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| titlecard = File:2_S.png | | titlecard = File:2_S.png | ||
| production = [[Privateer 2: The Darkening]] | | production = [[Privateer 2: The Darkening]] | ||
| type = | | type = Main Plot | ||
| series = | | series = Introduction | ||
| disc = CD1 | | disc = CD1 | ||
| runtime = 6m41s | | runtime = 6m41s | ||
| previous = [[CREDIT_S]] | | previous = [[CREDIT_S]] | ||
| next = [[SINN_S]] | | next = [[SINN_S]] | ||
| scenes = 17-55 | |||
| locations = [[Crius Hospital]] | |||
}} | }} | ||
[[2_S]] is a live action cutscene from [[Privateer 2: The Darkening]]. It is part of the [[Introduction (Privateer 2: The Darkening)|introductory]] series of cutscenes. It follows [[CREDIT_S]] and is followed by [[SINN_S]]. It shows the assassination attempt on Lev Arris at Crius Hospital. | [[2_S]] is a live action cutscene from [[Privateer 2: The Darkening]]. It is part of the [[Introduction (Privateer 2: The Darkening)|introductory]] series of cutscenes. It follows [[CREDIT_S]] and is followed by [[SINN_S]]. It shows the assassination attempt on Lev Arris at Crius Hospital. | ||
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|poster=https://download.wcnews.com/holovids/p2/game/thumbs/2_S.png | |poster=https://download.wcnews.com/holovids/p2/game/thumbs/2_S.png | ||
|width=640 | |width=640 | ||
|height= | |height=264 | ||
}} | }} | ||
* <b>Download</b>: [https://download.wcnews.com/holovids/p2/game/2_S.mp4 2_S.mp4] | * <b>Download</b>: [https://download.wcnews.com/holovids/p2/game/2_S.mp4 2_S.mp4] | ||
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<blockquote> | <blockquote> | ||
FREVEL: Ser Arris, if you can hear me, blink. Excellent. I think our patient's coming around, Douglas. You've been in an accident, Ser. Your ship crashed while landing here on Crius. Luckily you were in a cryopod at the time so your injuries weren't extensive. | <B>DR. FREVEL</B>: Ser Arris, if you can hear me, blink. Excellent. I think our patient's coming around, Douglas. You've been in an accident, Ser. Your ship crashed while landing here on Crius. Luckily you were in a cryopod at the time so your injuries weren't extensive. | ||
ARRIS: Accident? How? | <B>LEV ARRIS</B>: Accident? How? | ||
FREVEL: We'll deal with that later. Our first job is to get you back on your feet. You need to stay with us for some rehab, it's plenty of time. | <B>DR. FREVEL</B>: We'll deal with that later. Our first job is to get you back on your feet. You need to stay with us for some rehab, it's plenty of time. | ||
ARRIS: Yeah, but I don't remember... anything. What ship? What's happening? | <B>LEV ARRIS</B>: Yeah, but I don't remember... anything. What ship? What's happening? | ||
FREVEL: The Canera, Ser Arris. We know that's your name from your cryopod. It may take a while for your memory to return. In the mean time, just relax. Everything's going to be fine. | <B>DR. FREVEL</B>: The Canera, Ser Arris. We know that's your name from your cryopod. It may take a while for your memory to return. In the mean time, just relax. Everything's going to be fine. | ||
-- | -- | ||
<B>PUBLIC ADDRESS</B>: Exercise... | |||
FREVEL: And how's Ser Arris this morning? | <B>DR. FREVEL</B>: And how's Ser Arris this morning? | ||
ARRIS: He's okay. | <B>LEV ARRIS</B>: He's okay. | ||
<B>PUBLIC ADDRESS</B>: Gyro session commencing. | |||
ARRIS: I just wish he would tell me who he was. | <B>LEV ARRIS</B>: I just wish he would tell me who he was. | ||
FREVEL: We'll get your memory back eventually. | <B>DR. FREVEL</B>: We'll get your memory back eventually. | ||
ARRIS: Do you talk to all your patients as though they were children, Dr. Frevel, or is it just me? | <B>LEV ARRIS</B>: Do you talk to all your patients as though they were children, Dr. Frevel, or is it just me? | ||
FREVEL: I'm sorry. We find that usually people in your condition appreciate a gentle approach. | <B>DR. FREVEL</B>: I'm sorry. We find that usually people in your condition appreciate a gentle approach. | ||
ARRIS: Yeah, well I'm not usual people. | <B>LEV ARRIS</B>: Yeah, well I'm not usual people. | ||
FREVEL: No, I don't believe you are. We wouldn't normally divulge this information to patients but we did a record search on you and it wasn't good. | <B>DR. FREVEL</B>: No, I don't believe you are. We wouldn't normally divulge this information to patients but we did a record search on you and it wasn't good. | ||
ARRIS: Make my day. I'm a mass-murderer. | <B>LEV ARRIS</B>: Make my day. I'm a mass-murderer. | ||
FREVEL: I wouldn't joke about that if I were you. You could be almost anything. Prior to two weeks ago, you don't exist. Either someone's erased your records or else there was an accident in your home planet's data net. | <B>DR. FREVEL</B>: I wouldn't joke about that if I were you. You could be almost anything. Prior to two weeks ago, you don't exist. Either someone's erased your records or else there was an accident in your home planet's data net. | ||
ARRIS: My home planet. Geez, where is home? Where's my family? Do I have a family? Am I married? Do I have children? Who the hell am I, Doctor Frevel? | <B>LEV ARRIS</B>: My home planet. Geez, where is home? Where's my family? Do I have a family? Am I married? Do I have children? Who the hell am I, Doctor Frevel? | ||
<B>DR. FREVEL</B>: It'll come, Lev. This is all quite normal with trauma sustained in cryo. | |||
<B>PUBLIC ADDRESS</B>: Gyro ending. | |||
ARRIS: Just how long was I in that icebox for? | <B>LEV ARRIS</B>: Just how long was I in that icebox for? | ||
FREVEL: We're still working on that. But you could afford to stay in one for as long as you liked. | <B>DR. FREVEL</B>: We're still working on that. But you could afford to stay in one for as long as you liked. | ||
ARRIS: Meaning? | <B>LEV ARRIS</B>: Meaning? | ||
FREVEL: Meaning one thing that did come down from your data check, your account. Only registered about a week ago. You have an exceptionally attractive credit rating, Ser Arris. | <B>DR. FREVEL</B>: Meaning one thing that did come down from your data check, your account. Only registered about a week ago. You have an exceptionally attractive credit rating, Ser Arris. | ||
<B>LEV ARRIS</B>: Nice. | |||
<B>PUBLIC ADDRESS</B>: Gyro session commencing, please stand clear. | |||
ARRIS: If only it wasn't overdrawn in the memory bank. | <B>LEV ARRIS</B>: If only it wasn't overdrawn in the memory bank. | ||
-- | -- | ||
NURSE: Can I help you, Sers? | <B>NURSE PEMTUR DOUGLAS</B>: Can I help you, Sers? | ||
ASSASSIN #1: We're looking for Ser Lev Arris. | <B>ASSASSIN #1</B>: We're looking for Ser Lev Arris. | ||
NURSE: He's in physio at the moment. Can I ask who wants him? | <B>NURSE PEMTUR DOUGLAS</B>: He's in physio at the moment. Can I ask who wants him? | ||
<B>ASSASSIN #1</B>: New Crius Examiner. We're here to interview him about the Canera crash. | |||
NURSE: His consultant would have to clear it first. | <B>NURSE PEMTUR DOUGLAS</B>: His consultant would have to clear it first. | ||
ASSASSIN #2: Clear this, Mister Nurse. | <B>ASSASSIN #2</B>: Clear this, Mister Nurse. | ||
NURSE: Argh! | <B>NURSE PEMTUR DOUGLAS</B>: Argh! | ||
ASSASSIN #1: You know something? I think I could really get to enjoy this journalism thing. | <B>ASSASSIN #1</B>: You know something? I think I could really get to enjoy this journalism thing. | ||
-- | -- | ||
FREVEL: Cryo-associated memory loss may take months to resolve itself. But when it does some patients are a little disappointed. The reality of someone's past often fails to match up to what they'd imagined it might be. | <B>DR. FREVEL</B>: Cryo-associated memory loss may take months to resolve itself. But when it does some patients are a little disappointed. The reality of someone's past often fails to match up to what they'd imagined it might be. | ||
ARRIS: Right now I'd settle for disappointment. | <B>LEV ARRIS</B>: Right now I'd settle for disappointment. | ||
FREVEL: You may have to. In time your memory is likely to recover completely. | <B>DR. FREVEL</B>: You may have to. In time your memory is likely to recover completely. | ||
ARRIS: But how do I know that? How will I ever be sure there's not one more nasty little memory just waiting to jump me? | <B>LEV ARRIS</B>: But how do I know that? How will I ever be sure there's not one more nasty little memory just waiting to jump me? | ||
<B>PUBLIC ADDRESS</B>: Gyro session ending. | |||
-- | -- | ||
ASSASSIN #3: I like hospitals. So clean. So sterile. | <B>ASSASSIN #3</B>: I like hospitals. So clean. So sterile. | ||
ASSASSIN #4: Getting all hot and bothered, huh? | <B>ASSASSIN #4</B>: Getting all hot and bothered, huh? | ||
ASSASSIN #3: I never get hot. Nor bothered. | <B>ASSASSIN #3</B>: I never get hot. Nor bothered. | ||
RECEPTIONIST: Yes, Serras? | <B>HOSPITAL RECEPTIONIST</B>: Yes, Serras? | ||
ASSASSIN #3: We're here to visit a man. I mean, a friend who is a man. Ser Lev Arris. | <B>ASSASSIN #3</B>: We're here to visit a man. I mean, a friend who is a man. Ser Lev Arris. | ||
RECEPTIONIST: 5A, Serras. First line walk on your left. Follow the... huh. | <B>RECEPTIONIST</B>: 5A, Serras. First line walk on your left. Follow the... huh. | ||
-- | -- | ||
FREVEL: Try and take it easy for the time being. If you overstress yourself it could only prolong the problem. | <B>DR. FREVEL</B>: Try and take it easy for the time being. If you overstress yourself it could only prolong the problem. | ||
<B>ASSASSIN #1</B>: Rear door locked. Autopilot activate. Course two, go, go. | |||
</blockquote> | </blockquote> | ||
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* [[Lev Arris]] | * [[Lev Arris]] | ||
* [[ | * [[Janna Frevel|Dr. Frevel]] | ||
* [[ | * [[Hospital Receptionist]] | ||
* [[ | * [[Assassin #1]] | ||
* [[ | * [[Assassin #2]] | ||
* [[Assassin #3]] | |||
* [[Assassin #4]] | |||
* [[Nurse Pemtur Douglas]] | |||
* [[Public Address]] (v.o.) | |||
=== Non-Speaking === | === Non-Speaking === | ||
* [[ | * [[Yvan Loomis|Dr. Loomis]] | ||
* [[ | |||
== Vehicles == | |||
* [[PL4B Blade]] | |||
== Translations == | |||
Privateer 2: The Darkening's cutscenes were dubbed for the French, German and Spanish releases. | |||
===French=== | |||
{{#widget:Video | |||
|url=https://download.wcnews.com/holovids/p2/game/french/2_S.mp4 | |||
|poster=https://download.wcnews.com/holovids/p2/game/thumbs/2_S.png | |||
|width=640 | |||
|height=264 | |||
}} | |||
* <b>Download</b>: [https://download.wcnews.com/holovids/p2/game/french/2_S.mp4 2_S.mp4] | |||
===German=== | |||
{{#widget:Video | |||
|url=https://download.wcnews.com/holovids/p2/game/german/2_S.mp4 | |||
|poster=https://download.wcnews.com/holovids/p2/game/thumbs/2_S.png | |||
|width=640 | |||
|height=264 | |||
}} | |||
* <b>Download</b>: [https://download.wcnews.com/holovids/p2/game/german/2_S.mp4 2_S.mp4] | |||
== | ===Spanish=== | ||
{{#widget:Video | |||
* [ | |url=https://download.wcnews.com/holovids/p2/game/spanish/2_S.mp4 | ||
|poster=https://download.wcnews.com/holovids/p2/game/thumbs/2_S.png | |||
|width=640 | |||
|height=264 | |||
}} | |||
* <b>Download</b>: [https://download.wcnews.com/holovids/p2/game/spanish/2_S.mp4 2_S.mp4] | |||
== 25th Anniversary == | == 25th Anniversary == | ||
Line 161: | Line 199: | ||
|height=360 | |height=360 | ||
}} | }} | ||
