104 Land of the Free by James Blanchard
1 EXT. NEW YORK - NIGHT - 1924
Arial shot of New York, glittering across the skyline.
TITLE CARD: New York, 1924
CUT TO:
2 EXT. DARK ALLEY - NEW YORK - NIGHT - 1924
A car’s headlights fill the alley as an FBI car pulls in it. Two men step out - long coats, fedoras, cigarettes. FBI agents - SAM GARNER and his handler, COAL GOLDMANN. Goldmann drops his fag on the floor, stubs it out with his shoe.
GARNER
You sure about this?
GOLDMANN
She’ll be solid. Trust me.
GARNER
I’ve heard that before.
GOLDMANN
Just keep ya mouth shut and start walking. I think it’s for the best if I speak to her.
Garner stubs out his cigarette. They head down the alley.
A WOMAN, standing in the shadows, completely obscured. She’s smoking. Garner and Goldmann approach her.
GOLDMANN (cont’d)
You’re expecting us, ma’am?
WOMAN
I am.
She has a soft Brooklyn accent - quiet, sort of unassuming.
GOLDMANN
Three days ago you contacted us about an illegal booze holding. Is this correct?
WOMAN
It is.
GARNER
Why do you think we’d just trust your word?
WOMAN (pause)
I think the fact that you’re here gives some testament, Detective.
Garner bristles.
GOLDMANN
We’re here for information. We’d quite like to hear it.
She takes a long drag of her smoke, drops it, stubs it, exhales.
WOMAN
There’s a warehouse. Nineteen to twenty-five Brighthorn Quay. Giles DeMonta owns nearly a thousand bottles of French liquor and its all stored in there.
Goldmann nods, takes out his notebook and starts taking this down.
GARNER
Where did you get this from?
WOMAN
Me and Giles are-...were...close. But sometimes a girl’s gotta look after her own interests.
GOLDMANN
This warehouse. If a raid were to take place, would much fire-power be required?
WOMAN
Oh yes, Detective. It would indeed.
CUT TO:
3 EXT. 19-25 BRIGHTHORN QUAY - NEW YORK - NIGHT - 1924
Around twenty police and FBI cars pull to a stop around the warehouse.
4 INT. SAME
The warehouse is dark and quiet. Rows of bottles sit peacefully in their racks.
The doors bursts open. Torchlight floods in. Police and FBI follow, guns ready. Goldmann and Garner lead.
GOLDMANN
FBI! This is a raid! Put down your weapons and surrender for arrest!
Machine gun fire. Bullets bounce of the floor, smash liquor bottles. Police dive to cover. Alcohol spills on the floor.
Gangsters are on top of the racks, taking cover behind the isles. Both sides take it in turns to pop out and shoot at each other.
GOLDMANN (cont’d)
Garner! This way!
Goldmann and Garner swing round to go up one of the side isles - an attempt to flank the gangsters.
Running up an isle. They spot a gangster perched on to of a rack, shooting at the police. They shoot into him - he falls, slides down the pyramid of liquor bottles.
The round a corner - they’re behind the gangsters now. Surrounded. The begin to shoot.
Goldmann spots something, in the corner of his eye. A gangster, just to the side of them. Garner hasn’t noticed.
The gangster is aiming at Garner, about to shoot.
GOLDMANN (cont’d)
Garner!
He lunges, pushes Garner out the way. The gangster’s bullets fly. Into Goldmann - his torso is torn up.
Garner’s on the floor. He shoots back - three quick shots into the gangster, who falls.
Garner goes to Goldmann. He’s lying face down, blood seeping out and mixing with alcohol. Just music now, the gunfire’s drowned out. Garner shakes him, trying to rouse him. Nothing.
CUT TO:
5 EXT. SAME - LATER
Garner walks away from the warehouse. He’s drenched in blood and liquour. More police have arrived now - they’re flooding into the warehouse, dragging arrested gangsters from the building.
An officer approaches him.
OFFICER
What the hell happened in there?
Garner carries on walking.
GARNER
It wasn’t worth it. He was an idiot. It wasn’t worth it.
He walks until he is obscured by the flashing lights of the police cars.
TITLE SEQUENCE
Arial shot of New York, glittering across the skyline.
TITLE CARD: New York, 1924
CUT TO:
2 EXT. DARK ALLEY - NEW YORK - NIGHT - 1924
A car’s headlights fill the alley as an FBI car pulls in it. Two men step out - long coats, fedoras, cigarettes. FBI agents - SAM GARNER and his handler, COAL GOLDMANN. Goldmann drops his fag on the floor, stubs it out with his shoe.
GARNER
You sure about this?
GOLDMANN
She’ll be solid. Trust me.
GARNER
I’ve heard that before.
GOLDMANN
Just keep ya mouth shut and start walking. I think it’s for the best if I speak to her.
Garner stubs out his cigarette. They head down the alley.
A WOMAN, standing in the shadows, completely obscured. She’s smoking. Garner and Goldmann approach her.
GOLDMANN (cont’d)
You’re expecting us, ma’am?
WOMAN
I am.
She has a soft Brooklyn accent - quiet, sort of unassuming.
GOLDMANN
Three days ago you contacted us about an illegal booze holding. Is this correct?
WOMAN
It is.
GARNER
Why do you think we’d just trust your word?
WOMAN (pause)
I think the fact that you’re here gives some testament, Detective.
Garner bristles.
GOLDMANN
We’re here for information. We’d quite like to hear it.
She takes a long drag of her smoke, drops it, stubs it, exhales.
WOMAN
There’s a warehouse. Nineteen to twenty-five Brighthorn Quay. Giles DeMonta owns nearly a thousand bottles of French liquor and its all stored in there.
Goldmann nods, takes out his notebook and starts taking this down.
GARNER
Where did you get this from?
WOMAN
Me and Giles are-...were...close. But sometimes a girl’s gotta look after her own interests.
GOLDMANN
This warehouse. If a raid were to take place, would much fire-power be required?
WOMAN
Oh yes, Detective. It would indeed.
CUT TO:
3 EXT. 19-25 BRIGHTHORN QUAY - NEW YORK - NIGHT - 1924
Around twenty police and FBI cars pull to a stop around the warehouse.
4 INT. SAME
The warehouse is dark and quiet. Rows of bottles sit peacefully in their racks.
The doors bursts open. Torchlight floods in. Police and FBI follow, guns ready. Goldmann and Garner lead.
GOLDMANN
FBI! This is a raid! Put down your weapons and surrender for arrest!
Machine gun fire. Bullets bounce of the floor, smash liquor bottles. Police dive to cover. Alcohol spills on the floor.
Gangsters are on top of the racks, taking cover behind the isles. Both sides take it in turns to pop out and shoot at each other.
GOLDMANN (cont’d)
Garner! This way!
Goldmann and Garner swing round to go up one of the side isles - an attempt to flank the gangsters.
Running up an isle. They spot a gangster perched on to of a rack, shooting at the police. They shoot into him - he falls, slides down the pyramid of liquor bottles.
The round a corner - they’re behind the gangsters now. Surrounded. The begin to shoot.
Goldmann spots something, in the corner of his eye. A gangster, just to the side of them. Garner hasn’t noticed.
The gangster is aiming at Garner, about to shoot.
GOLDMANN (cont’d)
Garner!
