/***\

f-ONCRETE

by

Paul Chadwick

Dark Horse Entertainment REVISION

73 Market Street
Venice CA 90291
f^ (21C) 396-5937
 FADE IN:

FYT. fiUNLTT MOUNTATN. DRY

A towering, icy peak, gorgeous in the sunshine. A MAN--our hero,

RON LITHGOW—speaks in VOICE OVER.
RON (V.O.)
I was drawn to the wild places.
A ROCKY SLOPE—
Filling the screen, almost abstract.
RON (V.O.)
But I never got there when I was
young and free. Got too busy. Like
most people.
CLOSE ON AN ICY OUTCROPPING—
sparkling in the sunlight.
RON (V.O.)
Then I was changed so that I saw in
a new way.
f0^ An overlarge ICE AXE bites into the ice.
A MICROSCOPIC VIEW—
of ice crystals. As abstract as that rock face.
RON (V.O.)
I saw the strange beauty of this
world again.
CUT TO:
EXT. MOUNTAIN LAKE. DUSK.
A STEEP ROCK CLIFF—with a cave barely visible a few hundred feet
up--looms over the water. This is a different locale, without
snow.
RON (V.O.)
So much is hidden from us.
A BEAR—
makes its way up a rocky incline near the cliff. Vegetation is
sparse in this high country. The bear walks between...
 TWO LARGE BOULDERS—
{ seen indistinctly in the dark. They're not quite round, and they
almost seem to SHIFT as the bear passes.
THE BEAR—
sensing the movement behind him, WHIRLS AND CHARGES.
A BRILLIANT ARC OF BLUE LIGHT—
stuns the bear into instant unconciousness. Two barely-seen
figures DRAG HIM AWAY.
CUT TO:
TNT. SENATOR DOUGLAS'S OFFICES. DAY.
MICHAEL MAYNARD, a l a n k y , b e s p e c t a c l e d man a f f e c t i n g an a i r of
j a d e d amusement a p p r o a c h e s t h e desk of t h e S e n a t o r ' s assistant.
DEAENE. She acknowledges him with r a i s e d eyebrows.
MICHAEL
(indicating the inner office)
I s Ron s t i l l trapped i n t h e r e ?
DEANNE
("*• T h e y ' r e almost done, I think.
They're revising.
MICHAEL
Traffic's gonna k i l l us. now.
(facetiously) Say, Deanne...why
d o n ' t you come with us? We've got a
big t e n t .
DEANNE
Can I bring my husband?
MICHAEL
It's not that big.
Michael looks in through the open door, through which he sees
SENATOR MARK DOUGLAS, practicing a SPEECH from a TYPESCRIPT.
Gray-haired and patrician, Douglas peers through half-glasses. *
Seated nearby, RONALD LITHGOW follows along in his copy,
pencilling changes. Ron is a quiet type, attractive enough, if a
bit pale and soft from office work. He NODS at each change
Douglas makes.
Michael c a t c h e s Ron's eye and p o i n t s t o h i s watch. Ron nods,
yflfl^V holds thumb and forefinger a p a r t .
 DOUGLAS
Go ahead, Ron. D e a n n e ' l l type up
t h i s puppy.
RON
No. n o . . . I can do t h i s . I'd be
happy to—
DOUGLAS
GO. NOW.

Abashed. Ron places the papers on the desk. Douglas is obviously

used to being obeyed. Ron tenses when he's addressed again.
DOUGLAS
And ECU-••enjoy yourself up there.
I want to see you tanned and rested
when you get back. A new man.
Ron smiles, relieved, as he pauses in the door.
RON
You will.
CUT TO:
/f?$&\
INT/EXT-MICHAEL'S CAR—VIRGINIA COUNTRYSIDE—AFTERNOON
Ron and Michael wear new flannel shirts, still crisp from their
packaoes. These are not seasoned woodsmen. Ron is examining a
wicked-looking. TEN INCH KNIFE.
RON
What is this? We going to chop down
trees?
MICHAEL
You never know. I like it. It's me.
RON
Just don't put it in your carry-on.
Turn up there.
THE CAR—
Turns and ascends and finally crests a small hill. Revealed is a
quaint, modest HOUSE in the hollow below.
MICHAEL
Why's Liaa have it, anyway? She's
the one afraid to pee in the woods!
 RON
^•v My apartment is small. Look, slow
( down...stop here, in fact. stop.
Michael^
MICHAEL
Come on. She doesn' t have snakes
for hair.
RON
Give me a minute. It wells up
again, you know?
After a pause, the car rolls down to the house, stops again.
Michael sits tight while a tense Ron goes in.
MICHAEL
(watching Ron)
Gotta stop bleeding someday, pal.

TNT. LTSA'S HOUSE. AFTERNOON.

LISA, an attractive woman in her late thirties, opens the door.

Piled behind her is a PACK, TENT, and other GEAR, as well as some
BOXES. Ron's eyes rove around the room as they speak.
(~*- RON
Hi. You got it out. Thanks.
LISA
There were some books and things,
too. If you don't have room, maybe
it's time you got a storage space.
And nobody's been here, if that's
why you're looking around.
Ron gives a little hurt smile, caught. He starts to consolidate
the gear to carry it out. The tension between them builds for a
moment as he fumbles—a bit too fervidly—with this and that.
RON
Be nice to finally use this stuff.
He pauses for a reaction that doesn't come.
RON
Might do some rock climbing.
Even this bait fails to get a rise from her.
RON
H*"^. You're thinking I'll have one of my
( accidents.
y^^S LISA
It's none of my business.
Ron rises, wearing backpack, hat, boxes under each arm, enormous.
RON
Oh, that's it: *Go ahead, crack
your skull. Got my settlement, got
the house, Ta ta.'
Anger flares for an instant on Lisa's face; then she swallows it.
LISA
No, that isn't it. Ron, it's been
almost ££2 years.
RON
No, one and a half.
LISA
Look. Ron, these are the last of
your things. It's time to move
on...completely. ££ be careful.
But for your sake.
She puts her HAND to his CHEEK, an echo of the tenderness that
ySP^S
must have once existed between them. Ron looks embarrassed,
aching, ridiculous with his burdens; a box SLIPS and he must LURCH
WILDLY to retain his grip and balance.
RON
I'm okay! Thanks and take care.
He hurredly exits.
CUT TO:

EXT. LISA'S HOUSE. A SHORT TIME LATER.

Ron packs the gear in the trunk and gets in the car. Michael
gives him an exaggerated down-the-nose inspection while starting
the car.
MICHAEL
No bruises? Concussion?
RON
She couldn't even touch me.
But he fingers where she touched his cheek. They drive off.
jf0*J*\ DISSOLVE TO:
jdfi^v EXT. CLTFF FACE. DAY.

Ron and Michael inch up THE STEEP ROCK CLIFF we saw earlier.
Ron heaves himself up to the ledge where Michael rests.
They're HIGH ABOVE A SMALL MOUNTAIN LAKE; an impressive
climb. The day is glorious — a soul restorer.
RON
(expansive from his exertions)
You know there are just nine
mountains in the world over eight
thousand meters? They call them
eight thousanders. I thought, as a
teenager, that it'd be cool to climb
all the eight thousanders.
MICHAEL
I had a similar idea about some
girls in my English Lit class.
RON
(ignoring the joke)
Why do some people really do it,
chase their dreams? And we
just...compromise?
MICHAEL
Look at the sweat pouring off you.
Wrong dream, maybe. You haven't
done too badly, you know.
Ron gazes out over the lake, squinting; his eyes aren't great. He
takes out his wallet.
RON
This new beginning stuff. You look
at your life. It's so narrow from
here on.
Ron finds what he was after: a PICTURE of him with Lisa. He slips
it out. starts to FLIP it into space, but HESITATES. The second
time he does it with a BROAD ARM MOVEMENT. But as he lets the
picture go, he jerks his arm back, as if to grab it, throwing
himself off balance. He SLIDES OFF THE LEDGE.
Michael GRABS his shirt, arresting his fall just in time. Rocks
tumble to the lake. The picture falls an eternity before hitting
water. They know what a close call this was.
RON
/0**^. T- thanks.
/#*», Ron heaves himself back up and composes himself a moment. They
( exchange glances, nod, and resume their climb, adrenalized.
CLOSE ON THE CLIFF FACE
An opening appears by Ron's foot, revealing an OPTICAL SENSOR.
Neither climber notices.
CUT TO:
EXT. CAVE OPENING. CONTINUOUS.

Michael reaches it first.

MICHAEL
You were right. It is a cave.
RON
You...don't think anything could
live in there.
MICHAEL
Like what?
RON
A bear?
MICHAEL
What would it eat up here?
RON
Hikers?
MICHAEL
Come on, let's look. What's the
worst that could happen? (joking)
Look! A skull!
The pair creep up the slanted floor of the cave. It's deep; Ron
plays a flashlight around the interior, making shadows shift and
bend. Michael feels for the knife strapped to his belt.
RON
Why haven't I read about this? It's
huoe. How far should we go in?
MICHAEL
What do you mean?
RON
I mean 'getting lost.' Keep the
^v entrance in sight.
 But they don't; the pull of the cave is too strong. They climb
/•"•"v over rough, broken shapes, a symphony of DRIPS plinking in the
( darkness. Then a SCRAPING SOUND echoes around them.
MICHAEL
Was that behind us?
RON
It couldn't be.
As they look back, the pair are SEIZED by half-seen shapes with
rocky hands.* The flashlight goes SPINNING, shadows doing a wild
dance FLASHING ACROSS A ROUND. GRAY, NOSELESS FACE. They and the
shapes ROAR with fear and fury; Michael draws his knife; it is
seized and SNAPPED IN TWO by inhuman hands.
Michael's GLASSES fall, shatter. Screams, curses, ripping
clothes, scrapes, bleeding skin—and the two friends are SUBDUED.
The pair are carried deep into the cave in a furious, crashing
DASH by their still dimly-seen captors. They round a bend, and
are suddenly in a CLEAN, FABRICATED INTERIOR, wild with curving
detailing, an Alphonse Mucha fever dream.
Ron car. barely take it in, or even see well, blood from a gashed
forehead clouding his vision.
r^ RON
Michael!
But Michael's too stunned to answer. They're being CARRIED LIKE
DAUCKSUNDS by the still half-seen figures.
CUT TO:
TNT. ALIEN SURGERY ROOM. SAME TIME.

A roor. filled with intricate equipment on armatures, WORKING

SURFACES containing DISSECTED ANIMALS. All half-seen in quick
cuts.
Ron and Michael are brought in and placed for SURGERY. Bands
emerge from the tables, binding them. Sinister INSTRUMENTS swing
over them. They're sprayed with KNOCKOUT GAS.
Lookir.a around in panic, beyond words, the men STRUGGLE and SCREAM
LIKE ANIMALS. A louder WHINE like a high-pitched BUZZ-SAW DROWNS
THEM OUT. echoing as the scene. Their last waking sight is
LOOMING FIGURES who seem to be MADE OUT OF STONE.
FADES TO BLACK.
j^fP^V

FADE IN:
Jlf&z****.
TNT. WHTTE ROOM. DAY.

A rocky hand lifts to a rocky brow. It shows signs of surgery:

scabbing, a drain. The figure GROANS, eyes closed. The hand
probes the noseless, jack-o-lantern face.
Its voice reveals THIS IS RON, horrendously changed. From
offscreen comes a rhythmic CRUNCHING SOUND.
RON
Michael?
No answer; we still see only the transformed Ron.
RON
Michael, did I fall? I can't—I'm
not working right. I can't feel—
Michael? I can't open my damn eyes!
But somehow, he does. He tries to focus on his hand, but the
image makes no sense; for one thing, he can zoom in on MICROSCOPIC
DETAIL.
WIDER—
He slowly rises to a sitting position. The room is all sinuous
f0^ shapes, white on white. Across it sits ANOTHER ROCK MAN, huddled
v by the wall. He ROCKS FORWARD AND BACK as autistic kids sometimes
do: the source of the rhythmic crunching.
They STARE at each other.
RON
Who...are...you?
It's MICHAEL'S VOICE that answers, husky with emotion, near tears.
MICHAEL
Look at the rest of you.
Ron does, and slowly appreciates the horror and magnitude of what
has happened. Ron SCREAMS, again and again. Michael squeezes his
eyes shut and ROCKS harder, escaping to some inward, mad place.
*
CUT TO:
TNT. ALTEN MONTTOR ROOM. CONTTNUOUS,

ROCK MEN—differentiated from our pair by the technological

accoutrements on their bodies—look up from a monitor, exchange
GLANCES. Ron's screams and Michael's crunching come from a
^v speaker.
 10
CUT TO:
(* FYT. CAVE MOUTH. SUNSET.

A ROCKY FIGURE—again, decked out w i t h o t h e r w o r l d l y d e v i c e s —

emerges t o appreciate the f i e r y sunset. He holds Michael's broken
g l a s s e s , examines them curiously, then t o s s e s them i n t o the lake.
CUT TO:
INT. WHITE ROOM. NIKHT.

Time has passed; FLAKES from their rocky crusts litter the floor.
Ron paces frantically, HITTING the wall uselessly each time he
reaches it. Michael sits, not rocking, but exuding madness.
We can tell them apart by their different HEAD SCARS and the
PAINTED ALIEN CHARACTERS on their bodies. Ron speaks, on the EDGE
OF PANIC.
RON
We're not d-dead. Not dead.
MICHAEL
(lost in madness)
Dead.
/$$^\
RON
Don't! I need you, Michael! I
can't face this alone!
MICHAEL
Dead. Dead. Dead.
Michael leans forward on his hands and knees. He VOMITS BILE.
THE BILE—
a powerful acid, spreads and starts to EAT THROUGH THE FLOOR.
RON—
starts to HYPERVENTILATE at this sight. He starts SCREAMING again
and WILDLY SMASHES the WALLS.
A SMASHED WALL PANEL—
reveals MACHINERY, TUBING. ROCKY CRUST. AND PULSING TISSUE; a
weird biological/technological mix.
CUT TO:
 11
TNT ALTEN MONITOR ROOM. -SAME TTME.
/#»>«.
The rocky aliens scramble in reaction to Ron's destruction.
CUT TO:
INT. WHITE ROOM. A MOMENT LATER.

Ron CRINGES from the WET THINGS squirming in the wall. Suddenly,
a concealed entrance SLIDES OPEN, revealing ALIENS WITH WEAPONS.
They fire BURSTS OF ENERGY; Ron and Michael fall down, stunned.
CUT TO:
TNT SHOCK ROOM. NIGHT.

Ron and Michael—and a THIRD SUBJECT with the same rock body--are
strapped to heavy, vertically sliding devices like the "test your
strength" weights at a carnival, their feet in water.
SHOCKS are sent through the water which they can only escape by
JUMPING. They YOWL with PAIN with each one. Ron looks up at an
OBSERVATION WINDOW above them.
RON
' Michael! Look!
IN THE WINDOW —
are THEIR OLD HUMAN BODIES--animate, but BRUISED and LACERATED.
They're NAKED but for optical devices over their eyes. Horrified,
Ron and Michael see that by their old bodies is a BEAR with the
same devices over its eyes. A ROCKY FIGURE is in shadow just
beyond.
THE THIRD SUBJECT —
next to Ron and Michael, GROWLS LIKE A BEAR and TEARS FREE. He
LEAPS to the window. SMASHING it. He PULLS himself over the sill.
The rocky figure steps forth and DISCHARGES A WEAPON. The third
subject FALLS at Ron's and Michael's feet, smashed, burned, dead.
Beneath THE ROCK COATING IS CHARRED, SMOKING FLESH. The two are
in shock; this could be them, soon.
DISSOLVE TO:
INT. WHITE ROOM. LATER.

A STEAMING VAT sits between Ron and Michael. They eat the lumpy
STEW it contains with their hands. It contains ROCKS. Wear and the
mess show weeks have passed. The wall's fixed; their scars have
f"^ faded.
 12

^p^ Ron looks at a CHUNK OF ROCK in his hand. Rage grows within him.
( He THROWS it at the wall. He stands up.
RON
(to the aliens)
We're not animals! We're men!
Change us back!!
INTERCUT WITH:
TNT. ALIEN MONITOR ROOM. CONTINUOUS

The aliens remain impassive as Ron is heard over a speaker, and

seen on a screen set in the floor.
RON (OVER SPEAKER)
Change us back!!
Ron LEANS against the wall, reduced to dry, gasping sobs.
DISSOLVE TO:
ALIEN TESTS MONTAGE
Close views of the disorienting experiences they're suffering.
/<0*z\ RON'S EYES
...lids clamped open, dilating and contracting as LIGHTS STROBE.
A ROCKY HAND
...smaller hands on each of its fingers, which manipulate tiny
tools as the hand DESCENDS TOWARD US.
MICHAEL'S UNCONSCIOUS FORM
...lasers tracing patterns across him. The patterns linger,
glowing.
AN ANIMAL .•MECHANICAL THING
...crawling on a rocky surface, probably Ron or Michael's skin.

DISSOLVE TO:
INT. WHITE ROOM. NIGHT.

Ron whispers angrily to Michael, who now has a disturbing tick of

neurotically SCRATCHING HIS FOREARMS, bits of crust crumbling
down.
 13

RON
f^- We have to get out. We're t e s t
' animals. T h e y ' l l k i l l us when
they're done.

Michael shrugs. He scratches harder, disloging more crust. Ron

GRABS his forearms, shakes him.
RON
(furious)
What do I have to da with you?!
He BACKHANDS Michael, who is KNOCKED INTO A WALL and falls to
hands and knees—but the tough, rocky body is unhurt. A SIREN
sounds. Ron freezes, eyes darting around.
The DOOR SLIDES OPEN, revealing an armed alien. He and Ron STARE
at each other a tense moment. Then the door RECLOSES. The siren
stops.
Ron stands panting. Michael speaks, still facing the floor.
MICHAEL
All right. My life's over. It's
walking around with some damn thino
-*. in my skull. But if you still
f care...I'll help.
Ron can't believe it; his friend is back, this much at least. He
pulls Michael up and HUGS him so hard he CRACKS.
CUT TO:
INT. CORRIDORS. NIGHT.

