Copyright © 1972
Property of:
Warner Bros. Television
4000 Warner Boulevard
Burbank, CA 91505
REVISED FINAL DRAFT
Norway Productions
January 16, 1973
TEASER
FADE IN:
1 INT. XENON PRESSURE CHAMBER - ANGLE ON INSIDE OF ENTRY HATCH 1
It’s dark and totally silent inside the pressure chamber,except for the lit panel of a piece of instrumentation IN-SHOT and a faint ELECTRONIC SOUND coming from it. Through-the thick glass window in the door we can see outside into a-portion of the Ganymede Laboratory, through which DYLAN HUNT-is crossing toward us and the pressure chamber door. He-wears the bottom half of a lab dust suit; his abdomen and-head are bare except for various telemetry lines affixed to-him by surgical tape. They are positioned to pick up-heartbeat, blood pressure, ear drum pressure, respiration,temperature, a thin oxygen tube to a nostril, etc.
Accompanying Dylan toward the chamber door is his assistant BRIAN and a CARDIOLOGIST, both wearing dust suits bearing the NASA emblem. As the three reach the door and start to open it, Dylan’s face the only one left visible at the window.
DYLAN (V.O.)
My name is Dylan Hunt. My story…
Pressure chamber door opens, interior LIGHTS come Dylan steps inside and moves to the medical pallet where he lies on his back. Brian and Cardiologist Chief follow to attach the telemetry hook-up to the lines on Dylan’s abdomen and head. During which:
DYLAN (V.O.) (cont’d)
… begins the day on which I died. My
last look at my world was to be from
inside the Xenon Pressure Chamber at
NASA’S underground Carlsbad
laboratory. Our goal…
2 ANGLE PAST DYLAN ONTO OBSERVATION PORT 2
In foreground, Brian and Cardiologist are hooking up the-telemetry lines to Dylan. In background, a larger thick-glass window through which we can see an Observation Port-Control Station and another view of the NASA laboratory-beyond. Technicians, also in dust suits, are at computers-and read-out stations there.
(CONTINUED)
1.
Genesis II · Revised Final Draft
DYLAN (V.O.)
… was the development of a form of suspended animation which would allow our astronauts to make longer voyages into our solar system… the moons of Jupiter and Saturn… perhaps beyond.
As the Cardiologist completes the final hook-up, Brian steps=to the Observation Port, turns on an intercom speaker system=through which we then begin to hear SOUNDS from the
laboratory outside. He turns on a speaker switch:
BRIAN
(toward wall mike)
Telemetry on. Give us a check.
Cardiologist turns to Dylan.
CARDIOLOGIST
Ready to go?
Dylan nods: Cardiologist exits the chamber. Brian turns to-Dylan, smiles.
BRIAN
Last chance, Dylan. I can have a girl-waiting to revive you.
DYLAN
I doubt NASA’s ready for that method,yet.
Then he and Brian exchange a handshake.
3 ANOTHER ANGLE - ON DOOR 3
As Brian exits the chamber he closes the door behind him. We=see the dog bolts begin to turn as he secures the door from=the outside.
4 CLOSE SHOT - DYLAN 4
settling back on the pallet as we continue to HEAR lab=voices filtering in through the chamber’s SPEAKER.
LABORATORY VOICE (O.S.)
Xenon mixture ready.
BRIAN’S VOICE (O.S.)
Begin pressurizing.
Genesis II · Revised Final Draft
We HEAR the hiss of high pressure gas beginning to enter=chamber. Dylan up and to the side toward:
5 INSERT - XENON ENTRY ORIFICE 5
at the rounded ceiling where the high pressure gas creates a=slight mist at the point where it blasts into the pressure=chamber. CAMERA PANS DOWN to a digital read-out meter below=it, next to the observation port. It is labeled ”CHAMBER=PRESSURE P.S.I.” and we see the reading passing 20.8 and=climbing toward the 30s.
6 ANGLING PAST DYLAN ONTO OBSERVATION PORT 6
In foreground, Dylan breathing deeply. In background, Brian=has joined the Cardiologist in observing Dylan through the=glass. Dylan turns his head and looks in that direction as:
BRIAN
(through speaker)
Any discomfort anywhere?
DYLAN
No problems.
He turns his head to look back up at the chamber pressure=reading.
7 INSERT - CHAMBER PRESSURE 7
The digital read-out climbing into the 30s.
8 BACK TO SHOT - DYLAN 8
settled back again, breathing deeply. Only the SOUND of=Xenon hissing into the chamber now. CAMERA MOVES INTO CLOSE
SHOT of Dylan, then:
DYLAN (V.O.)
It had been my decision that our-method was ready to test on a human…so it seemed that…
Dylan’s eyelids flutter a bit. Then, they grow rapidly-heavier during which:
(CONTINUED)
4 CONTINUED: 4
3.
Genesis II · Revised Final Draft
DYLAN (V.O.) (cont’d)
… any risk should be mine, too. I had-guided the basic research since being-appointed chief of the project on=February 14, 1979…
Dylan’s eyes fall shut and we FADE THRU BLACK TO:
9 INT. SUBSHUTTLE TUBE - ANGLE DOWN TUBE 9
Pitch black except for overhead amber signal lights at-quarter-mile intervals which dimly illuminate the perfectly-cylindrical subshuttle tube. Then, a faint WHINING SOUND of--power and a pinpoint of white light appears in the distance,moving toward us.
DYLAN (V.O.)
… when I arrived here from Washington, D.C. on the newly -completed transcontinental subshuttle tube.
The pinpoint of light rapidly growing, the SOUND becoming-the WHINING ROAR of electro-magnetic propulsion complete-with doppler effect. It’s a sleek subshuttle car, riding on-a cushion of air, hurtling toward us at incredible speed.
WHOOSH! Its gleaming surface fills the tube, blurring past-at hundreds of kilometers per hour.
10 REVERSE ANGLE DOWN TUBE 10
The symmetrical subshuttle car racing away into a pin point=of light, as fast as it arrived.
DYLAN (V.O.)
Perhaps my confidence in our=experiment dated from then. Within=five years of developing nuclear
subterine boring… the subshuttle now=bridged its first continent. It=seemed to me that mankind’s= technical=ingenuity was now capable of=anything.
11 INT. SUBSHUTTLE CAB - PAST DYLAN THROUGH FRONT WINDOW 11
The ROARING WHINE muted here inside.
Genesis II · Revised Final Draft
Dylan stands next to the young subshuttle OPERATOR, scanning=with interest the automated controls, the electronic readouts.
Ahead of them, the tube’s overhead amber signal lights=flash past at high speed.
12 REVERSE ANGLE ON DYLAN 12
as he leans toward the instrument panel to read:13 INSERT - VELOCITY INDICATOR 13
reading between eleven and twelve hundred kilometers per=hour.
14 BACK TO SHOT 14
Operator gets an electronic signal from the control board,presses a button and turns to Dylan:
OPERATOR
We’re about there.
Dylan nods his thanks, turns to go back into the car.
DYLAN
Thanks. Enjoyed watching.
15 PANNING DYLAN 15
through the passenger section, past the station indicator=over the door which reads: ”CARLSBAD: -0- HOURS, 6 MINUTES,
5 SECONDS.” It ticks down to zero seconds when:
LOUDSPEAKER VOICE
(filtered)
Carlsbad, six minutes… Carlsbad.
A mixed group of military and civilian types are seated in=the passenger section, attended by a comely FEMALE in Army
WAC Sergeant’s uniform. The sleek interior of the car is not=unlike a portion of an advanced jet airliner. Further back=is a cargo section. Dylan picks up the brief case he left=lying on his seat, sits next to a=sharp looking young Air
Force BRIGADIER GENERAL.
DYLAN
Pretty impressive.
(CONTINUED)
11 CONTINUED: 11
5.
Genesis II · Revised Final Draft
GENERAL
At least the war scare did some good.
They’ve finally recognized that
surface and air transport’s gotten=too vulnerable.
DYLAN
(grins)
with the Chinese alliance working so=well, you folks may be out of a job=soon.
GENERAL
(nods)
Can’t say I mind. Looks like
humanity’s finally growing up.
16 CARLSBAD SUBSHUTTLE STATION - WIDE ANGLE 16
ESTABLISHING the station located in a cavern grotto, a
vaulted stalactite ceiling above. workmen are still
finishing cement and glass station walls next to where the
subshuttle tube, fused through solid rock into a gleaming,
perfectly cylindrical shape, emerges next to the passenger
and cargo landing area. Overhead, a large sign bearing the
national seal in gold and large lettering identifying this
as ”CONTINENTAL DEFENSE COMMAND.” Some part of that sign
reads: ”CARLSBAD CAVERNS”. The subshuttle station operator
sits at a control panel in b.g.
DYLAN (V.O.)
1979 was a year of optimism. Even the
almost invulnerable continental
defense complex in Carlsbad Caverns
had relaxed its security enough…
The gleaming, symmetrical subshuttle car arrives, WHINING
rapidly to a stop, sits with power HUMMING as the doors snap
open and Dylan emerges with the other passengers. At another
subshuttle car door, military servicemen quickly begin
unloading cargo.
DYLAN (V.O.) (cont’d)
… to permit us to build our NASA
laboratory there where constant
temperatures made ideal for our
experiments. Optimism…
He is met by a NASA female employee in an electric cart
which transports him out through the nearest corridor exit.
15 CONTINUED: 15
6.
Genesis II · Revised Final Draft
17 INT. VARIOUS 1979 CARLSBAD CORRIDORS - MONTAGE PANS OF CART 17
AND WITH CART
Our aim - to suggest the considerable size and diversity of
literally miles of underground corridors and facilities.
Some of the corridors are fully-lined passageways - others
pass through spectacular stalactite and stalagmite
formations which remind us of the nature of our locale. The
cart takes us past communications centers, storage areas,
command posts and labs. On foot and in other carts bearing
other organizational symbols are uniformed and civilian
personnel busy at various tasks.
DYLAN (V.O.)
… was felt in our laboratory, too. By
mid-year we had successfully revived
test animals after more than a month
in the pressure chamber. Our problem
with reviving deep brain-stem
instincts led to our discovery of the
close inter-relationship of the will
to survive and to reproduce. After
the inevitable jokes over the
possibility of mixed astronaut teams,
massive injections of the brain
stimulant Zelectimine was found to
be…
18 HEAD LEVEL ANGLE - THE CART 18
Dylan’s head being carried directly TOWARD CAMERA as:
DYLAN (V.O.)
… the answer. By every measurement we
knew of, the experiment…
As Dylan’s HEAD FILLS CAMERA LENS:
QUICK DISSOLVE
TO:
19 INT. PRESSURE CHAMBER - CLOSE SHOT - DYLAN 19
Head on the pallet, unconscious, scarcely any respiration
visible.
DYLAN (V.O.)
… should have worked perfectly. What
we did not know was that a flaw
existed in the thousands of tons of
rock strata over our heads…
7.
Genesis II · Revised Final Draft
20 ANGLE PAST DYLAN ONTO OBSERVATION PORT 20
where Brian and Cardiologist are still watching their
instruments and the unconscious Dylan. Chamber pressure now
reads ”98.8.”
DYLAN (V.O.)
… and that the slightest ground
tremor would be enough to dislodge
it.
A slight CAMERA JIGGLE causes Brian and Cardiologist to
react… then look upward in alarm as rock debris begins
falling down into lab.
LABORATORY VOICE
(through speaker)
Earthquake!
Technicians in b.g. come to their feet, looking upward in
alarm too, AD LIBBING alarm. Then we see an instrument panel
out there SHORT OUT IN A SHOWER OF SPARKS as a HARDER CAMERA
JIGGLE sends the Technicians in sight racing for the
laboratory exit. Somewhere a Xenon line bursts and a blast
of gas vapor hits Brian and begins swirling through the
confused lab. Brian, at the window, holds his ground a
moment:
BRIAN’S VOICE
(through speaker)
Hold it! We’ve got to get Dylan…
SPEAKER SOUND CUTS OFF as at the Observation window panel
SMOKE AND SPARKS ERUPT and a THIRD CAMERA JIGGLE sends even
larger rocks hurtling down, driving Brian toward the
laboratory exit, too.
CAMERA PANS TO CHAMBER DOOR WINDOW where we see lab
personnel barely making it to the exit when through the
swirling vapor we see a huge slab of thousands of tons of
rock crash down enveloping the entry and halfway into the
lab… followed by a second fall which now completely envelops
the area outside the door window.
21 ANGLE ACROSS DYLAN TO OBSERVATION PORT 21
The background in the midst of a gigantic rockfall there,
too, obscuring the entire observation port and STRIKING THE
PRESSURE CHAMBER, TOO, WITH A MIGHTY METALLIC SOUND, ripping
it from its concrete mooring and turning it askew.
8.
Genesis II · Revised Final Draft
The overhead chamber lights are wrenched to the side in the
same jarring twist of the chamber COMING TO REST NEAR THE
OBSERVATION PORT… THEIR WHITE LIGHT QUICKLY DULLING TO RED
as power is slowly lost… we have a short last look at
Dylan’s unconscious features as illumination continues to
fade and the SHOT GOES BLACK.
END OF TEASER
Genesis II · Revised Final Draft
ACT ONE
FADE IN:
22 INT. XENON CHAMBER - MED. SHOT - DYLAN 22
A LIGHT FLICKERS about, illuminating the chamber to the side
of Dylan. He is lying in exactly the same position as we
last saw him - but looking strangely inhuman. His entire
body, clothing, hair and face, are a smoothly textured grey
”death” color. (He is evenly covered with a thin layer of
fine dust which has fallen from the deteriorated interior
paint layer of the chamber.) We hear SOUNDS of excavation
tools and rocks scraping against the outside of the steel
pressure chamber.
23 ANGLE PAST DYLAN ONTO OBSERVATION PORT 23
to include HARPER-SMYTHE, aiming a nuclear battery hand lamp
into the chamber. She (or ”he” as far as we can tell now) is
of the unisex persuasion and garb, early twenties. Then her
lamp beam falls on Dylan - she centers it on his face,
reacting at what she sees. She turns in the direction of the
pressure chamber, calls out (SILENT from outside) what she
has seen.
24 ANGLE ON CHAMBER HATCH 24
Through the thick glass window we can see rocks being moved;
then the final rock blocking out vision there, is grabbed
and pulled out of scene. LYRA-A appears at the window. we
can see her long blonde hair and golden mutant complexion.
ISAAC KIMBRIDGE now comes into view at the window, too. He’s
mid-fifties, with a scholarly face which radiates
compassion, intelligence… and a capacity for humor. As with
Lyra-a he wears a PAX FIELD OUTFIT - but his status as a
Primi (Leader) is indicated by the pendant symbol (PAX PRIMI
EMBLEM) hanging from his neck.
