 |
Beastbone
Junior Member
Gender:
Location: United States |
My X-Men 3 Screenplay
Hi everyone! I've posted this at a few other sites. Some of you may have seen it already. Just looking for some fresh eyes.
ENJOY!
BB
|
Apr 12th, 2004 03:42 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
EXT. BLACK
The screen is blank. Silence. And then, in darkness:
JEAN (v/o)
Mankind stands at the edge of a precipice.
Slowly a hazy panorama fades in. We are under water. Entire trees are submerged. In several places, there are chunks of concrete wedged into the mud. We pass slowly through the trees, toward an indestinguishable object.
JEAN (v/o)
Factions of humans and mutants alike have staked their claim on the world and neither seems willing to relent to the other. A final, violent evolution, looming just over the horizon, has inevitably arrived.
We pass a tree. One of it's branches is broken and embedded into the water's floor. A shiny thing hangs from this branch. We move closer to it and see that it is "dog-tag." The word "WOLVERINE" is engraved into it.
JEAN (v/o)
One species will flourish, the other will slowly die out, generation, by generation.
The branch snaps and the dog-tag sinks to the bottom. We keep moving.
JEAN (v/o)
However, a new exponent has entered this equation.
We are moving closer and closer to the indestinguishable object. It looks almost like a...human body.
JEAN (v/o)
While the rest of the world asks itself which race evolution will choose to inherit the Earth, no one is asking the more important question.
We are close to the body now. It is a female, garbed in black leather that has began to fall apart after a few months. Her neck is very obviously broken. She floats just above the floor. We have seen her before. She is Dr. Jean Grey and she is dead. We zoom in close on her dead face until we reach a tight close-up on her open and lifeless eyes.
JEAN (v/o)
What is it we are evolving into?
Her eyes blink and when she re-opens them, they are full of orange and red fire. We quickly zoom into these eyes. Cue music. Openning credits roll.
CUT
 |
|
Apr 12th, 2004 03:50 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
EXT. A MUDDY STREET-DAY
Much like the opening shot of the first X-men film, we see boots walking through puddles of mud and slime. Then a familiar two-toed, blue foot steps into frame. Pull up to reveal NIGHTCRAWLER, beaten, bleeding and restrained. A large portion of his tail is missing.
NIGHTCRAWLER
“The Lord is my Shepard, I shall not want, Yay, though I walk through the valley...”etc.
Pull up again to reveal a long line of mutants, some physically mutated, others more human looking, being herded like cattle into a small building with smoke stacks rising out of it. This is a mutant concentration camp. Armed human guards stand at the sides of the line, ushering the mutants on.
Cut To:
EXT. OUTSIDE OF THE CAMP-DAY
We now see the camp from the outside. There is a large stone fence surrounding the perimeter. At the top is a barbed wire fence. Tanks surround the entire complex. Pull back to reveal CYCLOPS standing on a nearby hillside. The area surrounding the camp looks like a war zone. Fires burn in random spots and there is little vegetation. Cyclops’ uniform is in tatters. He is bleeding in several places, but he seems strong.
ANGLE ON CYCLOPS’ VISOR
Cyclops presses a small button on the side.
POV-CYCLOPS
Through a red filter, we see the visor zoom in over the fence and to Nightcrawler.
CYCLOPS
Logan, come in.
|
|
Apr 12th, 2004 03:50 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
ANGLE ON CYCLOPS.
He speaks into a headset, similar to the ones used in X2.
LOGAN(VO)
Cyclops, I read you. What have you got?
CYCLOPS
Positive lock on Nightcrawler. We don’t have much time. Storm do you read?
Cut to:
EXT. OUTSIDE THE CAMP, OTHER SIDE-DAY
We see STORM, ragged and beaten as well, perched on a similar hillside.
STORM
Copy, Cyclops.
CYCLOPS (VO)
Short out the power to that factory. I’ll take care of the perimeter defense. Logan, you get inside and get him out of there.
LOGAN (VO)
Don’t you know me at all, bub?
Cut to:
EXT. INSIDE THE CAMP-DAY
Pan down the side of a parked jeep. Logan crouches beside it. Though his uniform is tattered, his body shows no signs of injury. (Healing Factor, remember?)
LOGAN
I’m already inside.
CYCLOPS(VO)
Your move, Storm.
Logan looks back over the hood of the jeep, to the smoke stacks in the distance. After a moment, a huge bolt of lightening crashes into them!
Cut to:
EXT. THE SMOKE STACKS-DAY
The smoke stacks explode with fire and sparks, inside we here screams. Human soldiers around the stacks mobilize.
Cut to:
EXT. OUTSIDE THE CAMP-DAY
Storm stands, white-eyed and cape flowing. She has a slight look of satisfaction on her face. Suddenly the sound of gunshots. Storm turns.
REVERSE ANGLE
A tank and several soldier on foot are rushing from the camps gate at Storm.
STORM
Scott...
Cut to:
EXT. OUTSIDE THE CAMP-DAY
Cyclops lets out a blast.
REVERSE ANGLE
The top of an oncoming tank is sheered off by the blast. Behind it, another tank and several soldiers are seen approaching Cyclops.
ANGLE ON CYCLOPS
CYCLOPS
I see them, Storm. Try to hold them off as long as you can. I’ll rendevous with you as soon as this area is clear.
Cut to:
EXT. OUTSIDE THE CAMP-DAY
We see the group of soldiers surrounding the tank, all still marching towards Storm. A huge gust of wind takes out the soldiers. The tank fires.
REVERSE ANGLE
Storm flies up into the air and over the projectile. She goes out of frame. Pull back to the barrel of the tank. A killer lightning bolt hits it from above and it explodes. Pull back a bit more. A few feet behind the tank. Storm drops in from the top of the frame. Her landing leaves much to be desired. You can see the exhaustion on her face.
Cut to:
EXT. INSIDE THE CAMP-DAY
We see Logan slice through a couple of guards. There is artillery fire coming down from the guards up on the walls. We track Logan, as he dodges and flips and dives out of there way. He takes out a guard by diving on him and cutting into him. Then he picks up the guards gun and starts returning fire at the artillery gunners.
REVERSE ANGLE
We see a couple of the guards fall off the wall.
ANGLE ON LOGAN
He gets shot. The first one nails him in the arm. He drops the gun. Then, other gunners start to fire at him. He is being pelted.
REVERSE ANGLE
On of the gunners keeps firing. His hair is blowing a little. Then, Storm, carrying Cyclops, flies over the wall. She carries Cyclops by his wrists and swings him into the gunner. Cyclops kicks and the gunner falls. Cyclops lets go and rolls into the gunners position. Storm flies out of frame. Cyclops starts picking off the other gunners with his optic blasts.
Cut to:
EXT. THE SKY ABOVE THE CAMP-DAY
We see Storm, flying. She is decreasing her altitude.
STORM
Scott, I’ve got a straight shot at Nightcrawler.
REVERSE ANGLE
From above, we see Nightcrawler, still in line. He is looking up at Storm. The cost seems clear.
ANGLE ON STORM
STORM
I have to get him while I still can, Scott.
Cut to:
EXT. THE GUNNERS POST-DAY
Cyclops looks to Storm.
REVERSE ANGLE
We see Storm flying in at Nightcrawler. Behind them a tank has come through the gate.
ANGLE ON CYCLOPS
He reaches for his visor.
CYCLOPS
Storm, WAIT!
ANGLE ON THE TANK
The tank fires.
ANGLE ON STORM
Direct hit, Storm is picked out of the sky.
ANGLE ON THE WALL
Storm crashes into the wall and part of it collapses.
ANGLE ON CYCLOPS
He blasts the tank, screaming.
ANGLE ON THE TANK
It explodes.
ANGLE ON THE LINE OF MUTANTS
The procession of mutants, all haggard and hopeless, start to freak out when they see part of the wall collapse. They break from line and begin to push their way to the wall. The guards respond by nailing them with the butts of their guns or by shooting them. This has become a riot.
ANGLE ON NIGHTCRAWLER
He begins to make his way to Storm, but is pushed to the side of a small building by the crowd. There is a door next to him. It opens. Out steps a man, about six feet, built like an ox. He wears spectacles and carries a suitcase. He is dressed in a nice suit, that doesn’t at all match the state of everyone else’s wardrobe in this place. He is DR. HENRY McCOY and he doesn’t quite understand how he came to be in a mutant death camp.
NIGHTCRAWLER
Hello.
McCOY
Uh...Hi.
REVERSE ANGLE
A Soldier runs toward McCoy and Nightcrawler, firing.
SOLDIER
BACK IN LINE, NOW!
ANGLE ON NIGHTCRAWLER AND McCOY
They are still in front of the wall.
NIGHTCRAWLER
Look out!
Nightcrawler leaps onto McCoy and they BAMF out of frame.
ANGLE ON THE SOLDIER
He appears confused and ceases firing. Nightcrawler and McCoy BAMF into frame behind him. Nightcrawler flips over McCoy and tackles the Soldier from behind.
ANGLE ON McCOY
Still very confused by all of this, McCoy is even more confused by the huge tank that has roared into frame behind him. Instinctively, he flips backwards and grabs the barrel of the tank, swinging around it. He then bends the barrel backwards, with some effort, until it is pointed back at itself. A group of nearby soldiers begin to fire at him and we track him as he leaps off of the tank right into the middle of them. He begins slinging the guards aside, effortlessly. After McCoy throws the last one into the wall, he continues to watch him.
ANGLE ON THE GUARD
The guard lies slouched against the wall, for a moment, eyes closed. There is a flicker of blue energy around his body and the subtlest of computer sounds. Then his eyes open up again and he jumps up and starts running at McCoy again.
ANGLE ON McCOY
McCoy gets ready for the guard to return. He grins a little.
CYCLOPS (OS)
Pause Program.
ANGLE ON THE GUARD
He suddenly freezes in mid-lunge.
ANGLE ON McCOY
McCoy walks over to the guard and examines him. Cyclops steps into frame behind him.
CYCLOPS
Can I help you?
McCOY
Remarkable. Hard-light holography...
McCoy seems not to hear Cyclops.
CYCLOPS
Excuse me?
McCoy turns to Cyclops.
McCOY
Oh! My apologies. I’m Henry McCoy. I think I’m in the wrong room.
Cyclops seems relieved.
CYCLOPS
Dr. McCoy, I’m Scott Summers.
They shake hands.
CYCLOPS
Where are you trying to get to?
McCOY
The lab. Professor Xavier told me it was...excuse me, what is going on here?
CYCLOPS
Field training.
He looks over his shoulder. He looks back at McCoy, grinning a bit.
CYCLOPS
Terminate program.
The background vanishes behind Cyclops. The condition of Cyclops’ uniform improves instantly. A huge, gymnasium type room with gray walls is now behind him.
ANGLE ON STORM
Storm’s costume is now in pristine condition. She helps Logan to his feet. Nightcrawler walks into frame. He is also in perfect condition. He wags his tail a bit, looking at it.
NIGHTCRAWLER
How did I do?
LOGAN
Brilliant. Very convincing.
NIGHTCRAWLER
Perhaps next time we can simulate a high wire and-
LOGAN
AH! What have I told you?
Nightcrawler concedes.
ANGLE ON McCOY
He and Cyclops walk over to the rest of the group.
McCOY
Exactly how would I go about finding my way out of this place.
Storm shoots a look at Cyclops.
STORM
Open.
ANGLE ON THE CEILING
The entire roof of the room begins to make unlocking noises as a large portion, about the size of a u-haul, lowers to the ground level. It is covered with windows on all sides. It is the control room.
ANGLE ON McCOY
He cannot believe his eyes. He takes his spectacles off.
McCOY
Remarkable.
ANGLE ON CYCLOPS
He picks up McCoy’s suitcase.
CYCLOPS
Logan, why don’t you show Doctor McCoy the way to the lab? The rest of you, that’s it for today. See tomorrow morning at the same time.
He hands the suitcase to Logan.
LOGAN
Not bad, Summers. Real combat, huh?
CYCLOPS
Yeah, real.
Logan leads McCoy out, followed by Nightcrawler. Storm steps into frame taking off her gloves.
STORM
You coming?
CYCLOPS
No. I’ve got a few more things I need to go over. I’ll see you in fourth period.
Storm gives a look of concern.
STORM
Okay. Don’t work yourself too hard, huh?
CYCLOPS
You know me.
Storm leaves. Cyclops waits until she is inside the control room.
CYCLOPS
Close.
The ceiling begins to close up.
CYCLOPS
Run program: Alpha, four, one.