An alien pushes a CART containing the food vat. He's armed.

CUT TO:
INT. WHITE ROOM. A MOMENT LATER.

The portal opens and the alien eases in the cart.

The prisoners exchange glances. Michael nods. Ron SCREAMS*AND
FLAILS, upsetting the cart. Then Ron HURLS Michael into a wall by
the portal. Michael slumps, motionless. The alien SHOUTS,
brandishing his weapon.
Michael suddenly JUMPS HIM, wrests away the weapon, and BLASTS KIM
APART. Dying, it unleashes an inhuman SCREAM. Michael stands
there panting, disbelieving it really happened. But Ron grabs his
/*"""""'• arm and they run out the portal. The siren starts.
 14

CUT TO:
INT. ALIEN MONITOR ROOM. CONTINUOUS•

The aliens scramble to deal with the breakout.

CUT TO:
INT. CORRIDORS. CONTINUOUS.

Ron and Michael run through the twists and turns, BLASTING
whenever they see an alien. Desperation makes them unstoppable.
They come to the SURGERY ROOM, look in'.
ON THE SURGICAL TABLE—
A DEER and a ROCKY BODY are under the knife. A brain transplant
is clearly underway. The pair is too worked up to be shocked.
RON
We were here! We're close!
Michael BLASTS the surgical machine, and they run off.
THE DOOR TO THE CAVE—
is so unremarkable they RUN RIGHT BY IT. But MICHAEL STOPS RON
and they go back: he's seen the small WINDOW in it that reveals
the CAVE beyond. Ron searches for a control to open it.
ALIENS RUN AT THEM from the way they came, FIRING WEAPONS. A
CHUNK OF RON'S SHOULDER is BURNT AWAY. Michael returns fire, and
they fall back. Then he BLASTS THE DOOR off its moorings.
CUT TO:
EXT. CAVE OPENING. NIGHT.

Ron and Michael emerge into the sweet mountain air.

RON
Shoot inside! Seal it with a cave-
in!
Michael tries, but the exhausted weapon produces only a feeble
GLOW. They look at each other, eyes huge.
RON
Jump!
Ron g e t s off an i n s t a n t b e f o r e Michael, e s c a p i n g the RAY t h a t
lances out of the cave. BLASTING MICHAEL TO BITS.
RON--
 15

^ falls to the black lake far, far below, finally producing a mighty
( SPLASH, joined a moment later by a constellation of smaller
«. splashes—the pieces of his unfortunate friend.
CUT TO:
EXT. LAKE FLOOR. CONTINUOUS.

Ron sinks to the bottom in a cloud of bubbles. He looks up, sees

A RAY piercing the water, probing for him.
It reaches all the way to the lake floor. Where the ray hits, the
mud is CHURNED violently. The ray is HEADED FOR RON. He
[Link] LEAPS into the trench it has left.
ABOVE THE LAKE—
A PROJECTILE arcs down from the cave into the lake. It EXPLODES.
UNDERWATER—
foar.y. turbid, the muddy bottom barely visible. Ron's ARM
EMERGES.
CUT TO:
/0<&\ EXT. LAEESHORE. A SHORT TIME LATER.

Water roils from the explosion. SMOKE everywhere. FLAMING TREES.

seer. ir. reflection, paint the water orange. RON EMERGES, slogs to
SHORE. He looks back at the cave, high on the mountain.
THE KOLTrTAIN—
ERUPTS, giving violent birth to the huge SPACESHIP hidden in it.
which soars off and is lost in the stars.
RON—
watches it go with a shell-shocked expression. He looks around
hesitantly. What now? The burning trees crackle. He slogs
through the muddy aftermath of the explosion into the woods.
CUT TO:
EXT T C.-JIP, NIGHT.
 16

Ron comes upon their tent, needle-strewn, and packs, suspended on

a rope to protect their food from bears. Snapping the rope and
lowering the packs is no problem; dealing with the flexible
support rods of the tent is impossible. He accidentally RIPS the
tent again and again, muttering curses. Finally he CRUMBLES it
into a ball like a discarded draft of a speech, and stuffs it in a
pack.

CUT TO:

EXT. TRAILHEAD. NIGHT.

Ron and Michael's RENTAL CAR is ticketed, covered with A MONTH'S
WORTH OF PINE NEEDLES, but Still there. Ron pulls the CAR KEYS
from the packs he's retrieved. They resist his now-massive hands.
Ron finds he can't fit into the car. So he PUNCHES THROUGH THE
ROOF and tears a large hole. Somehow he starts it and drives off,
his head poking through the ragged new sunroof.
CUT TO:
INT. LOGGER'S BAR. NIGHT.

Beards, checked shirts, arms like phone poles. There's a URINAL

TROUGH immediately UNDER THE BAR so the patrons can relieve
themselves without having to stop drinking. America's most
dangerous occupation has left one patron, LANCE, in a WHEELCHAIR.
But he bets on the ARM WRESTLING MATCH with as much gusto as
anybody. SWEAT rolls off HARLAN and his weakening opponent.
A man and a woman BURST IN, their clothes dissheveled--evidently
from pleasurable pursuits in the parking lot.
MAN
There's a sasouatch out there!
Harlan SLAMS his opponent's arm to the table. His backers CHEER.
WOMAN
It is! In the parking lot!
Skeptical sounds, chuckles all around.
HARLAN
No more for Billy and Liz!
He takes a well-earned swig from a long-neck during the laugh this
gets. Then the DOOR OPENS AGAIN. It's RON. The room falls
silent.
j$M^
 17
Ron takes a step forward, splintering the lintel. It's
/^*V
impressive, but Harlan, the alpha dog here, gets up, still holding
his beer. He faces Ron.
HARLAN
Nice. But you need fur to fool
anybody sober.
RON
Please. I need a phone.
A couple of Harlan's buddies come up and stand confrontationally.
HARLAN
First tell us the gag.
What he's been through has destroyed any patience Ron might have
had. He PUSHES Harlan aside. Another man tries to PUSH Ron—but
he only succeeds in pushing himself off.
MAN
He's really rock!
Harlan SWINGS the beer bottle, which hits the same cheek Lisa
touched so tenderly. It SHATTERS. Ron PICKS HARLAN UP and SWINGS
HIM AROUND by his arms. The room CLEARS OUT, except for a LANCE,
whose WHEELCHAIR is hung up on some furniture. Ron sets down
/*•**. Harlan.
RON
Get out.
Hariar. does, and Ron finds the phone. It proves impossible to
operate. His huge fingers can't push one button at a time. He
gives up in frustration and approches Lance.
RON
You...
[Link] lifts a PISTOL and EMPTIES THE CLIP into Ron's face. SIX
LITTLE CRATERS are left on Ron's crust, but he SMILES BLANDLY.
RON
Could you work this phone for me?
Wide-eyed, Lance NODS.
CUT TO:
INT. SECTOR DOUGLAS' BEDROOM. A SHORT TIME LATER.
Douglas, in bed, sits up with a jolt at the voice on the phone.
 18

DOUGLAS
/#^N Where have you been? Now hold on,
hold on. RON. We can handle this.
Where are you?
CUT TO:
EXT. HIGHWAY. NTGHT

A heavy-duty VAN speeds through the n i g h t . I t heads up a slope

toward forested MOUNTAINS.
DISSOLVE TO:
EXT. NATIONAL SCIENCE AGENCY (NSA) FACILITY. DAY.

A dozen complaining REPORTERS are herded out the front door by an

OFFICIAL and some GUARDS. Numerous employees are simultaneously
going in another door, flashing photo IDs.
Reporter TAWNY HILL, an intense, petite young woman, turns to the
official.
TAWNY
Can you confirm that it's not a
viral or bacterial disease breakout?
/0^K OFFICIAL
We don't handle that sort of thing.
TAWNY
Is that a denial?
OFFICIAL
If you want to fish, Ms. Hill, try
another pond.
The reporters erupt with objections ("It's all over town!" "Then
what's with this clampdown?" etc.), and an overzealous cameraman
knocks a guard in the face. SHOVING ensues; Tawny FALLS TO HER
KNEES in the melee.
By her falls THE GUARD'S ID. She pockets it. eyeing the line of
employees rushing in.
CUT TO:
INT. NSA CORRTDOR. DAY.
Tawny, wearing the guard's ID badge, t r i e s to look purposeful as
people in s t r e e t c l o t h e s run in one d i r e c t i o n , and those in
STERILE CLEAN-SUITS the other. She f o l l o w s a woman i n t o a
s**.. dressing room.
{
 19
PA SYSTEM
^v ETA is five minutes, people. Let's
{ be ready.
CUT TO:
TNT. NSA DRESSING ROOM. DAY.

Tawny f a l l s i n b e s i d e a woman n e a r l y f i n i s h e d s u i t i n g up, and

takes a c l e a n - s u i t o f f the rack h e r s e l f . The woman, with auburn
h a i r and an u n a f f e c t e d beauty, g i v e s her a look. Tawny n o t e s her
ZD c a r d : DR. MAUREEN VONNEGUT. . She p r o j e c t s e a s e and
intelligence.
MAUREEN
I can help with t h a t , i f you l i k e .
TAWNY
Please. I ' v e never worn one
b e f o r e . . . D r . Vonnegut.
MAUREEN
We're a l l i n for a new experience.
As she helps Tawny, a c l e a n - s u i t e d t e c h n i c i a n pops i n .
TECHNICIAN
yj#!*V Maureen, Mattingly's having fits out
there.
MAUREEN
Tell him I'm coming.
TAWNY
Is the contamination risk really so
great?
MAUREEN
Who knows? We've never dealt with—
A Guard pokes his head into the room; he and Tawny lock eyes.
GUARD
She's here, guys!
*
Tawny PRESSES HER BUSINESS CARD into Maureen's hand before she's
grabbed by the guards and moved toward the door.
TAWNY
I'd love to talk, anytime!
Tawny is hustled out. Maureen pockets the card and seals her
y#PK suit.
 20
CUT TO:
TNT NSA MAIN ROOM. DAY.

The VAN we saw earlier, riding low on its wheels, backs up through
this VAST STERILE SPACE filled with PLASTIC BIOLOGICAL BARRIERS
and people in CLEAN-SUITS. DR. DAVIS MATTINGLY supervises. A
portly, wild-haired man in his fifties, he is anxious but
cheerful—and perhaps a bit befuddled.
When the van reaches THE CENTER OF THE SPACE, the rear doors open
and RON STEPS OUT, provoking a general vocalization of awe. The
van LIFTS several inches after releasing its burden with a SQUEAK.
Ron looks at the staring, suited people: it's a pregnant moment.
RON
Howdy there.
This prompts even louder babble—it speaks English!
MATTINGLY
Quiet please! We have a protocol to
follow which Dr. Vonnegut is on her
way with now.
Mattingly wheels around to look for her, almost knocking over a
VIDEO CAMERA which, its red telltale glowing, is recording the
proceedings.
MATTINGLY
Stay in your work teams and be ready
for your call.
SENATOR DOUGLAS —
emerges from a door and walks toward Ron, who registers relief.
As Douglas advances, JOE STAMBERG, still sealing up his suit, RUNS
from the door to intercept him. Even in the bulky clean-suit,
Stamberg moves with athletic grace. His plastic face plate reveals
a sun-creased. 50-ish face, eyes narrowed, sizing things up.
Reaching Ron, Senator Douglas stares in wonder.
DOUGLAS
(fatherly)
My boy. what the devil did you get
into?
STAMBERG
One moment! Who here knows the
background of this thing?
Mattingly and Douglas lift their hands in acknowledgement.
 21

JtfiWV RON
Man.
Stamberg gives Ron a "could've fooled me" look.
STAMBERG
Henceforth it is "John Doe." The
secrecy of this matter to be
strictly enforced!
The technicians react nervously. Douglas whispers to Mattingly.
DOUGLAS
Dave, who is this...gentleman?
MATTINGLY
Joe Stamberg — security officer
assigned here. I'm afraid we have
to do what he says.
A VIDEO SHOT—
Ron suddenly looms in front of Stamberg.
We see this tableau from the angle of the video camera. Next to a
time code that's already there. A SUBTITLE appears, letter by
/***- letter, typed by someone offscreen: JOHN DOE-DAY 1
RON
Not thing. Man.
BACK TO SCENE --
Stamberg looks Ron up and down with mild revulsion.
STAMBERG
Jesus...
He turns away from Ron, then is startled to find Ron's hand on his
SHOULDER. The whole room TENSES. Then...
• MAUREEN VONNEGUT —
arrives, burdened with fat. bound computer printouts.
MAUREEN
My God! He's magnificent!
Despite the clean-suit. Ron sees an exceptional beauty looking at
him with something like rapture. He's flattered despite himself.
The confrontational tension evaporates.
ipflfo'V
She juggles the print-outs.
 22

MAUREEN
(to Mattingly)
Sorry. They're huge. Okay to start?
Mattingly nods. Maureen opens the first volume and reads.
MAUREEN
Welcome. Do you speak English?
Ron, Mattingly and Douglas share an amused look.
RON
Like a native.
MAUREEN
Great! We skip two hundred and
forty pages...
She finds the proper page.
MAUREEN
Do you have any physical needs we
can attend to?
Ron seems to want to make a joke, but his facetious tone falters.
RON
Sure! Change me...change me back.
Mattingly and Douglas exchange a worried little look.
MATTINGLY
What we'd first like to do, with
your permission, is a few tests.
Ron shrugs an assent. Team one sets to work.
DISSOLVE TO:
MONTAGE—NSA TESTING
RON is measured, weighed on a freight scale and while suspended in
a sling underwater. His STRENGTH is tested: lifting (THE VAN),
jumping (he clears seven feet), treadmill walking (three days
without a break).
He HOLDS HIS BREATH UNDERWATER for an HOUR.
More than Mattingly. MAUREEN oversees the work. Ron enjoys her
constant presence. While discretely OGLING her. he STEPS on a
TECHNICIAN'S FOOT. The technician shows up later in a CAST.
 23
Occasional VIDEO [Link] passing time ("JOHN DOE—DAY 3,"
etc.). Stamberg watches the video when he isn't INTIMIDATING
Mattingly.
RON'S SHOULDER REGENERATES over time. Clean room precautions are
dropped. He samples "foods," from burgers to wood to GRAVEL.
At one point, Ron gestures toward the door, and moves to go to it.
He's intercepted, persuaded back. Later, he OPENS THE DOOR;
outside are ARMED GUARDS, and he's again gently led back. But
it's clear he's being—at least passively—RESTRAINED. He
DISLIKES IT.

CUT TO:
INT. >!5A MAIN ROOM. DAY.
A private area has been arranged for Ron with a CHAIR and a BED
made of CINDERBLOCKS AND CEMENT; a bowl of GRAVEL for snacks. He
and Senator Douglas echo their positions in Douglas' office, a few
weeks and a lifetime ago. Ron reads a CLIPPING. They're alone.
RON
Not a bad obituary. What if they
can restore me, though?
^ DOUGLAS
{ You're only presumed dead. We'll
spin a yarn, if need be.
RON
Have you told Lisa?
DOUGLAS
I spoke to her new fellah.
Ron shoots him a look--surprise, hurt. Then he tries to cover.
He pops a couple of pieces of GRAVEL.
RON
Any word on the aliens?
DOUGLAS
Zip. There's nothing up there but
scorched rocks and trees. If it
weren't for your new look...well, I
think you just scared these boys
off, Ron. Shooting up the place and
so forth. Makes me proud.
RON
Thanks
 24

DOUGLAS
/"*"v So you okay here?
RON
A f t e r what happened I wanted t o
crawl i n a h o l e . This i s n ' t bad.
They r e a c t b e t t e r t o a freak l i k e me
than p e o p l e o u t i n t h e w o r l d ,
anyway.
DOUGLAS
I ought t o underline, something.
I ' v e promised a l o t of people—the
President included—that y o u ' l l keep
what happened under your hat. Still
with me on that?
RON
Of course, s i r . I promised. Most of
them think I'm an a l i e n .
DOUGLAS
Thanks. Anything you need? Just
ask. Dave's an o l d f r i e n d .
RON
T h e r e ' s one t h i n g . Could I g e t my
apartment s t u f f ? My books, papers?
Not c l o t h e s . . .
DOUGLAS
Done. Later.

Douglas EXITS, and t e c h n i c i a n s e n t e r and l e a d Ron o f f t o more

tests.
CUT TO:
TNT. NSA MAIN ROOM. DAY.

Maureen is marking Ron's surface with a GRID. It's a painstaking

process giving Ron ample time to study Maureen. Suddenly, a look
of recognition crosses his face.
RON
I just realized. You're the leech
lady!
MAUREEN
That's right. My fifteen minutes.
There's an edgy defensiveness in her voice.
 25

RON
I'm sorry. You must hate t h a t .
MAUREEN
Mr. Doe, I s p e n t s e v e n y e a r s
studying neurons in leeches.
They're e x a c t l y l i k e ours, only
fewer and more simply arranged. You
can l e a r n a l o t from them, and I
did. It had bearing on
schizophrenia, strokes...many
things. But s i n c e I had federal
money, t h a t S e n a t o r named me h i s
t a x p a v e r - r i p o f f of the month. He
was wrong.
RON
The guy h a s n ' t f i n g e r e d any pork
t h a t g o e s t o h i s own s t a t e , I ' v e
n o t i c e d . Douglas can't stand him.
MAUREEN
So you follow p o l i t i c s . Hmmm.
RON
A little.
MAUREEN
We can't ask about your background,
but obviously you've been living
with us for some time.
RON
I've been hanging out on Easter
Island, trying to blend. There! A
smile. Don't deny it. So how'd you
end up here?
MAUREEN
I'd been a student of Dr. Mattingly.
He hired me after the debacle. We
evaluate grant applications, mostly.
I was awfully glad you came along.
This is what it's about. You're
history.
RON
Your rosetta stone.
MAUREEN
No, better. Much, much better.
They're interrupted by Stamberg; he adjusts the surveillance
camera.
 26

r STAMBERG
Dr. Vonnegut, we had an agreement.
MAUREEN
And I abided by it, as your camera
told you; I didn't ask anything.
STAMBERG
Come on. Let's go see your boss.
RON
Hey, she didn't do anything!
Stamberg motions for Maureen to go on and leans close to Ron.
STAMBERG
Senator Douglas told me you promised
to cooperate.
RON
I did.
STAMBERG
Then honor your word. Keep it under
a lid.
( Before Ron can respond, Stamberg turns on his heel and exits. Ron
sits down in his chair. In annoyance, he lifts his feet and
brings down his heels HARD. A CRACK radiates across the concrete
floor.
CUT TO:
MATTINGLY-S OFFTCE-A SHORT TIME LATER.

