V: HOMECOMING

PART I

FADE IN:

EXT. BROOKLYN BRIDGE

Cars drive over the Brooklyn bridge as the Manhattan skyline rises in the background.

ANNOUNCER: (voice-over) This is a message of the emergency broadcast system. There are unconfirmed reports this morning that the nationwide series of military uprisings which began last night have ended.

INT. NEW YORK DINER

Customers have gathered around a television to watch the announcement.

ANNOUNCER: (on television) However, there is no word yet from Washington where government forces have been battling rebel army units for control of the capital. A state of emergency remains in effect.

INT. CORRINE JOHNSON'S HOME/LIVING ROOM

CORRINE JOHNSON, a large black woman about 65 years old, watches television.

ANNOUNCER: (on television) In Albany, the governor has placed all major metropolitan areas in the state under martial law. Residents of the City of New York are advised to restrict their travel plans as a dusk to dawn curfew has been declared until further notice. Stay tuned for additional advisories.

Corrine's 40-year old daughter, CYNTHIA JOHNSON, walks into the living room wearing a nurse's uniform.

CORRINE: Where are you going?

CYNTHIA: To the place I go every morning. It's called work.

CORRINE: Haven't you been listening to the news?

CYNTHIA: Yes, but so what? Life goes on, mama. There's no use getting ourselves all worked up about things we have no control over.

CORRINE: Well, Cynthia, I can't dismiss everything as easily as you do.

CYNTHIA: I don't have time to argue with you. I'm going to be late.

Cynthia goes over the door and opens it. A little five-year old boy, JIMMY, looks up at her.

JIMMY: Hi.

CYNTHIA: Jimmy, what are you doing here?

JIMMY:(excitedly) I went to see the soldiers!

CYNTHIA: Soldiers?

JIMMY: Yeah! A whole bunch of 'em! They came down the street in big trucks!

Corrine comes over to the door.

CORRINE: Where's your mama, Jimmy?

Jimmy shrugs his shoulders.

JIMMY: I don't know.

CORRINE: Well, come in and I'll make you some breakfast. You can tell me all about the soldiers.

JIMMY: Okay!

Jimmy runs inside.

CYNTHIA: (resigned) It's going to be a long morning.

EXT. HARLEM STREET

The stores along a street in the Harlem business district are being looted. People come pouring out of smashed storefronts with arm loads of stolen merchandise. Cynthia's son, DUANE, is walking out of a store carrying a large radio as his friend WHITEY, a young black albino man, comes riding up to him on a brand new motorcycle. Whitey looks at Duane's radio and shakes his head.

WHITEY: Damn, is that the best you could do?!

DUANE: There ain't much left, man. Looks like you did all right.

Suddenly, a voice booms out from a bullhorn.

GUARDSMAN (off-screen): Stop where you are!

The looters start running as trucks full of national guard troops converge on the area. Duane hands the radio to Whitey.

DUANE: Haul ass! I'll meet up with you later!

WHITEY: Good luck, man.

Whitey takes off, leaving his friend behind. Duane tries to slip away by going around the corner of a building, but runs into an armed GUARDSMAN.

GUARDSMAN: And where do you think you're going? Up against the wall!

INT. HARLEM PRECINCT STATION/FRONT DESK

A SERGEANT is standing behind the desk as several POLICE OFFICERS escort a number of handcuffed people into the station. DUANE is among them.

DUANE: Hey, man, I didn't do nothing. My uncle is going to hear about this.

SERGEANT: Listen, you little punk, I don't care if your daddy's the friggin' President of the United States. I'm going to nail your cocky tail to the wall.

POLICE OFFICER: Where do you want 'em, Sarge?

SERGEANT: Stick them in the cooler with the others. (sarcastically) And make sure you put the captain's nephew in the VIP section near the john.

Duane and the others are led away.

INT. HARLEM PRECINCT STATION/HOLDING CELL

The FIRST OFFICER unlocks the door to the holding cell while the SECOND OFFICER herds Duane and the others into confinement. Inside the cell, SHIRLEY "Candy" KING gets up and pushes her way towards the officers. King is an attractive woman, but her heavy makeup and flashy dress are trademarks of the world's oldest profession. She grabs the cell door.

SHIRLEY: Please, I need to make a phone call.

FIRST OFFICER: Candy, my dear, how nice of you to pay us another visit. Did they catch you turning tricks again?

SECOND OFFICER: Actually, she was brought in with a bunch of looters.

SHIRLEY: Listen, I have a little boy at home who needs to be looked after.

FIRST OFFICER: Well, you should have thought about your little boy before you started stealing someone else's property.

SHIRLEY: Please... I don't want to leave him alone with my boyfriend.

FIRST OFFICER: I'm sorry, but in case you haven't noticed, there's a state of emergency. The phones are off limits except for official business. You'll just have to wait.

The first officer closes the cell door, locks it, and walks off. The second officer comes over to Shirley.

SECOND OFFICER: Don't worry. I'll check up on him.

SHIRLEY: Thank you.

INT. PARRISH PENTHOUSE/LIVING ROOM

AMANDA PARRISH watches television in the living room when she sees a helicopter fly past the windows looking out onto the balcony. She opens the balcony doors and walks out.

EXT. PARRISH PENTHOUSE/BALCONY

Amanda steps out onto the balcony. The helicopter flies overhead and broadcasts messages over a loudspeaker.

VOICE FROM HELICOPTER: All civilian traffic must yield to approaching military vehicles. Please remain off the streets until the convoy has cleared the area.

Amanda walks over to the edge of the balcony and looks down.

AMANDA'S POV - ROAD IN FRONT OF BUILDING

A convoy of armored personnel carriers and trucks comes down the street. One of the trucks has pulled off to the side and national guard troops disembark from the back and fan out. An OFFICER motions them along, barking out orders.

OFFICER: All right, let's move out. I want the area secured by 0900 hours.

INT. PARRISH PENTHOUSE/LIVING ROOM

Amanda comes back into the apartment, and the doorbell rings. She goes to the door, and opens it. A haggard-looking Cynthia Johnson stands at the door.

AMANDA: Cynthia, are you all right? I was beginning to worry.

CYNTHIA: I'm sorry, Mrs. Parrish. It's just crazy out there. I thought I'd never make it over here.

AMANDA: Come and sit down.

Cynthia and Amanda walk over to the sofa and sit down.

AMANDA: Can I get you something?

CYNTHIA: No, ma'am. I'll be fine. I just need a minute to catch my breath.

AMANDA: So what do you make of it all?

CYNTHIA: Honestly, I try not to think about it because there's nothing we can do about it. Of course, my mother hates it when I talk that way.

AMANDA: How is Corrine? I haven't talked to her in awhile.

CYNTHIA: Still as stubborn and independent as ever. She hasn't taken too kindly to me moving in to look after her.

AMANDA: I think it's wonderful that you still care about your mother. I only wish I had the same relationship with my own daughter.

CYNTHIA: I notice you never talk about her.

AMANDA: There's not much to say. I haven't heard much from Julie since she and her father had their falling out. I just hope she's all right.

Attention turns to the television. On television: Special Report.

ANNOUNCER: (on television) Please standby for the following special report.

ANCHOR:(on television) Good morning. We're going live to City Hall where a last-minute press conference has been announced to discuss the current state of emergency. We'll be hearing from the mayor's press secretary, Elaine Johnson.

CYNTHIA: Great. I always enjoy being lectured by my sister-in-law.

On television: ELAINE JOHNSON, an elegant black woman, enters the press room at City Hall and walks over to a podium.

ELAINE: (on television) I want to thank all of you for being able to come here on such short notice. The disturbing events of the last night have come as a shock to all of us.

INT. CITY HALL/PRESS ROOM

Elaine Johnson continues to address a crowd of reporters.

ELAINE: The mayor has been following them very closely and wants to assure all of you that his top priority will be the quick restoration of civil government within the city. The mayor has communicated to the governor his firm belief that New York's Finest is more than capable of maintaining law and order without assistance from the national guard.

INT. CHARLES JOHNSON'S STUDIO APARTMENT/BEDROOM

CHARLES JOHNSON puts on his shirt as he watches the television with MARIA SANCHEZ, a pretty Hispanic woman in her early 20's.

ELAINE: (on television) In the meantime, we ask the citizens of New York to remain calm and to try to bear with the restrictions and inconveniences imposed by martial law. The sooner we work together, the sooner we'll get though this period of emergency.

Charles turns off the television.

CHARLES: I got to give my wife credit. No matter how bad the news gets, she always comes off cool as a cucumber.

MARIA: Looks like I won't be going to class this morning. Maybe we should just stick around here.

CHARLES: I don't think that's a good idea. We need to find another place to stay next time.

MARIA: Is Elaine getting suspicious?

CHARLES: I doubt it. She's too wrapped up in her work to pay much notice, but we don't want to let our guard down.

MARIA: I don't know why you stay with her.

CHARLES: I don't know why she stays with me. I'm not the successful artist she married fifteen years ago.

MARIA: Don't talk like that. You're just suffering a dry spell. It happens to everyone.

CHARLES: It's been a very long dry spell. I can't kid myself anymore, Maria. There just isn't that spark of inspiration anymore.

MARIA: Elaine's the problem, Charles. That shrew of a wife is killing your creative spirit.

CHARLES: Don't be too hard on her. She was a different person when I fell in love with her. (pauses) She was a lot like you.

Charles gives her a kiss on the cheek and gets up to leave.

CHARLES: Don't stay too long. I have some more canvasses downstairs in the studio for you to take home with you. You're making a lot of progress.

MARIA: I have a good teacher.

EXT. CHARLES JOHNSON'S STUDIO

Maria leaves the studio with an arm full of canvasses. She does not pay any attention to a car parked across the street.

INT. CAR PARKED ACROSS STREET FROM JOHNSON'S STUDIO

ALEX HALE, a private detective, watches Maria leave the studio. He reaches for his camera and takes several pictures. A military jeep drives by, and Hale decides it is time to leave.

INT. PARRISH AND COMPANY/CONFERENCE ROOM

MATT PARRISH, Julie's brother, sits at the head of a large conference table as angry board members argue with one another.

MATT: Gentlemen, please...

The room quiets down.

MATT: I know the state of emergency has us all concerned, but it isn't the end of the world. If calmer heads prevail, we should be able to ride this out with only minimal losses.

One of the board members, ALAN TATE, interrupts.

TATE: Matt, what planet are you on?! The country is on the brink of civil war, for Christ's sake! We're going to be blown out of the water!

This elicits a response from the firm's executive vice-president, FRANKLIN KNIGHT.

KNIGHT: Alan, your hysterical outbursts aren't very helpful. Why don't you take a deep breath and be quiet for a moment.

TATE: No, Frank, I'm not going to be quiet. I warned all of you that this bull market was unstable, but you went rushing in anyway.

MATT: Alan, it's not like we had any real alternatives. The armistice provided us with the last chance to turn things around. Either we took advantage of it, or we closed our doors forever.

TATE: That's the problem, Matt. All you could think about was the quick fix. You obviously lack your father's strategic vision.

MATT: (barely controlling his temper) I resent that. My father had the luxury of doing business in more peaceful times. I've done the best anyone could under the circumstances.

TATE: I beg to differ.

Franklin Knight interrupts in order to prevent things from escalating further.

KNIGHT: Please, this isn't getting us anywhere. I move that we adjourn for now and reconvene when the situation becomes clearer. Any objections?

The room is silent.

KNIGHT: All right then. The meeting is adjourned.

Everyone gets up and files out. Matt calls out to Knight.

MATT: Frank, could you stick around for a minute.

KNIGHT: Sure, Matt.

Knight closes the door after the last person leaves.

MATT: A penny for your thoughts?

KNIGHT: It doesn't look good.

MATT: Perhaps Alan was right. Maybe I'm not cut out for this job.

KNIGHT: Nonsense. Alan's just a hothead and a malcontent. Your father worked very hard to groom you so you could take over when the time came. I was never one to question his judgment.

MATT: I only wish I saw things as clearly as he did. He worked his entire life building up this firm. I don't want to be the one who ended up destroying it.

INT. MARIA'S CAMPUS APARTMENT/LIVING ROOM

Maria enters her apartment. Her roommate, LISA KENNEDY, is watching television with her boyfriend, BRAD MORRISON.

LISA: Where have you been? I was getting worried.

MARIA: Sorry, mom. I didn't know I had a curfew.

LISA: Haven't you been watching television?

MARIA: I don't need to watch television to see what's happening.

Maria walks over to her bedroom door, opens it, and walks in. Lisa gets up and follows her in.

INT. MARIA'S BEDROOM

Maria turns on the light and puts the canvasses that Charles gave her on her bed. The room is filled with her paintings. Lisa stands at the door.

LISA: I see you've been spending more time with Charles. A lot more time.

MARIA: What's your point, Lisa?

LISA: You slept with him last night, didn't you?

MARIA: It's none of your business.

Maria walks out of the room and Lisa follows after her.

INT. MARIA'S CAMPUS APARTMENT/LIVING ROOM

Lisa follows Maria out into the living room.

LISA: Too ashamed to admit it?

Maria turns around.

MARIA: What if I did?

LISA: The man is married! Don't you see he's just using you to get some cheap kicks.

MARIA: It's not like that at all! Charles is a very lonely man. He hardly ever sees his wife.

BRAD starts laughing.

BRAD: Oh, brother! You artsy fartsy types are so gullible! He's probably used that story on a hundred other women... and men for that matter. For all you know, he's some sex-crazed bisexual!

Maria blows her top. She grabs a pillow from the living room sofa and throws it at Brad as hard as she can.

BRAD: Hey!

MARIA: Shut up, you moron! Why are business administration majors such neanderthals?!

Maria storms out of the living room.

LISA: Maria, wait!

INT. MARIA'S CAMPUS APARTMENT/KITCHEN

MARIA opens the refrigerator door and grabs a bottle of orange juice. LISA follows her into the kitchen.

LISA: Ignore Brad. I'm still working on his interpersonal skills.

MARIA: I don't want to talk about it anymore, Lisa! You're not my mother!

LISA: But I'm your best friend. I care about you. I don't want you to get hurt.

MARIA: I'm a big girl. I can take care of myself.

Maria gets a glass and pours herself some juice.

LISA: I'm not sure you appreciate what you're up against. Charles is married to the mayor's press secretary.

MARIA: Tell me something I don't already know.

LISA: When she finds out what's going on, Charles will dump you like yesterday's trash.

Maria takes a drink from her glass.

MARIA: If she finds out.

LISA: Oh, she's going to find out eventually, and when she does, she's going to destroy you.

MARIA: You'd never make it in acting school, Lisa. You're much too dramatic.

Brad comes into the kitchen.

BRAD: Come on, Lis. It's time to go.

MARIA: And where are you off to?

LISA: I have some things to do on campus.

MARIA: Come on. Everything is shut down. For all we know, they've canceled the rest of the semester.

LISA: I have to meet with Professor Maitland.

MARIA: Oh, you have a rendezvous with the dashing Dr. Maitland. Better watch out Brad. Looks like Professor Maitland is going to give you some competition for Lisa's affections.

BRAD: Psycho.

MARIA: I know you are, but what am I?

LISA: (to Brad) Let's go before this conversation degenerates any further, if that's possible. I'll see you later, Maria.

MARIA: Bye, bye. Make sure to give Professor Maitland a kiss for me.

LISA: (exasperated) You're shameless.

INT. HARLEM PRECINCT STATION/CAPTAIN'S OFFICE

Captain CHRIS JOHNSON, the precinct's commander, sits in his office with Lieutenant VINCENT MARULLO, his executive officer, when the door opens and an officer escorts Duane, who is handcuffed, into the office.

CHRIS: If you gentlemen don't mind, I'd like to talk to him alone.

MARULLO: Sure, Chris.

Marullo and the officer leave and close the door behind them.

DUANE: Hi, Uncle Chris.

CHRIS: Have a seat, Duane.

Duane walks over to a chair in front on the desk and sits down.

DUANE: So when am I getting out?

CHRIS: Why do you think we're going to let you go?

DUANE: Because you got nothing on me.

CHRIS: Really? You might like to know that we picked up your friend, Whitey, with some stolen merchandise.

DUANE: So?

CHRIS: So what makes you think your friend isn't going to wise up and spill the beans on you.

DUANE: Because Whitey's no fink. He knows I'd do the same if I was in his shoes.

CHRIS: Then you're going to let your friend take the fall for you?

DUANE: Why are you so fixed on sending me up the river?

CHRIS: I want to know the truth. That's my job. I can't let you go just because you're my nephew.

DUANE: You'd sell out your own flesh and blood just to prove to the man you're impartial. Have you thought what that'd do to my mama?

CHRIS: Don't talk to me about your mother. You've broken her heart too many times. That woman has worked herself to death to raise you, and you've been nothing but a disappointment.

