The Clueless Society (script)

THE CLUELESS SOCIETY

ORIGINAL SCREENPLAY BY MARY F. CARRUTHERS (pen name)

CONTACT:  maryfaderan@runbox.com

September 28, 2018

Fade in.

Opening image: an airborne American Airlines plane descending for landing.

INT. LAX airport. AMERICAN AIRLINES GATE-DAY.

A tall distinguished man PATRICK WOLSEY in his late 60's is walking out of the gate, talking on his cell phone. Wolsey is the Director of the Research Institute at Meridan University, traveling to LA to attend a meeting of scientists.  

Wolsey

(On his cell.)

There's a five o'clock meeting I need to attend, yes.  I'll get there as soon as I get a cab.  Ok?

(He pockets his cell. Hurries to the entrance and then walks quickly to the line of cabs waiting to pick up passengers. Two men in black track suits sidle up to Wolsey and grab him by the arms.)

Wolsey (CONT'D)

Hey, what the hell?  Who are you?

(Wolsey struggles with them ineffectually. The two men drag him away and stuff him into the back of a waiting car.  The car wheels off to the street with a squeal of tires and speeds away.)

CUT TO:

EXT. MASSACHUSETS INSTITUTE OF TECHNOLOGY GROUNDS-DAY.

A man, DR. JAMES HOLT, in his 60's, is walking slowly along the grounds.  He is clad in his overcoat and derby hat.  This is a daily thing with Dr. Holt, professor of cell biology, MIT, where he walks after taking lunch.  Suddenly, a woman in a dark jogging suit bumps into him and knocks him off his feet.

Holt

Watch it, young woman!

She grab's Holt's hand, lifts him up bodily without much effort.  He struggles.  She carries him to a waiting car, shoves him inside and shuts the door.  She gets into the front passenger car.  The car speeds off.

CUT TO:

EXT. MERIDAN COLLEGE GROUNDS-DAY.

POLLY DELANO, scientist, is jogging at her lunch hour.  She's in peak form and runs fast.  Behind her a figure clad in black follows her.  Polly senses the figure following her so she cuts into a main street, running faster.  The pursuer tries to sprint closer but Polly ducks into a corner deli.

CUT TO:

INT. DELI LUNCHROOM – A MOMENT LATER.

Polly runs inside. Polly checks the surroundings, walks quickly through the deli and takes the back exit.

EXT. SECONDARY STREET. MERIDAN – TWO MINUTES LATER.

Polly runs out onto the street.  A bus approaches and comes to a full stop.  Polly runs up to the bus and gets in.

CUT TO:

EXT. GREAT MOUNTAIN, THE SEVENTH SUMMIT. ELOHIM VILLAGE-DAY.

It is snowing in Elohim Village. A man CRUZ, walks into the village.

He is approached by an older man, CEPHAS, wearing a Panama hat and gardening clothes.

CEPHAS

Good day. 

Cruz

I'm here to see Michael.

CEPHAS

Hello Cruz, nice of you to come.  You will find Michael waiting for you inside.

Cephas waves him towards Michael's hut.

CUT TO:

INT. MICHAEL’S HUT-A FEW MOMENTS LATER.

MICHAEL stands at the center of the room. He turns to Cruz, who enters the room. 

Michael

Good!  You're here at last.  How was it back on earth?

Cruz

A filthy place but that's just my opinion.

MICHAEL

I'm your contact up here but I'll be someone who'll be your Elohim on your assignment.  Let's go take a look at the problem waiting for us, shall we?

He leads Cruz to the interior of the room.

Michael (CONT'D)

We have a situation below. Prominent scientists are disappearing suddenly, and they are not heard from again.  We think that a wizard named Khan is kidnapping scientists working on a grant to remotely kill and destroy innocent men and women by intrathecal injection of ketamine. The faces you'll see on the screen are the scientist and doctors that have been recently kidnapped.

Michael walks to the desk, Cruz follows.  Michael pulls out a sheaf of pictures.  He takes the top picture and hands it to Cruz.

MICHAEL (CONT'D)

This is Dr. Polly Delano.  She was the last victim they wanted to capture but she evaded them.  The other pictures are those who have been kidnapped.

He hands the second and third pictures to Cruz.  Cruz takes them and looks at the faces with some intent.

Cruz

Where is Khan taking them to?

MICHAEL

We think Khan has a secret place in Boston close to the university.

Michael sits on the desk and looks at Cruz with a grim face.  Cruz hands the pictures back to him.

CRUZ

Why is Khan doing this?  What is his motive? 

Michael takes another picture and hands it to Cruz.  It is KHAN's photograph.  Cruz looks at Khan's picture with serious intent.  Cruz grimaces.

                                                      CRUZ (CONT’D)

This guy gives me a bad feeling.

Michael

Khan is a sworn enemy of mine.  We battled in the past and I thought I took care of him, but that didn't happen. He has different incarnations.  This time, he's called Khan. Now he thinks he has something else that can turn the tide in his favor.  We think that if this project of his is successful in a few cases to start with, he can make this global, and the implications are alarming.  Imagine the President and the Prime Ministers of the EU and UK as targets.

Michael nods at Polly's picture in his hand.

Michael (CONT'D)

Polly is one of two in line to succeed Patrick Wolsey, the director of the research institute at Meridan University.  The other one in line is one of Khan's minions, Collin Guest.

(He takes out another picture.)

This is Collin Guest's picture.

Michael stands up and heads to the window.  He scans the mountain pass outside.  There are a few stragglers passing by.

Cruz

What do you want me to do?

Michael looks back at Cruz.

Michael

That's where you come in, Cruz. I want to know where Khan has them.  Polly is going to be your way to find them.  Make her your ally. She'll be your bait.  She is unaware of what is coming her way. Are you all in?

Cruz

(Hesitates and then makes a decision.)

I'll get Khan and protect Polly.

Michael

I'll be in constant touch with you. There will be a gathering of scientific experts in pharmaceuticals in Boston sometime in the next few days.  I want you to go there with Polly.  Then, you and I will find Khan and his assistants and destroy them and their operations.

They walk to the door.

CRUZ

I'll contact you or you'll contact me?

MICHAEL

I'll be present to you in the usual manner.

CRUZ

Ok, that's fine.

Michael watches as Cruz gets to the bottom of the pass.

  

CUT TO:

INT. COLLIN GUEST’S LIVING ROOM-EVENING.

COLLIN is seated with JUSTICE SMITH in the sofa.  They are locked in a passionate embrace.  When they move apart Justice sees Khan standing beside the sofa.

Collin

Damn!  You could have knocked.

KHAN

You are enjoying the night I see.  I have no time to waste.

He glances at his wrist watch.

JUSTICE

Your lordship!  We weren't expecting you.

KHAN

Justice, visits like mine are almost always unexpected.

COLLIN

To what do we owe your presence?

KHAN

Oh, something that might be good news for you, Collin.  Your superior, Patrick Wolsey, has been taken out of the picture. 

COLLIN

What about Polly Delano?  Don't forget her.

KHAN

(Patiently.)

I have not forgotten Dr. Delano. She is our next target.

COLLIN

What do you want from us?

KHAN

You're heading to the Society's meeting with Polly Delano, I take it?

COLLIN

Well, of course!  I'm presenting my paper there.  The Society has already given me the Outstanding Research Award for this meeting.  I'll be the toast of the conference!

JUSTICE

(Cheerleader-like.)

Collin!  So proud of you.

KHAN

Justice, you need to fine tune your talent at getting into another person's consciousness and make them do what you want them to do.

JUSTICE

Yes, I've been doing this with a few receptive people who do not know that I'm even present in their minds.  I've got them to do simple tasks like shop on line and I was able to download their credit card information that way.

KHAN

Excellent!

JUSTICE

Is there someone you want me to concentrate on?

KHAN

Yes, I want to see you try this with Polly Delano.  She's a strong person and it will be a challenge for you.

JUSTICE

(A smile spreads over Justice's face.)

I'd be honored to try making Polly bend to my will.

KHAN

In fact, if you get her to do what you want her to do, make her kill herself.

COLLIN

(Collin looks at Khan with a look of amazement.)

I had no idea that it could be done that way.

KHAN

(Reptilian smile.)

Oh yes.

JUSTICE

I'll do my best.

FADE OUT.

FADE IN.

INT. RESEARCH INSTITUTE-DAY

Collin and Polly come out together from the boardroom. They are locked in a tense discussion.  

COLLIN

(Trying to keep up with Polly who is walking fast.)

I just want it again on record, Polly.  I'm not happy Wolsey's leaving but I assure you that in my new position as Head of the Institute, you will have my every support.

POLLY

(Pauses to speak.  Even voice.)

Collin, the board have made their decision.  They've chosen you. After all the lies you've told, I won't wish you success!

COLLIN

We haven't always seen eye to eye, Polly. 

But I have every confidence that your research will get my full consideration under my directorship.

POLLY

(Laughs mirthlessly.)

I'm sure that my work will be as good as it was under Patrick. Let me say this, Collin.  I don't believe for a moment that my research has been secure since you arrived at the Institute. Now, if you'll excuse me, I have things to do.

(She brushes past him as Justice walks by.)

JUSTICE

She's out and you're in?

COLLIN

Yes.

JUSTICE

Well, we have our way in the end.

COLLIN

(Staring at Polly's direction.)

She has to die.  I won't have it another way.

JUSTICE

Don't worry. It is going to happen.

COLLIN

Polly Delano is my enemy.

Cruz (undercover as Tom McDougall, scientist) walks into their path.

CRUZ

Hello.  The receptionist downstairs told me that I can find Dr. Polly Delano in this floor?

COLLIN

Who the hell are you?

CRUZ

(Extending his hand)

I'm Dr. Tom McDougall.  I'm visiting for a few weeks from Scotland's Edinburgh University. 

Justice shakes Cruz' hand, obviously interested in him.

JUSTICE

Hello, Dr. McDougall. I'm Justice Smith.  I work in the IT department. Pleasure to meet you!  All the way from the UK?  This is Dr. Collin Guest, newly appointed as Head of the Research Institute.

Collin ignores the proffered hand of Cruz.  Cruz withdraws his hand.

COLLIN

I should have heard of your arrival.

CRUZ

I'm sure Patrick would have told you.  Congratulations on the new post.

COLLIN

(Unwilling to regard Cruz with any real respect.)

This is highly irregular.  Where has Patrick assigned you to?

CRUZ

I believe I was to collaborate with Polly Delano.

Collin and Justice exchange glances.

COLLIN

Is that so?

JUSTICE

We ought to have been told.  I mean, we ought to have been given word that you were going to be arriving, Dr. McDougall.

CRUZ

Call me Tom.  It's possible that Patrick forgot.  He's rather a busy man, isn't he?  He's told me that he will be at a meeting in Los Angeles and won't be around to meet me when I arrived-

COLLIN

Polly's office is down the hall, first door on the right.  Pleasure to meet you Tom.  I hope to talk to you again later.

CRUZ

Thanks awfully.

Cruz nods to both and walks away.

CUT TO:

INT. POLLY’S OFFICE AND LAB - MOMENTS LATER.

Polly is pacing the floor.  Another woman, ZOE PASCAL, her technician, is sitting on a stool, her face sympathetic.

ZOE

I am so sorry, Polly.  I can't believe the board bought Collin's story lock, stock and barrel.

POLLY

(Waves a hand.)

I don't care.  I just don't care.

ZOE

Well, what will you do now that Collin's your new boss?  Can you work with him?

Polly pauses in her pacing and looks at Zoe.

POLLY

I don't know.  I really don't know.  I need to find common ground, hadn't I?  But Collin's research is what’s causing the earth to move.  Everyone is clamoring to collaborate with Collin now.

ZOE

As your tech, I would advise you my dear boss lady to just take some days off and maybe you can make some sense of it all.

POLLY

Yes, I know.  Maybe this trip to Boston will help. Maybe I'll extend the trip and visit the Cape.

ZOE

Oh!  That would be so nice, but it might still be cold in April.

There's a tap on the door.  Both women look at its direction.

POLLY

Come in!

Cruz enters.

CRUZ

Dr. Polly Delano, I presume?

POLLY

Yes.

CRUZ

Dr. Tom McDougall.  You might have been told by Dr. Wolsey that I've been appointed Visiting Scientist here for a few months?

POLLY

(Extending her hand)

Yes, I have been told - Patrick said you were to work with me?

CRUZ

That's right. 

POLLY

Er - please, come in. This is my technician, Zoe Pascal.

ZOE

(Smiling and with a lift of her eyebrow in appreciation.)

Hello.

CRUZ

My pleasure, Ms. Pascal.

Zoe blushes as he shakes her hand.

POLLY

We were just discussing the new chief.  Have you met him?  Dr. Collin Guest.

CRUZ

Yes, I met him outside. Patrick told me a lot about you, but not very much about Collin.

POLLY

Collin is relatively new but he has made a great number of friends.  I think you need to realize that Collin's not your normal scientist.  He's a personality.

ZOE

Collin Guest is like catnip to everyone, right, boss?

(Polly gives Zoe a look.)

POLLY

Well, I think Dr. McDougall -

CRUZ

Call me Tom.

POLLY

- Tom - needs to understand something.  Collin is not a friend of mine.  

CRUZ

Surely you collaborate?

POLLY

We did at first, but when he claimed my data as his, I was not at all happy.  What made it worse, is that Patrick took Collin's side saying this would all be wonderful and we could make great strides in the work we do.

CRUZ

(Incredulous.)

He stole your data?

POLLY

Yes, but I can't explain how.

ZOE

I know that I kept the notebook under lock and key, Polly.  But he presented the same data to Patrick who believed him.

CRUZ

And you couldn't prove it was yours?

POLLY

We all use common equipment, and he ran his experiments at the same time I did.  

ZOE

So, when I went to take Polly's results and enter them into the notebook, Collin must have seen me do it and the notebook disappeared.