They converse (SILENT from outside) at what they are seeing.
Lyra-a examining the door at the same time. She finds the
unlocking bolts, bends to test them… and we see the dog
bolts inside the door begin to turn.
10.
Genesis II · Revised Final Draft
25 ANGLE PAST DYLAN ONTO OBSERVATION PORT 25
Harper-Smythe, clearing loose debris from the instrument
panel there, accidentally trips an emergency battery power
switch. We hear a CLICK-HUMMM SOUND and a FAINT RED LIGHT
SPOT appears in the chamber lamp which lies next to the
window… the ILLUMINATION will SLOWLY GROW TO ABOUT ONE-THIRD
NORMAL LIGHT INTENSITY.
26 BACK TO SHOT 26
At the same time, the battery power brings the chamber-lab
intercom system slowly back to life and we begin to hear
FILTERED VOICES from the speaker system:
HARPER-SMYTHE’S VOICE
… primus… primus, a light inside.
27 ANGLE ON PRESSURE READOUT 27
The digital system slowly coming to life, flickering,
numbers shifting, then settling onto a chamber pressure
digital reading of ”88.6.”
28 ANGLE ON DOOR PORT 28
Kimbridge’s face reacting to the interior illumination he
has seen come on.
KIMBRIDGE’S VOICE
(through speaker)
… Lyra-a! A light has come on!
Lyra-a’s face rises into view again at the door port, her
expression duplicating Kimbridge’s surprise at the
illumination which steadily grows stronger inside.
Kimbridge’s face leaves window as he moves quickly toward
Harper-Smythe at the Observation Port.
29 PAST DYLAN ONTO OBSERVATION PORT 29
where Harper-Smythe is brushing further debris and dust from
the observation control panel. Kimbridge appears at the
glass with her as:
HARPER-SMYTHE
when I touched here, this small green
light appeared…
(CONTINUED)
11.
Genesis II · Revised Final Draft
KIMBRIDGE
(examining; reading)
”Emergency nuc/batt pow?”
LYRA-A’S VOICE
They had developed nuclear battery
power by the year this rock slide
occurred, Primus.
Kimbridge has begun studying the old records he carries.
Harper-Smythe’s attention has stayed riveted on Dylan. Lyraa
appears at the Observation Port, leans over Kimbridge’s
shoulder to examine the old records as he turns to another
page:
LYRA-A
The bolts are freed. Inside pressure
must be holding the door closed.
KIMBRIDGE
The body was mummified by some gas in
there, it appears.
(reads)
N-A-S-A…
(mispronounces it)
”Naysa Ganymede Project… Xenon
Pressure Chamber…”
(to Harper-Smythe)
Do you see ”Emergency Decompress”
there?
HARPER-SMYTHE
(examines board)
Yes… ”Emer… decomp…”
(puts her finger on
button)
Here, it’s on this…
An EXPLOSIVE HISSING SOUND, the hair and clothing of the
three at the Observation Port, flutter as the releasing gas
pressure sends dust and debris flying. Then as the HISSING
DIES AWAY, Harper-Smythe reacts and points to what she sees
happening across the chamber.
30 WIDER ANGLE - INCLUDING ENTRY HATCH 30
swinging slowly open. The three of them hurry out of sight
around the tank in that direction, come into view at the
entry hatch.
The two women respectfully allow Kimbridge to step inside
first, then follow to bend with him over Dylan.
(CONTINUED)
29 CONTINUED: 29
12.
Genesis II · Revised Final Draft
Lyra-a brushes the side of the inner wall, sending up small
cloud of fine powder.
LYRA-A
He’s covered with the residue of old
paint. It’s fallen everywhere.
Kimbridge has tentatively blown on Dylan’s face, sending
another small cloud of grey dust flying. Harper-Smythe
brushes at the cheek gently, revealing pale but normal skin
color beneath.
HARPER-SMYTHE
Primus, the flesh is soft!
Kimbridge, still examining the body, now stiffens in
surprise - did he see a nostril move ever so slightly? He
again puts a finger gently, tentatively to the face, presses
his fingers harder against the cheek.
KIMBRIDGE
He’s breathing! He’s beginning to
breathe!
(whirling to HarperSmythe)
He’s alive! Bring help… something to
carry him on.
31 CLOSER ANGLE 31
Lyra-a bending closer, examining Dylan’s face
disbelievingly. We see the slightest movement of the mouth;
both Lyra-a and Kimbridge quickly blow and brush the dust
from his lips and eyes. Another slight movement from Dylan,
then an eyelid flutters… again… the eyes slowly open.
Kimbridge bends to bring his face into Dylan’s view.
32 DYLAN’S P.O.V. - KIMBRIDGE 32
Totally OUT OF FOCUS at first, then only partly FOCUSING,
with Kimbridge mostly a blur.
KIMBRIDGE
He sees me!
33 BACK TO SHOT 33
Dylan’s lips move… a brief SOUND… another brief SOUND… then
croaking it:
(CONTINUED)
30 CONTINUED: 30
13.
Genesis II · Revised Final Draft
DYLAN
How… man… man… many… days…?
Both Kimbridge and Lyra-a comprehending at the same time.
KIMBRIDGE
He believes were from his century!
DYLAN
How… many…?
CAMERA MOVES DOWN INTO CLOSE SHOT of Dylan, who has so far
been able to move nothing but his eyes and his lips. Then
with great effort, he slowly, weakly, turns his head to look
around.
34 DYLAN’S P.O.V. - ONLOOKERS AND LAB 34
with somewhat improving FOCUS as he sees the condition of
the tank… then the rock fall in view through the observation
window. Then to Lyra-a, to Kimbridge now identifiable as a
stranger, then CAMERA PANS BACK to Lyra-a a second time.
35 BACK TO SHOT 35
DYLAN
Who… who… where?
KIMBRIDGE
(hesitates, then
seeking the right
words)
A rockfall buried this whole section
of the caverns. They gave up trying
to reach you… long ago.
Dylan weakly turns his head to eye the laboratory again.
Then back to them, puzzled.
DYLAN
How… long…?
Kimbridge and Lyra-a exchange a look. Then:
LYRA-A
It is the year 2133.
Dylan attempts to digest this, finally has to ask:
DYLAN
Year? Say… year.
(CONTINUED)
33 CONTINUED: 33
14.
Genesis II · Revised Final Draft
KIMBRIDGE
Twenty-one hundred thirty-three.
Dylan slowly comprehends.
LYRA-A
What was your year?
DYLAN
Nine… nineteen… seventy-nine.
Time for their reactions, then to:
36 INT. PAX CORRIDORS - DYLAN’S P.O.V. - TRAVELING SHOT 36
At first, he’s seeing only bits of ceiling, corridor walls,
vague and disoriented as would be seen by a man lying on his
back in desperately weakened condition. A row of oil
paintings goes by, old masterpieces in their thick ornate
frames.
Also, glimpses of unfamiliar faces in strange garb, gathered
to watch in awe as this man of the past is rolled past them.
37 MONTAGE ANGLES - DYLAN 37
lying on an old hospital gurney, being hurriedly rolled by
Lyra-a and Harper-Smythe under Kimbridge’s direction through
one corridor, then turning into another. we’ve seen these
before, but they are no longer the newly built corridors of
the Continental Defense Command installation of 1979.
They’re older now, but less sterile with the military decor
gone. Color tones are warmer, the dressing of the corridors
and adjoining rooms vastly changed. We pass a former
communications room which now houses a collection of old
tapestries and statues. Further, whole corridor walls have
been given over completely to a vast library collection of
old books. we also pass a cavern grotto entry beyond which
gracefully lovely stalactite formations are beautifully lit.
38 ANGLE THROUGH ELEMENTARY SCHOOL ONTO CORRIDOR 38
where a half dozen smiling, happy CHILDREN of six or seven
years are being led in a CHILD’S SONG by a TEACHER. Young
voices, a happy verse, a simple melody… combining into a
”Sound of Music” feeling… all of them so intent on what
they’re doing that they do not notice Dylan being hurriedly
wheeled past in the corridor outside.
35 CONTINUED: 35
15.
Genesis II · Revised Final Draft
39 CLOSE ANGLE ON DYLAN 39
The CHILDREN SINGING, then fading into the distance. He’s
terribly weak, only half certain of what he is seeing and
hearing.
40 ANOTHER ANGLE - DYLAN’S P.O.V. 40
Still fragmentary, disoriented views moving IN and OUT OF
FOCUS - a former storage room where PAX personnel bend over
20th century sewing machines, making garments. But even the
people at work have the same light-hearted happiness. In
these views, we recognize this is a community, knit together
by common purpose. Past a room containing old radio sets,
some disassembled, where other workers watch the Man from
the Past taken by.
Then IN and OUT OF FOCUS as if Dylan is weakening again as
we pass a broader corridor, given over to hydroponic
gardens, some new form of lamps shining down onto rows of
lush, richly-colored flowers.
41 INT. PAX ELEVATOR 41
as the doors open and they wheel Dylan in and the elevator
starts upward. Dylan is fighting terrible weakness, knowing
he must somehow will himself to survive. But the new sights
and the vague realization of the incredible thing which has
happened is almost too much for him. His eyes flutter: he
almost passes out… catches Kimbridge’s worried eyes, moves
his lips again.
DYLAN
Zelectimine… intravenous…
At Kimbridge’s puzzled look, Lyra-a mimics an injection.
LYRA-A
”Intravenous”… to inject.
KIMBRIDGE
An alien substance into his body?
DYLAN
Need… drug… Any… brain… excitant…
drug…
LYRA-A
Medical compounds are against their
belief here. They have none.
(CONTINUED)
16.
Genesis II · Revised Final Draft
DYLAN
(to Lyra-a)
Help… me…
(eyelids flutter;
fights for
consciousness)
Must… want to… live. Must… make me…
want… to…
Dylan’s eyelids flutter again… he sinks into
unconsciousness, as SHOT GOES OUT OF FOCUS.
42 INT. DYLAN’S QUARTERS ANGLE ON DYLAN - OUT OF FOCUS 42
SHOT COMES INTO FOCUS, revealing Dylan lying unconscious on
a bed, nude, except for a blanket pulled to his waist. A
hand ENTERS SCENE, gently presses his lips apart and, drop
by drop, lets a small amount of a dark liquid drip into his
mouth. CAMERA HOLDS on Dylan a moment, then his eyelids
flutter and then open.
43 DYLAN’S P.O.V. - LYRA-A 43
OUT OF FOCUS at first, then becoming more clear. She is
standing over him, the unflattering PAX field garb gone…
replaced with a thin, finely-textured toga-like wrap held at
the shoulder with a clasp. Despite her size, she has a
perfectly-formed and strikingly sensual female body and
face.
44 TWO SHOT 44
Dylan, still weak, but now able to eye her with some
amazement. His voice is just a bit stronger.
DYLAN
How… long…?
LYRA-A
Eight days.
(smiles)
You ask the same question each day.
Don’t you remember?
Dylan obviously doesn’t remember. Lyra-a crosses to a
charcoal fire, wets a cloth at a simmering pot, re-crosses
back to him as:
LYRA-A (cont’d)
Do you remember being found?
(CONTINUED)
41 CONTINUED: 41
17.
Genesis II · Revised Final Draft
Dylan manages a weak nod. Lyra-a sits on the edge of his bed
and begins wiping his body with a hot cloth.
DYLAN
This is the year twenty-one….
Lyra-a nods. Then she smiles again, amusedLYRA-A
Twenty-one thirty-three.
(smiles, amused)
Do you remember how I’ve cared for
you?
Dylan weakly shakes his head, then stares up at the ceiling,
shaken by what has happened to himself.
DYLAN
Good Lord… a hundred… a hundred and…
fifty-four years.
LYRA-A
You almost died. You called for
strange medical compounds and in the
records of your old laboratory I
found what your words meant. And to
save your life you were put in my
care.
DYLAN
What is… this place…?
LYRA-A
They call themselves PAX… peace… to
fool others. Actually they’re
descendants of the soldiers who made
war from here. You were found because
they’ve run short of the weapons
stored here and were searching for
more that the old rockfall might have
hidden.
DYLAN
You… you’re not… PAX?
LYRA-A
(hesitates; lowers
voice)
You must promise not to give me away.
I was sent here to pretend to join
them so I can warn others who PAX
might attack.
(CONTINUED)
44 CONTINUED: 44
18.
Genesis II · Revised Final Draft
During this, Lyra-a finishes washing him, goes to bring back
more of the dark liquid, holds the container for him to
drink.
LYRA-A (cont’d)
This has effects much like the
compounds in your records. It’s from
a mutated plant my people use.
DYLAN
Mutated?
(realizes the
implications)
The bomb? Then we did… have war…
She presses the container to his lips, he drinks.
LYRA-A
(soothingly)
Long ago. It’s only history now.
DYLAN
What happened… what changes…?
LYRA-A
There are some new forms of life. But
you’ll find them nothing to fear.
(smiles)
Unless you fear me?
Dylan eyes Lyra-a puzzledly. Then she reaches for an ornate
clasp which hooks her Tyranian outer garment together at the
shoulder. She releases it, it falls to the floor.
45 ANGLE EMPHASIZING LYRA-A 45
Left in a scanty breast and hip wrappings. An incredible
physique - strong, long-muscled… yet strikingly sensual…
Proudly:
LYRA-A
(continuing)
See, I am a mutant.
Even in his weakened condition, Dylan’s eyes are drawn to
her golden form… then his look stops at her belly, amazed.
Lyra-a has two perfectly formed navels, one centered above
the other! She sees his look, his surprise.
(CONTINUED)
44 CONTINUED: (2) 44
19.
Genesis II · Revised Final Draft
LYRA-A (cont’d)
We have two hearts, greater strength…
superior to humans in almost every
way.
It takes Dylan a moment to absorb all this.
DYLAN
You don’t… say!
Lyra-a gives Dylan a long look, then.she withdraws the pin
holding her golden hair in place; it cascades down around
her shoulders.
FADE OUT.
END OF ACT ONE
45 CONTINUED: 45
20.
Genesis II · Revised Final Draft
ACT TWO
FADE IN:
46 INT. PAX COUNCIL ROOM - PANNING PAST WORLD MAP TO PAX 46
COUNCIL
Just long enough on the map to see that there are no
national boundaries as we remember them. Also, we’ll see
colored lines which mark subshuttle tubes connecting the
continents and criss-crossing major land areas. Some of it
appears out-of-service, while a few others show blinking
LIGHTS as if to indicate subshuttle cars in service there.
During which:
YULOFF’S VOICE (O.S.)
As Security Primus, it is my duty to
voice my concern, Isaac. The Man from
the Past has been with us fifteen
days now.
