harlen@teletale.net
Copyright 1995 Harlen Campbell
THE GAME OF KNIGHTS AND DRAGONS
by
Harlen Campbell
fade in:
white screen
We HEAR a cold wind.
PAN UP and the white becomes a plain of glacial ice with a sparse frosting of snow. The ice stretches forever under a hard blue sky and offers no hint of plant or animal life.
establishing SHOTS
of the scene--a wide depression in ice. Tremendous cold, emptiness and desolation. The SOUND of wind fades and we hear VOICES speaking over a radio channel.
Gallad (vo)
This is heavy.
morgana (vo)
Show him where you want it, Parker.
WIDEr SHOT
We see PARKER in the middle distance wearing sophisticated pure white armor, almost a space suit. His face is hidden behind a white visor that makes his head look like an eyeless skull. He points to a shallow crevasse filled with snow.
parker (VO)
Here, I think.
GALLAD, wearing identical armor, enters the frame carrying a large bullet-shaped object, a multi-channel recorder. He struggles over, drops his burden, and looks around.
Gallad (VO)
I've never been so far uptime.
another angle
with a third figure in the FG. It differs from the others only in a golden disk on the left wrist and a FLAMER on a utility belt. MORGANA lifts her visor and scans the horizon. She is in her early thirties and strikingly beautiful.
morgana
The ice age? No one has.
(beat)
I don't think anyone has. Finish setting up. It's almost time.
ANGLE on the recorder
as it extends legs. Parker touches a switch on its side.
parker (VO)
Whatever happens, we'll have a record.
morgana
(nods)
Take cover.
another angle
As the men scurry toward her.
Gallad (VO)
Do we have to? I want to watch.
parker (VO)
We don't know what killed them or why they crashed. I think--
morgana
If Command cared what you thought, you'd still be in charge. Hurry up.
(lowers her visor)
We have thirty seconds.
They all crouch behind a low ridge of ice with Gallad slightly behind the other two. Their armor makes them almost invisible.
Gallad (VO)
We could watch. They'll be too busy--
morgana (VO)
Silence!
another angle
As they crouch, faces down, the SOUND of the wind rises. Ice crystals drift around them. Gallad raises his head tentatively, sees the others aren't watching, and rises to his knees. A brilliant POINT OF LIGHT drifts over the horizon on a zigzag path.
Gallad
lifts his visor slowly. He is in his early twenties, earnest and curious.
Gallad
Oh...!
three shot
The others look up, rise to their knees.
the floating light
swoops toward them, expanding into a metallic disk eighty feet across and a few hundred feet above the depression in the ice. Smooth surfaced, glowing, it is a classic saucer.
Gallad (vo)
It's beautiful!
three shot
Parker, a grizzled man in his fifties, and Morgana lift their visors hesitantly. Parker is nervous. Morgana is almost impassive. She is watching something she's seen in her mind a hundred times, but the actual event is more beautiful and more terrible than she could have imagined.
the flying disk
hesitates, wobbles, begins to fall.
Gallad (vo)
Something's wrong.
parker (vo)
Idiot. That's why we're here.
morgana (vo)
Wait.
The disk falters, catches itself, and then plummets, half-buries itself in the ice. We hear a steam explosion. A cloud covers the disk. The wind parts the mist and a hatch opens. A small figure staggers out of the mist--childlike, human in
shape, yet somehow alien too. It (the sex is indeterminate) collapses on the ice and crawls painfully toward them.
wider angle
as they watch it's final struggle.
GALLAD
Can't we help? Somehow?
morgana
Be quiet.
The alien's struggle ends twenty feet away. It lays for a few seconds, staring mutely at them, then shudders. Its eyes roll up. The humans lower their visors and begin moving. Morgana steps hesitantly onto the surface of the ship.
INT. SAUCER
Morgana follows a short passage to the CONTROL ROOM -- the walls are invisible, hidden by multi-colored holographic displays and controls. A circular bench in the center of the room surrounds a large ball of cool fire. Switches and controls made of light cover the bench. There is nothing mechanical in the room. One wall is a large display that shows Parker and Gallad waiting outside the ship. Morgana pauses, impressed, when she first sees the room, then moves swiftly. She knows exactly where each control is.
angle on alien bodies
There are two bodies in the control room and three others in small alcoves. Morgana begins carrying them toward the hatch. She is either much stronger than she looks or her armor magnifies her strength. We CUT TO
EXT. ice field
As Morgana hands out the bodies, Parker and Gallad drag them over the ice, pile them on the first. They speak softly over their radio link as they work.
gallad (VO)
Who...what are they?
parker (VO)
We don't know.
gallad (VO)
Where did they come from?
parker (VO)
We don't know that either.
Gallad (VO)
Well, what happened to them?
parker (VO)
Damn it, Gallad!
Gallad (VO)
But why did they crash?
Morgana
has finished her work and heard the last of this exchange.
morgana (VO)
Maybe they were sick. There was nothing wrong with the ship.
When the last body is in place, they stand in silence, unsure what to do next. Morgana breaks the spell.
morgana (VO)
Get the instrument package. I'll finish here.
Parker and Gallad look at each other, then head up the ice. While they collect the recorder, Morgana plays her flamer over the bodies. They smolder and burst into flames. By the time the others return, nothing is left of the aliens but ash and steaming black water.
morgana (VO)
Ready?
Parker nods and they group up. Morgana adjusts the
golden disk on her left wrist, then presses it. They
are enveloped in a blue glow
which opens into a hole in space.
They step into it and the hole collapses behind them. We linger on the ship for
a second. The wind rises.
dissolve to:
ext.
Winter. Wind-blown trash
mimics the snow in the last shot. It is late night on a bad street in a bad
neighborhood -- seedy bars and failed stores. In the distance, the well-lit towers of the
Five DRUNKS
huddle in a boarded up storefront. Two of them wrestle ineffectually for possession of a bottle. We CUT TO
AN APPROACHING MAN
Arthur Penn, about 30 but looking closer to 40, walks unsteadily. He is unshaven, looks hungry, and wears a Goodwill OVERCOAT and crushed HAT.
five drunks
One of the two fighting for the bottle sees Arthur
DRUNK #1
Hey, Sarge! Help!
Arthur hesitates, then ducks into an alley. The drunk breaks off the fight and stares after him.
drunk #1
Well, screw you too, buddy!
drunk #2
Ah, leave'm alone. He's pro'lly talking to his damn bottle.
Arthur
in the alley. An overflowing DUMPSTER sits against the building on his left. Further in, trash cans are dimly visible. Arthur straightens and ten years drop away. His face is now cautious, determined--a man with a purpose. He pulls out a flashlight and plays it around the alley, which ends at a brick wall. He crouches by the dumpster.
drunk #1 (os)
Fuck'm. No reason t'be unfren'ly.
Drunk #3 (os)
I'd like to talk to that bottle.
Arthur pulls a paper sack large enough to hold a pint from his coat, lifts it to his mouth, pulls the paper down and switches on a hidden VOICE RECORDER. He seems tired.
arthur
Dissertation notes...Scavenging behavior among homeless male alcoholics... October 23rd...
11:32 p.m., near the Palomino Lounge...
While Arthur talks, a blue light grows and dies behind him.
the drunks
are rough-housing.
Drunks
(chorus)
Gimme that bottle! -- Get your own, damn it! -- Sure. Loan me a buck 'till my check clears.
(laughter)
Check my rosy-red asshole!
another angle
A well-dressed man is approaching. He makes them nervous.
Drunk #2
Hey, I got a check coming!
Drunk #3
It'll be your first.
well-dressed man
MORL is an imposing figure--in his mid-50s, strongly built, with cold eyes, used to giving orders and being obeyed.
drunk #1 (o.s.)
You want a buck, ask that guy.
drunks (o.s.)
(chorus)
Yeah, ask him. -- Go ahead! -- Do it, man!
wider angle
One of the drunks steps reluctantly in front of MORL, Morl stares at him impassively. The drunk holds out his hand but can't bring himself to speak. After a second, he bolts. Morl walks on. He's heading for the alley. We CUT TO
Arthur
shrinking into his corner.
arthur
(to his tape recorder)
...a cop? He doesn't look like....
He lowers the sack with the recorder and slumps against the dumpster when Morl enters the alley. Morl passes him without a glance. Arthur peers around the dumpster after him.
arthur
Jesus!
Morl
walks like he knows exactly where he's going, but before he can get there, three men attack him from the cover of the trash cans. One of the attackers has a knife and one is armed with a club. There is enough light to recognize Parker, from the ice field, covering the others with a gun from the dead-end, but he seems reluctant to use it. The knife-man is thin and quick. BOLAN, the one with the club, is broad, squat, and enormously strong.
ARTHUR (o.s.)
Shit! Where'd they come from?
arthur
rises to his feet.
arthur
Hey! Cut it out!
another angle
Morl is fighting for his life.
arthur
Stop it!
(beat)
Police! Stop, goddamn it!
Morl completes a kick that connects with Bolan's knee. Bolan grunts and collapses, but then Morl looks back at Arthur. The knife-man takes a chance and stabs him in the back. He falls to his knees. Arthur runs toward them.
ARTHUR
Oh, God! Stop, damn it!
wide shot
As Bolan rises and hops toward the dead end, the knife-man slashes viciously at Morl's face, then runs. Morl SCREAMS. Arthur dashes past him and tackles Bolan, who grunts and wraps his arms around him. He is obviously far stronger than Arthur and is crushing him.
CLOSE SHOT -- Bolan and Arthur
Arthur is strained, full at once of fear and rage. Bolan has the face of a Neanderthal. Low forehead, heavy brow, massive jaw, and bright, quick eyes, also full of rage. He SNARLS.
arthur
Jesus! Let go!
parker (o.s.)
Bolan! Remember Morgana's order!
Bolan growls and tosses Arthur aside effortlessly. He scrambles to his good leg. Arthur reaches for it and trips him. He falls and something bright slides across the pavement.
wider angle
parker
Bolan! Now!
Bolan limps toward the others. Arthur crawls after him until he sees Parker's gun pointed directly into his face. He stops and raises his hands. Parker touches a golden disk on his wrist and a hazy blue glow appears behind him. A hole opens in the blue. Parker covers Arthur as the others enter, then backs in after them. The last thing Arthur sees as the hole collapses is the end of that gun. We CUT TO
aRTHUR
as he scurries along the wall looking for the hole.
arthur
Oh, Jesus! It was right here. Where'd they go? I've gotta be out'a my freaking mind!
morl (o.s.)
Who's there? Is someone there? Are the Knights gone?
arthur
Knights? It has to be here. I saw it.
angle on morl
Hiding his face in his hands.
morl
Who's there? Help me!
arthur
They disappeared right into--
morl
Who are you? I can't see.
arthur
Arthur. Arthur Penn. I was just--
morl
I passed a drunk.
arthur
I guess that was me, but....
Arthur gives up looking for the hole the attackers
used. He fumbles out his flashlight and turns it on. A flat
morl
The last slash of the knife cut through one of his eyeballs and damaged the other, blinding him. Blood and gore run down his face. He is panting.
reverse angle
arthur
My God. I'll call an ambulance.
intercut
morl
There isn't time. Will you help me, Arthur Penn? I can pay.
arthur
No...what can I do?
morl
I can't see.
He fumbles a golden disk on a chain from around his neck and hands it to Arthur. He struggles to his feet, almost falls. Arthur catches him.
morl
Check the setting.
arthur
(looking at disk)
Setting?
insert -- golden disk
The disk is flat, about two inches across, and has a ring around the lip and a button on the side. A green number glows on the face: -1093.2416.
intercut
morl
Is the number still green?
arthur
Yes.
morl
Press the button. It will open the gate.
arthur
You need an ambulance....
morl
I think they cut my lung. Press the button, Arthur. Trust me. This is the way to help.
Arthur pushes the button. The blue light flickers into existence and a hole opens in empty space in its center.
arthur
Shit!
morl
Didn't it work? What happened?
arthur
Who...what are you?
morl
Morl. Did the gate open?
arthur
There's a hole, but....
Morl
I know this seems strange. You have to trust me.
arthur
Are the Knights in there?
morl
They're gone. Please. We have to hurry. I'm bleeding. I'll...will you trust me?
arthur
Oh, hell....
CUT TO:
INT. TIME TUNNEL
as Arthur steps through the
gate, supporting Morl. The tunnel is a dim place, full of faint lights that flicker in and out of
existence too quickly to illuminate and SOUNDS like half-heard prayers.
Branches lead off in dizzying directions. The gate closes behind them, leaves
only a man-sized
arthur
Christ. Where's your hospital?
morl
We have to make a stop first.
arthur
Which way?
morl
Set the key. The disk. You still have it?
arthur
Yes.
morl
Whatever you do, don't lose it, and...if you see anyone...or anything...in here, look away. Understand? Don't look.
arthur
Okay.
morl
Now turn the ring until the number goes down by seventy. That's important. Exactly seventy.
arthur
Okay.
The
morl
What color are the numbers?
arthur
Black.
morl
Turn the ring slowly until they are green.
arthur
Got it.
morl
Do you see a blue circle?
arthur
Yes, there.
Morl
Good. That's another gate. Help me to it.
Arthur notices the crystal in his hand. He looks at it.
insert -- the
Just big enough to hide in the palm of Arthur's hand, but when he rotates it we see the three-dimensional face of a hauntingly beautiful woman floating in it like a flaw in a diamond. We recognize the face as Morgana's. We go to
arthur
looking bewildered. The crystalline face is one more thing he doesn't understand. He pockets it and we CUT TO a
wider angle
as Arthur ties a handkerchief over Morl's gory eyes.
