VORACIOUS
by
Jerry Drucker
FADE IN:
EXT. RUSTIC HOUSE -- NIGHT -- PRESENT DAY
Moonlight reflects off roof solar panels. A house in a heavily wooded area, beside a dirt road.
An old beat-up van sits in the house's gravel driveway.
CRICKETS and FROG noise pierces the stillness.
INT. RUSTIC HOUSE -- CONTINUOUS
PICTURES ON THE WALL
Blackened, oil-soaked sea bird. Anti-logging protester in a tree. Redwood forests. Polluted lake. Several family pictures.
Solidly built, FRANK "HUGGER" MCFEE, 60s, sits at a wooden table. He examines a pierced and smashed unopened mailer box. He uses a knife to cut the box open.
He pulls out a video-cassette. Then a broken glass ampule. He looks closely at the broken ampule.
The crickets and frog sounds suddenly stop.
Hugger reacts to the sudden stillness outside.
CLOSE ON AMPULE
A small drop from the ampule hits the video.
Unaware of the drop hitting the video, Hugger returns the ampule into the box.
Holding the video, he rises and crosses to a VCR. Inserting the cassette, he moves to the sofa.
Starting the tape, a scholarly looking man, DR. KEEFER, appears on screen. To CAMERA.
DR. KEEFER (V.O.)
"If you're seeing this tape Hugger, it means I'm gone. Project Devil's Slide is now in your hands. I know you're committed and..."
A THWACK of a rock hitting the roof makes Hugger's head jerk up. He stops the VCR. Another HIT. He gets up.
EXT. RUSTIC HOUSE
Opening the front door, Hugger steps on to the porch. He looks around seeing nothing but darkness and moonlight.
Hugger is silhouetted by the interior light.
Another HIT.
HUGGER
Who's there?
No answer. After a beat, another HIT.
Hugger grabs a hoe leaning against the porch railing. He steps down to the gravel path.
HUGGER (CONT'D)
Who's out there?
He takes tentative steps on the gravel path.
HUGGER (CONT'D)
Someone in trouble?
A powerful flashlight beam splashes on Hugger's face. An unseen voice behind the light answers.
VOICE
You are, Hugger.
HUGGER
(blinded by the light)
What do you want?
VOICE
Hugger, you've hugged your last tree.
HUGGER
What are you talking about?
VOICE
You're the last of an endangered species.
A handgun appears 2 feet away from Hugger's right temple. The gun FIRES.
STRANGE VOICE
(the shooter; larynxectomy voice)
Now extinct.
Two MEN with night-vision goggles move to the fallen man.
The flashlight beam stays on the victim. The shooter, using a portable oxygen tank, looks closely at the body.
VOICE
You were more than a foot away.
STRANGE VOICE
Didn't want him seeing the weapon.
The beam is directed to the entrance wound. The head lifted by the first assassin's latex gloved hand. His thumb and forefinger are missing.
VOICE
We're okay. The rat shot pellets didn't go through.
The assassins wear black jumpsuits and latex gloves. Their feet are bagged to obscure foot prints.
They lift the lifeless body and carry it to the old van.
The side door is already open. The body is placed inside.
The shooter lifts the lifeless right hand. He opens and closes it on a handwritten note. The same with the gun.
The assassins prop Hugger up against the back seat.
The shooter holds the gun near Hugger's head. The shell casing is tossed between the seat and the door well.
He places the gun in the dead man's right hand. Lifting the hand and gun close to the head, he lets go.
On impact, the gun falls away from the dead hand.
INT. HUGGER'S HOUSE
CLOSE SHOT OF THE VCR
The VCR appears dead. No lit clock, numbers or lights.
A greenish glowing light pulses behind the translucent plastic door slot. A strange SIZZLING sound is heard.
The pulsing, glowing green light intensifies. A luminescent mass squeezes through the VCR door slot.
EXT. NATURAL BRIDGES -- SANTA CRUZ -- DAY
Beach at the Natural Bridges in Santa Cruz, California. Nature has taken a huge bite out of the dark cliffs, leaving a half-moon floor of tan sand.
Two hundred PEOPLE at a colorful ceremony on the beach. An overcast day.
The people, mostly Hippie types, form a half-circle.
Indian blankets spread on the sand. Handmade artifacts, pictures, and flower offerings sit on the blankets.
A green kayak sits next to the blankets. A wooden urn is placed on the seating board of the kayak.
Notable PEOPLE are in the gathering, including folk singer, PETE SEEGER. Video cameras zero in on faces from the cliffs.
Seeger SINGS in his plaintive voice, "Where Have All The Flowers Gone?"
KENNY MORROW, 50s, a compactly built, frenetic and emotional man, fights back tears.
EXT. TOP OF CLIFFS -- CONTINUOUS
A REPORTER standing next to a CAMERAMAN, looks down.
REPORTER
What's the title of the book Hugger finished in a tree?
CAMERAMAN
(eye to viewfinder)
"Up With Trees."
(has Kenny in sight)
Funnyman's not laughing today.
REPORTER
They were good buddies.
ALTERED ANGLE
On the cliffs. Attractive SIERRA KEEFER, 20s, wearing a backpack, takes out binoculars. She watches someone below.
POV BINOCULARS
REED "SUMI" MCFEE, 30s, standing next to Kenny. He's stoic behind dark glasses. He wears a baseball jacket and a New York Yankee baseball hat. He looks up.
Sierra quickly lowers the binoculars and hides behind a tree.
A NOISY unmarked helicopter flies low overhead, drowning out Pete Seeger and disrupting the ceremony.
CLAUSEN, a dark-suited security type, is atop the bluff. He wears dark glasses. He uses a telephoto lens to watch uplifted faces as the helicopter flies over.
The helicopter circles the ceremony, then flies off.