Cut to:
|
|
Apr 12th, 2004 03:51 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
INT. THE HALLWAY OUTSIDE OF THE DANGER ROOM-DAY
Logan and McCoy walk out of a door. The underground hallways under Xavier’s look the same, except for bits of exposed wiring and missing panels-the repairs from Stryker’s raid are obviously still underway. McCoy is like a kid in a candy store. So much technology. Logan walks briskly in front of him.
McCOY
Remodeling?
LOGAN
Not really.
They walk in silence for a minute.
McCOY
Did Xavier build all of this, himself?
LOGAN
Asking the wrong man, McCoy.
McCOY
I couldn’t help noticing your ensemble.
Logan stops and turns. McCoy motions to his X-Uniform.
McCOY
Listen, Mr...
LOGAN
Logan.
McCOY
...Mr. Logan. I was under the impression that I was going to be a school doctor.
LOGAN
We skin our knees a lot.
Logan walks to the closest door and it opens. It is dark inside.
REVERSE ANGLE
We see the silhouettes of Logan and McCoy enter the dark room.
LOGAN
Lights.
The lights turn on. We are in the medical lab. Jean Grey’s old stomping ground. No one has been in here in a while. McCoy is overwhelmed.
LOGAN
The lab.
Logan starts to leave. McCoy stops him.
McCOY
Is there anything I should know, about this place?
Logan thinks.
LOGAN
Seems pretty straightforward, doesn’t it? Holographic training room, covert OPS strike force; what is it you don’t get, McCoy?
McCOY
I knew this was a school for mutants, but if I’ve allied myself with mutant terrorists, I think I have a right to know.
LOGAN
We’re not terrorists.
McCoy seems a little relieved.
LOGAN
At least, not on purpose.
CUT.
END OF SCENE.
INT. XAVIER’S OFFICE-DAY
Xavier sits at his desk. He looks tired. He is talking on the phone.
XAVIER
Yes...Yes that’s exactly my calculation as well. Oh yes...
He looks at his watch.
XAVIER
...about two and a half hours apart.
There is a knock at the door. Storm peeks her head in. Xavier motions for her to enter and sit down.
XAVIER
If they continue at this pace, I don’t know how much longer I can stand it...Have you pinpointed the origin yet? Very well. I’ll be in touch.
He hangs up. He begins furiously rubbing his temples. He looks to be in pain.
STORM
Professor?
He looks up instantly, taking a deep breath.
XAVIER
Storm. I’m sorry. They’ve gotten worse.
STORM
Your headaches?
XAVIER
If only they were still headaches. These are some kind of attack, Storm. I’m sure of it.
STORM
Speaking of attacks...
She moves to the office window were the curtains are drawn and draws them back. Through it we can see past the front lawn to the gate. Crowded there are hundreds of people. Some hold anti-mutant signs, others hold television cameras. There are several news vans.
STORM
...We have company again.
Xavier turns and gives a disgusted look.
XAVIER
I always new the world would learn about us eventually, Storm. I didn’t think it would be like this.
Storm gives a sympathetic look.
STORM
We’ve got to say something to them, Charles.
XAVIER
Indeed we do.
Something occurs to Xavier.
XAVIER
Where is Scott?
Storm looks down. She doesn’t want to say because Xavier won’t like the answer. Xavier reads this expression and matches it. He knows where Scott is. He doesn’t like it.
CUT.
END OF SCENE.
|
|
Apr 12th, 2004 03:51 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
EXT. A HUGE MANSION SOMEWHERE IN LONDON-NIGHT
The estate sprawls with a square-footage that rivals the X-Mansion. There is a line of parked limos in the driveway. As we pass over the estate, we notice a large tent in the rear lawn. Candles, many people formally dressed, mill about. We hear a garble of conversation.
INT. THE TENT-NIGHT
Track a white-haired waiter from behind, as he carriers a tray of champaign glasses. As he moves through the crowd the champaign glasses are removed one by one by satin gloved hands or tuxedo-ed arms. Finally only one glass remains. The waiter approaches two men in tuxedo’s. One of them is young, blonde and vigorously good-looking. The other is a man of about middle age, dark and very aloof. The older man speaks with a British Accent. They are watching the crowd. As the waiter approaches the men, the older is speaking.
SHAW
...Has a bid in the race for Governor of New York. A mutant governor. What will the republicans say?
The two men laugh. The waiter has reached the men. He proffers the glass to the younger man.
WAITER
Mr. Worthington? The Dom Perion, you requested?
Worthington fumbles a bit.
WORTHINGTON
Ah, yes thank you...
As Worthington reaches for the glass, he accidentally knocks it out of the waiter’s hands. It falls to the grass of the lawn below.
ANGLE ON THE WAITER’S FACE
We notice that the waiter is much younger than his white hair suggests. He gives a look of disgust at the falling glass.
ANGLE ON THE FALLING GLASS
It falls. Slightly slower than real time. The champaign is emptying into the night air.
ANGLE ON THE WAITER’S FACE
He rolls his eyes in real time and then quickly darts out of frame.
ANGLE ON THE FALLING GLASS
Still traveling slightly below real time the glass has almost reached the lawn. We see the waiter’s hand reach into frame in real time, snatch the glass, and use it to “scoop up” the falling champaign. Like that, his hand is gone.
ANGLE ON SHAW, WORTHINGTON, AND THE WAITER
Same shot as before. The waiter is once again proffering the glass to Worthington, who has yet to realize what just happened.
WORTHINGTON
Oh! For Christ’s-
Worthington looks up at the waiter. The waiter gives a little grin. Worthington takes the glass.
WORTHINGTON
Thank you.
The waiter walks out of frame.
SHAW
Where did you find this catering staff, Mr. Worthington? They are wonderful. Have you seen the man they have dealing at the blackjack table. He is a riot!
WORTHINGTON
Impressed?
SHAW
Yes, Mr. Worthington. The Club is very impressed.
Shaw gives a look of concern.
SHAW
My apologies, Warren. Something has just come to my attention.
WORTHINGTON
What is it?
SHAW
It seems we have some... uninvited guests... in the office. Please, excuse me.
Shaw walks away, we track him back through the party and to the mansion. On the way he greets several people with back pats, hand shakes, or kisses on the cheek. Another waiter approaches. He carries a bottle of wine. Shaw stops him. This waiter has a good-old-boy look about him.
SHAW
Ah, excuse me? I noticed that Senator Kelley’s party is running low on funds for the craps table.
Shaw reaches into his pocket and produces a wad of cash.
SHAW
Would you go and buy him back into the game, complements of the house?
The waiter takes the money . Shaw moves along.
WAITER
Right away Mr. Shaw.
The waiter splits into two separate identical people, one holding the bottle of wine; the other holding the wad of cash. They walk off in different directions.
INT. The MANSION-- NIGHT
Shaw walks down a corridor. We can see the agitation growing on his face. He reaches a door and opens it. It is a lavish office. There is a fire going in the fireplace. In the center of the room there is a huge mahogany desk sitting next to a suit of armor. Magneto sits behind the desk. He wears a formal tuxedo and is drinking a glass of brandy. He smiles at Shaw.
SHAW
I thought the fillings in my teeth felt a little loose.
Shaw moves to a mini-bar and starts to make a drink. Magneto gets up from the desk and approaches Shaw.
MAGNETO
I must commend you, Sebastion. You’ve done a fine job with the property. How long has it been since I was last here?
SHAW
Not long enough.
A door opens and a beautiful blonde bombshell steps in. She is tall, dressed formally in white and she moves to Shaw. She is Emma Frost. Thank God.
EMMA
You really, mustn’t give any mind to Sebastion, Magneto. He’s just cranky because his lawn is filled with troglodyte humans. I can think of much better things for you to waste your mind on.
MAGNETO
Thank you, Ms. Frost, but I am spoken for.
Magneto produces an envelope.
MAGNETO
The invitation says “Senator Robert Kelley and guest,” Sebastion.
Shaw glares at Magneto.
SHAW
The meta-morph. Cute, Erik. Very, cute.
Shaw taps a button on the desk telephone.
SHAW
Mr. Worthington, will you show Senator Kelley to my office?
Magneto has taken a seat by the fire.
MAGNETO
I’m sure you’re asking yourself why I am here.
SHAW
Out with it, Lensherr. I have guests to entertain.
Emma has a painful look on her face, as she peeks in Magneto’s mind.
EMMMA
No. Sebastion, listen to him. I’ll be mentally eavesdropping next door if you need me.
Emma leaves.
SHAW
You have my attention, Magneto.
Magneto opens his hand. The metal fire poker lifts from it’s rack and stirs the fire a bit.
MAGNETO
I need you to help me find a mutant. A very powerful mutant.
CUT. END OF SCENE
|
|
Apr 12th, 2004 03:52 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
EXT. ALKALI LAKE, CANADA--DAY
The ramp of the X-jet folds up and lifts from the snow.
INT. THE X-JET
We have seen this before. Cyclops races towards Storm in the cockpit.
CYCLOPS
Lower the ramp, NOW!
ANGLE ON STORM
She struggles with the controls.
STORM
I can’t! She’s controlling the jet!
EXT. ALKALI LAKE, CANADA--DAY
Jean walks away from the jet towards the flood of water rushing straight for her.
INT. THE X-JET
Cyclops and Storm look out the window.
CYCLOPS
What’s she doing?
ANGLE ON WOLVERINE AND NIGHTCRAWLER
Wolverine looks at Nightcrawler.
WOLVERINE
You. Get her. Now.
NIGHTCRAWLER
I can’t. She’s not letting me.
ANGLE ON XAVIER
He has a strange look on his face.
EXT. ALKALI LAKE, CANADA--DAY
Jean looks back at the X-Jet.
INT. THE X-JET
Xavier speaks to no one in particular.
XAVIER
I know what I’m doing.
ANGLE ON CYCLOPS
He rushes to Xavier once he realizes what’s going on.
XAVIER
It’s the only...
EXT. ALKALI LAKE, CANADA--DAY
Jean, focusing, speaks in unison with Xavier.
JEAN
...only way.
INT. THE X-JET
Cyclops looks at Xavier.
CYCLOPS
Jean...Jean listen to me...don’t do this...
XAVIER
Goodbye.
Cyclops reacts better this time. He’s seen this a hundred times by now.
CYCLOPS
Charles...Take her out.
XAVIER
Scott?
CYCLOPS
You heard me...freeze her. Like in the museum. Turn her brain off.
XAVIER
Scott, the dangers...
CYCLOPS
JUST DO IT!
Cyclops approaches Storm.
CYCLOPS
Storm, Vertical Take off is back on line. Do your best to push that water back. All we need is a spilt second for Kurt to get her and get back.
STORM
I’ll do my best.
They all share a look.
CYCLOPS
NOW!
ANGLE ON XAVIER
He strains.
ANGLE ON STORM
She’s going through the VTOL sequence with white eyes.
EXT. ALKALI LAKE, CANADA--DAY
Jean’s eyes go blank and she collapses.
INT. THE X-JET
Nightcrawler teleports.
EXT. ALKALI LAKE, CANADA--DAY
Nightcrawler catches Jean and then vanishes again.
INT. THE X-JET
Nightcrawler reappears with Jean. Scott takes her in his arms.
ANGLE ON STORM
She pulls up on the stick hard.
STORM
We’ve got partial lift-off, but it’s choking...
EXT. ALKALI LAKE, CANADA--DAY
The X-jet lifts slightly but does not get enough altitude to clear the on-coming flood. It is submerged.
INT. THE X-JET
Everyone reels. There are screams.
XAVIER (OS)
Pause.
Everything freezes. Cyclops looks up and over his shoulder.
ANGLE ON TWO XAVIERS
Behind the frozen Xavier, we see the real Xavier in the back of the jet. He rolls toward Cyclops.
XAVIER
Looks like we didn’t make it.
CYCLOPS
I thought for sure I had it this time.
XAVIER
You yelled at me. That’s new.
CYCLOPS
Well, it was a desperate situation.
XAVIER
How long are you going to do this, Scott?
CYCLOPS
Until--
XAVIER
--Until you bring her back?
CYCLOPS
That’s not what I--
XAVIER
--Isn’t it?
Beat.
XAVIER
The students have been talking.
Beat.
XAVIER
Rogue says that you cancelled three classes last week.
Cyclops shows some attitude.
CYCLOPS
What, are you going to fire me?
Xavier looks at him.
XAVIER
I’m going to Muir Island for a while.
CYCLOPS
Moira?
XAVIER
Yes.
CYCLOPS
Do you need me to come?
XAVIER
No. I need you here. Here and no where else. I have left Storm in charge of the School until I return.
CYCLOPS
Professor.
XAVIER
I’m sorry, Scott. Under other circumstances, perhaps, I would leave you in charge--
CYCLOPS
--You don’t have to say that.
XAVIER
--BUT, given our current state of affairs, I believe that you would be...
