The Avenger
- or -
Midnight Avenger

(Script for unproduced episode)

Thanks to Jamie Phillips
for providing this script!

 

 


Teaser

Act One

Act Two

Act Three

Act Four

 



QUANTUM LEAP

THE AVENGER

MAY 12, 1959

 

 Story

by

Danielle Alexandra

  

Teleplay

by

Danielle Alexandra

  


 

QUANTUM LEAP

MIDNIGHT AVENGER

May 12, 1959

TEASER

 

FADE IN

QUANTUM LEAP IN

EXT. CENTRAL PARK – NIGHT – CLOSE ON SAM

A blue flash of quantum light configures into a masked figure, all in black, sheathed in the dark shadows of Central Park. He wears a black fedora pulled low, a dark overcoat hiding all but his boots underneath and a mask sheathing most of his face. He presents a strangely haunting figure crouched in the shadows, a strange relative of Darkman or the Phantom. A woman’s scream calls out. The figure spins around in its direction.

NEW ANGLE – CLOSE ON EYES

Then WIDER as he takes off through the park through the sound.

ANOTHER ANGLE

A young woman struggling beneath her attacker.

LILLY

Please… No…

As the attacker raises his arm to strike her:

WIDER ANGLE

Sam charges in, hitting the man full force and throwing him to the ground. The man lies facedown on the ground as if knocked out.

Sam moves over to the young woman, LILLY, kneeling beside her.

ON SAM AND LILLY

SAM

Are you okay?

Lilly nods and tries to get up shakily. As Sam reaches out his hand to help her up, the man turns over.

WIDER ANGLE

He is holding a gun, pointed directly at them.

ANOTHER ANGLE INCLUDING ALL

Sam takes a step backward separating himself from Lilly. They form a triangle with the gun still pointed at Sam.

SAM

Easy… easy now.

Sam continues moving backward. The mugger stands and faces him.

SAM

Wait…we can work this out.

As Sam speaks, the man raises the gun to shoot him.

LILLY

God!

The gun fires. Slamming Sam against the wall with the force of the bullets.

Hold on Sam.

CLOSE ON SAM

Winded, dying, stunned…

SAM

Oh, boy!

FADE OUT

 

END OF TEASER

 

 

 

 

 

 

 

ACT ONE

 

FADE IN

CENTRAL PARK – NIGHT – CONTINUING – CLOSE ON SAM

Eyes closed. Dead.

WIDER ANGLE

We see clearly for the first time the suit he is wearing beneath the overcoat, which has fallen open and the hat which has fallen off on the impact.

CLOSE ON THE COSTUME

An armor made of a heavy black rubber-like substance, black gloves, a black half mask hiding his face, and black body suit covering his body. The breastplate of the suit is uniquely patterned with the markings of one hundred crosses.

CLOSE ON SAM’S CHEST – A MEDIEVAL COIN

Hangs on a chain around his neck.

ON LILLY

As she rushes over to him.

LILLY

Oh no.

She tries to lift his head, hear his breathing, feel a pulse, anything.

ANOTHER ANGLE – CLOSE ON SAM

His hand slowly stirs to his chest. He speaks in a winded whisper.

SAM

I’m not dead.

ANOTHER ANGLE – THE ATTACKER

As he grabs Lilly and thrusts her back onto the ground.

ANOTHER ANGLE – CLOSE ON SAM’S FACE

As he struggles to his feet unsteadily, then realizing what’s happening, he moves over and grabs the man on Lilly.

Wider angle to include:

THE FIGHT – ON THE ATTACKER

The attacker throws a punch.

ON SAM

Punch deflected. Sam tries to hold the attacker, but he can’t. The attacker breaks free.

ON ATTACKER

The attacker runs at Sam.

WIDER

Then hits him in mid-stomach, propelling Sam up against a tree. Sound of the thud.

CLOSE ON SAM’S ARM

As he hits the tree a button is pushed, and a knife thrusts from his arm into the bark pinning Sam.

ON THE ATTACKER

The attacker throws a punch which connects. As his fist lands, it connects with the rubber of the suit and recoils quickly in pain and surprise.

ANOTHER ANGLE

Also surprised, Sam realizes he’s protected by the suit and struggles to free himself.

ANOTHER ANGLE

Realizing that strange stuff is happening and that the masked man, Sam, is momentarily trapped, the attacker runs off, escaping into the night.

ON LILLY AND SAM

As Sam breaks free. But the attacker is gone. He turns to Lilly, who is looking at him strangely.

LILLY

You’re alive.

(circling him)

I…I saw him shoot you.

Sam looks down at the spot where the bullet hit, massages it, then realizing he’s dressed in acrylic rubber.

SAM

(baffled)

It’s…it’s rubber.

ANOTHER ANGLE – ON AL (SFX)

As the imaging chamber door opens and Al walks through.

WIDER TO INCLUDE SAM AND LILLY

SAM

(continuing)

I’m wearing a suit made of rubber.

 

LILLY

(staring at him, realizing)

You’re him.

 

SAM

Him?

 

LILLY

The Midnight Avenger.

(beat)

You saved my life.

 

SAM

(bluffing, winded)

Nothing to it. Are you all right?

 

LILLY

I’m the one who wrote the articles

about you. I’ve been waiting all

night to meet you.

 

SAM

In the park at midnight? That’s

crazy.

 

AL

(fiddling with the handlink)

She’s Lillian Cormac.

(impressed)

Hmm. With the New York News.

 

LILLY

For the chance to meet a real live

American hero.

(beat)

I want to do a personal story.

 

AL

Uh-oh, someone’s coming, Sam.

Sound of approaching footsteps. They’re close.

AL

You’ve got to get out of here. Now.

ANOTHER ANGLE ON SAM

As he starts to back away.

SAM

I’ve got to go. Are you going to

be okay?

She nods.

LILLY

But…

Sound of people moments away.

AL

Now, Sam. It’s the cops and the

avenger character is not real hight

on their list. Go!

 

SAM

(as he turns away)

…I’m sorry.

ON SAM

As he runs off across the park, back into the shadows of the trees.

BACK ON LILLY

LILLY

(calling)

Wait…wait…Where can I find you?

No answer as Sam disappears into the night.

BACK ON LILLY

Watching Sam disappear. She turns to leave, but something catches her eye on the ground.

LILLY’S POINT OF VIEW – THE GROUND

An ancient medieval coin lays there. It is the one which hung around Sam’s neck. Lilly bends to pick it up.

LILLY

1250…

On Lilly’s reaction:

 

CUT TO

 

EXT. CENTRAL PARK – NIGHT – ON SAM

Running through the park, hiding from passing cars.

SAM (V.O.)

Leaping about in time I’ve often

found myself on the run. But this

time, I’m running and I don’t know

to where or from whom. I have no

idea who I am, stuck in a strange

city, no pockets, no ID, nothing.

All I know is I’m heading down a

long dark path and I don’t know

where it ends.

ANOTHER ANGLE

Sam turns a corner and finds himself at the entrance to Central Park on the east side corner of 85th Street.

EXT. 85TH AND CENTRAL PARK EAST – ON SAM

Out of breath, hiding in the shadows. Al POPS in under a streetlight.

AL

Nice suit. Who are you, rubber man?

 

SAM

Al, bullets bounce right off me.

 

AL

What happened?

 

SAM

She was screaming. I went to save

her. The mugger shot at me, dead

center, but the bullets just bounced

off. He had me, Al.

(beat)

Who the hell am I and what am I

dressed like…

 

AL

(chuckling)

Actually, you look kind of like a

giant cockroach.

 

SAM

Al!

 

AL

I know this is gonna be a little

hard to swallow, but according to

the guy in the waiting room, you’ve

leaped into a superhero.

 

SAM

He thinks he’s Batman?

 

AL

Actually, the Midnight Avenger.

Kind of catchy, huh!

(beat)

And he’s like a werewolf on a

full-moon night trying to get out

of the waiting room.

 

SAM

Well, don’t let him out!

(beat)

Who am I, Al?

 

AL

All we could get was a name. Doctor

Cooper. Doctor Phillip Cooper.

 

SAM

That’s it?

 

AL

(fiddling with the

handlink)

Ziggy says the only Doctor Phillip

Cooper around in ’59 was a museum

curator. He worked for the Museum

of Natural History. He was an

expert in ancient history,

particularly the Middle Ages.

(curious)

He disappeared after the death of

his wife in ’57. No record of him

since.

 

SAM

Where does he live?