DUANE: Yeah, she worked her entire life and what does she have to show for it? My old man skipped out on her, and she's still living in the slums with her mother.

CHRIS: That's it! I'm through trying to reason with you.

Charles get up, walks to the door, and opens it.

CHRIS: (calling out into the hallway) Get him out of here.

INT. UNIVERSITY JOURNALISM SCHOOL/PAUL'S OFFICE

The door opens, and PAUL MAITLAND, a young journalism professor, invites Lisa Kennedy inside his cluttered office.

PAUL: Have a seat, Lisa. You'll have to excuse the mess.

LISA: That's all right, Dr. Maitland. Great minds are seldom neat.

PAUL: I'll have to remember that one.

Paul sits down behind his desk. He looks through a pile of papers and picks up a file.

PAUL: I know we scheduled this meeting to look over your file and make sure everything was in order for graduation--

LISA: Is there still going to be a graduation?

PAUL: Well, I just got back from a meeting of the University Senate, and the President assured us that we would finish the semester on schedule.

LISA: You don't sound very convinced.

PAUL: To be honest, I'm not sure what's going to happen. Everything is sort of up in the air.

LISA: I guess there are more important things to worry about than whether I'll graduate.

PAUL: There's nothing to stop you from going ahead with your graduation plans. I'm going to be meeting one of my former students in about a half hour. He has plenty of press contacts. I'll put in a good word for you.

LISA: Thank you. I'd really appreciate that.

PAUL: Don't mention it. I've been faculty adviser to quite a few students, but none of them has shown your potential. Your work has been first rate, Lisa.

LISA: Coming from you that means a lot.

INT. GREENWICH VILLAGE COFFEE SHOP

DERRICK SULLIVAN, a young investigative reporter, sits at a table drinking a cappuccino and reading a newspaper. Alex Hale walks in the door and looks for an empty table. He sees Sullivan, smiles crookedly, and walks over to him.

ALEX: Hey, kid. Mind if I sit down?

Sullivan looks up and is instantly surprised.

DERRICK: Alex Hale? What brings you to the Village?

ALEX: Business. Believe me, I didn't make a special trip over here just to see you.

DERRICK: Nice to see you too. What kind of business?

ALEX: Matrimonial.

DERRICK: Isn't that a little beneath you? I thought you were supposed to be an elite PI or is business that bad?

ALEX: The client is a very prominent member of the mayor's office.

DERRICK: I see. Could you be a little more specific?

ALEX: Of course not. It's strictly confidential. I can't have you printing it in the gossip pages of that left-wing rag you work for.

DERRICK: Give me a break. It's not like there aren't better stories out there to cover. The entire country is on the brink of civil war, or were you too busy to notice?

ALEX: Don't be a wise guy.

A WAITER with a long pony tail walks up to the table.

WAITER: Can I get you something, sir?

Derrick holds up his coffee cup.

DERRICK: The cappuccino is pretty good.

Alex grunts dismissively and turns to the waiter.

ALEX: One coffee. Black. And I like it strong.

WAITER: Right away, sir.

The waiter walks away.

DERRICK: A simple man with simple tastes.

ALEX: You always hang out here?

DERRICK: Not really. Actually, I'm waiting for Dr. Maitland. We were supposed to have brunch together.

Paul Maitland comes in, sees Derrick, and walks over to the table.

PAUL: Hi, Derrick. Sorry, I'm late.

DERRICK: That's okay, professor. Look who dropped in.

Derrick glances over at Alex.

PAUL: Alex! What a surprise. Is this some kind of reunion?

ALEX: No. Just call it serendipity.

DERRICK: (to Paul) So where were you?

PAUL: With one of my students. She's worried that she won't be able to graduate at the end of the semester.

ALEX: That's the least of her problems. She might not have a country at the end of the semester.

DERRICK: I don't want to dismiss what's happening, but we've been under martial law before.

PAUL: True, but we've never waged open war against our own.

ALEX: If you ask me, it looks like a classic divide and conquer strategy. We used it all the time against insurgent movements.

Suddenly, a YOUNG WOMAN starts shouting.

YOUNG WOMAN: Hey, quiet down everybody! There's something on T.V.!

Everyone gets up and stands in front of a television toward the back of the coffee shop. Close-up on television: Special Announcement.

ANNOUNCER: (voice over on television) Please standby for a special announcement from the Pentagon in Washington D.C.

General CURTIS VAUGHN, the President's national security adviser, appears on the television, sitting at a desk in front of an American flag.

VAUGHN: (on television) My fellow Americans, I am Major General Curtis Vaughn, national security adviser to the President of the United States. I appear before you this morning to report that government forces have regained complete control of the capital and that the rebellion, which gripped the entire country, has collapsed.

INT. MARIA'S CAMPUS APARTMENT/LIVING ROOM

Maria, Lisa, and Brad watch General Vaughn on television.

VAUGHN: (on television) However, the loss of life and property has been enormous, and the whereabouts of the President remain unknown at this time. What we do know is that the insurrection was the product of a carefully planned conspiracy involving the resistance organization known as the World Liberation Front and individuals at every level of our own government reaching all the way to the Vice-President of the United States, who has fled into hiding.

INT. PARRISH AND COMPANY/CONFERENCE ROOM

Matt Parrish and Franklin Knight watch General Vaughn on television.

VAUGHN: (on television) The purpose of this conspiracy was simple: To depose this country's duly elected leader and wage war against the Visitors in flagrant violation of a peace treaty we signed in good faith. Although the conspirators have been defeated, there has been a near total disintegration of the national government.

INT. CORRINE JOHNSON'S HOME/LIVING ROOM

Corrine Johnson watches General Vaughn on television with Jimmy in her lap.

VAUGHN: (on television) Consequently, I have assumed the task of chairing a provisional governing council until such time as normal civilian authority can be restored. I also have communicated to the Visitors our determination to honor the letter and spirit of the peace treaty.

INT. PARRISH PENTHOUSE/LIVING ROOM

Cynthia Johnson, Amanda Parrish, and EDWARD PARRISH, Julie's father who is confined to a wheelchair, watch General Vaughn on television.

VAUGHN: (on television) They have accepted our assurances and have generously offered to provide whatever help they can. As I close, I ask all Americans to remain calm, to stay vigilant, and to pledge themselves to peace. May God bless America.

INT. NATIONAL GUARD STATION/AIR CONTROL TOWER

An AIR TRAFFIC CONTROLLER sits a behind a console, staring at a radar screen. His COMMANDER stands several feet away talking to someone.

CONTROLLER: Sir, I think you should see this.

The commander walks over to him.

COMMANDER: What is it?

CONTROLLER: I'm not sure. Radar is picking up something approaching from the northwest at incredible speed. I've never seen anything like it.

COMMANDER: Have you been able to make radio contact?

CONTROLLER: Negative.

COMMANDER: Then let's get someone up there to check it out.

INT. X-41 COCKPIT

CAPTAIN DUNN pilots the X-41 with JULIE PARRISH sitting behind him in the rear seat.

DUNN: Are you all right back there, Dr. Parrish?

JULIE: I'm feeling a little disoriented, but I'll be okay.

DUNN: Just hang in there. We'll be traveling subsonic on the final leg of the trip.

JULIE: Where are we?

DUNN: We're approaching Stewart Air National Guard Base about 150 miles from the Big Apple.

Dunn notices something on the heads-up display (HUD).

DUNN: Looks like we have company.

JULIE: Who is it?

DUNN: They're ours. Two F-16's approaching from the southeast. Let's see what they want.

F-16 PILOT: (over radio) Attention unidentified aircraft. You have entered restricted airspace. Please identify yourself.

DUNN: (into radio) Hello, this is Captain James Dunn of the United States Air Force. I'm piloting an experimental aircraft, designation X-4-1, on an emergency flight from Edwards Air Force Base in California. It's good to be back in friendly territory. I sure could use your assistance.

F-16 PILOT: (over radio) Standby X-41.

INT. NATIONAL GUARD STATION/AIR CONTROL TOWER

The air traffic controller reports to his commander.

CONTROLLER: Sir, they've made contact. It's an experimental aircraft called the X-41. The pilot claims to be on an emergency flight from Edwards Air Force Base in California.

COMMANDER: That's odd. He's a very long way from home.

CONTROLLER: They're awaiting further orders. What do you want them to do?

COMMANDER: Have them standby while I check this out.

INT. X-41 COCKPIT

Captain Dunn and Julie Parrish wait impatiently for a response from the F-16 fighters which fly in tight formation on either side of them.

JULIE: What's taking them so long?

DUNN: I don't know.

F-16 PILOT: (over radio) Attention, X-41. You're ordered to accompany us to Stewart Air National Guard Base where you'll be taken into custody. If you resist, we'll be forced to open fire.

JULIE: I don't like the sound of that.

DUNN: Neither do I.

JULIE: What are we going to do?

DUNN: Well, we can't outgun them, but we sure as hell can outrun them. Hold on.

EXT. AIRSPACE AROUND X-41 AND F-16 FIGHTERS

The X-41 ascends rapidly and breaks away from the F-16 fighters.

F-16 PILOT (voice-over from radio) Stop him!

INT. NATIONAL GUARD STATION/AIR CONTROL TOWER

The air traffic controller reports to his commander.

CONTROLLER: The X-41 has broken away, and our fighters are attempting to pursue.

COMMANDER: Have them take it out. Send additional fighters if necessary.

The controller turns into disbelief to his commander.

CONTROLLER: Sir?

COMMANDER: You heard me. Our orders are to prevent that aircraft from escaping even if we have to destroy it.

INT. X-41 COCKPIT

Captain Dunn calls back to Julie.

DUNN: You can relax now, Dr. Parrish. We're breaking away.

JULIE: So where do we go from here?

DUNN: I was afraid you were going to ask that.

Suddenly, a warning alarm sounds, and the aircraft begins to shake violently.

JULIE: What's happening?!

DUNN: We're losing power! Looks like we sustained more battle damage than I thought!

JULIE: Can you fix it?!

DUNN: I'm trying!

The craft continues to shake.

DUNN: Damn! It's getting worse! I can barely keep her under control! We might have to abandon ship!

JULIE: What?!

DUNN: Keep your hands on the ejection switch in case you have to use it!

JULIE: You can't be serious!

DUNN: Two more fighters are closing in ahead of us. I can't outmaneuver them and the other two coming up from behind! Get ready to eject!

Julie hesitantly reaches for the ejection lever.

DUNN: They're coming in too fast! We have to eject now!

Julie continues to hesitate.

DUNN: Dr. Parrish! Pull your ejection switch!

Suddenly, one of the fighters ahead of them opens fire with its automatic cannons. Bullets strike the canopy, causing the cockpit to decompress. Julie sees Dunn's bullet-riddled body slumped over the controls. The aircraft begins a steep descent.

INT. F-16 COCKPIT

The pilot of one of the pursuing F-16 fighters closes in on the crippled X-41. The missile sight on the fighter's HUD locks on the target. The pilot then fires an air-to-air missile.

INT. X-41 COCKPIT

Overcoming her fear, Julie pulls the ejection lever and is blasted clear of the aircraft.

EXT. AIRSPACE AROUND X-41

The missile from the attacking F-16 hits the X-41 which explodes into hundreds of fiery pieces.

INT. NATIONAL GUARD STATION/AIR CONTROL TOWER

The air traffic controller reports to his commander.

CONTROLLER: Sir, the aircraft has been destroyed.

COMMANDER: Very good.

CONTROLLER: We also have a report that the pilot might have ejected.

COMMANDER: You better pass that on. They might want to conduct a search.

EXT. BEAR MOUNTAIN STATE PARK/LAKE

Suspended from a parachute, Julie Parrish descends toward a lake in a remote forested area. She enters the water with a splash, and the parachute comes down over her. A few seconds later, her head pops out of the water several feet away from the parachute which slowly sinks under the water. She makes her way to the shore.

EXT. BEAR MOUNTAIN STATE PARK/LAKE SHORE

Julie walks out of the water and onto shore. She removes her helmet and looks around. She notices a sign posted nearby, walks over to it, and learns that she is in a state park. The sign has a simple map on it. She looks at it and then walks into the forest.

EXT. BEAR MOUNTAIN STATE PARK/FOREST

Julie walks through the thick undergrowth. She stops at a spot and removes her flight suit, revealing that she is still wearing the clothes from the shelter. After disposing of the flight suit, she walks a little further until she comes to a nature trail which she follows in the hope of finding a way out.

INT. PICKUP TRUCK

An older man is driving his pickup truck down a road running along the state park. He wears a blue work uniform with the name "EARL" emblazoned on it. Country music is playing over the radio. He slows down when he sees Julie standing along the side of the road trying to thumb a ride. He stops and rolls down his window.

EARL: Need a lift, ma'am?

Julie runs up to the window.

JULIE: I sure do.

EARL: Where you headed?

JULIE: Manhattan.

EARL: Can't say I'm goin' that way, but I can drop you off in Peekskill. I'm sure you can catch the train there.

JULIE: That would be great. Thank you.

EARL: Hop in.

Julie walks around to the passenger door, opens it, and gets inside. She closes the door, and the pickup continues on.

EARL: Name's Earl.

JULIE: Nice to meet you, Earl. I'm Julie.

EARL: So, Julie, you're headed for the Big Apple. Ever been there before?

JULIE: Actually, I grew up in Manhattan. I still have family there.

EARL: Then how did you get stranded way out here? Been hitchhiking?

JULIE: You could say that.

EARL: Family too cheap to spring for a train or plane ticket?

JULIE: Actually, they don't know I'm coming. We haven't spoken to each another in awhile.

EARL: There's never a bad time to mend fences provided you catch the train before curfew.

JULIE: Curfew?

EARL: Yeah. The entire city was put under a dawn to dusk curfew after the governor declared martial law.

JULIE: Really?

EARL: Where have you been?

JULIE: I guess you could say I've been out of the loop. What's been happening?

EARL: There's a nation-wide state of emergency for one thing. Some general from the Pentagon came on the tube and said there was conspiracy to overthrow the government and attack the Visitors. Said it was led by the Vice-President, can you believe it?

JULIE: Sounds incredible.

EARL: And now there's some kind of provisional government in Washington. No one knows what happened to the President. I'm no expert, but it just doesn't sit right with me.

JULIE: In what way?

EARL: Don't get me wrong. I'm no warmonger, but I don't trust the Visitors. Not after all they've done.

JULIE: I know the feeling. Fool me once, shame on you. Fool me twice, shame on me.

EARL: Exactly.

Outside the front windshield, they see a sheriff's patrol car approach from the other direction. After the patrol car passes by them, it turns around and switches on its flashing lights. Earl looks through the rear-view mirror.

EARL: Great.

He pulls over and brings the car to a stop. Julie turns around and looks out the rear window. The patrol car pulls in behind them, and a DEPUTY gets out. The deputy walks over to the driver-side window. Earl rolls down the window.

EARL: There a problem, officer?

DEPUTY: Sorry to disturb you folks, but we received a report that an aircraft was shot down not too far from here. Have you seen anything unusual? Like a parachute maybe?

EARL: Can't say that I have.

The deputy looks over to Julie.

DEPUTY: How about you, ma'am?

JULIE: (shaking her head) No. I'm sorry, officer.

DEPUTY: That's all right. If you do see anything, we'd appreciate it if you contacted the sheriff's office.

EARL: We'll do that.

DEPUTY: Thanks. Take care.

The deputy goes back to his car, and Earl and Julie resume the trip to Peekskill.

EARL: I wonder what that was all about.

JULIE: I wish I could tell you.

INT. ALEX HALE'S OFFICE

Alex Hale is sitting behind his desk looking through a file containing pictures of Maria Sanchez leaving Charles Johnson's studio. Suddenly, the door flies open. HAM TYLER walks in with Hale's secretary, LOIS BERGMAN, in hot pursuit.

LOIS: Hey, mister. Wait one damn minute. You can't just barge into Mr. Hale's office.

HAM: Hale, be a nice guy and send your pit bull back to her cage.

ALEX: Well, if it isn't the prince of darkness himself. I thought someone would have driven a stake through your heart by now.

LOIS: You know this guy, Alex?

ALEX: It's okay, Lois. This is Ham Tyler. We worked together in special operations in the bad old days.

HAM: Why don't we skip the long-winded introductions. I'm not here to make a social call. You and I need to discuss some important business. (to Lois pointedly) In private.

LOIS: Subtle, ain't he?

ALEX: Be a good girl and give us a few minutes alone. If any clients call, tell them I'll be right with them.

LOIS: As you wish Tai Kemo Sahbee.

Lois leaves and closes the door behind her.

ALEX: All right, Tyler. Spill your guts.

HAM: I was in Washington this morning when the fighting broke out, but I managed to get out in one piece and make my way up here. I brought some valuable cargo with me, and I need you to help me hide it.

ALEX: I should have guessed you had your hand in all of this. And now you want to suck me in too. Well, forget it. I gave up plotting and scheming when I left the agency. That chapter in the story of my life is closed. Period.