CYCLOPS
A liability.
Beat.
XAVIER
You said it. I suggest you spend sometime with Dr. McCoy while I’m away, Scott. We need you in good condition.
CYCLOPS
For what?
XAVIER
Goodbye, Scott.
Xavier leaves. Cyclops takes a last look at Jean.
CUT. END OF SCENE.
|
|
Apr 12th, 2004 03:52 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
INT. A DARK AND SLIMY CORRIDOR-NIGHT
Shaw leads Magneto through a stone corridor. It is a tight squeeze. Shaw is carrying a torch. Behind them a few paces Emma walks carefully with a disgusted look on her face. She is out of her element. Even more out of his place is Senator Robert Kelley, who walks with Emma.
MAGNETO
I had a feeling you’d kept it.
SHAW
Well, you can thank Emma for that. The woman can’t stand to see anything thrown out.
MAGNETO
Has it been used recently?
EMMA
Of course not.
SHAW
Out of curiosity, Lensherr, will this mutant of yours really be able to power it?
MAGNETO
I have every reason to believe so.
The party has reached a blank stone wall. Shaw shoves his torch into a holster on the wall. They all stare at each other. Magneto raises a hand.
ANGLE ON THE STONES, CLOSE
We seem the spaces between the stones have tiny flecks of metal in them. They begin to budge a bit.
ANGLE ON THE PARTY
Magneto makes a fist and the mortar is ripped out of the stones and collected into a perfect cube that floats just above Magneto’s hand. A moment later the stones tumble from the wall. Behind the stones stands a blue metal wall. In the center, there is a cube shaped hole. Magneto looks to Shaw and then slides the cube into it. There is a sound of clicking and unlocking. The blue wall opens up and reveals another wall. This one is a greyish color. There is keypad looking very much like a calculator on it. In green letters the screen of the keypad says “READY.” Emma steps forward.
EMMA
Pardon me, everyone. This may hurt a bit.
Emma closes her eyes. The others follow suit. There is a flash of pain through all of their faces. Almost entranced, they each speak:
SHAW
Seven.
MAGNETO
Nine.
SENATOR KELLEY
One.
EMMA
Four.
They all open their eyes. Emma moves to the keypad and keys in “seven, nine, one, four.”The green letters on the pad light up saying, “ACCEPTED.” The greyish door gives way to a white one. In the middle of the door is a panel with about ten red lights on it. Senator Kelley shifts back into MYSTIQUE. Emma gives her a sassy look. There is a chime.
COMPUTER VOICE
Voice Identification:
We see Shaw removing his coat and tuxedo shirt.
SHAW
Sebastion Shaw.
One of the red lights turns green.
MAGNETO
Erik Lensherr.
Another light turns green.
EMMA
Emma Frost.
Another Light.
MYSTIQUE
Mystique.
Another light. Mystique continues to name names, her voice shifting to match the name. Lights continue to turn green.
MYSTIQUE
John F. Kennedy. Harry Truman. Dwight D. Eisenhower. Herbert Hoover. Woodrow Wilson.
She stops, a little lost. Magneto gives her a look.
MAGNETO
Churchill, dear.
She nods.
MYSTIQUE
Winston Churchill.
There is a chime and the white door gives way to a black one. Some sort of evil-looking automatic weapon slides out of a panel. Shaw, shirtless, pushes himself to the front of the group. The gun opens fire. Round after round goes into Shaw’s chest. He stays put, taking it all. Finally the gun is empty and still clicking through the chambers. Shaw stifles a yawn and bends over, his torso smoking. He get a grip on the bottom of the door. We see the veins in his arms begin to bulge. His biceps look huge. He hefts the door upwards in one try. Everyone walks through. Shaw lets the door drop as he leaps in. Black.
INT. MACHINE ROOM-Night
The echo of the door slam still lingering, the group find themselves inside an immense chamber. (So immense and specific that it requires the text below to describe it!) Though the walls of the room are carved out of crude stone, like most English castles, the contents seem so sophisticated that they give one the impression that they are from another world. Don’t get your hopes up. They’re not. They’re just really, really advanced. The main focus is on a giant spider like machine in the center. It’s “legs” grow up into the roof like oak trees. At the apex of these legs is a chamber, which sits on the floor. There are six bed-like extensions surrounding a seventh, which seems to be the most important. At a closer glance, there seem to be markings on the pieces of the machine. Making the machine seem suddenly older (almost ancient), these glyphs do not seem friendly. All of the images show (In some respect) several lesser beings gathered around a central figure with rays of light emanating from it. At the side of the room is a control station with four chairs. As Shaw and Magneto make their way to the control station, Mystique and Emma trail behind. Emma gives a disapproving look to Mystique.
EMMA
There is a dress code here, darling.
Mystique gives a little glare. Emma moves to the apex area of the legs and places herself in the central bed structure.
ANGLE ON SHAW AND MAGNETO AT THE CONTROLS
They flip several switches and brush years of dust off of the device.
MAGNETO
Several weeks ago I detected a massive electro-magnetic flare in North America. Unfortunately I can’t pinpoint it precisely. However, I strongly believe that you will find the mutant in the Alberta region of Canada.
SHAW
Why would you believe a senseless thing like that?
MAGNETO
She’ll be there. I helped to create her.
Shaw looks at Magneto.
EMMA
Ready, Shaw.
SHAW
Stand by.
He flips some switches and hits a large flashing button.
SHAW
Considering how much money I just spent, I hope we find something, Erik.
ANGLE ON THE MACHINE
The entire structure lights up and energy begins flowing down to Emma.
ANGLE ON EMMA
Her eyes are clinched tightly as the energy flows through her.
ANGLE ON EMMA’S EYES
They open.
FADE TO WHITE
End of scene.
|
|
Apr 12th, 2004 03:53 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
INT. THE X-JET-Night
ANGLE ON XAVIER’S EYES
They are closed for a moment and then they suddenly dart open.
ANGLE ON XAVIER AND WOLVERINE
Xavier is sitting next to Logan, who is flying the jet. He gasps.
LOGAN
You okay?
XAVIER
…Oh yes. It was only a strange feeling.
LOGAN
…Like telepathic strange or just strange?
XAVIER
I don’t know.
Xavier looks out the window.
XAVIER
Where are we?
LOGAN
Over Britain. I had to loop around. A couple of MIGS were in the area.
XAVIER
Funny that you turned out to be a pilot.
LOGAN
Tell me about it. I just got in the simulator and… I don’t know, I guess I flew when I was with Stryker.
There is a weird silence. Logan looks at Xavier.
LOGAN
You lied to me.
Beat.
XAVIER
I’ve been teaching for thirty years, Logan.
LOGAN
So?
XAVIER
All I am saying is that I have learned how to compensate for…unique students.
LOGAN
I’m not a student.
XAVIER
No, you’re not. I doubt that I could teach you anything you didn’t want to know.
LOGAN
You’re probably right.
XAVIER
Do you see my point? It wouldn’t have mattered from me Logan because I have no authority over you.
LOGAN
I guess Magneto thinks he does.
He looks at the radar.
LOGAN
All right, Scotland is coming up. You sure this island is here? It ain’t showing up on radar.
XAVIER
It’s there. Hold this course until my signal, then make a thirty-degree starboard sweep down over those mountains.
Logan flips some switches. And then leans back to the controls.
LOGAN
Ready when you are.
Xavier waits a moment. And then:
XAVIER
Engage.
Logan gives Xavier a look
EXT. THE GROUNDS OF THE XAVIER INSTITUTE-DAY
We cut into this quickly from the previous scene. It is a patio sort of area at the institute. There is a podium set up with many microphones coming out of it. Storm stands behind that podium. She is leading the first ever live press conference from the school. Dr. Henry McCoy stands to her right side. The reporters are taking no prisoners. The questions come rapid fire from out of frame at Storm, whose patience seems to be at an end.
REPORTER 1
Ms. Munroe, do you deny allegations that your school was involved with the mutant terrorist attack on Liberty Island in 1999?
REPORTER 2
Ms. Munroe, rumors have surfaced detailing a recent threat on the President of the United States in the Oval Office...
REPORTER 3
-an aerial chase through a series of funnel clouds, Ms. Munroe, care to comment?
Storm doesn’t look so good. The stress is getting to her.
REPORTER 4
-collapse of a damn in northern Alberta, Canada-
REPORTER 5
-train station here in Westchester still being repaired after several mutants-
Storm leans in at the microphones.
STORM
Am I even going to get a chance to answer to these allegations or is this supposed to be some kind of free-for-all against mutants?
The crowd settles. McCoy leans in to Storm.
McCOY
Manners, Ororo. Remember, Charles didn’t leave you in control of the school so that you could disintegrate representatives from the major networks. We’re here to teach.
Beat.
STORM
We at Xavier’s School are not in the habit of denying anything. We are here to provide a safe haven for young mutants-
REPORTER 1
So this is some kind of mutant halfway house? Current Intelligence describes your school as a base of operations for a secret mutant army. Is this true, Ms. Munroe?
STORM
We prefer to think of our staff as an emergency response group.
REPORTER 4
What authority do you have to take the law into your own hands, Ms. Munroe?
The crowd doesn’t like this.
STORM
If you would just give me a chance to explain-
REPORTER 2
Ms. Munroe, you realize that your school is not accredited or acknowledged by any department of the national government, don’t you?
STORM
It’s difficult to register a school of students who are constantly scrutinized by the media. Certainly, you can understand our need for secrecy. Next question please.
Storm is doing a little better. She’s in control again.
REPORTERS(Shouting, overlapping)
Ms. Munroe?
STORM
Yes, the man in the blue suit.
REPORTER 3
Do the parents of these “students” really know where their children are?
Storm is frozen in her tracks.
REPORTER 3
Certainly there was some sort of financial or legal documentation countersigned by the legal guardians of these children. It would reflect very poorly on your institution if any of these documents were declared forgeries in a court of law. Is that not true, Ms. Munroe?
Storm places her head in her hand. This is all that she can take.
REPORTER 3
Ms. Munroe?
REPORTER 2
Ms. Munroe, is it true that your school acquired the blueprints for your private jet from the military illegally?
REPORTER 1
Government Intelligence reports site you as posing as pagan goddess in Africa. Do you believe yourself to be a deity, Ms. Munroe?
Storm looks up from her hand and her eyes are white. There is a crack of thunder in the distance. The skies darken.
McCOY
Oh, dear.
REVERSE ANGLE ON THE REPORTERS
The have all fallen silent. Everyone stares in fear of Storm.
ANGLE ON STORM
Her eyes are still white. She is furious.
ANGLE ON McCOY
He is tense. Waiting for Storms next move.
ANGLE ON STORM
She relaxes. Her eyes return to their natural color. She takes a deep breath and leans into the microphones. She still seems angry.
STORM
No more questions today, thank you.
CUT. END OF SCENE.
|
|
Apr 12th, 2004 03:54 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
INT. XAVIER’S OFFICE
Directly after the press conference, we see the inside of Xavier’s office. The door flings open. Storm and McCoy enter and Storm slams the door behind them. McCoy takes a seat at the desk. Storm starts pacing.
STORM
Damn it! Why would he do this to me, Hank? Can you believe that?
MCCOY
I’m sure Charles had his reasons, Ororo. It must have been important.
STORM
I would hope so! Leaving me to the... the wolves like this!
MCCOY
Ororo...
STORM
Stop calling me that! Call me Storm. Everyone else does.
MCCOY
Whoa. All I’m saying is maybe you’re taking this too seriously.
Storm doesn’t take this well. She makes a little >Puf< noise. She is thinking about something that seems very vivid in her memory.
STORM
Yes. I’m taking this seriously, Hank. You know why? If you let your guard down for just a second. Do you know what happens?
CUT TO:
INT. THE MEDLAB OF THE XAVIER INSTITUTE
A brief cut of Senator Kelly’s hand exploding into water as Storm holds it. She looks horrified.
CUT BACK TO:
INT. XAVIER’S OFFICE
ANGLE ON STORM
Same as before, Storm paces, McCoy sits.
STORM
If you give yourself a second’s grace...
CUT TO:
EXT. ALKALI LAKE
A brief glimpse of water rushing by Dr. Jean Grey’s face as she releases her hold on it.
CUT BACK TO:
INT. XAVIER’S OFFICE
ANGLE ON STORM
STORM
...You stop taking this seriously for a second and people die. We’ve got a student body of over three-hundred. ALL mutants...
She starts to break down a little.
STORM
...It’s like...It’s almost like...When I was out there...talking to those camera’s...I could just feel it all closing in, you know?
McCoy nods.
STORM
All the way up to Liberty Island I told myself that it was going to be easy. But, no. This war that Magneto talks about all the time?
