDS blast the STARS AND STRIPES. Food Stands with everything from fried corn dogs to apple pie. VETERANS, FAMILIES, COUPLES, and POWERFUL POLITICALS line the coast line.
INT. GRACE REDDING’S LIVING ROOM - DAY
Yara gimps back and forth across the living room floor. Her phone to her ear.
YARA Sam, Geoff. Someone! Pick up the damn phone. It’s analyzing the sequence now.
Her laptop sits on the coffee table. It runs a genetic analysis program. Genetic code flies across her screen as she checks her phone.
The news plays in the background. Checks her phone.
TV ANNOUNCER (V.O.) Another outbreak of mad cow? This farmer thinks so after two hundred of his cattle died early this morning. Warning, this footage is graphic.
YARA Oh shit!
Yara turns to look.
ON SCREEN: Sees the field of cattle being burned by U.S. Government employees.
Her hands shaking and tears welling in her eyes, Yara fumbles with the phone.
She dials, waits and then speaks.
YARA (CONT’D) Ben? I need your help.
She crosses her arms with worry.
86 INT. SHIP CABIN - AS BEFORE
Redding saws his zip-tie against the door frame. His wrists raw. It finally cuts through it. He grabs the phone - still no signal.
Redding hops over to Geoff. Shakes him.
REDDING C’mon, Geoff.
Geoff moans. Relief washes over Redding. Geoff opens his eyes and grimaces.
REDDING (CONT’D) Hey buddy.
He helps Geoff sit up.
EXT. AIRCRAFT CARRIER - CATAPULT CONTROL STATION - DAY
A skinny tower-like structure with windows that give a 360’ degree view. Multiple satellites and antenna protrude from its top.
INT. CATAPULT CONTROL STATION
RADIO CONTROLLERS fiddle with computers, check screens and use their com-links to communicate.
McCallister, in dress blues, gazed through the glass at NAVAL CREW members prep the jets for release below.
Greathouse stands at his side.
EXT. AIRCRAFT CARRIER - CATAPULT DECK
McCallister’s THREE PILOTS climb into the BLUE ANGELS JETS.
Navy Crewmen close their hatches.
EXT. SACRAMENTO
Traffic drives by the white columnar building with gold-topped dome.
A nondescript concrete building stands a few blocks away. A white marble stone sign reads: Command Intelligence Operation Center (CIOC).
INT. CIOC OFFICE - DAY
Cubicles jammed with CIOC AGENTS. Some scribble away on note pads, others shoot the shit near a water cooler.
INT. BEN’s CUBICLE
Certificates of Honor hang from his wall. A shiny cop-like badge lies on his desk.
87 Ben, Yara’s ex, squeezes his forehead with one hand while he talks on the phone.
BEN Yara. Do you realize how insane this sounds?
INT. GRACE REDDING’S LIVING ROOM
Yara sits at her laptop. The phone rests on the coffee table.
She yells to it.
YARA I’m sending you the analysis now. (beat) I told him you were a good man. Don’t make me a liar.
Her PHONE BEEPS. New message.
YARA (CONT’D) I’ll call you back.
She plays the message, but it’s just static.
EXT. SHIP CABIN
Wind whipping his short hair, Greathouse peers in to the cabin.
GREATHOUSE POV: Geoff lays on the floor. No sign of Redding.
Greathouse draws his weapon, fishes keys from his waist and open the door.
INT. SHIP CABIN
Geoff lays on the floor as before. Redding squats behind the door.
Greathouse pushes open the door. Redding charges him. Driving forward with his shoulders. The gun falls to the floor.
DONG. They hit the metallic wall. Geoff hurries to his feet and hesitates at the door then bolts out.
Redding spars with Greathouse, who deals several blows to his abdomen.
Redding wraps his arms around Greathouse, swings back his head and slams it into Greathouse’s sternum.
Greathouse can’t breathe -- it hurts so bad. Redding reaches for the gun.
Greathouse’s fingers reach for his utility belt. Withdraws a stinger knife and thrusts it into Redding’s calf. He twists it.
Redding kicks Greathouse in the head and fires.