 

AL

He’s a superhero who vanished out

of society two years ago. What do

you mean where does he live?

 

SAM

Well, I can’t run around dressed

like this for very long!

 

AL

Okay, okay.

(with the handlink)

He used to get his mail at the

museum, three blocks from here.

 

SAM

Well, that doesn’t mean he lived

there.

 

AL

You got a better idea?

 

Sam shakes his head and takes off.

 

CUT TO

 

EXT. MUSEUM OF NATURAL HISTORY – NIGHT – ON SAM

As he climbs the stone wall surrounding the museum and jumps onto the lawn inside.

ON SAM AND AL

Who pops in as Sam peers in a museum window.

SAM’S POINT OF VIEW

A wire leading from the window up to an alarm on the wall.

ANOTHER ANGLE

As they walk silently around the museum. Everything is dark and locked.

ANOTHER ANGLE

As they slip around the back of the museum. Sam tries a basement door and to his surprise, it’s unlocked.

INSIDE THE BASEMENT – CORRIDOR

They move quietly along a long, dark hallway until they come to a door. Sam tries it, but it’s jammed.

ANOTHER ANGLE ON AL – CLOSE ON AL (SFX)

As Al’s upper body reaches through the door, he peers into the area on the other side of the door.

ANOTHER ANGLE

As Al pulls back out.

AL

Ooh, it’s wired, Sam

 

SAM

(examining the door)

Look at this. This is a pretty

sophisticated lock for ’59.

 

AL

Looks pretty old and rusty to me.

(closer)

Interesting. Not like the ones

around the project. Titanic maybe?

 

SAM

I don’t think so. This isn’t

high-tech. It may look old and

rusty, but…

(realizing)

…this is a Sumar Lock

 

AL

What’s that?

 

SAM

An ancient Egyptian mechanical

system. A trip lock designed by a

Third Century architect. It was

discovered and annotated by Doctor

Mortimer Sumar at the University of

Cairo in the late eighteen hundreds.

(beat)

…and if I don’t miss my guess,

there’s got to be a release around her somewhere.

 

ANOTHER ANGLE FEATURING LOCK

The face of Ra is rusted and bent but it holds fast as it connects to a series of rods. Sam feels the walls. His hands move up to the door and over nearby surfaces, but nothing happens.

AL’S VOICE

Maybe it’s just an old door that’s

been locked up for ages. A storage

area that nobody uses anymore.

ON SAM AND AL

Sam looks down at the floor, notices something and bends down to look.

SAM’S POINT OF VIEW – DRY MUD

on the floor.

BACK ON SAM

moves to exit.

SAM

Someone’s been here recently.

Sam stands and walks back, counting his steps.

SAM

One, two, three, four…

On four, Sam steps down hard, slamming his foot on a certain spot on the ground. Nothing happens.

AL

I think it’s a little more

sophisticated than that.

 

SAM

Didn’t you ever read about the

technology of the Egyptians? They

moved mountains of stone with no

machinery, built pyramids, the

Sphinx and crypts with countless

secret passageways and countless

secret locks.

(beat)

Now if I can….

As Sam speaks, he steps hard on another spot. As he does, the door pops open.

SAM

Bingo.

(beat)

Shall we?

They enter.

INT. MUSEUM BASEMENT HALLWAY – STAIRCASE – TRACK – NIGHT

A long descending staircase leads to another set of doors. Sam walks down into the darkness to the doors. Al is waiting. Sam hesitates before reaching to open them.

AL

Just try the knob this time.

Sam reaches for the handle and pulls the door open.

INT. AVENGER’S CAVERN LAIR – NIGHT – SAM’S POINT OF VIEW

The sanctuary home of the Avenger, a dark room covered in shadows well below the museum. A light blinks on and off. It’s the Avenger’s warning system. As the light blinks, the room is illuminated. It is a giant area with a front section library and rear laboratory. Several suits of armor hang throughout the room, two or three stand in glass display cases. An eerie feeling as they enter.

AL

This place gives met he creeps.

 

SAM

It’s amazing. A hundred feet under

the museum. I bet no one knows it’s

here.

 

SADIE’S VOICE

(interrupting)

Good morning.

On Sam and Al as they jump. They can’t see anyone there.

ANOTHER ANGLE – WIDER TO INCLUDE ALL

As SADIE SPOONER, the Avenger’s long-time housekeeper and friend, enters. Black, older, night cleaning lady for the museum.

AL

I hate it when people do that!

 

SAM

(taking a breath)

Good morning.

SADIE

(as she helps him

off with his coat

and takes it)

You catch any bad guys?

 

SAM

…almost.

(re coat)

Thank you.

 

SADIE

Well, maybe tomorrow. Now soup’s

on the table. Go on and eat it,

then get some sleep.

 

SAM

Soup? Oh yeah, soup. Okay.

Thanks.

 

SADIE

You’re not gonna eat it. You never

do.

 

Sadie reaches up to hug him. Sam gingerly puts his arms around her.

SADIE

Well at least get some rest. You

can’t keep going out all night on

no sleep or nothin’. I’ll be back

at ten.

ON SAM

Unfamiliar with the territory, he doesn’t move.

SADIE

(misunderstanding)

You’re gonna go to work, aren’t you,

no matter what I say? I don’t know

why I should try, you’ve been this

way for the last twenty years since

I’ve known you.

 

SAM

Twenty years?

 

SADIE

Since the day you started working

here, and I was cleaning. All

through the good times and the bad.

And you haven’t done what I told you

yet.

 

AL

He always had a stubborn streak.

 

SAM

I always had a stubborn streak.

 

SADIE

Well, if you’re gonna work, I’m

gonna get that soup.

As Sadie exits, Sam and Al move around the room.

INT. LIBRARY SECTION – NEW ANGLE ON SAM AND AL

Standing alone in the Avenger’s cavern-like, sitting-room-styled lair. Sam moves to an old Thirteenth Century oil lamp and lights it. He does the same thing with several others and the room lights up. Walls of books line the room in high bookcases. At the far end, a step leads down to the lab/work area.

AL

You’d think he’d have a little

Edison.

NEW ANGLE

The library section is exquisite, much like a museum. Sam focuses on a case of ancient weapons (maces, swords, etc.).

SAM

Magnificent. It’s like the days of yore

in here.

 

AL

(off handlink)

According to his notes, he recreated

a Thirteenth Century lair because

he believed he was a true knight and

wanted to live as they did.

Personally, I think he was nuts.

Sam moves over to another large display case.

CLOSE ON ARMOR IN DISPLAY CASE

Ancient armor from the medieval and crusade period line the walls in glass cases. Al and Sam move around the room looking. Sam peers into one as he speaks.

SAM

Well, if he is, he’s got good taste.

This stuff’s really from the

crusades, Al. 1206, 1240….

SAM’S POINT OF VIEW – MIRROR SHOT

As he looks into a tall display case, he sees Dr. Cooper’s reflection peering back at him in front of the suit of armor. Cooper is handsome, dark, thirty-five, wearing black-rimmed glasses which mask a handsome, strong-jawed face.

BACK ON SAM AND AL

Al studies a Twelfth Century sarcophagus. An ancient knight lays chiseled in the stone, his shield rests upon his chest.

AL

(squirming)

This guy’s into dead people. Weird,

Sam.

 

SAM

When I was a kid, I had a real thing

for knights. The folklore, legends

and stuff. Sir Gwaine and the Holy

Grail, King Arthur, Excalibur,

Richard the Lionhearted… It seemed

Like there was so much honor and

glory. My dad took me over to the

museum in Indianapolis once, but all

they had were pictures of the

weapons and suits of armor. It

was years before I saw the real

thing. Always thought it’ve been

great to have lived then.

 

AL

No running water, no bathrooms, if

you’re the king, your son’s always

trying to kill you… I don’t think

so, Sam.

 

SAM

Princesses, damsels, wenches…

Al considers for a moment, then his eye catches a display case of chastity belts and sexual prevention devices.

CLOSE UP ON A PAINFUL-LOOKING CHASTITY BELT

With a sketch of it in use.

AL

Not me. It’s like being in a candy

store and having a cavity.

 

SAM

(coming to one

display)

Look at this.

Al moves over to Sam.

THEIR POINT OF VIEW

The suit of armor breastplate matches exactly the pattern on Sam’s suit, one hundred crosses. The case placard reads: THE BLACK KNIGHT, circa 1240.

SAM

(looking down at

his own)

The patterns on the breastplate are

the same.