CUT TO:
INT. THE MAIN HALLWAY OF XAVIER’S
Logan and Storm are walking to the door. She is following him. He turns around.
LOGAN
You know, Magneto’s right, there is a war coming. You sure you’re on the right side?
CUT BACK TO:
INT. XAVIER’S OFFICE
Same as before.
STORM
Hank, I don’t think we can win it. They’ve got us surrounded. We don’t have anywhere to go. These kids, most of them don’t have anywhere else...
She breaks down, head in her hands. We can see through the office window that it has started raining outside. Hank gets up and starts to move to her.
ANGLE ON HANK
He is walking to Storm with sympathy in his eyes. A small explosion of blue smoke, directly in his path makes him jump back a little. BAMF. Nightcrawler is standing in front of him. The two men look at each other.
NIGHTCRAWLER
Maybe I should handle this.
MCCOY
How did you know...
Nightcrawler points to the window. Rain is splattering into it.
ANGLE ON STORM
She is still crying. Nightcrawler walks into frame. He puts his arms around her. She collapses into them.
STORM
Kurt...
NIGHTCRAWLER
Shhh.
Beat.
ANGLE ON THE THREE OF THEM
Everyone is silent and McCoy hates it. Eventually he works up the gumption to speak.
MCCOY
So, they worshipped you as a goddess?
ANGLE ON STORM
Still in Nightcrawler’s arms, she laughs a little, through her tears.
STORM
Well...once you’ve spent a few years stealing watches to feed yourself, you’d be surprised at the things you’d do.
CUT. END OF SCENE
|
|
Apr 12th, 2004 03:56 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
EXT. MUIR ISLAND--NIGHT
The complex is fairly small and modern-looking. Lots of floor to ceiling windows. It appears as "quaint" as a genetic research facility can be. There is a sign out front: MUIR ISLAND: GENETIC AND MUTAGENIC RESEARCH FACILITY.
INT. MUIR ISLAND HALLWAY--NIGHT
Xavier and Logan move down the hallway towards a door. The interior of the complex is very much like the lower levels of the X-Mansion. Blue Steel.
LOGAN
Who's this MacTaggert lady?
XAVIER
Moira is an old friend. We've been working together for almost twenty years.
LOGAN
How come this place is so out of the way?
XAVIER
Moira specializes in extreme mutations. Mutants who have become a danger to themselves and to others.
Logan stops. His mood shifts dramatically.
LOGAN
Is that what this is about?
Xavier stops. He wheels around to face Logan.
XAVIER
Logan, please.
XAVIER
We're here because Moira needs my help identifing an unknown mutant signature.
Logan snorts.
XAVIER
Though I was tempted.
A voice from over Xavier's shoulder draws their attention. It is a Scotish female.
MOIRA
Fighting in my hallway?
ANGLE ON MOIRA
She is slightly younger than Xavier, red haired and beautiful. She wears a white coat. (I keep picturing Gates McFadden from "Star Trek TNG.") She steps out of the doorway and begins to walk towards Xavier and Logan.
MOIRA
Maybe I should lock both of you up.
She and Xavier embrace.
XAVIER
Moira this is Logan, he is...at the school he...
Xavier is a little lost trying to explain Logan to Moira. She laughs a little and then approaches Logan.
MOIRA
So this is your adamantium man, Charles. Pleased to meet you.
Logan gives a little nod or wave or something.
XAVIER
Have been able to isloate the mutant's location?
MOIRA
I have. I don't think you'll like it, though.
CUT TO:
INT.MOIRA'S LAB--NIGHT
Xavier, Moira, and Logan look at a view screen. There is a map of North America on it. The rest of the lab is a little dark. Moira points as she speaks.
MOIRA
The "pulses" started at about three am last Wednesday and have been getting stronger. One of my operatives in Michigan was rendered unconscious for a few hours.
LOGAN
You say these are going through North America?
MOIRA
Yes.
XAVIER
The pulses have coincided with my recent episodes, Logan.
LOGAN
How come the rest of us are okay?
XAVIER
The episodes are telepathic in nature. Cerebro isn't completely back on line yet, so I haven't been able to find the source.
MOIRA
Charles beleives that these pulses are being used like a homing beacon...a cry for help.
LOGAN
So lets find this guy and help him.
He looks at Xavier.
LOGAN
We do that right?
MOIRA
I'm afraid it won't be as simple as that, Logan.
Moira punches some buttons. The image of the map is gone. We are looking at a satelite photoghraph of Alkali Lake. Logan and Xavier are frozen in their tracks.
MOIRA
Judging from the strength levels of the pulses, this has got to be the point of origin.
XAVIER
Moira, certainly there's been some mistake.
MOIRA
I'm sorry, Charles. I've checked over and over.
ANGLE ON LOGAN
He stares blankly at the screen. Finally.
LOGAN
Well, what are we waiting for?
EXT. MUIR ISLAND--NIGHT
The X-Jet leaps into the air and shoots off.
CUT.
END OF SCENE
INT. THE HELLFIRE CLUB, SHAW'S OFFICE--NIGHT
Magneto, Shaw, Mystique, and Worthington stand near the fire. Emma sits in an easy chair, seemingly the focus of those around her. Shaw turns and looks at the fire. Worthington looks a little lost.
ANGLE ON SHAW
He looks satisfied.
SHAW
After all this time...
MAGNETO
The possibilities are limitless.
EMMA
Erik, dear, you realize that we cannot force Mrs. Grey to power the machine.
WORTHINGTON
Machine?
SHAW
An Egyptian bauble that Lensherr and I aquired years ago.
EMMA
Don't concern yourself, Warren.
WORTHINGTON
Why wouldn't she do it?
MAGNETO
It's the motives she would question, my boy.
WORHTINGTON
What does the machine do?
ANGLE ON EMMA
She stands suddenly. She looks around.
EMMA
Some one is eavesdropping.
ANGLE ON MAGNETO
He isn't surprised.
MAGNETO
Charles.
CUT TO:
INT. THE X-JET--NIGHT
ANGLE ON XAVIER
He sits next to Logan and Moira. He is concentrating. He takes a deep breath in and relaxes.
LOGAN
Where is he?
XAVIER
Someone is hiding him from me. We'll have to assume, for the moment, that Magneto is abreast of the situation.
LOGAN
That means step on it, right?
CUT TO:
INT. THE HELLFIRE CLUB, SHAWS OFFICE--NIGHT
Same as before.
EMMA
He's lightened up for now.
MAGNETO
You have my gratitude, Ms. Frost.
SHAW
Is he close, Emma?
EMMA
For the moment. I think he's airborne, moving towards North America.
MAGNETO
We have wasted enough time.
SHAW
Worthington, go ready the club's jet.
MAGNETO
There is no time. They'll be in Canada within the hour. I'll go, you catch up to me.
EMMA
Shaw, we can't trust him on his own!
Magneto is moving toward the window.
MAGNETO
Mystique will stay with you. I assure you, I'll be back for her.
Magneto holds up a hand and the window locks shatter and swing open.
WORTHINGTON
Wait.
Magneto turns around. Worthington starts to remove his tuxedo jacket.
WORTHINGTON
I'm coming with you.
Worthington looks back at Shaw, who nods and then removes his coat. Behind him, two thirteen foot wings made of white feathers unfurl. He approaches the window. He dives out. Magneto slowly lifts from the ground and follows.
ANGLE ON MYSTIQUE
She is worried about Magneto.
CUT.
|
|
Apr 12th, 2004 03:58 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
EXT.OVER THE ATLANTIC-NIGHT
The X-Jet soars toward North America and out of frame. The camera mega-pans back at high speed to catch up with Worthington and Magneto. They are moving quite fast. (They are also both formally dressed, if you forgot.)
ANGLE ON MAGNETO
He is searching for the X-Jet. Mega-pan back to the jet, through the windshield and into the cockpit.
ANGLE ON LOGAN, XAVIER, MOIRA
Logan is concentrating fiercely. Suddenly Xavier collapses. Moira unfastens her harness and moves to him.
MOIRA
Charles?
XAVIER
They’re getting closer. The attacks…
LOGAN
What does that mean?
Moira makes a move to answer, but inexplicably crashes through the windshield instead. Xavier’s ailing body jerks forward also. Logan moves quickly and instinctively.
ANGLE ON THE FRONT OF THE X-JET
The windshield is shattered. Through the large opening, Logan is holding Moira’s wrist. She dangles a bit, unconscious. The jet is not moving. Logan pulls Moira in.
ANGLE ON THE COCKPIT
Logan frantically checks the instruments, to see what could be going on.
ANGLE ON XAVIER
He lifts his head quickly. He’s just sensed Magneto.
XAVIER
Erik.
ANGLE ON LOGAN
Logan stops checking the instruments and looks at Xavier.
LOGAN
How far?
XAVIER
Close. We have to get to the parachutes.
Mega pan back through the jet to Magneto and Worthington, still flying.
ANGLE ON MAGNETO, CLOSE
We see in his face that Magneto is concentrating very hard.
WORTHINGTON
What are you doing?
MAGNETO
Something I should have done a long time ago.
Mega-pan back to the Rear area of the X-Jet.
ANGLE ON XAVIER, LOGAN, MOIRA
Logan is digging through a utility closet. Moira is slumped over the armrests of Xavier’s chair, bleeding.
XAVIER
He’s closing on us, Logan.
LOGAN
How the hell is he moving so fast?
XAVIER
He’s using the planets gravity.
LOGAN
Can you get into his head?
XAVIER
I can’t risk it. He can drop us at any second.
LOGAN
Terrific. This is just terrific.
XAVIER
The parachute cables are made of high-density plastics. Once we’re out of the jet he shouldn’t be able to reach us.
LOGAN
Shouldn’t be able to reach you, you mean.
Xavier is embarrassed. Logan has found the parachutes; he puts one on. The lights flicker. Logan and Xavier look around.
ANGLE ON LOGAN’S EAR, CLOSE
It moves slightly as we here a slight rolling sound.
ANGLE ON XAVIER, LOGAN
Logan begins to walk to one of the walls.
LOGAN
You hear that?
XAVIER
No. What is it?
Logan moves to the wall and puts his hand on it. Something catches his eye.
REVERSE ANGLE: THE WALL
There is a small bolt in the upper right hand corner of the frame. It’s spinning.
ANGLE ON LOGAN
He jerks his head around. The sound is louder now. Logan buckles the straps of the parachute. He hurriedly moves to Moira and Xavier. He grabs them and runs toward the windshield.
XAVIER
LOGAN! WHAT ARE YOU…
ANGLE ON THE X-JET
We see Logan, Xavier and Moira crash through the windshield.
ANGLE ON THE REAR AREA OF THE JET
We are back inside. Close to the floor. Screws are falling quite regularly. The lights go out.
ANGLE ON THE X-JET
As it literally comes apart in the sky and falls piece by piece to the Atlantic Ocean below.
ANGLE ON A PIECE OF WING
We track a piece of wing metal as it falls for a moment. It passes an open parachute. We hold on the parachute and pan down to Logan holding Xavier and Moira in his arms. They drift down slowly toward the ocean.
CUT END OF SCENE
EXT. ALKALI LAKE-NIGHT
The area is just how we left it. Only the tree-tops are visible above the water. The remains of the dam are just as we last saw them. There is a faint glow about the place. Not in any specific point, but it is more like the entire lake has an unnatural ambience.
HIGH ANGLE
We see two figures approaching on the horizon, fast. One of the figures has wings. Here they are now.
ANGLE ON MAGNETO AND WORTHINGTON
The have come to a stop above the lake. Magneto surveys the area. Worthington flaps around, curious.
WORTHINGTON
What happened here?
MAGNETO
The shot heard round the world.
WORTHINGTON
Why is this Grey lady’s death so important?
MAGNETO
It is not her “death” that will be important, Mr. Worthington.
Worthington is sick of this. There is a murmur in the water. Medium sized waves begin to emanate from the center. Circling outwards. Ripples. Then there are bubbles: the lake has started to boil.
ANGLE ON THE WATER
There is a light glowing beneath it.
ANGLE ON MAGNETO
He watches in expectation.
ANGLE ON WORTHINGTON
He looks over his shoulder as we hear a sound of an approaching jet.
ANGLE ON THE HELLFIRE CLUB’S PRIVATE JET
It zooms into frame.
ANGLE ON SHAW, EMMA, MYSTIQUE IN THE COCKPIT
Shaw is flying the jet.
ANGLE ON THE WATER
The light suddenly vanishes.
ANGLE ON MAGNETO
He is shocked.
MAGNETO
What?
Magneto drifts closer to the water. There is an eery silence as he examines it. He appears to be standing on the surface.
ANGLE ON MYSTIQUE IN THE COCKPIT
She is nervous.
