Padgett Arango

EXT TRAIN STATION - DAY
TITLE CARD: NEW YORK CITY. AUGUST 1939.
AARON BOHR, a frail, short, bespectacled, and unfashionably dressed young man, slouches in front of a small pile of luggage. When he speaks, he speaks with a significant Danish accent. He pulls a watch from his pocket, winds it, and looks around. He seems somewhat overwhelmed by the bustling crowd around him. The camera tracks back away from him, further down the platform.
JACOB
(OFF CAMERA)
Ma. We'll be fine.
ETHEL
(OFF CAMERA)
I know you'll be fine. I just want you to look out for your cousin. This is got to be so much harder for him...
The camera pulls back to reveal ETHEL SPITZER fussing slightly over her son, JACOB. Jacob is a tall, athletic young man - fashionably dressed, handsome, and resistant to his mother's attempts at fixing his tie.
JACOB
I know. I know. He'll be okay. You already called the dean. We'll be roommates once we get out there. It'll be fine. Everything will be fine.
The train whistle blows.
JACOB
That's us. We've got to go. Love you.
He bends down and kisses his mother on the cheek. She's crying slightly, but waves at her son as he strides down the platform towards Aaron.
JACOB
You ready?
AARON
Yes. Quite.
Aaron picks up one of the bags. Jacob easily scoops up the remaining few under one arm, and they hop on the train.
AARON
New York is nice, but I could use something more... academic.
INT DORM ROOM - NIGHT
TITLE CARD: PALO ALTO, CALIFORNIA. LAST OCTOBER.
Slow pan over a remarkably disheveled dorm room. A digital alarm clock reads 4:58. A distant ruckus from the hallway gets progressively closer, eventually pounding on the door of the room.
MUFFLED VOICES
Raaaaachel. Wake up! Raaaaachel!
The pile of clothes and blankets on the bed starts to rustle, eventually falling aside as RACHEL sits up, glaring angrily at the door. Rachel is twenty years old, short, perhaps a little out of shape. She looks disheveled, even by the standards of someone who has just been woken from a deep sleep at nearly five in the morning. She groans, then gets out of bed. Dressed in a t-shirt and boxer shorts, she opens the door and glares silently at the three people (two guys and a girl) smiling drunkenly at her.
FIRST GUY
Rachel!
He leans forward to hug her. She puts up a hand.
RACHEL
You smell horrible.
FIRST GUY
No. That's Jim.
JIM
I threw up on my shorts.
RACHEL
Ew.
FIRST GUY
Yeah, it was epic. You should have been there.
RACHEL
No, I think I'm glad I wasn't. What do you guys want? Do you know what time it is?
GIRL
Yeah, it's almost sunrise! You want to drive us up on Skyline to watch it?
RACHEL
Uh, no?
FIRST GUY
Oh, come on. It'll be fun.
RACHEL
Why me?
JIM
You have a car.
FIRST GUY
And you're sober.
RACHEL
And trying to sleep. Good night.
JIM
And you're the designated driver, right? You're supposed to drive us around when we've had too much to drink!
RACHEL
I'm not supposed to "drive you around." I'm supposed to drive you home. I'm not a limo service. Call a cab. Or, better still, just go to bed. Good night.
GIRL
Oh, come on. You told me last year you can never get back to sleep once something wakes you up. Remember?
Rachel glares at the girl.
RACHEL
I hate you. (BEAT) Let me go put on some pants.
EXT FOOTBALL FIELD - DAY
TITLE CARD: STANFORD UNIVERSITY. OCTOBER 1939.
A quick shot of a scoreboard shows Stanford down by 7 against UCLA with mere seconds left. The players huddle up, and we recognize Jacob as the quarterback of the team.
JACOB
OK, break right on three. Ready?
Everyone claps, and they head out on the field. Jacob receives the snap, fakes a handoff to the running back, then makes a break around the end guards. One of them closes in on him, but Jacob stiff-arms him and makes a dive into the endzone. The scoreboard operator hangs up a 6 on the scoreboard, bringing the score up to 7-6. The crowd goes crazy and the rest of the team surrounds Jacob to pat him on the back.
EXT SIDELINES - DAY
Jacob, sweating and exhausted, is drinking a cup of water while assorted players walk by and shake his hand.
PLAYER
Nicely done.
JACOB
Thanks. It's still only a tie, but...
PLAYER
Best we've done this year. Good job.
The player walks off. Jacob finishes his water and is about to rejoin his team celebrating on the field when Aaron rushes towards him.
JACOB
Aaron? What are you...
AARON
Jacob. I have to speak with you. It's quite important.
JACOB
What's wrong? You all right? Are you in trouble?
AARON
No, nothing like that. I have been very busy. Come with me. I will explain everything.
JACOB
Let me get a shower at least, why don't you? Ten minutes.
AARON
All right. Ten minutes. I will meet you out in front of the gymnasium.
Aaron scampers off. Jacob looks confused, but taps his COACH on the shoulder.
JACOB
Coach. I need to help my cousin with something. Okay if I hit the showers now?
COACH
Sure thing. Nice job out there, Mr. Spitzer.
INT RACHEL'S CAR - NIGHT
Rachel is driving, with the girl sitting next to her. The two guys are sitting in the back, playing that game where you get to hit people when they look at a circle made with your fingers.
Jim
(POINTING OUT WINDOW)
Oh, did you see that?
The other guy looks out the window, sees Jim's circle, gets punched.
FIRST GUY
Damn it.
Jim laughs.
RACHEL
Would you guys calm down back there?
FIRST GUY
Aw, come on. We're just having a little fun. Take a look.
She turns her head. He's doing the circle thing and punches Rachel in the shoulder. The car swerves a bit as she flinches in surprise.
RACHEL
What the hell? Don't punch the driver!
The guys find this hilarious.
GIRL
Come on, you guys. That's not funny. Look, you left a bruise on her shoulder.
Jim leans forward, and sees Rachel making a circle on her shoulder.
RACHEL
Hit him for me, will you?
The girl turns around in her seat to punch Jim.
JIM
Hey, you can't delegate your punch to someone else!
RACHEL
It's my car. If I say she can hit you, she can hit you.
EXT CAR - NIGHT
Just a quick shot to remind the viewers that we're heading up a twisty road, filled with switchbacks, in the middle of the night, at high speed.
FIRST GUY
Man, if you're not going to follow the rules, what's the point?
EXT GYMNASIUM - DAY
Jacob walks out of the gym, still slightly damp from his shower. Now that he's out of uniform, we can see he has traded in his sophisticated New Yorker duds for the full Joe College attire - letterman's jacket, khakis, loafers. Aaron, for what it's worth, is still dressed in ill-fitting, rumpled clothing. He rushes towards Jacobs and grabs him by the arm.
AARON
What took you so long?
JACOB
I told you. I had to take a shower. Why don't you take a deep breath and tell me what's going on.
AARON
Fine. But walk with me while we talk, all right? Do you remember the other day when I told you about the research I've been conducting?
JACOB
The other day? I haven't seen you for weeks. I've been telling Ma you're just busy, and that's why you're not writing.
AARON
I have been busy. Do you remember what I told you?
JACOB
About your research? Something about skin, right?
AARON
Yes. After a fashion. Resiliency and pliability of the epidermal cell walls. I think I have made a break through.
JACOB
Hey, congrats. So what do you need me for?
Aaron stops in his tracks and looks at his cousin.
AARON
I need a test subject.
Jacob looks up at the building they've stopped in front of. The sign reads "Jordan Hall - Biology: Basement Level"
JACOB
No. That's absurd. Me?
AARON
My asthma prevents me from testing it on myself. Your lung capacity should be significantly larger considering your penchant for athletics. Come on.
He grabs Jacob by the arm and guides him into the building.
INT CAR - NIGHT
Jim and the girl are wrestling somewhat while she tries to punch him. He shoves her a bit, and she knocks into Rachel. Again, the car swerves.
RACHEL
All right. That's enough of that. Becca. Sit down.
Becca is giggling and enjoying wrestling with Jim. Rachel reaches over and attempts to grab the back of Becca's shirt to pull her into her seat. Becca complies. Rachel turns her attention back to the road to see she has drifted into another lane, where an oncoming truck is honking its horn at her. She swerves the right, avoiding the truck, but hits the railing, sending her careening back across the road and off a cliff. The car flips repeatedly on its way down.
INT BIO LABS - DAY
Aaron is leading a reluctant Jacob down to the basement and towards the Bio lab.
JACOB
I'm not doing this. Get a monkey or something.
AARON
I shudder to think what would happen with a monkey.
JACOB
What? Wait. What does that mean?
AARON
I need a subject with intelligence. Something I can reason with. Otherwise, things might get beyond my control very quickly.
JACOB
I think you need to start from the beginning.
INT OPERATING ROOM - NIGHT
Rachel is wheeled in on a gurney. She's smeared with blood and has a wide variety of tubes in her. A DOCTOR is suited up and surrounded by a pair of NURSES.
DOCTOR
All right. Let's get moving. We're losing a lot of blood here.
INT HOSPITAL CORRIDORS - NIGHT
Jacob and Aaron are striding down the hallways. Jacob looks to be in his late 60's and now walks with a significant limp, aided by a cane. Aaron looks older, somewhere in his late 80's, but still fairly spry and healthy.
AARON
(V.O.)
All right. I will start from the beginning. I explained to you about my theories of tissue strength. I believe there is no scientific reason why skin or muscle cells would break or die. It is just a matter of reconditioning the cells to function indefinitely. This was the work I was conducting in Denmark, and this is the work Stanford brought me here to pursue.