PAN SHOT CENTERS on PAX council… it’s late at night, lights
are dimmed, except at the council table, in what was once
the Continental Defense Command War Room and now serves the
Pax Council. The man who has been speaking to Kimbridge is
IVAN YULOFF, also wearing the robe and emblem of a PAX
primus. He is a dark, short, powerful-looking man, whose
features and expression seem to fit his job as PAX Security
Chief. Also seated there are five other PAX primi of various
races, wearing the same garb and emblem. They include three
women. The ones we’ll hear from are a middle-aged female
Oriental, LU CHAN, who is primus in charge of the cavern
facilities, and a striking looking dark haired woman, early
thirties, DOMINIC who coordinates PAX field teams for the
council.
KIMBRIDGE
I’ve seen him daily, Ivan. And each
time I’ve seen him, he’s grown
stronger.
YULOFF
But everything he learns of us and
our world is from the lips of a
Tyranian.
KIMBRIDGE
(corrects him)
From a fellow member of PAX, Ivan.
Just as others have done, she left
her people, took our oath freely…
(CO (corrects him)
From a fellow member of PAX, Ivan.
Just as others have done, she left
her people, took our oath freely…
(CONTINUED)
21.
Genesis II · Revised Final Draft
YULOFF
Isaac, an oath means nothing to a
mutant!
KIMBRIDGE
Lyra-a is only half mutant; her
mother was as human as yours or mine.
You’ve seen her smile, sometimes even
laugh.
DOMINIC
My Agents in her home city saw no
evidence of humanity in her when she
lived there, Primus.
KIMBRIDGE
We owe her our gratitude. The Man
from the Past is alive. More than
simply a Man from the Past, a
scientist! His brain contains
knowledge it would take the world
centuries to discover again…
YULOFF
All the more reason they must be
separated the moment he no longer
needs her care, Isaac.
LU CHAN
(to Kimbridge)
I must regretfully support Primus
Yuloff in this. Although Lyra-a seems
to have accepted our beliefs, we must
remember that her people practice
deceit as a virtue and believe only
in…
Interrupted by Harper-Smythe ENTERING hurried, excitedly.
Then, realizing she is in the council room of the PAX primi,
she slows down, tries to repress her excitement.
HARPER-SMYTHE
Forgive me, Primi. The Man of the
Past has come out! He’s walking among
us.
47 INT. PICTURE STORAGE 47
A famous oil painting from the past. CAMERA PULLS BACK,
ANGLING TO REVEAL Dylan examining it, Lyra-a at his side.
The rest of the room is filled in hung and stored paintings.
(CONTINUED)
46 CONTINUED: 46
22.
Genesis II · Revised Final Draft
DYLAN
Good Lord! Van Goghs, Rembrandts,
Picassos…
LYRA-A
(nods, quietly)
They’ve looted the whole world. No
one is safe from them.
DYLAN
They show a lot of taste in what they
steal.
They EXIT toward a corridor.
48 AT RADIO WORKSHOP 48
As Dylan and Lyra-a pause outside and he watches the work
underway there.
LYRA-A
Communications equipment from the old
military storage rooms. Deeper in the
caverns they have armory workshops,
gunsmiths…
(pauses as someone
passes within
hearing; then;)
I’m ordered to show you only pleasant
things. I’ll find a way later to show
you those things.
49 INT. CORRIDOR 49
Dylan and Lyra-a pass various PAX types who have gathered
along the corridor, curious about the Man from the Past.
Dylan eyes them, too, noting that despite their curiosity
about him they maintain the solemn manner we’ve noticed.
Then, as they turn onto a less-frequented corridor and stop
at elevator doors where Lyra-a punches the elevator
controls.
DYLAN
Lyra-a, when they were rolling me
here, I’m sure I remember hearing
singing, children singing…
(CONTINUED)
47 CONTINUED: 47
23.
Genesis II · Revised Final Draft
LYRA-A
(shakes head)
Perhaps a dream you were having. No
one here sings without being ordered
to.
Dylan, tiring, has leaned against the corridor wall. A
powerful pneumatic SOUND from inside the shaft… then the
doors snap open. She helps him inside.
50 INT. ELEVATOR CAB 50
Large, room for seating as if it traverses considerable
vertical distances. Once inside, the doors snap shut, the
elevator WHIRRS, they accelerate upward. Fast, faster… Dylan
looks toward a transparent port where elevator shaft lights
flash past rapidly, showing remarkable speed upward.
DYLAN
Their rower source?
LYRA-A
Your old nuclear generators still
operate. But fortunately for the
world, PAX doesn’t understand the
principle.
The elevator cab decelerates rapidly, stops, doors snap
open. Fresh air fills the cab. Lyra-a helps Dylan to his
feet, indicates outside, smiling.
LYRA-A (cont’d)
(continuing)
Sunlight! A whole new medicine for
you!
51 EXT. SENTINEL POST - DAY 51
Lyra-a leading Dylan out through a well-camouflaged path
overgrown with thickets. They emerge high atop a New Mexico
mountain. Higher above us a pair of PAX SENTINELS with old,
mounted 20th Century military scopes, constantly scanning
the vista below them. Dylan stops, taking in the view. For
fifty, a hundred miles in all directions - the surface of
Earth he left over a century ago!
52 DYLAN’S P.O.V. 52
A gorgeous vista, totally devoid of man or his marks. The
sky is much bluer than it was in his day.
49 CONTINUED: 49
24.
Genesis II · Revised Final Draft
53 DYLAN AND LYRA-A 53
breathing in the fresh air - already appearing a little
stronger as he looks out over the landscape.
DYLAN
Thank God! And more beautiful than
ever!
Stops as he sees the PAX Sentinels above them, gives Lyra-a
a questioning look.
LYRA-A
Every way in or out of here is
watched constantly.
54 ANOTHER CLOSER SHOT 54
with the exhilaration of being outside, seeing the surface
of Earth again, Dylan’s mind is racing. Until now, totally
dependent upon Lyra-a, he’s beginning to become himself
again as he peers out over the countryside.
DYLAN
Where are we? If we’re above the
caverns here, then…
(studying landscape,
reacts)
It’s all gone! The highway, White
City…
(points)
Over there, the lodge where my wife
came to visit me..
LYRA-A
You left a wife?
DYLAN
(shakes his head;
remembering)
I let my work become too important.
She divorced me.
(looks off again,
then)
What else is gone, Lyra-a. How much
did the bombs destroy?
LYRA-A
Less than it was believed would
happen. For many years of fighting,
each side feared the death bombs of
the other too much.
(MORE)
(CONTINUED)
25.
Genesis II · Revised Final Draft
When they were finally used, the
LYRA-A (cont’d)
scientists revolted.
DYLAN
Thank God! We did show some guts
then.
LYRA-A
But the ancestors of PAX then took
power…many scientists were killed as
traitors. The teachers and
technicians tried to save them and a
great frenzy of killing began. But
without… scientists and teachers,
your machines began to rust, men
began to fight for water and food.
Your great technology had been too…
too…
DYLAN
(nods)
Too complex, fragile… without oil,
the wheels stop turning; without
wheels the factories stop, food
transport stops…
Interrupted as, behind them, the elevator doors open and
Yuloff steps out with Kimbridge, followed by two Security
Guards. Kimbridge, clearly upset, hurries ahead of the
others.
KIMBRIDGE
I was hoping to welcome you to our
century in a different fashion, Dylan
Hunt. I am Primus Kimbridge, who
found you…
(aware Yuloff has
moved in; indicates)
And this is Primus Yuloff…
DYLAN
(nods)
… PAX Security Chief. Lyra-a said I’d
be meeting you.
YULOFF
All PAX is grateful for the care she
has given you. But unfortunately now,
she has other duties equally
pressing.
(CONTINUED)
54 CONTINUED: 54
26.
Genesis II · Revised Final Draft
LYRA-A
(in response to
Dylan’s look)
I must respect Primus Yuloff’s
authority
Lyra-a EXITS to the elevator, accompanied by one of the
Security Guards
KIMBRIDGE
We have so many questions to ask you.
Yuloff has waited for the elevator doors to close on Lyra-a
and Guard, turns to Dylan:
YULOFF
The first question must be what Lyraa
has told you of PAX.
DYLAN
Why? Are there things I should not
know?
YULOFF
We are naturally concerned with the
knowledge you carry, you are not
unlike a death bomb yourself. The
power of your knowledge could have
great value… but it could also
destroy us all.
KIMBRIDGE
We hope you will use it in our cause
once you understand us fully.
DYLAN
You’ll find I’m a fairly quick study.
55 INT. DYLAN’S QUARTERS 55
The door opens, Dylan appears at it escorted by a PAX
Security Guard who takes up a station outside. Then as Dylan
enters, the door behind him is closed and we HEAR it locked.
He turns to find Harper-Smythe laying back the covers of his
bed.
HARPER-SMYTHE
I have been assigned Lyra-a’s duties.
Dylan sits on his bed, eyes her, amused. He shakes his head.
(CONTINUED)
54 CONTINUED: (2) 54
27.
Genesis II · Revised Final Draft
DYLAN
No way.
(indicates)
What the devil are you, anyway? He…
she… or what?
HARPER-SMYTHE
Of what importance is that? Would the
shape of my liver or pancreas
interest you?
DYLAN
Perhaps. I hate surprises.
Dylan starts to undress for bed. Harper-Smythe turns quickly
away.
HARPER-SMYTHE
I know why you asked that question.
All people in your century were ruled
by lust.
DYLAN
I thought you were taking over my
nurse’s duties. She always tucked me
in.
HARPER-SMYTHE
She’s even worse than your century
with lust, mutant’s go mad.
DYLAN
I hope I keep getting stronger.
HARPER-SMYTHE
You are a scientist and yet you do
not understand that lust destroyed
your world?
DYLAN
That’s an interesting theory.
It’s clear it is also Harper-Smythe’s favorite subject
HARPER-SMYTHE
It is a fact! Most of your world’s
problems were caused by aggression
between male and female. Your own St.
Freud warned you about this weakness…
DYLAN
Saint Sigmund Freud…?
(CONTINUED)
55 CONTINUED: 55
28.
Genesis II · Revised Final Draft
HARPER-SMYTHE
(nods; without
interruption)
… A weakness which kept even your
leaders from clear thought and
wisdom. Thus, in the end, it was
animal lust which caused your
civilization to fall.
DYLAN
(eyes her; then)
Just how many of you people feel this
way?
HARPER-SMYTHE
A great part of PAX is of the unisex
persuasion. Outside, of course, the
primitives and the barbarians
continue in the same old errors.
DYLAN
Oh? Thank Heaven, I’m safe here.
56 INT. DYLAN’S QUARTERS - ANGLE OM DYLAN 56
asleep in his bed. Then a slight SCUFFLING SOUND, a STIFLED
MOAN… Dylan stirs, opens his eyes. He becomes aware of some
activity across the darkened room, reacts, fumbles for the
wall switch… ROOM LIGHTS come up.
57 ANGLE TO INCLUDE LYRA-A AND HARPER-SMYTHE 57
Lyra-a bending over Harper-Smythe whose arms and legs have
been bound, a gag being tied in place over her mouth. Dylan
also sees the unconscious form of the Security Guard lying
inside the door.
DYLAN
Are they all right?
LYRA-A
Neither is injured.
(stands)
Yuloff now suspects why I’m here. I
must leave.
DYLAN
Can you get both of us out of here?
(CONTINUED)
55 CONTINUED: (2) 55
29.
Genesis II · Revised Final Draft
Lyra-a picks up a bundle of clothing, hands it to him. He
shakes it open, quickly begins dressing. Lyra-a also takes
the Paxer from the unconscious Guard.
LYRA-A
If you’ll risk it with me. I hoped
you’d want to.
DYLAN
To where?
LYRA-A
Anywhere you want, Dylan. To the
freest and most beautiful place on
Earth, if you wish. My city… Tyrania.
58 ANGLE ON HARPER-SMYTHE 58
reacting to the word Tyrania; trying desperately to shake
her gag loose, say something, but it’s only a muffled SOUND.
Her eyes try to catch Dylan’s, warn him about something.
59 BACK TO DYLAN AND LYRA-A 59
But Dylan is hurrying into the full field outfit Lyra-a has
supplied, nodding his agreement to Lyra-a, who turns, cracks
the door open to check the partially darkened night corridor
outside. Dylan checks that Harper-Smythe is uninjured -
then, they quickly exit.
FADE OUT.
END OF ACT TWO
57 CONTINUED: 57
30.
Genesis II · Revised
ACT THREE
FADE IN:
60 INT. CARLSBAD SUBSHUTTLE STATION 60
A century older than we saw it before in the PROLOGUE. The
equipment is more complex now - as if the system improved
and expanded in the years since we last saw it. Over the
station control panel, a larger wall map shows subshuttle
tubes criss-crossing the continent and connecting most of
the world. DIM ”night” LIGHTING here, too… a SUBSHUTTLE
GUARD crouches over a charcoal heater, warming himself.
61 ANGLE ON DYLAN AND LYRA-A 61
entering silently along a connecting corridor. She peers
around the station entry. Then she motions Dylan to stop,
then raises the Paxer, carefully aiming it at the Guard.
Dylan presses Lyra-a’s Paxer arm down. Gives her a
questioning look.
LYRA-A
(whispers)
It fires only a dart, which causes
unconsciousness.
Dylan releases her arm; she aims again, presses the trigger…
we HEAR the HISS of the Paxer.
62 WIDE ANGLE - INCLUDING GUARD 62
as he stiffens, slumps to the floor, unconscious. Dylan
takes the Paxer from Lyra-a, examining it curiously as they
move INTO SCENE. Dylan moves out in front of the expanded,
more sophisticated subshuttle station controls, eying the
large world map above the panel. CAMERA MOVES IN CENTERING
ON THIS AREA. Lyra-a steps on the other side of the control
panel, begins punching out the signals necessary to bring a
subshuttle car here.
LYRA-A
This is PAX’s greatest weapon. From
here, their teams can go anywhere,
attacking, murdering…
Dylan eyes the map, amazed.
(CONTINUED)
31.
Genesis II · Revised Final Draft
DYLAN
So we did continue building it! Into
a system that connected the whole
world.
The HISS of a Paxer - Dylan stiffens, slumping into
unconsciousness.
63 ANOTHER ANGLE 63
A previously unseen SECOND SUBSHUTTLE GUARD has moved in
behind Dylan, but has not seen Lyra-a behind the control
panel. As he moves in, her incredible reflexes propel her
into movement. He tries to turn his weapon upon her but
she’s already thrown herself low, directly at his legs, upending
him. The weapon CLATTERS to the floor and the Guard
is unconscious almost before it stops rolling.