HAM: You haven't any idea what's going on here, do you? The lizards set us up. While we're busy slaughtering each other, they're circling the sky like vultures waiting to chow down.

ALEX: You should have thought of that before you launched your insurrection. I'm not a champion of lost causes, Tyler.

HAM: The cause isn't lost yet.

ALEX: Then why are you here? And why is there a provisional government in Washington?

HAM: The provisional government is a sham. Vaughn is a boot-licking lackey for the lizards, and you know it.

ALEX: Maybe, but he seems to hold all the cards at the moment.

HAM: That's not true, my friend. I still hold one very important card. That's why I need your help.

ALEX: And what could you possibly have that would be so important.

HAM: The Vice-President of the United States.

INT. PARRISH PENTHOUSE/LIVING ROOM

The telephone rings in the living room. Amanda Parrish walks over and answers it.

AMANDA: Hello. (pause) Julie? Where are you?

INT. BAR

The television is on in a bar popular with the Wall Street crowd. However, the bar is almost empty.

CORRESPONDENT: (on television) Today's events have left all of Wall Street reeling. Like rats fleeing a sinking ship, everyone is trying to get out before the market hits bottom.

A rumpled MATT PARRISH is sitting at the bar, drinking and chain smoking. He extinguishes a cigarette butt in an overflowing ash tray. He then takes a bottle of scotch and empties it into a glass. After gulping it down, he calls out to JOE, the bartender.

MATT: Hey, Joe, I'm getting dry over here.

Joe, a heavy-set balding man, walks over to Matt, takes the empty bottle, and dumps out the ash tray.

JOE: Don't you think you've had enough, Matt?

MATT: No. Keep it flowing.

JOE: There are better ways of committing suicide than giving yourself lung cancer and sclerosis of the liver.

MATT: I considered jumping out a window, but I'm afraid of heights.

Matt tries to laugh, but ends up choking back sobs.

JOE: Come on, Matt. It's not the end of the world.

MATT: Everything my dad worked for is gone. Everything. I don't know how I'm going to face him or my mother. What do I tell them?

Joe takes out another bottle of scotch and pours it into Matt's glass.

JOE: I wish I knew what to say.

MATT: I tried so hard to make my father proud of me. I was the obedient son who walked in his shadow. The only problem is I was never my own man. Just a pale imitation of the original.

JOE: Matt, it doesn't do any good to beat yourself up like this.

Matt stares off into space.

MATT: I wish I had been more like my sister, Julie. She knew how to stand up for herself. I guess she always had more courage than I did.

Matt gulps down the scotch from his glass.

INT. GRAND CENTRAL STATION

A passenger train pulls into Grand Central Station. The doors open and passengers begin to disembark. AMANDA PARRISH is standing among a crowd of people waiting nearby. Several national guard soldiers are positioned around the station. JULIE emerges from the passenger car and sees Amanda. They walk over to each other and embrace.

AMANDA: Welcome home, Jules. I missed you.

JULIE: (tearfully) I missed you too, mom.

AMANDA: I was beginning to wonder if I'd ever see you again.

JULIE: Me too. A lot has happened to me while I was away.

Amanda notices Julie's disheveled appearance.

AMANDA: I should say! Look at you! Where have you been?!

JULIE: I wouldn't know where to begin.

AMANDA: Let's go home and get you cleaned up. Then we can talk.

JULIE: Okay.

Amanda puts her arm around Julie, and the two walk off.

INT. CHINATOWN TENEMENT/ROOM

The door opens, and ALEX HALE, HAM TYLER, and an unidentified figure wearing a hat and trench coat follow a small Chinese man, LI PENG, into a dingy, sparsely furnished room. Li opens the blinds on the windows, allowing light to filter in. A startled rat runs across the room and disappears. Li looks back at the others apologetically.

LI: I know it not look like much. But it very quiet. No one ask any question. Mind their own business.

ALEX: It's exactly what we wanted. Thank you, Mr. Li. You did a good job.

LI: I leave you alone now. Let me know if you need anything.

ALEX: We will. Thanks again.

Mr. Li leaves the room and closes the door behind him.

HAM: Are you sure we can trust him?

ALEX: Absolutely. Li used to provide safe havens for the resistance. Believe me, there's no safer place to hide than in Chinatown. They don't like outsiders snooping around.

Ham turns to the unidentified figure.

HAM: I trust this man's judgment, sir. We should be safe here.

The unidentified man removes his hat and walks over to the window. His graying hair is uncombed and his face is grimy and unshaven. Few would recognize him as the VICE-PRESIDENT of the United States.

VICE-PRESIDENT: So this is what I've been reduced to. A fugitive on the run from my own government. Damn it! I'm the Vice-President of the United States! Not a criminal!

HAM: Sir, I know things don't look so good right now, but you'll be vindicated. Give it time.

VICE-PRESIDENT: Time is something we don't have, Mr. Tyler. Every second that sonofabitch Vaughn is tightening his grip over what's left of the military. Once that's accomplished, those goddamn Visitors will have free reign.

HAM: But we still have the red dust. Half the world remains off limits to the lizards.

VICE-PRESIDENT: And we have to make sure it stays that way.

INT. HARLEM PRECINCT STATION/HOLDING CELL

Duane is sitting alone in a holding cell when Chris Johnson and a police officer come into the holding area.

DUANE: Don't bother taking me back up to your office. I got nothing more to say.

CHRIS: I'm not here to talk. (to the officer) Open it up.

The officer unlocks the door.

CHRIS: (to Duane) Come on.

Chris gets up slowly.

DUANE: Where am I going?

CHRIS: You're free to leave.

DUANE: Really?

CHRIS: Really. I can't prove that you took anything. So it looks like you beat the system once again.

DUANE: Well, then I'll see you later, Uncle Chris. We'll have to do this again sometime.

Duane struts out of the cell.

CHRIS: You can't go on like this forever, Duane. Your luck is going to run out eventually. I hope you realize that before its too late. For your mother's sake.

DUANE: Lay off with the guilt trips, man. They gettin' old.

INT. PARRISH PENTHOUSE/LIVING ROOM

The front door opens, and Amanda enters the apartment. She looks around and sees that the living room is empty. She motions for Julie to come in. Julie enters.

AMANDA: (whispers) Why don't you go and freshen up while I send Cynthia home.

Julie nods and walks off. Cynthia calls out from upstairs.

CYNTHIA: (off-screen) Mrs. Parrish? Is that you?

AMANDA: Yes, Cynthia, I'm back.

Cynthia appears at the top of the stairs and walks down.

CYNTHIA: Were you able to finish your errands?

AMANDA: Pretty much. How are you coming along?

CYNTHIA: Mr. Parrish is all taken care of.

AMANDA: Then maybe you should leave a little early tonight so you can get home before curfew.

CYNTHIA: To tell you the truth, I was thinking the same thing. I just don't want to bail out on you.

AMANDA: Don't worry about me. I can take over from here.

Amanda goes over to the closet and gets Cynthia's jacket and purse. Cynthia puts on her jacket and takes her purse.

CYNTHIA: I'll see you in the morning, Mrs. Parrish.

AMANDA: Good night, Cynthia. And be careful.

CYNTHIA: I always am.

Cynthia leaves and Amanda closes the front door. She walks into the living room. Julie is standing there.

JULIE: Alone at last.

Amanda motions for her to sit down on the couch.

AMANDA: Let's talk.

Julie and Amanda sit together on the couch.

JULIE: I suppose you're wondering what I've been up to all of this time?

AMANDA: Honey, there have been times when I wondered if you were still alive. Every now and then there was a snippet or two about you in the news, but that was it.

JULIE: I wish I could give you a good explanation.

AMANDA: I know there were a lot of hard feelings between you and your father, but you didn't need to totally cut yourself off from us.

JULIE: I never meant for it to turn out that way. I admit, at first, I wanted to prove to dad that I could make it on my own, but after the Visitors came and I joined the resistance, everything in my life changed so much. You, dad, and Matt just didn't seem real anymore.

AMANDA: But we were still here, Julie, and we suffered along with everyone else.

JULIE: I realize that. I'm not trying to excuse what I did. I just hope you'll understand that I didn't do it because I no longer loved you or because I wanted to hurt you.

AMANDA: In my heart, I always knew that, but I'm curious though. Why did you decide to come back home at a time like this?

JULIE: I wish I could tell you everything, but it's better for you if you don't know.

AMANDA: It has to do with the resistance and the Visitors, doesn't it?

JULIE: Please...I don't want to endanger you.

AMANDA: I'm your mother, and I want to help.

JULIE: I'm not a child anymore. There are some things you just can't fix for me. You have to trust me on this. I'm doing it for your own good.

AMANDA: Now who's beginning to sound like a mother?

JULIE: Looks like you rubbed off on me. But enough about me. How have all of you been doing?

AMANDA: Things haven't been easy since your father's stroke. Matt's been trying to run the firm, but he's really been struggling. He tries to hide a lot of the problems from me, but I can tell things aren't going well.

JULIE: How's dad taking it?

AMANDA: It's difficult to know. His mind is still functioning, but he's almost totally paralyzed. Luckily, I have Cynthia to help me take care of him.

JULIE: I can't imagine what that's like for him. He always was so in command of everything. Now he's totally helpless. A prisoner in his own body.

AMANDA: He's not the man you knew when you left. Let me take you upstairs to see him.

Julie nods her assent.

INT. PARRISH APARTMENT/BEDROOM

Edward Parrish is in bed. The head of the bed has been raised so he can watch television, but he appears to be sleeping. The door opens, and Amanda and Julie come in. Amanda walks over and turns off the television.

AMANDA: Edward?

Edward's eyes open. Otherwise, his body remains perfectly still.

AMANDA: Edward, you have a visitor. It's Julie. She's come home.

Amanda pulls Julie closer to him so he can see her.

JULIE: Hello, dad.

Edward closes his eyes and opens them again.

AMANDA: He said hello. We've developed a system to communicate. When he closes and opens his eyes to someone he meets, he's saying hello. You can also ask him yes or no questions. If he closes and opens his eyes, he means yes. If he keeps them open, he means no. Now, I'll leave the two of you alone.

Amanda leaves the room and closes the door. Julie takes a chair from a nearby desk, pulls it over to the side of the bed, and sits down.

JULIE: It's been a long time.

Edward closes and opens his eyes.

JULIE: I wish I knew what to say to you. I could tell you that I'm sorry I left, but I wouldn't be honest with you. I still believe I made the right decision.

Edward looks at her. His expression remains unchanged.

JULIE: I know you always did what you thought was right for me, but there came a time when I had to make my own decisions. As hard as I tried, though, I could never make you understand that. You always acted like I was conspiring against you, and it just frustrated the hell out of me.

Edward continues to look at her. Julie tries to control her temper. A little laugh slips out of her.

JULIE: Mom always said the two of us never could get along because we were too much alike. Maybe she was right. You know, I was even dating a stockbroker for a while when I was living in L.A. Can you believe it?

Edward closes and opens his eyes. Julie smiles.

JULIE: If I didn't know better, I bet you managed to arrange that somehow.

Edward closes and opens his eyes again. Julie laughs.

JULIE: You sneak.

Suddenly, Julie realizes the tenderness she still feels for her father. She takes her father's hand.

JULIE: I never wanted to hurt you. Please believe that. I still love you very much.

As Julie wipes tears away from her eyes, she notices a single tear roll down her father's cheek.

JULIE: We said some things to each other awhile back that probably shouldn't have been said, but I'm willing to forgive and forget. I hope you feel the same way.

Edward closes and opens his eyes. Julie smiles.

EXT. NORTHERN CENTRAL PARK - DUSK

Two tough-looking Hispanic teenagers, TONY "SPARROW" PEREZ and VICTOR "ANGEL" MENDOZA, are walking aimlessly through a wooded area in Central Park. Both are bored and looking for trouble. Tony, who is small and thin compared to the more muscular Angel, is clearly the brains of the twosome.

ANGEL: Come on, man, I'm tired of walking. Let's find us a vic.

TONY: Shut up, you dope. I'm trying to think.

ANGEL: You think too much. It's time for some action.

TONY: Listen, we got to play it smart. The streets are crawling with cops and soldiers just waiting to nail us. We got to pick our targets carefully. Comprende amigo?

ANGEL: (half-heartedly) Yeah.

The two approach a clearing in the woods. They look out and see a man walking alone along a footpath.

TONY: (whispering) I can't believe it, homie. What a break. Looks like it's going to be a good night after all.

INT. CORRINE JOHNSON'S HOME/KITCHEN

Little Jimmy is watching Corrine prepare dinner when Cynthia walks into the kitchen.

CYNTHIA: Something smells good in here.

CORRINE: Hello, dear. You made it home just in time for some of your great grandma's gumbo.

CYNTHIA: Great. Good thing I was able to leave work early.

Corrine sits down at the kitchen table.

CORRINE: And how was your day?

CYNTHIA: It was total gridlock out there. If you're not in uniform, I guess they think you got no business being out on the streets. Anything happen here while I was away?

CORRINE: No. Not really. Just been all sorts of news reports on the television.

CYNTHIA: Let's not talk about all that. I'd just like to eat my dinner in peace.

The doorbell rings.

CORRINE: I'll get that. Cynthia, watch the gumbo for me. Stay here, Jimmy, and help Cynthia.

Corrine walks out of the kitchen.

INT. CORRINE JOHNSON'S HOUSE/FRONT DOOR

Corrine walks over to the front door and opens it. Shirley King is standing on the door step.

SHIRLEY: Hello Corrine.

CORRINE: (coolly) Shirl.

SHIRLEY: Is Jimmy here?

CORRINE: Come in.

Shirley steps inside, and Corrine closes the door behind her.

SHIRLEY: I'm sorry if Jimmy was any trouble.

CORRINE: You should save your apologies for Jimmy. He comes knocking on my door this morning after wandering the streets. Then the police come by asking about him and tell me you're in jail. Your little boy deserves a lot better than that.

SHIRLEY: Don't you think I know that?

Jimmy runs in.

JIMMY: Mommy!

Shirley kneels down, and Jimmy runs into her outstretched arms. She hugs him and gives him a kiss on the cheek.

SHIRLEY: Hello, sweetie. Mommy really missed you. Have you been a good boy?

JIMMY: Yep. I've been making Jum-bo.

SHIRLEY: Really?

CORRINE: He's been a little angel. Even helped me cook dinner. Why don't you and Jimmy stay and eat with us. I've made enough for everyone.

JIMMY: Say yes, mommy. Please?

SHIRLEY: How can I say no to your gumbo? We'd be honored to stay.

JIMMY: Yeah!

Suddenly, the room begins to vibrate slightly and the lights flicker. Everyone in the room is instantly silent.

CORRINE: Do you feel that?

SHIRLEY: The air is real strange. I'm tingling all over.

Cynthia comes into the room.

CYNTHIA: What's happening? Is it an earthquake?

SHIRLEY: In New York?

Suddenly, light ceases to come through the living room window as if someone had switched off the sun.

CORRINE: Sweet Jesus.

Corrine opens the door and looks out.

EXT. HARLEM SKYLINE

A huge Visitor Mothership moves south over Harlem, casting a huge shadow over everything beneath it.

EXT. NORTHERN CENTRAL PARK

A drunken Matt Parrish walks aimlessly along a footpath in Central Park. Tony jumps out from some nearby bushes.

TONY: And where do you think you're going?

MATT: Who are you?

TONY: I'm the toll collector. You're trespassing in my territory. Time to pay up.

MATT: Drop dead.

Matt turns around, but Angel blocks his only escape.

ANGEL: Better do as the man tells you.

Matt turns back around and faces Tony.

MATT: I don't have to take this crap. Get out of my way you little grease ball!

Tony takes out a switch-blade, and Angel grabs Matt from behind.

TONY: All right. No more mister nice guy. I'll get what I want one way or the other.

MATT: Over my dead body!

Matt kicks Tony full force in the chest, sending him reeling to the ground. The momentum of Matt's sudden movement causes Angel and Matt to fall back onto the ground as well. Matt turns on the startled Angel and pummels him in a drunken rage. Tony grabs his knife and jumps onto Matt. A struggle ensues, and the two roll along the ground. Matt lets out a yelp and collapses. Tony gets up with a bloody knife in his hand. He looks over at Matt as he lies on the ground. Angel runs over to him.

ANGEL: Is he dead?

TONY: I don't know. Damn it! It wasn't supposed to go down like this! Stupid drunk!

Suddenly, a breeze starts to rustle the leaves, and it becomes very dark as if there was a total solar eclipse. Tony and Angel look up and see the massive underbelly of the Visitor Mothership pass overhead.

TONY: Let's get out of here.

The two run off into the bushes.

INT. PARRISH APARTMENT/GUEST BEDROOM

Julie is sitting in a bathrobe in front of a mirror brushing her wet hair. Again, the room begins vibrating, and it suddenly gets dark outside. As Julie puts down her brush, Amanda walks in.

