EXEC. PRODUCER: David PeckJnpah PROD. CO-EXEC.PRODUCER

EXEC. PRODUCER:CO-EXEC. PRODUCER:PRODUCER:PRODUCER:PRODUCER:EXEC. STORY EDITOR:EXEC. CONSULTANT:

David PeckJnpahBill DialJerry O'ConnellEd leddlngMarc Scott ZicreeChris BlackTracy Torme'

Prod. DraftEN Pink Rev.

1st Blue Revs.

PROD. *K281511/13/97 (F.R.)11/18/97 (F.R.)11/20/97 (F.R.)

"SLIDECAGE"

Written by

Marc Scott lIcre.

Directed by

Jerry O'Connell

REVISED rAGES;

EN Pink Rev. full Script1st Blue Revs. Sets.Chron.l-ll.16.16A.28.29.35.36.S".SS

- NOTICE-THIS MATERIAL IS THE PROPERTY OF UNIVERSAL CITY STUDIOS, INC. AND IS INTENDED ANDRESTRICTED SOLELY FOR STUDIO USE BY STUDIO PERSONNEL DISTRIBUTION OR DISCLOSURE OfTHE MATERIAL TO UNAUTHORIZED PERSONS IS PROHIBITED. THE SALE, COPYING ORREPRODUCTION OF THIS MATERIAL IN ANY FORM IS ALSO PROHIBITED.

#K2815 - "Slidecage" - 1st Blue Revs. 11/20/97

SLIDERS

"Slidecage"

FADE IN

1THRU OMITTED

2

2A INT/EXT. HOTEL DECK - DAY - ON FERNS AND GREENERY (01)

moving.

REMBRANDT (O.S.)Man, this is the life.

Arrive:

l(X)

1THRU

2

2A

2B ON REMMY AND MAGGIE

Soft music is playing. Remmy is lying on a massage tableunder a towel, getting worked over by a beautiful masseuse.Maggie is sit~ing in a beach chair next to the table,wearing a bikini~ holding a reflector under her chin toconcentrate the rays. Remmy just groans as the. masseuseworks. After a moment, a muscular young man in shortsbrings Maggie a drink on a tray. She takes it, he startsaway.

MAGGIENo.

The waiter stops and turns back to her.

MAGGIEI want you to stay here while Idrink this.

The waiter reacts with a shrug.

MAGGIETurn a little to your right.

The waiter turns to his right so Maggie can see his butt.

MAGGIEThat's better.

She sips the drink.

REMBRANDTA cryin' shame to .have to leavethis place.

CONTINUED

2B


2B CONTINUED

MAGGIEIt does seem ideal. A world wheregood tans and massages arecompulsory.

Maggie finishes her drink, nods to the waiter, who exits.

QUINN (0. S . )Okay, if you look here, there's abur1ed string hidden among theintegers

WIDEN as Rembrandt and Maggie look over to see QUINN andCOLIN at a nearby table, engrossed in the laptop computerbefore them. Its screen shows a diagram of the twomicro-dots, spewing out numbers, which then combine into acomplex scroll of equations.

REMBRANDT(to Ma9gie)

Isn't that ~ust pitifUl? Might aswell be bra1ns in a fish tank.

COLINQuantum physics, transdimensionalgeometry .••

~shakes his head) .I don t think I'll ever master it.

QUINNDon't tear yourself down. If youhadn't sold that electric dowser ofyours, we wouldn't even have thiscomputer.

2.(X)

2B

MAGGIEHey, how about you geniuses take abreak, get the kinks out?

QUINNYou're loose enough for the restof us.

{holds up the timer)Two m1nutes thirty. Everyone outof the pool.

Maggie and Rembrandt grumble. Rembrandt tips his masseuse,who exits. He and Maggie go off behind two changingscreens, their heads v1sible above them as they change.

REMBRANDTSo what do you think it'll be thistime? Polar ice world? Talkingdog world?

QUINNFor once, I can tell you.

(excitedly, off Colin)We're going home.

CONTINUED


2B CONTINUED 2

Rembrandt and Maggie are stunned.

REMBRANDTYou're kidding.

MAGGIEYou said the data from themicro-dots your parents left youwas all scrambled.

QUINNI thought Colin's micro-dot wasdamaged.

(shakes his head)Turns out it was designed that wayto stop other folks from accessingthe coordinates.

Rembrandt and Maggie emerge, fully dressed.

REMBRANDT'Folks' like the Kromaggs.

QUINNYeah. But I discovered a hiddende-ecr¥ption program keyed to ourspecif~c DNA... and there she is.

The rows of numbers on the laptop's screen fall away toreveal a simple line of numbers. Everyone's jazzed.

REMBRANDTFinding out how they beat theKromaggs will be worth the wholeprice of admission.

MAGGIEHome to meet the parents ...

QUINNOur parents, bro. Like the soundof that?

COLINYes.

Quinn hands him the timer, smiles.

QUINN

3.(X)

2B

Then hit it.

Quinn stashes the computer in a knapsack as Colin pushes thebutton. The timer SHOOTS OUT A BEAM. Our guys run O.S.,Quinn with the knapsack, and jump through the O.S. VORTEX.

#K2815 - "Slidecage" - 1st Blue Revs. 11/20/97 4.

REMBRANDT (O.s.)

3 INT. LABYRINTH - MAGNETIC CORRIDOR - NIGHT (Nl)

Our guys SLIDE IN, get to their feet, look about. The placeis futuristic in design, but rundown. They're in a lon9corridor, lit only in patches, equipment lying about, w1ringhanging from the ceiling. A feeling of chaos.

COLINThis isn't quite what I wasexpecting.

REMBRANDTHellot Heyt Where's the welcomewagon?

MAGGIELet's just find the exit.

They walk along, casting about. Rembrandt moves O.S.

QUINNI don't see any door out.

Maggie takes a breath, notes:

MAGGIEAir's got a metallic taste. Likeit's processed.

QUINNThat doesn't tell us where we are.

(bleak)We're a long way from home.

ANGLE to include Rembrandt. He stands ( lookin9 out awindow. The others join him and gape 1n surpr1se.

4 THEIR POINT OF VIEW - OUT THE WINDOW

A barren, alien terrain stretches to the horizon. The NIGHTSKY is afire with weirdly colored clouds, a tapestry ofunfamiliar stars and TWO MOONS in the sky.

5 OUR GUYS

peer out worriedly, as we ...

FADE OUT

END OF TEASER

3 (X)

(X)

(X)

(X)

4

5


ACT ONE

FADE IN

6 OMITTED

6A INT. LABYRINTH - MAGNETIC CORRIDOR - ON THE WINDOW - NIGHT

The same bizarre scene as before.

7 ON QUINN, REMBRANDT, COLIN AND MAGGIE

looking out at the scene with disquiet. Maggie turns toQuinn.

MAGGIEYou're sure you got the coordinatesright?

5.

6 (X)

6A(X)

7

positive.QUINN

REMBRANDTWelle something must've gonehaYW1re. I mean, that looks likesomething out of star Trek.

QUINNThe timer always sends us to analternate Earth, never an alienplanet. This is almost certainlyEarth -- just one very differentfrom anything we've seen before.

REMBRANDTLooks pretty dead out there. Ifthis is your home world, where areall the people?

QUINNI don't know, we just got here.

(exasperated)Why does everyone always expect meto have the answer?

COLINBecause you usually do.

Quinn tries to glare, but can't help breaking into a grin.

MAGGIESo if it's home sweet home, we'llstick around. If not, we'll slideout.

(to Colin)How long we got on the universalremote?

COLINThe --? Oh.

CONTINUED


7 CONTINUED

6.

7

Excuse me.

Colin raises the timer in his hand to check -- and freezes.

COLINBrother, we have a problem.

He shows it to the others -- its LED is frozen at 00:00.

REMBRANDTThe timer's not counting down.

Quinn takes it, tries to punch in some commands -- nothing.

MAGGIEWhat's wrong with it?

Quinn shoots her a look --"What were they just talkingabout?

MAGGIEYou don't know.

QUINNYes, that's right.

Suddenly, a soothing MAN'S VOICE issues from behind them.

MICHAEL MALLORY (O.S.)Over here, please.

Surprised, they turn in the direction of the sound.

QUINNI know that voice.

Colin nods. He does, too, but -- like Quinn -- can't quiteplace it. They move toward a doorway.

MICHAEL MALLORY (O.S.)This way. There's nothing to beafraid of.

They move off toward:

8 INT. ARRIVAL AREA - NIGHT

Quinn, Colin, Maggie and Rembrandt enter.

