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Freelancer - First Draft.txt
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Freelancer - First Draft.txt
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FREELANCER
A Screenplay by
Adam Foshko
Story by
Phil Wattenbarger, Jorg Neumann
and Adam Foshko
First Draft
May 9th. 2001
FREELANCER
TEASER
T1RTC1 - EXT. PLANET PYGAR - PERPETUAL NOON
On this reddish planet with a cluster of blue, swollen suns
the CAMERA finds a small outcropping of interconnected domes.
The wind and dust of this inhospitable place swirl
relentlessly.
Credits appear in overlay.
Through this, the silhouette of a figure carefully walks on a
grated metal catwalk, marked by blue lumisticks. His
features are covered by the garments, breath mask and eyewear
that protect him from the elements.
HIS POV: Taking each step - we hear his labored, filtered
breathing and the sound of the small diaphragm alternately
opening and closing. He approaches the landing of "The
Pavilion Dome".
Above the pressure door hangs a bolted metal sign that says
in large letters- "CAUTION: PYGAR ARCHEOLOGICAL EXCAVATION -
LOOSE DIRT/ FALL ZONE/ RESTRICTED" under which a hand
scrawled "inside joke" - like "wipe your feet" in the face of
the swirling conditions or "gone fission"attests to
overworked and wry Science Assistant humor. The figure
pushes a series of buttons and the light above turns from red
(locked) to green (unlocked), the door opens and he steps
into the relative darkness.
CUT TO:
T1RTC1B - INT. PAVILION DOME - THE CLEANER ROOM - SAME DAY
- The door shuts - a moment of pitch black and silence.
Suddenly LOUD blowers kick from the grating below him - VAPOR
MIST AND A JET OF AIR BLOW UPWARD, consuming his body while
glaring UV lights rid him of any stray microbes. He slowly
turns a few steps in the light, facing the camera. Sudden
silence and darkness as the process concludes, punctuated by
A COMPUTER VOICE and some tones. The regular FLUORESCENT
room light snaps on from a vertical three-tube source (one
bulb at a time: one, two - one sticks, he thumps it - on:
three). The room is now lit in cold contrast to the arid and
orange exterior.
The Computer Voice heralds an incoming message and the LARGE
FLAT MONITOR on the wall comes to life. The face of JACK
NORRINGTON, an assistant, early 20's, competent, slim with a
goatee and no discernible accent fills the screen.
NORRINGTON
Doctor Sinclair - I'm glad you're here.
We were running sonic tests on level 6,
like you instructed - when we hit what we
thought was another fault. We shut
everything down and sent in a probe -
As he speaks, the figure doesn't look over at the monitor but
simply reaches for the catch on his face protection. There
is a CLICK and a pressure hiss - revealing that HE is really
a SHE - This is DR. KENDRA SINCLAIR, late 30's - Black and
Bretonian; she's young for her profession, driven and
focused.
SINCLAIR
(looks at her chronometer) )
Jesus Jack - It's 3:15 in the damn
morning. (
(back to him)
--you didn't call me out here because of
a fault, did you.
NORRINGTON
Er -no.
SINCLAIR
What then?
NORRINGTON
(at a loss)
Well- this...
He reaches O.S and the monitor changes to the Probe readout
of a "solid, boxy shape". Numbers and multi-colored graphs
fly by as it is scanned - revealing little.
NORRINGTON (CONT'D)
(contained excitement)
This was lodged in a sealed alcove on 6.
The scanners can't penetrate it and -
Sinclair narrows her eyes at the screen. What is this?
SINCLAIR
I'll be right down.
She presses a button and -
CUT TO:
T1RTC1C - INT. PYGAR PAVILION - SAME DAY
A light fills our eyes. It is part of a HOVERCAM, a floating
camera system, that is moving into position facing us.
HOVERCAM POV: WE SEE a series of FLASHES and images. An
audible pop and whirr as the strobe goes off.
FLASH
An irregular spire, ancient.
FLASH
Hieroglyphic reliefs, alien.
FLASH
Part of an ornate door frame, chrome instruments and hands
restoring and examining it.
