THE KRONOS PROJECT: ATLANTIS RISING
TEASER
FADE IN:
EXT. -
A STORM boils the sea, lightening flashes, and only the lofting whitecaps differentiate water from sky.
TITLE OVER: September 6, 2008
Over the crashing of waves and thunder, and with much static, WE HEAR:
NEWS ANNOUNCER (V.O.)
…Edouard, a category three hurricane is racing towards the
The storm intensifies, the sky darkens, we skim across the
SMASH CUT TO:
EXT. -
The sea rolls under blue skies. A SHIP comes into view, dipping and rolling with the sea, but moving at speed. It is the HMS HOPE, a British type 23 frigate.
ANAIT (V.O.)
It is difficult to tell, in a causality loop, what exactly is the beginning, what is cause from what is merely correlation. The accidentally discovery of time travel is perhaps the beginning.
In front of the ship, something the size of a small island is adrift. Ragged outlines of what might have been structures are visible, and much of the lower elevations are covered in dying seaweed.
ANAIT (V.O.) (CONT'D)
Certainly nothing else could have happened, did happen, without it. We had just made first contact with an alien race who seemed upset to discover they were not alone, and we were scrambling to appear technologically equal.
Moving closer to the island, we see details, damage not
dissimilar to that of the
ANAIT (V.O.) (CONT'D)
Statistical historians had noticed various events in history that mathematically should not have happened, but attributed it to the “exception that proves the rule”. The discovery of time travel threw a whole new light on the exceptions, particularly the discovery of a floating island in 2008, inevitably dubbed ‘Atlantis’.
EXT. – HMS HOPE – DAY
HARRIS (V.O.)
Attention crew! We are temporarily under NATO direct command. We are to...to secure the island, and establish a provisional governing body to oversee...the research of the scientific elite of NATO treaty nations. Babysit snot nosed toffs, in other words!
MONTAGE: the men of the HMS Hope securing the island; small boats docking, men in skin suits diving, men in camo scouting the ruins, which could be covered in seaweed.
CUT TO:
INT. – HOTEL BUSINESS SUITE,
All furniture is gleaming, ergonomic, lots of space, light, tone on tone beige, white, big green plants, minimal chrome. Desk is curved, against the wall, large flat LCD mounted on wall above it. QWERTY keyboard, no visible CPU, no wires.
REYNARD ARDEN, a dark skinned man of broad shoulders and medium height is pacing back and forth in front of a slight woman who could be Egyptian. Both are dressed in black leather pants and vests. The woman, ANAIT, also has fine gold wires twined about several visible body parts. Rey is trying to make sense of the situation.
REY
So we hire a thief to break into the Atlantis museum –
ANAIT
It won’t be a museum at that time.
REY
Not to steal any material thing, but three people. People who may not want to be stolen.
ANAIT
(patiently)
Three people will find those activators, if I know my numbers, they are the people we want.
(doubtfully)
I trust.
Rey stops pacing and crouches before her so that their faces are level.
REY
And how do we identify the thief?
A slight frown crosses Anait’s face.
ANAIT
We let it be known that the target is the
(smiles)
If I’m right.
Rey wheels around, begins pacing again.
REY
What are your statistical chances of being right?
ANAIT
(confidently)
Only one person made was ever known for routinely breaking our security. And he is here, now.
Rey sighs, then slumps beside Anait, eyes closed, brow creased in concern.
ANAIT (CONT'D)
I’m sorry you got dragged into this. Did you have a chance to tell your superiors about the Kronos Project before we jumped down-time?
(holds up a forestalling finger)
Denials will only insult us both.
REY
(slowly)
No.
(beat)
What are you going to do about it?
ANAIT
(smiles)
Nothing. Oh, we could go back up-time, I could turn you in, and we could do this all over again, but that would be prohibitively expensive, as Jan-Lyn would say. What would be the point?
REY
For what it’s worth, I didn’t want the job. I am not a good spy.
ANAIT
(wryly)
Not much of an historian, either. But you’re Kronos Project now. How did you get the job?
REY
I am...I was a xenobiologist, the closest thing my people had to an expert on humans.
(slides a look at her)
And what will you tell the rest of the team, when it assembles?
ANAIT
Credit whatever idiosyncrasies you may exhibit as up-time behaviour. Your secret is safe with me. I just wanted you to know that if anything should come up that is …unique to you, you can talk freely to me.
REY
(“I’d rather die first”)
Thank you.
FADE IN
INT. – LOU’S PLACE, VANCOUVER – DAY
TITLE OVER [
LOU’S PLACE is a dingy bar in
LOU is polishing beer glasses behind the bar on an apron that was once white. He’s watching a television that is hanging from the ceiling that has been angled so that Lou can see it.
The door opens, enter WARREN MASTERSON, late thirties, casual clothes, good-looking in a somewhat disreputable way.
Hey, Lou. Long time no see.
LOU
(sits on a barstool)
(shakes head)
I tell you, Lou, it’s a damn shame.
LOU
(laughs)
Yeah, yeah. You’re doin’ ‘em a favour by stealing the stuff.
Lou draws
(stiffly)
Rescuing, Lou.
LOU
(amiable)
Sure. So what did you “rescue” this time?
LOU (CONT'D)
(continuing)
Takai’s been in looking for you.
(frowning into his beer)
Takai? Here?
LOU
Well not the man himself, of course. Couple of his goons.
His money’s good; keeps me in the field.
LOU
I know you got kicked out of legit archaeology for, like, heresy or something; can’t you just recant and go straight?
(wincing)
No...
In the ensuing silence, WE HEAR (just loud enough to hear if characters aren’t talking)
ANNOUNCER (V.O.)
…aftermath of Hurricane Edouardo, which caused severe damage
to the Azores and
Hey Lou, give me some volume.
Lou points the remote at the TV and the VOLUME INCREASES.
ANNOUNCER (V.O.)
Dubbed ‘Atlantis’ by European journalists, the island is free floating, and suggests considerably sophisticated building techniques.
(softly, with awe)
Holy shit…
BROADCASTER (V.O.)
Eliot Darnsley, of the
ON TELEVISION, CUT TO: ELIOT DARNSLEY, a rakishly handsome man in a khaki trousers and button-down short-sleeved shirt. He speaks with a mild British accent.
ELIOT
(filtered)
It seems most likely that the central area would be religious in nature, in fact, we suspect the entire island is some sort of religious festival centre.
LOU
It’s not the real Atlantis, you think?
Shhh!
(muttering)
Darnsley wouldn't know a religious center from his ass-end.
ELIOT
(filtered)
No, there seem to be no artefacts anywhere, just crumbling walls of apparently seamless limestone.
On newscast, CAMERA PANS pale brown wall covered with tidy black glyphs.
BROADCASTER (VO)
...a lower anteroom from a circular, central chamber contains nothing but these glpyhs and a pillar that once might have held a religious statue. Archaeologists on the island say they have never seen these type of glyphs before…
Warren's lips move as he tries to read the glyphs
WARREN
Pen, paper, Lou. Quickly. I've seen these before...
Lou gives him a pen and a napkin. The TV now shows a different scene and Warren tries to copy the glyphs from memory. The volume has MYSTERIOUSLY DECREASED
LOU
No kidding? I thought your specialty was Central America.
WARREN
(absently)
Yeah, saw these in Belize.
(stares at cocktail napkin)
Something about a, a gift, or treasure.
(frowns)
Magic arrow, or arrow of the gods, something like that... This one means ancestors, and this on means descendents, so it might translate as "generations", or all those who were and all those to come.
(looks up, grinning)
I think Darnsley's wrong, Lou. If there’s no great treasure on that island, it has instructions on where to find it.
LOU
(unimpressed)
'Raiders of the Lost Ark' was a movie, Warren. Real life don’t work that way.
WARREN
(annoyed, drains his glass)
I have to get to that island.
LOU
You heard the tv, you gotta be with a major university or government of a NATO treaty country.
WARREN
(slyly)
Canada is a member of NATO, Lou.
LOU
Yeah, but you don’t really want to come to the attention of the government, do you?
WARREN
(grinning as he gets to his feet)
I’ll be fine. I’m the only one who can read those glyphs.
LOU
Yeah, well, when you end up in a Portuguese prison, don’t call me!
FADE OUT
FADE IN
EXT. - MARRAKECH, MOROCCO - SUNRISE
TITLE OVER [Marrakech, Morocco, September 12, 2018]
A WOMAN swathed head to toe in a chador, complete with birka, exits an undistinguished door in an old building in the Medina. She walks down the uneven street with great confidence in high heels. She carries a briefcase in one hand and a folded garment bag in the other. She goes down a narrow street to what looks like a small shop with oriental lettering above it. She enters, bows in oriental fashion to the older Asian woman behind the counter, then goes through a door to a backroom.
CUT TO:
INT. – DOJO – MORNING
The WOMAN removes the long chador to reveal black yoga pants and matching black yoga style top. She kicks off her high heels to reveal bare feet. She leaves the birka on, so we can see only her eyes. A man, the SENSEI, enters, and they bow to each other. Without a word, they begin to execute a series of martial arts moves, taking turns attacking and defending. She is very, very good. He is better.
They bow to each other.
INT – DOJO RECEPTION AREA – DAY
The woman, PERETTE DELARUE enters from interior room, adjusts her birka (we still don't see her face) wearing a western business suit of knee length skirt and fitted jacket. She pulls her chador around her, takes her bags, and leaves.
As PERRY walks by, she looks at the Asian WOMAN behind the counter, who meets her eyes.
WOMAN
Good luck in court today, Mlle Delarue.
PERRY
Merci, merci beaucoup.
EXT. – AN ISLAND IN THE AZORES [MADELENA, PICOS] - DAY
The beach is littered with debris, though the hurricane passed several days ago. In the background a bow of a fishing vessel sticks straight up from the water. Salvage crews can be seen pulling wreckage away.
In the foreground, Warren Masterson has found a local FISHERMAN whose boat survived the hurricane. He is trying to rent the boat from the man, who is understandably reluctant to let it out of his sight.
Warren is dressed in working clothes. He has a canvas army surplus bag slung over one shoulder.
WARREN
Please...your boat is the only one on the entire island of Picos...you must let me rent it.
FISHERMAN
No. It is my living, what if you are careless? No, no and no. You cannot have my boat.