* <b>Download</b>: [https://download.wcnews.com/holovids/p2/25thanniversary/2_S-P2_25th_ANNIVERSARY_Hilliker_Cut.mp4 | * <b>Download</b>: [https://download.wcnews.com/holovids/p2/25thanniversary/2_S-P2_25th_ANNIVERSARY_Hilliker_Cut.mp4 2_S-P2_25th_ANNIVERSARY_Hilliker_Cut.mp4] | ||
== Betacam == | == Betacam == | ||
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}} | }} | ||
* <b>Download</b>: [https://download.wcnews.com/holovids/p2/betacam/2_S-Priv2-betacam-roughcut.mp4 | * <b>Download</b>: [https://download.wcnews.com/holovids/p2/betacam/2_S-Priv2-betacam-roughcut.mp4 2_S-Priv2-betacam-roughcut.mp4] | ||
==The Making of The Darkening== | |||
[[The Making of The Darkening (Steve Hilliker)|The Making of the Darkening]] includes behind-the-scenes footage from this scene. | |||
{{#widget:Video | |||
|url=https://download.wcnews.com/holovids/p2/bts/DARKEN-BTS-Fun_Online.mp4 | |||
|poster=https://download.wcnews.com/holovids/p2/bts/thumbs/DARKEN-BTS-Fun_Online.png | |||
|width=480 | |||
|height=360 | |||
}} | |||
==Bad Influence== | |||
The [[Bad Influence The Darkening featurette]] includes behind-the-scenes footage from this scene. | |||
{{#widget:Video | |||
|url=https://download.wcnews.com/holovids/p2/bts/Privateer_2_-_Movie_set_visit_Bad_Influence.mp4 | |||
|poster=https://download.wcnews.com/holovids/p2/bts/thumbs/Privateer_2_-_Movie_set_visit_Bad_Influence.png | |||
|width=320 | |||
|height=240 | |||
}} | |||
* <B>Download</B>: [https://download.wcnews.com/holovids//p2/bts/Privateer_2_-_Movie_set_visit_Bad_Influence.mp4 Privateer_2_-_Movie_set_visit_Bad_Influence.mp4] | |||
== | ==Film 96== | ||
< | The [[Film 96 The Darkening featurette]] includes behind-the-scenes footage from this scene. | ||
{{#widget:Video | |||
|url=https://download.wcnews.com/holovids/p2/bts/Film_96_Report_-_The_Darkening.mp4 | |||
|poster=https://download.wcnews.com/holovids/p2/bts/thumbs/Film_96_Report_-_The_Darkening.png | |||
|width=329 | |||
</ | |height=240 | ||
}} | |||
* <B>Download</B>: [https://download.wcnews.com/holovids//p2/bts/Film_96_Report_-_The_Darkening.mp4 Film_96_Report_-_The_Darkening.mp4] | |||
==GamesMaster== | |||
The [[GamesMaster Privateer 2: The Darkening featurette]] includes behind-the-scenes footage from this scene. | |||
{{#widget:Video | |||
|url=https://download.wcnews.com/holovids/p2/bts/GamesMaster_Feature_Privateer_2_The_Darkening.mp4 | |||
|poster=https://download.wcnews.com/holovids/p2/bts/thumbs/GamesMaster_Feature_Privateer_2_The_Darkening.png | |||
|width=320 | |||
|height=240 | |||
}} | |||
* <B>Download</B>: [https://download.wcnews.com/holovids//p2/bts/GamesMaster_Feature_Privateer_2_The_Darkening.mp4 GamesMaster_Feature_Privateer_2_The_Darkening.mp4] | |||
==Trailer== | |||
The [[Privateer 2: The Darkening Trailer]] includes a clip from this scene. | |||
{{#widget:Video | |||
|url=https://download.wcnews.com/holovids/p2/bts/P2.mp4 | |||
|poster=https://download.wcnews.com/holovids/p2/bts/thumbs/P2.png | |||
|width=480 | |||
|height=360 | |||
}} | |||
* <B>Download</B>: [https://download.wcnews.com/holovids//p2/bts/P2.mp4 P2.mp4] | |||
== | ==Unreleased Trailer== | ||
The [[Privateer 2 The Darkening Movie Promo Trailer]] posted to YouTube by DigitalVaultThe includes a clip from this scene. | |||
=== | {{#widget:Video | ||
|url=https://download.wcnews.com/holovids/p2/bts/Privateer_2_Trailer.mp4 | |||
|poster=https://download.wcnews.com/holovids/p2/bts/thumbs/Privateer_2_Trailer.png | |||
|width=480 | |||
|height=204 | |||
}} | |||
< | * <B>Download</B>: [https://download.wcnews.com/holovids//p2/bts/Privateer_2_Trailer.mp4 Privateer_2_Trailer.mp4] | ||
== Storyboards == | == Storyboards == | ||
Line 223: | Line 312: | ||
== Script == | == Script == | ||
A | A [[The Darkening Script Draft 7]] used during the game's shooting has been provided by [[Erin Roberts]]. | ||
<gallery> | <gallery> | ||
Line 247: | Line 336: | ||
<B><U>SC.17 BURN IN TITLES</B></U> | <B><U>SC.17 BURN IN TITLES</B></U> | ||
Slowly, as titles run, the background can be seen to be | Slowly, as titles run, the background can be seen to be <BR> | ||
lightening from black. Vague forms (toward the end of | lightening from black. Vague forms (toward the end of <BR> | ||
titles) can occasionally be seen moving in it, but all in | titles) can occasionally be seen moving in it, but all in <BR> | ||
shades of black and white and grey. The muffled SFX: SOUND | shades of black and white and grey. The muffled SFX: SOUND <BR> | ||
OF VOICES starts to be audible as well. The background | OF VOICES starts to be audible as well. The background <BR> | ||
beneath it fills in: becoming very white and bright, and | beneath it fills in: becoming very white and bright, and <BR> | ||
other color fills itself in as well. Plainly this is a | other color fills itself in as well. Plainly this is a <BR> | ||
hospital. The face resolves itself into that of a DOCTOR | hospital. The face resolves itself into that of a DOCTOR <BR> | ||
(female). | (female). | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
:::Ser Arris? If you can hear me, <U>blink.</U> | :::Ser Arris? If you can hear me, <U>blink.</U> | ||
She shines a hand-light into camera. Picture BLINKS, going | She shines a hand-light into camera. Picture BLINKS, going <BR> | ||
black, for a spilt second. Doctor smiles. She has a slightly | black, for a spilt second. Doctor smiles. She has a slightly <BR> | ||
'doctorish' condescending tone. | |||
:::::DOCTOR CONT | :::::DOCTOR CONT<BR> | ||
::Exellent. I think our patient's | ::Exellent. I think our patient's <BR> | ||
::coming round, Douglas. | ::coming round, Douglas. | ||
DOUGLAS, a nurse, joins her in shot. They both look down AT | DOUGLAS, a nurse, joins her in shot. They both look down AT <BR> | ||
CAMERA. | CAMERA. | ||
:::::DOCTOR CONT | :::::DOCTOR CONT<BR> | ||
::You've been in an accident, Ser. Your | ::You've been in an accident, Ser. Your <BR> | ||
::ship crashed while landing here, on | ::ship crashed while landing here, on <BR> | ||
::Crius. Luckily you were in a cryopod | ::Crius. Luckily you were in a cryopod <BR> | ||
::at the time so your injuries weren't | ::at the time so your injuries weren't <BR> | ||
::extensive... | ::extensive... | ||
Line 281: | Line 370: | ||
<B><U>SC.18 NEW ANGLE</U></B> | <B><U>SC.18 NEW ANGLE</U></B> | ||
CLOSE on the awakened patient's face. This is LEV ARRIS, (or | CLOSE on the awakened patient's face. This is LEV ARRIS, (or <BR> | ||
at least that's the name of the manufactured identity he's | at least that's the name of the manufactured identity he's <BR> | ||
been found with): He is the central character of the game. | been found with): He is the central character of the game. <BR> | ||
He blinks at the doctor and nurse who are leaning over him, | He blinks at the doctor and nurse who are leaning over him, <BR> | ||
taking his pulse, etc. | taking his pulse, etc. | ||
:::::ARRIS | :::::ARRIS<BR> | ||
::::(Confused) | ::::(Confused)<BR> | ||
::Accident? How...? | ::Accident? How...? | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
::We'll deal with that later. Ou: first | ::We'll deal with that later. Ou: first <BR> | ||
::job is to get you back on your feet. | ::job is to get you back on your feet. | ||
:::::DOCTOR (CONT) | :::::DOCTOR (CONT)<BR> | ||
:::You'll stay with us for rehab. | :::You'll stay with us for rehab. <BR> | ||
:::There's plenty of.... | :::There's plenty of.... | ||
:::::ARRIS | :::::ARRIS<BR> | ||
::::(Interrupting, rising panic) | ::::(Interrupting, rising panic)<BR> | ||
:::But I don't remember. <U>Anything.</U> | :::But I don't remember. <U>Anything.</U> <BR> | ||
:::<U>What ship?</U> | :::<U>What ship?</U> | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
:::The <U>Canera.</U> Ser Arris - we know | :::The <U>Canera.</U> Ser Arris - we know <BR> | ||
:::that's your name from your cryopod - | :::that's your name from your cryopod - <BR> | ||
:::it may take a while for your memory | :::it may take a while for your memory<BR> | ||
:::to return. In the meantime, just relax. | :::to return. In the meantime, just relax. <BR> | ||
:::Everything's going to be fine. | :::Everything's going to be fine. | ||
Line 317: | Line 403: | ||
<B><U>SC.19 ANOTHER ANGLE</U></B> | <B><U>SC.19 ANOTHER ANGLE</U></B> | ||
Favoring Arris. His face works a little as he tries to | Favoring Arris. His face works a little as he tries to <BR> | ||
remember anything at all. | remember anything at all. | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
:::That's not surprising. It may | :::That's not surprising. It may <BR> | ||
:::take a while. You'll need to | :::take a while. You'll need to<BR> | ||
:::stay with us for a while, for some | :::stay with us for a while, for some<BR> | ||
:::rehab. There's plenty of time. | :::rehab. There's plenty of time. | ||
The Doctor pats Arris's hand and leaves the nurse with him: | The Doctor pats Arris's hand and leaves the nurse with him: <BR> | ||
the nurse gets busy with some equipment, etc. CAMERA PUSHES | the nurse gets busy with some equipment, etc. CAMERA PUSHES <BR> | ||
IN ON ARRIS as he pushes up in the bed a little, looks at his | IN ON ARRIS as he pushes up in the bed a little, looks at his <BR> | ||
surroundings. There's an uncomfortable, wondering look about | surroundings. There's an uncomfortable, wondering look about <BR> | ||
him.... | him....<BR> | ||
::::::::::::CUT TO: | ::::::::::::CUT TO: | ||
<B><U>''SC.20 EXT. CRIUS. DAY - ESTABLISHING (COMPUTER GENERATED''</B></U> | <B><U>''SC.20 EXT. CRIUS. DAY - ESTABLISHING (COMPUTER GENERATED''</B></U><BR> | ||
::::''<B><U>: NO VIDEO)''</B></U> | ::::''<B><U>: NO VIDEO)''</B></U> | ||
A good look at the planet under daylight. A nice-looking | A good look at the planet under daylight. A nice-looking <BR> | ||
place. CAMERA PUSHES IN on the big medical center where | place. CAMERA PUSHES IN on the big medical center where <BR> | ||
Arris is being treated. Various skycraft come and go. | Arris is being treated. Various skycraft come and go. | ||
''PUSH IN on part of the medical center, a solarium-cum- '' | ''PUSH IN on part of the medical center, a solarium-cum- ''<BR> | ||
''exercise area. This is elevated five or six storeys above '' | ''exercise area. This is elevated five or six storeys above ''<BR> | ||
''ground level, and there's a railed, open terrace outside it.'' | ''ground level, and there's a railed, open terrace outside it.'' | ||
Line 348: | Line 434: | ||
<B><U>SC.21 INT. SOLARIUM</B></U> | <B><U>SC.21 INT. SOLARIUM</B></U> | ||
Various PEOPLE working on pieces of rehab equipment. We PAN | Various PEOPLE working on pieces of rehab equipment. We PAN <BR> | ||
past them and CAMERA HOLDS on Arris, working on something | past them and CAMERA HOLDS on Arris, working on something <BR> | ||
like a treadmill (except it's recessed right into the floor, | like a treadmill (except it's recessed right into the floor, <BR> | ||
with just a small T-bar for him to hold onto as he walks). | with just a small T-bar for him to hold onto as he walks). <BR> | ||
The DOCTOR comes up beside him. | The DOCTOR comes up beside him. | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
:::And how's Ser Arris this morning? | :::And how's Ser Arris this morning? | ||
:::::ARRIS | :::::ARRIS <BR> | ||
:::He's okay. I just wish he | :::He's okay. I just wish he <BR> | ||
:::would tell me who he was. | :::would tell me who he was. | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
