The Phoenix

"The Face of an Angel"

by
Leigh Vance

First Draft: August 4, 1981

ACT ONE

FADE IN:

EXT. MOUNTAIN AREA - DAY

A series of peaks rolling away into infinity, a beautiful tranquil scene. BENNU comes out of a clump of underbrush and moves to the edge of a slope, squatting down in the Yogi lotus position, facing the sun. There is something inward-turned about him, as if he's focusing all his attention on an unseen target.

ON BENNU

Frowning with the intensity of his concentration he closes his eyes and begins to meditate. Almost at once a spasm of shock or pain crosses his face, as if he's receving electric shocks within his skull. He overcomes the tremor with an obvious effort.

SCENE - (PROCESS SHOT)

to show a vague blurred bar of light suddenly appearing, shafting down from the sun onto Bennu's head. As he concentrates more the bar narrows and tightens and becomes a tin ray slanting into his forehead where the so-called Tird Eye resides. The CAMERA PUSHES IN slowly on his face as with him we see:

A SERIES OF SHOTS

Out of a blurred background, letters of the alphabet race towards and past us. Then - as if fighting to get through - the face of a girl comes out of the screen, obliterating the letters for a beat, then losing to their urgency, then re-forming in a shimmering sea of lines and angles.

MACRO SHOT - BENNU

concentrating, trying to force these visions to solidify and settle.

BACK TO HIS VISIONS

The face of the girl clearer now. She is about twenty, dark and striking with a remote almost ethereal beauty. As Bennu tightens his concentration the face steadies even more. Just when it is almost still a sudden jarring NOTE OF MUSIC savages into our consciousness, something menacing and evil in it.

The shock of its arrival disturbs Bennu's grasp of his mind, and the face of the girl shatters and breaks up wildly.

ON BENNU

reacting, fighting the destructive note of the MUSIC; desperately trying to keep his concentration.

HIS POV

A wild kaleidoscope of colors swirling around as the awesome beat of the MUSIC grows LOUDER and more terrifying. Then, suddenly - the screen clears and we see the eruption of a gigantic explosion, mushrooming out and enveloping the lens as the MUSIC turns into a final ear-shattering BLAST.

BACK TO BENNU

reacting in silent wrenching agony, staggering up clutching his head, reeling away desperately towards the underbrush. Tripping on a rock, he plunges face down on the ground, unconscious.

CUT TO:

EXT. PROFESSOR FRAZIER'S HOUSE - MOUNTAIN AREA - DAY

A fairly large woodsy house set in a glade against a mountain slope thickly studded with trees. It can be reached only by a narrow track leading up from the road, and is at a dead end.

INT. PROFESSOR FRAZIER'S LABORATORY - HOUSE - DAY

A medium-sized room overlooking both the front and back of the house and richly equipped with scientific paraphernalia of the normal and para-normal type. A large telescope is angled out of one window. A neatly attractive mousey haired girl in her late twenties sits before a spectroscope, unable to concentrate because of angry VOICES behind her. This is DEIRDRE, Frazier's personal assistant.

FRAZIER'S VOICE
(angrily)
This is the United States of America, Preminger! Not Nazi Germany!

ANOTHER ANGLE

to show FRAZIER swinging hotly on PREMINGER, who faces him quite calmly, something cold and determined about his manner.

PREMINGER
(spreading arms)
See any thumbscrews?
(mildly)
I just asked you a question, Professor.

FRAZIER
You've had me watched around the clock! You're tapping my phone and intercepting my mail! That goes far beyond asking questions!

PREMINGER
I'm working for your government, Professor Frazier, which very badly wants to meet a man you're deliberately hiding from us.

FRAZIER
(sighs)
I haven't seen Bennu for weeks. I have no idea where he is or what he's doing.

Preminger hands him a pamphlet.

PREMINGER
Ever seen that before?

FRAZIER
(a glance)
The CIA report on Soviet experiments with telepathy. Yes, I've seen it.

PREMINGER
They're using it in place of radio communications in Afghanistan. They're experimenting with it on their spacement. They're developing a whole generation of missiles directed by mind force. I'd put 'em about a decade ahead of us, wouldn't you?

FRAZIER
And you want Bennu to close that gap.

PREMINGER
You're an American citizen. Don't you?

FRAZIER
He wasn't sent here to help one side win the arms race.

PREMINGER
(mildly)
Why was he sent here?