CIARA KAMIYA, a mid-twenties Japanese-American computer hacker, walks down the beach, picking her way carefully. She’s wearing jeans, a long-sleeved t-shirt, a khaki vest and a determined look on her face. She looks from Warren to Fisherman, ignores Warren.
CIARA
(smiling)
I understand you have boat.
FISHERMAN
No!
CIARA
(looking surprised)
No? You will not take me to the island? I can pay...
FISHERMAN
(giving CIARA a hard look)
You pay me to take you to that new island?
CIARA
(looking pleased)
Yes.
WARREN
Wait a minute! Why does she get the boat, and I don't?
FISHERMAN
No boat, she pay for ride. You want ride, you pay, too.
CIARA
(looking askance at Warren)
Now, wait a minute. I got here first.
WARREN
(surprised bafflement)
You what?! How the hell do you figure that?!
CIARA
He said 'yes' to me first. The boat's mine.
FISHERMAN
(staring inland at the destruction of his home)
One thousand American dollars.
CIARA stares
FISHERMAN (CONT'D)
Each. Final offer. You don't like, you find another boat.
WARREN
(frowns)
Give us a minute.
WARREN and CIARA move away from the FISHERMAN and have the following conversation in low tones:
CIARA
(hisses)
This is all your fault!
WARREN
(crossly impatient)
Blame me later. How much money do you have?
CIARA
(reluctantly)
Not that much. I can get it, but it will mean going back to Lisbon.
WARREN
(holds out a handful of bills)
Does it come to enough with this?
CIARA
(surprised disbelief)
You'd give me the money so I could go?
WARREN
(taken aback)
uh, no. I was thinking we offer him half now and half when we get back.
CIARA
(crossly)
I'm not coming back. Not today, at least.
WARREN
We don't have to mention that.
CIARA
No.
WARREN
(pauses, pockets the money)
Then I guess neither of us is going.
CIARA
(angry)
You selfish, deceitful bastard! Typical white American!
WARREN
(offended)
Hey! I'm Canadian.
CIARA
(glares, fumes, fidgets; gives in grudgingly.)
Very well. But you will pay him when you come back, yes?
WARREN
(lying)
Absolutely.
CIARA turns to walk back to the FISHERMAN. WARREN stops her, putting a hand on her arm. She stares at him until he removes it.
WARREN (CONT'D)
What's your name, partner?
CIARA
(frowning)
Kamiya. And we are not partners, Mr-?
WARREN
Masterson. Call me Warren. And what should I call you?
CIARA
(coolly)
Don’t.
CIARA turns and walks purposefully back to the fisherman, Warren meekly following.
EXT. OCEAN OFF ATLANTIS - DAY
As the boat comes into view, WE SEE an ARMED GUARD walk down to the end of the dock and gesture. Ciara and Warren seem to be cajoling the fisherman, with pauses to gesture angrily at each other. The guard fires a WARNING SHOT high into the air.
The fisherman flings his hands up and turns the boat around sharply. So sharply, Ciara slides right off the deck. Warren stares, then jumps in after her. The boat circles once and retreats from the island.
Ciara and Warren begin to swim to shore.
EXT. SHORE OF ATLANTIS – DAY
Warren and Ciara drag themselves onto Atlantis, which has no beach as it is an artificial construct. They stagger onto a bit of bare surface and collapse, resting, catching their breath.
Ciara shrugs off her sodden knapsack and opens it.
Warren shifts his pack and lays back, using it as a pillow.
CIARA
I can't believe he just left us!
WARREN
At least we got to the island...
CIARA
This is all your fault! I had everything under control! And you had to ruin it!
WARREN
You didn't have the money.
CIARA
I could have gotten it!
WARREN
Yeah? What’s your plan to avoid arrest?
CIARA
(haughty)
Eliot Darnsley.
WARREN
(leaning fwd, interested)
Darnsley, hmm? That second rate archaeologist from the British Museum would give you NATO clearance?
CIARA
Yes! Probably.
(frowns)
He won’t let me be arrested.
(furious glance at Warren)
If it weren’t for you, I’d already be safe and dry!
WARREN
(leaning back)
Not without my money.
CIARA pulls an expensive digital camera that drips water out of her pack.
CIARA
Ruined. That’s just great. You owe me a camera.
WARREN
Hey, I didn’t throw you overboard.
(mutters)
Tempting as it may have been.
(louder)
You jumped.
CIARA
(coldly)
I fell.
WARREN
Lets get back to Darnsley for a minute.
CIARA
(cross)
My relationship with Eliot is none of your business.
WARREN
Ah, so it’s not a business relationship!
He stands as Ciara leans toward him with a hand raised. He stares toward the first soft rise of pitted limestone. WE SEE silhouettes moving toward them. Armed silhouettes.
WARREN (OS) (CONT'D)
Shit…
INT – PRISONER’S SHACK, ATLANTIS, September 13, 2008- DAY
This is a small portable containing two bunks, a battered table, file cabinet. Ciara is sitting on the lower bunk at its foot, Eliot is sitting on a folding chair near her, their knees almost touching Warren is lying on the top bunk, propped up on the pillow, pretending no interest.
ELIOT
(quiet anger)
Ciara, what the hell are you doing here?
CIARA
(heatedly)
What am I doing here? You tell me we’re through and just fly off and I’m supposed to let it go at that?
ELIOT
Hell yes!
(he glances upward and lowers his voice)
This is a restricted area, I’m working.
CIARA
(bitterly)
How convenient.
ELIOT
You make it sound like I made this infernal island rise, just to avoid you!
Ciara takes a breath to argue some more, then lets it gust out.
CIARA
(sullenly, eyes downcast)
At least tell me you won’t let them prosecute me.
ELIOT
(beat)
Why shouldn’t I? Following me here, that verges on stalking, Ciara.
CIARA
(looks up, eyes narrowed)
Why shouldn’t you? Would you like me to jog your memory, Eliot? Without me, you wouldn’t be here.
(grumpily quiet)
Neither of us would be here.
ELIOT
(edgy)
I won’t be blackmailed, Ciara.
Ciara leans forward imploringly.
CIARA
Eliot, if they do any checking on my background, I’ll be in shit so much deeper than trespassing on this dump. Please…do this and I’ll…I’ll forget anything ever happened between us. All of it.
(puts her hand on his knee)
Please. For old times sake.
Eliot looks down at her hand, back up to her face, clearly weighing the pros and cons of the deal.
ELIOT
Let me think about it.
He covers her hand with his.
Warren shifts for a better view.
Hope steals over her face; not only hope that Eliot might save her after all, but hope that he still has feelings for her.
CIARA
If there’s anything I can do to…help you think…
ELIOT flashes a glance at Warren
ELIOT
Perhaps…for old time’s sake.
INT. RESIDENT SHACK - DAY
This is where Eliot is sleeping with three other people from the British Museum, all of whom are in the ruins, working. It is less than twice as big as the prisoner shanty, with bunks two uppers, two lowers, leaving room for clothing storage. All just as battered as prisoner shack.
At present, Eliot has arranged to see CIARA privately. He is standing in front of a cracked mirror, making sure he looks totally dreamy GQ, which he does. WE HEAR a knock on the door, and ELIOT opens it.
ELIOT
(impatient annoyance)
Are the handcuffs really necessary?
GUARD (O.S.)
Sorry, orders.
There’s a pause as CIARA enters the shack, her hands cuffed behind her.
GUARD (CONT’D, O.S.) (CONT'D)
I suppose I could leave you the keys…just make sure she’s cuffed when she comes back.
ELIOT reaches outside the door, and takes the keys.
ELIOT
I’ll return her to the prisoner’s shanty myself.
GUARD (O.S.)
(pause)
That would be against the regulations. But appreciated.
ELIOT closes the door, smiles at CIARA. As he speaks, he tosses the key from one hand to the other.
ELIOT
(softly)
On the other hand, having you handcuffed does present some interesting possibilities.
CIARA
(awkwardly)
Eliot…please.
Eliot kisses her lightly, teasingly - the only part of their bodies touching are their lips. Ciara sways towards him.
ELIOT
(softly)
Let me get those cuffs off.
CIARA
Eliot, I…
He hesitates, key in the lock.
ELIOT
Yes?
CIARA
(mumuring)
I’m going to miss you.
Eliot is smiling as he finishes with the cuffs. Ciara turns, and hesitates only briefly before throwing her arms around him. They kiss passionately and fall onto one of the lower bunks.
ELIOT
(affectionately)
You were always at your best when you weren’t talking.
The comment wounds Ciara, but she ignores it, kissing him with a kind of quiet desperation. In his desire, Eliot notices only that she is compliant. They begin to pull at each other’s clothes, and we CUT TO:
INT. - PRISONER’S SHACK, LATER THAT SAME - DAY
Ciara is standing in the doorway, as her cuffs are removed by someone O.S., she enters and the door is closed. Warren is sitting on the lower bunk, and he quickly puts away the cocktail napkin he’d written on at Lou’s place as he stands up.
WARREN
(interested)
I guess it's not who you know, it's who you yes, hmm?
CIARA gives him a glare.
WARREN (CONT'D)
So when does your great escape come?
CIARA
That’s none of your business.
She throws herself on the bottom bunk and stares upwards.
WARREN
Ah. I take it we’re going to be roomies for a while longer, then.
CIARA
Shut up.
WARREN
(suggestively)
If lover boy failed in any other way, perhaps I could be of service?
CIARA
Don’t you understand fuckin’ English? Shut your god-damned mouth.
(pause)
He says he'll do his best.
WARREN
After you gave your best, I assume.
Ciara growls in her throat.
CIARA
I wouldn’t be in this mess if it weren’t for you. I hope you rot in hell.
WARREN
(annoyed)
I already am, sister.
INT. LAW OFFICE, MARRAKESH, MOROCCO – EVE
TITLE OVER: Marrakech, Morocco September 14
White wash, louvered doors, louvered windows, a ceiling fan, maybe a potted palm. PERRY walks into the room, wearing a chador and birka. She sets her briefcase on the desk. She sighs as she removes the chador. There is a KNOCK on the door, which opens immediately afterwards to reveal:
CHARLES BABINEAU, another French lawyer, dressed in Western business wear. He is a handsome man and knows it. He leans photographically in the doorway, watching her remove the birka. She is late twenties, very striking in appearance.