CRUZ

Is this the first time he's done this sort of thing?

POLLY

As far as I know.

CRUZ

And is Collin letting you be a part of the research paper - as a coauthor?

POLLY

Patrick wants us all in the paper.

(Polly looks down trying not to show emotion.)

CRUZ

(Placidly.)

I think you know that this isn't uncommon in scientific research.

POLLY

This has not happened until Collin Guest arrived at the Institute.

CRUZ

I wouldn't worry about this. 

POLLY

(Mistaking his unwillingness to take sides.)

I should have known you would take Collin's side.  If you wish to work with Collin, Dr. McDougall, you are most welcome to.  I have things to do.

Polly turns away.  Cruz sees he has offended her and tries to make strides to win her confidence.

CRUZ

I happen to admire your work, Dr. Delano.  I am sorry if I offended you.  Shall we start again?

(He walks to her and offers his hand, smiling down at her.)

CRUZ (CONT'D)

I'm Tom, and I would be grateful to work with you on your research, Polly.

Polly looks at him for a moment.  She sighs and puts her hand in his.  They both smile at each other.

Polly

I'm glad to have a chance to work with you, Tom.  Why don't we go for a coffee and talk about the research?

CUT TO:

EXT. BEACON STREET-EVENING.

Shot of the building that holds Patrick Wolsey and Jack Holt, among other scientists.  The guard is patrolling the grounds. 

CUT TO:

INT. BASEMENT  ROOM INSIDE BEACON STREET HOUSE-SAME EVENING.   

Two men, Wolsey and Holt, are seated, one on each bed.  They are dressed in their nightclothes. Both bear the marks of being physically abused.

WOLSEY

I'm afraid, Holt.  I don't know who's behind this.

HOLT

There are other cells in the building.  I've heard voices. 

WOLSEY

(Desperately.)

What can these people want from us?

HOLT

And why us?  We aren't anybody.

WOLSEY

No - well, wait.  I'm the Director of the Research Institute.  You're the Director at MIT. See a common thread?

HOLT

(Some dawning comprehension.)

That's bizarre.  I suppose we know something. We have positions of some sort of authority.

WOLSEY

Surely, they've sent a ransom note?

HOLT

I can't understand.  So, if we go by what you say, we stand as authority figures in science. Is that what they are after?  Are the others in the cells here the same as us?

WOLSEY

I need to think.  Look here, let's find something to write on.  We need to get a hold on what it is we have that they want.

HOLT

Oho, like the formula to some elixir of life, eh?

(Holt laughs but his face is grim.)

WOLSEY

You have a point.

HOLT

I just don't see how I fit in on this guy's scheme.

WOLSEY

No, nor do I.

HOLT

Listen, Patrick, your research is on neuropeptides.  Mine is on neuropeptides and chronic pain medicines.  Could it be this guy is after us to do something with brain research that's illegal?

WOLSEY

I see your point.  That is not making me feel comfortable.

HOLT

I'm 61 and I am not in good health.  This is going to kill me.  I might have a problem standing up to them.

WOLSEY

I am also weak - I am not going to be that hard to persuade.  This is hell.

Both men are sunk in a deep gloom.

FADE OUT.

FADE IN.

INT. KHAN’S LABORATORY IN THE BOSTON RESIDENCE-DAY.

Khan and VERONICA DAMSON are in his laboratory. Two technicians are working on instruments using common laboratory equipment for chemical isolation.

KHAN

I want you to tell me how things are coming along.  We have two experts downstairs that are going to help but they may need to be persuaded.

VERONICA DAMSON

The technicians are doing a good job.  We have stockpiled enough of the ketamine to kill three thousand humans using the technique.

KHAN

And this technique, you have perfected it?

VERONICA DAMSON

Of course.  As a physician and a neurologist, I see many patients that I administer drugs with this technique in person.

KHAN

And what is this technique called again?

VERONICA DAMSON

Intrathecal injection.  The injection with the syringe containing the drug is through the head, and the drug is deployed into the intrathecal space.  Within a few minutes the brain is suffused with the drug and the patient goes through central nervous depression.  This is exhibited in stupefied and soporific effects in high doses and if enough drug is injected and no intervention is administered, the patient dies.

KHAN

Excellent.  Have you tried doing this remotely?

VERONICA DAMSON

Remotely you mean without being present, of course?  So as not to have any witnesses?

KHAN

Yes, perfectly stated.

VERONICA DAMSON

(Lifts chin with confidence.)

I have.

KHAN

And these patients died?

VERONICA DAMSON

Yes.

KHAN

How many?

VERONICA DAMSON

I've only done a dozen.  They are vagrants that we have taken off the streets of Boston.  Nobody claimed their bodies.  They have died as planned.

KHAN

Good.  I am impressed.  Now, I want you to do this to someone when they arrive in Boston within the next two days.  Her name is Polly Delano.

VERONICA DAMSON

Her name sounds familiar.  Is she someone who works for Wolsey?

KHAN

Yes. 

VERONICA DAMSON

That's fine.  Just give me a few hours to prepare and then when she is asleep I will make this happen.

FADE OUT.

FADE IN:

EXT. MERIDAN COLLEGE TRACK-DAY

Polly is running laps on the track.  Her face is shielded by a baseball cap.  She doesn't notice anyone in the track. She hears someone call her name and she looks around.  She spots Cruz who is jogging behind her. She runs over to him.

POLLY

Hello!

They slow down and walk together companionably.

CRUZ

(Takes in her attractive figure in running gear.)

You run here often?

POLLY

(Gets the idea that she is attractive to Cruz.  She smiles.)

Sometimes.  I decided to take this instead of running in the neighborhood.  Once someone tried to tail me.  It was the devil to get rid of him!

CRUZ

Really?  This is the quintessential Midwestern college town. Nothing ever happens here. Did you see who it was?

POLLY

No.  I thought he looked like a Ninja.  All in black.

CRUZ

(Fascinated.)

Were you scared?

POLLY

Of course!  I was scared enough that my adrenalin pumped me up and I took off and escaped him.

CRUZ

You're still on for the conference in Boston, right?

POLLY

Yes.  When is your flight?

CRUZ

Tomorrow at 9:45 a.m.

POLLY

Mine's the same time.

CRUZ

I can pick you up on the way to the airport.

POLLY

Sounds fine. 

CRUZ

See you tomorrow.

Cruz turns away and waves his hand in farewell. Polly waves back and speculatively watches him as he runs off.  She smiles to herself and jogs away.

CUT TO:

INT. CRUZ APARTMENT-EVENING OF THE SAME DAY.

Cruz is watching the news in his living room while he is having a beer.  He is dressed in jeans and a t-shirt that has the words "GOD'S BEST" on it. The television is showing the news reader reporting on a story that grabs Cruz' attention.

NEWS READER (O.C.)

The latest in the disappearances of prominent scientists has been noteworthy since none of those who disappeared were ever found and no ransom note has surfaced.  The latest of these scientists to disappear is Dr. Patrick Wolsey.

Shot: Patrick Wolsey’s picture on screen

NEWS READER (CONT'D)

He was last seen at Los Angeles airport heading for the exit after his plane touched down.  Other scientists who have disappeared include James Holt, Head of Translational Medicine at MIT, and Jonathan Trip, Director of the Research Council in Sussex, England, among others.  So far, it is known that these scientists were all working on treatment modalities for neurological conditions.

CRUZ

Damn.

He shuts the TV off and immediately after notices a shadow fall across the kitchen.  Cruz takes his gun out of his holster and slowly steps towards the open kitchen door.  On the other side a tall figure in black waits for him.  Cruz, by the kitchen door, waits.  The black-clad figure approaches the door and Cruz cold cocks him with his gun.  The figure staggers back. He pulls out a black orb and throws it at Cruz.  Cruz ducks. The orb falls behind him and explodes.  Black smoke fills the room.  Cruz coughs.  The dark figure makes a dash to overpower Cruz.  Cruz hauls away and punches the figure in the face.  The figure falls and hits his head on a stand.  He crumples to the floor. 

CUT TO:

EXT. OUTSIDE CRUZ’ APARTMENT-EVENING.

Cruz drags the figure down on the grass and rips off his headwear.  The face of the attacker is revealed. The man is dead.

INT. CRUZ’ BEDROOM-LATER THAT EVENING.

Cruz is lying on his back in bed.  He is murmuring, seemingly in his sleep.  In his mind’s eye, he sees Michael.  

Michael stands by Cruz' bed.

MICHAEL

He was dead.

CRUZ

Yes.

MICHAEL

And what did he look like?

Cruz calls up in his mind the dead man's face.

ANGLE on dead man's face.

MICHAEL (CONT'D)

I have seen this face.  He was one of Khan's minions.  But he worked for Collin Guest.  You have been made, my Elohim friend.

CRUZ

I'm glad.  I can't wait to meet that snake Khan.  They tried to take Polly.  She told me today.

MICHAEL

Does she have an inkling why?

CRUZ

I don't think so.  She's too focused on her work.  She can't stand Collin.

MICHAEL

Cruz, when you go to Boston with Polly tomorrow be very careful.

CRUZ

I think the plan is for Polly to be killed somehow.

MICHAEL

Yes.  I want you to think about Polly tonight.  If you see any signs of Khan's minions - these are the ones he is known to associate with.

 

SHOT:

Justice Smith's and Collin Guest's images.

CRUZ

Got it.  I'll keep an eye on Polly tonight.

Michael

I'll be in contact.

FADE OUT.

FADE IN:

INT. POLLY’S BEDROOM-SAME NIGHT.

Polly is getting into bed and turns off her lamp.  A dim light from outside her window illuminates her on the bed.  She drifts off to sleep.

CUT TO:

INT. JUSTICE’S BEDROOM-AT THE SAME TIME.    

Justice is lying in her bed.  Her eyes are open, then she closes them and murmurs words.

ANGLE - Image of Polly in bed.

ANGLE - Justice' aura rising from her body.

CUT TO:

INT. POLLY’S BEDROOM-MOMENTS LATER.

Justice's aura walks into Polly's bedroom.  Justice is bearing a knife.  She approaches POLLY and raises her hand which is holding the knife.

Cruz appears in his aura and claps his hand on Justice's shoulder, he pulls her arm down and hurls her down on the floor.

CUT TO:

INT. JUSTICE’S BEDROOM-SECONDS LATER.  

Justice sits up suddenly and then falls back again, her head hitting the side table.  She falls on to the floor, dead.

FADE OUT.

FADE IN:

INT. KHAN’S LIBRARY-DAY.

The prisoners, Wolsey and Holt, enter accompanied by Veronica Damson.  The two men are dressed for the day and are in a fighting mood.

Khan is sitting at his desk.

KHAN

Hello, gentlemen.  I trust you had a good night's sleep?

WOLSEY

The hell with this.  Who are you and what do you want with us?

KHAN

Easy, now.  I hope you can have a modicum of civility.

HOLT

I can't be civil with you.  Hauling us off and kidnapping us.  This is a criminal act.  I demand you let us go.

VERONICA DAMSON

I'm not sure why I'm here, Khan.

KHAN

In due time, my dear Veronica.

He turns to the two men who have been reluctant to approach him.

KHAN (CONT'D)

I know that this is a highly irregular way to meet, Dr. Wolsey, Dr. Holt.  But I need your help.

WOLSEY

How dare you kidnap me and then ask for my help.  What possible help can I give you?  Who are you anyway?  You don't look like anyone I would associate with!

VERONICA DAMSON

Careful.

HOLT

Yes, I second that.  What possible help can we give you?

KHAN

Sit down gentlemen.  Sit down.

The two men take a seat and stare at KHAN.

KHAN (CONT'D)

I have a good idea of your talents, Drs. Wolsey and Holt.  Both of you have reached the pinnacle of your careers not by chance, but by means of a very old and tried way that the rulers of this earth have known.  This old and trusted way is the ability to transform yourself - to leave your bodies and alight, as it were, upon those who you are interested in targeting.

WOLSEY

(Looking at Holt nervously.)

I don't know what you mean.

HOLT

Neither do I.

KHAN

I don't want to get into details but suffice it to say, dear gentlemen, that both of you have actually committed murder without being present at the scene.  May I tell you a few names?

HOLT

Go ahead, tell us.

(The two prisoners smile at each other confidently.)

KHAN

Alright.  How about with you, Dr. Wolsey.  How does this grab you?  Ellen Mooney.  She was someone who made you a sad person because she refused to give you permission to access your rival's paper which would have given you the jump on your flagging research.  Ellen died, Dr. Wolsey, because you took her life by remote murder.

Wolsey shifts uncomfortably in his seat.

KHAN (CONT'D)

And then you, Dr. Holt, were criminally responsible for the paralysis of one Aaron Simpkins, the man who would have been voted over you to head the very important work of the Research Council of MIT.  Your ability to make a man die while still alive is now known to me and others like Veronica here.  You and Dr. Wolsey are such a pair, and now we are asking you to help us with yet a new way of murdering others in a remote way.

Wolsey and Holt, pale and sweating, say nothing.  Khan looks at Veronica who looks at the two men with a half-smile on her face.

KHAN (CONT'D)

Very well.  You both say nothing, which only means you are actually assenting to these accusations.  There are many of these victims lying in your wake, gentlemen.  You need not worry.  As long as I am in your corner, you won't be arrested nor can you be.  I hold the cards to what you will next have to do in order to survive.  In order for your families to survive.

Wolsey gives a cry.

WOLSEY

What?  Are you holding our families in - in some kind of blackmail scheme?

KHAN

Exactly.

Veronica laughs.

WOLSEY

That's obscene!

KHAN

(Same reptilian smile.)

But it's very effective, isn't it?

WOLSEY

What do you want us to do for you now?

HOLT

(Stands up.)

Ok, I am not sure I want to hear anymore.  You can do what you want with me. I won't do anything for the likes of you, Khan.