Morl
What are you doing?
arthur
You'll be more comfortable.
morl
Don't worry about me.
arthur
Then I'll be more comfortable.
moving shot
The tunnel SOUNDS rise and fall discordantly as Arthur helps Morl walk. Their voices SOUND hollow, echoless.
arthur
Those men. You called them Knights. They're the bad guys, right?
Morl
Very bad.
arthur
And you're the good guy?
morl
I think so.
arthur
The one with the gun said "Remember Morgana." Who's Morgana?
morl
She's the worst woman in time.
arthur
(doubtfully)
She didn't want them to hurt me.
morl
They would have killed you if they could be sure you didn't...matter. It was only their not knowing that saved you. Why are we stopping?
They reach the
Arthur
We're here.
morl
Press the button again.
Arthur hesitates.
morl (Cont.)
The Knights are gone. I promise.
Arthur presses the button.
over the shoulder shot --
The interior of the circle dilates open. Through it,
we see the same alley they just left, but half the buildings across the way
have been fire-bombed. We hear automatic weapons firing in the
distance, then a series of whumps like artillery.
The
morl
morl
What do you see? Arthur?
intercut
arthur
Everything's changed. Burned.
morl
Do you see the towers?
arthur
One of them is blown up.
Morl
One? Only one? You're sure?
arthur
Can't you hear, old man? Half
the
(numbly)
It's just gone.
morl
Don't worry. Close the gate.
arthur
Staring through the open gate.
Arthur
Oh, hell!
arthur's pov
Parker and the Knight who stabbed Morl appear at the end of the alley. They see Arthur and Morl. As Parker raises a futuristic gun. We see a flash of light and CUT TO
ARTHUR
stabbing the button. As the alley disappears, we go to
another angle
Morl is pointing a PENLIGHT at Arthur.
Morl
What happened? What is it?
arthur
Knights. They shot at us.
morl
We must hurry.
He puts the penlight in his pocket.
arthur
You said they wouldn't shoot me.
morl
That was before. They know you're in the game now. You don't matter.
arthur
I don't matter?
morl
We've got to hurry. Set the key to minus fifteen-fifty-three.
Arthur turns the knob. The
arthur
The numbers turned black.
morl
His pain is increasing. He can't breath well and blood leaks from his lips.
morl
Then fine-tune it! Sorry...can't hold....
angle on arthur
turning the dial.
arthur
They're green, but I don't see a ...wait...it's a long way off.
morl
Help me. Ulana there....
moving shot
as Arthur half-carries Morl through the tunnel.
morl (cont.)
When we get-- Follow river. Look for....
arthur
For what? Look for what?
morl
arthur
End? End of what? The river?
morl
Guwynn. Save Guwynn. Promise....
arthur
Who? Save who? Morl!
Morl is unconscious. Arthur carries him piggy-back. Branches of the tunnel flip past them like shuffled cards.
arthur
Right. Go down a damned river... look for Ulana. Or the end. I'd like to see the end. Stuck in a tunnel, dead man on my back, and my dissertation is due in a month....
He stops as a sphere of light drifts toward him. A thing like a faerie watches him solemnly from the heart of the light. As it passes, the faerie salutes him.
arthur (cont.)
If this isn't a dream, I'm screwed.
You still there, old man? No? Well, the hell with you. Since when are Knights the bad guys? And what does that make you? A goddamn angel?
morl
(half-conscious)
Dragon. We are Dragons...in game...
arthur
Morl? Damn! I'm working for the Dragons. And he called this a game. Chess is a game. Football is a game. This is not a game.
He staggers to the
A wooded hillside, river in the bg. It is midsummer in what will
someday be
arthur
Jesus! Now it's summer! When I wake up, I'm gonna write this one down. Sell it to the movies. Morl? You alive?
Behind him, the gate opens again with the usual blue light. Parker comes out, followed by Bolan and two Knights in white armor.
arthur (Cont.)
If this were a dream, the old bastard would be lighter. Besides, my imagination isn't this good.
Bolan points at Arthur, who has almost reached the river. Parker raises a futuristic pistol and fires. We see a flash from his gun, but there's no bang. A whine passes overhead followed immediately by an explosion.
arthur
What the hell?
He jumps over the river bank. Parker continues firing. EXPLOSIONS rip the forest. We CUT TO
arthur and Morl
knee-deep in water.
arthur
Morl! Wake up! They're shooting at us!
morl
Who...?
arthur
The Knights from the alley. You have a gun? Those assholes are shooting!
Morl fumbles at his pocket. Arthur pushes his hand out of the way and goes in the pocket, pulls out the penlight.
arthur
What the hell? I've got a bigger flashlight. You damned....
He accidentally triggers it. A beam of light shoots from what we now realize is a powerful penlaser and blasts a nearby tree. The shot is accompanied by a SOUND like the crack of a whip as the laser ionizes the air.
arthur
Oh. Oh!
He peers over the bank.
arthur's pov
Parker and the Knights are approaching cautiously.
arthur
points the laser in their direction and fires without hitting anyone, but they take cover. Explosions continue, along with the SNAP of the laser as they shoot at each other.
arthur
I get it. Nothing is what it seems. We need more firepower, old man. Maybe I'll throw your shoe at them. How about it? You got a grenade in your shoe?
parker (o.s.)
Morl!
arthur
You guys ready to surrender?
parker (o.s.)
Hold your fire. Hold it, damn it!
The explosions die down.
parker (cont.)
Are you the man from the twenty-first?
arthur
I don't know what the hell you're talking about. I'm just looking for a hospital.
cut to:
parker and bolan
crouching behind a tree. Parker motions Bolan to flank Arthur.
parker
Give me Morl. I'll send you home.
And we CUT TO
ARTHUR
staring at Morl.
arthur
Home...? I don't need this shit. You dead, old man? Oh, hell!
Bolan leaps into the river ten feet away and charges him. Arthur fires the PENLASER instinctively. Bolan's belly explodes and his upper torso flops into the water. His mouth gapes in a silent scream.
arthur
My God.
He drops the laser.
parker (o.s.)
What happened?
Arthur
Your guy...the ugly one...I killed him. I didn't mean to. He came at me....
Arthur peeks over the bank. Parker and his men are moving toward him, weapons ready to fire. He drops into the water and scrambles madly for the penlaser. He can't find it and looks over the bank again. Parker is getting closer.
arthur
Hold it! I'll shoot! I swear, I--
A blast of energy a hundred times bigger than the penlaser could manage flashes from the trees and strikes one of the Knights. It is accompanied by a SOUND like a clap of thunder. Parker and the other dash back up the hill, pursued by blasts of energy. The ground erupts under the Knight, throws him in the air.
Arthur
leans against the bank and watches. He rubs his eyes.
arthur
Now what?
The
as the gate opens. Parker dashes into it. The remaining Knight has recovered and limps uphill, but there is no way he can make it.
angle on The trapped Knight
looks around hopelessly, then presses his weapon to his chest and disappears in a flash of light. A loud REPORT echoes through the trees. The gate closes and the shooting stops. The silence is deafening.
Arthur
waits. He's in shock. We hear the SONG of birds, tentative at first, reclaiming the forest. Arthur's eyes widen.
arthur
No. Not Indians.
arthur's pov
Three Indians walk out of the trees. The leader, LANCE, is young, handsome, wears only a breechcloth, and smiles like a boyscout. He carries a crystal spear.
Arthur
grabs a rock and threatens to throw it.
arthur
Stay back!
indians
approach cautiously.
Lance
Oh, you speak English.
wider angle
arthur
What the hell should I speak? This is
Lance
That depends. When are you from?
arthur
When...? Stay back, damn it.
Lance
I won't hurt you.
The Indians circle Arthur and Morl. One of them points to what's left of Bolan. Lance nods.
lance (Cont.)
What are you doing here? Why were the Knights after you?
arthur
I'm taking this man to a hospital called Ulana. They wanted to kill him, but...who are you?
lance
I am Many Lances. Ulana is my mother.
Arthur lowers the rock and we CUT TO
ext. indian village -- arthur's pov -- day
The village belongs to an Eastern tribe--longhouses instead of teepees--and it is perfect. Clean, neat, and attractively layed out. The Indians are an even balance of ages and sexes, but all are in perfect health and excellent shape. No sign of infirmity or disease. Very peaceful. Villagers look up as we CUT between scenes of Indian life. We get a sense of normality, of purpose and quiet industry, and hear the SOUND of villagers laughing and talking quietly in a strange language, then CUT TO
a small structure that seems to have grown in place. Lance, holding a reed basket, leads two BEARERS carrying Morl on an improvised stretcher toward the hospital. Arthur follows, looking numb.
lance
Ulana!
hospital doorway
ULANA appears. A powerful woman, a young fifty-something, she sees the stretcher and steps toward it. We go to a
wider shot
as she puts one hand on Morl's chest, the other on his head.
ulana
Morl...?
(to Lance)
Bring a doctor.
Lance drops the basket and hurries into the hospital. He returns with a small crystal FLASK.
arthur
I tried to hurry. He died while the Knights--
Ulana unstops the flask and lays it on Morl's chest. A DOCTOR crawls out. It looks like a jeweled spider, and it scurries up to Morl's neck, bites, then quickly burrows through his skin.
ulana
He isn't dead.
another angle
Morl's chest heaves. Either he's trying to breath or something is moving under his ribs. Arthur collapses against a wall of the hospital, completely overloaded.
ulana (Cont.)
(touching Arthur's head)
So you weren't late. You did well.
arthur
You aren't real, you know. I'm dreaming.
ulana
Do you want a doctor?
arthur
No!
morl
Guw.... Guw....
lance
lifts the lid of the basket and pulls out Bolan's head.
Lance
We found this animal. The orphan burned it, but....
ulana
Her eyes widen when she sees the head.
ulana
We'll question it later.
(to Arthur)
Can you hear me? Are you injured?
intercut
lance
He's new, that's all. He'll come around. He fought bravely.
ulana
When is he from?
lance
A Knight said the twenty-first. An evil century--
Ulana
But pivotal. He needs time. Come. Bring Morl and the animal.
The bearers follow Ulana and Lance into the hospital. Arthur struggles to his feet and we CUT TO
high shot
of Arthur running through the forest. He is paced unseen by a small bird which seems to be keeping an eye on him.
He reaches the river and turns up it, searching until he finds Bolan's legs and decapitated torso. He feels around in the water for Morl's PENLASER and pockets it. Calmer now, he climbs to the spot the gate opened and stands a moment, looking lost. Then he continues up the hill. We cut to
ext. hilltop -- day
The forest is beautiful--peaceful and idyllic.
HIGH ANGLE -- ARTHUR
finds a fallen tree with a view.
A BIRD
watches as
arthur
sits, finally able to relax. The world below is unspoiled. After a few moments, he takes the crystal from his pocket and examines it.
insert --
The face of the woman locked in it's matrix hasn't changed.
arthur
as he HEARS footsteps and hides the crystal.
arthur
How did you find me?
wider angle
Lance approaches him.
Lance
A bird followed you.
intercut
arthur
A bird. What year is this?
lance
By your reckoning? 1538.
arthur
Who are you? Don't say Dragons.
lance
We are the Pennequat tribe. When the English arrive in
eighty years, we'll form the nucleus of the great Anglo-Pennequat alliance that
dominates the
arthur
Never heard of it.
lance
Of course not. Morl told us about you. Alcohol doesn't teach history.
arthur
Go to hell.
Lance
You shouldn't curse so much. It marks you as a temp. One of the time-bound, you understand? A temporary person. Not one of us.
arthur
It makes me feel better, Many Lances. Lance. I want to go home, Lance. That's all I want.
lance
But you're an orphan now. That isn't possible.
arthur
Orphan? My folks live in
lance
It isn't your parents you've lost. It's your time. Didn't Morl take you to 2069? The place with the broken towers?
Arthur nods slowly. He's trying desperately to understand.
Lance (Cont.)
That year is a benchmark. If it had changed too much, he would have returned you, but it's too late for that now.
arthur
It was changed! Morl was surprised that only one of the towers was gone, only one, so you see, I have to be returned. You have to send me home.
lance
I told you, that isn't possible. You've come back too far. The context has changed too much.
arthur
What context?
lance
Think of it as the future. It isn't the same thing exactly because all futures co-exist, but only one is dominant. The Prime Context. That's what the game is about, what we're fighting the Knights over.
arthur
Knights. Dragons. I'm trying to remember exactly when I went crazy.
Lance
You aren't insane, Arthur. The Knights are like machines. They have machines where their hearts
should be. Mechanical souls. Remember 2069? The destruction? The Knights did that.
arthur
And the Dragons? What do you do?
lance
We believe in life, not machines. Life! The Knights are technicians; we are physicians. That's the difference. Their future, their context, is evil. Monsters without souls, marching in lock-step through a mechanical universe, without respect for human--
arthur
Yeah, yeah. They're bad guys, and I get to choose between you.
lance
Oh, Morl chose for you, if one can choose between good and evil. Now you must ratify his choice. That's why I'm here. Mother needs you.
CUT TO:
This is a small chamber, separated from the main room by a hanging tapestry--black with gold chimeras and other mythical figures that seem alive--and lit by four floating globes that emit a cool glow. soft weeping, like a grievously injured child, comes from behind the tapestry. Morl lies on a couch, almost naked, attended by Ulana. At first it looks like he has no eyes but then we see that the top of his face is covered by a wet membrane, like a caul, that pulses gently. He is very weak. Lance and Arthur enter.
morl
...only Guwynn knew. Morgana must have taken her. Tortured her. You have to save her. Ulana? Are you there? You have to--
ulana
We will deal with your daughter when time ripens. What were you doing in the twentieth?