CHARLES
Why do you wear that thing? You’re about as Muslim as Nicolas Sarkozy.
PERRY
I enjoy the anonymity.
CHARLES
Ah, I see. Another victory today, congratulations, Mlle Delarue.
PERRY
Thank you, Charles. You are working late tonight?
Charles pulls a bottle of champagne from behind his back. He pulls door closed behind him, intent on seduction.
CHARLES
Thought you might feel like celebrating. You haven’t lost a case since February.
He crosses the room as she sits back on her desk. He draws a finger along her jaw.
PERRY
(wryly)
And will your wife be joining us?
CHARLES
(feigned hurt)
Why must you always mention her?
PERRY
One of us should remember that you are married, and it seems very difficult for you to do so.
CHARLES
It is a marriage of convenience, as I’ve told you a hundred times. It means nothing to me. It should mean nothing to you, Perry. You know how I feel about you.
PERRY
Charles. I have very few rules in certain areas. But I do not have sex with clients, co-workers, or married men.
CHARLES
So…no champagne?
PERRY
(smiling)
I see no harm in sharing a drink.
He smiles, confident of eventual success, and pops the cork. It overflows as he pours it into two glasses.
The door SLAMS OPEN, startling them both. Through the door comes furious CLIENT. PERRY gets quickly to her feet.)
CLIENT
([in Arabic])
Whore! Bitch!
([in English])
Have you seen the papers?!
He flings a NEWSPAPER at PERRY. She flinches, it hits the desk.
CLIENT (CONT'D)
I paid you to win!
PERRY
(calmly, smoothing her skirt)
I did win.
CLIENT
(shouting)
At what cost! I might well have done better to lose!
PERRY
(quiet indignation)
You were guilty as hell. Another lawyer could not have given you the same verdict.
CLIENT
(shaking his fist)
You will never find work again in the entire kingdom of Morocco, Perrette Delarue! I will see to it!
CLIENT storms out of the office, things rattle in the wake of his departure.
CHARLES
(pause)
What did you do?
PERRY
(not looking at him)
I may not have stopped or countered the prosecution on a few of their points. Or most of their points. Before presenting the technicality on which they had to release him.
CHARLES
(grudging admiration)
The usual, in other words. You are one hell of a lawyer, in a twisted, backwards way. My dear, the prosecution must hate you...and you probably won’t have a job tomorrow.
PERRY
(with a wry smile)
Everyone hates me, Charles.
CHARLES
So, if we aren’t co-workers anymore…
Perry rolls her eyes, packing her chador and birka into her briefcase.
PHONE RINGS, Charles answers absently, as he pulls the newspaper towards him.
CHARLES (CONT'D)
Mlle Delarue’s office.
(looks up at Perry)
Yes, she’s here. A moment please.
(passes phone to Perry)
One of your British conquests, I presume.
Perry gives him a glare before as she speaks.
PERRY
(into phone)
Perrette Delarue.
(listens, replies with scorn.)
Eliot Darnsley. Give me one good reason I should not ‘ang up on you.
Perry listens, frowning, nodding, then frowning again.
PERRY (CONT'D)
Let me see if I understand. One of your little girlfriends ‘as done what?
(listens)
And you want me to represent her? Is this her fuck-off present?
(beat, cold satisfaction)
Non, non, but if I am to go up against NATO, this won’t be inexpensive, Darnsley
(listens, looking at Charles, replying in a reasonable tone of voice.)
That is a reasonable figure.
(hangs up)
CHARLES
(curious)
I’m guessing you and this Brit aren’t on the best of terms. What’s the case?
PERRY
Confidential. I’m flying to Lisbon tonight.
Charles gives a low whistle.
CHARLES
So much for our celebration.
(rueful)
What will I do with an open bottle of champagne?
Perry picks up her briefcase, and grins.
PERRY
You could share it with your wife.
(exits laughing)
INT. MITCHELL HARRIS’S OFFICE, ATLANTIS - DAY
The makeshift office of the provisional governor of Atlantis, Commander Mitchell Harris. Harris is behind a battered metal desk, uniform looks like he slept in it. In front of the desk, along one wall are three folding chairs, unfolded and unoccupied at the moment.
Perry is standing inside the door. She is dressed for city work, complete with high heels. She is carrying a briefcase in one hand and a small overnight bag in the other. She slept on the flight to Lisbon, and caught the last sanctioned helicopter to Atlantis this morning. Her hair is pinned up, professional, tidy.
PERRY
Commander Harris, I am Perrette Delarue, I’m here for Ciara Kamiya.
COMMANDER
(giving her a look over)
You’re the lawyer?
PERRY
(stiffly)
Oui. If you would be so kind as to release her to my custody…
The commander picks up a field telephone
COMMANDER
Bring the Kamiya woman.
(eyeing Perry)
Her lawyer is here.
(sighs)
Yes, I understand. Bring them both, what the hell.
PERRY
Problem?
COMMANDER
(disgruntled)
We don’t have the resources to act as a prison.
Perry shrugs elegantly. It’s not her problem.
COMMANDER (CONT’D)
(eyeing Perry)
You’ve never been to an archaeological site before, I take it?
PERRY
(pause)
Until last night it had not crossed my mind that a lawyer might be needed
(she gives a disparaging look around)
in such primitive conditions.
Harris seems about to speak but there’s a knock on the door and it opens to reveal Ciara, and behind her Warren.
GUARD (OS)
The prisoners, sir.
Ciara and Warren walk into the room, their hands cuffed behind their backs, followed by a GUARD carrying a RIFLE.
PERRY
(uncomfortable)
Is the gun necessary?
COMMANDER
Yes, it is.
(to guard)
Release Miss Kamiya.
CIARA
(suspiciously, to Perry)
Who are you?
PERRY
Perrette Delarue, I am here to protect your legal rights. You are being released into my custody.
CIARA
(incredulous)
You’re the lawyer Eliot hired?! That bastard!
Irritation flickers across Perry’s face, distracting her from the guard with the gun.
WARREN
You don’t look like a lawyer.
PERRY
(irritated)
What does a lawyer look like?
WARREN
(hastily)
I just meant...you’re…pretty..uh..
(clears throat)
What about me?
PERRY
(dry as a Moroccan desert)
You don’t look like a lawyer, either. But you might be pretty, in the right clothes.
(the Guard uncuffs CIARA)
COMMANDER
This charming gentleman is Warren Masterson. Canadian, we’ve confirmed that much. Claims to be an archaeologist, which we can’t confirm. Won’t call anyone.
(hopeful)
Don’t suppose you’d take him, too?
PERRY
(to Warren)
Do you want legal representation?
WARREN
(wary)
Yes.
PERRY
Do you ‘ave money?
WARREN
Money?
PERRY
(impatiently)
I don’t do charity work.
WARREN
(hastily)
Yes, I have money. Not on me, of course.
PERRY
(calculating pause)
You will pay me a five thousand dollar retainer, non-refundable, as soon as we return to Lisbon, yes?
WARREN
(lying)
Yes, certainly! No problem.
PERRY
(to Harris)
Very well. I will take him, too.
COMMANDER
You’re doing me one hell of a favour, Ms. Delarue.
PERRY
(weary smile)
When can I take my clients to the mainland?
The Commander gestures to the guard, who then releases Warren. He slides a set of papers across the desk and rifles through a file cabinet as Perry begins to sign.
COMMANDER
Masterson’s paperwork is right here; good riddance to the two of them. Never thought I’d be glad to see a lawyer. As for leaving the island, I’m afraid the helicopter that brought you in has already left. We’re not expecting another until the day after tomorrow.
PERRY
(taken aback)
The day after - ?! Where are we to stay until then?
COMMANDER
(evil grin)
You can stay in the shack we’ve been keeping the prisoners, well away from the people who are supposed to be here. When the mess bell rings, show up or go hungry, there’s no fine dining here. And remember, Ms. Delarue, your “clients” are in your custody, you are fully accountable for them.
PERRY
(crossly)
‘Ow far can they go, it’s an island.
COMMANDER
The ruins are off limits to unauthorized personnel. That means you and your clients. Am I making myself perfectly clear? Any trouble and I will hold you personally responsible.
PERRY
(sighs)
Oui, oui.
CIARA
Commander, wait! There’s only two bunks in that room.
WARREN
(quickly)
That’s not a problem. I’ll be happy to share with either of you.
PERRY rolls her eyes while CIARA favours Warren with a glare.
CIARA
(angrily, aside)
This is all your fault, Masterson.
WARREN
(wearily)
So you keep telling me.
COMMANDER
(pained expression)
Just…get them out of here, Ms. Delarue.
EXT. – ATLANTIS - DAY
Perry is leading - or being led - by her charges across a landscape not conducive to high heels. She is still carrying her bags, and stumbling over assorted debris. In the background are some RUINS, we are near the central structure which has a square entry way or anteroom at the front.
CIARA
(sarcastically)
Nice shoes for an archaeological site.
PERRY
(coldly)
I did not anticipate staying here for more than a few hours. I came to get you out of the ‘ands of the military.
CIARA
How do you know Eliot? Do you have a practice in London?
PERRY
My practice is in Marrakech.
WARREN
(to Ciara)
An ex-girlfriend of the ex- boyfriend?
Perry makes a scorchingly scornful sound.
PERRY
(grudgingly)
We went to school together.
CIARA
Why did Eliot hire you?
PERRY
(irritated)
He hired me because I am discreet, Mlle Kamiya.
WARREN
Nothing to do with the fact that you’re a babe. Probably never noticed.
CIARA
Masterson, shut up. Even if you hadn’t gotten me into this mess, I would find you an absolute prick.
WARREN
(annoyed)
Look Miss Kamiya, I did not tie you up and drag you here, coming to Atlantis was your idea. All I did was make it possible for you to get a boat.
CIARA
I could have gotten here without your help!
Perry stumbles and Warren catches her arm without thinking. He is focused on the argument with Ciara.
WARREN
I’m sure you could have, but you were counting on Darnsley to save your ass once you got here and look how that turned out.
CIARA hisses at him. Perry takes another mis-step almost falling literally into Warren’s arms.
WARREN (CONT'D)
(gently)
No need to throw yourself at me, Mlle Delarue.
PERRY
(crossly)
Pretend to be a gentleman and carry this for me.