KHAN

If you leave here now, I will kill you on the spot.  And, your dear wife and only child Peter will be unhappy to see that they will not have any way of getting to your wealth, your bank account will be suddenly wiped out and then they will have to leave that nice house you have down the street.  Now, are you interested in this idea I have?

Holt, who has headed towards the door, stops and returns to his chair.  He looks at Khan without emotion.

HOLT

Fine.  Tell us what we are to do for you.

Khan looks at Veronica.

KHAN

Veronica has devised a way to kill a victim through remote means.  It is not hard.  Both of you are familiar with the technique of intrathecal injection.  We want you to be our next students in performing this act.

WOLSEY

I see.  It's a routine thing - my work is on neurotoxins and neurochemicals.  Are you thinking of killing by remote using something like a toxin or what?

KHAN

We are using ketamine.  You've been using that in some of the patients in your clinic, haven't you?

WOLSEY

Yes, but the drug is unapproved.  It is still under investigational use for this type of use.

KHAN

That is why we like this drug.  It is known, it is not likely to be detected because I will make it so, and yet it will kill.

Holt

(Mouth working in anger.)

You son of a bitch.

KHAN

Thank you.

Veronica moves towards Holt.

VERONICA DAMSON

Do not call him that.  He is a brilliant man - a god - he is great at this.  I am beholden to him.

WOLSEY

Let it be on record that I am doing this because I care for my family and will do anything to make sure they are safe.  If I hear that they are in any way harmed, I will call -

KHAN

Who will you call?

(Khan laughs.)

WOLSEY

Damn.

HOLT

I'm afraid, Wolsey, that our past sins are now haunting us.

WOLSEY

(Clenching his fist.)

I will call on a higher power than you, Khan.  There is that.

KHAN

He won't listen.  You've sunk so low you're in the mud.  In the weeds.  You're a toad. A weasel.  You're bound for hell, Wolsey.

The two scientists are silent.

KHAN (CONT'D)

Veronica, take these two men to the antechamber and tell them what they need to know and do.

Veronica rises and heads to the door, where she turns to the two prisoners and smiles expectantly.

FADE OUT.

FADE IN:

INT. MILLENNIUM HOTEL BOSTON BALLROOM.DAY.

Cruz is browsing his meeting catalog while standing beside a tall reception table.  He is unaware that behind him, Polly sees him and approaches him.

POLLY

Hi.

CRUZ

(Turns to her and smiles with genuine affection.)

Oh, hi, there.

POLLY

(Sits on an adjacent tall chair.)

Have you been here long?  I'm already checked in.  What are your plans?  What conference are you planning on attending?

CRUZ

Oh, I haven't decided.  How about you?

POLLY

I'm supposed to be part of a panel but now I'm told they may have to cancel it.

CRUZ

Why is that?

PA announcement blares into the room.

ANNOUNCER (V.O.)

Ladies and Gentlemen, we regretfully inform you that the Panel Discussion on Neurological Toxins and Neuropeptides has been cancelled.  We have received word that two of the three panelists have sent word they are unable to make it.  Please delete this meeting from your agendas.  Thank you.

Cruz looks at Polly and raises his eyebrows.

CRUZ

Interesting.  What was that all about?

POLLY

I know that Patrick Wolsey was supposed to be back from LA yesterday and he told me he was going straight to Boston from there.  I really can't say what happened.

CRUZ

Who was the other guy who can't come?

POLLY

I believe it was Dr. Holt.  He's just in town - works at MIT.

CRUZ

(Musingly.)

Both of them not showing up.

POLLY

It's sad when it happens, but I think it does happen sometimes.

CRUZ

I see.

POLLY

(Shifts in her chair.)

Well, I'm going to walk around and see what the exhibit hall is all about.  Care to join me?

CRUZ

(Prevaricating.)

I'm going to have to pass, Polly.  I need to check something out with my colleagues back in Scotland.

POLLY

Oh, are they here as well?

CRUZ

Yes.  I will see you later, yes?  What about meeting for dinner and drinks later?

POLLY

Ok.  Let's.  I can meet you wherever you want to have dinner.

CRUZ

I hear La Scala is a good place.

POLLY

(Hesitates.)

I am not sure I like Italian tonight.

CRUZ

I can figure out some other place.  I'll call you later then.

POLLY

Ok.

Cruz watches her leave, then turns away.  Michael approaches and they shake hands.

MICHAEL

Dr. McDougall, so good to see you here.

CRUZ

Same with you, Dr. Sinclair.  I think we need to talk.

MICHAEL

I know.  Those two missing scientists are in the hands of our - uh - problem.  Just to let you know I'm here.

CRUZ

Yes.

MICHAEL

(Loudly.)

I'm tied up.  I need to catch up with you later.

They part ways, Cruz walks off with his program under his arm.

FADE OUT.

FADE IN:

EXT. BOSTON HARBOR DOCKS-DAY.

Cruz is walking along the docks in a leisurely fashion.  He heads towards a warehouse area and enters an alley.  Cruz finds a door marked "FOR BOSTON HARBOR EMPLOYEES ONLY" and enters.

CUT TO:

INT. WAREHOUSE INTERIOR-MOMENTS LATER.                                              

Cruz enters the warehouse.  A handful of men and women are waiting.  They are expecting him.

One of the men, AGOSTO, comes to him and shakes hands.

AGOSTO

Hello, I'm glad you are here, Mr. Cruz.  I want you to meet the enforcer team.  I heard Michael wanted us to tell you what is happening.

CRUZ

Yes.  I'm told that there's some action with the man Khan.  Tell me.

They walk together a little apart from the others.

AGOSTO

We learned Khan has two scientists captive.  We think they are in a classy neighborhood - Beacon Street.

CRUZ

(Looks interested.)

Go on.

AGOSTO

The scientists are treated well but they now are being forced to join forces with Khan.

CRUZ

What about the plans after these men are turned?

AGOSTO

They want to get more scientists.  The meeting here - where you are attending - they are setting up a yacht in the harbor to get them to come.  The yacht's name is the Demerara.

CRUZ

So, they want more recruits.

AGOSTO

That's correct.  We know what the yacht looks like.  Some of us have been in these things - parties - as servers and wait staff.  We know when and where.

CRUZ

Good.  When?

AGOSTO

Tomorrow night.  A man named Collin Guest is on the record as having signed for the yacht.  His name sound familiar to you, yes?

(Agosto smiles knowingly.)

CRUZ

Yes.  He's someone I know.

AGOSTO

He is going all out.  He has rented the yacht for a sail to New York harbor by the Friday evening.

CRUZ

Ok. Tell me the moment they put out to high water.

AGOSTO

Will do.

(Cruz turns and pauses.)

Agosto (CONT'D)

Don't go out the front way, Cruz.  There's an exit in the back way.

Cruz

Thanks.  Talk to you later.  Good job so far everyone.

FADE OUT.

FADE IN:

INT. POLLY’S HOTEL ROOM-DAY.

Polly enters her room and tosses her jacket aside and lays her messenger bag on the couch.  The phone rings.  She goes to pick it up.

POLLY

Hello?

CRUZ

Hi.  It's Tom McDougall.  How are you?

POLLY

Good.  How's your day so far?

CRUZ

Could be better.  I'd like us to get together for dinner later tonight.

POLLY

That would be great.  I'm eager to try out some of the places to eat here.

CRUZ

Good.  Why don't I come by your hotel room and pick you up?

POLLY

Ok.

CRUZ

I'll be there at seven.  I'm not going to any more of the sessions.  Are you?

POLLY

(She leans against a table.)

Um.  Well, I might step back into the meeting after I've had time to relax here.

CRUZ

Oh?

POLLY

Yes.  I want to look at some more of the exhibits and the research that's being presented.

CRUZ

Ok.  I'm not that interested in anything today that's being presented.  You're very good and diligent at your job.

POLLY

That's why I'm here.

CRUZ

Did your director tell you to look for a specific research work or you have your own ideas who to look for?

POLLY

Wolsey told me to look for someone in particular.  And then Collin told me - damn him - that he wanted me to check out this other person who works on neurology.

CRUZ

Why don't you just play hooky for a change?  I don't tell tales after school.  Since Wolsey isn't here and you hate Collin, it's really not that important to you, is it, to just relax and enjoy yourself?

POLLY

(She smiles happily.)

You're a tempting one.

CRUZ

I'm only interested in making you relaxed enough so I can have all your attention tonight.

POLLY

(She keeps smiling at his conversation.  Then she looks at her watch.)

I suppose...  There's not a lot of time between now and seven.  Ok, Tom, I'll relax and then I'll expect you at seven.

CRUZ

Good girl.  Have a great afternoon.  See you at seven.

POLLY

I will.  See you at seven.

Polly hangs up with the smile still on her face.  She walks to the bed, sits on it and then stretches out of it.  She closes her eyes and drifts off to sleep.

.

FADE OUT.

FADE IN:

INT. BOSTON HARBOR OFFICE-SAME AFTERNOON.

Collin is in a meeting with several staff of the yacht Demerara.  CAPTAIN LEWIS and his staff are rapt in attention listening to him speak.

COLLIN

Now, I want to make sure everything is ready for tomorrow's yacht reception.  Do we have a report of what we're going to be having for starters?

CAPTAIN LEWIS

I'm all set.  My crew is ready.  They are Damon, Lewis and Ramon.  They will be helping with lifting anchor for the harbor. Do you want us to go around the harbor for the two hours that you've reserved?

(He writes on a pad.)

COLLIN

Yes, I want the yacht to circle around.  Then we will all disembark for a larger vessel that's going to be meeting us around the time the reception is over.

CAPTAIN LEWIS

(Lifts his head and cocks it to one side.)

Oh.  I didn't know that.  I suppose you have the name of this vessel?

COLLIN

The vessel is called the RIT.  The owner is going to take us for a longer cruise.

CAPTAIN LEWIS

I see.  I'll check the logs for that vessel that will meet ours.

COLLIN

(Shifts uncomfortably.)

Uh - you don't have to.

CAPTAIN LEWIS

(Ignores the protest and keeps writing.)

No, it's standard protocol.  We have to report this to our main seafaring office.

COLLIN

(Collin look at him with a scowl on his face.)

Oh ok.  Well, then what about the service staff?  Are they ready with the refreshments?

CAPTAIN LEWIS

(Turns to a woman standing beside him.)

Loma here is in charge of that.  Tell him, Loma.

(LOMA, a woman in uniform, raises her hand.)

LOMA

(Steps forward.)

Yes, it's all ready.  The food and the wine are all being prepared and will be loaded into the yacht a few hours before the reception.  I've got about six or seven recruits who are going to be going around to serve the refreshments.

COLLIN

(Looking satisfied.)

Good.

CAPTAIN LEWIS

(Smiles at Collin.)

We want to let you know that it's a pleasure to serve your guests and help make it a pleasant experience.

COLLIN

I appreciate that.  I will be rather busy and we would like to have the stateroom closed after refreshments are served so that I can start the presentation.

CAPTAIN LEWIS

Understood.

COLLIN

Is that it then?  I don't have anything else.

Captain Lewis rises from his sit and shakes hands with Collin.

CAPTAIN LEWIS

Oh, one more thing.  Who is the captain of the vessel RIT?

COLLIN

(Ignores his hand then changes his mind and shakes it.)

I have to find that out.

CAPTAIN LEWIS

(Looks at Collin with a cautious look.  He doesn't like Collin.)

That would be important.  We need to find out their coordinates and have a communication with them.

COLLIN

I thought you can do that easily.

CAPTAIN LEWIS

(Easily.)

I can, but it will take time to have our systems locate the vessel unless we have their coordinates beforehand.

COLLIN

Ok, ok.  I'll find out and give you the information tomorrow night.  Will that be ok with you?

CAPTAIN LEWIS

(Frowns.)

Yes.  The sooner the better.

CUT TO:

INT. BEACON STREET HOUSE. LIBRARY-NIGHT.

Khan and Collin are in the library talking.  Khan is agitated.

KHAN

I'm really unhappy, Collin, that this woman is still walking around.

COLLIN

Justice was intercepted.  It was a failed attempt to destroy Polly.

KHAN

(Bellowing.)

Who intercepted Justice?  That's what I'd like to know, damn it.

COLLIN

Look, I don't know.  I do know one thing.  It might be this is someone I've not seen before.  Not in the way that I can see.

KHAN

You've got the ability to see how these aural figures look.  Didn't you monitor Justice when she was about to kill Polly?

COLLIN

I wasn't there.  I am sorry but I thought Justice could handle it.  Polly is like a little puppy - she's so manageable.

(Collin looks unworried.)

KHAN

Apparently not, Collin.

COLLIN

(Irritated.)

Then I still don't understand why Polly is so important to have destroyed.

KHAN

She is a smart scientist who can call you to answer any charges of data manipulating.  You have made it clear to her that you've stolen her data and that you care less if she knew.  I have heard her tell that new man, McDougall this. 

COLLIN

So?  What can that Scottish fool do?

(Snorts in disdain.)

KHAN

That Scottish fool has managed to kill one of my people.  He's not just a visiting scientist.  He's a - a spy.

COLLIN

Spy?  You know you could just kill him outright.

KHAN

I can but I prefer to have it seen as a natural event.  That's why our new technique is so good.  It works and nobody is the wiser.

COLLIN

Damn.  Ok, ok.  I suppose we can make another attempt, this time, successfully, on Polly's life.

KHAN

We have to make it tonight. I will make it a point for Veronica to have Polly in her sights.

COLLIN

Fine.

(He turns to go.)

KHAN

(Suddenly.)

What about the reception?

COLLIN

It's all set.

KHAN

The captain and the staff?

COLLIN

They are good with the arrangements.

KHAN

Ok, so what about when we make the transfer to the RIT?

COLLIN

I've told them we will meet up with the RIT and they are ok with it.  They only need the vessel's coordinates and make contact with them.

KHAN

(Reacting strongly.)