He lunges, pushes Garner out the way. The gangster’s bullets fly. Into Goldmann - his torso is torn up.
Garner’s on the floor. He shoots back - three quick shots into the gangster, who falls.
Garner goes to Goldmann. He’s lying face down, blood seeping out and mixing with alcohol. Just music now, the gunfire’s drowned out. Garner shakes him, trying to rouse him. Nothing.
CUT TO:
5 EXT. SAME - LATER
Garner walks away from the warehouse. He’s drenched in blood and liquour. More police have arrived now - they’re flooding into the warehouse, dragging arrested gangsters from the building.
An officer approaches him.
OFFICER
What the hell happened in there?
Garner carries on walking.
GARNER
It wasn’t worth it. He was an idiot. It wasn’t worth it.
He walks until he is obscured by the flashing lights of the police cars.
TITLE SEQUENCE
6 EXT. ANGEL DETECTIVE AGENCY - NEW YORK - DAY
Back in 1938. The mid-afternoon sun gently touches the Angel Detective Agency. Garner strolls across the parking lot, towards the entrance and the job he not lot ago acquired.
7 INT. SAME - OFFICE
Garner walks through the door. AMY POND is sat behind one of the desk, reading a letter. RORY WILLIAMS is leaning on the desk, peering over at it.
AMY (reading)
Dear Miss Pond - as one of New York’s best writers in residence...
She pops over the letter and gives a smug, cheeky grin to both men as Garner hangs his coat.
AMY
You are formally invited by Mr Dominic Ricanti to the Great Minds of New York Social Convention at the Garcia Hotel, October 29th, at 10 PM. Please telephone ahead to confirm or decline your attendance.
GARNER
Ricanti? He’s the writer, yeah? The one who says that business should just get on with makin’ money and FDR should get his beak out?
RORY
Yeah, the nutter.
GARNER
I think he’s got a point.
Rory mouths ’Yeah, well...’ sarcastically.
GARNER (cont’d)
October 29th? That’s tonight. Pretty short notice.
AMY
The postage says last week. It must’ve got delayed.
GARNER
Hmm.
Rory turns back to Amy. She’s looking at him.
RORY
Don’t tell me you’re seriously thinking of going?
AMY
It could be fun!
RORY
The man’s a mental case!
AMY
And we haven’t had any mental cases recently, have we?! From out of space or anything!
RORY
What are you going on about?
AMY
I’m just saying, in relative terms, it might be nice to see some terrestrial insanity for once, and not have to spend all the time saving the world.
Garner takes a seat at his desk.
GARNER
You should. It might be nice to watch a fruitcake who’s not trying to kill you for once.
RORY (pointing to Garner)
Notice how he gives no guarantees.
AMY
All of high society will be there.
RORY How much high society do you know?
Amy’s eyes dart left and right as she searches for an answer.
AMY We’ll get to know some?
Rory rolls his eyes, gets off the desk and heads over to the private office.
RORY If you want to go, I’ll go. Just don’t ask me to do much socialising with that stuck up lot.
Amy leans back in her chair and blows him a kiss.
AMY Thank you, husband.
Rory mimes catching it, then heads into the office.
Garner strikes a match, goes to light up.
AMY (cont’d)
Hey! I told you, no smoking in here.
Begrudgingly, he douses the match, and puts away the unsmoked cigarette.
GARNER
The future must be as boring as a Sunday church service.
AMY
Smoking kills. And you know how much New York values mine and Rory’s health. (she starts tapping at the typewriter) You okay holding fort?
GARNER
I think I’ll appreciate the company.
AMY
You’ll be on your own?
GARNER
Exactly.
Amy rolls her eyes.
7.
8 EXT. SAME
A Woman stands beneath a tree, watching the Angel Detective Agency building. She’s totally obscured by the tree’s shadow.
She walks away.
9 INT. SAME - OFFICE - NIGHT
It’s night now. Garner’s sat with his feet up on the desk.
Amy and Rory emerge from the private office - Rory’s in full formal attire (including bow tie), and Amy is in a beautiful black dress.
AMY
How do we look?
GARNER
Like you’re going to a party.
Rory heads over to the window, looks out.
RORY
Cab’s here.
He links arms with Amy and they head for the door.
AMY
Please try not to get involved with any alien drug dealers.
GARNER
I’ll do my best.
AMY
And no smoking!
Amy and Rory leave through the door. Garner waits a few seconds - then lights up. He leans back as the smoke fills the air.
The phone rings.
He pulls his feet down from the table, readjusts his sitting position, swaps smoking hand. He answers the phone.
GARNER
Hello?
No answer. His eyes narrow.
FEMALE VOICE (O/S)
The last - and first - time we spoke must have been, what, fifteen years ago now?
The voice on the phone has a soft, Brooklyn accent. Quiet, unassuming.
GARNER
Who the hell is this?
FEMALE VOICE (O/S)
Do you honestly not remember me? July, 1924? And the Brighthorn Quay?
INSET: A brief flashback to the Woman in the dark alley, back from Scene 2.
GARNER
You.
FEMALE VOICE (O/S)
Forgive me, but I wasn’t sure who else to contact. I know you’ve gone private now, and the Angel Detective Agency deals with...stranger activities.
Garner gets and goes to the window, looking out over New York.
GARNER
That booze bust cost my handler his life, you know.
FEMALE VOICE (O/S)
I do.
GARNER
He was good man.
FEMALE VOICE (O/S)
Didn’t you say he was a stupid man, too?
GARNER
Can’t they be the same thing? He had a wife and son to look after. He should’ve looked after himself, too.
FEMALE VOICE (O/S)
I’m glad we can find some common ground.
GARNER
Why are you calling?
FEMALE VOICE (O/S)
Dominic Ricanti. He’s holding a social convention at the Garcia Hotel.
GARNER
For his book launching, yeah. My fr-...colleagues are going.
FEMALE VOICE (O/S)
I think he’s doing something more. He’s been spending huge amounts money - even more than you’d expect a gurning socialite like him to be doing. I think tonight is more than just a friendly party with your neighbourhood intelligentsia.
GARNER
How do you know this?
FEMALE VOICE (O/S)
Ricanti and I are-...were...
GARNER
Close?
FEMALE VOICE (O/S)
Yeah. You can’t help you fall in love with. But like I told you before, sometimes a girl should look after herself.
Garner catches himself nodding.
FEMALE VOICE (O/S) (cont’d)
There’s a scientist, called Herman Bauer. He left Germany two years ago to stop the brow shirts getting their hands on his inventions, which he’s meant to be showcasing tonight. But he’s not going to be there. He’s who Ricanti’s been paying, but I don’t know what for. Maybe if you speak to him...?
GARNER
I asked you before, what makes you think I’ll just trust your word?
FEMALE VOICE (O/S)
You haven’t hung up?
Garner seems slightly taken a back. He takes a drag on his smoke.
GARNER
This Bauer, where can I find him?
FEMALE VOICE (O/S)
He lives in the Avery Apartments, just off 22nd Street.
GARNER
I know it. I’ll speak to him. And what about you, do you have a name?
FEMALE VOICE (O/S) (pause)
You can call me...Robin.
GARNER
Is that your real name?
ROBIN (O/S)
It’s more real than most I give.
GARNER
It’s a start.