(thrusts her overnight bag at him)
I slept on a plane last night, M. Masterson, only to discover that I will be
(scornfully)
camping for two nights. Spare me your sense of humour, I am not in the mood for it.
They are right in front of the remains of a building. Warren notices, and absently pats his pocket.
WARREN
Hey look.
(to Perry)
Have you ever seen a ruin before?
PERRY
Non.
WARREN
Aren’t you even a little curious?
PERRY
(exasperated)
Non! The ruins are off limits.
CIARA
(cross)
What’s so damned fascinating about ruins.
WARREN
(slyly)
They’ve cleaned up a lot of the debris through there, it would be easier walking for you, Mademioselle Delarue.
PERRY
You speak French, M. Masterson?
WARREN
(in Quebecois French)
But of course, mademoiselle. I grew up in Montreal and it would be my pleasure to speak French with you.
Perry, a native of Marseilles, winces, possibly at Warren’s accent, possibly because her ankles have twisted so many times.
PERRY
English will be fine.
(pause)
Are you sure the way is smoother?
CIARA
Be careful, Miss Delarue. This guy likes to get innocent bystanders hip deep in shit.
WARREN
(irritated)
Cut the crap, Kamiya. Find another scapegoat.
(to Perry)
It’s not a shortcut, but the walking will be easier.
The way is smoother, they are walking down what was formerly a main street leading directly to the central structure. Warren slows and then stops, staring at the entrance.
WARREN (CONT'D)
This is what I came here to see, you know.
PERRY
(unimpressed)
It’s a ruin. There are plenty you can see without being arrested.
WARREN
(softly)
They’re not like this, Mlle. This whole island floats, it’s man-made, yet it carbon dates as ancient. There are glyphs on the walls that no one has ever seen before. If we could learn to read those, we would know so much about the people who built this.
PERRY
(still unimpressed)
They’re dead, what more do you need to know?
WARREN
Mlle Delarue, how can you say that! Can you tell me that knowledge of the Code of Hammurabi would have made no difference to current law?
He is leaning against the small square building that serves as an entrance or foyer or antechamber, almost but not quite trapping Perry between him and the building. He wants her to feel a little intimidated. He is expecting a flip answer, but she gives him a serious, thoughtful reply.
PERRY
The law is organic. It grows and changes, mutates, becomes something other than what it began. The Code of Hammurabi was without question influential on the direction of the evolution of law. But that influence would exist, whether we knew of it or not.
Warren stares, not quite able to believe what he’s hearing.
WARREN
You must have seen the original stela in the Louvre, didn’t that mean anything to you?
PERRY
(thoughtfully)
Yes, I suppose it did.
She takes a long considering look at the ruin.
PERRY (CONT'D)
I suppose I understand….
CIARA
You’re not gonna let him look around, are you?
PERRY
Commander Harris was very clear, the ruins are off-limits.
WARREN
Technically speaking we are already in the ruins.
Perry gives him a long, suspicious stare.
PERRY
And that is purely coincidental n’est-ce pas?
WARREN
Just a peek.
CIARA
Don’t say I didn’t warn you.
Perry makes a sound of exasperation as she looks around. There’s no one watching.
WARREN
(exuding puppy dog charm)
Mademoiselle, I beg you. This is a once in a lifetime chance, what harm in letting me take just one little look? We’ll be out of here in 48 hours, no one will ever know.
PERRY
(giving in, and cross because she’s not sure why she’s giving in.)
Fine, fine. We will take one very quick look. Vite, vite!
INT. ANTECHAMBER – DAY
Perry, Warren, and Ciara stand around blinking as their eyes adjust to the light. There’s not much to see in this room, but a doorway that leads to the main structure.
Warren sets down Perry’s bag and races for the door. Ciara thinks he’s making a break for it, and hesitates fractionally before running after him.
Perry is shocked and appalled, but can’t run after them because of her shoes.
PERRY
Non! Wait, you can’t go in there!
INT. – CENTRAL STRUCTURE – DAY
Warren and Ciara are in the center of the room, staring. Perry walks in slowly, almost limping. She moves along the left wall, one hand on the wall for balance, or support. She is looking at her clients, not the wall.
PERRY
(crossly)
You’ve ‘ad your look, now lets go, we are not supposed to be ‘ere.
CIARA
(awed)
It’s beautiful....
WARREN
Where’s the room they were talking about on the news?
Perry continues to move along the wall, keeping a constant eye on Warren and Ciara, and doesn’t see the open doorway she subsequently falls through. Her startled cry alerts Warren and Ciara. They rush to look through.
INT. – STAIRWELL - DAY
Looking down a short stairwell, Perry is struggling to sit up at the bottom of the stairs. One shoe has come off, the other has lost its heel. She has a scrape down the outside of one leg, which is oozing blood, tear(s) in jacket, skirt, etc. Her hair has come undone and she is covered with dust. Her briefcase, looking only slightly worse for the fall and equally dusty is close by.
WARREN (O.S.)
Are you alright, ‘demoiselle?
Warren and Ciara come down the stairs to help.
GUARD ONE (O.S.)
Did you hear something?
Ciara and Warren freeze. Perry pulls off the broken heel shoe and stuffs both in her briefcase. She gets painfully to her feet, flinching and gingerly touching her back, the back of her head and other places that might have bounced too hard on stone steps. She automatically smoothes her skirt. She examines the scrape on her leg, pulling torn hosiery away from the wound.
GUARD TWO (O.S.)
I thought this building was supposed to be empty today, but double check the roster. Could be nothing, could be trespassers.
As the guard speaks, his voice gets closer. Ciara and Warren finish going down the stairs and Warren grabs Perry’s arm. She leans over for her briefcase and nearly falls as he tugs her into the lower room.
PERRY
Ow!
INT. - GLYPH ROOM – DAY
Light should be filtered with dust, and comes from cracks in the ceiling. This is the room from the newscast, the one with the glyphs everywhere. There is considerable debris on the floor. All are struck by a sense of curious wonder, even Perry.
Warren pushes past Perry into the room. Ciara gives her an “I told you so” look before following.
Perry pulls off the remains of her pantyhose, wriggling against the wall to do so without hitching up her skirt too far.
CIARA
(impressed)
This kinda looks like code.
Warren is watching Perry as she smoothes skirt back into place and puts torn hose in her briefcase.
WARREN
(vague)
Hmmm.
He gives his head a shake and turns to Ciara
WARREN (CONT'D)
What did you say?
CIARA
The way it’s laid out, I mean. If it was numbers it would look like code. Not all of it, but look at that part of the wall there.
(points)
Warren walks over for a closer look, running his fingers lightly over the glyphs. He surreptitiously pulls the cocktail napkin from his pocket.
WARREN
(frowning)
This isn’t what I saw. I saw…
(turns, examining the walls slowly, methodically)
There.
CIARA
What are you talking about?
Warren points to a few glyphs.
WARREN
Those say something along the lines of a gift of a circle. Or loop. A closed figure, could mean an electrical circuit, since the island appears to be man-made.
The light picks out a gleam on the floor that draws Perry’s attention. As she is now barefoot, she carefully makes her way across the floor to it. She picks up an AMULET, brass or gold, with a dull red stone.
CIARA (O.S.)
That’s bullshit. Eliot said nobody can read those glyphs.
Ciara spots a gleam on the floor, too, at the same time that Warren spots one half way across the room.
He frowns and approaches the gleam. He kneels down and deftly slips an amulet, identical to the one Perry found, into a pocket.
Ciara holds the amulet she’s found high.
CIARA (CONT'D)
(quietly)
Would you look at this...
Perry looks up, opens her mouth to speak, but doesn’t get the chance.
GUARD ONE (O.S.)
Who’s down there?
Perry limps as far away from the staircase as possible, amulet in one hand, her briefcase in the other. Almost absently, she puts the amulet in her pocket, and leans against the wall, as if wishing she could just melt into it and vanish.
GUARD TWO (O.S.)
Come up here, with your hands up. You are violating the protocols of the NATO provisional government of Atlantis. You are under arrest.
Perry and Ciara glare at Warren. Warren moves to stand in front of Perry, and studies the glyphs. Ciara looks at the amulet, towards the stairs, and defiantly drops the amulet down her shirt. Neither Perry nor Warren notice.
WARREN
(softly)
I think this says we’re in Chronos’s basement, this room is dedicated to the god Chronos…
CIARA
(quiet sarcasm)
Chronos’s basement. Sure.
PERRY
(crossly)
This is not the time to bicker.
Something in the room suddenly begins to HUM. Perry slides down the wall to a crouched position, back still pressed against the wall.
PERRY (CONT'D)
(hisses at Warren)
What did you do?
WARREN
I didn’t do anything!
CIARA
Shit, shit, shit! What have you gotten us into now?
WE HEAR footsteps on the first stairs.
GUARD ONE (O.S.)
We should wait for back up.
GUARD TWO (O.S.)
That room is a dead end.
GUARD ONE (O.S.)
They might be armed.
GUARD TWO (O.S.)
(pause)
Let’s see.
Guard Two fires a shot down the stairwell. WE HEAR a ricochet, and watch Warren and Ciara flinch, while Perry drops to her knees and covers her head with her arms.
PERRY
(panic/anger)
My fees just doubled for dis! I ‘ate guns!
CIARA
Shut up!
(to Warren)
What’s happening?
WARREN
I don’t know...
He glances at the doorway, where gunfire seems to be getting closer.
WARREN (CONT'D)
(continuing)
but I hope it’s better than being shot.
They raise their arms to shield their faces from the light.
CIARA
(disgruntled)
Great. This is -
Warren holds up his other hand to forestall her
WARREN
Don’t tell me. It’s all my fault.
The light flares, obliterating all vision.
SMASH CUT TO:
INT. GLYPH ROOM - NIGHT
The room is dark, Warren, Ciara and Perry are lying about the floor, unconscious. Ciara recovers first.
CIARA
(standing, and reaching for wall)
Wh-what happened??
PERRY rises shakily to her feet, bracing against the wall. She visibly flinches as her back hits the wall, those steps she fell down were HARD! Automatically she smoothes her skirt.
PERRY
I’s dark.
CIARA
No kidding.
WARREN pushes himself up to a sitting position, leans against the wall and groans, closing his eyes
WARREN
If I’m dead, I’m in hell.
