ALABAMA SMITH
and the
Sons of Darkness
Written by
R. MARSHALL SMITH
(C) 95-2003 Robert Smith
Second Draft - Feb 4, 1997
FROM THE OLD PARAMOUNT PICTURES LOGO,
MATCH DISSOLVE TO:
A mound of sand in the shape of the logo's mountain peak. On
the mound's summit, a child's bronze-skinned hand places a
large piece of dried-out wood.
WIDE - A DESERT WASTELAND CAMP
3 BEDOUIN TEENAGERS perform before a small audience of BEDOUIN
YOUNGSTERS: the first teenager, a boy, is imitating an
elephant; the second teenager, a girl, is pretending she is a
lion; and the third teenager, another boy, is acting like a
donkey. There is CLAPPING and LAUGHTER as the teens parade
around the waist high sand pile, making SOUNDS akin to their
particular animal. MAIN TITLES BEGIN.
EXT. NORTHWESTERN SHORE OF THE DEAD SEA - DAY
Heat-rippled air distorts far off figures: 4 BEDOUIN SHEPHERDS,
as they lead their herd of rams along the rocky shore.
DISSOLVE TO:
EXT. ROCKY SHORE - DAY
Set against the Judaean rust-colored hills, the 4 SHEPHERDS
(1 boy and 3 elders) keep the herd moving along steadily.
The train of rams kicks up a veil of dust, hooves CLACKING
intermittently on loose rocks and stones.
At the rear, the bronze-skinned BEDOUIN BOY uses his goad to
urge an unruly ram back into the procession. The BOY grows
impatient, as the animal refuses to cooperate.
At the front, the ELDERS have themselves a big laugh at the
boy's expense.
The resentful BOY whacks the ram with his goad.
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"SONS OF DARKNESS" 02/04/97 2.
The startled animal BLEATS NOISILY and runs off. Speaking
Arabic, the elders order the boy to retrieve the ram.
EXT. ARID WATERCOURSE / CANYON - DAY
From a high vantage, we see the steep rocky cliffs that form
a U around the dry-bed watercourse. The runaway ram has made
the mistake of entering what amounts to a dead end canyon.
EXT. CANYON - FURTHER IN
The runaway ram scampers past. The BOY is not far behind,
feet kicking up the sand as he chases after the ram.
EXT. CANYON - DEAD END
The BOY runs around a bend and finds the ram pacing back and
forth, cornered by the canyon's dead end.
The BOY approaches the jittery beast slowly; he doesn't want
to spook it.
Now the BOY is within pouncing distance. He leaps at the
ram. But the tricky animal side-steps and the boy lands in
the dirt, face first. The BOY spits sand out as he gets to
his feet.
Now the BOY grows uneasy, watching the ram charge up the rear
cliff face, taking the steep grade in leaps and bounds. The
animal vanishes from sight behind jagged rocks, high above.
EXT. HIGH UP ON THE CLIFF - NARROW LEDGE - DAY
The BOY appears, climbing onto the narrow ledge. He marvels
at the opening to a cavern. The BOY looks high and low, but
can't see the ram anywhere. Then he hears the ram's ECHOING
BLEATS, coming from deep inside the cavern.
The BOY picks up a stone and throws it hard and deep into the
shadowy maw.
To the BOY'S amazement, comes the distant SHATTERING SOUNDS
of pottery.
INT. JUST INSIDE THE CAVERN
It is dark. The BOY fishes his trusty Zippo lighter from a
leather shoulder pouch and flicks it on. The weak orange
light shallowly penetrates the dark.
INT. BACK WALL OF CAVERN - JUST AFTER
The BOY holds the Zippo over his head like a torchlight, easing
his way towards the rear of the cavern. The flickering light
shines on the ram, which is squatting serenely on the rear
floor of the cavern. It is strangely unfazed by the boy's
appearance. Now the light shines on a collection of dusty
clay jars.
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"SONS OF DARKNESS" 02/04/97 3.
All 12 of them are intact except for one, which is broken
open.
The stone the BOY fired into the cavern minutes ago lies among
the shattered pieces. The captivated BOY crouches down and
pulls from the broken jar a foot-long, cylindrical object.
It is soft like leather. (Titles end)
SHARPLY CUT TO:
EXT. A DESERT AIRSTRIP - DAY
A tri-propeller-driven Breda-Zappata ROARS IN and touches
down on the sunbaked tarmac.
EXT. THE DESERT AIRSTRIP - PARKED PLANE - JUST AFTER
A legend appears:
JORDAN - 1947
The plane door opens wide and ALABAMA SMITH, presentably
dressed in a three-piece-suit, steps out into the blazing
sunlight. He hurries down the universal stairs.
MR. LOTT, a clean-cut, Jordanian government official, greets
ALABAMA at the bottom. They shake hands.
MR. LOTT
Doctor Smith, welcome to Jordan.
LOTT escorts ALABAMA towards a government jeep.
ALABAMA
The scrolls -- how many did you find?
MR. LOTT
First, let's get you settled in at the
hotel.
ALABAMA
If it's all the same to you, I'd rather
go to the site first.
MR. LOTT
(amused)
Of course.
CUT TO:
EXT. REAR OF DEAD END CANYON - THE EXCAVATION CAMP - DAY
ALABAMA and LOTT move quickly through the encampment. The
famous archaeologist is now fitted in hiking boots and workman
gloves, and naturally they clash with his three-piece suit.
A nearby GAS-POWERED GENERATOR -- the awful NOISE it produces --
makes conversation pointless.
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"SONS OF DARKNESS" 02/04/97 4.
The BEDOUIN WORKERS are busy with odd-jobs, tasks and chores.
The camp is situated below the cavern. ALABAMA looks up.
There is a sturdy wooden platform, metal strut reinforced,
anchored to the cliff face. It extends from the natural rock
ledge, making access to the cavern much safer, as well as
easier. One gains access to the cavern via a solid basket
elevator on a motorized winch.
EXT. THE CAVERN - ON THE WOODEN PLATFORM - JUST AFTER
The basket elevator rises into view. The noisy generator is
less obtrusive up here. However, conversation is difficult.
ALABAMA and LOTT climb out of the basket and step towards the
opening.
MR. LOTT
I must warn --
(louder)
I must warn you, doctor -- though it
probably won't surprise you -- we've
received a number of death threats
since excavating started a few days
ago.
ALABAMA
From who?
MR. LOTT
They call themselves "The Sons of
Light."
ALABAMA
Yes . . . I've heard of them.
HOLD on ALABAMA'S face. Thoughtful.
INT. DEEPER INTO THE CAVERN - NARROW PASSAGEWAY - JUST AFTER
Bulb fixtures run the full length of the cavern, which are
fed by a SINGLE ELECTRICAL CABLE anchored to the rock ceiling.
The bulbs provide enough light for ALABAMA and LOTT to navigate
the narrow passageway. The noisy generator isn't as prevalent
this far in.
MR. LOTT
Fortunately for us, the scrolls were
preserved by the region's extreme
aridity.
(beat)
We've dated them using a new technique
developed by Professor Willard Libby,
University of Chicago: radiocarbon
dating. The scrolls date to
approximately 200 B.C., almost two
millennia ago, Doctor.
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"SONS OF DARKNESS" 02/04/97 5.
INT. REAR OF CAVERN - NOW A MAKESHIFT EXAMINATION ROOM - JUST
AFTER
ALABAMA and LOTT watch as a SCROLL SPECIALIST handles a PAPYRUS
MANUSCRIPT with almost superhuman patience and care.
ALABAMA beams.
MR. LOTT
From preliminary transcribing, we know
the scrolls include manuals of
discipline, hymnbooks, Biblical
commentaries, and apocalyptic writings.
ALABAMA notes the ancient handwriting.
ALABAMA
Biblical Hebrew. Not one of my better-
known languages, I'm afraid. What's
that passage he's transcribing?
LOTT leans in closer and reads the ancient writing over the
old scholar's shoulder.
MR. LOTT
Interesting . . . it's the Book of
Genesis . . . 8:4 to be precise.
ALABAMA
(quoting; automatic)
"And the Ark rested in the seventh
month, on the seventeenth day of the
month, upon the mountains of Ararat."
MR. LOTT
(impressed)
You know your Bible, Doctor.
ALABAMA
(wryly)
Pushy father.
CUT TO:
EXT. OUTSIDE THE CAVERN - BACK ON THE WOODEN PLATFORM - DAY
ALABAMA and LOTT emerge from the cavern and shield their eyes
from the intense sunlight. The noisy generator is prominent
once again.
MR. LOTT
(shouting)
Soon the department will start
excavating the remaining caves in this
area.
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"SONS OF DARKNESS" 02/04/97 6.
ALABAMA
(shouting)
Terrific. I'd like to be part of the
excavation. Is that possible?
As ALABAMA is asking this, a CREEPY BEDOUIN WORKER eyes him
out the corner of his eye. He sets down a load of coiled
ropes and surreptitiously draws a gleaming dagger from the
folds of his garment.
MR. LOTT
Doctor, with your reputation I'm certain
the department will welcome your -- !
Suddenly, LOTT gasps, and falls away quickly. His face is
replaced by the creepy Bedouin's snarling mug. The dagger
clutched in his hand is smeared with blood.
ALABAMA steps back, stumbling. CREEPY advances, the dagger
out, its metal blade catching the sunlight. ALABAMA blinks
as the reflected sunlight stings his eyes.
ALABAMA steps backwards off the wooden platform and onto the
narrow rock ledge.
Now two more nasty BEDOUINS drop in from the rocks above the
cavern. Call them SPOOKY and SCARY. ALABAMA puts out his
hands and speaks in ARABIC:
ALABAMA (*SUBTITLED*)
I mean you no harm!
SPOOKY and SCARY whip out daggers.
ALABAMA (CONT'D)
(shouting)
Hey! Hey! I got a problem up here!
Down in the camp, nobody can hear ALABAMA over the generator's
awful racket.
Back on the ledge, the dagger trio is advancing slowly.
ALABAMA looks back, over his shoulder, and isn't surprised by
what he sees:
He is running out of ledge. Just a few more steps to the
edge, and then it's a 50-foot drop, straight down.
ALABAMA takes inventory: he looks up -- no good -- sheer rocks
above. The basket elevator -- no, too far away -- yes, it
appears our hero is trapped.
ALABAMA scowls -- typical!
Suddenly, ALABAMA sees a thick ELECTRICAL CABLE at his feet.
It's the same one we saw anchored to the ceiling inside the
cavern.
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"SONS OF DARKNESS" 02/04/97 7.
Suddenly, we're following the cable . . . all the way down
the cliff face . . . to discover that this cable is connected
to the noisy generator.
Back on the ledge, we also discover that this cable is running
between SCARY'S feet.
Moving quickly, ALABAMA snatches up the cable and yanks it
hard. The cable snaps up and -- OUCH! -- nails SCARY in the
crotch. He cups himself, eyes rolling back in their sockets.
He drops like a tone of bricks, out cold. One down, two to
go.
Suddenly, SPOOKY belts out a battle cry and charges at ALABAMA.
SPOOKY tackles our hero and they both sail out into space.
While in mid-air, our fast thinking hero tightens his gloved
grip on the cable, which is still in his hands.
At the same time, SPOOKY locks his arms and legs around ALABAMA
like a vicious monkey.
FLASH SHOT -- INSIDE THE CAVERN -- as the combined weight on
the electrical cable yanks it loose, popping the rivets one
by one, all along the cavern ceiling --
Back outside, ALABAMA -- his clinging monkey with him -- is
falling fast, on the lengthening cable.
Suddenly, the cable snaps taut and ALABAMA is violently jerked
to a stop in mid-air.
ALABAMA smacks the cliff face, hard, cringing grotesquely.
Immediately ALABAMA'S hands start to slide down the cable.
His weight, combined with his clinging attacker, is too much.
ALABAMA plants his boots on the jagged rocks, and this lessens
the strain. He snakes his arm around the cable, which gives
him the needed leverage.
Now we see ALABAMA is some 40ft up. And far below is that
noisy generator.
SPOOKY, arms and legs like vices, bounces up and down, trying
to pull ALABAMA from the cable. ALABAMA tries to shake the
lunatic, while --
On the ledge above, CREEPY shouts to his cohort in Hebrew:
CREEPY (*SUBTITLED*)
Shalem, hold on!
SPOOKY (*SUBTITLED*)
Cut the cable! Do it now. With haste.
I will gladly die for He who is good.
At which point SPOOKY nails ALABAMA with his eyes. Our steel-
nerved archaeologist is chilled to the bone by the man's
apparent conviction.
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"SONS OF DARKNESS" 02/04/97 8.
SPOOKY (CONT'D)
(at the top of his lungs)
PRAISE THE SONS OF LIGHT. DAMN THE
SONS OF DARKNESS TO ETERNAL SUFFERING.
And SPOOKY does the unthinkable -- he lets go!
ALABAMA, spooked, watches the man plunge silently to his death.
THUD! ALABAMA grimaces and turns away. Gruesome.
Above, CREEPY is preparing to cut the cable with his dagger.
Below, ALABAMA is suddenly struck by a bad feeling. He quickly
secures handholds in the rocks and releases the cable -- and
just in time!
Above, CREEPY slices through the electrical cable and receives
one hell of a shock for his trouble.
INSIDE THE CAVE, the bulbs explode in their fixtures. POP!
POP! POP! The SCROLL SPECIALIST is startled out of his seat.
The cut cable spits sparks and whooshes downward, past our
cliff hugging hero.
On the ground below, as the heavy cable pummels the generator
housing, collecting on the ground. Then it stops, a tangled
mess, live end spitting sparks and flip-flopping like a snake
set on fire.
Back to ALABAMA, as he adjusts for a better grip and almost
falls to his death when the rock beneath his boot breaks away.
Shale and rock chunks rain down, clanking on the generator,
which is still running.
Back to CREEPY, on his feet again, feeling sluggish, head
buzzing. He shakes it off quickly and peers down over the
ledge. He curses to himself -- the infidel is still alive!
CREEPY looks around desperately. . . and spots the perfect
thing. He rushes away. He returns a few moments later,
pushing a large, wheeled watertank towards the edge. He
wrestles with the tank until its over-sized tap is in line
with ALABAMA'S head below.
CREEPY primes the hand-pump vigorously. Water belches out at
first ... then starts to sputter ... now water gushes forth.
The heavy flow cascades down the cliff face.
There is a strange sound, and ALABAMA looks up --
Water splashes down all over him. He coughs and gags. , and
hangs on for dear life.
CREEPY jumps up and down, clapping his hands.
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"SONS OF DARKNESS" 02/04/97 9.
ALABAMA is getting drenched. The rock is turning slick, very
slippery.
CREEPY reaches for the hand-pump again, but
SOMEONE
(shouts at him in ARABIC)
You! What's going on?
CREEPY whirls around. The SCROLL SPECIALIST has emerged from
the cavern. Before he can say another word, there is a flash
of metal --
THOOP! Now there is a dagger protruding from the scholar's
chest. The old man falls back, dead. CREEPY scurries over
to the body and reclaims his trusty dagger.
CREEPY, back at the watertank, is pumping again. But water
only trickles from the tap. CREEPY growls.
Below, ALABAMA'S boots slip on the wet rock, but he resets
them quickly. Yup, our dripping-wet adventurer looks pretty
hopeless.
Suddenly, another strange sound -- A PITTER-PATTER -- something
falling on ALABAMA'S hat.
Above, CREEPY wrestles with the bulky watertank, determined
to push it off the ledge. The front legs (like those on a
wheel-barrel) are scraping sand and pebbles from the ledge.
ALABAMA looks up -- pebbly sand smacks him in the face. He
spits -- yuck!. Pit-tu!.
Now it happens, and gravity pulls the teetering watertank off
the ledge. The cast iron drum/support trailer falls -- aimed
at ALABAMA!
But suddenly, it smashes against the rocks and starts to break
apart --
WHOOSH!. The banged-up watertank flashes downwards past
ALABAMA, just missing him by a few feet.
Below, the watertank slams into the ground with a CRUNCH,
just missing the running generator by a few feet.
Above, CREEPY curses -- he can't get a break!
ABRUPTLY CUT TO:
CREEPY, as he grabs a coiled rope from the pile he unloaded
earlier.
Now CREEPY is at an outcropping of rock, tying off the rope.
Now CREEPY is back at the ledge, dropping the coiled rope
over the side.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 10.
The rope drops in, out of ALABAMA'S reach. Our precariously
situated archaeologist looks up and sees this nightmare isn't
over yet.
With his dagger clamped between his teeth, CREEPY starts to
scale down the cliff face.
Suddenly, CREEPY drops in, only ten feet separates him from
his prey.
ALABAMA sights a handhold and pulls himself up, which expands
the distance between him and CREEPY.
ALABAMA works his boot into a crevice -- but again his weight
is too much! Big chunks of rock break loose, and pummel the
generator. A rock punctures the gas drum and gasoline gurgles
out, splashing very close to the cut electrical cable, still
spitting sparks.
Back to CREEPY, as he pushes off the cliff face, swings out
on the rope and lands with a grunt. Now CREEPY is within
arm's reach. ALABAMA is defenseless.
With one hand on the rope, the other clutching his dagger,
CREEPY lashes out at ALABAMA.
The blade CLINKS on the rocks, slicing past ALABAMA'S boot.
ALABAMA slips, trying to avoid the dagger, but quickly regains
his footing.
Below, the inevitable: the sparking cable ignites the gasoline.
Flames engulf the generator. But there is no explosion.
CREEPY lashes out a second time, missing, but does catch
ALABAMA'S pant leg. A long, tattered incision opens up,
revealing the pink flesh of ALABAMA'S shin.
The reaction on ALABAMA'S face is priceless.
On the ground, the fire-engulfed generator is still in one
piece, surprisingly. Another surprise, as the FRAME ADJUSTS,
revealing a row of gasoline cans squatting near the crackling
blaze. Desperate, ALABAMA snaps off a chunk of limestone and
throws it at CREEPY. It hits CREEPY square in his face. The
zealot is dazed only slightly -- and worse still he didn't
let go of the rope.
ALABAMA can't believe it. He can't believe this either:
CREEPY is also doing something desperate. He is about to throw
his dagger. He has it by its tip -- he looks evil -- and
there goes his hand . . . back . . . back . . . back
KAH-BOOM!
At the same time, both men look down and gasp at a huge
fireball shooting upwards at them.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 11.
ALABAMA hugs the cliff face for dear life as the fireball's
mushroom of death roars up and fills the screen. A high-
pitched shriek chills our spine. His body set ablaze -- CREEPY
is seared off the rope and plunges to his death!
In a moment, the fire and smoke dissipate . . .
ALABAMA materializes -- he's alive! But how? ALABAMA pats
down his wet clothing. Fortuitous fireproofing.
ALABAMA lets out a big sigh of relief, happy to be alive. He
looks at CREEPY'S charred remains below. . .
ALABAMA grabs the singed rope dangling nearby. He tests it
for strength. Feels secure enough.
ALABAMA starts climbing up to safety.
CUT TO:
EXT. DOWNTOWN AMMAN, JORDAN - DAY
A four-star hotel rises from the street teeming with activity.
INT. ELEGANT LOBBY OF THE FOUR STAR HOTEL - DAY
ALABAMA limps up to the front desk. His suit is grime-soiled
and torn, his face mud caked.
ALABAMA
Doctor Henry Smith, checking in.
The DESK MANAGER yelps, startled by ALABAMA'S nasty appearance.
DESK MANAGER
Allah be merciful! Doctor, did you
have an accident? Do you require
medical attention?
ALABAMA
No, no -- nothing a hot shower and a
couple dozen aspirin won't cure.
INT. ALABAMA'S HOTEL SUITE - DAY
ALABAMA enters, walking stiffly, and winces painfully at his
sore joints and muscles.
INT. SUITE BATHROOM - DAY
ALABAMA stands barechested in front of the mirror. He dabs
at his scraps and cuts with a wet face cloth.
ALABAMA
Getting
(yelp)
to old for this.
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"SONS OF DARKNESS" 02/04/97 12.
There is a knock at the suit door.
INT. HOTEL SUITE - AT THE ENTRANCE
ALABAMA opens the door and reveals a:
BELLHOP
Urgent telegram for you, Doctor Smith.
ALABAMA takes the telegram.
ALABAMA
(worried frown)
Thank you.
He shuts the door. He opens the telegram and starts to read.
ALABAMA'S goes numb, as the horrible news hits him.
The telegram falls from his limp fingers and lands face up on
the carpet.
It reads:
FROM: DR. GOODWIN, BOSTON MERCY HOSPITAL
DEAR DR. SMITH: REGRETFULLY, I MUST INFORM THAT COMPLICATIONS
IN YOUR FATHER'S CONDITION HAS RESULTED IN HIS PASSING AWAY.
YOUR IMMEDIATE RETURN IS REQUESTED.
DISSOLVE TO:
A TOMBSTONE THAT READS:
HENRY SMITH SR.
BORN: SEPTEMBER 16, 1872 DIED: SEPTEMBER 16, 1947
BELOVED HUSBAND TO WIFE MARGARET
HONORED FATHER TO SON HENRY
EPITAPH:
"WHOEVER BELIEVES MAY IN HIM HAVE ETERNAL LIFE"
EXT. A BOSTON CEMETERY - OVERCAST DAY
LEGEND APPEARS:
BOSTON - ONE YEAR LATER
Grey storm clouds loom in the sky above ALABAMA, who is
kneeling at his father's grave. He holds a muffin in his
hand, set with a single candle. ALABAMA lights the candle
with a Zippo.
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"SONS OF DARKNESS" 02/04/97 13.
ALABAMA
(somberly)
Happy birthday, dad.
He blows out the candle. Distant thunder rumbles.
