Fantastic Four
by
Mark Frost and Michael France
based on the Marvel comic book by
Stan Lee and Jack Kirby
Shooting Script
FADE IN:
CLOSE ON A MASSIVE STEEL HEAD
Our first thought: DR. DOOM? But it's not moving. A
welder's torch sparks into frame in the hands of a sculptor
on scaffolding. This is art, an epic 20 foot statue going up
of a business mogul (VICTOR VON DOOM) in whose generously
extended hands sit two intertwined columns of DNA. His face
is chiseled, angular, perfect (too perfect). Past sparks, we
MOVE down to pick up...
EXT. STREET/VON DOOM INDUSTRIES TOWER - DAY
REED RICHARDS and BEN GRIMM head toward the soaring glass-box
atrium of VDI Headquarters. Designed to inspire awe, it
does.
REED
High open space, exposed structural
elements. Obviously aimed at first
time visitors to create feelings of...
smallness, inadequacy.
Ben glances at Reed, who looks a little nervous.
BEN
Good thing it ain't workin... Reed,
what are we doing here? This guy's
fast-food, strip-mall science --
REED
This wasn't our first stop, in case
you forgot NASA. And Victor's not
that bad. He's just a little...
(seeing the statue)
Larger than life.
INT. VON DOOM INDUSTRIES TOWER - DAY
They move past the statue, into the sprawling atrium.
REED
He's financed some of the biggest
breakthroughs of this century.
BEN
You'd never know it.
He motions to a high-tech ORB, showing FOOTAGE of VDI's
accomplishments: a safe and clean nuclear facility, the first
private Space Station.
All images have VICTOR front and center, glad-handling George
Bush, Tony Blair, shady International Leaders. The last
image is Victor holding the AMERICA'S CUP.
BEN (CONT'D)
Jesus. That too?
They reach three stern RECEPTIONISTS.
REED
Reed Richards and Ben Grimm to see --
A receptionist cuts him off, handing them each a pass.
FEMALE RECEPTIONIST
Executive elevator, top floor.
BEN
What's the price for a smile round here?
They head for the elevator. Reed carries a small, black box.
As they enter the elevator, steel doors shut and we CUT TO --
INT. VON DOOM INDUSTRIES TOWER - OFFICE - DAY
A large, dark office. Ben in the corner. He yawns,
watches...
BRIGHT HOLOGRAMS: Stars. Planets. They hover in the air,
making the room feel like a majestic portal into outer space.
REED (O.S.)
My research suggests that exposure to
a high-energy cosmic storm born on
solar winds might have triggered the
evolution of early planetary life.
REED stands among the holograms, speaking to a MYSTERIOUS
FIGURE in shadow behind a desk. An ominous, PULSATING RED
CLOUD covers the stars. It washes over a hologram of EARTH.
REED (CONT'D)
In six weeks another cloud with the
same elemental profile will pass
Earth's orbit. A study in space could
advance our knowledge about the
structure of the human genome, and
help cure countless diseases, extend
human life --
The SHADOW clears his throat. Reed speeds up, emotional.
REED (CONT'D)
Give kids the chance to be stronger,
healthier, less prone to --
SHADOWED FIGURE
Turn it off. Please.
The figure's DEEP VOICE pierces the darkness.
REED
But I haven't fully explained my --
SHADOWED FIGURE
Yes you have... Imagination.
Creativity. Passion. Those were
always your trademarks.
Lights brighten, revealing the face behind the voice: VICTOR
VON DOOM. 35, handsome, commanding. He looks almost...
airbrushed. He drops a WIRED magazine to the desk. REED is
on the cover over the words: RICHARDS BANKRUPT, GRANT
CUTBACKS.
VICTOR
But dreams don't pay the bills, do
they?
(a condescending smile)
Same old Reed, the hopeless optimist.
Still reaching for the stars, with the
world on your back.
REED
You remember in school we talked about
working together. That's what I was
about to explain...
Reed presses the remote. Another hologram appears: A SHUTTLE
slowly approaching AN ORBITING SPACE STATION. Both bear the
VON DOOM INDUSTRIES logo. Victor smiles, more intrigued.
VICTOR
So it's not my money you want. It's
my toys... Tell me: if NASA doesn't
trust you, why should I?
Victor is a step ahead. Reed pauses, thrown for a beat. Ben
wakes up, suspicious. Victor notices. He notices
everything.
VICTOR (CONT'D)
That's my job. To stay a step ahead.
To know what other men don't.
Ben gets close to Reed, turning toward the door.
BEN
I can't take this.
REED
(low, quiet)
Ben. This is business. Just work.
A beat. Victor cracks a smile, enjoying the tension. And...
SUE (O.S.)
He's right, Ben.
They turn to see...SUE STORM (demure, stunning) standing in a
corner...possibly for the whole presentation. A little cold:
SUE (CONT'D)
It's just business.
VICTOR
I think you both know my Director of
Genetic Research, Susan Storm.
BEN
Heya Susie.
(under breath, to Reed)
One more thing he's got.
Sue gracefully walks into the office, only taking her eyes
off of Reed to give Ben a warm hug.
SUE
Ben, it's been too long.
She gives Reed a polite handshake. Victor watches carefully.
Reed looks uncomfortable in her gaze. A little tongue-tied.
REED
You're, you've, I mean, how have you
bee--
SUE
Never better.
Victor sizes them up. He puts a hand on Sue's shoulder.
VICTOR
This isn't going to be a problem, is
it?
REED
Not at all.
SUE
Ancient history.
Victor smiles, eyeing Sue.
VICTOR
Good. Then you're just in time to
hear the great Reed Richards ask me
for help.
(to Reed)
You know, you made a lot of folks at
MIT feel like a junior high science
fair. So you'll excuse me if I savor
the moment.
Ben tightens. A hard beat. Reed sucks it up.
REED
You back this mission, and I'll sign
over a fair percentage of any
applications or --
VICTOR
The number's seventy-five. And it's
applications and patents.
BEN
What about his first born?
REED
(quiet)
Ben, the money's not important. We
could save lives.
Sue gives a thin smile -- a flicker of old feelings.
VICTOR
Twenty-five percent of a billion is
enough to keep the lights on, isn't
it? Maybe even pay off your fourth
mortgage on the Baxter Building.
They look at Victor. How does he know all this...?
VICTOR (CONT'D)
Deal...?
Reed looks at Ben, who shakes his head softly no. But
Reed...drops a nod. Done. Victor smiles, offers a
handshake.
VICTOR (CONT'D)
Well then, to our future. Together.
Victor squeezes. Hard. His other hand on Sue's shoulder.
VICTOR (CONT'D)
Funny how things turn out, isn't it?
REED
Hilarious.
As Reed and Sue lock eyes, Ben watches Victor. Wary.
INT. VICTOR'S OFFICE - MOMENTS LATER - DAY
Director of Communications LEONARD enters, checking files.
VICTOR
If Reed's right, then this little trip
will double our stock offering.
LEONARD
And if he's not...?
VICTOR
Reed's always right. Good thing he
doesn't always know what he's got...
INT. VON DOOM INDUSTRIES TOWER - ELEVATOR - MOMENTS LATER
Reed and Ben step into the elevator.
BEN
He knew about NASA. What if he made
the call to shut us down --
REED
Ben, think about all the people we can
help if this works --
BEN
Maybe you should think about yourself
for once. You always let this guy
push you round --
REED
We got what we wanted. That's
enough.
BEN
I know, I know. I'm just worried
about what he wants... Speaking of
which...
Reed follows Ben's eyes to...SUE. She joins them. Doors
shut.
INT. VON DOOM INDUSTRIES STAIRCASE - CONTINUOUS
SUE
You sure about this, Reed?
He nods, head down. He doesn't want eye contact.
REED
Those solar winds are flaring, but I
factored them into my coordinates and --
SUE
I was talking about us. Working
together.
Sue holds her eyes on Reed. He is clearly uncomfortable in
her gaze. Did the elevator just get smaller?
REED
(thinking, talking fast)
Well, uh, based on our history...you
can handle the biogenetics, and I'll
focus on the molecular physics. Or,
uhm, maybe I should take the biotech,
you work the microscopes, since you
have some background in electropho--
SUE
(droll, a little annoyed)
Right. That's exactly what I meant.
She shakes her head -- same old Reed. He looks at her --
what did he say wrong? Ben smiles, patting Reed on the
shoulder.
BEN
Way to not overthink it.
(to Sue)
So when do we leave?
SUE
I'll schedule the launch. Call me in
the morning to talk about resources
and crew.
She offers a business card. Reed doesn't take it.
REED
I, uh, think I remember the number.
SUE
It's been changed.
Beat. Ben grimaces. Reed takes the card, his eyes down.
REED
As far as crew, I was hoping Ben could
pilot the mission --
SUE
Well, he's welcome to ride shotgun,
but we already have a pilot on our
payroll. You remember my brother
Johnny...
Off Ben's curdling smile, we DISSOLVE TO --
EXT. LAKE LAUNCH FACILITY - DAY
A helicopter shot through trees. We soar over timberland,
and find something massive looming on the horizon:
A SPACECRAFT. A sleek take on a space shuttle. Modern tech
combined with industrial design that NASA could never afford.
The craft's nose is pointed straight up, ready for launch.
WORKERS IN JUMPSUITS are scattered around the two-hundred
foot tall scaffolding, performing routine checks.
EXT. GANTRY OVERLOOK - DAY
Ben stares up at the craft. A sneer on his face.
BEN
Can't do it. I cannot do it.
REED
External SRBs, orbital system engines.
Its just like the shuttles you flew
in --
BEN
No. I cannot take orders from that
underwear model. That wingnut washed
out of NASA for sneaking two Victoria
Secret wannabes into a flight
simulator.
REED
Youthful high spirits.
They walk toward the base of the scaffolding.
BEN
They crashed it into a wall. A flight
simulator.
REED
I'm sure he's matured since then.
CLOSE on JOHNNY STORM, leaning over to kiss a hot redhead.
PULL BACK TO REVEAL he's riding a MOTORCYCLE, and she's
driving a red CORVETTE with license plate: FRANKIE. PICK UP
Reed and Ben, watching through binoculars.