Morl
Had to report. Morgana is up to something. She's shipping things downtime. Guwynn is keeping an eye on...you've got to save her!
ulana
Hush now.
(to Lance)
Does he know what's going on?
(to Arthur)
Will you help us?
arthur
What do you want now?
morl
(weakly)
Arthur? Help me, Arthur. Help....
ulana
He thinks the Knights have Guwynn.
arthur
He wants us to rescue her?
ulana
I can spare only Many Lances. The gate must be guarded, and now I'll have to send someone to the Council with this news.
arthur
God damn it.
lance
Arthur! You're not a temp any--
Arthur is walking around, trying not to look at Morl, but the old man's desperation touches him. He brushes the tapestry. The figures on it dance away from his touch as though they were alive. He notices and jumps.
ulana
We need you. The Knights dominated your century. You understand the way they think, and if Morl is right about Guwynn....
morl
They will put her in a machine.
arthur
So we have to rescue her.
morl
Not rescue. Get there first. Keep them from taking her.
arthur
But she's already been taken!
morl
Ulana, tell him.
ulana
She is taken, but only in one time. Don't forget, we are outside time. You have to get to her first and keep them from taking her.
arthur
But then she won't tell them about Morl's trip. He won't be attacked, I won't save him, and I won't be here to go back and prevent her from being captured and....
lance
Don't think like that, my friend. It will give you a headache.
arthur
If we save her, will I go back to my own time?
ulana
You'll stay here. Another Arthur will live in a
different
arthur
A diff...then who will I be? What will I be?
lance
You're be one of us now, Arthur. Don't worry about it. A temp is nothing much to be.
arthur
You're giving me a headache.
morl
Just save my Guwynn.
Arthur hesitates. At his slow nod, we CUT TO
It is early evening on the hill where they first appeared. Ulana and two of her tribe stand with Lance and Arthur, who wear heavy furs and are armed with stone knives, axes, and spears.
arthur
I'd rather have a gun.
lance
We fight with the weapons of the time. That's the rule.
arthur
Yeah? What about those lasers you used this morning?
lance
There are no temps here. We can get away with it.
ulana
It's time to go. Rescue Guwynn if you can, but--
arthur
But what?
ulana
Stopping Morgana is worth more than a life.
(hands Lance a gold disk)
It is set for Beaker Station. Time be with you, my son.
Lance hugs her. It is an oddly formal embrace. He triggers the key and the gate opens. We CUT TO
int. time tunnel
as Lance and Arthur hurry through the tunnel. Alternate realities branch away like unkept promises.
arthur
What's Beaker Station?
lance
Morl was assigned to watch over the Beaker People.
arthur
Three thousand...?
lance
The Knights have a station there. It is the dawn of the bronze age, an important time.
Lance hesitates at a branching, then turns left.
arthur
How in hell do you keep from getting lost?
lance
You get a feel for it. There's a kind of slope. Uptime is uphill. Also, when a gate is open, it's a little easier to walk toward it.
arthur
Then it's no sweat.
lance
Of course, there are always many gates open.
arthur
Shit! We only opened one.
lance
The tunnels reach every point in time and space. Other people--and other things--use them.
Arthur slows to a walk.
arthur
When I was with Morl, I saw... something.
lance
You shouldn't have looked.
arthur
Why?
Lance doesn't answer.
arthur
Why, damn it?
lance
Men go mad. Now quickly!
He triggers the gate as they dash up to it and we CUT TO
EXT. seacoast
Winter, just after dawn, with a troubled sea in the bg. Arthur and Lance stumble from a hollow in the sand. We hear the wind moaning like a lost soul. It whips ice crystals parallel to the sand and sends Arthur rolling. Lance pulls him to his feet and leads him on a path away from the coast.
arthur
Shit!
Lance
If we arrive too late, we'll have to chase them all the
way to
arthur
Before Lance can answer, Arthur motions him to silence. They crawl to the top of a low rise and peer over it. The terrain has changed from frozen sand to frozen earth and the land is now covered with low trees, twisted by the constant wind. eight Knights wearing shaggy furs and helmets like fantastic animal heads face away from Arthur and Lance, hiding among the trees from a tiny circle of mud-plastered hovels on the bank of a stream a hundred yards beyond them. Lance gathers himself for an attack. Arthur grabs his arm.
arthur
Not yet. We'll attack when they make their move.
lance
You're sure? You know about wars?
arthur
We had a few in the twentieth. Yeah, I know this stuff.
lance
Morl said you were just a drunk.
The Knights begin moving slowly toward the huts.
arthur
Follow me. Stay down.
lance
He said you didn't matter.
arthur
Shut up.
They close the distance to the Knights as they creep nearer the huts.
CAMERA FOLLOWs ACTION
as GUWYNN--around 20, blonde, exotic face framed by the hood of a heavy fur coat--pushes aside the stiff hide covering the entrance to a hut. She shivers and starts for a low wall of driftwood and uncured hides, a windbreak sheltering the community toilet. The Knights freeze when they see her. One of them gestures for an attack. They rise and move in, still trying to delay their discovery. Arthur and Lance follow, closing rapidly. Guwynn reaches the windbreak and turns around, working on her belt and getting ready to squat. She sees the Knights.
guwynn
Aaah! Geede harum! Hova
(pulls a stone knife)
Hova
Men and boys stumble from the huts. Women and children follow them.
knight #1
Hah! Duma ja! Duma!
arthur
Now, damn it!
The Knights wade into the Beaker people with spears and knives, stabbing bellies and slitting throats. The slowest Knight senses someone behind him and turns, screaming a warning. Arthur silences him with a spear in the gullet, then catches another Knight with a glancing blow that only smears blood on his fur. He turns and fights. We cut to
Lance
fighting for his life -- quick and agile but unable to make a kill at close range.
Villagers
defending Guwynn. Disorganized, but dying hard.
Knights
slaughtering villagers, trying to take Guwynn alive.
Guwynn
swinging a knife, defending herself and her village.
lance (o.s.)
Damn. Damn. Damn.
arthur
shoves his spear into the Knight, takes out the one who's about to kill Lance with his knife, and retrieves his spear when the guy using it finishes twitching. Blood everywhere.
arthur
(fighting)
It's not the same without thunder and lightning is it, kid?
wider angle
The remaining Knights turn on Arthur and Lance. Lance catches the butt of a spear on the back of his head and drops. The Knight who hit him prepares to finish the job. Arthur impales him, then can't jerk his spear free.
arthur
Oh, shit!
lance
(dazed)
Ax. Your ax.
Four Knights remain. One threatens the remaining villagers while three circle around Lance and Arthur. Lance recovers enough to jerk at the spear in the Knight Arthur just killed. The action slows as they jockey for position, thrusting their spears at Arthur.
arthur
(fending off spears)
I hate this part. I hate it!
another angle
Knight #1, perhaps overconfident, turns to watch. Guwynn throws her stone knife.
guwynn
Hova dich!
It opens Knight #1's face. He screams and the others attack Arthur, who throws the ax and crushes the skull of one knight. The other two howl and close for the kill. Arthur dodges one and screams.
arthur
Screw the rules!
He pulls the penlaser from his sleeve and burns the nearest Knight in half. The other runs, but a spear flashes by Arthur's head and buries itself in his back.
lance
You stupid son of a bitch!
Arthur
(panting)
Don't curse, Lance. Sign of a temp, remember?
lance
Where the hell did you get that thing? I told you, we fight with the weapons of the time!
arthur
Crap. I fight to win.
guwynn
You idiot!
Arthur
Jesus Christ. Does everyone in time speak English?
Guwynn
Don't you see what you've done? These people have never seen a laser!
Arthur faces the villagers, who retreat in confusion.
arthur
They still haven't.
(pounds his chest)
Thor! Me Thor! War God!
lance
That's ridiculous, but--
(slaps his back)
We did it, anyway. You're a Dragon now. Arthur Penn, Dragon.
The villagers regain confidence and circle Knight #1, who bleeds and spins, surrounded by death.
arthur
Hey, that's a prisoner!
guwynn
Let them. They've earned it.
arthur
We should question him.
lance
Muta doch!
The villagers close in with stone knives and clubs. The Knight moans.
arthur
Wait!
He fires the laser over their heads. The flash of light and the sound of crackling energy cow them. He shouts
arthur
Let him go!
and jerks the helmet away, revealing Gallad.
arthur
You, get the hell out of here!
Gallad runs off.
Guwynn
That was pretty stupid.
(looks at the carnage)
Why did they do this?
lance
Guwynn.... They caught Morl at the gate in the twentieth.
Guwynn
Is he...?
lance
Arthur saved him.
guwynn
But how could they-- Unless they captured me. Forced me to--
(to Arthur)
I owe you more than--
arthur
You people are crazy. We just kept the Knights from capturing you. They don't learn where Morl went, so they can't ambush him and he
won't ask me for help. I shouldn't even be here. I should disappear. Disappear. Poof. You still see me?
lance
That's a different context, Arthur.
Guwynn
I need to see Morl. Things have happened.
The Beaker folk tend to their dead and wounded with the sound of loud wailing and soft cries as we CUT TO
ext.
Moonlight and shadows. Three knights wearing furs and animal heads are silhouetted against the snow. A small, shaggy PONY follows as they march through the woods. We HEAR them talking, cursing, and the snow squeaking underfoot, but we can make out no words. CAMERA follows jerkily, dodging from tree to tree.
guwynn (vo)
This was two nights ago.
morl (vo)
You shouldn't take these chances.
guwynn (vo)
I couldn't use birds. They lack imagination. You know that.
The Knights approach a dark copse of Oaks. The snow here has drifted deeper. One of the Knights stumbles against the pony, grabs its mane for support, and falls. The skin of the pony's head slips off, revealing an evil-looking metal skull--the animal is mechanical.
arthur (vo)
A robot?
The fallen knight struggles to his feet and slips the hide back over the pony's head. He lifts his helmet to secure the skin. It is Gallad, frustrated and embarrassed.
ulana (vo)
No, a construct. They put the brain of a real horse in the machine. It's cheaper.
The knights continue into the copse. A blue glow illuminates the trees. Shadows move in the glow. Indecipherable SOUND of men muttering, giving and receiving orders. The CAMERA moves forward cautiously, close to the snow, until we make out an open time gate and a Knight in white armor beside a floating platform while the others transfer packages from the platform to the pony's back.
morl (vo)
What is that?
guwynn (vo)
Wait.
white knight
turns slowly. It is Morgana.
morgana
Hurry.
ulana (vo)
Morgana!
morl (vo)
The machine-queen herself, but why alone?
gallad
Just a few more.
guwynn (vo)
If I'd had a weapon--
ulana (vo)
You wouldn't be here. Patience. She'll die soon enough.
gallad
That's it.
morgana
Then go quickly.
She kicks the floating platform, now empty, through the gate and follows it. As the gate closes
Ulana (vo)
I wonder where that gate leads.
the Knights begin leading the pony through the snow. We follow the knights, darting from tree to tree, spying. A curious wave rolls across the picture, then another.
morl (vo)
You did well, daughter.
zoom out
slowly, until we recognize the waves as folds in the tapestry in Morl's sickroom. The above action has played out as though the figures were woven into the fabric.
Guwynn sits beside Morl's couch wearing a CROWN, a wire headdress that projects her memories onto the tapestry. Morl is much stronger, though the caul still covers an eye. Ulana is on his other side, with Arthur and Lance in bg. All watch the Knights trudging through the woods on the tapestry.
intercut
ulana
Where do they go?
guwynn
(tired)
To the
ulana
What are they carrying?
Guwynn
I couldn't tell. Something from Morgana.
morl
Something bad then.
Guwynn removes the crown and the images fade away.
guwynn
Yes. Something bad.
lance
If we could just kill her....
ulana
(thoughtfully)
It might not help. There are changes up and down this timeline. Something is wrong.
morl
That gate is important.
ulana
Yes. The changes come from there.
ANGLE ON LANCE as he shoots Arthur an apologetic glance.
Lance
Maybe not.
ulana
desperate for any idea that might clarify the situation.
ulana
What do you mean?
intercut
lance
Only one of the towers was down when Morl took Arthur to 2069.
ulana
Is that true?
morl
(nods)
But we don't know the cause. So much has happened. Even my ambush could have changed the context.
ulana
Not by that much, and Arthur was newly orphaned. That's suspicious.
morl
He was a derelict, Mother. I saw him passed out in an alley with--
lance
(quietly)
He led me at Beaker Station.
ulana
You? He led you?
lance
He took over. He's more than he seems.
morl
This is absurd--
ulana
Arthur?
Arthur has listened carefully as they discussed him.
arthur
I was just trying to help.
ulana
Perhaps, but Lance has raised a question. Could your presence be the source of our troubles?
morl
I tell you, he was passed out. He's a drunk, that's all.
guwynn
He killed Knights, Mother. He saved Morl.
ulana
Nevertheless, if he is responsible for the changing context....
morl
(reasonably)
We don't know what caused the changes to 2069. You may suspect Arthur, but Morgana is doing something peculiar in that new tunnel. She is far more likely to be responsible.
ulana
We should discuss this. Arthur, will you wait outside?
Arthur shrugs and starts for the door. We CUT TO
Fires burn near several of the longhouses. Indians sit around them, talking quietly in their strange language, relaxing after a long day. Arthur looks at them with longing, then walks into the night.
arthur
sits on a stump, watching the Indians from a distance.