Maureen cools her heels outside, visible through a glass panel,

while Mattingly pleads with Stamberg.
MATTINGLY
We'll have to widen the circle
eventually! She's my right hand!
She wrote the protocol we're
following!
Stamberg's eyes go up to the ceiling, where, barely noticible, is
a tiny, disguised CAMERA. Then he looks Mattingly in the eye.
STAMBERG
Give me your right hand.
Mattingly doesn't know what he means for a second, but offers it;
(
*"
**
" Stamberg takes it in a steely grip that makes Mattingly go pale.
 27
STAMBERG
Your job's science. Mine's keeping
secrets. Move your hand. See? I
squeeze harder. That's how it
works. There are a hundred outfits
that would slit your throat for that
thing. Don't do anything to lose
your prize.
He releases the hand.
STAMBERG .
She asks anything more personal than
the state of his bowels, she's gone.
Maybe you with her.
MATTINGLY
I—I'll speak with her.
Stamberg leaves, satisfied, as a shaken Mattingly motions her in.
CUT TO:
INT. NSA MONITOR ROOM. A SHORT TIME LATER.

Stamberg enters. His aide ALAN WU gives him an admiring grin. On

one of the monitors, Mattingly is arguing with Maureen—a view
from the extracurricular camera in Mattingly's office.
Young, crisply dressed, Wu entered intelligence work out of an Ivy
League school. He's a polished complement to the coarser Stamberg,
who joins him to watch.
WU
Give the man an Oscar.
STAMBERG
People aren't complicated. They
want daddy to tell them what to do.
But daddy has to be firm sometimes.
WU
That true? Other people want John
Doe?
STAMBERG
Used correctly he's a gold mine.
CUT TO:
INT. NSA MAIN ROOM. DAY.
 28
Technicians methodically chip a bit of crust from each grid panel,
jams, placing the chips in bags, which they number and date. SHEER
f TEDIUM.
TECHNICIAN
Sixty five...sixty six...sixty—
RON
(playfully)
Sure you got fifty nine? I don't
remember fifty nine!
TECHNICIAN
Quiet, please.

CUT TO:

IKT. NSA MAIN ROOM. DAY.

Maureen tests Ron's superhuman vision, holding a newspaper for him
to read far across the room. He still wears the grid markings.
Maureen's mien is politely formal, underlaid with anxiety.
RON'S POV—
Newspaper type SLIDES ACROSS HIS VIEW, so magnified the paper
/"•*•• fibers are visible. Ron refocuses on Maureen's EYE. then her
LIPS.
MAUREEN
And this one? Can you read it?
RON—
Blinks, then shakes off his reverie.
RON
Sorry. Yes—and we're not even near
the limit. Have to go outside to
reach it.
MAUREEN
Another day, I guess.
She folds the newspaper and walks back to him, writing on her
clipboard, one of the sort made from a DISCARDED CIRCUIT BOARD.
RON
When dc I get to go out?
CUT TO:
jfm'^rv
 29
TNT. NSA VIDEO SURVEILLANCE ROOM. CONTINUOUS.

' Wu and Stamberg watch the scene on monitors.

MAUREEN (ON VIDEO)
I...don't know. We haven't even
discussed it.
Stamberg shakes his head; these two together mean trouble.
CUT TO:
INT. NSA MAIN ROOM. CONTINUOUS.

RON
(irritated)
Too low a priority, eh? With all I
went through to get here...
Ron starts pacing, too edgy to sit still.
RON
Do you people have a clue about this
body? Will you ever be able to do
surgery?
MAUREEN
f**^ You mean, with you alive!?
Ron looks at her, understanding that the answer is no, that this
is his body, forever. He looks at his hands, forearms, ANGER
GROVJING.
RON
It was stupid to even hope.
He rubs his forearm with his finger. It abrades away the
markings, along with the outer layer of crust. Grit rains down.
Maureen DROPS HER CLIPBOARD, reaches to grab his hand.
MAUREEN
Don't! Those are important!
They FUMBLE a moment, unthinkingly. Suddenly, Maureen gives a
HISS OF PAIN, grasping her wrenched wrist. Ron is MORTIFIED. •
RON
I'm sorrv...I didn't mean to.
MAUREEN
I know. It's all right.
^ But she's holding it in agony. A COUPLE OF SOLDIERS appear.
' holding their rifles but not pointing. Stamberg appears.
 30

/""*•
1
STAMBERG
(to soldiers)
Take it easy. I saw it happen.
Just a little accident. You okay,
doctor?
MAUREEN
I'd better have it looked at.
She walks off, with a backward glance at Ron of fear and hurt.
Ron looks wretched, and Stamberg eyes him, oddly PLEASED.
RON
Who are these guys?
STAMBERG
Security.
RON
They going to shoot me? Like that
would dp. something? I could just
walk out of here!
The soldiers look a little sheepish. He's right.
STAMBERG
Of course not. They're here to
protect you. A lot of people'd like
to get their hands on you.
RON
But I'm your little treasure, eh?
Stamberg smiles and shakes his head, as if holding back a
delicious secret. Then the three leave Ron. He looks sadder than
ever.
CUT TO:
INT-NSA CORRTDOR-A SHORT WHILE LATER.

Maureen walks toward the door to the main room, a stretch bandage
on her wrist. The soldiers stand rigid. Before she reaches it, it
OPENS. Stamberg steps out.
STAMBERG
Sorry. Can't let you in.
MAUREEN
My work's in there!
 31
STAMBERG
f**^ The hands-on work will be done by
others. For your own safety.
MAUREEN
Dr. Mattingly might see things
differently!
STAMBERG
Ask him.
MAUREEN
I will.
She turns and storms away, to Stamberg's amusement.
CUT TO:
MATTINGLY'S OUTER OFFICE—A SHORT TIME LATER.

Through the glass panel, we see Maureen blowing up at Mattingly.

He tries to soothe her, then finally shrugs and cuts her off. She
leaves the office, closing the door with a SLAM.
CUT TO:
EXT. NSA COURTYARD—SUNSET.

(** An ARMORED PERSONNEL CARRIER (APC) pulls up. Troops get out.
Stamberg is on the steps, arms crossed. The TROOP COMMANDER
approaches him.
COMMANDER
Mr. Stamberg?
STAMBERG
Right. They briefed you on the
deployment plan?
COMMANDER
Affirmative. But what is it we're
deploying for?
STAMBERG
We have a special little problem
here. I'll tell you about it...
CUT TO:
TNT. NSA MAIN ROOM. A SHORT TIME LATER.

Stamberg approaches Ron, who's PACING l i k e a caged animal,

crunching his shedded chips underfoot.
HluWk"V
 32
STAMBERG
/s**1^ I thought you'd like to get some
' air.
RON
Of course I would.
STAMBERG
Follow me.
They exit.
CUT TO:
NSA ROOFTOP. DUSK.

Ron and Stamberg emerge from a stairway housing to a vast flat

roof with islands of air conditioning machinery. Beyond are the
Virginia suburbs, some city towers, the river. Ron eagerly scans
the vista.
STAMBERG
Lots to see.
RON
Uh huh. I see bats over the river,
dive-bombing bugs. A dog's chasing
something a couple of miles away
that way.
STAMBERG
You see that in this light?
RON
More. These eyes are the only
silver lining.
STAMBERG
They sure did a number on you. A
lot of guys would've lost it.
RON
You don't realize how much your body
means to you. How it is. you. I'm
not Ron Lithgow anymore. I'm...I
don't JSBfiu.
STAMBERG
You could be a lot of things. Do a
lot. Important things.
RON
>flTiT?*s.
Like what?
 33
STAMBERG
y»w>. We better go back down. I'm bucking
orders bringing you up here. Come
on.
They start for the stairs.
RON
Well, thanks. I enjoyed it.
STAMBERG
Sure. By the way, I had your stuff
brought by.
Ron eyes him with new appreciation; perhaps he misjudged the man.
CUT TO:
INT. NSA MAIN ROOM. NTGHT.

Most lights are off. It's quiet. Ron, still grid-covered, sits
in his cinderblock chair. Wu sets down the last of a dozen BOXES.
Ron grimaces at the "INSPECTED" tape on them.
Wu departs. Ron glances at the video camera perched atop a high
rollabie stand. In annoyance, HE TURNS IT AWAY FROM HIM.
<•**'• Ron opens a box. He lifts an electric RAZOR; it's useless now.
He tosses "it into a METAL WASTE CAN where it makes a CLANG. A
BRUSH. BAND-AIDS, and a HAIR DRYER make similar clangs.
A HAND MIRROR gets a longer inspection; Ron's never had such a
clear view of his current face. He stares for a long hard moment,
then BREAKS the mirror against the RIDGE of his forehead.
Expression opaque, he tosses the SHARDS into the waste can.

THE CAN—
sounds like bells tolling for the dead as the shards fly in.
CUT TO:
INT. MAUREEN'S OFFICE. NIGHT.

Maureen types at her computer amid a sea of printouts, notes,

photos of "John Doe.' She looks around, finds a CLIPBOARD—a
wooden one. with blank graph paper. Wrong one. She exits.
CUT TO:
INT. ELEVATORS. CONTINUOUS.
 34
Maureen gets in one elevator and as HER DOORS CLOSE, the other
doors OPEN. WU STEPS OUT and heads up the hall, none the wiser.
CUT TO:
INT. CORRIDOR. NIGHT.

Maureen approaches the two (new) guards at the main room door.
GUARD #1
Sorry Ma'am. No entry after hours.
MAUREEN
I'm assistant director of research.
I need to retrieve my clipboard. I
left it there this afternoon.
The guards eye each other, irresolute.
MAUREEN
Shall we call my friend Mr.
Stamberg?
GUARD «1
All right, just for a minute.

jySS??!*y
She passes inside. They eye the WALL PHONE, but that's all.
CUT TO:
INT. NSA MAIN ROOM. CONTINUOUS.
Maureen gets the clipboard. Ron can't see her from the privacy
area. The CLANGING SOUNDS draw her to him.
CUT TO:

TNT. NSA STTRVFTLLANCE ROOM. CONTINUOUS.

Maureen's SHADOW—she's keeping out of camera range—is VISIBLE ON

THE SCREEN. Wu approaches, but doesn't see it. He spots his
DINNER, cooling in a styrofoam clamshell. He takes it and sits in
the armchair to eat it. STILL OBLIVIOUS.
CUT TO:
TNT. NSA M&TN ROOM. CONTINUOUS.

Ron's back is to Maureen. She's afraid to disturb him. He has

out A YELLOW LEGAL PAD AND A PEN. An open box of MOUNTAINEERING
BOOKS is nearby. Some of them lay about, open to pictures of icy
vistas. For the first time since opening the box. he's SMILING.
 35
RON
(to himself)
I can write. They didn't take that.
But when he tries, he can BARELY HOLD THE PEN. Then he BREAKS it.
He's just too clumsy—in despair, he CRUMBLES the pad as if it was
tissue. He puts his head in his hands, then starts to TEAR
HYSTERICALLY at his FACE. Bits of rock and grit hit the floor.
Embarrassed, Maureen withdraws, but BUMPS THE CAMERA STAND.
CUT TO:
INT. SURVEILLANCE ROOM. CONTINUOUS.

The view on the screen FLASH FANS, but Wu is oblivious, eating.

CUT TO:
INT. NSA MAIN ROOM. CONTINUOUS.

Ron looks at Maureen, embarassed over what she may have seen.
Maureen thinks a moment, then DISCONNECTS THE CAMERA.
MAUREEN
Sorry. Will you take the blame for
this? I'm not allowed here.
S!0ft*\ RON
Thought you'd written me off. That
you were scared of me.
MAUREEN
Not at all! This hardly hurts! A
very mild sprain...In fact...
She begins to unwind the stretch bandage around her wrist.
MAUREEN
I've been demoted. I can't work
with you. I guess Stamberg didn't
want me to figure it out. Pretty
obvious! Who were you? I mean—
RON
No, no, "were" is right. Ron
Lithgow. I worked for Senator
Douglas. Ther something happened.
MAUREEN
I wpndered about him.
CUT TO:
INT. CORRIDOR: CONTINUOUS.
 36
The guards fidget, and peer fruitlessly through the window.
j<f!$fi>\

GUARD #1
What's taking her?
CUT TO:
TNT. NSA MAIN ROOM. A SHORT TIME LATER.

Maureen examines Ron's FOREHEAD with awe. She's WINDING THE

BANDAGE AROUND A PEN. He seems to have told his story to her.
•
MAUREEN
No scar at all. Amazing. But so is
everything!
RON
Shoulder's back, too. The body
regenerates somehow.
Maureen secures the fat, bandaged pen with package tape. She
hands it to him. He tries writing with it. IT WORKS! It's large
enough for his hand to grasp. He gives her a sad-eyed GRIN.
RON
You don't know how grateful I am.
Writing is the only time I'm truly
happy.
MAUREEN
You have a lot to write about.
RON
If they let me. I'd actually been
thinking about other things, having
a fantasy. When I was young, I
wanted to climb mountains, see the
Amazon, that sort of thing. Then
write the kind of books I loved to
read.
He looks at the dozens of BOOKS spread around, a mountian range of
early dreams, surrounding him.
RON
Thing was, I didn't have the body,
or drive, or whatever it is that
makes people live on that level.
And now...I do. The body, anyway.
I could do all those things, and
live by writing about it. I was
getting pretty worked up. Then I
f***. tried to use that pen. They took so
much from me.
 37

MAUREEN
I can only start to see how hard
it's been.
RON
That's more than I've gotten from
the others.
CUT TO:
INT. NSA SURVEILLANCE ROOM. CONTINUOUS.

Wu frantically adjusts controls, trying to get anything but the

WHITE STATIC on his screen. He RUNS OUT OF THE ROOM.
CUT TO:
INT. CORRIDOR. CONTINUOUS.

The guards are well into an argument.

GUARD #1
We're not supposed to go in. We're
supposed to call him.
GUARD #2
We weren't supposed to let anybody
in, either! Go get her!
GUARD #1
Another minute, I will.
CUT TO:
INT. ELEVATOR. CONTINUOUS.
Wu seethes with anxiety. The elevator's taking forever.
CUT TO:
INT. NSA MAIN ROOM. A SHORT WHILE LATER.

Maureen flips through SNAPSHOTS as they talk, noting Ron in his

human form, and Lisa as well.
MAUREEN
I should go. If Stamberg catches me
here, I'll be fired for sure.
RON
Why? The secret's moot now. in
fact, I wouldn't allow that.
Maureen smiles.
 38

f** MAUREEN
You can insist on a lot of things.
RON
Yeah! You're my top evaluator, as
of now. And we start field testing.
I'm sick of this room.
MAUREEN
I don't know if I want to be the one
who prompted you to walk out of here
tonight•••
RON
Tomorrow we lay down the law. I
need some sunshine!
He SLAPS HIS THIGH with enthusiasm. A ROCK CHIP stings Maureen's
cheek. She puts her hand to it; Ron looks dismayed—he's hurt her
again! But she smiles and holds up her hand.
MAUEEN
Just surprised me. I'm okay.
CUT TO:
f INT. CORRIDOR. NIGHT.

Wu argues with the two guards, who are trying to cover their
error.
GUARD #1
Mr. Stamberg said no exceptions!
WU
Then we'll call him!
Wu furiously punches the wall phone's keypad. As he talks, the
doors swing open; Maureen walks out and FREEZES.
WU
(to Stamberg)
It's me. The John Doe camera is
down and these guards won't let me
in. Tell them—
He freezes in midsentence. staring at Maureen. She recovers first.
MAUREEN
Is that Mr. Stamberg? I'd like to
talk to him.
Wu hands her the phone.
 39

fim*.. MAUREEN
Guess what? I'm back in the loop.
I went over your head. No, our
friend Mr. Lithgow. All right.
She hands it to Wu. Hearing his orders, he addresses the guards.
WU
Arrest her.
The guards seize her.
MAUREEN
Just a minute!
CUT TO:
TNT-NSA MAIN ROOM. CONTINUOUS.

Ron catches a glimpse of the struggle through the door's window.

CUT TO:
[Link]. CONTINUOUS.

/ >s
Ron BURSTS OUT of the doors. They SLAM against the walls so hard
* the window glass SHATTERS. Everybody freezes.
RON
What's going on!?
GUARD #1
Mr. Doe, we have orders to request
that you please remain inside.
RON
What if I say to hell with that!?
Their answer is a demonstration: they RUN, disappearing around a
corner. Wu follows. Maureen and Ron look each other, nonplussed.
AN ALARM STARTS RINGING.
MAUREEN
I think we've started something.
They approach where the guards turned. They peer around the
corner. Through the glass doors at the far end they see SOLDIERS
ASSEMBLING.
RON
I AID a prisoner. I doubt they can
^ stop me. but what about you?
t
 40
MAUREEN
I have an idea.. About your future,
too.
CUT TO:
TNT/EXT-NSA LORRY NTGHT

Ron comes up to the glass doors. Outside is furious activity.

CUT TO:
INT-NSA MAIN ROOM. NIGHT.

Maureen starts up the VAN and drives out the opened roll-up door.
CUT TO:
EXT, M S A COURTYARD. NIGHT.