(opens eyes)
Anybody got a match?
Perry gropes around for her briefcase. The clasps opening sound very loud. She takes out a small penlight and aims it toward the ceiling, turning it on. Warren stands, and Ciara leaves the wall.
CIARA
(to Warren)
And I thought you were the boy scout.
Perry slowly lowers the light, begins scanning the room. It is, curiously, spotlessly clean.
WARREN
What happened?
PERRY
Something knocked us out til sunset. And we seem to be free of bullet ‘oles.
WARREN
(squinting through light at Perry)
What happened to you, anyway?
PERRY
(stiffly)
I don’t like guns.
Warren snorts – like that wasn’t obvious.
Perry turns the light around the room. It is spotlessly clean, no debris of any sort is visible.
CIARA
(softly)
What the bloody hell happened?
PERRY
(grabbing her briefcase)
We can figure it out later. Right now, there is no one shooting at us, so lets just get out of here.
Warran looks towards the wall, where it is too dark to discern the glyphs.
WARREN
What about the glyphs?
PERRY
(crossly)
We are not supposed to be here. So. Lets. Go. NOW. Before they come back to shoot at us again.
They go to the stairwell and disappear up the stairs, Ciara first, then Warren with Perry last; she moves with deliberate care.
EXT. – ATLANTIS - NIGHT
Outside the ruins, there are some lights shining in the squares of windows, but not many. The silhouettes are not the jagged shape of ruins as before, but whole buildings and the shanty town of military huts is gone.
Penlight has been put away. Before the characters can register much of anything beyond the fact that it was just shy of noon when they entered the ruin and now it’s dark, they hear something.
JOSS (O.S.)
Hssst!
WARREN
(softly)
What was that?
JOSS (O.S.)
(whisper)
This way!
Both Ciara and Warren turn to Perry.
PERRY
(softly)
What?
CIARA
(softly, sarcastically)
We’re in your custody. Do we go, or what?
PERRY
(surprised, slowly)
I suppose...if it avoids us getting shot, or imprisoned...
JOSS
Psst! Hurry!
EXT. HELICOPTER - NIGHT
A dark shadow against the night sky. Joss is practically pushing them in.
INT. – HELICOPTER - NIGHT
Joss is wearing a long dark coat over black leather pants. He is flying. Ciara, Warren, and Perry are in the back clinging to anything they can for dear life as the helicopter rises unsteadily into the air.
WARREN
(yelling to Perry)
Not sure this is much safer…
Perry grimaces, but doesn’t try to talk, it’s too noisy.
EXT. LISBON SKY - NIGHT
STOCK SHOT: Lisbon cityscape by night.
Helicopter lands gracelessly on a poorly lit landing pad on the top of a building. Landing lacks grace, but everyone lives so it counts as “good.” Rotors slow, engine is cut.
INT HELICOPTER NIGHT
Joss turns around to look back at his passengers, who appear to be surprised to find themselves alive.
JOSS
We’re here.
EXT. LISBON ROOFTOP, 2018 - NIGHT
Joss gets out of helicopter, opens rear door, gives a mock bow.
PERRY
Who are you?
JOSS
(mocking)
Joss Cracker, at your service.
Warren vaults out, one-handed, to give the ladies a hand down. Perry ignores him, but she is still very sore from her fall, and she is barefoot. She half falls before Warren catches her and sets her on her feet. She is still clutching her briefcase.
PERRY
(reluctantly)
Thank you.
WARREN
(suggestively)
It was a pleasure.
Perry ignores Warren, smoothes her skirt and eyes Joss’s outfit.
Joss in turn gives Perry a cool stare. Compared to the others, she's pretty beaten up.
JOSS
What the hell happened to you?
Ciara is next out, she hops lightly to the ground, also ignoring Warren.
CIARA
Where are we?
JOSS
(still looking at Perry)
Lisbon.
Ciara sees him staring at Perry’s dishevelled appearance.
CIARA
That’s what happens when you wear stiletto heels to an archaeological site.
WARREN
Not that I’m not grateful for the lift… but who are you, and how the hell did you know we were there?
JOSS
Lets just say you guys are the weirdest thing I’ve ever lifted from a museum.
CIARA
(dryly)
I hope they didn’t hire you for your flying ability.
Joss glares at Ciara.
JOSS
I need a drink. Follow me.
JOSS starts walking toward rooftop door. PERRY sighs dramatically and presses her hand over her heart.
PERRY
(mocking)
The strong silent type! Be still my ‘eart!
JOSS
(irritated)
And who the hell do you think you are, cream-puff?
WARREN
(smirk)
She’s our lawyer.
Joss stops dead and stares at Perry all over again.
JOSS
(incredulous)
You’ve got to be kidding.
PERRY
(contemptuously)
Fuck you.
JOSS
(leering)
Please do. But right now isn’t a good time. Maybe later, cream-puff.
CIARA
Jesus, he’s worse than you, Masterson.
WARREN
Don’t start on me again, Kamiya. This, at least, is not my fault.
CIARA
Oh really? You got me arrested, you got Ms. Delarue involved. It was your idea to explore the ruins, which got us all shot at. Which part of this is not your fault?
WARREN
Darnsley must have a fetish for bitches.
CIARA
You shut your god-damned mouth!
JOSS
Knock it off, brats. Jesus, you two deserve a cream-puff lawyer.
A sullen silence falls
JOSS(CONT’D)
Now lets go inside and get all your questions answered, okay?
(aside to Perry)
And we can arrange a time for you to fuck me.
PERRY
(coldly)
When hell freezes over.
JOSS
(mildly)
Tsk, isn’t that just like a lawyer, going back on her word.
He walks over and opens the door.
JOSS (CONT'D)
(bows)
After you. I insist.
Ciara glares and walks stiffly through the door, Warren gestures Perry to go before him, so she does. Warren gives Joss a wary look before going next.
INT – RECEPTION, KRONOS PROJECT HQ -- NIGHT
Room has a white leather couch, two armchairs, glass and chrome coffee and end tables, all in “conversational grouping”, behind couch is reception station, no one there. In background, WE CAN SEE an office with glass walls, door shut, desk, computer, etc, also vacant.
A plain, unmarked door opens and our characters come through, same order went in on roof, Ciara, Perry, Warren, Joss.
JOSS
Wait here.
He goes behind reception desk and pushes intercom.
JOSS (CONT’D)
(doubtful)
I’m back. I got the goods.
Joss rejoins the group. Perry is standing near an armchair, reluctant to put her very dusty and somewhat bloody self into it. Warren has seated himself in the middle of the couch, hoping for company. Ciara is sitting on edge of second armchair.
PERRY
Where is the rest room? I would like to…
(gestures downward)
JOSS
I don’t think that’s a good idea.
She raises an eyebrow at him.
JOSS (CONT’D)
(leering)
I just can’t bear to let you out of my sight.
She sighs and sits down.
PERRY
Your furniture.
JOSS
Don’t worry about it, cream-puff.
Perry frowns at the unflattering nickname.
There is an uncomfortable silence as Warren, CIARA, and Perry look at each other, uncertain what to say.
WARREN
(clears throat)
So. Ms. Delarue, what's a pretty girl like you doing in the legal profession?
PERRY
(shrugs)
My parents ask that same question. They sent me to Harvard to find a rich husband. I was a grave disappointment.
Joss makes a derisive sound.
CIARA
Why didn’t you stay in the U.S.?
Perry gives JOSS a quick glance.
PERRY
I don’t really like Americans, they are so…arrogant, presumptuous.
Joss glares at her, while Ciara snickers.
JOSS
Nothing like the French, eh cream-puff. What about Abbot and Costello here?
CIARA
Piss off.
WARREN
(dryly)
You’re really not a people person, are you?
Ciara darts a look at Joss, uncertain to whom the comment is directed. Joss gives her a wry smile, which she returns before she can stop herself. She looks away, self-conscious.
WARREN (CONT'D)
Kamiya, what exactly do you do for a living, anyway? Obviously nothing public-oriented.
Ciara glares at him.
CIARA
(grudgingly)
I’m a, a programmer.
WARREN
How’d you hook up with Darnsley?
CIARA
(coldly)
That’s none of your business.
Warren shrugs.
JOSS
(to Ciara)
What’s your name, princess?
CIARA
(cross)
Ciara Kamiya and I’ll thank you to use it.
PERRY
And you, M. Masterson, why did you feel you had to trespass on NATO territory?
WARREN
Sunken civilizations are a pet interest of mine.
PERRY
And you had to trespass because…? Canada is a member of NATO, as I recall.
WARREN
(reluctantly)
I…sort of…freelance.
CIARA
How do you freelance archaeology??
Perry starts to laugh.
PERRY
You’re a thief! That’s what you mean, n’est-ce pas? You sell artefacts to the highest bidder?
Joss snorts derisively.
WARREN
(defensive)
I am not a thief! I don’t steal from other people’s digs. I find my own.
JOSS
Then what were you doing on Atlantis?
Warren’s mouth is set in a mutinous line. He owes these people nothing, and there is no way in hell he’s telling them he can read the glyphs.
WARREN
(sullen)
I wasn’t there to steal anything.
Joss shrugs off his long coat and taps the amulet on his shoulder.
JOSS
So you didn’t happen to pick up one of these?
Behind Joss’s back, both Perry and Ciara are gaping in surprise, each suddenly remembering picking up something exactly like that. They do not see each other’s reactions, as both are focused on Joss’s amulet. Warren, on the other hand, has spent some time sneaking artefacts past airport customs so he has a much better poker face. There is a pause, and Warren reaches for Joss’s amulet.
WARREN
Where did you get that?
Joss moves back before Warren can touch the amulet.
JOSS
(confidently)
Same place you got yours.
PERRY
(amused)
Does that mean you are a thief, too?
Joss turns to face her, scowling.
JOSS
I suppose you’re gonna try to tell me you don’t have one.
Perry pulls hers out of her pocket.
PERRY
Oui, I have one. I had intended to ask M. Masterson about it, but the shooting started and I was… distracted.
JOSS
What’s your excuse, princess Ciara?
CIARA
I have no idea what you’re talking about.
JOSS
I know you have one.
CIARA
You, sir, are insulting.
Joss is unfazed.
JOSS
And you are a liar.
Perry puts her amulet back in her pocket.