Oh, Collin!  That is not acceptable!

COLLIN

Why? Why not?

KHAN

Do I have to do everything? 

Khan stands up and paces the floor.

COLLIN

So, I should not have told them about the RIT?

KHAN

NO!!!  I want the RIT's whereabouts to be unknown.  I hate that you told them this.  I will have to make them die after the transfer is complete.

Collin rakes his hair with his hand in frustration.

COLLIN

(Stares at him.)

Oh my god.

KHAN

(Stops pacing.)

Indeed.

COLLIN

Look, I am sorry.  I should have talked to you more about it.

KHAN

I think we can accomplish everything tomorrow night.  We will have some additional men that will make the yacht blow up after the transfer of the scientists.

(Collin looks at Khan anxiously.)

CUT TO:

INT. POLLY’S HOTEL ROOM-NIGHT.    

The door opens and Polly and Cruz enter in the middle of the conversation.

POLLY

I'm sure that I'll be given a talking to tomorrow for being absent at the afternoon session.

CRUZ

(Teasingly.)

You being so important and all.

They both laugh.  Cruz follows her inside.  They face each other.  Cruz takes her hands in his and gazes down at her with a smile.

CRUZ (CONT'D)

I had a wonderful time.

POLLY

(Smiles up at him.)

I should be saying that.

CRUZ

Then say it.

POLLY

I had a lovely time.  Thanks, Dr. McDougall.

CRUZ

(Teasingly.)

Call me Tom.

POLLY

You really are sweet.

CRUZ

(Drawing her closer.)

I'd like to get to be more than friends, Polly.

POLLY

(Looks up at him dreamily.)

You like to work fast, Tom.

CRUZ

I like to not waste time.

POLLY

I'm not sure I'm the sort of girl who just likes to hop in bed because -

CRUZ

(Lifts an eyebrow.)

Are you interested in hopping into bed?

POLLY

Persuade me.

(They kiss.)

CRUZ

Are you persuaded?

POLLY

Let's try it again.

(They kiss again, this time with more feeling.)

POLLY (CONT'D)

Maybe we ought to cool it.  I shouldn't be intimate with a colleague.

(Cruz sighs and releases her.)

POLLY (CONT'D)

I mean...  You are a very attractive man, Tom. You make me feel something inside that I never thought I could ever feel with a man. I just wouldn't want to mix business with - um -

CRUZ

Pleasure?  I wanted you the moment I met you.  You're very lovely to be with.  I enjoyed your company tonight.  I'd like us to be more than friends.

Polly walks to the couch.  She looks at him with folded hands.

POLLY

What about when you return to Edinburgh?

CRUZ

(Shrugs.  Follows her to the couch.)

We can discuss that later.

POLLY

No.  I like to plan things.  Why do you think this will work? I don't want to give my - my heart to someone who won't be there someday.

Cruz looks sad.  He drapes his arm behind her on the back of the couch.

CRUZ

So come with me.  Leave your home here and be with me where I live. 

(He takes her hand in his.)

CRUZ (CONT'D)

Is it that important, your job?  Your status?  Why can't you - Have you ever thought of being in love and following your heart, Polly?

POLLY

No.  I've tried not to fall in love. I never met anyone like you before. 

CRUZ

Then I'm a lucky man. I want you like I've never wanted any other woman.

(He takes her back into his arms and kisses her again.)

Polly pulls away reluctantly.

POLLY

Tell me, if I gave up my job here for you and being your girl --

CRUZ

I'll take care of you and you will have all you need.

POLLY

What about my work?

CRUZ

(Looks a bit perplexed.)

What about it?

POLLY

I'd like to keep working - maybe if things work out between us I could have a job where you live.

CRUZ

(Pauses.)

Ok, that's fine.  You and I - we will be together in Edinburgh.  We'll find a place for you there.

POLLY

(Looking suddenly afraid.)

Oh my God.  I'm really not sure about it.

(Cruz lets her go and watches her intently.)

CRUZ

You really know how to kill a man's ardor, Polly.  Everything is about your work.  Where have you learned to keep a lid on your heart?

POLLY

Stop it.

CRUZ

Ok, I'll stop.  I can leave now.

Polly shifts herself closer to him.

POLLY

No.  Don't leave.

CRUZ

Let's figure out how we can make this work.  Do you have feelings for me?

POLLY

Yes, I do.

CRUZ

And I have feelings for you.  I saw you at another meeting where you gave a talk.  I was very much taken by you.  How you looked, the way you spoke, the way you moved.  And then the other day, when we were at the running track.  I was totally in heaven being with you and seeing you move like that.  You are beautiful and I want to make you mine.  Do you understand?

Polly looks at him, smiling happily.

POLLY

Tom, when you listened to me complain about Collin you were so comforting and made me feel better. At the track you made me feel excited to be with you.  You were and are like a friend that I never had.  I enjoyed dinner tonight - I felt as though you cared for me like no other man has.

They kiss.  He pulls her close.  They make love.

FADE OUT.

FADE IN:

INT. BEACON HILL RESIDENCE. VERONICA’S ROOM-NIGHT.                                

Veronica is in her bedroom, preparing to sleep.  She removes her robe and lets her hair loose.  She pulls the covers off her bed.  She turns the light off. In the dim light, she rests in bed.  Her aura rises out of her body.  She picks up the syringe on her nightstand and leaves the scene.

CUT TO:

INT. POLLY’S HOTEL ROOM-SAME NIGHT.                    

Polly and Cruz are in her bed and are sleeping, their bodies entwined with each other. Both are unaware of the presence of Veronica's aura bearing the syringe.  Veronica pauses and sees that Polly is not alone.  Veronica turns and leaves.



CUT TO:

INT. VERONICA’S BEDROOM-MOMENTS LATER.                                                              

Veronica's aura returns to her body.  She opens her eyes.  Her face is contorted with anger.

VERONICA DAMSON

Damn!  She's not alone!

Michael appears to her out of the shadows. She sees him and gasps.

MICHAEL

You didn't figure she would be with someone, did you Miss Damson?

VERONICA DAMSON

Who are you?  How did you manage to get here?

MICHAEL

I'll take that syringe now, please.

She looks down at her hand holding the syringe.

VERONICA DAMSON

(Screaming.)

I am sick of you!

MICHAEL

(Nonplussed.)

Give it to me.

VERONICA DAMSON

No, I won't!  Leave me!

Veronica throws the syringe aside and tries to push Michael away.  Michael lifts his right hand and strikes a blow on her head.  Veronica utters a cry and sinks down, unconscious.  Michael bends down and takes Veronica's aura in his hands throwing her over his shoulder.  A gaping fire appears suddenly to receive her aura.  The gaping fire devours her and disappears. Michael takes the syringe and walks off screen.

FADE OUT.

           FADE IN.

INT.  OUTSIDE VERONICA'S BEDROOM-MORNING.

Khan knocks on Veronica's bedroom.  He waits and then walks in.

INT. VERONICA’S BEDROOM-A MOMENT LATER.                                     

Khan enters Veronica's bedroom and sees the empty bed.

KHAN

Veronica?

Khan walks around the bed and almost trips over her inert body.

KHAN (CONT'D)

Oh no! Veronica, wake up, what's happened to you?

Khan turns her body so that her face is turned up to his.  He tries to revive her.  He feels for a pulse.  He lets her body fall away, his face grim with anger.

KHAN (CONT'D)

Who did this to you, Veronica?

FADE OUT.

FADE IN:

INT. POLLY’S HOTEL ROOM-DAY.          

Polly and Cruz are taking coffee as they lounge in the bedroom. Polly is in bed sipping her cup and Cruz is on a chair next to the bed, lounging.

POLLY

I'm thinking, Tom.

CRUZ

About what?

POLLY

Not going to the sessions today.

CRUZ

(Grins at her.)

That sounds unlike you as a scientist.  But I'm interested in why.  Is it because of last night?

POLLY

Yes.  It is.  Are you interested in spending the day with me?

CRUZ

Yes, I am.  I'm not sure there are any sessions that are interesting to check out today.

Polly gets up and walks to the desk.  She picks up the program and leafs through it.

POLLY

Oh, wait.  I am scheduled for an afternoon discussion.  I'll have to -

CRUZ

(He looks disappointed. He walks to her side and puts his arm around her.)

No, don't spoil the wish you just made with me.  I'd be crushed if you decided to ditch me for one hour's time with a bunch of old fogeys.

POLLY

(Laughs.)

Well, ok.  I'm going to ask you to spend most of the day with me then.

(She turns to him and smiles up at him.)

  Would that work?

CRUZ

(He puts his finger under her chin.)

Ok, that's fine. I will take whatever crumbs you give me, my dear Polly.

They kiss.

FADE OUT.

FADE IN.

INT. CRUZ’ HOTEL ROOM-LATER THAT MORNING.

Cruz enters the hotel room and gets changed into a new outfit for the day with Polly.  His cell phone rings and he answers.

CRUZ

McDougall here.

AGOSTO (O.S.)

Hello Mr. McDougall, I'm reporting for the day.

CRUZ

Good.  What do you know?

AGOSTO

I have some information.

CRUZ

Go on.

AGOSTO

I have learned that the man named Collin Guest has brought two men in their late 60's to the yacht.

CRUZ

I see. 

AGOSTO

They looked very much like they were in handcuffs.  Another man who looked like a thug helped Mr. Guest to take the two others to the boat.

CRUZ

And what about the man named Khan?

AGOSTO

I did not see him.  That is all I know now.

CRUZ

Ok.  Fine.  I will be seeing you later.

AGOSTO

See you later.

Cruz hangs up and pockets his cell phone.  A sound from the bathroom heralds the appearance of Michael.

CRUZ

(Looks relieved to see him.)

Hello, Michael.  How are you?

MICHAEL

(Walking towards him.)

Good.  I hear that Wolsey and Holt have been taken to the boat?

CRUZ

Yes.

MICHAEL

That's good.  That will make it easier for all of these scientists to get Khan's information tonight.

CRUZ

Yes.  The plan is for the yacht to put to harbor around 7 p.m.

MICHAEL

I'm going to find us a boat to follow the yacht.

CRUZ

Anything else?

MICHAEL

Yes.  Veronica Damson has been killed.  She was in your girlfriend's hotel room last night.  You didn't notice because she was in her aural state.

CRUZ

(Frowns.)

Oh?  Damn.  So, we missed her then?

MICHAEL

She was going to kill Polly and when she saw you there together she got upset.  I came at the right moment and took her aura away.

CRUZ

(Looks happier.)

So, she's out then?

MICHAEL

(Nods.)

She's been rendered ineffective.

CRUZ

Great, that's really good news.

MICHAEL

Now I don't want you to spend too much time away from Polly.  I am a bit worried that she could be still a target by Khan.

CRUZ

I was about to leave for her hotel room.  We have our rooms in the same hotel.  I won't let her out of my sight.

MICHAEL

Good.  I'll see you in a while.

(Michael and Cruz part ways.)

CUT TO:

EXT. BACK ALLEY OF THE BOSTON SLUMS-AT THE SAME TIME.                                

The back alley is empty of people but full of trash bins.  A car comes down the alley and parks abruptly.  Collin gets out of the driver's side and goes to the boot of the car.  He lifts the boot and reveals the body of Veronica Damson.  He carries her body out and takes it to the nearest trash bin.  He lifts her body into the trash bin and it falls inside.  He shuts the boot and goes into his car and drives away undetected.

CUT TO:

INT. KHAN’S LIBRARY-LATER.                                                            

Khan is sitting in his library and looks up when Collin enters.

KHAN

You did it?

COLLIN

She's gone.

KHAN

I'm not happy about how things are going.  First, Justice is murdered now Veronica is dead.  I did not see any marks on either body. It seems very much a job that has the marks of an old enemy of mine.

COLLIN

(Shrugs.)

Well, I'm not going to let that spoil my party tonight.

KHAN

(Looks at him sharply.)

I want you to do something first.  I want you to take Polly Delano and bring her to the yacht and then kill her. Dispose her body in the high water and then take care of the reception.

COLLIN

(Stares at Khan.)

Me kidnap Polly?

KHAN

Yes, we can't lose time.  It's an opportune moment.

COLLIN

(Looking upset.)

I am not happy that I'm the one that's disposing of and killing people.  I am really not happy, Khan.

KHAN

(Irritably.)

You knew this was part of your job as an assassin.  I am in the business of hiring assassins, Collin.  You are not going to walk away from this now.  You have already invested a great deal of your energy in this endeavor.  Do you get my meaning?

COLLIN

(Wipes his sweating brow and stares back at him.)

I'm damned if I kidnap my own colleague.

KHAN

(Gets impatient.)

Ok that's going to be something you have to struggle with on your own time.  I want this done today and I want it done without a hitch, understood?

COLLIN

(Looks down.)

Hell.  Understood.

KHAN

You know how to get her I assume and I won't have to know about it.  Just get her to the yacht and then we can go ahead with our plans.

Collin pauses and moves to the door.  He hesitates. Both men stare at each other.  Collin leaves.

CUT TO:

INT. POLLY’S HOTEL ROOM-THAT SAME MORNING.           

Polly has changed into her outfit for the day. Her cell rings and she answer.

POLLY

Hello.

CRUZ (O.S.)

It's me, Tom.  How about meeting me for a brunch at the hotel restaurant in five minutes?

POLLY

Ok, that's a good idea.  I am almost ready.

CRUZ

(Sounding happy.)

Good.  I'll see you there.

Polly hangs up.  Immediately after, the hotel phone rings.  Polly goes to answer it.

POLLY

Yes?

HOTEL OPERATOR (O S.)

Miss Delano, you have a call.  I'm transferring it to your room.

POLLY

Thank you.

Polly hangs up.  The phone rings again.

Polly (CONT'D)

Hello?

VOICE OF A WOMAN (O.S.)

It's your Mom.  I am glad I got you.

POLLY

Mom?  You sound a little bit different.