In anger, Pete Seeger looks at the departing chopper. He stops singing. He changes to Woody Guthrie's last chorus of "This Land Is Your Land."
SEEGER
"In the squares of the city - In the shadow of the steeple-- Near the relief office - I see my people And some are grumblin' and some are wonderin' If this land's still made for you and me."
Many nod in agreement. Some mouth "Yeah" and "Right on."
Kenny Morrow collects himself to speak to the gathering. He rubs tears from his eyes before starting his eulogy.
KENNY
Whew! How do you follow that?
(pauses)
Frank "Hugger" McFee. His detractors called him an eco-terrorist. Hugger was the antithesis of an eco-terrorist. Simply, he was a protector of the big blue marble we call Earth. He was a champion, a guardian, a rescuer and a guiding light.
(looks up to the sky)
The birds aren't singing today. They know they've lost a giant who had reverence for all living things. Even Republicans.
(waits for his laugh)
...Besides being perhaps the best known environmental crusader in the universe, Hugger had a unique quality making everyone he befriended think they were his best friend. He was my best friend.
Reed McFee doesn't betray his emotions.
KENNY (CONT'D)
...and a best friend to the Earth. Those here today are a tribute to this unique man. As a conservationist Hugger always told me to keep it short. That's what I'm doing. In his Will, he requested his son, Reed McFee fulfill his last wishes.
Kenny nods to Reed.
REED
(hesitant)
I don't know what to say... I've only seen him a few times over the last ten years.. I know my father was a great man and I guess I always admired him. He was uncompromising in his beliefs...
(shakes his head)
...He never wanted to grow old and I guess he got his wish. I wish I knew him better.
(nods)
That's about it.
Kenny pats Reed on the shoulder and leans close to his ear.
KENNY
You did okay, Reed. I expect you at my place in Tiburon. Lots of stuff I need to share with you.
REED
Thanks, Kenny.
Kenny somberly nods.
Reed moves toward the kayak. A half-dozen mourners help him lift the craft, keeping the urn balanced upright.
The group walks toward the surf. Many mourners reach out to touch Hugger's kayak as a last goodbye.
ADLIBS
Goodbye, Hugger... We'll carry on your work, Hugger...
The kayak is walked into shallow surf. The urn is held as Reed is helped into the small boat. He puts the urn between his legs and is handed the paddle.
Helpers step back. Reed starts alternate paddling.
ANGLE ON THE CLIFFS ABOVE
Clausen sweeps the crowd. He pauses on different faces. Mourners start up the hill. Clausen swings the lens up. He catches a glimpse of Sierra peering down.
CLAUSEN
(into lapel mike)
I think I see her.
He moves after her.
BACK TO THE KAYAK
Reed is now far from the shoreline.
The ocean swells have calmed. With steady strokes, Reed moves the kayak into the deeper quieter waters.
He lifts the paddle, balancing it across the gunnels. The small craft drifts. Reed looks at the wooden urn. He closes his eyes in memory.
FLASHBACK TO
Reed's blurred memory of a father and son, 10. The man climbing a huge tree. He urges the boy to climb up after him. Frightened, the boy vigorously shakes his head 'no.'
A second blurred memory of the same father and son. Now paddling in separate kayaks. The boy is smiling. He can't catch up to his father.
END FLASHBACK
The sound of a SPLASH. An INHALED BREATH breaks Reed's reverie. He opens his eyes.
A pod of dolphins breaks the surface. They arc gracefully, diving back beneath the surface. They barely create a ripple.
Reed decides this is the spot. He takes the wooden urn from between his legs.
Slowly he removes the cover and scatters Hugger's ashes.
The remains spread in an odd tortured pattern. Reed watches as the ashes are overtaken by a changing multicolored, fluorescent floating oil slick.
It appears the oily mass will consume the ashes. Then the brightly colored patch slips under Hugger's remains like a carpet. The ashes drift off propelled by an unseen current.
REED
Goodbye... Dad.
EXT. PARKING AREA NEAR BLUFF AND HIGHWAY
People pile into their cars and vans. Clausen checks out the departing mourners, looking for Sierra.
CLAUSEN
(into lapel mike)
She might have slipped us.
EXT. PORTABLE TOILET NEAR PARKING AREA
Two portable toilets stand at the edge of the parking area.
INT. PORTABLE TOILET
Sierra peers through an open vent. She watches Clausen check out the departing mourners.
EXT. PARKING AREA
A black sedan pulls up to Clausen. He takes a last look around and piles into the car.
EXT. NATURAL BRIDGES BEACH
Reed returns from his task. He's greeted by a few people on the beach. They help him land the kayak.
MOLLY, an Earth Mother type, wears a maxi. Her braided hair is parted in the middle. She gives Reed a hand out of the kayak. Others take care of the craft.
Her painted face has rainbows, her cheeks are full of sparkle.
MOLLY
We'll miss Hugger. Want us to keep his kayak and stuff at our place?
Reed looks at Molly as they start to walk up the beach.
REED
I'd appreciate it, Molly.
MOLLY
How long will you be here?
REED
I don't know. Lost my job back East. Long as it takes, I guess. How's Sage?
MOLLY
He's fine. Married, no kids. You boys were sure close as kids.
(on her mind)
You and your mom couldn't wait to get out of Santa Cruz, right Sumi?
REED
Hugger had a closer relationship to trees then to Mom and me. Molly, I'm not called Sumi anymore.
MOLLY
That's your name. Short for Sumac.
REED
Reed's also on my Birth Certificate. Besides, Sumi isn't a good name for my accounting profession.
MOLLY
I guess. Your mom never took to life here. Never smoked a joint.
REED
(smiles at a memory)
Yeah, she preferred elevators to climbing trees. It's been three years. I miss her.
MOLLY
Of course you do. That's very sad, losing both of them like that.