 

AL

(reading)

Who’s the Black Knight?

 

SAM

According to this, he was a knight

errant from the twelve hundreds.

ANOTHER ANGLE

As Sam speaks, he moves over to the stacks, looking for something. Sam pulls a book from high on the bookcase.

AL

(off handlink)

Ziggy says they had some kind of

secret societies back then?

Initiation rites, ceremonies,

rituals, quests… Just like the

Delts.

 

SAM

Who?

 

AL

My fraternity. You hang out, get

drunk, go on road trips, scam women

that aren’t going to say yes

anyway…

(looking at Sam)

You didn’t miss much.

 

SAM

These were honor societies, Al,

sworn to seek out enemies of the

Prince. Each man cut off his small

toe and promised never to divulge

the names of the others.

 

AL

That’s disgusting. Not as

disgusting as the time Huey Lombart

threw up all over the backseat…

 

SAM

No one knew where they met or where

they lived. But they traveled for

the cause, and always brought

justice with them.

AL’S POINT OF VIEW

He’s looking at an article among several, which hang pinned to the wall.

AL

I think that’s what Cooper wants.

 

SAM

What?

 

AL

Justice. Look at these.

ANOTHER ANGLE

As Sam moves over to see.

NEW ANGLE – THEIR POINT OF VIEW – THE ARTICLES

Several articles line the walls. It’s a progression from the early success of Dr. Cooper, through his marriage to a beautiful woman, to articles on the exploits of the Midnight Avenger and the victims he’s saved.

AL

‘A stranger dressed in black saves

sixty children from school

fire…Man saved from drowning,

three captured in robbery attempt,

man found guilty of arson…’

 

SAM

‘…disappears into the night.

Can’t be found. Is he vigilante or

Friend…?’

 

AL

Good question.

 

SAM

I think I know. Listen.

Sam opens the book and begins to read.

SAM

‘In the year 1242 of our Lord, the

Black Knight…’

 

AL

(re the empty suit

in the case)

Nice looking…

 

SAM

‘…returned home from the crusades

to find that his land and wealth had

been stolen from him by the bishops.

He challenged the rights of the

bishops but lost. The imprisoned

him, and forced him to watch as his

beloved wife, Diana, was tortured

and her throat slit in front of him.

To teach all others, they gathered

one hundred innocents from the

village and slit their throats as

well. He was helpless to help them.

From that day forward, the Black

Knight painted the herald of his

tunic black, and wandered the land

protecting the innocent from evil.

The hundred crosses on his vestment

were for the hundred who died. The

gold coin medallion he wore, was for

his wife.’

 

AL

Ziggy says there’s no record of his

Christian name. Who he really was.

Everything he did, he did alone, at

night, and then disappeared like

smoke evaporating.

 

SAM

I know who he was.

 

AL

Who?

 

SAM

Cooper’s hero.

ANOTHER ANGLE

Al has moved over to a different set of framed articles.

AL

Sam, Cooper’s wife, Donna, was

murdered in Central Park, almost two

years ago. He watched her die and

he couldn’t help her.

(beat)

Diana… Donna…?

NEW ANGLE – CLOSE ON AN ARTICLE

With photo of beautiful woman, and headline, "PARK MURDERER STRKES AGAIN."

NEW ANGLE

Sam moves over to the news page and pulls it off the wall.

SAM

He couldn’t help her?

 

AL

It says, he was held and forced to

watch.

 

SAM

No wonder he can’t forgive

himself… I don’t think I could

either.

 

AL

No one could. It’s a pain so great,

it’s almost unbearable.

Sam looks questioningly at Al.

AL

(off Sam’s look)

I never told you this. It was

before I ever got married. She was

sixteen. And I loved her. But I

couldn’t save her.

 

SAM

You never told me about her before.

 

AL

Some things are so unthinkable, you

just can’t speak of them. I knew

Rebbecca was going to die. Sixteen

year olds don’t survive drunk

drivers.

 

SAM

I’m so sorry, Al.

 

AL

I don’t think the dying was as hard

as the watching. I had to sit there

and wait when I just wanted to

scream, yell, do anything, do

something. But I couldn’t.

Sometimes, it just happens that way.

 

SAM

But you survived it.

 

AL

Maybe Cooper couldn’t. The truth

is it took me a long time to forgive

myself for being the one who lived.

 

SAM

Forgiving yourself is always the

hardest.

ANOTHER ANGLE

As Sam speaks, Sadie enters with the hot bowl of soup. She hears, the "forgive" part. Sam picks up a well-used journal and glances at it as Al and Sadie talk.

SADIE

It’s been two years. It’s time.

(beat)

There was nothing you could do.

Miss Donna loved you.

 

AL

(reading handlink)

According to the police report, she

ran out that night after an argument

with Cooper. He went after her, but

lost her in the park. When he found

her she was dying.

 

SADIE

Sometimes you can’t control what

happens to people you love. What

you got to accept is that sometimes

people die and there’s nothing you

can do.

(beat)

God wanted that girl with Him and

that was that.

 

AL

They’d been married only one year

when it went down. He disappeared

a few weeks later.

TIGHT ON JOURNAL

Sam reads.

SAM’S VOICE

‘Sometimes you have to do something

or it just boils up inside until it

explodes… I fight to protect

others. To avenge her, my love…’

ON AL

There is a sadness in Sam as he looks up from the pages.

AL

Looks like he made himself the

knight errant of Central Park

 

SADIE

But now it’s time to stop. You

promised. By May fourteenth, it’d

be over.

 

AL

(reading)

‘Two days from now. That’s the

anniversary of her death.’

 

SADIE

I can’t keep hiding you here any

longer. They’re gonna catch me and

fire me. I’ve been here thirty-six

years, I don’t want to lose this.

(beat)

And you can’t keep hiding, either.

 

SAM

May fourteenth?

On Al, who nods, then wider:

SADIE

May fourteenth.

(beat)

And then you’ve got to get back to

the living.

Sadie kisses Sam on the cheek, smiles, then walks out.

SAM

Why am I here? What happens to

Cooper?

On Al, fiddling with the handlink.

AL

According to Ziggy, Cooper was

accused of murder and shot in the

head by the police…

(beat)

…On May fourteen, 1959.

(beat)

Sam, May fourteen, 1959. Two days

from now, you die!

FADE OUT

 

END OF ACT ONE

 

ACT TWO

FADE IN

EXT. MUSEUM – ESTABLISH

INT. AVENGER’S LAIR – NIGHT – ON SAM – CONTINUING

SAM’S VOICE

I die?

He starts to pace, pulling pieces of the Avenger’s suit off. He studies the various pieces.

SAM

That’s ridiculous

 

AL

Ziggy says that’s the day that

Cooper dies.

 

SAM

If Cooper was trying to kill anyone,

it would have been a mugger or a

rapist or…

 

AL

(fiddling with

handlink)

Uh oh… that’s weird.

(curious)

Well, first Ziggy said you were shot

in the park, now she says, you’re

shot in some alley on the eastside.

 

SAM

She must have got her data

crossed.

 

AL

At midnight in two days, you’re

going to be a goner unless we find

out.

 

SAM

Then I just won’t go out that

night.

 

AL

You can’t do that. According to

Ziggy, two innocent people that

Cooper saved, will die. You’ve got

to.

 

SAM

How do you know?

 

AL

There was an article written about

you the day after you were killed.

In the story, three people reported

that you saved them.

 

SAM

But you said ‘two.’

 

AL

I know. Ziggy said it changed.

 

SAM

I want to go back and find out

everything that happened to Cooper

that night.

 

AL

Where are you going?

He fidgets with the sleeve blade.

SAM

To do some research of my own.

Off Sam’s look, Al POPS out. We hold on Sam as his eyes go back to the journal. He sets the blades down and picks up the book as we…

CUT TO

EXT. NEW YORK NEWS – AFTERNOON – ESTABLISHING SHOT (STOCK)

A bustling New York in the late Fifties, with period traffic and people running the race of the sidewalks.

INT. NEWS – LILLY’S CUBBYHOLE

Lilly sits at her desk which is covered by thick history books. She’s studying them, clearly searching for something.

CLOSE ON HER DESKTOP

Where the medieval coin sits.

Lilly picks it up and looks at it again as though she’s done this twenty times before.

LILLY

Damn…

 

MC BRIDE

What was that?

 

LILLY

Frustration.

 

REPORTER

What about this time?