MICHAEL MALLORY (O.S.)Good.

As soon as they're all in:

CONTINUED

(X)

(X)

8(X)

(X)

(X)

(X)


8 CONTINUED

LIGHT behind them comes on, ILLUMINATING them. They turnto see that it's a BIG VIEW SCREEN. The kindly face ofMICHAEL MALLORY appears. Stunned, recognizing the face,Quinn and Colin draw near it, the others following.

MICHAEL MALLORYWelcome, newcomers. I helped toinvent sliding, the method by whichyou've arrived here. My name isMichael Mallory.

7.

8

(X)

Colin, it's ourQUINN

COLINFather.

(to the screen)Father! It's Quinn and Colin!

MICHAEL MALLORY(over the above)

This may well be disorienting toyou, as you were no doubt trying toget to my world -- .

QUINN(to Colin)

He's not here, it's just a tape.

MICHAEL MALLORY-- but you have instead beenshunted here, by the Slidecagemechanism.

MAGGIESlidecage?

MICHAEL MALLORYFollowing the recent human/Kromaggwar, we have driven the enemy fromour world and cloaked it so theycannot return, by these means. Inthe interest of -- .

His image BREAKS UP, the sound GARBLES, it's all distortion.

REMBRANDTCome back, give us the whole story!Hey!

No response. Rembrandt HITS the edge of the screen with theflat o? his hand hard. The IMAGE restabilizes.

REMBRANDTHah! Always worked with myoId TV.

MAGGIEDoesn't look like the¥'remaintaining their equ~pment.

CONTINUED

She


8 CONTINUED 2

MICHAEL MALLORY(over the above)

unfortunately cannot return you,as it would pose a security risk.If you are a friend rather than anenemy, I'm truly sorry.

QUINN(to Rembrandt and Maggie)

MICHAEL MALLORYYour needs will be provided for,food and air and shelter. Do nottamper with the dispensingmachines. If you attempt toventure outside, the toxicatmosphere will kill you. otherthan these strictures, you are freeto live by the rules you create.Make the best of this world. It isnow yoyr world•.. for the rest ofyour l~ves.

The screen GOES BLANK.

MAGGIEThe rest of our lives?

QUINNIt's a perfect system to protecttheir world, make sure the Kromaggscan't invade. Anyone who tries toslide there ends up here instead.

(off the timer)They must have some kind of dampingfield to render this inoperable.

REMBRANDTYou saying we've wandered into somekind of roach motel for sliders?

COLINBut why would our parents cloaktheir world and not come get us?

QUINNThey tried to, but I was kepthidaen from them. And you werelost,· your foster parents dead.

REMBRANDTKnowing those Kromaggs, I can'tblame your people for wanting tokeep their world safe. It's just adamn shame we walked into it.

COLINSo what do we do now?

8 .

CONTINUED

8

(X)

(X)


8 CONTINUED 3

QUINNWhat we always do. Beat the odds.

They walk further along, scoping out the area.

MAGGIEPlace is a real labyrinth.

QUINNAll we need is a Minotaur.

(turns to Colin)It's a beast with the head of a

COLINWe have that myth where I comefrom, too ... and I know thatTheseus managed to get out.

REMBRANDTYeah, but not before one hell of afight.

9.(X)

8

9THRU OMITTED

10

9THRU

10


11 POINT OF VIEW FROM VENT - ON MAGGIE

An UNSEEN PERSON is watchin9 her. We HEAR the O.S.observer's breathing. Magg1e is unaware of him. Justthen, there's a CRASHING and SHOUTS of a brawl drawingnear.

12THRU OMITTED

14

15 WIDE

Hearing the RIOT coming their way, Quinn calls to theothers:

QUINNGet down!

10.

11

(X)(X)

(X)

12THRU

14

(X)

15

They duck into hiding. A beat, then a BRAWLING GROUP OFHUMANS AND KROMAGGS surge into the area from a side (X)corridor. All are dressed in ragtag clothes. It's like astreet rumble, everyone fighting dirty, fists and boots andrough weapons (neither side has guns or blasters, weaponsare jerry-rigged from scavenged parts). .

Rembrandt wants to join the fray, but Quinn holds him back,whispering:

QUINNLet's see what the rules are.

The Kromaggs seem to be getting the upper hand. Two humanstake flight down the corridor, leaving one human alone. Wesee now 1t's a haggard woman, DARLA (30s), the Kromaggsganging up on her.

QUINNOkay, now we know.

He and the others dive out, taking on the Kromaggs, allowingthe woman to escape. She runs off after her companions.Seeing they're outnumbered, the Kromaggs beat a retreat. Atthe last, a blow from behind knocks Rembrandt senseless.The Kromaggs drag him back the way they came.

Quinn, Maggie and Colin are after them in a flash, but theKromaggs have passed through a doorway. Two wires protrudefrom the wall on the other side. One of the Kromaggstouches the ends of the wires together, making a connection.

CONTINUED


15 CONTINUED

In answer, the door slides SHUT, closing off our guys fromRembrandt and the Kromaggs.

QUINNRembrandt!

11.

15

16 DOWN THE WAY

Unseen by them, Darla hesitates, watching them, then hurriesoff after her fellows.

17 QUINN

tries to force the door. No use. He shakes his head to theothers. Rembrandt is gone.

18 INT. MAGNETIC CORRIDOR - NIGHT

Quinn, Maggie and Colin are hurrying in the oppositedirection. Maggie points at a wet footprint.

MAGGIEThere's another one.

COLINYou think these people will helpus?

QUINNI don't know, but if they've atleast got some kind of map --

They turn a corner, spy a MAN darting away.

QUINNHold it, we're friends!

They run after him, into:

19 INT. TERMINUS OF MAGNETIC CORRIDOR - CONTINUOUS

Colin, Maggie and Quinn rush in -- then stop as theyrealize they're surrounded by a motley group of MEN andWOMEN. LUTHER, the man they chased, strides up to Quinn.

LUTHERI know my friends. I don't knowyou.

He slugs Quinn, who doubles over. Maggie and Colin try tocome to Quinn's aid, but they're graboed and held fast.Luther is about to hit Quinn again when a COMMANDING VOICEBOOMS OUT:

JANIELuther, hold up there.

CONTINUED

16(X}

17

18(X}

19(X}

(X)

#K281S - "Slidecage" - EN Pink Rev. 11/18/97

19 CONTINUED

12.

19

JANIE appears, a powerful woman with a backwoods twang. Sheaddresses the others, speaking quietly, but with authority.

JANIELet 'em go.

They release Maggie and Colin. Janie turns to Luther.

JANIEWhat happened?

LUTHERThey were chasing me.

MAGGIEYou were running!

Janie puts out a cautionary hand to silence her.

JANIEEveryone lives a might jumpy here.

She turns to Darla, whom we now see is part of the group.

JANIEThem the ones jumped into thattangle you got yourself into?

Darla nods, mumbles something. She's painfully shy.

JANIESpeak up, girl.

DARLAYes.

Janie nods, considering. She turns her attention back toQuinn, Maggie and Colin.

JANIEYou're new, aren't you? Probablyfresh off the boat.

QUINNThat's right.

JANIENo reason to get off on the wron9foot. We're all humans. We don twant to hurt you.

COLINThat's good to hear.

JANIENow we don't have many rules, justa few, but they're --

Quinn cuts her off. Time's wasting.

CONTINUED

#K2815 - "Slidecage" - EN Pink Rev. 11/18/97

19 CONTINUED 2

QUINNExcuse me, but if you heard aboutthat mess with the Kromaggs( youprobably know one of our fr1endsgot captured, and we've got to --

JANIEHe's 9one. Or will be, before thenight s out. You're going to haveto forget him.

The mood in the room takes an abrupt chill.

MAGGIEWe're not about to do that.

JANIEAnd you want us to -- what? Go inwith guns ablazing, heroes to therescue? Well, there are no gunshere. And all the heroes are dead.

She gestures around her at the others.

JANIEWe were once over two hundred, nowlook at us. No one but folks whowant to go on living. We've got asimple rule here. If you're human,you join us. It's just toodangerous any way else.

QUINNIf joining means abandoning ourfriend, we can't do that.

MAGGIE

13.

19

(to Janie)You won't help us?

JANIEBelieve me, honey, I'm trying to.

QUINNWe've got to go. I'm sorry.

He nods to Maggie and Colin, they start heading back the waythey came. She watches them and a hardness comes into hereyes.

JANIEI'm sorry, too.