PERRY
(tired)
Is the Joss Cracker show almost over? I, for one, would like some answers.
Joss glares at her. Before he can say anything, REY and ANAIT come into the room. They are both dressed in Kronos Project uniforms – black vests, leather pants, amulets on their shoulders. Rey is a big man, tall, broad shouldered; and Anait is a petite woman with fine gold wire tracing from behind her ear, down her neck into her clothes, down her arm, disappearing into her wrist. Both could be any age from mid twenties to early forties.
REY
Ah good, you’re all here.
JOSS
(tightly)
May I speak with you a moment?
Rey gives group apologetic look and gestures toward glass walled office. Joss stomps over, enters office, Rey follows, closing door behind him.
INT. GLASS WALLED OFFICE - NIGHT
JOSS
(cross)
What the hell is this?
He gestures toward the wall, indicating the others.
REY
(calm)
What do you mean?
INT. – RECEPTION – NIGHT
Anait is trying to talk over the sound of Joss’s voice, which is so loud it’s audible in the reception room.
ANAIT
My name is Anait. Reynard Darthan and I are in charge of a…joint government enterprise called the Kronos Project. We need your help…
JOSS (OS)
I did not sign on to babysit a skirt-chasing thief, a loud-mouthed bitch, and some Eurotrash floozy with a law degree her parents bought her!
Anait looks appalled, and the other three aren’t particularly impressed either. After that outburst, no further comments are heard.
WARREN
(wryly)
I think he holds back too much.
CIARA
Arrogant bastard.
Perry just shakes her head.
Rey and Joss return to the room, Rey still calm, Joss sullen.
REY
Thank you for your patience, I’m sure when you hear what I have to say –
Perry stands abruptly.
PERRY
I have heard quite enough, thank you.
ANAIT
Please, Perette Delarue, please wait. Joss does not speak for all of us.
Perry stares at Anait, wondering how she knew who she was.
PERRY
(stiffly)
That Joss speaks at all is offense enough.
Rey glares at Joss.
REY
Please, hear us out.
JOSS
(thru gritted teeth)
I’m …sorry.
Joss throws himself into the chair Perry vacated, pulls a flask out of his coat pocket and drinks deep.
Perry sits cautiously beside Warren, as far from him as she can.
WARREN
I won’t bite.
PERRY
(curtly, to Anait)
I’m listening.
ANAIT
You aren’t just random people we chose, we wanted you specifically.
Joss snorts
ANAIT (CONT'D)
(continuing)
Reynard and I are from the future. So, from your perspective, is Joss.
Ciara, Perry, Warren look at each other, to gauge how each is taking this. Then they look at Joss.
He spreads his hands wide, flask still in one.
JOSS
I didn’t believe ‘em either, but I was born 2045, and this,
(gestures)
Ain’t even close.
PERRY
This is ridiculous.
CIARA
If time travel is possible, why isn’t there any evidence of it? Why wasn’t there a crowd of future people watching the Duke of Normandy crossing the channel?
ANAIT
First, there is evidence of it; that is why we’re here. Second, it is prohibitively expensive, which is why there is no chrono-tourism.
WARREN
What evidence?
ANAIT
Thank you, I’m getting to that, Dr. Masterson.
CIARA
(startled)
Doctor?
ANAIT
I am what is known as a statistical historian, a discipline that evolved when it was discovered that events in history followed certain mathematical probabilities. We analyze the past, and try to predict the future.
PERRY
If you have a time machine, just go to the future.
ANAIT
(patiently)
Prohibitively expensive.
JOSS
She’s from a rich family, nothing’s prohibitively expensive.
Perry sends him a dark look, which he salutes with his flask.
PERRY
(to Anait)
Then why are you here?
ANAIT
There are a number of events in recorded history that, according to the numbers, should never have happened. These anomalies were considered the exceptions that prove the rule. Until we accidentally discovered time travel when one of our research facilities disappeared during an experiment in faster than light travel. Stat-his didn’t hear about it that right away, but when we did, suddenly a lot of anomalies started making sense, not the least of which was the Atlantis museum.
Joss leans forward.
JOSS
You mean the Atlantis museum is your missing research facility?
CIARA
The Atlantis museum?
WARREN
(softly)
Chronos’s basement
Anait tries to suppress a laugh and fails.
ANAIT
That’s a story for another time.
PERRY
(frowning)
But…Atlantis is a ruin.
WARREN
It didn’t get here recently, Mlle. Delarue.
CIARA
Eliot said it’s over two thousand years old.
Perry holds up her hands.
PERRY
Okay, we have the background story, but you still haven’t told us why you’re here.
ANAIT
We need your help to make sure the things that should not have happened, do happen. Dr. Masterson, if it helps you decide, the day you arrived on Atlantis, a gentleman named Takai issued a bounty for your head. Just your head. If you agree to join the Kronos Project, you will be safe.
(smiles)
Well, safer.
Warren looks alarmed, but not really surprised.
WARREN
That’s one hell of an inducement.
JOSS
Who’s Takai and why would he put a price on an archaeologist’s head?
WARREN
(guardedly)
He’s a, a businessman.
JOSS
(smiling ironically)
Right.
ANAIT
Perette Delarue, Ciara Kamiya, there is nobody seeking your deaths that I can offer you refuge from, but neither of you will be employed after Atlantis; you will both need to start all over again. For differing reasons, difficult for both of you. If you join the Kronos Project, there will be some interesting opportunities for you at the conclusion.
CIARA
(stiffly)
Such as?
PERRY
(sighs)
If what you say is true, I have nothing to lose, going along with you.
JOSS
There’s a phone, call someone who cares. You were trespassing in 2008, I pulled your asses out of there – circumventing their security with great precision, if I do say so myself – today, which is September 12, 2018.
Warren picks up the phone, looks at it, then dials a long distance number, while the others watch curiously.
WARREN
(relief)
Lou! Thank god it’s you.
(frowns)
It’s me. Me, Warren.
(looks at Anait, pale)
Why would I be dead?
(swallows)
Yeah. Ten years is a long time. Listen, Lou, I gotta run, I’ll catch up with you later.
(hangs up)
REY
In addition, the Kronos Project will present you with a substantial monetary settlement at the conclusion.
Anait gives him a dirty look
ANAIT
(hastily)
We will raise that money ourselves, by shrewd investments in time.
PERRY
Wait, you said you needed us in particular?
JOSS
(wryly)
A bunch of losers with no other options.
There is a silence after this, as on some level they all, except Anait, believe it’s true.
PERRY
Do I have a choice?
WARREN
(still pale)
I’m in.
CIARA
What the hell.
ANAIT
The first thing you need to be aware of is that by choosing to be a part of this project, you will be required to do things normally considered against the law. Most of you are not entirely unfamiliar with these activities. Perette?
PERRY
(wary)
Will I be required to break the law?
ANAIT
I don’t know exactly, but it may be that you will need to free one or more of us from a legal situation of which we are entirely guilty. Can you do that?
A slow smile crosses Perry’s face.
PERRY
That I can do.
ANAIT
The Kronos Project has determined that this set of clothing is the most unobtrusive in the most time periods. We want to minimize the amount of money we spend on acquiring appropriate clothing.
These amulets that you found, you may notice the red stones glowing? These contain the tachyons we use to travel, as well as provide a way of communicating. Put these in your ears so you can hear what is sent through the amulet.
Warren, you have a Mayan statue in your possession, do you not? We need to retrieve it from your apartment, it must be donated to the Smithsonian Institute in Washington, DC.
JOSS
If I may make a suggestion. Since money is an issue, why don’t we travel back to 2008, then fly to Vancouver. Ten years ago, I’m sure flights were cheaper.
ANAIT
That is a good idea, I have one, too: Why don’t you and Perette go back to the beginning of banking and set up some kind of perpetual account. She’s got the ancient family name, you’ve got the investment knowledge.
JOSS
(disparagingly)
Delarue is an ancient family name?
(off Anait’s look)
All right, all right.
ANAIT
Perette, you’re our treasurer. You two have 48 hours before we return to 2008 and fly out of Lisbon.
[over a montage of scenes, finishing up with an EXT. AIRPLANE – DAY as they fly to Vancouver.]
INT. – VANCOUVER AIRPORT, - DAY
International arrivals, crowded, incomprehensible announcements, typical scene.
Out of the crowd come six people, who stand out only because they’re all dressed in matching black leather pants and vests…. So much for blending in!
Rey is in the lead, and he stops as they emerge into the main thoroughfare, the others stop behind him. Perry trails last, running her hands down her thighs as if smoothing a skirt.
Near the exit, a JAPANESE MAN in a black suit and shades pulls out a cell phone and makes a call.
REY
Dr. Masterson?
ANAIT
Where do you live?
WARREN
(pause)
Downtown east side. Follow me.
INT. INTERNATIONAL TERMINAL, MAIN LEVEL – DAY
Warren is still in the lead. By the doors is another man in black suit and sunglasses. Without pausing, Warren is the first out the doors.
EXT. INTERNATIONAL TERMINAL – DAY
A black LINCOLN TOWN CAR pulls up to the curb, and Warren pauses, frowning. Before anyone can do or say anything, several Japanese men in black suits and dark glasses jump out of the car, grab Warren, stuff him in the back seat, and drive away with squealing tires. Joss recovers first.
JOSS
Shit! What the hell just happened?
CIARA
(dryly)
I believe Mr. Masterson was just kidnapped.
ANAIT
(startled)
I…wasn’t expecting that.
PERRY
(thoughtfully)
Yakuza, if I am not mistaken.
Reynard has recovered and is now cross.
REY
What? What do you know about this?
PERRY
(stiffly)
I trained in criminal law, monsieur.
JOSS
Ya-what?
PERRY
Yakuza, the Japanese… mafia, for lack of a better frame of reference.
JOSS
Mafia?! Why would an archaeologist - a Canadian archaeologist of all things - have the mafia after him? That doesn’t make sense.
Perry shrugs.
CIARA
Maybe he sold them some stolen artefacts.
ANAIT
It doesn’t matter, we need to get him back.
REY
You have any ideas how to do that, I’m listening.
JOSS
I’m pretty good at tracking people.
(pause, then to Ciara and Perry)
You two stay here - there’s gotta be a restaurant or café in here somewhere, wait for us there.
CIARA
Why do we have to wait here?