 

Lilly closes the book and piles it atop the other volumes. She writes something down, then:

LILLY

Can’t tell you, McBride.

 

MC BRIDE

You know I might just be able to

help.

 

LILLY

So you keep saying.

 

MC BRIDE

You know one of these days…

 

LILLY

Who’s got the time…

(beat)

What do you know about Thirteenth

Century loose change?

She shows him the coin.

ANOTHER ANGLE

As McBride takes the piece and examines it.

NEW ANGLE

As he moves over to her desk, reaching for a book as his chest bends over her a little too closely.

LILLY

I could have passed it to you,

McBride

 

MC BRIDE

Where’d you get this?

 

LILLY

You don’t need to know.

 

McBride searches for something in the book, then finding it, hands the book to her. Lilly takes it and sees what he’s showing her.

MC BRIDE

I think this is one of the coins of

Chelsea. Very rare and very

valuable, Lilly. You could be in

over your head.

 

LILLY

It wouldn’t be the first time.

Would it?

 

MC BRIDE

There’s one problem with this.

He hands the coin back to her.

LILLY

What’s that?

 

MC BRIDE

There are supposed to be none of

these left.

(beat, off her

look)

King Edward destroyed them in the

Sixteenth Century. Melted into

oblivion…

(beat)

…or so the book says.

ANOTHER ANGLE

As Lilly looks down at where McBride’s pointing.

MC BRIDE

Try the Museum of Natural History.

It’s too bad, though. The curator

was a guy named Cooper who

specialized in this stuff, but he

disappeared two years ago after his

wife was killed. I remember

covering the story.

(beat)

They may still have some stuff…

ON MC BRIDE

As he hands her back the coin, and shrugs shyly.

MC BRIDE

Hope it helps you, Cormac.

 

LILLY

(sincerely)

Thanks, Tim.

ON MC BRIDE

As he says nothing, but smiles and bows like a courtier of the period, then moves off.

ON LILLY

She looks after him a beat, then down at the coin in her hand.

CLOSE ON COIN

It turns in her hand and stops as her fingers close around it.

CUT TO

EXT. MUSEUM OF NATURAL HISTORY – DAY – ESTABLISHING (STOCK)

INT. MUSEUM – DAY

SAM’S VOICE

Waiting for night, I thought I’d see

the place Cooper really called home.

I found an old guard uniform and fit

right in as I walked among the

relics.

ANOTHER ANGLE ON LILLY

As she walks across the marble in the Twelfth Century rooms. She walks up to a display of medieval weaponry – maces, spiked balls, lances, etc.

As she looks into the display case:

LILLY

(to herself)

Looks like fun.

ANOTHER ANGLE ON SAM

Peering into the same case from the other side.

COOPER’S REFLECTION – MIRROR SHOT

Sam’s lost in his own thoughts, but hears…

SAM

They weren’t designed for fun. They

were for survival in a hostile time.

 

LILLY

Those were the days. Right was

right. Wrong was wrong. And you

didn’t have to wait for the police

to save you.

 

SAM

I don’t know. Things would be

pretty wild if everyone just took

matters into their own hands, don’t

you think?

 

LILLY

(a little bit

flirtatiously)

I guess that would depend on how

wild you like it.

 

SAM

You’re interested in medieval

history?

 

LILLY

Just recently. There are so many

Mysteries hidden in the mysticism.

 

SAM

Mystery?

 

LILLY

I like figuring things out.

 

SAM

Maybe I could be of some help?

 

LILLY

(smiling)

Only if it includes dinner.

 

SAM

There must be plenty of men

interested in buying you dinner.

 

LILLY

But I’m interested in you.

 

SAM

Why me?

 

LILLY

Because I need to find somebody who

can tell me about days gone by.

 

SAM

And you think I can do that?

 

LILLY

I hope so.

(beat, grinning)

You’re wearing the uniform.

Sam looks and realizes that the shirt he took to wear of Coopers has a museum employee pass on it, no name or picture though.

SAM

(smiling, relaxing)

Oh, right.

(beat)

How far gone?

 

LILLY

What?

 

SAM

…the days gone by.

 

LILLY

(smiling)

Eight centuries.

(off Sam’s look)

I really am interested. What we

are, came from then. They just had

clearer choices.

 

SAM

(getting intrigued)

Clearer choices? I’m not so sure.

 

LILLY

Morality. Justice. An eye for an

eye.

 

SAM

Maybe we learned something since

then.

 

LILLY

Maybe we didn’t learn enough.

 

SAM

I’m curious. History is full of

turbulent times. Why did you pick

then?

 

LILLY

Because of this.

(holds up the coin)

Can you tell me about this?

Lilly holds out the coin that she found in the opening.

SAM

(recognizing it)

Where did you get this?

 

LILLY

Uh…it was a gift from my…

grandmother.

 

SAM

(taking it)

The One Hundred.

 

LILLY

Excuse me?

 

SAM

That’s the inscription.

 

LILLY

What does it mean?

 

SAM

There’s a display case over there

that I think can better answer your

questions.

NEW ANGLE

As Lilly walks over to the case as Sam remains standing there. She keeps talking as she walks.

LILLY

Right before my grandmother died,

she asked me to come see her… said

she had something very special for

me, but she died before I could get

there. This was in her estate… but

no explanation…

Lilly momentarily looks down into the case, then back at Sam

NEW ANGLE

Sam is gone.

BACK ON LILLY

HOLD ON Lilly’s expression, then:

CLOSE ON THE INSIDE OF THE CASE

Several medieval coins and medallions are displayed. The placard reads: THIRTEENTH CENTRY EUROPEAN COIN COLLECTION DONATED BY LORD HENRY HARRINGTON.

ON LILLY

Lilly fingers the coin and realizes that it’s similar, but not exact, to others of that period.

ANOTHER ANGLE

As Lilly looks up in the case. Suddenly something catches her eye.

LILLY’S POINT OF VIEW

She sees a photograph of several dignitaries, and a young woman. She looks closer into the picture.

CLOSE ON THE PHOTO

Standing there in the forefront is COOPER accepting the collection from Lord Harrington. The caption reads: DR. COOPER ACCEPTS THE CHELSEA COIN COLLECTION FROM LORD HARRINGTON.

Standing beside Cooper is Cooper’s wife. Lilly looks more carefully at the photograph. The names listed include DONNA COOPER.

CLOSE ON COOPER’S WIFE

She is wearing the coin medallion in Lilly’s hands.

ON LILLY

As she pulls back. She looks down at her coin, then over to where she stood with Sam, then realizes.

LILLY

(to herself)

Cooper… but he’s supposed to be

dead.

On her expression as she puts two and two together.

CUT TO

INT. AVENGER’S LAIR – LATER THAT NIGHT – ON SAM

Standing in front of Cooper’s lab table. The suit hangs nearby. Several pieces lay on the library table in front of him. Sam studies each one.

AL’S VOICE

Hope you can put that thing back

together.

INCLUDING AL

He stands looking over Sam’s shoulders.

SAM

I’ve got to figure out how the hell

it works first. It must’ve saved

Cooper’s life a dozen times. If I

can make an adjustment or two, maybe

it’ll do it on last time and save

mine.

 

AL

Looks like you’ve made a few.

 

SAM

I had a little help.

ANOTHER ANGLE

Sam turns the page of an ancient ledger.

AL

What’s that?

 

SAM

An ancient scribe with secrets about

alloys and alchemy, Middle Eastern

engineering, old Greek

weaponry… the secrets to building

this suit.

As he speaks, Sam continues playing with different mechanical parts of the suit.

SAM

(continuing)

It’s brilliant. I think Cooper

found this ledger on one of his

trips for the museum and kept it.

It’s been a long time since I’ve

spoken Latin, but I think he

combined theoretical and physical

principles to recreate the Black

Knight. Look at this.

ANOTHER ANGLE

Sam holds up the suit and slashes it several times with a knife.

SAM

(continuing)

Won’t penetrate. It’s an alloy that

the ancient alchemists combined

using lead, iron and cobalt. Looks,

feels and reacts like rubber, but

impenetrable. It may be even

stronger than what we’ve been using

since ’89. But I think Cooper added

something else, some secret element

to give it the extra strength.

 

AL

Can you find it?

 

SAM

With a lot of luck.

(reading)

E pluras regin ad munta deca.

 

AL

I hope there are pictures in there.

 

SAM

Fascinating…

 

AL

Excuse me? I don’t happen to speak

Latin.