64 INT. SUBSHUTTLE - ANGLE ON DYLAN 64
Still unconscious, lying on the floor as the subshuttle
rocks gently to the MUTED ROARING WHINE of high speed
passage through the tube. He comes back to consciousness
slowly at first, then remembers what happened and fights off
the dazed feeling, struggles to his feet.
He finds the interior of the subshuttle car is much as we
saw it 153 years ago, but older, empty of humans and cargo.
He also discovers the Security Guard’s Paxer belt and weapon
on the floor beside him. He picks up the weapon, then hears
the faint ELECTRONIC SOUND of someone operating the
controls, moves forward in the car, cautiously.
65 SUBSHUTTLE CONTROL AREA 65
The subshuttle tube lights pass as before, the same high
speed. Dylan enters, finds Lyra-a at the controls. He
indicates the Paxer he carries.
DYLAN
This doesn’t make them seem terribly
bloodthirsty. What does it fire?
She extends a tiny projectile dart.
66 INSERT - THE PROJECTILE 66
Slim, tufted at one end, a fraction of an inch in length.
62 CONTINUED: 62
32.
Genesis II · Revised Final Draft
67 BACK TO SHOT 67
DYLAN
A hypo dart?
LYRA-A
Only because they want you alive.
Another electronic BEEP from the control panel; Lyra-a turns
to it and punches a button. She stands, leads the way back
into the passenger section.
68 ANGLE ON PASSENGER SECTION 68
Lyra-a leading the way into the passenger area as
DECELERATION SOUNDS begin as the subshuttle rapidly reduces
its speed.
LYRA-A
This old maintenance station is the
closest the tube comes to Tyrania.
From here, we travel above ground.
The subshuttle comes to a full stop, the door snaps open,
and we see a small, dimly lit subshuttle maintenance station
through the opening in the tube outside. Dylan and Lyra-a
hurry out into it.
DYLAN
Can’t PAX trace this car to here?
LYRA-A
No. I’m sending it on to a siding
tube.
She pauses at a small panel to hit a switch. The subshuttle
doors close. It begins moving down the tube again as they
exit into a corridor leading from the maintenance station.
69 INT. FACTORY RUINS - NIGHT ’ 69
A place which, before being bombed to rubble over a century
ago, serviced subshuttle repairs, ventilation, etc. Windows
are gone, parts of some walls, too; the area outside is
overgrown with vegetation and includes a rude corral in
which we can see some magnificent large horses. The ruins
are inhabited by SAVAGE WHITES, clad in animal skins. Their
living accoutrements are meager, the predominance of
leather, plus the game animal parts hanging to dry over an
open fire, indicate they are a nomadic hunting people.
(CONTINUED)
33.
Genesis II · Revised Final Draft
The men are armed with wicked looking, roughly-forged axes
and slim, long-bladed lances. CAMERA THEN ANGLES TO INCLUDE
a heavy, rusted old metal door leading into a tube exit
corridor in the rubble. It moves, CREAKS, then is suddenly
thrown BANGING open. A SAVAGE WOMAN SCREAMS, grabs for a
child; a SAVAGE YOUTH shouts a warning CALL as Dylan
appears. Before he fully steps into view, a lance is thrown;
the slim blade missing Dylan by inches. Lyra-a appears
behind him; she shouts angrily:
LYRA-A
Tyran!
At the sight of the mutant woman, a dramatic change. Weapons
drop to the floor, male and female alike drop to one knee,
crossing their arms over their chest. A YOUNG CHILD or TWO
are slow to emulate their elders and apologetically are
hurriedly forced to the same position of respect taken by
the adults.
70 ANOTHER ANGLE 70
as Lyra-a ignores the kneeling savages, crosses to the open
fire and hands a portion of smoked game to Dylan, who is
eying the white savages curiously. Then a savage woman
brings her Tyranian riding garb which she dons while:
LYRA-A
Eat. we have a long ride.
(indicates savages)
They breed our horses for us.
DYLAN
Who are they?
LYRA-A
Their ancestors lived in the city
which was destroyed here. You called
the region ”Arizona.”
During which the CHIEFTAIN has hurried outside - followed by
SHOUTED ORDERS, men RUNNING, horses STOMPING, WHINNYING.
Dylan gnawing on the smoked.meat, watches Lyra-a and the
savages curiously. She indicates their kneeling position to
him.
LYRA-A (cont’d)
It’s called the position of respect.
(smiles)
Which also makes it much harder for
them to put a lance in our backs.
(MORE)
(CONTINUED)
69 CONTINUED: 69
34.
Genesis II · Revised Final Draft
(crossing toward
LYRA-A (cont’d)
exit)
You’ve much to learn about Earth now,
Dylan Hunt.
Dylan starts to follow Lyra-a out, then stops as a small
child CRIES, the MOTHER SAVAGE claps a hand over the child’s
mouth.
DYLAN
No, it’s all right.
He has taken a step toward the Mother, stops as he realizes
she is trembling like a leaf, hand still over the child’s
mouth. The abject fear, pitiful, troubles Dylan as he turns
and follows Lyra-a.
71 EXT. PLAINS - DAWN - LONG SHOT - LYRA-A AND DYLAN 71
The sun rising. They’re mounted, riding across the rolling
landscape. Lyra-a rides expertly, gracefully on a huge
animal, which is covered from withers to rump in a scarlet
blanket. Silver tinkling bells are attached to its head and
ankles, a magnificent sight. Dylan is on a smaller horse
fitted with one of the savages fur-skin riding blankets.
Although showing some fatigue now, he’s again amazed by the
regenerated Earth about him - the sparkling blue sky, the
land rich with grass, no sign or traces of man. A deer
bounds into view in f.g., races off.
72 EXT. LAKE - DAY 72
Watering their horses, Dylan looks down at the stream,
seeing fish in the water.
73 DYLAN’S P.O.V. - FISH 73
visible in the shallow stream water.
DYLAN
It’s like Earth has been given a
second chance. Blue skies, clear
water, fish, game…
(turns to Lyra-a)
What else?
LYRA-A
Much more. My century has many
surprises for you.
(CONTINUED)
70 CONTINUED: 70
35.
Genesis II · Revised Final Draft
Dylan’s eye catches sight of something off above them to the
side. He turns, looks.
74 DYLAN’S P.O.V. - FLIGHT OF BIRDS 74
Thick, winging through the blue sky.
DISSOLVE TO:
75 EXT. ROLLING HILLS - DAY - MED. LONG PAN SHOT 75
Dylan half asleep in his saddle. Lyra-a still riding fresh,
alert. Dylan’s horse stumbles; he comes awake. Then, as
CAMERA PANS them further along, a pair of African lions are
seen lying in SHOT F.G. Dylan reins up, eying the large cats
nervously.
DYLAN
From bombed out zoos?
LYRA-A
(nods)
Many live on the plains here now.
(indicates)
With their brothers.
Then he’s even more surprised when the slim figure of a
WHITE WATUTSI stands up out of the grass next to the cats -
stands watching them, a handmade crossbow in hand, a quiver
of short arrows at his waist.
DYLAN
Earth has gotten… interesting to say
the least.
LYRA-A
You’ve seen little yet.
(eyes them, then
beckons)
We’re safe. They’re not hunting now.
They ride off, Dylan giving the strange threesome another
glance over his shoulder.
76 ANOTHER ANGLE 76
Dylan and Lyra-a ride TOWARD CAMERA INTO MED. SHOT where
Dylan reins in again, catching sight of a building on a
mountain to the side of them.
(CONTINUED)
73 CONTINUED: 73
36.
Genesis II · Revised Final Draft
LYRA-A
Tyrania’s nuclear generation plant.
77 DYLAN’S P.O.V. - THE NUCLEAR STATION 77
A slightly closer perspective.
78 BACK TO SHOT 78
DYLAN
And your city?
LYRA-A
Well over a day’s ride yet.
(indicates plant)
We’re not as fortunate as PAX. It’s
beginning to fail. Perhaps the
distance to our city makes it weaker.
Do you understand such things?
DYLAN
(nods)
More likely the nuclear core elements
need rearranging. Or the reflector
assemblies may need adjusting.
As Dylan eyes the distant building again, Lyra-a gives him a
searching look. Then they rein the horses ahead.
DISSOLVE TO:
79 EXT. RUGGED COUNTRYSIDE - DAY - DYLAN AND LYRA-A 79
still riding. Lyra-a upright, alert, not in the least
fatigued. Dylan’s fatigue is obvious. Lyra-a reins the
animal to a stop, points ahead.
Tyrania! In the distance set on a rugged hilltop, MATTE SHOT
of gleaming, white, graceful buildings of advanced
architecture. Incredibly beautiful.
80 ANGLE EMPHASIZING DYLAN 80
Stunned. It appears like everything he had ever dreamed the
future might be like! The air fresh, skies blue, the land
unpolluted, and a graceful city ahead in a garden setting.
DYLAN
Incredible. Lovely!
(CONTINUED)
76 CONTINUED: 76
37.
Genesis II · Revised Final Draft
LYRA-A
Tyrania!
81 EXT. TYRANIA CENTRAL MALL - DAY - ESTABLISHING PAN SHOT 81
Malls and pathways only; no streets or vehicles. Dozens of
different types of MELODIC WIND CHIMES match the feeling of
the white marble walkways, the fountains, flower beds and
the magnificently handsome, golden-skinned, light haired
Tyranians, in their colorful garb. Old or young, male or
female, they’re exceptionally tall, well-formed. Most of
them carry short, ornate baton-like ”Stims” in their right
hand, raising it in occasional solemn greeting to other
Tyranians. Here and there, almost unnoticeable in the
splendor, are a few ordinary HUMANS of various races, most
on the underfed side and much smaller than the towering
Tyranians. Also, here and there, helpers still carrying
tattoos or strange hair styles of their homeland. All are
very plainly clothed in sort of servant attire. Noticeably
smaller, they stay off the central mall and pathways,
maintaining a low profile as they scurry about their tasks.
82 LYRA-A AND DYLAN 82
crossing the mall. We notice that Lyra-a has changed
perceptibly - a totally emotionless expression, a proud
bearing. From closer we see the Tyranians they pass all have
the same proud, stoic manner, as if completely untroubled by
emotions of any kind. Occasionally one of them will
gracefully raise his or her Stim solemnly to Lyra-a in
greeting.
DYLAN
You’ve been away… what, over a year?
Yet, they’re not surprised to see
you.
He gets no answer, glances curiously at one of the smaller
servant types who passes.
LYRA-A
They are called our ”helpers.”
83 EXT. ANOTHER MALL AREA 83
where a group of five differently clothed people are being
led across the mall by a Tyranian Male. Three are slim black
males in ornately embroidered caftans, rich sandals, and
African hair styles.
(CONTINUED)
80 CONTINUED: 80
38.
Genesis II · Revised Final Draft
One is a stocky, exceptionally heavily muscled female in
”Spartan” tunic, leading a puny, frightened looking, halfnaked
male by a line attached to a collar on his neck.
Dylan and Lyra-a enter f.g. and he gives this group a
curious look, too.
LYRA-A
Supplicants who hope to be accepted
as helpers here. The two are
Carolinian scholars…
(sees he’s surprised
by the collared man;
smiles)
You’d do well to avoid the women’s
country, Dylan. Males are tolerated
there only as pets.
They move on.
84 INT. LYRA-A’S COMPOUND QUARTERS - DAY 84
Dylan and Lyra-a enter; ASTRID, a rather puny looking young
human female helper hurries in, carrying an ornately carved
box and quickly kneels on one knee before Lyra-a and
silently proffers it. Lyra-a opens the lid, exposing her own
Stim which she takes out. Indicates it to Dylan.
LYRA-A
The “Stim,” a custom which my people
believe confers dignity.
Lyra-a motions the girl to her feet, indicates Dylan.
LYRA-A (cont’d)
This is my guest, Dylan Hunt. He is
to be treated as a Tyranian.
Astrid’s mouth almost falls open in surprise; she quickly
recovers and takes the position of respect on one knee
before Dylan. Lyra-a turns to him:
LYRA-A (cont’d)
Astrid will take you to your
quarters. I must arrange that my
people prepare a proper welcome for
you.
Other servant types enter, indicating this is a highly
luxurious household complex, well staffed. At a whispered
word from Astrid, all the servants kneel in positions of
respect. We can see this is beginning to trouble him a bit.
83 CONTINUED: 83
39.
Genesis II · Revised Final Draf ft
85 INT. TYRANIAN COUNCIL CHAMBER - NIGHT 85
Much more utilitarian than the council room at PAX, almost
Roman in style. This carries through to the cool, proud
bearing of the Tyranians here. Lyra-a stands at a “witness”
podium in front of a crescent council bench, which seats
three male Council members. Each holds his Stim, butt down
in front of himself as if in a prescribed ceremonial
position. One is SLAN-N, a Tyranian scientist of middle
years; the presiding member, larger than the rest, is WEHRR,
the other is LAHYN-N with something of the waspish manner
of Rome’s Cato.
LYRA-A
It was quite simple to win the trust
of most of them and I could soon go
where I wished. but when the Man from
the Past was discovered, I realized
this to be of even greater importance
than my study of their subshuttles…
WEHR-R
This human could also be a clever
trick. A spy planted here.
LYRA-A
No. I saw him found. He is a
scientist of old Earth with a
knowledge of machines that fly, of
old weapons…
(with emphasis)
… and of nuclear fusion.
This creates a perceptible reaction despite the stoic calm
of the Council members. Lyra-a waits for this, then
continues:
LYRA-A (cont’d)
I will require more time to win his
full loyalty. As a mere human, he is,
of course, ruled by his emotions and
superstitions…
LAHYN-N
Then he must be trained as with all
humans.
Room LIGHTING DIMS for a moment, FLICKERS. Slan-n has looked
up at it.
SLAN-N
Why dull his mind needlessly? A
nuclear reactor is a delicate thing.
(CONTINUED)
40.
Genesis II · Revised Final Draft
LYRA-A
I am certain he’ll help us freely if
he feels at ease among us. I ask that
all in Tyrania must be commanded to
help me convince him of our
friendship.
WEHR-R
(considers it)
Agreed. But we must soon see evidence
he is willing to serve us. If not, he
is to be placed in training school.
86 INT. LYRA-A’S COMPOUND QUARTERS - NIGHT 86
The interior of the compound is even more luxurious than the
outside - almost barbaric in its splendor, we HEAR Dylan’s
and Lyra-a’s laughter, water splashing from a pool and
fountain area at the other end of the room as Astrid enters,
takes a position of respect.
ASTRID
Shall we serve food now, Mistress?
DYLAN’S VOICE
Yes! I’m starving.
LYRA-A’S VOICE
Have it brought in, Astrid.
87 ANGLE AT POOL - DYLAN AND LYRA-A 87
Dylan is getting into the Tyranian male garb. Lyra-a into a
robe which clings provocatively to her damp body.