VOICE OF A WOMAN

I got a cold, Polly.  Listen, I wanted to call you because your Dad is in the hospital.

POLLY

(Sits down, frightened.)

Hospital?  What happened?

VOICE OF A WOMAN

(Sounding upset.)

He had a coronary, Polly.  I'm afraid I need you.  I need you now.  I'm terribly upset.  Please come.

POLLY

(Gets herself pulled together emotionally.)

Mom, ok.  I'll be there.  It will take time - but I'll be home soon.  Around ten tonight.  Ok?

VOICE OF A WOMAN

(Sounds relieved.)

Good.  I'll be waiting at home.  Bye.

Polly hangs up and remains seated.  She dials Cruz' hotel room.  There is no answer.  She hangs up and texts him to cancel their day together.  Polly gets up and walks to the closet and starts to pack.

FADE OUT.

FADE IN.

EXT. HOTEL ENTRANCE-LATER.                                                                      

Polly flags down a taxi cab.  The taxi driver puts her luggage in the boot of the car.  Polly talks to the cab driver who is really Collin's henchman before she enters the cab.

POLLY

Boston airport please.

CAB DRIVER

Good, miss.  I will take you there.

POLLY

Thanks.

Polly enters the taxi.  The cab driver gets into the cab and drives away.

CUT TO:

INT. TAXI-MOMENTS LATER.                                                                                                               

Polly notices that the cab takes a different path to the airport.  She taps on the cab driver's glass window.  He rolls it down.

CAB DRIVER

Anything wrong?

Polly

Are we going to the Boston Airport?  I think we passed the exit to get there a minute ago.

CAB DRIVER

Don't worry, miss.  We will get there soon.  I have a short cut.

POLLY

(Stares out the window doubtfully.)

I don't know.  I think we need to keep to the -

CAB DRIVER

(Reassuringly.)

You will get there.  Don't you worry about a thing.

Polly looks at the back of his head with a stern look.  She tried to open the passenger door.  It is locked.  She becomes furious.

POLLY

Let me out of here!

CAB DRIVER

(Placidly.)

No, I have orders.  You are not going to go to the airport, miss.  Sorry.

Polly sits back, afraid.  She tries to call Cruz.  Her phone is mysteriously dead.  She starts to pray under her breath.

POLLY

God please help me.  Someone's kidnapping me.  Oh, my God.

CUT TO:

INT. MICHAEL’S HOTEL ROOM-AT THE SAME TIME.

Michael is looking out the window.  He hears Polly's voice. The following scene is a telepathic communication between Michael and Cruz.

POLLY (V.O.)

God please help me.  Someone's kidnapping me. Oh, my God.

Michael turns around quickly.  He talks to Cruz.

MICHAEL

Cruz, Michael here.  I'm afraid your girl has been kidnapped.

CRUZ (V.O.)

Hell, how did that happen?

MICHAEL

I heard her voice - she's out there somewhere.  I thought you were together.

CRUZ

I'm waiting for her at the restaurant.  I hate to think where she could get to.  With Khan at her heels.  Why is she needed?  I can't see her as someone who knows about anything Khan is doing.

MICHAEL

I will go try to see where she could be at right now.

CRUZ

I'll try to call her. Hold on, let me see if she called or texted me.

(There is a pause.)

Cruz (CONT'D)

She did text me.  I don't know how I missed it.  She said her father had a heart attack. She's on her way to the airport.

Michael

I'll find her location and let you know. 

CRUZ

What if I tried to look for her in the airport?

MICHAEL

No. It's too crowded.  You won't find her there.  I have a feeling she's been taken by Khan.

CRUZ

Damn. Ok I'll try to look for her in Khan's house.

MICHAEL

I would not do that.  I'll send you a message when I find her location.  Get ready for tonight's party.

CRUZ

Ok.  I'll talk to you later.

MICHAEL

Going offline.

Michael turns back to the window.  His eyes scan the landscape.  He sees in his mind's eye a scene of Polly looking frightened in the back of a cab. A split second later, he sees the cab empty, abandoned.  Michael's face registers anger.  He leaves the room and goes out to the terrace.

Cut to:

EXT. OUTSIDE MICHAEL’S ROOM-A MINUTE LATER.                                        

Michael walks out to the terrace and climbs down to the street level the side of the building.  He walks off screen.

FADE OUT.

FADE IN.

INT. DEMEERARA YACHT CABIN-DAY.

Polly sits in bed with her wrists tied and her mouth muffled.  She is breathing hard and tears run down her face.  She hears a scuffle outside the cabin.  Collin enters and looks at her.

COLLIN

Sorry Polly.  I had no choice.

Polly glares at him.

COLLIN (CONT'D)

You will be given an injection of a sedative.  You won't even notice.  It will get you to die without much effect.

Polly gasps.

COLLIN (CONT'D)

I'll have to keep you in wrist ties.  It's best to keep you that way until we set sail.

Polly tries to get off the bed and leap at him.  He grabs her shoulders and pushes her down.

COLLIN (CONT'D)

Damn Polly!  Get used to the thought that you will be dead soon.  I always hated you and your superior attitude.  Well, all that intelligence will never make it big and I will be the one that will win all the minds of the best in science.  I will leave you now.  Just relax and talk to your God now if he can help you out of this fix.

Polly sits back, her chest heaving with emotion.

FADE OUT.

FADE IN.

INT. DEMERARA. KHAN’S ROOM-DAY.

Khan is sitting in the room and looks up as the door opens.  Wolsey is pushed into the room. The door closes as he stumbles inside.

KHAN

(Without feeling.)

I am sorry you are being treated roughly.

WOLSEY

I'm damned upset at your horrible scheme.  Why don't you just kill me off?

KHAN

I might just do that. But I rather have you still breathing the air to do my work.

WOLSEY

Hell with that.

KHAN

You are going to do some of the work that Veronica has done. 

WOLSEY

(Folds his arms.)

Well, she never got to me to teach me this new technique of killing people remotely.

KHAN

I don't think you need too much training, Wolsey.  I want you to do something like that today.  You will be given the syringes and then you will make this woman die.

WOLSEY

You have to be out of your mind that my attempt will work.  Who is this woman and where is she?

KHAN

Her name is irrelevant.  She is kept down the hall in another cabin.

WOLSEY

(Looks grim.)

I want it known that I am doing this under duress.

KHAN

Nobody will care and no one will listen.  You are under my power now and this is what your job will be. I will let you free soon but you will be doing this work regularly.

WOLSEY

What sort of work is this, Khan?  Who else are you planning to kill this way?

(Khan is silent.)

WOLSEY (CONT'D)

What the hell.  I think I can imagine who you'd like to kill this way.  I am not at all happy about this scheme of yours.

KHAN

You make a lot of oaths and curses, Wolsey.  They won't work with me.

WOLSEY

I will do this but I might fail.  The chances of my failure will be high.

KHAN

(Irritated.)

You will NOT fail, Wolsey.  Even now your wife is under surveillance by my people and if you fail, she will surely be killed.  It's good that you have more than one child.

WOLSEY

I hate you.

KHAN

I don't care.

(Khan goes to the door and opens it.  The MAN who escorted Wolsey is waiting.)

KHAN (CONT'D)

Get Dr. Wolsey back to his room and bring him the syringe.

MAN

Ok, Mr. Khan. 

The man takes Wolsey out.

FADE OUT.

FADE IN.

INT. DEMERARA. POLLY’S CABIN-LATER.                                                

Polly is lying in bed, her mouth gagged still and her hands bound in front of her.  She is sleeping.  The room is in darkness, except for lighting to illuminate her face.  Wolsey's aural figure enters the room, with a syringe in hand.

Suddenly, Michael's figure enters from the opposite side.  Wolsey sees him and tries to flee.  Michael gets to him and pulls him down, dealing him blow to the head.  Holt falls down into a heap on the floor.  Michael heaves the aura of Wolsey into the gaping fire that appears beside him.

Michael looks back at Polly's sleeping figure. He leaves.

CUT TO:

INT. WOLSEY’S ROOM-A MOMENT LATER.

Wolsey's body convulses in his bed.  He falls head first on to the floor, his body blundering into the lamp stand next to the bed, making a big crashing sound.

CUT TO:

INT. DEMERARA. STATEROOM-EVENING.                                                   

A steady stream of scientists enters the state room.  Collin is at the door, shaking hands.

COLLIN

Hello!  Good to see you.  How are you?  Thanks...  Fine...  I'm well... Come in...  Come in...  So good to see you.

Guests file through after shaking his hand.  They go to the interior of the room.  Wait staff approach with trays of wine and canapes.

CUT TO:

INT. DEMERARA. WOLSEY’S ROOM-EVENING.

Khan enters Wolsey's room unceremoniously.

KHAN

Hello Wolsey - how did it go?

Khan turns the lights on. He spots Wolsey lying dead on the floor.

KHAN (CONT'D)

Hell! Wolsey, what happened to you?

Khan crouches near Wolsey's body.  He sees blood on the man's temple.  Khan straightens up.  He shakes a fist at the ceiling.

KHAN (CONT'D)

Damn!  I hate You!

CUT TO:

INT. DEMERARA. STATE ROOM-AT THE SAME TIME.                                  

Collin is at the podium.  He is having a great time.  The scientists are seated at the tables in front of him.  Collin delivers a speech, acknowledging their presence and promoting himself.

COLLIN

Ladies and gentlemen, welcome to our party.  We are glad you came.  So very grateful.  We have plenty of wine, canapes, and the main entree.

(Gestures widely.)

Let me begin.  Now we in a more intimate setting.  I have a proposal to give you all.  I am a part of team who are interested in the intrathecal treatment of different pharmacologically active medical drugs.  Our institute at Meridan University is interested in expanding our research into other drugs and even toxins.

There is a stir. Some people murmur amongst themselves.

SCIENTIST ONE

(Looking confused.)

Look, what sort of stuff are you talking about? I don't think that toxins are approved for intrathecal use.  At least not since I last looked.

COLLIN

(Covering his dismay with a cough.)

No, well, it can be something that might be helpful.  Some toxins can be used to treat rare conditions.  My research has data to show that disease states can be alleviated by toxins.

(More murmurs.)

Let me continue.  I and my colleague, Dr. Khan, are asking for those who are involved in this sort of research, and in research that uses a very remarkable method to deliver the injection without direct contact.

SCIENTIST TWO

Are you - how do you mean?  That sounds interesting but why would you want to deliver injection without direct contact? 

COLLIN

We want to think of future use, sometimes we need to do this when the patient is inaccessible somehow.  It's something my colleague is now working on.  Remote injection of ketamine into the intrathecal space.

SCIENTIST ONE

I don't believe that can be done.  No, I don't think it can be done.  Prove it.

COLLIN

I can.  But we need to have you all attend a laboratory session so you all can observe.

SCIENTIST TWO

I'm sure it's all very interesting, but I'm going to pass.

COLLIN

(His face darkens.)

I don't think anyone can do this now.

SCIENTIST ONE

What do you mean?

Collins sees Khan enter the room.

COLLIN

We are heading to meet a bigger ship which will take us to Manhattan.  I am sorry to break this news to you all, but because you all have a lot in common, we want you to be the first team to work on this tremendous project.

Khan moves to join Collin at the podium.

KHAN

Hello, good evening all.  I'm Dr. Khan.  I have been with Dr. Guest in this project.  I have arranged us to meet with the rest of my team in Manhattan. I want all of you to relax and enjoy the evening.  We will board the vessel RIT in an hour or so.  It will be a very good thing if you all relaxed and let it be enjoyable.  We want all of you to think of this project.

SCIENTIST ONE

We were not told that we would be taken to Manhattan.  This is highly disturbing.  I want to get back to my hotel.

KHAN

Sorry we are not going back to Boston.

SCIENTIST THREE

(Stands up and looks very upset.)

Hey, this is hijacking!  You can't do this, Guest.  It's going to be a bad scene for you and your friend Khan if you don't take us all back.

KHAN

We are not going back to Boston.  We will tomorrow after we get through the day's training session.

SCIENTIST ONE

Training session?  What the hell?

KHAN

We have to get all of you to sit down.  Sit down. Now.

Every one of the guests are in disquiet.  A few guests try to get to the door.  Khan's thugs appear and deliver punches.  They stagger back and return to their seats.  The rest are horrified.  Khan smiles like a snake as his eyes look coldly over the room.

CUT TO:

INT. DEMERARA. HOLT’S CABIN-AFTER THE RECEPTION.                                            Khan is in Holt's cabin.  He is dark with anger and frustration.  Holt looks at him with no emotion.  Holt knows Khan is getting desperate.  Holt wants none of this murderer's desire to kill people for his dastardly intentions.

KHAN

You have to kill Polly Delano now.  I will supervise.

HOLT

You have got to be kidding.

KHAN

No, I am not.  Do it now.

HOLT

I won't it's not going to happen.  She happens to be a colleague and more than that, she is a scientist who has an important role to play in research.

KHAN

For all intents and purposes you no longer have any say in research matters anywhere unless I tell you. Why do you care for her now?

HOLT

I may be gone but someone will look for me.  They may already be looking for me and Holt now.  Collin had me fooled.  I got kidnapped by your thugs and now I think Collin is really working for you, is he not?

KHAN

Damn you.  Do as I say, now.

HOLT

No. You have to kill me and then you won't ever do another thing in your horrible life.

KHAN

You think you can die?

HOLT

I can I have nothing else to look forward to.  Not now.  You are a satanic evil man.  I don't want to work for you or the likes of you.

KHAN

(Leaning back and regarding him coolly.)

That is unacceptable.

HOLT

I don't care at all.  Leave me or kill me now.

Silence.  Khan gets up and turns to the door. He turns around, whipping out a gun.  Holt flinches.  The gun goes off.  Holt falls on his face, dead. Khan pockets the gun and leaves.

CUT TO:

INT. RIT. CAPTAIN’S DOCK-SAME EVENING.                                    