The BULLETS make a dampened metallic THUD as they pass through Greathouse’s chest and hit the metal wall.
Greathouse lays motionless.
88 Redding rips off a Greathouse’s belt and tourniquets his own leg above the knife wound.
He closes his eyes and grits his teeth as he withdraws the knife from his calf.
INT. BEN’S CUBICLE - DAY
Ben examines the genetic code. Searches through databases. He sees something on his computer screen that makes him go pale.
INT. AIRCRAFT CARRIER KITCHEN AREA
Waiters come in and out with empty trays and dirty dishes. CATERERS chop salad, sauté appetizers. A JERK WAITER, twenty two and faux-hawk hair, complains.
JERK WAITER Mediocre food and booze that we can’t even touch. This blows all around.
The Caterers give him a dirty look and load up his trays.
EXT. WALKWAY TO THE KITCHEN
Geoff hides in a recessed area for pipes. The Jerk waiter samples the food and booze on his tray.
Geoff pops the waiter’s tray and punches him in the face.
EXT. CATAPULT DECK
Redding descends a set of stairs that puts on the deck.
Dirty jumpsuits hang half way out of a bin on the deck, along with ear protection headsets.
EXT. VIEWING DECK
Geoff serves wine and cheese on the deck and searches for McCallister.
INT. CIOC - DAY
Ben carries a folder towards a closed office. He opens the door.
BEN Chief, I’ve got something you need to lay eyes on...
EXT. CATAPULT DECK
Crew members ratchet down canvas catapult straps that connect to the bottom of the belly of the three Blue Angel jets.
Redding, now dressed in a jumpsuit and headset, pretends to secure lines.
He crawls under the belly of BLUE ANGEL ALPHA and saws away at the taut canvas catapult line.
89 ON CATAPULT LINE: Almost frayed through.
Redding makes his way to BLUE ANGEL BETA.
EXT. VIEWING DECK
Geoff scans the deck, but there’s no sign of McCallister.
He works his way to a group of MAJORS and LIEUTENANT COLONEL’S laughing.
The group breaks open and at the center of it is Fiore. Dressed to the nines in military regalia.
They lock eyes. Fiore’s grow cold.
FIORE (to group) And with that gentleman, I hope you enjoy the festivities. If you’ll excuse me, I have some pressing matters to attend to.
Geoff backs away and then takes off running.
Fiore strides quickly to catch up. Doesn’t see which way Geoff went. Hustles up the stairs to the
CATAPULT CONTROL TOWER.
INT. CATAPULT CONTROL TOWER
Operators click switches and check radar screens.
Fiore enters, approaches McCallister and whispers in his ear.
MCCALLISTER (turns to Operators) Are we launch ready?
One Operator gives McCallister the thumbs up.
MCCALLISTER (CONT’D) Then do it. Now! (to Fiore) Alert the M.P.’s.
McCallister stares out at the flight deck for any sign of a disturbance.
EXT. CATAPULT DECK
Redding makes his way to the final plane, BLUE ANGEL GAMMA. He kneels.
A CATAPULT OFFICER supervises as a tow bar connects to the plane’s nose. He winds up his arm, signaling the PILOTS to turn on their engines.
The Catapult officer does a walk-around and notices Redding crawling under the plane.
CATAPULT OFFICER Hey! I said clear the field!
90 Redding, not hearing, reaches for the catapult line, but before the knife even touches the canvas, he’s dragged backwards out from under the plane.
CATAPULT OFFICER (CONT’D) Are you crazy? They’re launching. Move it, crewman!
He sees Redding’s knife and calls out over his radio.
CATAPULT OFFICER (CONT’D) Code Blue. Code Blue on the Flight Deck.
REDDING (shouts) Listen to me! You can’t let these planes take off.
M.P.’s rush to the area. Satisfied, Fiore watches from a distance.
EXT. SPEAR SAM MISSILE LAUNCHERS
Geoff hides near the giant cockpit, that’s roped off. He hears a beep. Reaches for the cell.
Three bars of service.
Thirty missed calls.
He dials.
GEOFF Yara. Thank god! (listens) I don’t know. An aircraft carrier.