::::(She finds Arris amusing) | ::::(She finds Arris amusing)<BR> | ||
:::We'll get our memory back eventually. | :::We'll get our memory back eventually. | ||
:::::ARRIS | :::::ARRIS<BR> | ||
:::Do you talk to all your patients | :::Do you talk to all your patients <BR> | ||
:::though they were children, Doctor | :::though they were children, Doctor <BR> | ||
:::Frevel? Or is it just me? | :::Frevel? Or is it just me? | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
::::(Taken aback) | ::::(Taken aback)<BR> | ||
:::I'm sorry. We find that....usually | :::I'm sorry. We find that....usually <BR> | ||
:::people in your condition appreciate | :::people in your condition appreciate <BR> | ||
:::a....gentle approach. | :::a....gentle approach. | ||
:::::ARRIS | :::::ARRIS<BR> | ||
:::Well I'm not usual people. | :::Well I'm not usual people. | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
::::(She looks at him differently) | ::::(She looks at him differently) <BR> | ||
:::No. No, I don't believe you are. | :::No. No, I don't believe you are.<BR> | ||
::::(Smiles, continues in a more | ::::(Smiles, continues in a more <BR> | ||
::::natural tone) | ::::natural tone)<BR> | ||
:::We wouldn't normally divulge this to | :::We wouldn't normally divulge this to <BR> | ||
:::patients....but we did a record search | :::patients....but we did a record search<BR> | ||
:::on you. It wasn't good. | :::on you. It wasn't good. | ||
Line 391: | Line 477: | ||
<B><U>SC.22 ARRIS. THE DOCTOR</U></B> | <B><U>SC.22 ARRIS. THE DOCTOR</U></B> | ||
Arris steps off the treadmill, reaches for a towel, wipes | Arris steps off the treadmill, reaches for a towel, wipes <BR> | ||
sweat away. | sweat away. | ||
:::::ARRIS | :::::ARRIS<BR> | ||
:::Make my day. I'm a mass murderer? | :::Make my day. I'm a mass murderer? | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
:::I wouldn't joke about that. You could | :::I wouldn't joke about that. You could <BR> | ||
:::be almost <U>anything.</U> Prior to two weeks | :::be almost <U>anything.</U> Prior to two weeks <BR> | ||
:::ago, you don't exist. Either someone's | :::ago, you don't exist. Either someone's <BR> | ||
:::erased your records...or there was an | :::erased your records...or there was an <BR> | ||
:::accident in your home planet's data net. | :::accident in your home planet's data net. | ||
:::::ARRIS | :::::ARRIS<BR> | ||
:::My home planet? Jeez, where <U>is</U> home? | :::My home planet? Jeez, where <U>is</U> home? <BR> | ||
:::Where's my family? Do I have a family? | :::Where's my family? Do I have a family? | ||
Line 411: | Line 497: | ||
<B><U>SC.23 WIDER</U></B> | <B><U>SC.23 WIDER</U></B> | ||
:::::ARRIS | :::::ARRIS<BR> | ||
:::Am I married? Do I have children? | :::Am I married? Do I have children? <BR> | ||
:::Who the hell am I Dr. Frevel? | :::Who the hell am I Dr. Frevel? | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
::::(compassionate) | ::::(compassionate)<BR> | ||
:::It'll come Lev. This is all quite normal | :::It'll come Lev. This is all quite normal <BR> | ||
:::with trauma sustained in cryo. | :::with trauma sustained in cryo. | ||
:::::ARRIS | :::::ARRIS<BR> | ||
:::Just how long was I in that icebox for? | :::Just how long was I in that icebox for? | ||
Line 426: | Line 512: | ||
<U><B>SC.24 ANOTHER ANGLE</U></B> | <U><B>SC.24 ANOTHER ANGLE</U></B> | ||
As they walk toward one side of the solarium, where there's a | As they walk toward one side of the solarium, where there's a <BR> | ||
mirrored wall: other patients are using it to help them work | mirrored wall: other patients are using it to help them work <BR> | ||
out. | out. | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
:::We're still working on that. | :::We're still working on that.<BR> | ||
::::(slight humor) | ::::(slight humor)<BR> | ||
:::But you could afford to stay in one | :::But you could afford to stay in one <BR> | ||
:::for as long you liked. | :::for as long you liked. | ||
:::::ARRIS | :::::ARRIS<BR> | ||
:::Meaning? | :::Meaning? | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
:::Meaning one thing <U>did </U>come down with | :::Meaning one thing <U>did </U>come down with <BR> | ||
:::the data check. Your account, only | :::the data check. Your account, only <BR> | ||
:::registered about a week ago. You have | :::registered about a week ago. You have <BR> | ||
:::an exceptionally...attractive credit | :::an exceptionally...attractive credit <BR> | ||
:::rating Ser Arris. | :::rating Ser Arris. | ||
Line 449: | Line 535: | ||
<U><B>SC.25 CLOSER - THE TWO OF THEM</U></B> | <U><B>SC.25 CLOSER - THE TWO OF THEM</U></B> | ||
As they come up in front of the mirror. Arris looks closely | As they come up in front of the mirror. Arris looks closely <BR> | ||
at himself. A good-looking man, now fit again, in his late | at himself. A good-looking man, now fit again, in his late <BR> | ||
twenties...but with eyes haunted by the lack of self- | twenties...but with eyes haunted by the lack of self- <BR> | ||
knowledge. | knowledge. | ||
:::::ARRIS | :::::ARRIS<BR> | ||
:::Nice. If only I wasn't overdrawn | :::Nice. If only I wasn't overdrawn <BR> | ||
:::at the memory bank, huh? | :::at the memory bank, huh? | ||
Line 463: | Line 549: | ||
<U><B>SC.26 INT. HOSPITAL RECEPTION AREA -- DAY</U></B> | <U><B>SC.26 INT. HOSPITAL RECEPTION AREA -- DAY</U></B> | ||
Two neatly-dressed men with satchels come to the main desk. | Two neatly-dressed men with satchels come to the main desk. <BR> | ||
One is looking around him alertly, as if watching the other | One is looking around him alertly, as if watching the other <BR> | ||
man's back. The receptionist at the desk looks up at them. | man's back. The receptionist at the desk looks up at them. | ||
:::::RECEPTIONIST | :::::RECEPTIONIST<BR> | ||
:::Yes? | :::Yes? | ||
:::::FIRST ASSASSIN | :::::FIRST ASSASSIN <BR> | ||
:::It's new right? | :::It's new right? | ||
The receptionist doesn't quite understand. She smiles. | The receptionist doesn't quite understand. She smiles. <BR> | ||
First Assassin leans on the desk, looking at her hair, | First Assassin leans on the desk, looking at her hair, <BR> | ||
like a professional. | like a professional. | ||
:::::FIRST ASSASSIN | :::::FIRST ASSASSIN <BR> | ||
:::The hair style. I love it. | :::The hair style. I love it. | ||
:::::RECEPTIONIST | :::::RECEPTIONIST<BR> | ||
::::(Touching hair, thrown off- | ::::(Touching hair, thrown off- <BR> | ||
::::: balance but flattered) | ::::: balance but flattered)<BR> | ||
:::Oh, it's fairly new I suppose... | :::Oh, it's fairly new I suppose... | ||
:::::FIRST ASSASSIN | :::::FIRST ASSASSIN<BR> | ||
:::It's perfect. I do a little.... | :::It's perfect. I do a little.... <BR> | ||
:::fashion reporting, you know, when | :::fashion reporting, you know, when<BR> | ||
:::I ain't covering more serious stuff.. | :::I ain't covering more serious stuff.. | ||
Line 493: | Line 579: | ||
:::Are you guys...journalists? | :::Are you guys...journalists? | ||
:::::FIRST ASSASSIN | :::::FIRST ASSASSIN<BR> | ||
::::(To second Assassin) | ::::(To second Assassin)<BR> | ||
:::Brains as well as beauty. | :::Brains as well as beauty. | ||
:::::FIRST ASSASSIN (CONT) | :::::FIRST ASSASSIN (CONT)<BR> | ||
::::(To Receptionist) | ::::(To Receptionist)<BR> | ||
:::We're with the New Crius Examiner. | :::We're with the New Crius Examiner. <BR> | ||
:::Here to interview a Ser Lev Arris. | :::Here to interview a Ser Lev Arris. <BR> | ||
:::Is he around? | :::Is he around? | ||
The Receptionist seems a little unsure. First Assassin | The Receptionist seems a little unsure. First Assassin <BR> | ||
gives her a winning smile. | gives her a winning smile. | ||
:::::RECEPTIONIST | :::::RECEPTIONIST <BR> | ||
:::I'll just check. | :::I'll just check. | ||
Line 514: | Line 600: | ||
From her side of the desk. She looks up at them. | From her side of the desk. She looks up at them. | ||
:::::RECEPTIONIST | :::::RECEPTIONIST<BR> | ||
:::Section five A, gentlemen. First | :::Section five A, gentlemen. First<BR> | ||
:::slidewalk on your left, follow | :::slidewalk on your left, follow <BR> | ||
:::the beacon. | :::the beacon. | ||
A little green "tinkerbell" light pops up out of the surface | A little green "tinkerbell" light pops up out of the surface <BR> | ||
of her desk, hangs in the air in front of the men, wobbles a | of her desk, hangs in the air in front of the men, wobbles a <BR> | ||
little as if to get their attention, then heads off and OUT | little as if to get their attention, then heads off and OUT <BR> | ||
OF SHOT. As they leave | OF SHOT. As they leave | ||
:::::RECEPTIONIST | :::::RECEPTIONIST<BR> | ||
::::(Coy) | ::::(Coy)<BR> | ||
:::See you. | :::See you. | ||
:::::FIRST ASSASSIN | :::::FIRST ASSASSIN<BR> | ||
::::(Winking at her) | ::::(Winking at her)<BR> | ||
:::Not unless I see you first. | :::Not unless I see you first. | ||
Line 537: | Line 623: | ||
<U><B>SC.28 WIDER</U></B> | <U><B>SC.28 WIDER</U></B> | ||
As they go after the light. The SECOND ASSASSIN continues to | As they go after the light. The SECOND ASSASSIN continues to <BR> | ||
look around himself as they go, intent on making sure where | look around himself as they go, intent on making sure where <BR> | ||
every other person in the area is. The FIRST ASSASSIN forges | every other person in the area is. The FIRST ASSASSIN forges <BR> | ||
on ahead, speaking softly into a device like a tiny | on ahead, speaking softly into a device like a tiny <BR> | ||
cellphone, with the other man following. | cellphone, with the other man following. | ||
:::::SECOND ASSASSIN | :::::SECOND ASSASSIN<BR> | ||
::::(Unimpressed) | ::::(Unimpressed) <BR> | ||
:::Fashion reporting? | :::Fashion reporting? | ||
:::::FIRST ASSASSIN | :::::FIRST ASSASSIN<BR> | ||
:::I thought it was a nice touch. | :::I thought it was a nice touch. | ||
:::::SECOND ASSASSIN | :::::SECOND ASSASSIN<BR> | ||
:::Yeah, well we'll get a nice touch | :::Yeah, well we'll get a nice touch <BR> | ||
:::from <U>Rhinehart</u> if your flirting | :::from <U>Rhinehart</u> if your flirting <BR> | ||
:::screws things up. | :::screws things up. | ||
:::::FIRST ASSASSIN | :::::FIRST ASSASSIN<BR> | ||
:::It ain't flirting. It was just adding | :::It ain't flirting. It was just adding <BR> | ||
:::a little color to the performance. | :::a little color to the performance. | ||
Line 564: | Line 650: | ||
Arris and the Doctor again. | Arris and the Doctor again. | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
:::Cryo-associated memory loss can take | :::Cryo-associated memory loss can take <BR> | ||
:::months to resolve itself...but when | :::months to resolve itself...but when <BR> | ||
:::it does some patients are a little.. | :::it does some patients are a little..<BR> | ||
:::disappointed. The reality of someone's | :::disappointed. The reality of someone's <BR> | ||
:::past often fails to match up to what | :::past often fails to match up to what <BR> | ||
:::they imagined it might be. | :::they imagined it might be. | ||
:::::ARRIS | :::::ARRIS<BR> | ||
:::Right now I'd settle for disappointment. | :::Right now I'd settle for disappointment. | ||
Line 580: | Line 666: | ||
Arris starts pulling on his clothes over his workout gear. | Arris starts pulling on his clothes over his workout gear. | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