Wider ANGLE
Guwynn is standing a short distance off, watching him. She seems fascinated, but not with him as a man. He is more a curiosity.
guwynn
(softly)
It seems so peaceful. It's hard to believe they're preparing for war.
arthur
War?
intercut
As Guwynn approaches him.
guwynn
The English arrive in eighty years.
arthur
So?
guwynn
Eleven million people live in
arthur
From the English?
guwynn
Their culture is technological. Male. The future they create will favor the Knight's context.
arthur
(after a long pause)
These futures, these contexts.... I don't see how they can both happen. Either one of them happens or the other happens. Not both.
guwynn
No, everything happens. The question is which will be Prime.
arthur
The numbers on those disks are negative. Does that mean you're from the future?
guwynn
Well, a future, but you have the idea.
Arthur
So there is a year zero. What happened in year zero?
Guwynn
Lance is right. You are more than you seem.
arthur
Just tell me. Please?
guwynn
That's when the contexts split. Our future, and the Knight's.
arthur
considers the implications of her words.
arthur
So you're from a thousand years in the...in my future?
angle on guwynn
guwynn
Morl is born 853 years after the split. Ulana is born a
couple of hundred years after him. I am born in
(shrugs)
I never saw it. Morl was given Beaker Station when I was six.
Arthur is watching her now. He's very intent.
arthur
And your mother?
Guwynn
You're very curious for a homeless alcoholic, Arthur Penn. You understand too much, too quickly.
arthur
I don't understand anything. Ulana sent you to guard me, didn't she?
guwynn
Until she decides what to do.
arthur
What will she do? Kill me?
guwynn
You saved my father. And me. We owe you a great deal. I owe you....
arthur
What will Ulana do if she decides the changes in 2069 are my fault?
Guwynn
She'll try to undo the damage. Make you forget. Send you back to your time. Don't you want that?
arthur
I'm not sure anymore.
(hesitates)
Do you have Morl's disk?
guwynn
Why?
arthur
I want to see 2069 again. If the changes have continued, then they aren't my fault.
guwynn
Ulana would never approve.
arthur
stands abruptly and faces her, very close.
arthur
(softly)
You owe me. Pay up.
guwynn
guwynn
Don't try anything, Arthur. I'm stronger than--
intercut
Arthur puts a hand behind her head and pulls her into a kiss. It is forceful but not sensuous. Their bodies don't touch, but their lips linger.
guwynn
Did that mean something?
arthur
It means I want something.
guwynn
What?
arthur
Take me for a walk. A short walk. Just five hundred years.
Guwynn hesitates, then returns the kiss. She presses herself against him, but this isn't love. It isn't even lust. She's just curious to see how she'll react, what she'll feel, if she'll enjoy it. She does. We cut to
time tunnel -- arthur and guwynn
guwynn
Ready?
On Arthur's nod, she presses her key. A time gate opens in the circle.
arthur and guwynn
stand side by side facing the opening gate.
Guwynn
Shock and then horror wash over her face.
guwynn
No. No!
over the shoulder shot -- arthur and guwynn
looking into the alley in
another angle
arthur
I wanted to see--
guwynn
No! It's horrible. The Knights win. You...you...buzzard.
arthur
Don't curse. You don't have the knack.
He grabs the key and faces the gate eagerly. The LIGHT BRIGHTENS as the gate opens again.
close shot -- arthur
arthur
Oh my God.
arthur's pov
Rubble extends a quarter-mile from the gate to a vast crater, half full of glowing water. Beyond it, distant rubble smolders. Annihilation. Desolation.
arthur
What...what happened?
arthur and guwynn
as she grabs his hand and presses the key. LIGHT DIMS as the gate closes.
guwynn
Stop!
Arthur shoves her away and presses the key. LIGHT BRIGHTENS as
the gate
opens on a firefight. SOUND of small arms and lasers mixed. CRACKLING BEAMS OF LIGHT, EXPLOSIONS. A woman is blown backwards toward the gate, coming apart as she falls.
arthur
presses the key. light dims as the gate closes, then BRIGHTENS as he opens it again and looks through
the gate
at a wall of flame. Burning people move in it.
guwynn (o.s.)
Stop it.
arthur and guwynn
stare into the gate. The LIGHT alternately dims and rises as he works the button. Guwynn stops fighting for the key and huddles against him. Neither of them can turn away from the gate, but they both want to. Horror, pity, and grief wash over their faces each time the light rises.
guwynn
(weeping)
Stop. Please? Just stop.
Arthur's hand finally drops. He can't look at another future.
arthur
(whispers)
What is happening?
ulana (vo)
The Context Split moved.
cut to:
We HEAR quiet SOBS from behind the tapestry. Something back there is in despair. Catastrophic IMAGES flash across the tapestry. Morl watches from his couch with Guwynn beside him wearing the crown, the wire headdress. Ulana and Lance have their usual positions, but Arthur has moved to center stage beside Guwynn.
ulana (Cont.)
It jumped back to 2069. A thousand years.
arthur
You mean one of those futures actually happens?
morl
(gently)
All of them happen, Arthur.
(to Guwynn)
That's enough, my dear.
She removes the wire crown. The IMAGES on the tapestry fade away.
arthur
But why one after the other...?
Morl
The context split. All those futures are equally probable. There is no dominant context after 2069.
(softly)
Another thousand years are up for grabs.
ulana
Something terrible is happening.
guwynn
At least we know Arthur didn't do it. One man out of time couldn't cause all that...that....
ulana
It's time to learn what Morgana's been up to.
morl
dislikes the idea. He stares at the tapestry with distaste.
morl
You said the animal isn't ready.
close on ulana
ulana
It will have to be. Lance?
angle on arthur
He watches with curiosity and apprehension as Lance steps behind the tapestry. The SOUND of a child weeping intensifies. We HEAR a sharp CRY.
favoring lance
As he leads a huge dog on a leash into the room. The dog's head has been cut off. Bolan's head replaced it.
close on bolan
His face is pale and grief-stricken. The dog's legs are raw where he tried to chew them off, open a vein, die. His mouth is muzzled and he hides his face in shame as Lance pulls him into the room.
close on arthur
Incomprehension, revulsion, nausea. When he finally understands what he's looking at, he closes his eyes.
ulana (o.s.)
It hasn't accepted its fate yet...
wider angle
ulana (Cont.)
...but we may learn something.
arthur
How could you?
intercut
ulana
Do this? Your century killed forty million in a single war. You starve millions every year.
Arthur forces himself to look.
arthur
We never did that.
Bolan meets his gaze for half a beat. His eyes plead. Behind the muzzle, his lips mouth an unintelligible plea.
ulana
Would you rather see its brain in a steel cage like that horse the Knights made?
morl
Get on with it!
Ulana
It's an animal. Think of it as tissue...oh, very well. Guwynn?
Guwynn hands her the wire headdress. Ulana forces it around Bolan's skull and the tapestry comes alive with IMAGES of a band of Neanderthals: a woman breast-feeding, children playing, domestic and touching.
Ulana
Morgana, animal! Show us Morgana!
IMAGES of the tribe continue on the tapestry.
ulana
Lance? We'll need a Friend.
Lance reaches behind the tapestry and gives Ulana a FRIEND, a wand tipped with probes like feathery tentacles. Bolan sees it and screams through his muzzle. The IMAGES become frantic, shot through with red streaks.
arthur
Wait!
morl
There is no pain, Arthur. No true pain. We've done studies.
Bolan continues his muffled screams. Ulana lays the Friend on his head. The tentacles crawl through his skin. The dog's legs twitch and Bolan gradually falls still. The tapestry clears. Bolan gasps through stretched lips, flared nostrils. He crouches on his belly and whimpers. His tail wags.
arthur
This isn't right.
lance
(not watching)
It's necessary.
arthur
He looks like a...a Neanderthal.
morl
It's one of the prehumans. Another orphan. The Knights must have had a use for it.
arthur
Like you had for me?
Morl shakes his head. Bolan whimpers.
guwynn
It will be over soon. Look. He even likes it.
Bolan's eyes reveal his horror. He hates what he's become. Nevertheless, the dog part of him enjoys the Friend. It rubs its belly on the floor.
ulana
(to Bolan)
Show us Morgana! Where is she?
morl
The Friend just...encourages him.
Bolan barks. He's fighting the Friend with everything he has. Ulana shakes it a little.
bolan
Heeee...arh!
guwynn
Look at his tail, Arthur. This doesn't hurt him.
ulana
Where? Show me!
An IMAGE forms on the tapestry: Morgana, lightly clothed, in a vast, dark hall with a floor of ice. The top of the saucer protrudes from the ice. Several Knights accompany her, but they're hard to see, as though they hadn't interested Bolan. Morgana, on the other hand, shines. Her face glows. It seems idealized and her every movement is graceful.
ulana
(amused)
The animal seems to suffer from an infatuation.
morl
But that ship! Outsiders!
arthur
It looks-- I don't believe it.
ulana
You've seen Outsiders?
arthur
Not personally, but they've been sighted for at least sixty years.
ulana
(puzzled)
I thought I knew your time. I remember no such reports.
(shudders)
We knew she was uptime, but that looks like....
morl
The Ice Age?
ulana
Why would she go so far back?
morl
Maybe that was the only gate she could find near the ship. What is she doing with it?
ulana
Animal? Show us!
DISSOLVE to:
int. outsider ship
Many of the lights and holographic displays are missing now. She works intently on a device that projects a map like a spiderweb over the circular bench in the center of the control room.
parker (o.s.)
Isn't that part of the navigation system?
another angle
Parker, in the BG, stops packing a container to watch her. He wears armor, but his helmet is flipped back.
morgana
Nav is too closely linked to the power system. I don't dare touch it until I can shut everything down.
parker
Any idea when that will be?
morgana
(frustrated)
If the ship hadn't blown up in at least one of its futures, you'd never have found the piece that led us to it, Parker. I don't want to trigger it prematurely.
parker
And I don't want to be here if you do, but you only have a month left.
morgana
I'll worry about that. Your job now is getting the material to Korda.
Parker gives her a look of barely concealed resentment and goes back to packing his box.
Morgana (Cont.)
Is he making any progress?
Parker
He hasn't even decided if it comes from Earth.
Morgana
He's still on that? Those bodies weren't human!
parker
Or their genetic structure is so extensively modified that we don't even recognize them. That's his point, anyway.
morgana
(stops working)
He thinks they're Dragons?
We HEAR a gasp from Ulana and the watching Dragons.
Parker
(shrugs)
What do you think?
morgana
This isn't a Dragon ship. It's too sophisticated for those mutants, and it isn't one of ours. We would never modify ourselves like that.
parker
I hope you're right. If you aren't, Command will be very disappointed.
(meaningful pause)
With you.
On that note, he pulls on his helmet, hoists the box, and leaves.
MORGANA
(softly)
Get out of here.
ulana (O.S.)
That's enough.
Morgana's face freezes in an expression of worry and determination.
The IMAGE on the tapestry fades.
morl
This is...I don't know what it is.
lance
Could they be Dragons? From way downtime?
ulana
(very troubled)
I don't know. That ship looked like Knight work me. Arrogant, but.... I think Morgana's right. I don't think it came from Earth.
morl
One thing is certain. Morgana is playing a very dangerous game. Whatever the Outsiders are, they won't like what she's doing. They're powerful. They've been seen up and down most of the contexts, and they don't use the tunnels.
Arthur
What do they use?
morl
The ships. That may be what she's after. If Morgana learns to travel outside the tunnels, she will control the Prime Context.
ulana
We have to stop her.
morl
She's dismantling the ship. Where is she taking it?
ulana
Show us, animal!
Bolan resists, but the IMAGE on the tapestry changes
to a street scene in ancient
ulana
(not surprised)
The IMAGE changes to a ROMAN FARM surrounded by low hills with a river in bg.
morl
The Empire is their strongest hold before the 20th century.
(beat)
We have a gate outside the city.
ulana
understands him. The IMAGE fades when she takes the Friend from Bolan. She disappears behind the tapestry and we go to
lance
still staring at the tapestry. He looks wistful.
lance
I've never been to
morl (O.S.)
You won't like it.
wider angle
as Ulana distributes cups to Lance, Guwynn and Arthur.
ulana
Drink.
Lance and Guwynn drink without question. Arthur looks in his. It holds a few inches of AMBER LIQUID.
arthur
What is this?
ulana
Languages. Greek, Latin, and some others. Mostly European, mostly before around 1000 AD.
Arthur looks at her in disbelief. After a moment, he shrugs and tosses the drink down.
arthur
That's the easiest education I ever got.
(pause)
Did that sound like Greek to anyone?
lance
I've never understood you.
Guwynn hides a smile and we cut to
int. roman villa -- day
Lance and Guwynn are dressed as Roman citizens. Lance is in a toga. Guwynn's gown is long, flowing, almost diaphanous. Very attractive. Arthur wears a short, dirty robe.
arthur
It figures I'd be a slave.
lance
Servant, Arthur. There's a difference.
arthur
Big deal. I'm still taking orders.
guwynn
Then fetch me a mirror, boy.
arthur
Fetch your own damned mirror.
MARCUS--40s, strong, good-looking, dressed as a wealthy merchant--enters with a short sword, scabbard and helmet. He drops them on a table by Arthur.
marcus
These are the best I have at the moment. They should do.
lance
(reaching)
They'll have to.
marcus
Roman gentlemen don't carry weapons inside the city.
Arthur smiles slips the helmet on his head.
arthur
How do I look?
guwynn
Full of yourself.
Lance
(to Marcus)
Have you heard anything?
marcus
Their gate hasn't been used for three days.
arthur
Is that unusual?
marcus
(nods)
They may come tonight. You'll be in a house across from the gate.
(to Arthur)
You need some training with that.
arthur
(waving sword)
Nuts. I fenced in college.