Ron emerges into AN ENCLOSED AREA with only one vehicle access to
escape through. SOLDIERS ASSEMBLE, then do something quite
incredible: LINK ARMS and fix their hands together with TWISTS OF
NYLON ROPE. Ron looks baffled. Their COMMANDER approaches.
COMMANDER
Get a good look, Mr. Doe. You
aren't getting out of here unless
you tear these boys' arms out of
their sockets. From what I hear,
you're not the violent type.
Ron hesitates. It's true.
CUT TO:
EXT. EMPLOYEE EXIT. SAME TIME.
Maureen drives through the now UNGUARDED EMPLOYEE EXIT.
CUT TO:
EXT. COURTYARD. SAME TIME.

Ron looks thoughtful, gazing at the human barricade. A

SURVEILLANCE CAMERA over the door takes in the scene.
COMMANDER
Let's talk. Bet there's a
compromise you can live with.
Ron turns, reenters. He props the door open. Their relief is
palpable. But Ron comes out RUNNING FULL FORCE and LEAPS OVER the
double line of men. He THUDS to earth, then continues on.
 41

The APC drives into the vehicle access, blocking it—unless Ron
climbs over the top. He continues toward it. The commander calls
forward a soldier with a TEAR GAS LAUNCHER.
COMMANDER
Mr. Doe! This is tear gas.
Unpleasant, but it won't hurt you!
You'll be blinded for a bit!
Suddenly, Stamberg appears wielding a GRENADE LAUNCER.
STAMBERG
Save it.
Stamberg fires. It HITS next to Ron, the EXPLOSION knocking him
down. His side is spiderwebbed with cracks, and A CHUNK is gone
from his leg, revealing a fleshy interior structure. But he
crawls over the APC. Stamberg FIRES AGAIN, hitting the vehicle,
starting a small fire and disabling the engine. Ron is beyond it
and LIMPING into the night.
The vehicle DRIVER pops out of a hatch with a fire extinguisher.
DRIVER
What turd-brain did that?
All eyes go to Stamberg.
STAMBERG
Everybody out the back! If he
reaches the river he's gone!
The commander starts after Ron, gesturing for his men to follow.
CUT TO:

EXT. RIVERFRONT PARK. NIGHT.

Standing by the van, Maureen finishes a call on a CAR PHONE,

nodding and signing off. She anxiously scans the river for Ron.
Her face fills with joy as Ron EMERGES from the WATER (his GRID
MARKINGS are GONE)—then FALLS as his WOUND becomes visible. She
runs to him.
MAUREEN
How much pain is there?
RON
Scale of ten? Six, maybe. I'll
live. Let's go.
 42
MAUREEN
^ There's not much choice. We have
til 11:00. We'll just make it.
RON
Make it to what?
MAUREEN
I'll tell you on the way.
CUT TO:
INT. "NIGHTBEAT" STUDTO-NTGHT

Preparations of the three guests of this nightly news-interview

show are in full swing: mic'ing, makeup, pre-interview briefing.
The HOST strides through, trailed by TAWNY HILL, the reporter who
briefly infiltrated the NSA.
HOST
Can't change subjects this late.
I'm surprised, Tawny.
TAWNY
She said she's bringing the thing
from the NSA! Can't we be ready
^*s just in case?
HOST
Sorry. I hear "story of the
decade"—I smell a crank.
They move out of view, but Tawny isn't giving up.
CUT TO:
TNT VA?C. NIGHT.

Ron wraps DUCT TAPE around his leg as he speaks to Maureen.

RON
Just the decade? Not century?
MAUREEN
There were a couple of world wars.
Look at this—an accident. We'll
have to go on foot. Can you walk?
RON
It's regenerating already.
CUT TO:
^ EXT WASHINGTON BELTWAY. NIGHT.
 43
The institute van is in a SNARL OF TRAFFIC. Ron and Maureen leave
it, running along the line of blocked cars, causing double takes,
exclamations, car-phone calls.
They come to the ACCIDENT SCENE; one of the two cars is FOLDED
NEARLY IN TWO. The driver's unhurt, but can't get out. Ron acts
as a one-man "jaws of life" and UNBENDS THE FRAME enough for the
door to open, and moves it off the road. The grateful man limps
out, dumbfounded. Ron and Maureen run on, giving cheery little
waves.
CUT TO:
INT. POLICE CAR. NTGHT.

Two cops. The view beyond them is an ordinary street—for now.

DISPATCHER (ON RADIO)
All units in the area of south
Connecticut avenue look out for
twelve foot monster. Repeat, twelve
foot monster, seen heading north.
The two cops look at each other. This is a new one.
CUT TO:
TNT. NSA VIDEO SURVEILLANCE ROOM. SAME TIME.

Stamberg and Wu are both on phones.

STAMBERG
Keep the watch on his ex-wife's
house. And find where Douglas is,
too.
WU
He's been sighted, sir.
He pulls over a map and taps the street. Stamberg looks at it.
STAMBERG
What's up there? What's he doing?
WU
Isn't a network near there?
STAMBERG
yes there I£.
Furious, Stamberg bolts for the exit. Wu follows.
CUT TO:
 44

EXT. OUTSIDE THEATRE. NTGHT.

"UNIVERSAL MONSTER FEST" on the marquee; Frankenstein, Dracula.

Wolfman in the poster cases. A FATHER walks out with his
distressed little boy.
FATHER
Aw, sport. Monsters are just make-
believe. Dry those tears.
RON AND MAUREEN come around the corner. The FATHER spots them,
and though bug-eyed himself, MANEUVERS HIS BODY around his boy
until they're out of sight, down the street. The boy never sees
them. Father and son LOOK AT EACH OTHER, ROLES REVERSED. DAD is
freaked-
CUT TO:
EXT. STREET NEAR NETWORK. NIGHT.

PEOPLE RUN SCREAMING as Ron and Maureen lope up the street. Ron
CRACKS THE PAVEMENT with each pounding step, in occasional weak
spots leaving mammoth FOOTPRINTS. The NOISE echoes off buildings.
RON
jrffiTflFSH. People are so hung up on J-ooks!
A MOTHER --
lets go of her SMALL CHILD'S hand and runs in panic. A CAR is
HEADED RIGHT FOR THE CHILD. With huge strides, Ron reaches the
child. He lifts her and the CAR HITS RON with a CRUNCH. He hails
the mother:
RON
Hey lady! Wait a minute!
With another LEAP Ron is in front of the mother.
RON
You forgot your baby!
The mother RECEIVES it with awe and gratitude.
INT. POLICF CAR. NIGHT.

The same cops. Concrete's BOOMING FOOTSTEPS are f a i n t l y audible.

DISPATCHER (ON RADIO)
Twenty foot monster reported
northbound Connecticut A v e n u e . . .
 45
COP #1
^ We got April Fool's here or what?
COP #2
What's that sound?
CUT TO:
EXT. STREET PUDDLE. WTRHT.

Two KIDS, one with a JURASSIC PARK T-Shirt watch the puddle SHAKE
with Ron's thundering T-Rex magnitude FOOTSTEPS.
T-SHIRT
Whoa, cool!
CUT TO:
EXT. STREET NEAR NETWORK. NIGHT.

A CAR, its driver distracted by Ron. JUMPS THE CURB and takes out
A FRUIT STAND. ORANGES avalanche across the street, all around
Ron. He FLATTENS ONE with a step. Ron scoops up a few in his
hands, then pitches them underhand to some of the terrified
citizens.
^ RON
( Oranges! Good for you! Vitamin C!
People catch them, and it seems to bring them out of their fear.
Anybody tossing oranges to them probably isn't about to kill them.
ORANGE CATCHER
Thanks, man!
Ron catches sight of POLICE LIGHTS far up the street. He points.
RON
Maureen, we've got company.
MAUREEN
Let's go around them!
She indicates an ALLEY and they dash into it.
*
CUT TO:
EXT. ALLEY. NIGHT.

Sheltered by a box, an old woman sits before a fire of scrap wood.

Ron and Maureen LEAP OVER the fire. Ron's TOE CATCHES on some
FUEL, sending SPARKS FLYING EVERYWHERE. The sparks, the beautiful
JP**- woman, the rock man—it's a dreamlike vision. She peers after
them. awed.
 46

/0&\
CUT TO:
EXT. PARALLEL STREET. NTGHT

A beautiful COUPLE emerge from a restaurant and walk to the curb.

MAN
I'll get you a cab.
WOMAN
Maybe we could share one.
He gathers her implication. They slowly drift toward a steamy
kiss.
Then she SCREAMS as Ron emerges from the alley behind the man. He
thinks he's offended her.
MAN
What!? What!!?
She CLINGS to him as Ron and Maureen DODGE AROUND THEM. They
watch them go, HUGGING each other with a new sort of intimacy.
CUT TO:
j ^ ! > \ TNT. POLICE CAR. NIGHT.
The two cops are swiveling around, looking everywhere.
DISPATCHER (ON RADIO)
...that's a hundred foot monster on
Massachusets avenue...
COP #1
So it's Godzilla now, not
Frankenstein.
They round a corner to be confronted with RON RUNNING RIGHT AT
THEM. They SLAM on the brakes, going into a SKID.
CUT TO:
EXT. CROSS STREET. CONTINUOUS.
Ron LEAPS and barely avoids being hit by the SKIDDING CAR,
clearing the hood by inches.
He makes a virtual CRATER when he lands. He runs down the side
street. Maureen shadowing him on the sidewalk.
THE COP—
•*ff$B*&y
lays down rubber turning the car around. His siren shreiks.
 47

RON—

looks over his shoulder and puts on more speed.

CUT TO:
INT. STAMBERG'S CAR. NTGHT

Stamberg, Wu and THREE BEEFY AGENTS speed to the network.

CUT TO:
EXT. NETWORK BUILDING. NTGHT.

The cops in pursuit, Ron runs up the street and then up the steps
of the network building, people scattering. Maureen's half a
block behind. The cops jump the curb and stop. They pull their
revolvers, using their doors as shields. They train a spotlight
on Ron and address him over a PA system.
COP #1 (AMPLIFIED)
Halt! Put your hands up!
Ron complies. Maureen catches up, outside of the spotlight, and
waits at the entrance.
yftSv^V
RON
I can explain.
They wait. Where to begin?
RON
It's a TV show. See, this is the
network? I'm reallv. really late.
I have to go in now, but thank vou
for being so alert.
Ron and Maureen go in. The cops don't know what to do. but they
don't have cause to shoot. They look at each other, pained.
COP #2
We'd better call in.
CUT TO:
TNT. -NTGHTBEAT* STUDIO. NIGHT.

The "minutes until airtime" CLOCK shows FIVE TO GO. Host and
guests are in place, but even now, the Host is enjoined by Tawny.
TAWNY
/0P>\ If they get here, could we talk
during the break?
 48

jt0R\
HOST
Tawny...drop it!
Suddenly, there's a ruckus in the back of the studio. RON AND
MAUREEN ARE STANDING THERE. For an instant, everybody falls
silent.
Then everyone JUMPS INTO ACTION, shooing the talking heads out of
their seats, prepping Ron and Maureen. A MAKEUP WOMAN approches
Ron with her gear, then thinks anew. Tawny slips away in the
chaos.
The doors BURST OPEN, and STAMBERG AND HIS MEN enter, guns drawn.
RON
Gonna shoot everyone?
Stamberg sees that he's being videotaped and lowers his gun.
STAMBERG
(to his men)
Put the guns away.
(to Ron and Maureen)
I'd like to talk privately.

y$™?y
The three step into the "Green Room."
CUT TO:
INT. NTGHTBEAT GREEN ROOM. CONTINUOUS.
Couches, phones. TV, a restroom. Stamberg attempts a sort of
charming frankness.
STAMBERG
You need to be free of the place. I
see that. But if the aliens and the
rest of it comes out, I've failed.
I can't let that happen.
RON
How can't it? I'm here, aren't I?
You plan on killing us?
STAMBERG
No, no. But my men can shut down
this studio.
RON
You'd only delay things.
y*N
 49
STAMBERG
I can take her with me. And other
things.
RON
Just ^rv.
STAMBERG
Look, I don't want to hurt you. I
want a deal. We have a contingency
plan.
CUT TO:
INT. NTGHTBEAT STUDIO. NIGHT.

A PRODUCER pounds on the green room door.

PRODUCER
Please hurry! We have a minute and
half before airtime!
CUT TO:
INT. GREEN ROOM. NIGHT.

/**** Ron's ticking off points on his fingers.

RON
...Maureen stays with me, she gets
full support, I go where I want.
STAMBERG
But I'm with you too. 'Til I'm
satisfied you'll live up to this.
And you take P.R. cues from me..
There is POUNDING on the door.
PRODUCER (O.S.)
Thirty seconds!!!
RON
All right.
«
They open the door and are hustled to the set—though Ron fails to
duck. TAKING OUT THE LINTEL OF THE GREEN ROOM DOOR.
Stamberg joins his men and watches the show.
CUT TO:
 50
TNT. GREEN ROOM. NTGHT

Tawny SLIPS OUT OF THE RESTROOM where she's been EAVESDROPPING.

Then she exits the Green Room, straining to be nonchalant.
CUT TO:
INT. NIGHTBEAT STUDTO. NIGHT.
Stamberg notices Tawny emerging from the room. He GLARES at her,
realizing she overheard them.
Ron sits on a sturdy steel chair. The normally imperturbable host
is noticably nervous. He clears his throat:
HOST
I've interviewed them all...
Presidents and Popes...but I
guarantee I've never done one like
this.
(to Ron)
First of all, sir: do you have a
name? People here are just calling
you "the concrete guy."
RON
jf$$f\
I guess that's okay for now.
HOST
All right then, we'll be back with
our guest. . . (punching it)
Concrete...after this.
A PRODUCTION ASSISTANT approaches Stamberg.
PRODUCTION ASSISTANT
There's a call for Concrete's agent.
It's Kenner Toys. You can take it
in the Green Room.
Stamberg stares a second—then goes back to take the call.
CUT TO:
TNT. LIVING ROOM. NIGHT.

A few kids i n t h e i r t e e n s and t w e n t i e s a r e watching the show,

eating Domino's, lounging around.
CONCRETE (ON TV)
I'm a cyborg. Mechanical arms and
legs. Amazing w h a t ' s i n t h a t
jVS^fcv Pentagon budget.
 51

HOST (ON TV)

It's hard to believe that's
possible-
CONCRETE (ON TV)
I'm here. You need more proof?
One of the kids stands up.
WILSON
We could get down there before this
ends. Let's check this dude out!
Assent is given in the coolish way of youth. They start to stir.
CUT TO:
INT. NTGHTBEAT STUDIO. NIGHT.

Tawny is watching it all skeptically. Stamberg is visible,

animatedly talking on the phone—as if he's cutting a deal
already!
HOST
Why the rocky coating?
CONCRETE
Radar*absorbing. I'm a Stealth
cyborg.
CUT TO:
INT. SENATOR DOUGLAS' HOUSE. NIGHT.

Douglas, unbuttoned and relaxed, watches with a grin. The boy's

doing just fine.
HOST (ON TV)
Why are you going public now? Some
of your associates were unhappy with
the idea.
CONCRETE (ON TV)
Well, the project was at a dead end.
I wanted to do something else.
CUT TO:
INT. NTGHTBEAT STUDIO. NIGHT.

Concrete's STEEL CHAIR is STRAINING under his weight.

Affi*\
 52
HOST
And with this new body, immensely
strong, impossible to fatigue...what
will you do?
Concrete looks at him. He's stumped; what does the future hold?
He DELAYS an uncomfortable time, searching for words. People in
the studio begin to shift; Stamberg scowls; Maureen looks on
anxiously.
Then CONCRETE'S CHAIR GIVES WAY and he CRASHES TO THE FLOOR.
CUT TO:
EXT. NETWORK BUILDING. NTGHT.
Concrete emerges to A HUGE CROWD of curiosity seekers, the press,
police. FLASHING LIGHTS of police cruisers make the scene eerie.
A NEWS HELICOPTER hovers overhead, casting a restless spotlight.
The crowd CHEERS his appearance. He looks at Maureen and
Stamberg.
STAMBERG
You're a celebrity, ace. Haveta
ride this one out.

/tffff^S.
Somebody hands him a MEGAPHONE. He raises it to his mouth.
CONCRETE (AMPLIFIED)
Thanks. You're beautiful. And I'm
not. But that's okay.
I'm...Concrete.
It doesn't make much sense, but the crowd CHEERS him anyway. He's
arrived.
CUT TO:
A MONTAGE OF TV CLIPS
Rapid as drumbeats come IMAGES OF CONCRETE in the videoscape: The
Niohtbeat interview; a still behind a TV anchor; impersonated in a
REENACTMENT of the rescue of the woman's TODDLER on the STREET;
holding the megaphone in front of the crowd; poked with mics in a
throng of reporters—including TAWNY HILL; among celebrities at a
charity event; presenting at the MTV awards; doing a sitcom cameo;
looking out a HOTEL WINDOW; with LARRY KING. Message: he's
everywhere.
CUT TO:
INT. DAVID [Link] SET. NIGHT.
 53

Concrete walks onstage w h i l e Paul and the band p l a y "I am a rock."

He takes h i s SEAT—a c o n s t r u c t i o n of 4 x 4s and s t e e l p l a t e — n e x t
t o Letterman's d e s k . C o n c r e t e ' s l e g has HEALED. The applause
ends.
LETTERMAN
So. You are a p i g guv. You are!
Simple words, but t h a t Letterman magic makes i t somehow just
r i g h t ; the crowd e a t s i t up.
CONCRETE ;
I ' v e put on a few pounds. Few
hundred.
LETTERMAN
T h e r e ' s something I ' v e n e v e r s e e n
you asked I ' v e wondered a b o u t . . .
CONCRETE
Hit me with i t .
LETTERMAN
J u s t what i s i t you do when your
bladder i s f u l l ?
The crowd r e a c t s i n p h a s e s , f i r s t e n j o y i n g t h e sheer rudeness,
then appreciating what a good question i t r e a l l y i s .
Concrete l o o k s around l i k e h e ' s trapped. Then he STANDS UP.
Letterman f a c e t i o u s l y wards off an a t t a c k , g e t t i n g more laughs—
which are j u s t a b i t n e r v o u s . I t i s n ' t c l e a r a t a l l what
Concrete's going t o do.
He l i f t s the injured, now-healed leg—AND OPENS A TRAP DOOR i n i t .
Amid the f l e s h y matter. TUBES AND A VALVE are revealed w i t h i n .
CUT TO:
EXT. EAGLE ROCK WAREHOUSE. DAY.