:::You may have to. In time your memory | :::You may have to. In time your memory <BR> | ||
:::is likely to recover completely. | :::is likely to recover completely. | ||
:::::ARRIS | :::::ARRIS<BR> | ||
:::But how will I know that? How will | :::But how will I know that? How will <BR> | ||
:::I ever be sure that there's not one | :::I ever be sure that there's not one <BR> | ||
:::more nasty little memory...just | :::more nasty little memory...just <BR> | ||
:::waiting to jump me? | :::waiting to jump me? | ||
Line 595: | Line 681: | ||
<U><B>5C.31 INT. WARD RECEPTION AREA - DAY</U></B> | <U><B>5C.31 INT. WARD RECEPTION AREA - DAY</U></B> | ||
The green light zips up to the reception desk, glows, then | The green light zips up to the reception desk, glows, then <BR> | ||
vanishes. The nurse at the desk looks up at the two men who | vanishes. The nurse at the desk looks up at the two men who<BR> | ||
approach. | approach. | ||
:::::NURSE | :::::NURSE<BR> | ||
:::Can I help you? | :::Can I help you? | ||
:::::FIRST ASSASSIN | :::::FIRST ASSASSIN<BR> | ||
:::We're looking for Ser Lev Arris. | :::We're looking for Ser Lev Arris. | ||
:::::NURSE | :::::NURSE<BR> | ||
:::He's in physio at the moment. Who | :::He's in physio at the moment. Who <BR> | ||
:::shall I say wants him? | :::shall I say wants him? | ||
:::::FIRST ASSASSIN | :::::FIRST ASSASSIN<BR> | ||
:::New Crius Examiner. We're here to | :::New Crius Examiner. We're here to <BR> | ||
:::interview him about the Canera crash. | :::interview him about the Canera crash. | ||
:::::NURSE | :::::NURSE<BR> | ||
:::His consultant will have to clear it | :::His consultant will have to clear it <BR> | ||
:::first-- | :::first-- | ||
Line 622: | Line 708: | ||
As the two men pull out blasters and level them at the nurse. | As the two men pull out blasters and level them at the nurse. | ||
:::::SECOND ASSASSIN | :::::SECOND ASSASSIN <BR> | ||
:::Clear <u>this, Mister Nurse</U>. | :::Clear <u>this, Mister Nurse</U>. | ||
The nurse opens his mouth to shout. Before he gets a chance, | The nurse opens his mouth to shout. Before he gets a chance, <BR> | ||
they blast him, and he collapses over the desk like a limp | they blast him, and he collapses over the desk like a limp <BR> | ||
doll. SFX: SUBDUED WEAPONS NOISE, a sound like the buzz of | doll. SFX: SUBDUED WEAPONS NOISE, a sound like the buzz of <BR> | ||
many angry wasps. | many angry wasps. | ||
After they blow him away... | After they blow him away... | ||
:::::FIRST ASSASSIN | :::::FIRST ASSASSIN<BR> | ||
::::(Grinning) | ::::(Grinning)<BR> | ||
:::You know something...I think I | :::You know something...I think I <BR> | ||
:::could really get to enjoy this | :::could really get to enjoy this <BR> | ||
:::journalism thing. | :::journalism thing. | ||
Line 645: | Line 731: | ||
<b><u>SC.33 INT, HOSPITAL RECEPTION AREA - DAY</U></B> | <b><u>SC.33 INT, HOSPITAL RECEPTION AREA - DAY</U></B> | ||
As before: same receptionist. A THIRD and FOURTH ASSASSIN | As before: same receptionist. A THIRD and FOURTH ASSASSIN <BR> | ||
talk among themselves as they approach. | talk among themselves as they approach. | ||
:::::THIRD ASSASSIN | :::::THIRD ASSASSIN<BR> | ||
:::I like hospitals. They're so clean. | :::I like hospitals. They're so clean. <BR> | ||
:::So...sterile. | :::So...sterile. | ||
:::::FOURTH | :::::FOURTH<BR> | ||
:::Getting all hot and bothered, huh? | :::Getting all hot and bothered, huh? | ||
:::::THIRD | :::::THIRD<BR> | ||
::::(shooting her a withering look) | ::::(shooting her a withering look)<BR> | ||
:::I never get hot. Nor bothered. | :::I never get hot. Nor bothered. | ||
They've reached the desk. | They've reached the desk. | ||
:::::RECEPTIONIST | :::::RECEPTIONIST <BR> | ||
:::Yes, serras? | :::Yes, serras? | ||
:::::THIRD ASSASSIN | :::::THIRD ASSASSIN<BR> | ||
:::We're here to visit a man. I mean, a | :::We're here to visit a man. I mean, a <BR> | ||
:::friend, who's a man. Ser Lev Arris. | :::friend, who's a man. Ser Lev Arris. | ||
:::::RECEPTIONIST | :::::RECEPTIONIST <BR> | ||
:::My, he's popular today. | :::My, he's popular today. | ||
Line 674: | Line 760: | ||
<U><B>SC.34 CLOSER</U></B> | <U><B>SC.34 CLOSER</U></B> | ||
As another little light, blue this time, pops up out of the | As another little light, blue this time, pops up out of the <BR> | ||
desk and heads off slowly. | desk and heads off slowly. | ||
:::::FOURTH ASSASSIN | :::::FOURTH ASSASSIN<BR> | ||
:::Popular? | :::Popular? | ||
In the midst of the next speech they exchange glances, head | In the midst of the next speech they exchange glances, head <BR> | ||
hurriedly after the blue light. | hurriedly after the blue light. | ||
:::::RECEPTIONIST | :::::RECEPTIONIST<BR> | ||
:::A couple of reporters just went | :::A couple of reporters just went<BR> | ||
:::through. Five-A, sers, first slidewalk | :::through. Five-A, sers, first slidewalk <BR> | ||
:::on your left, follow the -- | :::on your left, follow the --<BR> | ||
:::(realizes she's talking to empty air) | :::(realizes she's talking to empty air) <BR> | ||
:::Oh. | :::Oh. | ||
Line 693: | Line 779: | ||
<U><B>SC.35 WIDER</U></B> | <U><B>SC.35 WIDER</U></B> | ||
They run down the slidewalk, jostling people. The light | They run down the slidewalk, jostling people. The light <BR> | ||
heads after them, trying rather pathetically to keep up. | heads after them, trying rather pathetically to keep up. | ||
Line 701: | Line 787: | ||
<U><B>SC.36 INT. SOLARIUM - DAY</U></B> | <U><B>SC.36 INT. SOLARIUM - DAY</U></B> | ||
Favoring the doctor and Arris, as they step away from the | Favoring the doctor and Arris, as they step away from the <BR> | ||
mirror. | mirror. | ||
:::::DOCTOR | :::::DOCTOR<BR> | ||
:::Well...take it easy for the time | :::Well...take it easy for the time <BR> | ||
:::being. If you overstress yourself, | :::being. If you overstress yourself,<BR> | ||
:::you may prolong the problem -- | :::you may prolong the problem -- | ||
She looks up in surprise, and then Arris does, at the SFX: | She looks up in surprise, and then Arris does, at the SFX: <BR> | ||
COMMOTION OF VOICES near the main doors to the solarium. | COMMOTION OF VOICES near the main doors to the solarium. <BR> | ||
Behind her (and totally unnoticed by her and Arris), a | Behind her (and totally unnoticed by her and Arris), a <BR> | ||
largish scoutship-type craft is rising above the terrace | largish scoutship-type craft is rising above the terrace <BR> | ||
level beyond the doors to the outside. | level beyond the doors to the outside. | ||
Line 718: | Line 804: | ||
<B><U>SC.37 ANGLE ON THE SOLARIUM WINDOWS - THE SHIP</U></B> | <B><U>SC.37 ANGLE ON THE SOLARIUM WINDOWS - THE SHIP</U></B> | ||
It pauses -- then BLASTS the outer structure of the solarium | It pauses -- then BLASTS the outer structure of the solarium <BR> | ||
with some kind of force weapon, blowing a large hole in it. | with some kind of force weapon, blowing a large hole in it. <BR> | ||
Glass scatters inward, people start to run in all directions, | Glass scatters inward, people start to run in all directions, <BR> | ||
screaming. | screaming. | ||
Line 726: | Line 812: | ||
<B><U>SC.38 ON THE DOORS</B></U> | <B><U>SC.38 ON THE DOORS</B></U> | ||
As the two men who have just shot the nurse burst in through | As the two men who have just shot the nurse burst in through <BR> | ||
the doors. People all around the solarium stare at them. | the doors. People all around the solarium stare at them. <BR> | ||
Both of the men look around hurriedly at all the people -- | Both of the men look around hurriedly at all the people -- <BR> | ||
then one of them sees the Doctor and Arris, points. The | then one of them sees the Doctor and Arris, points. The <BR> | ||
other follows his gesture, points his gun at them: so does | other follows his gesture, points his gun at them: so does <BR> | ||
the first. They FIRE. | the first. They FIRE. | ||
Line 736: | Line 822: | ||
<B><U>SC.39 CLOSE - ARRIS AND THE DOCTOR</B></U> | <B><U>SC.39 CLOSE - ARRIS AND THE DOCTOR</B></U> | ||
A blast from one of the weapons hits the doctor in the | A blast from one of the weapons hits the doctor in the <BR> | ||
forehead, damaging her as messily as possible for the optimum | forehead, damaging her as messily as possible for the optimum <BR> | ||
for the game. She falls OUT OF SHOT. Arris stares as | for the game. She falls OUT OF SHOT. Arris stares as <BR> | ||
she goes down -- then looks up and dives sideways, also OUT | she goes down -- then looks up and dives sideways, also OUT <BR> | ||
OF SHOT. A beam from a blaster stitches through the air | OF SHOT. A beam from a blaster stitches through the air <BR> | ||
where his head just was. | where his head just was. | ||
Line 746: | Line 832: | ||
<B><U>SC.40 WIDER</B></U> | <B><U>SC.40 WIDER</B></U> | ||
Arris rolls and rolls in an attempt to avoid the beams | Arris rolls and rolls in an attempt to avoid the beams <BR> | ||
lancing out at him. Several hit the floor as he rolls, but | lancing out at him. Several hit the floor as he rolls, but <BR> | ||
don't damage it -- | don't damage it -- | ||
Line 758: | Line 844: | ||
<B><U>SC.42 ON ARRIS</B></U> | <B><U>SC.42 ON ARRIS</B></U> | ||
A beam hits him as he's scrambling to his feet. He stares in | A beam hits him as he's scrambling to his feet. He stares in <BR> | ||
horror as it hits his chest -- but this is a stun. | horror as it hits his chest -- but this is a stun.<BR> | ||
Arris crumples to his knees, almost unconscious. The two | Arris crumples to his knees, almost unconscious. The two <BR> | ||
attackers run INTO SHOT and grab him under the arms, haul him | attackers run INTO SHOT and grab him under the arms, haul him <BR> | ||
away. | away. | ||
Line 767: | Line 853: | ||
<B><U>SC.43 WIDER</B></U> | <B><U>SC.43 WIDER</B></U> | ||
He struggles feebly with them, but to no avail. They haul | He struggles feebly with them, but to no avail. They haul <BR> | ||
him toward the hole in the windows which leads to the outdoor | him toward the hole in the windows which leads to the outdoor <BR> | ||
terrace: in the air over the terrace, their "getaway" craft | terrace: in the air over the terrace, their "getaway" craft <BR> | ||
is hovering gently. One of them points a remote control at | is hovering gently. One of them points a remote control at <BR> | ||
it: its door slides open. | it: its door slides open. | ||
<B><U>SC.44 EXT. TERRACE</B></U> | <B><U>SC.44 EXT. TERRACE</B></U> | ||
They're out the doors now. They haul him toward the waiting | They're out the doors now. They haul him toward the waiting <BR> | ||
craft, into it. | craft, into it. | ||
Line 781: | Line 867: | ||
<B><U>SC.45 CLOSER ON THE SHIP DOOR</B></U> | <B><U>SC.45 CLOSER ON THE SHIP DOOR</B></U> | ||
Arris is bundled forward and out of sight. Then one of the | Arris is bundled forward and out of sight. Then one of the <BR> | ||
men comes out, jumps down to ground level again, looking | men comes out, jumps down to ground level again, looking <BR> | ||
around him warily -- | around him warily -- | ||
:::::FIRST MAN | :::::FIRST MAN<BR> | ||
:::Uhhh ! | :::Uhhh ! | ||
He collapses to his knees, staring at the large burn hole | He collapses to his knees, staring at the large burn hole <BR> | ||
which has appeared in his chest. | which has appeared in his chest. | ||
<B><U>SC.46 WIDER</B></U> | <B><U>SC.46 WIDER</B></U> | ||