This series of scenes use military time. 2300 hours is 11 o'clock in the evening.

Captain Lewis and his crew are watching the horizon.  The captain checks his coordinates and looks up at the harbor from where he sits.

CAPTAIN LEWIS

Mr. Shore, let's put out to sea shall we?

SHORE

Aye.

CAPTAIN LEWIS

We can communicate with the vessel RIT now.  Mr. Damon, let's have them on the blower, shall we?

DAMON

Yes.

(He puts on his head phones.  He makes contact with RIT.)

Yes, I'm Mr. Damon from the yacht Demarara, we're ready to deliver the guests, over.

RIT (O. S.)

Hi, I see you.  I am at the following coordinates -

(He rattles off numbers and latitude and longitude.)

DAMON

Thank you. We should be boarding in half an hour - say 2300 hours, over. 

RIT

Copy.  How many in the passenger list?

DAMON

Thirty altogether.

RIT

Good.  Thanks.  We will see you then, over.

DAMON

Over.

Hangs up and looks at Lewis.  Smiles and nods. Captain nods in response.

DAMON (CONT'D)

It's arranged.  I'll let you know if they have any updates.

CAPTAIN

(Satisfied.)

Good.  We can go at the same speed for now and we should be having eye contact with RIT at 2250 hours.

DAMON

Aye.

Damon turns to his control panel.

CUT TO:

INT. RIT. STATE ROOM-MOMENTS LATER.                                           

The scientists, having finished almost all the food and drink are starting to be restive.  Murmurs are heard.  Shifting in the seats and looking for the exit.  Collin is aware of the change in mood.  He tries to get them to attend to his talk.

COLLIN

I'm afraid we have to stay here for the time being.  We will do our best to accommodate you. I can tell you that we are in contact with a bigger ship that will get us to Manhattan.

The guests are afraid.

COLLIN

Why don't we all have more wine?  I'm sure we will be back in a while.

One of the guests tries to go to the door.  One of Khan's thugs prevent him from leaving.

COLLIN (CONT'D)

Sorry, we can't have you leave.  I must ask you to stay here together.  For security purposes, you see.

SCIENTIST FOUR

(Angrily.)

I need to find the bathroom.

COLLiN

(Motions him to get back to his seat.)

Back to your seat, please.

(The guest returns to his seat reluctantly.)

I am so sorry.  So very sorry.

CUT TO:

EXT. SPEEDBOAT ON BOSTON HARBOR WATER-AROUND THE SAME TIME.                                  

Cruz and Michael are aboard a speedboat, clad in life jackets.  The speedboat is heading towards the yacht.

CRUZ

(Operating the speedboat. Over his shoulder he speaks.)

Is Polly ok now?

MICHAEL

I left her sleeping.  She should be fine.

CRUZ

I'm still worried that she will get loose and stumble into Khan or Collin.

MICHAEL

No, I'm sure that she'll stay in her cabin.

Michael looks towards the dim lights on the harbor.

CRUZ

I'm getting some flashing signals from the yacht now.  See them?

MICHAEL

I see them.

Michael nods.  The flashing lights, blue, are emitted some ways ahead.

MICHAEL

Let's go get them.

CRUZ

I'm not sure we can overpower them - just us two.

MICHAEL

(Smiles.)

Never fear.

CRUZ

I should know better.

(Laughs.)

MICHAEL

You of little faith.

(Laughs.)

CRUZ

We're closing in. The staff are supposed to head to the deck and await our directions.

MICHAEL

Excellent.

CUT TO:

EXT. BOSTON HARBOR-LONG VIEW OF YACHT AND THE SPEEDBOAT CLOSING IN.                                                                                                

DEMERARA-flashing lights-zoom into them and the man behind them.  They keep the lights flashing. The crew are unaware.  A gathering of staff members who work for Cruz have come to wait for the two men where the flashing lights are located.

SPEEDBOAT-Cruz and Michael approach the Demerara.  As the speedboat nears the yacht.  Cruz maneuvers the speedboat closer.  Agosto comes out and throws a line to Michael and they fasten the speedboat to the yacht. Cruz and Michael climb onboard. Agosto shakes Cruz' hand. 

AGOSTO

Good to see you, Mr. Cruz.

CRUZ

Agosto, meet Michael.

(Turns to Michael.)

AGOSTO

Hi, nice to meet you finally.  I've heard a lot about you.

MICHAEL

Good to meet you too, Agosto.  I trust the others are below?

AGOSTO

They are.  Miss Delano is in the third stateroom.  The bodies of Dr. Wolsey and Dr. Holt are in their cabins.

MICHAEL

What about the man Collin?

AGOSTO

He is in the stateroom.  He's making the guests upset.

(Agosto compresses his lips.)

MICHAEL

And Khan?  Where is he?

AGOSTO

We don't know.  He seems to disappear a lot.

(Looks afraid.)

He is a very scary guy, Michael.  He makes everyone feel bad.  I don't like him one bit.

MICHAEL

Yes, I know him.  He is difficult to keep in his cage.

Agosto and Cruz glance at each other.

CRUZ

I need to find Polly.  Can you lead me to her room?

AGOSTO

Sure.

MICHAEL

We need to get her out of here.  Let's do this quickly, shall we?

CRUZ

Yes, let's.

They move with Agosto silently down the stairs to the lower deck.

CUT TO:

INT. DEMERARA. POLLY’S CABIN-MINUTES LATER.                                            

The door bursts open.  Cruz enters. Michael stays outside. 

POLLY

(After Cruz removes her gag.)

Tom!  I'm so glad to see you!

Cruz takes her in his arms.  Polly is crying, relieved.

CRUZ

You ok?

POLLY

Yes, I'm ok.

CRUZ

No pains or anything in the head?

POLLY

(Puzzled.)

No.  Should I have them?

CRUZ

I'll explain later.  We need to get out of here.

POLLY

Wait, how did you find me?  How did you get here?

CRUZ

(Removes her ties.)

I had some help.  I was really upset that you were fooled into believing your Dad had a heart attack.  Some bad guy named Khan and Collin Guest are making plans to kill people like you using a remote method.

POLLY

(Her face is in awe. She can't believe it.)

Collin?

CRUZ

Yes. Collin.

POLLY

(Her eyes register some understanding.)

I see.

CRUZ

Now we need to get you back to the harbor.  I will be back for you.  I don't want you to do anything like wander around ok?

MICHAEL

(Enters the room.)

Let's see about me getting to the RIT and you take Polly back to Boston.

CRUZ

I can have Agosto take her back.

MICHAEL

Can Agosto manage the speedboat?

CRUZ

I believe he can.  He's good at a lot of things.

MICHAEL

Then let's ask him and if he can that would be good.  Ms. Delano, I think you ought to notify the authorities that two men have been killed in this yacht.

POLLY

I will.  But my father is in the hospital.  He had a heart attack today.

(A glimmer of tears in her eyes.)

CRUZ

Dear Polly, this was a ruse to kidnap you.  I don't think your dad is in the hospital.  Call him when you get back.

POLLY

(Flushing.)

You and I need to get my head straight with this whole situation.  I am really now very mad at how I have been made a fool of.

CRUZ

No, it is going to be ok.  Just let's get you out of here and I'll be in touch.

POLLY

Will you see me back at Meridan?

CRUZ

I will.  I don't know how long this thing is going to take.

They are silent for a moment. Both are digesting the significance of their reunion.

POLLY

I'll be waiting.

CUT TO:

INT. DEMERARA. SOMEWHERE IN THE LOWER DECK-MOMENTS LATER.                                                                                    

Polly, Michael, Cruz and Agosto confer.

MICHAEL

Agosto, we need to have Dr. Delano get back to Boston.

AGOSTO

Sure.  Do you want me to take her back?

MICHAEL

If you can.  Can you manage the speedboat?

AGOSTO

Yes.  I'm good at these things.

(He looks confidently at Michael.)

CRUZ

That would be good.

(Turns to Polly.)

Go with Agosto. He'll take care of you.  Don't forget to wear the life jacket.

POLLY

Yes, I will be fine.

Cruz and Polly gaze at each other.  Agosto touches Polly's arm and she looks away from Cruz.  Agosto and Polly leave.  Cruz stares at Polly's retreating back.

MICHAEL

Let's go look for the bodies.  We need to keep Khan away from them.

Cruz walks with Michael down the corridor.

CRUZ

I'm going to have to assume that Khan already knows we're on board.

MICHAEL

Yes.  I am going to say this, though.  Because of our elevated state of being, neither of us can be detected by his radar.  

(Smiles.)

CRUZ

Now I didn't know that.  I had no idea he could sense someone was in his radar that wasn't his person.

(Looking at him intently.  He is fascinated.)

MICHAEL

(Laughs.)

Khan has been around long enough that I can figure him out.

CRUZ

That gives me confidence.  We can get those scientists back to Boston today, then.

MICHAEL

I think we need to follow these bastards to Manhattan and find out what operation Khan is doing there.

CRUZ

Let's do it then.

CUT TO:

INT. DEMERARA. UPPER DECK OUTSIDE CAPTAIN’S CABIN-MOMENTS LATER.     

Captain Lewis runs into Cruz and Michael.  He looks surprised.

CAPTAIN LEWIS

Hi, are you in the party below?

MICHAEL

(Easily.)

Not exactly.  We're here with INTERPOL. 

(Shows his badge.  Cruz takes him badge out and shows it to the Captain as well.)

I'm Michael Sinclair. This is my colleague, Agent Cruz.

CRUZ

We're here to investigate the disappearance of two prominent neuroscientists.

CAPTAIN LEWIS

(Lifts eyebrow.)

This is news to me.  We have a party downstairs for - I think these are neurologists.

(Dawning thoughts impressing on his face.)

I am getting the idea that this is not a regular party.

MICHAEL

Who thought of this idea?  Do you get rented by people like these?

CAPTAIN LEWIS

(Cruz leans in to listen.)

I don't really know we've had any group like this in the past.

(Rubs chin.)

CRUZ

No, we didn't think so.  Whose party is this?

CAPTAIN LEWIS

Someone called Dr. Collin Guest.

Michael

That's who we are after.

CAPTAIN LEWIS

What do you want me to do for you?

MICHAEL

Just let us have a place to hide out till you get us to that ship the RIT.

(Cruz grins.)

CAPTAIN LEWIS

Hell, that's ok with me.  I'll show you the best place to hide out in.

(Turns around to lead them inside the captain's cabin.)

MICHAEL

Good.

They walk a short distance.  Captain Lewis opens his cabin door and lets them both in.  He follows them inside.

INT. CAPTAIN’S ROOM-MINUTES LATER.   

The three men enter the room.  A spacious place with a desk and internal phone.  Michael walks to the desk and then glances at the phone then at the Captain.

MICHAEL

This phone work outside - can I make calls to say, the Boston Police Department from here?

CAPTAIN LEWIS

(Walks to the desk and lifts the handset.)

Here this is what you do...

Captain Lewis shows how it's done.  Cruz walks around and peers out the porthole.  Darkness reigns outside.  A stiff rain marks the glass.  Water sluices down against the window pane.

CRUZ

We've got some rain.  Hope Polly is ok.  I need her to text me or call when she gets to her hotel.

Cruz murmurs and turns to face Michael as he dials the Boston Police Department.

MICHAEL

(Speaking clearly.)

Hello, I'd like to speak with Inspector Ingram.  Tell him it's Michael Sinclair of INTERPOL...  Hi, it's Ingram from INTERPOL, this Detective Ingram?  Yes, we've got a couple of victims for your men to investigate at the -

(Looks at the Captain inquiringly.)

CAPTAIN LEWIS

(Helpfully.)

Demerara Yacht.

MICHAEL

Yes, Demerara yacht... You know it?  Ok, we'll send it back to you and the Captain will steer this yacht back in a few...Good?  Good.

Michael hangs up and looks at Cruz.

MICHAEL (CONT'D)

I won't tell them all.   I'd rather I talked to Ingram in private.  I am sure he will have a huge cow when he hears of this.  I have not a clue whether they have any regulation this sort of crime might fit into as something they have broken.

CAPTAIN LEWIS

I don't understand.

(He is puzzled.)

I don't understand this at all.  I am upset that this bunch of criminals has used my Yacht to murder two men, and to take hostages to another vessel.  That is a great big crime in my experience.  High seas type of kidnapping.  Too much!

Captain Lewis paces the floor.  Cruz looks on sadly.

CRUZ

We have some time to discuss.  I'd like to suggest you calm down and let us handle it.  You know that this is a very, very hidden crime, and there is no real way to try these perpetrators for committing them.

Cruz walks to the desk and sits on its edge.  Michael is deep in thought.

CAPTAIN LEWIS

(Gets more nervous.)

I don't want to know.  I think you guys will have to think of this, though.  I have to sue them for any damages that were done to my yacht.  If that can be done at all.

MICHAEL

Ok.  Let's say you can and you will. I think you've got the information and you have got his signature on some agreement or contract to make sure this yacht doesn't get messy from their ride?

CRUZ

(Leans forward.)

I'll second that.  I think you don't need to know anything else.  I wouldn't want you to know.  It isn't necessary for you to know but you will need to talk to me later so we can get you all straight about the generalities of these criminals' intent.

(Glances at Michael in silent query.)

MICHAEL

(Nods.)

Right.

CAPTAIN LEWIS

Well... I guess that will have to do.  I want that Collin Guest to answer for these two murders.

CRUZ

If he doesn't get prosecuted by the laws of this country, then let's just say he will be getting his comeuppance in a way that will make up for any damages and more.

(He walks to the door and opens it before he continues.)

I'll go down now and get some more information from the staff.

CAPTAIN LEWIS

(Cruz goes out and Captain follows him out.)

It will have to be that way, then, Mr. Cruz.

Michael stays in the cabin.  He walks to the porthole and looks up at the sky.  He sees the rain. He looks at his watch.  The time is almost 2200 hours (10 o'clock p.m.)