Guwynn exchanges a glance with Lance. This is another hint that Arthur isn't what he seems.
marcus
You don't stab with a short sword. You hack.
Guwynn
arthur
Before the war. I didn't become a drunk until later.
lance
What war?
marcus
Enough.
(claps for a slave)
Claudia will take you to the house.
ext.
Claudia,
a slave--mid 30's and pregnant--leads them through the streets of Imperial
claudia
Make way. You there, make way!
lance
I had no idea
Guwynn
It's dirty. It stinks. Beaker Station is clean compared to this.
arthur
Half a million people live here, counting slaves.
guwynn
At least those are of some use.
arthur
They're people too.
(steps up beside Claudia)
Let me carry that.
claudia
(surprised)
No! If you could make a path...?
arthur
No problem. You there! Move it!
MAN #1
You'll have to go around.
arthur
Like hell. Why?
Man #2
The Egyptian Bitch has the road blocked again.
arthur
Who?
Man #1
Caesar's whore. Cleopatra.
arthur
My God! Cleopatra?
claudia
I know another way. Are you coming?
arthur
Cleo. Wow.
They push back through the crowd as we cut to
int. roman house -- day
Claudia leads them into a poor room, drops her bundles and starts working on a fire.
lance
(looking out window)
The gate is behind that stable.
arthur
How did Marcus find it?
lance
A Greek told him about it around sixty years ago.
arthur
Our Marcus? Sixty years ago?
lance
Most gates last a few months. Five or ten years at most. This one has a two-hundred-year window.
They hear a cookpot hit the floor behind them.
claudia (o.s.)
Please, Lady....
angle on claudia and guwynn
who are having a contest of wills over a spoon.
claudia
He'll whip me if he learns you cooked!
guwynn
(glances at Arthur)
You're pregnant. I cook for my father. I can help.
Claudia
He gave you me for that. I cook here.
guwynn
No one will tell Marcus.
arthur
Let her cook, Guwynn.
(to Lance)
Who controls the gates?
arthur and lance
lance
Whoever has the keys, obviously.
arthur
Where do the keys come from?
lance
Ours come from the Council of 2211. That's our 2211. Around the 53rd century, your time. I don't know where the Knights get theirs.
arthur
Does your council make them?
lance
(laughs)
No. I heard they come from way down the timeline. I heard another story that they come from off-planet. There are Dragons everywhere. And everywhen.
arthur
Everywhere? You mean--
lance
I mean everywhere.
arthur
So the Outsiders could be Dragons?
WIDER ANGLE
Guwynn has her nose in Guwynn's pot in BG.
lance
Or Knights. Or something else.
Guwynn
You aren't going to boil that?
Claudia
Would the lady prefer I bake it?
arthur
Let's take a walk, buddy.
Guwynn glares when she hears that. We cut to
ext. street -- day
mid-afternoon, outside the stable. Lance nods at a poorly constructed wooden gate in a wall across the way.
Lance
The gate is through there.
Arthur
They only use it at night?
lance
They take the deliveries out early in the morning, usually by wagon. They could use the gate anytime.
Arthur grabs Lance's throat and pushes him against a wall.
arthur
By the Gods! You will pay me!
lance
What?
arthur
Three months! You owe three months!
(quietly)
We're being watched.
lance
You're mad. One month, no more.
(whispering)
Where?
Arthur points with his eyes. Two armed men lounging in the door of a tavern watch them suspiciously.
arthur
Three! At least three!
lance
I paid two months last night, fool. You were drunk.
arthur
You did?
lance
Come, I'll buy more wine. You'll remember.
Lance tries to lead him away. Arthur shrugs off his hand.
arthur
No, by the Gods, you promised wine. There's a tavern across the street.
Lance
Are you crazy?
Arthur pulls his sword and strides toward the shop.
arthur
Maybe if I get drunk enough you'll pay me the last month, damn you!
Lance
Arth-- Come on!
arthur
(bellowing)
How many throats did I cut for that money? Five? Ten? You owe me wine and silver!
The men look nervous as he approaches waving the sword.
arthur
You! And you! You want wine? This citizen will buy if you cut a few throats. He pays well...
(stumbles)
...but in the morning your purse is empty. Ha! That's a
joke, damn you! You too stuck up to laugh at my joke? You see this blade? It's
been to
first man
You're drunk.
arthur
But am I too drunk?
lance
He's crazy. I can't control him when he gets like this.
arthur
What are you doing in my tavern?
second man
This is a public tavern, friend.
arthur
Is it? I came here once. That makes it mine, right?
first man
Right. Come on.
second man
We're supposed to--
first man
Down the street is good enough. We get paid either way.
arthur
Who's got wine? Damn it, wine!
The men retreat as an old SHOPKEEPER appears with a skin of wine and cups. He fills one quickly.
arthur
This tastes like piss! You better have a lot of it.
lance
Arthur....
arthur
Pour a cup for the rich citizen too.
lance
Arthur, I don't have any money.
arthur
Been paying the help again?
innkeeper
Sir...?
arthur
How much is this blade worth? It's well blooded and, by Jupiter, I sharpened it just this morning.
innkeeper
Sir? The wine is a gift.
arthur
In that case, bring another skin. And stools! You expect a fine gentleman like my employer to sit in the dirt?
dissolve to:
arthur and lance
hours later, with an empty skin at their feet. Lance refills Arthur's cup from a skin on his lap, then tops off his own.
lance
Goddamn, Arthur, you drink more'n any man I ever seen...saw.
arthur
Being a drunk is good practice.
lance
You're a good guy. Don't know why mother doesn't like...did you know she doesn't like you?
Arthur throws an arm over Lance's shoulder, casually pouring most of his wine into a large puddle as he does so.
arthur
As long as you like me, buddy.
lance
I do.
arthur
So how come we're here, anyway?
lance
Gotta find Morgana and that ship. You forget already? You drunk?
arthur
I mean, why don't we just open that gate she used and chase her down?
lance
That's a good plan. A good plan!
arthur
So let's do it.
lance
Wouldn't work. You gotta know the setting, see? If you don't know the setting, you can turn that dial all
day long and you'll never find the gate. You know how many years there are? Lots, that's how many. Lots and lots of years. You can get lost in the years, Art.
arthur
I never thought of that. Okay, tell me this. How come those Knights--
lance
Damn Knights.
arthur
How come those damn Knights carry that stuff from one gate to another? Why not take it straight from the ship to that gate?
lance
Artie, Artie. You mind if I call you Artie?
arthur
Anything you want, ol' Lots'a Lances.
Lance
That's good. Lots'a Lances. Ha!
Well, the thing about the tunnel is there's only one, but it's big. I mean big!
And second, it doesn't go in a straight line, either. It just weaves around,
like you want to go from
arthur
Yeah?
Lance
Only maybe you gotta do a run around moon too. I mean, it's big! Maybe there's a gate on the moon. I dunno, but I know you never know where you are for sure, so you just find a gate and then you see where it takes you.
arthur
Who made the gates, Lance?
lance
Same as the keys. Nobody knows. They're just there.
arthur
Tell me about the Council of 2211.
lance
How'd you know about that?
arthur
Is it like a government? Do you elect them?
lance
Now that's funny. You know how many democracies there are in the future? You could count them on one finger and have a finger left over. Get it? A finger left over.
guwynn (o.s.)
Do you know what's really funny, Lance?
angle widens
Guwynn has been listening, and she's mad.
guwynn (Cont.)
You're drunk. That's funny, but you know what's funnier? Arthur isn't.
Lance
Sure he's a drunk. Your father said so. What you doing here anyway?
guwynn
Dinner is ready.
(to Arthur)
Get him home if you want to eat.
cut to:
int. house -- night
Lance is snoring on a pallet in the corner. Arthur and Guwynn sit in front of the window. Embers glow in a brazier in the center of the room but most of the light comes through the window, from the moon and stars over a city without streetlights. Arthur lifts the half-empty skin.
arthur
Wine?
Guwynn
Don't.
Arthur
I just--
Guwynn
I know what you were doing. You're clever. Too clever. Who are you, Arthur?
arthur
A man who got in over his head.
Guwynn makes a face walks away.
guwynn
stands in the doorway looking at the sky. Arthur joins her.
guwynn
I talked to Claudia while you were getting Lance drunk. Do you know how old she is?
arthur
Thirty, thirty-five. Why?
guwynn
She's seventeen. She's pregnant. Marcus uses her whenever he feels like it.
Arthur
What's wrong, Guwynn?
Guwynn
Everything. Hold me?
He takes her in his arms. It turns into a long kiss. As their passion grows, a BLUE LIGHT begins to flicker through the wooden gate and against a high wall of the stable across the street.
close shot -- guwynn
looking over Arthur's shoulder as he holds her. The flickering blue light is visible in her eyes.
guwynn
They're here.
cut to:
ext. knight stronghold -- day
The yard of a villa outside
Gallad
There can't be much left up there.
parker
She'd move the whole ship to
Gallad
But she can't. Can she?
parker
Unless she can figure out how to disconnect the power supply, this is it.
Gallad
Then what? I mean, if she can't turn it off?
parker
(flatly)
We destroy it. We can't take a chance on the Outsiders learning what we did.
ANOther angle
As Parker and Gallad approach the house, they see KORDA, a gruff scientist, waiting at the door.
parker
(under his breath)
I'm getting sick of this.
korda
Are you about finished?
gallad
These are the last.
korda
Hurry it up. We have complications.
parker
(spits)
Complications.
He shakes his head and we CUT TO
ext. orchard -- day
Arthur, Lance and Guwynn are watching the stronghold from cover.
guwynn
I counted four, plus the three who made the delivery, and none of them are temps.
lance
Can we get out of here now?
arthur
You need an aspirin?
lance
A what?
arthur
Medicine. Don't tell me this is your first hangover.
lance
What is a hangover?
arthur
(shaking his head)
Another advantage to time travel.
guwynn
Will you pay attention? There are seven Knights in there. Seven!
Arthur
So?
lance
She's right. Seven is too many. Something's going on here.
guwynn
Mother should know this.
arthur
(to Guwynn)
Do you still have Morl's key?
guwynn
He took it back.
arthur
(to Lance)
Give her yours. We'll keep watch until she gets back.
Lance tosses the key. Guwynn catches it and hurries away.
arthur
How long will it take her?
Lance
An hour to town. Traffic. Another back. If Ulana moves quickly, she should be here before dark.
int. knight stronghold -- day
Korda faces six Knights in a large room. Tile floor, plaster walls, couches, tables covered with assorted devices from the ship and the instruments he was using to study them. He is in the middle of an announcement.
korda
...three Dragons in the orchard. The tell-tales picked them up shortly after Parker arrived with the shipment.
parker
You think they followed me?
korda
It could be a coincidence, but yes, Parker, I think that's exactly what they did.
parker
I'd have seen them.
korda
(blandly)
Would you?
(to others)
We must keep them from reaching their gate. The task will be complicated by our need to take at least one of them alive. We will split up and--
parker
Suppose they're Outsiders?
korda
(surprised)
I hadn't considered that. If they're...we have to destroy everything. Everything.
parker
You can do that?
korda
I have a small device for that purpose. She thinks of everything.
A LIGHT flashes on a small instrument on the table. It is the cybernetic AGENT monitoring the tell-tales. It speaks with a woman's voice: calm and measured.
agent
One of the intruders has moved beyond range of my monitors.
korda
(flustered)
I...we're out of time. You'll just have to go. Catch them. Somehow.
Korda moves shakily to the table. The men are all on their feet, grabbing swords and knives. He adjusts the DEVICE--squat, ugly, and ominous--with trembling hands as he speaks.
korda (Cont.)
Hurry! Wait! Before you come.... I wouldn't want to activate it unnecess.... What are you waiting for? Go!
As he waves them out, we CUT TO
EXT. ORCHARD
lance
Arthur?
arthur
Yeah?
lance
Would you have one of those aspirin medicines on you?
arthur
Sorry, kid.
lance
That's all right.
arthur
I'm sorry about the wine, too. I got a little lost, you know? I don't understand what's going on.
lance
It's hard being an Orphan. Most of them don't make it.
arthur
What happens to us?
lance
Shock, I guess. They don't adjust and something kills them. Knights. Something stupid, anyway. This is a dangerous game.
arthur
I see.
lance
You've taken it better than anyone I ever-- What's going on?
Six Knights have burst out of the house and are charging into the orchard. Gallad is in the lead. Parker brings up the rear.
arthur
(rising)
Time to rock and roll.
lance
What?
Arthur jerks Lance to his feet and pushes him.
arthur
Run, damn you!
And we CUT TO
MOVING shot -- lance and arthur
running through the orchard. Branches whip them as they leap over or crash through years of undergrowth. SOUND of THUDDING FEET, BREAKING TWIGS, HEAVY BREATHING.
Lance
(gasping)
Where are we going?
moving shot -- knights
entering the orchard at less than full speed, nervous about Parker's suggestion that the intruders could be Outsiders. Parker has caught up with Gallad, but he slows suddenly.
Parker
Hold it!
Everyone stops but Gallad.
parker
Gallad! You young fool! Stop!
Gallad
(stopping)
What? What's wrong?
parker
You know where you're going? Listen for them, boy. Listen!
They hear the SOUND of RUNNING in the distance.
parker
There!
The chase resumes. We go back to
MOVING shot -- lance and arthur
lance
Arthur? Where are we going?
MOVING shot -- knights
in pursuit. Gallad is pulling ahead again. Parker is falling behind.
MOVING shot -- lance and arthur
sweating.
lance
Where are we going?
arthur
Away.
MOVING shot -- knights
Parker is definitely tiring. Gallad's youth carries him ahead of the others.