REED (CONT'D)
When have I asked you to do something
you absolutely said you could not do?
BEN
Five times.
REED
I had it at four.
BEN
This makes five.
INT. LAKE LAUNCH FACILITY LOCKER ROOM - NIGHT
Reed and Ben unpack gear into lockers. Suddenly --
JOHNNY (O.S.)
Captain on the bridge!
Ben goes to attention on reflex: Johnny snaps a picture with
a digital camera. Then advances, as Ben realizes who it
is...
JOHNNY (CONT'D)
Digital camera: $254. Memory stick:
$59. The look on your hard-ass former
CO's grill when he finds out he's your
junior officer: priceless.
Ben eyeballs Johnny, suddenly reaches up as if to grab him.
Johnny flinches. But Ben just reaches for Johnny's zipper,
adjusts his uniform.
BEN
I can handle the ship. I can even
handle Mr. Blonde Ambition. But I
don't know if I should be flying or
playing Vegas in these suits. Who the
hell came up with them?
SUE
Victor did.
Sue enters, wearing her blue, wetsuit-like uniform, carrying
a stack of flightsuits. She hands them out to the guys.
SUE (CONT'D)
The synthetics act as a second skin,
adapting to your individual needs to --
JOHNNY
Keep the hot side hot, and the cool
side cool!
REED
Wow. Fantastic.
Reed stares at Sue in the skintight outfit. She wonders,
maybe hopes -- is he actually checking her out?
REED (CONT'D)
Material made from self-regulating
unstable molecules. I've been working
on a formula for this.
SUE
Great minds think alike.
VICTOR (O.S.)
Guess some think faster than others.
Victor enters, wearing his custom-tailored flightsuit.
VICTOR (CONT'D)
I hired Armani to design the pattern.
These colors will look great on
camera.
A DOOR OPENS. Leonard enters, in a sharp suit.
LEONARD
They're ready for you, sir.
VICTOR
Showtime.
EXT. LAKE LAUNCH FACILITY - HALLS - NIGHT
Leonard leads Victor through the halls. Victor checks
himself in mirrors as he walks, fixing his hair, his uniform.
LEONARD
Our numbers are through the roof. The
IPO's tracking at fifty, sixty a
share. The bank's five times
oversubscribed --
VICTOR
It's not just the money. I could make
money in my sleep.
LEONARD
Then what is it?
VICTOR
History, Leonard. History.
Everything else is conversation...
(a beat)
How's the other matter?
Leonard pulls out a BOX. Opens it: a TEN KARAT DIAMOND RING.
LEONARD
Harry Winston sends his regards.
They hit a set of big doors. Victor stops and looks into the
reflective, metallic surface on the wall. He fixes one last
strand of hair. Perfect. Then he opens the door to...
SNAP!SNAP!SNAP! WHIP-PAN a row of CAMERAS snapping shots of --
EXT. LAKE LAUNCH FACILITY - NIGHT
Retrofitted into a makeshift press area. Victor sits on a
platform, with reporters stretched out below him.
VICTOR
Today we stand on the edge of a new
frontier. In the furthest depths of
outer space...we will find the secrets
to inner space. The final key to
unlocking our genetic code lies in a
cosmic storm...
BEHIND THE ACTION: Reed, Sue, Johnny and Ben walk past. News
crews barely notice, passing without even taking a picture.
Our "Fantastic Four" are not exactly big news. Not yet.
BEN
Isn't that your speech?
REED
He's made a few changes.
BEN
This is your dream, Reed. You should
be the one up there.
REED
Victor's better at these things.
Just past the press area, they see...one woman standing,
waiting. This is DEBBIE, Ben's fiancée. And for the first
time in the entire film...Ben SMILES. They hug, kissing.
Johnny and Reed watch. Reed glances at Sue, who walks ahead.
Debbie slips a photo into Ben's flightsuit. A tender beat.
BEN
I'll be watching over you.
DEBBIE
Just get back soon, or I start looking
for a new groom.
Ben looks at the little ENGAGEMENT RING on her finger.
BEN
Soon as I'm back, I'm gonna trade that
in for a bigger rock.
DEBBIE
I don't care about rocks, I care about
you.
(to Reed)
You bring him back in one piece, or
you can forget being Best Man.
Reed nods, smiles. Debbie gives Ben a last kiss. Ben turns
to Johnny, who gives a cocky smile.
BEN
What the hell you smiling at? Just
keep your mouth shut, and your mind on
those SMBs --
JOHNNY
Actually, the engines are SMEs.
Hydrogenbase, carbon propellant.
Couple generations past your last
ride.
(at the threshold)
I'm not as dumb as you look.
Ben just glares at Reed. This is going to be a long trip.
As they follow after Sue, we CUT BACK TO --
VICTOR ON STAGE
Mid-speech. Playing behind him is REED'S HOLOGRAM: stars
give way to a pulsating red cloud...
VICTOR
Think of a world without genetic flaws
-- no asthma, allergies, baldness,
breast cancer...
Ben and Reed hear the speech. Ben bristles.
BEN
What's wrong with being bald...?
Victor smiles at the crowd, commanding. A true leader.
VICTOR
Darwin discovered evolution. Now we --
I -- will define it. Only in America
could...
The red cloud of cosmic rays wash over the Earth.
VICTOR (V.O.) (CONT'D)
...a little country boy from Latveria
build one of the biggest companies in
the world, and truly reach the stars.
Now if you'll excuse me, history
awaits...
On those words, the HOLOGRAM TRANSFORMS TO...Von Doom's
SHUTTLE on the launch pad. BOOM! THRUSTERS FIRE WHITE HOT.
Smoke billows across the pad. Ready for take off.
Victor walks past the hologram and exits. His departure
perfectly timed with the shuttle LIFTING OFF.
We push in on the shuttle, and follow the ship as it leaves
Earth's atmosphere. BOOM -- booster rockets fall away and
the shuttle fires its thrusters. The hologram transitions
to...
A shot of the SPACE STATION high above the Earth. The
shuttle enters from the top, lighting up the hologram with
engines afire. As the shuttle approaches the station we CUT
TO --
EXT. DEEP SPACE - SAME
THE SPACE STATION in the distance, rotating in orbit above
Earth. THE SHUTTLE eases in and docks.
INT. SPACE STATION - COMMAND CENTER - SAME
Victor and Sue lead the others into the command center.
JOHNNY
(a "dad voice": to Ben)
If you behave, maybe next time
daddy'll let you drive.
BEN
Keep talking, there won't be a next
time.
Reed is focused on THE EARTH.
SUE
Long way from the projection booth at
the Hayden Planetarium, isn't it?
Reed turns towards her -- a little stunned that she would
bring that up. It's the first time she's been nice to him so
far. He smiles, gently, hesitantly, always hesitant with
Sue.
REED
Yes. Yes it is.
Johnny and Ben exchange a look. Reed keeps looking at the
stars, eyes wide, like a little kid.
INT. SPACE STATION - COMMAND CENTER/OBSERVATION DECK - SAME
They enter the nerve center of the space station. Victor
goes to a computer console on the observation deck below.
The windows are closed, so there's nothing to observe.
VICTOR
(to ground; via comm-link)
Leonard, how's the feed?
LEONARD (V.O.)
Recording, sir. We see you perfectly.
Victor glances at a camera mounted into the console.
SUE
We can monitor the cloud's approach
and observe the tests from here.
BEN
Is it safe?
REED
The shields on the station should
protect us.
BEN
Should?
VICTOR
What's wrong, Ben? Eighty-million
dollars worth of equipment not enough
for you?
Ben turns to Victor. A little tension. Reed cuts it:
REED
Let's start loading those samples.
Get your suit ready, Ben.
Victor keeps his eyes on Ben.
VICTOR
So you still do all the heavy lifting?
Victor gives a friendly smile, patting Reed.
VICTOR (CONT'D)
Maybe you should have stayed back in
the lab. Field work never suited you.
Reed doesn't defend himself. Ben steps up.
BEN
He does the talking. I do the
walking. Got it?
Victor holds tight to his smile. He nods, condescending.
VICTOR
Got it. So take a walk, Ben...I'm
going to borrow Susan for a second.
REED
Sure.
Ben and Johnny read his eyes, as we CUT TO --
INT. SPACE STATION - AIR LOCK - LATER
Ben preps for a space walk, putting on a helmet and boots.
Johnny unloads a set of clear sample boxes off of a cart,
each containing a variety of plants.
JOHNNY
Please tell me your dawg's not trying
to rekindle things with my sister.
BEN
'Course not. Strictly business.
JOHNNY
Yeah, well, his eyes say different.
BEN
Hey, two hearts got busted last time.
Maybe she's not over it either.
JOHNNY
Let's see: you got Victor, stud of the
year, more coin than God? Or Reed,
the world's dumbest smart guy worth
less than a postage stamp. Hmmm, it's
a toss-up.
BEN
Put your tiny little mind at ease.
JOHNNY
Don't you wander off, boy.
Johnny steps out of the air-lock and shuts the door. He
looks through a small window to see Ben give the thumbs up.
THE AIRLOCK DOOR opens, and Ben gracefully steps into space.
INT. SPACE STATION - OBSERVATION DECK - SAME TIME
Sue descends the stairs at Victor's behest. Joins him.
VICTOR
Surprised I agreed to Reed's proposal?
SUE
I understand the business reasons.
VICTOR
Well, when you're looking at your
future, it never hurts to find closure
about the past.
Sue's eyes narrow. What is this about...?
VICTOR (CONT'D)
Susan, every man dreams that he'll
meet some woman he can give the world
to.
He presses a button and the observation deck's outer windows
open up, revealing a spectacular, romantic view of the EARTH.
VICTOR (CONT'D)
In my case, it's not just a metaphor.
While she stares out the window, Victor reaches into a
pocket, revealing a RING BOX. Sue looks unsettled.
INT. SPACE STATION - NEARBY CORRIDOR - SAME TIME
Reed checks data on a work station, set on a wall. The
results of his calculations are not what he expected... He
sees WIND VELOCITY digits rise. He does a double-take when
he sees the readout: EVENT THRESHOLD, T-MINUS 10:00.