CUT TO:

EXT. SPEEDBOAT. SOMEWHERE OUT IN THE WATER OF BOSTON HARBOR-NIGHT AROUND 2200 HOURS (10:00 P.M.).                                          

Polly and Agosto are heading back to the pier.  Agosto is at the wheel and Polly is sitting huddled.  The rain is unrelenting and her face and hair are all wet, the hair plastered to her face.

AGOSTO

You ok, miss?

Agosto looks at her quickly and then looks front again.

POLLY

I'll be ok.

Polly shivers, gritting her teeth in the cold.

AGOSTO

I can take you to your hotel. 

POLLY

I don't know where my luggage has gone.

(She sounds pitiful.)

AGOSTO

That's a bad thing.  I think that criminal is gonna have to fry in hell for what he's done.  It's disgusting.

Agosto stares fiercely ahead.

POLLY

I guess I'll have to make a report at the police department.

Polly's shoulders droop.

AGOSTO

Will you have anyone to help you?  Maybe that guy Mr. McDougall?

POLLY

(Looking hopeful.)

Yes.

POLLY (CONT'D)

I think I'll be ok.  I'll just stay in most of tomorrow and get warmed up and wait for Tom.  Then I'll have someone take me to the Police Department and they'll get my information.  I don't remember the cab number or anything.  I don't even remember the face of the cab driver.

Polly sits up straight.  She looks more confident as they approach the harbor.

AGOSTO

Good, you have a plan and that's ok.

Polly smiles for once and wipes her face.  They both anticipate their arrival at the pier and remain silent for the rest of the trip.

FADE OUT.

FADE IN.

Michael and Tom stay on in the Demerara yacht unbeknownst to Khan and Collin.  Their aim is to get into the RIT with the kidnapped scientists and gather evidence on Khan. 

INT. DEMERARA-2245 HOURS (10:45 P.M.)                                                   

Captain Lewis and his crew are steering the Demerara to the same or near the coordinates as the RIT.

CAPTAIN LEWIS

Mr. Shore, let the captain of the RIT know we are in close proximity.

SHORE

Aye, Captain.

Shore proceeds to contact the Captain of the RIT.  There is a brief exchange.  Shore turns to Captain Lewis and nods.

SHORE (CONT'D)

We've made contact.  The Guest party will be given the go ahead to transfer to the RIT in ten minutes' time.

CAPTAIN

Fine.  I'm going to be glad to get rid of these bad crums.

(He sighs and shakes his head.)

CAPTAIN (CONT'D)

I'll -

There is a sound at the door.  Guest enters.

COLLIN

(Imperiously.)

Captain, it's that time.  I'm going to have to ask your crew to help us to get on the RIT.

CAPTAIN

(Covering his contempt for Collin.)

I'll do what I can.

(They both exit.)

CUT TO:

INT. DEMERARA-2250 HOURS (10:50 P.M.)                                                                          

Cruz and Michael come out of Wolsey's room.  Both are heading to the upper deck.  Somewhere in their hearing sounds of people talking.

MICHAEL

You know what to do.

CRUZ

Yes. We wait till the passengers have come on board.

MICHAEL

We need to blend in with them.  We won't have a chance to get on otherwise.

CRUZ

I'm sure there will be no reason for Khan or Collin to care who is with these scientists.

MICHAEL

No.  They'll be schmoozing with the captain of the RIT.

CRUZ

(Toneless laugh.)

They haven't a clue.

Both men get up to the upper deck in time to see scientists file past.  Michael and Cruz walk with the scientists.  The scientists are oblivious, full of fear and anxiety.

SCIENTIST FIVE

I can't stand this.  I can't believe this is happening.

MICHAEL

I know.  Don't worry.  The authorities should be soon here.  Say nothing.

SCIENTIST FIVE

(Looks at Michael in surprise.)

Who are you?

MICHAEL

I'm one of you.  This man with me is also one of the scientists. I suggest you follow as ordered.

SCIENTIST FIVE

(Looking at Cruz who looks back with no emotion on his face.)

Yes, you look familiar.  If that's the case, let's get on with this.

He straightens up and walks determinedly towards the side of the yacht where the rest of the guests wait for embarcation to RIT.  Cruz and Michael follow them.

CUT TO:

EXT. DEMERARA DECK-2300 HOURS (11:00 P.M.)                                                                

Collin and Khan get on the boat that will lift them to the RIT.  Khan's bad guys await Khan's orders.  Behind the bad guys are the kidnapped scientists.

KHAN

(Speaking to the bad guys.)

Make sure all these scientists get on the next boat. Once they are, get on board with the last of them. The captain of the RIT will have his men take them below deck.

BAD GUY ONE and BAD GUY TWO leave. The boat is raised up out of view. 

CUT TO:

EXT. DEMERARA-WITHIN A FEW MINUTES.                                              

The scene shows the scientists being herded to the next boat to transfer them to the RIT.  Michael and Cruz blend in and get on the boat with them.  None of Khan's bad guys notice.

FADE OUT.

FADE IN.

INT. POLLY’S HOTEL ROOM-2300 HOURS (11 P.M.).                                        

Polly is clad in a robe.  She looks rested. She talks to her mother MRS. DELANO on the phone.

POLLY

I'm home.  I wanted to make sure you and Dad are alright.

MRS. DELANO (O.S.)

Yes, we are.  Did you think otherwise?

POLLY

(Registering relief and then determination on her face.)

I got a call earlier today.  The woman said she was you.  She said Dad was sick in the hospital.

MRS. DELANO

No, I did not call you.  Dad is fine.  He's with me in bed.  Whatever possessed anybody to call you and tell you that?

POLLY

I don't know, Mom.  I know this has been a long, long day.

Mrs. Delano is alarmed. 

MRS. DELANO

Polly, are you alright?  What has happened to you?

POLLY

I'll tell you all about it later, Mom.

MRS. DELANO

No, you need to tell me now.  What happened? Why would you get this call from someone impersonating me?

(She muffles the phone to speak to her husband.)

Look, Polly, Dad says you need to get home soon.  Tomorrow.  Understand?

POLLY

It's alright, Mom - Tom's got it under control.

MRS. DELANO

(Voice rising in panic.)

Tom?  Who's Tom?  Polly what is this you're not telling me?

POLLY

(Soothing tone.)

Don't worry about it now.  Just know I'm fine and I'll be ok.

MRS. DELANO

No, I am not happy to hear you've been in some kind of danger.  I want to have you, as soon as you hang up, make plans to get on a plane home tomorrow.  Then you need to call me back and tell me when you will land.  Dad and I will come and pick you up.  Ok?

POLLY

Ok, Mom. 

Polly wipes her face with her hand.  She is alternately happy to hear her Mom's solicitous words and sad that she has to endure the questions.

POLLY (CONT'D)

I'll do that.  I'll call you in a while, ok?

MRS. DELANO

Do that.

CUT TO:

INT. RIT. CAPTAIN’S DECK-2330 HOURS (11:30 p.m.)                                                    

Khan and Collin are with the Captain of the RIT.  Captain's name is Joy.

JOY

Glad you both made it.  Have you had a successful meeting?

COLLIN

Yes.  Everyone's eager to hear about this conference in New York City.

KHAN

(Darkly.)

We are satisfied. It's time we turned in for the night.

COLLIN

Uh, you have everyone put away then, Captain Joy?

JOY

Indeed.  They have themselves under surveillance.  We - uh - we counted thirty-two  passengers.  Is this correct?

COLLIN

(Looking at Khan puzzedly.)

Thirty-two?  Who - oh, Khan's men, I guess.

JOY

No, we didn't count them in.  We have thirty-two scientists on board.

KHAN

(Turns to Collin.)

Did you have a list of guests?

COLLIN

I did.

KHAN

Then let's find out who's not supposed to be there.

(Khan starts to pace the floor.  His worst fear is now upon him.)

You handle this, Collin.  Talk to my men and have them check the passenger list against the actual people on board.

COLLIN

Damn.  Who could be with the guests?

KHAN

Do it, man.  I have more important things to do.

(Khan nods to Joy and exits.)

COLLIN

Man, this is not going well.

JOY

If you need my men to help, just let me know.

CUT TO:

INT. RIT-LOWER DECK CABIN-2350 HOURS (11:50 P.M.)                                           

Cruz and Michael check their weapons in a store room cabin.  Both look capable and dangerous.

CRUZ

I've spoken to the other scientists - not all, but a few of them.

MICHAEL

Did you assure them they'll be alright?

CRUZ

Yes.  They all feel better - and ready to help.

MICHAEL

Excellent.  We're going to have to find out how long this ship will be going on its course.

CRUZ

You don't think we will be getting to Manhattan?  Weren't we planning to go with them?

MICHAEL

That was the plan.

(Looks at Cruz solemnly.)

No, we may not get there at all.

CRUZ

Then we can get this all wrapped up.

MICHAEL

Cruz, I'm of the idea that Khan will or may already have an idea that we are here.

CRUZ

Then we will have to act quickly.

MICHAEL

No, not necessarily.  We will wait until they come to us.

CRUZ

No, I'm not sure I want to be a sitting duck, Michael.

MICHAEL

We have to - this is how it needs to be.  If we can make Khan nervous by knowing that we are in here he might tip his hand.  He might just make his plot happen in this boat.

CRUZ

Ah.  So, he might want to kill us remotely, is that it?

MICHAEL

Yes. We will be fine - he will try - he doesn't have Justice nor Veronica nor Wolsey nor Holt any more.

CRUZ

(Folding his arms and smiling.)

I'd like to see him or Collin try.  They're both so stupid.

MICHAEL

And they are.  Bastards the both of them.

CRUZ

Ok, that is fine by me.  I'm ready to get some action on this, Michael.

MICHAEL

Alas, Michael, the action is in the minds - the minds of these perpetrators who prey on unsuspecting individuals and kill them in their sleep.  These bastards are cowards.  Cowards all of them.  From the beginning of time.

CRUZ

(Silent for a moment, then he nods.)

These are chilling words, Michael.  It is true.  They kill in the dead of night.  Or when the person they wish to kill is vulnerable.

MICHAEL

Let's see how the night goes, shall we?  I'll be on watch and you can take a few winks.

CRUZ

I'm not sure I can sleep now.

MICHAEL

Try to rest.  It's been a long one for you - and for Polly.  Don't text her while we are on board. It isn't a good thing.  Let's just let her proceed with her life.

CRUZ

I'm in love with her, Michael.

MICHAEL

I am aware of that.  Congratulations, old chap.

CRUZ

(Laughs.)

Now I'm hoping she'll be there waiting for me - when all this is over.

MICHAEL

We might have to call you after this and get corroborating evidence.

CRUZ

I understand.  Ok, let's see if I can find me a sweet spot and take a snooze.

MICHAEL

Good.  I'll stand on watch now.

CUT TO:

INT. RIT. LOWER DECK-2450 HOURS (1:50 A.M.)                                                                          

Khan's bad guys are roaming the passages of the lower deck cabins, going into the cabins and checking the passengers.  Passengers are upset and find this an irregular and rude act. The bad guys are impervious.

In Collin's cabin, one of the bad guys reports.

BAD GUY ONE

We have thirty accounted for.  We don't see two more.

COLLIN

Damn.  Where have you looked?

BADY GUY ONE

Everywhere.

COLLIN

That's not good enough.  Go see the other cabins.  Go to it, man!

BADY GUY ONE

(Shakes his head slowly. He is longing for his bed.)

Oh ok.  It'll take a while.

COLLIN

Damn, for two other people?  Go and get this done before the hour is over, and then let me and Khan know.

BADY GUY ONE

Crap.  Hate it.  Ok, I'm going.

COLLIN

Do it.

Khan enters and waits until BAD GUY ONE leaves.

KHAN

I'm afraid we have to conduct the training in this vessel.

COLLIN

Oh my god.  Why here?  I can't stand this. It's not what I had envisioned.

KHAN

If I'm right, we have two really dangerous people on board who I suspect want our project - my scheme - to end up in Hades.  Don't worry about the inconvenience, Collin.  I'm going to have to ask you to make the presentation in the morning, after we take our first meal of them day.

COLLIN

That leaves me with little time to get any rest and make the changes to this presentation.

KHAN

I'm not sure I care - you do this and I'll give you a big, big paycheck.

COLLIN

I don't need a rise in salary.

KHAN

What do you want, then?  What's you fondest wish, Collin?

Collin looks at nothing for a moment.  His face registers the emotions of someone who has it all but seems not to know what more he can have.

COLLIN

I want someone like Polly Delano.  She's who I want.  She was someone I wanted on my team but she wouldn't give me the time of day.

KHAN

(Laughs with scorn.)

You have no idea, Collin.

COLLIN

(Irritated and insulted.)

What do you think I should have then?

KHAN

You can have the world.  We can, with this method, target all - all - all of the world's leaders, and all of the world's thought leaders and all of the world totally. Do you understand where I'm going with this?

COLLIN

Damn.

KHAN

Yes, damn.

COLLIN

(Holds up his hands, as if to say 'uncle'.)

Look here, Khan.  It might be your fondest dream.  But I want Polly.  She suddenly comes to mind when I want to think of who or what I wish for in my entire existence.

KHAN

You are a piece of shit, Collin.  Why does she matter? That she hasn't been killed yet? That she has had the luck of a cat with nine lives and has yet more to give up?  You jest, Collin.  She's nobody.  She can't give you anything anything, anything!!!

COLLIN

I hate this, Khan.  I cannot feel any love for what you want.  I thought I could do this - kill people like this - undetected - and get what I want - all of the adulation of the scientific world.  I wanted their acceptance.  Their adulation.  Now, I want Polly to kneel in front of me and tell me I'm her lord and master.