 

SAM

(translating)

… the order of all the parts is by

their strength…

(beat)

Don’t worry, Al, I think I’ve figured

it out.

ANOTHER ANGLE

At that very moment, Sam accidentally drops a piece of the suit. Inside the sleeve, a small crossbow shoots off a spring-released arrow which flies right through Al

ON AL (SFX)

As the arrow shoots through him and hits dead center perfect between two candlesticks near the wall.

ON THE ARROW

Stuck into a stuffed bird on the wall

AL

(throws hands up

like a referee’s)

Score.

 

SAM

Well, almost. Sorry.

As he speaks.

SADIE’S VOICE

New toy?

ON SADIE

As she watches from the entrance.

SAM

Just practicing.

 

SADIE

(entering and

removing the

arrow)

You be careful with those things,

and don’t shoot any more of the

furniture.

 

SAM

Sorry.

 

SADIE

(almost hopeful

he’s not)

Are you going out tonight?

 

SAM

Yes, Sadie.

 

SADIE

I’m going to have dinner with my

son. I’ll be back before morning.

ANOTHER ANGLE

As Sam helps her on with her coat.

SADIE

I’m glad tonight’s the last night.

I won’t be sorry when this is over.

You watch yourself, tonight.

Promise me, Cooper.

ANOTHER ANGLE

As Sadie reaches up and squeezes Sam’s cheek affectionately.

SADIE

Don’t you get in trouble. I don’t

want to lose you.

 

SAM

I won’t.

They hug. As Sadie leaves:

AL

(off handlink)

You’d better reassemble that thing

the best you can. History’s

changing fast. You’ve got to get

out there if you’re going to save

the people Cooper did before he

died.

CUT TO

EXT. MUSEUM – LATER THAT NIGHT – ON LILLY

Standing in the shadows across the street. She waits, watching, for Cooper to come out.

ANOTHER ANGLE – THE FRONT OF THE MUSEUM – ON SAM

Just as she guessed, Sam/Cooper sneaks around the corner of the building, climbs the fence and takes off. He’s wearing the suit.

ON LILLY

As she waits a moment, then follows him.

CUT TO

EXT. NEW YORK CITY – NIGHT

A street corner somewhere on the Westside waterfront. Out of breath, Sam rests against an old building.

Al POPS in.

AL

You can’t stop! You’ve got to get

over to the Westside.

 

SAM

I thought you said ten fifteen?

(beat)

What’s happening tonight, Al?

They’re coming faster than they

should.

 

AL

(fiddling with the

handlink)

Ziggy doesn’t know. Something’s

really out of whack. The guy in the

waiting room’s chanting some

nonsense. Can’t make any sense of

it.

 

SAM

I don’t know, Al, but when I’m in

this suit, I feel different. Kind

of invincible

 

AL

Well, be careful. You’re not. Now

you’ve got to go. According to

Ziggy, you’ve got three minutes to

get to Sixty-Seventh and Broadway.

 

SAM

What time is it now?

AL

Eight forty. Ziggy says the man

Cooper saved falls to his death at

eight forty-three.

 

SAM

I’ll never make it.

 

AL

You have to. Cooper did.

Off Sam’s reaction:

CUT TO

EXT. BRADBURY BUILDING – NIGHT – ESTABLISHING

INT. BRADBURY BUILDING – NIGHT

And old building with an open courtyard in the center. Long corridors wrap around the inside of the building.

ANOTHER ANGLE ON A YOUNG MAN

High above the courtyard. He’s holding onto an open elevator door/wall which accidentally opened when the elevator jarred stop. He hangs moments from death.

The elevator back door opens out to the courtyard. The 1950’s is off its track and caught between floors.

ANOTHER ANGLE

In the bystanders below and above watching.

ANOTHER ANGLE

As Al POPS in beside Sam.

ON AL (SFX)

AL

(leaning out

through the

guardrail,

pointing)

He’s there, Sam.

(beat, as Al looks

down and leans

back in)

Whoa!

 

SAM

I see him.

ON SAM

On a railing high above the fracas. He shoots a wire from his belt, which twirls around the wrought iron decoration of the elevator roof.

ANOTHER ANGLE ON SAM

In one fell swoop. Sam lets go of the railing and swings down across to the elevator. He lands on the roof.

ON AL

As he POPS atop the elevator.

AL

Nice trick.

 

SAM

(to Young Man)

Hold on.

 

AL

No question.

 

YOUNG MAN

I can’t. I can’t.

CLOSE ON THE YOUNG MAN’S HANDS

As they slip further down the wire he grasps.

BACK ON SAM – INCLUDING ALL

AL

Do something, Sam.

 

SAM

(gently coaxing)

You’re doing fine. It’ll be okay.

 

AL

Oh good. Talk to him, so when he

hits the ground he’ll feel better.

 

YOUNG MAN

(re the onlookers

below)

They want me to fall.

 

SAM

(to Al)

Be quiet.

 

YOUNG MAN

I’m sorry… sorry…

ON SAM

As he crawls into position.

SAM

No you. Just another minute. Hold

on.

 

YOUNG MAN

Help me. I’m so tired.

ON THE YOUNG MAN

As he starts to let go, he screams.

ANOTHER ANGLE – BELOW

A bystander reacts.

BYSTANDER BELOW

What are you doing? Stop.

WIDER ANGLE

ANOTHER BYSTANDER

He’s trying to kill him…

ANOTHER ANGLE

As the onlookers all react.

ON SAM

Who lies down dangerously precarious atop the elevator and quickly grabs for the man’s wrists just as they release the line.

ANOTHER ANGLE

Panic as there’s a moment where no one is sure whether Sam got him. As they struggle, Sam pulls the Young Man atop the roof of the elevator.

WIDER ANGLE

An onlooker reaches over the rail above.

ON SAM

Trying to figure out how to get them off there. He sees:

SAM’S POINT OF VIEW

A thick New York telephone directory laying outside an office door on the floor above.

WIDER TO INCLUDE AL

Sam calls out to an onlooker above. He’s a smallish, bookish-type man.

SAM

The phone book. Get the phone book.

ON THE ONLOOKER

Who looks around, sees the book, and picks it up, motioning to Sam.

BACK ON SAM

SAM

Now hold it up.

ON THE ONLOOKER

Who nervously does what Sam says.

BACK ON SAM

SAM

That’s good. Now stay there.

WIDER TO INCLUDE ALL

As the man holds the thick phone book, Sam stands back and shoots a small arrow from the crossbow which has been lashed to his back.

ON THE ARROW

As it lodges in the book. A perfect shot.

ON AL

Reacting to Sam’s marksmanship.

AL

Nice shot.

ANOTHER ANGLE

The onlooker above opens his eyes, then takes the cord and ties it off on the rail.

ANOTHER ANGLE

Sam quickly moves to the edge of the elevator where the Young Man lies, and ties the cord around his belt.

SAM

(gently)

I want you to let yourself drop over

the edge so that they can lower you

down to the next level.

 

YOUNG MAN

(as he looks over

the edge)

I’m not doing that. That won’t hold.

 

SAM

You have to. This could go at

anytime. The wire’s strong. You’ll

be fine.

 

YOUNG MAN

No.

CLOSE ON SAM

Who looks at both the Young Man and the elevator track, then:

ANOTHER ANGLE

As Sam tries to push the Young Man over the edge. They struggle. Sam looks like he’s trying the murder the Young Man.

NEW ANGLE ON THE POLICE

As they arrive. They look up and start to scramble up the stairs towards Sam.

ON SAM AND YOUNG MAN

Sam finally manages to roll the Young Man off the side of the elevator.

ON THE YOUNG MAN

As he falls screaming, until the wire catches and suspends him in midair.

OFFICER WILLIE

(on the ground)

He’s crazy.

 

OFFICER BERTRAM

Hey, that’s the Avenger. He’s gonna

kill that guy. Let’s get him…

ON SAM

As he looks down at the crowd below.

CLOSE ON LILLY

In the crowd with the others looking up at him.

CLOSE ON SAM’S EYES

As they catch Lilly below.

ON LILLY

LILLY

(yelling up)

Get out of here…

ON SAM

He hears her.

ON LILLY

As she looks up at Sam.

HER POINT OF VIEW – THE YOUNG MAN

Is being pulled safely over the rail.

ON LILLY

As she backs out of the crowd, runs over to the stairs and starts climbing up after the cops.

ON SAM

As the elevator jolts. Sam quickly pushes a button and recoils the wire. Then tying it off on the wrought iron, he swings up across the open pit and lands a floor above everyone.