ANGLE ON MAGNETO
He still appears to be standing on the water. Nothing happens.
ANGLE ON SHAW IN THE COCKPIT
He snorts.
SHAW
I knew it!
ANGLE ON MAGNETO
Same as before.
MAGNETO
Something is not right...
A huge column of white hot energy erupts the water just below Magneto. He is creamed, sent flying. The jet reels and Worthington is thrown off course by the sudden change in air pressure.
ANGLE ON MYSTIQUE IN THE COCKPIT
She rushes to the windshield.
MYSTIQUE
Erik!
ANGLE ON THE JET
It reels and then crashes into the muddy ground. We soon realize that the entire body of water is now evaporated. The muddy ground smokes a little. The jet has suffered little damage.
ANGLE ON WORTHINGTON
He takes off over the trees, presumably in search of Magneto. We pan down the dripping wet trees until we reach a small crater about thirty feet from the jet. There is someone standing in it. Her back is to us, but we can see that her hair is long-ish and dark red. She wears black leather that has come apart after being in the water for so long. We pull in on this figure, slowly. There is a kind of white fire that is dimly glowing around her. After a few seconds, this goes out. We finally reach a medium shot of her back. She turns around, facing us. Her eyes glow bright red and orange. She is breathing heavily. We once knew this woman as Dr. Jean Grey. Now she is Phoenix. Thank God.
CUT
END OF SCENE.
|
|
Apr 12th, 2004 03:59 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
INT. McCOY’S LAB–DAY
Cyclops and McCoy sit across from each other. Cyclops on a small sofa, McCoy behind a desk. There are boxes scattered about; McCoy is still unpacking. On the walls are several framed degrees, that we will see more clearly shortly. There is also an ancient looking tapestry with some Latin on it. We’ll get a better look at that in a minute, too. McCoy is tapping a pencil on a notepad. His feet are kicked up on the desk and his shoes are off. His feet are HUGE.
ANGLE ON CYCLOPS
He sits, in casual attire with his elbows on his knees. His hands are clasped. He’s looking at the degrees behind McCoy. Silence except for tapping.
REVERSE ANGLE: McCOY
McCoy sits. Still tapping.
ANGLE ON ONE OF THE DEGREES
It is a degree in Chemistry. Silence except for tapping.
ANGLE ON CYCLOPS
Same as before. He looks back to McCoy finally.
CYCLOPS
I don’t see one for Psychology.
ANGLE ON McCOY
The tapping stops. He sits up a little straighter. He looks back at his degrees.
McCOY
It’s more of a hobby.
ANGLE ON CYCLOPS AND BEAST
Cyclops gives a half-hearted little laugh. He starts looking around again. McCoy resumes tapping.
CUT TO:
INT. XAVIER’S OFFICE–DAY
Storm is sitting at the desk fiddling with some sort of radio console. It looks similar to the thing that popped out of the dashboard of Cyclops’ car in X2.
ANGLE ON THE RADIO
She turns knobs. We see band numbers changing on a digital display screen. There is nothing but static.
ANGLE ON STORM AT THE DESK
She looks frustrated. She presses the power button and the static stops. She leans back in her chair and looks at the ceiling.
CUT TO:
INT. McCOY’S LAB–DAY
ANGLE ON CYCLOPS AND McCOY
They haven’t moved. Tap, Tap, Tap.
ANGLE ON THE TAPESTRY
It reads clearly in Latin: MUTATAS FORMAS, NOVA CORPORA, NOVA PNEUMA.
ANGLE ON CYCLOPS
He has been looking at the tapestry. He looks to McCoy.
CYCLOPS
I read your article about that in Newsweek. It was excellent.
ANGLE ON McCOY
He stops tapping again and turns around. He looks at the tapestry with pride.
McCOY
Harvard still thinks it’s inconclusive.
ANGLE ON CYCLOPS AND McCOY
Cyclops leans forward. He is interested.
CYCLOPS
What’s the translation again?
McCOY stands up and motions to words as he translates.
McCOY
...Let’s see... “Changing forms,” “New bodies, “New souls.”
He sits down in a huff.
McCOY
Inconclusive.
CYCLOPS
Most people don’t want to believe that we were around back then.
McCOY
Well, most people are pretty good at avoiding topics they don’t want to think about.
McCoy looks pointedly at Cyclops.
ANGLE ON CYCLOPS
He laughs a little, conceding.
CYCLOPS
How am I?
ANGLE ON CYCLOPS AND McCOY
McCoy laughs a little, too.
McCOY
You’re doing great so far. Misdirecting like a champ.
They laugh.
ANGLE ON CYCLOPS
As the laugh wears down, he looks at the floor. He’s comfortable now. He’s ready to talk.
McCOY (OS)
Why don’t you tell me about her, Scott. Tell me about Jean.
CUT TO:
INT. XAVIER’S OFFICE–DUSK
Storm is pacing around the office and talking on a cordless telephone.
STORM
...And you never heard back from them?
Storm is concerned.
STORM
That’s just...I don’t know...I’ve lost all contact with the jet.
Storm smiles a little.
STORM
Well, I hope that’s the case too, Mr. Cassidy. I will. First I hear from them. Oh, yes, sir. She’s fine. She asks when you’re coming to visit her. She’s doing great. Alright, I will. You have a good day.
She almost hangs up but then stops herself.
STORM
Oh! Mr. Cassidy? Did they mention which way they were headed?
Slowly, we pull closer into Storm’s face, which grows horrified. She is frozen in her tracks.
STORM
Excuse me?
CUT TO:
INT. McCOY’S LAB–DUSK
Cyclops is walking around the room as he talks. Is shirt is unbuttoned at the top. McCoy still sits. Scott’s tone seems more concerned than remorseful. Almost as if he were still worried about Jean.
CYCLOPS
This was going on for weeks, Hank. Whenever Jean used her power, it was a little bit stronger than the last time.
McCOY
And you think it’s a result of Magneto’s machine?
CYCLOPS
It had to be. I mean, if you could see it...a thirty foot wall of water and it just...parted.
McCoy leans in. He is fascinated.
McCOY
Maybe there is a way I can see it.
ANGLE ON CYCLOPS
He gives McCoy a curious look.
ANGLE ON McCOY
McCoy is grinning.
CUT TO:
|
|
Apr 12th, 2004 03:59 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
INT. THE CONTROL ROOM OF THE DANGER ROOM–DUSK
The huge windows surrounding McCoy and Cyclops pass complex combinations of machinery, as the Control Room moves downward. Red lights, green lights, etc... Cyclops is punching in numbers. McCoy looks at all of the machinery, amazed.
McCOY
How did Xavier get his hands on this technology?
CYCLOPS
You wouldn’t believe me if I told you.
The windows pass into the huge gymnasium of the danger room. It is all cool blue-grey steel. Cyclops finishes keying in the sequence and the EXT of Alkali Lake slowly assembles itself.
As we get closer to the ground, we see that the scene is set just before Jean starts diverting the water. Cyclops looks over his shoulder at McCoy.
CYCLOPS
The safety overrides are disengaged, so stay with me.
McCoy gives a sheepish nod.
ANGLE ON THE DOOR
It unlocks and then opens. Cyclops steps through, followed by McCoy.
CUT TO:
EXT. ALKALI LAKE–DAY
There is snow on the ground. Everything looks just as it did at the end of X2, except the scene is frozen. Jean stands a few yards in front of the jet, with one hand raised towards it. About thirty yards in front of her the wall of water stands completely still. The control room console begins to lift up into the sky after Cyclops presses a button just beside the door. It is silent. Cyclops walks towards Jean, beckoning for McCoy to follow. He does. We follow them until they are directly between Jean and the jet. They stop.
ANGLE: RANDOM SHOTS OF THE SCENERY
Trees, the jet, Jean, the water, the snow on the ground...etc...
CYCLOPS (OS)
Now, what you are seeing is a combination of geographical information taken directly from Alkali Lake and personal accounts from everyone involved that went into the final report. Using holograms, we have recreated this to the tiniest detail.
ANGLE ON CYCLOPS AND McCOY
They haven’t moved. In the background, we see Jean and the wall of water.
McCOY
Why?
CYCLOPS
So we don’t repeat our mistakes.
Cyclops looks up.
CYCLOPS
Resume program.
In the background, the wall of water starts to rush toward them. McCoy is a little afraid. He jumps when all of the ambient sounds of the scene blare up suddenly.
CUT TO:
INT. A HALLWAY AT XAVIER’S SCHOOL
Storm is making her way to McCoy’s lab. She isn’t running. She’s walking briskly, but she is too mentally distracted to run. We can’t tell if she’s happy or sad. She looks dazed.
CUT TO:
EXT. ALKALI LAKE–DAY
Cyclops and McCoy stand right behind Jean, as water slams past them. McCoy is a little taken aback by the entire scene. He shouts over that deafening sound of the water:
McCOY
WHY DID SHE LEAVE IN THE FIRST PLACE?
Cyclops shouts, too:
CYCLOPS
PAUSE PROGRAM!
Suddenly, everything stops, except for Cyclops and McCoy. The water is frozen in it’s place.
CYCLOPS
Rewind to zero, three, two, four.
The scene around them shifts:
INT. THE X-JET–DAY
Same as the end of X2. This is the program Cyclops was running earlier, except now it’s focused on Jean.
ANGLE ON JEAN
She violently swings her head over her shoulder. She seems to be listening to something that is calling to her. She get up and moves to the back of the jet.
CYCLOPS (OS)
Pause.
Everything freezes.
CYCLOPS (OS)
I’ve been trying to figure this out for a month.
ANGLE ON CYCLOPS AND McCOY
They are standing in the X-Jet just behind Jean.
McCOY
It does seem a little...er...unjustified.
CYCLOPS
What made her think that she could pull this off?
He stares at Jean for a moment.
CYCLOPS
Resume Program.
ANGLE ON JEAN
She resumes her trek to the back of the jet. She passes Jubilee, Pyro, and then Bobby.
ANGLE ON CYCLOPS AND McCOY
McCoy is lost in the action taking place at the controls and following Jean. There is so much going on he doesn’t know where to look. His hand is on his chin. Cyclops hasn’t moved. Suddenly a voice booms in over them, like the voice of God.
STORM (VO)
Scott?
Cyclops doesn’t move.
STORM (VO)
Scott, we’ve got a...situation.
Cyclops jumps to alert.
CYCLOPS
What’s going on Storm?
ANGLE ON McCOY
He’s watching something happening toward the rear of the plane.
ANGLE ON JEAN
She is walking to the ramp. She passes the occupant of the final seat in the X-Jet: ROGUE. This is the first time we’ve seen Rogue in this picture. She’s young, with a streak of white in her hair. She’s beautiful and seems very concerned about what Jean is doing. Jean, however, passes her with little notice.
STORM (VO)
I’ve lost contact with the jet. No one at Muir Island has heard from them in hours, either.
CYCLOPS (OS)
Did you try the radar?
ANGLE ON McCOY
He watches more intently.
ANGLE ON JEAN AND ROGUE
Jean has walked a few feet passed Rogue and then suddenly stops. WE HAVE NEVER SEEN THIS BEFORE. Jean slowly makes her way back to Rogue, who is near tears due to strain and fear. Jean embraces her.
STORM (VO)
I tried everything, Scott. You’re not going to believe where they were going.
ANGLE: ECU
Jean’s lips touch Rogue’s forehead. There is a brief flash of veins on both of them.
ANGLE ON JEAN AND ROGUE
Jean releases Rogue and then continues to the ramp.
ANGLE ON McCOY
He struggles to speak.
ANGLE ON CYCLOPS AND McCOY
McCoy slaps Cyclops on the shoulder.
McCOY
What was that?
CYCLOPS
What was what?
McCoy seems monkey like in his excitement. He jumps and flails.
McCOY
Rewind! Just a few seconds...maybe a minute.
Cyclops gives him a look and then looks up.
CYCLOPS
Rewind one minute.
The scene shifts backwards around them.
STORM (VO)
Scott!
ANGLE ON JEAN AND ROGUE
They are embracing again.
STORM (VO)
Scott, are you listening to me?
Jean kisses Rogue on the forehead same as before and then she walks to the back of the jet.
ANGLE ON CYCLOPS AND McCOY
Cyclops is mystified. McCoy is grinning again.
STORM (VO)
Scott, please.
Cyclops looks up.
CYCLOPS
Storm? Where is Rogue right now?
CUT.
END OF SCENE
|
|
Apr 12th, 2004 04:00 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
EXT. CENTRAL PARK–NIGHT
The scenery is gorgeous. A girl sits by a small man-made lake, with a fishing pole in her hand. A few feet away a boy about her age sits in a similar fashion. She is ROGUE, he is BOBBY. He looks over at her.