EXT. BOSTON UNIVERSITY - OVERCAST DAY
The stately university is obscured through pouring rain.
INT. BOSTON UNIVERSITY - THE FACULTY LOUNGE - OVERCAST DAY
ALABAMA lounges in a sofa chair, reading the day's newspaper.
UP CLOSE, ON THE HEADLINE:
TRUMAN DISCLOSES: SOVIETS HAVE THE BOMB
BILL HUMPHREY, a highbrow, thirtysomething professor, sits
down in a sofa chair across from ALABAMA. BILL is holding a
hardcover book.
BILL
Good afternoon, Smith.
ALABAMA lowers the newspaper. Upon seeing BILL, ALABAMA
promptly raises the paper.
ALABAMA
(from behind the paper)
Same to you, Bill.
BILL
(perturbed)
Smith, please, I've asked you numerous
times to refrain from calling me Bill.
My Christian name is William.
ALABAMA
Sorry, William.
BILL glances down at the hardcover book in his hand. On the
back jacket is the author's photo: a scholarly snapshot of
ALABAMA.
BILL
I'm enjoying your book . . . although
a bit too layman for my palette.
ALABAMA shifts uncomfortably. BILL lights his pipe. Then:
BILL (CONT'D) (CONT'D)
Have you heard? The University of
Cincinnati is assembling an expedition
team to explore King Nestor's palace
in Greece. My invitation to join the
team arrived yesterday.
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"SONS OF DARKNESS" 02/04/97 14.
ALABAMA
(rubbing it in)
Got mine three weeks ago, William.
BILL
Hmmm . . . appears we'll both be
partaking in what is sure to be a
rewarding exploration.
ALABAMA
(lowers the newspaper)
I'm not going.
BILL isn't surprised.
BILL
This is a first, Smith. Usually the
very mention of the word "expedition"
sends you home to pack.
ALABAMA
Well, we all can't just take off when
ever we want -- go traipsing around
the planet. Some of us do have
responsibilities . . . schedules . . .
minds to enrich.
BILL
(counterfeit sigh)
My, my. . . I never thought I'd see
the day. You know, Smith, I've watched
you fossilize over the last year. It
really saddens me to think you've tossed
in your pick. But, as they say, out
with the old and in with the new.
ALABAMA
(standing)
Excuse me, Bill. My dentures are coming
loose.
ALABAMA walks away. BILL makes a face -- how rude! He looks
down at ALABAMA'S book.
The cover reads:
THE MODERN ARCHAEOLOGIST - DR. HENRY SMITH, JR.
BILL (V.O.)
The modern archaeologist indeed.
MATCH CUT TO:
THE SAME BOOK. WE ARE:
INT. A PUBLIC LIBRARY - DAY
A LIBRARIAN checks in ALABAMA'S BOOK and places it aside.
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"SONS OF DARKNESS" 02/04/97 15.
Arms loaded with a number of hardcover books, a BOY cautiously
steps up to the check out counter. He tries to unload the
books, but they topple over and scatter.
The boy smiles sheepishly.
LIBRARIAN
Abner, be careful.
ABNER
Sorry, Ms. Rothhorn.
ABNER is about 11 years old, fit as a fiddle, with sharp eyes
and a tongue to match.
The LIBRARIAN collects the scattered books.
LIBRARIAN
You're checking out all of these?
ABNER
Give that lady a cigar!
The LIBRARIAN glares at ABNER. She reads a few of the book
titles out loud.
LIBRARIAN
"Time of Noah and The Ark" . . . "The
Genesis Flood" . . . The Search for
Noah's Ark" . . . ?
(eyeing the boy strangely)
Why on earth do you want all these
books on Noah's Ark?
ABNER
(spiritedly)
Well, I'm workin' on a big bible-class
project. For a contest. It's gonna
be great. No -- fantastic. Displays,
photos, even a model of the ark. Like
it looks now. Up on top of Mount
Ararat. First prize is a trip to the
Holy Land, Jerusalem.
(cocky)
They may as well just gimme the prize
now.
LIBRARIAN
Sounds a little too ambitious to me.
ABNER
But Ms. Rothhorn, competition's fierce
these days. You gotta go all out.
You just gotta.
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"SONS OF DARKNESS" 02/04/97 16.
EXT. ABNER'S HOUSE - DAY
The sun is shining brightly. ABNER rides up to the house on
his bike.
INT. ABNER'S HOUSE - FRONT DOOR - JUST AFTER
ABNER marches into the house, his backpack stuffed with books.
ABNER
Mom. I'm home. Mom.
Silence.
INT. ABNER'S TIDY BEDROOM UPSTAIRS - JUST AFTER
ABNER upends his backpack and the library books fall out onto
the bed. He starts to neatly arrange the books on his desk.
A brief look at Abner's room: It's well organized. Everything
in its place. ABNER is no ordinary kid.
ABNER, a puzzled look on his face, holds up a book. It's
ALABAMA'S book.
ABNER
Where'd this come from?
He glances at the back jacket, the author's photo.
ABNER (CONT'D)
(shrugging it off)
Must'a got mixed in.
Cut to
ABNER, now at a worktable. He pours melted candle wax over
sections of a foot-long Popsicle stick model of NOAH'S ARK.
The ark is painted to look rotted. Jagged holes in the bow
and stern add convincingly to the effect. The wax hardens as
it cools, adding even greater detail to the model. A simulated
layer of ice. ABNER is crafty to say the least.
On another table, there is a papier-mâché MT. ARARAT (just
its snow-capped peak has been duplicated). White cotton
simulates the snowcap. Very professional looking.
Push in slowly, on the fake Mt. Ararat.
CUT TO:
EXT. THE REAL MOUNT ARARAT, TURKEY - SUN UP
A vast aerial view of the mountain, as seen from the underbelly
of an airliner. The snow-capped peaks reach up, threatening
to knock us out of the sky.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 17.
EXT. THE SKY OVER MT. ARARAT
A RECONNAISSANCE PLANE banks sharply, allowing us to see the
SOVIET RED STAR insignia on its wing.
EXT. SNOW COVERED LOWLANDS, RUSSIA - OVERCAST
The lines of a MILITARY AIRFIELD and OUTPOST are visible behind
a veil of blowing snow.
UP CLOSE, on the outpost sign written in Russian. Its
translation appears on the screen: HEADQUARTERS -- SOVIET AIR
COMMAND.
INT. SOVIET A.C. - MAIN OPERATIONS - OVERCAST
The spacious operations room is brightly lit. A DOZEN AIRMEN
are manning their individual radar screens and communication
stations. RADIO CHATTER is in RUSSIAN.
INT. THE COMMANDING OFFICER'S CHAMBER - OVERCAST
The nameplate on the desk is in Russian. Its translation
appears on the screen: CAPT. YUGI VLADIMIROV.
VLADIMIROV, built like a bull, is sitting at his desk,
reviewing the day's reports. He is a career military man in
his early forties. The many plaques, the framed photos of
him with Soviet leaders present and old, reveal that VLADIMIROV
is an important man.
There's a sharp rap on the chamber door.
VLADIMIROV (*SUBTITLED*)
(curtly)
Enter.
A YOUNG LIEUTENANT enters with an air of urgency about him.
YOUNG LIEUTENANT (*SUBTITLED*)
Excuse the interruption, comrade
Captain.
And now through the magic of motion pictures the conversation
continues in English (no Russian accents, please).
YOUNG LIEUTENANT (CONT'D)
But a routine reconnaissance flight
has found something I think you should
see.
The officer places a LARGE AERIAL PHOTO in front of his
superior.
VLADIMIROV
(testily)
What am I looking at?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 18.
YOUNG LIEUTENANT
Aerial photo: Mount Ararat.
VLADIMIROV
Why do you waste my time with this?
YOUNG LIEUTENANT
Please, if you will --
He swings over a photo magnifier on a retractable arm.
YOUNG LIEUTENANT (CONT'D)
The section here.
VLADIMIROV gives in, reluctantly, and adjusts the magnifier.
He looks through the glass at the photo. The section of
interest is magnified.
YOUNG LIEUTENANT (CONT'D)
Do you see it, comrade Captain?
Looking through the magnifier, we can make out a RECTANGULAR
MASS protruding through the ice and snow.
VLADIMIROV
(intrigued now)
Yes . . . something there.
YOUNG LIEUTENANT
Rectangular -- not a protrusion of
rock . . . but something else.
VLADIMIROV
Yes . . . too geometrical for Mother
Nature. Strange. What mountain is
this?
YOUNG LIEUTENANT
Mount Ararat, comrade Captain.
VLADIMIROV
(thoughtfully)
Ararat.
VLADIMIROV seems elsewhere as he leans back in his chair.
YOUNG LIEUTENANT
Does something trouble you, comrade
Captain?
VLADIMIROV
(thinking aloud to
himself)
Can it be . . .?
YOUNG LIEUTENANT
Beg your pardon, comrade Captain?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 19.
VLADIMIROV
(back on earth)
How many have seen this photo?
YOUNG LIEUTENANT
I brought it directly to you, comrade
Captain. You are the first to see it.
VLADIMIROV
I will take care of it. Is that clear?
YOUNG LIEUTENANT
Yes, comrade Captain.
VLADIMIROV
Dismissed.
The officer salutes and exits promptly.
VLADIMIROV leans in and studies the photo through the
magnifier. A beat. Then VLADIMIROV raises his head and gazes
out at the room. He whispers CRYPTICALLY, in a language that
isn't Russian.
CUT TO:
EXT. ABNER'S HOUSE, STATE SIDE - NIGHT
Somewhere in the house a phone is RINGING.
ABNER (V.O.)
(voice garbled)
Ma! Answer the phone.
INT. ABNER'S HOUSE - BATHROOM
ABNER'S mouth is full of toothpaste, as he's right in the
middle of brushing his teeth.
RING! RING! RING!
ABNER
Maaaa!
He growls and spits out the toothpaste.
INT. MOM'S BEDROOM - JUST AFTER
ABNER answers the phone gruffly.
ABNER
Hello. Yeah, hang on a second. She's
here somewhere.
INT. LIVING ROOM - JUST AFTER
ABNER enters, shouting --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 20.
ABNER
Mom. Phone. Maaaaam!
MOM is sprawled out on the couch, her face hidden behind a
pillow.
ABNER (CONT'D)
(sharply)
Mom!
MOM doesn't answer. ABNER stomps to the couch, knee catching
the corner of the coffee table, which causes two empty Vodka
bottles to CLINK together.
ABNER shakes his mother. Again. Mom groans behind the pillow
over her face.
ABNER (CONT'D)
Mom. Phone. Mom.
More groans. ABNER exhales heavily, rolling his eyes. He
spins around to leave . . . but something catches his eye. A
SHOEBOX, sitting on the coffee table, lid off. From it, ABNER
takes out a number of newspaper clippings. Some of the
articles contain PHOTOS. ABNER frowns, recognizing the man
in these photos.
INT. ABNER'S BEDROOM - JUST AFTER
ABNER is looking at the PHOTO on the back jacket of ALABAMA'S
BOOK.
ABNER
. . . Same guy.
ABNER places the book aside. He has brought the shoebox
upstairs with him. Rummaging through it, he finds an UNOPENED
ENVELOPE, "Return To Sender" stamped across the front of it.
ABNER tears open the envelope. He reads a hand-written letter
to himself.
SHARON (V.O.)
Dear Alabama: I'm writing this letter,
as I have something to tell you. It
wasn't right to keep him a secret from
you all these years. I feel rotten.
It was selfish of me. But the truth
is... I was scared. Scared you would
neglect him. Or worse . . . he'd want
to follow you around the world. I've
already lost two men to the lure of
archaeology. I didn't want to lose
another . . . especially my own son.
(beat)
I wanted to spare him the dangers and
hardships you and my father experienced.
But it's not fair. I know that now.
(MORE)
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 21.
SHARON (V.O.) (CONT'D)
It's not fair to Abner. That's what
I've named our son --
ABNER
(blurting)
Son!
SHARON (V.O.)
(continuing)
Alabama, you're his father. Abner
needs a father. Please contact me
when you can. Love, Sharon.
ABNER, mind racing, finds in the envelope a PHOTO of himself
at age 7.
ABNER notices a snapshot in the shoebox, faded with age. In
the PHOTOGRAPH, smiling, their arms around each other, is
ALABAMA, SHARON and SHARON'S FATHER.
ABNER, numb, stares down at ALABAMA in the photo.
ABNER
Dad?
(then with delight)
Dad!
Cut to
ABNER, as he reads the "About the Author" section of ALABAMA'S
BOOK.
Cut to
ABNER, as he pushes aside food tins in the kitchen cupboard,
and takes out a coffee can. Inside it is money. Mostly ones
and fives. But a couple of tens and twenties as well.
Cut to
ABNER, back in his bedroom, as he stuffs clothes -- shirts,
socks, underwear, etc -- into his backpack.
Cut to
ABNER, as he opens the bedside table drawer and takes out his
PASSPORT. He looks at it thoughtfully.
ABNER (CONT'D)
(nodding to himself)
Just might need this.
Cut to
ABNER, about to leave, but not without ALABAMA'S book.. He
picks it up off the bed and smiles brightly at the author's
photo.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 22.
ABNER (CONT'D)
(he can't get over it)
I got a dad.
Close up, the back jacket photo of ALABAMA, and:
MATCH CUT TO:
The real ALABAMA. We are:
INT. BOSTON UNIVERSITY - LECTURE HALL - DAY
At the moment, ALABAMA is speaking to a large class of
UNIVERSITY STUDENTS.
ALABAMA
-- to understand the present, we must
first understand the past.
(beat)
But bear in mind that the past is a
hungry animal. With a voracious
appetite. And if you're not careful,
it will devour you.
(beat)
Now, most of you probably view
archaeology as an interesting vocation
. . . some of you may see it as a good
reason to get out of the house . . .
others, a potential hobby. But for
some of you -- the unlucky few -- it
will take control of your lives . . .
and before you know it, your search
for the past has become
(a bit of realization
here)
. . . a dangerous obsession.
ALABAMA looks thoughtful. The STUDENTS sit patiently, waiting
for him to resume.
ALABAMA glances at the wall clock.
ALABAMA (CONT'D)
That's all for today.
Students groan, and start to exit the lecture hall.
When the last of the students has filed out, ALABAMA sits
down at his desk. He looks exhausted . . . sad.
Suddenly --
ABNER (O.S.)
Nice speech, mister.
ALABAMA, startled slightly, looks up at the back row. ABNER
is sitting in a desk, his backpack in front of him.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 23.
ALABAMA
Uh . . . excuse me . . . how did you
get in here?
ABNER
Through the door.
ALABAMA
Is that right. Well, my little friend,
class is over. So, if you don't mind --
ABNER
Say, you always this uptight?
ALABAMA
I'm not uptight.
ABNER
You could'a fooled me.
ALABAMA smirks.
ALABAMA
A wiseacre, huh?
ABNER
My mom thinks so. Actually, I probably
get it from her. Hey, maybe you know
my mother?
ALABAMA
Do I look like the type that would
associate with wiseacres?
ABNER
(irked)
Hey, you can say what you want about
me, buster. But mom's off limits.
Got it?
ALABAMA
Sorry . . . didn't mean to ruffle your
feathers. By the way, where is your
mother, kid?
ABNER
Back in Vermont.
ALABAMA
So . . . you're here with your father
then?
ABNER
You could say that.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 24.
ALABAMA
Well, kid, it was real nice chatting,
but I've got some --
ABNER
You wanna know my mother's name?
Sharon. Her name's Sharon.
ALABAMA
Really.
ABNER
You know a Sharon . . . don't you?
ALABAMA frowns.
ALABAMA
Yes . . . I did. How did you know
that?
ABNER
But you haven't seen her in a long
time, right?
ALABAMA
Is this going somewhere, kid? 'Cause
I'm a busy man and I don't have time
for --
ABNER
Settle down, Alabama. I'm almost done.
ALABAMA
(shaken)
What . . . what did you call me?
ABNER
Alabama. It's your name. Isn't it?
ALABAMA
Nickname.
(uneasy)
I think it's time we find your father.
ABNER
Already did.
INT. CORRIDOR OUTSIDE LECTURE HALL - DAY
ALABAMA, rattled, accidentally trips as he enters the hall,
spilling his papers and things on the floor. ABNER appears,
chasing after him. ALABAMA kneels and starts to collect his
papers.
ABNER takes out the photo of ALABAMA, SHARON, and SHARON'S
FATHER.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 25.
ABNER
Look -- here -- see, that's mom in the
middle. Sharon Crowtree. Guy on the
right, that's you. And on the left,
is my mom's Dad. I never met him.
Mom said he died. She also told me my
dad died when I was just a baby.
ALABAMA'S and ABNER'S eyes meet briefly. ALABAMA dashes away,
more flustered than ever now.
ABNER chases after him.
EXT. BOSTON U - FACULTY PARKING LOT - NEAR SUNDOWN
ALABAMA, almost running, heads for his parked sedan. ABNER
trails behind him.
ABNER
I'm not going away, mister. So you
better get use' to it.
ALABAMA
(barking)
No! I mean it, kid. Beat it. Vamoose!
ABNER looks dejected.
ABNER
(teary eyed)
I'm . . . I'm not tryna pull a fast
one, mister. Just -- I --
(beat)
Aw, forget it!
ABNER runs off. ALABAMA salutes the kid "good riddance."
INT. ALABAMA'S SEDAN - JUST AFTER
ALABAMA, grumbling ad-libs, slides in behind the wheel. He
takes a moment, trying to get his head straight. He chuckles
to himself.
ALABAMA
Ridiculous. It's absurd.
Then he catches his reflection in the rear-view mirror. He
looks closer. Now ALABAMA groans, bringing a hand to his face.
ALABAMA (CONT'D)
Oh, Sharon . . .
(into rear-view mirror)
He's got my eyes.
EXT. A RESIDENTIAL STREET - NEAR SUNDOWN
ABNER walks along the sidewalk, head down, shoulders slumped.
Headlights appear behind him.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 26.
ALABAMA'S sedan drives up and pulls over to the curb.
ALABAMA
(out the passenger-side
window)
Hey, kid! I'm on my way to visit some
body. You wanna tag along?
Sulking, ABNER doesn't say anything.
ALABAMA (CONT'D)
C'mon . . . I could use the company.
EXT. THE CEMETERY - SUNDOWN
ALABAMA and ABNER are standing at the foot of Smith senior's
grave.
ABNER
What was he like?
ALABAMA
Strong. Passionate. Stubborn.
ALABAMA turns introspective.
ABNER
Mr. Smith . . . how come you never
contacted my mother? Letter she sent
asked you to get in touch with her.
ALABAMA
I didn't get any letter from her, Abner.
ABNER
(making sense of it)
. . . Letter had "return to sender" on
it . . . did you move or something?
ALABAMA
Dad and I moved here about 4 years
ago.
ABNER
There was a picture . . . me at 7. . .
that was 4 years ago . . . you weren't
at that address . . . so I guess the
post office returned the letter . . .?
(beat)
You know what's really sad, Mr. Smith
. . . mom hated you all these years .
. . herself . . . all because she
thought you sent back that letter.
ALABAMA
Abner, if I could turn back the clock,
I would. I'd say we have lots of
catching up to do.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 27.
An interruption:
VLADIMIROV (O.S.)
(Russian accent)
Doctor Smith?
ALABAMA sees a large man approaching him, dressed in a long
trench coat and a fedora.
VLADIMIROV smiles warmly.
ALABAMA
Yes. Can I help you?
VLADIMIROV
Please excuse the intrusion, Doctor.
Your secretary said I might find you
here. My name is Yugi Vladimirov. I
am a captain with the Soviet Air Force.
Do you have a moment? I wish to discuss
something of importance with you.
ALABAMA
Really isn't a good time. I'm here
with my . . . my son . . . we're
visiting his grandfather's grave.
VLADIMIROV
Henry Smith Senior . . . yes, I knew
of your father. My condolences. But
please, Doctor, it won't take up much
of your time. And what I have to tell
you is of great archaeological
significance.
EXT. THE CEMETERY - JUST AFTER
The scene begins on a close-up of VLADIMIROV'S shoes . . .
the souls . . . they're smoldering. Fine wafts of smoke
linger in his tracks. Also -- though it makes little sense --
we hear a faint, but distinct SIZZLING sound each time his
shoes press into the grass. Are we seeing/hearing things?
ALABAMA and VLADIMIROV are together, walking and talking.
VLADIMIROV
This was taken two days ago. An aerial
photograph of Mount Ararat. Here,
this will help.
He hands ALABAMA a magnifier.
VLADIMIROV (CONT'D)
The section circled in red. Do you
see what is there?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 28.
ALABAMA
(looking through
magnifier)
A protrusion of some kind. Almost
rectangular.
VLADIMIROV
Do you know the story of Noah and his
Ark, Doctor?
ALABAMA
Captain, I believe every school child
knows it.
VLADIMIROV
(embarrassed slightly)
Yes. Doctor, my apologies. I am an
educated man. But sometimes I have
difficulty dispelling my sense of Soviet
superiority.
ALABAMA
You think this object is Noah's Ark?
VLADIMIROV
The Book of Genesis clearly disclosed
the final resting-place of the Ark:
Mt. Ararat. Tales of men coming down
from the mountain with pieces of
preserved timber -- from heights where
trees cannot grow -- have been told
for centuries.
ALABAMA
Excuse me for asking . . . but when
did the Russians start believing in
the Bible?
VLADIMIROV
Yes. Well, you see, Doctor . . . I am --
how you say -- the black sheep of the
family -- I believe . . . and it is my
hope to make you a believer as well.
(beat)
Yes, I too have had bouts with faith.