JACOB
(v.O.)
And you think you've got it.
AARON
(V.O.)
I'm positive I have. I just need to demonstrate it.
INT OPERATING ROOM - NIGHT
The doctor looks at the instrument readout, then takes an offered scalpel and begins cutting into Rachel's torso. Suddenly, the door to the operating room bursts out and Jacob and Aaron burst in. A couple orderlies come chasing after them, but Jacob is wielding his cane as a weapon, fending them off.
DOCTOR
What are you doing in here? This is a clean environment. You have to get out...
JACOB
Don't you tell me what I have to do! That's my granddaughter there.
He strides over to the gurney and strokes Rachel's face. The doctor waves off the orderlies.
DOCTOR
Sir. I'm sure you must be terrified, but this isn't the time. Your granddaughter is losing a lot of blood.
JACOB
I know.
EXT BIO LAB - DAY
JACOB
All right. What do you need me to do?
AARON
Just lie down on the table there.
JACOB
This desk here?
AARON
Yes. That's it. Lie down and take off your shirt.
Jacob does so. He looks over and sees Aaron readying a scalpel.
JACOB
Whoa whoa whoa. What's that for?
AARON
I am going to need to make a small incision. Along your upper arm. I have procured some novacaine which will number the area. You will not feel a thing. Trust me. It will be fine.
Jacob lies back down.
AARON
Arm over your head.
Jacob places his left arm over his head. Aaron ties a tourniquet around the arm, then injects some novacaine into his upper arm, just below the armpit. He takes the scalpel and makes a sizeable incision down the arm. Jacob winces, but doesn't cry out. Aaron opens up a small box and removes a small black object from the box. Using one hand, he spreads open the incision, digging into the arm tissues to find the brachial artery. Finding it, he places the mysterious black object into the arm, nestling it against the artery.
INT OPERATING ROOM - NIGHT
He nods to Aaron, who hustles over to the gurney. Jacob reaches into his pocket and pulls out a handkerchief. He hands it to Aaron, who unwraps it.
DOCTOR
What is that? What are you doing?
JACOB
Get out.
DOCTOR
Excuse me. Your granddaughter is dying...
JACOB
I know. That's why I'm here. Now, get out.
He waves his cane menacingly at the doctor. He grabs the nurses and heads out, whispering to the orderly as they exit.
DOCTOR
Call security.
He closes the door behind him, leaving Jacob and Aaron alone with Rachel. Aaron's examining her.
AARON
Her leg's broken. So's her arm. I have to set those before I can do anything or else they'll...
JACOB
Yes. All right. Hurrry.
AARON
Hold her down.
Jacob holds her body down while Aaron grabs hold of her ankle and pulls. Even under the sedation she's under, Rachel whimpers some. They repeat the process for her arm, then Aaron takes a scalpel from the tray and makes an incision along her leg.
AARON
I'm attaching it to her femoral artery. It's too risky otherwise.
JACOB
Whatever you have to do. Just hurry.
INT BIO LABS - DAY
JACOB
What was that? That felt... weird.
AARON
That was the regulator. It should begin reconditioning your systems in a moment.
Aaron releases the flap of skin. Almost immediately, the folds of skin merge together, healing entirely.
AARON
It is done.
JACOB
Yeah? That wasn't so bad. You had me all worked up over nothing. Can I put my shirt on?
AARON
Yes. Go ahead.
Aaron watches as Jacob puts on his shirt. Stealthily, he reaches out and picks up the scalpel. He holds it firmly in his hand, then, when Jacob turns around to his shirt, stabs him firmly in the chest with the scalpel.
INT OPERATING ROOM - NIGHT
Aaron takes the object from the handkerchief and places it inside her leg. As it did with Aaron, the wound immediately begins to heal up. Her heartrate, previously erratic, begins to recover. Her eyes flutter, and she opens them. Aaron removes the breathing tube from her throat, then the IV. She coughs and looks around.
RACHEL
Grandpa? Uncle Aaron?
The door bursts open, and two armed men hustle in to grab Jacob and Aaron. The doctor is just behind them, looking concerned. Rachel sits up, removes the neck brace, and gets off the gurney. The doctor looks stunned, but doesn't stop the guards as they take Jacob and Aaron away.
INT BIO LABS - DAY
Jacob looks up at Aaron, shocked.
JACOB
Hey! What are you...
AARON
Did it hurt?
JACOB
No. Did you just stab me?
Aaron looks down at the scalpel in his hand. The blade is bent nearly in half.
AARON
You didn't feel anything
JACOB
Not really. A little pressure like you were touching me or something. But, no. Nothing really. Did you stab me?
Aaron doesn't respond. He grabs a chair and smashes it over Jacob's head.
JACOB
(ANGRY)
What the hell was that for?!
AARON
Did that hurt?
JACOB
You hit me with a chair! Of course it...
AARON
Did it hurt?
JACOB
No. I guess not.
Aaron smiles.
INT HOSPITAL OFFICE - DAY
Jacob and Aaron are seated in front of a desk in a bleak, nondescript office. The door opens and a HOSPITAL ADMINISTATOR walks in.
ADMINISTRATOR
Mr. Spitzer, Mr. Bohr. I hope you understand that what you did today is completely unacceptable.
AARON
You expect us to apologize?
ADMINISTRATOR
If you'd like to avoid getting the police involved, that might be a good idea.
JACOB
Mr... (LOOKS AT NAME TAG) Battaglino. I'm sorry for any disturbance we may have caused. But my granddaughter needed our help.
BATTAGLINO
Uh, yes. About that. What, exactly, did you do? Dr. Konarski's very curious.
JACOB
I'm afraid I can't really give you details about that. I'm sure you understand.
BATTAGLINO
I'm not sure that I do.
Jacob sighs, then reaches into his pocket and pulls out a piece of paper, which he hands to Battaglino.
BATTAGLINO
I see.
We catch a quick glimpse that the head of the paper is written on White House stationary - the truly astute will notice that the signature at the bottom is Eisenhower's. He hands it back to Jacob.
JACOB
We're free to go?
BATTAGLINO
Apparently.
INT WAITING ROOM - DAY
Rachel is sitting in the waiting room. Her clothes are a mess and she's been crying, but seems fine otherwise. Jacob wraps an arm around her shoulder, and they all walk out.
INT JACOB'S HOUSE - DAY
Rachel is seated at a table in the breakfast nook, holding a large mug of cocoa. She's changed into a large men's shirt, but still looks shaken. Aaron's sitting next her, drinking his morning tea. Jacob walks in, holding a mug of coffee and sits down next to Rachel.
JACOB
We should probably talk.
RACHEL
Uh huh.
JACOB
Do you remember anything?
RACHEL
I remember driving... and then the truck... They said my friends were all dead.
Jacob nods.
RACHEL
I killed them. I should be dead.
JACOB
Probably. But I couldn't let that happen. (LOOKS AT AARON) We couldn't let that happen to you.
RACHEL
What did you do to me?
JACOB
Well. Do you remember the stories I used to read you as a kid? The comic books?
RACHEL
I guess. Kind of. What does that have to do with it?
JACOB
Captain Bulletproof?
RACHEL
Sure. Dressed like a flag. Indestructible. Right?
JACOB
Yeah, I was.
RACHEL
Huh?
JACOB
The stories. They were true. Sort of. Your Uncle Aaron created this... thing that made me indestructible.
AARON
It enhanced the resiliency and longevity of cellular structure and bonds. Skin stops dying, doesn't tear. Mostly due to the strengthening of long protein...
RACHEL
I don't understand.
JACOB
Almost seventy years ago, when we were about your age, your uncle built this... thing that made me invulnerable.
RACHEL
Invulnerable?
JACOB
My skin wouldn't break. Or my bones.
AARON
Or hair and fingernails. As we learned. Fortunately, they stopped growing.
JACOB
Right. Like I said. Invulnerable.
RACHEL
And you became a superhero?
JACOB
Sure. Kind of. I helped out in the war, they started doing the comics and the movies and all that. They didn't use my name, of course, and a lot of it was made up by writers, but a lot of it was true. The stories I told you when you were little? Those were all true.
RACHEL
I almost remember those. Something in Denmark.
AARON
He rescued my parents.
RACHEL
Yeah. I'd forgotten all those. I guess I thought you just made them up. So, what happened?
JACOB
I took it out. I wanted to be normal.
RACHEL
And now, what? It's in me now? I'm indestructible?
Jacob nods.
RACHEL
Huh.
AARON
You can't tell anyone about this. Ever.
JACOB
There are some people who'd want to get your hands on you if they knew what we'd done to you. Do you understand?
Rachel nods.
RACHEL
So, my legs are going to be this stubbly forever?
She smiles. Jacob looks a little concerned.
INT STANFORD LABORATORY - DAY
TITLE CARD: STANFORD UNIVERSITY. SEPTEMBER 1941.
Jacob sits in a classroom, idly taking notes.
PROFESSOR
...and so, following the anti-Hussite protests, the crowd proceeeded to the town hall and...
He stops as two men in grey suits open the door to the classroom.
PROFESSOR
May I help you?
GREY SUIT #1
We need to have a word with one of your students. Mr. Spitzer? If you don't mind.
Jacob gathers his books and walks out.
PROFESSOR
Where was I? Oh, yes, so the crowd proceeded to throw the council members out the window...
EXT HALLWAYS - DAY
Jacob walks down the hallway, flanked by the two grey suited men.
JACOB
You fellas mind telling me what this is about?
GREY SUIT #2
I'm afraid we can't do that, Mr. Spitzer. It will be explained shortly.