An M.P. marches nearby, looking for him. Geoff edges around the corner out of site.
EXT. CATAPULT DECK
The Catapult Operator shakes his head at the crew as he screams in to his com-link
CATAPULT OFFICER These planes need to be checked again before launch.
INT. CATAPULT CONTROL TOWER
McCallister, turning red, spins to the Operators.
MCCALLISTER I said launch, now!
The Operators jump to it. Hit various buttons.
EXT. CATAPULT DECK
As Redding is ushered away from the catapult deck, heat waves and flames pour out of the jets’ exhaust.
91 Multiple hydraulic tubes connect to the planes. The Blue Angels are cocked and ready to go.
Catapult 1 -- FIRES!
Catapult 2 -- FIRES!
Both catapult straps snap. Blue Angel Alpha and Beta sky rocket forward but can’t accelerate fast enough to get off the deck.
They careen out of control, collide just feet away from the deck.
KABOOM!
The ship lurches, the crew topples over.
The M.P.’s that were restraining Redding, loose their hold on him.
Redding crawls to the Catapult Officer who lies with his face down and hands on his helmet.
REDDING You gotta ground that plane!
The catapult officer screams into his com-link.
CATAPULT OFFICER Abort launch! Abort launch.
Fiore climbs down on deck and hears. Redding sees him and chases after.
REDDING Fiore!
EXT. OCEAN
Flaming jet debris floats in the surrounding ocean.
INT. CATAPULT CONTROL TOWER
McCallister’s eyes bulge and he storms over and hits the launch button.
EXT. CATAPULT DECK
The crew scrambles on to get out of the way as:
Catapult 3 -- FIRES!
BLUE ANGEL GAMMA zooms down the runway and up, up out of site.
CATAPULT OFFICER Thank Jesus.
Redding grabs the catapult officer.
92 REDDING That plane’s carrying over 800,000 colonies of lethal bacteria. Thank Jesus when it’s on the bottom of the ocean.
CATAPULT OFFICER Wait, what? (dawns on him) Oh, God.
The M.P.’s restrain Redding again, but get distracted by:
EXT. SKY
Two F-14’s fly overhead after Blue Angel Gamma. Two Black Helicopters approach the aircraft carrier.
EXT. CATAPULT DECK
The helicopters land on the deck. A crew of U.S. ARMY SOLDIERS in BLACK KEVLAR hop out. Storm the deck.
Ben follows. Wearing similar gear, along with a gun. He holds up his badge. He grabs the nearest CREWMAN.
BEN We need to down that plane. NOW. I don’t care who does it, but do it now.
Crewman nods and speaks into his com-link.
CREWMAN Artillery on deck. Now.
SIRENS ALERT the crew.
INT. GRACE REDDING’S LIVING ROOM
Yara watches the news and grips the phone to her ear.
Footage of the explosion loops on her screen.
TV ANNOUNCER (V.O.) I’ve just gotten word that the explosion was indeed two Blue Angels scheduled to fly in today’s air show. Terrorist involvement is still being evaluated. Police are advising you to stay calm and return to your homes.
YARA Geoff tell me you’re still there?
No answer, just wind.
EXT. SPEAR SAM MISSILE LAUNCHERS
Two ARTILLERY MEN run to the giant cockpit. Missiles peek out from beneath a canvas cover. They snatch it off.
93 Geoff, starboard side of the cockpit, sees the rockets and hightails it to the other side of the deck.
EXT. CATAPULT DECK
Now in war mode, crewman shout orders right and left as weapons are secured, locked and loaded.
Redding struggles against the M.P.’s as Ben approaches.
BEN Let him go!
M.P. He was tampering with the planes.
BEN And you can thank God for that. Now there’s only one to stop instead of three. Find me McCallister.
They release him. Ben nods and heads for the Catapult Control Tower. Redding follows him.
EXT. SKY
Two F-14’s chase Blue Angel Gamma towards San Francisco. They try to steer it seaward.
They fire at Blue Angel Gamma, it rolls and turns, out maneuvering them.
SAN FRANCISCO - straight ahead.