This is THE PAVILION. MERCURY VAPOR WORK LIGHTS illuminate a
yawning excavation, some heavy equipment and a partially
submerged RUIN that is worn and smashed in places - (having
seen a lot of time in the sand until the domes were erected
to protect it and the TEAM OF TECHNICIANS that crawl over it
now). Despite the crevices and shattered surfaces, the
breathtaking beauty of this structure is still visible with
its newly partially exposed majestic hieroglyphic obelisks
and decorative surfaces. It is clearly not of human design -
as is certainly evidenced by the size and shape of the
DOORWAY. The ATMOSPHERE in here is heavy and laden with time
and airborne microsilt - and eerily still - helping to cast
shafts of radiance in the workspace.
ANGLE ON: The pressure doors parting and Sinclair coming
though them. She walks with purpose to the rail as busy
people walk around her. Camera cranes over her back and
reveals the entire scene. Sound of work fills the air.
NORRINGTON (OS)
Over here.
She walks to a nearby WORKBENCH with EXAMINING EQUIPMENT on
it. Norrington is standing over a medium sized and very
ornate carved object. He looks at her and back down to it,
sharing her reaction. She is dumbstruck.
SINCLAIR
(whispering half to herself and
half to it)
Oh..baby…where have you been hiding?
NORRINGTON
(finally bursting)
It's unbelievable, Dr. Sinclair. After
digging up and cataloging 4,500 fragments
in this vacuous, filthy, dung hole...to
actually find something unique, something
complete, something undeniably -
He's rambling. She looks at him and he takes a breath.
NORRINGTON (CONT'D)
(sheepishly)
Sorry.
Sinclair carefully looks back down and adjusts an "Analyzer"
which springs to life - lighting the object's ornate surface.
A "Magnifying Field" springs up and -
FX: ZOOM - ZOOM
--enlarges portions of the box before her eyes. She gently
manipulates her field of view until she finds - a groove.
SINCLAIR
Hmmm.. There is an irregularity in its
surface -
She picks up a small tool and tries to get a better look at
it. Norrington and a couple of others stare - fascinated.
As she rubs against it with the tiny instrument, the small
catch - depresses - CLICK! - and the "box" suddenly and
mechanically SPRINGS TO LIFE-
ALL
ARRGHH!!
Startled, they all jump back - not knowing exactly what to
expect, but Sinclair is transfixed. The box clicks like
clockwork, arranging itself into a new "unlocked position".
It stops and opens with a HISS - as if it hasn't seen the
light of day in an eon, revealing a small mass of crystal and
precious metals. Not just any ARTIFACT - something special.
SINCLAIR
(still transfixed) )
I don't' believe it.
NORRINGTON
(in stone cold amazement) )
You did it.
She moves in and gently takes it from the box. It GLOWS ever
so...She holds it up to the light. CAMERA is TIGHT on
ARTIFACT as light is behind it.
SINCLAIR (OS)
We did it, Jack. We did it.
and in the REFRACTION of WHITE LIGHT we -
CUT TO:
T1RTC1C - INT. PYGAR COVERED LAMDING PAD - LATER
The BLINDING FURNACE OF THE CENTER OF THE ENGINES of a
FREIGHTER warming up. Camera pulls out.
Sinclair walks quickly to the ship with Norrington at her
side. Behind them, two assistants carry the box, now in a
stasis tube.
NORRINGTON
Are you sure this is wise?
SINCLAIR
What? I'll be back in a few days - I just
want to verify this find. You've run the
show here before.
NORRINGTON
It's not that -
She stops and takes a last look at the artifact as the two
assistants carry it to the ship. Norrington also glances at
it - but then focuses on her.
NORRINGTON (CONT'D)
Look. It's a long way to Cambridge.
What if something happens? I think we
should wait - I think -
SINCLAIR
(stopping him) )
Jack…I'll be fine...
(a beat)
Thanks.
She walks away from him and towards the ship -the engine
whine is sharper and louder as she gets closer to it.
SINCLAIR (CONT'D)
(shouting back to him) )
Don't wait up.
(She smiles and waves).
Norrington watches her as she greets the pilot, VANCE, in MOS
under the shrill sound of the engine. They get in and the
door closes. It lifts off and heads through the BAY DOORS.
As it does, Norrington's expression changes; he looks more
focused, intent. He speaks into a small transmitter on his
sleeve - now with a Rheinland accent.