In your book -- a good read by the way --
ALABAMA nods "thank you."
VLADIMIROV (CONT'D)
-- you speak of it in great detail.
Your point about faith being for
children and fools intrigued me the
most.
(MORE)
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 29.
VLADIMIROV (CONT'D)
(beat)
But if the Ark is there on Mt. Ararat,
then it stands as a testimony to God's
word -- His vindication.
(beat)
Doctor, peace of mind awaits us both.
ALABAMA
Sorry, but I can't help you.
VLADIMIROV
Doctor -- please, the Ark's discovery
will shake the atheist institutions to
their very foundations. We are living
in godless times -- in the shadow of
the atomic weapon. You and I together
can give the world what it needs . . .
salvation.
ALABAMA isn't buying.
VLADIMIROV (CONT'D)
(aggravated)
But I don't understand. You are an
archaeologist. Surely the historical
significance of such a find is of
interest to you.
ALABAMA exhales heavily.
VLADIMIROV (CONT'D)
(calming down a bit)
Sorry. But at least let me make you
an offer: I am assembling an expedition
team. Your expertise in this area is
what I require --
ALABAMA
Again, I'm not interested.
VLADIMIROV
The job pays very hand --
ALABAMA
(snapping)
I don't want your money. Now, please,
I just want to be left alone.
ABNER, following at a distance, but close enough to catch
bits and pieces of the conversation, heard what ALABAMA just
said, and looks away, hurt.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 30.
BACK TO THE MEN:
ALABAMA (CONT'D)
(exhaling)
Captain, there are Russian
archaeologists, just as skilled as I
am, who can help you?
VLADIMIROV
Yes. But Doctor, you led an expedition
of this kind before. In 1942. The
Andes.
ALABAMA
(taken off guard)
That was classified. A secret mission
for the U.S. Army.
VLADIMIROV
(chuckling)
Doctor, military secrets are like boats
. . . they leak on occasion.
ALABAMA
(directly)
What's the real reason, Captain? My
Andes expedition was no great feat by
any stretch of the imagination.
VLADIMIROV
True. All right, Doctor, I will be
candid. I am here today without the
permission of my government. I have
not yet brought to their attention the
object photographed on Ararat.
ALABAMA
Why?
VLADIMIROV
Well, I am a selfish man, Doctor . . .
some would say a dreamer. To uncover
something of such biblical importance
would surely make me a hero in the
eyes of the world.
ALABAMA
(snidely)
What about your loyalty to the Kremlin?
To Stalin?
VLADIMIROV
Yes . . . I am torn between duty and
vanity. But, Doctor, you of all people
should understand vanity.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 31.
ALABAMA
(irked)
Captain, you have the wrong man. You're
looking for a glory seeker. I'm not
him.
VLADIMIROV
I see. Well, Doctor, I know when I'm
beaten. I will not bother you with
this any more. But in case you change
your mind, there is a plane leaving
Boston in the morning for Istanbul I
have taken the liberty of booking you
on the flight. If you decide to join
us, remember that the expedition is
being kept secret. So please be
discreet.
(beat)
The Turkish government would not approve
of us poking around.
(beat)
After you land in Istanbul, instructions
direct you to the city of Dogubeyazit
where the expedition party is being
assembled. The password is "skull."
(pulls out an envelope)
Everything you will need to know is in
here.
VLADIMIROV holds out the envelope.
ALABAMA
I won't change my mind.
VLADIMIROV
In case you do.
ALABAMA, being polite, takes the envelope.
VLADIMIROV (CONT'D)
It's nice to have met you. Good day,
Doctor.
ALABAMA shakes VLADIMIROV'S big hand. CLOSE-UP, the cryptic
tattoo, on the back of the Russian's hand.
ABNER approaches.
VLADIMIROV (CONT'D)
(smiling)
And a good day to you, young man.
ABNER
(smiling back)
Bye.
VLADIMIROV starts walking away. ABNER joins his father.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 32.
ALABAMA
(shouting)
Captain.
VLADIMIROV turns around.
ALABAMA (CONT'D)
If it's a glory seeker you're after,
try Doctor William Humphrey. You'll
find him on campus.
VLADIMIROV
Is he skilled?
ALABAMA
He likes to think so.
VLADIMIROV grins, and tips his hat "goodbye."
ABNER
Nice man. Who is he?
ALABAMA
Nobody important.
ALABAMA crumples up the envelope. ABNER watches ALABAMA shove
it into his coat pocket.
ABNER
So, what now?
ALABAMA
Home. You should call your mother and
let her know you arrived safely.
ABNER
(hiding something)
Yeah. Good idea.
CUT TO:
INT. ABNER'S BEDROOM BACK HOME - NIGHT
SHARON CROWTREE, hung over, staggers into her son's bedroom.
SHARON
Abner . . . you in here? Abner?
SHARON spots the SHOEBOX on the bed.
SHARON (CONT'D)
Dammit. Oh, stupid. Stupid.
The shoebox's contents are scattered on the bed. SHARON finds
the opened letter. Her knees buckle. She tries to push back
the pain and tears, but can't. She breaks down crying.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 33.
INT. SHARON'S LIVING ROOM - JUST AFTER
SHARON is on the phone, all fired up now. In her hand is a
newspaper clipping.
The article's headline reads:
BOSTON U WELCOMES WORLD RENOWNED ARCHAEOLOGIST
SHARON
Boston directory? Yes, I need an
address and phone number?
INT. ALABAMA'S LIVING ROOM - NIGHT
ABNER has just finished his dinner (a sandwich and a class of
milk).
ALABAMA has taken out the family PHOTO ALBUM. He is showing
ABNER pictures of Smith Senior as a young man.
ALABAMA
That's dad . . . he's about thirty
here . . . that's him in Egypt, 1927.
ABNER
He found king Tut's Tomb?
ALABAMA
(amused)
No. Dad was there doing research.
ABNER
(disappointed)
Oh.
(pointing)
Who's that?
ALABAMA
Lucas Brody. A friend of the family.
A great archaeologist in his day.
ABNER
Can I meet him?
ALABAMA
He passed away a few years ago.
(small voice)
Everybody's leaving me.
ABNER feels for his father. He lightens up the mood a bit.
ABNER
Hey, you wanna see my pictures. I
brought some with me.
ABNER takes out a bundle of photos from his backpack.
Something falls to the floor.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 34.
ALABAMA picks up ABNER'S PASSPORT.
ALABAMA
(amused)
You brought your passport . . . ?
ABNER
Thought I needed it to get here.
ALABAMA
Just when you leave the country.
ABNER replaces the passport in his backpack.
ABNER
(embarrassed)
Yeah, that's what the bus ticket lady
said.
ALABAMA
I'm surprised your mother didn't tell
you.
ABNER looks guilty.
The phone RINGS. ALABAMA gets up to answer it.
ALABAMA (CONT'D)
(nervously)
Maybe that's your mother . . . you did
call her?
ABNER
Sure. While you were making sandwiches.
ALABAMA answers the phone.
ALABAMA
(a deep breath; then
into phone)
Hello? . . . No, I'm afraid he's not.
Doctor Smith past away last year.
Thank you. I'm his son. Is there
something I help you with?
ABNER rises from the couch and whispers:
ABNER
Where's the bathroom?
ALABAMA covers the mouthpiece:
ALABAMA
Upstairs. End of the hall.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 35.
INT. FRONT DOOR HALLWAY - JUST AFTER
ABNER is about to go upstairs when he sees ALABAMA'S coat
draped over the banister.
Cut to
ABNER, as he sneakily removes the crumpled-up ENVELOPE from
ALABAMA'S coat.
INT. WASHROOM UPSTAIRS - JUST AFTER
ABNER rushes in, shuts the door and locks it. He quickly
uncrumples the envelope. Inside, there is a PLANE TICKET and
a few sheets of FOLDED STATIONARY, typed instructions on them.
ABNER starts to read the first page.
A moment. Now ABNER'S eyes bug out.
ABNER
Noah's Ark. Holy Toledo. They found
it.
INT. SHARON'S LIVING ROOM - NIGHT
SHARON is on the phone, getting a busy signal. She slams the
handset back into its cradle.
SHARON
Goddammit!
SHARON thinks hard for a moment. Then she snatches up the
receiver again.
SHARON (CONT'D)
Operator? I need a phone number. The
bus station.
CUT TO:
INT. SPARE BEDROOM IN ALABAMA'S HOUSE - NIGHT
ALABAMA tucks ABNER into bed.
ABNER
Mom use'ta tuck me in all the time...
but she stopped.
ALABAMA
Why's that?
ABNER
She hasn't been herself lately. Hitting
the bottle a little too heavily, if
you know what I mean.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 36.
ALABAMA
(a sinking feeling)
I'm sorry.
ABNER
Not your fault. She just thinks it's
your fault.
ALABAMA can't hold back a smile.
ALABAMA
Get some sleep.
ALABAMA starts to leave the room.
ABNER
The man you talked to today . . . was
he trying to hire you for something?
In the doorway:
ALABAMA
An expedition.
ABNER
How come y'didn't take his offer?
ALABAMA
Something you wouldn't understand.
ABNER
Your dad died . . . made you feel all
bad inside . . . like nothing can ever
be good again.
ALABAMA
You read my mind.
ABNER
I get that ability from mom, too.
ALABAMA
That's one talent you can do without.
ABNER
Mr. Smith . . .
ALABAMA
Alabama.
ABNER
Alabama . . . maybe some day me and
you can go on a big adventure.
ALABAMA
I'd like that.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 37.
ABNER
Might give you a boast. Y'know, getcha
back on your feet.
ALABAMA
(smiling)
Goodnight.
ABNER
'Night.
ALABAMA closes the door. At which point ABNER throws off the
bed covers. He grabs his backpack and takes out the PLANE
TICKET.
ABNER (CONT'D)
(stars in his eyes)
Yeah, a big adventure: The search for
Noah's Ark.
CUT TO:
INT. ALABAMA'S BEDROOM - LATE AT NIGHT
ALABAMA is stirring in his sleep.
INT. ALABAMA'S LIVING ROOM - DREAM
Bags packed, ALABAMA is talking on the phone, trying to put
his trench coat on at the same time.
ALABAMA
Dad, listen, I gotta go. Yes, I know
it's your birthday. I -- I -- listen:
I gotta call from the Jordanian
Department of Antiquities. They found
some scrolls. Yes, I know you're in
the hospital. Stop it, Dad. You're
not gonna die. Of course I care.
CLICK! The phone goes dead.
ALABAMA (CONT'D)
Dad? Dad. Dammit!
He slams the receiver into its cradle.
Suddenly, a voice:
DAD'S
Junior?
ALABAMA spins around and discovers his FATHER standing behind
him in a hospital gown.
ALABAMA
Dad?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 38.
DAD
Happy birthday.
Suddenly, dad's mouth opens horribly wide. A hand pops out,
clutching a candle-lit birthday muffin. The hand crushes the
muffin.
INT. BACK IN ALABAMA'S BEDROOM
As ALABAMA snaps awake with a jerk. Immediately, he hears
SOMEONE pounding on the front door, the sound shooting up
from downstairs.
ALABAMA looks at the bedside clock: 4:30 in the morning.
ALABAMA'S face reads "who could that be at this hour?"
INT. FOYER
ALABAMA throws open the front door. SHARON doesn't wait, and
barges right in.
ALABAMA
Sharon!
SHARON
Where is he? Where's Abner?
ALABAMA is all flustered.
SHARON (CONT'D)
Where's my son, goddammit!
ALABAMA
You mean our son.
SHARON snarls at him.
SHARON
No, mister -- my son! You had your
chance!
ALABAMA
(overlapping)
Sharon, lis -- listen to me.
SHARON
I want Abner right now.
ALABAMA
Sharon, please. He's all right. He's
upstairs sleeping.
SHARON pushes past ALABAMA and yells up the stairs:
SHARON
Abner! Abner!
ALABAMA grabs SHARON by her arm.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 39.
SHARON (CONT'D)
Get your filthy paws off me, you dirty
bastard.
ALABAMA
What the hell's wrong with you? I
didn't get your stupid letter.
SHARON
You sent it back. Unopened. One look
at my name on the envelope and you
dropped it back into the mailbox.
ALABAMA
Please, Sharon. Just give me a chance
to explain.
SHARON
Explain! You wanna explain? Try
explaining why 12 years ago we went
for a drink. Explain why, that night,
we made love. Explain why you didn't
call me -- ever. 12 years you
sonofabitch. 12 years. Nothing. Not
even a goddamn post card.
ALABAMA
I --
She surprises him with a right-hook across his chin.
SHARON
Save it!
ALABAMA rubs his chin, shaken.
ALABAMA
I deserved that. Maybe I deserved a
lot of things. But I didn't deserve
you.
SHARON
What the hell is that suppose' to mean?
ALABAMA
Sharon . . . what kind of a life could
I've given you? I didn't try to contact
you because . . . because I felt I
didn't deserve you. You're too good a
lady. Too good for a bum like me.
SHARON
About goddamn time you realized that!
ALABAMA
You're not making this easy.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 40.
SHARON
Don't talk to me about easy, mister!
You had it easy all your rotten,
stinking life. And you wanna know
why? Because you never had to care
about anybody. First signs of commitment
or responsibility and you went running
back to your picks and shovels. Back
to your ancient ruins. Well, if that's
where you wanna be, then that's fine
with me. I'll just take my son and
let you get back to the one thing I
know you love.
SHARON starts up the stairs.
ALABAMA
(small voice)
I gave it up?
SHARON halts on the stairs. Her eyes swell up with tears.
ALABAMA goes to her.
ALABAMA (CONT'D)
Nothing, Sharon. Not one foot out of
Boston. Going on 12 months now.
(wryly)
A record.
SHARON surprises ALABAMA, throwing her arms around him.
SHARON
I hated you for so long.
ALABAMA embraces her.
ALABAMA
You had every right to.
Their eyes meet. They kiss long and deep. Now they break
and ALABAMA wipes away her tears. SHARON cracks a remark:
SHARON
Christ, you got old.
ALABAMA chuckles. SHARON hugs him again.
ALABAMA
I feel old.
SHARON
You and me both.
ALABAMA frowns . . . something puzzles him.
ALABAMA
Sharon . . . you didn't know Abner
came to see me?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 41.
SHARON
No . . . he found the letter. My
clippings. I figured he made the
connection. Why?
ALABAMA
Abner told me you put him on the bus
to come here.
(smirking)
Little scamp lied to me.
SHARON
He must get that from you.
ALABAMA chuckles.
CUT TO:
EXT. BOSTON INTERNATIONAL AIRPORT - MORNING
CIRCA: LATE 1940'S.
INT. THE AIRPORT PASSENGER TERMINAL - MORNING
ABNER holds on to the PLANE TICKET, waiting impatiently for
departure time. Beat. Another. Then:
OVER P.A.
Flight 36 to Azores, Rome, and Istanbul
now boarding at gate 7.
ABNER jumps up and runs to gate 7.
A FEMALE TICKET TAKER greets TRAVELERS with a smile and sends
them through the gate.
TICKET TAKER
Thank you . . . thank you . . . have a
nice flight.
ABNER is next.
TICKET TAKER (CONT'D)
Hello there. Are you flying alone?
ABNER
(nervously)
Un-huh . . .
The TAKER checks ABNER'S ticket.
THE RAIDERS' MARCH mixes up faintly. Just audible enough to
put a grin on our faces.
ABNER (CONT'D)
Istanbul . . . that's in Turkey, right?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 42.
TICKET TICKER
Yes it is. Are you meeting a relative
or parent there?
ABNER
My dad.
Pregnant pause. Then:
TICKET TAKER
Enjoy your flight.
SHARPLY CUT TO:
THE FULL SCREEN MAP:
Images of ABNER'S DC-3 in flight are SUPERIMPOSED over the
adventure map. THE RAIDERS' MARCH kicks in, big and loud, as
a solid red line starts at BOSTON, moves across the Atlantic
Ocean, and connects to AZORES, to ROME, and lastly to ISTANBUL.
DISSOLVE TO:
EXT. ISTANBUL AIRPORT, TURKEY - SUNRISE
ABNER'S plane comes to a stop. The universal step is wheeled
into position.
The aircraft's door opens wide and ABNER, first one out, rushes
down the steps.
INT. ALABAMA'S LIVING ROOM, STATE SIDE - SUNSET
Both ALABAMA and SHARON are crashed out on the couch. They
must have fallen asleep here . . . or is it something else?
FRAME ADJUSTS, and reveals TWO EMPTY WINE BOTTLES on the coffee
table. They're not asleep. They're passed out.
The phone starts to RING. ALABAMA stirs. The sharp RINGING
hurts his head. It stops finally. SHARON groans, starting
to wake up. ALABAMA glances at his wristwatch -- WHAT!
ALABAMA
Six o'clock.
He recoils from his own voice -- he's got one whopper of a
hangover.
INT. FRONT DOOR HALLWAY
ALABAMA staggers into the hallway and is about to take the
stairs when he catches sight of a NOTE, tapped to a mirror.
INT. THE SPARE ROOM UPSTAIRS - JUST AFTER
ALABAMA rushes into the room, in a state of panic. ABNER is
gone!
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 43.
ALABAMA
Not good!
INT. THE LIVING ROOM DOWNSTAIRS - JUST AFTER
ALABAMA shakes SHARON out of her drunken sleep.
ALABAMA
Sharon! Sharon!
SHARON
(crankily)
Wha -- what? Stop -- stop it.
ALABAMA
Sharon -- now, just relax -- got some
bad news. But I think --
SHARON
What? Something happened to Abner.
Tell me!
ALABAMA
Easy. Now, chances are he's just
playing games.
SHARON
What, goddammit!
ALABAMA
Abner's gone.
SHARON
Wha -- whuddiya mean "he's gone?"
ALABAMA hands her the note.
SHARON (CONT'D)
What's this?
ALABAMA
Read it.
SHARON
(reading)
"Dear dad: got just the thing that'll
put you back on your feet.
(grimacing at Alabama)
What is this --
ALABAMA
Just read it.
SHARON
(reading)
"Got just the thing that'll put you
back on your feet.
(MORE)
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 44.
SHARON (CONT'D)
You said one day we'd go on a big
adventure. Well, there's no time like
the present. I went to look for the
Ark. You know where to find me."
(grimacing at Alabama)
The Ark? The Ark of the Covenant?
ALABAMA
Noah's Ark.
SHARON
Noah's Ark!
(in his face)
You bastard! You've been filling his
head with crazy stories.
ALABAMA
No stories. He must've overheard my
conversation yesterday.
SHARON is confused.
ALABAMA (CONT'D)
A Russian man tried to hire me for an
expedition, but I refused. He gave me
some instructions and a plane ticket.
(beat)
What am I thinking . . . Sharon,
Abner's fine. He's just playing games
with us.
INT. ISTANBUL CUSTOMS CONTROL - SAME TIME
ABNER is with the
TURKISH CONTROL OFFICER
(gruffly)
Passport.
ABNER
(confused)
Passport?
(then he remembers)
Right. Passport. It's in my bag.
The BAGGAGE INSPECTOR is pulling items out of ABNER'S backpack.
He fumbles with ABNER'S compass set, almost dropping it.
ABNER (CONT'D)
Hey. Watch it there. That's a gift,
pal.
The inspector grins sheepishly.
INT. ALABAMA'S LIVING ROOM - SAME TIME
ALABAMA takes SHARON by her shoulders and smiles reassuringly.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 45.
ALABAMA
Sharon . . . he's alright. Trust me.
SHARON
(a bad feeling)
The plane ticket . . . did you throw
it away?
ALABAMA
Yes -- of course I did.
SHARON breathes a little easier. ALABAMA, however, doesn't
look so confident anymore.
Cut to
ALABAMA -- in the front hall -- as he searches the pockets of
his jacket for the crumpled-up envelope. He doesn't find it.
ALABAMA looks at SHARON -- his face says it all.
EXT. ISTANBUL CUSTOMS CONTROL - SAME TIME
Back to the:
TURKISH CONTROL OFFICER
(now looking at Abner's
passport)
This passport has expired.
ABNER
Uh . . . that's bad, right?
TURKISH CONTROL OFFICER
(impatiently)
Why are you in Istanbul?
ABNER
(fidgety)
Uh . . . my dad's here. Wait a minute --
ABNER removes the typed instruction sheets from his pocket.
He reads them over. Then:
ABNER (CONT'D)
Erzurum. That's the place.
TURKISH CONTROL OFFICER
Your father, he is there now?
ABNER
Give that man a cigar!
The BAGGAGE INSPECTOR sniggers.
TURKISH CONTROL OFFICER
Your father's name, what is it? At
what hotel is he staying?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 46.
ABNER is starting to feel the pressure.
INT. ALABAMA'S LIVING ROOM - SAME TIME
SHARON
(hysterical)
Oh god -- if he left last night -- he
could be anywhere by now. Christ,
while I was passed out on the couch my
boy ran off to Turkey.
ALABAMA
(the voice of reason)
Sharon . . . calm down . . . just think
about this for a minute here. C'mon,
nobody's gonna let a little boy on a
plane to Turkey by himself.
SHARON
Oh yeah -- a year ago Abner visited
his aunt in London -- by himself.
ALABAMA
Okay -- but you put him on the plane,
right? And besides, he can't leave
the country. Not without a pass --
HHHELLO!
ALABAMA rushes to the phone and dials quickly.
SHARON
What -- who are you calling? Alabama!
A sudden thought disturbs her.
SHARON (CONT'D)
No . . . tell me they didn't let him
into the country. Did they?
ALABAMA
(not so sure now)
Turkey's a Democratic Republic . . .
country's a tourist trap these days.
(into phone)
Yes, operator, overseas connection:
Istanbul, Turkey.