She nods to her people, who surge up over our guys and grabthem. Janie walks up to them.

JANIELast one we let go was caught,tortured, revealed our location.We had forty children here.· Deadnow, everyone.

CONTINUED


19 CONTINUED 3

She turns to a man not holding them.

JANIE

14.

19

Airlock.

He nods, walks over to something we see for the first time:AN AIRLOCK DOOR. Beside it is a LIGHTED CONTROL PANEL. Thecrowd starts dragging Quinn, Maggie and Colin toward it.Our guys struggle like mad.

QUINNOh no, oh no no no.

MAGGIEDon't do this!

COLINWhat's an airlock?!

They've reached it now. Janie comes up to them, expressionhara, but eyes sad. She doesn't want to do this, but feelsshe has to.

We'll join.you!

QUINNAll right, we'll join

No!

JANIENah, you'd be the death of us. Ican feel it.

She nods to the man by the controls, who starts initiatingthe sequence to open the airlock.

DARLAJanie, wait.

Darla steps up, speaks hesitantly.

DARLAThe one who got caught, he saved mylife. We owe them.

Janie considers a long, tense beat. It's a difficultdecision. Finally, she sighs, relenting.

JANIEAll right, but it'll be a hardroad •.. and they'll need somethingto break that maverick spirit.

(off Maggie)Just her.

The men holding Maggie nod, move her to the airlock door,which SLIDES OPEN, revealing a small chamber beyond( sometoxic wisps of the outside atmosphere remaining ins1de it.

MAGGIE(struggling)NO! ! !

CONTINUED


19 CONTINUED 4

Quinn and Colin are also fighti~1 to get free, to helpM~gg~e, to no avail. The door ~IDES SHUT, trapping Maggiew1th1n. We hear her MUFFLED SHOUTING and POUNDING at thedoor. A man by the controls looks to Janie for the finalcommand.

COLINDon't. Please.

QUINNTake me! Take me instead! ForGod's sake!

JANIE(to the man, flat)

Vent 1t.

He nods and pushes a button. A FLASHING LIGHT above theairlock door comes on, spinning its warning.

From outside, we hear Maggie CHOKING, BANGING on the door.But the SOUNDS grow weaker and are then silent.

Quinn breaks free, rushes for the airlock door. He managesto hold the others at bay long enough to start franticallykeying commands on the controls -- but then is knockedunconscious.

20 ON COLIN

In anguish, collapsing to his knees, as we ...

FADE OUT

END OF ACT ONE

15.

19

20


ACT TWO

FADE IN

21 INT. LABYRINTH - TERMINUS OF MAGNETIC CORRIDOR - NIGHT MOMENTS LATER

16.

21(X)

Quinn is unconscious, on the ground near the airlock. Colinis still held, though no longer struggling, looking at thesealed, silent hatch with despair.

JANIE(off Colin)

Lock him down. Computer room.

COLINI'm not leaving my brother!

JANIEWe're not gonna hurt your brother.We're done hurting anyone rightnow. Go on.

A beat as he stares at her. Then he relents, exits with theothers.

Janie walks over to a bowl of water, dips a rag in it. Shemoves to Quinn, dabs his face with the cloth. Some of hermen stand guard a few feet off to make sure Quinn doesn'ttry anything. Quinn starts to rouse.

JANIECome on. Come on now. That's it.You know your name? Where you are?

Quinn comes fully awake, remembers Maggie being chucked outthe airlock.

QUINNMaggie!

He scrambles for the airlock.

JANIEShe's gone, son, to freedom.

Grief floods Quinn. Then rage. He wheels on her.

QUINNDon't give me that! You murderedher! Why her? Why her and not me?

JANIEYou two looked stronger. I thoughtyOU'd have a better chance tosurvive.

Quinn sees red. With a cry, he lunges for her. Her menrestrain him.

CONTINUED


21 CONTINUED

JANIEThe Kromaggs give us no choice,son.

16A.

21

CONTINUED


21 CONTINUED

QUINNThe Kromag9s? The Kromaggs!?

(angu1shed)I hope you burn in hell!

JANIE(erupts)

This 1S hell, don't you knowthat?

She grabs up his knapsack, pUlls out the laptop computer.

JANIEYou brou9ht this. Wanna see whatgood it 1S here?

She throws it against a wall. It SHATTERS.

JANIEWe can open a few doors, but thecomputers that run this place aresecured up tight. We can't getinto them, can't do a damned thing.And most of all, we can't leave.

She moves in close to Quinn, furious.

JANIEI have been here twentr years. Ihave seen a river of b ood. I dowhat I do to keep these peoplealive!

(beat)The Kromaggs don't take prisoners.Neither do we. We find one, weopen him up, leave him for theothers. We survive by terror.

Quinn says nothing, only glares at her.

JANIEYou can hate me, no rule againstthat. But you have got to learn toobey.

She nods to her men -- take him away. They haul Quinn off.

22 INT. CONDUIT CENTRAL - NIGHT

17.

21

22

Dark. We're in the walls at some juncture that opens up toa larger space. In the shadows c we see a misshapen FIGURE,glint1ng metal, carrying someth1ng.

It sets its burden down gingerly -- and now we see that it'sMaggie, eyes closed, unmoving. She might be dead or merelyunconscious.

#K~815 - "Slidecage" - EN Pink Rev. 11/18/97 18.

23 ON THE FIGURE

As we now see that it's actually a man in a cobbled-togetherSPACE SUIT. He raises his visor, revealing his face. Thisis THOMAS (40s), a small, hectic man very bright butnervous, w1th a sensitive face. He iooks down at Maggie,studying her, his expression gentle, uncertain.

24 INT. KROMAGG LAIR - NIGHT

Lighting dim. MALE AND FEMALE KROMAGGS busy themselves atvarious tasks, tending rough-hewn hydroponics, etc. Manyhave scars from battles, rags obscuring parts of theirfaces, covering missing eyes or badly nealed wounds. TheKromaggs we saw earlier drag Rembrandt in.

REMBRANDTLemme go! Let go of me!

KOLITAR (0.5.)You humans are so loud, even whenyou're not in pain.

KOLITAR surges through the crowd to Rembrandt. Big andbroad, older. His clothes are not military, but there isstill something grand and commanding about him. His arm hasa ragged bandage around it, with dr1ed blood.

KOLITARI haven't seen you. New in town?

REMBRANDTYeah, not that it helped.Everywhere I go, there you Kromaggsare.

KOLITARI might say the same of you humans.

Rembrandt looks at the vats and plants. In spite of hisloathing for the Kromaggs, he can't help but be curious.

REMBRANDTWhat is all this?

KOLITARA few of us had burrs, seedlings,adhering to our clothes when wewere trapped here. We make ourown garments, grow other substancesas best we can.

REMBRANDTSounds real homey.

KOLITARIt is no life for a Kromagg. Butit is the life we have.

(to the others)Was he ~lone?

CONTINUED

23

24


24 CONTINUED

REMBRANDTNah, I had my R&B band with me.

KOLITARRand B?

REMBRANDTSkip it, you're not gonna getanything outta me, okay? YouKromaggs have already done yourwo~st. I've been in one of yourpr.lson camps.

KOLITARTh;s is no prison camp. Merely apr.lson.

(considering Rembrandt)If we let you go, you'd tell thehumans our strength in numbers. Ifwe took you in, you'd betray us.So what are we to do?

19.

24

REMBRANDTI'd say it's pretty damn obvious.

Kolitar nods, says to one of his men:

KOLITARBring the knives.

Despite his bravado, Rembrandt can't help being afraid. TheKromagg hurries off. A thin VOICE PIPES UP:

KALDEEN (O.S.)Father, please, don't.

Rembrandt turns to see KALDEEN (18), dressed like the otherKromaggs( except for this difference: he's in a homemadewheelcha.lr t his body twisted, thin and frail •.. and hisface is en~irely swathed in rags, only his bright, alerteyes visible.

KALDEENCan't we just talk to him?

KOLITARSilence, Kaldeen ... you don't knowhumans as I do.

REMBRANDTYou brought your son here?

Kolitar turns on Rembrandt, his eyes evade. And it'stelling that when he refers to Kaldeen, he calls him "theboy" rather than "m¥ son" (although Rembrandt doesn't pickup on it at this pO.lnt).

KOLITARThe boy was born in this abyss.

(MORE)

CONTINUED


24 CONTINUED 2

KOLITAR (CONT'D)Some factor, radiation perhaps,makes conception virtuallyimpossible. His birth was a freak.

The Kromagg appears with a wooden box, holds it out.