FRAZIER
I don't know! But I can tell you this. His motives are peaceful. He doesn't want to get involved in our squabbles.

PREMINGER
You call a nuclear holocaust capable of wiping out a hundred million people, a - squabble . . . ?

Frazier lifts his shoulders helplessly. He's exhausted by the relentless pressure.

FRAZIER
What d'you want from me, Preminger?

PREMINGER
Bennu.

FRAZIER
I truly do not know where he is.

PREMINGER
But he does contact you from time to time.

Frazier ponders this.

FRAZIER
Suppose I don't cooperate?

PREMINGER
You're sucking on the Federal tit for most of your research grants. Pity if they all dried up.

He puts a card on the desk.

PREMINGER
Call this number, any time. They'll know how to reach me. Good day.

He walks out. The Professor stands staring at the wall, drained and angry. Deirdre shoots him a frightened, sympathetic look.

CUT TO:

BENNU'S FACE

head down on the ground, being licked by a deer. Slowly, his eyes open. He stares up, bleary and unfocused for a beat, then gets a grip on himself.

ANOTHER ANGLE

As the deer stands trustingly beside him, Bennu looks into its eyes, concentrating, sending a telepathic message. The:

ON THE AMULET (PROCESS)

fading out over Bennu's chest.

ANOTHER ANGLE (PROCESS)

as it appears over one of the deer's antlers.

RESUME SCENE

Following Bennu's telepathic command the deer turns and lopes away. Bennu, still weak and in pain, slips back into unconsciousness.

CUT TO:

EXT. WOODED HILLSIDE - MOUNTAIN AREA - DAY

A Jeep is parked behind some bushes. A little loser down the sope, also masked by undergrowth, are two of Preminger's FEDERAL AGENTS. They are equipped for a long surveillance, binoculars, walkie-talkies, picnic hamper and portable beach chairs. The First Agent looks through his glasses.

HIS POV (BINOCULAR SHOT)

Frazier's house.

RESUME AGENTS

The First Agent lowers his glasses. The Second offers him a sandwich.

SECOND AGENT
Anything?

FIRST AGENT
(shakes head)
What is it?

SECOND AGENT
Tuna.

The First Agent shakes his head mournfully, as if that's all he ever gets, takes it and begins to munch.

CUT TO:

A MAGNET

glowing with an aura, red and blue fingers of light shooting out from its poles.

ANOTHER ANGLE

We see the magnet is in a bell jar to which an air pump is attached. Frazier works the air pump while Deirdre is staring into the jar.

FRAZIER
What d'you see now?

DEIRDRE
Red and blue fingers, from the poles.

FRAZIER
How long?

DEIRDRE
Six or seven inches.

FRAZIER
I'll take out more air.

He beings to work the piston.

BACK TO BELL JAR

The aura around the magnet increases in size and intensity. The red and blue poles grow to about twelve inches and the aura changes into a shimmering rainbow effect.

DEIRDRE'S VOICE
They're about a foot long now. Beautiful.

RESUME SCENE

Frazier eases up on the air pump, allowing air back into the jar. The colors around the magnet dwindle and die.

FRAZIER
Congratulations.

DEIRDRE
What for?

FRAZIER
You're a true sensitive.

DEIRDRE
I assume that's a compliment.

FRAZIER
What you've just seen is Odic Light, color vibrations from the higher end of the spectrum. Not many people can see them.

DEIRDRE
I read about that somewhere in college. Developed in the last century by . . .
(fishing for a name)
. . . Professor . . . Ren . . . Res . . .

FRAZIER
Reisenbach. Of Vienna

DEIRDRE
Fascinating. What's its practical application?

FRAZIER
There speaks a product of her culture. Sometimes my dear, the acquisition of knowledge is enough in itself. As it happens, I've got a hunch light has a far greater effect on human growth and health than we know.

DEIRDRE
That sounds like a heavy investment of R and D. How're you going to fund it?

FRAZIER
(twisted grin)
I could always say it had a military potential and hit friend Preminger for a couple of million!

He give a surprisingly infectious smile. A DOG starts BARKING furiously outside.

FRAZIER
Those agents snooping around again?

DEIRDRE
They're out front I think.

EXT. HILLSIDE IN FRONT OF HOUSE - DAY

The Second Agent has his binoculars to his eyes as the SOUND of the BARKING echoes across the canyon.