From another hallway, another pair of grey suited men arrive with Aaron walking between them.
AARON
Jacob! What's going on here?
JACOB
No idea. They won't tell me anything.
They proceed outside, where the grey suits gesture for Aaron and Jacob to enter a very swanky Lincoln limo.
INT LIMO - DAY
Aaron and Jacob sit down opposite from a white haired, slightly jowly man in a very expensive looking suit. He taps on the glass, and the car pulls forward.
JACOB
Where are you taking us?
WHITE HAIRED MAN
Right now? Nowhere. I just need a few minutes to talk to the two of you. My name's Donovan. Bill Donovan.
They shake hands.
AARON
And what can we do for you, Mr. Donovan?
DONOVAN
I've been in contact with Brigadier MacLean, whom I believe you know, Mr. Spitzer?
JACOB
I'm not sure I've had the pleasure.
DONOVAN
Really? I understand you worked with him briefly in Denmark. A couple of years ago.
JACOB
I'm sorry. I think you must have me mixed up with someone else. I've never been to Denmark. I'm so sorry to waste...
DONOVAN
Mr. Spitzer. Let's not go through all this, shall we? Brigadier MacLean told me about your skills, and I've come to the conclusion your cousin here has something to do with it.
JACOB
You're wrong. He's got nothing to do with anything. Let him out.
DONOVAN
Please, Mr. Spitzer. I've read your cousin's work. It's fascinating.
JACOB
I don't know what you're talking about. Why don't you just pull over and...
AARON
No. I want to hear what he has to say. You're the new appointee. Coordinator of Information.
DONOVAN
You're very well informed, Mr. Bohr. You are correct. Mr. Roosevelt has tasked me with getting our intelligence operations into shape. (LEANING FORWARD) We're about to be at war, gentlemen. And, without your help, it's going to be very difficult.
JACOB
I'm not sure what you want from us.
DONOVAN
Well, that depends on Mr. Bohr. Whatever it is you did to your cousin to make him the way he is, I assume you've tried to reproduce it?
AARON
I have.
DONOVAN
And?
AARON
Nothing. I haven't been able to recreate the regulator mechanism I implanted. I've tried, but...
DONOVAN
No, I understand. Science is a difficult beast to tame. I assume a larger research budget would perhaps speed things up?
AARON
It might.
DONOVAN
Right. Until then, Mr. Spitzer, we have plans for you. Sir MacLean vouches for your effectiveness in the field...
JACOB
I don't know. I'm not really cut out for that.
DONOVAN
Of course, not now. You're untrained. We'll remedy that soon enough.
JACOB
Mr. Donovan, I appreciate the offer.
DONOVAN
This isn't an offer. Your country needs you. The world needs you.
EXT SPITZER HOUSE - DAY
TITLE CARD: SCARSDALE, NEW YORK. LAST NOVEMBER.
INT LIVING ROOM - DAY
MATTHEW, Jacob's son and Rachel's father, is a "hip executive"-type guy in his mid-fifties. He's dressed in a button down shirt, no tie. He grabs a travel mug of coffee from one of those fancy coffeemakers that dispenses the coffee right into the mug. His wife (and Rachel's mom), JUDY, rushes into the room and grabs the other mug. While they're bustling around, Rachel is slumped down on the couch watching some especially vapid television.
MATTHEW
You've got pilates tonight, right?
JUDY
Right. I'll be back around eight. We can order in some dinner then?
MATTHEW
Sounds good.
They kiss briefly, as Judy runs out the door. Matthew's about to follow suit, then notices Rachel.
MATTHEW
You got any plans today, kiddo?
RACHEL
Grunt.
MATTHEW
I know it's going to take a while to get over things, but...
RACHEL
Get over things? I killed three of my friends.
MATTHEW
Oh, you didn't kill them. It was an accident.
RACHEL
Whatever.
MATTHEW
I just think you'd feel better if you got out of the house a bit. I saw Anna's mom the other day. She's taking classes at the Community College, but I'm sure you could call her up.
RACHEL
Anna? You hated Anna.
MATTHEW
I did not.
RACHEL
You called her a cheap tramp. And a drunk.
MATTHEW
Well, just promise me you'll get out of the house for a while.
RACHEL
Fine. I'll go get a cup of coffee this afternoon.
MATTHEW
Ok. See you tonight.
He leaves. Rachel slumps on the couch for a while, then peers out the window to make sure the cars are gone. Satisfied that she's alone, she heads upstairs and pulls down the stairs to the attic.
INT ATTIC - DAY
Rachel is moving boxes around. She opens one, digs through it, sees only Barbies and My Little Ponies, seals it back up. The next one reveals a stack of battered, aged comics from the 40's. They have bold covers of Captain Bulletproof fighting Nazis, Japanese, etc. She flips through a few, and we get to see a variety of panels of exciting Golden Age superhero action.
Intercut with the shots of comic-book reality, we see a series of shots of Jacob's actual training. In addition to normal training exercises - climbing walls, shooting targets, stabbing things - we see some more unusual training methods - being shot repeatedly, submerged underwater, hanging from a noose, shot with a cannon.
Towards the end of the montage, Rachel digs further into the box and unearths a film reel, which prompts her to look about the attic. She spies an old film projector.
INT MILITARY BASE - NIGHT
TITLE CARD: FALMOUTH, ENGLAND. MARCH, 1942.
Jacob sits alone in a spartan room, lit only by a plain metal fixture in the ceiling. He is dressed in a US Army uniform, slouched in a chair with his feet on the desk. The door opens and LT. COL NEWMAN walks in. Jacob springs to his feet and salutes. The hesitancy we saw previously seems to have been beaten out of him. Newman gestures at him to sit, which he does.
NEWMAN
Lieutenant Spitzer. I'm Lieutenant Colonel Newman. I'm sorry to keep you cooped up in here, but, per our arrangement with your superiors, we've agreed to keep your existence hidden from the rest of the men.
SPITZER
I understand.
NEWMAN
Excellent. Let's begin, shall we?
He rolls out a map onto the table.
NEWMAN
This is the port of St. Nazaire. It's the largest dry dock on the Atlantic coast, and we believe it's been expanded to include a sizeable series of pens for the U-Boats. As you can see from the notations, it's heavily guarded by artillery and anti-aircraft.
JACOB
I see.
NEWMAN
The plan is simple. We have outfitted one of your old destroyers with explosives and plan to ram it into the dock. Once that is done, my men will swarm the docks and destroy these two dozen targets. They will then withdraw here, at which point they will trigger the assorted explosives remotely.
JACOB
That seems ambitious.
NEWMAN
Indeed it is.
JACOB
Where do I come in?
NEWMAN
Well, my boy, we need a distraction.
JACOB
What kind of distraction? An air raid?
NEWMAN
Of sorts.
INT VICKERS WELLINGTON AIRPLANE - NIGHT
Jacob sits in the bomb hold of the airplane, clutching a Sten gun. A buzzer goes off. Jacob lies back and takes a deep breath as the bomb bay doors open. He falls through the air, finally landing back-first in the middle of a street.
EXT ST NAZAIRE - NIGHT
As the dust settles, Jacob looks around then pulls himself out of the sizeable crater made by his impact. He notes with some dismay that his clothes are not entirely intact in the back. In the distance, bombs can be heard. Jacob gets his bearings, then, holding his rifle, jogs towards the docks.
INT LOOKOUT POST - NIGHT
Two German soldiers are stationed at the post. One is scanning the horizon with binoculars. They speak in German, but we get subtitles.
SOLDIER
Do you see anything?
OTHER SOLDIER
No. Wait. I think I see something. Go up and turn on the searchlight!
The solider opens the door of the post and is promptly stabbed by Jacob. The other soldier drops his binoculars and fires on Jacob. The bullets tear through his clothes. Jacob calmly raises his gun and shoots the soldier in the forehead.
EXT LOOKOUT POST - NIGHT
Jacob, now dressed in an ill-fitting, slightly bloodstained German uniform, exits. As he does so, the searchlights from another post turn on, and various klaxons begin to sound. Jacob curses under his breath, then runs towards another post. As he runs, he can see the destroyer in the distance as machine guns fire on it. He raises his gun and shoots out a spotlight. The gunners notice him and open fire. A lengthy shootout ensues, culminating with the destroyer reaching the docks and detonating immediately after the commando teams disembark. In the explosion, Jacob dives into the water and proceeds to swim out into the ocean.
EXT OCEAN - NIGHT
Jacob, soaking wet, pulls himself into a small motorboat anchored several miles offshore. He strips off the Nazi uniform, tosses it into the water, then speeds off into the night, looking over his shoulder at the explosive firefight behind him.
INT LIVING ROOM - DAY
Rachel futzes with the film projector, but manages to get things started up. A cartoon appears on the wall. Dramatic music swells as the Fleischer-esque animation begins.
TITLE CARD: CAPTAIN BULLETPROOF
TITLE CARD: VS. THE MARTIANS
Captain Bulletproof poses against a plain blue background.
NARRATOR
Created by the greatest American scientific geniuses, Captain Bulletproof uses his powers of indestructibility to fight the forces of evil and injustice.
EXT BLETCHLEY PARK MANSION - DAY
TITLE CARD: BLETCHLEY, ENGLAND. JANUARY 1944.
Jacob, now dressed in civilian clothing, sits on a bench in front of the mansion. A limousine pulls up. Jacob stands up as Donovan steps out of the limo.
JACOB
Sir.
They shake hands.
DONOVAN
Walk with me a little bit.
He waves off the car, and they walk about the complex.