EXT. ISTANBUL CUSTOMS CONTROL - SAME TIME
ABNER
Listen, buster, my dad's a big important
archaeologist. He's not gonna be too
happy when he hears you been harassing
me like this.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 47.
TURKISH CONTROL OFFICER
(hostile)
Again, what is the name of the hotel?
ABNER is losing his cool.
TURKISH CONTROL OFFICER (CONT'D)
(barking)
Hotel! Name!
ABNER flinches, and almost drops his backpack. He doesn't
know what to say.
Suddenly, a WOMAN TOURIST shrieks. All eyes look in her
direction.
A PEASANT BOY has grabbed her purse, and is making off with
it. AIRPORT SECURITY give chase.
The CONTROL OFFICER, disinterested, looks back at ABNER --
But the boy is gone!
EXT. A BUSTLING CITY STREET, ISTANBUL - JUST AFTER
ABNER ducks into an alleyway, out of sight. He takes a minute
to catch his breath. Phew. That was a close one.
ABNER takes out the instruction sheets and reads them over.
ABNER
(reading out loud)
"Istanbul train station. Purchase a
ticket to Erzurum."
EXT. THE CITY OF ISTANBUL - DAY
This sprawling ancient metropolis -- with its many districts
separated by channels of blue water, with its stunning Muslim
temples, with its grand domed palaces, and with its assorted
edifices of another age -- is among the world's most enchanting
cities.
EXT. ISTANBUL RAILWAY STATION - TICKET WINDOW - DAY
Using the cash he stole from the coffee can, ABNER pays for
his train ticket.
ABNER
Thank you.
Suddenly, the FRAME ADJUSTS, and reveals a suspicious looking
man watching ABNER, as the boy walks out onto the platform.
We'll call this man, SPY.
INT. PLATFORM'S PUBLIC PHONE BOOTH - JUST AFTER
Now the SPY is on the phone, talking to his superior.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 48.
SPY
Comrade Captain, I am at the train
station now. Doctor Smith did not get
off the plane. But there is an American
boy here. He just purchased a ticket
to Erzurum.
INT. VLADIMIROV'S WOODLAND ESTATE, OUTSIDE MOSCOW - DAY
VLADIMIROV isn't just an important man, he's a rich man as
well. His estate rivals the best of Europe.
VLADIMIROV (V.O.)
An American boy . . .
INT. VLADIMIROV'S ESTATE - THE STUDY - DAY
The big Russian is on the phone with his SPY.
VLADIMIROV
Doctor Smith used the ticket. This we
know.
SPY (V.O.)
Yes, comrade Captain, but Doctor Smith
did not get off the plane. The only
American onboard was the boy.
At first VLADIMIROV is puzzled. Then he figures it out.
VLADIMIROV
The doctor's son.
(into phone)
Follow the boy, and make certain he
isn't harmed
SPY (V.O.)
Yes, comrade captain.
VLADIMIROV hangs up the phone. He looks thoughtful.
Now the phone rings, and he answers it.
VLADIMIROV
Yes?
PREMIER (V.O.)
Comrade, tying up official lines . . .
you're worse than a woman.
VLADIMIROV
Comrade Premier. A pleasure to receive
your call.
There's a knock at the study door.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 49.
VLADIMIROV (CONT'D)
Comrade Premier, please, one moment.
Come.
A BUTLER enters. We'll call him
ALEXANDER
A Mr. Farnsworth is here to see you,
sir.
VLADIMIROV
Excellent.
(into phone)
I do not wish to rush you, comrade
Premier, but I must attend to important
matters.
PREMIER
Yes, and no doubt these matters are of
the two breasted, two legged kind.
(beat)
Do not worry, comrade, you may attend
to these matters shortly. First, you
must confirm your attendance at Friday's
test. An important day in Soviet
history, comrade. A day you won't
want to miss.
VLADIMIROV
I will make it my highest priority,
comrade Premier.
PREMIER
Very good.
INT. VLADIMIROV'S ESTATE - LIVING ROOM - JUST AFTER
The decor is simply majestic. 15th Century Gothic.
VLADIMIROV
Ah, Mr. Farnsworth. Welcome. You've
brought me a surprise, I see.
MR. FARNSWORTH, a distinguished looking British man in his
40's, is holding a large black container; about the size of a
breadbox.
FARNSWORTH
I must say, getting it into the country
was rather effortless. No doubt you
have friends in high places, Mr.
Vladimirov.
VLADIMIROV
Yes . . . being a member of the Soviet
Military has its privileges. Please,
sit down. I am anxious to see what
you've brought.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 50.
FARNSWORTH
Sir, I've suffered a great deal, having
concealed those remains from the world.
I admit to having many sleepless nights
over the past three years. And if
this sounds unmannerly, please excuse
me -- but I expect to be well
compensated for my suffering.
VLADIMIROV
Compensation beyond your wildest
imaginations, Mr. Farnsworth. Now, if
you please, I wish to view the remains.
Farnsworth hands over the box. VLADIMIROV takes it to a large,
antique desk and sets it down. With great anticipation, he
removes the lid and gazes at --
HUMAN BONES.
FARNSWORTH
We discovered the bastard in the rumble
of his bombed bunker. I, along with
an army compatriot, found the body
just after the fall of Berlin.
(beat)
Sir, there are only three people who
know the true identity of those remains.
You, me, and my compatriot, who recently
died, I'm afraid.
VLADIMIROV
My condolences.
(beat)
Mr. Farnsworth . . . may I ask why you
never informed the world? Surely the
news would have soothed the minds and
souls of those torn by war; comforted
those who suffered through the holocaust
. . .
(beat)
Remains of the most hateful man this
century has ever seen, lie in this
box.
(beat)
If it had been me, I would've ran into
the streets, shouting "He's dead!
Hitler is dead!"
(beat)
So, why the secrecy, Mr. Farnsworth?
FARNSWORTH
I can't really say . . . something
just came over me while I stood there
in that bunker . . . something told me
that one day I would profit immensely.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 51.
VLADIMIROV
Yes, Mr. Farnsworth, your inner voice
served you well. And yes, you will
profit immensely.
(dramatic pause)
However, money isn't your reward.
Farnsworth stiffens.
FARNSWORTH
What . . . what do you mean?
VLADIMIROV
I'm going to bestow upon you a greater
gift. You will be among those fortunate
few, those rare men and women who will
be spared the witness to the end of
all Godkind.
Farnsworth realizes his life is about to end.
VLADIMIROV (CONT'D)
Your reward, Mr. Farnsworth . . . is
death.
VLADIMIROV raises a pistol -- CRACK!
CUT TO:
BLACK SCREEN.
Hold. Then light spills in as a door opens below us. The
shot is from high above a stone staircase, steps spiraling
downwards into the murky depths. VLADIMIROV appears, black
box in hand, and starts down the steps.
INT. UNDERGROUND - HIGH STONE CORRIDOR - JUST AFTER
VLADIMIROV walks towards a heavy wooden door at the end of
the corridor. The stretch of underpass is darkly lit by
candles. HUMANOID STATUES, menacing and horrid looking, run
in numbers down the corridor's full length.
CLOSE UP -- one of these horrid statues -- the man-beast is
eating a small child. At its hoofed feet, other children,
shackled to the beast's ankles.
INT. UNDERGROUND CRYPTIC CHAMBER
The air here is thick with evil. VLADIMIROV places the box
on a stone table where a large, leather bound TOME is perched.
The dozens upon dozens of black candles cast an eerie light,
flicking off the damp, brimstone walls. There is a LOW RUMBLE
. . . the hum of evil . . . as if the chamber walls are the
only barriers between us and the fiery pits of Hell.
VLADIMIROV bows before a shrine, which amounts to an upright,
cocoon shaped casket.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 52.
VLADIMIROV opens the casket's double lid. They come apart,
slowly, like the jaws of a giant Venus Flytrap.
Inside there is something macabre . . . simple . . . yet
nonetheless frightening.
A HUMAN SKELETON. It's intact, except for two missing arms
and the head. From the black box, VLADIMIROV gently removes
the bones that were once Hitler's arms.
VLADIMIROV starts to reassemble the bones on the table, one
piece at a time. He CHANTS a cryptic incantation, as we:
Push in, on the headless skeleton . . . it makes our skin
crawl . . .
CUT TO:
ABNER -- ON BOARD A TRAIN -- looking out the window at the
bleak and lonely highlands of Northeastern Turkey. A few
rows back, sits the SPY. He's keeping a watchful eye on ABNER.
CUT TO:
INT. ALABAMA'S LIVING ROOM - NIGHT
ALABAMA hangs up the phone, visibly worried.
SHARON
What? What did they say? Alabama.
Goddammit!
ALABAMA
Sharon . . . listen to me . . . a
baggage inspector at Istanbul Airport
remembers seeing Abner.
SHARON
Oh my god -- no!
ALABAMA
Hey, he's all right. He got this far.
(smirking)
Let's give him some credit.
SHARON
Credit! Alabama, for chrissakes, he's
just a little boy.
(barking)
It's all your fault.
ALABAMA
My fault?
SHARON
(mockingly)
Adventure -- archaeology -- it's in
his blood.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 53.
ALABAMA takes her gently by the shoulders.
ALABAMA
(soothingly)
I need you calm . . . okay . . .
nothing's going to happen to Abner. I
told the authorities about the
situation. If -- when -- they see
Abner, they'll ship him right back
here on the next available flight.
SHARON gawks at ALABAMA in disbelief. She shoves him aside
and goes to the phone.
ALABAMA (CONT'D)
Sharon . . . what are you doing?
SHARON
(into phone)
Operator, Boston Airport.
ALABAMA
Sharon, flying off to Turkey is
ridiculous. The authorities will find
Abner. By the time you get there,
he'll already be on his way back home.
SHARON
(into phone)
Yes, I wanna book a flight to Istanbul,
Turkey.
ALABAMA
You're not listening.
SHARON
(into phone)
Yes, one ticket.
ALABAMA
(growling)
Make it two.
SHARON
He isn't your responsibility.
ALABAMA (CONT'D)
Abner's my son. That makes him my
responsibility.
SHARON
You don't have to do this, Alabama. I
I don't want your guilt.
ALABAMA
Goddammit -- just make the flight for
two.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 54.
SHARON
(into phone)
Make that two. When is the next flight?
(pause)
Friday morning! Christ, that's two
days from now.
(to Alabama)
I can't wait that long.
Pause.
ALABAMA
(at a loss)
What choice do we have?
HOLD on SHARON. Desperate.
CUT TO:
EXT. ERZURUM'S NONDESCRIPT RAILWAY STATION - LATE IN THE DAY
ABNER steps down off the train. He walks along the platform,
reading from the instruction sheets.
ABNER
"At Erzurum hire a taxicab. Take it
to the town of
(say it like it's spelt)
Dogubeyazit."
(making a face)
Dogubeyazit.
ABNER looks around and sees a group of chatty, LOCAL CABBIES
at the exit, leaned up against their junk-box taxicabs.
ABNER (CONT'D)
Taxicabs . . . look like out-houses on
wheels.
ABNER sighs resignedly.
CUT TO:
EXT. THE ANCIENT CARAVAN ROUTE - SOON AFTER
ABNER'S taxicab putt-putts along the ancient roadway, making
slow tracks eastward across the eroded, hilly pastures of the
North East.
ABNER'S VOICE
(chatty)
My dad and me -- he's a big, famous
archaeologist -- maybe you heard of
him, Doctor Henry Smith . . . ?
CABBY'S VOICE
(moaning)
Mmmm.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 55.
ABNER'S VOICE
He wrote a book and everything. Anyway,
me and my dad are here -- well my dad's
not here yet -- but he's coming . . .
I'm pretty sure of that . . .
EXT. THE OTTOMAN BRIDGE - SOON AFTER
ABNER'S taxicab backfires, chugging across the architecturally
graceful Ottoman Bridge, which spans the narrow Aras River.
ABNER (V.O.)
. . . I don't think it's fair . . . do
you think it's fair?
CABBY (V.O.)
Mmmmm.
ABNER (V.O.)
Lucy -- we all call her Lucy-caboosey
at school, on account of her big butt --
she's always getting off scott-free.
This one time, she stole my brand new
pen set mom gave me for Christmas --
(interrupting himself)
Hey, we almost there?
CABBY (V.O.)
Mmmm.
INT. ABNER'S CAB - SOON AFTER
ABNER springs forward, wonderstruck by the view outside. He
mutters the words:
ABNER
Mount Ararat.
EXT. THE TAXICAB - APPROACH TO DOGUBEYAZIT
There, on the horizon, is Mt. Ararat. Breathtaking.
ABNER (V.O.)
Holy Toledo!
CABBY (V.O.)
Mmmm.
CUT TO:
EXT. THE GHETTO TOWN OF DOGUBEYAZIT - SUNDOWN
Filthy, stone buildings, all sandwiched together, stand on
both sides of the main cobblestone street. ABNER'S taxicab
drives into town and stops. ABNER pays the cabby and gets
out. A close look at the CABBY, and we realize why he hasn't
spoken a word. A grimy handkerchief, ends tied at the top of
his head, is holding a cold compress against his check.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 56.
The poor guy has a toothache.
ABNER
Better get somebody to look at that
tooth.
CABBY
Mmmm.
ABNER
Bye.
EXT. MERCHANT SQUARE - JUST AFTER
ABNER pushes through a busy merchant square. TURKISH MERCHANTS
shout over the din, advertising their goods to the LOCALS.
A PEASANT BOY runs up to ABNER.
PEASANT BOY
You, American boy. Want to buy Turkish
dictionary? Good price. 2 American
dollars.
ABNER considers the offer.
ABNER
Turkish dictionary . . . might come in
handy. Okay, sure.
ABNER pulls out his bundle of cash. The peasant boy's eyes
light up.
PEASANT BOY
You big shot American, huh?
ABNER hands over two one-dollar bills. The peasant boy hands
over the dictionary.
PEASANT BOY (CONT'D)
(always the salesmen)
You need things? I get you everything.
The best.
ABNER
Know where the Dogu
(says it like it's spelt)
cafe is?
PEASANT BOY
Dogu
(says it do-u)
Very close by. I show the way for 5
American dollars. Cheap price.
ABNER
Geesh . . . five bucks. Only cost me
a dollar to get from Erzurum to here.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 57.
PEASANT BOY
4 American dollars.
ABNER
Forget it, kid. At that price, I'll
find it myself.
EXT. ANOTHER STREET / QUIETER SECTION OF TOWN - SUNDOWN
ABNER steps up to a LOCAL.
ABNER
Excuse me, do you know where the Dogu
(says it do-u)
Cafe is?
The LOCAL grimaces, not understanding, and barks "Defol!"
(Turkish for "Beat it.") ABNER scowls at the rude man. Then
he remembers the dictionary he bought. He takes it out of
his backpack and flips through its pages. . . soon realizing --
ABNER (CONT'D)
There's no English. All Turkish.
Right -- Turkish dictionary. Little
scammer.
SWOOSH! A ZIP PAN finds the crooked peasant boy. He looks
mean. Even meaner looking, are his 2 TEENAGE HENCHMEN. They
stand behind him like dutiful soldiers. The peasant boy (we'll
call him CROOKY), snaps his fingers, which sends his obedient
henchmen running off in different directions.
EXT. ANOTHER STREET - DUSK
ABNER walks along the street, checking store signs for the
Dogu Cafe.
What's that? ABNER sees TEEN HENCHMAN #1 standing in a pool
of street light, looking at him.
ABNER is getting a bad feeling. He backs up slowly, and bumps
right into TEEN HENCHMAN #2.
EXT. NARROW ALLEYWAY
ABNER backs up, into the alley. The henchmen block the exit.
ABNER glances behind him -- dead end. His reaction shot his
priceless. Like father, like son.
CROOKY emerges from the shadows, a Lucky Strike dangling in
his mouth.
CROOKY
Street bad place at night for little
American boys.
ABNER
Who you callin' a little boy, runt.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 58.
CROOKY
Money -- give me -- now!
ABNER
Like hell!
SHHHINK! CROOKY whips out a dagger.
ABNER (CONT'D)
Whoa nelly . . . settle down. Okay...
you want the money . . . here --
ABNER holds out the cash.
CROOKY
(lowers the dagger)
Smart boy.
Suddenly, ABNER surprises the little runt with a quick knee
to his groin.
ABNER
Smarter than you think!
CROOKY doubles over, moaning. The henchmen spring into action.
ABNER shoves CROOKY aside. He runs through an open doorway
and enters a:
INT. SLUMMY APARTMENT BUILDING
ABNER scrambles down the hallway. He arrives at a door --
locked.
ABNER runs back the way he came, but halts as the teenage
henchmen pile inside and block the exit.
ABNER looks around frantically. He spots a flight of stairs.
He runs to them, taking the steps in leaps and bounds.
EXT. ROOF TOP - NIGHT
ABNER kicks open a wooden door, and finds himself on the roof.
No good. He spins back through the doorway, but freezes at
the sound of henchmen below, on their way up.
EXT. ROOF EDGE
ABNER peers down over the edge -- he's four stories up!
ABNER takes inventory: he can't go back -- the henchmen are
coming. It's too high to jump -- he's trapped! Or is he? He
notices the apartment balconies below. Yeah, but he'd have
to be pretty desperate to try that.
Suddenly, the henchmen pour out onto the roof. ABNER just
got desperate.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 59.
ABNER kicks his legs over the edge and sits there, hesitating,
scared. Here come the henchmen!
ABNER pushes off -- just in time -- as a henchman almost napped
him.
ABNER falls about ten feet and lands on the top-most balcony.
He looks up -- the henchmen are following. He spots a
clothesline right above his head. It stretches out, over the
street, and connects to an apartment balcony on the other
side. Bad idea.
ABNER
You crazy? No way Jose.
(yelling)
Help. Help me.
ABNER pounds on the balcony glass door. A light blinks on
inside the apartment.
Suddenly, a woman's haggard old face appears at the window.
Startled, ABNER reels back -- too far!
ABNER bumps into the railing and starts to falls backwards
over top of it. Thinking fast, he grabs the clothesline.
But the wheeled line gives and he goes sailing out, away from
the balcony. He finds himself suspended in the air some 30
feet above the street.
The OLD WOMAN gasps and rushes out onto the balcony. She
starts to pull in the clothesline. ABNER, yelling, hangs on
for dear life as he's pulled back towards the balcony.
Suddenly, the henchmen drop in and startle the old woman.
She inadvertently lets go of the line, and ABNER goes wheeling
back out over the street.
HENCHMAN #1 shoves the old lady back into her apartment.
HENCHMAN #2, grinning evilly, jerks the clothesline back and
forth. ABNER cries out while the henchmen just laugh.
Suddenly, the old woman returns, armed with a broom. She
whacks the henchmen repeatedly -- on their heads, backs and
rumps. The henchmen scramble past the woman, into her
apartment. They bolt for the front door and exit in a flash.
The old woman grabs the clothesline and starts to wheel ABNER
back in --
Cut to ABNER, back on the balcony, safe. The old woman fusses
over him.
ABNER (CONT'D)
I'm okay -- thank you -- thank you --
I'm fine.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 60.
INT. HALLWAY OUTSIDE THE OLD WOMAN'S APARTMENT
ABNER exits the apartment, the old lady still fussing over
him. She speaks to him in TURKISH.
ABNER
Thank you -- thank you -- all right --
enough awready.
CUT TO:
EXT. THE SLUMMY BUILDING - NIGHT
ABNER exits the building, tucking in his shirttails. Suddenly,
he spots the TEENAGE HENCHMEN across the street.
ABNER snaps looks left and right -- where can he run? The
henchmen step off the curb and start across the street towards
him. At which point a TRUCK horn sounds, and the henchmen
are forced to step back, out of a DELIVERY TRUCK'S way. They
wait for the slow moving TRUCK to pass. When it has, they
move to get the boy -- but ABNER is gone.
CUT TO:
EXT. ANOTHER SECTION OF TOWN - NIGHT
The DELIVERY TRUCK parks in front of a ghetto tavern.
Starting on the DRIVER, the CAMERA LOWERS to reveal ABNER
clinging to the door handle, feet up on the running board.
ABNER steps down off the TRUCK. He looks up at the tavern
sign and smiles -- DOGU CAFE.
INT. DOGU CAFE - NIGHT
ABNER saunters inside, unfazed by the smoke and filthy
atmosphere. TURKISH PATRONS, the rough-and-tumble type, eye
ABNER coldly as he walks to the bar.
ABNER hops up onto a stool and leans in close to the BARTENDER.
ABNER
(whispering; secretive)
Skull.
The bartender gives ABNER a strange look.
ABNER (CONT'D)
(emphasizing the word)
Skull.
The bartender shakes his head in confusion and attends to his
thirsty customers. ABNER growls, frustrated. He spins on
the stool and faces the bar proper --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 61.
Everyone in the place is looking directly at him. ABNER looks
back at them evenly. Nasty locals don't scare him.
Now ABNER spots a WHITE MAN sitting at a table alone. He
gets off the stool and walks heavily through the bar towards
the rear.
The WHITE MAN watches this kid curiously as he takes a seat
across from him.
ABNER makes sure nobody's listening, then leans in over the
table.
ABNER (CONT'D)
Skull.
The white man's brow furrows. But then he can't help himself
and bursts out laughing. He pokes fun at ABNER, speaking
German. He apparently finds the kid to be a wonderful riot.
The laughter is contagious. Soon the whole place is filled
with uproarious, gut-wrenching laughter. ABNER sneers -- he
hates being laughed at. He won't stand for it.
ABNER (CONT'D)
(barking)
Shut up!
At once the laughter stops. The expression "you can hear a
pin drop" comes to mind.
SHARPLY CUT TO:
ABNER, as he is tossed out of the tavern by the scruff of the
neck and lands on the street out front.