REED
No...no...impossible. It's...too
fast.
INT. SPACE STATION - OBSERVATION DECK - SAME TIME
Behind his back, Victor holds the ring box in hand.
VICTOR
You've been with me two years now.
Sue doesn't know where this is going. She treads lightly.
SUE
It's been a good two years, Victor...
The company's accomplished so much.
VICTOR
Right, of course, the company... But
you see, I've come to realize all the
accomplishments in the world mean
nothing without someone to share them
with --
SUE
Uh, Victor, I hope I haven't done
something to make you think...
VICTOR
Sue, I've lived my life unafraid of
taking big steps. And this is the
biggest step yet. If it helps, think
of this as a promotion. A merger of
sorts...
(getting closer)
Four little words that can change our
lives...
He is about to spring the ring on her. She looks like a deer
in headlights. She opens her mouth, and...WHAM! Doors slam
open. REED RUSHES INTO THE ROOM.
REED
The cloud is accelerating!
Victor quickly puts the ring back in his pocket.
REED (CONT'D)
I don't know what happened.
Sue quickly moves to a nearby control panel to verify Reed's
claim. Starts punching buttons. Confirms Reed's findings
with a nod. Victor hardens, in control.
REED (CONT'D)
We've got minutes until it hits, not
hours...Victor, that storm's deadly --
the radiation's lethal. We need to
abort.
VICTOR
Get a grip. Reed. We didn't come all
this way to lose our nerve at the
first little glitch. Just close the
shields...
REED
Ben's still out there --
VICTOR
So reel him in. But we came here to
do a job. So let's do it. Quickly.
EXT. SPACE STATION - MOMENTS LATER
Ben is carefully arranging SAMPLE BOXES OF PLANTS.
REED (ON RADIO)
Ben, we need you back inside.
Ben turns to see Reed and Johnny staring from a window.
BEN (INTO RADIO)
I ain't done arranging your flowers,
egghead.
REED (ON RADIO)
Ben. This is serious. Turn around.
Ben sees Johnny motioning for Ben to look behind him. Ben
turns and sees: THE COSMIC STORM, rumbling toward the
station. Not close, but not far. That gets Ben's attention.
BEN (INTO RADIO)
Roger that, on my way.
He turns back towards the ship. BEHIND HIM, the storm grows.
INT. SPACE STATION - COMMAND CENTER - SAME TIME
Victor rushes into the room, looks at the monitors. Sees the
others near the airlock on one screen, and the approaching
cloud on another. Anxiety creeps across his face.
AUTOMATED VOICE
Event threshold in two minutes.
INT. SPACE STATION - AIRLOCK DOOR - SAME TIME
Reed and Johnny stand by the airlock, waiting for Ben. They
heard the automated voice. It panics Reed.
REED
Come on, Ben, come on...
VICTOR (ON RADIO)
Reed, we're running out of time.
EXT. OUTER SPACE - MOMENTS LATER
A wake of turbulence from the cloud hits Ben, making it
harder to maneuver. The cloud's tendrils snake toward him.
INT. SPACE STATION - AIRLOCK DOOR - SAME TIME
They can see Ben outside the window, still twenty yards away.
The entire corridor rumbles. Lights flicker and spark. They
watch helplessly.
INT. SPACE STATION - COMMAND CENTER/OBSERVATION DECK - SAME
Sue watches the monitor, also helpless.
SUE
Johnny... Reed...
Victor, annoyed by the indecisiveness, marches right up to
Sue. Practically shoves her aside as he hits the INTERCOM.
VICTOR
Reed, you need to get up here so we
can close the shields! Now!
Sue glares at Victor. His lack of compassion shocks her.
REED (ON RADIO)
Not until Ben is back inside!
VICTOR
It's too late for him, and soon it'll
be too late for all of us.
Victor doesn't bother to wait for a response. He takes over
the console, punching keys.
SUE
What are you doing?
VICTOR
Raising the shields.
SUE
You can't leave them out there.
Sue glares with as much contempt as her face can muster.
VICTOR
Watch me. Reed had his chance. You
can't help them any more than I can.
Beat. She takes a step toward the door. Not sure what to
do.
SUE
I can try.
With one final glare, she bolts from the room.
INT. SPACE STATION - AIRLOCK DOOR - SAME TIME
Reed bites his lip. Thinks. He decides.
REED
Victor's right. Johnny, get to the
command center. Close the shields.
JOHNNY
What about you?
One look from Reed tells Johnny, he won't leave without Ben.
Johnny eyes Ben, steels his courage. He's not going either.
JOHNNY (CONT'D)
(to Ben)
Come on big guy, you can do it!
INT. SPACE STATION COMMAND CENTER - DAY
Victor watches the shields slide down. Alone. An island.
AUTOMATED VOICE
Event threshold in thirty seconds.
INT. SPACE STATION - CORRIDOR - SAME TIME
Sue races down the hall. Not panicked. With determination.
EXT. SPACE STATION AIR LOCK - DAY
The exterior air lock door slides open. In agonizing,
weightless slow motion Ben reaches to haul himself inside.
The leading edge of the cloud hits: Ben is pelted by a
hissing mass of space dust, splattering his suit with orange
stains. Larger particles, small pellets, pepper him. Ben
hauls himself in the last few feet by pulling on his tether.
INT. SPACE STATION AIR LOCK/COMMAND CENTER - DAY
AUTOMATED VOICE
Event threshold in ten seconds.
TEN...
Johnny punches controls to close the exterior airlock door...
Reed opens a first aid kit, grabs a thermo-elastic blanket...
INT. SPACE STATION - COMMAND CENTER/OBSERVATION DECK - SAME
Clutching the diamond ring, Victor stands defiantly. Showing
absolutely no concern for the others. Interested only in the
event itself. Lights and equipment FALL, CRASHING around
him.
A control panel EXPLODES in Victor's face. He jumps back,
and into the falling equipment. Collapses under the weight.
INT. SPACE STATION - AIR LOCK - SAME TIME
Sue rounds a corner, sees Reed and Johnny.
SUE
Johnny! Reed!
AUTOMATED VOICE
FIVE...FOOOOUUUR...
SLOW MOTION: Everyone frozen in position as:
-- JOHNNY is hit with sparks of flame from a control panel.
-- REED REACHES out for Ben and the airlock door.
-- VAPOR STREAM pours down on Sue from a blown gasket.
-- THE SPACE DUST burns into Ben's skin.
SLOW MOTION: Just BEFORE the exterior air-lock door closes, a
SINGLE PARTICLE zips through the narrowing gap and hits Ben
in the back, ripping through his suit. The exterior door
shuts and seals. The station loses all power. DARKNESS.
EXT. SPACE STATION - DAY
As quickly as it came, the cloud passes on and whirls away,
leaving the space station intact. Power quietly flickers on.
Silence. Time resumes. All four pick up exactly where they
left off, unaware of anything that just happened to them.
INT. SPACE STATION COMMAND CENTER - DAY
Victor emerges from the rubble. He stands, checks his body.
A few scrapes, nothing serious. A thin, throbbing CUT on his
head. He touches the wound, but it is not bleeding.
INT. SPACE STATION AIR LOCK - DAY
Reed and Johnny scramble to open the interior air lock door.
Sue joins them, as they pull Ben in. They try to remove his
helmet. We don't see his face, but he's clearly unconscious.
REED
He's not responsive --
JOHNNY
Ben! Ben!
INT. VON DOOM COMPOUND HOSPITAL ROOM - DAY
A BLACK SCREEN:
JOHNNY'S VOICE
Ben, wake up! Wake up!
SUBJECTIVE CAMERA, BEN'S POV: The blurry image of Johnny
comes slowly into focus, standing beside a hospital bed.
BEN (O.S.)
Where...where am I?
JOHNNY
Back on Earth. Victor's medical
facility... We're in quarantine.
BEN (O.S.)
Reed? ... Sue?
JOHNNY
They're fine. Everybody else...is
fine.
Johnny looks away, as if he can't bear to lay eyes on him.
BEN (O.S.)
What's wrong with me?
JOHNNY
I swear to you they've done everything
humanly possible. The best plastic
surgeons in the world, Ben. You had
the best --
BEN (O.S.)
Give me a mirror...
Johnny picks up a hand mirror on the bed table before Ben can
reach it, reluctant to give it to him.
JOHNNY
They said that's not such a good idea,
the shock alone could --
BEN (O.S.)
Give me the god damn mirror!
Ben grabs it from him. Then slowly raises it to look and see
that...except for some serious stubble, Ben's totally normal.
JOHNNY
Unfortunately, the doctors just
couldn't do anything to fix your face!
He cackles as he heads for the door. Ben heaves the mirror
at him, breaking it into hundreds of pieces. He turns to the
side-table, and grabs that picture of DEBBIE. It calms him.
EXT. VON DOOM COMPOUND - ESTABLISHING - DAY
A modern facility of glass and stone, nestled in the forest.
In stark contrast to the lush greenery surrounding it.
INT. VON DOOM COMPOUND HOSPITAL CORRIDOR/SUE'S ROOM - DAY
Reed walks down the hall. His hair is GRAYING at the
temples. He passes Johnny, who is smiling, still enjoying
his joke on Ben. Johnny slows, looking at Reed's hair.
JOHNNY
Nice 'do. Going for the "grandpa"
look?
Reed passes a mirror, slowing, seeing his gray hairs. He
keeps going. He passes a partially open door. He stops when
he catches a glimpse of Sue asleep in bed. He sees a vase of
flowers. He grabs a couple lilies, and enters.
But Reed sees...the room is already FILLED with expensive
flowers. All from VICTOR. Reed is trumped once again.
A DOCTOR writes on Sue's chart. A wall TV plays a press
conference with Victor, outside the FACILITY. He looks worse
for wear. A few hairs out of place, and a small BANDAGE on
his face. We PUSH INTO the press conference --
REPORTER #1
You've been accused in the past of
moving science a little too fast --
VICTOR
Accused by who? My competitors?