DONOVAN
I read your report on your operations in Yugoslavia. MacLean remains a big fan of yours.
JACOB
He's got quite an operation there. Although, really, I have to give Marshal Tito quite a lot of credit. Those men of his are... impressive.
DONOVAN
Indeed they are. Tito himself has asked for your return in the next few weeks. They believe with your help, they can take Belgrade.
JACOB
I'd be glad to do it.
DONOVAN
I'm sure you would.
They walk in silence for a few moments.
JACOB
If you don't mind my saying, sir, is something wrong?
DONOVAN
No, no. It's not wrong, so much as... I've received orders from high up about you.
JACOB
What kind of orders?
DONOVAN
People in Washington think we're misusing you. They think someone of your capabilities could be more than just a secret weapon.
He reaches into his jacket pocket and pulls out a handful of comic books, which he hands to Jacob. Jacob flips through an assorted of comics emblazoned with costumed heroes punching Hitler in the face, stabbing him in the buttocks with giant pins, throwing Hitler through the air, etc.
JACOB
So what? Kids stuff.
DONOVAN
Yeah, kids stuff. But this one (WAVES COPY OF CAPTAIN AMERICA #1) sold nearly a million copies. And that was before we actually got into the war. We've got new recruits who have been reading these for years.
JACOB
All right. What does that have to do with me?
Donovan looks at his feet as Jacob puts things together.
JACOB
No. No way. You're not going to dress me up like some kind of circus clown and send me out to, what, punch Hitler in the face?
DONOVAN
They think it'll have incredible motivational value for the troops.
JACOB
So does Bob Hope. This isn't what I signed up for, sir.
DONOVAN
I know. I know. This isn't my idea. But I've been thinking it through, and it's not all bad. You might have more value if we didn't have to keep your existence under wraps.
JACOB
How so?
DONOVAN
I've got some plans. You'll have to trust me for a while.
JACOB
A while?
Donovan opens a door to what looks like a former potting shed.
DONOVAN
Lieutenant Spitzer, allow me to introduce Bruce Lockhart with the Political Warfare Executive. He'll be overseeing the operation with the assistance of...
Donovan points to a SCRAWNY MAN in the corner of the room.
 
JACOB
Michael?
MICHAEL
Jacob?
The scrawny man (apparently named Michael) steps up and clasps Jacob's hand warmly.
JACOB
It's great to see you. It's been years. What are you doing here?
MICHAEL
They haven't told you? Wait. You're him?
JACOB
Him?
MICHAEL
The guy. You're... bullet-proof?
JACOB
Yeah, I guess. What's going on here?
LOCKHART
Lieutenant Spitzer, Mr. Roth here is helping us in our efforts to utilize your special abilities as part of our morale efforts. I understand he's a very well paid artist back in New York.
JACOB
He is? You are?
MICHAEL
Yeah, after you left for California, I got work with Timely. They're hiring pretty much anyone who can draw or string a sentence together.
JACOB
And you're going to help with... whatever it is we're doing here.
MICHAEL
It's simple. We're going to turn you into a superhero.
INT LIVING ROOM - DAY
Rachel is watching the cartoon absently while flipping through comics. As she flips through one, a handful of newspaper clippings fall out. Shots of Jacob, in costume as Captain Bulletproof, shaking hands with Eisenhower, clowning around with soldiers, arm around DeGaulle, etc. She looks up at the screen to see Captain Bulletproof punching a giant, green Martian wearing a Nazi uniform in the face. She turns off the projector.
INT ATTIC - DAY
Rachel is placing the assorted items back in the box, when she notices a smaller cardboard box in the bottom. She pulls that out, opens it, and finds her grandfather's costume.
INT SHED - DAY
Michael and Lockhart are showing Jacob their designs.
JACOB
I don't know.
MICHAEL
Jacob. It's fantastic. There are thousands, millions of people out there reading about guys in costumes like this every day. This is what a hero's supposed to look like.
JACOB
I'm not a hero.
MICHAEL
Not yet. Wait until you try it on.
JACOB
You made it already?
LOCKHART
We had your measurements sent over. It should fit fine.
He opens a closet and pulls out a gaudy uniform. Jacob looks terrified, but, moments later, we see him in costume. He looks a little absurd.
JACOB
I feel silly.
MICHAEL
You'll get used to it.
JACOB
And it's impractical. Where will I keep my pistol? Can I at least get a holster? Or a belt?
MICHAEL
Sure. We'll make some modifications.
JACOB
And this mask. Why do I even need a mask?
MICHAEL
You don't want people knowing who you are, do you?
JACOB
I don't know. Don't I?
MICHAEL
No. They could come after your family or something. Besides, we've already got a secret identity for you.
JACOB
What?
LOCKHART
I see Donovan really is keeping you in the dark. In addition to the costuming, we'll be publishing a weekly comic book recounting your adventures.
JACOB
My adventures?
MICHAEl
Yeah. Hold on, I've got the first issue under here somewhere.
He roots through the papers on the desk.
MICHAEl
Here you go.
JACOB
Captain Bulletproof? I'm not a captain.
LOCKHART
No? Well, I'm sure Mr. Donovan will take care of that.
Jacon flips through the comic.
JACOB
This says my name is Steve Nelson. And I'm blonde!
MICHAEL
Yeah, it'll play better. Make you look a little more all-American.
JACOB
(HORRIFIED)
I'm from Nebraska.
MICHAEL
Yeah, it works better. Trust me. This is what people want. Big, blonde, blue eyed farmboys punching people.
JACOB
I haven't punched anyone since that time I got in a fight with Seth Wolff in 10th grade.
LOCKHART
Why don't you put the comic down? Let us worry about the details.
JACOB
But you're rewriting my life.
LOCKHART
Don't think of it like that. Think of yourself as an actor. Once the war's over, you can go back to being Jacob Spitzer. Until then, you'll be...
MICHAEL
Steve Nelson.
LOCKHART
Steve Nelson. From Lincoln, Nebraska. Did you bring the character dossier?
JACOB
Dossier?
MICHAEL
I wrote up a little guideline for you about your new identity. Name, history, name of your girl back home. All that.
JACOB
Why do I need to know that?
MICHAEL
Jacob. You're not just a soldier anymore. You're an hero.
INT ATTIC - DAY
Rachel is holding the costume up to admire it when she hears the phone ring from downstairs. She stuffs the comics into the box, starts to put the costume in, then has second thoughts and brings it with her as she heads downstairs.
EXT STAGE - DAY
TITLE CARD: LONDON, ENGLAND. MAY, 1944.
A large stage has been set up. A USO performance is just wrapping up a well-received performance in front of a significant quantity of enlisted soldiers. The lights dim, and the crowd stops clapping and settles into a confused silence. A screen is raised on the stage and a filmstrip starts.
TITLE CARD: US ARMY. CONFIDENTIAL.
INT LABORATORY - DAY
A somewhat WILD-HAIRED SCIENTIST, fully fitting the "mad scientist" archetype, stands on screen in a comically equipped laboratory. There are bubbling test tubes, possibly a Van De Graff Generator, etc.
SCIENTIST
Hello. I am Doctor Martin Monroe. For the past four years, I have been working closely with the United States Army under the direct supervision of General Eisenhower to develop a new weapon in our fight against fascism. After years of hard work and many failures, I am pleased to announce that I have succeeded.
INT DOCTORS OFFICE - DAY
A blond, blue-eyed, muscular man sits on an examining table. Monroe stands in front of him, talking.
MONROE
This is Steve Nelson. Six months ago, Mr. Nelson was a 98-pound weakling who had been rejected by the Army when he applied. Fortunately, a recruitment officer noticed his drive and determination, so offered him the opportunity to take part in my experimental procedure.
INT LABORATORY - DAY
The blond actor is strapped into a large metal device while large arcs of electricity fly through the room. More shots of test tubes, maybe some blood drawing. This whole bit should be shot to look like a horrible educational film.
MONROE
(V.O.)
My serums quickly built muscle on the once-scrawny lad, turning him into an all-American he-man. More importantly, they reinforced his skin, making him nearly indestructible.
INT DOCTORS OFFICE - DAY
Monroe stands before the grinning blonde.
MONROE
With this success, I am pleased to announce the creation of America's latest weapon. Nazis, be on the lookout for Captain Bulletproof.
The lights abruptly come up, and Jacob strides onto the stage. He's dressed in the Captain Bulletproof outfit, though it has been modified significantly since we last saw it. He now wears a holster, and the mask and headpiece are now more of a modified leather aviator's helmet. In general, it looks like a fairly decent compromise between military practicality and comic book gaudiness. It should also be noted that the helmet contains a proper (if somewhat stylized) set of captain's bars.
He salutes the crowd, who reply with a combination of saluting and shouting. He walks over to the microphone, and, sounding much more confident than we've heard before, speaks.
JACOB
Who wants to come on stage and help me out? You there! Do you have your sidearm?
A SOLDIER nods climbs up on stage.
JACOB
Private Davis. I'd hate to ruin this lovely costume they made for me, so why don't you take a shot right here?
He points to his chin. Davis starts to haul off to punch him in the chin, but Jacob waves him off.
JACOB
You can punch me if you really want, son, but I think it'll be a lot more impressive if you use that gun you've got there.
Jacob winks to the audience.
DAVIS
Sir?
JACOB
Don't be afraid. I'm bulletproof, remember?
Davis pulls out his sidearm and points it at Jacob's chin. Jacob smiles, and Davis pulls the trigger. Jacob leans into the microphone.
JACOB
Tickles a bit.