88 ANGLE AT TABLE 88
As Helpers enter with trays piled high with a variety of
fruits and prepared dishes enough to feed a dozen people.
Dylan and Lyra-a ENTER from pool area - the room overhead
LIGHTING FLICKERS as we’ve seen it happen before… this time
it stays DIM a bit longer. Lyra-a indicates it.
LYRA-A
You see? It grows weaker almost with
each day.
(smiles)
Repairing it will win you all
Tyrania’s friendship.
(CONTINUED)
85 CONTINUED: 85
41.
Genesis II · Revised Final Draft
They’ve seated themselves at the food. As they’re served,
their every want and need is eagerly anticipated by the
Helpers. Astrid is particularly anxious over Dylan’s needs,
and he finds it almost impossible to do anything for
himself… she reads his expression, his glances, almost
before he forms the thought. Clearly, he has wondered about
this before and as it draws his curiosity again, Lyra-a
notices.
LYRA-A (cont’d)
What continues to trouble you, Dylan?
That they serve us so well?
Dylan feels strange discussing this within the hearing of
the Helpers. He shakes his head.
DYLAN
It’s their damned eagerness to
please.
LYRA-A
They love us. Just as an animal pet
returns love given it.
DYLAN
They’re humans, Lyra-a.
(turning)
Astrid. Are you happy here?
ASTRID
(quick position of
respect)
Happy, Master? I was ill and starving
until I came here. In Tyrania I have
food, a roof, I have whole clothing.
I am never cold.
Lyra-a gestures, Astrid comes quickly to her feet, serving
Dylan again. Lyra-a turns back to him.
LYRA-A
They’re fortunate humans, Dylan. They
recognize it.
But we can see Dylan is far from satisfied.
89 INT. DYLAN’S QUARTERS - NIGHT 89
Dylan in Tyranian garb now, pacing, lost in worried thought.
Then he crosses to where a flagon and cup sits on a low
table. He starts to pour out some liquid, hesitates, smells
the flagon.
88 CONTINUED: 88
42.
Genesis II · Revised Final Draft
He’s still uncertain, but decides not to drink, crosses to
his fur-covered bed, lies on his back. CAMERA MOVES INTO
MED. SHOT of Dylan as he lies there, looking at the ceiling,
concerned. What is there about this place? It’s lovely,
tranquil, orderly… and still he senses something is very
wrong. He comes to a decision, gets up, CAMERA PANNING him
back to the draped doorway.
90 CLOSE SHOT - DYLAN 90
parting the drapes quietly, looking into Lyra’s quarters.
91 P.O.V. SHOT INTO LYRA-A’S QUARTERS 91
revealing Lyra-a there, asleep.
92 PANNING DYLAN 92
as he crosses his quarters again to underneath the high open
window, gets a toehold between two heavy wall slabs, pulls
himself up and over the sill.
93 EXT. LYRA-A’S COMPOUND - NIGHT - COURTYARD 93
as Dylan drops INTO SCENE, moves into the shadows, exiting
the compound.
94 EXT. TYRANIAN CENTRAL HALL - NIGHT - WIDE ANGLE 94
Not a Tyranian in sight. But Helpers everywhere, and we’re
even more aware that, unlike the golden-haired similarity of
all Tyranians, the Helpers are of mixed sizes, colors and
types. We see them working furiously on their knees, washing
the marble walks, sweeping, gardening, polishing. It’s easy
to see why the place shines so in the daylight, why the
pathways are so carefully bordered, why the gardens are so
beautifully kept.
A MALE HELPER scurries past; Dylan tries to wave him down.
DYLAN
You? May I…?
The Helper avoids Dylan’s eyes, continues on, obviously
frightened, pretending not to hear Dylan, who is growing
even more troubled.
89 CONTINUED: 89
43.
Genesis II · Revised Final Draft
95 ANGLE ON DYLAN 95
watching, then starting to move on. He’s suddenly grabbed
from behind, a hand clapped over his mouth and he’s pulled
into concealment. Dylan tries to break the grip, but falls.
Then he finds himself eye-to-eye with a Helper - but one of
the largest men Dylan has ever seen. He’s ISIAH, a former
chieftain of the ”White Comanche” savages of the great
plains, blue tattoo marks on his face, still with the
scalplock of his tribe.
ISIAH
I am Isiah, PAX. Will you keep
silent?
Isiah continues hand over Dylan’s mouth until he gets a nod.
Isiah indicates down a pathway leading away from the central
mall.
96 ANOTHER CONCEALED AREA 96
as two other figures step out of the darkness to intercept
Dylan and Isiah. Both are in Helper’s garb. DOCTOR KELLUM is
mid-forties, black, with a contentious temperament. PIEDMONT
is mid-twenties, a rather small character type, with a look
of high intelligence - and with technical knowledge,
mannerisms, and speech closer to a 20th Century man than
Dylan will meet anywhere. But the expressions on his and
Kellum’s faces are far from friendly.
KELLUM
Doctor Kellum. PAX.
As Dylan opens his mouth:
PIEDMONT
(interrupts)
I am Singh, of PAX. And you are the
fabled Man from the Past that
swallowed every lie his first mutant
tried on him?
KELLUM
We’ve heard you’re visiting their
nuclear generator tomorrow. Why?
DYLAN
(nods)
Is there some objection to their city
having a reliable power supply, too?
(CONTINUED)
44.
Genesis II · Revised Final Draft
PIEDMONT
You’re going there to repair it? You
know the science of the past?
The urgency, the concern of the PAX team is obvious. Dylan
nods.
DYLAN
Yes, that’s how PAX happened to find
me. I…
KELLUM
If we hadn’t an oath never to take
human life, we’d ask Isiah to kill
you this moment. That’s how dangerous
it is having your knowledge in
Tyranian hands.
ISIAH
You have not seen this is an evil
place?
DYLAN
It’s a few doubts that brought me out
looking around tonight, friend. But
I’m not exactly in love with your
anthill either.
PIEDMONT
Then it’s true what she told their
council. She used your illness to
keep you secluded; you saw
practically nothing of PAX.
KELLUM
PAX was founded by people alive in
your.time! Some you might have known!
Scientists, educators, philosophers,
people who revolted against the Great
Conflict. They took over the caverns
to preserve books and art and decent
ideals for when the world began to
rebuild again.
DYLAN
Then why the secret teams of agents
everywhere? Do you want me to believe
you’re here infiltrating good books
and culture?
ISIAH
(turning)
We show you why this team is here.
(CONTINUED)
96 CONTINUED: 96
45.
Genesis II · Revised Final Draft
Isiah takes Dylan’s arm in a grip that leaves no choice but
to go with them. They move through the foliage toward the
side of a Tyranian building.
97 INT. HOLDING PEN (UNDERGROUND HELPER CHAMBER) NIGHT 97
CAMERA IS ANGLING UP toward a narrow, high window or
horizontal ventilation slit. We HEAR people shuffling about,
faint moans, a shouted order. Then a human shrieking in
fear. Dylan’s face appears at the slit, accompanied by the
others - his expression amazed, shocked, as he sees:
98 P.O.V. DOWN INTO HOLDING PEN 98
Humans being held under guard and still others being rudely
hurried into the area by Tyranians who still wear their
riding outfits and capes. The prisoners are wretched,
tattered, desperately fatigued. Males, females, children of
widely mixed colors and racial types… grimy, some MOANING,
injured.
Some are fur-clad North Country white savages - a pair of
Swamp Women with children, all barely clad in reeds. There
are two more of the heavily muscular females, with wretched
looking human male ”pets” on neck collars - a few Mexican
Types in Aztec dress - even some others in oddly mixed, old
20th Century garments.
99 BACK TO SHOT 99
Isiah indicating the holding pen to Dylan:
ISIAH
Slave city beneath city.
KELLUM
Those are new helpers. Recently
captured.
PIEDMONT
This is what one PAX Team is doing.
Two of us have died planning a
rebellion. If necessary all of us
will if we can save them and several
thousand like them.
(CONTINUED)
96 CONTINUED: (2) 96
46.
Genesis II · Revised Final Draft
DYLAN
(shaken; watching
slave pen)
I had questions about this place. But
I didn’t expect this answer.
KELLUM
There’s a phrase from your century.
“In the name of humanity” …don’t help
the mutants. When the rebellion
begins, we’ll try to help you escape
then.
Interrupted by a SHRIEK from below. Dylan stiffens, looks
over the embankment again. CAMERA MOVES INTO CLOSE SHOT of
Dylan, catching his expression of what he sees as we HEAR
hoofbeats, another succession of shrieks of pain and fear.
FADE OUT.
END ACT THREE
99 CONTINUED: 99
47.
Genesis II · Revised Final Draft
ACT FOUR
FADE IN:
100 INT. TYRANIAN COUNCIL CHAMBER - ANGLE ON COUNCIL - DAY 100
The Council is seated as WE SAW them before.
SLAN-N
Yes or no, Human! Will you repair our
nuclear…?
101 ANGLE INCLUDING DYLAN 101
Facing the Council, from the ”witness podium.” He’s bare to
the waist, stripped of his Tyranian outer garments. Lyra-a
stands at his shoulder, concerned.
DYLAN
(interrupting)
Now listen! I came into your century
ill… and that’s been used against me
very cleverly. But I’m not sick now
and I’m getting tired of being pushed
around!
LYRA-A
(hurriedly)
You don’t understand what this means!
Tell them you join us gladly.
DYLAN
And I’ve had the last advice I want
from you, Florence Nightingale.
Slan-n BANGS his Stim butt down. Lahyn-n and Wehr-r do the
same.
WEHR-R
Training is decreed.
Wehr-r motions to Lyra-a. She exits. Slan-n gets up, Stim in
hand; Wehr-r nods and Slan-n crosses to Dylan. The others
lean forward, coolly, with almost a clinical interest in
what is about to happen.
102 CLOSER SHOT DYLAN AND SLAN-N 102
Slan-n flicks his Stim with a wrist motion… and an intricate
metal snaps into view out of the carved wooden sheath.
(CONTINUED)
48.
Genesis II · Revised Final Draft
Then he touches one of what appears to be adjustment rings
on the metal part - the ring turns with an almost melodic
SPRING-CLICKING SOUND; we HEAR a faint SHRILL SOUND from the
Stim. Dylan tenses, unsure of what to expect.
SLAN-N
Human, we welcome you to the ranks of
the Helpers.
(indicates with
Stim)
You will take the position of respect
and express gratitude at…
DYLAN
(interrupting)
It’ll be a cold day in hell before I
kneel at your feet!
Slan-n suddenly raises his Stim toward Dylan who
instinctively starts to ward it off. The instant the tip of
the Stim touches Dylan’s palm (emitting a LOUDER SOUND),
Dylan spins away - his knees buckle, he goes down to his
knees in pain.
103 CLOSE ON DYLAN 103
Perspiration forming. He’s been shocked and surprised by the
wave of pain, but as the pain begins to subside, it’s
replaced by anger.
104 WIDER ANGLE INCLUDING SLAN-N 104
The Council watching in B.G. The Tyranians show no anger, no
pleasure… merely interest.
SLAN-N
This was the lightest pain setting.
There are eight higher.
Slan-n turns the adjustment ring again, a slightly HIGHER
SOUND from the Stim as he steps toward Dylan with it.
SLAN-N (cont’d)
You will take the position of…
Dylan suddenly throws his body at Slan-n’s legs, knocking
him from his feet… Dylan’s forward impetus carrying him to
the edge of the council dais.
102 CONTINUED: 102
49.
Genesis II · Revised Final Draft
105 ANOTHER ANGLE 105
Lahyn-n and Wehr-r coming to their feet, flicking their
Stims into open position and already adjusting the controls.
Dylan lets his forward motion carry him into a leap toward
Lahyn-n who is nearest, trying to grab his Stim from his
hand. But Wehr-r steps in with the grace of a matador…
touches the Stim to Dylan’s back. Again, the uncanny SHRILL
SOUND. Dylan falls again from a wave of pain much like he’s
been wrapped in the nettles of a giant jelly fish. Wehr-r
and Lahyn-n take their seats again - their attitude that of
having been through this sort of thing before as they leave
it to Slan-n who has gotten to his feet, moves toward Dylan
again, Stim ready.
106 DYLAN 106
Covered with perspiration now, shuddering in a pain which is
beginning to hamper his movements. Slan-n steps INTO SCENE
with him, sets the Stim control still higher.
SLAN-N
The position of respect, human.
Dylan tries to move aggressively toward him but his knees
refuse to support him - Slan-n touches him again with the
Stim and this time a GROAN is wrenched from Dylan who goes
down again on his face. This time he’s unable to do anything
but lay there face down, shuddering.
107 WIDER ANGLE 107
Slan-n looks up at Wehr-r.
SLAN-N
Unusual. I’ve had to use the seventh
setting.
WEHR-R
Then the next moment should affect
him even more.
Slan-n turns the Stim pain control off, twists another ring
on the metal part, producing a different, almost MELODIC
SOUND. Dylan is unable to prevent it as Slan-n steps in and
holds the Stim tip against the back of Dylan’s neck.
50.
Genesis II · Revised Final Draft
108 EMPHASIZING DYLAN 108
Dylan rolling over onto his back - even more surprise on his
face. Slan-n touches him a second time… the effect is
relief… more than relief from pain, but actual pleasure.
It’s as shocking in its way as the previous pain… despite
himself, Dylan finds he is looking up at Slan-n in confused
gratitude. Slan-n withdraws the Stim, speaks gently.
SLAN-N
You see? The Stim is also capable of
pleasure.
WEHR-R
An irresistible combination, human.
Slan-n sets the Stim back to the highest pain setting.
SLAN-N
Or do you prefer the final level of
pain?
Dylan gets slowly to one knee, crosses his arms across his
chest.
109 INT. MAIN UNDERGROUND HELPER CHAMBER 109
Pitch-torch lit, damp, grimy, bustling with the activity of
serving the Garden City above. The immediate area has meat
hung, being prepared and carved. In various other ANGLES in
these corridors WE will SEE such things as piles of fruit
and produce being cleaned and readied, fabrics being dyed,
stacks of animal hides stored, an Ironsmith at work over his
anvil.
These Helpers we see down here are not as attractive as
those selected for work above, they wear stained and
threadbare versions of the Helper garment, some are sick or
healing from wounds, but these here also toil as rapidly and
anxiously.
Dylan, his expression and gait showing he’s been through
considerable since we last saw him, is escorted into SCENE
by a burly OVERSEER Helper, who roughly pulls
Dylan to a halt, calls:
OVERSEER
Juliano!
(louder)
Juliano! A new student!
(CONTINUED)
51.
Genesis II · Revised Final Draft
Dylan tries to make an escape break but one of the nearby
Helpers open-hands Dylan across the face, stopping him. It’s
Isiah!