REPORTER #2
But surely this accident gives you
pause --
VICTOR
Danger is always part of discovery.
What would have happened if Ben
Franklin never went out in a storm?
Without risk, there's no reward.
REPORTER #3
So where's the reward? You promised a
cure-all.
Victor pauses. For the first time. Just a flicker.
VICTOR
And you'll have it. I've never come
up short. And I'm not going to start
now.
REPORTER #2
So you're still taking VDI public --
VICTOR
Yes, of course. I've never been more
confident in the compan--
Reed mutes the television.
REED
How's she doing?
DOCTOR
Stable. Vitals are strong.
Reed takes the clipboard, looks for himself.
REED
Blood panels show no irradiation.
Good. You'll step up this protocol,
every --
DOCTOR
Four hours. We know what we're
doing... One more day of observation,
then you're all cleared.
The Doctor takes his clipboard, and walks out. Reed steps to
Sue, with the drooping flowers in his hand. Quiet:
REED
Sue...I want to tell you...I'm...
WHOOSH. A NURSE rolls in with a tray bearing ten more
extravagant bouquets. Reed looks resigned. He walks out.
REED (CONT'D)
She's allergic to orchids. Put that
Amaryllis Apapathos by her bed. The
African lilies? They're her
favorites.
Reed exits, dropping his two wilted lilies into the trash.
Sue opens one eye, as the big lilies land by the bed.
INT. VON DOOM COMPOUND HOSPITAL ROOM - DAY
A SEXY NURSE wheels a testing station into Johnny's room.
He's stripped down to Calvins, changing into a ski outfit.
SEXY NURSE
And where do we think we're going?
JOHNNY
I don't know if "we've" noticed, but
the sickest runs this side of the Alps
are right outside that window --
NURSE
I've noticed... But doctor's orders,
you're not allowed to leave until we --
JOHNNY
Finish the tests, I know -- could you
give me a hand with this zipper?
NURSE
You know this is not a ski resort.
JOHNNY
Not yet.
Johnny opens the cardboard box, revealing a colorful
fiberglass object the size of a briefcase. In the blink of
an eye, he unfolds it into a LONG SNOWBOARD.
JOHNNY (CONT'D)
Luckily grandma still sends care
packages.
The nurse pops a thermometer in his mouth to shut him up.
NURSE
You are trouble.
JOHNNY
(thermometer in his mouth)
Brubbles my Triddle Name.
They both pay more attention to his zipper than the digital
read-out: it runs right up past 98.6, then accelerates fast.
SEXY NURSE
You're hot!
JOHNNY
So are you!
SEXY NURSE
I mean, you feel a little feverish.
JOHNNY
I've never felt better in my life.
When do you get off work?
SEXY NURSE
My shift ends at four, but I couldn't --
JOHNNY
Meet me at 4:01, top of the run.
That'll give you a minute to freshen
up.
He hands her the thermometer, a quick kiss and he's out the
door. The machine beeps: Johnny's temperature is 209
DEGREES.
EXT. VON DOOM COMPOUND HOSPITAL PATIO - DAY
Ben finds Reed on a patio with a panoramic view. Reed works
at a laptop computer.
BEN
How long was I out?
REED
Three days. I was worried about you.
How are you feeling?
BEN
Solid.
Ben can see Reed doesn't look too solid.
BEN (CONT'D)
How you doing?
Reed shakes his head, looking back at his screen.
REED
I don't know. I just keep going over
and over the numbers.
BEN
Reed. Even you can't compute every
little thing.
REED
I should have done more, run more
tests --
Ben gets closer, pushing down Reed's computer screen.
BEN
It was a freak of nature. Last I
checked, you don't have a crystal
ball. Let it go.
Reed considers. But he can't let it go. He opens his
computer back up, returning to work. Ben shakes his head,
looks out at the view. His eyes catch on something, wheels
turning.
BEN (CONT'D)
You go through something like this,
makes you appreciate having the right
woman in your life.
REED
Yeah, you and Debbie and perfect --
BEN
Reed, I'm not talking about Debbie.
Reed follows Ben's eyes to a lower level patio: SUE.
REED
What? Come on. She's got a good
thing with Victor --
BEN
I'm sorry, did that cosmic-bath loosen
your screws?
REED
He's smart, powerful, successful --
BEN
Well maybe you should date him.
Reed looks at Ben, resigned.
REED
Ben. He'll give her the life she
deserves. She ended up with the right
guy. Things worked out for the best.
Reed steps away. Ben stands alone, an idea sparking.
BEN
Do I have to do everything myself?
INT. HELICOPTER/EXT. MOUNTAIN SUMMIT - DAY
The chopper hovers over this pristine peak. JOHNNY and his
NURSE sit in the chopper-bay, prepping their ski gear.
Johnny's customized snowboard has wild, acrylic patterns.
His Nurse wears a hot pink cat-suit, her skis dangling out.
Their bodies are close: a sexy, competitive flirtation. They
look down at a death-defying black diamond run.
JOHNNY
Me like-y.
SEXY NURSE
Stay right. Left is trouble.
JOHNNY
I though we went over this.
SEXY NURSE
Last one down springs for room
service.
She pulls down her goggles, jumps out. Johnny drops out
after her, hitting the snow. He smolders: literally. The
snow bank behind him sizzles and starts to melt.
He takes off after her and the chase is on:
EXT. BLACK DIAMOND RUN - DAY
The Nurse knows every inch of the trail, slicing expertly in
and out of the trees through deep powder. Johnny's a speed
freak, maximizing velocity, closing the gap between them.
Ghostly FLAMES shoot off his hair: his ski cap catches fire,
flies off. Jets of fire knife through the back of his jacket.
The Nurse looks back: In a burst of speed, Johnny draws even.
She looks over and sees the flames shooting out behind him...
SEXY NURSE
You're on fire!
JOHNNY
Not this again --
SEXY NURSE
No: You're ON FIRE!
Johnny sees his gloves are burning, flicks them off in alarm.
His body SHUDDERS: the back of his ski suit catches on fire.
A burst of flame launches him down the slope like a rocket.
Nurse loses concentration, falls. Johnny races away like a
missile, screaming in exhilaration. He looks back -- no
nurse.
He tries to put out his flaming clothes, and accidentally
VEERS to the LEFT. He fails to notice the giant CHASM in
front of him. He faces forward and...
SCREEAAMMS! LAUNCHING off the cliff, LEGS FLAILING, trying
to catch ground. FLAMES begin to TRAIL his body as he FALLS
towards the rocks below. He tries to will his body away.
Instead, his body becomes engulfed in flame. He is a HUMAN
TORCH! And for a moment he HOLDS THE AIR -- the fire giving
him some kind of...LIFT. He maneuvers just over the rocks,
almost making a 90 degree turn.
He looks back at the rocks in disbelief. But the lift
doesn't last long. He quickly CRASHES, landing HARD into a
snowbank.
He opens his eyes; tries to move but can't. He's trapped
under snow and ice. With all his strength, he tries to move,
NO DICE. Panic sets in. His eyes go wide as the snow around
quickly begins to melt. Johnny is on fire, and within
seconds he's sitting in a small POND, steam rising from the
water.
The nurse races toward the steam. Scared, panicked. She
finds Johnny...smiling, sitting naked in an impromptu hot
tub, staring at his hands. His body. Exhilarated.
JOHNNY
Care to join me?
She smiles and unzips. The FLAMES DISSOLVE TO...CANDLES IN --
EXT. VON DOOM COMPOUND - VICTOR'S OFFICE - DAY
On an expansive parapet with a billion-dollar view, Victor
prepares a romantic dinner-setting as his staff scurry about.
He checks every fork and knife, with a slightly manic energy.
VICTOR
How's the IPO?
LEONARD
Stable. We're looking at low
twenties. It's a good number,
considering the fallout from --
VICTOR
Reed's disaster. You know, I half-
think he did this to me on purpose.
LEONARD
Sir, I'm sure he wouldn't put himself --
But Victor is on to the next thought, always strategizing.
VICTOR
Get me on the AM shows, Larry King,
cover of the Journal...
(staring into silver tray)
I've got to do something about this
scar. Make sure they only shoot my
right side.
LEONARD
Actually, uh, people seem to think the
scar "humanizes" you.
VICTOR
And that's a good thing?
Victor looks at the scar, enraged by this defect. It
glistens in the silver tray. His eyes are bloodshot,
sleepless.
LEONARD
You know, maybe you should get some
rest --
VICTOR
Later. First, I've got some
unfinished business. A deal that
needs closing...
Leonard looks at the table, the lavish spread. A beat.
LEONARD
Sir, I've always wondered... Why Sue?
You could have any woman in the world
but --
VICTOR
That's why. Because I could have
any other woman... You know, when
they asked Caesar "why England," he
said, "because it's not mine."
INT. VON DOOM COMPOUND DINING HALL - LATE AFTERNOON
Two dozen EMPLOYEES sit and eat. Others serve themselves at
the buffet. Ben and Sue walking into the dining hall --
SUE
I can only stay for one drink, Ben.
I've got to meet with Victor.
BEN
Wouldn't want to keep Vic waiting.
They turn a corner and find Reed, entering by another door.
BEN (CONT'D)
Hey Reed, what are you doing here?
(before he can answer)
Great, why don't you join us?
He quickly shepherds the two of them toward a quiet table.
Ben's stomach GROWLS; so loud that they all can hear it.
BEN (CONT'D)
God, I'm starving. Gonna hit the
buffet.
Ben's stomach growls again, even louder this time.
INT. VON DOOM COMPOUND DINING HALL - EVENING
The sun is long gone, and so are most of the diners. The
room is darker, more romantic. Ben finishes the last shrimp
on his plate, pushes it away, belches prodigiously.
BEN
Pardon me...
Sue and Reed stare at him. Ben's stomach growls again.
REED
Are you alright?
BEN
I think I need to lie down. Bad
shrimp.
This was Ben's plan, but he really isn't feeling well,
unsteady when he walks away. He looks down at his stomach.
BEN (CONT'D)
Really bad shrimp.
ANGLE: Fireplace. Sue looks gorgeous in the light. A beat.