BOBBY
We’re going to have to pay extra if you want to stick around.
ROGUE
Leave me alone, this is a little taste of home for me.
ANGLE ON ROGUE’S FLOATER IN THE LAKE
It begins to bob erratically.
ANGLE ON BOBBY
BOBBY
Hey! Look!
ANGLE ON ROGUE
She pulls up on her rod. There is a small fish on the end of it. She smiles.
ROGUE
How about that? So do we keep them or what?
There is a small breeze that animates Rogue’s hair. She looks over her shoulder.
ROGUE
Did you feel that?
ANGLE ON BOBBY
He’s already started to stand up.
BOBBY
Yeah.
ANGLE ON BOBBY AND ROGUE
Medium Shot. In the foreground, Bobby walks toward us, looking for something ahead of him. In the background we see Rogue take her fish off the hook and toss it into the lake. She begins to follow Bobby. They are very serious all of a sudden.
REVERSE ANGLE
There is a small cluster of trees, almost spooky in the dark. Bobby and Rogue walk into frame from either sides. They are approaching the trees. Storm steps out of the shadows. Bobby and Rogue stop.
STORM
We’ve got to get back to the mansion.
ROGUE
Is everything alright?
BOBBY
I didn’t hear the jet.
Nightcrawler steps out of the shadows behind Storm. He waves a little.
REVERSE ANGLE ON BOBBY AND ROGUE
They don’t look excited.
CUT.
END OF SCENE.
INT. XAVIER’S OFFICE–NIGHT
Storm sits behind Xavier’s desk. Nightcrawler is crouched on the edge of the desk; he is a little worn out, from all the teleporting. Rogue and Bobby sit in the leather chairs in front of the desk. Cyclops stands by the window with his arms crossed. McCoy leans against a wall, drinking a cup of tea. This is a senior meeting of the X-Men.
ANGLE ON CYCLOPS AND STORM AND NIGHTCRAWLER
Favoring Cyclops. He is still working this out.
CYCLOPS
Why would they be headed back to Canada?
STORM
The Professor has been experiencing some low level psychic disturbances lately. He went to Moria because he thought she might be able to help him pinpoint the origin.
CYCLOPS
It’s her. It’s got to be.
STORM
Scott...we can’t be sure about that yet.
ANGLE ON BOBBY, ROGUE AND McCOY
Favoring Rogue. McCoy is in the background.
McCOY
Maybe she can.
STORM (OS)
What do you think, Rogue?
Rogue shrugs.
ROGUE
I don’t even remember this.
McCOY
How would it get into the report if she can’t remember it?
ANGLE ON CYCLOPS
He looks around the room.
CYCLOPS
Someone must have seen it.
ANGLE ON BOBBY
He is sheepish.
BOBBY
It was me.
Pull back to include Rogue and Cyclops.
ROGUE
You didn’t say anything?
BOBBY
I didn’t think you’d want to talk about it.
Cyclops steps closer to them.
CYCLOPS
If it happened, then you may still have some of Jean’s memories inside you.
ROGUE
It’s never lasted that long before.
ANGLE ON STORM
Still behind the desk, next to Nightcrawler. She shoots him a look.
STORM
This is the only lead we’ve got.
NIGHTCRAWLER
But how can we get inside her head, without Jean or the Professor?
ANGLE ON CYCLOPS
He is frustrated. McCoy is in the background.
CYCLOPS
I don’t know.
McCOY
I think I know someone.
Pull in toward McCOY.
McCOY
There’s a place in London. I’ve collaborated with them on several projects.
ANGLE ON CYCLOPS
He is hesitant.
CYCLOPS
Wait a minute...you’re not talking about this Hellfire place that funded your dig in Egypt, are you?
ANGLE ON McCOY
McCOY
Club, yes. The Hellfire Club. Is there a problem?
ANGLE ON STORM AND NIGHTCRAWLER
STORM
Scott, we need to hear him out. There’s still not any proof that the Hellfire Club is anything besides a social organization.
ANGLE ON CYCLOPS
He motions to their surroundings.
CYCLOPS
What, you mean like there isn’t any proof that this place is anything besides a school?
ANGLE ON ROGUE
She is eager to be a part of this.
ROGUE
How would we even get to London without the jet?
ANGLE ON STORM AND NIGHTCRAWLER
She looks at him.
NIGHTCRAWLER
I wish I could...It took all I had to get them here from the park.
STORM
We’ll just have to improvise.
ANGLE ON CYCLOPS
He is upset about this.
CYCLOPS
Everyone get into uniform and meet me out front in ten minutes.
ANGLE ON McCOY
He is hesitant. He motions to his chest.
McCOY
Out front? Uniform?
CUT.
END OF SCENE.
|
|
Apr 12th, 2004 04:00 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
EXT. THE FRONT OF THE XAVIER INSTITUTE--MORNING
WIDE SHOT
The X-Men stand in uniform behind the podium. Storm is at point, behind the microphone. To her right is McCoy, henceforth: BEAST. To her left is Cyclops. Nightcrawler stands openly next to Beast. Rogue and Bobby, henceforth: ICEMAN, stand behind Cyclops. In the foreground we see even more reporters than before, they give off a cacophony you would only expect from a Roman Colosseum. Camera’s flash and we cut in closer to Storm, white-eyed and ready for a little payback.
ANGLE ON STORM, CLOSE
She smiles as a crack of thunder quiets down the crowd of reporters. As she speaks, we see various shots of the reporters and the other X-Men.
STORM
Ladies and gentlemen, good morning. As I speak, the world is becoming bigger. At Xavier’s we don’t see this as a threat; we see it as potential. We are mutants and until recently we have kept our actions secret from the world. That stops here. No more hiding. We are a team of Emergency and Response volunteers working to contain potential volatile threats to both humans and mutants. At times, we have pushed the limits of the law, but it was always for the greater good. However, as a non-confrontational institution, Xavier’s is prepared to take full legal responsibility for these actions. Just not right now. Right now, Mr. Summers is going to walk over to that news chopper and do a pre-flight sequence. We’re going to fly it to LaGuardia. Once there, we’ll hijack a vehicle capable of making a flight to London, where we’ll neutralize a potential mutant insurgence. Like I said, the world is a bigger place now. Someone has to take care of it.
ANGLE ON THE GROUP OF REPORTERS
They let their video cameras droop. Dropped jaws. They can’t believe what they are hearing.
ANGLE ON STORM
She smiles again.
STORM
One question: Is anyone going to try to stop us?
Thunder.
CUT.
End of Scene.
EXT. UNDERWATER, THE ATLANTIC OCEAN, A COUPLE OF MILES OFF THE COAST OF CANADA--MORNING.
A hand plunges into frame, clutching a silver earring. The hand is discreet enough, as it jiggles the earring. After a minute or so, a curious little fish swims into frame, distracted by the shininess of the jewelry. As it approaches, three adamantium claws shoot out of the knuckles on the hand, skewering the fish. The hand pulls up toward the surface and we track it and pull back.
ANGLE ON LOGAN, XAVIER AND MOIRA, FLOATING ON A WRECKED PIECE OF THE X-JET.
Logan pulls the fish off of his claws and begins to clean it. Moria lies still in the background. Xavier his propped up on his elbows.
LOGAN
Not much further. Maybe eight miles to land.
XAVIER
It appears the tide was in out favor.
LOGAN
‘Least someone was. How’s your head?
XAVIER
Still nothing. It’s been hours. Whatever it was that kept calling me for help apparently found it elsewhere.
Logan has cleaned the fish. He hands a chunk to Xavier. They eat.
LOGAN
Or whoever, right?
XAVIER
I don’t know, Logan. This is all too much for me. I’m going to check on Moira. She’ll need medical attention as soon as we hit ground.
LOGAN
So I guess that means it’s my turn to kick, huh?
XAVIER
Oh yes, Logan, very clever.
Crane out to the horizon where we can see land in the distance, as Logan gets in the water and starts kicking.
CUT.
END OF SCENE.
NOWHERE -- LATE NIGHT/EARLY MORNING
FADE IN.
A hazy panorama of images and sounds. Voices and laughter. An image solidifies. We see Jean Grey lying on a stark white background. She looks haggard, her display of power from before seems to have left her completely drained. She is confused. One voice rises above the rabble.
EMMA (V.O.)
Miss Grey? Can you hear my voice? Do you know where you are?
JEAN
What is this place? Wait...this isn’t a place, is it?
EMMA
No, Jean, dear. It isn’t. Why don't you tell me the last thing you remember.
JEAN
Alkali Lake. In...In Canada.
Jean Gasps.
JEAN (QUIET)
Scott...
EMMA
A tragedy, I know. Such a shame. Scott, Logan, the Professor. You remember that, don’t you Jean? Do you remember how they died, darling?
JEAN
I remember...
EMMA
Close your eyes, Jean.
Jean closes her eyes.
CUT.
A BRIEF FLASH OF THE X-JET BEING TORN IN HALF BY A LARGE WALL OF WATER AT ALKALI LAKE.
CUT.
A BRIEF GLIMPSE OF CYCLOPS SCREAMING AS EVERYONE WITHIN THE JET REELS AND EXPLOSIONS ROCK THE CONSOLE.
CUT.
ANGLE ON JEANS EYES AS THEY OPEN.
The edges of her pupils momentarily line with fire and then flicker out. We pull back.
WIDE ANGLE ON JEAN, LOCKED BY METAL RESTRAINTS IN THE CENTRAL CHAMBER OF SHAW’S MACHINE.
She struggles for a minute, taking in her surroundings. Emma walks into frame.
JEAN
They’re all dead...
EMMA
You were so close to saving them, Jean. If only you were a bit stronger, they might have made it.
CLOSE ANGLE ON JEAN.
She stares off, blankly. A single tear rolls down her cheek as she takes this all in.
JEAN
But...I thought...I could...
EMMA
Tea and sympathy, I’m sure, Miss Grey.
Something occurs to Jean.
JEAN
Who are you? Why am I alive? I felt my neck snap...
EMMA
Oh, it did, Jean. In fact, we are not exactly certain of the specifics ourselves. My name is Emma Frost. Yesterday, my associates and I received a telepathic distress call from your location.
Emma leans in over Jean, almost seductively.
EMMA
You were right about one thing, Jean, dear. You were powerful enough to save them.
EXTREME CLOSE ANGLE ON EMMA’S LIPS AS THEY NEAR JEAN’S EAR.
Emma whispers.
EMMA
In fact...you still are...
MEDIUM ANGLE. TWO SHOT.
JEAN
Listen... I’m a doctor...I couldn’t explain what was happening to me and I don’t think you can either.
Emma huffs.
EMMA
Oh would just pick a tense and be done with it, darling: couldn’t, can’t. You Americans just butcher the language, you know that?
JEAN
Where am I really?
EMMA
This...is not a place, Jean.
WIDE ANGLE; THE ENTIRE CHAMBER.
Emma’s voice echoes, as she moves through the giant room, harkening back to the Romantic period paintings: a human completely overwhelmed by her environment of metal and stone.
EMMA
This...is potential given form, dear. A lapsed image of genetic glory just waiting for you to hit the bloody play button. I don’t know if you’re a history buff...
JEAN
I’ve taught a few classes.
EMMA
Then I’m sure you’re aware of the story of the first mutant? Back in the Middle Kingdom, Egypt, there was a boy. A mutant from which we all sprang.
JEAN
This is all hearsay. An apocryphal mess. There was never any evidence.
EMMA
Only because we bought it all, darling.
MEDIUM ANGLE. TWO SHOT.
Jean looks around.
EMMA
Mutants were just the second
branch, Jean. En Sabah Nur himself prophesied the arrival of a more powerful breed. A breed that would spring from one person. Care to guess who that is?
JEAN
It’s all true... This is it? En Sabah Nur’s vessel. This is how the Omega Mutant reawakens.
EMMA
Right after she “dies.” Omega Mutant... isn’t there any room in evolutionary science for a little pizazz? He called her, the Phoenix. Correction Jean, he called you the Phoenix.
JEAN
Me...No...I’m not the right person...I can’t be...I couldn’t take that much...I couldn’t even...
Jean trails off, choking a little.
JEAN
...I couldn’t...Scott...
EMMA
Did you know that this “Phoenix” is power incarnate, darling? I’m sure you know that she can control matter on a molecular level; that must have been in the Teacher’s Edition, surely. There are some that believe she can even bend the fabric of space...and time.
CLOSE ANGLE, AS EMMA CIRCLES JEAN.
Jean perks up.
EMMA
Her gaze can burn away all the infectious regrets of the past or tear through moments or hours and build it all up from the back end if she wants. Lives can be taken or given at any moment; wishes and dreams...granted with a twist of the lip.