ISIAH
No talk! You student!
Overseer has looked in vain for the man he was calling. He
turns to Isiah.
OVERSEER
Take him to the School Five.
Isiah grabs Dylan roughly, propels him out of SHOT.
110 IRONSMITH AND FABRIC DYING AREA 110
As they pass another group of Helpers, Isiah yanks at
Dylan’s arm making the surprised Dylan appear to be
struggling… and one of the helpers hurries over to grab
Dylan’s other arm, pretending to help escort him. It’s
Piedmont. Dylan tries to keep surprised recognition off his
face.
111 INT. ANOTHER CORRIDOR 111
As Isiah comes into SHOT to check the corridor out, he sees
some Helpers in sight carrying baskets of produce. He ducks
back out of sight.
112 CLOSE SHOT - THE THREE 112
waiting out of sight for the Helpers to pass in b.g. They
talk very quietly.
DYLAN
That Stim thing? What on Earth is it?
SINGH
(nods)
It uses sonics. Wave lengths that
stimulate the brain’s pain and
pleasure center.
ISIAH
It comes from your time.
DYLAN
(shocked)
Good Lord! We developed that?
(CONTINUED)
109 CONTINUED: 109
52.
Genesis II · Revised Final Draft
SINGH
(shakes)
In the final days of the war. To
control troops and civilian
populations.
They EXIT down the next corridor.
113 WIDE ANGLE NEXT CORRIDOR 113
The three moving down the corridor.
SINGH
Our hiding place is in the storage
area. The others are waiting there.
Isiah points out one of the thick wooden doors they are
passing.
ISIAH
Training schools.
SINGH
(to Dylan)
Pray you’ll never be inside one.
Then, FOOTSTEPS, many of them, coming from an intersecting
corridor ahead. They pull to a stop - WE HEAR BOOMING
LAUGHTER, then a Tyranian VOICE.
ISIAH
Teachers!
(indicating back)
Back to training school. Fast!
SINGH
(to Dylan)
Trust us! Whatever we ask!
They hurry Dylan back the way they came, stop at a door,
open it and exit into the room just in time as TYRANIAN
TEACHER and SECOND TEACHER come into view around the corner,
heading this way.
114 INT. TRAINING SCHOOL 114
ESTABLISHING a long rectangular room of the same rough-hewn
stone blocks. At one end, old straw mattresses on which
Three or Four Students lie dazed, exhausted. At the other
end, a pair of raised wooden pallets with rawhide straps to
secure arms and legs.
(CONTINUED)
112 CONTINUED: 112
53.
Genesis II · Revised Final Draft
Overhead, the only artificial light we’ve seen down here
floods a bright beam over the two pallets.
At the sight of someone entering, one of the ”Students” has
CRIED OUT in fear; all of them scramble toward a position of
respect until they see it is another ”Student” being brought
in. They go back to their mattresses, clearly relieved that
those entering are not Tyranians.
ISIAH
Quick! On pallet!
He and Piedmont quickly get Dylan to lie on the training
pallet,” begin tying the rawhide bonds to his ankles and
wrists. we can now HEAR the FOOTSTEPS approaching outside -
they barely get the ankles secured before we HEAR the DOOR
LATCH being opened.
PIEDMONT
Struggle with us…
Dylan pretends to be struggling vainly while Isiah and
Piedmont tie the rawhide lashes, as the door opens to reveal
the Tyranians. Isiah SLAPS Dylan hard, pins down a wrist,
and Piedmont begins lashing it down with the rawhide.
TYRANIAN TEACHER
The human from the Past?
PIEDMONT
Yes, Master.
SECOND TEACHER
I’ll exchange you my three female
students for him, Harn-n.
TYRANIAN TEACHER
(shakes head)
He interests me.
Seeing Dylan’s last wrist is now being secured, the others
move on down the corridor while Tyranian Teacher closes the
door and crosses into the room.
115 ANOTHER ANGLE 115
The ”Students” have come to frightened positions of respect
from the first sign of the Tyranians. The Teacher beckons to
one of them, JANOS, who grovels forward on his knees,
shaking in fear, anxious words tumbling out:
(CONTINUED)
114 CONTINUED: 114
54.
Genesis II · Revised Final Draft
JANOS
Master, I love you; I love Tyrania; I
thank you for taking me in as a
Helper…!
TYRANIAN TEACHER
Janos, Janos, you’ve said that
yesterday.
(indicates empty
pallet)
Up, Janos. Show the new student how
cooperative we become here.
Janos hurries, almost frantically, to lie on the other
pallet as:
JANOS
Master, tell me how else to please
you. Help me, please!
TYRANIAN TEACHER
It is a Helper’s duty to find ways.
You must constantly be thinking of
ways.
Dylan’s last wrist is lashed - Teacher nods to Isiah and
Piedmont, who turn to leave. Then he flicks his Stim open.
Isiah, in b.g., has let Piedmont precede him out the door,
but now as the Teacher sees them leaving and turns to Dylan,
Isiah SHUTS the door, but stays inside. He begins to
cautiously move toward the Teacher’s back, as:
TYRANIAN TEACHER (cont’d)
You will find this interesting,
human. No physical injury… you can’t
die…
(makes HUMMING Stim
pain setting)
… but you will wish to.
JANOS
Master!
He’s turned to see Isiah almost upon the Teacher, who whirls
too late to avoid Isiah’s huge fist chopping hard at him.
The Tyranian is staggered, but he’s strong, too - manages to
touch Isiah with the Stim. Isiah contorts in pain, but
pivots, too, kicking the Tyranian’s legs out from under him.
115 CONTINUED: 115
55.
Genesis II · Revised Final Draft
116 ANOTHER ANGLE 116
Dylan’s lashed to the table, unable to help… but Piedmont
enters now, fast, kicking the Stim from the downed
Tyranian’s hand, while Isiah pounds him back to the floor
with blows that finally leave him unconscious. Meanwhile,
Piedmont scoops up the Stim, whirls to Dylan’s pallet,
producing a hidden knife, and begins to slash the rawhide
which holds him there.
117 INT. STORAGE BOOM 117
Isiah and Piedmont leading Dylan in. Isiah heaves some
stored material out of the way, revealing a cleverly hidden
Inner Room beyond.
118 INT. HIDDEN INNER ROOM - ANGLE ON HARPER-SMYTHE 118
She’s here, wearing helper’s garb like the others - and the
costume leaves no doubt now but that she’s female! CAMERA
ANGLE WIDENS TO REVEAL we’re in a secluded part of the
underground labyrinth - a small room behind a larger storage
room. The entry to this smaller room has been cleverly
camouflaged. At the moment, it’s converted into a temporary
dispensary. Ill and injured Helpers of mixed races, sex and
ages lie on the scarlet horse blankets. Doctor Kellum,
assisted by Harper-Smythe, is kneeling at an emaciated
Helper bandaging an arm. His backpack PAX medical case lies
open nearby. Harper-Smythe’s and other PAX backpack outfits
and gear sit in the corner of the room. FOOTSTEPS approach…
Harper-Smythe grabs up a Paxer, she signals the room into
silence. It’s Isiah and Piedmont entering with Dylan. They
all eye Harper-Smythe with surprise.
SINGH
What in the devil are you doing here?
DYLAN
So, it’s Miss Harper-Smythe. That one
mystery cleared up.
HARPER-SMYTHE
(to Singh)
I… felt it my duty to volunteer
since…
(indicating Dylan)
… he was in my care the night he left
PAX…
(CONTINUED)
56.
Genesis II · Revised Final Draft
But the embarrassment on her face suggests there is also
some other interest in Dylan which might have brought her
here too. Meanwhile, Kellum has spotted the Stim in Singh’s
hand and he interrupts:
KELLUM
Singh, if that’s a working Stim…
Singh quickly nods, adjusting it to a pleasure setting and
handing it to Kellum.
SINGH
Pleasure setting. It should give them
some relief.
Kellum begins quickly administering relief to patients. He
looks up:
KELLUM
Collins was sent also.
HARPER-SMYTHE
But he was killed in a Blythian
ambush this morning.
ISIAH
Bad. Collins, good man, good team
leader.
HARPER-SMYTHE
We were sent to tell you to forget
the revolt, to use all your efforts
to…
(indicates Dylan
again)
… find him, to get him safely away
from here.
In the silence which follows, Dylan can see how hard this
hits them. Isiah can hardly believe the order.
ISIAH
Forget human slaves?
SINGH
They can’t order that. Two of us have
died getting this close to a revolt.
DYLAN
(snaps)
How close?
(CONTINUED)
118 CONTINUED: 118
57.
Genesis II · Revised Final Draft
SINGH
It’s ready the minute we locate where
the mutants store their Stims.
DYLAN
Then I’m going nowhere, Gentlemen.
(small smile)
I wouldn’t miss seeing the Helpers
becoming the Teachers.
KELLUM
(looks up)
Isiah! Dylan Hunt will come with us.
Isiah looks up at Dylan who gives him a look, then turns
back to Kellum.
DYLAN
Then your big man may be in for a
Twentieth Century surprise. As much
as I like him.
HARPER-SMYTHE
(to Dylan)
Please! The revolt is impossible now.
Lyra-a saw me crossing their mall
this morning. I’m sure she recognized
me.
119 INT. HELPER - MAIN CORRIDOR 119
Where all work has come to a halt. The Helpers are in
frightened position of respect. Lyra-a and several Tyranians
move through the chamber, roughly lifting their heads up,
inspecting their faces.
LYRA-A
Only a glimpse, but I’m certain it
was a female I knew at PAX. Which
means she’s either with a PAX team or
joining one here.
OVERSEER
(to Helpers)
Any helper who finds them will be
rewarded with a mate and a week of
Stim set for pleasure.
(to Lyra-a)
You’ll have them before dark,
Mistress.
118 CONTINUED: (2) 118
58.
Genesis II · Revised Final Draft
120 INT. HIDDEN STORAGE ROOM ANGLE ON SMALL RADIOS 120
Two of the PAX field receiver-transmitter units - small,
sophisticated (circa 1978), nuclear battery powered. The
outer cases have been removed, hands are working on the
inner parts. Singh takes tools from his field knapsack.
CAMERA WILL PULL BACK DURING THE FOLLOWING TO REVEAL Dylan
and Singh making some changes in the radio circuitry.
SINGH
PAX has good communications equipment
from your century. Cavern storage was
ideal for electronics.
DYLAN
(nods)
Less than six months ago, I was using
this same circuit.
(at Singh’s look,
smiles)
A century and a half ago your time.
121 WIDER ANGLE 121
As Singh begins to make the changes in the electronic
circuits. In b.g. Kellum and Harper-Smythe are finishing
doing what they can for the patients as Isiah ENTERS.
ISIAH
Sundown in three hours.
KELLUM
(to Dylan and Singh)
Time to leave.
DYLAN
(ignores it;
indicates set to
Singh)
Next, adjust this circuit to be in
resonance with the Stim’s oscillator
frequency.
KELLUM
(stands)
Isiah!
Isiah stands, bending low in the confined area, moves to
Dylan. Dylan looks up at him as Singh continues working on
the communications adjustments.
(CONTINUED)
59.
Genesis II · Revised Final Draft
DYLAN
Do you want the revolt, Isiah? If we
can have a few more minutes with this
equipment…
KELLUM
(interrupting)
We need the rest of daylight to check
their sentry posts, locate horses…
DYLAN
(ignoring it; to
Isiah)
Singh tells me you were a White
Comanche warrior, Isiah. A leader of
your tribe.
ISIAH
But I am of PAX now. I am sworn obey.
DYLAN
Did you swear to forget what you know
about warfare? The Tyranians will be
watching every exit, they know your
team is here. You know how badly the
Tyranians want me…
KELLUM
(interrupting; to
Isiah)
We must leave. Now.
DYLAN
(still to Isiah;
half smile)
I’ve never met anyone I’ve wanted to
fight less than you. But I will.
That’s how strongly I feel about
this.
The White Comanche hesitates, troubled.
HARPER-SMYTHE
Doctor Kellum is the senior member of
this team left alive, Dylan…
DYLAN
(to Kellum)
I’m sure you’re a fine doctor. And I
know you don’t care much for my
century. I can’t much blame you
considering what happened.
(MORE)
(CONTINUED)
121 CONTINUED: 121
60.
Genesis II · Revised Final Draft
But it did teach me things that can
DYLAN (cont’d)
get us out of here.
Singh looks up from the equipment he’s been working on.
SINGH
Ready. The antenna’s directional now.
Singh brings the Stim and holds it a few feet away. Dylan
turns on the radio receiver, pulls out the antenna and aims
it away from the Stim, then slowly turns the receiver toward
it. As it points directly at the Stim, a carrier wave begins
BEEPING. The SOUND STOPS as he aims away, then BEEPING again
as he aims it at the Stim a second time. All the team
members have come to their feet. Dylan turns to them.
DYLAN
The other receiver can be adjusted
the same way.
(to Kellum)
With enough Stims stored together,
we’ll get a signal from thirty or
forty meters away.
KELLUM
Are you certain of all this?
DYLAN
This certain, Doctor…
(turns to Isiah)
You’re not to let me be captured by
the mutants. Not alive.
KELLUM
Indeed? And mine?
DYLAN
The mutants want me here as badly as
you want me out. They’ll be watching
every exit. We need a rebellion to
get out of here.
HARPER-SMYTHE
He’s right, Doctor.
ISIAH
(smiles to Dylan)
You make good team leader one day.
(CONTINUED)
121 CONTINUED: (2) 121
61.
Genesis II · Revised Final Draft
KELLUM
(indicates receiver)
Are you certain that will work?
(gets Dylan’s nod)
Tell us what we must do.
DISSOLVE TO:
122 EXT. TYRANIAN CENTRAL MALL - DAWN 122
Early morning, Helpers bustling to finish their work before
their Masters appear on the streets. Gardeners are quickly
tidying the plant beds, carrying off their tools. The
scrubbers and polishers are doing the same. A few Helpers
hurriedly pass carrying loads of food or supplies. Dylan
ENTERS SCENE in Helper’s garb, the basket of produce he
carries hides his receiver as he hurries along like the
rest. He checks out one building. Another Helper Overseer
motions impatiently toward him, he picks up his pace, but
when out of the Overseer’s sight, cuts toward another
building to check it with his receiver.
123 CLOSER SHOT - DYLAN 123
anxiously turns the receiver, checking its controls.
Suddenly, a faint BEEPING. Dylan points it toward the
building, the SOUND STOPS. Puzzled he starts to turn it back
in the original direction, then freezes, realizing it’s a
Stim someone is carrying. He drops to one knee, taking as
much of a position of respect as is possible with his arms
filled. A Tyranian PASSES THROUGH SCENE, Stim in hand, gives
him little notice except for an impatient look at his load.