They stop at the steep wooden stairs leading up the cliffs.
MOLLY (CONT'D)
You got a place to stay?
REED
Yeah, I do. I'll stay in touch. Thanks...
MOLLY
No thanks necessary. We wanted to do what we did.
She walks off.
Reed turns to watch the kayak being carried up the beach.
CLOSE SHOT OF THE KAYAK
The painted name "HUGGER" takes on life as the small craft bobs up and down carried by two men.
Reed turns to face the steep wooden steps with handrails. He looks up. He's afraid. It's like climbing a tree.
EXT. PARKING AREA
Reed opens the door to a portable toilet and enters.
EXT. HIGHWAY NEAR PARKING AREA
In the black sedan, Clausen slowly cruises by the parking area, checking out parked cars.
INT. PORTABLE TOILET
Reed is ready to exit the toilet. He's stopped by a voice.
SIERRA (O.S.)
Reed?
He looks through the door vent. He can't see anyone.
REED
I'm coming out.
SIERRA (O.S.)
No, stay there.
REED
Why?
SIERRA (O.S.)
I'm in the stall next to you. I don't want to be seen.
REED
Do I know you?
SIERRA (O.S.)
Sierra Keefer. We met years ago when Dad and I spent a vacation with your family.
REED
Dr. Keefer? Is he here?
SIERRA (O.S.)
Dad is dead. He died like your dad and for the same reason.
REED
Sorry about your dad. Listen, I think I've had enough for one day.
He opens the door and steps out.
SIERRA (O.S.)
I'm in a ton of trouble, Reed. You might be too. Would you help me?
REED
How?
SIERRA (O.S.)
Take me to my car.
REED
(sighs)
Near here?
SIERRA (O.S.)
Just a couple of miles.
REED
Okay.
SIERRA (O.S.)
Could you pull your car up to me?
Reed looks up and down the parking area and the highway.
REED
I don't see anybody hanging around.
SIERRA (O.S.)
Please!
EXT. PARKING AREA NEAR THE TWO PORTABLE TOILETS
Reed pulls his SUV up to the second portable toilet. He leans over to throw open the passenger door.
Sierra exits the toilet. Staying low, she climbs into the front seat adjusting her backpack.
INT. SUV
Underway, Reed looks at Sierra, searching his memory.
REED
Right or left on the highway?
SIERRA
(urgent)
Left.
The fasten seat-belt bell is SOUNDING.
REED
Put your seat belt on please.
SIERRA
Shit! Okay, okay, just go!
She fights the seat belt, while trying to stay out of sight.
Reed wheels the SUV on to the highway.
Reed again looks at Sierra, putting together past memories.
REED
It's Sierra, right?
SIERRA
Right.
REED
I remember. You're the little kid who wanted to hang with Sage and me.
SIERRA
Guess I grew up.
REED
Guess you did.
She sits up straighter and looks at him.
SIERRA
I know this seems crazy, but I know why our dads were killed.
REED
My father took his own life.
SIERRA
No he didn't.
(looks out window)
Oh, shit! I think he saw me.
EXT. HIGHWAY
Dark sedan parked by the side of the highway.
Clausen follows Reed's car as it passes. He sees Sierra. He urges the driver to go.
INT. SUV
Sierra turns back.
SIERRA
He spotted me. They're after us.
REED
(looks in rear view)
Who are they?
SIERRA
Guys that want me dead.
REED
What do you want me to do?
SIERRA
Get away from them!
He gives her a look and steps on the gas pedal. Reed looks at the rear view mirror.
REED
They're gaining on us.
Sierra spots The Whale City Bakery as they speed by.
SIERRA
That's where my car is.
REED
Want to stop?
She shoots him a look, pulling a small automatic gun out of her backpack.
SIERRA
Stopping isn't a good idea.
He gives her a quick look, then concentrates on driving.
Reed heads north on the Coast Highway that has been cut into cliffs. The sea, a hundred feet below.
Railroad tracks border the highway at a slightly lower level on the coast side.
The pursuing car catches up to Reed and doesn't pass. In the right lane, the car nudges Reed's SUV into fishtailing.
Reed corrects the SUV as he sees an oncoming car heading South. The black sedan leaves Reed a choice. The railroad tracks or a headlong collision.
Sierra SCREAMS as Reed successfully maneuvers down to the track-bed. Reed misses the oncoming car, bouncing along the tracks.
The sedan Driver slows, staying even with Reed. When the Driver looks ahead he is surprised.
DRIVER'S POV
The Amtrak train is a half mile away.
INT. SUV
Reed and Sierra react simultaneously.
REED
Holy shit!
SIERRA
Holy shit!
SUV bumps along the tracks. The train speeds closer.
A quarter mile away. Elkhorn Slough Crossing. It intersects the railroad tracks and main highway.
Reed's race becomes speeding on the bumpy tracks to reach the crossing before the Amtrak train.
Black sedan keeps pace with Reed.
A toss-up to imminent collision.
INT. SUV
Reed fights to speed and keep the SUV on the tracks.
He reaches Elkhorn Crossing seconds before impact. He spins the wheel in a hairpin turn. He heads south, away from pursuers.
REED
These guys mean business.
Reed casts a glance at the gun Sierra is holding.
REED (CONT'D)
You know how to use that?
SIERRA
Let's hope you don't find out.
REED
(spots something)
Hold on!
Sierra reaches for a hand-hold.
He makes a sharp turn left off the highway to a side road with a street sign indicating "Cement Plant Road."
REED (CONT'D)
Rode my mountain bike around here when I was a kid.
Reed roars down the rough road. He glances at the rear view mirror. He sees the black sedan screeching to a stop after missing the turn-off.
The sedan backs up to enter the road and continue pursuit.
SIERRA
(looking ahead)
Looks like a dead-end!