KOLITARBut enough of sadness and thisworld.

He opens the box, revealing NASTY-LOOKING, SCAVENGEDTOGETHER BLADES. He selects one, turns to Rembrandt.

KOLITARPain can be a kingdom all its own.

He draws near Rembrandt. Rembrandt's nerve falters. Hiseyes fallon Kolitar's bandage.

REMBRANDTThat arm of yours looks pretty bad.

Kolitar's startled. He eyes the wound angrily.

KOLITARIt was sustained in battle. Itburns in me.

REMBRANDTGuess you don't have doctors aroundhere.

Kolitar's frustration at his unhealing wound boils up inhim. with a ROAR, he throws Rembrandt to the ground,pressing the blade to his throat.

KOLITARThat foul slop from the humanprocessors. We're malnourished,unable to heal ourselves.

REMBRANDT(struggling to get outthe words)

My mama had a remedy. From theBayou. Might be able to make itana that arm wouldn't end upkilling you.

Kolitar's surprised -- and suspicious.

KOLITARYou just want to live.

REMBRANDTAnd you do, too. If you kill me,yOU'll never know.

A tense moment. Then he lets Rembrandt up.

20.

24

CONTINUED


24 CONTINUED 3

KOLITARVery well. But understand this:you have only postponed your death.

Rembrandt looks him right in the eye, doesn't back down.

REMBRANDTWe all of us die. Only question iswhen ... and how.

KOLITAR(to his men)

Give him what he needs.

He turns and strides off.

21.

24

25 KALDEEN

sits on the periphery, watching Rembrandt. Kolitar comes upto him.

KOLITARYou remember how I told you of theserpent in the garden, how thehumans despised it and tried to .kill it? They hate anything thatis not like them.

(beat)You are not to speak to him, do youunderstand me?

Kaldeen starts to protest, then nods obedience.

26 INT. TERMINAL ROOM - NIGHT

A circular room with a row of com~uters. Colin stands by akeyboard and monitor, typing in d~fferent commands. witheach try, the screen shows ACCESS DENIED.

COLINI'~ not qetting anywhere with this.Qu~nn --1

Quinn's not listening. He's running his hand along thelocked door, grieving.

QUINNBeat the odds, that's what I toldher. Like always. We didn't beatthem this time.

COLINI'm grieving for her, too. But wehave to get to Rembrandt, and theonly one who might be able to dosomething with this computer isyou.

CONTINUED

25

26


26 CONTINUED

22.

26

QUINNSo I can get us out of here, getyou killed, too?

(looks off)I was traveling to get home. Shewas just traveling for me.

Colin comes up behind Quinn, speaks softly.

COLINOn my world, death is our closecompanion. Most families lose achild, or a parent, or both. Wheninfluenza carried off my fostermother and father, at f~rst Ididn't want to live. Why had ittaken them and not me?

He puts his hand on Quinn's shoulder, rubs it.

COLINWe all die, Quinn, we really do ...and while we're here, all that'sleft us is to remember those we'velost, and live for the ones stillhere.

Quinn turns to him and the two embrace as Quinn breaks down.A beat, then Quinn gets command of himself again.

QUINNOkay. Okay ...

He moves to the computer.

QUINNLet's see what we can do.


Maggie lies bundled in rough blankets, unmoving. Then sheGASPS, takes a deep breath and sits up.

She looks around, disoriented. A SOUND. She turns toThomas, hurrying up to her. He gives her a reassuringsmile.

THOMASIt's all right, you're not dead.

(off the surroundings)I mean( it would be a pretty sorryafterl~fe if it looked like this.

Maggie tries to speak, croaks out:

MAGGIEWhere am I?

CONTINUED

27


27 CONTINUED

THOMAS(offhanded)

In the walls. You're confused,that's only natural after whatyou've been through. Pitching youout in the methane, honestly( Idon't know what they were th1nking.

(extends a hand)Thomas. Thomas Beecham.

MAGGIEMaggie Beckett.

23.

27

THOMASMaggie ... You know, I would havefigured you for a Bett¥, or maybe aLola. When I saw you 1n thecorridor with your friends

Her friends! Maggie tries to rise.

MAGGIEI've got to get to them.

She's seized with a fit of coughing. He rushes to her.

THOMASEasy, easy there. You're not up toanything yet.

He helps ease her back. She gives a cry of frustration, butrelents.

THOMASThat's it, just relax, you're aguest.

(sheepish)Matter of fact, you're the first.I'm a bit of a stay-at-home. Butwhen I saw what was happening toyou, I --

Some inner emotional pain flashes in his face( somethingdark and down deep. He wipes it away, all br1ghtness again.

THOMASWell, what's done is done. You getsome rest now.

He starts away, but she grabs his hand, murmurs:

MAGGIEThank you.

He flushes, embarrassed, gives a small smile. Pats herhand.

#K2815 - "Slidecage" - EN Pink Rev. 11/18/97 24.


Quinn at the keyboard, typing busily, Colin standing overhim. The screen still shows ACCESS DENIED, but the image isbreaking up, scrambling periodically.

QUINNOkay, I think we're making someheaaway. See, we've got a littleadvantage our backwoods Mussolinidoesn't know: we're the kids ofthe guy who built this.

(beat, typing)And I'm praying that thede-encryption string he hid in ourmicro-dots might also be embeddedin here somewhere.

COLINYou think he realized we might landhere?

QUINNLet's hope.

The screen clears to reveal rows of numbers and words.

28

Aha. We are in.QUINN

Quinn quickly scrolls through, reading, searching.

QUINNLooks like many of the mastersystems run inaependent of eachother. We can't access them fromhere.

COLINSo what can we do?

QUINNI'm working on it ... Yes. ventingduct. Comes into this room andre-enters the building,here.Might be able to overr~de thelocking code.

(beat, looks at Colin)Only hitch, there's a stretch of itthat's open to the outsideatmosphere.

COLIN(alarmed)

But that's what killed Maggie.

QUINNShe didn't have a way back in, wewill. It's only a few hundredfeet.

Colin shakes his head, frightened.

CONTINUED


28 CONTINUED

COLINWe can't.

Quinn looks him in the eye, says gently:

QUINNColin ... for the living.

Colin calms, looking at his brother. Then nods.


25.

28

29

Rembrandt's chained to a wall, one arm manacled close to thewall, the other free. He adjusts a dressing on Kolitar'sarm.

KOLITAR{hisses)

It st~ngs.

REMBRANDTThat means it's working. Don'tfuss with it.

KOLITARWhat do you call this?

REMBRANDTA poultice.

KOLITARPoultice .•. We have nothing likeit.

REMBRANDTYeah, well, there's a whole lot youKromaggs don't have. Mercy.Empathy.

KOLITARWe are adversarial species. It isnatural for us to destroy eachother.

REMBRANDTYeah, well, guess I'm going againstnature cause it looks like I'msaving your life.

Kolitar grasps Remmy's free arm, locks it into the othermanacle held tight to the wall.

KOLITARI won't be able to say the same foryou.

He exits. Rembrandt sighs, shakes his head.

REMBRANDTThen I'd better enjoy the moment.


30 OFF IN A CORNER

in the shadows, unseen, Kaldeen sits watching Rembrandt.


The space suit hangs on a hook. Maggie stands studying it.

THOMAS (O.S)I cobbled that together so I couldexplore outside.

She turns to see Thomas approaching with a tray bearingvarious bowls of glop.

THOMASGood thing, too, or I wouldn't havebeen able to get to you. You'relooking worlds better.

MAGGIEstill pretty unsteady on my pins.

He helps her to a chair.

THOMASNaturally, to be expected.

(off the tray)Hey, presto, I cooked something.Actually, it comes from a gizmo inthe wall, so it's more accurate tosay I extruded it. I didn't knowwhat you liked( so I ordered up achoice. Artif~cial ham.Artificial turkey.

(beat)It all tastes the same,unfortunately.

Maggie tries some. Makes a face.

THOMASBut it does grow on you.

(beat)So. How'd you land here? I assumeyou were off world.

MAGGIEI was traveling with my friends.It's a little complicated.

THOMASComplicated is good. It makes fora long story. And time we have inabundance.

MAGGIEHow about you? How'd you end uphere?

26.

30

31

CONTINUED


31 CONTINUED

THOMAS(evasive)

Oh, various and sundry, this andthat. It's not really important.

MAGGIEBeen here awhile?

THOMASIn the walls? Not long. Oh ... tenyears.

MAGGIETen years?

27.