A long beat. Reed doesn't know where to start with this
woman.
REED
Feeling better?
SUE
Yes, thanks.
REED
That's good. That's uh...good.
SUE
You always had a way with words.
(an awkward beat)
I should be getting back.
Sue gets up to leave. Exasperated, Reed tries to think of
something, anything, to say.
REED
I'm really happy for you and Victor.
She slows down, looking at him. She was hoping for more.
SUE
You're happy for me and Victor.
REED
I can tell you guys are enjoying what
was the best part of our relationship --
SUE
Which was?
REED
Passion.
We see surprise on Sue's face, and...
REED (CONT'D)
For science.
SUE
(frustrated)
You are such a dork, Reed... You never
got it and never will unless it's
explained to you in quantum physics.
As if triggered by her emotion, the fireplace light around
her BENDS. The flames flicker in a ghostly breeze.
REED
What? What did I say?
She looks more disappointed than angry.
SUE
It's never what you say. It's what
you don't say. What you don't do...
She lets that hang. A lot of history here. Quiet, hurt --
she wants Reed to fight for her, to show some emotion.
REED
I...I...I just wanted to --
As Sue's emotions swirl, she slowly...disappears.
SUE
It's been two years, and all you can
say is you're happy for me and some
other guy...
(standing up, hurt)
You know, Victor may be a lot of
things, but at least he's not afraid
to fight for what he wants...
(Reed looks down)
And it's nice to be wanted sometimes.
To be heard...seen... Reed, look at
me.
He looks up...but all that's left of her is the blush on her
cheek and her bewitching eyes. He drops his fork, shocked.
REED
Uh, Sue...? I can't.
SUE
What? What do you mean you --
REED
Sue...look at your hands.
She raises her hands, but we don't see them. We only see a
medical waistband...floating. Her watch...floating. Her
clothes appear to be suspended in mid-air.
Sue is invisible. She shrieks and gets up -- knocking a
GLASS off the table...
SLOW MOTION: The glass flies off the table, tumbling... Reed
instinctively reaches for the bottle: his arm stretches two
feet out of his sleeve -- grabs it just before it hits --
Then snaps back into place. Reed stares at his arm in
disbelief. Sue's eyes widen as well. The rest of Sue
reappears. They look at each other: mutual alarm.
JOHNNY (O.S.)
You guys will not believe what just
happened!
They look up to see JOHNNY in the doorway, NAKED except for
the nurse's PINK PARKA wrapped around his midsection.
INT. VON DOOM COMPOUND - VICTOR'S OFFICE - EARLY EVENING
CLUNK. The candles burn low on the table. Victor strides
out, heading for the door. He runs his hand through his hair
to comb some strays. A CLUMP comes off in his fingers. He
PAUSES. He steps to a mirror, stares at his hair. His SCAR.
It is longer than the bandage now (as if it SPREAD). Victor
peels back the bandage, and sees the scar is bluish-gray.
Deep, unhealthy, maybe infected...
INT. VON DOOM COMPOUND - HALLWAY - EARLY EVENING
DOUBLE DOORS burst open. Reed, Sue, and Johnny urgently
walk.
SUE
It has to be the cloud. It's
fundamentally altered our DNA.
REED
Let's not jump to conclusions, we need
a massive amount of evidence before
making that leap.
Reed glances over his shoulder. He stares. Sue follows his
gaze to see: Johnny's FINGERTIPS are on fire. He SNAPS his
fingers. They GO OUT. He's totally unharmed.
JOHNNY
Now what is up with that?
REED
(deadpan)
The cloud has fundamentally altered
our DNA.
JOHNNY
Cool. What'd it do to you guys?
SUE
Apparently I can disappear.
JOHNNY
Please tell me you go silent too.
Only one thing on Reed's mind --
REED
We have to find Ben.
EXT. VON DOOM COMPOUND - OUTSIDE BEN'S ROOM - EARLY EVENING
Johnny snaps his fingers -- which generate small explosive
bursts of flame. He turns it on and off, like the "CLAPPER."
JOHNNY
Flame on, flame off. Flame on, flame
off --
SUE
Johnny.
He does it again. Flame on, flame off.
SUE (CONT'D)
Stop it.
JOHNNY
Okay, "mom."
Reed's about to knock on Ben's door when he hears the
banging, moaning and pleading inside. Johnny smiles.
JOHNNY (CONT'D)
Oh, you dawg you. Better not be my
nurse!
INT. VON DOOM COMPOUND - BEN'S ROOM - EARLY EVENING
REED (O.S.)
Ben, are you there?
A creepy rippling movement begins beneath the sheet and
gradually intensifies, reflected in the fabric's surface: the
contours of Ben's body are changing, inflating, growing rough
and craggy. SOUND of grinding heavy rocks.
SUE (O.S.)
Open up Ben, we need to talk.
It all stops. A beat, then all four legs of the bed give way
and it crashes to the floor. Under the covers, he groans in
pain, and his voice is DEEPER, GRAVELY, but definitely CLEAR:
BEN
LEAVE ME ALONE!!!
INT. VON DOOM COMPOUND - OUTSIDE BEN'S ROOM - EARLY EVENING
Reed decides they can't wait any longer. He kneels to the
floor. He concentrates, not sure if it will work...
Suddenly, his arm STRETCHES, THIN ENOUGH TO CREEP UNDER THE
DOORJAMB.
INT. VON DOOM COMPOUND - BEN'S ROOM - EARLY EVENING
Reed's arm wriggles under the door. It bends upward, swiping
clumsily, until it finally grabs the knob. Rubbery fingers
find the latch and unlock the door.
INT. VON DOOM COMPOUND - OUTSIDE BEN'S ROOM - EARLY EVENING
Reed focuses, and pulls. His arm snakes out from under the
door and snaps back into place. His flesh and bones
reforming before their eyes. Johnny stares at Reed.
JOHNNY
Ewwwwwwww. That is disgusting.
They hear a tremendous SMASH from inside the room.
INT. VON DOOM COMPOUND - BEN'S ROOM - EARLY EVENING
They open the door. The room is trashed. Every stick of
furniture smashed to splinters.
REED
...Ben?
Their eyes adjust; there's a huge hole where the window used
to be. They rush to it. Looking out they see SOMETHING
LARGE in the distance, running away.
JOHNNY
What is that thing?
SUE
I think that thing is Ben.
Reed looks out, emotions roiling. Is that his best
friend...? Suddenly, Victor comes around the corner (bandage
bigger).
VICTOR
What's going on?
SUE
Victor, are you feeling alright?
He considers, but never shows weakness. He nods.
VICTOR
Just a little banged up. A couple
scrapes. Why?
REED
Ben did this.
VICTOR
Ben did this?
REED
He's had some kind of...reaction to
exposure from the cloud. And he's not
the only one.
SUE
We need to find him.
Victor redirects his attention to Sue.
SUE (CONT'D)
Victor, I'm sorry I --
VICTOR
(cold)
Just find him.
Victor strides off, leaving the others.
JOHNNY
Anybody know where the big guy's
going?
We PUSH IN on a picture of Debbie lying on the floor, Reed
knows exactly where Ben is going.
REED
He's going home.
EXT. TRAIN YARD - NIGHT
A view from Brooklyn: Manhattan glistens in the distance.
CAMERA MOVES down to A TRAIN YARD, where we find empty cargo
trains. We PUSH IN on the main track, where...
A CARGO TRAIN has just stopped. We hear a cargo DOOR slide
open, then WHUMP! Big FEET hit the ground. Someone, or
someTHING barrels into the night.
EXT. BIG & TALL SHOP - NIGHT
A locked storefront on Flatbush Ave. SOUND of breaking
glass.
INT. BIG & TALL SHOP - NIGHT
SERIES OF SHOTS: Ben tries on clothes, shoes. Jackets rip,
shoes split. He needs an extra extra extra large.
EXT. PAY PHONE - NIGHT
A HUGE FIGURE is huddled in shadow. It's Ben.
CLOSE ON: The dial pad. Big fingers try to push keys but
they're too large. Ben tries for a few seconds, getting more
and more frustrated. He manages to press "0" with his pinky.
BEN
Hello, Operator?
Ben looks up the street, into the 2nd story window of a
modest, working-class home. His eyes go soft when he sees
Debbie grab the phone.
BEN (CONT'D)
Deb... It's me. I need you to step
out front.
DEBBIE
Out front? You home, baby? I got
a surprise for you.
He blinks hard. Sad, dark.
BEN
I got a surprise for you too.
EXT. BROOKLYN HOUSE - NIGHT
Debbie steps out. There is "WELCOME HOME" sign over the
door. She looks out. The wind blows softly. Something
shifts in the darkness. Debbie pulls her robe tighter.
DEBBIE
Ben?
BEN (O.S.)
Don't come any closer for a sec. This
is gonna be kind of a shock... You
remember when we said "together
forever no matter what"?
DEBBIE
Baby, you're scaring me.
A hanging beat. And Ben...steps into the light, where we SEE
HIM FOR THE FIRST TIME: he's HUGE, easily twice the size he
once was, and AN ORANGY ROCKY SURFACE COVERS HIS ENTIRE BODY.
Debbie sees him. Fear washes over her, not sure what to
think. He reaches out, a little tentative. She flinches
back.
DEBBIE
Oh my G-g-g. What did you...do to
Ben?
BEN
Deb, it's me. It's still me.
He reaches out. She recoils. It's too much for her. Tears
swell in her eyes. Covering her mouth, she backs away.
He takes a step closer. She backs away faster, tripping over
her robe, falling into the street. A car screeches to a
halt. Ben instinctively steps out to help, but she scurries
back.
DEBBIE
Don't...don't...DON'T TOUCH ME!
Her shout wakes NEIGHBORS. Lights flicker on. Ben knows he
has to go. He looks at Debbie, sensing this is the last time
he'll see her. She trembles, terrified. His eyes go moist.
BEN
I love you, Deb.
With that, he turns away. The "WELCOME HOME" sign flutters,
falls to the ground. A tragic tableau. As more lights go on
around him, Ben picks up his pace, speeding into the dawn.