REED
It is.
EXT. CEMENT PLANT
Reed abruptly spins the wheel of the SUV and tears through the entrance of the cement plant.
Workers near the entrance scatter as the SUV ROARS through the entrance.
Guiding the SUV between gravel conveyor belts, Reed heads for some mounds of powdered clay.
The black sedan speeds through the cement plant entrance.
The SUV passes close to the clay powder. It kicks up grey-white dust, obscuring the car from the pursuers.
The sedan Driver can't see through the huge dust cloud. He SCREECHES to a halt too late, running into a pile of gravel.
Reed races through the cement plant toward a raised gully defining the property line.
Just like his mountain bike days, he uses the raised lip to span the gully, landing on the other side. A low hill shows evidence of tracks from all-terrain vehicles.
Throwing the SUV into 4-wheel, Reed races up the hill.
INT. SUV
Fighting to stay on the uphill track, Reed shouts a question.
REED
Who the hell are those guys?
SIERRA
(holding on)
I think they're from a three-letter government agency.
REED
What am I getting into? You steal something from the government?
SIERRA
Not yet.
EXT. TOP OF HILL
The SUV arrives at the top. They start bouncing down.
At the bottom, Reed swerves onto a dirt fire-road. He HITS a rusty metal frame by the side of the road.
Reed straightens out, turning right onto the Coast Highway, going North.
INT. BLACK SEDAN
The sedan is stalled at the gravel pile.
CLAUSEN
(into mike)
...They're probably headed north. How long before your bird is airborne?
INT. SUV
Reed speeds on the highway, glancing in his rear-view mirror.
The gun rests at Sierra's side. She looks at Reed.
SIERRA
You really believe your dad took his own life?
REED
He left a note saying he had inoperable cancer. He didn't want a lingering death.
SIERRA
The same kind of note they said my dad left.
REED
You don't believe it?
SIERRA
No. They gave me a bullshit story the note was misplaced or somehow destroyed. Did you see your dad's?
REED
No.
SIERRA
My dad never would take his own life.
REED
That wasn't Hugger's style either.
SIERRA
Did they say there were X-Rays confirming cancer?
REED
Yes... I had no reason to question...
A loud POP is heard in the car. Reed and Sierra are startled as the SUV lists right.
The SUV right front tire FLAPS as they slow down. Reed is in shocked disbelief.
Limping to a stop, Reed guides the SUV to a cut out.
SIERRA
They're probably not far behind. Let's get the hell out of here.
REED
Wait a minute! Get the hell out of here and go where?
SIERRA
(raises gun)
I don't know, but let's get the hell out of here, NOW!
REED
What are you gonna do, shoot me?
SIERRA
You are crazy. Did you notice, those guys were trying to kill you too!
REED
You want me to leave my car here?
SIERRA
(look of disbelief)
Goodbye. Thanks for the lift.
She exits the SUV, SLAMMING the door.
Reed checks his rear-view mirror. He sees a dark car coming. He reconsiders.
The car passes. Not the pursuers.
EXT. HIGHWAY
Reed exits the SUV, grabbing a soft bag from the back seat. He walks quickly to catch up.
Sierra, walking, looks down and spots something. She stops, bends over, picking up a discarded plastic cup and bag.
Reed reacts to Sierra's picking up trash.
Stuffing trash in her backpack, she resumes walking. She turns to see Reed walking behind her. She looks past him.
A colorfully painted VW bus is about to pass.
Sierra hooks her thumb out and the VW pulls over. She hides the gun behind her as she moves to the VW.
Late teens and pretty, KALLIE hangs her head out of the passenger window.
KALLIE
Where you guys headin'?
Sierra casts a glance at Reed.
SIERRA
Frisco'.
STEAMER, the driver, 20s, leans over to talk to Sierra.
STEAMER
We're goin' to Devil's Slide Beach.
Sierra reacts to the name.
STEAMER (CONT'D)
Many Frisco' dudes there. Hop in.
SIERRA
(turns to Reed)
You comin', or what?
Reed has no choice. Sierra plants herself. Reed has to climb over her to sit behind the driver. He looks over the side, and showing fear, he turns to look straight ahead. Sierra slides the door shut.
INT. VW BUS
Kallie turns around.
KALLIE
I'm Kallie... That's Steamer.
SIERRA
Hey. I'm Sierra.. That's Reed.
REED
Hey.
STEAMER
Where you dudes comin' from?
SIERRA
Just trekin'.
REED
(a beat after Sierra)
Natural Bridges.
KALLIE
We were going there today!
STEAMER
Yeah, a happenin' for Hugger McFee, but we got hung up.
KALLIE
I met Hugger once. You guys knew him?
REED
Yeah.
Sierra looks behind her. She turns back to change the subject. Reed then turns around to look back.
SIERRA
What do you guys do?
KALLIE
I'm a waitress. Steamer's in oil.
SIERRA
Oil?
STEAMER
Sunrise Petroleum.
Sierra pulls the gun from under her leg.
Reed sees her actions and shows a bewildered concern.
STEAMER (CONT'D)
I pump petro.
(looks at rear view mirror)
Dudes, are you two buggin' or what?
REED
Just had a blow-out and had to leave my wheels on the road.
SIERRA
(changing subject)
We'll be okay after we hit the beach.
Sierra wags her forefinger telling Reed not to talk.
Reed checks the rear-view mirror to see if Steamer is looking back.
Steamer catches Reed looking at him via the rear-view mirror.
STEAMER
So you're goin' to Frisco' Dude? You gonna ditch your ride?
REED
Yeah, well I've got a friend in Frisco' who'll bring me back.
EXT. DEVIL'S SLIDE SECTION OF HIGHWAY
The controversial section of highway. Cuts into unstable cliffs plunging hundreds of feet into the Pacific.