31

THOMASIt's not as bad as it sounds.Really. I always liked tunnels andcorridors. Remember that TV show?Beauty and the Beast? Not theDisney one, the other one. God, Iloved that.

Maggie's looking off at a ROW OF MONITORS set high along onewall, switching to various scenes of empty corridors androoms.

THOMASI see you've noticed my homeentertainment center.

(draws up to monitors)I set these up to keep an eye onthings. Generally, from eight totwelve I watch the humans, fromtwelve to four the Kromaggs. Quitediverting.

(confidential)I have my favorite characters.

MAGGIEWe could use these to find myfriends.

Thomas grows uncomfortable.

THOMASWell, yes, theoretically. But Iwouldn't recommend it. Some of thethings you might see -- You're notup to much excitement.

MAGGIEThomas, please. It matters.

He looks away, doesn't want to say yes. But she's lookingat him with such warmth, he can't deny her.

THOMASAll right.

Maggie smiles, grateful.

QUINN

#K2815 - "Slidecage ll- 1st Blue Revs. 11/20/97


Quinn's typing commands at the terminal, Colin nearby.

Got it.(off Colin'snervousness)

We won't be in there long. Just~hink o~ i~ like being underwater1n a sW1mm1ng hole.

COLINA swimming hole isn't filled withmethane, brother.

QUINNYou don't always have to be soliteral. Ready?

COLINNo, but we'd better get to it.

Quinn nods. They take several quick, deep breaths, thenhold it. Quinn keys a command.

There's an ELECTRONIC SOUND and a CIRCULAR VENTING HATCHSLIDES OPEN, toxic fumes swirling out. Quinn and Colindive in. The hatch SLIDES SHUT behind them.

28.(X)

32

33 INT. CONDUIT - NIGHT

SWIRLING TOXIC ATMOSPHERE within. We MOVE WITH QUINN ANDCOLIN in the tight, hellish space. Colin starts to falter,Quinn grabs him, pulls him alon9, determined. But they seemto be running out of steam, los1ng the battle. The MISTGROWS THICKER until they're lost from sight.

FADE OUT

END OF ACT TWO

33

#K2815 - "Slidecage" - 1st Blue Revs. 11/20/97 29.

ACT THREE

FADE IN

34 OMITTED

35 INT. LABYRINTH - CORRIDOR - NIGHTI

A hatch in the wall opens and Quinn and Colin slide out,COUGHING, accompanied b¥ FUMES. Quinn seals the hatchbehind them. Both cont1nue to HACK, gasping for breath.

As they start to recover, Quinn turns to Colin.

QUINNI feel like I've Just been throughthe longest car exhaust in theworld.

They break down laughing, slap each other on the back, 9ladto De alive. Then they catch their breath, laughter dy1ngdown.

COLINNow to find Rembrandt ... if hestill lives.

They look about. WIDEN to reveal that they're back at theJUNCTION OF ENDLESS, IDENTICAL CORRIDORS, or one that looksjust like it.

QUINNAssuming we don't die of old agefirst.

(off the corridors)You call it.

Colin considers, picks one.

COLINThat one.

QUINNWhy that one?

COLINI like how it's decorated.

Quinn smiles.

34(X)

35 (X)

QUINNThere's hope for you yet.

Quinn starts Offi

his footste~s ECHOING loudly.a finger to his ips, caution1ng.

COLINRemember, there are Minotaurs.

Colin puts

CONTINUED


35 CONTINUED

Quinn moves in close, speaking in a low tone.

QUINNThey haven't taken on the Malloryboys yet.

Colin gives a small smile, Quinn claps him on the back, andthey head off down the corridor.


Rembrandt lies by a wall, chained and manacled to it.Kaldeen rolls up.

KALDEENI'm not allowed to talk to you.

REMBRANDTWell, to tell you the truth, I'mnot exactly in the mood forconversation myself. Go on, getout of here, before you get introuble.

KALDEENEveryone's out foraging. Exceptthe guards, and they're notwatching us.

Rembrandt raises up his chain.

REMBRANDTYou wouldn't happen to have the keyon you?

Kaldeen shakes his head.

REMBRANDTNo, I didn't think so.

He rolls closer, eyeing Rembrandt.

KALDEENI've never been this close to ahuman before.

REMBRANDTWell, get an eyeful.

(studying him)How come you keep your face allcovered up like that?

KALDEENBecause I'm hideous. We don't havelooking glasses, but my father hastold me.

REMBRANDTHow nice of him.

30.

35

36

CONTINUED


36 CONTINUED

KALDEENWhat you did to save your life, itwas clever. Made yourself useful.That's what I do. I fix theprocessors when they break, the airhandlers too.

(roils closer)What's your name?

REMBRANDTRembrandt.

KALDEENThat's an odd one.

REMBRANDTIt's after a painter.

KALDEENAre you a painter, too?

REMBRANDTNo. I'm a singer.

KALDEENI've heard of songs. Are you fromthe home world?

Rembrandt stiffens, gets a suspicious look. Is this aKromagg trick, sending a kid to question him?

REMBRANDTIs this an interrogation?

KALDEEN(surprised)

No, just talking.

REMBRANDTI'm not from the home world( neverseen it. And from the way 1t'sgoing, doesn't look like I will.

He looks at the chain, shakes his head.

REMBRANDTWhen my mama was dressing me forkindergarten, I never expected towind up here.

KALDEENTell me about your mother. I neverknew mine.

Rembrandt considers a beat, then:

REMBRANDTWhen I was little( Marna seemedabout a million m1les tall.

(MORE)

31.

36

CONTINUED


36 CONTINUED 2

REMBRANDT (CONT'D)Nights when the sky flashed andstomped its feet, she'd hold me onher rocker, all bundled up, singreal low.

KALDEENwhat would she sing?

Rembrandt thinks a moment, then starts SINGING, low andsweet.

REMBRANDT

32.

36

REMBRANDT (O.S.)

!singing)Somet1mes I feel like a motherlesschild ..• Sometimes I feel like amotherless child ...

Kaldeen listens to his first song ever, captivated. We PULLBACK slowly as the two figures become small-in the shadowedroom, alone. The SONG CONTINUES.

37 INT. CORRIDOR OUTSIDE KROMAGG LAIR

Continuing to pUll back in the dim corridor as the SONGECHOES down empty halls.

(singing)A long way from home ...

The song dies out on the still air.

38 INT. CORRIDOR - NIGHT

Quinn and Colin moving along. Quinn halts, pricks up hisears.

COLINWhat?

QUINNI thought I heard something.

He gestures Colin to follow him down a side corridor.

QUINNC'mon.


Ma9gie's standing, watching the various monitors as theysW1tch from scene to scene. Thomas watches her from severalfeet back, uncomfortable, wanting to distract her.

THOMASYou know, you're gonna get eyestrain that way.

CONTINUED

37

38

39


39 CONTINUED

She keeps watching. He holds up a homemade checkerboardwith bolts and washers for checkers.

33.

39

Well, I

THOMASLook here( made it myself.

(an J.nvitation)I'm a positive fiend at checkers.

No response. He digs down into a pile of clothes, comes upwith a tattered paperback of VALLEY OF THE DOLLS.

THOMASHow about a good book? Had it inmy back pocket when I arrived. OrI could recite it for you.

Maggie keeps watching the screens. An image of Quinn andColJ.n appears on one of the monitors.

MAGGIEThere. There they are.

(turns to Thomas)Do you recognize it?

Thomas says nothing, eyeing the screen nervously.

MAGGIEThomas, do you know where that is?

THOMASI, that is --

MAGGIEThomas

THOMASIt's a corridor, not far from here.

MAGGIEShow me the way.

She starts off. He hangs back.

THOMASThat's not such a good idea,really.

She turns back to him.

MAGGIEWhat are you talking about?

THOMASIt would be much better if we juststayed here, safer, trust me.

MAGGIEThomas, they're my friends. I'vegot to qo to them.

CONTINUED


39 CONTINUED 2

THOMASOut there, terrible things canhap~en. You only had a taste andyou re here by the skin of yourteeth.

!off the room)This 1S a controlled environment.No one knows about it, no one comeshere. We can live out our lives ...

Maggie reacts -- live out our lives? She shakes her head,firm.

MAGGIE

34.

39

No. No.

He sees she means it. His heart sinks. She speaks gently.

MAGGIEThomas, you've been very kind tome, but I have no intention ofstaying here. I'm going to myfriends, whether you corne with meor not. But I'd rather you corne.

THOMASNo, that's out, no no no.