INCLUDE AL

Standing next to Sam who’s looking for an exit.

AL

You’re not starting to believe this

stuff are you?

 

SAM

Get me out of here.

 

AL

(off handlink)

Outside exit. Southwest door. Get

over to the park. You’ve got to

stop a girl from being raped.

Sam looks over to the door, then back on the closing police, and takes off across the corridor.

ANOTHER ANGLE ON SAM

As he disappears through a door to a back staircase moments before the police and Lilly arrive.

ON THE POLICE

Who don’t know which exit he’s taken.

ON LILLY

As she reaches the staircase landing on the floor Sam was on and catches him slipping out in the corner of her eye. She’s out of breath as she watches the police lose sight of Sam as he disappears.

LILLY

Damn.

ANOTHER ANGLE

As she slips through the same exit door in pursuit.

CUT TO

EXT. CENTRAL PARK – NIGHT – ON SAM – TRACKING

Running through the park. He reaches the corner as Al POPS in. Sam looks around, but no one’s there.

SAM

No one’s here, Al. Are you sure

this is the right spot?

 

AL

Ziggy says yes. The attack was

originally reported at ten, but

Ziggy says history changed and now

it happens at eleven.

 

SAM

That’s an hour from now!

 

AL

(fiddling with a

crazed handlink)

…but five minutes ago, it said

ten!

 

SAM

What the hell is going on here?

 

AL

I don’t know.

 

SAM

I’ve been pulled all over the city

tonight. Everything’s off schedule.

I want to know what’s going on, Al.

 

AL

The guy in the waiting room keeps

insisting that all this is because

of one man.

 

SAM

That’s impossible, Al. No one human

being could cause all this to happen

in one night. It’d be physically

impossible.

 

AL

(fiddling with the

handlink)

Uh oh.

(beat)

Ziggy says there’s a boy that’s

about to be run over by a hit and

run. You’ve got to get there.

Ninth Avenue, ten blocks, west.

ANOTHER ANGLE

As Sam takes a deep breath and runs off.

SAM

Find out what the hell is happening!

ON SAM

As he runs off.

CUT TO

EXT. THE STREET – NIGHT – ON SAM

As he turns the corner. It’s dark with only one dim streetlight and the street is wet and slippery.

SAM’S POINT OF VIEW

A short figure walking down the street.

ANOTHER ANGLE

As a car careens around the far corner speeding towards both the figure and Sam.

SAM

(screaming)

Watch out!

ANOTHER ANGLE

As the figure turns into the headlights.

SFX: Car screeching, then thud, sound of a body being hit.

ON SAM

Momentarily stunned.

ANOTHER ANGLE ON THE CAR

As the driver turns slowly to look at Sam.

CLOSE ON THE DRIVER

It’s a woman, early twenties, blonde, striking. She looks so innocent.

ON SAM

As their eyes meet. He gets a cold feeling of familiarity.

HOLD ON SAM’S FACE

For a beat, an expression of foreboding fear, then wakes up as the care drives off leaving the body in the street.

ON SAM

As he rushes over to it and bends down.

ON AL

Who POPS in.

AL

There’s a hospital on Tenth.

 

SAM

(as he turns the

face to him)

Oh my God! It’s Sadie!

Sam puts his head to her chest. She’s still breathing.

SAM

You told me it was a boy. A boy.

 

AL

That’s what Ziggy had.

ANOTHER ANGLE

As Sam lifts Sadie into his arms.

SAM

She said she was having dinner with

her son tonight. He must live

around here.

(beat, to an

unconscious Sadie)

Hang in there, Sadie. I’m here.

No response.

AL

I don’t know what happened, but it

changed somehow. I’m sorry, Sam.

 

SAM

Where’s the hospital?

 

AL

Two blocks north.

ON SAM

As he runs down the street with Sadie.

EXT. HOSPITAL – NIGHT – ON SAM

Sam waits in the shadows, pacing. He turns to find Al behind him.

WIDER TO INCLUDE AL

SAM

How is she?

 

AL

It’s not good, Sam. She’s lost a

lot of blood.

 

SAM

I should have been there sooner.

Cooper would have made it.

 

AL

Cooper would have found a young boy.

 

SAM

Somebody’s doing this. It can’t be

a coincidence.

 

AL

Did you get a look at the driver?

 

SAM

I saw her eyes.

(beat)

I got a chill. They were so cold.

 

AL

The driver was a woman?

 

SAM

I’ve got a bad feeling about this,

Al. What does the guy in the

waiting room say?

 

AL

He says it’s all being done by one

man.

 

SAM

What if he’s right?

 

AL

How could he be?

 

SAM

I was thinking about Moriarty.

 

AL

The Sherlock Holmes character?

 

SAM

Holmes was always sure that wherever

he went Moriarty would be there for

the sole purpose and pleasure of

destroying him. Moriarty was

Holmes’ nemesis. Holmes wasn’t

paranoid. He was right. One man

caused him all that trouble. One

evil man.

 

AL

What does that have to do with

Cooper? Or you?

 

SAM

I think the guy in the waiting room

is right, Al. I think one man is

doing all of this. One evil man.

(beat)

I just don’t know whether it’s

Cooper’s Moriarty, or mine.

FADE OUT

 

END OF ACT TWO

 

 

ACT THREE

 

FADE IN

EXT. ALLEY HOSPITAL – NIGHT – ON SAM IN THE SHADOWS – CONTINUOUS

Include Al under a light.

AL

How could it be yours, the guy in

the waiting room says it was going

crazy before you leaped in.

 

SAM

I know, I know. It doesn’t make any

sense, so why do I feel this way.

(shivers)

I’ve got to find out.

ANOTHER ANGLE

As Sam speaks, Lilly comes up from behind him. Sam thinks about running, but realizes it’s too late. Still, he bends his head and tries not to let her look to closely at his face.

LILLY

Please…wait!

 

SAM

What are you doing here?

 

LILLY

I followed you.

 

AL

Sam, you’d better get out of here

before somebody else catches you.

 

SAM

I can’t leave until I found out how

she is.

 

LILLY

The older woman?

 

SAM

A friend.

 

LILLY

I saw you bring her in.

 

SAM

(to Al)

I want o know how she’s doing.

 

LILLY

She’s still in surgery.

 

AL

(picking up the

hint)

I’ll check.

Al POPS out.

SAM

I should have gotten there…

 

LILLY

You make it sound like it’s your

fault.

 

SAM

(hurting)

That’s why I’m here…

 

LILLY

I don’t understand.

 

SAM

And I can’t explain.

(beat)

I have to go.

Sam starts to exit again, but Lilly stops him.

LILLY

Let me do a story on you.

(beat)

The police are after you. The press

are calling you a vigilante… I

could write an article and tell them

what you are.

 

SAM

(getting an idea)

You could change history…

ANOTHER ANGLE

As Lilly speaks, Al POPS back in. Sam looks over to him and as their eyes meet, Sam knows the worst has happened.

AL

She’s gone, Sam.

 

SAM

No.

 

LILLY

Let me help. If I can get the

police off your back, you could be

a hero.

 

SAM

I’m not hero.

(beat)

Sadie’s dead.

 

LILLY

Are you sure?

ANOTHER ANGLE

As Sam looks backward towards the door to the E. R. Lilly’s eyes follow his.

SAM’S POINT OF VIEW – A SHEET

Being placed over Sadie’s face.

BACK ON SAM, AL, AND LILLY

SAM

Yes.

 

LILLY

I’m really sorry.

 

SAM

You said you wanted to do a story.

 

LILLY

Yes.

 

AL

Sam! What are you doing?

 

SAM

Come with me. I have an idea.

Off Lilly’s reaction:

CUT TO

INT. AVENGER’S LAIR – NIGHT (LATER) – ON SAM AND LILLY

Sam opens the door to the lair for Lilly.

SAM

Come in.

Lilly enters and moves into the candlelit room. She’s immediately taken with the atmosphere.

LILLY

I was here before but I never

imagined this.

(beat, off his

look)

I waited outside for you.

 

SAM

How did you find me?

 

LILLY

(holds up the coin)

This. I believe it belongs to you.

Lilly hands Sam the coin medallion.

LILLY

You lost it that first night.

 

SAM

(smiling, taking

the coin)

Thank you. Should’ve checked that

clasp.

ANOTHER ANGLE

As Lilly looks around the room. She moves through the library section full of the Twelfth Century suits of armor.

LILLY

You live here and no one knows.