A third F-14 flies straight at it, forcing the Blue Angel to turn back towards the carrier.
INT. CATAPULT CONTROL TOWER
Operators give orders and field requests as Ben and Redding enter.
THEIR POV: Through the viewing window, the Blue Angel Gamma streaks by with F-14’s firing after it. Missiles zoom off the carrier and zigzag through the sky after the Blue Angel Gamma.
EXT. SKY
The F-14’s fire. They miss. The jet barrel rolls right into a missile.
EXPLODES in an ORANGE ARC and dives into the ocean.
EXT. AIRCRAFT CARRIER
CREW MEMBERS CHEER and High-five. Geoff, now on deck, joins in!
INT. GRACE REDDING’S LIVING ROOM
Yara watches and claps as the plane explodes over the ocean!
She hears people through the phone doing the same.
94 INT. CATAPULT CONTROL TOWER - DUSK
Operators breath sighs of relief. Redding and Ben shake hands.
REDDING She was right. You are a good man.
BEN Apparently, not good enough.
Redding doesn’t know what to say to that. Ben sees the awkward moment he just created.
BEN (CONT’D) We owe you a great debt, Sam. Your country thanks you.
REDDING What about McCallister?
They stare out the window at the smoky sky.
BEN If he’s on board. We’ll find him.
San Francisco twinkles in the distance.
INT. OFFICERS CABIN
McCallister sits at a desk. On the desk is an open bible and a gun.
McCallister picks up the gun.
MCCALLISTER Father forgive, me.
He holds the pistol under his chin and squeezes the trigger.
BAM!
His head leans forward on the bible.
Tucked inside: a photo of McCallister and his stern father.
EXT. AIRCRAFT CARRIER - NIGHT
A naval ship arrives to remove the ELITE PASSENGERS. Among them, a man with blanket wrapped around his shoulders boards and turns back to the Carrier. We see it’s Fiore.
EXT. UCSF CAMPUS
Red and orange leaves fall to the ground, as STUDENTS and TEACHERS cross campus sidewalks.
95 INT. CLASSROOM - DAY
Redding packs up his things in front of a stadium style classroom. Students file out and turn in their papers.
Redding reaches down to pick up his briefcase and is met by excited licks from Bob.
REDDING Bob! Where’d you find him?
Redding hugs the dog and looks up. Yara, amused, looks as beautiful as ever. Dressed in business casual, she wears a different Army I.D. that reads: Dept. Head / Bioshield.
He kisses her hello.
YARA He just was there when I came home.
REDDING Huh. I guess things of value do come back to you.
He kisses her again and collects his pile of papers. On top is a white envelope marked : Operation Whitecoat.
REDDING (CONT’D) What’s this?
YARA We can talk about it over dinner tonight.
REDDING No way. I’m out.
YARA Alright, fine. (kisses him goodbye) I’ll see you tonight?
REDDING Yeah.
He looks down at the stack of papers and the white envelope’s still on top.
REDDING (CONT’D) You forgot your --
He gazes up and sees she’s gone. He shakes his head. Files the papers in his briefcase.
Stares at the white envelope. Turns it over. Its gold clasp neatly bent. Weighs it in his hands.
Then tears it open.
FADE OUT.
96 References
Articles: Yu, Victor L. "Serratia marcescens." New England Journal of Medicine 300.16 (1979): 887-893.
Books: Cole, Leonard A. Clouds of Secrecy: The Army's Germ Warfare Tests Over Populated Areas. Totowa, N.J: Rowman & Littlefield, 1988. Print.
Web Sites: Eitzen EM, Jr, Takafuji ET. Historical overview of biological warfare. In: Sidell FR, Takafuji ET, Franz DR, editors. Medical Aspects of Chemical and Biological Warfare. Washington, DC: Office of the Surgeon General, Borden Institute, Walter Reed Army Medical Center; 1997. pp. 415–423. Available at http://www.bordeninstitute.army.mil/cwbw/default_index.htm; accessed July 6, 2004.
"Serratia marcescens - Wikipedia, the free encyclopedia." Wikipedia, the free encyclopedia. N.p., n.d. Web. 10 Dec. 2012.
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