NORRINGTON
(into mic) )
I couldn't stop her. She's on her way.
Who is this guy?
T1RTC1D - EXT. SPACE
The ship clears the planet and links up with two fighters.
MUSIC. They approach a jumpgate and go through. Unknown to
them another ship, the HORUS, fades from the blackness and
follows them in, it cloaks.
T1RTC1E - INT. COCKPIT - IN THE JUMP CHANNEL
Vance hits a few switches. Sinclair looks at the swirling
cosmos outside the cockpit.
VANCE
(to escort)
Plotting second leg to Cambridge. Looks
good.
(to Sinclair)
So what are we carrying this time,
Doctor?
SINCLAIR
Vindication.
She half-way smiles to herself as she looks out the cockpit
glass.
VANCE
(jabbing - he knows she's lost
in thought)
A simple "none of your business, Vance",
would have sufficed.
SINCLAIR
(back to reality - a little
embarrassed)
Sorry.
(a beat)
For me - it's the answer to a question.
VANCE
What question?
SINCLAIR
Is it really worth it?
VANCE
Is what?
SINCLAIR
This --all of this. What we do. Who we
are. What drives us. Everything. Do
you ever ask yourself that?
SUDDENLY LIGHTS AND WARNINGS GO OFF.
ANGLE ON: HUD - A "form" appears. A big one.
VANCE
(flatly)
Every damn day. Hang on!
CUT TO:
T1RTC1F - EXT. SPACE
Vance takes evasive action as the Horus suddenly decloaks.
The escorts fire on it but are vaporized. Several energy
blasts quickly disable the thrusters on Vance's ship and it
is locked in a tractor beam. The two ships are now
travelling together at the same fantastic relative speed in
the channel.
The Horus' belly opens up and A RED CUTTER BEAM rips into
Vance's cargo hold.
CLOSER - and the tractor beam extracts the contents -
including the artifact, It's case glinting in the beam and
reflecting stars.
T1RTC1G - INT. COCKPIT - IN THE JUMP CHANNEL
Seeing this -
SINCLAIR
NO!
Sinclair suddenly grabs weapon control.
VANCE
Hey! What are you --? DON'T!
But before he can stop her -
T1RTC1H - EXT. SPACE - THE JUMP CHANNEL
Several MISSILES FIRE POINT BLANK into the inner walls of the
Horus' hold. The explosion pitches the large ship into the
wall of the Jump Channel and it tears it apart. FLAMES - now
travel through the channel like rising magma, on the heels of
Vance's ship.
T1RTC1I - INT. COCKPIT - IN THE JUMP CHANNEL
They are buffeted and shaken violently. ALL HELL IS BREAKING
LOOSE.
Cockpit POV: The approaching end of the Jump Channel.
FLAMES! Closing in on their view. Everything is red and it's
getting hot. Vance leans on the stick. SPARKS ERUPT in the
cockpit. Sinclair screams. THIS IS IT!
T1RTC1J - EXT. SPACE - THE OTHER SIDE
The CAMERA spins slowly as the jump gate opens and a jet of
flame spits out the little ship at great speed. Vance
manages to hit the reverse maneuvering thrusters to slow
down, but even they finally sputter out. Spent, they are
adrift.
T1RTC1K - INT. COCKPIT - THE OTHER SIDE
Pitched forward and bathed in the RED emergency lights, Vance
tries to get the systems back up. The computer sites a long
list of damages. Sinclair twists, struggling to look...
SINCLAIR
The artifact --?
VANCE
It's gone, okay. We're lucky to be
alive.
Sinclair stews. She suddenly hits the glass hard with her
fist.
DISSOLVE TO:
T1RTC1L - EXT. MANHATTAN LANDING PAD - SIX MONTHS LATER -
DAWN
Overlay: Six months later -
In the DOWNPOUR, a TRANSPORT lands as a REPORTER's VOICE is
heard. A GROUP of people - GUARDS, RELIEF WORKERS, ETC. -
wait nearby to receive them.
LIBERTY NEWS REPORTER (V.O.)
Tensions in the Borderworlds erupted
earlier as Freeport Station was brutally
attacked and destroyed.
ANGLE ON: A HOVERCAM observes the people exiting the
transport.