Davis looks shaken. Jacob bends down, picks up the flattened shell, and hands it to Davis, who looks stunned. Jacob claps him on the shoulder and sends him back into the audience. The crowd is going nuts.
JACOB
Nice shooting, son. Now, I want to tell all you men that I'm going to be right there on the front lines with you from now on. I'm reporting directly to General Eisenhower, and together, you and I are going to knock that moustache right off Hitler's face.
He waves to the crowd, which is going ballistic, then heads offstage. Michael is waiting for him.
MICHAEL
That was fantastic.
JACOB
You think? It felt a little cheesy.
MICHAEL
No, it was perfect. That stuff the actor showed you with the winks and everything? Fantastic.
JACOB
If you say so. They did seem to like it. I'd feel better if I was actually doing something.
MICHAEL
I think you're about to. Lockhart said you're supposed to meet with him tonight once we're done here. Come on. Change into something normal, and we can head over.
INT OFFICE - NIGHT
Lockhart and GENERAL MONTGOMERY are standing over a table, looking over a map of France. Jacob enters, wearing civilian clothes.
LOCKHART
Jacob, come in. Wonderful performance today, by the way. Certainly seemed to get the boys fired up.
JACOB
Thank you, sir.
LOCKHART
This is General Montgomery.
JACOB
I don't believe we've met.
MONTGOMERY
I've heard a lot about you. I'm not sure I agree with this whole superhero nonsense, but if you can do what they say you can do, I think I have just the job for you.
JACOB
Glad to hear it, sir.
MONTGOMERY
As I'm sure you've been aware, we have been training for an amphibious assault on the continent for some time now. General Eisenhower has chosen a date for the invasion, and we wish to implement you in a first strike capability.
INT KITCHEN - DAY
Rachel is standing next to a wall-mounted telephone, which she has just answered.
RACHEL
Hello?
MATTHEW
Have you left the house yet?
RACHEL
Daaa-aad.
MATTHEW
Get out of the house. A cup of coffee. Twenty minutes. Then you can go back to doing... whatever it is you've been doing all day..
RACHEL
Fine.
MATTHEW
Fine.
She hangs up.
EXT SCARSDALE CENTER - DAY
Rachel is walking down the street. She looks a little jumpy, which is perhaps understandable for someone who hasn't left the house in weeks. At one point, she walks past a mirror mounted outside a parking lot and notices a black sedan following her slowly down the street. She abruptly changes course and takes a left. The car follows her. She doubles back, running in the direction she came. As she passes the sedan, she peeks inside to see an elderly man wearing massive wraparound sunglasses. She looks a little ashamed at letting her imagination get the better of her and heads off for the coffee shop.
INT COFFEE SHOP - DAY
Rachel is handed a cup of coffee.
RACHEL
Thanks.
She puts some change in the tip jar and turns to find a table. She scans the room, then freezes when she sees the ELDERLY MAN who, moments ago, was driving the black sedan. He is no longer wearing sunglasses and now seems more sinister than doddering. He smiles when he sees her pulls out a chair for her to sit down.
Warily, Rachel approaches the table.
ELDERLY MAN
Ms. Spitzer.
RACHEL
Were you following me?
ELDERLY MAN
Please sit down.
RACHEL
I don't know what kind of pervert you are, but, if you think I'm going to sit down...
ELDERLY MAN
I'm a friend of your grandfather. Jacob. We need to talk. And you don't want to make a scene here.
He nods imperceptibly behind her. Rachel turns and sees two other tables at which are seated single, suited, vaguely dangerous-looking men.
RACHEL
I don't know who you are...
ELDERLY MAN
I'm sorry, I should have introduced myself sooner. My name's Donald Avery.
He extends a hand.
RACHEL
Yeah, that's great. Look, I'm just going to take my coffee and go. You have a great day.
She turns towards the door. The dangerous-looking men stand up and stare at her. Avery nods at them, and they stand down.
EXT STREET - DAY
Rachel speed-walks away from the coffee house, looking nervously over her shoulder. Quickly she turns the corner, walks another block, then turns another corner. Looking around, she sees no particularly suspicious-looking cars, so calms down a bit and drinks her coffee. She closes her eyes and takes a deep breath. She takes another sip of coffee with her eyes still closed, when a car comes careening off the road, onto the sidewalk, ramming into her at full speed.
She flies through the air, landing against a parked car, smashing its windows. The doors of the car that hit her open and one of the dangerous looking men gets out. He grabs her by her arms and tosses into the backseat of the black sedan, now being driven by the other dangerous-looking man.
INT SEDAN - DAY
Rachel is seated next to Avery. Her clothes are torn and covered with spilled coffee, and she has bits of safety glass stuck her in hair and face, but she's otherwise fine. Avery hands her a cup of coffee. She takes it.
AVERY
It would have been nicer to do this back there like civilized people, but I suppose this gets us past the "oh, I couldn't possibly reveal my terrible, terrible secret" phase of our relationship, eh?
Rachel glowers at him over her coffee cup.
AVERY
So, yes, let's get the big things out of the way. Yes, I know about you, and your grandfather, and your uncle, and that thing in your... neck? Arm?
RACHEL
Leg.
AVERY
Interesting. So, yes, I know all about it. I am also assuming your grandfather has never mentioned me.
RACHEL
Nope.
AVERY
Understandable. Our relationship didn't really end on the best of terms.
RACHEL
Did you hit him with a car, too?
AVERY
Ha. No, I shot him in the leg.
RACHEL
What?
AVERY
At the end. He told me he was retiring. That his powers were gone. I didn't believe him, so I shot him. You never asked him why he asked with a cane?
Rachel shakes her head.
AVERY
However, before our falling out, your father was, let's say, an employee of mine.
RACHEL
And you work for the CIA?
AVERY
No, of course not. I did work for the OSS during the war, but since then I've had for more profitable lines of work than working strictly for the government. But, suffice it to say, there have been many moments where my interests and those of the government were one and the same. In those cases, it was often expedient for the government to use me as a more direct tool than they could use something as closely monitored as the CIA.
RACHEL
And you used my grandfather?
AVERY
Until he retired, yes. He was one of my crucial assets. As I'm hoping you will be.
RACHEL
Uh huh. And what makes you think I'm going to do that? Since you know so much about me, I assume you don't think I'm going to do whatever you say for love of country or something?
AVERY
Oh, of course not. I'm not remotely naive enough to believe that a little flag waving is going to get a person of your age involved. At least not someone with half a brain. I prefer a more reliable sort of motivator.
He pulls out a briefcase, which he hands to Rachel.
AVERY
Two hundred and fifty thousand dollars. And the same amount again when you return.
RACHEL
Return from where?
INT SEOUL INTERNATIONAL AIRPORT - DAY
TITLE CARD: SEOUL, SOUTH KOREA. LAST WEEK.
Rachel walks through the airport, collects her luggage, flags down a cab, travels to the hotel. While she does this, Avery continues talking
AVERY
(V.O.)
You'll be flying into Seoul under an assumed identity. Phoebe Nelson.
RACHEL
(V.O.)
Phoebe? Do I look like a Phoebe?
AVERY
(V.O.)
Does it matter? Phoebe Nelson. You work for the US Foreign Service, where you have worked in the Department of Nuclear Proliferation for the past three years. Once you arrive in Seoul, you will meet up with Chang Kwok-wing, a Chinese businessman who will be helping to arrange your transport into North Korea.
RACHEL
(V.O.)
Excuse me?
AVERY
(V.O.)
Yes, you can see why an indestructible operative is going to be helpful for this mission. Once you make it through the demilitarized zone, you will proceed to a processing facility outside of Kaesong. We believe the Koreans to be working on developing a plutonium refinement system at this facility. We've had one of our agents drop a cache of explosives in the area. Once you've reached the facility, detonate the explosives, then make it back to Seoul. That's worth half a million, eh?
EXT HOTEL - DAY
Rachel gets out of her car, hauling a suitcase behind her. Out of nowhere, a well-dressed ASIAN MAN apparently in his late twenties steps up and grabs her suitcase.
ASIAN MAN
Let me help you with that.
RACHEL
Uh, okay. Thanks.
ASIAN MAN
You're Ms. Nelson, I take it?
RACHEL
Yes, how did you know?
Chang Kwok-wing
You look... familiar. Chang Kwok-wing.
INT HOTEL - DAY
He hands her bags to a bellhop
CHANG KWOK-WING
Pleased to meet you. We'll have more to say tomorrow. Tonight, get comfortable in your hotel, have some food, maybe explore the city a little.
RACHEL
But, wait...
He's already out the door.
CHANG KWOK-WING
And get some sleep!
EXT BEACH - NIGHT
The camera floats at water level as the waves slowly wash ashore. It's the middle of the night, and the moon is full. Gradually, we see a helmet poke out from under the surface of the water, and Jacob, in a plain black commando uniform, slowly walks forward out of the water and onto the beach. He unwraps a tightly sealed bag and pulls out a submachine gun. He jogs up the beach, and onto a small road leading to Merville.
MONTGOMERY
(v.O.)
At 1000 hours, you will be dropped from a reconnaissance boat approximately one mile off the coast of Ouistreham. Based on the information I've received, we expect it will take you approximately two and a half hours to walk underwater to the coast. Once you arrive, you will make your way 3 miles inland to the artillery battery located outside the town of Merville.
EXT BATTERY - NIGHT
Jacob looks over the battery, an intimidating structure with two belts of barbed wire surrounding a complex of anti-aircraft guns and artillery. Jacob checks his rifle, then charges over the barbed wire. Bits of his costume fly off. As he heads through the area between the fences, he triggers a landmine, which flings him through the air. Once detonated, the Germans spring into action, firing on him. He continues to make his way through the minefield, occasionally detonating things.