He pitches forward. His companion, in the ship, ducks | He pitches forward. His companion, in the ship, ducks <BR> | ||
behind one side of the open door as more shots come sleeting | behind one side of the open door as more shots come sleeting <BR> | ||
past: peers out. | past: peers out. | ||
Line 800: | Line 886: | ||
<B><U>SC.47 ON THE HOLE INTO THE SOLARIUM</B></U> | <B><U>SC.47 ON THE HOLE INTO THE SOLARIUM</B></U> | ||
Two other assassins -- the second pair whom we saw enter | Two other assassins -- the second pair whom we saw enter <BR> | ||
the hospital -- are shooting at the remaining man of the | the hospital -- are shooting at the remaining man of the <BR> | ||
first pair. | first pair. | ||
Line 807: | Line 893: | ||
<B><U>SC.48 BACK TO ANGLE - THE SHIP</B></U> | <B><U>SC.48 BACK TO ANGLE - THE SHIP</B></U> | ||
The man still inside it leans out a bit, fires at the | The man still inside it leans out a bit, fires at the <BR> | ||
others. | others. | ||
Line 813: | Line 899: | ||
<B><U>SC.49 ANGLE FROM INSIDE THE SHIP</B></U> | <B><U>SC.49 ANGLE FROM INSIDE THE SHIP</B></U> | ||
Arris, dumped unconscious in the pilot's seat. In b.g. the | Arris, dumped unconscious in the pilot's seat. In b.g. the <BR> | ||
remaining man fires at his attackers: they return fire. | remaining man fires at his attackers: they return fire. <BR> | ||
Sparks and SFX: RICOCHETS all over the place. | Sparks and SFX: RICOCHETS all over the place. | ||
Line 820: | Line 906: | ||
<B><U>SC.50 THE SINGLE MAN</B></U> | <B><U>SC.50 THE SINGLE MAN</B></U> | ||
From outside. Still firing -- he leans out too far. | From outside. Still firing -- he leans out too far. <BR> | ||
Various shots miss him -- one doesn't: he falls out of the | Various shots miss him -- one doesn't: he falls out of the <BR> | ||
ship, mortally wounded. | ship, mortally wounded. | ||
Line 827: | Line 913: | ||
<B><U>SC.51 CLOSER - THE WOUNDED MAN. ON THE IERRACE</B></U> | <B><U>SC.51 CLOSER - THE WOUNDED MAN. ON THE IERRACE</B></U> | ||
His small cellphone-looking remote has fallen a little | His small cellphone-looking remote has fallen a little <BR> | ||
distance from him. He hauls himself along to it -- reaches | distance from him. He hauls himself along to it -- reaches <BR> | ||
out a shaking hand -- grabs it -- brings it up to lips now | out a shaking hand -- grabs it -- brings it up to lips now <BR> | ||
frothing blood. Behind him, we can see the door of the ship | frothing blood. Behind him, we can see the door of the ship <BR> | ||
closing in reaction to his command. | closing in reaction to his command. | ||
:::::FIRST MAN | :::::FIRST MAN<BR> | ||
::Door seal. Lock. Autopilot -- | ::Door seal. Lock. Autopilot -- <BR> | ||
::activate -- preset course two -- | ::activate -- preset course two -- <BR> | ||
::go, go, go -- ! | ::go, go, go -- ! | ||
The remote falls from his hand: his eyes glaze over, wide | The remote falls from his hand: his eyes glaze over, wide <BR> | ||
open. He's dead. SFX: ENGINE SCREAM from behind. | open. He's dead. SFX: ENGINE SCREAM from behind. | ||
Line 844: | Line 930: | ||
<B><U>SC.52 WIDER</B></U> | <B><U>SC.52 WIDER</B></U> | ||
The ship lifts up out of its cradle, soars up horizontally | The ship lifts up out of its cradle, soars up horizontally <BR> | ||
for a few seconds: then its nose tilts up and its rear jets | for a few seconds: then its nose tilts up and its rear jets <BR> | ||
light. It accelerates powerfully up into the atmosphere, | light. It accelerates powerfully up into the atmosphere, <BR> | ||
swiftly diminishing. | swiftly diminishing. | ||
Line 852: | Line 938: | ||
<B><U>SC.53 BACK TO ANGLE,- THE DEAD MAN WITH THE REMOTE</B></U> | <B><U>SC.53 BACK TO ANGLE,- THE DEAD MAN WITH THE REMOTE</B></U> | ||
CAMERA HOLDS ON HIM as we hear SFX of APPROACHING FOOTSTEPS. | CAMERA HOLDS ON HIM as we hear SFX of APPROACHING FOOTSTEPS. <BR> | ||
Booted feet walk INTO SHOT. One boot nudges the man, turns | Booted feet walk INTO SHOT. One boot nudges the man, turns <BR> | ||
him over. | him over. | ||
Line 861: | Line 947: | ||
Looking down at the corpse, their weapons drawn. | Looking down at the corpse, their weapons drawn. | ||
:::::THIRD ASSASSIN | :::::THIRD ASSASSIN<BR> | ||
:::A clean, surgical strike, that was | :::A clean, surgical strike, that was <BR> | ||
:::our brief, wasn't it? | :::our brief, wasn't it? | ||
:::::FOURTH | :::::FOURTH<BR> | ||
:::The Old Man's gonna go ballistic. | :::The Old Man's gonna go ballistic. | ||
The 'dead man' groans a little...the last glimmer of life... | The 'dead man' groans a little...the last glimmer of life... | ||
Third Assassin methodically puts one more blast into him: | Third Assassin methodically puts one more blast into him: <BR> | ||
then another, a strange SMILE coming over her face... | then another, a strange SMILE coming over her face... | ||
Line 876: | Line 962: | ||
<B><U>SC.55 WIDE - THE TWO MEN. THE SKY<B><U> | <B><U>SC.55 WIDE - THE TWO MEN. THE SKY</B></U> | ||
As the escaping ship vanishes from sight in the high | As the escaping ship vanishes from sight in the high <BR> | ||
stratosphere. | stratosphere. | ||
:::::THIRD ASSASSIN | :::::THIRD ASSASSIN<BR> | ||
:::There goes my beautiful career. | :::There goes my beautiful career. | ||
They turn and walk OUT OF SHOT. CAMERA HOLDS | They turn and walk OUT OF SHOT. CAMERA HOLDS<BR> | ||
:::::::: CUT TO: | :::::::: CUT TO: | ||
Line 890: | Line 976: | ||
''<B><U>SC.56 INT. ARIUS'S SHIP (COMPUTER GENERATED: NO VIDEO) </B></U>'' | ''<B><U>SC.56 INT. ARIUS'S SHIP (COMPUTER GENERATED: NO VIDEO) </B></U>'' | ||
''Dark except for the telltales of the ship's computer and '' | ''Dark except for the telltales of the ship's computer and ''<BR> | ||
''control panel, and the starlight outside the front windows.'' | ''control panel, and the starlight outside the front windows.''<BR> | ||
''FADE IN SFX: SHIP'S COMPUTER as it speaks: a female voice, '' | ''FADE IN SFX: SHIP'S COMPUTER as it speaks: a female voice, ''<BR> | ||
''growing more urgent.'' | ''growing more urgent.'' | ||
:::::''COMPUTER'' | :::::''COMPUTER''<BR> | ||
:::''There is a critical condition in'' | :::''There is a critical condition in'' <BR> | ||
:::''the D-space anomaly. Drop-out '' | :::''the D-space anomaly. Drop-out ''<BR> | ||
:::''is imminent. -- There is a'' | :::''is imminent. -- There is a''<BR> | ||
:::''critical condition in the D-space'' | :::''critical condition in the D-space''<BR> | ||
:::''anomaly. Drop-out is imminent. '' | :::''anomaly. Drop-out is imminent. ''<BR> | ||
:::''Pilot intervention is required.'' | :::''Pilot intervention is required.''<BR> | ||
:::::''ARRIS (VO)'' | :::::''ARRIS (VO)''<BR> | ||
:::''-- Where are we?'' | :::''-- Where are we?'' | ||
:::::COMPUTER'' | :::::COMPUTER''<BR> | ||
:::''The question is not answerable '' | :::''The question is not answerable ''<BR> | ||
:::''in terms of physical location,'' | :::''in terms of physical location,''<BR> | ||
:::''since this vessel is irrelevant. '' | :::''since this vessel is irrelevant. ''<BR> | ||
:::''We will emerge from D - space within'' | :::''We will emerge from D - space within'' <BR> | ||
:::''approach distance of planet Hermes'' | :::''approach distance of planet Hermes''<BR> | ||
:::''within three point five minutes.'' | :::''within three point five minutes.''<BR> | ||
:::::''(beat)'' | :::::''(beat)''<BR> | ||
:::''Diagnostics show a catastrophic '' | :::''Diagnostics show a catastrophic ''<BR> | ||
:::''failure in the gravitic shell '' | :::''failure in the gravitic shell ''<BR> | ||
:::''which will render the D-drive '' | :::''which will render the D-drive ''<BR> | ||
:::''inoperable after emergence. Repair'' | :::''inoperable after emergence. Repair''<BR> | ||
:::''will require the services of an '' | :::''will require the services of an ''<BR> | ||
:::''authorized 'Arstan' dealer, or other '' | :::''authorized 'Arstan' dealer, or other ''<BR> | ||
:::''facility equipped to UTRA standard.'' | :::''facility equipped to UTRA standard.'' | ||
''<B><U>SC.57 INT. SHIP (COMPUTER GENERATED: NO VIDEO) -</B></U>'' | ''<B><U>SC.57 INT. SHIP (COMPUTER GENERATED: NO VIDEO) -</B></U>''<BR> | ||
::::''<B><U>VIEW THROUGH THE FRONT VIEWPORT</B></U>'' | ::::''<B><U>VIEW THROUGH THE FRONT VIEWPORT</B></U>'' | ||
''There are (seemingly) no single stars out there: but there '' | ''There are (seemingly) no single stars out there: but there ''<BR> | ||
''are many packages of six, each single point of faint light '' | ''are many packages of six, each single point of faint light ''<BR> | ||
''arranged on the vertices of a hexagon. Now, with a slight '' | ''arranged on the vertices of a hexagon. Now, with a slight ''<BR> | ||
''shuddering motion, they begin to converge --'' | ''shuddering motion, they begin to converge --'' | ||
Line 934: | Line 1,020: | ||
''<B><U>SC.58 EXT. SHIP (COMPUTER GENERATED: NO VIDEO) </B></U>'' | ''<B><U>SC.58 EXT. SHIP (COMPUTER GENERATED: NO VIDEO) </B></U>'' | ||
''As this convergence of stars starts happening all around it, '' | ''As this convergence of stars starts happening all around it, ''<BR> | ||
''the ship itself seems to start to flower out into a series of '' | ''the ship itself seems to start to flower out into a series of ''<BR> | ||
''ghost images, six of them, radiating symmetrically outward'' | ''ghost images, six of them, radiating symmetrically outward''<BR> | ||
''from the body of the "central" craft. The image is somewhat '' | ''from the body of the "central" craft. The image is somewhat ''<BR> | ||
''like that of a flower opening.'' | ''like that of a flower opening.'' | ||
''The ghost-images of the ship continue to rotate outward from '' | ''The ghost-images of the ship continue to rotate outward from ''<BR> | ||
''the "real" ship at their heart, until they reach the 90- '' | ''the "real" ship at their heart, until they reach the 90- ''<BR> | ||
''degree point. At this point another "ship" appears at the '' | ''degree point. At this point another "ship" appears at the ''<BR> | ||
''heart of the "flower", a mirror image of the first one, and '' | ''heart of the "flower", a mirror image of the first one, and ''<BR> | ||
''this one starts becoming more solid as the original one '' | ''this one starts becoming more solid as the original one ''<BR> | ||
''fades: while all around, the converging stars get brighter'' | ''fades: while all around, the converging stars get brighter'' <BR> | ||
''and brighter -- | ''and brighter -- | ||
''<B><U>SC,59 EXT. SHIP - ANOTHER_ANGLE (COMPUTER GENERATED: NO </B></U>'' | ''<B><U>SC,59 EXT. SHIP - ANOTHER_ANGLE (COMPUTER GENERATED: NO </B></U>''<BR> | ||
::::''<B><U>VIDEO)</B></U>'' | ::::''<B><U>VIDEO)</B></U>'' | ||
''As the first image of the ship starts to fade away, while the '' | ''As the first image of the ship starts to fade away, while the ''<BR> | ||
''other ships constituting the "petals" of the flower close in '' | ''other ships constituting the "petals" of the flower close in ''<BR> | ||
''around the second, rotating "into" it. The stars converge, '' | ''around the second, rotating "into" it. The stars converge, ''<BR> | ||
''getting brighter and brighter -- and then fuse into a single '' | ''getting brighter and brighter -- and then fuse into a single ''<BR> | ||
''blinding glare which whites out the screen --'' | ''blinding glare which whites out the screen --'' | ||
Line 961: | Line 1,047: | ||