Inside the VW, Reed pulls away from the window. He avoids looking over the side of the steep cliffs.
The VW Bus grinds its way down the treacherous side road leading to Devil's Slide Beach.
The VW stops at the small kiosk near the parking entrance.
Sierra looks up to the highway several hundred feet up.
SIERRA'S POV
Several suited men standing near a dark sedan. They look down at the beach area.
INT. VW BUS
Steamer turns to look at Reed. Sierra hides the gun.
STEAMER
Dude, can I hit you up for a couple of bucks?
REED
No problemo, dude.
Reed digs into his pocket, pulls out a couple of bills. He hands them to Steamer.
Steamer pays the attendant and maneuvers into a parking spot.
Kallie pulls off her T-shirt. She's topless.
KALLIE
(turns to Sierra)
Clothing optional. Would you toss me a blanket? Why don't you guys snatch one and come hang with us.
SIERRA
Get the blanket, will you Reed? My bad shoulder.
REED
(looks at Sierra)
Right.
Averting his eyes, Reed hands a blanket to Kallie.
SIERRA
Could you point out the Frisco' crew?
Getting out of the VW, Steamer strips bare.
STEAMER
(to Sierra)
Dude, no one wears a sign here. Just ask, man.
The nude couple skips off, laughing, heading for the beach.
Sierra slides the door open. Before she backs out, she ducks back in, hearing something.
SIERRA
Hold it, Reed!
ANGLE ON A HELICOPTER
The same helicopter seen at the Natural Bridges comes sweeping in along the coast and over the 'nude beach.'
EXT. DEVIL'S SLIDE BEACH - A SHORT TIME LATER
On a blanket, Reed and Sierra lie on their stomachs, nude. They've hidden the back-pack and soft case under the blanket.
Sierra spots plastic six-pack beer holder rings in the sand. She picks the rings up and puts it into her backpack.
SIERRA
Plastic rings are bird and dolphin killers.
Reed is uncomfortable. He lifts his head, looks around, turns look up to the cliffs.
REED
Yeah, save the planet. I'm feeling a little exposed here.
SIERRA
(trace of a smile)
No shit.
REED
I'm happier with the gun out of sight.
SIERRA
(looks around and up)
If those guys come down here, I can get to it easy.
REED
How do you figure we get out of here?
SIERRA
Bum a ride.
Sierra lifts her head and looks out to the sea.
SIERRA (CONT'D)
This is too weird.
REED
Different first date, isn't it?
SIERRA
No. I mean being here.
REED
That's what I mean. Didn't we go to the beach when you visited us?
SIERRA
Yeah. You wouldn't let me play with you guys.
REED
I'm making up for it now, right?
SIERRA
The 'weird' I'm talking about, is right out there.
(head gestures)
Look at that rock.
He lifts his head.
REED'S POV OF DEVIL'S SLIDE ROCK
The rock is covered with white bird droppings.
REED
Yeah. I see.
SIERRA
Devil's Slide Rock. It was slimed three years before Exxon-Valdez, by two thousand gallons of crude from an oil barge.
REED
Looks okay now.
SIERRA
The birds are back. The oil spill killed 9,000 seabirds, including 6,000 Common Murres. The Rock was the Murres' main nesting site.
REED
How do you know all that shit?
SIERRA
I'm a biologist. I assisted my dad. The Devil's Slide oil spill started the project that killed our dads.
Open mouthed, Reed is about to ask another question. The NOISY chopper returns heading south.
ANGLE THE HELICOPTER
The chopper begins circling the beach. The bathers become pissed, shouting at the craft.
ADLIBS
PERVERTS! ASSHOLES! FUCKOFF!
They give the chopper the finger. Sierra catches the gesture and throws 'the bone.'
Reed, trying to remain unnoticed, puts his head down.
Sierra sees he's not playing the game.
SIERRA
Come on, Reed, get with the program!
He reluctantly complies.
POV THE CHOPPER
Looking down at the nude bathers on the beach.
Next to the pilot, a SHOOTER with a powerful scoped rifle. He looks at the nudes.
BACK TO THE BEACH
The chopper makes another circle and flies off.
A NUDE GUY of the couple lying nearby yells to them.
NUDE GUY
Bet we'll be on Real TV tonight!
REED
Yeah. You'll pocket the bare minimum.
NUDE GUY
(gestures to his body)
Hey, I don't got no stinkin' pockets.
The two couples laugh.
SIERRA
Where you guys from?
They respond simultaneously.
NUDE GUY
Frisco!
NUDE GIRL
Frisco!
INSERT: AN ORIGINAL NUDE 'RENOIR' PAINTING
The Renoir nude sits in a well-lit museum-like wall setting. Flanked by a second Renoir nude, is an old black and white photo of a oil derrick.
INT. ELEGANT EXECUTIVE OFFICE -- DAY
CARLTON CARTWRIGHT HARWOOD, 60s, a commanding presence in spite of his small stature. He sits in a plush chair behind his elevated desk. The office is elegantly furnished.
A pistol, like Sierra's, is on the desk in front of Harwood.
HARWOOD
(picks up pistol)
You understand my intent in giving this pistol as a Christmas gift to my relevant employees, don't you?
Seated across from Harwood at a lower level, is Science Director, DR. KRUGER, 50s. Autocratic. Severe military haircut. He's deferential with Harwood.
DR. KRUGER
I do.
HARWOOD
(gestures dangerously)
A reminder of the importance of security for the bacteria project that will save this country from our enemies.
DR. KRUGER
(watching the gun)
I understand.
HARWOOD
Good.
(puts gun on desk)
The Columbian Test?
DR. KRUGER
We're coordinating with the military.
HARWOOD
You're ready for the lab demonstration, yes?