JOSS
(coldly)
Because you won’t get in the way, here.
(to Rey and Anait)
I have an idea, lets go.
They leave. Ciara and Perry go back inside.
INT. – INTERNATIONAL TERMINAL – DAY
They find a bench.
CIARA
What an absolute prick.
Perry smoothes her non-existant skirt and sits on a bench.
PERRY
More shy on charm than most Americans.
CIARA
You don’t think we should just do what he says?
PERRY
Of course not, but we can not proceed without a plan…or at least without a direction.
CIARA
(sitting beside her)
Like…?
PERRY
Anait mentioned a man named Takai, do you remember?
CIARA
Yes-sss.
(frowns)
Said Takai had a bounty on Masterson’s head…ah, you think Takai hired the Yakuza?
PERRY
Or he could be a member, himself.
CIARA
So how does that help us?
PERRY
Masterson said Takai was a businessman, so he must have business in Vancouver, n’est-ce pas?
Ciara makes an impatient gesture, and is clearly having difficulty holding her tongue.
PERRY (CONT'D)
(continuing)
I need a phone directory…
Ciara looks around, sees a pay phone, yanks the phone book out and passes it to Perry, who smiles.
TIME PASSES pages flip, Perry on phone, making notes, etc. Finally she closes her phone again, looking triumphant.
PERRY (CONT'D)
The Fairmont Hotel, downtown.
CIARA
That was bloody impressive. Takai is there?
PERRY
I don’t believe so. But I suspect Dr. Masterson is there.
CIARA
(eagerly)
Lets go!
PERRY
(calm, cool)
You are proposing that we attempt to rescue Dr. Masterson ourselves.
CIARA
(surprised)
Aren’t you? That would show Mr. Joss bloody Cracker a thing or two wouldn’t it?
PERRY
(slow smile)
You don’t happen to know Tae Kwan Do or Aikido, would you?
CIARA
(slowly)
No-ooo…but I am fluent in Japanese, if that helps.
The two women give each other an assessing gaze.
CIARA (CONT'D)
You have filthy lucre?
Perry pats her substantial cleavage.
PERRY
Of course.
EXT. – THE FAIRMONT – DAY
A CAB pulls up, lets out Perry and Ciara. They pause briefly, checking out the architecture, perhaps, then go inside.
INT. – THE FAIRMONT LOBBY - DAY
CIARA
(quietly)
This place is a friggin’ castle. How do we know which room?
PERRY
(also quietly)
It is likely there will be a thug outside the door, we just need to find the right floor.
At that moment, the women are approached by the CONCIERGE of the hotel, whose job is to prevent the hoi polloi from bothering the many prominent and famous guests of the hotel.
CONCIERGE
May I assist you… ladies? If you are vistors of one of our guests, you have but to give me your names and I will check the lists for you.
Perry gives Ciara a look, Ciara shrugs.
PERRY
If you are not booked to capacity, monsieur, we would like to book a room.
Ciara looks shocked.
CONCIERGE
You would.
CIARA
We would?
PERRY
(exasperated)
You ‘ave a problem with this hotel, too?
Ciara realizes that Perry has some sort of plan, though she hasn’t grasped what it is. She looks around the lobby in an offhand, bored way.
CIARA
I suppose it will do. It isn't exactly the Ritz, is it?
Perry puts her hands on her hips.
PERRY
We are supposed to be incognito…
(to Concierge)
I trust we can rely on your discretion?
The concierge is looking from one to the other, suspecting he should know who they are, or at least recognize one of them.
CONCIERGE
(obsequiously)
Yes, of course. What size of room do you require?
PERRY
Something modest will do.
INT. – THE FAIRMONT SIGN IN COUNTER – DAY
Perry at the sign-in counter, gets a room key, she signals to Ciara and they hit the elevator.
INT. – ELEVATOR - DAY
CIARA
What the bloody hell do we need a room for??
PERRY
You heard him, ‘demoiselle Kamiya. Vistors of registered guests must be on a list at the check-in counter. We are not on that list, so in order to get past him and onto this elevator, we are now registered guests ourselves.
CIARA
(dryly)
Couldn’t you have just bribed him?
PERRY
(equally dry)
Why take the risk? This isn’t a movie.
CIARA
(beat)
I can’t imagine how much that cost. Cracker wasn’t too far off the mark with his Eurotrash comment, was he?
Perry lifts her chin defensively.
CIARA (CONT’D)
(hastily)
I just mean, that is, that I would, you know, not be real comfortable with money like that.
PERRY
Being accustomed to wealth does not automatically equate to “Eurotrash”.
The elevator door opens before Ciara can say anything else. Perry steps off, looks inquiringly at Ciara, who follows.
EXT. FAIRMOUNT ROOM FLOOR – DAY
CIARA
This isn’t our floor.
PERRY
(impatiently)
We are looking for M. Takai’s suite, remember?
CIARA
(uneasily)
Right.
Perry walks confidently down the hall, passing every room before ending up back at the elevator. CIARA follows; she is taller, her stride is easier.
Maybe a MONTAGE of different floors until they find the right one, on fourth floor, man in black suit standing in front of door.
PERRY
(under her breath)
You talk to him, I’ll knock him out.
CIARA
(doubtfully)
Okay.
(in Japanese)
Excuse me, I’m lost, could you tell me how to find the conference rooms?
Perry walks by, turns, and uses kyusho-jitsu to knock him out. Ciara half catches him as he falls, and together they prop him in a seated position against the wall. Perry raps sharply on the door.
CIARA (CONT'D)
(in Japanese)
Open the door!
INT. – TAKAI’S ROOM – DAY
There are twice as many guards as Perry expected. Ciara cringes by the door while Perry mixes up tae kwan do with aikido, but there are too many and enough of them are better than she is. Through the fighting, WE SEE glimpes of Warren, bound hand and foot on the floor.
Perry and Ciara are bound to him, Ciara facing his back, Perry face to face with him.
WARREN
(softly)
That was impressive. It would have been more impressive if it had worked. How did you find me?
CIARA
Ms. Delarue -
PERRY
Perry
CIARA
(beat)
Perry figured it out.
WARREN
(beat)
What happened to your back-up?
(pause)
The others?
CIARA
They…don’t know we’re here.
There is a very long silence.
WARREN
If we weren’t going to die, that would be very funny.
He raises his arms from his side, and the women’s arms are pulled, too, pressing their chests closer against him. He drops his arms.
WARREN (CONT'D)
Reminds me of a fantasy I had…
Ciara snorts derisively.
PERRY
I did not expect so many guards; you don’t seem very dangerous.
Warren gives her a wicked grin and she smiles involuntarily.
WARREN
How is it you two showed up here, alone?
As they’re talking, a Yakuza guard eyes them suspiciously.
CIARA
Cracker told us to stay put, like we were dumb girls. If he’s so good at tracking people, where the hell is he??
Most of the men in the suite put on their sunglasses. They’re talking in Japanese (no subtitles)
CIARA (O.S.) (CONT'D)
(whisper)
They’re leaving.
The men exit, leaving only two guards.
PERRY
(softly)
Merde. I could ‘ave taken two. Probably. We were just too early.
WARREN
(whisper)
They’re going to get Takai.
He tries to put his arms around Perry, which squashes Ciara against his back, and forces Perry’s arms behind her.
CIARA
What are you doing?!
WARREN
(cheeky)
Might as well die happy. Quiet…
(sighs)
Jesus, in any other circumstances….
CIARA
In your dreams.
PERRY
What are you doing?
WARREN
(softly)
I think I might be able to free your…
YAKUZA GUARD
What are you doing?
Warren freezes, struggling to look innocent. Perry hesitates, then kisses him. He jerks back in surprise, banging Ciara’s head.
CIARA
Ow.
The guard says something disparaging about the mating habits of non-Japanese, which makes Ciara stifle a snicker. Perry breaks the kiss, not making eye contact, and Warren keeps trying to reach her other wrist, not sure what to say. WE HEAR the doorknob turn, and Warren drops his arms, defeated.
But through the door comes Joss, Rey, and Anait. Joss and Anait quickly subdue the guards, while Rey investigates the bound trio.
REY
How did the two of you get here?
JOSS
(angrily)
I thought I told you to stay put?
REY releases the prisoners.
PERRY
(resentfully)
Had there been only two guards, Ciara and I could have done this. There were seven when we got here.
JOSS
(sarcastically)
Sure.
WARREN
The others went to get Takai, so may I suggest we discuss this later??
INT. – ELEVATOR – DAY
The doors are just closing.
PERRY
Up. Sixth Floor.
JOSS
What, are you nuts! We’re not going to get caught like rats.
He hits the lobby button
CIARA
But we have -
Perry holds up a hand and Ciara stops, fuming.
The door opens on the lobby.
YAKUZA (O.S.)
There they are!
JOSS
Damn.
He pushes frantically at the door close button, and the basement button.
REY
Now what?
Door opens onto parking garage.
INT. – PARKING GARAGE – DAY
Typical underground parking, though none of the cars seem to be older than three years and are mostly high end vehicles.
JOSS
I guess we need to steal a car.
PERRY
We don’t need to steal a car.
CIARA
This is just great.
WARREN
I don’t think that’s a good idea.
JOSS
(to Warren)
Would you rather have your head chopped off?
Joss starts jogging through the parking lot, slowly, testing doors.
JOSS (CONT'D)
Man, some of these are classics! Old cars like these, should be a piece of cake.
Perry looks at Ciara, who shrugs. The elevator DINGS, signalling it’s return.
JOSS (CONT'D)
This one! Come on, MOVE
Team piles into a INFINITI G35. It peels out of the garage into bright sunlight.
EXT. - STANLEY PARK, VANCOUVER - DAY
Joss is driving a stolen INFINITI crammed with our characters, and they are being chased by a black LINCOLN TOWN CAR stuffed with armed Yakuza.
They are careening through Stanley Park at high speed, no guns are fired, the Yakuza are attempting to maintain discretion. For that reason, they allow the stolen car to slowly widen the distance between them, until at certain points, the two cars are not in visual contact.
They approach the LION’S GATE BRIDGE.
WARREN
Slow down here! There’s a speed trap up ahead!
JOSS
(looking in rearview mirror, incredulous)
WHAT?! I hate to break it to you, buddy, but those guys behind us ain’t gonna stop for no fucking speed trap!