INT. VICTOR'S COMPOUND OFFICE - DAY
Victor packs a monogrammed Armani briefcase: "VDM" emblazoned
on a gold plate. Leonard waits not-so-patiently.
VICTOR
Make sure you find Ben, bring him back
here. And keep it quiet. I don't
need this to hit the press.
LEONARD
Yes sir. You've got the Mayor at
eight, then a nine-thirty interview
with the Journal --
VICTOR
Front page?
LEONARD
Top left, like you asked.
(a smile)
Today Wall Street. Tomorrow, who
knows...maybe Washington.
Victor turns to Leonard, disappointed with him.
VICTOR
Leonard. Think bigger.
EXT. BROOKLYN BRIDGE - DAY
We swoop toward this epic monument. On a steel girder above
the road, we see...a STATUE. BEN. He sits on the edge of
the beams, staring down at the river below, brooding,
muttering.
BEN
A few days in space, it'll be great,
what's the worst that could happen?
A PIGEON flutters past him, and drops a white gooey gift on
his shoulder. Ben just glares up at the heavens.
BEN (CONT'D)
Perfect. Thanks.
He hears the sound of someone SOBBING. He turns to see...a
distraught BUSINESSMAN with a briefcase. The man drops his
case, which PLUMMETS hundreds-of-feet into the RIVER.
The Businessman looks out, ready to jump. He doesn't see Ben
(or doesn't realize Ben is not a statue).
BEN (CONT'D)
You think you got trouble? Take a
good look, pal, how bad could it be?
The Businessman looks at Ben, terrified. Ben steps forward.
BEN (CONT'D)
Okay, easy there, buddy.
Backpedaling, the man SLIPS, FALLING toward the ROADWAY! His
arms flail, grabbing a narrow beam -- his fingers hold tight
while his legs thrash over speeding traffic. Cars and trucks
SKIM right underfoot. Ben shakes his head.
BEN (CONT'D)
You had to choose my spot, didn't you?
Ben steps out to help, but...his WEIGHT BENDS the beam! The
Businessman LOSES HIS GRIP! He FALLS TO THE ROAD, landing
hard on the highway! A few PEDESTRIANS see Ben. They point.
Ben looks up, deer in headlights. He sees a massive TRUCK
bearing down on the Businessman.
BEN (CONT'D)
This is really not my day.
Ben DROPS to the street. WHOOMPF! He lands in front of the
Businessman, SWEEPS him out of the way with one arm, and
turns to the oncoming 18 WHEELER CAB.
The DRIVER slams his brakes, eyes wide. The truck SWERVES,
but cannot stop! Time slows to syrup, as Ben looks a little
scared. He shuts his eyes, and...
SHOULDER-BLOCKS the INCOMING TRUCK! A football move. The
truck BUCKLES, POPPING a WHEELIE, CRUMPLING all the way to
the windshield! It looks like a metal car-compactor.
The truck SWERVES hard, its tail SMASHING into steel girders.
CARS SCREECH, SWERVE, SLAMMING INTO EACH OTHER, CAUSING A
FOUR-LANE TRAFFIC ACCIDENT! Windows shatter, fires flicker.
One of the cars in an NYPD CRUISER. COPS clamber out.
EXT. CAB ON HIGHWAY - DAY
Reed, Johnny, and Sue sit in the back. They see the action
on the bridge. Reed and Sue lock eyes, sensing the worst.
EXT. BROOKLYN BRIDGE - DAY
Ben stands in the middle of the chaos, staring at the
destruction. He sees the tow-truck DRIVER bleeding, trapped
in his cab. Ben moves to this burning hunk of steel.
He SWIPES through the shattered window, and PUNCHES the
airbag, POPPING it like a kid's balloon. He tries to grab
the seat-belt, but his fingers are TOO BIG. He struggles.
BEN
A little help here?! You wanna hit
that button, sir?
The driver is too woozy. Ben can't get to the button.
Frustrated, he simply TEARS OFF THE DOOR, and RIPS THE
DRIVER'S SEAT right out of the cab! COPS round the corner.
They see Ben holding onto the Driver. They raise their guns.
COP
FREEZE! PUT THE MAN AND THE SEAT
DOWN!
Ben looks at the cops. PEDESTRIANS stare, point. He
realizes how this must look -- a monster holding a bloody man
in hand.
EXT. BROOKLYN BRIDGE - APPROACH - DAY
At the back of the traffic jam, cars SCREECH to stops. The
whole bridge is FULL of bumper-to-bumper traffic. We PUSH
TOWARD one car: three doors pop open, and out come...
REED, JOHNNY, SUE. They look through smoke and mayhem to
see...their first full look at Ben. Reed stands gutpunched.
JOHNNY
Not even Ben deserves that.
EXT. BROOKLYN BRIDGE - DAY
Ben puts the seat down, with the Driver on it. He lunges
behind a truck. The cops try to follow, but FLAMES push them
back. Ben lurches away, head down, self-conscious.
He tries to hide from ONLOOKERS around him and PEDESTRIANS on
walkways overhead. He wants to escape, but hears SCREAMING
MOTORISTS. He grits his teeth, and moves to help them.
EXT. BROOKLYN BRIDGE - GRIDLOCK - DAY
Reed, Sue, and Johnny race toward the flames. All other
people head in the OPPOSITE DIRECTION. BRIDGE POLICE herd
the crowd away from the accident.
BRIDGE COP
Back! We're evac-ing the bridge.
Reed, Sue, and Johnny slow down, swap glances.
SUE
What now? Reed...? What do we do?
MOVE IN ON REED. A first test of leadership. But he is not
a leader. Not yet. Sue gets closer to him.
SUE (CONT'D)
Ben's out there. Let's go get him.
BRIDGE COP
Maybe you didn't hear me. Those cars
are gonna blow sky high, any second.
REED
Look, we've got a friend out there in
trouble. We need to get to him before --
BRIDGE COP #2
Nobody gets past this point.
A hard beat. Reed signals Sue with a look, a nod.
SUE
What?
REED
(mutters)
We need to get past them.
He motions to her body. She understands. She concentrates,
and starts to turn invisible.
BRIDGE COP #1
What the hell is this? A magic show?
But her clothes don't go invisible. Beat. Reed mutters:
REED
Sue. Your clothes. Lose them.
SUE
What...?
(realizes)
Oh.
She unbuttons her blouse. Not thrilled with the idea. She
wriggles out of her pants. Down to her skivvies. She
reaches back to undo her bra...momentarily loses
concentration and becomes visible. The sight of Sue in her
undies grabs the COPS' attention. Everyone watches, stunned.
The realization that she's visible hits her like a ton of
bricks. Cops are transfixed. So is Reed.
JOHNNY
This is wrong in so many ways.
REED
You've been working out.
SUE
Shut up.
Sue takes a deep breath. Closes her eyes. Focuses. Nothing
happens. She's embarrassed and furious.
SUE (CONT'D)
Any more ideas, Reed? Maybe you
should strip down next, see how it
feels to have fifty people staring --
...and she DISAPPEARS. Entirely. Undies float. Jaws drop.
REED
Uh, Sue?
She stops ranting. Realizes she's gone invisible.
SUE (INVISIBLE)
Oh. Well then...
The undies drop. The cops stare open-mouthed. They turn to
look at Reed, astonished. He sheepishly shrugs his
shoulders.
JOHNNY
I'm gonna need serious therapy.
A beat. She walks away. The cops watch her, gaping. By the
time they turn back around, Reed and Johnny are gone,
disappearing into the clouds of smoke.
EXT. BROOKLYN BRIDGE - DAY
A news CHOPPER flies around the bridge, fighting for the best
angle on the action.
EXT. BROOKLYN BRIDGE - ACCIDENT - DAY
Reed races through wreckage. He tries to see over a big
TRUCK, and his neck STREEETCHES!
He finally sees...BEN. Reed wraps around a car, and...BOO!
His face snakes right in front of Ben. Ben jumps.
BEN
What the --!
REED
Ben. Are you okay?
BEN
Am I okay?! You wanna explain that?!
He motions to Reed's neck. Then to his own body:
BEN (CONT'D)
Or this?! What the hell am I? 'Cause
I sure ain't Ben anymore.
Reed opens his mouth, but he has no answer. Not yet.
SUE (O.S.)
REED! BEN! LOOK OUT!
Ben spins, looking for Sue. He can't see her. But he does
see...A CAR INCHES AWAY, WITH GAS TANK FLAMING!
BOOOOM! The first car BLOWS! BOOOM!BOOOOM!BOOOOOM! Empty
cars BLOW in a chain-reaction. The flames are mushrooming!
Reed SWIPES his ARMS OUT, holding people back. His arms
FLATTEN to form a barricade -- FACES INDENT his skin.
FLAMES lash out. A pack of attractive YOUNG WOMEN scream.
Johnny LEAPS toward them. His feet LEAVE THE GROUND, giving
him extra lift. He SPINS, lands, and embraces the women,
SHIELDING them from flames which burn up his back. He looks
the ladies up and down, and gives a cheesy smile.
Sue SCREAMS. She puts her hands up (a normal reflex). The
air seems to RIPPLE around her hands, like FORCE-FIELDS.
She looks at them, surprised, confused. Her invisible fields
SPIRAL OUT, partially CONTAINING the blast. But the flames
hurtle closer. She fights the pressure. Blood trickles from
her nose. Just as the white hot blast is about to hit her...
Sue is dressed again. Visible. She SCREAMS, and PUSHES THE
FORCE DOWN INTO THE ROAD! She collapses, as the blast
deflects off the street and into...
An oncoming FIRETRUCK! BOOOOM! The firetruck is KNOCKED OFF
THE GROUND, SLEWING SIDEWAYS. Brakes scream. Its tail
slashes out, PUNCHING through the guard-rail.
THE BACK OF THE TRUCK DANGLES OUT, HUNDREDS OF FEET ABOVE THE
WATER! FIREMEN hang off the back and sides. The truck
TEETERS, falling! Ben wastes no time. He GRABS onto the
front of the truck, just as it goes off the side!
He DIGS his heels into the ground, but his feet DRAG across
the concrete, digging grooves into the street.