MOVING shot -- lance and arthur
lance
I thought you were in a war.
arthur
So?
lance
Shouldn't we be attacking?
arthur
With what?
MOVING shot -- gallad
running effortlessly. He isn't tired at all.
MOVING shot -- lance and arthur
Lance has pulled ahead. Arthur looks back, sees Gallad gaining, and doubles his effort. He catches Lance.
arthur
We've got to split up.
lance
What?
Arthur
Divide and conquer, kid. Tactics, right?
lance
(slowing)
You aren't going to...?
MOVING shot -- gallad
is only thirty yards behind them.
MOVING shot -- lance and arthur
arthur
They'll get me anyway. Catch up with Guwynn. If you miss her, find help. Marcus must have a key.
Lance
I won't leave you.
Arthur
You aren't leaving, damn it. You're rescuing me. Call the cavalry!
Lance
Huh?
arthur
Jesus, kid. Get your damn momma. Tell her to bring an army.
Lance
Oh, hell!
Arthur
Keep cursing. It helps.
He cuts downhill. Lance hesitates, then turns uphill and runs with everything he's got.
MOVING shot -- gallad
Faced with a choice, he takes the easier target--Arthur--and runs with determination. He still hasn't tired.
MOVING shot -- knights
They are slowing down. They all follow Gallad after Arthur.
parker
Exhausted, he stops and watches with disgust.
parker
(yelling)
Don't everybody chase the same.... You idiots! Some of you...shit! Gallad! Alive! Remember?
MOVING shot -- arthur and gallad
Arthur in FG, Gallad a few yards behind, gaining on him. Arthur is sweating. He doesn't have much left.
parker (Cont., O.S.)
(shouting in distance)
We need him alive!
arthur
(grins and mutters)
Buy that man a drink.
He pulls his sword and reverses direction, screaming.
gallad
falls as Arthur leaps at him. He lifts an arm to ward off the sword. His eyes widen as he recognizes Arthur from the fiasco at Beaker Station.
gallad
You!
Arthur hesitates, then lowers the sword.
arthur
This is two you owe me, kid.
He glances up. The Knights are almost on him. He dashes off as Gallad climbs slowly to his feet.
moving shot -- arthur and knights
The Knights are close now. They call orders to each other as Gallad catches up.
knights
(together)
Spread out! Get around him! Cut him off!
gallad
Take him alive! Alive!
arthur
Like hell!
But he's been outflanked. The Knights on either side begin to close in. Arthur slashes at them with his sword, but that only keeps them a few yards away and it tires him even more quickly. He glances over his shoulder. Gallad is right behind him, running easily.
arthur
(under his breath)
Sorry, kid. Third time is out.
He reverses direction and swings his sword with a long, overhanded blow.
angle on gallad
jumping out of the way. He avoids the sword aimed at his head but the falling blade hacks his right leg open. The skin parts easily and the sword strikes sparks from metal underneath it. Gallad falls to the ground and stares up at Arthur.
angle on arthur
looking at the wound over his sword.
arthur
Jesus Christ.
(sword wavers)
What are you?
Several Knights have swords and knives pointed at him now. One of them grabs Arthur's sword. Another shoves him. He doesn't resist. He can't take his eyes off Gallad's leg.
arthur
(looking around)
Are you all machines?
parker
(trotting up)
Tie him! Who brought rope?
Gallad
We won't need any.
A Knight pushes Arthur toward Parker.
knight
Move it!
ANGLE ON PARKER pointing at one of the Knights.
parker
You! Get back to the house. Tell Korda to disarm his damned device. Tell him we're bringing a prisoner.
(to himself)
This should satisfy the son of a bitch.
CLOSE ON ARTHUR, bewildered and resigned, as he begins walking. We CUT TO
int. villa
Arthur sits on a stool in the room with the Outsider equipment. Korda is pacing in front of him while the others hang around, waiting to see what Arthur has to say.
korda
(to Knights)
I told you to get the Outsider material packed. Move!
(to Arthur)
Your name doesn't help, and I have no interest in your rank and serial number, whatever those are. Who are you working for?
arthur
I'm an Outsider.
Korda
You...! Where did you hear...? Of course. Someone was indiscreet.
(glares at Parker)
I told you to pack!
parker
Where do you intend to move it?
korda
I haven't decided yet.
parker
You'd better ask Morgana. If you screw this up, your
next assignment will be
korda
I...you may be right. She can be difficult.
favoring parker enjoying himself.
parker
(softly)
Tell me about it.
korda
What? What did you say? Never mind. Just get to the ship. Tell Morgana what happened here. Ask where she wants the material moved. Go now!
wider angle as Parker saunters out of the room.
korda (Cont.)
(points at a Knight)
See if you can hire a large wagon.
(to the rest)
I told you to start packing. What are you waiting for?
gallad
ignores Parker. His attention is on Arthur. He seems both fascinated and confused by him.
gallad
What about the prisoner?
korda
Oh, yes. The prisoner.
(to Arthur)
I haven't forgotten you. Outsider. Ha! I wonder if you know what an Outsider really is? Gallad, fetch an Advisor.
arthur
What's an advisor?
Korda
A tool, Arthur. Something to encourage you, that's all. Don't worry. It doesn't hurt.
arthur
(nervously)
Like a Friend?
korda
A Friend? You're familiar with the Dragons' ways? No, it's nothing at all like that. A Friend is a living organism. An abomination...!
WIDER ANGLE
showing the three remaining Knights. They have quit work and are enjoying this.
korda (Cont.)
Our Advisors are cybernetic mind-links. They...adjust...your thinking. Very painless, but I assure you, you will answer my questions.
angle on arthur
who has been listening intently.
Arthur
Maybe we could just chat.
Korda
I'm afraid the time for chatting is over. Where is that Advisor?
Gallad
(reluctantly)
Coming.
He leaves the room slowly.
Arthur
What do you want to know?
Korda
We'll get to that when you're a bit more eager to answer my questions.
(looks around)
What are you doing! I told you idiots to pack! Don't you realize
two of them got away? If we aren't gone by the time they return with help--
Gallad returns with the Advisor, an evil-looking metallic skull cap. He has been thinking.
gallad
Sir?
korda
What is it now?
gallad
If we're low on time--
Korda
You shouldn't waste what little we have. Get that thing over here!
gallad
(doesn't move)
I was thinking....
korda
Don't think, boy. You haven't been trained for it. I'm waiting.
arthur
Let the kid talk.
korda
(exasperated)
Bellus! Take the Advisor from Gallad. Bring it to me.
BELLUS, one of the Knights, begins to move.
Gallad
Wait! If he has anything important to say, Morgana should hear it directly.
korda
You want to bother her with this?
ANGLE ON GALLAD approaching Korda and Arthur on the stool.
gallad
It's just that if anything goes wrong....
ARTHUR sees where he's going.
arthur
I won't tell you anything I don't have to. If you ask
the wrong questions, or miss one that your boss would have asked, you'll all be
hauling corpses in
wider angle
Korda doesn't like it. He looks around. The Knights have stopped working again.
korda
The boxes! Pack the damned boxes!
(to Gallad, angrily)
You know you're right on the edge of insubordination.
gallad
I'm just trying to think what Morgana would want.
korda
She wouldn't want him to see that ship. Well, it doesn't matter. He may go to the Ice Age, but he won't come back.
(to Bellus)
Get a slave collar.
Bellus heads for the door.
korda (Cont.)
You young fool! You want Morgana to question him? Very well, you can take him to her.
Bellus returns with the collar and chains. As he fastens it around Arthur's neck, we go to
GALLAD looking stricken.
gallad
(softly, to Arthur)
I'm sorry.
another angle
as Korda hands the chain to Gallad, we CUT TO
ext. ROAD on the outskirts of
Traffic is moderate. Men and women
on foot, some with heavy burdens. A few ox carts.
An occasional horseman. Two armed SLAVEMASTERS herd a
chain of bound slaves--light
headed and fair-skinned, from the
MOVING SHOT -- ARTHUR AND GALLAD
They walk side by side. Arthur's hands are bound before him and a hobble on his ankles prevents him from running, though he can walk well enough. He ignores the chain that connects them, but Gallad seems troubled by it.
arthur
It isn't your fault. You tried.
gallad
I just made things worse.
arthur
I keep pinching myself. I'll wake up pretty soon.
gallad
You aren't dreaming, Arthur. This is all real. Morgana's real.
arthur
Morgana. From the way everyone talks, she must have the worst case of PMS in history.
gallad
She's very...determined. She--
Gallad is interrupted by a commotion on the road ahead. Men and women's distant VOICES, CURSING and COMPLAINING.
mixed voices
(in distance)
By the Gods! - What's the bitch up to? - Move it! - Make way. - Go around! - Find your own road!
gallad
What's happening up there?
mixed voices
(closer)
What's your hurry? - Damned Egyptians! - Get out of the way! - Don't push!
GALLAD
Did he say Egyptians? Egyptians?
One voice becomes louder, more insistent.
VOICE
Make way! Make way!
The slavers in the group ahead begin whipping their charges.
SLAVEMASTER
(whipping them)
Off the road! Off!
The slaves edge to the side. Gallad jerks the chain, pulling Arthur in with the other slaves, as a company of EGYPTIANS trots into view. These are hard men, dressed in cotton loincloths, carrying spears, shields, with heavily made-up faces. Painted eyes. Obviously accustomed to slaughter, and rigorously disciplined. They run in lock-step. The first man in formation shouts as he runs.
first egyptian
Make way! Make way for soldiers of the Queen!
We see
ARTHUR AND GALLAD
among the watching travelers.
arthur
You don't like Egyptians?
An old WOODSELLER with a heavy load on his back is slow to move. The lead soldier roughly shoves him aside. The old man tumbles off the road and his load flies apart. He jumps to his feet, scoops a handful of dung from the road and flings it after the Egyptians.
woodseller
Bastards! Pimps!
gallad
Nobody does.
arthur
(looking after them)
I wonder why.
Gallad
Come on. We have to hurry.
The traffic is moving again. Gallad pulls Arthur through it urgently. We CUT TO
EXT. STREET by stable -- DAY
outside the gate to the Knight's stable. It is more crowded today. Gallad has a hand on Arthur's shoulder, urging haste.
gallad
Hurry.
A commotion grows in the distance. A man's voice cries out.
Man
Goddamn Egyptians!
gallad
(pushing)
Hurry!
He fumbles with the wooden gate and throws it open, then pulls out his time key. He swings the gate shut without bothering to lock it and squeezes the golden disk. The NOISE of the CROWD grows. We can make out the THUD of running feet and hear
voice
Make way for soldiers of the Queen!
A BLUE LIGHT, much fainter than at night, flickers as the time gate opens.
gallad
(panicked)
Hurry, Arthur!
He shoves Arthur through the gate. As it shrinks, we CUT TO
int. time tunnel
Gallad's hands tremble as he fiddles with the disk.
The
arthur
Those weren't Egyptians, were they?
Gallad
Yes, but--
arthur
They were Dragons.
gallad
Agents, really. Cleopatra is a tool. The Dragons use her--
arthur
I'm sick of this, damn it. First the Dragons and now you. I tried to help an old man, that's all, and I've been pushed around ever since.
gallad
I'm sorry.
arthur
Go to hell.
gallad
Come along, Arthur.
He pulls Arthur down the tunnel.
moving shot -- arthur and gallad
walking slowly. LIGHTS FLICKER strongly as possible worlds branch away from them.
arthur
Is that how you do it? You and the Dragons? You find people, critical people, and you manipulate them. Cleopatra. Caesar? Was he one of yours?
gallad
And Aristotle, and
arthur
Furman?
gallad
Wrong time-line. Sorry.
(stops, gaping)
What the hell is that?
A GLOBE OF LIGHT hangs in space far down the tunnel. Colors flow through it and a dark shape twists in its heart.
ARTHUR
steps cautiously forward. He's leading now.
gallad
It's blocking the....
As he speaks, the light drifts to one side. We go to a
TWO-SHOT -- ARTHUR AND GALLAD
staring with a combination of wonder and fear. Colored light plays gently over their faces.
gallad
I've never seen anything like it.
the globe
Two FIGURES float in the light, so closely entwined in each other's arms that they might almost be one. Generally human in form, their arms and legs are elongated, oddly jointed. Their embrace isn't sexual. They're comforting each other. They watch the humans with unreadable expressions.
arthur
advances slowly.
arthur
I have. They aren't dangerous.
wider angle
Arthur and Gallad edge past the globe. The figures in it turn slowly, watching them. We CUT TO
GALLAD
running through the tunnel. Panicked.
arthur (O.S.)
They aren't dangerous!
wider angle -- moving
Arthur chases Gallad as quickly as the hobble will let him.
arthur
Damn it, Gallad, you lose me in here and I'll hunt your
ass clear to
gallad
(slowing)
I don't care. Let's just get out of here.
arthur
You don't have a mind probe waiting for you, you son of a bitch. Where the hell is that gate?
Gallad points. We see a faint blue light ahead and CUT TO
arthur and gallad
approaching a floating
gallad
Ready?
arthur
I can't wait.
Gallad triggers the gate, steps toward it, and stops.
gallad
No. No.
gallad's pov -- the gate -- DAY
The landscape is burned. Bodies are scattered over the black earth. Arrows stick out of them.
gallad (o.s.)
Those were our people. Parker's and mine, from our station.
arthur
stares into the gate.
arthur
Close it.
arthur and gallad
Gallad is confused, Arthur grim.
Gallad
What?
arthur
Close the gate. Then open it again.
Gallad swallows and presses the key.
the gate -- DAY
opens on a field of grain. In the distance, men till it with primitive hoes.
gallad (o.s.)