WARREN
I’m counting on it! Damn it, Cracker, this is my city, I know what I’m talking about. Now hit the god-damned brakes!
JOSS
Shit!
He brakes hard and they cruise across the bridge by the speed trap just slightly over the speed limit.
The Yakuza’s Town Car does not slow down. The blue lights begin to whirl… We imagine that inside the black Lincoln is another kind of cursing as the police car goes after it, while our heroes in their stolen car drive unconcernedly back through the park to Warren’s neighbourhood.
EXT. WARREN’S APT – DAY
The building’s first floor windows are covered with wrought iron bars, artistic graffiti adorns the side of the building. Joss pulls up by a parking meter.
INT. INFINITI - DAY
JOSS
(hitting steering wheel)
That’s the craziest thing I ever saw.
WARREN
Welcome to Canada. Let me out, I can grab the statue and a waybill and we can ship the damn thing via UPS. Then we can find another way to get out of Vancouver that doesn’t involve the airport.
REY
What if Takai has men watching your apartment?
PERRY
I’ll go.
Perry is looking for a chance to redeem herself, but the others give her sidelong looks of doubt.
PERRY (CONT'D)
I do not have a price on my head, and you are all down here watching the door. How hard can it be?
WARREN
There’s a spare key on top of the sill. There are blank waybills on the desk in my…in the bedroom. The statue is in the bathroom.
Perry nods and gets out of the car. The others watch her go into the building.
EXT. INFINITI – DAY
Anait, Rey, Joss, Ciara, Warren get out of the car, stretch their legs, shake off some of the adrenalin high from the chase.
CIARA
How long do you figure she’ll be?
JOSS
Why, you got a date?
CIARA
(cross)
I’m thirsty, there’s a variety store less than a block away.
ANAIT
(quietly)
I’m sure we could all use some water. Do you have money?
CIARA
Enough for water.
She gestures downward across her body, indicating her outfit. Warren follows the gesture with his eyes.
CIARA (CONT'D)
These outfits don’t let you carry much.
REY
(wary)
It’s a good idea, but I’d better go with you.
(to Warren)
Stay by the car.
Rey and Ciara leave.
TIME CUT EXT – INFINITI - DAY
Joss and Warren are leaning on the car, Anait is pacing, scanning the street. Rey and Ciara are coming up the sidewalk, each carrying three bottles of water.
JOSS
Took you long enough.
REY
Perry’s back then?
(looks in car)
JOSS
(scowls)
No.
Warren pushes off the car and walks around it, nervous, impatient, possibly even worried. Joss takes a bottle of water.
JOSS (CONT’D)
What’s your problem? Afraid she’ll find your dirty magazines?
Warren gives Joss a “very funny” look and takes another turn around the car, grabbing a bottle of water as he passes Ciara.
WARREN
(to Ciara)
Thanks.
He takes a drink, looks at his building.
WARREN (CONT'D)
What could be taking so long??
REY
(pause)
She does have a cell phone.
ANAIT
I’ve been trying to reach her through the amulet, but it isn't activated.
JOSS
That variety store have a pay phone?
(off Ciara’s nod)
Lock the car, lets go.
EXT - VARIETY STORE - DAY
Joss turns to Ciara, who flips him a quarter without waiting to be asked.
JOSS
Only a quarter, hmm.
INT. - TAKAI’S SECRET HIDEAWAY - DAY
A drawing room, big fireplace, oriental rugs, antique furniture, Japanese and Mayan artefacts on the walls. TAKAI, a middle-aged businessman turning slightly soft is sitting in a chair by the fireplace. He pushes the disconnect button on Perry’s cell phone and puts it on a table.
Perry, hands tied together with a silk scarf, mouth gagged with another, is led into the room and pushed into the chair opposite Takai’s. She looks more annoyed than frightened.
Takai gives her a contemplative look. When he speaks, his accent is very slight.
TAKAI
Your friends have called for you.
(waves at cell phone)
They seemed somewhat more concerned about your jewellery… But how rude of me, we cannot have a dialogue when I am the only one who can speak.
He reaches over and pulls the scarf out of her mouth, pausing to touch the cut on the side of her mouth. She draws her head back from his touch.
TAKAI (CONT'D)
(cont’d)
I have heard that you fight well, for an occidental woman.
Perry inclines her head in acknowledgment of the compliment, but says nothing.
TAKAI (CONT'D)
(cont’d)
If I release your hands, will you
(pause)
keep them to yourself?
PERRY
(smiles wryly)
Mais oui, but of course.
TAKAI
(surprised)
You are French.
PERRY
Oui, I was born in Marseilles.
TAKAI
(pause)
I intend to trade you for Warren Masterson. Since you and your friends have already taken him from me once, I feel I should ascertain a few facts, lest trading you turn out to be...rash.
Perry gives Takai an assessing look, as she might her opponent in a courtroom. She casually brushes her amulet, activating the communication properties Anait told them about.
PERRY
It surely has not escaped your notice that we are all attired similarly?
Takai nods.
PERRY (CONT’D)
(pause)
I represent a...government agency...to which we, that is, I, Monsieur Masterson, and our mutual friends are recently...obligated.
TAKAI
(sagely)
I believe I am, in general, familiar with such things.
(pause)
But Masterson owes me a great debt.
PERRY
(wryly)
He owes me, as well. Not so great perhaps, only ten thousand American dollars, but…
(shrugs)
The point for now, if I may be so bold, monsieur, is that this...agency has need of M. Masterson’s services. If you make this exchange, me for him, then the rest of the team will only try to get him back. We may be but the annoyance of fleas, but an annoyance nonetheless.
EXT. INFINITI - DAY
They’ve returned to the car, listening to every word as Perry’s amulet transmits not only her voice but also Takai’s.
TAKAI (FILTERED, V.O)
Somewhat more than fleas, I think, but a pest needs only an exterminator.
PERRY (FILTERED, V.O)
Oui, but then you might be forced to deal with our...employer.
JOSS
What the hell is she doing?
WARREN
Sounds like she’s negotiating.
INT. - TAKAI’s DRAWING ROOM - DAY
PERRY
If I may again be so bold...I would like to propose a deal.
Takai finds this idea vastly amusing, it generates a genuine belly laugh.
EXT. – INFINITI - DAY
TAKAI (FILTERED, V.O)
(amused)
You are in no position to “deal”, Miz Delarue.
JOSS
No shit. The Eurotrash floozy has a death wish.
WARREN
Shhh.
Ciara and Anait exchange a glance, Rey is frowning.
INT. - TAKAI’S DRAWING ROOM
Perry is deferential, but confident.
PERRY
I am aware of that, monsieur. But it costs you nothing to listen, non? And it might be to your advantage...
Takai gives her a penetrating look, wondering if there’s some kind of trap or catch, wondering if there’s any way this white French woman can possibly trick him.
TAKAI
As you say, it costs nothing to listen.
PERRY
We are both aware of the paucity of M. Masterson’s assets, non? This...agency we are employed with, it is a limited contract, of a year’s duration. After which we are each promised a substantial settlement.
TAKAI
Define substantial.
PERRY
(pause)
Five million. A mere drop to someone like yourself, perhaps, but to each of us…substantial.
EXT. – INFINITI - DAY
general gasps of disbelief.
PERRY (FILTERED, V.O)
If you were to delay the gratification of extracting payment from M. Masterson for a year, he would be free of any government entanglements that might accidentally ensnare you. He would also have some monetary compensation to offer.
TAKAI (FILTERED, V.O)
(pause)
A year from now, I could have Masterson and five million dollars?
PERRY (FILTERED, V.O)
(pause)
Less my ten thousand...yes.
Warren begins to grin.
ANAIT
(confused)
We won’t be here in a year.
JOSS
(slowly)
I think that’s the point.
ANAIT
I don’t believe that any specific compensatory sum was ever mentioned.
Rey looks at Joss, who is frowning.
INT. - TAKAI’S DRAWING ROOM
Takai is looking reflective, trying to see a downside to this deal, apart from having to wait a year to get his “justice”.
TAKAI
(slowly)
Five million...less your ten thousand...does sound worth waiting for. I assume this agency will settle you far from your homes?
PERRY
(delicately)
Given a certain person's interests...I believe I heard Columbia mentioned.
EXT. – INFINITI - DAY
Warren whistles. Ciara looks at him inquiringly.
JOSS
What did I miss?
WARREN
She’s creating a potential conflict between the Japanese Yakuza and the Columbian Cartels.
REY
Why would Japanese be interested in Mayan artifacts anyway?
WARREN
Archaeology is plagued by crackpot theories, and one of them is that Central America was settled by Japanese explorers. Takai in particular believes this to be true. He considers Mayan artifacts to be lost Japanese artifacts.
(to Anait)
When you say we won’t be here in a year, you mean anywhere on earth in 2008, right?
ANAIT
(frowning)
Yes-ssss
INT. - TAKAI’s DRAWING ROOM
TAKAI
Miz Delarue, your talents are surely being wasted by this agency. In a year, after I have been compensated, come see me for your ten thousand. I may have some position for you more worthy of your talents.
PERRY
(non-committal smile)
Then we have a deal?
TAKAI
Not quite. If you are returned to your friends, what explanation will you give for my lack of reprisal?
PERRY
(wry smile)
I’ll tell them I seduced you, and turned your head with my charms.
TAKAI
(dryly)
And they would believe that.
PERRY
(sighs)
Yes, I’m afraid so.
TAKAI
I’m not certain which of us suffers the greater insult.
PERRY
It doesn’t matter. The agency gets what it wants, I get what I want, and you get what you want, plus some.
TAKAI
Everybody wins.
(pause)
We have a deal.
EXT. – INFINITI - DAY
PERRY
(filtered, V.O.)
Thank you, Monsieur Takai.
ANAIT
But she was not truthful.
CIARA
She didn’t lie, except maybe about the five million, but that could be considered an arbitrary figure, rather than an absolute.
ANAIT
We will not be here next year.
JOSS
She didn’t say we would. She said only that we would be done with the Kronos Project in a year.
WARREN
(admiring)
She’s brilliant.
JOSS
(dryly)
She’s smarter than she looks; I don’t know about brilliant.
CIARA
…so did she get the statue and the waybill, or what?
Warren and Joss look at each other, and then race to the front door of the building.
FADE OUT
THE END