<B><U>SC.60 WIDER (COMPUTER GENERATED: NQ VIDEO) </B></U> | <B><U>SC.60 WIDER (COMPUTER GENERATED: NQ VIDEO) </B></U> | ||
''The "normal" stars reassert themselves, and a very bright '' | ''The "normal" stars reassert themselves, and a very bright ''<BR> | ||
''star in far b. g., the sun of the Hermes star-system. In '' | ''star in far b. g., the sun of the Hermes star-system. In ''<BR> | ||
''nearer b.g. is the planet Hermes itself. Six ghost-images of '' | ''nearer b.g. is the planet Hermes itself. Six ghost-images of ''<BR> | ||
''Arris's ship rotate into a central point with a slam of light '' | ''Arris's ship rotate into a central point with a slam of light ''<BR> | ||
''and SEX: THUNDER,- leaving one ship, in normal space, and '' | ''and SEX: THUNDER,- leaving one ship, in normal space, and ''<BR> | ||
''everything very quiet after all the ruckus.'' | ''everything very quiet after all the ruckus.'' | ||
Line 971: | Line 1,057: | ||
<B><U>SC.61 INT. SHIP</B></U> | <B><U>SC.61 INT. SHIP</B></U> | ||
:::::''COMPUTER'' | :::::''COMPUTER''<BR> | ||
:::''Gravitational wave compression of '' | :::''Gravitational wave compression of ''<BR> | ||
:::''nearest mass identifies it as planet '' | :::''nearest mass identifies it as planet ''<BR> | ||
:::''Hermes.'' | :::''Hermes.''<BR> | ||
:::::''(beat)'' | :::::''(beat)''<BR> | ||
:::''Anomaly envelope has failed. Local '' | :::''Anomaly envelope has failed. Local ''<BR> | ||
:::''field suppressors have failed. These'' | :::''field suppressors have failed. These''<BR> | ||
:::''failures constitute a class two emergency. '' | :::''failures constitute a class two emergency. ''<BR> | ||
:::''Automatic situation logics will now be '' | :::''Automatic situation logics will now be ''<BR> | ||
:::''implemented. Please secure yourself and '' | :::''implemented. Please secure yourself and ''<BR> | ||
:::''prepare for emergency landing sequence.'' | :::''prepare for emergency landing sequence.'' | ||
Line 986: | Line 1,072: | ||
''<B><U>SC. 62 InT. SHIP (COMPUTER GEBERATED: NO VIDEO) </B></U>'' | ''<B><U>SC. 62 InT. SHIP (COMPUTER GEBERATED: NO VIDEO) </B></U>'' | ||
:::::''COMPUTER'' | :::::''COMPUTER''<BR> | ||
:::''Default landing location is Ilij '' | :::''Default landing location is Ilij ''<BR> | ||
:::''Spaceport. Advising Hermes'' | :::''Spaceport. Advising Hermes''<BR> | ||
:::''approach control. Alerting'' | :::''approach control. Alerting''<BR> | ||
:::''emergency services.'' | :::''emergency services.'' | ||
Line 995: | Line 1,081: | ||
<B><U>SC.63 EXT. SPACE (COMPUTER GENERATED: NO VIDEO) </B></U> | <B><U>SC.63 EXT. SPACE (COMPUTER GENERATED: NO VIDEO) </B></U> | ||
''As the ship changes attitude, firing its ion thrusters to '' | ''As the ship changes attitude, firing its ion thrusters to ''<BR> | ||
''push it down into the planet's gravity well. It drops away '' | ''push it down into the planet's gravity well. It drops away ''<BR> | ||
''from POV at speed.'' | ''from POV at speed.'' | ||
:::::''HERMES CONTROL (VO)'' | :::::''HERMES CONTROL (VO)''<BR> | ||
::: ''RD eight one two six, confirming '' | ::: ''RD eight one two six, confirming ''<BR> | ||
::: ''emergency services on standby, '' | ::: ''emergency services on standby, ''<BR> | ||
::: ''ingress path three five to Ilij '' | ::: ''ingress path three five to Ilij ''<BR> | ||
::: ''port is being cleared for you, '' | ::: ''port is being cleared for you, ''<BR> | ||
::: ''expect docking tractor shortly...'' | ::: ''expect docking tractor shortly...'' | ||
''<B><U>SC,64 EXT. HERMES UPPER ATMQSPHERE (COMPUTER GENERAZED: </B></U>'' | ''<B><U>SC,64 EXT. HERMES UPPER ATMQSPHERE (COMPUTER GENERAZED: </B></U>''<BR> | ||
''<B><U>::::NO VIDEO) </B></U>'' | ''<B><U>::::NO VIDEO) </B></U>'' | ||
''Re-entry: the ship's shields glowing as they divert the heat '' | ''Re-entry: the ship's shields glowing as they divert the heat ''<BR> | ||
''from the ship itself. It noses down and streaks past POV.'' | ''from the ship itself. It noses down and streaks past POV.'' | ||
::::: ''COMPUTER'' | ::::: ''COMPUTER''<BR> | ||
::: ''Losing attitudes, Hermes control,'' | ::: ''Losing attitudes, Hermes control,''<BR> | ||
::: ''approach will be on ions only...'' | ::: ''approach will be on ions only...'' | ||
::::: ''HERMES APPROACH CONTROL '' | ::::: ''HERMES APPROACH CONTROL ''<BR> | ||
::: ''Understood, RD, emergency personnel '' | ::: ''Understood, RD, emergency personnel ''<BR> | ||
::: ''advised, abort landing to cradle, '' | ::: ''advised, abort landing to cradle, ''<BR> | ||
::: ''skirt markers on...'' | ::: ''skirt markers on...'' | ||
<B><U>''SC.65 EXT. HERMES LOWER ATMOSPHERE (COMPUTER GENERATED: </B></U>'' | <B><U>''SC.65 EXT. HERMES LOWER ATMOSPHERE (COMPUTER GENERATED: </B></U>''<BR> | ||
::::''<B><U>NO VIDEO) </B></U>'' | ::::''<B><U>NO VIDEO) </B></U>'' | ||
''The ship is coming in at an angle which is very "flat" '' | ''The ship is coming in at an angle which is very "flat" ''<BR> | ||
''compared to the planet, so that the atmosphere will soak up a '' | ''compared to the planet, so that the atmosphere will soak up a ''<BR> | ||
''lot of the ship's speed. The shields are still diverting '' | ''lot of the ship's speed. The shields are still diverting ''<BR> | ||
''heat away from it.'' | ''heat away from it.'' | ||
''<B><U>SC. 66 EXT. HERMES SPACEPORT - HIGH ANGLE (COMPUTER </B></U>'' | ''<B><U>SC. 66 EXT. HERMES SPACEPORT - HIGH ANGLE (COMPUTER </B></U>''<BR> | ||
''<B><U> | ::::''<B><U>GENERATED: NO VIDEO </B></U>'' | ||
''As the ship plummets down toward it --'' | ''As the ship plummets down toward it --'' | ||
''<B><U>SC.67 CLOSER - THE SPACEPORT'S BLAST SKIRT (COMPUTER</B></U>'' | ''<B><U>SC.67 CLOSER - THE SPACEPORT'S BLAST SKIRT (COMPUTER</B></U>''<BR> | ||
''<B><U> | ::::''<B><U>GENERATED: NO VIDEO) </B></U>'' | ||
''The ship skims down toward it. Now the ion drivers come on, '' | ''The ship skims down toward it. Now the ion drivers come on, ''<BR> | ||
''a great flat splash of light and power under the ship's '' | ''a great flat splash of light and power under the ship's ''<BR> | ||
''bottom surface.'' | ''bottom surface.'' | ||
''<B><U>SC.68 LOW ANGLE - FROM THE BLAST SKIRT (COMPUTER</B></U>'' | ''<B><U>SC.68 LOW ANGLE - FROM THE BLAST SKIRT (COMPUTER</B></U>''<BR> | ||
''<B><U> | ::::''<B><U>GENERATED: NO VIDEO)</B></U>'' | ||
''The ship comes crashing in, onto the cushion of energy '' | ''The ship comes crashing in, onto the cushion of energy ''<BR> | ||
''produced by its iondrivers. The effect is as of someone '' | ''produced by its iondrivers. The effect is as of someone ''<BR> | ||
''skidding along the ground on a large thick mattress.'' | ''skidding along the ground on a large thick mattress.'' | ||
Line 1,055: | Line 1,141: | ||
''<B><U>SC.69 WIDER ( COMPUTER GENERATED : NO SIDED) </U></B>'' | ''<B><U>SC.69 WIDER ( COMPUTER GENERATED : NO SIDED) </U></B>'' | ||
''The emergency services are waiting for it -- vehicles '' | ''The emergency services are waiting for it -- vehicles ''<BR> | ||
''hovering ready to either side of the ship's approach path: '' | ''hovering ready to either side of the ship's approach path: ''<BR> | ||
''between them, a big glowing field stretched like a net, to '' | ''between them, a big glowing field stretched like a net, to ''<BR> | ||
''catch the crashing ship.'' | ''catch the crashing ship.'' | ||
''<B><U>SC.70 FROM BEHIND THE "NET" ( COMPUTER GENERATED : NO</B></U>'' | ''<B><U>SC.70 FROM BEHIND THE "NET" ( COMPUTER GENERATED : NO</B></U>''<BR> | ||
::::''<B><U>VIDEO)</B></U> '' | |||
''The crashing ship, already slowed by its iondrivers, plows '' | ''The crashing ship, already slowed by its iondrivers, plows ''<BR> | ||
''into the "net" and comes to a halt. It does the cradle some '' | ''into the "net" and comes to a halt. It does the cradle some ''<BR> | ||
''damage.'' | ''damage.'' | ||
Line 1,071: | Line 1,157: | ||
''<B><U>SC.71 INT. ARRIS'S SHIP (COMPUTER GENERATED: NO VIDEO) </B></U>'' | ''<B><U>SC.71 INT. ARRIS'S SHIP (COMPUTER GENERATED: NO VIDEO) </B></U>'' | ||
:::::''COMPUTER'' | :::::''COMPUTER''<BR> | ||
:::''Landing sequence complete.'' | :::''Landing sequence complete.''<BR> | ||
:::''Shutting failed systems'' | :::''Shutting failed systems''<BR> | ||
:::''down. Damage status report:'' | :::''down. Damage status report:''<BR> | ||
:::''landing has damaged this ship'' | :::''landing has damaged this ship''<BR> | ||
:::''past 709d repair-salvage make/break '' | :::''past 709d repair-salvage make/break ''<BR> | ||
:::''ratio. Please evacuate.'' | :::''ratio. Please evacuate.'' | ||
''<B><U>SC.72 GAME ONLY - (COMPUTER GENERATED: NOT</B></U>'' | ''<B><U>SC.72 GAME ONLY - (COMPUTER GENERATED: NOT</B></U>''<BR> | ||
''<B><U> | ::::''<B><U>VIDEO) </B></U>'' | ||
''(Normal gameflow starts here, showing the interior of the '' | ''(Normal gameflow starts here, showing the interior of the ''<BR> | ||
''spaceport, including the data booths and accesses. When the '' | ''spaceport, including the data booths and accesses. When the ''<BR> | ||
''player clicks on them:)'' | ''player clicks on them:)'' | ||
</tt></blockquote> | </tt></blockquote> |
Latest revision as of 23:23, 13 July 2024
2_S | |
---|---|
Production | Privateer 2: The Darkening |
Type | Main Plot |
Series | Introduction |
Disc | CD1 |
Run Time | 6m41s |
Previous | CREDIT_S |
Next | SINN_S |
Scenes | 17-55 |
Locations | Crius Hospital |
2_S is a live action cutscene from Privateer 2: The Darkening. It is part of the introductory series of cutscenes. It follows CREDIT_S and is followed by SINN_S. It shows the assassination attempt on Lev Arris at Crius Hospital.
- Download: 2_S.mp4
Transcript
DR. FREVEL: Ser Arris, if you can hear me, blink. Excellent. I think our patient's coming around, Douglas. You've been in an accident, Ser. Your ship crashed while landing here on Crius. Luckily you were in a cryopod at the time so your injuries weren't extensive.
LEV ARRIS: Accident? How?
DR. FREVEL: We'll deal with that later. Our first job is to get you back on your feet. You need to stay with us for some rehab, it's plenty of time.
LEV ARRIS: Yeah, but I don't remember... anything. What ship? What's happening?
DR. FREVEL: The Canera, Ser Arris. We know that's your name from your cryopod. It may take a while for your memory to return. In the mean time, just relax. Everything's going to be fine.
--
PUBLIC ADDRESS: Exercise...
DR. FREVEL: And how's Ser Arris this morning?
LEV ARRIS: He's okay.
PUBLIC ADDRESS: Gyro session commencing.
LEV ARRIS: I just wish he would tell me who he was.
DR. FREVEL: We'll get your memory back eventually.
LEV ARRIS: Do you talk to all your patients as though they were children, Dr. Frevel, or is it just me?
DR. FREVEL: I'm sorry. We find that usually people in your condition appreciate a gentle approach.
LEV ARRIS: Yeah, well I'm not usual people.
DR. FREVEL: No, I don't believe you are. We wouldn't normally divulge this information to patients but we did a record search on you and it wasn't good.
LEV ARRIS: Make my day. I'm a mass-murderer.
DR. FREVEL: I wouldn't joke about that if I were you. You could be almost anything. Prior to two weeks ago, you don't exist. Either someone's erased your records or else there was an accident in your home planet's data net.
LEV ARRIS: My home planet. Geez, where is home? Where's my family? Do I have a family? Am I married? Do I have children? Who the hell am I, Doctor Frevel?