ABNER winces at the pain in his arm. His backpack lands beside
him with a clunk.
ABNER (CONT'D)
Dirty -- rotten -- scoundrels.
At which point a pair of shiny shoes appear. ABNER sees them,
and looks up at --
SPY, who looks down at ABNER with a face of stone. He says
one word:
SPY
Skull.
CUT TO:
INT. ALABAMA'S LIVING ROOM - MORNING
ALABAMA and SHARON have been up all night. SHARON is a nervous
wreck, sitting on the couch, phone on her lap, hoping and
praying for a phone call.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 62.
Sitting in the sofa chair, ALABAMA exhales heavily. He gets
up and goes to the fireplace. He leans on the mantle, looking
at a framed photo of his father.
ALABAMA
(small voice)
Like father . . . like son.
ALABAMA steps away from the mantle, but we linger long enough
to notice the framed military photo of ALABAMA. He is pretty
much the same age in the photo as he is now.
There is a knock at the front door. SHARON springs up and
runs to get it.
SHARON
Abner!
INT. FOYER
SHARON throws open the front door and reveals two official
looking men (KERENSKY and ANDROPOV).
ANDROPOV
(heavy Russian accent)
Good morning.
SHARON
What's so good about it!
She rudely steps away. ALABAMA takes it --
ALABAMA
Can I help you gentlemen?
ANDROPOV
Doctor Smith, I am Stal Andropov and
this is my countryman, Boris Kerensky.
KERENSKY
Soviet Secret Police.
ANDROPOV
We must speak with you.
EXT. SIDEWALK OUTSIDE ALABAMA'S HOUSE - JUST AFTER
KERENSKY
Doctor, Yugi Vladimirov came to you
Monday. This is correct?
ALABAMA
Yes.
ANDROPOV
He wanted to employ your services.
Yes?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 63.
ALABAMA
That's right.
ANDROPOV
Doctor, what I disclose can never be
repeated. Betray this confidence, and
the Soviet Union will deny everything.
Including our meeting today. Is this
understood?
ALABAMA
Yes. Go on.
KERENSKY
Yugi Vladimirov is under investigation.
ANDROPOV
Are you familiar with the "Sons of
Darkness," Doctor?
ALABAMA
I've heard of them.
ANDROPOV
A very influential society. Many sects
throughout the world.
KERENSKY
The number of members would startle
you.
ANDROPOV
We suspect Vladimirov is a sect leader.
Evidence gathered over the past year
has convinced the Kremlin that he is
an enemy of the State.
ALABAMA
So arrest him.
ANDROPOV
Not so simple, Doctor. Vladimirov has
strong ties with the heads of
government. The state cannot take
action until a case is fully prepared.
KERENSKY
And this takes time, Doctor.
ALABAMA
Why are you telling me all this?
ANDROPOV
We feel it is necessary to inform you
completely.
KERENSKY
You see, Doctor, we seek your help.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 64.
ALABAMA
(grumbling)
Everybody wants my help.
KERENSKY
Vladimirov entrusted you with some
informa --
ALABAMA
Wait a minute -- what makes you think
I'm interested? He's your problem.
Not mine. I'm only interested in
finding my son.
KERENSKY
Yes . . . your son.
Pause.
ANDROPOV
Doctor, Vladimirov has your son.
INT. ALABAMA'S HOUSE
ALABAMA grabs the phone. He is dialing when Andropov yanks
the handset away.
ANDROPOV
No, Doctor.
ALABAMA
Get out of my house!
KERENSKY
Doctor, we are trying to avert an
international crisis.
ALABAMA
What crisis?
ANDROPOV
By the end of World War Two, the Soviet
Union was a strong ally --
ALABAMA
I don't need a history lesson.
KERENSKY
But the past three years have seen a
change. We are in the midst of a Cold
War, Doctor. Your country supplies
economic and military aide to Turkey.
If your government discovered Soviet
troop movement on Turkish soil, they
would declare it an act of aggression.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 65.
ANDROPOV
Meaning: we must get to Vladimirov
without attracting attention to
ourselves.
KERENSKY
Doctor, the homes have only just been
rebuilt. The world cannot afford
another war.
ALABAMA
What about my son? Is he in danger?
The men exchange solemn glances.
ANDROPOV
Yes . . . we believe so.
KERENSKY
This will be difficult for you to hear
. . . but we suspect Vladimirov is
planning to use your son in some
sacrificial rite.
ALABAMA looks horrified.
ANDROPOV
The "Sons of Darkness" have a history
of child sacrifices. Their purity
plays an important --
ALABAMA
I'm going after my son -- and you can't
stop me!
Pause.
ANDROPOV
We were hoping you would say this.
KERENSKY
But please remember, Doctor, you must
be very discreet.
SHARPLY CUT TO:
ALABAMA, as he lays out his leather jacket, holstered revolver,
and his trusty bullwhip. How's that for discreet?
We're are:
INT. ALABAMA'S BEDROOM - JUST AFTER
SHARON
You're not leaving me behind -- you
hear me? I'm going with you.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 66.
ALABAMA removes a suitcase from the closet. He starts to pack
(we should notice him putting the BULLWHIP into the suitcase).
ALABAMA
Sharon -- you're not going!
SHARON
Like hell I'm not.
She grabs the revolver and points it at ALABAMA.
SHARON (CONT'D)
(not herself; crazed)
Don't you understand! He's got my
baby!
ALABAMA
Sharon . . . easy . . . put the gun
down.
SHARON
I'm going!
The gun is shaking in her hands.
ALABAMA
All right . . . you can go.
INT. ALABAMA'S HOUSE - FRONT HALLWAY - JUST AFTER
ALABAMA SMITH -- dressed for adventure -- rushes down the
stairs, suitcase in hand. SHARON is right behind him.
SHARON
How will get there?
ALABAMA
We're not waiting for that flight.
That's for sure.
SHARON
Then how?
ALABAMA
Trust me.
And they're out the door.
PUSH IN QUICKLY on the military photo of ALABAMA, then we:
CUT TO:
INT. U.S. AIR FORCE BASE - HANGER - DAY
SHARON stands off to the side while ALABAMA argues with a
YOUNG AIR FORCE PILOT.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 67.
ALABAMA
Whuddiya mean "there's nothing going
out?"
YOUNG PILOT
Just that, Lieutenant. There's not a
single bird flying today.
ALABAMA
There's gotta be something.
YOUNG PILOT
(shaking his head)
I can't think of...
(he remembers)
Wait...yeah...
(not sure)
Is that today?
ALABAMA
Is what today?.
YOUNG PILOT
First round-the-world non-stop flight.
A Boeing B-50 Superfortress.
ALABAMA
Where's it taking off from?
YOUNG PILOT
Fort Worth.
ALABAMA
When?
YOUNG PILOT
Sometime today ... I'm not sure.
ALABAMA takes the PILOT by the arm and rushes him toward an
XR-4 HELICOPTER.
ALABAMA
You've just been drafted.
YOUNG PILOT
But, Lieutenant, we don't have
clearance.
ALABAMA
National emergency. I'll be sure to
mention to General MacArthur your co-
operation here today.
He waves at SHARON to follow.
YOUNG PILOT
But, sir -- she's brand new. I got
less than 50 hours flight time.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 68.
ALABAMA
50 hours more than I got.
YOUNG PILOT
(shaking his head)
This is crazy -- they're gonna give me
a section 8 for this.
ALABAMA
If it's any consolation, son, I've
done crazier things.
EXT. U.S. AIRFORCE BASE - HELIPAD - JUST AFTER
The XR-4 lifts off, ALABAMA and SHARON on board.
SHARPLY CUT TO:
THE FULL SCREEN MAP:
Images of the XR-4 in flight are SUPERIMPOSED over the
adventure map. THE RAIDERS' MARCH jumps in big and loud as a
solid red line starts at BOSTON, crosses to CHICAGO, and then
zeroes in on FT. WORTH, TEXAS.
CUT TO:
INT. XR-4 IN FLIGHT - LATE IN THE DAY
ALABAMA glances at his wristwatch --
ALABAMA
We're cutting it close...
SHARON
(uneasy)
Alabama, what if we're too late?
ALABAMA doesn't know what to say.
YOUNG PILOT
(shouting)
Look!
DOWN BELOW, THE B-50 SUPERFORTRESS IS TAXIING TOWARD THE
RUNWAY.
YOUNG PILOT (CONT'D)
We're too late.
ALABAMA
Get us down there. Land in front of
it if you have to.
YOUNG PILOT
Sir?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 69.
ALABAMA
Do it! That's an order.
EXT. SKY OVER FORT WORTH AIRFORCE BASE
As the XR-4 starts its decent --
INT. SLOW TAXYING B-50 - THE COCKPIT
The XR-4 DROPS IN, just outside the windscreen. The PILOT
and CO-PILOT gasp.
The PILOT powers down on the throttle to avert a collision.
EXT. THE RUNWAY - JUST AFTER
ALABAMA and SHARON leap from the helicopter just as it sets
down. The young PILOT shouts at ALABAMA --
YOUNG PILOT
Don't forget to mention my name to the
general -- Vincent H. Mcgovern.
ALABAMA
Who?
PILOT
General Macarthur.
ALABAMA
Yeah, right...
(sincerely)
Thank you.
PILOT
I can't believe we made it. The big
guy upstairs must like you.
ALABAMA
(wryly)
We'll soon see just how much.
EXT. IDLING B-50 - UNDER THE FUSELAGE
The PILOT, call him TEX, scurries down the cockpit emergency
ladder. ALABAMA -- SHARON right behind him with the suitcase --
approaches.
TEX
Sakes alive, mister -- do you have a
screw loose or what?
ALABAMA
I'm commandeering this plane.
TEX goes for his sidearm. ALABAMA beats him to the draw,
whipping out his trusty revolver.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 70.
ALABAMA (CONT'D)
I wouldn't do that.
TEX
You're in a shit-load of trouble,
mister. You know you're messin' with
the United States Airforce?
SHARON
My son's been kidnapped.
TEX
That's real terrible ma'am...but that's
a job for the police.
ALABAMA
You're gonna fly us to Turkey.
TEX
Turkey -- the country -- I don't think
so, mister.
SHARON
Please...he's my little baby.
TEX
I feel for you, lady...I really do...but
this bird here's taken.
In the distance, MILITARY POLICE JEEPS are fast approaching.
ALABAMA
Your world record's gonna have to wait --
get on board
(he cocks the revolver)
Now!
TEX
You're goin' to prison for a very long
time, mister.
ALABAMA
Not as bad as where you're going if
you don't get on that goddamn plane.
ALABAMA fires a shot into the ground.
SHARPLY CUT TO:
EXT. THE B-50 SUPERFORTRESS IN FLIGHT - SUNDOWN
The four propeller-driven behemoth is awash in warm sunlight
from the setting sun. An eyeful.
INT. B-50'S CREW COMPARTMENT
TIGHT SHOT: ALABAMA AND SHARON, as she whispers --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 71.
SHARON
You could have let these men stay
behind.
JUMP BACK WIDE: THERE ARE 13 CREWMEN ABOARD. ALABAMA has
them all at gunpoint.
ALABAMA
Now you say something.
At Alabama's feet are a pile of .45 Automatics. 15 in total.
SHARON
I hope you got a plan?
ALABAMA
Whuddiya think? I'm making this up as
I go along?
SHARON
Yes.
ALABAMA
Don't worry... I still got some tricks
up my sleeve.
SHARON
Those Russian men... did they say where
Abner is being held?
ALABAMA
Dogubeyazit. But we have to land in
Istanbul. It's the closest city with
an airport ... from there ...
SHARON
From there -- yeah...?
ALABAMA shrugs.
SHARON (CONT'D)
You are making this up!
ALABAMA grabs a headset radio.
SHARON (CONT'D)
What are you doing?
ALABAMA
One of my tricks.
(into radio headset)
Captain, what's our E.T.A?
TEX'S VOICE OVER HEADSET
4 hours.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 72.
ALABAMA
See if you can contact Air Traffic
Control, Cairo. Patch me through when
you got them.
TEX'S VOICE OVER HEADSET
Whatever you say, mister.
ALABAMA
How we doing on fuel?
TEX'S VOICE OVER HEADSET
We're just gonna make it.
ALABAMA
(wryly)
And you guys were planing a non-stop
flight around the world...
TEX'S VOICE OVER HEADSET
Something new we been messin' around
with: mid-air re-fuelling.
ALABAMA
(grumbling)
Welcome to the Atomic Age.
EXT. ISTANBUL AIRPORT, TURKEY - NIGHT
The B-50 touches down.
INT. B-50'S CREW COMPARTMENT - JUST AFTER
HEAR the engines powering down. ALABAMA and SHARON are now
much more at ease with the CREW. A dramatic change in
atmosphere. Friendlier. Supportive.
CREWMAN #1 (CHARLIE)
Hope you get your son back, ma'am.
SHARON smiles weakly.
THE PLANE STOPS. CREWMEN lower an emergency ladder to the
ground.
CREWMAN #2
Good luck, sir.
ALABAMA
Thank you... and sorry about this... I
was desperate.
CHARLIE
We understand.
ALABAMA and SHARON start down the ladder.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 73.
CREWMAN #3
(an after thought)
You won't forget to mention our names
to General MacArthur?
ALABAMA
Count on it.
EXT. THE B-50
ALABAMA and SHARON run away from the plane --
EXT. ARRIVAL GATE - JUST AFTER
MALLAH, ALABAMA'S good-naturedly friend and long time partner
in adventure, smiles gloriously.
MALLAH
My two most favourite people in the
whole wide world. Alabama, Sharon --
He hugs them tight. Gives them each big kisses.
MALLAH (CONT'D)
Good to see you, my friends.
ALABAMA
We got trouble, Mallah.
MALLAH
(turning serious)
Yes, I received your telegram.
(cheery again)
But take heart, Alabama. We will get
your cousin, Abner, back home safe.
SHARON
(overlapping)
"Cousin?"
MALLAH takes ALABAMA'S suitcase.
MALLAH
Come. I have checked us into the finest
hotel Istanbul has to offer. Our train
to Erzurum leaves tomorrow morning.
Then from there --
SHARON
(suddenly)
Mallah -- wait -- tomorrow morning.
MALLAH
Yes...is that a problem?
SHARON
Mallah, Abner is my son.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 74.
MALLAH
What's this ... your son ... but how?
SHARON
A bad man has taken my son, Mallah.
ALABAMA
Our son.
MALLAH
My friends ... I am very sad ... I was
not invited to the wedding...?
SHARON
Mallah, it's too long a story. Right
now we have to get to Dogubeyazit.
MALLAH
Yes...but there is no train to
Dogubeyazit. We must first go to
Erzurum. Then a cab will take us to --
SHARON
There's gotta be a faster way.
ALABAMA
How about a bus, Mallah?
MALLAH
Very slow -- a good day's journey --
at least.
SHARON
Nothing faster?
MALLAH
Sharon, this is not New York City...
Istanbul has limited transportation
resources...Dogubeyazit is over 600
hundred miles away.
SHARON exhales heavily.
ALABAMA
Alright...we'll take the train.
SHARON
Alabama, our son is out there with a
madman.
ALABAMA
I know. But what else can we do?
MALLAH
Alabama is right, Sharon. The train
is our best ho --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 75.
SHARON
Goddammit! We're standing around with
our thumbs up our ass while my boy is
out there getting himself into God
knows what!
INT. VLADIMIROV'S HIDEOUT, DOGUBEYAZIT - THAT MOMENT
ABNER is digging into a big bowl of chocolate ice scream; his
breakfast.
JUMP BACK: ABNER is eating alone at a makeshift table made up
of stacked wooden packing crates. He looks incredibly small,
dwarfed as he is, by the room's massive, crumpling stone
columns and vaulted ceiling. We gather from the dust, the
stone debris and cobwebs, that this place was abandoned
centuries ago and left for ruin.
EXT. VLADIMIROV'S HIDEOUT - NEAR MOUNT ARARAT - THAT MOMENT
The hideout is an earthquake-beset palace nested in a high
valley above the town of Dogubeyazit. The 18th century
structure has an unobstructed view of Mt. Ararat. Truly
breathtaking.
A sedan drives up to the entrance, steering around toppled
stone pillars and rock debris.
INT. HIDEOUT - BIG ROOM WHERE ABNER IS - JUST AFTER
VLADIMIROV enters.
VLADIMIROV
Ah, young Mr. Smith. What a pleasant
surprise.
ABNER
The last name's Crowtree.
VLADIMIROV
But you are...
(gets the picture)
Ah, yes, I see.
ABNER
See. Whuddiya see?
VLADIMIROV
(taken slightly off
balance)
I'm not sure what you --
ABNER
(getting riled)
Whuddiya see?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 76.
VLADIMIROV
(genuinely apologetic)
I meant nothing by it, sir. Forgive
me.
ABNER
Yeah... well... watch yourself.
VLADIMIROV
Point taken. So... Mr. Crowtree, you
are a long way from home.
ABNER
I can take care of myself.
VLADIMIROV
Yes, you certainly can. Came to Turkey
all by yourself. Very impressive.
ABNER
No big deal. Your instructions were
pretty detailed.
VLADIMIROV
No big deal -- why, Mr. Crowtree, it
is astounding. You father must be
very proud of you. You are a bold and
courageous young man.
ABNER
You really think so -- about my father
being proud of me, I mean?
VLADIMIROV
I would be if I was your father.
ABNER is all smiles. He scoops up ice cream into his mouth.
VLADIMIROV (CONT'D)
So let me guess why you are here:
Adventure. Am I right?
Mouth full, ABNER nods.
VLADIMIROV (CONT'D)
Come. Let me show you something.
ABNER follows VLADIMIROV over to a ceiling-to-floor window
covered by a tattered and torn drape. The big Russian pulls
the drape down. It falls in a cloud of dust. Abner waves at
the dust cloud, coughing.
ABNER
Hey --
At which point the dust clears and ABNER stares wide-eyed at --
MT. ARARAT BATHED IN MOONLIGHT.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 77.
ABNER is taken aback by the mountain so close. VLADIMIROV
puts a hand on ABNER'S shoulder.
VLADIMIROV
Magnificent... isn't it?. Two peaks.
16,950 feet and 13,000 feet
respectively. 7 miles of snow and ice
separate them. It leaves one to marvel
how Noah and the animals ever got off
it. With a little help from God, no
doubt.
(he starts away)
Come. I have something else to show
you.
ABNER has to pull himself away from the window.
AT THE STACKED CRATES, VLADIMIROV takes out a photograph from
his leather briefcase, which he brought with him.
VLADIMIROV (CONT'D)
The Armenians call Ararat "The Mother
of the World". An appropriate name,
wouldn't you agree?
ABNER
Ah....yeah. Sure. It fits.
VLADIMIROV
(chuckling)
Come. Look.
ABNER joins VLADIMIROV.
VLADIMIROV (CONT'D)
Take this.
He hands ABNER a magnifying glass.
VLADIMIROV (CONT'D)
Look at the photo. The area circled
in red.
ABNER magnifies that area and sees the protrusion of something
man made.
ABNER
Wow.
VLADIMIROV
What do you suppose it is?
ABNER
Noah's Ark -- that's obvious.
VLADIMIROV smiles.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 78.
ABNER (CONT'D)
Boy, would this picture be great for
my display.
VLADIMIROV
What display is this?
ABNER
I'm doing a project on Noah's Ark. My
bible class is running a contest.
VLADIMIROV
(intrigued)
Bible class...?
ABNER
Yeah...I got everything. A model,
newspaper articles -- the works.
VLADIMIROV
But there is one thing you do not have.
ABNER
(haughtily)
I made pretty sure.
VLADIMIROV
A piece of the ark.
ABNER
(shaking with excitement)
A -- a piece -- from the actual Ark?
You have a piece?
VLADIMIROV
I am afraid not. Though if I had I
would gladly give it to you.
ABNER sighs.
VLADIMIROV (CONT'D)
But, Abner -- may I call you Abner?
ABNER
Sure -- it's my name.
VLADIMIROV
Abner, enough pieces to fill a classroom
may rest atop that mountain.
Pause.
ABNER
You think -- when you go up there --
you can bring me down a piece. I would
clinch the contest for sure.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 79.
VLADIMIROV
But why not bring a piece down yourself?
ABNER
Hey, don't tease me -- that's mean.
VLADIMIROV
But I am not teasing you, Abner. The
expedition team leaves in the morning.
How would you like to be part of the
greatest adventure man has ever taken?
ABNER
You gotta be kidding me? I'd give my
right arm. And that's the one I throw
with.
VLADIMIROV
(amused)
Then you must be serious.
ABNER turns sad all of a sudden.
VLADIMIROV (CONT'D)
What is it?
ABNER
My dad's gonna miss out. I promised
he'd be part of the adventure.
Pause.
VLADIMIROV
I have a suggestion: how about I contact
your father and have him join us?
ABNER
That'd be great. Ah, but you heard
him. He doesn't wanna go.
VLADIMIROV
I am a very persuasive man, Abner.
Trust me.
EXT. ISTANBUL AIRPORT - THAT MOMENT (NIGHT)
ALABAMA, SHARON and MALLAH again. ALABAMA gets a brainstorm --
ALABAMA
I got it.
ALABAMA looks out toward the B-50 now silent on the apron.
ALABAMA starts to walk fast toward the plane. SHARON has to
almost run to keep up. MALLAH, too.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 80.
ALABAMA (CONT'D)
Mallah, I don't know if this is gonna
work. I need you to catch that train
to Erzurum in the morning -- get to
Dogubeyazit -- ask questions -- scourer
the place -- Abner's there somewhere.
Go!
MALLAH
Yes, Alabama -- God be with you, my
friends.