ROBIN (O/S)
Speak to Bauer. I’ll call you afterwards, maybe we can arrange a payment or something.
GARNER
Am I ever going to meet you in person, Robin?
ROBIN (O/S)
Probably not, Mr Garner. I like to keep my eye on things from afar.
GARNER
I see. (heads beck to the desk) I’ll go and see this Bauer. The Agency will be in touch, Miss.
ROBIN (O/S)
I look forward to it.
Garner hangs up. He stands still for a moment, thinking. Then he grabs his coat.
11.
10 EXT. GARCIA HOTEL - FRONT ENTRANCE - NIGHT
The Pond’s cab pulls up outside the Garcia Hotel - the building is lit, art deco, decadent. Well dressed people are filtering in.
Rory and Amy get out of the cab. They link arms, head up the steps and into the hotel.
11 INT. SAME - LOBBY
Amy and Rory are queuing in the lobby to enter the Convention Hall. Posters of Ricanti are everywhere, as well as shelves of his latest book, ’For One’s Own Kingdom’.
They reach the doorman.
DOORMAN
Your names, Signor et signora?
RORY
Rory Williams and Amy Pond.
DOORMAN (checks list)
Ah yes! Head on in, per favore, and enjoy the evening.
They head on in.
12 INT. SAME - CONVENTION HALL
The hall is wide and tall, with a large flight of stairs leading to the private floors above. There are banners everywhere, as well as buffet table, as well as a bar at the back. There’s a dance floor in the centre of the hall, and beside it an elevated stage, upon which is a mic, a piano, and what looks like a humanoid statue, covered by a velvet sheet.
Amy and Rory wonder through the crowd of eccentric people, dressed in a huge variety of often strange outfits.
AMY (whispering)
You were right.
RORY (whispering back)
About what?
AMY
Nutters.
They share a private laugh.
A BLONDE WOMAN in a blue dress gets up on the stage. She heads to the microphone, taps it.
BLONDE WOMAN (testing mic)
Hello? Hello? (to audience) Hello everyone, may I have your attention please!
The crowd quietens, turns to her.
BLONDE WOMAN
Thank you everyone. Welcome all the the Great Minds of New York Social Convention, as well as a big thank you to our sponsor and owner of the hotel, Mr Violet. We trust you’ve all enjoyed your evening so far. So, without further ado, here to discuss his latest book - For One’s Own Kingdom - and the philosophy this evening’s even, please welcome Mister Dominic Ricanti!
Cheers as DOMINIC RICANTI jumps onto the stage, kisses the Blonde Woman on the cheek, before taking the mic from her. He’s well dressed, yet in a casual way - a depression era Robert Downy Jr. He has a strong New York accent, but with a tint on Italian.
RICANTI
Good evening ladies and gentlemen, so wonderful to see you all in one place. All together - men and woman who live for and by their own means.
He adjusts his loose tie slightly.
RICANTI
Let me tell you why I came to the United States. Until 1922 I lived in Italy with my father, who earned his living through his own sweat and toil, building cars and eventually setting up his own factory. It was his every right - the fruits of his labour come to blossom. But in nineteen hundred andtwenty two Italy went mad, and the insane, Napoleonic high-priest of fascism, Mussolini, came to power. My father had his factory torn away from him, for the good of ’the nation’. For nothing at all. So, I wondered, where can I go to befree of these lies? Where in the world is there a place for me?
RORY (whispering to Amy)
The asylum?
AMY (whispering back)
Maybe a Dalek one.
RICANTI
And I saw across the ocean a paradise - the United States of America, the Land of the Free. A place where a man could own his own earnings. When I arrived hear I worked in the docks, and in those hard times I wrote my first book. The blood and tears I poured into that book paid dividends and I truly tasted the golden age of this country where a man could be free as his own agent, and his own ends. Sadly, those days have passed.
Ricanti pulls a handkerchief from his jacket and mops his forehead.
RICANTI (cont’d)
The so-called President of this nation, Mr Roosevelt, has been thieving the means from the people who earned it, not dissimilarly from how the previous Roosevelt did. His attempts to restrict and control the great minds of not just New York, but the whole of America, is leaving this country stagnant, and alienated, and angry. My book offers such a critique. That is why I have brought all of you - the great intellectual workers of New York - here today, to show you that you are in good company, that you have great power over the parasitical structures which dominate our lives. I bring you together to show you that you have potential!
Applause. Ricanti gestures for quiet.
RICANTI (cont’d)
And to demonstrate to you what the free individual can achieve, tonight I will unveil a new invention, by the genius Professor Bauer, who sadly cannot be here tonight.
He gestures to the Blonde Woman. She goes over to the covered statue, grabs hold of the cloth, ready to pull it off.
RICANTI (cont’d)
This invention, built of Professor Bauer’s own volition, was smuggled out of Germany to escape fascist clutches. And tonight, for the first time, we will show the world what a man can achieve!
Amy and Rory move closer together, suspicious.
RICANTI (cont’d)
Witness, ladies and gentlemen, what you are not. Something that can only obey, but will emancipate all of us. Behold: the world’s first working automaton!
Ricanti stands aside, gesturing widely. Blonde Woman pulls away the sheet to reveal:
Not a statue, but a robot! An art-deco approximation to a human being, all bronze metal moulded into a perfect physique, like Atlas. It seems to have a camera in place of a face and a blinking blue light in the centre of its chest. It’s fingers are long and dexterous.
The audience gasps. Gasps turn to cheers and applause. Amy and Rory share a look - this isn’t right.
RICANTI (cont’d)
Though it is not human - and never shall be - Professor Bauer’s ’android’ can perform tasks both menial and otherwise, as well as any human. This is the next step in the true emancipation of the human race - with this, we shall no longer be slave to our peers. And to prove it, our friend will provide the music to tonight’s first dance.
Ricanti steps away from the mic, bowing and gesturing widely. The crowd applauds.
The robot suddenly limbers. All its joints crack at once. It begins to move towards the piano - it walks smoothly, but oddly. It takes a seat by the piano, stretches it’s fingers, and begins to play La Vie En Rose. It plays well.
All the guests move towards their partners, beginning the dance. Amy and Rory do the same, for appearance’s sake.
RORY
Okay, now he’s a nutter with robots.
AMY
We never can just have a normal night out, can we?
RORY
We need to do something. We can’t let robots just walk around in 1930. Someone might notice.
AMY
A certain someone?
RORY
Amy...
AMY
Sorry. (pause) Maybe they just never take off. One of those strange quirks in history? We used to see them all the time.
RORY
I don’t think we can take that chance. He’s a-
AMY
He’s a nutter, I know. (glances round) There’s only one flight of stairs in here, I guess it leads to Ricanti’s apartment. There’s no way not to be seen. There might be a fire escape but leaving might look suspicious in itself. And I’m not shimmying up a drainpipe in this dress.
Rory looks disappointed.
RORY
I should call Garner.
AMY
Not yet. There’s still too much we don’t know, he might get himself killed. Wait ’til the dance is over, then we-
RICANTI (O/S)
If I may interrupt.
Amy and Rory turn suddenly to see Ricanti approaching them.
RICANTI
It’s Miss Pond, yes?
He takes Amy’s hand, kisses it.
RICANTI (cont’d)
My partner was forever talking about Black Rose - truly sublime literature. You are indeed the most worthy amongst us here.