DR. KRUGER
We still have mutation and mitosis problems, but we think we've nearly got it licked. It will be ready very shortly.
HARWOOD
Say in two hours?
DR. KRUGER
Oh. I don't think...
HARWOOD
That's right. Don't think. Do. We need that government funding. As a Director of Sunrise, you stand to make..or lose many millions. Understand?
DR. KRUGER
Yes. I understand.
HARWOOD
Good. What about security risks?
DR. KRUGER
The Keefer girl will soon cease to be a problem.
HARWOOD
Excellent. Two hours.
EXT. ENTRANCE TO SUNRISE PETROLEUM -- DAY
An official-looking limo is passed through the gate. The car drives into a large security Sunrise Petroleum complex.
The limo drives to a building with a security fence and pulls to a stop.
The sign in front of the building states: "SUNRISE PETROLEUM RESEARCH" "BIOREMEDIATION DIVISION" and a red "BIOHAZARD WARNING" sign.
SENATOR HAROLD MATSON exits the limo, followed by his AIDE.
INT. SUNRISE PETROLEUM RESEARCH LAB
The senator and aide are ushered past the security guard. They are greeted by the Research Lab Director, Dr. Kruger. Several other STAFF MEMBERS are present.
DR. KRUGER
(extends hand)
Senator Matson-- I'm pleased we could finally arrange a demonstration.
SENATOR MATSON
About time. My committee is screaming this Black Box Project's like putting money into a black hole.
DR. KRUGER
You'll understand the vital importance of Project Foil Safe shortly.
(gestures to Staff)
May I present Dr. Richards, Dr. Chin, Dr. Mori, and Dr. Ingersol.
Ingersol is a clone of Kruger. Both have military hair cuts.
EXT. SAN FRANCISCO FERRY BUILDING -- CONTINUOUS
It's bright and windy at the San Francisco Ferry Terminal. White clouds move quickly against a blue sky.
Clothes changed, Reed and Sierra pass a cyclist sitting on a bike. He watches the couple as he talks on a cell phone.
They notice the cyclist and wait for the ropes to be removed. They hop onto the ferry just before it pulls away. Sierra turns to see the cyclist still on his cell phone.
The ferry heads out into San Francisco Bay. Talking on his cell phone, Reed turns to look at Sierra.
REED
We're on our way, Kenny.. Sierra Keefer... That's right, Dr. Keefer.
(looks at Sierra again)
I'll tell her. We appreciate it.
He clicks off the cell phone.
REED (CONT'D)
Kenny remembers you. He's glad you're coming. He liked your dad.
She looks around, checking out the other passengers.
SIERRA
Yeah, Kenny's a cool guy and a strong advocate. I gave him a tour of the lab awhile ago.
Reed looks around too, not knowing who he's looking for.
REED
What goes on in the mysterious lab?
SIERRA
The Devil's Slide oil spill hit in '86. Sunrise hired my dad to create a control system for oil-eating bacteria.
INT. SUNRISE PETROLEUM RESEARCH LAB -- CONTINUOUS
WITHOUT SOUND - The display room. Dr. Kruger demonstrates the developmental progression of the oil-eating bacteria.
He holds a large glass jar with a green gelatinous mass floating on the water. The jar is labeled: "PSEUDOMONAS."
SIERRA (V.O.)
Dad used an oleophilic bacteria, a bacteria attracted by oil for its food source. He started with the Pseudomonas strain.
REED (V.O.)
The bacteria had a fictitious name?
SIERRA (V.O.)
That's actually the name, but yeah.
Moving along, Dr. Kruger points out 'before' and 'after' pictures of the Exxon-Valdez massive oil spill.
SIERRA (V.O.) (CONT'D)
Then the Exxon-Valdez oil spill.
REED (V.O.)
The bacteria was used for Exxon-Valdez?
SIERRA (V.O.)
Yeah. It worked incredibly well.
REED (V.O.)
So what's the problem?
SIERRA (V.O.)
No problem. After the success, Sunrise wanted a more virulent bacteria to work faster and bigger.
Dr. Kruger moves to a glass jar. With an eye dropper, he squeezes a drop into the relatively clear water.
SIERRA (V.O.) (CONT'D)
Dad created a hybrid he called Voracicillus, using a mutant Pseudomonas with another strain. It was too powerful and worked too well.
REED (V.O.)
How could it work too well?
Very quickly, a green mass grows around the oil drop. It enlarges to the size of a golf ball.
The bacteria's rapid consumption creates condensation on the sides of the jar. The green ball starts to spread across the surface and continues growing.
Dr. Kruger drops a plastic ruler into the center of the jar. The ruler is consumed before it hits bottom. The bubbling growing mass almost spills over the jar.
SIERRA (V.O.)
Voracicillus not only ate oil, but munched every kind of petroleum product and polymers.
EXT. SAN FRANCISCO/TIBURON FERRY -- CONTINUOUS
The Ferry pushes through the Bay. Sierra and Reed stand on the open Bridge Level Passenger Deck.
Passing Alcatraz, the catamaran leaves a twin wake as it leaves San Francisco in the distance.
Sierra drinks coffee out of a personalized ceramic cup.
Reed holds a plastic coffee cup. Sierra looks at his cup.
SIERRA
Give me your cup when you're finished.
REED
You're serious about this stuff. That why you carry a ceramic cup?
SIERRA
Damn straight.
He starts to hand the cup to her and the wind whips it away.
REED
(watches cup fly away)
You figured on using the bacteria to clean up that kinda waste.
SIERRA
That's what Dad thought. That's why he stayed involved.
REED
Why are they're trying to kill you?
SIERRA
(looks around)
It dawns on a weapons think tank, the bacteria is a hell of a weapon. Human skin is a polymer and Voracicillus eats polymers. More profitable than cleaning up oil.
REED
I see what's comin'.