LIBERTY NEWS REPORTER (CONT'D) (V.O.)
(CONT'D)
The tragic loss of life and property has
the Colonies up in arms as the survivors
arrive in Manhattan.
CAMERA POV: (readouts and overlays) One of them is SYD
MONTAGUE, forties, scruffy - he sees the camera and hides his
face...
...and another is EDISON TRENT, twenties and THE PLAYER.
Camera focuses in on him as he is guided with the others
towards the end of the landing pad.
LIBERTY NEWS REPORTER (CONT'D)(V.O.)
(CONT'D)
Sources within Liberty attribute last
night's attack to the notorious terrorist
group, The Order, and say that a full
investigation is pending. However,
regardless of the outcome, President
Jacobi insists that the guilty will be
punished.
STEADYCAM SHOT as the group walks. Syd suddenly sees the
group of Liberty Guards and ducks behind a neighboring ship.
The rest keep walking.
Camera stays with him, tight. He reaches into his vest
pocket and pulls out - THE ARTIFACT. It glows in his hand,
casting an eerie glow onto his face.
ACT ONE
A1RTC1 - INT. MANHATTAN BAR - A MOMENT LATER (PLAYS)
Trent enters the bar. The News runs overhead. People are
mingling; some doing business, some just relaxing. He just
wants to take a load off and wearily sits at the bar. The
BARTENDER comes up and gives him that universal look for
"Whatcha want?"
TRENT
Red Fang.
A GIRL at a corner booth glances at him - as she pretends to
listen to the LIBERTY DIPLOMAT who is clearly speaking at
her. In fact, she seems like the type that very little
escapes. This is JUN'KO CRANE, early twenties, a half-Kusari
and half-Liberty fixer. Trent sees her watching him and
after a moment of catching his eye, she seamlessly rejoins
her conversation. Trent's gaze is broken as the Bartender
sets his drink down.
BARTENDER
(re: the girl)
Her name's Jun'ko Crane. She's a
licensed fixer for Liberty. If you're
looking for work --
TRENT
The only thing I'm looking for right now
is this drink.
Trent takes the first drink like his life depended on it.
The Bartender takes a closer look at him.
BARTENDER
I know you, don't I?
TRENT
I don't think so.
BARTENDER
Yes. I saw your face on the News.
You're from Freeport Station, aren't you?
Trent nods.
BARTENDER (CONT'D)
So, what happened out there?
TRENT
Which part? The station being blown to
bits or the half-million of my ore that
it took with it?
The Bartender silent grimaces and nods to himself - yeah,
that sucks. He pours two drinks and sets 'em down.
BARTENDER
-This one's on me.
Trent looks at it and back at him.
BARTENDER (CONT'D)
(toasting)
It may not seem like it now but you're
lucky; not every man gets the chance to
start again.
(a beat - then toasting)
To your good fortune in Liberty, my
friend.
He downs it.
TRENT
-it certainly can't get any worse.
Trent drinks and looks around.
A1RTC2NEWS1 - INT. MANHATTAN BAR
Footage of transports.
LIBERTY NEWSCASTER (V.O.)
Again, the staggering news of a vicious
attack on Freeport Station that left
hundreds dead and many wounded. The
Station, belonging to the House-
independent Commerce Guild, was utterly
destroyed by what Liberty officials have
now described as a terrorist attack.
Shots of refugees on landing pad.
LIBERTY NEWSCASTER (V.O.) (CONT'D)
Refugees arrived today in Liberty and
Kusari as transports from these capitols
rescued survivors -- these in Liberty.
Shots of others. Shot of Trent. Shot of Syd, covering his
face.
LIBERTY NEWSCASTER (V.O.) (CONT'D)
An investigation by the Liberty Military
is underway, but the unofficial findings
so far suggest that the Terrorist Group,
The Order, might be responsible.
A1RTC3RUMOR1 - MANHATTAN BAR - SAME DAY
DRAKE, an intense looking LIBERTY GUARD, sits at a table.
Trent approaches him.
DRAKE
I hear you were on Freeport when it went
up. You know, you're lucky to be alive.
Trent looks over at the Bartender, who sees him and half
smiles.
TRENT
So people keep saying.
He eyes Trent carefully, but keeps his light tone.
DRAKE
Know anything about the Order?