AMY
I don’t know about that. But thank you.
RICANTI (to Rory)
And you are here husband, Doctor Williams, correct? I sense Italian blood in you, my friend. Roman, perhaps?
RORY
You could say that.
RICANTI
Fantastic. (to Amy) If it is not impertinent, may I ask to take this dance?
Amy looks to Rory. She nods lightly - they might learn something. Rory moves away from Amy, nods and smiles.
RORY
Enjoy.
Rory heads towards the bar. Amy and Ricanti join hands, continue the dance.
AMY
Those robots of yours are remarkable. I never thought I’d see something like that in my lifetime.
RICANTI
Professor Bauer truly is a genius. An exemplary human being. He made them all entirely of his own will, and when those brown-shirts came for them he fled here, to protect them.
(MORE)
RICANTI (cont’d)
Although, and don’t tell him I told you this: (whispers) I think he got the idea from your book.
AMY (laughs)
Well, The Guardians of Avalon weren’t exactly my idea.
RICANTI
You certainly have a writers mind, Miss Pond. An imagination.
AMY
And experience. And you have one, too.
RICANTI (laughs)
Me? No. I am no writer. Not at heart. I find writing laborious and inefficient. So much work for other people who will never even say thank you.
AMY
I don’t write to be thanked.
RICANTI
Everyone does everything to be thanked. But, alas, philosophy has few mediums besides the written word.
Amy looks to the floor.
RICANTI (cont’d)
I sense you do not share my philosophy?
AMY
I believe if you can help people, you should. A great friend taught me that.
RICANTI
And what about those who don’t help themselves?
AMY
I think there are less of those than you imagine.
RICANTI
You’ve certainly not been to the docks, Miss Pond.
AMY
I’ve been to places you wouldn’t believe, Mr Ricanti.
The robot changes tempo of the piece, slowing the dance down. Amy takes a lingering look at it.
RICANTI
Most of the people on this world are sheep, Miss Pond. Look at the Great War: millions of people fruitlessly thrown away and hardly anyone stood against it. A government exists to herd the flock, but what, exactly, can a flock of sheep achieve? Nothing at all. People like us need to escape the flock to be truly free. To live the best we can, we must live for ourselves.
AMY
If you saw a young girl crying silently - alone - what would you do?
Ricanti seems taken aback by the question - he’s never considered it before.
RICANTI
I...I would...
AMY
Walk past her? Tell her to pull herself by her bootstraps? I don’t think you would.
RICANTI
It’s different-
AMY
It’s not that different. The girl’s crying because she can’t stop. That’s not her fault. There’s nothing she can do to change that. And some people are poor and hungry, not because they’re lazy but because they’ve got nowhere to go.
RICANTI
People only hold themselves back.
AMY
I don’t think you really believe that.
RICANTI
And you would know about being trapped, I suppose?
AMY
...Yes, I would.
RICANTI
Philanthropy is a nice ideal, but there comes a time when people take and give nothing back to anyone.
AMY
People give each other more than you realise. You only learn that when they’re gone. Sometimes they give you stories, sometimes they give you advice, and sometimes they give you happiness. I don’t write to be thanked - I write to thank them.
RICANTI
This great friend of yours taught you that too?
AMY (smiles)
He did, as it happens.
RICANTI
Did he ever ask to be thanked?
AMY (smiles wider)
Not once.
13 EXT. AVERY APARTMENTS - 22ND STREET - NEW YORK - NIGHT
CLOSE ON: Street sign, ’Avery Apartments: Residence 51-100’.
The apartments are two squat buildings opposite each other along 22nd Street.
Garner’s car pulls up in the street. He gets out, locks up, heads over to the front entrance of the West-side building. By it, there’s a list of occupants. He scans his finger down until he finds:
’Bauer: 6th Floor, Apartment 79’
He enters.
20.
14 INT. SAME - WEST-SIDE BUILDING - 6TH FLOOR
Garner walks along the 6th Floor corridor. He comes to Apartment 79. He knocks on the door. A German accent comes from within the room.
BAUER (O/S)
Who is it?!
GARNER
Professor Bauer?
BAUER (O/S)
I told you - I told everyone - I am not seeing anyone and I am not going to that damn convention! If Ricanti wants to sponge off my work he can buy it like everyone else!
GARNER
Robin sent me.
BAUER (O/S) (pause)
You lie.
GARNER
She thinks Ricanti is up to something.
BAUER (O/S) (quiet)
Oh, I bet she does. (louder) Enter. Quietly.
Garner does so.
15 INT. SAME - APARTMENT 79
Garner shuts the door behind him. The apartment is dark, and messy, with beer bottles and unfinished piles of technology strewn. The short, stout silhouette of BAUER staggers around, bottle in his left hand. His right forearm is wrapped in cloth.
BAUER
So, you are here by Robin’s orders, ja?
Bauer sits in a chair by the window (his back is to it - through it the East-Side Building). He swigs from the bottle.
GARNER
I’m here by myself.
Garner approaches - tripping over bottles and wires - as Bauer laughs gutturally.
BAUER
Of course you are. And what does yourself want to know?
GARNER
I’m told you left Germany four years ago and took all your research with you.
BAUER
Correct.
GARNER
Why?
BAUER
Because it was becoming ugly and dirty. And in dirt you find parasites, and I will bleed on this floor before parasites can I have my work!
He goes to drink again, but misses his face, and spills beer all down his front. He gets up, clumsily drying his front.
GARNER
You’re work. What was it?
BAUER
You think I’ll just give up my secrets to you? So you can scuttle to Robin and give them away? I only let you in here to see where she stands. I think you should calculate your chances of leaving this apartment.
GARNER
An old drunk versus an armed ex-fed? (gets out his revolver - Bauer stands stiff) I think I’ll be okay.
BAUER
You Americans and your guns...
GARNER
Now, I’ll ask again: what was your work, and what does Ricanti want with it?
BAUER (pause)
Very well. But this knowledge does not leave your head, or it will not leave this room. Verstehen?
Garner nods.
Bauer reaches down, grabs the cloth over his right forearm, and pulls it away to reveal...
A robotic arm, in place of an organic one, similar to the one of the robot at the convention. Garner looks stunned. Bauer raises his arm to showcase it.
BAUER (cont’d)
Super-mechanics. The ultimate advance in independent machinery. Control via radio signals, keyed to a specific number at a control unit. Not dissimilar to a telephone. (reaches for his collar, pulls it back - a 6 digit number tattooed on his neck) So I never forget that I am the master.
GARNER (stunned)
Where did you get this stuff?
BAUER
From my own brain! That is what you governmentals will never understand!
GARNER
Okay, okay! So, what, you’ve been selling robot arms to Ricanti? Why?
BAUER (shakes head)
Not just arms. Whole automatons.
GARNER
You...literally mean...robots?
BAUER
Yes, put crudely. He’s been buying them in bulk - he must have a hundred at least. I had to pay some dock workers to put them together. Secretly, of course. No one should be able see of myself what I don’t want them to.
Bauer snatches another beer bottle with his real arm.
GARNER
That’s why you’re not going to the convention?
BAUER
If any of them get leverage over my mind, it could be disastrous. (drinks) Even Ricanti is pushing it, asking for discounts. And now Robin sends you, to pull the information from me.