MALLAH runs off.
SHARON
What are we gonna do?
ALABAMA
You ever parachuted before?
SHARON
Parachuted? No!
ALABAMA
They can't land that baby, but nothing
says we can't jump. C'mon!
At which point there is a SCREECH of tires. ALABAMA and SHARON
spin around --
HERE COME THE U.S. MILITARY POLICE, RACING UP IN ARMY JEEPS.
The jeeps surround ALABAMA and SHARON as they skid to halt.
Mps draw their weapons as the
THE SERGEANT
(orders)
Don't move.
ALABAMA and SHARON put up their hands slowly. ALABAMA spots
TEX standing at the side. TEX gives ALABAMA an icy salute.
Bastard.
Watching all of this from a distance is MALLAH.
MALLAH
(dreadfully)
Oh no....
He watches helpless as ALABAMA and SHARON are restrained and
manhandled into an army jeep.
CUT TO:
INT. HIDEOUT - MAKESHIFT SLEEPING QUARTERS - NIGHT
ABNER gets into a cot and slips under the covers. VLADIMIROV
tucks the boy in nice and cozy.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 81.
VLADIMIROV
We leave for the mountain at dawn. Be
sure to get plenty of sleep.
ABNER
Vladimirov?
VLADIMIROV
Please, Yugi, we are friends.
ABNER
Yugi...you been really nice to me. I
won't let you down.
VLADIMIROV
I know you won't.
EXT. HIDEOUT (THE RUINED PALACE) - NIGHT
VLADIMIROV'S MEN are loading a TRANSPORT TRUCK with mountain
climbing gear.
VLADIMIROV approaches a MAN. The man's back is to us, but we
can see he is smoking a pipe.
VLADIMIROV
So...where were we, Doctor?
DR. BILL HUMPHREY, the pretentious ass, pulls his pipe from
his mouth with such pompous ease it's enough to make one throw
up.
BILL
You were explaining that the anticipated
storm came early yesterday; and that
the weather should pose no problem for
tomorrow's climb.
CUT TO:
INT. U.S. ARMY JEEP - MOVING - THAT MOMENT
ALABAMA and SHARON are in the back. MP DRIVER and PASSENGER
up front.
ALABAMA
Listen -- we're not crazy.
PASSENGER MP
Yeah, yeah -- just save it for the
head doctor.
SHARON
We're not crazy, dammit!
(MORE)
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 82.
SHARON (CONT'D)
-- you don't understand -- my boy's
been kidnapped by the "Sons of Darkness" --
they're looking for Noah's Ark and
when they find it they're gonna
sacrifice my boy to some Godforsaken
devil.
The two MPs turn their heads slowly around and look at SHARON
like she's off her rocker.
ALABAMA
Contact General MacArthur --
DRIVER MP
The General MacArthur?
ALABAMA
Yes -- he'll vouch for me.
DRIVER MP
(very sarcastic)
Sure we'll contact him right away.
Maybe we can all play war together.
ALABAMA and SHARON growl. It's pointless.
CUT TO:
EXT. U.S. ARMY BASE, ISTANBUL - ESTABLISHING SHOT - NIGHT
Main gate. Barracks. The usual.
SHARON'S VOICE
(screaming)
Goddamn you bastards!
INT. THE STOCKADE - CORRIDOR - NIGHT
The two MPs push ALABAMA AND SHARON into
A CELL
SHARON
Sons-a-bitches!
She spits at them. They make faces and funny noises, circling
their index fingers around their temples.
They slam the cell door shut -- CLANG.
SHARON (CONT'D)
Bastards!
ALABAMA
You're not helping us, Sharon.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 83.
SHARON
I'm doing a hell of a lot more than
you are.
ALABAMA
What do you expect me to do, huh?
Take on the whole U.S. Army?!
SHARON
You took on the whole Third Reich --
what? -- Americans not good enough for
you?
ALABAMA
Aaaaaa!
ALABAMA waves her off curtly; he's heard enough.
EXT. ARMY BASE - THE MAIN GATE - NIGHT
CAMERA FINDS a sedan parked down the street from the main
gate.
Seated behind the wheel is MALLAH; he's watching the main
gate.
MALLAH glances at his WRISTWATCH: 2:30 in the A.M.
MATCH DISSOLVE TO:
MALLAH'S WRISTWATCH: 4:25 in the A.M.
MALLAH exhales heavily.
MALLAH
(talking to himself)
Perhaps if I had a weapon...?
At which point he sees ALABAMA'S suitcase on the passenger
seat.
MALLAH opens the suitcase and only finds ALABAMA'S BULLWHIP.
At which point there is the SQUEAK OF TRUCK BRAKES --
Mallah SEES a convoy of u.S. Army trucks stopped at the front
gate.
CUT: THE MAIN GATE SENTRY is waving the lead truck through.
The convoy enters the base.
An incongruous SHOT shows us the tarp covered vehicle being
towed behind the last truck.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 84.
EXT. ARMY BASE - TRUCK YARD - JUST AFTER
The convoy is parked. SOLDIERS walk away from their trucks,
CHATTING and LAUGHING.
INT. UNDER THE TARP
MALLAH is hidden here. He listens to the soldiers; their
VOICES fade.
MALLAH is about to slip out from under the tarp when he notices
what's under here with him --
A TOWED HOWITZER.
EXT. THE TRUCK WITH TOWED HOWITZER - JUST AFTER
MALLAH climbs up onto the rear bumper of the truck. He pushes
the curtain aside and grins big from ear to ear.
Stacked inside the truck is the HOWITZER AMMUNITION.
EXT. THE BASE - JUST AFTER - ON A SIGN POST
With a number of signs posted. But the one we see reads:
STOCKADE. A painted arrow points the way.
INT. STOCKADE - ALABAMA'S AND SHARON'S CELL - JUST AFTER
SHARON is pacing. ALABAMA sits on the bunk, face in his hands.
Suddenly --
MALLAH'S VOICE
(hushed)
Alabama? Sharon?
ALABAMA springs up and goes to the barred window.
ALABAMA
(hushed)
Mallah?
MALLAH'S VOICE
Alabama! Oh, what a pleasure it is to
hear --
ALABAMA
Get us the hell out of here!
MALLAH'S VOICE
Is there a bunk in there?
ALABAMA
(confused)
A bunk? What? Mallah!
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 85.
MALLAH'S VOICE
You and Sharon stay to the right and
cover yourselves.
SHARON
Cover ourselves?
ALABAMA gets the picture. He pulls off the bunk's mattress.
ALABAMA
Behind it. C'mon!
EXT. THE STOCKADE BUILDING - JUST AFTER
MALLAH has the truck and towed howitzer parked out here.
MALLAH is manning the howitzer. He cranks the METAL WHEEL,
which turns and adjusts the howitzer's cannon. He points the
barrel at the exterior wall of ALABAMA'S and SHARON'S cell.
MALLAH cracks open the cannon breach and LOADS a heavy shell.
MALLAH plugs his ears and stomps on the fire control lever
with his foot -- BOOM!
MALLAH is thrown from the recoiling howitzer.
A HUGH HOLE IS BLASTED OPEN IN THE WALL.
Inside the cell -- chunks of rock debris beat on the mattress
ALABAMA and SHARON have taken cover behind.
Inside the barracks -- soldiers are jarred awake by the
explosion.
EXT. THE HUGE HOLE
As ALABAMA and SHARON run outside.
ALABAMA
Mallah?
MALLAH pops up, unhurt.
MALLAH
The truck!
ALABAMA, SHARON and MALLAH rush to the
TRUCK
And climb inside.
MALLAH (CONT'D)
(proudly)
I hot-wired it.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 86.
ALABAMA
You're one of a kind, Mallah.
ALABAMA shifts gears and stomps on the gas.
EXT. THE TRUCK
As it shudders and races away.
EXT. THE MAIN GATE - JUST AFTER
The truck smashes through the wooden barrier arm.
The truck turns wildly, almost tipping over.
Here come two mp jeeps in pursuit.
CUT TO:
EXT./INT. CHASE THROUGH THE STREETS OF ISTANBUL - OUR HEROS IN
THE FLEEING TRUCK - NIGHT
ALABAMA snaps a look at the side mirror -- army jeeps in hot
pursuit. Closing in fast.
SHARON
Can't this thing go any faster?!
ALABAMA
We're too heavy.
MALLAH
The shells and howitzer are weighing
us down.
ALABAMA
Shells!
MALLAH
Yes -- back there!
ALABAMA throws a look backwards -- STACKED AMMUNITION. The
live shells rattle against each other.
Alabama's reaction -- priceless.
GUN FIRE NOW!
THE PURSING JEEPS
The mps are firing at the truck.
ALABAMA sneers.
A bullet ricochets off the side mirror!
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 87.
ALABAMA
Those idiots hit a shell and we'll be
the first men to the moon.
Moon? This gives ALABAMA an idea.
ALABAMA (CONT'D)
Mallah, take the wheel.
IN THE TRUCK HOLD
ALABAMA works his way towards the rear. He's forced to duck
down from a ricocheting bullet.
ALABAMA gawks at the SHELLS -- right in his face -- his heart
almost stops.
IN THE CAB
MALLAH cranks the wheel.
THE TRUCK CUTS A CORNER SHARPLY --
ALABAMA is thrown to the side -- live shells fall with him.
ALABAMA (CONT'D)
Mallah!
MALLAH
Sorry, Alabama.
CUT TO: ALABAMA, now leaping from the rear of the moving truck
and onto the towed howitzer. ALABAMA has a live shell under
each arm.
ALABAMA quickly mans the howitzer. He CRANKS THE WHEEL and
aims the barrel down at the rushing road.
ALABAMA cracks open the breach and SLAMS home a shell.
THE TWO PURSUING ARMY JEEPS
Are racing up toward the rear of the truck. An MP is taking
aim over the windshield --
ALABAMA pops up and fires the howitzer -- BOOM!
The recoil slams the towed howitzer up against the back of
the truck. Alabama is almost thrown to the road.
MALLAH AND SHARON ROCK WITH THE BUMPED TRUCK.
The fired shell blasts a crater into the road -- and crunch --
one of the pursing jeeps falls into it at high speed.
The mps, banged up, are all right.
ALABAMA loads another shell --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 88.
ALABAMA prepares to fire again --
At which point MALLAH turns the truck sharply down another
street --
The howitzer tilts up onto one wheel -- and ALABAMA presses
the fire control lever inadvertently -- BOOM!
The fired shell takes out a parked car.
The howitzer slams back down -- and ALABAMA is almost thrown
again.
ALABAMA
Mallah!
MALLAH
(shouting)
Sorry, Alabama.
ALABAMA is forced to duck as a bullet strikes the howitzer.
DOWN HERE, ALABAMA sees where the howitzer is hitched to the
Truck -- an idea comes to him.
THE LONE PURSUING JEEP
Is not far behind the truck. The MP PASSENGER is reaching
for the radio --
When suddenly ALABAMA, tugging and pulling at the hitch release
arm, finally gets it.
ALABAMA jumps from the howitzer just as it drops away from
the truck --
The mps cry out --
And the jeep swerves to miss the runaway howitzer. The jeep
jumps the curb and smashes into a tree.
The Mps, banged up, are okay. They watch the TRUCK whip around
a corner and disappear from their sights.
The MP who reached for the radio looks at the frayed, pulled
out cord attached to the handset in his hand. He shrugs at
his partner.
CUT TO:
EXT. ISTANBUL AIRPORT - NIGHT
ALABAMA, SHARON AND MALLAH creep up and get out of sight behind
a REFUELLING TRUCK.
ALABAMA
It's still here.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 89.
He means the B-50 superfortress.
ALABAMA (CONT'D)
Like before.
MALLAH
Yes, Alabama.
(remembering)
Oh --
MALLAH pulls out ALABAMA'S BULLWHIP from within his shirt.
MALLAH (CONT'D)
You might need this, my friend.
ALABAMA takes his whip and latches it to his belt.
MALLAH (CONT'D)
God be more with you this time.
EXT. THE PARKED B-50 - UNDER THE FUSELAGE - JUST AFTER
A YOUNG SENTRY is standing guard at the plane.
SHARON approaches the SENTRY with a warm smile. The SENTRY
snaps down his rifle and points it at SHARON.
YOUNG SENTRY
Halt!
SHARON
Hey, hey -- take it easy.
YOUNG SENTRY
This is a restricted area, ma'am.
You'll have to leave.
SHARON
But what about cuddles?
YOUNG SENTRY
Cuddles, ma'am?
SHARON
My wittle doggie -- you have to help
me find Cuddles.
YOUNG SENTRY
I didn't see any dog, ma'am...?
SHARON
(pointing)
There he is!
The SENTRY turns around -- WHACK! ALABAMA smacks the SENTRY
with a plank of wood.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 90.
ALABAMA and SHARON race up the steps and into the plane.
CUT TO:
EXT. ISTANBUL AIRPORT - DAWN
The B-50'S four big propellers start to spin one after the
other.
INT. B-50 COCKPIT
TEX and the CO-PILOT are finishing up their pre-flight checks.
TEX
Takes forever to do anything in this
god-forsaken country.
CO-PILOT
I'm just glad to be going home.
INT. B-50'S STORAGE COMPARTMENT
ALABAMA and SHARON are hiding in here.
ALABAMA
We'll make our move after we're in the
air.
SHARON
Alabama, what if we're too late?
ALABAMA
We'll get Abner back. I promise.
ALABAMA embraces SHARON.
CUT TO:
INT. VLADIMIROV'S HIDEOUT - MAKESHIFT SLEEPING QUARTERS - DAWN
Abner is sound asleep. The camera finds VLADIMIROV; he is
watching Abner sleep. Creepy.
VLADIMIROV whispers one word in that CRYPTIC language again.
CUT TO:
EXT. THE B-50 IN FLIGHT - SUN UP
The big B-50 is flying west, away from the rising sun.
INT. B-50'S CREW COMPARTMENT
The CREW is at their stations.
ALABAMA steps out of hiding. The crew all see him at once.
ALABAMA puts a finger to his mouth -- Sshh!
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 91.
CHARLIE
(hushed)
Sir, what are you doing back here?
CREWMAN #2
We saw you get taken away.
ALABAMA
Charlie, we have to get this plane
turned around. I need your help.
INT. THE COCKPIT - JUST AFTER
ALABAMA barges in with Charlie -- a .45 pointed at the kid's
head!
ALABAMA
Gentlemen --
TEX
You! How the hell --
ALABAMA
Shut up or I'll put a bullet through
this kid's head!
CHARLIE
Listen to him, Captain. The guy's a
whack-o!
ALABAMA
Turn the plane around and head east.
EXT. VLADIMIROV'S HIDEOUT - SUN UP
VLADIMIROV, DR. BILL HUMPHREY, and ABNER walk to the TRUCK
idling nearby. VLADIMIROV'S COMRADES are all present: 4 in
total.
BILL
(low to Vladimirov)
You think it's wise to bring the child?
VLADIMIROV
Abner is our good luck charm, Doctor.
BILL
Sir, the climb is going to be very
demanding ... not to mention dangerous.
VLADIMIROV
All the more reason to have a good
luck charm, Doctor.
BILL
He's your responsibility.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 92.
VLADIMIROV
I'd have it no other way.
BILL steps away in a huff. A comrade, RYKOV, whispers to his
Captain:
RYKOV
Comrade Captain, I was unable to contact
Doctor Smith. The university said he
left the country on important business.
VLADIMIROV
(grinning)
Doctor Smith is no doubt looking for
his son as we speak. I would have
preferred the services of the good
Doctor... but we must make do.
RYKOV
(concerned)
Comrade, I agree with Dr. Humphrey.
The child will slow us down.
VLADIMIROV
The child is our salvation, comrade.
RYKOV frowns.
VLADIMIROV (CONT'D)
You will soon understand. We could
not have been more fortunate.
CUT TO:
EXT. APPROACH TO THE MOUNTAIN - MORNING
The truck bounces along a rocky dirt road, headed for Mount
Ararat rising high in the background.
INT. TRUCK - MOVING
ABNER is really excited.
VLADIMIROV is enjoying the boy's enthusiasm.
EXT. ROCKY FOOTHILL ROAD - SOON AFTER
The truck is following a winding road, which cuts through
higher, more rugged terrain. Sheer bluffs, a story or higher,
and strangely eroded rock formations make up the surrounding
landscape.
INT. TRUCK
Comrade RYKOV is at the wheel, frowning at something up ahead
on the road.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 93.
EXT. THE ROAD
We're LOOKING THROUGH the legs of a horse at the truck
approaching. We CRANE UP alongside the horse to show the
RIDER in profile.
INT. TRUCK
The strange horseman has everyone's attention.
VLADIMIROV
The horn.
RYKOV honks the horn. But the rider remains where he is,
blocking the road.
ABNER
Who is that?
EXT. THE ROAD
The horseman raises his hand into the air.
INT. THE TRUCK
Everyone is puzzled.
BILL
What's he doing?
EXT. CLOSE ON THE HORSEMAN
as his hand snaps down -- a signal!
At which point HORSEMEN, numbering a dozen, close in from all
flanks.
INT. THE TRUCK
VLADIMIROV sneers. He raps on the cab wall, yelling to his
men in the hold --
VLADIMIROV (*SUBTITLED*)
Ambush!
EXT. THE TRUCK
as the flapped sides are rolled up and reveal a HEAVY MACHINE
GUN on a tripod. The GUNNER opens fire!
.50 calibre slugs slam into the charging brigade! Horsemen
fall, hitting the dirt hard!
INT. THE TRUCK
RYKOV jumps out, ready to do battle. VLADIMIROV gets his
door open --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 94.
VLADIMIROV
Remain here! Stay low!
BILL and ABNER don't argue with him.
EXT. THE TRUCK
A HORSEMAN gallops by, his sword raised gallantly. VLADIMIROV
draws his sidearm quickly and takes out the rider with one
shot.
The heavy machine gun cuts the ambusher's numbers in half.
RYKOV and VLADIMIROV charge those fallen horsemen who stagger
to their feet.
INT. THE TRUCK
ABNER gets to the floor, scared. BILL doesn't look so brave
either. Suddenly -- THUD! SOMEONE just landed on the roof.
EXT. THE TRUCK
A HORSEMAN has leaped onto the roof from a ridge above and is
now --
INT. THE TRUCK
Jumping onto the hood. BILL yelps. The HORSEMAN peers in
through the windscreen -- then smashes his sword through the
glass. BILL jerks aside. The tip of the sword punctures
the cab wall very close to BILL'S head.
ABNER
Gun! Don'tcha gotta gun?
BILL
No!
But that's not all together true. BILL just remembered
something. He scrambles for his DUFFLEBAG. From it he pulls
out a SMALL BOX --
The HORSEMAN on the hood thrusts his sword forward; he's trying
it a second time. BILL ducks down. Again the tip of the
sword stabs the back wall.
BILL POPS UP -- something in his hand -- WHOOSH! A sizzling
ball of light erupts from the object in BILL'S hand -- IT'S A
FLARE GUN. The projectile slams into the HORSEMAN and knocks
him back off the hood of the truck.
EXT. THE TRUCK
The fallen HORSEMAN is wounded, but not dead. He staggers to
his feet. VLADIMIROV charges at him. The big Russian knocks
the HORSEMAN to the ground again. VLADIMIROV is seething
mad.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 95.
His eyes glow RED -- very subtle -- as he unloads three shots
into the HORSEMAN at point blank range.
Now a yell from RYKOV warns VLADIMIROV to watch out. The big
Russian spins around and unloads two slugs into a CHARGING
HORSEMAN.
RYKOV is under attack himself, but he doesn't see it in time.
The attacker's sword runs him through. A full foot of blood
smeared steel pops out of RYKOV'S chest -- ghastly.
The GUNNER whips the heavy machine gun around and riddles the
last horseman with bullets.
VLADIMIROV, his chest heaving, is ready for more. But it's
all over.
The dozen horsemen are dead.
EXT. AMBUSH SCENE - JUST AFTER
COMRADE 2 is preparing to drag RYKOV'S body to the truck.
VLADIMIROV
Leave him.
COMRADE 2
But Comrade Captain --
VLADIMIROV
Leave him! I don't want the boy
frightened. Go. Get the truck started.
Go! Damn you!
INT. THE TRUCK
VLADIMIROV climbs in.
BILL
Getting us killed was not part of the
agreement, sir.
VLADIMIROV
I'm not responsible, Doctor. If bandits
wish to attack us, there is nothing I
can do but protect myself.
ABNER
Robbers? Those guys are robbers?
VLADIMIROV
Yes. Bad men, Abner.
ABNER
I'm glad you got'em, Yugi. Bandits
tried to rob me the other day. But I
got away.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 96.
VLADIMIROV
Good. Very good. You will make a
fine soldier someday.
ABNER likes the thought of that.
BILL is not altogether convinced.
BILL
Bandits ... I find that difficult to
believe, sir.
VLADIMIROV
Highway robbers, Doctor. Who else
could they be?
BILL
Just before they attacked I heard one
shout in Hebrew: "The Sons of Light
will triumph."
VLADIMIROV
(evenly)
Zealots, Doctors. Zealots.
EXT. THE TRUCK
As it drives off.
We remain on the battlefield. Bodies of the horsemen are
sprawled in the dirt, twisted, open wounds turning the sand
red. The wind picks up. Strong. Sand begins to swirl and
whip in the air.
In a matter of seconds the wind has kick up a wall of sand
too dense for the eye to penetrate. The screen is completely
obscured. Then, as quick as the wind came, it disperses. The
sand wall dissipates and settles.
The bodies of the horsemen no longer lie defeated on the
ground. Nor do they stand at attention, resurrected by powers
to great to fathom. Just the simplest of miracles this --
THEY HAVE VANISHED.