AMANDA: Jules, there's something outside you got to see! Hurry!

EXT. PARRISH APARTMENT/BALCONY

Julie and Amanda walk out onto the balcony and see the Visitor Mothership passing overhead, casting its shadow over the Manhattan skyline. Amanda turns to Julie.

AMANDA: What does this mean?

JULIE: I'm not sure, mom.

EXT. CHINATOWN TENEMENT/ROOF TOP

Ham Tyler is on the roof of the tenement building looking up at the Mothership as it passes overhead. Alex Hale climbs up after him. Hales sees the Mothership and stops in his tracks.

ALEX: They're back! I can't believe it!

Ham looks over at him.

TYLER: Believe it. And they're looking to stay this time.

EXT. LIBERTY ISLAND

The Statue of Liberty is thrown into a permanent shadow as the Mothership assumes a fixed position over it.

INT. MARIA'S CAMPUS APARTMENT/LIVING ROOM

Picture on television: Mothership hovering above the Statue of Liberty.

REPORTER: (voice-over on television) This is a live picture from New York City where last night residents experienced the presence of a Mothership over their city for the first time since the release of the red dust almost two years ago. Similar reports have been coming in from major cities all over the world which still lie within the red dust zones. The following footage comes to us from Montreal...

Footage on television: Mothership hovering above the Montreal skyline.

REPORTER: (voice-over on television) Berlin...

Footage on television: Mothership hovering over the Brandenburg Gate.

REPORTER (voice-over on television) Moscow...

Footage on television: Mothership hovering above the Kremlin.

REPORTER: (voice-over on television) and Beijing.

Footage on television: Mothership hovering over Tiananmen Square.

REPORTER: (voice-over on television) Early this morning, the Visitors issued a short communique explaining that the redeployment of their fleet was undertaken in response to security concerns arising from the civil and military disorders that briefly gripped much of the world. The provisional government in Washington, D.C., confirmed that it had consented to such a redeployment within the United States following consultations with the Visitors.

Lisa Kennedy is sitting on the sofa in her bathrobe watching the television. Maria comes out of her room.

MARIA: You up already? What time did you go to bed last night?

LISA: About three. I had a hard time getting to sleep.

MARIA: All worked up about the Visitors coming back?

LISA: Aren't you?

MARIA: Not really. As long as we got the red dust, they're stuck on those great big flying saucers.

There is a loud knocking on the door.

LISA: Who could that be?

MARIA: Brad maybe?

LISA: No. He left this morning to see his folks.

MARIA: So the big tough guy got scared and ran off to see his mommy and daddy?

LISA: Give it a rest.

The loud knocking on the door continues.

MARIA: I'll get it.

Maria opens the door. Tony is standing at the doorstep.

MARIA: Poquito!

TONY: I told you to stop calling me that!

MARIA: Sorry! What are you doing here?

TONY: I need a place to crash for a little while.

MARIA: What have you done now?!

TONY: Hey, can't a guy visit his older sister without getting the third degree?

Lisa walks over to the door.

TONY: So who's the foxy mama?

Lisa rolls her eyes.

LISA:(to Maria) You know this guy?

MARIA: Lisa, this is my younger brother, Antonio.

TONY: You can call me Tony.

Tony gives Lisa a not so subtle wink. Lisa ignores him.

LISA: You never told me you had a brother.

MARIA: Actually, he's only my half-brother. He's sort of the black sheep of the family. We try to pretend he doesn't exist.

TONY: Are you going to invite me in?

MARIA: I guess.

Tony comes inside and looks around.

TONY: You got a pretty nice place here. Where do I sleep?

LISA: How about the garbage dumpster out back?

TONY: (to Maria) Are you going to let your friend treat me like that?

MARIA: You can't stay here, Tony.

TONY: Come on! I just need a place to stay for the night. You won't even know I'm here. You can't just throw your little brother out on the street.

Maria lets out a sigh.

MARIA: (to Lisa) Do you mind if he spends the night? I practically raised this guy. I still feel sort of responsible for him.

Lisa mulls it over.

LISA: (grudgingly) Okay. But only for tonight. And he sleeps on the couch.

TONY: (to Lisa) You got a boyfriend? If not, I can always pay you a visit during the night.

LISA: For your information, Augusto, my boyfriend was a high school quarterback, and if I catch you anywhere near me, I'll have him break your arms and legs after I'm through castrating you. Comprende?

TONY: Whoa! You're a real apretada!

LISA: A what?

MARIA: He says you're a cold fish.

LISA: (to Tony) Damn right! I'm a barracuda. I'm only letting you stay here as a favor to Maria. Just remember that.

TONY: Yes, ma'am.

INT. UNIVERSITY MEDICAL CENTER/INSTITUTE FOR BIOMEDICAL RESEARCH/RECEPTION AREA

DR. DAVID CHANDLER, a good-looking man in his late forties or early fifties, comes out into the reception area where Julie is sitting.

CHANDLER: Good morning. Welcome to the Institute for Biomedical Research. I'm David Chandler.

Julie gets up, and they shakes hands.

JULIE: Pleased to meet you, Dr. Chandler.

CHANDLER: I'm glad you were able to make it.

JULIE: So am I.

CHANDLER: Come with me. Everyone is waiting to meet you.

They leave the reception area and walk into a hallway.

INT. UNIVERSITY MEDICAL CENTER/INSTITUTE FOR BIOMEDICAL RESEARCH/HALLWAY

Dr. Chandler and Julie walk down a hallway bounded by laboratories on either side.

CHANDLER: I must admit that I'm surprised to see you. How did you manage to make it here all the way from L.A.?

JULIE: Believe me, it's a long and incredible story. I wouldn't know where to begin.

CHANDLER: Well, you'll have plenty of time to fill us in on the details later. The important thing is that you're here.

They pass several doors marked "Genetics," "Neurosciences, "Endocrinology," and "Immunology."

JULIE: You have quite a set up here. I'm very impressed.

CHANDLER: Thank you. The institute has grown quite large. It now occupies four floors of the University Medical Center complex and has over 120,000 square feet of state-of-the-art laboratory facilities. We have attracted top researchers and academics from all over the world. I'm very proud of what we've been able to accomplish over the past two years.

JULIE: You did all of this in two years?

CHANDLER: That's right.

JULIE: Incredible. Where did all the money come from?

CHANDLER: Primarily from the government, but we've also been able to attract significant funding from private sources as well.

JULIE: Exactly what kind of research do you do?

CHANDLER: Every kind of biomedical research imaginable. We have scientists working in developmental genetics, molecular neurobiology, molecular pathogenesis, and structural biology. Just to name a few.

Dr. Chandler and Julie walk over to an elevator door. Dr. Chandler pushes the down button and the door opens. Chandler invites Julie inside.

INT. UNIVERSITY MEDICAL CENTER/INSTITUTE FOR BIOMEDICAL RESEARCH/ELEVATOR

The elevator door closes.

CHANDLER: We also conduct research of a more sensitive nature.

Chandler takes out a key and inserts it into the elevator's control panel, unlocks it, and opens it. Inside are a series of colored buttons. Chandler pushes the blue button, and the elevator begins to descend. He closes the control panel and places the key back in his pocket.

CHANDLER: One of our many security precautions. You'll be debriefed on these later.

JULIE: Where are we going?

CHANDLER: To our underground facility.

INT. UNDERGROUND CORRIDOR

The elevator door opens, and Chandler and Julie exit. The two walk down a dimly lit corridor that has been hewn out of the surrounding rock.

JULIE: How far down are we?

CHANDLER: About 2000 feet. The lab's facilities were built deep underground so that they could withstand just about any kind of attack.

JULIE: Exactly what kind of lab is this?

CHANDLER: A top secret government research facility. In fact, it's so secret that not even the President of the United States knows its exact location. It was built primarily to develop chemical and biological agents harmful to the Visitors. That's why we were particularly interested in bringing you onboard.

JULIE: How long has it been around?

CHANDLER: Shortly after the red dust's limitations were discovered, the government established what was dubbed the Second Manhattan Project. Originally, this laboratory was supposed to be part of a larger world-wide network of research facilities devoted to the rapid development of new weapons against the Visitors. Unfortunately, the project was all but abandoned after the signing of the peace agreement, and the lab in New York was the only facility to be completed.

JULIE: And how did you come to be put in charge of it all?

CHANDLER: Actually, I'm not in charge of the lab itself. You're going to be meeting its supervisor. I'm involved in the administrative rather than the scientific aspects of the project.

They come to a large steel door at the end of the corridor. Chandler walks over to a keypad next to the door and punches in a code. The computerized voice issues from a speaker/receiver device above the keypad.

COMPUTERIZED VOICE: Voice identification please.

CHANDLER: Chandler, David. Omega 1-4-8 Alpha.

COMPUTERIZED VOICE: Voice identification confirmed.

The door slides open with a whoosh.

INT. UNDERGROUND RESEARCH LABORATORY/CORRIDOR

Julie and Dr. Chandler walk into a bright, sterile corridor. The large steel door closes behind them.

CHANDLER: They're waiting for us in the main conference room. Follow me.

INT. UNDERGROUND RESEARCH LABORATORY/CONFERENCE ROOM

Four people sit around a conference table when Julie and Dr. Chandler walk in.

CHANDLER: Everyone I 'd like you to meet Dr. Juliet Parrish.

An older man with wispy gray hair stands up.

CHANDLER: Dr. Parrish, this is our project supervisor --

JULIE: Dr. Karl De Bilt, the prominent Dutch microbiologist and Nobel laureate. I'm very honored to finally meet you.

Julie walks over to De Bilt and shakes his hand.

DE BILT: You're most gracious, Dr. Parrish. You've developed quite a reputation of your own. I understand you studied under Rudolph Metz in Los Angeles.

JULIE: Yes, I did. Dr. Metz spoke very highly of you.

DE BILT: That respect was mutual. He was one of the finest biochemists I ever knew. His loss was a great blow to the scientific community.

JULIE: I know.

DE BILT: But let's not dwell on the past. Please have a seat, and I'll introduce you to the other members of the team.

Julie sits down in an empty chair to Dr. De Bilt's immediate right. Dr. Chandler walks over and sits down at the other end of the table across from De Bilt. De Bilt then goes around the table starting at his immediate left where a heavy-set women with pop-bottle glasses sits in a wheelchair.

DE BILT: This is Dr. Yelena Resnik, a chemist and toxicologist. Dr. Resnik oversaw the development of much of the Soviet Union's chemical weapons program before her defection to the United States.

Resnik nods. De Bilt then moves to a younger Asian man who sits next to Resnik.

DE BILT: Next to Dr. Resnik is Dr. Chou Ling, a specialist in both immunology and bacteriology. Dr. Chou originally came from China to do postdoctoral research at the National Institutes of Health where he did some groundbreaking work in the treatment of immunological diseases.

Chou nods. Sitting across from Chou and next to Julie is a tall, bald man in his early forties.

DE BILT: And finally, across from Dr. Chou is Dr. Richard Freeling, a noted surgeon and pathologist who practices here at the Medical Center.

JULIE: I'm very pleased to meet all of you. You've assembled a very impressive group, doctor.

DE BILT: And we're very fortunate that you're a part of it. Your background in medicine and biochemistry and your familiarity with Visitor physiology will be extremely helpful in our research. (to Dr. Chandler) Has Dr. Parrish been debriefed about the project?

CHANDLER: Yes she has.

DE BILT: (to Julie) Now I have to warn you that since the state of emergency, this lab's status is uncertain. However, we have pledged to continue our work regardless of whether it's still sanctioned by Washington. Every person in this room remembers all too well the Visitors' persecution of the scientific community, and the events of the past few days have only increased our suspicions.

JULIE: Well, I'm afraid that after you hear what I have to tell you, your greatest fears will be confirmed.

CHANDLER: Go on, Dr. Parrish. We're listening.

INT. CHARLES JOHNSON'S STUDIO

The bell above the front door jingles as Maria walks into the studio which is empty.

MARIA: Charles?

The door to the upstairs apartment opens, and Charles and Elaine come downstairs. Charles looks over at Maria. He wears the expression of a beaten man. Maria slowly walks over to him.

MARIA: What's wrong?

Charles walks up to Maria and puts his hands on her shoulders. Elaine looks on with interest.

CHARLES: It's over, Maria.

MARIA: What are you talking about?

CHARLES: Elaine knows everything. We have to stop seeing each other.

MARIA: That's it?! You're just giving up!

CHARLES: There's nothing I can do about it.

MARIA: You can stand up to her and tell her how we really feel about each other!

CHARLES: Maria, we have to be realistic about this. This little romance isn't go anywhere.

MARIA: Why are you talking like that? Did she blackmail you?

ELAINE: I don't have to stand here and listen to that, you little harlot.

Charles puts his hand up, and Elaine restrains herself.

CHARLES: Don't do this, Maria. You're a talented artist with a bright future ahead of you. Don't throw it all away on account of me. I'm not worth it.

MARIA: But I love you.

CHARLES: Listen, we had some fun together, but that's as far as it went. It's time for us to put that behind us and move on with our lives.

MARIA: So that's all it was to you?! Just a good time?! A little diversion?!

CHARLES: Try to understand...

MARIA: Oh, I understand! I was good for a few cheap kicks until you started feeling the heat! I've been such a fool!

Maria starts to cry.

CHARLES: It's not like that at all.

MARIA: Well, I won't be a burden to you anymore. I can take a hint.

Maria grabs her things and head for the door.

CHARLES: Maria, please...

MARIA: (to Elaine) He's all yours! You deserve each other!

Maria storms out of the studio. Charles puts his hand on the window and looks out as Maria runs across the street.

ELAINE: I hope you learned your lesson, Charles.

INT. JULIE'S DORM APARTMENT

The door opens, and Dr. Chandler and Julie walk into a spacious but simply furnished dormitory apartment.

CHANDLER: I'm sorry that you have to stay in a dorm, but I promise it's only temporary.

JULIE: This is a lot nicer than the dorms I remember.

CHANDLER: Actually, it's reserved for visiting faculty who don't want to blow a fortune trying to rent a place off campus. It has most of the essential creature comforts.

JULIE: Believe me, after some of the places I've been, this is a real treat.

CHANDLER: I must say, Dr. Parrish, that your story back at the lab was simply incredible.

JULIE: I can hardly believe it myself.

CHANDLER: But it really renewed our sense of purpose. I want to thank you for that.

JULIE: You're welcome.

CHANDLER: Well, I'll let you get settled in. Remember, Dr. De Bilt wants everyone at the lab bright and early tomorrow morning. He's a stickler when it comes to punctuality.

JULIE: Don't worry. I'll be there.

Chandler leaves. Julie walks over to a couch and sits down. She picks up a remote control from the coffee table, puts her legs up, and turns on the television. The local news is on the television.

ANCHORWOMAN: (on television) Upon learning of the provisional government's decree ordering the federal mobilization of all national guard forces throughout the country, the governor promptly issued a statement pledging the state's full cooperation which was followed by similar assurances from City Hall this afternoon. In other news, a local man was found stabbed this morning in northern Central Park. He has been identified by police as Matthew Parrish, son of prominent New York financier Edward Parrish and president of the brokerage firm Parrish and Company.

Julie abruptly sits up.

ANCHORWOMAN: (on television) Parrish was taken to Mt. Sinai Hospital where he is listed in serious but stable condition.

INT. MARIA'S CAMPUS APARTMENT/LIVING ROOM

The television is on in the living room.

ANCHORWOMAN: (on television) The circumstances surrounding the stabbing are still under investigation. Sources have told us that the police so far have no leads in what they believe was a botched robbery attempt.

Tony is staring intently at the television.

TONY: Damn! We're screwed!

Lisa comes into the living room with a glass and a plate.

LISA: What's going on?

TONY: Nothin'. Just watching the news.

Lisa sits on a chair and puts her plate and glass on the coffee table.

LISA: The news?! Now that's a surprise!

TONY: Why you always ragging on me? You think I'm stupid or somethin'?

LISA: I don't know. There's something about you that brings out the worst in me.

Lisa takes a drink from her glass.

TONY: Do I get anything to eat?

LISA: If you're hungry, go in the kitchen and make yourself something. I'm not running a restaurant.

The front door opens and Maria walks in. Maria's face is flush and her eyes are red.

TONY: Hey, sis.

Maria doesn't say anything. Lisa gets up and walks over to her.

LISA: What's wrong?

MARIA: I don't want to talk about it.

Maria wipes tears from her eyes.

LISA: It's Charles, isn't it? Come on, Maria. You can tell me.

MARIA: (angrily) Okay. Elaine found out about us, and Charles dumped me. You were right all along. Are you happy?!

Tony comes over to Maria.

TONY: No guy treats my sister like that! Tell me where he lives, and me and my friends will go over there and beat the crap out of him!