He continues saying no, shaking his head vehemently over:

MAGGIEThomas, there's nothing to beafraid of. They're nice, theywon't hurt you. At leas~ talk tothem --

THOMAS

I don~fX~~l~e~b people!

The violence of his reaction stops her. He's anguished,tied up in knots. A beat, then:

MAGGIEYou talked to me.

THOMASYou were different.

MAGGIEWhy?

THOMASI don't know! So much death here,so useless. I couldn't stand tolet them have one more!

He sinks down, turns his tormented face up to her.

CONTINUED


39 CONTINUED 3

THOMASYou wanna know why I'm here, whyI'm in the walls? During the war,I was with the Eighth ArmoredDivision, off world. Wouldn't knowit to look at me, would you? Oneday, I just couldn't take it. Iran off, went AWOL. After awhile,I changed my mind, came back.

He struggles to get the words out, tears in his eyes.

THOMASThere'd been an ambush, they wereall torn apart ( in pieces. Iwasn't in my r~ght head for a longtime I wanaered for years.Finally, I wanted to go home. Butit was ~oo late you see, I'dmissed the deadline. So I landedhere.

(beat)It was only right. I should havebeen with them, not here ..• So Iwalled myself off.

Maggie comes down to his level, close, speaking softly.

MAGGIEThomas, whatever you did, whateveryou were, you saved me ... and maybeten years of solitary is enough.

He looks at her and a change comes over him.

40 OMITTED

35.

39

40(X)

40A INT. ARRIVAL AREA - NIGHT

Quinn and Colin move cautiously along.

QUINNAll those years playing Pacman, Inever thought I'a end up inside it.

He pauses, grows thoughtful. Colin's look questions.

QUINNYou know, it's funny, I've 90t thisfeeling that somehow Maggie slooking down on us.

COLIN(smiles)

At the end of our road, they saywe're reunited with

Suddenly/ several PEOPLE appear in the corridor before them,running ~oward them.

CONTINUED

40A(X)


40A CONTINUED

36.

40A

PEOPLE(AD-LIB."There they are! Getthem! II etc.)

Quinn apd Colin turn and run the other way. But the waybehind them is blocked with more HUMANS running toward them.They're trapped.

Just then, a vent cover opens in the wall and Maggie popsher head out.

MAGGIEIn here!

Quinn is thunderstruck to see her.

QUINNMaggie. Oh, God.

His face fills with joy and relief. She sees this reactionand smiles, moved. A moment between them. But from behindher, Thomas calls:

THOMASGet in. Quickly!

They hurrr to climb in, but it's too late.them, pul them back out, get 'all four.

41 INT. TERMINUS OF MAGNETIC CORRIDOR - NIGHT

The humans reach

41 (X)

The 9roup of ragged humans we've seen before. Quinn c Colin,Magg1e and Thomas are thrust into the group, which c1rclesthem, keeping them in.

MAGGIEBoy, this is one place I reallydidn't need to come back to.

COLIN(off airlock door)

There aren't any more like yououtside, are there?

THOMASUnfortunately, no.

42 ON MAGGIE AND THOMAS

He's frightened, trying to bear up. She looks at him with,regret.

MAGGIEI'm so sorry I got you into this.

He gives her a small smile.

CONTINUED

42


42 CONTINUED

THOMASNot at all.

(beat)It's good to be alive before I'mdead again.

She smiles back.

43 FAVORING JANIE

as she bulls through the crowd up to our guys.

JANIEI had an uncle who was plumb crazyonce. Wandered into the street,set things on fire. He didn'tcause me half the grief you have.

She comes right up to Quinn, glares at him.

JANIEIf you had brought the Kromaggsdown on us, I swear I'd have chasedyou into the next life and killedyou allover.

Quinn stares right back, doesn't give an inch.

QUINNYou're not gonna kill anybody.

JANIEOh, and just why not?

QUINNBecause we've got something youneed.

JANIEA snappy line of patter?

QUINNThe answer to how we got out ofthat room ..• and how you all mightget out of here.

She studies him, intrigued.

JANIEYou haven't run out of rope yet.

QUINNWhere's the mechanism that runs theSlidecage?

JANIEIn Kromagg territory.

Quinn nods, heartened .'

37.

CONTINUED

42

43

#K2~15 - "Slidecage" - EN Pink Rev. 11/18/97

43 CONTINUED

was hopingQUINN

I you'd say that.

She looks at him quizzically.

44 INT. KROMAGG LAIR - NIGHT - CLOSE ON REMBRANDT

chained to the wall, dozing. A shadow falls over him. Hestirs, looks up to see Kaldeen.

KALDEENMy father says he can feel thedeath force receding, that he'llkill you soon.

He rolls up close, produces a key and unlocks one manacle.

KALDEENHurry, while they're not looking.

Rembrandt takes the key, hurriedly unlocks the otherrestraints.

REMBRANDTI'm not just gonna leave you for.them to

KALDEENThey need me, nothing will happen.Go!

REMBRANDTFirst, there's something I've gotto do.

He reaches out and pulls the rags free of Kaldeen's face.Kaldeen's arms fly up to shield his face.

KALDEEN

38.

43

44

No.

Rembrandt gently lowers Kaldeen's arms revealing the faceof a normal human boy. He hadn't been sure, but he'dsuspected it.

REMBRANDTOh, my lord.

KALDEENI told you I was hideous.

REMBRANDTYou're not hideous, you'rebeautiful. Don't you know thatyou're --

SUddenly, they're interrupted by the SOUND of KROMAGGSCOMING ON THE RUN. Rembrandt grabs hold of Kaldeen'swheelchair.

CONTINUED


44 CONTINUED

REMBRANDTYou're coming with me.

(off Kaldeen's protests)Just trust me.

Kaldeen looks into Rembrandt's eyes and nods. Rembrandttakes off for the door, wheeling Kaldeen as fast aspossible.

Just as they get out the door, Kolitar appears on the otherside of the room with several of his men, hurrying.

KOLITARKaldeen, no!

(to his men)stop them!

The Kromaggs take off on the run after them.

45 INT. CORRIDOR OUTSIDE KROMAGG LAIR - CONTINUOUS

Rembrandt's moving as fast as he can, but he's slowed byKaldeen's chair. A Kromagg makes a flying tackle, knockingKaldeen over and taking Rembrandt down. The Kromagg startsto beat Rembrandt.

46 KALDEEN

ga~es at this in alarm. Then he does an extraordinar¥th1ng: his head goes down and his eyes roll up, show1ngwhite as he concentrates.

47 ON PIECE OF DISCARDED MACHINERY

lying on the 9round. Suddenly, it moves, then takes offthrough the a1r.

39.

44

45

46

47

48 FAVORING REMBRANDT AND KROMAGG

The machinery STRIKES the Kromagg, knocking him down andout. Rembrandt's amazed, having seen it fly through the airon its own.

KALDEENRun!

Just then, a SECOND KROMAGG rushes up. Kaldeen grabs him,tries to stop him. The Kromagg starts beating Kaldeen.seein9 this, Rembrandt turns and dives at the Kromagg,tackl1ng him. By then e other Kromag9s appear, leap onRembrandt and subdue h1m, hold him t1ght.

They hustle Rembrandt and Kaldeen back into:

48



They're shoved roughly against a wall. Rembrandt whispersto Kaldeen:

REMBRANDTI saw. You moved that with yourmind.

KALDEENIt's only when I'm scared. Theydon't know.

REMBRANDTThere's something I gotta tell

Kolitar strides up to them, glaring. Rembrandt clams up.

KOLITARKaldeen. Cover yourself.

Kaldeen hides his face once more.

KOLITARI will think how to deal with you.

(to Kromagg)Take him to his room.

The Kromagg wheels Kaldeen off. Kolitar moves closer toRembrandt. Guards stand a few feet behind.

KOLITARDoes he know? Tell me!

REMBRANDTNah, there was no time. My God,how could you do it? He's a humanbeing!

Kolitar says nothing.

REMBRANDTYou 90t him in some kind of raid,didn t you?

Slowly, Kolitar nods, in the memory.

KOLITARMy own son was killed and there wasno hope of having another here, soI took this one. An odd whim. Weall go a bit mad here ... or morethan a bit.

(beat)I kept him as a pet at first. Hewas so bright and this place was sotedious. Then I saw what great usehe could be. Those hydro~onics, hedesigned them. And the fllters tokeep the air breathable.

REMBRANDTAnd no one's ever told him?

40.

49

CONTINUED


49 CONTINUED

KOLITARMy men were forbidden.

REMBRANDTWhat you've done is a sin.