ON THE DANGLING FIRETRUCK: FIREMEN climb out, clawing toward
the bridge. Their truck SWINGS. Bits and pieces tumble down
at them -- a hose, an axe, a helmet. All deadly now. The
HANGING LADDER swoops down, with men RIDING ON IT!
Ben SCREAMS! STRAINING with all his might. Ben SCREAMS!
His muscles ripple, and...he takes his first step...back.
Another scream. Another step. Another. Another. Epic,
painful.
He is pulling the truck back onto the bridge, inch by inch.
His footsteps THUD. With monumental effort, he levels the
truck. Firemen scurry over hoses and ladders, some climbing
over Ben.
Reed tends to Sue who has fainted from her effort. Ben steps
back from the truck and slumps to the street exhausted. Wary
cops close in to cover him with weapons, but...
The FIREMEN slowly begin to APPLAUD. The crowd of onlookers
joins in as well. Sue, Reed, and Johnny seem surprised,
touched by the reaction. But Ben seems uncomfortable.
Firemen step forward to offer Reed a couple of their coats;
he hands one to Johnny and uses the other to cover Sue.
EXT. BROOKLYN BRIDGE - DAY
Ben sees a familiar face in the masses: DEBBIE. Ben steps
toward her, but she stops him with a look. She places
something on the ground and runs off into the crowd.
Ben sees something GLISTENING on the ground. He stoops over
to pick up...her ENGAGEMENT RING. His big fingers can't grip
it. He tries in vain. Hopeless, pathetic. A beat. And...
A hand grabs the ring. It's Reed. Quiet, close.
REED
I swear to you, I will do everything
in my power until there is not a
breath left in me: you are going to be
Ben again.
Off the wounded look in Ben's eyes, wanting to believe him...
INT. VICTOR'S OFFICE - DAY
Victor sits with remote in hand, staring at his plasma TV.
ON THE TV: he sees a crowd of firemen applauding the new
Fantastic Four. For the first time they strike a heroic
pose. Leonard enters, with a phone in his hand.
LEONARD
Uh, sir...Larry King called, to
cancel.
(seeing the TV, a beat)
Apparently, there's a bigger story.
Victor sees Reed put his arms around Sue as he covers her
with the jacket. And the penny drops: he's FURIOUS. As it
hits him, he feels something odd. He looks down at his
hand...at glints of gleaming METAL poking through flesh.
EXT./INT. EMERGENCY HOLDING AREA - DAY
An impromptu command center -- a series of police tents,
surrounded by EMERGENCY VEHICLES, NEWS VANS, FIRETRUCKS.
INT. EMERGENCY HOLDING AREA - TENT - DAY
Reed, Sue, Ben and Johnny sit together, getting changed.
They get ready to go, but the CHIEF FIREMAN enters, stopping
them.
CHIEF FIREMAN
There's some folks outside, want to
talk to you.
REED
We're not going public with this.
We're scientists, not celebrities.
CHIEF FIREMAN
Too late, son.
He turns on a little TV MONITOR in the corner. NEWS FOOTAGE
plays on all stations, with the tagline: FANTASTIC FOUR.
CHIEF FIREMAN (CONT'D)
That's what they're calling you. The
Fantastic Four.
JOHNNY
Nice.
Johnny heads for the exit.
SUE
Johnny, slow down. Let's think this
through, a second.
Johnny pauses. Rubs his chin once. And...
JOHNNY
Okay. Done thinking.
He runs out. Sue, Ben, and Reed swap glances, knowing Johnny
cannot be their spokesman. They take off after him, out to --
EXT. EMERGENCY HOLDING AREA - PRESS FIELD - DAY
CLICKCLICKCLICK! Fifty cameras flash. The field is full of
press. Our heroes freeze, shocked by the crowd.
Johnny eats up the attention. Ben turns, self-conscious.
Reed notices. The Chief Fireman turns to them.
CHIEF FIREMAN
So which one of you's the leader?
Johnny does not hesitate.
JOHNNY
That'd be me.
CHIEF FIREMAN
No seriously.
A beat. Sue and Ben turn to Reed. The Chief hands him a
mic.
CHIEF FIREMAN (CONT'D)
You're on, son. They all want a
statement.
All eyes go on Reed. He looks out, gulps hard. A long beat.
REED
Uh, during our recent mission to the
Von Doom space station, we were
exposed to as yet-unidentified
radioactive energy, most likely some
kind of nucleotide compoun--
Nobody came for a science class. A crush of questions
overwhelms Reed:
VARIOUS REPORTERS
What happened on the bridge? Does it
hurt to stretch? Were you really on
fire? Is it true that one of you can
fly?
JOHNNY
Working on it. And it's a lot harder --
SUE
We don't know much more than you do,
at this point. Which is why we will
be going directly to the lab, where we
can diagnose our symptoms and --
REPORTER #2
Symptoms? So it's like a disease?
Reed looks at Ben's face, feeling the guilt. Ben is lost in
thought, looking at Deb's ENGAGEMENT RING. Johnny leaps in.
JOHNNY
Symptoms? Please. If having powers
is a disease, then yeah we got it.
And we are gonna blow your minds.
There's a new day dawning. The day of
the Fantastic Four.
REPORTER #3
That thing doesn't look too fantastic.
The Reporter nods toward Ben. Ben's fists tighten, the sound
of rocks crushing together. Reed feels the pain.
REED
Ben Grimm is a genuine American hero
who's been through a terrible orde--
JOHNNY
What he's trying to say is: every team
needs a mascot...
Reporters laugh. Ben turns his head away. Reed burns.
REED
Look, we went up to space to find a
way to understand DNA, to cure
disease, save lives. Well, now it's
our DNA, our disease, our lives on the
line...
(a beat)
Thank you. No more questions.
Reed, Sue, and Ben get up to go. The press waits a beat,
then surges. Ben spins, holding up one finger. A giant.
BEN
Be nice.
The press step back, intimidated. Flashbulbs POP, and Ben's
FACE FREEZES. It goes BLACK-AND-WHITE on a NEW YORK POST in --
EXT. BANK - DAY
Establishing shot of a historic New York building.
INT. BANK - CONFERENCE ROOM - CONTINUOUS
BANKERS sit around a table. LAPTOPS hum. The lead banker is
power-broker NED CECIL. The men keep their eyes on Victor.
NED CECIL
Well, Victor, the bank would like to
congratulate you. On the fastest
freefall since the Depression. We
can't even give your stock away.
VICTOR
Ned, you know I can turn this around.
Ned motions to the paper, the picture of BEN.
NED CECIL
You promised a cure-all, and came back
with this. Who the hell's going to
invest in a biotech company that turns
its workers into circus freaks?
Victor's grip tightens around the table, and...the LAPTOPS
FLICKER, losing feeds.
Victor looks down at his hands -- a private beat (did I do
that?) He lets go of the table; screens go back to normal.
VICTOR
(pointed)
I really appreciate all your support.
NED CECIL
You've got a week, Victor. One week
to turn this around. Or we pull
out...
(a beat)
This meeting is over.
Victor looks at him, blood boiling, and we CUT HARD TO --
INT. BANK - HALLWAY - DAY
Victor and Leonard stride out. Victor is writhing.
VICTOR
Goddamn book-keeper doesn't know
preferred stock from livestock.
Leonard is thinking all business.
LEONARD
Sir. Reed's comments at that press
conference killed us. How are we
going to turn this around?
Victor considers. His mind races, eyes narrow.
VICTOR
Very simple. I cure them. If I can
cure these freaks, then I can cure
anyone. What better way to restore my
reputation?
Leonard nods, impressed. Victor is a man in motion. As they
step into sunlight, we cut to...CLICKCLICKCLICK in --
EXT. BAXTER BUILDING - DAY
REPORTERS snap pictures. A POLICE CONVOY drives up, stopping
in front of a towering HIGH-RISE. Sue, Reed, and Johnny and
get out of a police-car. Ben steps out of a BIG PADDY-WAGON,
which immediately bounces back up to the normal axle
position.
COPS hold back the surging press. Ben keeps his head down,
self-conscious. He passes Johnny, smiling for the cameras.
JOHNNY
Smile, Ben. They want to like you.
Give 'em your good side. Or your less
bad side.
Ben turns to a group of LITTLE KIDS. Stiff, tentative:
BEN
Uh...don't do drugs.
The kids FLINCH. Ben trudges on. Johnny smiles bright,
doing hand-signs for F4. Sue pulls him toward --
INT. BAXTER BUILDING - LOBBY - DAY
The Fantastic Four enter. They are greeted by JIMMY
O'HOOLIHAN, an old-time doorman with a kind smile.
O'HOOLIHAN
Welcome back to the Baxter, Dr.
Richards. All that for you?
He motions to the flashing cameras outside.
REED
I'm afraid so...
He searches for the name. Sue steps up.
SUE
Jimmy. Good to see you again.
He smiles at Sue, then at Reed.
O'HOOLIHAN
Good to see you too... Don't worry,
sir. I know how crowded that head of
yours is.
REED
Any visitors while I was away?
O'HOOLIHAN
Just the usual. Told 'em you were
circling round outer space.
He opens a drawer full of LETTERS from the BANK. Reed looks
sheepish. He shuts the drawer, looks to Johnny and Sue.
REED
We had a tough year.
BEN
Yeah, nine years straight.
Reed looks at Ben. Thanks a lot. DING. Elevator doors
open.
INT. BAXTER BUILDING - ELEVATOR - DAY
They enter. Reed hits the top button, for the 20TH FLOOR.
JOHNNY
Twenty? From outside the place looks
a lot taller.
REED
Oh, it is.
The doors close, but...the ELEVATOR does not move. A beat.
JOHNNY
Either we're moving really fast...or
not at all.
A digital readout on the panel: EXCEED MAXIMUM WEIGHT. A
sign reads: MAXIMUM CAPACITY: 2000 pounds. They turn to Ben.
BEN
I'll take the stairs.
Doors open. He lumbers out. As the doors close behind him,
he looks back over his shoulder, locking eyes with Reed.
INT. BAXTER BUILDING - ELEVATOR - DAY
The elevator rises. Reed roils with guilt.