GARNER
That’s not why I’m here.
BAUER
Of course it’s why you’re here. You just don’t know it yet.
GARNER
(shakes his head, turns his back) What the hell does Ricanti want with a hundred robots?
BAUER
These were not show-pieces. They were hardy and functional. Almost military grade.
GARNER
My Christ... (faces Bauer) What’s he going to do with them?
BAUER (laughs)
What do you think he’s going to do with them? He’s going to-
Bauer stops, suddenly. He frowns and looks down.
GARNER
Professor...?
Bauer’s shirt is turning red around the chest. With his robotic hand, he touches it, then brings it up to look at the drop of blood at the end of his metal fingers.
The window behind him smashes as a bullet flies through it, before tearing through Bauer’s robotic arm, sending sparks and metal everywhere.
Garner dives to cover as Bauer twists to face the window. Red mist bursts from his chest as a third bullet hits his front. He falls - dead.
Garner peers out from his cover, looks through the smashed window. He can just about see, in the corresponding window in the East-Side building...A SNIPER.
He runs for the door. Another bullet ricochets behind him.
24.
16 EXT. AVERY APARTMENTS - 22ND STREET - NEW YORK - NIGHT
Garner runs through the street towards the East-Side building, stopping at every piece of cover to avoid sniper bullets.
He stops at his car, waits a moment...then leaps out an into the East-Side building, just avoiding being shot.
17 INT. SAME - EAST-SIDE BUILDING - SNIPER APARTMENT
The cave caves in under Garner’s mighty boot and he storms in, revolver raised, scanning this way and that. The light’s are on.
The sniper rifle is left standing at the window, abandoned. Garner curses, holsters, and goes to it. He checks the stand, looks for shell casings, finds nothing. He curses again.
The phone rings.
Hesitantly, Garner answers.
GARNER
Hello?
ROBIN (O/S)
I heard shots, what the hell happened?!
Garner sighs of relief.
GARNER
Someone sniped Bauer. He was about to tell me what Ricanti wanted with his...um...robots.
ROBIN (O/S)
Robots? You’re serious?
GARNER
Hand on heart.
ROBIN (O/S)
Christ, it’s worse than I thought. He must have organised this, silence Bauer before we could find out his plan.
GARNER
My friends are at the hotel, if they’re in danger I have to warn them.
ROBIN (O/S)
Friends?
GARNER (pause) Collogues.
ROBIN (O/S)
Okay, call them then head over there. I’m not far from Bauer’s apartment, I can clean up and try to find something useful. I know the numbers for the Garcia, I can call you there.
GARNER
How do you know all these numbers?
ROBIN (O/S)
Not really the time, Detective.
GARNER
Okay, fine. And...be careful. The sniper might still be here.
He hangs up before she can respond. He searches around for a directory, find one, scans for the Garcia Hotel, then calls.
18 INT. GARCIA HOTEL - CONVENTION HALL - BAR
Rory’s sat at the bar, nursing a nearly finished beer. He’s watching Amy and Ricanti dance, frowning. The barman, LUIGI (a balding Italian) comes over to him.
LUIGI
Afraid you’ll lose her?
RORY
Sorry? Oh, no, not to him. But with the things we do and see, I’m worried I’ll lose her all the time.
LUIGI (raises eyebrow)
Oh?
RORY (smiles)
Not like that.
LUIGI (laughs)
Listen, from a man who had death do him part, don’t worry about tomorrow. It’s not going anywhere.
He clasps Rory on the shoulder, and Rory raises his beer as a thank-you toast.
LUIGI (cont’d)
I’ll get you another one, on the house. (takes beer glass)
RORY
Thanks.
Luigi goes to the back of the bar, and Rory looks back to Amy. She’s laughing, softly.
The bar phone rings. Luigi answers.
LUIGI Hello? (lowers phone, to bar)
Call for Rory Williams?
RORY
That’s me.
He vaults over the bar and takes the the phone.
LUIGI
See, you’re even more popular than your wife.
Rory laughs and takes the phone as Luigi pulls a beer.
RORY
Hello?
GARNER (O/S)
Rory, it’s me. You need to get everyone out of the hotel.
RORY
What? Why?
GARNER (O/S)
I don’t know, but he’s planning something. He has robots.
RORY
Yeah, I know, one’s playing Beethoven.
GARNER (O/S)
He’s shown everyone? Christ, what a dick. Do you know what he might do? Has he said anything that might give it away?
RORY
I don’t know! I think...he’s speaking about capitalism and competition all night, about how everyone here are great...oh god...
GARNER (O/S)
What?
RORY
He’s going to kill everyone here. Eliminate the competition.
GARNER (O/S)
Then he and his army of robots will have no one to stop him. You need to get everyone out of there. Yourselves especially, we don’t want New York going up in flames.
RORY
I’m on it.
Rory slams down the receiver, then looks around the bar. He sees a leaver that says ’In Case of Fire’.
RORY
Luigi?
LUIGI (turning)
Yes, my friend?
RORY
Sorry about this.
Rory slams down the leaver and vaults back over the bar, running for Amy.
The sprinkles start pouring.
Everyone starts panicking a running for the exit. Amy is knocked down in the push - from the floor, she sees Ricanti running in the opposite direction, up the stairs.
AMY
Ricanti!
Suddenly Rory’s there, helping her to her feet.
AMY (cont’d)
What the hell is going on?!
RORY
It’s Ricanti, he’s going to kill everyone, wipe out the competition.
AMY
What? No! He wouldn’t!
RORY
Garner just phoned, that’s what he said, and quite frankly I’m way more willing to bet on him than Ayn bloody Rand upstairs! Now come on!
Rory grabs Amy’s arm, but she yanks free and runs after Ricanti (dropping out of her shoes as she goes).
RORY (cont’d)
Amy!
Rory curses then runs after her, slipping on the wet floor as he goes. The piano robot’s head turns to watch him go, water dripping down it’s face...
19 EXT. GARCIA HOTEL - FRONT ENTRANCE - NIGHT
Garner’s car pulls up outside the hotel. The street is filled with drenched guests, shouting and wailing. A few police cars are dotted about, with officers talking to people or just leaning on their cars.
He get’s out and looks around - he can’t see Amy or Rory. He walks over to a FAT POLICEMAN, just standing in front of the entrance.
GARNER
Hey, what happened here?
FAT POLICEMAN
Sprinklers went off, we’re waiting for the firemen. Just keeping the flappers calm and the rest of the world out.
GARNER
Okay, thanks.
Garner walks away and makes his way to the back of the building. He finds a back door; open, slightly ajar. Unguarded. He looks left and right, then slips inside.
20 INT. SAME - 5TH FLOOR
Rory is chasing after Amy is she races towards the next flight of stairs.
RORY
Amy, wait, please!
Amy stops a moment, getting her breath back. She turns to Rory.
AMY
We have to find out what’s going on!
RORY
We can’t put ourselves in situations like this! It’s not just us we have to think about!
AMY
You think I don’t know that?! You think I’m not thinking about what we’ve brought to this city twenty-four seven?!
She holds her head in her hands.
AMY (cont’d)
We spent ten years running around in circles, Rory. We can’t just come to a stop.
RORY
I know, I know. (helps her to her feet) But we have to do it together.
AMY (nods)
Okay. We find Ricanti, and find out what’s going on. He’ll talk to me.