SIERRA
You got it. A secret government agency takes over. In no time they're making and storing lethal weapons using the bacteria.
A seagull flies over the ferry, letting out its CRY.
SIERRA (CONT'D)
Dad's protests fell on deaf ears. He contacted your dad. In secret, they developed plans to kill or at least expose the monster.
REED
The monster that eats the world.
SIERRA
That's it.
REED
They're after you because you know too much.
SIERRA
Yeah.
As the ferry lets loose a HORN BLAST, Sierra and Reed jump.
REED
Can't you just get lost somewhere?
SIERRA
Maybe, but I'd like to finish what our dads started.
OFF REED'S REACTION
INT. RESEARCH DEMONSTRATION CHAMBER -- CONTINUOUS
RON ALTSCHULER, 50s, stands near the top of a metal ladder. He wears a rubber bio-protection suit fitted with a glass face mask, rubber gloves, and metallic oxygen pack. He wears 'coke bottle' glasses.
Also suited at the bottom of the ladder, is assistant, DAVE LANDRY, 30s, a monkish looking man.
Ron works on a releasing device mounted in the ceiling.
Held in the device, is a small bomb-like stainless steel canister with a metal nose cap.
A large viewing window allows observers to witness the tests in the demonstration chamber.
ALEX, a technician sits at a control panel.
In the chamber, using pliers, Ron makes a final adjustment.
Ron's voice FILTERS through speakers in his biosuit.
RON
Okay, Alex, tilt it to the target.
Alex tilts the device to aim directly at the target.
Below the device, is a fully equipped personnel carrier, with four LIFE-LIKE DUMMIES. They wear combat uniforms, carry weapons, and hold communication devices.
Garden plants in ceramic containers are placed around the personnel carrier.
The entrance to the chamber is a large steel bank vault-type door. The wheel-like handle spins and the door swings open.
ALEX
You have visitors, Ron.
Two biosuited MEN enter the chamber.
Surprised by their entrance, Ron looks down at them.
RON
Get the hell out of here!
MAN ONE
You're finished, aren't you, Ron?
RON
You violated the chamber. Get out!
MAN TWO
We scrubbed, Ron. We're ready for the demonstration, aren't we?
RON
We're ready for a test. I haven't gone over the checklist yet.
MAN ONE
We're going for the demonstration. The bigwigs are here now.
RON
Nobody told me.
MAN ONE
You're rated 'need to know.' Now you know. Get down and get out.
RON
We're not ready for a demonstration.
MAN ONE
I've followed your entire preparation. I say we're ready.
RON
You've done the entire checklist?
MAN ONE
Every item.
RON
I don't see how you could have, but it's your show. You bastards are nuts, you know.
Ron scrambles down the ladder. He and Dave are escorted out of the chamber.
INSERT: ELECTRICAL SOCKET OUTLET
Low on the chamber wall. A stainless steel circular cover is swung up, allowing an electric socket to be exposed.
INT. OBSERVATION BAY FOR DEMONSTRATION CHAMBER
Dr. Kruger, Senator Matson, his aide, and the staff file into the observation bay and take seats.
Alex signals to Dr. Kruger that he's ready.
SENATOR MATSON
(looks into chamber)
Those are dummies in the vehicle, aren't they?
DR. KRUGER
Those dummies represent enemy soldiers. Their skin polymers are close to duplicating human skin.
SENATOR MATSON
No way it will get loose, is there?
DR. KRUGER
No way. Okay, Alex, start the demonstration.
Alex activates the releasing device.
SIMULATED AIR ATTACK:
PILOT'S VOICE (V.O.)
CLICK: "Green Eagle, have target in sight." CLICK
DR. KRUGER
(to Senator)
The releasing device is housed inside an Amscan missile.
PILOT'S VOICE (V.O.)
CLICK: "Green Eagle, released Foil Safe missile for laydown." CLICK
INSERT: RELEASING DEVICE
The canister EXPLODES and a cloud of green mist is released.
PILOT'S VOICE (V.O.) (CONT'D)
CLICK: "BINGO!" CLICK
The mist settles on the personnel carrier and the dummies.
A greenish glow pulses and grows with intensity. A strange SIZZLING sound is heard by mikes inside the chamber.
Everything in the personnel carrier except metal parts, including the dummies, is being consumed.
ANGLE THE SENATOR
SENATOR MATSON
(awe-struck)
Oh my God!
Communication devices SIZZLE, SPARK, and EXPLODE.
Tires on the personnel carrier dissolve under the SIZZLING attack. The vehicle lowers unevenly.
The rapidly growing and glowing mass spreads, reaching out for more food.
DR. KRUGER
Isn't it phenomenal?
SENATOR MATSON
It's biological warfare! We don't do that sort of thing.
DR. KRUGER
We'll only use it if the enemy strikes first. Preemptively if they plan to use bio-warfare. Gas masks and normal biosuits are useless against this bacteria.
SENATOR MATSON
Isn't there an international agreement outlawing this stuff?
DR. KRUGER
We fall within the parameters. Look at the plants.
SENATOR'S POV
All the plants are spared.
SENATOR MATSON
It doesn't kill crops?
DR. KRUGER
Right.
SENATOR MATSON
What about humans?
The glowing SIZZLING mass continues to grow and spread.
DR. KRUGER
It's better if it's not always lethal. A dying enemy ties up doctors, medical facilities, transport, and the like.
SENATOR MATSON
Is it like flesh-eating bacteria?
DR. KRUGER
Similar, but it mainly attacks skin polymers.
SENATOR MATSON
How do you kill it?
DR. KRUGER
We genetically engineered the bacteria to have a life span of about an hour.
The Senator is alarmed by the growing, SIZZLING, glowing biomass.
SENATOR MATSON
Can you kill the bacteria instantly?