MARIA: Just leave me alone!

Maria runs into her bedroom and slams the door shut. Lisa and Tony look at each other helplessly.

INT. MT. SINAI HOSPITAL/MATT'S ROOM

Amanda Parrish sits at Matt's bedside. Matt has an oxygen tube in his nose and intravenous tubes running into his arms. The door to the room opens, and a nurse shows Julie in. Amanda turns around and sees her.

JULIE: I came over as soon as I heard the news.

AMANDA: I'm glad you found out. I didn't know where to reach you.

JULIE: How is he?

AMANDA: Still unconscious, but the doctors think he's going to pull through.

Julie walks over to the side of the bed.

JULIE: What was he doing in Central Park?

AMANDA: The police think he had been drinking and got lost.

JULIE: That doesn't sound like Matt.

AMANDA: Frank Knight told me the firm is facing bankruptcy. Matt just couldn't cope with it.

Suddenly, the two hear someone mumble. They look over and see that Matt has opened his eyes. Matt sees Julie.

MATT: (very weakly) Julie?

Julie smiles at him.

JULIE: Yes, Matt. It's me.

Matt tries to reach over and touch her, but the pain prevents it. Amanda tries to restrain him.

AMANDA: Try to keep still, Matt. You don't want to hurt yourself.

Matt looks at Amanda.

MATT: Mom, it's Julie.

AMANDA: Yes, dear, I know.

MATT: Mom...

AMANDA: What is it, Matt?

MATT: I'm sorry. I didn't mean to...

Matt starts to cry.

JULIE: I'll get the nurse.

Julie leaves. Amanda squeezes Matt's right hand.

AMANDA: Don't do this, Matt. Please. Frank told me everything, and it doesn't matter. You're all that I care about right now.

EXT. RED DUST PRODUCTION COMPLEX/PERIMETER FENCE ENTRANCE - NIGHT

A chain-link fence runs along the perimeter of a large refinery-like complex. In front of the fence's entrance, a large sign is posted which states: "Warning: Biohazardous Area. Authorized Personnel Only. United States Department of Defense." A large tanker truck pulls up to the entrance gate followed by another truck full of soldiers. A sentry opens the gate and the trucks proceed through.

EXT. BUSHES NEAR PERIMETER FENCE

Under cover of darkness, Derrick Sullivan emerges from some bushes and prowls over to the perimeter fence. He crouches down to avoid being seen. He looks through the fence to view what is going on inside.

DERRICK'S POV - GROUNDS OF RED DUST PRODUCTION COMPLEX

Flood lights illuminate the inside of the compound. Rows of military vehicles are parked several hundred yards away. Soldiers can be seen unloading bulky equipment from the back of a truck. As they do so, a tanker truck comes through and drives into an area obscured by large pipes and tanks.

EXT. PERIMETER FENCE

As Derrick looks through the fence, he can hear a humming sound which steadily becomes louder. He looks up into the night sky.

DERRICK'S POV - SKY ABOVE THE RED DUST PRODUCTION COMPLEX

A large Visitor transport shuttle made up of five segmented compartments descends and lands inside the compound.

EXT. PERIMETER FENCE

Derrick takes a camera from around his neck and attaches a telescopic lense. He points the camera through the fence and looks into it.

DERRICK'S POV - GROUNDS OF RED DUST PRODUCTION COMPLEX

A number of soldiers advance toward the shuttle craft and form a line several feet from the side of it, facing the shuttle's five hatches. The shuttle's middle hatch opens and a Visitor in an environmental suit walks out. Derrick snaps a picture of this. A military officer walks over to the Visitor, and they shake hands. Derrick takes a picture of this. After the two exchange a few words, the Visitor turns around and makes a hand signal. The remaining four hatches open, and Visitor technicians in environmental suits begin pouring out. Derrick takes a picture of this.

INT. UNIVERSITY JOURNALISM SCHOOL/HALLWAY - MORNING

Paul Maitland walks down the hallway and passes by a billboard totally covered with identical leaflets. Paul walks over and looks at one of the leaflets.

INSERT - LEAFLET

which reads: "Our government has become a military dictatorship! We must not stand silent! Join the freedom march at noon on Washington Square!"

BACK TO SCENE

Paul continues down the hallway toward his office. He finds one of the leaflets taped to his door. He takes it off. A voice calls behind him.

DERRICK(off-screen): Joining the revolution already, professor?

Maitland turns around and sees Derrick approach him. He looks rather disheveled and carries a large manila envelope under his arm.

PAUL: Where have you been?

DERRICK: I had a rather busy night out on the town. Mind if we talk? I have something to show you.

INT. UNIVERSITY JOURNALISM SCHOOL/PAUL'S OFFICE

Derrick watches as Paul opens an envelope and takes out a number of large photographs.

PAUL: Where did you take these?

DERRICK: Remember that plant the government built out on Staten Island to produce red dust?

PAUL: Yeah. It never went into operation. It's just been sitting out there.

DERRICK: Not any more. I was over there last night, and it's up and running.

PAUL: I thought they shut it down because repeated red dust exposure was dangerous to humans.

DERRICK: So did I. And that's not all. The place is crawling with Visitors. Just look at those pictures.

Paul looks through the photographs.

PAUL: What could the Visitors want with the red dust? It's poisonous to them.

DERRICK: I was going to ask you the same question.

PAUL: Has anyone else seen these?

DERRICK: No.

PAUL: I don't know what to tell you, Derrick. Maybe you should show them to Alex.

DERRICK: You think he'd help?

PAUL: It can't hurt to ask. This is his area of expertise.

INT. UNDERGROUND RESEARCH LABORATORY/OBSERVATION AREA

Yelena Resnik sits behind a computer console in front of a plexiglass window. Drs. Chou and De Bilt are in an adjoining room on the other side of the window. Both of them wear environmental suits. De Bilt speaks to Chou through a radio transmitter/receiver.

DE BILT: Chou, let's use a rhesus.

INT. UNDERGROUND RESEARCH LABORATORY/ADJOINING ROOM

Chou walks over to a wall of caged animals. The cages themselves are behind a clear plexiglass wall and are accessible through airtight hinged doors. Chou opens one of the doors and removes a cage containing a rhesus monkey.

INT. UNDERGROUND RESEARCH LABORATORY/OBSERVATION AREA

Yelena watches as Chou takes the cage over to an examination table. Julie Parrish enters the observation area and walks over to Yelena.

JULIE: What's happening?

YELENA: We're going to test a mutant strain of the red dust bacteria.

DE BILT: (over the intercom) Okay, Yelena. Go ahead and release it. Keep your fingers crossed everyone.

Yelena presses a button on the computer console, and a red vapor is released into the adjoining room.

INT. UNDERGROUND RESEARCH LABORATORY/ADJOINING ROOM

Chou and De Bilt watch the monkey. Almost immediately, it becomes disoriented, goes into convulsions, and slumps onto the floor of the cage.

INT. UNDERGROUND RESEARCH LABORATORY/OBSERVATION AREA

Yelena and Julie stare at a close-circuit television monitor which shows a close-up of the monkey lying in a fetal position on the floor of its cage.

CHOU:(over the intercom) Did you see that, Yelena?

YELENA: (into the receiver) The poor thing is dead as a door nail. That was worse than the last culture.

DE BILT :(over the intercom) Chou, you better preserve the specimen for Dr. Freeling. Yelena, commence decontamination. I'm coming out.

Yelena activates several switches and a panel slides down over the observation window.

YELENA: This is getting us nowhere.

JULIE: So you've been trying to develop new strains of the red dust bacteria?

YELENA: Yes, but without much success. It's not easy trying to develop a bacteria that is deadly to the Visitors yet harmless to us, even if we are different species.

De Bilt comes into the observation area.

DE BILT: Good morning, Dr. Parrish. I'm glad you could make it.

JULIE: Sorry I'm late, doctor, but I had a family emergency last night.

DE BILT: What kind of family emergency?

JULIE: My brother was found stabbed in Central Park.

YELENA: It was on the news last night. I thought the man's name sounded familiar. Is he all right?

JULIE: I think so. The doctors said he should make a full recovery.

DE BILT: We're all very glad to hear that.

Dr. Chandler walks into the room.

CHANDLER: Hope I'm not interrupting anything. I just came by to see how the test went.

DE BILT: It didn't go well.

CHANDLER: I'm sorry to hear that.

Chandler pulls a piece of paper out of his pocket.

CHANDLER: Have any of you seen this?

De Bilt takes the paper.

DE BILT: What is it?

CHANDLER: It's a flyer. Apparently, they've been circulating all over the university this morning.

JULIE: I saw them on my way over here. Apparently, there's going to be some rally in Washington Square Park to protest the state of emergency.

CHANDLER: And the university administration doesn't like it. They're worried there might be a violent confrontation.

DE BILT: Well, rallies and protests are none of our concern. We have more important work to do right here. Where is Dr. Freeling?

YELENA: He's taking tissue samples.

De Bilt turns to Julie.

DE BILT: Julie, why don't you help Dr. Freeling.

JULIE: I'll be glad to.

YELENA: I'll go with her.

DE BILT: I need some time to figure out where we go from here.

De Bilt looks over at the television monitor showing the dead monkey.

INT. UNIVERSITY JOURNALISM SCHOOL/CLASSROOM

Paul Maitland sits on a desk in front of a large blackboard on which is written "Public Opinion Mid-term Exam." The room is full of students taking their exams. Paul looks at his watch.

PAUL: All right everyone. Time's up. Turn your exam papers over and pass them to the center isle.

Paul walks up the center aisle and collects the exam papers.

PAUL: The results will be posted outside my office on Friday. I'll have extended office hours in case any of you want to argue with me about your grades.

Paul collects the last of the papers, and the students file out. Lisa Kennedy and two other students stay behind. Paul walks back down the aisle toward them.

LISA: Dr. Maitland, could we talk to you for a minute.

PAUL: Of course, Lisa. What is it?

LISA: It's about the rally this afternoon.

PAUL: Oh, yes. I saw all the flyers. They're pretty hard to miss.

LISA: Some of us are going to join the march. We're also trying to mobilize the entire journalism school.

PAUL: I see.

LISA: I was hoping you could help us. Maybe talk to the other members of the faculty. We could really use your moral support.

PAUL: I'm not sure how much weight I pull with the rest of the faculty. I don't think many of them are keen on the idea of a protest march. I'm not even sure if it's a good idea myself.

LISA: But look at what's happening around us. An unelected military government is running our country, and no one is being allowed to criticize it or question its authority. How often have we been lectured that the freedom of speech and press are the foundation of a democratic society? If they're so important, aren't we obligated to stand up and defend them when they're threatened?

Paul smiles.

PAUL: Ms. Kennedy, it's students like you that make me proud to be a teacher. Since I can't disagree with anything you said, I'll see you at the march.

Lisa smiles back.

LISA: Great! We really appreciate you putting your neck out like this for us.

PAUL: It's the least I can do.

INT. RESEARCH LABORATORY/AUTOPSY ROOM

Wearing green surgical garb and plastic gloves, Richard Freeling is standing over a Visitor cadaver which lies on an steel table. The cadaver's chest cavity is open. A bright surgical lamp shines down overhead. The door opens and Julie and Yelena come in. Julie is dressed in surgical clothing as well.

JULIE: Morning, Richard. Could you use a hand?

RICHARD: I could actually.

Julie walks over to the other side of the table and looks down at the cadaver as Richard works inside the Visitor's chest cavity. Yelena looks on a short distance away.

JULIE: Where did you get this?

RICHARD: There were a lot of dead Visitors lying around after the red dust was released. It gave us a wonderful opportunity to study their physiology. (looks up at Julie) Ever seen the inside of one?

JULIE: Once. I performed the autopsy on the first Visitor exposed to the red dust.

RICHARD: (looks back down) Well, you're going to be seeing a lot more while you're here. They're not all that different from us internally with the possible exception of their green copper-based blood.

JULIE: Yelena told me you're taking tissue samples.

RICHARD: Yeah. I'm concentrating on the heart and lungs. Dr. De Bilt is convinced that developing a new air-born bacteria is the answer. (looking over at Yelena) So how did this morning's test go?

YELENA: Another failure. We're going around in circles.

Richard looks over at Julie.

RICHARD: You'll have to excuse her, Julie. It's her natural Russian pessimism.

YELENA: I'm telling you. There's only so much that we can do with animals and corpses. We need some live alien test subjects.

RICHARD: And how do you propose we get them? Ask for volunteers? Sneak aboard a mothership and kidnap a couple of them?

JULIE: And even if we managed to get one, would we ever be justified in performing harmful, or even deadly, lab experiments on an intelligent being against its will?

YELENA: But you just admitted testing the red dust on one of them.

JULIE: I never planned for that to happen. It could have been handled differently.

YELENA: Well, you have to excuse me, but I don't have much sympathy for any being, intelligent or otherwise, who thinks of me as a food source. As far as I'm concerned, anything is justified if it helps us get rid of the Visitors.

RICHARD: Come on, Yelena!

Richard takes the Visitor's heart out of the cavity and hands it to Yelena.

RICHARD: Have a heart!

Yelena rolls her eyes and shakes her head.

INT. MARIA'S CAMPUS APARTMENT/LIVING ROOM

Lisa walks in through the front door. Maria is sitting with Tony on the sofa staring at the television.

LISA: (to Tony) Has she moved from that sofa since I left this morning?

TONY: Nope. She's like a zombie or something.

LISA: (to Maria) I swear. You're going to grow roots if you sit there much longer.

MARIA: Not if your nagging drives me to slit my throat first.

LISA: Finally! A sarcastic response. I knew the old Maria was in there somewhere.

MARIA: Can't the two of you just leave me alone?

LISA: You need to stop brooding about Charles. There are more important things for you to worry about.

MARIA: Like what?

LISA: Like what kind of country this is becoming. There are soldiers on the streets, we can't leave our homes after curfew, and our democratically elected government has been replaced by some kind of military dictatorship.

MARIA: There's nothing you or I can do about that.

LISA: Yes, there is. There's going to be a march in Washington Square at noon to protest the state of emergency. I want you to come with me.

MARIA: A protest march?! Those went out with the 60's!

LISA: Come on. You need to venture out a little bit. There's a larger world out there.

MARIA: I don't know. The whole idea seems kind of stupid.

Lisa turns to Tony.

LISA: How about you?

TONY: I'll pass. I don't want to get in trouble.

LISA: Now that strikes me as being a little out of character.

Lisa stares in disgust at the two of them.

LISA: Well, I'm not taking no for an answer. You two couch potatoes are coming with me whether you want to go or not.

INT. UNDERGROUND RESEARCH LABORATORY/LOUNGE

Julie, Richard, and Yelena are sitting at a table drinking coffee.

YELENA: I really could go for a cigarette about now.

RICHARD: Don't even think about it. You'll end up setting off the environmental detectors, and De Bilt will go ballistic. You know how he gets.

YELENA: Yeah. (turn to Julie) He turns red as a beet and the veins start popping out of his neck.

RICHARD: He even starts shaking sometimes.

Julie laughs.

JULIE: Dr. De Bilt seems like a pretty intense person.

RICHARD: He's one of the most single-minded and compulsive people I've ever met. That's probably why he's such a great scientist.

The door opens and Chou walks into the lounge.

RICHARD: Hey, Chou, sit down and have some coffee with us.

CHOU: Thank you, but I'm going out for lunch today.

YELENA: Since when?

CHOU: Well, actually, I was thinking of going over to Washington Square and see the march.

JULIE: I was thinking the same thing. Mind if I join you?

CHOU: Not at all.

RICHARD: Hey, listen you two. Our boss isn't going to be pleased if he hears that you've been out in the streets protesting.

YELENA: Forget about Karl. He's too uptight. Go on. You have our permission.

JULIE: Don't worry. We'll be discreet.

INT. RED DRAGON RESTAURANT/ENTRANCE

Derrick Sullivan walks in though the front door of the Red Dragon Restaurant in Chinatown. The restaurant is full of lunch-time customers. Mr. Li, the owner, sees Derrick come in and walks over to him.

DERRICK: Hello Mr. Li. Remember me?

LI: Of course, I remember you, Mr. Derrick. I don't see you for a long time. You need to come by more.

DERRICK: I'm sorry about that. I don't get over this way very often. Is Alex here?

LI: He come a few minutes before you. Also bring a friend you never met before.

DERRICK: Really?

LI: I take you to them.

Derrick follows Mr. Li through a doorway covered by a beaded curtain.

INT. RED DRAGON RESTAURANT/PRIVATE DINING ROOM

Derrick and Mr. Li walk into a small dimly lit dining room. The room is empty with the exception of Alex Hale and Ham Tyler who sit at a table in the corner. Derrick walks over to them.

ALEX: Afternoon kid.

DERRICK: Hello Alex. Who's your friend?

HAM: That's not important.

Alex gives Ham a stare of disapproval.