TRENT
Just what I hear.
DRAKE
It doesn't add up, you know: Freeport and
the others...in and out like that. So
fast. They must have some sort of
presence in Manhattan, a base perhaps--
(a beat)
or someone's helping them.
Off Trent's look.
DRAKE (CONT'D)
Did you know that over seventy-five
percent of all robberies of this kind are
an inside job.
Trent shakes his head.
DRAKE (CONT'D)
It's true.
TRENT
I thought they were Terrorists.
DRAKE
(he nods)
But it looks like Orillion and his goons
might have been looking for something -
something special.
(a beat)
Special enough to blow up an entire Space
Station to find.
The Guard tries to read Trent. Finally.
DRAKE (CONT'D)
(leans back and smiles)
Don't worry. We'll get to the bottom of
this, I promise you. It's just a matter
of time.
He gets up and finishes his drink.
LIBERTY GUARD
(almost as an afterthought)
Enjoy your stay in Manhattan, Mr. Trent.
Trent nods his thanks as the Liberty Guard leaves.
A1RTC4RUMOR2 - MANHATTAN BAR - SAME DAY
As Trent walks up a LIBERTY MERCHANT, 30's, high energy, is
sitting with his ASSISTANT, who continues to hammer away on a
small computer.
ASSISTANT
(to the Merchant)
Ozu's pulling out.
The Merchant hops out of his seat and starts pacing wildly.
LIBERTY MERCHANT
Dammit. Try to get him back.
ASSISTANT
He's gone, Sir.
The Merchant sees Trent, who looks friendly enough. He walks
right up to him.
LIBERTY MERCHANT
(to Trent - blasting off)
So, tell me, friend -- Why do we pay such
huge taxes? I thought it was to support
this great Government and Military
machine that we see all around us; to
certify and ensure our security and
reputation as a major power in commerce
and industry...
(a beat)
So explain to then me why I can't keep a
deal alive with these other merchants?
(to his Assistant)
Cowards!
Before Trent can answer - even if he could -
LIBERTY MERCHANT (CONT'D)
(imitating the other merchants)
Oh, it's too dangerous. Oh, there's too
much trouble in the Borderworlds. Oh,
you can't guarantee protection.
LIBERTY MERCHANT (CONT'D)
(directly to Trent)
Let me tell you - there are no guarantees
in life, much like business. You've got
to take chances. Risk makes us rich.
Understand?
TRENT
Yeah.
LIBERTY MERCHANT
(leans in closer to Trent - an
aside - sotto)
Although any more risk and I'm going to
take it in the shorts, if you get my
drift.
(to the Assistant)
Raise Ozu again! Tell him. I'll double
his share. Inscrutable, my ass.
He breaks away and takes his seat, forgetting Trent who was a
but a momentary diversion. Trent remains bewildered.
ASSISTANT
Yes, sir.
A1RTC5 - INT. MANHATTAN BAR
Trent approaches Juni at the corner table with a drink. She
sits alone and regards him coolly.
TRENT
Hi. I saw you watching me as I came in.
JUNI
(chilly)
Yeah?
TRENT
I'm Trent.
(long uncomfortable pause)
The Bartender said that you worked for
Liberty.
JUNI
And who do you work for?
TRENT
No one right now.
JUNI
Are you looking?
TRENT
Are you offering?
JUNI
Depends. I see a lot of people who come
in and out of here. Some think they're
hot shit. All talk, no action...and I
don't really have the time to-
TRENT
You're in business right?
JUNI
I make a profit on completed missions.
TRENT
Then you know about risk.
She nods.
TRENT (CONT'D)
Well, so do I. I just risked my neck and
my life's savings on a big score that
just went south with my ship and
everything else I owned.
JUNI
Freeport Station?
She saw him, too.
TRENT
Yep. And of the two - I only managed to
salvage my neck.
She doesn't exactly smile, but she does soften at his story.
She gets up to go.
JUNI
Well, if you're looking for work you've
come to the right place. I can provide
the ship. Just bring your neck around
the Equipment room later.
TRENT
I'll think about it, Miss Crane.
JUNI
Do so, Mr. Trent. Oh, and if we're going
to work together, call me Juni.