HIS POV (BINOCULAR SHOT)

A chained DOG straining at it leash, BARKING FURIOUSLY AT SOMETHING OUT OF SIGHT BEHIND THE HOUSE.

RESUME AGENTS

The First Agent is relaxing in his chair, reading a paper. He looks over.

FIRST AGENT
What is it?

SECOND AGENT
Dog's acting up. Can't see why.

FIRST AGENT
(indicating)
Move over there, see if you can get a better angle.

He puts down his paper, picks up his own binoculars as the Second Agent moves along the hillside as directed.

BACK TO THE LABORATORY

Deirdre is staring out of the rear window.

DEIRDRE
Professor!

Seeing her look of concern he joins her.

THEIR POV

The deer from Bennu, standing quite calmly on the edge of the lawn, ignoring the furious BARKS from the dog. The CAMERA ZOOMS IN to show the amulet hanging from one antler.

RESUME HILLSIDE

The Second Agent comes scrambling back.

SECOND AGENT
Couldn't see what the dog was barking at, but the Professor went galloping off towards the woods in a real hurry.

FIRST AGENT
He's a jogger. Does that all the time.

TIME WIPE TO:

SKETCH - GIRL'S FACE

We see a woman's hand completing a sketch of the face Bennu saw in meditation, capturing its remote haunting beauty.

DEIRDRE'S VOICE
How's that?

ANOTHER ANGLE

We are in the Professor's lab, an hour or so later. Deirdre is showing the sketch to Bennu who lies on a couch, still visibly drained and exhausted, but conscious.

BENNU
(studying it)
The nose . . . a little narrower . . . The hair - more . . . .

He makes a bouffant gesture around his own head to illustrate. Deirdre makes some swift passes over the picture then swivels it around to face him again.

BENNU
Yes! That's her . . .
(moved)
The face of an angel . . .

He levers himself up as if to get off the couch.

DEIRDRE
Wait.

As he lies back, a little surprised at the urgency in her voice, she goes towards the window overlooking the front of the house.

DEIRDRE
We've got wall to wall goons out there looking for you. Why make it easy for them.

She pulls the blind down sharply, then turns in time to see him getting up slowly, with obvious effort. Suddenly, he staggers, falling back on the couch. As she runs to help him:

ON THE HILLSIDE

The First Agent lowers his binoculars thoughtfully, having watched the blind snap down.

FIRST AGENT
Why would they do that?

SECOND AGENT
He's got a real Frankenstein operation in there. Maybe he wants to do something spooky with a bunsen burner.

FIRST AGENT
I'm getting a feeling . . . First the dog, then this . . .
(grabs walkie-talkie)
Hawk One to Control. Do you read me? Hawk One to Control . . .

CUT TO:

RESUME LABORATORY

Deirdre is leaning over Bennu. Frazier comes hurrying in.

FRAZIER
What happened?

DEIRDRE
He just keeled over.

Frazier goes and touches Bennu's shoulder.

FRAZIER
What's wrong?

Bennu forces a twisted grin, shakes his head irritably.

BENNU
My head hurts . . . I feel as if my body doesn't fit me any more . . .
(sitting up)
What's happening to me, Professor?

FRAZIER
For a man who's never been ill it must feel strange.
(beat)
Physically, you're in perfect shape . . .

BENNU
But I've damaged something else?

FRAZIER
(serious)
This is only a theory . . . they way you were taken out of the sarcophagus affected the psychic antennae in your brain. That's why you found it so hard to communicate with your own planet.

BENNU
Did you make any sense out of those letters?

FRAZIER
Just a simple code, no problem. It gave the coordinates of where your partner's buried.

BENNU
Partner!

FRAZIER
They call her Mira.

Bennu looks over to Deirdre who lifts the sketch to face them.

FRAZIER
That the girl you saw?

Bennu nods.

FRAZIER
She's your other half.

BENNU
How can I find her?

FRAZIER
In Texas, a town called Tullner.

Bennu starts to get up. Frazier blocks him.

FRAZIER
You've not only got the U.S. government on your tail, now it seems some of your own people are after you.

BENNU
My own people? From Eldobran?

FRAZIER
The message didn't go into their reasons. But apparently they want to stop you completing your task here.

BENNU
(reacting helplessly)
I don't know why I'm here but my enemies do . . . I don't know who they are but they know me . . . I
(grins at Frazier)
You've got a phrase for that havent' you? Behind the nine ball?