ALEX: I don't think friend is the right word. This is Ham Tyler. We used to work together at the CIA. I brought him along because he might be helpful.

HAM: Let's see the pictures.

Derrick takes out the envelop, opens it, pulls out a stack of photographs, and hands them to Ham. Ham and Alex look through them.

ALEX: (to Ham) What do you think?

HAM: I'm not sure. We need to get in there and check it out.

ALEX: Are you serious?

HAM: Don't tell me you've lost your nerve. Come on. It'd be like old times.

DERRICK: I want to come too.

HAM: Now that's out of the question.

ALEX: I have to agree, kid. You'd be over your head on this one.

DERRICK: Give me a break. You wouldn't have known about any of this if it weren't for me.

HAM: This isn't a job for amateurs. Leave it to the professionals.

EXT. WASHINGTON SQUARE PARK - NOON

A sizable crowd of people, young and old, gathers near the Triumphal Arch in Washington Square Park. Julie and Chou look on at a distance.

JULIE: Looks like they're going to have quite a turn out.

CHOU: I hope things don't turn violent like Tiananmen Square.

JULIE: You were at Tiananmen Square?

CHOU: No. But several of my friends were. One of them was killed when the army was called in.

JULIE: I'm sorry to hear that.

CHOU: They wanted me to join them, but I refused because I was afraid of being blacklisted. After the crackdown, I felt like a coward.

JULIE: And you hope that by coming here you might be able to lay some of that guilt to rest.

CHOU: I don't know. Maybe.

Suddenly, Julie notices Paul Maitland walk by. He does not see her. Chou observes that Julie's attention has been diverted.

CHOU: Is something the matter, Julie?

JULIE: I think I just saw someone I knew from a long time ago. Stay here. I'll be right back.

Julie moves closer to the crowd. She sees Paul walk over to Lisa Kennedy who introduces Maria and Tony to Paul. Julie decides to keep her distance. As she stands there, a young man addresses the crowd in front of the Triumphal Arch. He is Scott Newman, a law school student and the march's organizer.

SCOTT: Good afternoon, everyone. I want to thank all of you for having the courage to come out here today. It's very comforting to see so many people who share the same concern about their country that I do. The decision to hold this rally in Washington Square Park was a very deliberate one. As many of you know, the arch behind me was built in 1892 to commemorate the 100th anniversary of George Washington's inauguration as President. I hate to think what he and the other founding fathers would say if they saw what was happening to the nation that they fought so hard to create. Instead of a government of the people, by the people, and for the people, we have a government that was elected by no one and accountable to no one.

This bring shouts of approval from the crowd.

SCOTT: It's time to speak openly and plainly. The so-called provisional government is nothing more than a thinly veiled military dictatorship.

The crowd cheers again. However, the cheering suddenly stops as a fleet of police cars and trucks converge on the square. Police officers in riot gear come out of the trucks and form a line. They are joined by additional officers on horseback. Scott Newman tries to settle the crowd.

SCOTT: Calm down everyone! There's no need to panic!

A police officer addresses the crowd through a megaphone.

OFFICER: This is an unlawful assembly. You are ordered to leave immediately.

SCOTT: Since when is it unlawful to gather peacefully in a public square! We're just exercising our basic constitutional rights!

OFFICER: This is your last warning! Clear the area or we will use force to disperse you!

SCOTT: We refuse to comply with your order! You have no right to give it!

The line of riot police begins to advance on the protesters. Suddenly, several people in the crowd start throwing objects at the police.

SCOTT: Stop! Don't do that! This is supposed to be a peaceful march!

The police respond by firing off tear gas canisters. The line of riot and mounted police charges the crowd. Most of the people run while a few others fight the police defiantly.

EXT. BUILDING AT STREET CORNER

Fighting off the effects of the tear gas, Julie gropes for cover around the corner of a building and bumps into Paul.

PAUL: Are you all right, ma'am?

He is shocked when he recognizes her.

PAUL: Julie?

JULIE: Hi Paul.

PAUL: If I didn't know better, I'd think this was some kind of tear gas induced hallucination.

JULIE: I'm quite real.

PAUL: How did you get here?

JULIE: I arrived a few days ago. I'm working over at the University Medical Center.

Several sirens are heard in the distance.

JULIE: I don't think we should stick around here. Besides, I need to get back to work. My boss will kill me if he finds out about this.

PAUL: Maybe we can get together later. Why don't you meet me at the journalism school when you get off work. We can do some catching up.

JULIE: I'd like that.

PAUL: All right. Then it's a date.

Paul gives Julie a quick kiss on the lips.

PAUL: I'll see you later, Julie.

JULIE: Bye, Paul.

Paul and Julie part ways.

INT. HARLEM PRECINCT STATION/FRONT DESK

The sergeant is sitting behind the desk listening to broadcast calls over the police radio. Chris Johnson and Vincent Marullo walk over to the sergeant.

CHRIS: What's happening, Sarge?

SERGEANT: Sounds like all hell is breaking loose over in the Village.

Chris shakes his head.

CHRIS: They're just a bunch of idealistic kids who are unhappy with what's going on. Who can blame them? There's no need to beat them over the head.

MARULLO: Yeah, but nobody bothers to listen to us. We're just expected to follow our marching orders.

SERGEANT: Captain, I almost forgot. This just came in for you.

The sergeant takes out an envelope and hands it to Chris.

CHRIS: It's from headquarters.

MARULLO: Looks pretty official. Open it up.

Chris opens the envelope and reads the letter inside.

CHRIS: I don't believe this.

MARULLO: What is it?

CHRIS: It says I've just been named the new chief of patrol. This must be some kind of mistake.

Chris hands the letter to Marullo who reads it.

MARULLO: That's what it says.

CHRIS: But I'm just a precinct commander. There are a lot of other people ahead of me for a promotion like this.

MARULLO: Come on, my friend. Don't look a gift horse in the mouth.

The sergeant puts his fingers in his mouth and lets out a loud whistle. Chris tries unsuccessfully to stop him.

SERGEANT: Hey, get over here all you guys...and ladies. I've got a very important announcement to make.

The large group of police officers assembles around the front desk.

SERGEANT: The captain just received some great news. He's been named the new chief of patrol. Congratulations, sir.

Everyone claps and cheers.

SERGEANT: Now that you've been put in charge of every uniformed officer in the city, I hope you'll remember us back here.

CHRIS: I don't think anyone could forget you, Sarge.

Everyone laughs. Marullo pats Chris on the back.

MARULLO: Congratulations, captain. Looks like you might get the chance to change things for the better.

INT. UNDERGROUND RESEARCH LAB/CONFERENCE ROOM

Pacing the floor, a very unhappy Dr. De Bilt lectures Chou who sits in a chair looking down at the floor. Yelena and Richard are also present and watch in silence.

DE BILT: Why?! Please tell me, Chou, why you of all people would do something so stupid and impetuous! I might expect something like this from Yelena.

YELENA: (sarcastically) Thank you, Karl.

De Bilt ignores her.

DE BILT: But I considered you someone I could consistently rely on. Always so dependable. A model of discretion. What drove you to do this? Did Dr. Parrish put ideas in your head?

CHOU: No. It was my idea.

DE BILT: Your idea?! I'm shocked. I really am.

YELENA: Give him a break, Karl. He's not a child. Sometimes I think you forget we're all adults here.

DE BILT: (snapping) Don't start, Yelena.

The door to the conference room opens and Julie Parrish walks in.

DE BILT: (pointedly) Dr. Parrish, we were beginning to think you had been arrested.

Julie walks over to a chair and sits down.

DE BILT: I think you owe me an explanation.

JULIE: I'm not sure I can give you one you'd be satisfied with.

DE BILT: I made it clear to you that you were not to involve yourself in that protest march. However, you chose to ignore my admonition and risked placing all of our work here in jeopardy. I will not permit that. I insist that each member of my staff makes this project their sole priority. If you can't agree to that, then I'll have no choice but to ask you to leave.

JULIE: I understand, doctor, and I apologize. It won't happen again.

DE BILT: It better not because I'm not a very forgiving man.

INT. MARIA'S CAMPUS APARTMENT/LIVING ROOM

The door opens and Lisa, Maria, and Tony enter the living room. All three look beaten and exhausted. Maria is particularly upset.

MARIA: Oh, god! I feel like I'm going to die! I can hardly see! I'll never get this tear gas off of me!

LISA: Calm down. It'll wash off.

MARIA: And look at my clothes! They're totally ruined! Why did I let you talk me into going to that march?! We had no business being there!

LISA: Damn it, Maria! Stop being such a prima donna! Can't you stop thinking about yourself for one minute?!

MARIA: It's hard to think about anything else when a bunch of gorillas are trying to beat your brains in!

LISA: Doesn't it bother you that they did that just because we were trying to exercise our right of free expression?!

MARIA: No. It bothers me because I need my head. It's a very important part of my body.

LISA: I give up!

MARIA: Good because I need to take a long shower, go to bed, and forget that any of this ever happened.

Maria leaves the room. Lisa turns to Tony.

LISA: I swear! Your sister can be a real jerk! There are times that I just want to strangle her!

TONY: Forget about her. She doesn't understand stuff like that, but I do. We should have come prepared for those pigs. If I had been armed, I could've inflicted some serious damage on them.

Lisa storms off in exasperation.

LISA: You're no better than Maria!

TONY: What'd I say?!

INT. CHINATOWN TENEMENT/VICE-PRESIDENT'S ROOM

The Vice-President watches a small black and white television. Footage from the march in Washington Square Park is shown.

REPORTER: (on television) This afternoon, anti-government protestors gathered in Washington Square Park in defiance of the ban against public demonstrations. When the police attempted to break up the unauthorized march, violence quickly ensued as angry demonstrators attacked law enforcement officers who responded by firing off volleys of tear gas. Order was quickly restored with no serious casualties reported. The mayor's press office issued a statement commending the police department's efforts and warning that further public disruptions would not be tolerated.

The door to the room opens, and Ham Tyler and Alex Hale enter.

VICE-PRESIDENT: Come in, Mr. Tyler. Have you been watching the news? The people are already starting to protest.

TYLER: I wouldn't get my hopes up. They're just a bunch of college students.

VICE-PRESIDENT: It has to begin somewhere. Some of the greatest political movements started on college campuses.

TYLER: With all due respect, sir, protests only work in a democratic society.

VICE-PRESIDENT: Well, I still believe this is a democratic society at heart. One of these days, it will wake up and reassert itself.

TYLER: I hope you're right.

VICE-PRESIDENT: So what did you want to talk to me about?

TYLER: We've received information that a large number of Visitors were spotted at an old red dust production facility on Staten Island. Apparently, they've put it back into operation.

VICE-PRESIDENT: Why on earth would they do that?

TYLER: We don't know. That's why we want your permission to go over there and check it out.

VICE-PRESIDENT: Of course, you have my permission. Any interest the Visitors have in the red dust must be considered a potential threat to national security. You have to find out what they're up to.

TYLER: We will.

INT. PAUL MAITLAND'S APARTMENT

Julie looks around the living room of Paul's old but cozy apartment.

JULIE: You have a very nice place here.

PAUL: Thank you. It's not bad for a bachelor living on a teacher's salary.

Paul comes out of the kitchen with two champagne glasses.

JULIE: And what do you have there?

PAUL: Two vodka martinis. Just like old times.

Paul hands one of the glasses to Julie.

JULIE: Remember the first time you made me one of these?

PAUL: How could I forget. I was working as a bartender down at that tavern on Bedford Street where all the literary types used to hang out.

Julie and Paul sit down on the sofa.

JULIE: That's right. I was really impressed that a student would be working in a place like that. I wanted to show you how sophisticated I was so I ordered a vodka martini.

PAUL: And it worked. I said to myself, now there's a girl I want to get to know.

JULIE: Little did you know that's the only mixed drink I could name. It was my dad's favorite.

PAUL: Well, that's one thing I can thank your father for.

There is a moment of awkward silent.

PAUL: How about a toast?

Julie raises her glass.

JULIE: To us.

Paul raises his.

PAUL: Together again.

They both take a drink.

JULIE: So you haven't found anyone special yet?

PAUL: No one as special as you.

JULIE: Come on now. Surely, you got over me after all this time.

PAUL: I tried, but there's always been a part of me waiting for you to return.

JULIE: Really?

PAUL: Why should that surprise you? I loved you, Julie. I was going to ask you to marry me.

JULIE: I loved you too, Paul.

PAUL: Then why did you go?

JULIE: Because things were moving too fast. I wasn't ready for marriage. And even if we had gone through with it, my father would have done everything in his power to stop us. You weren't part of his plans for me.

PAUL: We could have worked things out. You didn't need to run away.

JULIE: I wasn't running away. I just didn't want to be some kind of trophy in the tug of war match between you and my dad. I needed to take control of my own life. I hope you can understand that.

PAUL: I'm not bitter, Julie. Now that you're back, we can put the past behind us and make a fresh start. I just want you to be a part of my life again.

As the two gaze at each other, they move closer to each other and kiss. However, Julie suddenly breaks away.

JULIE: I'm sorry, Paul.

PAUL: What's the matter? Don't you feel the same way?

JULIE: I'm just not ready to start another relationship right now. Too much has happened to me.

PAUL: Another relationship? You met someone in L.A., didn't you?

JULIE: (angrily) Damn it, Paul, it's not what you're thinking! Why do you have to make this so difficult?!

Julie puts down her glass.

JULIE: This was a mistake. I better go.

Julie gets up, but Paul reflexively grabs her arm.

PAUL: No, wait!

Julie stops and stares defiantly at him. Paul releases her.

PAUL: I'm sorry, Julie. Please... I just want to know what's going on. After all this time, I think you owe me that much.

Paul seems so earnest that Julie relents.

JULIE: I suppose I do.

INT. CHRIS JOHNSON'S HOME/DINING ROOM

Chris Johnson is sitting at the dining room table with his wife, GAIL, and his two children, KATRINA and MARTIN. Katrina is seventeen, and Martin is twelve. Everyone is finishing up dinner. The phone rings, and Katrina jumps up.

KATRINA: I'll get it.

GAIL: Trina, if that's one of your friends calling, tell them you can't talk until you've finished your homework.

KATRINA: Mom, stop treating me like a child.

Katrina leaves the room.

GAIL: I going to treat you like a child as long as you live in this house. So get used to it. (to Chris) I swear, I don't know what that girl can talk about on the phone all night long.

MARTIN: Boy, boys, and boys. She's a real air head.

GAIL: Marty, don't you have homework of your own that you should be doing?

MARTIN: I'm almost done. I'll finish it later.

GAIL: You'll finish it right now. Then I want you to take a bath so you'll be all cleaned up when we go to your grandma's for dinner tomorrow.

Martin looks over at Chris.

CHRIS: You heard your mother. Go on.

MARTIN: Yes, sir.

Martin gets up and leaves. Gail looks over at Chris.

GAIL: You've been awfully quiet tonight. What's wrong?

CHRIS: Do you really think I should take this promotion?

GAIL: Of course, I do. Don't you want it?

CHRIS: I'm not so sure that it's a good idea.

GAIL: Why not?

CHRIS: Because I don't deserve it.

GAIL: What are you taking about? You're one of the finest officers on the force. People trust and respect you. You worked hard to get where you are. You earned it.

CHRIS: But they skipped over a lot of people in order to give me this promotion. It smacks of nepotism.

GAIL: Nepotism? Are you talking about Elaine?

CHRIS: That's right. I think she had her hand in this. If people think my sister-in-law managed to pull some strings to get me this promotion, my name will be mud. I won't have any credibility.

GAIL: Chris, you give Elaine too much credit. I don't think she could pull off something like that.

CHRIS: I wish I could believe that.

GAIL: Even if Elaine had something to do with it, you shouldn't throw away this opportunity. Think of what this could mean for the entire family. We could move the children into a much better environment.

CHRIS: You mean leave Harlem?

GAIL: Yes.

CHRIS: But this has been our families' home for generations. We just can't turn our back on it.

GAIL: What about our children? I don't know how many nights I've prayed that Trina doesn't get herself pregnant or that Marty doesn't fall in with the wrong crowd and end up like your sister's boy.

CHRIS: But I became a cop because I wanted to help rebuild this community. I can't do that sitting behind a desk at police headquarters.

GAIL: To the contrary, maybe you can do more over there since you'll have the authority to affect policy.

CHRIS: I don't know.

GAIL: I just want to make sure you've thought this through before you make any rash decisions. You have to put your children's best interests first.

EXT. RED DUST PRODUCTION COMPLEX/PERIMETER FENCE - NIGHT

Ham Tyler and Alex Hale come out of the bushes near the perimeter fence of the red dust production complex. Dressed all in black, they almost resemble Japanese ninjas. They make their way over to the fence and look through it.