DR. KRUGER
Yes, but don't worry. It can't get out of the chamber.
The glowing biomass has reached the walls of the chamber.
CLOSE SHOT OF ELECTRICAL OUTLET SOCKET
A finger of the mass, tentaclelike seeks out the exposed electrical socket outlet. Entering the socket, the voracious biomass attacks the plastic socket base. It eats into the plastic wire covering.
Within seconds, SPARKS and smoke spews out of the socket skeleton. The bacteria eats its way along the wires.
Senator Matson and the other observers, now open mouthed, spot the anomaly at the same moment.
SENATOR MATSON
(pointing to outlet)
Is that supposed to happen?
DR. KRUGER
(into mike)
Alex, get Altschuler right now!
INT. DECON SHOWER ROOM EXIT
Still suited with helmets on, Ron and Dave exit the decontamination shower room.
A biohazard ALARM SOUNDS as they enter the Cool Down section.
Ron takes off his helmet. He picks up a RINGING phone.
RON
Altschuler. ...Was the cover open? Oh my God! Which wall socket?
(makes a note)
Call the STOP Team!
(turns to Dave)
We've got an outbreak, Dave!
DAVE
I heard.
RON
Grab the chamber electrical schematics and the DMSO canisters.
Ron puts on his helmet.
INT. ELECTRICAL/MAINTENANCE ROOM
The heavy rocker switches of the electrical panel SPARK and EXPLODE as the bacteria hits the plastic components.
More SPARKS and EXPLOSIONS spread and propel the SIZZLING biomass in all directions.
A polyethylene maintenance pail is consumed in seconds. The biomass finds a plastic runner. It leads under the door and into the hallway.
INT. RESEARCH LAB HALLWAY - ACROSS FROM OBSERVATION BAY
The empty hallway has several security cameras and monitors mounted on the wall. LIGHTS GO OUT in the observation bay.
Plastic runners cover the full length of the hallway.
RED TROUBLE LIGHTS come on in the observation bay. Dr. Kruger becomes frantic. A staff member tries unsuccessfully to open the door leading to the hallway.
INT. OBSERVATION BAY CHAMBER
Dr. Kruger anxiously talks on the phone.
DR. KRUGER
For God sakes get us out of here!
Senator Matson and his aide look on anxiously.
VOICE (V.O.)
You're safe so long as you stay in the chamber.
INT. RESEARCH LAB HALLWAY
The rapidly growing biomass finds the plastic runner in the Electrical/Maintenance Room. It eats the runner, moving under the door, breaking into the hallway.
The SIZZLING GLOWING BIOMASS moves in both directions. It consumes the plastic hall runner, advancing like a small slow tidal wave.
DOORS FLY OPEN. At one end of the hallway biosuited Ron and Dave enter with backpack aerosol canisters. They carry DMSO sprayers.
They spray the edges of the BIOMASS, the bacteria shrinking back, loosing its glow and sizzle.
At the other end of the hallway, three 'STOP TEAM' MEN enter. Each has a backpack extinguisher containing a Co2 mixture.
With a WHOOSH they FOG the advancing bacteria, freezing it into submission. They work along the hallway.
Dave sprays through the biomass, killing the bug before it enters under the door of the observation bay.
Working his way close to the door, Dave comes directly under the security camera and monitor.
The bacteria has progressed into the circuitry of the camera /monitor and EXPLODES. Shards of glass and shrapnel dig into Dave's shoulder and neck, penetrating the biosuit.
Ron spots Dave in trouble. He frantically motions to a STOP Team member to fog Dave's biosuit.
The STOP MAN works his way over to Dave whose face seen through his mask is becoming distorted with pain and fear.
STOP MAN
(fogging Dave)
Got it!
The alarmed people inside the observation bay look out to the hallway with mixed reactions. The staff members are relieved. The Senator and his aide are horrified.
INT. RESEARCH COOL DOWN ROOM -- MOMENTS LATER
Ron's helmet is off, but his biosuit is still on.
Lying on a recliner couch, Dave's protective suit and his shirt are off. He's being attended to by a MEDIC.
Dave is in shock. The skin on his shoulders, neck and the left cheek is gone. Ron leans over to speak to Dave.
RON
We'll get you to a burn ward, Dave.
Dave stares at Ron and doesn't respond.
INSERT: "HALO 2" GAME PLAYED ON MONITOR - MODE: "LEGENDARY"
a tropical island with white sandy beaches appears on screen. HUGE EXPLOSIONS appear on the screen.
GAME READ OUT
"The Covenant has been destroyed. The Flood has been wiped out. Scanning for human life forms."
INT. KENNY MORROW'S TIBURON HOME -- AFTERNOON
FORREST MORROW, 16, sits in the game/computer room. He's really into the X-Box video game, "Halo 2." He wears a techno-headset that has become an integral part of his persona.
INSERT "HALO 2" GAME - RESULTS OF SCAN - "NEGATIVE"
monitor flashes: "LAST MAN STANDING!" "YOU ARE CHAMPION!"
FORREST
(punches the air)
All right!
Kenny appears at the Game Room door.
KENNY
Forrest, we have guests.
FORREST
The personas incognito?
KENNY
Yes, the people you don't know are here. Say hello, Forrest.
FORREST
(looking at screen)
Yo.
KENNY
(to Sierra and Reed)
Would you two mind going out to the terrace? I need to talk to Forrest.
Sierra and Reed smile in acknowledgement and walk away.
KENNY (CONT'D)
I heard from Ms. David today, Forrest.
Forrest's eyes roll up to the ceiling. He adjusts his headset.
KENNY (CONT'D)
She said you hacked all the school computers onto the principal's line.
FORREST
He's got Cable and we got Dial-up. Cable's a hundred times faster.
KENNY
That cute little stunt is a federal crime. Punishable by prison.