DR. FREVEL: It'll come, Lev. This is all quite normal with trauma sustained in cryo.
PUBLIC ADDRESS: Gyro ending.
LEV ARRIS: Just how long was I in that icebox for?
DR. FREVEL: We're still working on that. But you could afford to stay in one for as long as you liked.
LEV ARRIS: Meaning?
DR. FREVEL: Meaning one thing that did come down from your data check, your account. Only registered about a week ago. You have an exceptionally attractive credit rating, Ser Arris.
LEV ARRIS: Nice.
PUBLIC ADDRESS: Gyro session commencing, please stand clear.
LEV ARRIS: If only it wasn't overdrawn in the memory bank.
--
NURSE PEMTUR DOUGLAS: Can I help you, Sers?
ASSASSIN #1: We're looking for Ser Lev Arris.
NURSE PEMTUR DOUGLAS: He's in physio at the moment. Can I ask who wants him?
ASSASSIN #1: New Crius Examiner. We're here to interview him about the Canera crash.
NURSE PEMTUR DOUGLAS: His consultant would have to clear it first.
ASSASSIN #2: Clear this, Mister Nurse.
NURSE PEMTUR DOUGLAS: Argh!
ASSASSIN #1: You know something? I think I could really get to enjoy this journalism thing.
--
DR. FREVEL: Cryo-associated memory loss may take months to resolve itself. But when it does some patients are a little disappointed. The reality of someone's past often fails to match up to what they'd imagined it might be.
LEV ARRIS: Right now I'd settle for disappointment.
DR. FREVEL: You may have to. In time your memory is likely to recover completely.
LEV ARRIS: But how do I know that? How will I ever be sure there's not one more nasty little memory just waiting to jump me?
PUBLIC ADDRESS: Gyro session ending.
--
ASSASSIN #3: I like hospitals. So clean. So sterile.
ASSASSIN #4: Getting all hot and bothered, huh?
ASSASSIN #3: I never get hot. Nor bothered.
HOSPITAL RECEPTIONIST: Yes, Serras?
ASSASSIN #3: We're here to visit a man. I mean, a friend who is a man. Ser Lev Arris.
RECEPTIONIST: 5A, Serras. First line walk on your left. Follow the... huh.
--
DR. FREVEL: Try and take it easy for the time being. If you overstress yourself it could only prolong the problem.
ASSASSIN #1: Rear door locked. Autopilot activate. Course two, go, go.
Characters
Speaking
- Lev Arris
- Dr. Frevel
- Hospital Receptionist
- Assassin #1
- Assassin #2
- Assassin #3
- Assassin #4
- Nurse Pemtur Douglas
- Public Address (v.o.)
Non-Speaking
Vehicles
Translations
Privateer 2: The Darkening's cutscenes were dubbed for the French, German and Spanish releases.
French
- Download: 2_S.mp4
German
- Download: 2_S.mp4
Spanish
- Download: 2_S.mp4
25th Anniversary
On May 20, 2020, Privateer 2: The Darkening director Steve Hilliker released The Darkening 25th Anniversary Restoration which featured footage restored from Betacam tapes. The footage has been edited down into a cinema cut but where available it is of much higher quality than the game's files. 1_S is cut down and appears slightly later as a flashback in the 25th Anniversary Restoration cut.
- Download: 2_S-P2_25th_ANNIVERSARY_Hilliker_Cut.mp4
Betacam
A pair of Betacam SP tapes recovered from Digital Anvil have provided high quality versions of much of Privateer 2: The Darkening's Main Plot. These cuts are not final and digital effects are missing.
- Download: 2_S-Priv2-betacam-roughcut.mp4
The Making of The Darkening
The Making of the Darkening includes behind-the-scenes footage from this scene.
Bad Influence
The Bad Influence The Darkening featurette includes behind-the-scenes footage from this scene.
Film 96
The Film 96 The Darkening featurette includes behind-the-scenes footage from this scene.
- Download: Film_96_Report_-_The_Darkening.mp4
GamesMaster
The GamesMaster Privateer 2: The Darkening featurette includes behind-the-scenes footage from this scene.
Trailer
The Privateer 2: The Darkening Trailer includes a clip from this scene.
- Download: P2.mp4
Unreleased Trailer
The Privateer 2 The Darkening Movie Promo Trailer posted to YouTube by DigitalVaultThe includes a clip from this scene.
- Download: Privateer_2_Trailer.mp4
Storyboards
A collection of Privateer 2 Storyboards has been provided by Joe Garrity of the Origin Museum. They cover the Main Plot cutscenes.
Script
A The Darkening Script Draft 7 used during the game's shooting has been provided by Erin Roberts.
SC.17 BURN IN TITLES
Slowly, as titles run, the background can be seen to be
lightening from black. Vague forms (toward the end of
titles) can occasionally be seen moving in it, but all in
shades of black and white and grey. The muffled SFX: SOUND
OF VOICES starts to be audible as well. The background
beneath it fills in: becoming very white and bright, and
other color fills itself in as well. Plainly this is a
hospital. The face resolves itself into that of a DOCTOR
(female).
- DOCTOR
- Ser Arris? If you can hear me, blink.
She shines a hand-light into camera. Picture BLINKS, going
black, for a spilt second. Doctor smiles. She has a slightly
'doctorish' condescending tone.
- DOCTOR CONT
- Exellent. I think our patient's
- coming round, Douglas.
DOUGLAS, a nurse, joins her in shot. They both look down AT
CAMERA.
- DOCTOR CONT
- You've been in an accident, Ser. Your
- ship crashed while landing here, on
- Crius. Luckily you were in a cryopod
- at the time so your injuries weren't
- extensive...
SC.18 NEW ANGLECLOSE on the awakened patient's face. This is LEV ARRIS, (or
at least that's the name of the manufactured identity he's
been found with): He is the central character of the game.
He blinks at the doctor and nurse who are leaning over him,
taking his pulse, etc.
- ARRIS
- (Confused)
- Accident? How...?
- DOCTOR
- We'll deal with that later. Ou: first
- job is to get you back on your feet.
- DOCTOR (CONT)
- You'll stay with us for rehab.
- There's plenty of....
- ARRIS
- (Interrupting, rising panic)
- But I don't remember. Anything.
- What ship?
- DOCTOR
- The Canera. Ser Arris - we know
- that's your name from your cryopod -
- it may take a while for your memory
- to return. In the meantime, just relax.
- Everything's going to be fine.
SC.19 ANOTHER ANGLEFavoring Arris. His face works a little as he tries to
remember anything at all.
- DOCTOR
- That's not surprising. It may
- take a while. You'll need to
- stay with us for a while, for some
- rehab. There's plenty of time.
The Doctor pats Arris's hand and leaves the nurse with him:
the nurse gets busy with some equipment, etc. CAMERA PUSHES
IN ON ARRIS as he pushes up in the bed a little, looks at his
surroundings. There's an uncomfortable, wondering look about
him....
- CUT TO:
SC.20 EXT. CRIUS. DAY - ESTABLISHING (COMPUTER GENERATED
- : NO VIDEO)
A good look at the planet under daylight. A nice-looking
place. CAMERA PUSHES IN on the big medical center where
Arris is being treated. Various skycraft come and go.PUSH IN on part of the medical center, a solarium-cum-
exercise area. This is elevated five or six storeys above
ground level, and there's a railed, open terrace outside it.
SC.21 INT. SOLARIUMVarious PEOPLE working on pieces of rehab equipment. We PAN
past them and CAMERA HOLDS on Arris, working on something
like a treadmill (except it's recessed right into the floor,
with just a small T-bar for him to hold onto as he walks).
The DOCTOR comes up beside him.
- DOCTOR
- And how's Ser Arris this morning?
- ARRIS
- He's okay. I just wish he
- would tell me who he was.
- DOCTOR
- (She finds Arris amusing)
- We'll get our memory back eventually.
- ARRIS
- Do you talk to all your patients
- though they were children, Doctor
- Frevel? Or is it just me?
- DOCTOR
- (Taken aback)
- I'm sorry. We find that....usually
- people in your condition appreciate
- a....gentle approach.
- ARRIS
- Well I'm not usual people.
- DOCTOR
- (She looks at him differently)
- No. No, I don't believe you are.
- (Smiles, continues in a more
- natural tone)
- We wouldn't normally divulge this to
- patients....but we did a record search
- on you. It wasn't good.
SC.22 ARRIS. THE DOCTORArris steps off the treadmill, reaches for a towel, wipes
sweat away.
- ARRIS
- Make my day. I'm a mass murderer?
- DOCTOR
- I wouldn't joke about that. You could
- be almost anything. Prior to two weeks
- ago, you don't exist. Either someone's
- erased your records...or there was an
- accident in your home planet's data net.
- ARRIS
- My home planet? Jeez, where is home?
- Where's my family? Do I have a family?
SC.23 WIDER
- ARRIS
- Am I married? Do I have children?
- Who the hell am I Dr. Frevel?
- DOCTOR
- (compassionate)
- It'll come Lev. This is all quite normal
- with trauma sustained in cryo.
- ARRIS
- Just how long was I in that icebox for?
SC.24 ANOTHER ANGLEAs they walk toward one side of the solarium, where there's a
mirrored wall: other patients are using it to help them work
out.
- DOCTOR
- We're still working on that.
- (slight humor)
- But you could afford to stay in one
- for as long you liked.
- ARRIS
- Meaning?
- DOCTOR
- Meaning one thing did come down with
- the data check. Your account, only
- registered about a week ago. You have
- an exceptionally...attractive credit
- rating Ser Arris.
SC.25 CLOSER - THE TWO OF THEMAs they come up in front of the mirror. Arris looks closely
at himself. A good-looking man, now fit again, in his late
twenties...but with eyes haunted by the lack of self-
knowledge.
- ARRIS
- Nice. If only I wasn't overdrawn
- at the memory bank, huh?
- CUT TO:
SC.26 INT. HOSPITAL RECEPTION AREA -- DAYTwo neatly-dressed men with satchels come to the main desk.
One is looking around him alertly, as if watching the other
man's back. The receptionist at the desk looks up at them.
- RECEPTIONIST
- Yes?
- FIRST ASSASSIN
- It's new right?
The receptionist doesn't quite understand. She smiles.
First Assassin leans on the desk, looking at her hair,
like a professional.
- FIRST ASSASSIN
- The hair style. I love it.
- RECEPTIONIST
- (Touching hair, thrown off-
- balance but flattered)
- Oh, it's fairly new I suppose...
- FIRST ASSASSIN
- It's perfect. I do a little....
- fashion reporting, you know, when
- I ain't covering more serious stuff..
- RECEPTIONIST
- Are you guys...journalists?
- FIRST ASSASSIN
- (To second Assassin)
- Brains as well as beauty.
- FIRST ASSASSIN (CONT)
- (To Receptionist)
- We're with the New Crius Examiner.
- Here to interview a Ser Lev Arris.
- Is he around?
The Receptionist seems a little unsure. First Assassin
gives her a winning smile.
- RECEPTIONIST
- I'll just check.
SC.27 CLOSERFrom her side of the desk. She looks up at them.
- RECEPTIONIST
- Section five A, gentlemen. First
- slidewalk on your left, follow
- the beacon.
A little green "tinkerbell" light pops up out of the surface
of her desk, hangs in the air in front of the men, wobbles a
little as if to get their attention, then heads off and OUT
OF SHOT. As they leave
- RECEPTIONIST
- (Coy)
- See you.
- FIRST ASSASSIN
- (Winking at her)
- Not unless I see you first.
They follow the light OUT OF SHOT.
SC.28 WIDERAs they go after the light. The SECOND ASSASSIN continues to
look around himself as they go, intent on making sure where
every other person in the area is. The FIRST ASSASSIN forges
on ahead, speaking softly into a device like a tiny
cellphone, with the other man following.
- SECOND ASSASSIN
- (Unimpressed)
- Fashion reporting?
- FIRST ASSASSIN
- I thought it was a nice touch.
- SECOND ASSASSIN
- Yeah, well we'll get a nice touch
- from Rhinehart if your flirting
- screws things up.
- FIRST ASSASSIN
- It ain't flirting. It was just adding
- a little color to the performance.
SC.29 INT. SOLARIUM - DAYArris and the Doctor again.
- DOCTOR
- Cryo-associated memory loss can take
- months to resolve itself...but when
- it does some patients are a little..
- disappointed. The reality of someone's
- past often fails to match up to what
- they imagined it might be.
- ARRIS
- Right now I'd settle for disappointment.
SC.30 ANOTHER ANGLEArris starts pulling on his clothes over his workout gear.
- DOCTOR
- You may have to. In time your memory
- is likely to recover completely.
- ARRIS
- But how will I know that? How will
- I ever be sure that there's not one
- more nasty little memory...just
- waiting to jump me?
- CUT TO:
5C.31 INT. WARD RECEPTION AREA - DAYThe green light zips up to the reception desk, glows, then
vanishes. The nurse at the desk looks up at the two men who
approach.