HAM AND ALEX'S POV - GROUNDS OF RED DUST PRODUCTION COMPLEX

A number of Visitor tanker shuttles are inside the grounds of the red dust production facility. Visitor technicians in environmental suits board one of the tanker shuttles as human soldiers look on. Suddenly, the shuttle starts to hum and lifts off the ground.

EXT. SKY ABOVE RED DUST PRODUCTION COMPLEX

The tanker shuttle ascends into the sky, turns around, and heads toward the Mothership positioned over the Statue of Liberty.

EXT. RED DUST PRODUCTION COMPLEX/PERIMETER FENCE

Ham turns to Alex.

HAM: Looks like they're taking the red dust up to the Mothership. A lot of it.

ALEX: What could they want with so much red dust? It doesn't make any sense.

HAM: We might have to infiltrate the Mothership to find out.

ALEX: I was afraid you were going to say that.

HAM: Come on.

Ham pulls down the black cap on his head, revealing it to be a ski mask. Alex follows suit.

EXT. RED DUST PRODUCTION COMPLEX/LOADING AREA

Couched behind a large pipe, Alex and Ham look on as a Visitor technician pumps red dust through a large hose connected to a tanker shuttle. Two Visitor tanker pilots stand nearby. A human soldier walks over to them.

SOLDIER: How's it coming over here?

TECHNICIAN: (through a radio transmitter) We're almost finished.

SOLDIER: Don't want to rush you guys, but we have more tankers on the way. You're cleared for immediate take-off as soon as you're ready.

The soldier walks off. As Ham and Alex look on, a hand touches Alex on the shoulder from behind. With lightning reflexes, Alex spins around and puts the unidentified figure in a choke hold. It is Derrick Sullivan. Alex releases his grip.

ALEX: (whispering sternly) Damn it, kid! I was ready to snap your neck! What the hell are you doing here?!

DERRICK: (whispering) I followed you inside.

HAM: (whispering) Great.

DERRICK: (whispering) What's happening?

ALEX: (whispering) We're going to sneak onboard the Mothership.

DERRICK: (whispering) I want to come with you.

ALEX: (whispering) Forget it. Tyler, I'll go up by myself. Take this guy and get him out of here.

HAM: (whispering) No, Hale. This is my mission.

ALEX: (whispering) Don't argue with me. Infiltration is my specialty, and you know it.

HAM: (whispering) All right.

The three of them look over at the tanker shuttle as the technician disconnects the hose.

TECHNICIAN:(over radio transmitter) I'm finished. You can take over from here.

The technician drags the hose away and disappears. The pilots enter the shuttle's cockpit. The doors to the compartments on either side of the shuttle's tanks begin to close.

ALEX: (whispering) I'm off.

HAM: (whispering) Good luck.

Hale dashes for the rear compartment of the tanker shuttle and jumps through the hatch just as the doors close behind him. Ham and Derrick look on as the shuttle starts to hum and lifts into the air. Ham pats Derrick on the shoulder.

HAM: He's on his own now. Let's go.

The two sneak off.

EXT. NEW YORK MOTHERSHIP/LANDING BAY OPENING

The transport shuttle containing Alex Hale swings around and approaches the opening of one of the Mothership's landing bays. A thin blue energy field covers the opening, keeping the red dust bacteria from entering the hangar and incinerating any bacteria on the exterior surfaces of the shuttle. The shuttle passes through the field.

INT. TANKER SHUTTLE/REAR COMPARTMENT

Alex hides behind a large storage container inside the rear compartment of the tanker shuttle. A reverberating female voice makes an announcement over a speaker inside the shuttle compartment.

FEMALE VOICE: Attention tanker personnel. Standby for interior decontamination. Please follow standard safety protocols. Otherwise, exposure of the eyes to direct light may cause permanent ocular damage. Decontamination will commence in five seconds. Four... Three... Two... One...

Alex closes his eyes and covers them with his hands. The interior of the compartment is briefly filled with a blinding white light. The female voice comes back over the speaker.

FEMALE VOICE: Interior decontamination is complete. All tanker personnel may disembark.

Alex removes his hands and opens his eyes. He notices a smokey odor. He looks at the gloves on his hands and sees that they appear singed. He then notices the same thing on the rest of his clothing. The hatch of the rear compartment opens. Alex sneaks over to the hatch and peeks out.

INT. NEW YORK MOTHERSHIP/LANDING BAY

As he looks out the open hatch, Alex sees the two tanker pilots walk by. Once the immediate area is clear, Alex sneaks out of the shuttle and hides behind a large support column. The hanger is full of technicians and tanker shuttles. A reverberating female voice makes announcements.

FEMALE VOICE: Tanker unit 6 is cleared to depart from platform 5. Standby for the arrival of tanker units 11 and 35.

Alex sees two Visitor technicians in regular uniforms walk over to his tanker shuttle, dragging several long hoses behind them. They attach the hoses to the shuttle's tanks and a suction sound is heard.

FIRST TECHNICIAN: (to second technician) I hate this assignment. Being around the red dust makes me nervous.

SECOND TECHNICIAN: (to first technician) There's nothing to worry about. It's harmless now.

An officer walks over to the column. Alex is inches away from him on the other side. The officer sees the technicians talking and walks over them.

OFFICER: Listen, I don't want to hear the two of you talking to each other when there's work to be done. We're running on a very tight schedule. Now get back to work.

Alex moves away from the support column and seeks cover at a safer location behind several storage containers in the corner of the hangar. As he crouches down, he can feel air blowing from a metal grille covering a section of the wall behind him. He turns around, pulls on the grille, and it swings open, revealing an access ladder leading down a ventilator shaft. He goes inside and closes the grille behind him.

INT. NEW YORK MOTHERSHIP/VENTILATOR SHAFT

Alex climbs down the ladder and finds himself in a dark walkway. Light filters in through grilles set in the walls. He walks along while hunched down. He stops at a grill and looks through it.

ALEX'S POV - JUNIOR OFFICER'S QUARTERS

As seen through the grille: A young male Visitor officer stands over a wash basin looking into a mirror. One of his eyes is human, and the other is serpentine. He reaches down and takes his other human eye from a glass case that lies next to the sink and bends down. After a few seconds, he looks back in the mirror and has two blue human eyes. Suddenly, he turns around and walks straight for the grille.

INT. NEW YORK MOTHERSHIP/VENTILATOR SHAFT

Startled, Alex moves back.

ALEX'S POV - JUNIOR OFFICER'S QUARTERS

As seen through the grille: The young officer reaches down and picks up a cap on the bunk underneath the grille. He turns around and puts the cap on his head.

INT. NEW YORK MOTHERSHIP/VENTILATOR SHAFT

Relieved, Alex resumes his position and looks through the grille.

ALEX'S POV - JUNIOR OFFICER'S QUARTERS

The young officer walks over to a wall full of plexiglass compartments, each of which contains a rodent of one kind or another. The officer opens the door to one of the compartments and pulls out a hamster. The frightened little animal struggles vainly in the Visitor's hand. Suddenly, the door to the officer's quarters slides open and a young, pretty female officer will long blonde hair walks in.

MALE OFFICER: Don't you ever knock?

FEMALE OFFICER: Knock?

MALE OFFICER: Forget it. It's a human expression.

The female officer sees him holding the hamster.

FEMALE OFFICER: What are you doing? This is no time to eat. We've been ordered to report to Landing Bay 12. Diana's shuttle is scheduled to arrive at any minute.

MALE OFFICER: All right. I'm coming.

The male officer puts the hamster back in its compartment and closes the door. He and the female officer leave. The door closes behind them.

INT. NEW YORK MOTHERSHIP/VENTILATOR SHAFT

Once he is sure the quarters are empty, Alex pushes the grille open.

INT. NEW YORK MOTHERSHIP/JUNIOR OFFICER'S QUARTERS

Alex crawls out of the ventilator opening and finds himself inside the young officer's quarters. It is rather small, but the space is efficiently utilized. He scans the room until he spots a door to the left of the main door to the quarters. He walks over to this door and opens it, finding a closest with several uniforms hung neatly inside it. He takes one of the uniforms, and upon further inspection, also finds a pair of boots, a cap, and some dark glasses.

INT. NEW YORK MOTHERSHIP/CORRIDOR

The door to the young officer's quarters opens, and Alex comes out wearing a complete Visitor uniform. He walks down the corridor and passes several Visitors without arousing any suspicions. Just ahead of him an elevator door slides open, and a number of Visitors exit. He walks over, sees that the elevator is empty, and walks inside.

INT. NEW YORK MOTHERSHIP/ELEVATOR

Alex looks for the elevator controls, but does not see any. Suddenly, a voice calls out from outside the elevator.

FEMALE TECHNICIAN (off-screen): Computer, hold please.

A female technician runs into the elevator holding a large metal carrying case. She sees Alex and looks at him apologetically.

FEMALE TECHNICIAN: Sorry, sir.

Alex does his best to give her a stern look of disapproval. He then looks away dismissively.

FEMALE TECHNICIAN: Computer, hydroponics section. Level 75.

The elevator starts moving. Alex then realizes that the elevator is voice activated. After several seconds, the elevator stops and the female technician exits. The door closes. Alex is all alone.

ALEX: Computer, Landing Bay 12.

The elevator starts moving again.

INT. NEW YORK MOTHERSHIP/LANDING BAY 12

When Alex enters the hangar, it is full of tankers and technicians. In addition, a red carpet has been laid out at the center of the hangar with rows of shock troopers and officers assembled on both sides of it in tight formation. Alex sees the young male officer whose uniform he is wearing standing with the young female officer and a group of other junior officers. He walks over and tries to blend in. He also does his best to appear both unfriendly and uncommunicative. However, he has little to worry about because it is not a talkative crowd. A reverberating female voice then makes an announcement.

FEMALE VOICE: Attention all personnel. The supreme commander's shuttle will arrive in one minute. Assume your positions.

Everyone in the hangar stops what they are doing and stands at attention as JESSICA, a pleasantly attractive female Visitor who wears the uniform of a squadron commander (four diagonal stripes on the upper right breast), and two senior security officers enter the hangar and assume positions at the far end of the red carpet. The woman's voice makes another announcement.

FEMALE VOICE: Standby. The supreme commander's shuttle has been cleared to land on platform 1.

EXT. NEW YORK MOTHERSHIP

Diana's shuttle comes through the blue energy field covering the opening to the hangar bay.

INT. NEW YORK MOTHERSHIP/LANDING BAY 12

Diana's shuttle sits on the landing platform. After a few seconds, the doors to the hatch open and two guards in gold helmets exit and take positions at either side of the hatch. They snap at attention when DIANA steps out. As Alex looks on, Jessica walks up to Diana with the rest of her security staff following closely behind.

JESSICA: Welcome to New York, Diana. I am Jessica, squadron commander for North America.

DIANA: It is a pleasure to meet you, commander.

JESSICA: With your permission, I'd like to introduce two members of my senior command staff.

Jessica turns to ANGELA, a female security officer on her right.

JESSICA: This is Angela, my chief of security.

Angela nods to Diana. Jessica then turns to PHILLIP, a male security officer on her left.

JESSICA: And Phillip, Angela's deputy.

Phillip clicks his heals together and nods to Diana.

JESSICA: I must apologize for the cluttered condition of the reception area, but we've had to make maximum use of our hangar facilities in order to meet your ambitious timetable. Our crews have been working around the clock.

DIANA: I don't have to tell you how critical this assignment is commander. It is absolutely essential that everything proceed on schedule. Our new leader won't tolerate any kind of delay.

JESSICA: We won't disappoint you. We've already achieved maximum output, and our storage tanks are almost at capacity. Distribution to the rest of the fleet will commence very shortly and should be completed by early tomorrow morning.

DIANA: Excellent. What is the status of the President of the United States?

JESSICA: He arrived from Washington a few hours ago.

DIANA: See to it that he is extended every courtesy. We must convince him to support the new provisional government before the next meeting of the United Nations Security Council.

JESSICA: I understand.

DIANA: Have you received any more information about that aircraft that was shot down several days ago?

JESSICA: There was an unconfirmed report that the pilot might have ejected before the craft was destroyed, but a search failed to recover anything. It's now believed that there were no survivors.

DIANA: I see. Keep me informed if there are any further developments.

JESSICA: Of course. Shall we proceed with the inspection tour, Diana?

DIANA: I think we can dispense with that, commander. I would prefer to retire for the evening.

JESSICA: As you wish. Phillip will show you to your quarters.

Phillip invites Diana to come with him.

PHILLIP: Supreme Commander, if you would come with me.

Phillip and Diana proceed out of the hangar with Diana's two guards following behind them. Jessica turns to Angela.

JESSICA: You may dismiss the reception personnel.

As Jessica leaves, Angela turns to the assembled officers and shock troops.

ANGELA: Company dismissed.

Alex and the others disperse. A female voice makes announcements.

FEMALE VOICE: Attention all tanker units. The initial departure schedule is as follows: Montreal at 2200 hours; Chicago and Toronto at 2215 hours; Stockholm at 2230 hours; Berlin at 2245 hours; and Warsaw and Prague at 2300 hours. Further announcements will be made at a later time.

Alex scans the hangar. He sees a crew of technicians attaching a hose to the tank of a shuttle. One of the technicians becomes impatient.

FIRST TECHNICIAN: Nothing is coming out.

SECOND TECHNICIAN: What are you talking about? Have you checked the connection?

FIRST TECHNICIAN: What kind of question is that? I've been doing this for the past 24 hours. I think I should know what I'm doing by now.

SECOND TECHNICIAN: Calm down. We're all getting tired. I want to get off duty as much as you do. Let me look at it.

The second technician examines the connection. Suddenly, the hose comes loose and a blue stream starts shooting out, creating a cloud that fills the landing bay. A blue substance rains down on the floor on the hangar. Alex bends down and wipes his hand on the floor. He looks at the palm of his hand and sees that it is covered with a blue powder. He backs away when he sees an angry Visitor officer storming into the area.

OFFICER: What is going on over here?!

SECOND TECHNICIAN: We're having a problem with the connection, sir.

OFFICER: Well, get it fixed or you're all on report! And I want this mess cleaned up when I get back.

SECOND TECHNICIAN: Yes, sir.

The officer sees Alex walking away. He calls out to him.

OFFICER: Ensign!

Alex stops and turns around. The officer approaches him.

OFFICER: If this weren't enough, I've received reports of problems in Landing Bay 5. Apparently, they're not bringing the red dust shipments in fast enough. We can't meet the production schedule if they fall behind. So I want you to go over there and motivate them to work harder.

Alex snaps his boots together and nods his head.

OFFICER: Carry on.

The officer walks away. Alex turns around and leaves the hanger.

INT. NEW YORK MOTHERSHIP/LANDING BAY 5

Alex follows two pilots wearing environmental suits into Hangar Bay 5. A female voice makes more announcements.

FEMALE VOICE: Tanker unit 24 is cleared to depart from platform 12. Standby for the arrival of tanker units 13, 20, and 32.

Several yards away, a group of technicians is removing a hose from unit 24's tanker shuttle. The two pilots approach, and one of the technicians walks over to them.

TECHNICIAN: It's all yours.

The pilots enter the shuttle's cockpit. The technicians pass Alex who walks toward the shuttle. He sneaks inside the shuttle's rear compartment as the doors to the hatch close. The shuttle lifts off.

INT. CHINATOWN TENEMENT/VICE-PRESIDENT'S ROOM

Derrick sits in a chair and nods off. Ham stands near the window and peeks out through the blinds. The door to the bathroom opens, and the Vice-President walks out.

VICE-PRESIDENT: Any sign of him yet?

Ham closes the blinds and walks away from the window.

HAM: No. He should have been back an hour ago.

VICE-PRESIDENT: What happens if he's dead? (pauses) Or captured?

HAM: Then we'll have to find a new place to hide, but I say we give him a little more time. Hale's real good. If anyone can pull this off, he can.

There is a knock at the door. Ham pulls out his gun. Derrick wakes up.

DERRICK: What's going on?

Ham looks at Derrick and puts his index finger to his lips. He then moves over to the door.

HAM: Who is it?

ALEX'S VOICE: (from behind door) It's me. Alex.

Ham opens the door slowly with his gun in his hand. Alex stands on the other side wearing a Visitor uniform.

HAM: Hold out you hand.

ALEX: Why? It's me, you fool.

HAM: Do it.

Alex holds out his left hand. Ham feels it.

HAM: Feels real enough.

ALEX: Gee, Tyler, I didn't know you felt that way. I've never seen this side of you.

HAM: Get in here wise guy.

Alex walks in, and Ham closes the door.

DERRICK: Neat uniform, Alex.

ALEX: Thanks kid.

VICE-PRESIDENT: Welcome back, Mr. Hale. So what did you find out?

ALEX: I was able to tour several areas of the Mothership. They're bringing in large amounts of red dust. I think they're using it to produce some kind of substance.

HAM: What kind of substance?

ALEX: I don't know exactly, but I was able to bring some of it back with me.