A REALTOR takes down his agency sign and the "FOR RENT* sign.
We're on Colorado boulevard, the one commercial street in the
otherwise leafy, residential L.A. suburb of Eagle Rock.
*
STAMBERG (V.O.)
I t s b e a u t y i s how i t s e l l s t h e
cyborg t h i n g . Why e l s e would you
have a door i n i t ?
CUT TO:
(**• INT. EAGLE ROCK WAREHOUSE. DAY.
 54

The mostly raw space is being, at the far end, furnished with
(^ c i n d e r b l o c k FURNITURE f o r Concrete. T h e r e ' s some temporary,
rented f u r n i t u r e — a TABLE, CHAIRS, TV. Concrete and Stamberg
stand t a l k i n g . Maureen has t h e trap door open and i s withdrawing
f l u i d with a SYRINGE, then transferring i t t o TEST TUBES.
MAUREEN
We may be l y i n g l e s s than you think.
I think this body Ls. partly
artificial. I t ' s stronger than
muscle physiology allows.
t

Stamberg rolls his eyes at the technical talk, but doesn't ask.
CONCRETE
Makes sense. They mixed biology and
technology like crazy on the ship.
Stamberg checks the workers at the far end. They didn't hear.
CONCRETE
Don't worry. I won't blab your
precious secret.
STAMBERG
Your country's secret. See that you
don't. You gave your word.
(to Maureen)
So what does he do? He eats;
Where's it all go?
Maureen sweeps up some of the flakes and chips from around
Concrete, his constant companions. She hands them to Stamberg.
MAUREEN
That's where he gets his crust. He
egests all over his body. The fluid
evaporates from his mouth, mostly,
with his high body temperature. An
unexpectedly elegant system.
Stamberg looks at Concrete, drops the material.
STAMBERG
So you're sort of a walking turd.
Thank God you're dry!
Miffed, Concrete snaps the trap door shut and heads for the door.
CONCRETE
I'm going to look at my new
neighborhood.
 55
—^ Concrete inadvertantly KNOCKS A CHUNK out of the lintel on his way
( out. He SLAMS the door. Maureen seems uncomfortable to be left
alone with Stamberg. She begins labeling her samples and loading
them into a carrying case.
MAUREEN
Must you? He's burdened enough.
STAMBERG
He's weak. Strongest man in the
world and he's all soft inside.
Even in my line we've got *em.. .wind
up drinking, mostly. But sometimes
you can reach 'em, wake 'em up.
MAUREEN
I don' t see why you need to reach
him.
Stamberg says nothing, but his manner is dismissive. He has some
idea he doesn't care to express just now. He walks over to her.
sits on a folding chair, WATCHING HER. She becomes nervous.
MAUREEN
Yes?
STAMBERG
That valve you added. Can you
inject things?
MAUREEN
We have. He needed painkillers,
thanks to you. There're two
circulation systems. This one
serves his human brain.
STAMBERG
So if he got out of control, was
hurting people...we could sedate
him?
MAUREEN
That's hardly likely.
STAMBERG
I have to plan.
She gives him a look, then closes the clasp on the case and exits.
CUT TO:
 56
EXT. COLORADO BOULEVARD. DAY.
/$5*y

Concrete has attracted a column of KIDS following him. He does

his best to ignore their quips and laughter. He's in no mood...
SKATEBOARD KID
Hey, quit takin' us for granite!
EYEGLASSES
Do you eat at The Hard Rock Cafe?
PONYTAIL :
On hot days can you fry an egg on
your head?
BATIK SHIRT
You wanna come to my house? It's
just a stone's throw from here!
Concrete RUNS INTO THE STREET; car brakes SQUEAL; he goes into a
CONVENIENCE STORE.
INT. CONVENIENCE STORE. DAY.

Concrete delicately closes the door, and is reassured that the

kids don't seem to be following him. The affable OWNER is'
delighted by the celebrity visit.
OWNER
Concrete man! Welcome! Our new
neighbor!
CONCRETE
News travels fast.
OWNER
Can I get you a snack? A nice hot
dog? On the house!
CONCRETE
No, thanks. I can't taste food.
I'd like a paper, though. May I
open an account? Money is difficult
for me.
OWNER
No problem! I'll bill you monthly!
Concrete gets a LA Ximas.—and notices the TABLOIDS. The weekly
World News headline catches his eye: CONCRETE SECRET ENVOY FROM
UNITED PLANETS—WILL WE QUALIFY? A doctored photo of Concrete by
a classic FLYING SAUCER accompanies it.
&0l>s.
 57

CONCRETE
Close.
Another magazine draws him: Outside. A MOUNTAIN is on the cover.
He tries to pick it up. but it defies his huge fingers.
Frustrated, he TEARS SEVERAL COPIES. The owner picks up one for
him.
OWNER
Let me get that.
CONCRETE ;
Sorry. Put those on my tab.
The owner totes up the charges on the purchases and smiles.
OWNER
Okay! Nice to meet you! Come in
any time!
CONCRETE
Thanks.
Concrete turns to go, holding his purchases, inadvertantly
KNOCKING OVER a huge DISPLAY RACK. He looks at the huge mess,
dejected.
CONCRETE
I'm so sorry. Put that on—
OWNER
No problem!
Concrete goes out into the street. This world no longer fits him.
CUT TO:
EXT. GRAUMAN'S CHINESE THEATRE. NIGHT.
A PREMIERE is underway.
IN FAST MOTION, first one limo, then another, discharges STARS who
walk over the famous cast-in-cement FOOTPRINTS AND SIGNATURES of
performers, as cameras flash.
The THIRD VEHICLE is a red MONSTER TRUCK with OUTSIZED WHEELS.
Concrete hops out of the truckbed, which SPRINGS UP on its shocks,
lifts out his date (a real celebrity who'd enjoy such a lark
[Madonna?]) and tromps in.
THE CEMENT WALKWAY—
has been overlaid with Concrete's FOOTPRINTS, CRUNCHED RIGHT INTO
THE EXISTING PRINTS AND SIGNATURES.
 58

£t0&\ CUT TO:

EXT. L.A. STREET. DAY.

News VIDEO f o o t a g e . Concrete hemmed i n by microphones, walking

SHOUTED but INCOMPREHENSIBLE questions pepper him.
CONCRETE
You know what I ' v e always wondered?
What t h i s sounds l i k e .
He p u t s a MIC i n h i s mouth and EATS I T . The crunching is
DEAFENING.
CUT TO:
EXT. DESERT HIGHWAY. DAY.

Concrete again rides in the bed of the MONSTER TRUCK. Stamberg

drives, Maureen sitting by him, distant behind sunglasses.
Stamberg's men follow in a black sedan.
Concrete opens the sliding glass in back of the door.
CONCRETE
I don't even see why I need to do
/H^V all this.
STAMBERG
You're famous! Enjoy it while you
can. Better if people see you as
this year's big ape than a guy with
something to hide.
CONCRETE
I'm not a big ape.
STAMBERG
Just for a while, 'til the next big
ape comes along. Lord, it's been
years since I've been on an op that
made money.
CUT TO:
EXT. A ROCKY DESERT. DAY.

A Joshua Tree-like setting. A MUSIC VIDEO CREW is set up here.

A CLAPBOARD is in front of Concrete's face.
CREWMEMBER
i,,^ "Rock of Gibraltar" First verse.
f Take One.
 59

/!^^\ The d r i v i n g rhythm of the pop-rock song—"Rock of Gibraltar" —

kicks in over MONITOR SPEAKERS.
A LONGER SHOT—
reveals THE BEAUTIFUL YOUNG POP DIVA who is singing this song.
(Lyrically, the song is the Diva's fantasy about a man who is as
strong and faithful as the Rock of Gibraltar).
The Diva SINGS THIS SONG TO CONCRETE, who stands, foot tapping, on
a FLAT-TOPPED PYRAMID. As she sings the first verse, the Diva
moves provocatively towards Concrete.
CONCRETE—
LIP-SYNCHS the backup vocal. The melodious voice (female?) is
comically incongruous.
CONCRETE AND THE DIVA-
DANCE on the faux pyramid platform which WOBBLES VIOLENTLY under
Concrete's pounding steps. Finally, it COLLAPSES—definitely NOT
part of the plan.
DIRECTOR
Cut! Art department! What can we do
here?
The art department flies in and starts taking apart the pyramid
set. Stamberg and his men have trouble keeping straight faces.
CUT TO:
EXT. ROCKY DESERT. LATER THAT DAY.
Concrete and the Diva again DANCE on a MUCH REINFORCED PYRAMID.
But IT TOO COLLAPSES—in a DIFFERENT way.
CUT TO:
EXT. ROCKY DESERT. AFTERNOON.
Long shadows. CONCRETE SITS IMMOBILE on a BOULDER as the Diva
sings to him and does all the dancing herself. The SONG CONTINUES
OVER THE FOLLOWING MONTAGE.
CUT TO:
INT. CONCRETFMANTA—A MONTAGE.
 60
Rows of Concrete plush dolls (as well as "Baby Concrete" and
"Asphalta") , squirt guns, pet rocks, rock candy, school folders
and other ephemera flash by. A kid pulls a copy of CONCRETE COMICS
out of its protective bag. Crossed-out STICKERS show a rapid
INCREASE in PRICE. He accidentally TEARS THE COVER, and guiltily
slides it back in the bag, looking around. A TALKING CONCRETE
DOLL has its STRING pulled:
CONCRETE DOLL
You're beautiful. And I'm not. But
that's all right. I'm...Concrete.
•Rock of Gibraltar* ENDS.
CUT TO:
TNT. WAREHOUSE. NIGHT.
Tables overflow with letters and Concrete paraphernalia. The door
has been MODIFIED, the. lintel TWO FEET HIGHER than it was.
Concrete sits in his CINDERBLOCK CHAIR. Maureen's typing up one
of her reports to send to the NSA, unwittingly beautiful in jeans
and a leotard, bathed in computer-1ight. Concrete watches her
with obvious LONGING. She senses his attention.
MAUREEN
What's on your mind?
y*^V
Startled, he fumbles for some covering answer.
CONCRETE
Oh, everything. I feel adrift.
I've done all this stuff of
Stamberg's just because it's easier.
MAUREEN
He knows how to push.
CONCRETE
It's as if he likes to make me feel
trivial. Wonder why.
Maureen ejects the disk and slips it in a mailer; then she logs
off.
MAUREEN
I said it before: you can insist on
a lot.
CONCRETE
I'll start saying no when I'm fed up
enough.
 61
Maureen looks at him with an expression of DISAPPOINTMENT which he
s**°\ doesn't quite perceive. Then she STRETCHES unselfconsciously—
( though Concrete's conscious enough of her feminine silhouette.
CUT TO:
INT. HOTEL SUITE. DAY.

Stamberg and Wu are admitted by some tough-looking HENCHMEN, who

frisk them. They find GUNS on both of them, as well as a
VIDEOTAPE.
HENCHMAN
You'll get these back afterwards.
Stamberg takes back the tape.
STAMBERG
This is our show.
Assenting, the henchman directs them into the inner room where
FLORES sits, backlit against drawn, translucent curtains. A man
of both bulk and gravitas, he speaks with a slight latin accent.
FLORES
Joseph, you've aged well!
(*** STAMBERG
And you've come up in the world.
FLORES
Things change. Which is why you're
here, I presume.. Last I heard you'd
been disciplined, stuck away with
research people. Now you're
Concrete Man's friend.
STAMBERG
Just "Concrete.* You want to see
this?
Flores nods.
CUT TO:
VIDEO FOOTAGE—NSA MAIN ROOM. COURTYARD. DAY/NTGMT
We see views of Concrete lifting the van, leaping, his escape
through the troops, his survival of the grenade hit.
 62
STAMBERG (OFFSCREEN)
An o f f - t h e - s h e l f army you can move
in a single helicopter. Drop him,
kick b u t t , get out. Nobody can
s t a n d up t o t h a t . Y o u ' l l be
invincible.
CUT TO:
INT. HOTEL ROOM. A SHORT TIME LATER.

The tape continues to play on the TV, £hen goes BLACK.

FLORES
Price?
STAMBERG
Peanuts. A couple million to cover
costs getting him out of here. Plus
the use of your island to complete
his training.
FLORES
Why so cheap?
STAMBERG
That buys you a one-year contract.
Then we renegotiate. Or I go
freelance.
FLORES
What's to keep me from cutting you
out? Pay him directly...
STAMBERG
He doesn't know about this yet.
FLORES
What?!

STAMBERG
Listen, you know me. I've turned
more assets in my time than you have
grandchildren.
FLORES
But this fellow...
STAMBERG
He's like everybody. Most people's
lives are a Soke. Just once, they
want to feel important.
Flores leans back, nodding thoughtfully. He's interested.
 63

V«*N CUT TO:

TNT. BLANK BACKING. DAY.

A closeup of Concrete, head and shoulders, against white.

CONCRETE
I'm not a client of Hair Club for
Men...but if I were, they could do
wonders for me...
Concrete suddenly has A FULL HEAD OF HAIR, immaculately STYLED.
CUT TO:
TNT WAREHOUSE. NIGHT.

Concrete lies on his cinderblock bed. A HEARTBEAT is heard. It

SPEEDS UP. Concrete CRACKS OPEN and RON LITHGOW EMERGES.
Ron. now clothed, comes into the other part of the warehouse.
Maureen and Stamberg are there. Ron addresses Stamberg.
RON
It's over, thank God. Get out.
(*** Maureen grins. Stamberg. now THREE FEET TALL, is furious.
STAMBERG
You get back in there! I'll have you
dipped!
Maureen comes to Ron, takes his arm, TOUCHES HIS CHEEK.
MAUREEN
It's what I've dreamed of.
Stamberg, now the size of a SHREW, squeaks fiercely from the
floor. Ron STEPS ON HIM like a cigarette butt.
Ron carries a rapturous Maureen, now swathed in smoky chiffon, and
lays her down on the BED. It is now luxurously soft, with smooth,
satin sheets. They close in for a kiss with exquisite slowness.
The heartbeat returns, getting LOUDER AND FASTER...
CUT TO:
TNT. WAREHOUSE. NTGHT.

Concrete (rock coated, a l a s ) awakens on h i s b e l l y on h i s

cinderblock bed. Raising himself, he looks at where Maureen ought
A** to be. He runs h i s hand across i t . Then something e l s e catches
his eye.
 64

A SPIDER--
is creeping across the floor. Ron gets up, looking like he's
going to STOMP on it.
CUT TO:
EXT. WAREHOUSE. NTGHT.

The door opens and Concrete walks out carrying a YOGURT CUP. He
sets it on the ground some distance ,from the warehouse and goes
back in. THE SPIDER crawls out of ' the cup and scurries away.
Alive.
CUT TO:
EXT. ROUGH COUNTRY. DAY.
Concrete BOUNCES WILDLY as the monster truck jounces over ruts and
rocks. Rousing music. Then Concrete's standing in front of the
truck, holding a SHOCK ABSORBER between his hands. He gives it a
SQUEEZE as the last note is hit and the title appears: MACPHERSON
STRUTS.
CUT TO:
EXT, ART GALLERY. DAY
Stamberg leads Concrete down the sidewalk to an appointment. They
pass a TRENDY ART GALLERY. Concrete catches sight of a highly
EROTIC PAINTING visible through the art gallery window. He goes
in.
STAMBERG
What're you doing?
Stamberg hesitates, then follows.
CUT TO:
INT. WAREHOUSE. NTGHT.
The erotic PAINTING has been mounted over Concrete's chair.
Stamberg's on the couch, in shirtsleeves with his tie loosened,
going through papers, sipping bourbon. Concrete's reading a BOOK,
turning pages with a TABLE KNIFE. Maureen gathers her things,
gives the painting a DUBIOUS LOOK, and heads for the door.
MAUREEN
I'll leave you two to your art
appreciation.
The men both mumble goodnight, and Concrete watches her go out.
 65

CONCRETE
She doesn't like it.
STAMBERG
Too bad.
CONCRETE
It sort of fits the "hostile
environment" definition of sexual
harrassment...
STAMBERG
I can't believe you! You live in
terror of pissing people off! A
banana has more backbone!
CONCRETE
Maybe I just value their feelings.
STAMBERG
(becoming good cop)
Could be. Listen. . .I've been
talking to some people about you.
CONCRETE
JI<$^ Oh?

STAMBERG
I've got them interested in letting
you be part of some things.
Important work. Not this publicity
bull.
CONCRETE
Covert operations.
STAMBERG
They get a bad rap. I'm talking
about what's really happening in
this world while the public fixates
on sports and sex. And Concrete.
Stamberg takes a sip of his drink and leans back.
STAMBERG
This isn't spoken of. But the fact
is, a small number of people keep
this planet from descending into
chaos. An elite. It's always been
that way. You could be part of it,
if you show you're ready.
 66

CONCRETE
Uh huh...how?

STAMBERG
I know about your years with
Douglas. Your idealism...it's good.
But you learned that politics is a
game played by grownups. So's mine.
Sometimes you have to deal with bad
people to keep down worse people.
Do difficult things. But it's still
up to you, and the other few who see
things clearly.

CONCRETE
I guess I still don't know what
you're after.

STAMBERG
Just be aware. You're being watched
with great hope, and not just by me.
I'll give you cues.
Stamberg goes back to his papers, his purpose accomplished.
Concrete stares at him—not really bought in—but thoughtfully.

CUT TO:

INT, BLANK BACKING. PAY,

A SERIES OF TAKES of a Coke ad. Concrete drinking from a can.
TAKE ONE—he misses his mouth.

CONCRETE
It's hard because I can't feel it.

TAKE TV:0--he hits his mouth, but CRUSHES THE CAN AGAINST IT.

TAKE THREE--he clowningly hits his FOREHEAD with the can.