FRAZIER
Eight ball. Anyway, that'll all straighten out when you find Mira.

BENNU
How do I get to Texas?

FRAZIER
She's been in suspended animation for ten thousand years. She can wait a few more days till we get you fit again.

BENNU
If my enemies know how to read the signals from Eldobran, they also know where she's buried.

He gets up more forcefully. Frazier moves in front of him purposefully.

FRAZIER
Bennu . . . I'm not going to let you go.

Their eyes lock. Then:

BENNU
You are my only friend on this planet, Professor. Don't turn against me . . .

FRAZIER
If I let you out into a strange and sometimes hostile world without proper training and equipment, I'm not being much of a friend . . .

Bennu studies him for a beat, then reacts as a spasm of pain hits his head. Reminded of his weakness, he shrugs, submitting wearily.

CUT TO:

INT. CAVE - DAY

A gloomy dark cavern we shall find later. In a saracophagus similar to Bennu's we see Mira lying suspended in amniotic fluid, in the sleep of ages. A sudden wisp of MUSIC we recognize as that which intruded on Bennu's meditation filters in, gradually building in volume and harshness. The fluid in which Mira is suspended shivers and ripples as if touched by a strong wind. The MUSIC GROWS stronger and more abrasive, almost frightening. Mira's eyes suddenly snap open and she reacts to the sudden shock of her awakening. Like an automaton she begins slowly to raise herself up . . . .

CUT TO:

RESUME FRAZIER'S LABORATORY

Frazier is by a small projector. Bennu faces a screen set up a few feet away. Frazier nods to Deirdre who turns off the lights.

ON THE SCREEN

A slide of Bennu's sarcophagus is illuminated, showing the heiroglyphics on the side.

FRAZIER'S VOICE
We decoded the hieroglyphics along the side of your sarcophagus. They were instructions to remind you of your mission, after you awoke.

ANGLE IN ROOM

As Frazier flicks the switch, showing other slides appropriate to his speech.

FRAZIER
Eldobran's orbit wouldn't bring it close enough to Earth to launch space craft for another four hundred thousand years. So they planted you and Mira here, programmed to wake in time to prevent a catastrophe they forecast would be facing us around now.

BENNU
(reacting)
What kind of catastrophe?

FRAZIER
The hieroglyphics didn't say, and the message you picked up in meditation was interrupted before they got to that part.

Bennu looks at him levelly.

BENNU
Why are you keeping something from me?

FRAZIER
(lightly)
If you can read my mind, it means you're getting better.

BENNU
Please, tell me . . . Why haven't you talked about the explosion?

FRAZIER
(beat)
It could be something connected to your job here . . .

BENNU
Or?

FRAZIER
It could be - the destruction of Eldobran. Which would account for the sudden end of the message.

BENNU
(reacting)
If that's true - I suppose I should feel something. It's hard to grieve for people you don't remember. Perhaps I'll feel something tomorrow.

Frazier turns off the machine.

FRAZIER
We've been analyzing you ever since we took you out of that amniotic fluid. Physically, you're as strong as any man on Earth. But your real powers lie in your extra-sensory perceptions.

BENNU
(wry)
When they're working!

FRAZIER
You've had a shock, a kind of spiritual concussion. That will pass. But you still have the amulet . . .

CLOSE ON AMULET

around Bennu's neck again.

FRAZIER'S VOICE
It not only harnesses the power of the sun. More importantly, it acts as a protective shield.

RESUME SCENE

Deirdre has been silently listening, sees Bennu's reaction.

DIERDRE
The Earth's atmosphere is poisonous for you.

FRAZIER
So, whatever you do, don't let anyone take it off you for longer than twenty-four hours - if you want to go on living . . .

Bennu fingers the amulet thoughtfully.

FRAZIER
Be aware of this. Because of your injury - every time you use it, it drains your vital energy. If you over-use it, it will exhaust you and the amulet won't be able to work until you've recharged it.

BENNU
The sun's rays will do that, even in this atmosphere?

FRAZIER
It's your lifeline, never forget that.

CUT TO:

THE SUN

A huge fireball setting in the west. A helicopter pops up over a ridge into the center of the orb, traveling low and fast.

BY A LEVEL AREA - MOUNTAINS

The First Agent waits by the Jeep, looking up to where the helicopter circles before landing. When it has set down, the Agent runs under the rotors to where we can see Preminger sitting in the passenger seat.