She leaves knowing his curiosity is piqued. He's intrigued
but stood his ground. He smiles to himself and drinks up.
A1RTCSC6 - INT. MANHATTAN EQUIPMENT ROOM - LATER (PLAYS)
CAMERA Cranes from below deck as Trent enters the room and
pads towards the SMALL LIBERTY FIGHTER in the center. SOUND
of his hollow footsteps. He slowly glances around as he
walks --looking for Juni. He puts a hand on the nose gear of
the fighter and hears a noise.
Camera is with him as he looks left - towards the noise -
TRENT
Hello?
TRENT'S POV: Down the long axis of the ship towards the wall.
Crates. Benches. Nothing else.
ANGLE ON: Trent - He's still looking as the camera REVEALS
Syd suddenly standing over his right shoulder, looking
directly into him. Syd wasn't there before; WE see him
before Trent does.
SYD
I need to talk to you.
Trent is startled and takes a step back.
TRENT
Where did you come from, man?
SYD
(more emphatically)
I need to talk to you.
Trent is still trying to recover as Syd takes another step
forward - very close.
SYD (CONT'D)
I know why the Station was attacked.
Suddenly, the chatter of two people talking in the corridor
cuts him off. He shoots a paranoid glance off to the
direction of the door as it opens. Then Trent looks.
ANGLE ON: Juni and MR. BURTON, the Gung-Ho Liberty Equipment
Dealer, the 30th century's answer to Larry Tate, arguing as
they enter the room.
MR. BURTON (O.S.)
--if you do that there's no market in it
for me. You've already cut me out of the
repeaters.
JUNI
(she's got him)
It's only fair.
MR. BURTON
(grumbling)
It ain't fair, Juni. And it's not like I
have a lot of choice.
Trent looks back --AND SYD IS GONE AGAIN. He's still looking
around as Juni and Burton walk towards him.
JUNI
Sure you've got a choice - if you're
suddenly allergic to making money.
Haven't I always --ALWAYS - paid off?
MR. BURTON
Well, yes. But-
Burton trails off - the deal is done. Juni moves on to
Trent, who is still slightly bewildered. What happened? She
seems almost pleased to see him.
JUNI
Mr. Trent, I take it you're here to
accept a job with Liberty.
It's apparent that she didn't see Syd. Trent wonders if he
did, but rather than look like a dufus he pulls off the
smooth thing and stays on target.
TRENT
It's just Trent - and yeah.
She nods in approval.
JUNI
Alright.
(a beat)
You've come at a good time, Trent. I've
got a surplus of work and could use a guy
who's "familiar with risk".
She half smiles but continues.
JUNI (CONT'D)
Not that this is dangerous. I just need
a man who knows what he's doing. Mr.
Burton here has graciously donated a ship
for you to use. It doesn't have jump
capability yet but we'll see what we can
do about that later, right?
That "right" is directed over her shoulder at Mr. Burton who
is still wincing from the word "donated".
MR. BURTON
(sheepishly and under his
breath)
Right...
A look from Juni.
MR. BURTON (CONT'D)
(more in line)
Right. RIGHT.
He throws his hands up. Pleased, she turns her attention
back to Trent.
JUNI
Good. All you have to do is baby-sit a
convoy of food and medical supplies,
Trent. It shouldn't be any problem. And
just to ease you into the game, the CO of
the Escort Wing will be along for the
ride. Got it?
TRENT
No problem.
JUNI
Good, Mr. Burton will make sure your ship
is moved to the landing pad as soon as
it's outfitted. I'll see you when you
get back.
She walks off, casting a last glance at Mr. Burton who demurs
and puts up his hands. Trent looks at the ship; it's basic -
but it'll do.
A1RTC7RUMOR3 - EXT. MANHATTAN LANDING PAD - LATE AFTERNOON
(PLAYS)
Trent walks on the Landing Pad and up to his ship now at its
place on the deck. The clouds move behind him and the sun
are overhead, casting everything in amber - maybe he can
begin again. He glances over and sees a man looking off into
the horizon. He's still - He's not moving. He's just
breathing, eyes transfixed, his back to Trent. Trent keeps
glancing over at him as he checks out his ship. Finally.
TRENT
(to the man's back)
Hey.
Nothing.
TRENT (CONT'D)
HEY. Are you okay?