 

SAM

We’re in a cavern over one hundred

feet below the museum. No one can

find it unless they’re invited.

 

LILLY

Thank you for bringing me here,

Doctor Cooper.

(beat, off his

reaction to his

name.)

I put two and two together as soon

as I saw the photo of you and your

wife in the coin case and realized

you weren’t dead like the stories

say. What I don’t know is why?

 

SAM

Why what?

 

LILLY

Why all this?

 

SAM

It was a period of time when there

was honor. When the people could

depend on their knights to protect

them and keep them from harm.

(beat)

I…I was alone. I had nothing left

to lose and an anger that needed to

be dealt with.

 

LILLY

She was beautiful, your wife…

 

SAM

Yes…

 

LILLY

I didn’t think there were heroes

until I met you.

 

SAM

I’m no hero.

ANOTHER ANGLE

As they talk, they walk around the library.

LILLY

You’ve recreated a past time down

here. Show me everything.

ANOTHER ANGLE

As Lilly catches view of the spare suit above the lab table. They move over to the table.

ON LILLY

As she picks up a glass ball laying on the table.

LILLY

What’s this?

ANOTHER ANGLE

As she asks, the ball slips from her hands and crashes on the floor, exploding.

ON THE BALL

Immediately smoke pours out.

ON LILLY

As she jumps back surprised, nearly bumping into Sam. The momentary near contact electrifies them both. Lilly quickly steps back.

WIDER ANGLE – INCLUDE SAM

SAM

It’s a new, ah… device I’ve been

working on.

 

LILLY

(recovering)

Very effective.

ANOTHER ANGLE

As they move over near the weapon display cases.

LILLY

I’ve been watching you.

 

SAM

I know.

 

LILLY

I saw you save that man from falling

to his death. I was there when you

brought those children out of the

fire in their school. I know all

about you. I really want to help

you.

 

SAM

Why?

 

LILLY

Because it’s hard to find someone

to believe in. I usually end up

with all the creeps. When I was a

kid, I used to read stories about

the princesses locked in towers that

were rescued by knights on shiny

white horses and taken across the

world. My father used to call me

his ‘princess’ and I believed him.

So I waited, but no one came.

 

SAM

(touched)

He’ll come one day.

 

LILLY

(looking at Sam)

Maybe…

ANOTHER ANGLE

As Lilly looks down into the case.

HER POINT OF VIEW – INSIDE THE CASE

Are three silver balls, and a placard that reads: THE BALLS OF CHELSEA (Sam will use them later so see here.)

ON SAM

SAM

I understand what it’s like.

There’s no time in my life to be

there for just one person. I have

to be there for everyone. It’s not

the way I want it. It’s just the

way it is.

INCLUDE LILLY

As they walk.

LILLY

(looking up)

You? You lead the most exciting

life in the world, saving people,

giving them their lives back.

Heroes travel through the night

going where no one else can. They

touch people’s lives the way no one

else does. There’s a mystery that

follows them forever. You become

like that knight there, a legend…

 

SAM

You make it sound so glamorous.

There are no friends, no time for

letting down your guard. It’s

always there, and there’s always

someone else who needs your help,

so you can’t stop. You can’t sleep.

You can’t find somewhere to rest

your head or someone’s shoulder to

rest it on. You’re alone and you’re

always on the move. That’s what

being a hero is.

ANOTHER ANGLE

As Sam and Lilly move next to the Black Knight display case to whom she just gestured.

SAM

That’s what it was like for him.

 

LILLY

(greading)

…the Black Knight. Who was he?

 

SAM

Someone like me.

 

LILLY

What happened to him in the end?

 

SAM

He finally lost the battle.

 

LILLY

(realizing what

Sam’s saying)

I’ll do anything you need. Just

tell me.

 

SAM

I need you to plant a story in your

paper tonight saying that the

Midnight Avenger challenges the

Central Park mugger to meet him

on the roof of the Pratt building at

midnight tomorrow night.

(beat)

Tell him that I know who he is.

 

LILLY

Do you?

 

SAM

I think it’s one person doing all

these things. I need your help to

flush him out. Will you do it?

 

LILLY

You’re putting your life in danger.

The cops want you. If I print it,

they’ll be there to kill you if he

doesn’t.

 

SAM

I don’t have a choice. If I don’t

stop this guy… will you do it?

 

LILLY

Yes.

(beat, looking at

the case, then at

him)

You’re from another world, another

time.

As she speaks, she’s moving closer to Sam.

LILLY

(beat)

I never get the hero…

ANOTHER ANGLE

They’re standing face to face, closer.

CLOSE ON SAM AND LILLY

As Sam bends his head and Lilly lefts her face to him. They fall into each other’s eyes. Almost a kiss, but:

NEW ANGLE – ON ZOE

As she POPS in. Zoe is Alia’s version of Al, beautiful and viciously sexy.

ZOE

What the hell do you think you’re

doing?

WIDER ANGLE

Suddenly Lilly breaks off, and pulls back, surprising Sam.

LILLY

(realizing,

covering)

…I’m sorry.

 

SAM

No… I shouldn’t have…

 

ZOE

Get the hell out of here. I want

to talk to you. Now!

ON LILLY

As she immediately slides toward the door, trying to escape quickly.

LILLY

I… I’d better be going if I’m going

to make the morning edition. I’ll

see you later.

(beat)

I’m sorry.

ANOTHER ANGLE

Lilly rushes out as Al POPS in.

AL

What’d you do to her?

 

SAM

Tried to kiss her.

 

AL

Interesting reaction.

 

SAM

What’d you find out? Does Ziggy

have anything?

Off Al’s look:

CUT TO

INT. PASSAGEWAY TO LAIR – NIGHT (SAME TIME) – ON ZOE AND LILLY/ALIA

ZOE

You stupid girl. You almost blew

it.

 

LILLY/ALIA

But I didn’t.

 

ZOE

Let’s just hope you don’t tomorrow

night. You know what happens if you

do.

 

LILLY/ALIA

I won’t.

 

ZOE

(can’t help it)

So tell me dear, do you really find

him that attractive?

Off Lilly’s look:

CUT TO

INT. AVENGER’S LAIR – NIGHT – CONTINUING

SAM

Al, what does Ziggy say?!

 

AL

Sam, according to Ziggy, it doesn’t

matter what you do or don’t do.

Your plan doesn’t work. Nothing

changes.

(beat)

No matter what, tomorrow night, you

still die.

Off Sam’s reaction:

FADE OUT

 

END OF ACT THREE

 

ACT FOUR

 

FADE IN

EXT. NEW YOURK CITY – SUNSET – STOCK FOOTAGE VINTAGE 1959

INT. AVENGER’S LAIR – EVENING

AL

I can’t believe you’re doing this.

 

SAM

I have to.

ON SAM

As he speaks he begins snapping pieces of the suit into place. He’s getting dressed as though he were a gunfighter preparing for the final showdown. High noon on a rooftop.

INCLUDING AL

AL

This is crazy. You’re going to

die.

(beat)

Ziggy says there’s a ninety-five-

point-three-percent chance. She

analyzed Cooper’s theories.

They’re plausible, but a real long

shot. You’ve got to reconsider.

 

SAM

I can’t. There’s no time. I have

a really bad feeling about this, Al.

Cooper’s Moriarty isn’t going to

stop unless I stop him. It’s the

only way.

CLOSE ON SAM

He straps a dagger to his boot, then picks up a spring-loaded crossbow and pushes it up his sleeve. Sam snaps one final piece into place and stands up.

MIRROR SHOT ON SAM

As he catches his reflection in the Black Knight’s display case. He holds his chin high, kind of feeling the dignity of a knight’s pride. Cooper looks very much the superhero.

ANOTHER ANGLE – MIRROR SHOT

Sam looks at the reflection of the Black Knight’s suit of armor where he stands in the glass. His breastplate and the Black Knight’s line up perfectly as though Cooper could have been him reincarnated. Focus on the hundred crosses which cover both breasts.

BACK ON SAM AND AL

AL

What’re you thinking about?

 

SAM

How much better Cooper would have

fit in then than now.

 

AL

Sam, it’s almost time. You’d

better go.

 

SAM

One more thing…

 

AL

You can’t fit anything else onto

that suit.

ON SAM

As he moves over to one of the cabinets, opens it, and removes the coin medallion. Sam takes it and places the chain around his neck. The medallion hangs on the breastplate as it did in the opening.

SAM

(like a gunfighter

being called out)

I’m ready.