Rory nods, then - together - they head up the flight of stairs to:
21 INT. SAME - 6TH FLOOR (RICANTI’S PERSONAL FLOOR)
Amy and Rory step up into the floor...and a robotic hand grabs Amy’s throat!
The robot holds her up a full foot from the floor. Ricanti appears from behind it, pointing his pistol at Rory. Rory puts up his hands.
RORY
Don’t hurt her!
RICANTI
I shan’t, for the moment. But you two fascinate me. Well, Miss Pond does. Lower her, you damn machine, she can’t breath like that.
The robots lowers Amy until her feet touches the ground.
RICANTI (cont’d)
Now, the reason that Miss Pond fascinates me is because she believes in altruism. More so than the average bum who only wants to sponge off his betters. But still, I believe I have explanation for Miss Pond’s philosophy: she owes some kind of debt to the broader spectrum of people, either through some wrong-doing of hers or right-doing of theirs. So, tell me, Doctor Williams: what makes you so special?
RORY
You wouldn’t believe me, mate.
RICANTI
Try me.
Rory looks to Amy. She nods.
RORY
We saw our future. Our deaths, in this city. Now that means we never leave. If we die before the future we saw can take place, the paradox will tear New York apart.
RICANTI
That...is far to stupid to be a lie. (to Amy) But for one thing, that does make you a very valuable hostage, as well as delightful company.
AMY (strained)
Oh, well, it’s nice to know we’re still friends.
RICANTI (laughs)
Apologies, Doctor Williams, but it does appear I will taking your wife into my apartment. For security reasons, you understand; I have a lot of business to do tonight. And please don’t follow us, else my security detail (nods to robot) may stop finding Miss Pond so charming.
31.
Ricanti, the robot and Amy edge their way towards Ricanti’s apartment, gun trained on Rory and hand on Amy’s throat all the time. They get to the door, go inside, and slam it shut.
22 INT. SAME - LOBBY
Garner storms through the abandoned lobby - the sprinklers are still going.
The phone on the reception rings. Garner runs and answers it.
GARNER
Robin?
ROBIN (O/S)
I think I’ve found a way to shut down the robots. Did Bauer mention anything about numbers, or telephones?
GARNER
Yeah, he had a tattoo, said something about it making him the master.
ROBIN (O/S)
It’s a radio frequency, it bonds the robots to one user, like how one phone number relates to one phone. I found a deactivation code, we need to use it on some kind of...central control unit.
GARNER
What do I need to do?
ROBIN (O/S)
Unplug the phone. Take it to where ever the robots are controlled from and plug it into that. Then I can send the deactivation code.
GARNER
I’m on it.
Garner slams down the receiver and rips out the phones. He runs off.
32.
23 INT. SAME - 6TH FLOOR (RICANTI’S PERSONAL FLOOR)
Garner runs up to the floor and straight into Rory.
RORY
He’s got Amy hostage in his apartment, he’s hold up in there with his robots.
GARNER
God dammit, I told both to get out, didn’t I?! Here, hold this (thrusts phone into Rory’s hands)
RORY
Bit early for mobile phones, isn’t it?
GARNER
What?
RORY
Never mind.
Garner goes to the door and knocks, loud.
GARNER (shouting)
Mister Ricanti?! My name is Sam Garner, I’m a private detective in the employ of Miss Pond. Maybe we can make a deal?
No reply.
GARNER (cont’d)
I’m coming in now. Maybe then we can speak reasonably.
He gestures with his head for Rory to come too, and pushes open the door...
24 INT. SAME - RICANTI’S APARTMENT
Ricanti’s apartment isn’t one apartment - it’s the whole floor; all the rooms with the walls knocked out to form one big one. And everywhere, stood still like soldiers, are robots - blue lights flickering, all holding Tommy Guns.
In the middle there’s a large raised platform, and on it a round glass cage from floor-to-ceiling, with a (closed) door built-in. That’s were Ricanti, Amy and the unarmed robot are (it’s let Amy go, but still guarding her closely. Ricanti still has his gun.
There’s a big desk in the middle, and on it a big bronze machine - the central control unit.
Garner and Rory enter, tentatively. Rory closes the door behind him.
Ricanti presses a PA button. His voice comes over a PA.
RICANTI
Mr Garner, you said? I was about to ask what possible vested interest you could have in Miss Pond, besides a price I could easily match. However, as Doctor Williams has informed me, it seems the whole of New York wishes to see her in good health.
GARNER (shouting)
We know what you’re doing now, Ricanti. You can’t deny it. How many robots do you have in here? Fifty? That’s a lot, but it ain’t nothing against the national gaurd.
RICANTI
And just what am I doing?
GARNER
Give it up. Your own personal army? All the great and good of New York in one place? You kill everyone in the hotel, you’re the only great mind left in New York; no competition.
RICANTI (laughs)
I wonder if Miss Pond’s imagination has rubbed off on you? This is protection; exercising my second amendment right. I have a lot of stock in this city, and a lot of people who want to get their hands on it. No, this is security. Taking another person’s property by force? It’s tantamount to theft, it’s immoral.
RORY
So you could say you’re exercising fiscal regulation?
Ricanti gives him a death-stare.
GARNER
Claim that if you want, but no one will believe you. Professor Bauer’s dead, you’re the only onewith robots, who else would’ve killed him?
RICANTI
Bauer...(pause) Who told you all this? There is no way you pieced this all together by yourself, look at you! You’re a parasite!
Garner pauses for a minute. He and Rory share a look. He decides:
GARNER
Robin.
RICANTI (laughs)
Oh. Oh I see. She’s come to claim what she’s entitled to, has she? Well, she can’t have it! She can have nothing but the dust I leave in her wake!
Ricanti slams the glass with the butt of his gun. It doesn’t even chip.
AMY
Mr Ricanti...Dominic...
He turns to face her.
AMY (cont’d)
You need to stop this now. Everyone’s outside the building, the police’ll be there, they’ll find this and they’ll lock you up.
RICANTI
I will fight them. They can’t steal from me.
AMY
But they will! Best case scenario is they arrest you, strip you of everything and throw you in jail! And the worst? You’ll be dead in the gutter. Remembered as nothing but New York’s biggest crook.
RICANTI
I am no crook!
AMY
You don’t need to tell us! (strange glances from Garner and Rory) Look, there’s no way out of this for you. Not really. But let us help you, at least. Sometimes you’ve got to admit you need help.
RICANTI
Live in a cell? Or on the run, with nothing to call my own? Which is worse, Miss Pond?
AMY
But you’ll be alive! Isn’t that worth more?
RICANTI
Not necessarily.
RICANTI (cont’d)
No escape. Not this time. It seems my business days are done. (to Amy)I told you, Miss Pond: all of life is business. People give and take only for themselves. It is better to jump from atop this world, than to end scavenging with all the other parasites in the belly. (shouting into PA) Do you hear that, Robin?! You can have my books! You can have my guns and my robots and my home! But you’ll never have me! That’s what people like you will never understand - money is not power. It’s something you have inside you. Something you’ll never have. Not now.
He turns to Amy - gives her one, lingering look...then puts the gun to his temple and shoots.
Amy shudders away. Rory covers his mouth. Only Garner doesn’t flinch.