CONCRETE
Duh. I shore like dis Coke stuff.

TAKE FOUR he holds the can too hard, CRUSHING IT. spraying
himself.
TAKE FIVE--the finished ad. with music. After quick cuts of
pouring Coke and Concrete cavorting with beautiful people, HE
HOLDS THE CAN UP BY HIS HEAD AND SMILES, not drinking at all.

CUT TO:
 67
EXT. BOULEVARD. DAY.

Concrete and Maureen walk, Stamberg and Wu f o l l o w i n g a few s t e p s

behind. Suddenly. Maureen PULLS AWAY from Concrete.
MAUREEN
Watch o u t ! You almost stepped on
me!
CONCRETE
I'm sorry.
*
But he doesn't sound very sincere. Everybody's on edge today.
A CONVERTABLE FULL OF FRAT BOYS cruises by. One shouts out.
FRAT BOY #1
Hey. do you let your girlfriend get
on top when you do it? I hope so!
Concrete, Maureen and Stamberg REACT; the car stops only a short
way up at A RED LIGHT. The frat boys look a little NERVOUS.
FRAT BOY #2
Qreat. Is he looking at us?
FRAT BOY #3
Don't look at him! Look forward!
STAMBERG
You gonna let them get away with
that? They insulted her!
Stamberg somehow implies there is more to it than Maureen's honor.
He murmurs something to Concrete we can't hear.
Concrete stalks over to the car, his feet THUDDING ominously. He
has to go around the car to reach the wiseacre, and as he does so
HE DRAGS A FINGER ALONG THE CAR, LEAVING A LONG, UGLY SCRATCH.
The boys BLANCH WITH FEAR. Concrete indicates the boy's BASEBALL
CAP.
CONCRETE
Give me your hat.
He doesn't wait for a reaction, simply plucking it off the boy's
head. HE RAPIDLY RUBS IT BETWEEN HIS PALMS like a chilled skiier
warming his hands with friction. He opens his hands—AND LETS THE
FEATHERY SHREDS FALL IN THE BOY'S LAP.
CONCRETE
Now give me your hand.
wiTFSRN

They're all horrified, most of all the wiseacre. His eyes BULGE.
 68

FRAT BOY *1
Drive! Get usflu£fifhere! ! !
THE LIGHT—
is still RED.
CONCRETE
Give ng. vour band! ! !
THE LIGHT—
turns GREEN.
FRAT BOY #1
[Link].!! !

They LAY DOWN RUBBER getting out of there. Concrete returns to

his group. Stamberg HOWLS WITH LAUGHTER. Wu can't stop grinning.
Maureen looks at Concrete with a sort of horrified disbelief.
MAUREEN
That was disgusting. You're •iust
like him.
She walks away in fast, angry steps. Concrete looks bewildered.
Stamberg smiles and exchanges a look with Wu.
STAMBERG
(to Wu)
He'll be fine.
CUT TO:
EXT. WALKWAY. DAY (VIDEO)

NEWS FOOTAGE of Concrete waving to onlookers, walking away.

TAWNY (VOICE OVER)
...he weighs over a thousand pounds.
The question lingers: how could he
leave no footprints?
CUT TO:
INT. NEWS MAGAZINE PROGRAM SET.
Tawny i s s e a t e d a t a desk w i t h t h e c o - h o s t s f o r a f o l l o w - u p
"informal" d i s c u s s i o n a f t e r the report proper, as done on "20/20".
 69
FEMALE HOST
/fflPN We have Tawny Hill, who produced
this report, with us now. Tawny, it
seems Concrete was in a part of the
"black budget" that's even darker
than usual.
TAWNY
Yes, Jane. Most classified weapons
systems start that way; the Stealth
bomber, most famously. But they're
known to the oversight committe.
Not this time.
FEMALE HOST
But Senator Douglas said he was
aware?
TAWNY
Yes, which is curious since he isn't
even SR the committee.
FEMALE HOST
There's a rumor going around
official circles...
TAWNY
Yes. It's wild, but persisting
despite that. A conversation
between Concrete and his handler was
overheard in which the cyborg
premise was proposed as a cover
storv to obscure Concrete's true
nature. Having to do, I kid you
not. With aliens.

MALE HOST
Given Concrete's self-promotion, one
wonders if that's self-serving
disinformation. Thanks, Tawny.
We'll be back.
CUT TO:
TNT. WAREHOUSE. DAY.
Stamberg and Wu are in an office area at the opposite end of the
warehouse from Concrete and Maureen, who are straining to ignore
each other. Stamberg finishes a call, hangs up. He is not happy.
STAMBERG
We have to move things up.
Wu raises his eyebrows.
 70

STAMBERG
They want to bring him in, out of
the spotlight. And out of our
hands, they didn't need to say.
We're bailing out just in time.
It's all pointing fingers these
days.
WU
How do we handle...our Golden
Parachute?
STAMBERG
Get him to the island. Time enough
to work on him there. And we make
sure we have leverage.
He looks at Maureen, who brushes her hair back with her hand.

CUT TO:
INT. BLANK BACKDROP. DAY.

A woman pops a CONCRETE CRACKER into her mouth. It's really just
y0^ a Ritz with two eye dots and Concrete's distinctive "plus sign"
( mouth. A box of the crackers replaces her on screen. TITLE:
TASTIER THAN THE NAME IMPLIES.
CUT TO:
EXT. FREEWAY. DAY.

Maureen drives the monster truck, looking perturbed again.

Concrete's speaking to her through the sliding window.
CONCRETE
What's the big deal? This woman's
simply paying me a couple grand to
make her fancy party a success.
MAUREEN
Going to tie balloons?
CONCRETE
I'm going to let a bunch of rich
people bask in my fame. Boy, I
can't do anything right lately!
MAUREEN
I just don't like bullies.
At this Concrete withdraws into a sullen huddle.
 71

CUT TO:
EYT PftRTY NEIGHBORHOOD. A SHORT WHILE LATER

The truck turns up a residential street in Silverlake. Modest

homes are dotted between the better homes.
EXT PARTY HOUSE. CONTINUOUS

Humble but tidy. A SUBCOMPACT CAR is in front of the garage.

BALLOONS on the driveway lamppost. Concrete and Maureen get out.
CONCRETE
Not quite what I envisioned.
They walk around to the back where noise is coming from. When
they turn the corner, A HORDE OF EIGHT-YEAR-OLDS in party hats MOB
Concrete. He's astonished. The presiding mom, MRS. GRACE, wears
an amused look on her dark, pleasant features. A "Happy Birthday
Andre" banner dominates the decorations.
KIDS
Concrete!!
CONCRETE
Mrs....Grace?
GRACE
££ pleased to meet you.

CONCRETE
This isn't quite what I expected.
Sure ' you can afford. . .what was
talked about?
GRACE
Frankly, no. I won't be able to pay
you, except gas money. But Andre so
loves you. They all do.
KIDS
(rehearsed for this moment)
We love you. Concrete!
GRACE
I'm terrible. I know. But could you
stay just a bit? It would mean so
much.
Concrete looks at Maureen, at the kids, at Mrs. Grace. He's
(**• furious at this humiliation, but...
 72

r GRACE
Besides, aren't you a teensy bit
embarrassed, taking money for being
famous?
CONCRETE
(sighing)
So who's the birthday boy?
ANDRE
2 am! !
CUT TO:
MONTAGE-BIRTHDAY PARTY. DAY.

A boom box plays the new dance remix of "Rock of Gibraltar".

Kids ride an inverted PICNIC TABLE atop Concrete's back. Andre
yells directions as they ride, happily screaming, around the yard.
Concrete KICKS A BALL far. far into the sky. It comes down in the
food. Concrete poses for a POLAROID with the kids, to which we
return as it slowly develops. A kid smashes a plate of CAKE INTO
CONCRETE'S FACE. He scrapes it off, eats it plate and all.
f®**- Throughout. Maureen watches Concrete. Their eyes meet
\ occasionally. Maureen obviously DELIGHTS in his ungrudging
efforts to please the kids. They share SMILES.
CUT TO:
INT. PARTY HOUSE. AFTERNOON.

Mrs. Grace speaks on the phone. The kids CHEER in the back yard.
GRACE
He's a dfiax. They're good sports
once they're here. Who should we
try next year? Not HIM. ..
KIDS (OFF SCREEN)
Goodbye Concrete! Thank you!
GRACE
I've got to go.
CUT TO:
EXT. PARTY HOUSE. CONTINUOUS.

Mrs. Grace rushes out the front door t o say goodbye t o Concrete,
\ who's g e t t i n g i n t o the truck.
 73

J ^ ^ \ GRACE
Thanks so much. I'm so naughty.
But it was fun, wasn't it?
CONCRETE
Sure was. I'll never forget it.
Maureen puts the truck in gear and starts to pull out.
CONCRETE
And I imagine you won' t• either.
We travel with the truck as it leaves just far enough to see down
the driveway. Mrs. Grace's SUBCOMPACT is now on THE GARAGE ROOF,
placed there courtesy of Concrete. Andre's in the driver's seat
honking the horn for the laughing kids.
CUT TO:
INT. WAREHOUSE. AFTERNOON.

Stamberg, Wu and FOUR ROUGH FREELANCERS are rehearsing a scenario.

Wu has a HUGE HYPODERMIC NEEDLE, and one of the freelancers has a
MOCKUP OF CONCRETE'S TRAP-DOOR LEG on. Stamberg puts two at the
far end of the warehouse. Wu is stationed behind the door.
j$r2$Sy
STAMBERG
I'll bring him in. You guys are
already fighting.
Stamberg brings the one with the Concrete leg in; the two at the
far end are PUSHING each other, making agressive noises. Stamberg
and the Concrete stand-in pause and watch the fighters.
With practiced motions Wu opens the trap door, JABS the needle
into the valve, and PUSHES DOWN THE PLUNGER.
STAMBERG
(checking watch)
Twenty five seconds. Let's make it
twenty.
They take their original places and start again.
CUT TO:
EXT. FREEWAY. AFTERNOON.

Concrete sits sullenly in the truckbed. Maureen checks him in the

mirror, then addresses him through the back window.
-4P*s,
 74
MAUREEN
/^^\ What's this? You were wonderful!
The car was a bit agressive, but she
deserved it. They'll remember you
the rest of their lives.
CONCRETE
She's right, though. I'm cashing in
on what happened—like some amputee
who becomes "Stumpy the Clown."
Pathetic. And that's my life.
MAUREEN
You could use some perspective...
CONCRETE
Oh, and you're the queen of that,
aren't you!? You try life as a
hideous freak!
Taken aback, she fixes her eyes on the road and falls silent.
CUT TO:
EXT. WAREHOUSE. AFTERNOON.

J0&\
There's an unfamiliar VAN in the drive. Stamberg watches the
truck apporach through a cracked door. Maureen pulls up, checks
Concrete, who's still smoldering, and starts to walk in.
Stamberg REACTS; this isn't quite the plan.
Then Maureen thinks better of it, and returns to Concrete. She
puts a comforting HAND on his back. He can't feel it, so she
presses HARDER. He still can't. She HITS him, but he's OBLIVIOUS
(traffic noise drowns the sound).
Stamberg steps out.
STAMBERG
Hey, big guy! C'mon in. I want to
show you something.
Concrete doesn't move.
STAMBERG
Hey! I'm talking to you!
The CAR PHONE starts RINGING.
MAUREEN
Let him be.
0*^ She starts for the door. Stamberg bars her way. The phone rings.
{ Concrete LEANS THROUGH THE WINDOW, BREAKING IT, and picks up.
 75

CUT TO:
INT. DOUGLAS'S OFFICE SAME TTME

The Senator is surrounded by frantic activity.

DOUGLAS
Ron. I need your help. It's life
and death.
CUT TO:
EXT. WAREHOUSE. SAME TIME.

Newly animated, Concrete nods crisply to what he's hearing on the

phone. He signs off, then turns to Maureen and Stamberg.
CONCRETE
In the truck! A plane's waiting for
us!
Maureen heads over, but Stamberg, his plan evaporating, is livid.
STAMBERG
What do you mean!? Get in here!!
Maureen's already at the wheel, revving the engine.
CONCRETE
With or without you. we're going!
Stamberg looks back at the door; Wu is peeking out. Stamberg
curses, pulls out his gun and SHOOTS IN THE AIR. Concrete and
Maureen stare at him.
STAMBERG
Next one's in the tire!
Hugely annoyed. Concrete vaults out of the truck. He BARGES past
Stamberg and violently SHOVES the door open.
CUT TO:
INT. WAREHOUSE. CONTINUOUS.
The door SLAMS into Wu's face, sending him sprawling. Concrete
thuds in. not seeing him, and looks at the two fighters—except
that they're so surprised by his violent entrance they've stopped
fighting, and are looking at him fearfully. Stamberg catches up.
CONCRETE
Is this it? Who're these guys?
 76

ySSiv Stamberg casts a glance behind them. WU ISN'T THERE. And the
HYPODERMIC NEEDLE is LYING ON THE FLOOR.
STAMBERG
(fast and angry)
I wanted you to meet 'em. Oh,
forget it. fie£ in the truck!
Stamberg maneuvers himself to hide the hypo as Concrete goes out.
STAMBERG .
Be right there!
He goes behind the PARTITION where Wu is hiding. Wu's standing
there. BLOOD POURING from his NOSE.
STAMBERG
It broken?
WU
I think so.
Stamberg gives Wu's nose a SAVAGE TWIST, eliciting a howl of pain.
Mean, not funny.
STAMBERG
{***• Don't you ever fail me again.
Stamberg turns and exits.
CUT TO:
EXT. COAL COUNTRY. DUSK.
A MILITARY HELICOPTER speeds over the darkening hills.
CUT TO:
INT. HELICOPTER. DUSK.

Concrete. Douglas, Maureen and Stamberg sit in the small space.

Concrete's in dead center of the craft's axis, and spread out as
much as possible to distribute his weight evenly.
STAMBERG
This is idiocy. You don't go into
something this big without a plan.
CONCRETE
This time we don't do it your way.
Live with it.
 77
STAMBERG
He's just using you for his re-
election, you know.
Douglas winces a bit, since this has some truth to it.
MAUREEN
It's his. life, let him live it!
CUT TO:
EXT. MINING COMPOUND. NTGHT.

The chopper lands. The compound throngs with rescue workers,

support people, press. When the four debark from the helicopter,
they face TV news people—TAWNY among them.
DOUGLAS
Concrete has to get to work, but
I'll gladly answer questions.
CONCRETE
I'm glad Senator Douglas asked me
here. I'll do my best to get them
out.
TAWNY
f^ How do you know each other?
CONCRETE
Excuse me now.
Concrete moves away and is joined by MINE OFFICIALS, leaving
Senator Douglas to deal with Tawny and the press.
DOUGLAS
I called Concrete because I thought
he could help save lives. That's
all.
CUT TO:

EXT. OUTSIDE PIT HEAD. MOMENTS LATER.

m

The foreman, STRADLEY, goes over the MINE DIAGRAM for Concrete.
STRADLEY
There's a question where they are.
Sixteen down there, in either this
tunnel, this one, or both. You'll
relieve the team here.
 78

T h e r e ' s a sob; as S t r a d l e y c o n t i n u e s , Concrete s e e s WOMEN AND

CHILDREN, the trapped miners's f a m i l i e s , i n great d i s t r e s s .
STRADLEY
They've got a i r l i n e s , so i f t h e y ' r e
not b u r i e d , i t ' s a good c h a n c e .
Know how t o dig so you don't cause a
new cave-in?
CONCRETE
No.

STRADLEY
We'll get you started, then.
A HEADLAMP IS STRAPPED on Concrete's head and they head into the
shaft. The wives and kids watch, desperate, hopeful.
CUT TO:
INT. MINE SHAFT. MOMENTS LATER.

They ride a conveyance on steep tracks deep into the ground.

CUT TO:
INT. MINE. MOMENTS LATER.

A STRING OF BULBS LIGHTS the tunnel. WATER SPRAYERS on the shearer

keep the dust down, creating a layer of water on the floor. A
CONVEYOR BELT carries debris to an ELECTRIC CAR. The exhausted
RESCUE TEAM clears out for Concrete.
STRADLEY
Small amounts at a time, fast and
steady. No power blows. Just chip
away at it.
CONCRETE
Gotcha.

STRADLEY
Come out when you need us to clear
debris. We need to know you've
stopped.
CONCRETE
All right. Give me an all clear.
He waits as they slog down the corridor and turn the corner.
y^S^Sy
STRADLEY
 79
All clear!
Concrete DIGS LIKE A DOG, throwing the debris between his legs.
Some goes on the conveyor, but much SPLASHES in the water,
SHATTERS bulbs, and SMASHES into the BOLTED PLATES HOLDING UP THE
ROOF. One of them SHIFTS AN INCH after a particularly strong hit.
CUT TO:
FXT. OUTSIDE PIT HE&D. SAME TIME.

The miners's families WAIT. One miner's wife comforts another, who
is quietly CRYING. Kids play, oblivious. Maureen kneels, HOLDING
A LITTLE GIRL'S HAND, COMFORTING her.
CUT TO:
TNT. MINE. SAME TIME.

Concrete UNDERMINES THE PILE OF RUBBLE, and it starts to shift.

He stops digging and hastily steps back. A SMALL AVALANCHE covers
his legs up to his knees, then stops. He extricates himself and
starts digging again.
CUT TO:
EXT. OUTSIDE PIT HEAD. SAME TIME.