CUT TO

EXT. NEW YORK – ROOF – NIGHT

Silence. Seems like no one is there.

ANOTHER ANGLE

Lilly waits with the police in a dark corner of the roof.

OFFICER

You’re sure he’s going to show?

 

LILLY

Yeah.

 

SECOND OFFICER

We’ll be right here. If you have

any problem…

 

LILLY

I won’t. He trusts me.

ANOTHER ANGLE – ROOF – NIGHT

They hear a noise from the other side of the roof. The rooftop door creaks open and Sam appears.

ON SAM

As he looks out over the roof carefully, then moves out of the door towards the edge and looks down.

SAM’S POINT OF VIEW

A long drop to the street below.

ON AL (SFX)

Startling Sam as he POPS in standing out in the crevice.

AL

(taking one step

onto the roof)

Oops.

Sound of a noise behind them.

AL

Someone’s here, Sam.

ANOTHER ANGLE

As Lilly steps out of the shadows. Sam hears her and turns around.

SAM

Lilly. What’re you doing here?

 

LILLY

I came for my story.

 

SAM

You have to go. I can’t protect

you.

 

LILLY

I’m not leaving.

INCLUDE AL

AL

(fiddling with the

handlink)

Sam, she’s not alone.

 

SAM

What?

 

AL

Uh-oh. She’s got the police with

her.

 

SAM

The police are here already?

 

LILLY

I asked them to come. In case you

needed help.

 

AL

(off handlink)

She’s lying, Sam. Ziggy says she

never wrote the article you

wanted. She didn’t bring the

police here to help you. They’re

here to kill you.

 

LILLY

Besides, the man you want will be

here in a minute.

ON SAM

As he takes a step forward towards her.

SAM

You’re already here.

 

LILLY

I’m…?

 

SAM

You betrayed me.

 

LILLY

No…

 

SAM

You never wrote the article, did

you? You set me up.

(beat)

Why’d you set me up to be killed,

Lilly?

(keeps coming)

Why?!

ANOTHER ANGLE ON LILLY

She starts to scream.

LILLY

Help me. He’s going to kill me!!!

 

SAM

Lilly, what are you doing?

ON SAM

As he reaches out and takes hold of her arms.

ON LILLY AND SAM (SFX)

As Lilly turns into Alia.

SAM

Oh my God. Alia…

 

AL

Oh boy.

 

ALIA

(stops screaming,

surprised)

Sam, it’s you. I… I didn’t know.

ANOTHER ANGLE

As the police rush forward. They stop when they see that Sam’s holding her.

NEW ANGLE ON ZOE

As Alia speaks, Zoe POPS in.

ZOE

How lovely. Lothos arranged a

bonus for us, dear. That

do-gooder Cooper and the honorable

Sam Beckett.

 

ALIA

I can’t kill Sam.

 

SAM

Who’s that? Is Zoe here?

 

ZOE

Well, what difference does that

make? You have a job to do. Do

it!

ON ALIA

ALIA

(to Sam)

Yes.

(beat)

I’m sorry…

She begins to scream again.

ANOTHER ANGLE

As the police rush him.

INCLUDE AL

AL

Grab her, Sam. They won’t shoot

her.

ANOTHER ANGLE

As Sam pulls Alia into his arms, holding her neck in a lock.

OFFICER #1

(pulling back)

Just let her go…

 

AL

Don’t Sam. Ziggy says that’s when

they shoot.

 

SAM

I…I can’t use her, Al, to save

myself. What if they miss?

ON ALIA

As she realizes that Sam’s about to sacrifice himself for her.

ALIA

I can’t let them kill him.

 

ZOE

Don’t be a fool. That’s why we’re

really here. He’s your ticket

home.

 

ON SAM AND ALIA

Before she can say anything, Sam shoves Alia out of the way.

ON ALIA

As she twirls from Sam’s grasp and falls.

ANOTHER ANGLE ON THE POLICE

As they circle Sam, preparing to charge.

ON SAM

Trapped between a triangle of officers.

ANOTHER ANGLE

As Sam unexpectedly spins around in a circle, quickly. As he does, he released three silver balls into his hand from his sleeve. In one swift move Sam stops spinning and throws the balls of Chelsea at the men, knocking them down, stunned, one by one.

ON ALIA

As she sees what’s happening, gets up and runs across the rooftop.

ANOTHER ANGLE – THE SCHISM BETWEEN ROOFS

A fifteen-foot break between rooftops looms ahead. Below is a hundred foot drop to the cement.

ON SAM

As he sees Alia run across the roof.

ON ALIA

As she lifts off, attempting to escape by jumping the schism. But she doesn’t make it, and instead hits the side of the far building, clinging to the edge for life. Alia cries out.

ON ALL – INCLUDING AL

They turn as they here her cry out.

ON SAM

SAM

Alia!

 

AL

You can’t make it, Sam.

 

SAM

It’s a matter of faith…

With that, he runs towards the gap and leaps into the air, vaulting across the wide space between buildings.

For a moment, it seems as though he is suspended there in mid-air as though he could fly.

ANOTHER ANGLE ON SAM

As he lands on the other side and quickly bends down and grabs Alia’s wrists.

SAM

Hold on.

INCLUDE LILLY

ALIA

I can’t go on like this. I

wouldn’t have done it if I’d have

known it was you.

 

SAM

(struggling as he

tries to pull her

up)

Don’t move.

 

ALIA

Let me go.

ON HER HANDS

As they open up.

ON SAM AND ALIA

But he won’t let go.

SAM

No. Do you think Lothos will let

you go? He’ll just leap you out

and Lilly will be dead on the

ground. Help me!

 

ALIA

Please, I can’t take anymore.

I’ll never get home.

ANOTHER ANGLE ON AL AND ZOE

AL

Don’t believe her, Sam. She’s

playing with you. Remember what

happened to Holmes. He fought

with Moriarty and together they

plunged to their death.

 

SAM

Their bodies were never found.

No one knows. They could have

made it.

(beat)

Check Ziggy. What happens to

Cooper?

 

AL

(fiddling with the

handlink,

surprised)

He’s okay, Sam. She doesn’t get

him killed.

(beat)

He goes back to the museum, and

with Lilly’s help, does a story

which captures the Park murderer.

 

SAM

She’s not evil, Al.

 

AL

Well, whatever force pushes her

is.

ANOTHER ANGLE

ZOE

(to Alia)

You bitch. I can’t believe you

did this to me again. You’ll

never see home!

 

SAM

Come with me, Alia.

 

ZOE

You stupid girl. He thinks he’s

going to take you with him?

You’ll die.

 

ALIA

You can’t take me.

 

SAM

You don’t know that.

 

ALIA

No. Let me go…

 

SAM

Let me try. Please.

ANOTHER ANGLE

Alia’s grip is almost gone as is Sam’s on her.

ALIA

Sam… help me.

ON HER HANDS

As they grab his wrists again.

WIDER

As Sam struggles to pull her up.

ANOTHER ANGLE

As Sam pulls Alia onto the roof, she collapses.

AL

Sam, if she comes with you, you

may not make it either.

 

SAM

I can’t leave her here.

 

ALIA

I can’t go with you.

 

ZOE

You’ll wander around for an eternity,

Alia. An eternity. Incubus

demones.

 

ALIA

Incubus demones.

 

AL

Latin, Sam.

 

SAM

It means, evil always wins.

(beat)

It doesn’t have to. You just have

to have a little faith.

CLOSE ON SAM

As he looks at her.

ON ALIA

As her eyes meet his.

WIDER ANGLE

SAM

(feeling it)

Now!

ON ALIA

Deciding. She looks over at Zoe.

ALIA

(as tear falls from

her cheek)

I can’t live like this anymore.

(then turns to Sam)

Ad astra ad aspira. To the stars

through bolts and bars…

INCLUDE ALL – QUANTUM LIGHT (SFX)

Before Sam can leap out, Alia throws herself into his arms and wraps herself around him.

As they momentarily embrace, the blue quantum light engulfs them both, and they leap out together.

EXT. WHATEVER LOCATION IS NEXT EPISODE

Sam LEAPS in. His arms are empty. Sadly, he realizes that Alia didn’t make the leap with him. Al POPS in beside him.

SAM

(sadly)

She’s gone.

 

AL

I know.

 

SAM

Al, where is she?

 

AL

(looking off)

I’m sorry, Sam. I don’t know…

On Sam’s distant expressions:

FREEZE FRAME

 

THE END