Amy pushes through the glass door and runs out - the robot doesn’t bother to apprehend her; its master’s dead. Rory runs to meet her. They embrace.
Already Garner is running to the glass cage. He plugs the phone into the central control unit.
GARNER
You two should go, I’m not sure how this’ll work. Talk to the police, see if you can pick up any pieces from this mess.
They nod, and head out the apartment.
The phone rings. Garner picks up immediately.
ROBIN (O/S)
Is everything in place?
GARNER
Yes. Ricanti’s dead. Killed himself.
ROBIN (O/S)
He always was too stubborn. I’m sending through a deactivation code, the numbers on the phone should be dialing.
The numbers on the phone do so.
GARNER
Yeah, that’s happening.
ROBIN (O/S)
And the lights on the robots?
They’re blinking out, one by one.
GARNER
They’re going out.
ROBIN (O/S
) They should be turning red...?
They do so.
GARNER
Yeah, that’s happening too.
ROBIN (O/S) (sighs)
Good...good...
Robin starts to laugh. And as she does so, her accent changes from Brooklyn to Dublin...
25 EXT. GARCIA HOTEL - FRONT ENTRANCE - NIGHT
Amy and Rory exit the building. Fat Policeman comes up to them.
FAT POLICEMAN
Hey, hey! Whadda you doin’? What’s goin’ on in there?
AMY
I’m Amy Pond, I work for the Angel Detective Agency. (hands him business card) Our friend is still in there, there’s a massive cache of arms. You need to wait for his call.
FAT POLICEMAN
Ma’am, I’ve got fifty officers here ready to enter the building. We can’t delay much longer.
AMY
You need to wait!
FAT POLICEMAN (pause)
Alright. Thirty minutes. Then we go in. Go and get a drink or something, someone’ll question you in good time.
Amy and Rory nod to him, and head towards the group of guests...
26 INT. SAME - RICANTI’S APARTMENT
Garner’s looking concerned.
GARNER
Robin...?
ROBIN (O/S)
(through laughter) I’m sorry for the deception, Sam, I truly am. But we’ve come so far together, I thought I owed you a little honesty.
GARNER
Your accent...your name...
ROBIN (O/S)
I’ve always been pretty good at ’em, to my credit; you have to be in my line of work. As for the name - do you get it? Robin Hood? Stealing from the rich to give to the poor? Quite an enterprise the people of Nottingham had going.
Suddenly, all the robots cock their weapons. Garner goes to the glass, hand pressed against it.
ROBIN (O/S) (cont’d)
You see, Sam, Ricanti was right; all of life is business. Sadly, he was too limited to see how far the definition of ’business’ can stretch. But, with fifty mindless killers in my thralls and the business leaders of New York just waiting downstairs...well, I’m gonna re-write the dictionary.
The robots begin to march, filtering out of the apartment.
GARNER
You’ll create chaos!
ROBIN (O/S)
I’m an Irish woman in thirties New York, Sam, chaos is my bread and butter. But soon enough everyone of their contracts, assets and sneaky back-door deals will be flowing to my doorstep. That’s all the order I need.
GARNER
My friends are down there!
ROBIN (O/S)
Friends? They were just colleagues a few hours ago. Are you forgetting the lesson I taught you the night I sent you and Goldmann off?
GARNER
(realising) You...you set us up...
ROBIN (O/S)
The casualties were really sad. Still, I got my booze. War’s business too, y’know.
GARNER
We’re going to stop you. Whatever it takes, we’re going to stop you.
ROBIN (O/S)
By all means, try your best! I love a bit of competition. But in the meantime, I’m going have to let you go: I’ve got the biggest corporate takeover this city’s ever seen to run.
The line goes dead. A whirring sound comes behind Garner - it’s the robot in the cage! It grabs him, throws him against the glass - it cracks.
27 EXT. GARCIA HOTEL - FRONT ENTRANCE - NIGHT
Amy and Rory are waiting by a police car. Fat Policeman is still by the enterance. A robot walks out. Fat Policeman sees it...
FAT POLICEMAN
What the hell? Hey, stop! STOP!
The robot fills him with bullets. People scream, run for cover.
More robots now - shooting at the cops and crowd. Just music now: a far-away, haunting rendition of The Star-Spangled Banner.
No escape. Not this time. It seems my business days are done. (to Amy)I told you, Miss Pond: all of life is business. People give and take only for themselves. It is better to jump from atop this world, than to end scavenging with all the other parasites in the belly. (shouting into PA) Do you hear that, Robin?! You can have my books! You can have my guns and my robots and my home! But you’ll never have me! That’s what people like you will never understand - money is not power. It’s something you have inside you. Something you’ll never have. Not now.
He turns to Amy - gives her one, lingering look...then puts the gun to his temple and shoots.
Amy shudders away. Rory covers his mouth. Only Garner doesn’t flinch.
Amy pushes through the glass door and runs out - the robot doesn’t bother to apprehend her; its master’s dead. Rory runs to meet her. They embrace.
Already Garner is running to the glass cage. He plugs the phone into the central control unit.
GARNER
You two should go, I’m not sure how this’ll work. Talk to the police, see if you can pick up any pieces from this mess.
They nod, and head out the apartment.
The phone rings. Garner picks up immediately.
ROBIN (O/S)
Is everything in place?
GARNER
Yes. Ricanti’s dead. Killed himself.
ROBIN (O/S)
He always was too stubborn. I’m sending through a deactivation code, the numbers on the phone should be dialing.
The numbers on the phone do so.
GARNER
Yeah, that’s happening.
ROBIN (O/S)
And the lights on the robots?
They’re blinking out, one by one.
GARNER
They’re going out.
ROBIN (O/S
) They should be turning red...?
They do so.
GARNER
Yeah, that’s happening too.
ROBIN (O/S) (sighs)
Good...good...
Robin starts to laugh. And as she does so, her accent changes from Brooklyn to Dublin...
25 EXT. GARCIA HOTEL - FRONT ENTRANCE - NIGHT
Amy and Rory exit the building. Fat Policeman comes up to them.
FAT POLICEMAN
Hey, hey! Whadda you doin’? What’s goin’ on in there?
AMY
I’m Amy Pond, I work for the Angel Detective Agency. (hands him business card) Our friend is still in there, there’s a massive cache of arms. You need to wait for his call.
FAT POLICEMAN
Ma’am, I’ve got fifty officers here ready to enter the building. We can’t delay much longer.
AMY
You need to wait!
FAT POLICEMAN (pause)
Alright. Thirty minutes. Then we go in. Go and get a drink or something, someone’ll question you in good time.
Amy and Rory nod to him, and head towards the group of guests...
26 INT. SAME - RICANTI’S APARTMENT
Garner’s looking concerned.
GARNER
Robin...?
ROBIN (O/S)
(through laughter) I’m sorry for the deception, Sam, I truly am. But we’ve come so far together, I thought I owed you a little honesty.
GARNER
Your accent...your name...
ROBIN (O/S)
I’ve always been pretty good at ’em, to my credit; you have to be in my line of work. As for the name - do you get it? Robin Hood? Stealing from the rich to give to the poor? Quite an enterprise the people of Nottingham had going.
Suddenly, all the robots cock their weapons. Garner goes to the glass, hand pressed against it.