As the Tyranian passes on, Dylan hurries in the other
direction.
124 EXT. TYRANIAN WALKWAY - DAY - PIEDMONT AND ISIAH 124
Traveling with a group of Helpers, Piedmont uses Isiah to
shield his receiver from general view, cautiously aims it
toward buildings they pass. No results.
125 EXT. TYRANIAN MALL - DAY - ANGLE ON RECEIVER 125
BEEPING strongly, steadily.
121 CONTINUED: (3) 121
62.
Genesis II · Revised Final Draft
126 ANGLE ON DYLAN 126
holding the receiver directly toward one of the main
buildings. Two Tyranians ENTER SCENE moving toward him.
Dylan drops to one knee again, tries to keep his face
concealed by his basket of produce.
127 ANOTHER ANGLE 127
Dylan realizes the two Tyranians are stopping, standing
there eying him. Cautiously, he looks up… one of them is
Lyra-a! MALE TYRANIAN eyes Dylan curiously, then reaches
down to expose the radio receiver in Dylan’s hand.
MALE TYRANIAN
What’s that you have there, Helper?
Lyra-a takes the receiver from Dylan, nods approvingly.
LYRA-A
He brings me an ancient device I wish
to study.
She exchanges Stim salutes with the Male Tyranian, motions
for Dylan to rise and follow her. CAMERA PANS THEM AWAY,
then CENTERS on Piedmont and Isiah in b.g., ZOOMS IN on
their concerned expressions.
128 INT. LYRA-A’S COMPOUND - DAY 128
as she leads Dylan into what was formerly his quarters,
closes the door and turns to him.
LYRA-A
Did men of your century acknowledge
debts, Dylan? I’ve saved your life
twice now.
DYLAN
You also lied to me about PAX. What
do you want from me this time?
LYRA-A
Perhaps my human half doesn’t want
you broken in training.
DYLAN
What does the Tyranian half want?
(CONTINUED)
63.
Genesis II · Revised Final Draft
LYRA-A
I need the status here that you’ve
cost me, Dylan. Repair our nuclear
generator.
DYLAN
(hesitates)
Unwatched?
LYRA-A
(nods)
And I’ll help you escape afterwards.
While talking, Dylan has devised a plan. During her last
words, he has raised the receiver, aimed it at the Stim she
holds… it BEEPS.
DYLAN
Lyra-a, this device says you lie.
LYRA-A
Do you think I’m a fool, Dylan? It’s
one of the old radios used by PAX.
DYLAN
But it has other uses your century
hasn’t learned.
(lifts receiver
again)
I’ll prove it. Tell me your name.
LYRA-A
Lyra-a, of course.
Dylan turns the receiver part-way toward her, but carefully
avoids aiming it at her Stim.
DYLAN
No signal; you spoke the truth. Do
you love Tyrania?
LYRA-A
Yes.
He moves it similarly.
DYLAN
Do you love me, Lyra-a?
LYRA-A
Don’t be a fool. Tyranians have no
feelings.
(CONTINUED)
128 CONTINUED: 128
64.
Genesis II · Revised Final Draft
DYLAN
But humans do.
Dylan lets the receiver turn fully toward the Stim… It
BEEPS. She reacts confused.
LYRA-A
(continuing)
It mistakes a… a small interest. But
I am incapable of feeling ”love” as
you understand it to…
Dylan has moved the receiver to make it BEEP several times.
Then he looks up surprised to see tears forming in Lyra-a’s
eyes. She’s miserable, embarrassed, uncertain, turns away to
hide the tears.
DYLAN
But you do want to help me.
LYRA-A
No. Oh, Dylan, I don’t know. But I
can’t love you… I’d be human then,
too, I’d be weak and foolish like
them…
During which he sets the receiver down on a low table next
to a metal candle holder. He looks at the cloth covering
which decorates the table, then picks it up as:
LYRA-A (cont’d)
That’s why I’m superior, Dylan. I
know that self-interest is the
natural order of life. My own welfare
must come…
CLUNK! The metal candle holder catches Lyra-a full in the
head; CAMERA PULLS BACK FAST TO REVEAL Lyra-a falling
unconscious and Dylan standing over her with the clothwrapped
candle holder in hand. He tosses it aside, drops
quickly to one knee, checks her pulse. Satisfied, he gently
puts her hand down.
129 INT. TYRANIAN COUNCIL CHAMBER - ANGLE ON RECEIVER 129
BEEPING STEADILY LOUDER as someone walks with it.
128 CONTINUED: (2) 128
65.
Genesis II · Revised Final Draft
130 WIDE ANGLE 130
Dylan, holding receiver. Piedmont and Isiah carrying the
baskets as they all move along a wall that leads to the
council chamber entry. Satisfied they’ve got the right
place, Dylan turns off the receiver. Then they quietly move
to the draped entry, carefully peer inside.
131 P.O.V. INTO CHAMBER 131
Slan-n and Wehr-r standing at the other end of the room in
conversation.
132 ANGLE AT DOOR 132
Piedmont bringing up a Paxer, aims, FIRES twice and they
rush in.
133 WIDE ANGLE 133
Lahn-n down and Slan-n slumping to the floor unconscious as
Dylan turns the receiver back on… BEEPING, it leads him to
one of the tall wall column slabs.
134 CLOSER AT SLAB 134
as Dylan quickly examines it.
DYLAN
There’s probably a pressure plate
somewhere, something that opens it.
He finds a handhold and indicates it to Isiah.
DYLAN (cont’d)
No time. I hope you’re as strong as
you look, Isiah.
Isiah inserts his fingers… the long muscles of his back and
arm ripple as he applies more and more force. For a moment
it seems as if it’s too strong. Then the slab gives a
little - enough for Dylan and Piedmont to get a hold there,
too. The three of them throw all their weight into it…
suddenly it gives, some of the rock splintering as it swings
open.
66.
Genesis II · Revised Final Draft
135 ANGLE FROM STORAGE INTERIOR 135
Boxes of Stims. The three men begin quickly taking them out.
136 INT. HELPER MAIN CHAMBER 136
Where a MALE TYRANIAN is passing along rows of Helpers in
position of respect, roughly and quickly, yanking faces up
by the hair for inspection. Other Helpers are being hurried
from corridors into this main chamber for inspection, too.
One of them is Piedmont, hurrying to where he’ll be
inspected next. But as the Tyranian reaches for him, he
thrusts out a hidden Stim… the Tyranian SHRIEKS in surprise
and pain. It’s the signal! The other Tyranians are attacked
by Isiah and Dylan who hurries into view with a produce
basket heaped with Stims, moves to pass them out to the
shocked and frightened Helpers. Most of them refuse the
Stim.
DYLAN
Take these! You can be the Masters
now.
But they stand dumbly, uncertainly, too conditioned by
”training” to comprehend. Piedmont is now hurrying in with
another basket of Stims, while Dylan tries to break through
to the Helpers.
DYLAN (cont’d)
(continuing)
Try to understand! You outnumber the
mutants ten to one! You can be free,
return to your…
It’s not working… then his argument is won for him by
Tyranians themselves. THREE OTHER MUTANTS appear from a
corridor, race down on the Helpers… SCREAMS of pain as they
wade in thrusting here, there… a frightened Helper dodges,
thrusts with his own Stim and one of the attacking Tyranians
CRIES OUT, goes down writhing. Another Helper attacks…
another… others surge for the baskets, grabbing up Stims of
their own.
Meanwhile, Dylan is propelling a group of more aggressive
Helpers to Stims being handed out by Piedmont and Isiah.
137 INT. TRAINING SCHOOL 137
Kellum throwing the door open, Harper-Smythe following
carrying extra Stims. ”Students” cower as:
(CONTINUED)
67.
Genesis II · Revised Final Draft
KELLUM
Outside! On your feet, get out of
here!
HARPER-SMYTHE
Hurry. You can escape!
The Students continue to cower, confused, frightened. Kellum
turns a Stim to pain setting, advances on them.
JANOS
No, Master. Please. I love you…
KELLUM
Do you want pain or do you want out
of here?
He threatens Janos who retreats for the door; the others
finally begin following. But they back away from any effort
by Harper-Smythe to give them Stims.
138 EXT. TYRANIAN CENTRAL MALL - DAY - LONG WIDE ANGLE 138
Helpers beginning to pour out onto the mall, Stims in hand,
grow in aggressiveness as a few Tyranians begin to go down.
139 CLOSER GROUP SHOT 139
A Tyranian finds himself outnumbered, tries to flee… other
Helpers cut off his escape, the mutant goes down under a
mass of Helpers jabbing at him with their Stims.
140 EXT. TYRANIAN MALL - DAY 140
Helpers dragging a Tyranian from horseback, swarming over
him with Stims in hand. Dylan grabs the horse’s reins,
mounts and rides toward the parkland area.
141 EXT. PARKLAND EDGE OF CITY - DAY 141
Dylan rides in and reins up to be Joined by Isiah now on
horseback, too. Beyond them we see dozens of Helpers now
fleeing the city on foot, a few on horseback, fleeing the
city. Isiah indicates another direction; Dylan looks.
142 P.O.V. - LONG SHOT 142
Another area, still more Helpers fleeing.
137 CONTINUED: 137
68.
Genesis II · Revised Final Draft
143 ANOTHER ANGLE - DYLAN AND ISIAH 143
Looking satisfied as, beyond them, still other Helpers
escaping.
FADE OUT.
END OF ACT FOUR
69.
Genesis II · Revised Final Draft
ACT FIVE
FADE IN:
144 EXT. TYRANIAN MALL - NIGHT 144
The area where Dylan was surprised by Isiah several nights
previous. Now we see a number of Helpers there who have
turned from a downed Tyranian and have set their Stims to
pleasure. LAUGH and MURMUR happily as they begin to touch
the instruments to their bodies. Kellum races in with
Piedmont, knocking the Stims from their hands. A GIGGLING
HELPER tries to crawl to the instrument knocked out of his
hand… then CRIES in pain as Piedmont uses his Stim quickly
on him.
KELLUM
Do you want that again? Do you want
them to win?
But it has little effect on the other Helpers, increasingly
distracted by the pleasure settings on their Stims.
PIEDMONT
We’ve saved all that can be helped,
Doctor.
145 EXT. TYRANIAN CENTRAL MALL - NIGHT 145
Tyranians regrouped and beginning to scatter the remaining
Helpers. Many individual Helpers have abandoned their
aggressiveness and can be seen using the pleasure setting of
their Stims on themselves.
146 EXT. TYRANIAN OUTSKIRTS - NIGHT 146
Dylan riding a Tyranian horse, leading two others by the
reins to where Kellum, Piedmont, Harper-Smythe have donned
their PAX garb, and are adjusting their backpacks.
Isiah rides in, leading still another horse. Taking Stims
with them, Dylan and the others spur their mounts through
the parkland edge of the city.
DISSOLVE TO:
147 EXT. WILD HORSE HERD - DAY (STOCK) 147
Spooked by something, breaking into a stampede.
70.
Genesis II · Revised Final Draft
148 EXT. MATCHING COUNTRYSIDE - DAY 148
Over FADING SOUND OF STAMPEDE. Dylan and the others watching
from concealment.
DYLAN
They’ve seen something…
ISIAH
(suddenly
indicating)
Tyranians!
149 ANOTHER ANGLE - MATCHING COUNTRYSIDE 149
A large group, mounted, at full gallop in the distance.
150 ANGLE AT KNOLL 150
Dylan and his group lying in concealment, watching. Their
mounts are tethered on the back side of the knoll, out of
sight of the distant Tyranians.
PIEDMONT
They’re between us and the old Tucson
station, Dylan.
KELLUM
That leaves only the maintenance
station where Lyra-a brought you in.
ISIAH
(looks up;
concerned)
Bad. Tyranians know that one.
All the others are concerned, too.
151 EXT. FACTORY RUINS - NIGHT 151
Dylan, Piedmont and Isiah enter SCENE quietly on foot to
survey the ruins. Then Isiah sniffs the air, peers through
the darkness. A pebble RATTLES behind them; they whirl. It’s
Harper-Smythe and Kellum.
KELLUM
We’ve circled. Looks clear.
Dylan motions them to hold their positions, heads out into
the darkness.
71.
Genesis II · Revised Final Draft
152 INT. FACTORY RUINS - NIGHT 152
Dylan ENTERING SCENE carefully, surveys it. The fires are
low, the few Savages in sight are women and children,
sleeping. Then he turns, motions the others to join him.
153 ANGLE ON OTHERS 153
hurrying in quietly to join him. Isiah sniffs the air again,
reacts, stands to point off into the darkness… interrupted
by SHOUTS. Tyranians and white savages race out of hiding
toward them. From the other direction, the YELLS of others
cutting them off from that direction. They’ve no escape
except into the tunnel.
154 INT. SUBSHUTTLE TUNNEL - BLACK 154
The PAX group running, stumbling in the darkness, SOUND of
pursuers entering tunnel behind them.
155 ANOTHER PORTION OF TUNNEL 155
Piedmont indicates ahead where we can see faint
illumination.
156 AT LIT AREA OF TUNNEL 156
They race into SCENE where pitch-torches in the wall
illuminate a heavy metal doorway which blocks their way.
Isiah is first to it, throws his weight against the lever…
the door is locked!
The first pursuers round the bend with a YELL as they see
the PAX group. But at the same instant, a SOUND of the door
being UNBOLTED… it swings open. They race through, barely in
time to SLAM it in the face of their pursuers and bolt it.
157 INT. SUBSHUTTLE MAINTENANCE STATION 157
as Dylan turns, finds himself facing Lyra-a. At the station
platform behind her, a subshuttle sits HUMMING with power
(but with its doors closed). Piedmont is hurrying to the
small maintenance station control console to open the
subshuttle doors. Isiah and Kellum are circling behind Lyraa,
while Harper-Smythe covers her with the Paxer.
LYRA-A
I can save you a third time…
(MORE)
(CONTINUED)
72.
Genesis II · Revised Final Draft
(indicates others)
LYRA-A (cont’d)
… if we can talk privately.
Behind them, heavy POUNDING is causing the door to shake.
Piedmont has punched at the station control console without
effect, throwing an alarmed look at the subshuttle doors
which refuse to open.
PIEDMONT
Dylan! The door control circuit is
missing!
Dylan whirls back to Lyra-a to see a small acknowledging
smile on her face. He quickly turns back to the others.
DYLAN
Wait at the subshuttle. Hurry!
(to Isiah)
See if you can force the doors.
Isiah hurries off to comply but the others hesitate,
suspicious of Lyra-a. The POUNDING at the door is heavier.
DYLAN (cont’d)
(continuing)
I’ve got to hear what she has to say!
Hurry!