Two older kids start to FIGHT; a MOTHER breaks it up. Afterward,

the woman starts to sob hysterically--her emotions over the brink
now.
Douglas goes over to her and puts his arm on her shoulders. Not
wanting to be comforted, she pulls away angrily. Douglas sees
with dismay that a TV CAMERA as recorded all of it.
A commotion breaks out AT THE PIT HEAD. Concrete is CARRYING TWO
MEN, both ALIVE. TEN OTHERS FOLLOW, with some assistance. It's
JUBILANT CHAOS lit by TV lights. Wives and kids run to their men;
a few other wives look on desperately.
MINER
Somebody give me a Bud!
A foaming bottle is slapped in his hand.
WIFE
Where are the others?
CONCRETE
Just these so far!
She turns away in disappointment. With an eye on camera position,
Senator Douglas fights through the throng to congratulate
Concrete.
 80

i^ DOUGLAS
( Good work!
Concrete glows with pride. Maureen catches his eye, grins. Could
life get any better?
THE MINERS—
are hustled into ambulances, as Stradley hastily interviews them.
STRADLEY •
Know where the other's are? This
tunnel?
Most of them shake their heads. Too quickly, he passes down the
line. One of them coughs horribly, and motions someone to lean
close. STAMBERG leans over him.
RESCUED MINER
They're in the other tunnel.
Stamberg nods and pats him. He lies down on the gurney and is
lifted in the ambulance.
Stamberg joins Concrete, who is again coached by Stradley.
STRADLEY•
(to Concrete)
You want to try the other tunnel, or
stay in this one? There're six more
down there.
CONCRETE
Which is most likely ?
STRADLEY
It's a tossup. They didn't know.
CONCRETE
Since they were in this one, I'll
finish it first.
Stamberg looks like he's going to say something, then THINKS
BETTER OF IT. Concrete heads back down.
CUT TO:
INT. MINE. LATER.

Concrete digs. With his success, he's become carelessly

exhuberant, THROWING the coal between his legs. More coal SMASHES
into the bolted ceiling plates. A bolt starts to LOOSEN. More
f coal, then the ceiling bolt SNAPS and the roof COLLAPSES.
 81

Concrete turns and is ENGULFED IN BLACKNESS.

CUT TO:
EXT. OUTSIDE PIT HEAD. A SHORT WHILE LATER
Stradley rises up in the conveyance to grimly face the crowd.
STRADLEY
We need B crew. Concrete's been
buried.
Maureen GASPS. Douglas seems to AGE VISIBLY. Stamberg frowns; he
didn't plan on this.
CUT TO:
INT. MINE. SAME TIME.
AN "ANT FARM" VIEW of Concrete buried in the dark tunnel. He's
INDISTINGUISHABLE FROM THE SURROUNDING ROCK, Stone against stone.
Then HE MOVES AN ARM, giving a clue to what we're seeing.
CUT TO:
EXT. MINE COMPOUND. SAME TIME.

Maureen grips Douglas's arm.

MAUREEN
Tell them not to give up. He held
his breath a full hour in tests.
DOUGLAS
That'll give him "til 1:30. We
can't lose Ron like this.
MAUREEN
Please, tell them now.
Douglas jogs to the pit head.

CUT TO:
INT. MINE. SAME TIME.
Miners dig furiously.
CUT TO:
EXT. MINE COMPOUND. A SHORT WHILE LATER.
ipf^V
 82
Maureen sits AGONIZING at the table where the mine families hold
f9**- vigil--one of Ihem now. She checks her WATCH. The little girl she
comforted earlier PATS MAUREEN'S HAND in sympathy. Maureen gives
her a sad smile. Then there's a COMMOTION from the pit head that
sends Maureen and the rest HURRYING there.
CUT TO:
EXT. OUTSIDE PIT HEAD SAME TIME.
People rush up as the conveyance rises to the opening. The crowd
blocks Douglas's and Maureen's view.. They strain to see to no
avail. Then the crowd parts.
MEN CARRYING STRETCHERS. . each with a DEAD MINER. FILE PAST. A
collective howl of grief rises from the families. The SIX
REMAINING MINERS ARE DEAD.

CUT TO:
EXT. MINE COMPOUND. A SHORT WHILE LATER.
A grim, haggard Stradley is interviewed by Tawny. Stamberg
watches.
_ TAWNY
( What about Concrete?
STRADLEY
We're still trying. He's in a
different tunnel.
TAWNY
I don't understand. He was digging
in the wrong tunnel?
STRADLEY
Well, from those dead men's
standpoint, yes, he picked wrong.
Stamberg stays silent, jaw set. This part worked, anyway.
CUT TO:
EXT. MINE COMPOUND. A SHORT WHILE LATER.
Other reporters surround Douglas.
REPORTER #1
Any regrets, bringing Concrete here?
^ DOUGLAS
He saved most of them...
 83

/•^ REPORTER #1
But these died! He chose the wrong
tunnel!
DOUGLAS
I'm sure they told him which one—
REPORTER #2
Do you feel responsible for the
miner's deaths, or for Concrete's?
DOUGLAS
Now listen! He saved a dozen men!
It's crazy to twist it around!

CUT TO:
INT. MINE. LATER.

The miners dig, but with less energy. After fingering the
dangling, SEVERED AIR LINE, Stradley calls a halt.
STRADLEY
It's 2:00. Everybody's beat. We'll
get the body out tomorrow.
• They file out, PILING TOOLS on the conveyor. As the last man
leaves. THE RUBBLE STIRS. The man notices at the last instant.
MINER
Hey. HEY!! EVERYBODY LOOK!!
They rush back and dig around him. Soon CONCRETE IS STANDING—
shaken, gasping, but alive.
CONCRETE
Thanks...I'm all right...I guess we
should...carry on.
STRADLEY
No, the other men are all out.
CONCRETE
Really? That s great!
STRADLEY
All dead.

Everybody looks at the ground, not knowing what to say next.

( DISSOLVE TO:
 84

; — TNT. DOUGLAS'S COUNTRY HOUSE. DAY.

Concrete, Maureen, Stamberg and Douglas WATCH TAWNY ON TV. The

mine compound i s v i s i b l e behind her.
TAWNY
A dozen miners are a l i v e . But t h i s
may s c o r e Senator Douglas fewer
p o i n t s than he'd hoped.
VIDEO FOOTAGE —
•
of Douglas's abortive attempt to comfort a widow, and of Concrete
STUMBLING out of the shaft with the rescue team.
TAWNY (V.O.)
Critics are calling for a full
accounting of who created Concrete—
and why.
Douglas mutes the television with the remote. The CONCRETE COKE
AD SOMES ON. He switches off the TV.
STAMBERG
Maybe next time you'll listen. Plan
things first, or let somebody plan
f^ for you.
CONCRETE
It was idiotic.
DOUGLAS
You saved a dozen men! Everybody's
ignoring that!
CONCRETE
And nearly killed myself. I'm still
me under this.
Concrete goes out to the back yard. Maureen's EYES urge Douglas
to talk to him; Douglas follows him. Stamberg turns to Maureen.
STAMBERG
I'll be in Washington. They're
blaming this on me.
MAUREEN
A terrible injustice.
STAMBERG
I'll be back by nightfall. Make
,«*v. sure he's here. No more heroics.
 85
Maureen glares at Stamberg as he goes out the door.
M ^ \

CUT TO:
EXT. BACK YARD. SAME TTMF.

Concrete and Senator Douglas are in the backyard. Among other

things, there's A WOODPILE COVERED WITH A BLUE TARP.
CONCRETE
I don't know how you do it. Being a
public figure.
DOUGLAS
You get a thick skin. Look at the
advantage you have in that
department.
They stand silent a moment, just looking at the landscape.
CONCRETE
Could I come back? Write for you
again?
DOUGLAS
Ron, if you need something to
do...of course. But you know it
won't be the same.
CONCRETE
Better than my life now.
DOUGLAS
What about your dreams? Climbing
mountains, writing books?
CONCRETE
I'd wind up killing someone. Or
getting killed.
DOUGLAS
Don't take that line. You can be a
lot of things, if you want to.
But Concrete is barely listening, lost in self-pity.
CUT TO:
TNT. AIRCRAFT HANGER. DAY.
A CHINOOK HELICOPTER is being loaded by Wu and the freelancers
with an assortment of weapons: a steel-cable net, guns, a grenade
launcher. Wu has a splinted nose and two black eyes. Stamberg
oversees the work, fiddling with this and that.
 86
FREELANCER «1
(to Stamberg)
Aren't you afraid of killing him?
STAMBERG
He grows back like a starfish. We
won't kill him. But we'll get him.
Anyway, we may not have to use any
of this.
The men pause, look at Stamberg and each other.
STAMBERG
I have an idea.
CUT TO:
EXT. BftCK SARD- DUSK.
Maureen sits on a patio chair. Concrete emerges to join her.
CONCRETE
I should tell you what I'm going to
do. I'm going to slip away tonight
and see my wife.
MAUREEN
7^ Your what?
CONCRETE
My ex, actually. She lives a few
miles from here.
MAUREEN
What for?
CONCRETE
If she sees me working for Douglas
she'll eventually figure out who I
was...am. I've let her think I was
dead. I owe her at least this much
truth. Out of friendship.
Maureen can't quite digest this information. She looks at him
like he's insane.
CONCRETE
My life's in pieces. But I figure I
can still patch together some kind
of existence.
MAUREEN
Ron, I think you should think this
over.
 87

•ffl^&S. CONCRETE
Please, I've had enough direction...
MAUREEN
That's just it. He's going to be
furious.
CONCRETE
I have a plan to sneak off without
being noticed. It'll be over before
he knows I'm gone — unless you tell
him.
MAUREEN
Of course not. But Ron...
Concrete simply puts up his hand, cutting her off. He walks
toward the woodpile.
CUT TO:
EXT. DOUGLAS'S HOUSE. NIGHT.

Stamberg drives up and gets out of his car. He stretches wearily,

then goes in.
(^ . CUT TO:
TNT./EXT. DOUGLAS'S HOUSE. NTGHT.

Maureen's reading. Stamberg enters.

STAMBERG
Where's our boy?
Maureen indicates the window. Stamberg looks out. In the yard,
Concrete has taken the BLUE TARP off the woodpile and draped it
over himself as he sits out on the back lawn.
STAMBERG
What's this?
MAUREEN
Let him be alone. Can you?
STAMBERG
Always darkest before the dawn.
Maureen looks puzzled, but doesn't ask. Stamberg goes upstairs.
Concrete doesn't move as the wind rustles the tarp.
/*m\ CUT TO:
 88
EXT RACK YARD. LATER.
£#!^N.

Looking back at the house, we see that the blue tarp now NO LONGER
CONTAINS CONCRETE, but similar BULK OF FIREWOOD. In AN UPSTAIRS
WINDOW Stamberg is visible, checking to see Concrete hasn't moved.
He shakes his head and withdraws.
CUT TO:
EXT. COUNTRY ROAD. NTGHT

Concrete walks by fields, woods, under the stars. CICADAS grind

away. A DOG is barking. A lone STREETLAMP glows ahead. This
long wordless sequence is DREAMLIKE, with a sense of GREAT MEANING
IN SMALL THINGS.
CONCRETE—
Looks upward, his dilated pupils huge, filling his eyes.
CONCRETE'S POV OF S K Y —
contains fully three times the normal number of stars, so powerful
is his vision.
CONCRETE—
[~ Looks down at a puddle at his feet.
CONCRETE'S POV OF PUDDLE—
In his reflection, his hand touches his face. No question—he
really is Concrete. A piece of grit is scraped off, making rings
when it drops into the water. We FLASH ZOOM IN to
CONCRETE'S MICROSCOPIC POV OF PUDDLE-
PROTOZOA swim in the murk. An offscreen ENGINE ROAR grows
rapidly. The tiny animalcules seem to REACT anxiously.
CONCRETE—
looks up and is frozen like a deer in the glare of ONCOMING
HEADLIGHTS. His eyes reflect them like a deer, too — two
luminous green circles.
WIDER--
at the last moment, Concrete JUMPS OVER the oncoming car. a low-
slung MG sports convertable. It races through the puddle,
spraying water, as Concrete SOMERSAULTS back into what's left of
the puddle.
 89

The car races away as if Concrete wasn't even seen. On a dip. it

^ bottoms out, creating a brief spray of SPARKS. Magical.
CONCRETE—
watches the car disappear, twin red t a i l i g h t reflections shrinking
to nothingness in his eyes.
Concrete turns and continues on his night t r e k . Distant dogs
bark.
CUT TO:
EXT. FOREST. A SHORT WHILE LATER/STILL NIGHT.

Concrete picks his way though the undergrowth like a grey stone
bear. A distant, intermittent, electrical "zapping" is audible.
CONCRETE'S POV OF FOREST—
is almost as dark as it would be to human eyes, but somehow
CLEARER. Edges are SHARPER, leaf movement HIGHLIGHTED, textures
ENHANCED. Artificial LIGHTS become visible. The ZAPPING becomes
louder as he approaches...
A FENCED YARD--
{ where a glowing, violet BUG ZAPPER is electrocuting moths. TWO
COUPLES PLAY CARDS AT A TABLE, one couple rather plain, even
nerdy.
THE OTHER WOMAN AND MAN ARE STUNNING. The woman could be a model,
and the man resembles an idealized Ron Lithgow — more handsome,
more at ease with himself. The kind of guy Ron might have hated
in high school—a winner, a HERO. The hero wins the hand.
HERO
Straight flush. Luck is with me.
The others howl, but his wife kisses his cheek.
CONCRETE—
watches with narrowed eyes a man who has EVERYTHING HE HASN'T.
NERDY MAN (OFFSCREEN)
(jocular)
I hate you. I hAtfi you!
It's as if he's voiced Concrete's thoughts.

y^S^
 90
HERO
So you said when you saw what my
Microsoft shares had done. Tried to
tell you...
NERDY WOMAN
Horace, you didn't mention thaaat.
The hero drains his beer.
HERO
Anybody want another? ;
NERDY MAN
Me. If I drink enough of your beer,
it'll offset my losses.
NERDY WOMAN
Or dull the pain. Nothing for me.
I'm driving.
The hero's wife shakes her head no and the hero WHEELS HIS
WHEELCHAIR, which was not visible until now, up the ramp into the
house. HIS LEGS are ATROPHIED, nearly SKELETAL. He hasn't walked
in a long time, and he never will again.

r CONCRETE—
registers SHOCK. Then SHAME for his envy. He looks down at his
hands, stands up on tiptoe. Here's a man much worse off than he
is—and living with GRACE and GOOD SPIRITS. He gives a little
SALUTE to the Hero, then walks backward, passing out of the circle
of light. His reflective eyes stay visible a little longer, then
they too are gone.
THE HERO—
comes out with two beers. His wife takes them and KISSES him—
missing his lips at first, then doing it right. They LAUGH.
DISSOLVE TO:
EXT. GULLY. NIGHT.

Concrete LEAPS ACROSS i n SLOW MOTION, power and s t r e n g t h

p e r s o n i f i e d . How could he have ever l o s t himself t o s e l f - p i t y ?
DISSOLVE TO:
EXT. LISA'S HOUSE. NEAR DAWN.

Concrete approaches from up the h i l l . L i s a ' s windows are l i t .

J0^>\
Ron's pace slows, then he s t o p s . He looks down at the front door.
CONCRETE'S POV OF FRONT DOOR—
 91

/"**•
1
A spider creeps across it, something only Concrete could see from
this distance, in the dark.
CONCRETE—
takes another hesitant step, stops again'. He looks at his hands,
frowns. He looks at the house. He is torn; HE SITS DOWN.
WIDER—
Concrete sits ATOP THE KILL, hidden from the house by some
shrubbery. He's MOTIONLESS as the SUN RISES and THE NEXT DAY AND
NIGHT PASS IN TIME LAPSE PHOTOGRAPHY. The SECOND DAWN arrives.
CONCRETE—
sits, still frozen in deep thought. HE BLINKS. It's a start.
WIDER—
He moves his arms, stands, stretches—then turns and WALKS AWAY.
DISSOLVE TO:
EXT. DOUGLAS'S HOUSE. DAY.

f0^ Maureen paces in the back yard, consumed with worry. She JUMPS
when she hears a stick break: Concrete emerges from some foliage.
CONCRETE
Howdy.
MAUREEN
Thank God you're all right.
CONCRETE
I'm fine. Better than fine.
MAUREEN
Stamberg has people combing this
area for you. I'm supposed to call
him if you show up.
CONCRETE
Hold off. Let's enjoy the peace
just a bit.
MAUREEN
You must have had...a lot to talk
about.
A»V CONCRETE
I never saw her.
 92

/***• MAUREEN
Then what have you been doing.»?
CONCRETE
Sitting. Thinking...
MAUREEN
About what?
CONCRETE
Many things. That I wanted to see
her for the wrong reasons. Have her
feel sorry. Feel that whatever
she's been through, it's not as bad
as this.
i

He pounds h i s stone c h e s t .
CONCRETE
Then I r e a l i z e d my. d e l i c a t e
f e e l i n g s aren't her job anymore.
Whatever we had ended long ago.
I MAUREEN
> But if you go back to work...
t f CONCRETE
That was madness. I'm Concrete now.
There're new mountains to climb.
i

i MAUREEN
You mean—literally?
CONCRETE
I've got a second chance at my
dreams. How many people get that?
Picked up some baggage on the way,
but it has its good points.
He raises his forearms, indicating this body he's stuck with.
CUT TO:
EXT. A SHORT DISTANCE FROM DOUGLAS'S HOUSE. SAME TTMF

Wu speaks into a cell phone while looking through binoculars

WU
Golden Parachute has landed. The
Senator's house.
z4"^ Wu switches off and RUNS to a CAR.
 93

CUT TO:
TNT/FXT. DOUGLAS'S HOUSE. A SHORT TIME LATER.

Concrete and Maureen have s e a t e d t h e m s e l v e s , both a aglow over

Concrete's epiphany.

MAUREEN
You'll need help on your
expeditions.
CONCRETE ;
If t h a t ' s an offer, I accept.
Suddenly, they're both a l i t t l e embarrassed. Concrete looks
around.
CONCRETE
Where's Douglas?

MAUREEN
The C a p i t o l . He had a v o t e .

The sound of a VEHICLE s c r e e c h i n g t o a s t o p comes from the f r o n t .

CONCRETE
Oboy.

STAMBERG-- '

Charges through the house and bursts out the back.

CONCRETE
I know you're mad, but—
STAMBERG
I'm not mad. I've got news. We've
been contacted. They want to give
you your old body back.

CONCRETE
Whaaat?!