MONTGOMERY
(V.O.)
The battery is of utmost importance. We believe it to contain four sizeable artilleries, which places Sword Beach within its reach. If this battery is not disabled, our landing force will be torn to pieces. Our intelligence indicates that the battery is held by no fewer than 150 men. However, we believe your unique skills should make that an easily surmountable figure.
EXT BATTERY - NIGHT
Jacob climbs up the embankments while being fired upon. Though he has lost his rifle (and most of his uniform) in the explosions, he still has a knife, which he plunges into the eye socket of one of the Germans. He promptly takes the German's rifle and opens fire on the others. While this initially seems exhilarating, eventually the brutality of the situation becomes overwhelming as Jacob methodically kills all 160 soldiers in the battery while they fire at him helplessly. In the end, he is barely clothed and covered in blood splatter. He steps over piles of bodies and pulls down the Nazi flag flying over the battery. As he does so, he looks out and sees a number of parachutists landing in the field to the east. A small squadron of British soldiers approach down the main road. Jacob waves at them and walks over.
JACOB
Lieutenant-Colonel Otway, I presume?
OTWAY
Captain Bulletproof, eh?
JACOB
At your service.
OTWAY
(ADMIRING THE CARNAGE)
It appears Montgomery was right about you. Nicely done.
JACOB
Anytime. Did you bring the package?
Jacob unwraps a bundle revealing a fresh new uniform. We get a fairly heroic shot of him in costume, wielding a rifle as the Union flag is raised over the battery. Jacob, leading a group of British soldiers, heads off down the road. We get a fairly brief series of scenes of Jacob, in costume, storming the entrenchments in Normandy as the Americans and British arrive from the ocean.
INT CAR - DAY
Chang is driving while Rachel looks out at the city.
RACHEL
So, what's the deal? You just drive me over the border and drop me off?
Chang Kwok-wing
(LAUGHING)
I wish it was that easy. The border, as you call it, is a 2 mile wide stretch of no man's land. Miles of fences, turrets, barricades on either side. And landmines. Lots of landmines.
Rachel looks a little concerned.
RACHEL
You expect me to just run across that?
Chang Kwok-wing
No, of course not. There are tunnels running under the DMZ. There's a tour of the third tunnel that runs several times a day. You'll join in the tour. It's mostly foreign tourists, so you'll fit in fine.
RACHEL
And then what? Just make a run for it.
Chang Kwok-wing
Point six kilometers into the tunnel, there's a venting shaft. You should be able to pull yourself into that without anyone noticing.
RACHEL
You're kidding.
Chang Kwok-wing
Not at all. Then, once the tour is gone, continue upwards and surface. From there, you'll continue on foot to the North Korean border. The area due north of the vent is fairly unguarded, so you should be able to simply scale the barbed wire and continue on your way. There a GPS unit in the glove box for you. I programmed the coordinates for the facility and the explosives cache in there for you. Questions?
RACHEL
I think I need to go home.
Chang Kwok-wing
You'll be fine. We're all counting on you.
He smiles at her. Rachel looks queasy.
EXT DORASAN OBSERVATORY - DAY
A number of tourists are milling about the observatory, including Rachel who has a small satchel slung over her shoulder. A smartly dressed TOUR GUIDE appears and announces something in Korean. The tourists look at each other, then start following her. She leads the group down a stairwell towards a large tunnel opening. Soldiers guard either side of the tunnel. Rachel eyes them warily as she passes.
INT TUNNEL - DAY
The tour guide continues to walk in front of the group, speaking rapidly in Korean. Most of the group is holding their own conversations in their native languages, pointing out features of the tunnel. Rachel sneaks looks at her GPS device, noting the rapidly approaching blinking red light indicating the venting shaft. At one turn of the tunnel, she bends down to tie her shoe. The group continues onward. She moves forward, sees the ladder dangling out of the ceiling. She leaps for the ladder, but, given that she's quite short, can't grab hold of it. After a few tries and a running start, she manages to grab hold of the lowest rung and haul herself up.
EXT DMZ - DAY
Rachel shoves aside a grate and pulls herself up into the DMZ. In the distance on either side, she can see the massive barricades, but, where she is, everything is quite still. She places the grate back in place and starts walking.
At one point, she sees a lone distinctive tree. She climbs up it and places her satchel in a crook of the tree. Satisfied it will stay, she drops down and continues walking.
Later, she places her foot down to hear a clicking noise. She looks down and sees a rusted landmine. She winces slightly, then digs the GPS unit out of her pocket. She hurls it as far from her as she can, then closes her eyes and removes her foot. The land mine explodes, sending her flying.
She opens her eyes and finds herself blackened and covered in tattered clothes, but otherwise fine. She gets up, dusts herself off, and goes looking for the GPS. She finds it, keeps walking, eventually gets to the barbed wire fence. She climbs up it, grabbing firm hold of the barbed wire as she does so.
EXT SCRUB - DAY
Rachel, looking generally put out, more from the long trek and filthy, ragged clothing than from anything else, walks about while looking at her GPS. Finally, she stops, throws aside some brush and finds a large, military-issue backpack. She opens the flap and sees that it is stuffed full of C-4 explosive. She tosses the pack over her back and keeps walking.
EXT FACILITY - DUSK
Rachel comes up on a large bivouac tent positioned in the middle of desolate scrub brush. She pockets the GPS unit and checks out the facility. There are a number of armed guards by the front flap, but the rest of the tent appears to be largely unguarded.
Rachel drops her pack and makes her way towards the tent. Within a matter of steps, a number of spotlights flick on and train on her immediately. A small cadre of soldiers pour out of the tent and descend on her. Rachel takes off running towards the tent. The soldiers open fire on her to little effect. She dives under the flap of the tent, but, instead of ending up in a high-tech processing facility, the room is filled with men and women, filters over their mouths, processing enormous piles of poppy pods. She freezes for a minute until two sets of hands reach through the tent flap and pull her back outside.
The two soldiers holding Rachel walk her over to their officer.
SOLDIER
(IN KOREAN, SUBTITLED)
Is this the one?
OFFICER
(IN KOREAN, SUBTITLED)
Yes, that's her. Nicely done.
(IN ENGLISH)
You don't belong here.
RACHEL
You can't hold me. I'm an American citizen.
OFFICER
Oh, really?
RACHEL
My name's Phoebe Nelson. I work for the United States Foreign Service. I'm here on a...
OFFICER
Quiet. I know exactly why you're here. We received reports of an American operation planned for this evening.
RACHEL
An operation? I was just supposed to be looking for some sort of nuclear... What are you doing in there?
OFFICER
I don't see how that's any of your business. (TO THE OFFICERS, IN KOREAN) Transport her to the prison.
EXT ROAD - NIGHT
Rachel, bound, rides in the back of a jeep. They pull up in front of a smallish, run down prison. Rachel is yanked out of the jeep and led into the prison.
INT PRISON - NIGHT
Rachel, now dressed in a prison jumpsuit, is led down a bleak hallway into a high security, windowless cell. The door closes on her.
INT TRAIN - DAY
TITLE CARD: BERN, SWITZERLAND. JANUARY 1945.
Jacob, dressed in civilian clothing, rides in a train car on the outskirts of Bern. Bern seems entirely untouched by the war.
EXT TRAIN STATION - DAY
Jacob steps off the train and walks down the platform. A YOUNG MAN dressed in a suit grabs him by the arm and starts speaking to him in a Swiss accent.
YOUNG MAN
Jacob, right?
JACOB
Yes?
YOUNG MAN
Fantastic. My name is Gregor. Have you been to Bern before?
JACOB
No, first time here. It's so... calm here.
GREGOR
I know. It's wonderful. We were worried things would get bad here, but I guess Hitler knew better than to try to take us on, eh?
Jacob looks a little confused both by the normalcy of the city and the chattiness of his companion.
JACOB
Yeah, I guess. Say, I don't want to be rude, but do you have any idea why I'm here?
GREGOR
They don't tell you, huh? They don't tell me either. I just do whatever they say. They say pick this Jacob guy up at the station, I come pick you up.
JACOB
Who is "they"?
GREGOR
The American Legation. Over on Duforstrasse. Get in.
Gregor opens the car door for Jacob.
EXT 24 DUFORSTRASSE - DAY
Gregor pulls up in front of the building. An American flag flies out front. Jacob gets out and looks around.
INT 24 DUFORSTRASSE - DAY
Jacob and Gregor walk into a lobby. A RECEPTIONIST is seated behind a desk. Gregor smiles at her and leans on the desk.
GREGOR
Hey, how is it going?
She gives him a look.
GREGOR
Is he in?
She gestures towards the stairway with her head.
GREGOR
Come on.
Gregor leads Jacob up the stairway and into an office.
GREGOR
Wait here. He'll be out for you soon.
Gregor leaves, closing the door behind him. Jacob looks about, picks up a paperweight from a shelf, which he promptly puts down once the door opens. Donald Avery, now a spry young man of maybe twenty-four opens the door.
AVERY
Captain Spitzer. Pleased to meet you. Donald Avery. I'm working as Mr. Dulles' special assistant here in Bern. It's a pleasure to meet you. I've been reading quite a lot about you lately.
He extends his hand. Jacob shakes it.
JACOB
Pleased to meet you.
AVERY
Come in. Have a seat. Can I get you anything to drink?
JACOB
No, I'm fine.
Avery settles himself in a plush leather armchair. He pulls out a pipe.