They move toward the subshuttle as:
HARPER-SMYTHE
Don’t trust her, Dylan. Don’t believe
her.
CAMERA MOVES IN ON LYRA-A AND DYLAN. She waits until the
others are out of earshot, then indicates toward the
subshuttle.
LYRA-A
You know what will be done to them if
they’re caught.
The POUNDING at the door is heavier; the pursuers are using
rocks on it now; it’s beginning to give a bit. In b.g.,
Isiah is unable to get even a fingerhold on the smoothlyfitted
doors, his enormous strength useless. Harper-Smythe
throws a look back toward Dylan and Lyra-a as Dylan throws a
quick look at the heavy POUNDING at the sagging door.
DYLAN
Your price?
(CONTINUED)
157 CONTINUED: 157
73.
Genesis II · Revised Final Draft
LYRA-A
The power station.
(indicates tunnel
door)
Or this time, my people will destroy
me, too.
DYLAN
(hesitates; nods)
Keep your finger on the door control.
Lyra-a reaches into her robe and pulls out the missing door
circuit, quickly inserts it into the console, presses a
control.
158 ANGLE TO INCLUDE SUBSHUTTLE 158
As the doors snap open. The PAX starts boarding except Isiah
who waits outside for Dylan. Dylan gives Lyra-a a look, then
hurries for the subshuttle. Lyra-a remains where she is.
Isiah is waiting as Dylan hurriedly CROSSES INTO SCENE with
him and the others waiting inside the car. Dylan turns.
DYLAN
Good-bye, Lyra-a. Thank you for…
Isiah, completely fooled, turns to step into the car… Dylan
pivots, throws all his weight against the giant White
Comanche’s back, propelling him into the car and the team
members there.
159 ANGLE PAST CONSOLE 159
as Lyra-a touches the door control, snapping the subshuttle
door closed before Isiah or the others can regain their
balance… and the subshuttle begins to pull out, leaving
Dylan outside watching them go.
HARPER-SMYTHE
(screaming faintly
from car)
Dylan, no! Please, don’t believe her…
160 INT. CORRIDOR OUTSIDE PAX COUNCIL ROOM 160
LONG SHOT of Kimbridge, Yuloff and Dominic (a report in
hand) hurrying down the corridor TOWARD CAMERA the PAX
Council Room. Their expressions reveal great concern.
157 CONTINUED: (2) 157
74.
Genesis II · Revised Final Draft
Rumors of a grave crisis have obviously reached the PAX
types we see in the corridor and they stand aside, and watch
concerned as the Primi go by. As they PASS CAMERA:
161 ANGLE ON PAX COUNCIL ROOM 161
Where the other Primi are waiting. Kimbridge, Yuloff and
Dominic enter, find their seats. Then:
KIMBRIDGE
Primi… six days ago we learned that
the Man from the Past had agreed to
repair the Tyranian nuclear
generator.
LU CHAN
But he agreed to this in order to
save the lives of our team which
rescued him.
YULOFF
And we could applaud this, Lu Chan,
except for a fear that the mutants
may be using their generator station
to study the secret of nuclear
weapons and that by observing him
repairing and adjusting the station,
they could learn still more.
(looks up)
Because of this, Dominic was asked to
immediately dispatch a second team to
the area.
DOMINIC
Primi… I’ve just received a message
from that team. They report it’s
worse than feared. The mutants have
discovered a stockpile of old death
bombs and have taken one to their
generator station for study.
LU CHAN
But when he sees what they’re doing,
certainly he’ll refuse to help them.
KIMBRIDGE
(nods)
That was our hope, Primi.
(turns)
Dominic?
(CONTINUED)
160 CONTINUED: 160
75.
Genesis II · Revised Final Draft
DOMINIC
They’ve also reported that the Man
from the Past has repaired their
generator. Two nights ago, full power
was restored to the Tyranian City.
YULOFF
Primi… that single death bomb is only
one of many. They have discovered an
ancient missile site…
(his upset shows
too, now)
… which… which full generator power
will allow them to use against us.
A round of shocked silence. Then:
KIMBRIDGE
They are bombs which were designed to
penetrate and destroy the soldiers
who once fought from here.
YULOFF
They must learn to use them, of
course. We have a few weeks perhaps…
no more.
During which, one of Yuloff’s security men has entered,
crossed to whisper something in Yuloff's ear. He starts to
say something to the council, reconsiders, as:
KIMBRIDGE
We must begin, of course, to
distribute what we’ve accumulated.
The books first, I believe…
YULOFF
(stands; interrupts)
Forgive me. I have a matter to
investigate.
162 INT. CARLSBAD SUBSHUTTLE STATION 162
”Night” lighting, the subshuttle station deserted except for
a pair of Sentries and the STATION OPERATOR at the control
console. Yuloff ENTERS on one of the old electric carts,
pulls up to the console, gets out.
YULOFF
Coming from where?
(CONTINUED)
161 CONTINUED: 161
76.
Genesis II · Revised Final Draft
STATION OPERATOR
The Tucsonian Station. But very
erratically…
We begin to HEAR the MUTED WHINE of a subshuttle car
approaching in the distance. Operator checks his console.
STATION OPERATOR (cont’d)
It’ll never stop at this speed…!
YULOFF
Emergency stop!
The Operator hits another control… we HEAR the SCREAMING OF
METAL as hydraulic emergency units retard the rapidly
approaching car.
163 ANOTHER ANGLE 163
as it ENTERS SCENE, smoking, sparks flying up from beneath
as it lurches to a stop. The door opens… Dylan Hunt emerges.
He’s unshaven, his clothing is tattered, he looks
desperately fatigued. CAMERA MOVES with Yuloff into TWO SHOT
as Dylan throws a look back at the subshuttle car.
YULOFF
I wondered if it could be you.
DYLAN
(a look back at
subshuttle)
Thanks for whatever you did to stop
that.
(turns back to
Yuloff)
Primus, of course you know now why I
went back…
YULOFF
(interrupts)
Yes, we’ve had a full report.
(leads him toward
cart)
The fact you are safe pleases us.
Dylan gives Yuloff a puzzled look as if he had expected the
Primus to say something more. But Yuloff leads Dylan toward
the electric cart and sits, indicating to Dylan to join him
in the cart.
(CONTINUED)
162 CONTINUED: 162
77.
Genesis II · Revised Final Draft
YULOFF (cont’d)
Primus Kimbridge and the council are
most anxious to meet with you.
(sits; indicates
Dylan to join him in
car)
But on the way, let me show you a PAX
you haven’t yet seen.
They drive off.
164 INT. STALACTITE PASSAGE 164
A lovelier bit of the underground world than we’ve seen
before… graceful formations, rich colors, beautifully lit.
Yuloff drives Dylan INTO SCENE, reaches out to trip a switch
silluminating the passage further ahead…
The new lighting surprises a young PAX couple who were
embracing ahead in the darkness.
YULOFF
Our young are breaking away from the
old unisex beliefs.
(smiles)
Would it surprise you that PAX’s
stern Security Primus agrees?
Yuloff turns the cart, driving Dylan past a grotto filled
with statuary which he indicates.
165 INT. MUSIC GROTTO - PANNING DYLAN AND YULOFF 165
Again, lovelier areas than we’ve seen before in the
underground labyrinth. They’re passing a YOUNG WOMAN who is
bowing a cello… pausing with each musical note as it nicks
up ECHOS from the cavern walls. Yuloff stops the cart.
YULOFF
It was our dream to preserve the best
from the past… let the worst be
forgotten.
Dylan listens as CAMERA ANGLE WIDENS to include four other
young MUSICIANS around the grotto, beginning to JOIN IN
MUSIC, a string quintet in a strikingly beautiful blend of
MUSIC an ECHO.
163 CONTINUED: 163
78.
Genesis II · Revised Final Draft
166 EMPHASIZING DYLAN 166
YULOFF
There’s so much more. Our new form of
gymnastic ballet, artists who paint
with light, new poetry…
DYLAN
(nods)
… the libraries, the paintings, the
ideals you people represent.
(small smile)
I’m very happy I had a chance to save
it.
YULOFF
Save it?
DYLAN
(nods)
By using the nuclear warhead I found
there. when I realized they were
studying it…
Dylan trails his words, seeing Yuloff is puzzled. Then,
suddenly concerned:
DYLAN (cont’d)
You said you had a full report!
Didn’t your sentinels see the flash
earlier this evening?
(sees Yuloff is
still puzzled)
Primus! I tricked Lyra-a, set the
warhead on delayed fuse. It should
have lit up the whole sky!
YULOFF
The sentinels reported nothing.
Dylan reacts, stunned. Then:
DYLAN
That’s impossible.
(indicating caverns)
I thought you were showing me all
this…
(CONTINUED)
79.
Genesis II · Revised Final Draft
YULOFF
… to show you what we have to lose.
The Mutants needed their generator
repaired not for their city but for
an old missile complex they’ve
discovered.
DYLAN
(interrupts)
Primus… can we check with your
sentinels, please?
Yuloff nods, drives toward a corridor elevator.
167 EXT. SENTRY POST - AT PROMONTORY - NIGHT 167
Sentinels on duty above. Dylan stands looking out over the
night sky, puzzled. Standing in b.g. is Yuloff talking to a
Sentinel who shakes his head. Yuloff CROSSES back to Dylan,
shakes his head.
DYLAN
Then I’m going back!
YULOFF
(shakes head)
You’ve escaped from them twice. If
they capture you this time…
DYLAN
(interrupting)
I’ve got to save what you have here.
It’s my only tie with what I’ve left
behind… with my world. Your
paintings, the art, the ideals you
people represent…
The elevator doors open behind them, Kimbridge ENTERS SCENE
from it, followed by Harper-Smythe.
HARPER-SMYTHE
He’s alive!
Then she’s as quickly embarrassed, realizing she’s almost
shouted it. Kimbridge smiles at this, then nods to Dylan.
KIMBRIDGE
We’re all pleased you’re safe. But
frightened, too…
(CONTINUED)
166 CONTINUED: 166
80.
Genesis II · Revised Final Draft
YULOFF
He tried to set off the warhead at
their generator but something went
wrong.
DYLAN
(to Kimbridge)
I’ve got to go back! Your only chance
now is if I can blow up that missile
silo. I’ll need a team…
Interrupted by the mountain, the whole panoramic vista goes
WHITE WITH LIGHT!
168 P.O.V. - DISTANT HORIZON 168
As the FLASH OF LIGHT FADES, a ball of fire becomes visible
several hundreds of miles distant. A familiar mushroomshaped
cloud beginning to form before darkness of night
fills the view again.
169 BACK TO SHOT 169
On reactions of surprise… except for Dylan, who stands with
the look of a man carrying a burden. Harper-Smythe
understands.
HARPER-SMYTHE
Lyra-a?
DYLAN
She said she was returning to the
city. If she was being honest with
me.
Dylan looks out toward the distant horizon again for a
moment.
DYLAN (cont’d)
I hope she’s safe.
KIMBRIDGE
You took lives?
DYLAN
(surprised, then
nods)
A couple of their technicians
certainly… more if they were there
hooking power to the silos…
(CONTINUED)
167 CONTINUED: 167
81.
Genesis II · Revised Final Draft
He looks around, finds all the faces solemn, disapproving.
DYLAN (cont’d)
Look, there were thousands of lives
here at stake.
KIMBRIDGE
(interrupting)
If one life is traded for a thousand,
then couldn’t we justify a hundred
lives to save more? Perhaps ten
thousand lives to save still more.
YULOFF
That same reasoning destroyed your
world, Dylan Hunt.
DYLAN
I’ve… damn it, I’ve just saved
everything you’ve fought almost a
century and a half for.
KIMBRIDGE
If you join us, Dylan Hunt, you must
swear to give your own life, or any
of our lives, rather than ever take
another.
DYLAN
(hesitates; then)
I’m not sure I have that kind of
guts, Doctor.
KIMBRIDGE
All of us must…this time.
They’re interrupted by the elevator door opening again…
children’s LAUGHTER. He turns to see some very bright-eyed
and happy PAX children coming out of the elevator. A TEACHER
follows, stops embarrassed.
TEACHER
Forgive me,Primi. We heard there were
so many stars visible tonight…
KIMBRIDGE
(smiles)
Of course. And they should be
enjoyed!
(CONTINUED)
169 CONTINUED: 169
82.
Genesis II · Revised Final Draft
Dylan eyes the children, looks back toward Kimbridge, starts
to say something… interrupted by a low RUMBLE starting in
the distance, then rapidly becoming a SHRIEKING ROAR as
they’re hit by the SHOCK WAVE of the blast we saw earlier. A
child CRIES OUT, another runs to the teacher, Harper-Smythe
embraces two more soothingly. Then the SOUND is gone. Dylan
stands eying the children, then turns to Kimbridge, nods.
DYLAN
All right, only the best of the past.
I hope I’m up to it.
HARPER-SMYTHE
(to the two
children)
It’s all right now. It was only the
wind.
DYLAN
(to Harper-Smythe)
How are you as a guide, HarperSmythe?
I’d like to see more of PAX
now.
Harper-Smythe looks to Yuloff who nods. She smiles at Dylan,
nods. They move off toward the elevator to board it as:
HARPER-SMYTHE
Do you like children, Dylan Hunt?
DYLAN
Why? Is this a proposal, HarperSmythe?
HARPER-SMYTHE
(outraged)
Of course not!
DYLAN
Pity. I’ll bet you’ve got a great
pancreas!
The elevator doors close on them.
FADE OUT.
THE END
169 CONTINUED: (2) 169
83.
Genesis II · Revised Final Draft
84.
Genesis II · Revised Final Draft
CREW
Directed by
John Llewellyn Moxey
Written and Produced by
Gene Roddenberry
Associate Producer
Paul Rapp
Director of Photography
Gerald Perry Finnerman, ASC
Film Editor
George D. Watters, ACE
Music Composed
and Conducted by
Harry Sukman
Sound
Jack Solomon
Art Director
Hilyard Brown
Set Decorator
Ruby R. Levitt
Costumes created by
William Ware Theiss
Makeup
Tom Burman
Hair Stylist
Gloria Montemayor
Unit Production Manager
E. Darrell Hallenbeck
Assistant Director
Ted Schilz
Assistant to the Producer
Richard Earnheart
Scientific Consultants
Dr. Richard H. Green, JPL
William J. Koselka, JPL
Filmed at
The Burbank Studios
Burbank, California
A Norway Production
in association with
Warner Bros. Television
©1973 Warner Bros. Televis
highly-advanced "sub-shuttle" which could travel 1135 kilometers an hour. The plan was to connect every nation in the world with these sub-shuttles, thus "bridging" continents. The sub-shuttles were necessary because surface and air travel had grown too vulnerable to attack (apparently, according to the prescient dialogue, China was on blazing ascent).