Alex holds out the palm of his right hand. Ham, Derrick, and the Vice-President look at the blue powder covering it.

HAM: Let's get something to put it in.

Derrick looks around, picks up an envelope, and hands it to Ham. Ham takes a pen out of his pocket, opens the envelope, and uses the pen to scrape the blue powder off of Alex's hand and into the envelope.

HAM: We need to have this tested.

ALEX: Who can we trust?

DERRICK: Maybe Professor Maitland can get someone over at the University to look at it.

ALEX: That's an idea.

HAM: All right. Do it first thing tomorrow morning.

ALEX: Listen, this wasn't all I found while I was up there. I saw Diana.

HAM: (coldly) Diana?

ALEX: Yeah. She's in charge of everything. She was talking to someone about the President. Apparently, he's on the Mothership.

VICE-PRESIDENT: What?!

ALEX: The Visitors have the President on the Mothership. Diana said she wanted to talk him about supporting the provisional government before the next meeting of the U.N. Security Council.

VICE-PRESIDENT: (seething with anger) That son of a bitch! It's bad enough that he negotiated that bogus treaty! Now, he's seeking protection from the enemy! He's a traitor to the entire human race!

INT. UNIVERSITY JOURNALISM SCHOOL/PAUL'S OFFICE

Paul is in his office when ROBERT ASH, the dean of the journalism school, walks in the door.

ASH: Paul, do you have a minute?

PAUL: Of course, Bob. Come in.

Ash comes in and closes the door.

ASH: We have to talk.

PAUL: Have a seat.

Ash walks over to the chair in front of Paul's desk and sits down.

ASH: I just came back from a meeting with all of the administration big wigs. That protest rally yesterday has them scared to death. They're worried the university might have to shut down unless things are brought under control.

PAUL: Close down the university because of a simple march?! What's going on?! I thought this was supposed to be a free country.

ASH: We're living in dangerous and unstable times, Paul. The city is putting a lot of pressure on the university administration which, in turn, is putting a lot of pressure on me. Quite a few of those protesters came from the journalism school, and I understand you were involved in the march as well.

PAUL: Even if I was, I don't have to explain myself to you.

ASH: Listen, I want to be on your side. You're a fine teacher with a promising career. However, you risk throwing all of that away if you continue these activities. For your sake, I'm asking you not to go any further with this.

PAUL: Thanks for the warning, Bob. I'll keep what you said in mind.

ASH: You do that.

There is a knock on the door.

PAUL: Come in.

The door opens, and Derrick Sullivan pokes his head in.

DERRICK: Oh, hi dean. Am I interrupting something? I can come back.

Ash gets up.

ASH: No, Mr. Sullivan, Dr. Maitland and I are finished. So what brings you back here?

DERRICK: I like to drop by whenever I can and talk to my old mentor.

ASH:(to Paul) You're a little young to be an old mentor.

PAUL: It's all relative.

ASH: I'll see you later.

PAUL: Bye, Bob.

Ash leaves, and Derrick closes the door.

PAUL: I'm seeing a lot of you lately. What's going on now?

DERRICK: Alex was on board the Mothership.

PAUL: He what?

DERRICK: Alex managed to sneak on the Mothership and find out what the Visitors are doing with the red dust. They're using it to manufacture some kind of blue powder. We don't know what it is, but Alex managed to get a sample.

PAUL: That's very interesting, but why are you telling me?

DERRICK: Because we need to get it tested. Do you know anybody at the university who could help us?

Paul is silent for a moment.

PAUL: Well, actually I do know someone. She's a biochemist.

DERRICK: Can we trust her?

PAUL: I think so. She was with the resistance.

DERRICK: Great. Bring her to the Red Dragon for lunch. Alex and a friend of his will want to meet her before they give her the sample.

PAUL: All right. I'll talk to her. Hopefully, I can convince her to come.

INT. RED DRAGON RESTAURANT/PRIVATE DINING ROOM

Alex and Derrick sit at a table in the corner. Julie and Paul come in and walk over to them.

ALEX: Hey, Paul. Glad you could make it.

PAUL: Everyone, I'd like you to meet Dr. Juliet Parrish.

DERRICK: Wow. The developer of the red dust. You really outdid yourself, professor.

PAUL: Julie, this is Derrick Sullivan, a former student of mine.

JULIE: Hello, Derrick.

DERRICK: It's an honor to meet you, Dr. Parrish.

Paul then turns to Alex.

PAUL: And this is Alex Hale, a private detective here in town. The two of us first met back in the days of the New York resistance.

JULIE:(to Paul) You never told me you were in the resistance.

PAUL: Well, I'm not sure you could say I was in the resistance. Unlike L.A., the resistance movement in New York was only loosely organized, and after the red dust was released, it sort of evaporated.

ALEX: Yep. Everyone became complacent. (to Julie and Paul) Have a seat you two.

Julie and Alex sit down.

JULIE: So, Mr. Hale, Paul tells me you brought back an unusual substance from the Mothership.

ALEX: That's right. It's some kind of blue powder. The Visitors appear to be using the red dust to produce it.

JULIE: That's very interesting. Did you bring it with you?

ALEX: Actually, someone else has it. He's supposed to bring it over here.

Alex looks at his watch.

ALEX: Where is he?

DERRICK: Here he comes.

Ham walks into the room with the Vice-President who wears a hat to hide his features. The two walk over to the table. Julie recognizes Ham immediately.

JULIE: Ham Tyler?

HAM: Julie.

ALEX: You two know each other?

HAM: Yeah. We worked together in the resistance when I was in L.A.

ALEX: You really get around, don't you?

HAM: I go where I'm needed. (to Julie) So why are you in New York? And what happened to gooder and the others?

JULIE: There's no resistance left in Los Angeles. I barely managed to escape. Why are you here?

The Vice-President takes off his hat.

VICE-PRESIDENT: He's protecting me.

Paul and Julie are surprised to see the Vice-President.

JULIE: The Vice-president!

VICE-PRESIDENT: Hello, Dr. Parrish. I'm glad you're on our team.

ALEX: Isn't it a little dangerous for him to be walking around in public?

HAM: I tried to stop him, but he insisted on coming.

VICE-PRESIDENT: I'm tired of staying in that dingy little room. I was beginning to feel like a prisoner.

ALEX: Did you bring the sample for Dr. Parrish?

HAM: Of course.

Ham pulls the envelope out of his pocket and hands it to Julie. Julie opens it and looks inside.

ALEX: What do you make of it?

JULIE: I don't know. I've never seen anything like it. I'll have to take it over to the lab and run some tests on it.

HAM: I'm coming with you.

JULIE: I don't know if they'll allow it. Access is severely restricted.

VICE-PRESIDENT: I must insist that he accompany you, Dr. Parrish.

JULIE: All right. I can't say no to the Vice-President of the United States.

INT. UNDERGROUND RESEARCH LABORATORY/CORRIDOR

The outer door to the lab slides open and Julie and Ham walk into the corridor. Dr. De Bilt sees them as he is walking through.

DE BILT: Dr. Parrish, who is that man?! How did he get in here?!

JULIE: I can explain, doctor.

DE BILT: You'd better! The presence of unauthorized persons in this facility is a blatant violation of the security protocols!

HAM: (to De Bilt) Why don't you give the lady a chance to explain?

DE BILT: And who are you to be telling me what to do?

Yelena comes down the hall in her wheelchair.

YELENA: What's going on over there?

HAM: Listen, I'm here on the order of the Vice-President of the United States.

DE BILT: If this is some kind of joke, I'm not amused!

JULIE: He's absolutely serious. I met the Vice-President in person.

DE BILT: I really find that hard to believe.

Yelena comes over to them.

JULIE: Look, he has a sample of some unknown substance that the Visitors are producing using the red dust. We need to test it to find out what it is. (to Ham) Show it to him.

Ham hands the envelope to De Bilt who opens it and looks inside.

DE BILT : It's some kind of fine blue powder.

YELENA: Let me see it.

Yelena looks at it and then moves toward the door to the laboratory.

YELENA: Let's take this into the lab and look at it under a microscope.

INT. UNDERGROUND RESEARCH LABORATORY/MICROSCOPY SECTION

Yelena places a slide under a light microscope and looks into the binocular eyepiece. Dr. De Bilt, Julie, Ham, and Chou are grouped around her.

DE BILT: Well, what do you see?

YELENA'S POV - BLUE PARTICLES

Through microscope: A large number of very small bluish particles.

BACK TO SCENE

Yelena looks into the microscope.

YELENA: It's hard to say. This substance is made up of highly concentrated microscopic particles. None of them is larger than say 3000 nanometers. They all appear pretty inert.

Yelena looks up. De Bilt walks over and looks into the microscope.

DE BILT: We're going to need the electron microscope if we want a closer look. Chou would you set it up, please?

CHOU: Right away.

Chou leaves.

INT. UNDERGROUND RESEARCH LABORATORY/MICROSCOPY SECTION - LATER

Everyone is sitting in front a closed-circuit television monitor which relays an image from a scanning electron microscope.

INSERT - MONITOR SCREEN

which shows several unusual-looking viruses that resemble little NASA moonlanders. Each has a polyhedral head and a cylindrical tail with leg-like tail fibers attached to it.

BACK TO SCENE

YELENA: Incredible. (to Chou) This came from that sample?

CHOU: Yes. I broke up one of the particles. Those are some of the pieces.

HAM: What are they?

DE BILT: It looks like a virus of some kind.

JULIE: If that's true, each of those particles must contain thousands of them.

DE BILT: I'm going to need a sample of the red dust.

CHOU: I'll get it.

JULIE: What are you going to do?

DE BILT: Combine the two samples and see what happens.

INT. UNDERGROUND RESEARCH LABORATORY/MICROSCOPY SECTION - LATER

Everyone is still sitting in front of the television monitor which relays another image from the scanning electron microscope.

INSERT - MONITOR SCREEN

which shows the moonlander viruses attaching themselves to a red dust bacteria cell and invading it.

BACK TO SCENE

DE BILT: Just as I thought. They're attaching themselves to the red dust bacteria.

JULIE: Incredible. It's a phage of some kind.

HAM: A what?

JULIE: A bacteriophage. It's a type of virus that infects bacteria.

HAM: I didn't know germs could get sick.

JULIE: Well, they can. Bacteria are living organisms just like you and me only they're much more primitive. Apparently, this virus has been engineered to attack the red dust bacteria.

DE BILT: And it's very aggressive. It's already reproducing.

INSERT - MONITOR SCREEN

which shows new phage particles being produced inside the red dust bacterium. They multiply so quickly that the cell ruptures, releasing the new particles.

BACK TO SCENE

HAM: What's happening?

JULIE: A phage virus is inactive until it comes into contact with a host cell which in this case is the red dust bacterium. The virus uses the host cell to produce more virus particles which infect and destroy other cells.

HAM: So that's why the lizards are shipping all that red dust up to the Mothership. They're using it to produce this virus.

JULIE: Exactly.

The significance of what Ham has just said dawns on him.

HAM: And what would happen if the virus was released into the atmosphere?

JULIE: It would spread until all the red dust bacteria in the atmosphere were completely eliminated.

INT. CORRINE JOHNSON'S HOME/DINING ROOM

The entire Johnson family sits around the dining room table. Corrine sits at the head of the table. Along the side of the table to her left sit Cynthia, Duane, Martin, and Katrina. Along the other side of the table to Corrine's right sit Charles, Elaine, Chris, and Gail. Corrine bows her head and the others follow.

CORRINE: Bless us O' Lord and these thy gifts which we are about to receive through the bounty of Christ, our Lord. Amen.

THE OTHERS: Amen.

CORRINE: And let us also pray tonight for Amanda Parrish's son, Matt, who was stabbed in Central Park. Lord, watch over him and heal him in body and spirit. Amen.

THE OTHERS: Amen.

Everyone begins to eat. Corrine turns to Cynthia.

CORRINE: Have you heard any more news about Matt?

CYNTHIA: Mrs. Parrish told me he's going to be released from the hospital in a few days. The doctors think he'll make a full recovery.

CORRINE: That's good news. Did the police find out who did it?

CYNTHIA: No. Matt wasn't able to give them a description. Apparently, he couldn't remember anything because he had been drinking.

CORRINE: I'm sorry to hear that.

DUANE: If you ask me, he had it coming. A white guy should know better than to wander around northern Central Park at night. That's the Barrio Brothers' territory. They don't take kindly to trespassers.

CORRINE: And who made them the owners?

DUANE: No one. They just staked a claim and enforced it. It's the law of the streets.

CORRINE: I think it stinks.

DUANE: Hey, I didn't make the rules. I just follow them.

CORRINE: Why don't you show some courage and fight to change them?

DUANE: Because you don't break the rules if you want to stay alive. It never pays to be a hero.

CYNTHIA: Couldn't we talk about something else?

The table is silent for a moment. Gail looks over at Chris.

GAIL: Honey, maybe now is the time to tell everyone the good news.

CORRINE: What is it, Christopher?

CHRIS: I've been named the new Chief of Patrol. I'm going to be in charge of all uniformed officers in the department.

ELAINE: Congratulations, Chris. I heard about it yesterday. This will a great opportunity for you and the rest of your family to finally get out of here.

CORRINE: And what do you mean by that, Elaine?

ELAINE: I mean that they can move to a better neighborhood. You don't expect them to stay here, do you?

CORRINE: But this is their home. They've lived their entire lives here. (to Chris and Gail) The two of you aren't going to leave, are you?

GAIL: Well, we have discussed it as a possibility.

KATRINA: But I don't want to move. I'm going to graduate next year, and all my friends are here.

MARTIN: I don't want to move, either.

CHRIS: Calm down. Your mother and I haven't made any decisions yet.

CORRINE: Well, I don't think it's a good idea either. You can't turn your back on your roots.

ELAINE: Corrine, there's nothing for them here.

CHARLES: Elaine, please don't start.

CORRINE: Listen, Elaine, I grew up during the Harlem Renaissance. I know how things can be when people care.

ELAINE: That was over 60 years ago. You're living in the past, Corrine. There's a better world out there that has left this place behind.

CORRINE: From what I've seen on the news lately, that other world isn't all it's cracked up to be.

CYNTHIA: Can't we ever sit down as a family without getting into an argument?

Suddenly, the door bell rings. Cynthia gets up.

CYNTHIA: I'll get it.

INT. CORRINE JOHNSON'S HOUSE/FRONT DOOR

Cynthia answers the front door. Shirley King stands at the doorstep with Jimmy in her arms.

CYNTHIA: Hello, Shirley. Is something wrong?

SHIRLEY: You got to come outside.

CYNTHIA: What is it?

SHIRLEY: I can't explain. You just have to see it.

EXT. CORRINE JOHNSON'S HOUSE

Cynthia follows Shirley out into the front yard. Shirley turns and points up into the sky. Cynthia looks to where she is pointing. Neighbors stand in their yards, looking in the same direction.

EXT. NEW YORK MOTHERSHIP

The New York Mothership hovers in the distance surrounded by an ominous blue cloud which spreads outward.

INT. MARIA'S CAMPUS APARTMENT

Maria walks over to the front door which is open. She calls out to Lisa and Tony who are outside looking at the Mothership.

MARIA: Hey, you guys, get in here. They're talking about it on T.V.

Lisa and Tony comes inside. All three of them sit in front of the television.

TONY: Turn it up.

Maria turns up the sound.

Picture of television: The New York Mothership hovers over the Statue of Liberty which is shrouded in a blue haze.

REPORTER: (voice over on television) This is a live picture from New York City where about five minutes ago we received the first report of a blue cloud forming around the New York Mothership. Similar reports regarding other Motherships have come in from many cities around the world. At last count, these included Stockholm, Warsaw, Prague, and Seoul. However, our bureaus in Los Angeles, Washington, and London inform us that everything there remains quiet. As best we can tell, these clouds are being created by some unknown substance which is being discharged from the Motherships themselves.

Maria points out the living room window.

MARIA: Look!

A bluish fog descends outside the apartment. Lisa goes over the window.

LISA: What are they trying to do? Poison us?

ANCHORMAN:(on television) We're going to break away from our New York coverage because we've just been told that Justin, the Visitor ambassador, is going to make a statement which we will bring to you live.

The Visitor symbol appears on the television. On the television: Justin stands behind a podium in front of a Visitor flag.

JUSTIN: (on television) Greetings to my fellow citizens of Earth. I come before you today to announce some very good news. Many of you have already witnessed the blue clouds forming around a number of our Motherships. They are releasing a viral agent which we like to call the blue dust. I assure you that there is no need to be alarmed. Our scientists developed this blue dust to target and eliminate the red dust bacteria. Otherwise, it is quite harmless. Very soon the scourge of the red dust will be removed from the face of our planet forever. Once this last vestige of the hostilities between us is only a memory, the process of reconciliation and peaceful integration can be fully realized. This is truly a day to celebrate.

FADE OUT.

TO BE CONTINUED.