What happened?
Arthur (o.s.)
Again.
over the shoulder shot -- THE GATE -- night
It is dusk. An ominous structure of dark stone squats in a snow-covered landscape. We HEAR Gallad whimper.
close on arthur
examining the possibilities of this version of reality.
Arthur
Again.
THE GATE -- day
opens on a forest. A stag in the BG. We HEAR a hunting HORN.
Arthur
Again, damn it.
THE GATE -- night.
Nothing moves. SOUND of RUSTLING LEAVES.
Arthur (O.s.)
This will do. Get the collar off me.
ANGLE ON gallad
gallad
I don't like this.
Arthur
Do it and I'll explain.
ANGLE ON GALLAD removing the hobble. Arthur's collar is gone and he is rubbing his neck.
arthur
Where do we go now?
gallad
The tunnel that goes to Morgana and the ship is about six kilometers from here.
Arthur steps through the gate.
arthur
Let's go!
Gallad hesitates, leaps after him, and we DISSOLVE TO
moving shot -- arthur and gallad
walking cautiously through the forest. The moon is full, but the trees cast heavy shadows.
gallad
The
arthur
Three thousand years. The twentieth century is gone. The one I knew.
gallad
My village is nearby. We should warn--
arthur
You think so?
Arthur knocks Gallad down and frisks him. He takes the disk and his sword.
gallad
(hurt)
Why did you do that? We have to warn them!
arthur
We're going to see Morgana.
Gallad
Now you want to?
ARTHUR
nods. His eyes are cold, determined.
ext. grove of trees -- night
This is the same grove we last saw on the tapestry, when Guwynn relived her memory of following the Knights. Gallad leads Arthur into its heart. The moon dapples the dark floor of the forest with silver LIGHT. We HEAR Gallad's nervous breath.
gallad
Here, I think.
Arthur lifts the disk. A GOLDEN LIGHT flashes from it and then a flickering BLUE MIST grows beneath the lowering branches. The two men stand for a beat, each waiting for the other to take the first step.
arthur
What the hell. Let's do it.
gallad
Okay. Sure. Why not?
Neither moves.
arthur
How far back do we go this time?
Gallad
Thirty thousand years.
arthur
Thirty--! You're sure you know the way?
CLOSE ON
Gallad
staring into the mouth of the Gate. He doesn't answer.
angle on arthur
as he forces a grin.
arthur
That's good enough for me.
He hefts the sword and steps forward. We CUT TO
int. time tunnel
but this time it's still brighter. Side tunnels flash away on either side as probabilities dance around them.
CLOSE ON GALLAD, horrified.
Gallad
Oh, my God. Look. Look!
another angle
as he reaches for Arthur's arm and points. Arthur turns, following his finger.
arthur's pov -- the tunnel
is wider than we've ever seen it and it stretches infinitely deep, but it's like looking down a hall of spinning mirrors, alternately LIGHT and DARK, and they aren't alone. Beings stand, float, or hang every twenty feet or so. Some of them are human, some are like the faerie or the mysterious twinned creature, and some are just--different. They are all
silent, and they watch the
two men impassively. The
gallad's pov -- the tunnel back
isn't there. It fades into formless chaos a few yards away. The
shot flickers
and the tunnel exists but is blocked by massed BEINGS. The
shot flickers
and the tunnel is gone again. They can't go back.
angle on arthur
He doesn't know what to think but, unlike Gallad, he hasn't quite lost control.
Arthur
I guess we know the way.
gallad
Wh...wh...what...?
Arthur takes his hand gently.
arthur
Come on, kid. We gotta do it.
the tunnel
Arthur leads Gallad past an ancient Greek in a flowing white robe. MUSIC comes up softly: not quite New Age and not quite heroic.
the tunnel
They skirt a black pillar with metallic eyes.
the tunnel
Another of the twinned creatures, but their limbs have mingled. MUSIC begins to rise.
the tunnel
Arthur and Gallad walk separately. They are numb. MUSIC continues to rise as they pass a Chinese Emperor with a face older than sin. Other figures: warriors and philosophers, kings and killers, human, alien, and who knows what.
the tunnel
They reach the
angle on gallad
running desperately toward the circle.
gallad
It's here! I was afraid...but it's here!
angle on arthur
following him. He presses the key and the time gate begins to open. Gallad leaps through it. Arthur takes a last look at the tunnel.
CLOSE ON ARTHUR, puzzled, thoughtful. All those figures stare back. He has no idea what they expect of him.
ARTHUR
(hesitant)
Well, goodbye.
As he turns away, we CUT TO
ext. ice field -- night
It is so cold the stars can't twinkle. No wind blows. Arthur sees Gallad waiting a few yards off and approaches him.
arthur
What was that about? Have you ever seen...?
Gallad walks away into the night. We CUT TO
moving shot -- arthur following gallad
Gallad's face is pale. He is in shock.
arthur
Of course you've never seen anything like it. You're trained not to look. Right, kid? Right?
Gallad marches on. He didn't even hear the question.
angle on arthur -- moving
arthur (Cont.)
(shivering)
You know where you're going?
ANGLE ON GALLAD, walking like a zombie.
arthur (Cont.)
We aren't dressed for this. How much farther is it?
another angle
as they reach a ramp that cuts into the ice.
arthur (Cont.)
I don't see any damned flying saucer. It's buried, right? It's buried?
as Gallad starts down the ramp, we CUT TO
int. ice tunnel
About five feet wide and seven high with rough walls, it slopes down at a moderate angle. A pocket of LIGHT from an invisible source leads them downward.
arthur (Cont.)
Deep. Jesus, it's deep. How long ago did the damned thing crash? Talk to me, kid. You've got to snap out of it. Those...whatever they were...they didn't hurt us. Think about that.
Gallad says nothing. He reaches the end of the tunnel and is met by a blaze of light. He steps into it and we go to
about ninety feet across. twenty high, and brilliantly LIT by some invisible light source. The upper part of the saucer sticks out of the floor. Gallad walks toward the closed hatch. Arthur stares at the ship for a moment.
arthur (Cont.)
At least they didn't have Friends and Advisors. They didn't try to stick anything in our...oh, hell.
He draws the sword and follows Gallad onto the surface of the saucer. The hatch swings open. We CUT TO
int. ship -- control room
Morgana stands, so still we wonder if she has a nerve in her body, near the circular bench. The few remaining holographic displays on the bench GLOW with power and the ball of rose-colored fire in its center casts a dim light over the room. Morgana is not surprised to see them. Her eyes skip over Gallad and settle on Arthur. She smiles slowly.
Morgana
Welcome, Arthur Pendragon.
(to Gallad)
I instructed Parker to bring him. Where is he?
angle on GALLAD
crouching on the floor. He can't speak. Morgana lays her hand on his head.
morgana (Cont.)
(kneels)
Is Parker acting on his own again?
gallad and morgana
gallad
The tunnel. The things in the tunnel. They were....
angle on ARTHUR
wandering around the control room, looking at the few remaining displays.
gallad (Cont.)
...staring, like, like we, and the tunnel downtime wasn't there, like the future doesn't exist, and Arthur says the Context Split is moving, and--
morgana
(confused)
Moving...?
(focuses on Arthur)
Don't do that!
Arthur jerks his hand away from a HOLOGRAPHIC control panel.
arthur
Afraid I'll break it?
morgana
When I touched it, we slipped seven years downtime. This gate only had an eight-year window. Now there are three weeks left.
arthur
(fascinated)
So?
morgana
(impatiently)
If we move past the window, we're trapped in this frozen time. What is wrong with Gallad?
arthur
Something in the tunnel spooked him.
morgana
You can tell me later. He said the Context Split is moving....
angle on morgana
as she moves to the bench and activates a HOLOGRAPHIC time map. She adjusts the controls as she speaks.
morgana (Cont.)
That's impossible. It has never moved.
arthur
Isn't that what you and the Dragons are fighting over? Aren't you both trying to move the split?
A MAP like a spiderweb appears in the air.
morgana
(working)
We try to change the probabilities. Only two contexts flow out of the split, our future and the Dragons'. We want to lower the probability of the Dragon future until our context is Prime. We do that by encouraging those elements in history that favor...oh!
A brilliant green line cuts across the map, then suddenly smears into fuzz. Morgana stares at it in shock. Arthur joins her.
arthur
What is it?
Morgana controls herself and points at the green line.
morgana
This is a map of the local context matrix. The green line represents the Prime Context, but it just, just....
She walks away, unable to continue.
arthur
It disappears. Does that mean the future is gone?
morgana
Futures. All the futures still exist. They can't disappear, but they've all become equally probable.
arthur
Is that bad?
morgana
Equally probable means equally improbable. We can't get to them.
arthur
We're stuck here?
Morgana nods. Arthur studies the map, trying to make sense of it.
arthur (Cont.)
What could do that?
morgana
Why did you come here, Arthur?
Arthur
My other choice was Korda's brain probe. You're more attractive.
morgana
Don't joke.
arthur
Okay. I came to see you.
He takes the crystal from his pocket and tosses it to her.
morgana
To see me? I don't understand.
(looks at crystal)
My image! Where did you get this?
arthur
Bolan dropped it just before I
(thinks, then shrugs)
volunteered.
morgana
He must have stolen it. There were others. We shipped
most of them to
She finds it in a pocket and hands it to him.
INSERT -- Morgana's crystal. It looks like Arthur's, but the image in it is an Outsider.
arthur (o.s.)
What are they? Some sort of record?
intercut
morgana
We don't know. How did my face-- and why did Bolan take it?
arthur
Ulana said...she's the leader of--
morgana
(with hate)
I know who she is. The Mother.
arthur
Is that some kind of honorary title?
morgana
It's the literal truth. They are all her children. She has over eighty. What did she say?
Arthur
Eighty? She doesn't look--
morgana
She conceives them. The Dragons bring them to term in altered sheep. What did she say, Arthur?
Arthur takes a moment for this to sink in.
arthur
That Bolan is in love with you.
morgana
That's all? Nothing about the Context
arthur
She said it's going home.
Morgana
Home?
She stands, lost in thought. Again we notice her preternatural stillness.
morgana (Cont.)
Yes! Back to the moment that started it moving. We have to get there first. See if you can rouse Gallad.
Arthur doesn't move.
morgana (Cont.)
What's wrong?
arthur
An Outsider crystal with your face in it. What are you, Morgana?
morgana
I'm what I seem.
(putting on armor)
Deal with Gallad. We have to move.
Arthur shakes Gallad and we CUT TO
ext. ice field -- night
near where the gate will open. Arthur supports Gallad. Morgana carries a metallic CASE and wears a GOLDEN DISK.
Gallad
No! I won't go back in -- the Egyptians! The Egyptians!
morgana
Egyptians?
arthur
He's confused. The Egyptians chased us out of
morgana
What are they?
Arthur
You'll see. Unless we luck out.
Morgana shrugs and presses the key. The gate opens in a BLUE GLOW, but it looks less like a hole in space than a doorway into a rainbow. Morgana stares at it for a moment, then slowly steps in. Arthur follows with Gallad and we go to
int. time tunnel
Again the tunnel looks like a hall of spinning mirrors, but it is narrow. No mysterious figures are visible. Instead, the mirrors reflect thousands of eyes--human, alien, mechanical--from the walls, roof, even the floor. LIGHT: soft, glowing in all colors of the rainbow. Gallad WHIMPERS.
morgana
(aghast)
Is this what he saw?
arthur
(softly)
It's worse. Look behind us.
She turns and we CUT TO
MORGANA'S POV
There is no tunnel downtime, only nothingness in which eyes exist for fractions of an instant.
ANGLE ON MORGANA as she tries to comprehend.
morgana
Who...what are they?
arthur
Tourists? Hell, I don't know. These are your tunnels.
morgana
Not any more.
Gallad twists out of Arthur's grip as they walk. He stares straight ahead. A million eyes mark their progress.
Arthur
Can I carry that?
Morgana
No.
They walk as far from the walls, the eyes, as possible.
arthur
How far is it?
Morgana
Just a thousand years.
Arthur
Morgana?
Morgana
What!
arthur
Who makes the time gates?
Morgana
We don't know.
arthur
Whoever makes them is in charge. I mean--
morgana
You mean we're being controlled. Manipulated. We know that. Even the Dragons must know that.
arthur
I mean whoever made the gates is your real enemy. Not the Dragons.
morgana
You don't understand. We're fighting for our lives. Only one context can be Prime, Arthur. The other is a detour, a sidetrack, for the rest of eternity.... Once we've eliminated the Dragons, we'll worry about...other things.
Gallad
The gate. I see the gate!
He starts running. We CUT TO
EXT. ice field -- day
The Outsider ship is embedded in the ice. The puddle of black water where Morgana burned the Outsider bodies is still steaming. Ice crystals drift over the hot water and the ship, just as they did when we last saw the place.
The time gate opens in the middle distance. Gallad explodes out of it. Arthur and Morgana follow and the gate closes.
morgana
I thought I'd never see this place again.
ANGLE ON ARTHUR, pointing at the puddle.
Arthur
What happened here?
morgana
There were no remains at the downtime site. We had to come back and destroy the bodies so we wouldn't find them when we located the ship in a thousand years.
arthur
(shaking his head)
Does it hurt to think like that?
ANOTHER ANGLE as they climb onto the ship.
morgana
(laughing)
You get used to it.
arthur
You want me to hold that case while you dig out the keys?
morgana
There aren't any keys.
(the hatch rises)
It just does what you want unless it's locked.
Gallad
(pointing)
Parker! Parker's here. He caught a bunch of Dragons.
gallad's pov -- ice field
The time gate is open. Parker leads Ulana, Morl, Guwynn and Lance out of it. A large dog trails Ulana: Bolan. We go to
MORGANA, who reaches a decision instantly.