INT. B-50 COCKPIT
ALABAMA is still holding CHARLIE at gunpoint.
ALABAMA
Radio air traffic control, Moscow.
TEX
I knew it -- you're a commie traitor!
ALABAMA
Do it!
(MORE)
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 97.
ALABAMA (CONT'D)
(to Co-pilot)
You! Go through your air maps.
Calculate a position closet to the
town of Dogubeyazit.
TEX
We can't land this thing there --
there's no runaway!
ALABAMA
Who said anything about landing.
EXT. BASE OF MOUNT ARARAT - FOOTHILLS - DAY
The truck is already unloaded. Mountain climbing gear is
piled up on the ground. Note the backpacks: they remind us
of parachute bundles.
VLADIMIROV, his 3 comrades, BILL, and ABNER, are suited up,
or in the process of doing so, for the climb ahead.
ABNER'S climbing suit is a makeshift one. ABNER is slipping
on a pair of hiking boots, which he brought with him in his
backpack.
BILL pulls VLADIMIROV to the side, out of earshot --
BILL
Vladimirov, be reasonable. We've
already been ambushed. And in a couple
of hours we will be traversing very
dangerous terrain. He is only a boy.
VLADIMIROV
Do not worry yourself, Doctor. I will
see that the boy remains safe.
(turning to Abner; loud)
Abner is far too important to leave
behind.
BILL sighs heavily. ABNER sticks out his tongue at BILL.
VLADIMIROV (CONT'D)
(chuckling)
Today we climb to the lower plateau.
An abandoned village there should
provide adequate shelter for the night.
BILL
An earthquake and avalanche destroyed
the village in 1840.
VLADIMIROV
You've done your homework, Doctor.
BILL
I come prepared, sir.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 98.
Exchanging goofy looks with ABNER:
VLADIMIROV
Lucky for us. However, a few structures
should still remain intact.
COMRADE 1
We are ready, sir.
VLADIMIROV
Excellent.
No one moves. Least of all BILL.
VLADIMIROV (CONT'D)
Doctor, you are the self-proclaimed
mountaineer of mountaineers, are you
not? Please, lead the way.
BILL hops to it.
BILL
Tally Ho!
ABNER
Hold it! What about my dad?
VLADIMIROV
It is getting late, Comrade. We must
go.
ABNER
But my dad? He should be here?
Kneeling to the boy --
VLADIMIROV
(dramatically)
Just think how proud he will be when
you bring him a piece of the Ark.
ABNER beams.
INT. B-50 COCKPIT - THAT MOMENT
ALABAMA, incensed, whips aside the radio headset.
SHARON
What -- what's wrong?
ALABAMA
Andropov refuses to get involved. He
said Vladimirov and his men left for
the mountain at dawn.
SHARON
Abner?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 99.
ALABAMA
Abner's with them.
SHARON
Oh god.
ALABAMA
(barking at the CO-PILOT)
You! Forget about the town -- calculate
a drop zone closet to mount Ararat.
At which point there is a SPUTTERING NOISE --
Outside, the four propeller driven engines are dying, one
after the other.
BACK INSIDE --
ALABAMA (CONT'D)
What's wrong?!
TEX
I don't know -- all the engines are
shutting down! Instrument readouts
are failing.
ALABAMA
Fuel? -- what?! C'mon!
TEX
I don't know!
ALABAMA
(wryly)
So much for the man upstairs liking
me.
The last engine dies. The big plane starts to nosedive. Tex
fights to get the nose up.
TEX
We're going down!
EXT. SERENE PASTURE LANDS - JUST AFTER
A TURKISH FARMER is tending to his crops.
What's that?
Here it is -- the b-50 shoots past by overhead. The plane's
ferocious wind drag blows the farmer right off his feet.
Here we go: the superfortress belly flops with a crunch. The
plane stays intact and slides like a giant's bobsled on the
even pasture land --
Suddenly, the nose starts to dig in and then -- oh my god --
the plane begins to cartwheel.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 100.
The aircraft disintegrates into a million pieces and explodes.
But ... what about our heroes?
EXT. THE OTTOMAN BRIDGE - THAT MOMENT
ABNER'S taxicab crossed this bridge yesterday.
SHARON'S VOICE
(screaming)
ALABAMA!
At which point ALABAMA and SHARON drop in from the sky --
float in rather -- both of them strapped into parachute
harnesses.
ALABAMA lands first -- a perfect two-point touch down. SHARON
is second to land -- OOOFF! Not so perfect.
Touching down all around now are the 13 member flight crew,
Tex and the Co-pilot.
EXT. THE BRIDGE - JUST AFTER
Everybody starts to gather on the bridge. TEX pushes through
his men and stomps up to ALABAMA -- WHACK! He punches our
hero in the face. ALABAMA'S knees buckle.
TEX
You commie sonofabitch!
TEX raises his fist again. SHARON intercedes --
SHARON
Please! Please! Stop -- my boy is in
danger.
CHARLIE
It's true, sir.
TEX
You're gonna back them up after he put
a gun to your head?!
CHARLIE
It was just a trick...to get you to co-
operate. Sorry.
TEX
Then all this time your wife here's
been telling the truth?
ALABAMA and SHARON nod.
TEX (CONT'D)
Well, I'll be a monkey's uncle.
ALABAMA looks at Mount Ararat far off on the horizon.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 101.
ALABAMA
We gotta get to that mountain.
SHARON
How -- we're in the middle of nowhere.
At which point there is a CHUG-CHUG NOISE.
All heads turn to see a junk-box taxicab coming down the dirt
road toward the bridge.
CUT TO: ALABAMA as he flags down the taxicab.
BEHIND THE WHEEL is our sour-toothed CABBY, jaws still swollen
and his head still wrapped in the grimy handkerchief.
ALABAMA
Take us to the mountain.
CABBY
(pointing behind him)
Mmmmm.
He has TOURISTS in the backseat.
CUT: Now the TOURISTS are out of the cab and on their butts
in the dirt. They watch stunned as the taxicab putt-putts
away.
INT. THE TAXICAB - MOVING
We see, through the back windshield, the CREWMEN helping the
tossed TOURISTS to their feet.
ALABAMA is brandishing a .45 at the CABBY.
ALABAMA
Faster!
CABBY
(sweating bullets)
Mmmmmmmm!
EXT. MOUNT ARARAT - GRASSY PLATEAU - DAY
The first leg is underway. A breathtaking HIGH ANGLE SHOT
finds VLADIMIROV'S team making tracks up the gradually sloped
plateau.
EXT. ROCKY FOOTHILL ROAD - DAY
The taxicab races along at an incredible 20 miles an hour.
INT. CAB
ALABAMA fishes out a map from his pocket. It looks familiar.
It's from the plane. It's a topographic map of Mount Ararat
and the surrounding foothills.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 102.
Indicating map --
ALABAMA
The Ark's been pinpointed on this peak,
here, little Ararat. They'll probably
come in from the north, around Great
Ararat. There's a seven-mile stretch
between the peaks. Then it's a 5,000-
foot climb once they reach little
Ararat.
SHARON
"Once"? We can't let them get that
far.
ALABAMA
It's probably too late to stop them.
EXT. MOUNT ARARAT - GRASSY PLATEAU - DAY
The team starts to change directions. BILL is studying a map
on the climb, using his compass to navigate.
VLADIMIROV
Are we making good time, Doctor?
BILL
We could be doing better.
BILL glances back at ABNER disdainfully. ABNER makes a face
at BILL. VLADIMIROV chuckles.
VLADIMIROV
How long until we reach the village?
BILL
3 hours.
VLADIMIROV grins at something BILL has hanging from his belt.
VLADIMIROV
Doctor, I see you are prepared for
another close encounter.
BILL frowns at him.
VLADIMIROV (CONT'D)
Your flare gun.
BILL
Yes, I've decided to keep it at my
side. As you saw it came in very handy.
VLADIMIROV
A pistol would be much more practical,
Doctor. Would it not?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 103.
BILL
I've never been a advocate of firearms,
sir. Nasty things if you ask me.
VLADIMIROV
Ah, yes, Doctor, but they too can be
very handy.
EXT. ROCKY FOOTHILL ROAD - NEAR SUNDOWN
This is a familiar looking area. Yes, that's right, the ambush
occurred here just hours ago.
Here comes the taxicab, sputtering and lurching -- it dies.
Steam spews from its rad.
ALABAMA and SHARON get out. The cabby kicks the tire.
ALABAMA
Dammit!
SHARON
What now?
ALABAMA
The mountain's just a short distance.
(pulling SHARON)
C'mon!
EXT. A LITTLE WAYS UP THE FOOTHILL ROAD - JUST AFTER
ALABAMA and SHARON are running along when ALABAMA spots the
bloody body of COMRADE RYKOV.
ALABAMA
Hold it!
ALABAMA runs over to the dead man. SHARON steps up a second
later.
SHARON
Who is that? What are you doing?
ALABAMA is rummaging through the man's pockets.
ALABAMA pulls out a map. He unfolds it and looks it over.
ALABAMA
Yes. It's their route. We know exactly
where they're starting and where they're
going.
ALABAMA reaches down to grab Rykov's automatic rifle, but
jumps back.
ALABAMA (CONT'D)
Watch it! Scorpion!
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 104.
The creepy thing crawls up onto Rykov's chest. SHARON yelps.
ALABAMA (CONT'D)
Easy. Don't panic. He'd make you
sick, but the poison's not lethal.
Get enough of 'em on you -- that's
another story.
The scorpion is doing something very odd: it repeatedly jabs
the dead man with its stinger. ALABAMA and SHARON exchange
looks.
SHARON
Let's go, Alabama.
They swing around and start running again.
A FEW YARDS AHEAD, ALABAMA and SHARON slow down and stop.
They are looking out ahead of them with great perplexity on
their faces.
SHARON (CONT'D)
Why...is the ground moving?
(then with growing fear)
Alabama! The ground is moving.
SHARON'S right, the ground is moving... in their direction
...from all directions, except from the rear. No... not the
ground ... something else?
Now this you don't see everyday: scorpions. The disgusting
critters are massed together like stampeding herds of cattle.
Hundreds. More like thousands. Stings raised like hooked
fingers and pincers clacking like toy chatter-teeth.
SHARON (CONT'D)
Alabama!
ALABAMA
Run, Sharon! Run!
EXT. FOOTHILL ROAD, BACK TO
The CABBY as he kicks his car tire again, MUMBLING. A sound.
He turns to see the Americans running back his way.
CABBY
(frightened)
Mmmmmmmmmm!
ALABAMA and SHARON run for their lives.
ALABAMA
Car, Sharon! The car!
The cabby sees them now: THOUSANDS OF CHARGING SCORPIONS.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 105.
CABBY
(freaking out)
Mmmmmmmmmmmmmmmmmmmmmmmmm!
INT. CAB
ALABAMA and SHARON pile in after the CABBY.
ALABAMA
Windows! Windows!
HANDS roll up all the windows in a hurry.
EXT. THE CAB
As the scorpion hordes converge on the cab. There's not a
grain of sand visible through their thick layer. The critters
don't stop once at the cab. They scurry up on top of it,
jabbing their stingers against the frame and windows wildly.
INT. THE CAB
The racket in here is deafening. Like a thousand, rapidly
tapping fingernails. Maddening. The trapped inside are
plunged into darkness as the windows seal over.
Tiny slivers of sunlight poke in, blinking and dancing like
lasers beams. SHARON is screaming. The CABBY is trying to
scream.
ALABAMA should be screaming, but is eyeing something in the
front seat -- THE GEAR SHIFTER. Springing forward, ALABAMA
jerks back the shifter into neutral.
EXT. THE CAB
As it begins to roll backwards on the down sloping road, over
the carpet of critters, squashing them under the tires. CRUNCH!
SQUISH! A hundred times over.
The cab picks up speed, bouncing roughly on the rugged road.
The jarring sends the free-riding scorpions flying off and
into the dirt.
INT. CAB
Our heroes are thrown about.
EXT. CAB
As it leaves the road and drops down into a ditch with a
CRUNCH. Shaken, ALABAMA and SHARON scramble out. The CABBY
wastes no time and runs off toward the distant lights of
Dogubeyazit.
SHARON yelps and jumps onto ALABAMA'S back. ALABAMA stomps
on the few remaining critters.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 106.
SHARON
Alabama -- there! There! Get it! Get
it!
ALABAMA
I don't see anymore. C'mon!
SHARON
(pulling back)
Not with those things out there!
ALABAMA
Whuddiya suggest we do -- fly!
At which point SHARON sees something.
SHARON
How about ride?
She points up. Perched on a low bluff is a HORSE, grazing on
some wild grass. It's a thoroughbred and fully saddled.
Bets are it belonged to the horseman who, earlier on, had
lept from the bluff and onto the roof of Vladimirov's truck.
SHARPLY CUT TO:
ALABAMA and SHARON on the horse.
ALABAMA
Yah!
The horse takes off at a charge.
EXT. BASE OF THE MOUNTAIN - FOOTHILLS - SUNDOWN
ALABAMA and SHARON ride up on the horse. They see the truck.
Climbing off and helping SHARON --
ALABAMA
The map's genuine. This is where they
started.
SHARON
They got nearly a full day's head start.
ALABAMA looks inside the truck.
ALABAMA
There's gear in here.
ALABAMA jumps inside the hold and starts suiting up.
SHARON
Any more?
ALABAMA
Sharon, you're staying here.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 107.
SHARON
Like hell I am.
ALABAMA
Sharon -- there isn't enough gear here
for two of us.
SHARON
But Alabama --
ALABAMA
You'd just be holding me back.
SHARON
But... he's my son.
ALABAMA
With enough luck, I'll get to them
before they reach the 7-mile pass.
SHARON
I'm counting on you, Alabama. Don't
let them hurt my boy.
ALABAMA
Never.
CUT TO:
EXT. ABANDONED MOUNTAIN VILLAGE - SUNDOWN
Just over a hundred years ago this was a thriving village on
the mountain's lower plateau. Now it is in ruins. The
aftermath of a giant earthquake. Jagged boulders, as big as
houses, broke off from the cliff face above and crushed the
village.
The resulting avalanche buried back then that which wasn't
pulverized under a tidal wave of rock and snow. What remains
of the village today is very little. At first glance, there
doesn't appear to be a village at all. A closer look, however,
reveals structural walls and the geometrical shapes of
dwellings and courtyards under a crust of rock and earth.
The team enters this forsaken place.
BILL
Magnificent.
VLADIMIROV
You see, Doctor, some structures still
remain intact. Adequate shelter for
the night.
INT. INTACT COTTAGE/CAMP SHELTER - NIGHT
A campfire burns brightly. BILL and two of the Comrades sit
around the fire drinking hot coffee.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 108.
The two soldiers watch BILL silently. Feeling eyes upon him,
BILL shifts uncomfortably. Then he's had enough --
BILL
(snapping)
Why not take a picture. It will last
longer.
VLADIMIROV enters through a big hole in the wall. With him
is the other comrade. Someone is missing?
VLADIMIROV
Where is Abner?
BILL
He went to the washroom.
EXT. ABANDONED VILLAGE - NIGHT
VLADIMIROV maneuvers around rock debris, the beam from his
helmet lamp casting a pool of light ahead of him.
VLADIMIROV sees a light shaft arching to and fro inside a not
too distant dwelling.
INT. NOT TOO DISTANT DWELLING - JUST AFTER
ABNER is checking out the place. A solidified mound of rock
and earth protrudes in through where a wall once stood.
At the time of the avalanche, a wave of rock and snow came
crashing in. A century later, the mound is as solid as
granite. A permanent addition to the dwelling.
ABNER'S helmet lamp illuminates a series of stain-glass windows
at the side. Miraculously, they survived the quake, the
avalanche, and the century of harsh weather that followed.
VLADIMIROV'S VOICE
Abner.
VLADIMIROV is standing just outside a crumbled section of
wall.
ABNER
Look at the glass. It's so pretty.
VLADIMIROV smiles and moves to step inside -- but is forced
back, as if bumping into some invisible barrier. Alarm washes
over VLADIMIROV'S face.
ABNER (CONT'D)
C'mon in and see.
VLADIMIROV tries it again -- but is forced back as before.
Bizarre... but it seems as if this place doesn't want
VLADIMIROV inside.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 109.
VLADIMIROV
(sharply)
Abner! Come! We must get some sleep.
ABNER
Aw nuts!
VLADIMIROV
Come!
ABNER
I'm comin', awready.
EXT. THE MYSTERIOUS DWELLING - NIGHT
VLADIMIROV leads ABNER quickly away by the hand. We linger
on the structure ... and slowly BOOM UP to show a steeple,
rising from the dwelling's crust of dirt and rock; then the
WHITE CROSS atop the steeple, all aglow in the moonlight.
EXT. ON THE MOUNTAIN - ROCKY ALCOVE - NIGHT
ALABAMA is shivering as he pats down a pile of wild grass.
He takes a box of matches from the commandeered parka, fumbles
with it, and spills the matches on the ground.
ALABAMA scoops up a few and, not bothering with the box, stuff
the matches into his pant's pocket.
ALABAMA scrapes his thumbnail across the head of the match
and it ignites. He lowers the flame to the grass ... and in
a few seconds a fire starts to glow brightly.
INT. CAMP SHELTER - NIGHT
The team is bedded down for the night. ABNER is restless.
ABNER
I can't sleep.
BILL
Go to sleep you little brat.
ABNER
Who you calling a brat? Egghead.
Getting up --
BILL
Why you little --
VLADIMIROV
Enough! Abner. Go to sleep.
ABNER
(sulking)
I don't wanna gota bed. I'm too
excited.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 110.
VLADIMIROV exhales heavily.
BILL
(rubbing it in)
You wanted to bring him.
VLADIMIROV has an idea:
VLADIMIROV
If I tell you a story, then will you
go to bed?
ABNER
A ghost story, and you got a deal.
VLADIMIROV
(grumbling)
A ghost story.
(but then he grins)
A ghost story. If it is a ghost story
you wish. Then a ghost story you shall
get.
ABNER sits up, ready.
VLADIMIROV (CONT'D)
Prepare yourself, because it is a
doosie.
ABNER
I'm ready. I'm ready.
VLADIMIROV puts on his best ghost-story-telling-face and
begins:
VLADIMIROV
A long time ago. A time before the
great flood, the Devil had a child
born of flesh and bone, but with all
the powers of evil at his disposal.
For a thousand years, the unclean son
corrupted man, converted the children
of God to the side of Evil. This
enraged the All Mighty. And as a
punishment, God promised to banish man
from the Earth.
(BEAT)
News of this came to the ears of the
unclean son, by Noah himself.
(BEAT)
Learning that his kingdom would soon
be brushed away by the hand of God,
the unclean son confided in his most
faithful servant and explained to him:
"God will destroy what I have built;
God is all powerful; God will see that
my flesh falls from my bones."
(MORE)
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 111.
VLADIMIROV (CONT'D)
The Servant did not want to believe
such horrors, but he followed his
master's instructions to the letter.
(BEAT)
Days before the rain, the unclean son
was destroyed as predicted -- the evil
incarnate was gone.
(BEAT)
As he was instructed, the faithful
servant took the skull, all that was
left of the unclean son's earthly form,
and went in search of Noah. By this
time Noah had completed the Ark. And
under the guise of a friend, the servant
asked permission to join Noah and his
family on the Ark.
(BEAT)
But Noah had great uncertainties and
did not believe the friend was true
and forbid him refuge.
(beat)
The servant believed he had failed his
master. But then a voice spoke to
him, and explained what had to be done.
So while Noah and his family waited
for the rains to come, the servant
crept on board the Ark and hid away
the unclean son's skull in the bow.
Then the servant, given a moments power
by his master, left his earthly form
and buried himself deep inside an
elephant.
ABNER, so engrossed, can only mouth the words "Holy Toledo".
VLADIMIROV (CONT'D)
As Noah was foretold, the heavens opened
and the waters prevailed.
The great sea rose to incredible
heights. Covering the highest
mountains.
(truly grievous)
The kingdom and all its people sank
into a deep abyss.
Women...children....families...all
gone.
(collecting himself)
More than a year later, the Ark settled,
here, on Mount Ararat. And one by one
the animals filed off the Ark and walked
to the Four Corners of the cleansed
earth.
(BEAT)
Centuries passed, and the elephant,
which had been given a long life span
by God, finally died.
(MORE)
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"SONS OF DARKNESS" 02/04/97 112.
VLADIMIROV (CONT'D)
From the animal's rotting flesh, the
servant emerged in the shape of his
earthly self. But something was wrong.
The servant was far from any place he
knew. A crucial mistake had been made.
And the unclean son was lost.
(beat)
Throughout his life the servant searched
for that place where the Ark had
settled, spreading word of the evil
scriptures; recruiting the young and
old for a time when the unclean son
would return as flesh and retake the
earth. And for generations, the search
endured.
(beat)
5 thousand years pass...to this night.
And right now there roams a man, an
evil man, who is the long descendant
of the faithful servant. This evil
man's only purpose in life is to make
his master flesh again. And to do
this, he has been reassembling a
skeleton --
ABNER
(jumping in)
Skeleton.
VLADIMIROV
Yes. From the bones of those men who,
over the centuries, had shown an
unwavering dedication to evil. It has
been a long, laborious task.
(thoughtfully)
So much so that evil man gave up
hope....began to doubt the scriptures
he so truly believed. The evil man
had allowed himself to be blinded by
the rationale of modern thinking.
(BEAT)
But now that has changed. For the
evil man sees a dark light on the
horizon. A wonderful light. And the
skeleton, which had been passed down
from generation to generation, each
one adding to its reconstruction, is
almost complete. Now, after centuries,
only one piece -- but the most critical --
awaits him atop this mountain.