JEAN
...Scott...
Jean closes her eyes again.
EMMA
She can smell the smoldering embers beneath all of creation and blaze them into life with a gentle caress. The Phoenix hears all the little amino acids in the Universe dancing and she dances with them until they look like her hearts desire...Do you hear them, Jean? They are dancing for you...
JEAN
I...
The air around Jean’s body begins to radiate slightly, taking on the same eerie ambience we witnessed before.
EMMA
Do you hear them, Phoenix?
ANGLE ON JEAN’S EYES AS THEY OPEN.
They blaze with fire...We pull back as the Phoenix “halo” extends through the room, activating the centuries dormant devices on En Sabah Nur’s machine. Emma steps back, frightened. The Phoenix speaks, though Jean doesn’t move her mouth and the voice is barely hers. It is deep and resonates like a church bell.
PHOENIX
I HEAR THEM...
CUT.
END OF SCENE.
|
|
Apr 12th, 2004 04:01 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
INT. THE HELICOPTER--DAY
All X-men are accounted for from the News Conference scene. We cut in
directly from the last scene to:
CLOSE ANGLE ON ROGUE
She swallows and her eyes kind of glaze over. It should look like some
sort of psychic light switch has been flipped on in her head.
MEDIUM ANGLE ON BOBBY AND ROGUE
He leans in to her.
BOBBY
Are you okay?
ROGUE
I...don't know...
REVERSE ANGLE ON THE COCKPIT
We see Storm and Cyclops piloting the chopper with Nightcrawler and Beast
immediately behind them.
STORM
Scott...
CLOSE ANGLE ON CYCLOPS
He looks out the window.
REVERSE ANGLE ON WINDOW
Below we see LaGuardia. Well, we can almost see LaGuardia behind all of
the flashing blue and red lights. There is a small army positioned around the
one open landing pad. Firemen, Ambulances, Police, even a few SWAT vans.
This will be a lot trickier than the X-Men thought.
REVERSE ANGLE
Back to Cyclops and Storm as they share a concerned look.
ZIP QUICKLY BACK TO A CLOSE ANGLE ON ROGUE
Who sits with a serene calmness. Her face changes. Almost as if she hears
something calling to her from behind.
REVERSE ANGLE ON THE BACK OF ROGUE’S SEAT
As she slings her head around, listening. This is a direct recreation of Jean
Grey’s “final” moments in X2. Except...
BACK TO THE FRONT SHOT OF ROGUE
She slings her head back around, with a new understanding of the situation.
ROGUE
No...Everything is going to be fine...
ANGLE ON CYCLOPS AND STORM
They look at each other and back to Rogue.
CUT TO
EXT. THE LANDING PAD AT LAGUARDIA–CONTINUOUS
Red and Blue flashing lights. The police/fireman/soldiers surrounding the
helepad are heavily armed. They
stand along side their vans and each track the helicopter (which we can see
in the sky) with their firearms. Slowly the chopper touches the ground.
CLOSE ANGLES ON THE FACES OF THE CIVIL SERVANTS
Randomly we cut through the group of officers; none of them look anything
less than terrified. We also cut back to close angles on the helicopter
landing. Suspense....
ANGLE ON THE CHOPPER
Finally it is still. It's blades slow to a halt and everyone tenses.
BACK TO THE FACES
The officers are just waiting for the X-Men to make their move.
ANGLE ON THE CHOPPER
Nothing happens. We finally hear shouts like: "What's going on?" and "What
are they waiting for?"
MEDIUM ANGLE ON THE LEADER OF THE SWAT TEAM
Pan up the green uniform of a big guy. We pass the nametag that reads simply:
EZEKIAL. We reach a head and shoulders shot of him. He is a large African
American man, wearing huge sunglasses with mirror lens. His arms are crossed
and he chews gum. He looks
at his watch. And looks back to the chopper.
ANGLE ON THE CHOPPER
Still nothing.
BACK TO THE SWAT LEADER
He gives his gum a final chew, spits it out and swings his head over his
right shoulder.
EZEKIAL
Tyler!
Suddenly a young swat appears over his shoulder, eagerly awaiting orders.
EZEKIAL
Open it.
Tyler gives an uneasy look, but shrugs it off and shouts to his
teammates... Meanwhile we watch EZEKIAL consider the situation. Tyler and
his teammates move as blurs over his shoulder.
TYLER
We're going in! I want blast proof, bombproof, bulletproof--Any shield you
can find! Consider them un-armed but extremely dangerous.
It appears the team has finished gearing up, because the blur of activity in
the background has finally stopped. The SWATs stand at attention, with Ezekial
in the foreground. They are awaiting final orders.
EZEKIAL
Shoot to kill.
They flow out of the background and pass Ezekial, running directly at the
camera. We stay on Ezekial for just a few more seconds. There is something
about him. Something different...He doesn't like having to do this.
HIGH ANGLE
As the SWATs pass Ezekial and flock to the chopper, which they circle.
They carry shields of every type described earlier and M-16's.
MEDIUM ANGLE ON THE SWATS
They set up a low perimeter around the chopper. Anyone inside would be hard
pressed to get out. Well...almost anyone.
CLOSE ANGLE ON TYLER
He looks to the man next to him and nods.
MEDIUM ANGLE
The soldier next to Tyler moves cautiously around the shield and toward the
chopper.
CLOSE ANGLE ON THE CHOPPER DOOR’S HANDLE
As the soldier’s bare hand moves toward it. It stops suddenly.
ANGLE ON THE SOLDIER
As he looks over his shoulder to Tyler, in the background. Tyler nods again.
The SWATs brace their shields.
ANGLE ON THE SOLDIERS HAND
As he reaches in, grabs the handle quickly and, jerks back. The handle snaps
off and we hear the soldier let out and agonizing wail!
|
|
Apr 12th, 2004 04:02 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
MEDIUM ANGLE ON THE SOLDIER
As he draws back his hand and clutches it, screaming and tossing the handle
aside in the process.
TRACK THE HANDLE
As it falls a little slower than real time and SHATTERS INTO A MILLION PIECES
at Tyler’s feet.
PAN UP TO TYLER’S FACE
As he reacts and turns his head back to the Soldier, who is still screaming.
TRACK OVER TO THE SOLDIER
Another SWAT has moved in and has managed to pry the soldier’s hand away from
his chest. We catch a glimpse of it: it looks to be afflicted by third degree
burns...or FROSTBITE.
ANGLE ON TYLER
He looks on in disbelief.
TYLER
What the hell...
WIDER ANGLE ON THE CHOPPER AND THE SWATS
Over Tyler’s shoulder we see: The Soldier still screaming, as the CHOPPER
ITSELF CRACKS AND CRASHES TO THE GROUND IN A MILLION SPLINTERS OF ICE. Soon
there is nothing. Tyler looks back to the ground.
CLOSE ANGLE ON THE REMAINS OF THE HANDLE
Just to cover my tracks, the remains sit in a small puddle of water, melting.
Hopefully everyone realizes what’s happened by now.
EXTREME HIGH ANGLE
Over the remains of the chopper and the small army. All is quiet, save for the soldier’s screaming, which dies down to a whimper. The soldiers all look around, unsure of what to do. It is quiet...until an eruption of small blue explosions goes off within the group, nearly simultaneously.
ANGLE ON VARIOUS GROUPS OF SOLDIERS
AS THE SMALL BLUE EXPLOSIONS SEND THEM REELING BACKWARDS!
WIDE ANGLE
The last of the blue explosions goes off. We see that none of the army is
standing.
CLOSE ANGLE ON TYLER
He is laying on his back as he reaches for a holster on his hip, frantically.
ANGLE ON TYLER’S HOLSTER
Tyler’s hand swipes at it, but finds it to be empty.
MEDIUM ANGLE ON TYLER
He sits up, as do the soldiers around them. They discover that they are all
unarmed. One of the soldiers points. Tyler looks off screen.
ANGLE ON THE X-MEN
They stand, triumphant in front of a few police cars; sirens blazing. Cyclops
and Storm are in front, while Beast lounges on the roof of one of the cars
examining one of the M-16's. Iceman and Rogue stand in front of another car,
holding hands. Nightcrawler is perched on the hood of this car with all the
weapons in a pile next to him.
CLOSE ANGLE ON STORM
She smiles a little.
STORM
Do you know what happens to a pool of water when it’s stuck by lightening?
ANGLE ON TYLER
He looks over his shoulder.
ANGLE ON THE GROUND.
Indeed, the entire helicopter has melted into a small pool of water that has
wandered through tributaries and is very definitely under most of the
soldiers.
ANGLE ON TYLER
He turns back to Storm.
ANGLE ON STORM
She is very calm and normal eyed. Cheerful almost.
STORM
Neither do I...
PAN UP TO THE SKIES
AS A MASSIVE THUNDERCLOUD CRACKLES WITH ENERGY ABOVE.
ANGLE ON BEAST
He puts the gun down in a huff in reaction to Storm’s comment. He puts his
head in his hands.
BEAST
For God’s sake...
ANGLE ON THE SOLDIERS
A sort of skewed fish eye from a distance, as energy crackles in the air
around them. Pull back to reveal EZEKIAL’s Mirror sunglasses. He is quite a
distance away by now. He stands next to a hangar.
ANGLE ON EZEKIAL’S HAND
As it slides up the hangar’s outer wall and finds a keypad.
MEDIUM ANGLE ON EZEKIAL
He discreetly inputs a series of numbers without looking. The hangar door
begins to slowly open.
CLOSE ANGLE ON EZEKIAL
He smiles and takes off his sunglasses. There is a LARGE “M” TATTOOED OVER HIS RIGHT EYE. He gives a final look to the X-Men and then quickly darts out of frame, never to be seen again; leaving thousands of X-Fans at least an hours worth of explanation to their girlfriends after the movie. You’re welcome. Like you even have girlfriends.
ANGLE ON THE SOLDIERS
They stand amid the crackling environment, awestruck waiting for something to
happen.
ANGLE ON THE X-MEN
They haven’t moved. The air around the helepad is surging with electricity. Suddenly...
ANGLE ON CYCLOPS
He moves forward.
CYCLOPS
Now!
ANGLE ON THE X-MEN
From the soldiers’ perspective, as the six mutants charge into the crowd!
ANGLE ON BEAST
As he leaps into frame, grabbing two soldiers and tossing them effortlessly out of frame.
ANGLE ON NIGHTCRAWLER
As he slides in low and attacks three soldiers simultaneously with his hands, feet, and tail.
ANGLE ON ROGUE
As she elbows a soldier in the stomach and judo throws him over her.
ANGEL ON ICEMAN
As he side kicks one guy into another while simultaneously freezing something on the ground.
ANGLE ON THE POOL OF WATER
As it freezes beneath the feet of the soldiers.
ANGLE ON THE SOLDIERS
As they slip and fall all over each other.
PAN OVER TO ROGUE
Who is a little overwhelmed by FOUR soldiers.
ANGLE ON ICEMAN
He notices Rogues predicament and starts freezing at the ground with both hands.
ANGLE ON THE FROZEN PUDDLE
AS IT BEGINS TO EXPAND UPWARDS LIKE A RAMP. We see Iceman's feet step on it.
WIDE ANGLE ON THE CROWD
As Iceman slowly makes his way up and over and passed them by means of an ICE SLIDE! Think of it as an overpass of ice. Every once and a while, he builds a support column with his right hand. He crosses the crowd of soldiers and makes his way to Rogue.
ANGLE ON ROGUE
As one of the soldiers produces a knife and slashes her arm. She shrieks and falls. Another soldier grabs her by her waist, but she wiggles free. In a desperate gamble to grab her again, he goes for her injured arm. Grabbing the place where her sleeve is torn.
ANGLE ON THE SOLDIERS HAND
As the veins begin to bulge.
CLOSE ANGLE ON THE SOLDIER
His face is awash with veins as Rogue siphons off all of his energy. His eyes close. HE CANNOT LET GO.
MEDIUM ANGLE ON ROGUE AND THE SOLDIER
The soldier looks catatonic as he clings to Rogue.
ANGLE ON ROGUE0
She struggles.
ROGUE
Let go...
She kicks at him.
ANGLE ON ICEMAN
As he slides in and tackles the guy away from Rogue, who clutches her arm and collapses.
ANGLE ON CYCLOPS
He lets off a blast or two. He looks over at Rogue.
ANGLE ON ROGUE
Soldiers begin to move in on her.
ANGLE ON CYCLOPS
He pushes several guys away from him.
CYCLOPS
Hank!
ANGLE ON BEAST
Who is nearly buried in soldiers. He manages to get his head up. We see Cyclops in the background who motions to Rogue.