- NURSE
- Can I help you?
- FIRST ASSASSIN
- We're looking for Ser Lev Arris.
- NURSE
- He's in physio at the moment. Who
- shall I say wants him?
- FIRST ASSASSIN
- New Crius Examiner. We're here to
- interview him about the Canera crash.
- NURSE
- His consultant will have to clear it
- first--
SC.32 ANOTHER ANGLEAs the two men pull out blasters and level them at the nurse.
- SECOND ASSASSIN
- Clear this, Mister Nurse.
The nurse opens his mouth to shout. Before he gets a chance,
they blast him, and he collapses over the desk like a limp
doll. SFX: SUBDUED WEAPONS NOISE, a sound like the buzz of
many angry wasps.After they blow him away...
- FIRST ASSASSIN
- (Grinning)
- You know something...I think I
- could really get to enjoy this
- journalism thing.
The two men hurry off in the direction of the solarium.
- CUT TO:
SC.33 INT, HOSPITAL RECEPTION AREA - DAYAs before: same receptionist. A THIRD and FOURTH ASSASSIN
talk among themselves as they approach.
- THIRD ASSASSIN
- I like hospitals. They're so clean.
- So...sterile.
- FOURTH
- Getting all hot and bothered, huh?
- THIRD
- (shooting her a withering look)
- I never get hot. Nor bothered.
They've reached the desk.
- RECEPTIONIST
- Yes, serras?
- THIRD ASSASSIN
- We're here to visit a man. I mean, a
- friend, who's a man. Ser Lev Arris.
- RECEPTIONIST
- My, he's popular today.
SC.34 CLOSERAs another little light, blue this time, pops up out of the
desk and heads off slowly.
- FOURTH ASSASSIN
- Popular?
In the midst of the next speech they exchange glances, head
hurriedly after the blue light.
- RECEPTIONIST
- A couple of reporters just went
- through. Five-A, sers, first slidewalk
- on your left, follow the --
- (realizes she's talking to empty air)
- Oh.
SC.35 WIDERThey run down the slidewalk, jostling people. The light
heads after them, trying rather pathetically to keep up.
- CUT TO:
SC.36 INT. SOLARIUM - DAYFavoring the doctor and Arris, as they step away from the
mirror.
- DOCTOR
- Well...take it easy for the time
- being. If you overstress yourself,
- you may prolong the problem --
She looks up in surprise, and then Arris does, at the SFX:
COMMOTION OF VOICES near the main doors to the solarium.
Behind her (and totally unnoticed by her and Arris), a
largish scoutship-type craft is rising above the terrace
level beyond the doors to the outside.
SC.37 ANGLE ON THE SOLARIUM WINDOWS - THE SHIPIt pauses -- then BLASTS the outer structure of the solarium
with some kind of force weapon, blowing a large hole in it.
Glass scatters inward, people start to run in all directions,
screaming.
SC.38 ON THE DOORSAs the two men who have just shot the nurse burst in through
the doors. People all around the solarium stare at them.
Both of the men look around hurriedly at all the people --
then one of them sees the Doctor and Arris, points. The
other follows his gesture, points his gun at them: so does
the first. They FIRE.
SC.39 CLOSE - ARRIS AND THE DOCTORA blast from one of the weapons hits the doctor in the
forehead, damaging her as messily as possible for the optimum
for the game. She falls OUT OF SHOT. Arris stares as
she goes down -- then looks up and dives sideways, also OUT
OF SHOT. A beam from a blaster stitches through the air
where his head just was.
SC.40 WIDERArris rolls and rolls in an attempt to avoid the beams
lancing out at him. Several hit the floor as he rolls, but
don't damage it --
SC.41 ANOTHER ANGLEThe First Man takes more careful aim, fires --
SC.42 ON ARRISA beam hits him as he's scrambling to his feet. He stares in
horror as it hits his chest -- but this is a stun.
Arris crumples to his knees, almost unconscious. The two
attackers run INTO SHOT and grab him under the arms, haul him
away.
SC.43 WIDERHe struggles feebly with them, but to no avail. They haul
him toward the hole in the windows which leads to the outdoor
terrace: in the air over the terrace, their "getaway" craft
is hovering gently. One of them points a remote control at
it: its door slides open.SC.44 EXT. TERRACE
They're out the doors now. They haul him toward the waiting
craft, into it.
SC.45 CLOSER ON THE SHIP DOORArris is bundled forward and out of sight. Then one of the
men comes out, jumps down to ground level again, looking
around him warily --
- FIRST MAN
- Uhhh !
He collapses to his knees, staring at the large burn hole
which has appeared in his chest.SC.46 WIDER
He pitches forward. His companion, in the ship, ducks
behind one side of the open door as more shots come sleeting
past: peers out.
SC.47 ON THE HOLE INTO THE SOLARIUMTwo other assassins -- the second pair whom we saw enter
the hospital -- are shooting at the remaining man of the
first pair.
SC.48 BACK TO ANGLE - THE SHIPThe man still inside it leans out a bit, fires at the
others.
SC.49 ANGLE FROM INSIDE THE SHIPArris, dumped unconscious in the pilot's seat. In b.g. the
remaining man fires at his attackers: they return fire.
Sparks and SFX: RICOCHETS all over the place.
SC.50 THE SINGLE MANFrom outside. Still firing -- he leans out too far.
Various shots miss him -- one doesn't: he falls out of the
ship, mortally wounded.
SC.51 CLOSER - THE WOUNDED MAN. ON THE IERRACEHis small cellphone-looking remote has fallen a little
distance from him. He hauls himself along to it -- reaches
out a shaking hand -- grabs it -- brings it up to lips now
frothing blood. Behind him, we can see the door of the ship
closing in reaction to his command.
- FIRST MAN
- Door seal. Lock. Autopilot --
- activate -- preset course two --
- go, go, go -- !
The remote falls from his hand: his eyes glaze over, wide
open. He's dead. SFX: ENGINE SCREAM from behind.
SC.52 WIDERThe ship lifts up out of its cradle, soars up horizontally
for a few seconds: then its nose tilts up and its rear jets
light. It accelerates powerfully up into the atmosphere,
swiftly diminishing.
SC.53 BACK TO ANGLE,- THE DEAD MAN WITH THE REMOTECAMERA HOLDS ON HIM as we hear SFX of APPROACHING FOOTSTEPS.
Booted feet walk INTO SHOT. One boot nudges the man, turns
him over.
SC.54 ASSASSINS THREE AND FOURLooking down at the corpse, their weapons drawn.
- THIRD ASSASSIN
- A clean, surgical strike, that was
- our brief, wasn't it?
- FOURTH
- The Old Man's gonna go ballistic.
The 'dead man' groans a little...the last glimmer of life...
Third Assassin methodically puts one more blast into him:
then another, a strange SMILE coming over her face...Then she looks up...
SC.55 WIDE - THE TWO MEN. THE SKYAs the escaping ship vanishes from sight in the high
stratosphere.
- THIRD ASSASSIN
- There goes my beautiful career.
They turn and walk OUT OF SHOT. CAMERA HOLDS
- CUT TO:
SC.56 INT. ARIUS'S SHIP (COMPUTER GENERATED: NO VIDEO)Dark except for the telltales of the ship's computer and
control panel, and the starlight outside the front windows.
FADE IN SFX: SHIP'S COMPUTER as it speaks: a female voice,
growing more urgent.
- COMPUTER
- There is a critical condition in
- the D-space anomaly. Drop-out
- is imminent. -- There is a
- critical condition in the D-space
- anomaly. Drop-out is imminent.
- Pilot intervention is required.
- ARRIS (VO)
- -- Where are we?
- COMPUTER
- The question is not answerable
- in terms of physical location,
- since this vessel is irrelevant.
- We will emerge from D - space within
- approach distance of planet Hermes
- within three point five minutes.
- (beat)
- Diagnostics show a catastrophic
- failure in the gravitic shell
- which will render the D-drive
- inoperable after emergence. Repair
- will require the services of an
- authorized 'Arstan' dealer, or other
- facility equipped to UTRA standard.
SC.57 INT. SHIP (COMPUTER GENERATED: NO VIDEO) -
- VIEW THROUGH THE FRONT VIEWPORT
There are (seemingly) no single stars out there: but there
are many packages of six, each single point of faint light
arranged on the vertices of a hexagon. Now, with a slight
shuddering motion, they begin to converge --
SC.58 EXT. SHIP (COMPUTER GENERATED: NO VIDEO)As this convergence of stars starts happening all around it,
the ship itself seems to start to flower out into a series of
ghost images, six of them, radiating symmetrically outward
from the body of the "central" craft. The image is somewhat
like that of a flower opening.The ghost-images of the ship continue to rotate outward from
the "real" ship at their heart, until they reach the 90-
degree point. At this point another "ship" appears at the
heart of the "flower", a mirror image of the first one, and
this one starts becoming more solid as the original one
fades: while all around, the converging stars get brighter
and brighter --
SC,59 EXT. SHIP - ANOTHER_ANGLE (COMPUTER GENERATED: NO
- VIDEO)
As the first image of the ship starts to fade away, while the
other ships constituting the "petals" of the flower close in
around the second, rotating "into" it. The stars converge,
getting brighter and brighter -- and then fuse into a single
blinding glare which whites out the screen --
SC.60 WIDER (COMPUTER GENERATED: NQ VIDEO)The "normal" stars reassert themselves, and a very bright
star in far b. g., the sun of the Hermes star-system. In
nearer b.g. is the planet Hermes itself. Six ghost-images of
Arris's ship rotate into a central point with a slam of light
and SEX: THUNDER,- leaving one ship, in normal space, and
everything very quiet after all the ruckus.
SC.61 INT. SHIP
- COMPUTER
- Gravitational wave compression of
- nearest mass identifies it as planet
- Hermes.
- (beat)
- Anomaly envelope has failed. Local
- field suppressors have failed. These
- failures constitute a class two emergency.
- Automatic situation logics will now be
- implemented. Please secure yourself and
- prepare for emergency landing sequence.
SC. 62 InT. SHIP (COMPUTER GEBERATED: NO VIDEO)
- COMPUTER
- Default landing location is Ilij
- Spaceport. Advising Hermes
- approach control. Alerting
- emergency services.
SC.63 EXT. SPACE (COMPUTER GENERATED: NO VIDEO)As the ship changes attitude, firing its ion thrusters to
push it down into the planet's gravity well. It drops away
from POV at speed.
- HERMES CONTROL (VO)
- RD eight one two six, confirming
- emergency services on standby,
- ingress path three five to Ilij
- port is being cleared for you,
- expect docking tractor shortly...
SC,64 EXT. HERMES UPPER ATMQSPHERE (COMPUTER GENERAZED:
::::NO VIDEO)Re-entry: the ship's shields glowing as they divert the heat
from the ship itself. It noses down and streaks past POV.
- COMPUTER
- Losing attitudes, Hermes control,
- approach will be on ions only...
- HERMES APPROACH CONTROL
- Understood, RD, emergency personnel
- advised, abort landing to cradle,
- skirt markers on...
SC.65 EXT. HERMES LOWER ATMOSPHERE (COMPUTER GENERATED:
- NO VIDEO)
The ship is coming in at an angle which is very "flat"
compared to the planet, so that the atmosphere will soak up a
lot of the ship's speed. The shields are still diverting
heat away from it.SC. 66 EXT. HERMES SPACEPORT - HIGH ANGLE (COMPUTER
- GENERATED: NO VIDEO
As the ship plummets down toward it --
SC.67 CLOSER - THE SPACEPORT'S BLAST SKIRT (COMPUTER
- GENERATED: NO VIDEO)
The ship skims down toward it. Now the ion drivers come on,
a great flat splash of light and power under the ship's
bottom surface.SC.68 LOW ANGLE - FROM THE BLAST SKIRT (COMPUTER
- GENERATED: NO VIDEO)
The ship comes crashing in, onto the cushion of energy
produced by its iondrivers. The effect is as of someone
skidding along the ground on a large thick mattress.
SC.69 WIDER ( COMPUTER GENERATED : NO SIDED)The emergency services are waiting for it -- vehicles
hovering ready to either side of the ship's approach path:
between them, a big glowing field stretched like a net, to
catch the crashing ship.
SC.70 FROM BEHIND THE "NET" ( COMPUTER GENERATED : NO
- VIDEO)
The crashing ship, already slowed by its iondrivers, plows
into the "net" and comes to a halt. It does the cradle some
damage.
SC.71 INT. ARRIS'S SHIP (COMPUTER GENERATED: NO VIDEO)
- COMPUTER
- Landing sequence complete.
- Shutting failed systems
- down. Damage status report:
- landing has damaged this ship
- past 709d repair-salvage make/break
- ratio. Please evacuate.
SC.72 GAME ONLY - (COMPUTER GENERATED: NOT
- VIDEO)
(Normal gameflow starts here, showing the interior of the
spaceport, including the data booths and accesses. When the
player clicks on them:)