SUE
How come Ben can't turn it on and off
like us?
REED
That's what we're here to find out.
SUE
If it happened to him, then it
could...
Happen to all of them. Reed nods softly.
JOHNNY
Wait. You mean there's chance we
could be full-on-24-7-fantastic?
SUE
Grow up, Johnny. You want to run
around on fire for the rest of your
life?
JOHNNY
Is that a trick question? C'mon, I
can't be the only one who thinks
this is cool.
Reed considers. But Sue cuts him short with a look.
DING! The elevator stops.
INT. BAXTER BUILDING - ATRIUM - MOMENTS LATER
The elevator opens. They step out. They might be on the
20th floor, but Reed owns the building from here to floor
sixty. It's a massive atrium, lit by skylights far above --
Reed leads them into another area filled with separate
"apartments" and all the amenities of home.
REED
We should stay here until we can
define the extent of our changes...
JOHNNY
This place is deluxe. You got cable?
REED
(hearing Ben's FOOTSTEPS)
...and figure out how to reverse them.
Let me show you to your rooms.
EXT. BAXTER BUILDING - DAY
The press has died down, but there are still plenty of
cameras. A MAYBACH SEDAN rolls up. Victor emerges, wearing
sunglasses. This time, the press pay no attention to him.
No cameras flash. Victor tightens, and enters the building.
INT. SUE'S ROOM - DAY
Sue walks out of the bathroom in a robe, drying her hair.
She notices a familiar book on a shelf: a SCRAPBOOK.
She flips through it. It's filled with pictures of Reed and
his inventions -- a lot less fancy than Victor's multimedia
globe. She stops at a picture of her and Reed in COLLEGE.
A noise, and she turns, flinching slightly, surprised to
see...VICTOR. He smiles, standing at the door, watching her.
VICTOR
God, I've been so worried about you.
She notices the scar on his head.
SUE
Victor, your scar --
VICTOR
I told you, I'm fine. It's you I'm
worried about.
SUE
I'm sorry I didn't get a chance to --
VICTOR
Please, no apologies. I've arranged
for your things to be moved to one of
my condos. You'll have round-the
clock care.
He goes for her bag. But she stops him. A half beat.
SUE
Thank you, that's generous, but I
think I should stay here. With my
brother. Until we get a handle on
this.
Victor is not used to being rebuffed. He gives a thin smile.
VICTOR
Sue. I think you should let my
doctors have a look at you.
A tense beat. Standoff. Made more tense by --
REED (O.S.)
Victor! What are you doing here?
They turn to see Reed approaching, with files in hand.
VICTOR
I'm starting to wonder the same
thing... How much do you know about
what happened to you?
REED
Not much. We need to run tests to see
the extent of the damage.
Victor pauses. He looks at Sue, knowing she's here to stay.
VICTOR
Well, let me know if there is anything
I can do. We're all in this together
now.
Victor shakes Reed's hand. His GRIP is so tight that Reed's
fingers STRETCH. Victor lets go, and turns to Sue, who puts
her hand out. He smiles, and shakes. He heads off.
Reed looks at his hand. Shakes his wrist. He looks at
Victor.
INT. BAXTER BUILDING - HALL - DAY
Victor moves fast, holds tight to his anger. Reed catches
up.
REED
Victor wait... I just wanted to say,
I'm sorry the mission didn't go as
planned --
Victor suddenly WHEELS on Reed. Lights flicker.
VICTOR
Didn't go as planned? It was a
catastrophe. You ruined the lives of
four people --
REED
I ruined? With all due respect, I
told you to abort --
VICTOR
Abort? Reed, I put my company, my
name, billions of dollars on the line,
and I will not let you make me look
like a fool --
REED
Victor, if we could understand what
happened to us --
VICTOR
I don't want to understand it. This
isn't one of your science projects. I
just want to fix it. Fast!
Reed sees Victor's SCAR maybe growing. Lights dim.
VOICE (O.S.)
There a problem, Vic?
They turn to see...BEN down the hall, leaning in a doorway.
Victor tightens, looking at Ben's massive rock-hewn body.
VICTOR
No problem, Ben.
He turns back to Reed. Close, quiet. Lights flicker.
VICTOR (CONT'D)
Just pay your goddamn electric bill,
and get to work on a cure.
Victor steps away, toward the elevator. He passes Ben, who
just smiles and waves "goodbye." Before Victor's finger taps
the down-button, the button lights up (as if the circuit
responded to him). Reed exhales, shaken. Victor steps into --
INT. BAXTER BUILDING - ELEVATOR - DAY
The doors close, and Victor really LETS LOOSE. He SLAMS his
fist into a STEEL WALL. The wall BUCKLES, steel DENTING.
Victor shakes out his hand, and sees...a rippling METALLIC
SHELL under the skin. He stares at it in horror. The dark
surface pulsates with electric energy. What is he
becoming...?
INT. BAXTER BUILDING LABS - DAY
Sue works the controls. Reed approaches Ben with an
ELECTRODE NEEDLE. He tries to stick the needle into Ben, but
it SNAPS.
BEN
You got a chisel round here?
REED
If we're going to identify the source
of the mutation, we need to isolate
your recombinant DNA so we can
activate positional genomes.
Ben looks to Sue for translation.
SUE
We need to give you a physical, so we
know what got zapped.
BEN
Well why didn't you say so? You want
me to lift some weights or something?
Reed shakes his head. He approaches with an X-RAY MACHINE.
REED
No, just sit back. We have a good
sense of your strength from the
firetruck. We need to find the source
of your strength.
He turns on the X-ray machine. The graph shows SOLID ROCK.
The rays don't penetrate. Sue and Reed look confused.
BEN
How bad is it? You know I used to
smoke.
Reed grabs a BLOOD PRESSURE MACHINE, but the strap is way too
short to wrap around Ben's arm. Reed stands stumped. He
looks at his tray full of instruments. He picks up the
little rubber REFLEX-HAMMER. But it looks miniscule compared
to Ben.
Reed has an idea. He opens a drawer full of HARDWARE TOOLS.
He pulls of a real HAMMER. He approaches Ben.
REED
Okay, this might smart a little.
He taps Ben's knee lightly, and BEN'S LEG KICKS! SLAMMING
UP! RIGHT BETWEEN REED'S LEGS! The ultimate kick in the
crotch. Reed STRETCHES UP a few feet, then SNAPS BACK,
wincing.
REED (CONT'D)
(high-pitched voice)
We'll...continue this later.
INT. BAXTER BUILDING LABS - DAY
From their second level control room, Reed and Sue observe
Johnny in an enclosed fire-proof chamber. Flames escape
through the vents of the chamber...he's fully torched!
Reed watches the read-out: it climbs from 2000 to 4000
degrees Kelvin. They are essentially taking his temperature.
INSIDE THE CHAMBER: Johnny turns white hot, blinding to look
at: the chamber walls begin to glow red. Machines go
haywire.
His feet even start to LIFT OFF THE GROUND, LEVITATING a foot
or two. He looks down, excited, burning hotter and hotter.
REED
Back it down, Johnny!
JOHNNY
I can go hotter!
He won't stop. Reed pulls a switch on the wall. FOAM sprays
out of nozzles, dousing Johnny's flames. He stands there,
covered in thick FOAM. His body steams. So does his temper.
JOHNNY (CONT'D)
You're really cramping my style here.
SUE
You were at 4000 Kelvin. Any hotter,
you're approaching supernova --
JOHNNY
Sweet.
SUE
That's the temperature of the sun.
REED
Not only could you kill yourself, but
you could set fire to Earth's
atmosphere and destroy all human life
as we know it.
JOHNNY
Gotcha. Okay. Supernova bad.
Reed looks at the control panels.
SUE
He cooked the equipment.
Frustrated, Reed looks at the smoking system. And we CUT TO --
INT. BAXTER BUILDING - LAB - DAY
Reed and Ben sit in chairs, facing each other. A beat
passes. Ben taps his fingers on the chair, making small
DENTS. Reed looks down at his clipboard. A little awkward.
REED
Okay. I've uh, got some questions,
from Sue. That she thought might be
better coming from me... Can you, you
know, go to the bathroom...like
normal...
BEN
Yeah.
(a beat)
You don't wanna know the details.
REED
Ben, I'm afraid I've got to ask --
BEN
Not unless you want that clipboard
stretched up your --
REED
O-kay. We'll skip that question.
INT. BAXTER BUILDING - LAB - DAY
Reed and Johnny now. Johnny exercises. Reed stands nearby.
Clipboard in hand.
REED
Is there something about flames?
About flaming, that you --
JOHNNY
What are you trying to say? Just
because I dress well and like to dance --
REED
(confused)
What? No. I'm trying to figure out
why we each ended up with different
symptoms.
JOHNNY
Oh, well that's easy: I'm hot.
You're...well, you're a little limp.
Sue's easy to see through. And Ben's
always been a hardass.
(a beat)
Why aren't you writing this down?
Reed sighs. It's going to be a long process.
INT. BAXTER BUILDING LAB - DAY
Reed and Sue, tables turned: Reed observes her through a
prismatic device measuring light refraction. He "sees" her
through the device: lit up like some heavenly creature. He's
having a hard time concentrating. He focuses on his work.
REED
It's not "invisibility" per se.
You're bending the light around you
with some kind of malleable force
field. That's what you projected on
the Bridge.
SUE
What about you? You haven't eaten in
days. How come you're never on this
side of the microscope?
He tightens, uncomfortable with being center of attention.
She reaches for his arm, like a specimen. He pulls away, but
she sees a glimpse of BRUISES on his ARMS. She slows down.
SUE (CONT'D)
Bruises...from the bridge?
He nods, rolls down his sleeves.
REED
Have you had any side-effects, from
your powers?
She considers. A little vulnerable.
SUE
I've had some headaches. Migraines.
A beat. Reed drops his eyes, makes a note, back to work.
REED
You should be able to bend light
around other objects, even people, if
you could control your emotional state
better --
SUE
Excuse me?
She is annoyed. Reed is oblivious.
REED
I'm saying, if you had a little more