KALDEENA sin? I let him live, made himsomething grander than he couldever have Deen. And you came closeto ruining it. By the Gods!

He draws a big knife, moves in toward Rembrandt.

KOLITARArm or no arm, you die now.

41.

49

QUINN (0.5.)Offhand, I'd say we're all dying.

The Kromaggs spin to see Quinn being escorted under Kromaggguard. They rush toward him en masse. He holds his handsout, empty.

QUINNI'm unarmed.

KOLITARSearch him.

He nods toward one of his men, who roughly pats Quinn down.

REMBRANDTQuinn! What the hell are you doinghere?

QUINNI got to missing those loud shirtsof yours. You okay?

REMBRANDTExcept for being beat on, chainedup and fed lousy.

KOLITARYou are a comrade of this one, arecent arrival?

QUINNYeah, and so far I can't say I'mimpressed with the accommodations.

Kolitar walks up to Quinn.

KOLITARIn my culture, we have mad ones whoshow no fear, can do what someonesane would never dare. It is ourway to not harm them. Sadly, thisdoes not extend to humans.

CONTINUED


49 CONTINUED 2

They seize Quinn roughly.knife.

Kolitar moves closer with the

FADE OUT

END OF ACT THREE

49

So

You


ACT FOUR

FADE IN

50 INT. LABYRINTH - KROMAGG LAIR - CONTINUOUS

Kolitar approaches Quinn with the knife, a Kromagg holdingQuinn from behind.

QUINNWait! Aren't you curious why I'ddo something this crazy? My nameis Mallory -- my father builtthis prison!

Kolitar hesitates, intrigued.

KOLITARGo on.

Quinn nods at the Kromagg, holding him by the arms.

QUINNThis guy's putting a crease in mybiceps.

KOLITARLet him go.

He releases Quinn.

QUINNThank you. I think maybe I canunlock the Slidecage, but theequipment is in ¥our territory.we need to barga~n.

KOLITARYou humans with your bargains.bring nothing but destruction.

REMBRANDTListen to him, man! He's tellingthe truth!

QUINNYou Kromaggs are a lot of things(but you're not stupid. I'm talk~ngtruce, and we all might get out ofhere.

KOLITARTo the horne world?

QUINN(falters)

I -- can't say that. To analternate Earth[ ~erhaps. I won'tknow until I ge~ ~nto the guts ofthe machine.

43.

50

CONTINUED


50 CONTINUED 50

KOLITARSo what do you want?

QUINNSafe passage.

(off Rembrandt)And you let him go.

KOLITARPerhaps I am a fool, but to berid of this place ..•

(to Rembrandt)Come.

Rembrandt approaches.

REMBRANDTBring the boy, or no one goesanywnere.

Rebellion flares in Kolitar's eyes. He doesn't like givingup what he considers his. Then he sees the need of it andnods agreement.

51 INT. CORRIDOR - NIGHT

Ma9gie, Thomas, Colin, Janie and two of her people wait forQu~nn.

51

52 ON MAGGIE AND THOMAS 52

MAGGIEHe's been gone too long. We nevershould have let him go alone.

THOMASI've been watching the Kromagg showfor many seasons. Believe me, it'sthe only thing that had a chance ofworking.

There's a little CLATTERING off in a vent. Thomas jumps.

MAGGIEHow are you doing?

THOMASHm? Oh. It's odd to not be in avent. I feel naked.

MAGGIEAll my friends who've been atnudist colonies say you soon getused to it.

He smiles at that.


53 WIDE

JANIE(to Colin, Maggie,Thomas)

Time to move out. He's dead bynow.

45.

53

Or

QUINN !O.S.)That's a popular word w1th you.

Quinn arrives around the bend, Rembrandt behind him.

MAGGIEQuinnt Remmy, oh Remmyt

Maggie and Colin embrace Quinn and Rembrandt, laughing.

REMBRANDTDidn't think you could get rid ofthis face, did you? How the cropshanging, farm boy?

COLIN(perplexed)

Crops don't hang, Rembrandt.

REMBRANDT(ruffles his hair)

stay as sweet as you are!

Just then, a group of Kromaggs appears behind them. Kolitaris in the lead with Kaldeen, whose face is no longercovered. Janie and her men go for their weapons. Quinnsteps between them, holding up his arms.

QUINNEasy, we're all friends here.at least, we share a commoninterest.

They relent. Kaldeen rolls up beside Quinn.astonished to see him, in wonderment.

JANIEWho is this boy?

Janie is

REMBRANDTSomeone who's been on a Kromaggvacation for about sixteen years.

54 ON QUINN AND MAGGIE

MAGGIEI thought you'd had it.

QUINNWe keep thinkin~ that about eachother, don't we.

MAGGIEJust keep coming back.

54


55 ON KALDEEN AND JANIE

46.

55

She studiesrecognizes.

KALDEEN(to Janie, tentative)

Do you know me?

him hard, trying to find somethingThen, amazed:

she

JANIEYou're Jules Konig.

He brightens. A name, a human name.

KALDEENMy mother and father ... ?

JANIEGone, I'm sad to say.

56 WIDE

KOLITARCome, we'll take you to themechanism.

57 FAVORING JANIE, QUINN AND REMBRANDT

She speaks in a low voice so the Kromaggs can't overhear.

JANIEYou didn't have to bring all ofthem.

QUINNIt was part of the deal.

REMBRANDTGonna get on the train, you need tobe at the station.

QUINN(to Janie)

Go fetch your people.

Janie moves in close to Quinn, practically hisses:

JANIEI need to talk to you.

He sees that nothing's going to happen till she's had hersay. He says to the otfiers:

QUINNHead on. We'll catch up.

our,guys head off with the Kromaggs. Quinn turns back toJan1e.

QUINNSay what you've got to say.

CONTINUED

56

57


57 CONTINUED

JANIEWe can't let Kromaggs back on thehorne world.

QUINNThey'll be under guard. And soonas they get there, they'll be sentwherever they carne from.

JANIEOr just maybe when we slide outtahere, they don't.

QUINNSafe passage goes both ways. Whenwe get where they're taking us,leave your war behind.

He turns and heads off after the others. Janie watches himgo. One of her men sidles up to her.

MANI thought you said we could nevermake peace with those monsters.

JANIEWe can't. Stay watchful.

47.

57

DISSOLVE TO

58 INT. SLIDECAGE ROOM - NIGHT

All the humans are there now( as are all the Kromaggs. Afew are just entering. Magg1e, Colin, Rembrandt, Janie,Thomas and Kaldeen are among them.

59 FAVORING QUINN AND KOLITAR

Quinn approaches the steps leading to the Slidecage Tower.Kolitar grabs his arm to hold him back.

KOLITARCareful. There is a force fieldthat kills all who near it.

Casually, Quinn keys the de-encryption sequence into acontrol pad on a nearby wall.

60 ON THE SLIDECAGE TOWER

As the FORCE FIELD FLASHES and WINKS OUT, turned off.

61 ON KOLITAR AND QUINN

Kolitar gapes in amazement.

CONTINUED

58

59

60

61


61 CONTINUED

QUINNNot anymore.

(grins)Didn't know I was telling thetruth, did you?

62 FAVORING QUINN, COLIN, MAGGIE AND REMBRANDT

Rembrandt's eyeing the humans and Kromaggs. They're eachkeeping to themselves, two distinct groups, eyeing eachother with hatred. A very uneasy truce.

REMBRANDTWe got the Sharks and the Jetshere. Better get a move on.

Quinn nods, says to Colin:

QUINN

48.

61

62

Come on.

Colin follows Quinn up the steps to the Slidecage Tower.Maggie and Rembrandt stay at the base of the steps, keepingan eye on the crowd. Kolitar and some of the others try tofollow Quinn and Colin, but Rembrandt waves them off.

REMBRANDTGive em some elbow room, okay?

63 BY THE TOWER

Colin helps Quinn open an access panel on the Tower,revealing circuitry and a keyboard input panel.

Quinn starts inputting commands. As he does so, thefrequency and pattern of lights on the Tower changes.

64 ON THOMAS

Trying to shrink away from the crowd pressina in around him.He hasn't been around people in years and it 1 s making himvery nervous. Maggie comes up.

THOMASIt's rather close in here, don'tyou think? So many bodies ...

MAGGIEJust keep telling yourself thatsoon you'll be back with friendsand family.

THOMASActually, that was never my strongsuit. Thanksgivings were a horror.

He spies Kolitar nearby, eyes him quizzically.

THOMASYou know, you look different on TV.