AVERY
Do you mind?
JACOB
No. Go ahead.
Jacob looks around while Avery slowly packs his pipe. Jacob seems a little edgy.
JACOB
Sir?
AVERY
Mmmm?
JACOB
I don't mean to be impolite, but I'm really not sure what I'm doing here. Two days ago I was on the front line...
AVERY
Ah, yes. The Ardennes. I hear you were quite helpful. I saw the footage.
JACOB
Yes. Then I get the call to hop on a train and come down here.
AVERY
And you wonder what could be so very important, eh?
Avery now has his pipe lit.
AVERY
Last year, you did a fair bit of work with Marshal Tito, am I correct?
JACOB
That's correct. I was working with Brigadier MacLean in assisting partisan activities in Yugoslavia.
AVERY
As I'm sure you're aware, he's been having a great deal of success recently. They've taken Belgrade with the help of the Red Army and are pushing towards Sarajevo now.
JACOB
Really? That's fantastic.
AVERY
Hmm, yes. More importantly, and, for the purposes of this conversation, relevantly, they've made a significant capture. In their most recent push, they captured Major General Reinhard Gehlen. I believe you're familiar with him.
JACOB
He was a Lieutenant Colonel when I knew him, but, yes. He was helping the Ustaše run their operations against us.
AVERY
Well, since then, he's been running intelligence for Hitler on the Eastern Front. Which is where you come in.
JACOB
Pardon?
AVERY
Jacob - may I call you Jacob? - the war is changing. I don't foresee Hitler holding out for more than six, seven months at the most. But he's collapsing on the Eastern Front as well. I've been in contact with a number of intelligence agents - on Mr. Dulles' behalf, of course - in Germany who believe that the Soviets have plans to overrun Europe and turn it into a vast Communist Empire. They plan to declare war on the United States as soon as Berlin falls. My job, and, by extension, your job, isn't about fighting Nazis anymore. It's about making sure we don't replace them with another enemy that's twice as bad.
JACOB
I'm not sure I follow. What exactly are you asking me to do?
AVERY
We need you to rescue Gehlen. Tito is expected to transfer him to the Soviets in the next few days. I'm hoping that your contacts with Tito's organization, as well as your unique qualifications in regards to more... active work, will make it easy for you to determine where Gehlen is being held and release him.
JACOB
Release him? Just let him go?
AVERY
Exactly. We have been in negotations with General Gehlen for several months now. He needs time to secure his documentation. That information will be invaluable in our struggle against the Soviets. I believe there to be no man alive who knows more about fighting the Soviets than General Gehlen. I've arranged for passage out on a transport plane...
JACOB
No.
AVERY
Excuse me?
JACOB
Sir, with all respect, I cannot complete this mission.
AVERY
I'm afraid that isn't an option.
JACOB
You can court martial me if you want to, but I saw what the Ustaše did back there. Whole villages killed and stuffed into mass graves. Not soldiers, just women and children. Shot, stabbed. And I've seen the films from that prison the Russians liberated in Poland. How can you expect me to go rescue one of them and just set him free? They're the bad guys!
AVERY
(SCORNFULLY) Bad guys. I think perhaps you've been reading too many of your comic books. There aren't good guys and bad guys here. There's America, and there's everyone else. And if you want to protect America, you're going to get on that airplane tonight.
JACOB
Fine.
AVERY
Excellent.
JACOB
But that's it. I'm only here as a favor to Mr. Donovan, and after this I'm done.
AVERY
My boy, I'm afraid that's not possible. You're enlisted.
JACOB
That was only as cover. So I could travel without arousing suspicion.
AVERY
That may be. But the paperwork is there. You're property of the United States government until such time we feel a need to release you.
JACOB
And how exactly are you going to stop me from leaving. Shoot me? Put me in prison? There are a lot of soldiers out there who are used to seeing me on the front lines with them now.
AVERY
Mr. Spitzer. I'm afraid you are not in position to negotiate. First of all, yes, prison is certainly an option. But, as you say, there is a certain demoralizing aspect to the prospect of court martialing our own home-grown "super hero." Which is why we've prepared this.
He nods to an apparently hidden observer. The lights dim, a screen descends from the ceiling, and a film projector kicks in.
TITLE CARD: UNIVERSAL NEWSREEL COVERS WORLD-WIDE EVENTS
TITLE CARD: DAY OF TRAGEDY
MONTAGE:
Jacob, dressed as Captain Bulletproof, stands around, drinking coffee out of a metal cup. He's happily shaking hands and chatting with assorted GI's.
Jacob, in costume, charging the beach at Normandy.
Jacob marching in line with a battalion of soldiers as they liberate French villages.
Jacob, holding a rifle, leaps over a barricade into a nest of German soliders.
Jacob, laughing, leading a chain of captured, bound German soldiers into camp by a rope.
Jacob, clowning around with the Andrews Sisters on stage.
NARRATOR
Over the past six months, our nation has been led through its darkest days by one man. Not the president, but this man, Captain Bulletproof. Seemingly a comic book character come to life, Captain Bulletproof has led our boys against the Germans has always come out on top. Today, however, the Nazi menace was too much for the Captain to overcome.
EXT VELDENSTEIN CASTLE - NIGHT
A picturesque castle on a bluff.
NARRATOR
Veldenstein Castle, lair of the notorious Nazi scientist Baron Von Schroeder. Learning that the Nazis were mere days away from the completion of the fabled Doomsday Cannon, Captain Bulletproof led a daring expedition into the castle under the cover of nightfall.
The castle explodes.
NARRATOR
While it is unknown what occurred behind the castle walls, we can only assume that the Captain gave his life to destroy the Doomsday Cannon and, once again, save the lives of countless Allied soldiers and civilians. Let us have a moment of silence for this brave American.
TITLE CARD: CAPTAIN BULLETPROOF. AN AMERICAN HERO. (OVERLAID AGAINST AN ILLUSTRATION OF CAPTAIN BULLETPROOF SALUTING)
INT AVERY'S OFFICE - DAY
The lights come up.
JACOB
What was that?
AVERY
Mr. Dulles had me make that up a few weeks ago. We've managed to convince Washington that, now that the big push is complete, you're more valuable returning to your role as a covert agent than as a propaganda piece. It goes out to theaters tomorrow. So, you see, if I did end up having to incarcerate you, it would be Captain Jacob Spitzer, not Captain Bulletproof. But, I don't think it's going to come to that.
JACOB
No?
AVERY
Jacob. I don't want to have to go down this road with you. I think we can work something out here.
JACOB
I don't see how.
AVERY
All right. How about this? You extract General Gehlen, I ensure that you stay out of prison, that your cousin stays out of prison, that your mother stays out of prison. Do I make myself clear?
JACOB
Quite.
AVERY
Jacob. It doesn't have to be like this. I want us to have a good relationship. I'm going to need someone like you in the future. But, I understand we can only ask so much of a man. After this, you can go home. I can arrange employment for you. Something interesting, but not too challenging. Settle down, have some kids, and maybe every three months or so, I'll call you up, you go on a little "business trip," then you get to come back home. It'll be a nice life for you. And your family, and your country, will be safe and secure. Do we have a deal?
JACOB
I'm not sure I have much of a choice.
AVERY
I'm not sure that you do.
Avery extends his hand. Jacob shakes it.
INT JACOB'S HOUSE - DAY
TITLE CARD: PALO ALTO, CALIFORNIA. 2 DAYS AGO.
Jacob is shuffling around his house in his bathrobe. He pours himself a cup of coffee from his coffee maker, then absently flips on the television while he drinks his coffee and flips through the paper. It's worth noting that he discards the news sections of the paper and heads straight for the sports section.
TALKING HEAD
...the top story today remains the capture of United States diplomat Phoebe Nelson. State Department officials confirm that Nelson had been sent to North Korea on a peaceful nuclear inspection mission when she was abducted by North Korea military forces. The president spoke this morning from the Rose Garden.
EXT ROSE GARDEN - DAY
PRESIDENT
We cannot allow this sort of aggression to continue. North Korea has crossed a line this time.
REPORTERS
Are you saying you're considering military action?
PRESIDENT
I'm saying all the options are on the table.
INT JACOB'S HOUSE - DAY
TALKING HEAD
Travelers are encouraged to avoid all travel to South Korea until this crisis is averted. Once again, State Department employee Phoebe Nelson is being held hostage by the North Korean government. North Korean television has been broadcasting the following footage of the captive.
The screen cuts to a shot of Rachel looking generally peeved. Jacob slowly lowers his coffee cup. He fumbles around for his telephone and frantically dials.
JACOB
Aaron? Get over here.
INT JACOB'S HOUSE - DAY
Aaron is seated at the table, looking at the photo on the front page of the paper. Jacob is pacing back and forth, periodically gesturing with his cane.
AARON
It's not her. It's a different name.
JACOB
Are you kidding me? How can you look at that picture and tell me it's not her? And she's been missing for almost a week now. Matthew's got no idea where she went. Just a note that said she was going on a trip with friends.
AARON
So you think she went to North Korea and got kidnapped instead? That makes more sense than going on a trip with friends?
JACOB
It's Avery. He found out about her somehow. The hospital reports or something. He's got her over there doing something for him.
AARON
Something?
JACOB
Yeah, the sort of things he used to use me for. I'm sure there's more to this than we're seeing.
Jacob slumps down in a seat.
JACOB
I shouldn't have done this to her. I should have known this would happen.
AARON
What else could you do? Let her die?
Jacob shrugs.
JACOB
I have to go help her.
AARON
What? Are you insane?
jACOB
No. You worked on recreating the device, right?