KHAN

Oho. So, you want this unachievable woman, a woman I dare say.  I cannot stomach this.  You need to get out of this kind of thinking. You're like any man - the commonest of all - wanting this woman who's so far eluded you and you've not even tried to woo her, have you? No, not at all. I am sure you're as paltry as can be in a man.  You decided to want this woman while I was sending you out to dump the body of another, and to arrange for the kidnapping of scientists, and yet you don't buy what I am giving you?

COLLIN

(Stung.)

Ok, so I want Polly.  I want her as any man wants a woman who's strong and gives back as much as she's given.  I am sure you are disappointed in me, Khan.  I dare you to try to do this technique without me.  You need me, Khan.  All your people, some of them reluctant participants, have gone.  I'm the only guy you have to do this.  Can you do this alone?

KHAN

Are you resigning?

COLLIN

I may.  I don't wish to do this presentation tomorrow.  How's that for starters?

KHAN

Damn you.  I hate you now.

COLLIN

Go ahead. You hate me.  I hate me.  I am so tired of doing your bidding.  What did I think when I said I can help you?

Collin looks as though he wants to cry.  His face crumples into emotion and he looks away.

KHAN

Very well.  We can delay the presentation.  How about we do it after the second meal?

Collin looks up and says nothing.  He goes to the door and shuts it after him.

FADE OUT.

FADE IN.

INT. BOSTON POLICE DEPARTMENT INTERVIEW ROOM-NEXT DAY.                   

Polly walks in with a detective MORROW.  He lets her sit at the desk and takes the chair across from her.

MORROW

I'm aware you have a plane to catch.  I've had a call from Mr. Michael Sinclair.  He's with INTERPOL.  We need your evidence on what happened at the Demerara yacht last night.

POLLY

Oh, I don't know this Mr. Sinclair.

MORROW

Yes, he said you know his associate, Tom McDougall.

POLLY

(Face looks bright up at him.)

Yes, I know Tom.  Have you heard from him?

MORROW

No. Only Michael.  Now, tell me what happened to you.

POLLY

I got kidnapped. Somebody called me, pretending to be my mother.  She said my Dad was in the hospital with a heart attack. She told me to get back home and meet her at the hospital.

MORROW

Then what happened after you were kidnapped?

POLLY

They took me to a yacht. They bound me up and gagged me.  I was terrified. I couldn't tell who they were. They wouldn't answer my questions.

MORROW

So, this yacht, what is it called?

POLLY

I know now that its name is Demerara.

MORROW

Did you see anyone at the yacht? Anyone at all.

POLLY

I saw a colleague, Collin Guest.  He got me tied up and I hate him.

Then, later, Tom arrived and loosened my ties and removed my gag.

MORROW

Do you know why you were kidnapped?

POLLY

No.

MORROW

Not even a clue?

POLLY

(Pause.)

It's not the first time I was in this situation. Sometime back I was running - in Meridan - just working out, you see.  I felt some sort of person was chasing me.

MORROW

Oh?  Who or what sort of person?

POLLY

I could only see a bit of this person.  Someone in a black outfit. With a hood over their head.  And a black mask. I was so scared it made me run faster and faster, almost like I had wings - and then I got into a cafe and went out the back and caught a bus.  The guy or whoever it was didn't catch up at all.

MORROW

(Writes a few notes down on a notepad.  He seems perturbed.)

You don't know why you were kidnapped?

POLLY

No, what do you think would be the reason for it? I'm not anyone really - I'm a scientist - I work in a lab.  I sometimes go out to meetings and attend conferences somewhere in this country - I also get to go out of the USA and talk to or work with some other scientists.

MORROW

And what do you work on?  What's the research you do?

POLLY

I work - I research neuropeptides.  How they act on the brain.  How the brain behaves-in a physiological way.  How the brain makes the body react - positively - that would help mankind.  Negatively - that would kill the body and that's not what we want.

MORROW

So, you might know this - that there are thirty neuroscientists in this meeting over here in Boston that have disappeared overnight.

POLLY

(Looks afraid.)

No, I did not know.

MORROW

Yes, they're somewhere but we have word they are being spirited away from Boston. 

POLLY

In that yacht? Where I was?

MORROW

Did you not notice any activity there?  A party?  Or sounds of noisy people?

POLLY

I wasn't aware.

MORROW

Ok.  This is what we know Ms. - er - Doctor Delano.  You have narrowly escaped being killed twice if not more times.  I am going to have to ask you to talk to someone else in my department.  He will guide you into how you need to be once you get back to work or life in your city.  It won't be long.  But, you have to understand that someone - where you live and work - has it for you and you have to figure you can't do that anymore. Are you getting my meaning?

POLLY

Oh my God.  I don't like - I can't give up my job.  I -

MORROW

No, you don't want to but you might have to.  There may be more people who know what you know - this Collin you talk about. What do you know of him that you could talk about?

Polly frowns a moment.  Then looks at Morrow with a look of determination on her face.

POLLY

He's one of my colleagues.  He got promoted by the board sometime back - last week.  He hates me.  He has stolen my work.  He wants to get all the kudos of the scientific world.  He's that ambitious.  He cannot stand that I'm in my position because I worked hard to get there.

She stops, panting, almost out of breath.  Sweat forms on her brow.  The enormity of what happened to her dawns on her.

POLLY (CONT'D)

He's the man that plotted to kidnap me, is he?

MORROW

I'm afraid he could be.  He's also missing from here.

POLLY

(Leans back, blinking.)

Ok, Detective Morrow, you've made me feel really bad. I'm scared.  I want to get back home.  But I now seem to be unable to - I want this Collin person jailed and everyone who tried to kidnap and kill me.

MORROW

That can be done.  I will give you police escort back to - is that Meridan?

POLLY

That's where I live and work.

MORROW

Good.  I'll let Inspector Ingram see you and then once he's satisfied that you've given as much information you and one of the cops here will take you to the airport, sit with you while you wait for the plane and then he'll be with you on the plane.  Sound good to you?

POLLY

Yes. Yes.  I am so grateful.  Can I have a glass of water please?  I feel like I am going to pass out.

MORROW

(Goes to the water fountain and brings her back a small Dixie cup of water.)

Here.  You just rest here and I'll get Inspector Ingram.  He won't be long.

Morrow leaves and Polly sips the water.  She closes her eyes and remembers that Tom will be coming to see her once things are better.

FADE OUT.

INT. RIT BANQUET ROOM-DAY.                                                      

The guests file into the large banquet room.  Collin is at the podium.  He is oblivious to the others who enter. He is agitated, and fumbles with his papers.  Khan is in the back of the room, watching everything.  He motions to BAD GUY ONE.

KHAN

Did you find the other two?

BAD GUY ONE

No, there isn't anyone.  Couldn't find them.

KHAN

That has to be resolved.  Go and look again.

BAD GUY ONE

Oh god.

BAD GUY ONE leaves.

Collin finally looks up and encounters hostile stares from the guests. He takes them in and loses his resolve.

COLLIN

Look, gentlemen.  I'm going to have this presentation. You will have to listen and then make a decision to go with this project.

SCIENTIST SEVEN

Hey, I don't care.  I want to go back home.  I don't want to listen to you nor to that filthy Khan guy.

COLLIN

You are going to listen and if you leave you will be killed.

SCIENTIST SEVEN

I'm real scared.

COLLIN

I want you all to hear us out. If you do that, we promise you will return to your hotel rooms.

SCIENTIST EIGHT

I need to get back today.  I have plans to take a flight back to my country -

COLLIN

Enough!  Alright.  We have a project to discuss.  I want you all to know that you were picked because you have been criminally liable for committing murder in a way that nobody can detect. Am I correct?

SCIENTIST SEVEN

Hell.  What do you mean?  I am sure that isn't true.

COLLIN

You - you murdered a girl in your class.  She wouldn't give you what you wanted. A real nice-looking girl.  You decided she had to die.  We know what happened.

SCIENTIST SEVEN

(Incredulous.) 

That's despicable.  You can't pin that on me.

(He realizes what he has admitted.)

So this is how it is, eh?  What's the project you want? Do you want us to do this with you at the helm of the project?

SCIENTIST EIGHT

We are your assassins then? Damn.  That's gotta be rich.  No, surely you can't pin anything on us.

COLLIN

Oh yes, we can.  You have all a lot of answering to do.  Shall I go down the line? 

He goes to one of the guests. He pokes the man in the chest with a finger.

COLLIN (CONT'D)

You.  You raped a woman in your lab.  She was pregnant at the time.  She couldn't have sex with you.  She pleaded with you. Yet you went on and raped her.  Her husband found out.  You killed her husband without being present there.  She's a bitter widow now. Care to answer me about that?

He goes to another guest.  His eyes are fiery.

COLLIN (CONT'D)

You, how about you?  Did you not kill someone who was a competitor in your lab?  Yes, you did, you admit it?

The man nods sadly.

COLLIN (CONT'D)

Ok, all. You got the picture.

SCIENTIST EIGHT

Ok so you got us.  You expect us to just do what you want?  What is it you want us to do?

COLLIN

I want you to learn a new technique.  To kill without being seen. Being away for a mile or more or ten miles and conduct the assassination of those who we want you to kill.  You will use an intrathecal injection of a psychotropic drug and make that individual die.

SCIENTIST EIGHT

Who do you want killed?

KHAN

(Stepping forward.)

We might say, the President of the United States, for starters. I think we can be that ambitious?

They all stare at Khan.  Silence.

SCIENTIST EIGHT

Oh my god. You have no idea. That is - that is -

COLLIN

We may try someone else lower in the hierarchy of the government.

KHAN

Why not him?  He's prime for a target.

COLLIN

Damn, Khan.  I can't believe -

KHAN

You shut up. I'll take over here now. Sit down.

CUT TO:

INT. RIT. OUTSIDE THE BANQUET ROOM-DURING THE PRESENTATION.                

Michael and Cruz stand outside the banquet room.  As they are hearing what is being said inside, Michael spots Bad Guy One coming around the corner.  Michael shoots him dead with a silencer.

The captain of the RIT is off screen and he is conversing with somebody.  Michael and Cruz take cover.

JOY

I am sorry they are in a meeting.

INSPECTOR INGRAM

I need to talk to Dr. Guest.  It won't take long.

CAPTAIN JOY

If you wish.

They walk to the door and Captain Joy opens it.  Inspector Ingram walks in and sees the agitation inside among the guests.

Khan looks around and registers surprise.

INSPECTOR INGRAM

I'm Inspector Ingram.  I'd like to talk to Dr. Collin Guest if I may.

COLLIN

I'm Guest.  What do you want?

Collin is sweating like a pig but he looks at Ingram with some relief.

INSPECTOR INGRAM

I've been told that you kidnapped one Doctor Polly Delano.

Khan bolts for the door.  Several of the guests stop him.  He is wrestled to the ground.

INSPECTOR INGRAM (CONT'D)

(Looks on and then unruffled, speaks to the others.)

Doctor Guest, I am arresting you for kidnapping Polly Delano and for holding these gentlemen under false pretences to conspire to kill a government official.

Collin slumps down and takes a seat.

Captain Joy turns and sees Michael and Cruz with the rest of Ingram's men.

INSPECTOR INGRAM (CONT'D)

Let's all be calm here. I'll have my men take your names.  We will take you back to Boston. Captain Joy, I don't know how much you are involved but you need to be talked to back in Boston.

CRUZ

(To Michael.)

I was hoping to have some fireworks, Michael.  I'm deeply disappointed.

MICHAEL

I wanted to spare lives, Cruz.  I don't like fireworks like charging in with weapons firing.  It's going to lose lives we want to take to the Chamber and we can interrogate as needed.

CRUZ

Chamber?

MICHAEL

It's someplace we question people.

CRUZ

Well, that's good.  I'm going to help round people.

MICHAEL

Go to it, Cruz.  Then we can finish up at police headquarters.

Khan, overhearing them, is dark with fury.

KHAN

I won't give up.  You will see me again.

MICHAEL

And I'll be ready for you, but I doubt you'll have anyone to help you then.  Go to hell, Khan.

The police officers take Khan away.

FADE OUT.

INT. POLLY'S OFFICE-DAYS LATER.

Polly is packing her things while Zoe watches with sadness.

ZOE

I can't believe you are leaving.  Why?

POLLY

I have to.  This place is closing down.  Collin has disgraced himself, and he has caused Wolsey's death.  There's no credibility left for this place.

ZOE

What are you going to do? Will you still be in science?

POLLY

Not really sure, Zoe.  I will have to think about that.

ZOE

It's a big waste.

POLLY

You will have my word that I will be your reference.

ZOE

I might need it.

POLLY

You will be undergoing a lot of scrutiny.  No other lab will want us anywhere.

ZOE

I hate that.

POLLY

I am sad too.  I guess I'll see how I can go through my life and how I can move forward.

ZOE

It's good you still have your family.

POLLY

(Shivers, as though an ill wind has hit her.)

Somehow, that isn't giving me any comfort.

Zoe looks at her and realizes the implications.

ZOE

Oh, I am so sorry. I didn't mean anything by that.

POLLY

Zoe, I have to pray this whole scary thing with Khan and Collin will go away and never haunt me or you again.

They are silent as Polly finishes packing her things.

ZOE

Keep in touch, then?

Polly doesn't answer.

ZOE (CONT'D)

Polly?

POLLY

I will try.  But I might disappear and never come back.

ZOE

Oh, no.  You and your parents...

POLLY

Let's not talk about that.  Please.

The door opens.  Cruz walks in.

ZOE

Hi!

CRUZ

Hi.

POLLY

Are you all set?

CRUZ

Yes.  I've got the car waiting.  Shall we?

POLLY

Yes. I'm ready.

ZOE

Goodbye.

The couple leave and Zoe sits quietly.  Then, she gets up and walks out, leaving the door open.

THE END

This screenplay was submitted in part for my screenplay course for my MFA degree in 2019.

I'm available to anyone who wishes to ask me questions on this screenplay.  Thanks.  Mary