Stamberg gestures for them to follow, and heads for the van.
«
STAMBERG
The aliens! C'mon, we don't have
much time!
CUT TO:
TNT. VAN. DAY.
JvTv^=\
 94
Stamberg drives, Maureen in the seat next to him. Concrete braces
A0Jipf\ himself on the curves.
MAUREEN
Why didn't you tell me earlier?
STAMBERG
Need-to-know basis. Plus, they
didn't propose this until just last
night.
CONCRETE ;
I don't know about this. We
shouldn't rush into anything.
STAMBERG
We don't know how long the offer's
open. You wanna lose this chance?
CONCRETE
If they speak English, why the hell
didn't they talk to me and Michael?
STAMBERG
Don't ask me.
CUT TO:
EXT HILLSIDE. DAY

The van climbs a foothill toward a mountainous area.

CUT TO:
INT, VftN, PAY,
Concrete's face is a study in ambivalence. Maureen is pensive.
CONCRETE
Look, if it involves going back in
their ship I'm not sure I want to.
STAMBERG
Something you should know. This body
only lasts a couple of years. If
you don't do this, you're daad.
CUT TO:

fafifay
 95
EXT. PLATEAU. DAY.

It's a large flat area with a precipitous slope on one side.

Small trees and many rocks. Wu and the freelancers check
equipment in the HELICOPTEP. Wu's car is a short distance away.
He checks the time.
WU
They should be here in ten. All
this stuff has to be out of sight.
But...be ready to use it.
A Freelancer checks the action on the GRENADE LAUNCHER.
CUT TO:
EXT. MOUNTAINSIDE. DAY.

The van glides up a switchback past a sign: WATCH FOR ROLLING

ROCKS.
CUT TO:
INT. VAN. DAY.
Maureen questions Stamberg with a s k e p t i c a l expression.
MAUREEN
Are we going t o the ship? I s Dr.
Mattingly there?
STAMBERG
We're going t o a transfer p o i n t .
MAUREEN
Who contacted you? Who's
coordonating t h i s ?
STAMBERG
You'll be filled i n when we get
there!
CUT TO:
EXT. PLATEAU. DAY.

The van approaches the helicopter, stopping thirty yards away.

The three walk toward the chopper,- its rotors begin to move.
Wu and the freelancers attempt amicable smiles. Somehow the
effect is sinister. As the three near the helicopter, Maureen
holds back.
 96
MAUREEN
f^*^ These aren't soldiers.
Stamberg tugs on her arm.
STAMBERG
C'mon. We had to improvise!
MAUREEN
Ron, don't get in!
STAMBERG .'
You get in &fiu!!
Concrete looks from face to face.
CONCRETE
We're not going.
Stamberg pulls out an automatic pistol with a 15-round clip and
puts it to Maureen's neck. Concrete FREEZES. The gun has four
velcro straps taped to its barrel. Stamberg SLIDES it down
Maureen's body, ending at her KNEE. He fastens the straps,
holding the barrel to the side of her knee joint.
STAMBERG
Do what I say or you'll be picking
( bits of her kneecap off your feet!
Get Is!
Guns come out all around and first Maureen, then Concrete are
taken into the craft.
PILOT
(to Stamberg)
He's gotta be dead center or he'll
flip us!
Stamberg nods, indicates the floor of the area.
STAMBERG
Spread Eagle! If we crash, she
dies too!
Concrete spreads out, belly down.
CONCRETE
There aren't any aliens. Where're
we going?
STAMBERG
This ain't the perfect way, but I'm
/fiw»v getting you into the bio game.
 97
CONCRETE
You think you can force me?
STAMBERG
You may have to do some bad things
to bad people. That's all. You can
send piles of cash to the United Way
if it makes you feel better. You'll
have more than you'll ever need.
Stamberg hands off the gun attatched to Maureen to a freelancer
and heads for the copilot's seat. He pauses in the passageway.
STAMBERG
And you probably want to keep your
girlfriend from losing any body
parts.
Stamberg takes his seat and straps in.
PILOT
Grab something, people! With this
load, it's gonna be a rough ride!
CONCRETE
(to freelancer)
/^v Set the safety. If it goes off by
f accident, I'll kill you.
After only a little thought, the freelancer does. Then the
chopper starts to LIFT. He lets go of the gun to get a good
handhold.
THE HELICOPTER—
unsteadily LIFTS ten feet off the ground.
CONCRETE—
looks at Maureen, the gun, the man holding on as the craft bucks.
MAUREEN—
moves her leg so the gun is just a bit out of the man's reach.
•
CONCRETE-
SCOOTS to the SIDE. As he does, the craft TILTS his way.
Everybody HANGS ON to keep from being spilled, but Concrete
PUNCHES out the door and SLIDES RIGHT OUT.
 98
He CATCHES HIMSELF on the SPONSON—the projecting "leg- which
j/**^" holds the helicopter's landing gear. The craft has dipped in his
direction enough that he TOUCHES THE GROUND, forcing him to RUN to
keep up with the forward motion.
THE DOOR—
cartwheels to a stop behind them.
THE PILOT—
struggles to keep the craft from flipping. It's racing along,
just a few feet off the ground, held down to a forty five degree
angle by Concrete.
PILOT
He's not letting go! I can't right
it!
STAMBERG
We've got the girl! Knock him off!
We'll get him later!
The pilot aims for a LINE OF SMALL TREES. Apparently this area
has been logged and is just starting to come back.

j*S5$Kv,,
CONCRETE—

holding on to the sponson, sees the EIGHT FOOT TREES coming up

FAST.
MAUREEN—
watches in horror as the TREES CRASH INTO CONCRETE. Somehow he
hangs on, but the the trees are flattened and splintered.
THE HELICOPTER—
turns around. Concrete runs along, hopping over rocks, smashing
through bushes, an obstacle course RACING AT HIM.
CONCRETE'S FEET-
RACE ALONG, then TRIP over a boulder. They DRAG for a moment,
then he regains his footing, running again.
STAMBERG—
points to the van.
STAMBERG
Use the van to get him off!
/lfP\.

The pilot NODS and HEADS STRAIGHT FOR THE VAN.

 99

f^ CONCRETE—

s e e s i t coming and p r o p e r l y t i m e s a LEAP j u s t ahead of i t . HE

RUNS RIGHT OVER THE VAN, leaving foot-deep DENTS i n the top.
THE CABIN—
tilts forty five degrees THE OTHER WAY. The occupants hold on for
dear life. WEAPONS spill across the deck. Then it corrects, and
leans again toward CONCRETE. Everything slides THAT WAY.
CONCRETE—
blinks as a GUN bounces off his face.
STAMBERG—
shouts through the companionway to Wu.
STAMBERG
Shoot him off!!
Wu carefully braces himself and aims an automatic weapon with a
monsterous ammunition clip at Concrete. He fires a CONTINUOUS
STREAM OF BULLETS.
^pv,
CONCRETE--
is pocked and cracked over his head and arms and hands with each
bullet hit. rock dust and chips flying.
Wu aims at Concrete's hands. Chip by chip, THE FINGERS ARE WORN
AWAY. But he seems determined to hold on until the bitter end.
MAUREEN—
sees the freelancer REACH FOR THE GUN AT HER KNEE. She KICKS at
him and LETS GO, falling down the tilted deck. SHE KNOCKS WU OUT
THE DOOR.
WU'S GUN—
sprays bullets as it falls.
IN THE CABIN—
everyone WINCES as rounds hit around them.
WU—
CRASHES INTO FOLIAGE as the helicopter, still burdened with
Concrete, speeds away.
IN THE CABIN—
 100

r Maureen is holding on to the doorframe.

HIS GUN and takes AIM AT MAUREEN.
Another freelancer LIFTS

CONCRETE
I'll catch you!
MAUREEN—
closes her eyes and JUMPS.
THE FREELANCER—
fires his gun.
THE HELICOPTER—
lurches wildly after suddenly getting free of Concrete's 1200
pounds.
CONCRETE—
runs a last few steps before stumbling to his knees, MAUREEN SAFE
IN HIS ARMS. He's a mess, the top of his head and much of hands
blasted away—but it's mainly cosmetic damage.
CONCRETE
/***""• The woods. Quickly.
Maureen undoes the straps at her knee and carries the gun as they
SPRINT for the trees.
Once they reach cover, Concrete checks for the helicopter. It's
tracing a wide circle, gaining altitude.
CONCRETE
Keep hidden. I'll draw their
attention. You're the vulnerable
one.
He runs off before Maureen has a chance to disagree.
CUT TO:
EXT. MOUNT*TMfiTPE. PAY-
Concrete runs down the road, a precipitous slope to the side. He
checks over his shoulder.
THE HELICOPTER—
shadows him, a couple of hundred feet up. It's closing in.
jfl5fflsv

IN THE CABIN—
 101

{*** a freelancer holds a HARPOON GUN. It's connected to the NET of

steel cables. Stamberg shouts back to him.
STAMBERG
Lead him by a few feet!
THE HELICOPTER-
SWOOPS down on Concrete.
THE FREELANCER-
FIRES.
THE NET—
spreads out over Concrete...and lands in FRONT OF HIM. Concrete
leaps neatly over it.
THE HELECOPTER—
gains altitude.
IN THE CABIN—
/m^.. Stamberg, who h a s u n s t r a p p e d and come back t o t h e main
( compartment, elbows t h e f r e e l a n c e r a s i d e and AIMS A GRENADE
LAUNCHER. He FIRES.
CONCRETE—
is hit by a shock wave from a FIERY EXPLOSION to his side. But he
keeps running.
STAMBERG—
FIRES AGAIN. This time it hits on Concrete's OTHER SIDE.
CONCRETE—
cuts off the road and runs directly down the rocky slope dodging
the occasional scraggly trees.
ON THE SLOPE—
A THIRD BLAST, upslope from Concrete, sends rocks flying. A load
of dislodged mountain starts to rumble downhill. The moving
material hits other rocks, sending them rolling. They SMASH DOWN
the few TREES.

y&$s%,
CONCRETE—
hearing the rumbling, looks over his shoulder.
 102

/&*>• CONCRETE'S P.O.V.—

a full-out AVALANCHE is THUNDERING TOWARD HIM.
CONCRETE—
puts on a BURST OF SPEED as the AVALANCHE GAINS ON HIM.
A ROCK-
KNOCKS HIM DOWN and he CURLS INTO A BALL. Soon he is ONE ROCK OF
MANY CRASHING DOWN THE KILL. The ROAR is DEAFENING.
THE HELICOPTER-
SWOOPS down to the base of the slope, where the rocks are coming
to rest. It hovers a bit, the rock dust blown away in waves from
the rotor backwash.
STAMBERG—
back in the co-pilot's seat, gestures for the pilot to LAND.
THE HELICOPTER—
touches down on the rubble-strewn ground. Stamberg, the pilot,
f* and the freelancers look about for Concrete, not daring to get
out.
THE GROUND IN FRONT OF THE HELICOPTER-
ERUPTS as Concrete stands up, holding a WATERMELON-SIZED ROCK
above his head. He HURLS IT into the helicopter cockpit, where it
SMASHES THROUGH the nose glass.
STAMBERG—
gestures upward frantically.
STAMBERG
Up! Up! Before he gets over here!
The pilot pulls back on the control yoke, and the copter lifts up.
its nose pointed upward.
THE CONTROL YOKE—
becomes STUCK as the ROCK WEDGES ITSELF AGAINST IT.
THE HELICOPTER—
/fev rises precipitously, its nose pointing higher and higher.
 103
STAMBERG AND THE PILOT—
furiously attempt to dislodge the rock. The control yoke is STILL
STUCK.
THE HELICOPTER—
reaches the top of its arc, two hundred feet in the air, its nose
pointing STRAIGHT UP. It has lost ALL LIFT.
A FREELANCER—
FALLS OUT the open doorway and PLUMMETS to the ground.
STAMBERG—
wears a look of HORROR as he realizes he's about to die.
THE HELICOPTER-
FLIPS OVER BACKWARD. It speeds downward and SLAMS the ground,
EXPLODING in a HUGE FIREBALL.
CONCRETE—
crouches as h e ' s l i t by t h e e x p l o s i o n , s h i e l d i n g h i s e y e s . A
hurled p i e c e of ROTOR chunks i n t o h i s FOREARM l i k e a THROWN KNIFE.
THE BURNING HELCOPTER—
explodes AGAIN as the f i r e reaches the unused ammunition.
UP THE HILL—
Maureen l o o k s down a t the i n f e r n o far down t h e s l o p e . A TWIG
SNAPS BEHIND HER. She spins around.
WU—
stands, battered almost to death, dragging a leg. He lifts his
gun.
WU
XQU.. ..
MAUREEN—
squeezes her eyes shut and grits her teeth as she EMPTIES THE
AUTOMATIC PISTOL into WU. She opens her eyes...
WU—
falls dead.
 104

CONCRETE—
hearing the echoing shots, heads up the hill, concerned.
MAUREEN—
comes running down the road. Concrete sees her. He goes to her,
limping a bit, a mass of pitted, cracked rock, the rotor shard
sticking out of his arm. Tears streak the dust on her face.
They embrace. He holds her as hard as he dares.
DISSOLVE TO:
TNT. •NTGHTBEAT' SET. NIGHT.

The "Nightbeat" l o g o d i s s o l v e s t o a v i e w of a m o s t l y - h e a l e d
Concrete being i n t e r v i e w e d by Tawny. He's on a sturdy c h a i r made
of TRACTOR TIRES.
TAWNY
So i n t h e moments r e m a i n i n g . . . why
now, and why h e r e ?
CONCRETE
W e l l , you f o l k s i n t r o d u c e d me t o t h e
world, so I thought it the
appropriate p l a c e . . . t o bow o u t .
TAWNY
W i l l you b e a hermit?
CONCRETE
No, you'll h e a r from me. I have
plans. But t h i s crazy c e l e b r i t y
t h i n g . . . I ' v e had e n o u g h . And
p e o p l e ' v e had enough of me.
TAWNY
One l a s t time: are you an a l i e n ?
CONCRETE
Well, i f I was—and I'm n o t s a y i n g
s o — y o u ' d have t o a g r e e : I speak
pretty good American for a
foreigner.
He l e a n s forward i n mock c o n f i d e n t i a l i t y .
CONCRETE
I t j u s t might b e . . . w e ' r e b e i n g
watched, and with great hope. Maybe
i we ought t o s t a r t t r e a t i n g e a c h
other...better.
 105

TAWNY
That's the last word. Thank you,
Concrete; good luck. (turning to
camera) Good night.
DISSOLVE TO:
EXT. MOUNTAIN BASE CAMP. PAWN.

In EXTREME CLOSE UP we see Concrete tightening lug-nuts with a

wrench. Metallic clicking and clanging'.
MAUREEN'S HANDS—
knot a ROPE around Concrete's wrist.
CONCRETE—
fits custom-made GLACIER GOGGLES over his eyes.
WIDER—
He's outfitted with MOUNTAIN-CLIMBING GEAR made of steel and
secured with lug-nuts: CRAMPONS for his feet, ice-biting SPIKES on.
his forearms. A WRENCH hangs on a cord. Tied to his wrist is an
yaPjSv ICEAXE made from a pick head welded to an iron pipe. A WALKIE-
TALKIE is STRAPPED to his shoulder.
Maureen, in a parka, stands by smiling. The wind shreiks.
CONCRETE
Better not give me a good-luck kiss.
You'd freeze to me like I was an
aluminum door.
MAUREEN
What a shameless ploy. I'll risk
it.
She KISSES his cheek and he gets a GRIN wider than South Dakota.
He holds his ICEAXE up in the air and strides toward the towering
PEAK—the SAME MOUNTAIN as in the opening of the film.
*
CONCRETE
To the summit!
CUT TO:
EXT. FARTHER UP THE MOUNTAIN. DAY.

Concrete methodically plants his iceaxe before each couple of

steps.
 106
j$K?S
CONCRETE (VOICE OVER)
What did it for me was sitting down,
thinking. All day, all night.
He pulls himself up to a ledge, looking out on the vista.
CONCRETE (V.O.)
I thought about how it felt to lose
my sense of taste, of smell, of
touch.
• «
«
He looks at Maureen, a mile below, magnified by his powerful eyes.
She's going about some task, unaware of his gaze.
CONCRETE (V.O.)
That hurt most. Not to be able to
touch...
He resumes his ascent.
CONCRETE (V.O.)
I thought about the times I'd pulled
in, unable to face what I'd become.
Wishing to go back, somehow...
He chops his iceaxe a little too hard, disloging a chunk of ice.
He HUGS the mountain as it tumbles down.
CONCRETE (V.O.)
But my eves. They took everything,
but they gave me these eyes. I
could look at the sun and see it was
alive.
On the mountain face. Concrete stares directly into the yellow
fire of the sun.
THE SUN (CONCRETE'S POV)— .
huge, magnified: a teeming cauldron of pure energy—LIFE.
CONCRETE (V.O.)
I could look at a drop of water...
Concrete stares at a slow drip from A MELTING PATCH OF ICE.
A DROP OF WATER (CONCRETE'S POV) —
a crystalline jewel, reflecting a star 93 million miles distant.
CONCRETE (V.O.)
and see it was alive.
/$^\
DISSOLVE TO:
 107

("*- EJg MOTTNTATN PEAK. LATE AFTERNOON.

Concrete has reached the top of the peak. It's magically

beautiful, spindrift blowing around him, glistening in the
sunshine.
CONCRETE (V.O.)
Life, all around me. I could shut
myself off from it, go cold and
dead.
i
i

Following some impulse, Concrete removes his gear, piece by piece.

CONCRETE (V.O.)
Or I could just get on with it.
Embrace life, despite everything.
Because it's there, in some measure,
even for those of us who are
wounded...or diminished.
The last of his gear removed, he's a clean SILHOUETTE against the
SETTING SUN. Hands on hips, a SULPTURE of SERENE STRENGTH.
CONCRETE (V.O.)
Which, I suppose, is everyone.
vKftitav
Here's the brain and soul of Ron Lithgow, trapped forever in a
thousand pound body of stone—and free at last.
FADE OUT.