Morgana
Inside. Quickly!
As Gallad pushes Arthur into the ship, we CUT TO
THE DRAGONS
who have noticed Morgana at the ship. Ulana points and Lance raises his crystal spear. Parker throws himself against Lance just as a BOLT OF ENERGY flies from the tip.
ext. the ship
Morgana leaps through the closing door as a BOLT OF ENERGY strikes the ship and ripples over its skin. Go to
int. the ship
as they dash into the control room, where Morgana drops the case and flicks on the DISPLAY SCREEN. On it, Parker and the Dragons run toward the ship.
MORGANA AND GALLAD watch the screen.
GALLAD
Can they get in?
Morgana
I locked the hatch.
gallad
But they got Parker. They'll kill him.
angle on arthur
As the others talk, he hefts the case Morgana was carrying.
morgana
Or change him.
Gallad
Does this thing have any weapons?
Arthur can barely lift the case. He looks at Morgana with surprise.
morgana
They don't seem to need them.
gallad
Then it's your blaster and my sword...against beam weapons?
Morgana
That's right.
angle on display screen
where Lance and Morl stand with lifted spears. Darts of pure ENERGY flash from the spears directly at the screen. As each strikes, LIGHT ripples across the screen. The control room vibrates as the energy hits it. Parker watches helplessly. Bolan crouches at his feet.
angle on gallad
beside Morgana, staring into the screen. Behind them, Arthur has the case open and is looking into it with a puzzled expression.
Gallad
Can they hurt us?
morgana
No.
Gallad
But we can't hurt them.
angle on arthur
as the ship continues to shake.
arthur
Or escape, and that makes this a suicide mission. Are you prepared to go through with it, Morgana?
wider angle
gallad
What do you mean?
Arthur
(to Morgana)
It's a bomb, isn't it?
morgana
Parker found fragments of the ship in a lake bed near his station. I was going to blow the downtime ship just before the window closed so the lake and fragments would be there to find.
arthur
A lake? And it still existed thirty thousand years later? This must be one hell of a bomb.
Morgana
It is.
(hesitates)
It closes the circle. Do you understand?
arthur
The bomb makes the lake so Parker can find the ship so you can blow it up and make the lake, right?
Morgana
You shouldn't have understood so easily. What are you?
They stagger as a larger blast rocks the ship with a RUMBLING SOUND. The shaking and noise are continuous.
arthur
Just your average time traveler.
Gallad
(to Morgana)
But he said suicide.
Morgana
Ignore him. He's a Dragon.
Arthur
I was drafted, and that thing is a bomb.
gallad
I don't understand.
arthur
She wanted to close the circle, but she could have done that by leaving the bomb in the downtime ship. When she found the Context Split was moving, she decided to blow the ship right after it lands.
morgana
Salvaging the ship was a mistake, Gallad. It created a new context, an unstable context, and--
arthur
Crap! Your futures, the Knights' and Dragons', was always unstab--
The ship slips sideways and drops several feet. It rocks back and forth.
arthur (Cont.)
What the hell was that? Are they damaging us?
angle on display screen
as Morgana adjusts it. The screen shows white and gray steam cut by brilliant flashes of light and intermittent glimpses of Ulana, Morl, and Lance shooting at them.
morgana
(reading instruments)
The amount of energy they're pouring into us...the ice is melting.
Gallad
Melting?
morgana
Actually, it's boiling.
arthur
We're in hot water.
morgana
Precisely, and we're sinking.
arthur
The point is, we can't get out, and she's going to blow the ship....
Gallad
She can't!
arthur
...unless we stop her.
morgana
You can't stop me, Arthur.
(to Gallad)
You still exist in other contexts. You'll go on. Those other Gallad's will continue the fight until the Dragons are dead. You see? It really doesn't matter.
arthur
It matters to me, damn it! What about you, Gallad? Does it matter to you?
Gallad
I...
The BOLTS of ENERGY stop hitting the ship. The violent motion ceases, though the rocking continues. The display screen shows only mist.
arthur
What's happening?
morgana
(at screen)
I can't tell. The water vapor--
arthur
Adjust the damned screen! You're supposed to be mechanically minded.
Gallad
(giggles)
Mechanically minded. That's good.
angle on screen
Morgana fiddles with the controls.
morgana
I'm switching to infra-red... compensating...
The COLORS on the screen go red, show Parker and the Dragons against a black background, then revert to normal. Parker, Ulana and the rest stand in the FG looking away from the ship. In the BG, the time gate is open again and some figures have just emerged.
arthur
Who is that? Focus it!
Morgana
Wait....
angle on screen -- time gate
Morgana has just emerged from the gate with Parker, Gallad and a group of Knights dressed in the animal skins from the Beaker Station sequence. She is carrying another metallic case.
Gallad
Hey, that's me! And you! What's going on?
morgana
It can't be.
arthur
It is.
angle on screen -- wide shot
showing both groups. The Dragons are confused because they know Morgana and Gallad are in the ship. The Knights, however, conclude that Ulana and her party somehow beat them back to the ship. They start shooting, except for Parker #2, who stares at his double with astonishment. Ulana and her party take cover behind the lip of the hole they've blasted in the ice around the ship. Lance has to pull Parker down. Morl and Lance start shooting toward the gate while Parker holds Bolan, the animal. The shots from Morgana #2 and her Knights begin to rock the ship. The rumble of muted EXPLOSIONS resumes and the ship begins shaking again.
arthur
Damn it! Doesn't anyone in time think before shooting?
Gallad
I don't understand what's going on.
arthur
Morgana, open the hatch!
Morgana
No! If we let them in, they'll--
arthur
They won't dare do anything. One blast from those stupid spears would vaporize us all.
Morgana stares at him for a second, then runs to the bomb. She tears the case open. Arthur leaps on her. Go to
morgana and arthur
as he tries to hold her hands away from the bomb.
morgana
Let me...I have to....
arthur
Don't! Look at the screen! There's another damned bomb!
Morgana stares at him, then looks up. Her eyes widen.
arthur (Cont.)
If you blow the ship, won't you set it off?
morgana
(weakening)
Yes.
arthur
And your lake will be too big. You'll create a new context.
WIDER ANGLE as Morgana gives up. She stands. The ship continues rocking as shots from Morgana #2 and her Knights strike it.
morgana
The bombs aren't additive. They'd multiply. We'd lose
most of
Arthur
(closes case and stands)
We don't want that. Open the hatch.
morgana
I won't have Dragons in my ship.
Gallad
You can't leave Parker out there. They'll kill him. Open it. Please?
morgana
No.
another angle
Arthur shakes his head and walks to the bench. He puts his hands on the display Morgana warned him about earlier.
Arthur
Do it or I'll move the ship.
morgana
glares at him, then reluctantly touches a glowing panel on the wall. We CUT TO
ext. ship
floating in a small pond of steaming water. The hatch rises. Ulana and the others hesitate, then scramble for it, firing over their shoulders as they run.
control room
The Dragons enter cautiously. Everyone but Arthur and Parker has a weapon ready.
arthur
Everyone calm down! Ulana! No!
ulana
But that's Morgana! How could you?
Arthur
I didn't have a choice. I haven't had a choice for a long time.
angle on Parker and gallad
Parker
They got me, boy. The second I opened the gate in
Gallad smiles and we
angle on morgana
Bolan stands at her feet. He stares up with adoration. His tail wags. She ignores him.
morgana
(watching screen)
It's happening again.
angle on display screen
as they all turn toward it. Morgana #2 is giving orders to her Knights with frequent gestures toward the ship. We see a flickering blue glow behind her.
SCREEN'S POV
The time gate opens and Ulana #2 appears with Morl #2, another copy of Parker, and a gang of Egyptians. They are surprised by the Knights, but Morgana #2 holds her fire.
morl (o.s.)
No!
Morgana (o.s.)
She should have shot them. I mean I would have...I mean....
The gate opens again. Another Morgana appears, this time with a gang of Roman soldiers. Confusion reigns.
arthur (o.s.)
This is ridiculous.
We go to the
control room
where everyone slowly lowers their weapons.
arthur
That's three bombs, Morgana. How many more are coming?
ulana
(bitterly)
How many Knight futures are there?
morgana
You'd prefer plagues, of course.
angle on guwynn approaching Arthur.
guwynn
Arthur? What can we do?
He doesn't answer.
Lance
(numbly)
Look now.
angle on display screen
where a crowd of Knights and Dragons argue angrily. The time gate has opened again. A GLOBE OF LIGHT with a faerie inside drifts out and floats to the side. MUSIC--eerie, poignant, somehow triumphant--rises as the faerie is followed by another of the beings from the tunnel, then another. Soon they flood from the gate.
Ulana
(shocked)
What are those?
gallad
You didn't see them in the tunnel?
Ulana
No.
The newcomers pay no attention to the multiple Knights and Dragons. They just watch the ship. All the Ulanas, Morganas, Gallads and Lances, Morls and Guwynns fall silent. They stare uneasily at the newcomers, then gradually turn toward the ship.
control room
morgana
The other futures. They've come to watch.
ulana
Watch what? The end of our world? Or just our end?
guwynn
(frightened)
Arthur?
ulana
Yes! Arthur!
(to Arthur)
It wasn't Morgana's doing at all, was it? The Context Split followed you. We kept sending you further and further back in time and it followed you back.
morgana
Until I brought him here. What are you, Arthur Pendragon? Do you know what you are?
arthur
That's not my name. I'm Arthur Penn. Just
ulana
You're a seed. The Prime Context will grow out of what you do next.
(to Morgana)
We could still kill him.
Bolan springs between Ulana and Arthur, snarling.
Guwynn
Mother! No!
Arthur
Easy, Bolan!
morgana
(bitterly)
You should have done that when you found him. It's out of our hands now. Do you think those creatures outside would be watching so peacefully if any of us still had power here?
(to Arthur)
Don't give the Dragons our future. You've seen what they do to men.
Arthur glances at Bolan, who still snarls at Ulana
arthur
I've seen it.
Ulana
You can't listen to her. Don't you realize what she is? Remember the horse? She's a horse, Arthur.
arthur
(shocked)
A horse? A machine?
ulana
Do you want to fill time with things like Morgana?
Gallad
She's not so bad.
ulana
You'd say that. You're like her.
Gallad
Only my legs. I was born without...
(to Lance)
If it weren't for these--
morgana
My brain is a woman's, Arthur. Even synthetic skin is delicate. I can feel. Love. Be hurt--
Ulana
Don't give humanity to the machines, Arthur. Remember it.
arthur
Like you remembered Bolan's? Damn it! It's my future. I'll choose.
(looks at the screen)
You know who's missing? Outsiders. I don't see any Outsiders here.
Lance and Gallad
(together)
He's right.
arthur
They started this, but they didn't come for the show. Who are they?
ulana
We don't know. We've never known.
morgana
That's why I tried to salvage the ship. I thought, if we could just learn their secret...and the ship travels time outside the tunnels. That's important too. Outside the tunnels! They're free.
guwynn
Arthur?
arthur
What?
guwynn
We're waiting.
(includes the screen)
We're all waiting.
arthur
(looks around the room)
How'd you like to meet the Outsiders?
Morgana and ulana
(together)
No!
morl
Be careful, Arthur.
Parker
I'd like a few words with them.
Gallad nods. A second later, Lance follows suit. Arthur looks at Guwynn. She meets his eyes steadily. After a beat, she lowers her eyes.
arthur
Then let's do it.
He touches the control that activates the ship. The rocking motion stops. The ship steadies. We CUT TO
EXT. ICE FIELD
as the ship shakes itself free of the ice, MUSIC reaches a crescendo and we sense a general release of tension from the gathered futures. Go to
INT. CONTROL ROOM
where everyone watches as the crowded ice field on the screen drops away.
angle on the screen
The Ice Age FADES and we SEE a series of fast DISSOLVES as the ship feels its way through space and time. The futures: Armies marching; cities rising and falling; landscapes empty and burning; life, death, triumph and despair.
morgana
Do you know what you did?
intercut
Arthur
We're going to find the sons of bitches who built this ship.
Lance
Damned right!
Gallad
(grins at Lance)
Maybe we'll give them a present from Morgana. A little suitcase.
arthur
Hold on now. We'll think before we act. For a change.
morgana
The ship isn't going to the Outsider's home.
Arthur
What?
angle on the screen
where the series of DISSOLVES settles on a small village.
morgana (o.s.)
Our destination is seventh-century
ext. village -- aerial shot -- day
The place is primitive even for the Dark Ages. Tiny huts-- hovels, really--built of mud and wattle. A few irregular fields surround the village. Everything else is virgin forest.
Morgana (o.s., Cont.)
A village called Camelot.
control room -- SCREEN'S POV
Arthur and the younger Knights and Dragons stare with varying degrees of shock and hope. Bolan joins Arthur and Guwynn. Gallad and Lance edge closer. Parker joins them.
arthur
(searches the screen)
I don't see any castle. Will we get to meet...him?
After a moment, Morl smiles and steps forward.
morl
I think we already have. As for the castle, we're flying it. Look behind you.
He indicates the circular bench. Obviously a round table.
arthur
No. No, I'm a democrat.
angle on morgana
as she catches Ulana staring at her. Ulana flicks her eyes to the screen and back, then gives her head a tiny shake.
CLOSE ON MORGANA as she nods slowly, cementing an alliance. She looks grim.
ext. camelot
Peasants driving animals or grubbing in the dirt look up in awe. They point at the light descending from the sky. Some run toward it. Some run away.
fade out:
the end