CUT TO:

RESUME LABORATORY

Deirdre is massaging Bennu's temples as he lies on the couch, still weary and in some little pain. He puts a hand on hers, signifying his gratitude. Frazier comes in holding an oval-shaped object in his hand. It is sculptured into a pistol grip, with indentations down one side for easy fitment in the hand. It is pale ivory-colored with no determinable flaws in its smooth surface.

FRAZIER
Recognize this?

Seeing the object, Bennu grins affectionately, reaches a hand for it, sitting up.

FRAZEIR
We found it in the sarcophagus. Couldn't figure out what it was for.

Deirdre has moved across the room. Bennu raises the object, which fits snugly into his hand, and aims it at her, depressing part of its upper surface.

ON DEIRDRE

suddenly frozen in place in mid-step, unable to move or speak,

RESUME SCENE

Frazier stares, astonished.

FRAZIER
It's paralyzed her nervous system!

BENNU
Only for a few seconds.

As if to prove his point Deirdre suddenly breaks free of frozen posture, reacting.

DEIRDRE
That's scary!

FRAZIER
What did it feel like?

DEIRDRE
Trapped! Not a nice feeling at all.

FRAZIER
What else does it do?

BENNU
It's mainly for stopping things. People. Engines, anything within about fifty yards.

He depresses another unseen button. A small steel blade suddenly springs out of one side.

BENNU
It's also handy when you don't want to reach for things.

He aims the object, flicks it away towards the blind. The steel blade neatly severs the cord. The BLIND shoots up with a SNAPPING SOUND. Then the object zooms back towards Bennu's waiting hand, the steel blad withdrawing into the body of the object as it travels. He fields it neatly, smiling at their reaction.

Frazier walks to adjust the still swinging blind.

FRAZIER
What gives it its power?

BENNU
My magnetic field.

FRAZIER
That's something else that won't work if you're too drained. Remember that.

As he reaches up to stop the swinging blind and adjust it he sees:

HIS POV

The Agents' Jeep scorching up the single narrow road towards the house. Above and behind it is the helicopter, coming in fast.

RESUME LABORATORY

Frazier swings around urgently.

FRAZIER
Preminger!

Bennu leaps up, moves toward the door, still slowed down but forcing himself along. He turns.

BENNU
Thanks for helping.

He goes out.

FRAZIER
(shouts)
Keep in . . .

But he's gone!

FRAZIER
. . . touch.

He looks helplessly at Deirdre.

EXT. FRONT OF HOUSE

The JEEP SKIDS to a stop. The Second Agent goes to the front door and leans on the bell. The First Agent races around the side of the house towards the back.

ABOVE

The helicopter arcs around menacingly low so Preminger can observe the capture.

ON FRENCH WINDOWS - REAR OF HOUSE

Bennu comes blasting out, racing towards the cover of the woods.

INT. HELICOPTER

Preminger, looking down. He picks up the loud hailer.

PREMINGER
(into mike)
Stop! You're surrounded!

ON BENNU

tearing across the lawn, startled, looking up.

BACK TO HELICOPTER

Preminger gestures urgently to the pilot - go down.

RESUME BENNU

picking up speed again. Then:

THE FIRST AGENT

comes skidding around the corner of the house, the gun in his hand.

FIRST AGENT
Stop! Stay where you are!

BENNU

raises the paralyzer, "fires" it.

ON THE AGENT

moving forward aggressively - suddenly yanked to a stop in astonished mid-stride, unable to move or even pull the trigger.

GROUND TO AIR

ON the helicopter sliding in for a landing, Preminger staring down at this.

BACK TO BENNU

running for the woods. Seeing the helicopter will land before he reaches cover, he aims the paralyzer at the machine, "fires" it.

ON THE HELICOPTER

seeming to slam into instant reverse - shooting backwards along its original flight path!

IN THE HELICOPTER

Preminger, red-faced and furious, yelling.

PREMINGER
I said land, you fool! Put her down!

The pilot is too busy frantically wrestling with the controls to heed him. He is totally baffled by what's happening against all the laws of aerodynamics, and a little scared.

RESUME BENNU

watching the helicopter reverse itself up into the sky. With a little grin, he looks back at the house.

HIS POV

Frazier and Deirdre standing at the lab window.

ON BENNU

A salute, then turning and plunging into the woods.

FADE OUT

END OF ACT ONE

ACT TWO