63

64


65 ON REMBRANDT AND KALDEEN

Kaldeen watches Quinn and Colin working on the SlidecageTower, excited, eager. Rembrandt smiles at him.

REMBRANDTBlue skies, green trees. Not longto wait, bUddy.

49.

65

66 ON QUINN AND COLIN

Quinn stops inputting commands, looks troubled (Our guys areout of earshot of the others).

QUINNWe've got a problem. There's beensome damage to the system. If Idisable it to slide everyone to thehome world, it'll stay off.

COLINYou mean, the world wouldn't becloaked any longer?

QUINNThe Kromaggs could just waltz inand invade it.

COLINThen there's no going home.

QUINNNot for now, bro. I'm sorry.

COLINWe're trapped here?

QUINNMaybe not. Using the slidesignatures in our bodies, I mightbe able to rig a feedback burst.It'd ship all of us to where wejust came from. And anyone elsewho tried to slide to the homeworld.

COLINNo more Slidecage.

Quinn nods. He starts typing in the commands.

67 ON KALDEEN

Rembrandt has moved a few feet off, is talking to Maggie.Kaldeen and Kolitar are glancing about. Their eyes meet.There's a hesitancy in both of them.

KOLITARKaldeen •.•

CONTINUED

66

67


67 CONTINUED

KALDEENYou should have told me.

50.

67

KOLITARI wanted to spare you the shame.You showed such promise. In allbut skin, you came to be my own.

Janie hurries up, getting between Kolitar and Kaldeen.

JANIEYou just keep on back. You stolehim, but we're taking him home.

(to Kaldeen)Jules, you will be among your kindand learn human ways.

Kaldeen quails at this. The woman is downright scary in herintensity. Seeing her press in on Kaldeen, something snap$in Kolitar. He rushes up to the boy.

KOLITARKaldeen, come with us. It will beas it has,alwars been. A Kromagg,not some 1nfer1or --

JANIE(overla~ping)

Jules, this 1S your birthright

KALDEENI don't want either of you!

Frantic, he rolls up to Rembrandt, Maggie standing by. Thewords pour out.

KOLITARRembrandt, please, take me withyou. Don't make me go with them.Please!

Janie and Kolitar both rush after him, angry, determinedKaldeen belong to each of them.

KOLITARKaldeen, your glory --

JANIEKromagg, leave him be --!

She draws her knife, intending to use it on Kolitar.Kolitar pulls his own blade.

KOLITARWoman, he is mine!

Maggie lunges for him, but too late. He stabs Janie to theheart. She falls dead. Kaldeen is horrified.

Maddened, in a rage, Kolitar grabs Maggie, backs to thewall, the knife at her throat. All eyes are on him.


68 QUINN AND COLIN

turn from their labors to spy this, horrified.

69 WIDE

Kolitar calls out to Quinn:

KOLITARHuman! Send us to the home world!Now! Send us or she dies!

MAGGIEQuinn

Her tone says to Quinn, "Don't do it." Quinn watches inhorror, uncertain. Rembrandt is frozen, too. Kolitartenses, readying to kill her.

70 KALDEEN

51.

68

69

70

seeing this, comes to a decision. His head tilts down, eyesrolling up as he concentrates.

71 JANIE'S KNIFE

lies on the ground nearb¥, discarded. Suddenly, it SHUDDERSand MOVES with telekinet1c force.

72 FAVORING KOLITAR, MAGGIE AND REMBRANDT

As the blade flies to its mark -- lodging in Ko1itar'sheart. Eyes wide with surprise, he GASPS. Then falls dead,releasing Maggie. She looks down at Kolitar's body,perplexed.

MAGGIEHow --?

REMBRANDT(soft, moved)

It was the boy.

73 ON THE HUMANS AND THE KROMAGGS

Drawing their weapons, heading toward each other, about tolaunch into combat.

QUINNHold it! Your leaders are dead!

They stop, look to Quinn, who's coming down the steps.

QUINNI'm electing myself leader -- andI'm declarin9 peace! It doesn'tmatter who kllled who, who's got agrudge. The war is over.

CONTINUED

71

72

73


It's all right.

73 CONTINUED

Now he's right among them, looking from human to Kromagg andback again, speaking to each as an individual, not a mob.

QUINNWe're getting out of here, goingback where we came from. Anyonegot a problem with that?

The fight has gone out of them. Silence.

QUINNGood ...

74 KALDEEN

sits in his wheelchair, looking at the crumpled body ofKolitar.

KALDEENFather .•.

Rembrandt comes up to him, puts a hand on his shoulder.

DISSOLVE TO

75 INT. SLIDECAGE ROOM - ON QUINN - NIGHT

Working on the Slidecage Tower, Colin, Maggie, RembrandtThomas and Kaldeen nearby. The humans and Kromaggs are somefeet off, scattered about the room.

QUINN(to our guys)

Almost got it. Another minute andit'll all send us back to where wemost recently came from.

Kaldeen looks at Rembrandt, startled. Rembrandt picks up onwhat he's thinking.

REMBRANDTHold on there. What about him?He's from here.

Colin and Quinn exchange a glance as it sinks in.

COLINHe has no sliding signature.

QUINN(sick about it)

I can}t alter the parameterswithout crashing the whole system.

Kaldeen understands what that means. Resigned:

KALDEEN

CONTINUED

73

74

75

Just be on


75 CONTINUED

REMBRANDTNo way, it'~ not all right.

(to QU1nn) .What're you sa¥ing? We're justgonna maroon h1m here?

(to Kaldeen)We're not leaving you alone!

Kaldeen speaks in a low tone so the Kromaggs can't hear.

KALDEENHumans and Kromaggs are bornenemies. Maybe someday it won't bethat way, but they've got to bekept apart.

(off the Tower)This will need someone to keep itrunning. I've always been alone ...

Thomas clears his throat, getting Quinn's attention.

THOMASUrn, there anyway you could let meou~ of the party?

MAGGIEWhat are ~ou saying? You want tostay here.

THOMASI'm really not up to Times Square.

(to Kaldeen)You m1nd a roommate, kid?

KOLITAR(delighted)

No.

QUINNField's pretty narrow.that side of the room.

Thomas nods. Maggie kisses him on the cheek.

76 REMBRANDT

rubs Kaldeen on the shoulder, bends to him.

REMBRANDTWe'll be back for you. That's apromise.

Kaldeen nods.

77 WIDE

Thomas wheels him over to the far side of the room.

53.

75

76

77

CONTINUED


77 CONTINUED

54.

77

abe a

QUINNAll right. Let's do it.

(to the crowd) .Take a last look 'round. Inminute, your horizon's gonnawhole lot wider.

Quinn ke¥s in the final sequence. There's a BLINDING FLASH,accompan~ed by the SOUND OF THE VORTEX.

When it clears, Thomas and Kaldeen are alone in the room.

78 ON THOMAS AND KALDEEN

THOMASYou ever read 'Valley of theDolls'?

DISSOLVE TO

79 OMITTED

78

79 (X)

79A INT./EXT. HOTEL DECK - DAY - ON FERNS AND GREENERY (D2)

COLIN (0. S.)

79A(X)

(X)

Not home yet.

We PULL BACK to reveal Maggie, Rembrandt, Quinn and Colin,sitting, looking out at the O.S. terrain. (X)

COLINBut there's room to breathe.

80 ON MAGGIE AND QUINN

Quinn's gazing off thoughtfully.

MAGGIEPenny for your thoughts.

QUINNNot the Minotaur.

MAGGIEOkay, a buck for the rest.

QUINNWhat we just went through. Itwasn't the Minotaur. It wasOrpheus and Eurydice. When shedied, he loved her so much, he wentinto the underworld and brought herback.

CONTINUED

80


80 CONTINUED

MAGGIEWhat are you saying?

She's asking if he just said he loved her and he knows it.He smiles, elusive, looks out at the sky and the trees.

QUINNI'm saying the sun is shining andit's good to be alive.

He looks back at her, looking deeply into her eyes.

QUINNAnd just maybe I've found my home.

She smiles at a world of possibility.

55.

80

8181 FAVORING REMBRANDT

Looking out at the beautiful day, thinking of Kaldeen.

REMBRANDTBlue skies, green trees.

A BEAUTY brings a tray of ice tea. Each of our guys takes (X)a glass. The Beauty moves out of shot. Rembrandt proposesa toast.

REMBRANDTHere's to distant friends.

THE OTHERSDistant friends.

They CLINK GLASSES, as we ...

FADE OUT

THE END

Documents

EXEC. PRODUCER: David PeckJnpah PROD. CO-EXEC.PRODUCER