ROBIN (O/S) (cont’d)
You see, Sam, Ricanti was right; all of life is business. Sadly, he was too limited to see how far the definition of ’business’ can stretch. But, with fifty mindless killers in my thralls and the business leaders of New York just waiting downstairs...well, I’m gonna re-write the dictionary.
The robots begin to march, filtering out of the apartment.
GARNER
You’ll create chaos!
ROBIN (O/S)
I’m an Irish woman in thirties New York, Sam, chaos is my bread and butter. But soon enough everyone of their contracts, assets and sneaky back-door deals will be flowing to my doorstep. That’s all the order I need.
GARNER
My friends are down there!
ROBIN (O/S)
Friends? They were just colleagues a few hours ago. Are you forgetting the lesson I taught you the night I sent you and Goldmann off?
GARNER
(realising) You...you set us up...
ROBIN (O/S)
The casualties were really sad. Still, I got my booze. War’s business too, y’know.
GARNER
We’re going to stop you. Whatever it takes, we’re going to stop you.
ROBIN (O/S)
By all means, try your best! I love a bit of competition. But in the meantime, I’m going have to let you go: I’ve got the biggest corporate takeover this city’s ever seen to run.
The line goes dead. A whirring sound comes behind Garner - it’s the robot in the cage! It grabs him, throws him against the glass - it cracks.
27 EXT. GARCIA HOTEL - FRONT ENTRANCE - NIGHT
Amy and Rory are waiting by a police car. Fat Policeman is still by the enterance. A robot walks out. Fat Policeman sees it...
FAT POLICEMAN
What the hell? Hey, stop! STOP!
The robot fills him with bullets. People scream, run for cover.
More robots now - shooting at the cops and crowd. Just music now: a far-away, haunting rendition of The Star-Spangled Banner.
INSET: Garner scrambles away from the robot. He kicks at its leg - it backhands him to the floor.
Amy and Rory run, into an alley, holding onto each other. People are dying, gunned down as the anthem plays. Cops are shooting, the bullets bouncing off the robots.
Amy and Rory get behind a dumpster, embracing.
INSET: Garner lands by Ricanti’s body. The robot is on top of him, clamping it’s hands around his throat. His revolver is in hand...
A robot tears way Amy and Rory’s cover. It takes aim at them. They hug tighter, together in their final moments...the music has ended.
28 INT. SAME - RICANTI’S APARTMENT
Garner shoves his gun into the robots chest, and pumps it full of all 6 bullets. The light on its chest explodes, and it falls to the floor, useless.
He sits up with tremendous effort. He looks over to Ricanti’s body, notices something...tattooed on his wrist...a string of numbers...
He remembers: a tattoo on Bauer’s neck. The dialling of the phone.
Quickly, he lurches over to the central control unit, grabbing the phones and punches in random numbers, as quickly as he can. It sparks from inside...
40.
29 EXT. GARCIA HOTEL - FRONT ENTRANCE - NIGHT
The robot whirs. Then sparks. Amy peeks at it. The light on its chest explodes, the whole thing shudders and sparks...then falls to the floor. Dead. They both gawk at it.
30 INT. SAME - RICANTI’S APARTMENT
The central control unit sparks and explodes, knocking Garner to the floor, still holding the phone. He puts the dead receiver to his ear:
GARNER
Screw you, Robin.
31 EXT. GARCIA HOTEL - FRONT ENTRANCE - NIGHT
Amy and Rory step out of the alley, still clinging to each other. All around are the dead and injured. Rory goes to a bleeding cop; nurse’s instinct kicking in.
Garner limps out the entrance, looking around. He spots Amy. They stare at each other from across the carnage, their silence speaking volumes...
Amy and Rory run, into an alley, holding onto each other. People are dying, gunned down as the anthem plays. Cops are shooting, the bullets bouncing off the robots.
Amy and Rory get behind a dumpster, embracing.
INSET: Garner lands by Ricanti’s body. The robot is on top of him, clamping it’s hands around his throat. His revolver is in hand...
A robot tears way Amy and Rory’s cover. It takes aim at them. They hug tighter, together in their final moments...the music has ended.
28 INT. SAME - RICANTI’S APARTMENT
Garner shoves his gun into the robots chest, and pumps it full of all 6 bullets. The light on its chest explodes, and it falls to the floor, useless.
He sits up with tremendous effort. He looks over to Ricanti’s body, notices something...tattooed on his wrist...a string of numbers...
He remembers: a tattoo on Bauer’s neck. The dialling of the phone.
Quickly, he lurches over to the central control unit, grabbing the phones and punches in random numbers, as quickly as he can. It sparks from inside...
40.
29 EXT. GARCIA HOTEL - FRONT ENTRANCE - NIGHT
The robot whirs. Then sparks. Amy peeks at it. The light on its chest explodes, the whole thing shudders and sparks...then falls to the floor. Dead. They both gawk at it.
30 INT. SAME - RICANTI’S APARTMENT
The central control unit sparks and explodes, knocking Garner to the floor, still holding the phone. He puts the dead receiver to his ear:
GARNER
Screw you, Robin.
31 EXT. GARCIA HOTEL - FRONT ENTRANCE - NIGHT
Amy and Rory step out of the alley, still clinging to each other. All around are the dead and injured. Rory goes to a bleeding cop; nurse’s instinct kicking in.
Garner limps out the entrance, looking around. He spots Amy. They stare at each other from across the carnage, their silence speaking volumes...
32 INT. ANGEL DETECTIVE AGENCY - OFFICE - DAY
It’s the afternoon after. Amy is nursing a hot drink, glasses on, willing herself to write but not managing it. Garner is looking out the window.
Rory walks in.
RORY
My contacts say things are pretty much cleared. Gang shooting, they’re calling it. And without Bauer, the robots are useless. History is saved again.
Amy gives him a sad smile. Garner doesn’t react.
RORY (cont’d)
I should get ready for work. Late shift. (of Amy) You okay at your typewriter?
AMY
If I can get to do any tyepwriting.
Rory smiles and heads back to his room. Amy turns to Garner:
AMY (cont’d)
Staring out the window wont find her, you know.
GARNER
I know that.
AMY
Everyone gets played. You can’t tell me this is the first time.
GARNER
Not twice by the same person. Without realising it.
AMY
Well, it’s a learning curve. It wont happen again.
GARNER
No.
Garner moves closer to the window, his breath condensing on the glass.
GARNER (cont’d)
It wont.
END CREDITS
It’s the afternoon after. Amy is nursing a hot drink, glasses on, willing herself to write but not managing it. Garner is looking out the window.
Rory walks in.
RORY
My contacts say things are pretty much cleared. Gang shooting, they’re calling it. And without Bauer, the robots are useless. History is saved again.
Amy gives him a sad smile. Garner doesn’t react.
RORY (cont’d)
I should get ready for work. Late shift. (of Amy) You okay at your typewriter?
AMY
If I can get to do any tyepwriting.
Rory smiles and heads back to his room. Amy turns to Garner:
AMY (cont’d)
Staring out the window wont find her, you know.
GARNER
I know that.
AMY
Everyone gets played. You can’t tell me this is the first time.
GARNER
Not twice by the same person. Without realising it.
AMY
Well, it’s a learning curve. It wont happen again.
GARNER
No.
Garner moves closer to the window, his breath condensing on the glass.
GARNER (cont’d)
It wont.
END CREDITS