TRACK STORM
Who leaps into the air and keeps going, flying over the crowd and towards Beast. She grabs his hands and sails through the air to Rogue.
ANGLE ON ROGUE
Who lies on the ground, crying and grasping her arm. She is delirious. Beast drops into frame. Tossing a few soldiers away from her. He wears a little ling bag around his chest, which he fumbles with.
ANGLE ON BEAST
As he unzips his bag. A soldier approaches from behind. BAMF.
ANGLE ON NIGHTCRAWLER
As he takes out the soldier with his tail. He begins running interference for Beast.
ANGLE ON BEAST
Who is preparing a hypodermic. He thumps it.
BEAST
This will only hurt for a minute.
He applies it to Rogue.
ANGLE ON ROGUE
She bites her lip.
ANGLE ON BEAST
Who draws back the hypo and places it back in the pouch. Then he gets hold of his left sleeve and rips it off. He begins to fashion a tourniquet on Rogue's left arm.
CLOSE ANGLE ON ROGUE
She looks curiously at Beast's arm.
EXTREME CLOSE ANGLE ON BEAST'S ARM
We see between beads of sweat that there are a few long and straggly BLUE HAIRS.
ANGLE ON BEAST
He looks at his arm, while tying the truncate. Then he looks back to Rogue. He makes a face that says, "What can you do?"
ANGLE ON ROGUE
She laughs a little. The fighting in the background has died down.
MEDIUM ANGLE ON BEAST AND ROGUE
Beast has finished with the truncate. He takes Rogue in his arms and stands.
TRACK BEAST AND ROGUE
As they move through what’s left of the army. Occasionally Beast kicks a soldier.
ANGLE ON THE X-MEN
They have demolished this "army." Cyclops and Storm are breathing heavy. Beast walks into frame, behind them. Nightcrawler teleports in. Bobby walks in to frame and moves to Beast.
Bobby
Is she okay?
ANGLE ON BEAST AND ROGUE
With Cyclops and Storm in the background. Rogue looks off.
ROGUE
I'm fine, Bobby.
She points.
ROGUE
Look...
REVERSE ANGLE
From behind the X-men we see the huge hangar that Ezekial opened. Inside we see a huge supersonic jet.
ZIP IN CLOSER ON THE JET
This thing is HUGE. How this got to LaGuardia is anyone's guess. This jet puts the X-JET to shame in terms of size and design.
CYCLOPS (OS)
Looks like we found a jet.
REVERSE ANGLE ON BEAST AND STORM
As they walk. Beast is still carrying Rogue. He looks at Storm.
BEAST
"Do you know what happens to a government jet when you steal it?"
Storm laughs a little to herself. They have reached the jet in the hangar.
ANGLE ON STORM
She whips a small case out of her costume. She removes several metal tools.
ANGLE ON THE DOOR TO THE JET
Storms hands reach in and she starts to pick the lock.
MEDIUM ANGLE ON STORM AND BEAST
Favoring Storm. She looks at Beast, smiling.
STORM
"The same thing that happens to anything else..."
Click. The door to the jet opens. Storm holds the door for Beast and Rogue and then enters.
WIDER ANGLE
Cyclops, Iceman, and Nightcrawler all enter the jet.
CUT TO:
EXT. THE HANGAR--MOMENTS LATER
The great jet roars and zooms out of the airport, on it's way to London.
CUT.
END OF SCENE.
|
|
Apr 12th, 2004 04:02 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
INT. HELLFIRE CLUB, SHAWS OFFICE--NIGHT
ANGLE ON A TELEVISION
A small black and white monitor. We see Jean Grey still restrained in the machine. She doesn't struggle. The Phoenix effect is still ambient in the room.
EMMA (OS)
I've got her. For the time being at least.
PAN UP TO SHAW AND EMMA LOOKING AT THE MONITOR
Shaw sits behind the desk, Emma leans over it.
SHAW
Time being?
EMMA
She's getting stronger. If we're going to do this it needs to be soon.
Shaw sits back in his chair.
SHAW
Agreed.
MYSTIQUE (OS)
We need Erik to activate the energy converter.
PAN OVER TO MYSTIQUE
Who stands next to the window, looking out wistfully.
MYSTIQUE
We shouldn't have left him.
Emma walks into frame.
EMMA
Phoenix was temporarily weakened after her display. It was our only chance to--
MYSTIQUE
I wasn't talking to you.
ANGLE ON EMMA
She winces, insulted. She moves to retort, but then recoils.
EMMA
Of course not.
WIDER ANGLE
The whole office. Mystique moves to Shaw.
SHAW
What do you prepose we do, Mystique? Time is a factor. Phoenix could slip out of Emma's control at any second.
MYSTIQUE
Have you seen the news?
Mystique leans in over Shaw, and adjusts the monitor.
ANGLE ON THE MONITOR
A 24 hour news channel. Images from the X-men's press conference. Random. Stealing the helicoptor.
ANCHORMAN
--a private army in upstate New York, Xavier's School has been investigated several times by different branches of the government regarding their mutant connections. Prior to the attack on US armed forces at New York's Laguardia airport, Ms. Munroe made her intentions very clear. The group is believed to been en route to London at present....
ANGLE ON SHAW, EMMA, MYSTIQUE
They look at each other.
CUT
END OF SCENE
|
|
Apr 12th, 2004 04:05 PM |
|
|
| |
|
Beastbone
Junior Member
Gender:
Location: United States |
EXT. CANADIAN WILDERNESS--DAY
ANGLE ON SOME THICK FOLIAGE
As Logan's claws rip it to shreds from behind. Logan emerges, with the unconscious Moira in his arms. He wears his tattered uniform, with jacket portion unzipped (for the ladies) and the parachute pack. The straps of the pack seem a little hap-hazard, as though they have been refitted for something, knots and ties. He sniffs and looks around. Suddenly we hear Xavier's voice from nowhere.
XAVIER
What is it, Logan?
LOGAN
The wind’s changed. He’s here.
XAVIER
Take me to him.
Logan turns and starts to follow the scent. We notice that Xavier is strapped into the parachute pack on Logan’s back. His legs drag.
WIDE ANGLE
Logan moves through some trees and reaches a clearing. It is the dried bed of the recently evaporated Alkali Lake. In the daylight we can see the scope of it: huge and imposing. Like the impact crater for an asteroid that might have killed off the dinosaurs. In the middle, there lies a familiar man in tattered tuxedo. He is alone and looks weak. Logan descends into the bed towards him.
ANGLE ON MAGNETO
Closer now, we see that Magneto is severely injured. The remains of Worthington’s tuxedo have been fashioned into bandages. Magneto’s eyes are closed. As we hear foot steps, he opens them.
MAGNETO
Quite a monkey, Wolverine.
ANGLE ON LOGAN
As he lies Moira next to Magneto and begins to unfasten Xavier from the straps.
XAVIER
Erik, what’s happened to you?
Logan has loosened Xavier and places him next to Magneto on the other side.
MAGNETO
Perhaps you should ask the late Dr. Grey.
LOGAN
Jean? Where is she?
XAVIER
She is alive?
ANGLE ON MAGNETO, XAVIER, MOIRA
As they lie on the ground. Logan squats into frame.
MAGNETO
Yes. She is more than alive, I would say.
XAVIER
This is Jean’s doing?
Xavier looks around.
XAVIER
The lake?
MAGNETO
Evaporated. She’s more powerful than any of us thought. They won’t hold her for long.
XAVIER
They?
Something occurs to Xavier.
XAVIER
Of course...Sebastion Shaw...You convinced them that...Jean was the one they’ve been looking for. They’re going to use that Egyptian device on her!
Xavier rolls and grabs Magneto by the shoulders.
XAVIER
ERIK! What do they want her to do?
MAGNETO
What I cannot.
ANGLE ON LOGAN
He is a little lost.
LOGAN
I’m a little lost, here.
ANGLE ON XAVIER
XAVIER
This man, Shaw. He’s an old contemporary of ours.
MAGNETO
Like Ms. MacTaggart, here.
XAVIER
We were all studying the Mutant Boom together decades ago. There were disagreements...
WIDER ANGLE
Logan stands above Magneto and Xavier. He motions to them.
LOGAN
Like, you two.
XAVIER
Much worse, Logan. Erik and I disagree with each other a lot, but there is a... mutual respect... Some underlying friendship beneath... With Shaw... There is nothing he wouldn't do...
ANGLE ON MAGNETO
Who is secretly touched by this comment.
LOGAN (O.S.)
Underlying friendship? Like the time he turned you into a weapon? Tried to kill every human on the planet?
Magneto snickers and giggles much like he did in X2 when he and Mystique laugh on the X-Jet. We’ll see why.
MAGNETO
I was quite proud of that. Mystique...she came up with that in the plane that morning. Honestly it hadn’t even occurred to me.
ANGLE ON LOGAN
He glares.
LOGAN
Very funny. Where is Mystique? Someone’s been taking care of you...
WIDE SHOT
All four of them. Magneto points at the sky.
MAGNETO
My guardian angel.
PAN UP TO THE SUN
As a winged shadow flies in, glorious amid the lens flares and heavenly light.
TRACK WORTHINGTON TO THE GROUND
He lands and we get a better look at him: Shirtless, dirty, and generally a lot worse for wear than his angelic entrance suggested. He has some fire wood. Which he sets down.
WORTHINGTON
Who are you?
LOGAN
We’re the people you dumped in the Atlantic last night.
MEDIUM ANGLE LOGAN AND WORTHINGTON
Worthington walks towards Logan.
WORTHINGTON
How did you get here? I’ve been trying to find a jet...a radio...anything. There’s a Canadian Military Station a few miles East of here. I didn’t want to go and leave him alone.
LOGAN
He’s got plenty of company now.
ANGLE ON WORTHINGTON
He looks to Magneto.
ANGLE ON MAGNETO
He nods and looks to Xavier.
MAGNETO
Go ahead. If I can’t reroute the power convertor on the machine before Shaw tries to use it...There Will be grave repercussions. Charles and I have some...catching up to do...
FOLLOW LOGAN AS HE BENDS DOWN TO XAVIER
He is trying to be secretive.
LOGAN
Still no telepathy yet?
Xavier shakes his head.
XAVIER
I’m not afraid... I would venture to guess the Erik is powerless as well, otherwise he wouldn’t be here.
Logan is skeptical.
LOGAN
If it comes down to it... You’ve got this...
Logan pulls a small camping knife from his belt and sticks it in the ground next to Xavier.
PULL BACK TO INCLUDE MAGNETO AND WORTHINGTON
Magneto grins a little.
LOGAN
Don’t get any ideas... It’s plastic.
Logan looks to Worthington.
WORTHINGTON
They have more than enough fire wood to last a night.
XAVIER
Moria will be hungry when she wakes up.
Logan looks off frame, suddenly hearing something. He quickly darts out.
WORTHINGTON
Where does he think he’s going?
Xavier and Magneto share a look.
CUT TO:
EXT. CANADIAN WILDERNESS--DAY(CONTINUOUS)
FOLLOW LOGAN
As he dives swiftly through the woods, dodging branches and rocks. He moves in a way we’ve never seen before. He suddenly perches on a rock outcrop like a hunter. He sniffs.
PULL INTO A CLOSE UP
Of Logan as he gets a scent. His eyes are different. He is completely feral. He snaps out of frame.
CUT TO:
EXT. ALKALI LAKE BED--DAY (MINUTES LATER)
Xavier and Magneto are propped up. Xavier is carving a small piece of wood with his plastic knife. Moria lays on a few scraps of Worthington’s tuxedo and the parachute. Worthington has built a fire. Logan walks in, carrying a deer on his back. His hands and wrists are bloody. He slings it down.
LOGAN
Food...
MAGNETO
He certainly gets results, doesn’t he?
Worthington gets up.
WORTHINGTON
The fire’s lit. We should be going. There’s a shift change at the Station at sundown.
ANGLE ON LOGAN
He looks at Xavier.
ANGLE ON XAVIER
He smiles, still carving the small piece of wood.
XAVIER
We’ll be fine, Logan. Worry about getting a plane. Quickly.
WIDE ANGLE, EVERYONE
Logan walks to Worthington. Worthington grins.
WORTHINGTON
Going up?
Worthington grabs Logan’s wrists and leaps into the air, wings beating. They are gone. Xavier and Magneto watch them for a moment. Xavier goes back to carving. Magneto has grabbed a scrap of the parachute and is using coal from the fire to mark on it.
CUT.
END OF SCENE.
|
|
Apr 12th, 2004 04:06 PM |
|
|
| |
Forum Rules:
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts
|
HTML code is OFF
vB code is ON
Smilies are ON
[IMG] code is ON
|
|
Text-only version |
|
|
KMC Community Forums