AARON
It's more complicated than that.
JACOB
How can it be complicated? You built it once.
AARON
It's not like that. I didn't build it so much as I grew it. From a seed.
JACOB
I don't understand.
AARON
The crystal. The initial device grew from a single crystalline seed. I tried making new versions from fragments taken from the original, but it never worked.
JACOB
What do you mean it didn't work?
AARON
You don't want to know.
Jacob looks at him.
JACOB
I think I have to.
INT CELL - DAY
Rachel is pacing around her cell. She looks fairly filthy, but otherwise fine. She looks at the cot, and notices that a cross bar is held in place by a screw. She looks at her fingernail, then tries turning the screw with it. The screw is fairly well rusted in place, but, since her nails are as indestructible as the rest of her, it turns with a little bit of work. Eventually she pries the bar off and hefts it a bit.
EXT SPITZER HOUSE - DAY
TITLE CARD: SCARSDALE, NEW YORK. APRIL, 1953.
Jacob is sitting in a lounge chair looking out at the pool in his yard. His children, MICHAEL, RUTH, and MATTHEW (ages nine, five, and two, respectively), are frolicking in the pool. Jacob looks identical, age-wise, to how he did in 1945. His wife, NAOMI, comes out of the house with two drinks in her hands, one of which she hands to Jacob as she sits down in the empty chair next to him. Naomi, though the same age, appears to be in her mid thirties.
NAOMI
That was Bill on the phone. He wants us to come to dinner tomorrow night.
JACOB
Sounds good.
NAOMI
Ech.
JACOB
Come on. I thought you liked them.
NAOMI
Bill's all right. But Natalie? All she talks about is her lawn.
JACOB
She likes gardening. You like gardening.
NAOMI
I like gardening. But all she likes is grass. I mean, it's green, you mow it, what is there to discuss?
JACOB
I don't know. I'm sure you'll come up with something to discuss.
NAOMI
Ah, I suppose. How are they behaving?
She nods to the children while she sips her drink.
JACOB
No idea. Lots of screaming, so I assume none of them have drowned yet.
Naomi nods. Inside the house, the phone rings. Naomi starts to get up, but Jacob waves her off.
JACOB
I'll get this one. Enjoy your drink.
INT SPITZER HOUSE - DAY
Jacob opens the slider and steps inside. He pets his Golden Retriever on the head and picks up the phone.
JACOB
Spitzer Residence.
AVERY
Captain Spitzer.
JACOB
Mr. Avery. It's been a while. And it's Mister Spitzer these days.
AVERY
Ah, yes. The civilian live. I hope you're enjoying it. I thought you could use a break after that incident in Guatemala.
JACOB
You thought right.
AVERY
I'm sending a car for you. You'll be gone four days. I've already arranged it with your employer, so you'll just need to pack a bag.
JACOB
I'm not sure. I've got a lot...
AVERY
Let's not go through all this again, Captain - I'm sorry, Mr. Spitzer. The car will be there shortly. Don't keep him waiting.
The phone goes dead. Jacob hangs it up, takes a look at his family, then goes off to pack.
INT LIBRARY BASEMENT - DAY
Jacob is looking at an enormous antiquated reel-to-reel video recorder. Aaron is threading through a piece of tape.
AARON
I smuggled this out when I left Stanford. I'm not sure the tape's still good, but... Ah, there it goes.
The giant reels kick into action, and a picture appears on a tiny monitor attached to the machine.
INT STANFORD LABS - DAY
Aaron, looking about 30 or so, is standing in front of an African-American man in his late thirties.
AARON
Dr. Aaron Bohr. Tuesday, March 13th, 1956. Subject's name is Myron Smith, age 36. Overall, subject is in good health. Subject has agreed to volunteer for this experiment in exchange for a full pardon for his significant criminal actions. I'll be making the crystal insertion into his jugular artery myself.
Very abrupt cut to
INT GYMNASIUM - DAY
Myron is jogging on a treadmill, with various electrodes hanging off of him. Aaron stands in front of him, addressing the camera.
AARON
Six hours later. Subject has completely recovered from the procedure and shows no signs of discomfort. Heart muscles appear to be strong and stable. Skin resilience remains solid, but full extent is still untested.
Another rough cut as the video wobbles slightly.
INT EXAM ROOM - DAY
Myron is lying on the table, while Aaron stands in front of him with a scalpel.
AARON
Forty-six hours later. Subject's resilience meets or exceeds the benchmarks set for the project.
He stabs him with the scalpel. The scalpel breaks.
AARON
As you can see, subject's epidermis is fully resistant to penetration. Previous attempts show complete success at resisting items inserted at up to three thousand pounds per square inch. Subject has, however, developed a slight heart arrhythmia which is being treated with...
Suddenly, Myron starts convulsing. Aaron rushes over to him.
AARON
Get me the external defibrillator! Hurry.
Before they can get the device over to him, Myron's eyes begin bulging out of his skull. Blood pours from his mouth and ears as he screams in agony. Orderlies rush in to hold him down until he eventually drowns in his own fluids.
The video stops abruptly after that.
INT LIBRARY BASEMENT - DAY
Jacob looks appalled.
JACOB
My god.
AARON
Yes. There were more.
JACOB
And they all...
AARON
They all died. We kept doing it. Bringing in men, prisoners mostly, and watching them die.
JACOB
How many?
AARON
I lost count. I wanted to stop after the first one, go back to the animal experiments I was doing during the war, but by then they'd put the Germans in charge of the project. They had been using humans as test subjects for so long, they couldn't imagine going back. I should quit the project sooner. I should have left when you did. (TAKES A BREATH TO COLLECT HIMSELF) But I didn't. And we kept putting it in people. And they died.
JACOB
But it worked fine on me.
AARON
I know. The one that was in you, and now in Rachel, was different. Purer, maybe. I don't know. These were all grown from the original, but they contained impurities of some sort. I never figured out why it didn't work again, it just... didn't.
JACOB
But you have more of them? Of the duplicates?
AARON
Yes. I managed to bring home some samples when I could.
JACOB
So you could put one in me. I'd have, what, two days?
AARON
Two days at most. And then, well, you saw what happens.
JACOB
I could get her out in two days.
AARON
Jacob. Please. That's insane. She's perfectly safe, remember. They can't do anything to hurt her.
JACOB
Maybe not. But they can leave her in jail for the rest of her life. And once they figure out what she is? Experimenting on her and doing God knows what? I can't just sit around here while that's going on. Please, Aaron. Just let me save her.
INT CAR - DAY
TITLE CARD: WASHINGTON, DC. APRIL 1953.
Jacob rides in the backseat of a limo, staring out the window.
AVERY
(V.O.)
I'm not sure how closely you've been following this conflict the French have been having in Indochina. The Chinese have been financing significant Communist action in the Tonkin region, and we have reason to believe this man might be behind it.
INT BRIEFING ROOM - DAY
Avery stands in a dark room in front of a screen. A slide projected behind him is of an artist's interpretation of a Fu Manchu-esque villain.
AVERY
Chang Kwok-wing. He was a legendary crime kingpin before Mao took over, and now it seems he's been working with the Communists to finance their activities. You name it, Chang's making money from it. Prostitution, gun running, gambling, drug smuggling. We think he's set up a sizeable operation in the northern areas of Vietnam to harvest and process opium. We've intercepted literally tons of heroin coming from the region, but who knows how much more is coming through.
JACOB
And you expect me to shut it down?
AVERY
Exactly. You'll be flying in with a small group of other, uh, off the books agents.
INT AARON'S HOUSE - DAY
Jacob is lying face down on a bed while Aaron shakily cuts open his neck. He inserts a black crystal into the neck, which heals up quickly. As it closes up, there is a crash as the front door of the house is knocked down. Aaron rushes out to see what it is and finds a handful of SWAT members swarming into his house. One of them grabs him and throws him against a wall. Another agent walks in with Jacob and tosses him against a wall as well.
SWAT AGENT
Clear!
Avery walks in, surveying the house.
AVERY
Spitzer. And Bohr. How convenient to find you both in the same place!
JACOB
Go to hell, Avery.
AVERY
Oh, that's not very nice.
He gestures to the SWAT agents to let the men go, which they do.
AVERY
I just thought it would be nice if we could have a little chat. It would appear to me that you two were perhaps not telling the truth all those years ago. Your abilities didn't go away, you managed to remove them, didn't you? And you two have been holding onto that little thing of yours in secret the whole time.
JACOB
And if we did? What are you going to do about it now?
AVERY
Well, that's an interesting question. I have some interesting plans for your granddaughter now, but I'm a little concerned about the two of you. I mean, clearly, you're not team players. We're old men now, Jacob. We don't really have time to play games, do we? If you're not going to cooperate - and I can see very clearly that you're not - then really my only option is to eliminate you.
He pulls out a pistol and shoots Aaron in the head.
JACOB
No!
Jacob lunges for the pistol. The SWAT Agents open fire on him, but, fortunately, the process has taken effect, so that doesn't bother him much. He grabs the pistol from Avery, takes a moment to consider shooting him, then decides to use him as a hostage instead. Holding the gun to Avery's head, he backs out of the house and away from the SWAT Agents. Once on the front yard, he spins Avery around and pistol-whips him in the mouth. Hard. Teeth fly out.
Jacob drops the gun and runs (his limp having disappeared) down the street.
INT CAT TRANSPORT - NIGHT
TITLE CARD: VIETNAM. APRIL 1953.
Jacob, dressed in an all-black paramilitary outfit, sits on a plane, nervously eying his fellow passengers. Most