ABNER
(jumping in)
The skull.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 113.
VLADIMIROV
Precisely. So you see, Abner, why the
Ark is so significant, because it houses
the all-important piece. And if this
evil man were to ever uncover the Ark,
he would find the unclean son's skull.
Then 5 thousand years of sleep would
end. The unclean son would be born
again of flesh and reclaim the Earth
in his name ... and all of Godkind
would be doomed.
(leaning in close)
So Abner, whatever you do, do not tell
this evil man where the Ark is.
ABNER is pretty darn scared. VLADIMIROV chuckles, as does
his men.
VLADIMIROV (CONT'D)
I see you like my story.
ABNER
Boy...that's pretty scary. Neat...but
scary.
VLADIMIROV
Let us get some sleep. A long day
ahead of us tomorrow.
ABNER rolls over, imagination getting the better of him. One
of VLADIMIROV'S comrades whispers:
COMRADE 4
I believe you have terrified the boy.
VLADIMIROV
It would be merciful to kill him now,
before the "Coming"... but I have plans
for this little one.
CUT TO:
EXT. ON THE MOUNTAIN - HIGH, SNOWY SLOPE - DAWN
The team is underway again. The terrain is dangerously rugged.
The team is making sure they have their crampons (spikes) set
in the ice before pressing onward.
DISSOLVE TO:
EXT. ABANDONED MOUNTAIN VILLAGE - DAY
ALABAMA, huffing and puffing, refers to the map, using a
compass, which he also found in the parka.
ALABAMA gets his direction and presses onward.
DISSOLVE TO:
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 114.
EXT. THE 7 MILE PASS - DAY
The team traverses the difficult terrain at a snail's pace.
DISSOLVE TO:
EXT. BASE OF LITTLE ARARAT - LATE IN THE DAY
The team pauses and takes heed of the second peak rising above
them.
ABNER
We gotta climb that?
VLADIMIROV
A walk in the park, for a young, virile
man like you.
ABNER
Yeah, you're right.
BILL shakes his head and begins to uncoil some rope.
BILL
I'll scale to the plateau above and
secure a line. We can pull the boy up
that way.
VLADIMIROV
Good idea, Doctor. I knew there was
some reason why I hired you.
ABNER
How come I can't climb?
BILL
It's too dangerous.
ABNER
(false bravado)
Whuddiya mean -- it's an anthill.
VLADIMIROV
But, comrade, I suffer from a sore
leg. The line would help me.
ABNER
Yeah...I guess if you got a sore leg.
I'll take the rope too -- just so you
don't feel bad.
VLADIMIROV
Thank you, comrade, for having such
consideration.
ABNER
Think nothing of it. That's what
friends are for.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 115.
EXT. STEEP RIDGE - LATE IN THE DAY
ALABAMA drops down onto a narrow LEDGE. He looks down over
the edge -- A KILLER OF A DROP.
ALABAMA thinks about his next move.
ALABAMA starts to drop a line over the side. He takes a piton
(a sharp blade which, when hammered into rock, anchors the
rope for scaling) and begins to clip his line through the eye
of the piton.
A BIT OF ORANGE against the rocks at the side catches ALABAMA'S
eye. He leans out and discovers a drop line already anchored
to the rocks, left there by the team earlier. ALABAMA is
grateful.
CUT TO:
EXT. SNOW COVERED MOUNTAIN PASS - NEAR SUNDOWN
The team is walking up a snowy slope. In a moment the team
is atop the slope. The CAMERA continues upward, rising above
the team's heads and reveals:
A DEEP, WIDE TRENCH SEPARATING THE TEAM FROM THE OTHER SIDE,
WHERE ANOTHER LABORIOUS CLIMB OVER A GRAND SLOPE AWAITS THEM.
VLADIMIROV
The Ark is another day's journey, no
more. We will set up camp on the other
side of the gorge. Doctor?
BILL
We'll have to rig a bridge line.
VLADIMIROV
Alright, let's get to work.
SHARPLY CUT TO:
A COMRADE as he sights a rifle -- WOOFF!
An anchor is shot into the rock over on the other side.
BILL
I'll go across and secure a scaling
line. That lip looks rather precarious.
VLADIMIROV
I have complete confidence in you,
Doctor.
EXT. THE 7 MILE PASS - NEAR SUNDOWN
ALABAMA is just a speck against the sea of snow and ice.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 116.
ON ALABAMA, his face long with fatigue. The mountain is taking
its toll on him.
EXT. GOAL SIDE OF THE DEEP TRENCH - SUNDOWN
BILL comes face to face with the opposite wall of the gorge.
He is hanging from the secured bridge line.
A good, strong thrust and BILL plants his ice axe deep into
the icy lip. Then with surprising agility, BILL pulls himself
up, sinking the spikes of his crampons in fast to give him
support.
Yelling from the opposite side --
VLADIMIROV
Yes, Doctor, you never cease to amaze
me.
BILL, using two ice axes, his crampons, climbs the icy lip to
the top.
BILL
(grumbling)
And you, Vladimirov, never cease to
annoy me.
Now BILL is safe on the slope, working an ice screw into the
thick permafrost.
Now BILL is securing a rope to the ice screw. Then, at the
rim, he drops the scaling line over the side and it dangles
alongside the bridge line below.
Yelling across to the others --
BILL (CONT'D)
Alright. One at a time.
SHARPLY CUT TO:
A dizzying high shot over the trench.
ABNER crosses hand-over-hand, secured to the bridge line by a
wheeled harness.
Yelling to ABNER --
BILL (CONT'D)
Don't look down. Keep your eyes on
me.
ABNER is shaking, and it's not from the cold.
Yelling from the opposite side --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 117.
VLADIMIROV
That's it, comrade. You're doing
splendidly. The Soviet Airforce could
use a man like you.
BILL
(yelling back)
Let the boy concentrate. Okay, that's
it. Just a bit further.
EXT. BASE OF LITTLE ARARAT - SUNDOWN
ALABAMA runs up, his chest heaving. While catching his breath,
ALABAMA sees a rope dangling at the side.
EXT. DEEP TRENCH
ABNER comes face to face with the far wall of the trench.
BILL
See the carabiner?
ABNER
The what?!
BILL
The metal thing on the end of the rope.
ABNER
Yeah, yeah. Okay.
BILL
Clip it to your harness ring. After
that --
ABNER
One thing at a time!
BILL snarls. He waits.
BILL
Have you done that?
ABNER
Yeah, yeah. I did that.
BILL
Now unhook yourself from the wheel.
ABNER pulls himself up a bit, to slacken the strap fixed to
the wheel, and unclips himself. His full weight surprises
him -- and he is yanked off the bridge line. He drops.
VLADIMIROV panics --
VLADIMIROV
Abner!
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 118.
ABNER hits the gorge wall, grunting.
ABOVE, BILL has the rope held tight in his hands --
BILL
I got you! I got you! Hold on!
BILL starts to pull on the rope.
ABNER is hauled up slowly.
Now BILL is helping ABNER up to safety.
ABNER
Thanks. Wow. That was close.
From the other side --
VLADIMIROV
Is the boy alright?
ABNER
(yelling back)
Yeah. I'm fine, sir. No problem.
VLADIMIROV turns to a Comrade --
VLADIMIROV
(proudly)
His spirit of adventure is strong. A
diamond in the rough.
BILL plants ABNER on the grand slope.
BILL
Don't move!
ABNER
(saluting sarcastically)
Yes, sir.
BILL
(yelling across)
Alright. Someone else. Let's go,
we're losing the light.
EXT. ON LITTLE ARARAT - SUNDOWN
ALABAMA is hard at work scaling up the mountain.
UP CLOSE ON ALABAMA'S spiked boots as they stab at the ice;
as his ice axe sinks home.
EXT. A PLATEAU - JUST AFTER
ALABAMA'S HAND, it clutching the ice axe, pops up --
ALABAMA'S HAND sets the ice axe firmly in the frozen ledge.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 119.
A moment. Then ALABAMA himself pops up, his face flushed,
and breathing hard.
Now ALABAMA is safely on the plateau. He catches his breath
a moment. Then presses onward.
EXT. GOAL SIDE OF THE TRENCH - DUSK
The team is all across now. VLADIMIROV puts a comforting
hand on ABNER'S shoulder.
VLADIMIROV
Excellent. Let us set up camp on top
of the slope.
The team moves out. BILL leads the way.
The team follows BILL up the grand slope. BILL looks back to
say something --
BILL
I hope someone was smart enough to
bring a cam --
Suddenly, the ice beneath BILL caves in. BILL drops through
the snow, out of sight.
ABNER
Bill!
INT. A POSSIBLE CREVICE
BILL lands hard in the dark and screams out as a bone in his
leg snaps.
ABNER appears at the hole above --
ABNER
Bill! Bill!
VLADIMIROV appears next --
VLADIMIROV
Doctor!
IN THE DARK, BILL groans and manages to yell --
BILL
I --
(yelp)
-- my leg's broken.
VLADIMIROV
It appears you've fallen into a crevice.
We'll get a rope down to you.
BILL
Hurry!
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 120.
BILL snaps on his helmet lamp -- and all the pain shooting
through his leg is forgotten.
BILL stares out at what the light has revealed. A heavenly
choir mixes up, growing louder, exemplifying the divinity of
his discovery.
BILL (CONT'D)
(barely able to speak)
I...my god...
(he smiles)
I found it.
(yelling)
I found it!
He has indeed: NOAH'S ARK.
The helmet beam shines on rotten support struts, thick beams,
and, incredibly, a row of animal stalls. Upper and lower.
It's difficult to tell, but it is very big inside here. Bigger
than the cargo hold of most ships.
From above --
VLADIMIROV
What have you found, Doctor?
BILL
(giddy)
The Ark. Noah's Ark. You fool.
ABOVE, we see the look on VLADIMIROV'S face; it is quite
moving.
Then VLADIMIROV expression changes ... he looks confused.
VLADIMIROV
But the Ark shouldn't be here...?
The team begins to scoop away the snow and ice quickly.
Soon they've cleared an area around the hole. Revealed are
the dark planks of the ancient vessel's roof.
VLADIMIROV (CONT'D)
(in that strange language)
The skull.
VLADIMIROV pulls off his glove and places his hand against a
frozen plank. He snaps his hand back to the sound of sizzling
flesh.
ABNER
What -- what is it?
VLADIMIROV
(lying)
Cold. Very cold.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 121.
ABNER reaches out with his hand tentatively. He places a
finger against the wood, prepared to snap back his hand at
any second. But he doesn't. Frowning, ABNER places his whole
hand against the roof.
ABNER
It's not cold...It feels warm. Nice.
VLADIMIROV grins smugly.
VLADIMIROV
Now you see gentlemen why the boy is
so important.
(then with urgency)
Doctor! Can you see the bow?
BELOW, BILL can't believe his eyes.
VLADIMIROV AGAIN
Can you see the bow, Doctor?
BILL collects himself enough to answer him.
BILL
Ah...
He looks around, the helmet lamp lighting what he sees.
BILL (CONT'D)
I think this is the stern...?
The lamp shines on the farthest end: flat.
BILL (CONT'D)
Yes, definitely the stern.
BILL looks around behind him. The lamp shines on a glittering
wall of white -- snow. The beam pans around to reveal planks
abruptly ending, jagged and splintered.
BILL (CONT'D)
The bow is missing.
From above --
VLADIMIROV
What do you mean, "The bow is missing"?
BILL
Just that. Looks...looks like the front
section has broken off. There's jagged
planks and a wall of snow.
On VLADIMIROV, who mutters --
VLADIMIROV
Where is the bow?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 122.
Now it dawns on him...
AT THE RIM OF THE TRENCH, VLADIMIROV and his comrades appear.
They look down into the trench some 100 feet deep.
VLADIMIROV (CONT'D)
Appears the Almighty isn't going to
make this easy. Get the rope ladder.
ABNER, at the hole, watches the beam from BILL'S helmet lamp
arc to and fro.
ABNER
What's it like down there?
BILL
Inconceivable. I...
(difficult to put into
words)
...I... feel an energy of some kind.
Humming....humming all around me.
(chuckling delightfully)
I dare say, young man, but I do believe
it is the power of God.
AT THE RIM, a comrade is securing a rope ladder to ice screws.
That done, he tosses the ladder over the edge.
The ladder drops, unrolling to about 75 feet -- too short.
VLADIMIROV
As I feared.
(ordering)
Take a rope. Climb down and clip it
to the foot of the ladder.
Back to ABNER at the hole --
ABNER
Whuddiya see?
BILL can't get over it.
BILL
Everything.
IN THE GORGE, comrade 2 is climbing down the ladder. He
reaches the bottom and clips the line to the last rung. He
drops the secured rope. It uncoils the rest of the way to
the snowy bed below.
Leaning out, VLADIMIROV sees his man on the ladder far below.
VLADIMIROV
Slide down the rope. See what is under
the snow below you.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 123.
COMRADE 2
Yes, Comrade Captain.
The comrade starts down --
CLOSE ON one of the ice screws that anchors the rope ladder
to the ledge -- it is moving. Too much weight.
The comrade plants his boots on the gorge wall. He begins to
scale down --
At which point the ice-screw POPS OUT.
The ladder shifts downward on one side, startling the comrade,
who then loses his footing and falls.
The comrade lands in the snow below and drops right through,
out of sight --
INSIDE THE BOW, the comrade comes crashing in from above. He
lands hard on a thick beam. Wood splinters drop in on top of
him.
The comrade, broken, hurting, has landed inside the bow which
resembles half a ribcage with its curved framing beams and
joists. The fractured bow section is partially collapsed and
lies on its side.
The comrade is barley able to lift his head, his back broken
most likely. But that's the least of his problems, as right
now he begins to convulse, jolt, as if shot through with
electricity. The convulsions intensify; becoming more and
more brutal. Until suddenly, with a tortured shriek, the
comrade erupts into flames like a Roman candle.
ON THE RIM, VLADIMIROV reacts suddenly to the fireball blasting
up through the hole made by his fallen comrade.
The fireball dissipates quickly, as does VLADIMIROV'S patience.
He curses the sky --
VLADIMIROV
Damn you.
VLADIMIROV takes a moment to think. Then he bounds up the
slope, shaky with desperation.
ABNER sees VLADIMIROV approaching.
ABNER
Did you hear a scream?
VLADIMIROV
(edgy)
It was nothing. Abner, we are friends,
are we not?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 124.
ABNER
Sure. 'Course we are.
VLADIMIROV
Do you remember how grateful you were
when I allowed you to come on this
expedition?
ABNER
Sure I do.
VLADIMIROV
I need you to do something for me.
It's dangerous. But I know you can do
it.
ABNER
Anything. What is it?
Now ABNER and VLADIMIROV are at the rim:
VLADIMIROV
You must go down there and retrieve
the skull.
ABNER
The skull. But that was just a ghost
story.
VLADIMIROV
No...it is true, Abner. And we must
get the skull before the evil man does.
Help me.
ABNER
(frightened)
The...the evil man is here?
VLADIMIROV
No. And he won't come as long as I am
here to protect you. I would go myself,
but my bad leg.
Pause.
ABNER
Okay...I guess.
VLADIMIROV
You are a good friend, Abner. Your
father would be very proud of you.
Here --
He clips ABNER'S harness to the end of a rope.
VLADIMIROV (CONT'D)
I will lower you down.
(MORE)
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 125.
VLADIMIROV (CONT'D)
Be brave, comrade. Keep your eyes on
the wall of the gorge. Do not look
down.
VLADIMIROV helps ABNER drop his legs over the side.
VLADIMIROV (CONT'D)
I will see you shortly.
FROM A DIZZYING HIGH SHOT, ABNER'S tiny body is just a speck
against the jagged trench wall.
ABNER is lowered toward the bed 8 stories down.
And then, at last, ABNER'S boots set down on the crust of
snow, which encases the bow section.
Yelling down from above --
VLADIMIROV (CONT'D)
Go to the hole. I will lower you in.
ABNER snaps on his helmet lamp and sits down on the edge of
the hole --
VLADIMIROV keeps the rope taut and starts to feed the line.
ABNER is eased through the hole and drops down out of sight.
INSIDE THE BOW, ABNER is lowered slowly toward the framework
below. His helmet lamp shines on the ribs and support beams.
The panic on ABNER'S face diminishes and is replaced by wonder
and the thrill of discovery.
VLADIMIROV feels the rope slacken as the boy touches down
inside and he breathes a little easier.
INSIDE THE BOW, ABNER turns around slowly, allowing the light
to shine on every part of this mesmerizing place.
ABOVE, VLADIMIROV goes into a trance, chanting words in that
strange tongue again. A gothic choir, deep and foreboding,
powers the chanting, making our skin crawl.
VLADIMIROV (CONT'D)
Show him! Show him! Show him!
INSIDE THE BOW, close on a pile of snow -- something underneath
it is moving. The gothic choir intones darkly, swelling with
energy.
VLADIMIROV'S CHANTING
SHOW HIM. SHOW HIM.
Through the magic of unspeakable evil the snow melts away
from around a
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 126.
HUMAN SKULL.
With a look full of wonder, ABNER gapes wide-eyed at the skull.
The gothic choir reaches a crescendo.
INT. CAB OF TRUCK
As SHARON sits up, sensing danger.
SHARON
Abner?
EXT. BOTTOM OF THE TRENCH
ABNER is pulled back up through the hole.
VLADIMIROV shouts down --
VLADIMIROV
Do you have it?
ABNER
(shouting back)
Yes. It's in my hand.
VLADIMIROV
(darkly)
The "Coming" will be earth shattering.
(BUT FIRST THINGS FIRST)
Put the skull in your helmet, like a
basket, and attach the chinstraps to
the rope.
ABNER
What about me..
VLADIMIROV
Trust me, comrade. I would never leave
you.
Without hesitation, ABNER removes his helmet, places the skull
inside it, and secures the chinstraps to the rope he was
lowered down on.
ABNER
Okay. Bring it up.
The helmet is pulled up slowly.
VLADIMIROV gently takes up the line. A comrade reminds him --
COMRADE 3
We have only three parachutes.
VLADIMIROV
(sadly)
Yes...I know. It is a waste.
(MORE)
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 127.
VLADIMIROV (CONT'D)
But the boy will die.
(comfortingly)
He will be spared the horror of the
"Coming". That is my gift.
(ordering)
Prepare the dynamite. Nothing of God
can remain. The Earth belongs to Him
and the Sons of Darkness. I will not
have it cluttered with God's toys.
EXT. THE TRUCK - NIGHT
SHARON paces back and forth, looking helpless.
SHARON
Alabama ... Please hurry.
EXT. THE RIM
As ABNER'S helmet pops up at the end of the rope. VLADIMIROV
scrambles to the helmet.
VLADIMIROV gently lifts out the skull, shaking with excitement.
With reverence he holds the skull up to his face.
VLADIMIROV grins at the thought of a classic line coming to
him. He softly speaks in a thespian voice --
VLADIMIROV
"To be or not to be?"
An interruption --
COMRADE 2
We are ready, comrade Captain.
VLADIMIROV
(testily)
Yes. Yes.
DOWN IN THE TRENCH, ABNER is becoming impatient.
ABNER
Hey! C'mon! Send down the rope,
awready.
BACK TO THE RIM ABOVE, we see it is now lined with enough
DYNAMITE to blow up half the mountain -- or at least enough
to destroy the Ark and bury the remaining bits for all
eternity.
The fuses from the 2 dozen or more sticks come in and meet
together, having been spliced into ONE MAIN FUSE LINE.
ABNER'S VOICE
(shouting)
Yugi!
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 128.
At the hole, VLADIMIROV looks down inside. The light from
BILL'S helmet is all he can see.
VLADIMIROV
Hello, Doctor.
BILL'S VOICE
Where the hell have you been.
VLADIMIROV
Doctor, please, you are in God's temple.
Watch your language.
BILL'S VOICE
Get me out of here.
As VLADIMIROV prattles on, COMRADE 3 lowers a few sticks of
dynamite into the hole; and COMRADE 2 takes their fuses and
splices them into the main fuse line.
VLADIMIROV
Your services have been greatly
appreciated, Doctor. But as you well
know: all great things must come to an
end.
BILL'S VOICE
What are you going on about..
VLADIMIROV
Farewell, Doctor, you've been a most
sensational comic relief.
BILL'S VOICE
Farewell. What do you mean "farewell"?
Get a rope down here. Now! You
ignoramus.
VLADIMIROV
(making a face at his
men)
This one I'm not sad to see go.
IN THE TRENCH, ABNER is looking worried. Now it hits him --
ABNER
Dirty -- rotten -- scoundrel!
What an evil thing to do.
A horrible thought --
ABNER (CONT'D)
Evil...evil man. Yugi's the evil man.
(realizing what he's
done)
Oh no!
At which point a DANGLING ORANGE ROPE catches ABNER'S eye.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 129.
He hurries over to it and follows its length up to see it is
attached to a ladder hanging askew against the gorge wall
above.
EXT. TRUCK - NIGHT
SHARON has to do something. The tension is killing her. The
horse she and ALABAMA rode in on neighs fussily, pulling on
its reigns tied to the truck. SHARON regards the horse....
A sharp cut: and now SHARON is riding off on the horse. She
steers the animal south, around the base of the mountain.
EXT. ON THE SLOPE - NIGHT
VLADIMIROV is walking up toward the top, silhouetted ominously
against the starry night sky. COMRADE 3 follows behind.
While COMRADE 2 is keeping an eye on the fuse spindle; he has
an ice axe inserted through the core so that the spindle can
wheel freely.
The main fuse line is being laid out in the trail of these
"Sons of Darkness."
EXT. THE TRENCH WALL
ABNER is climbing up the drop line, hand-over-hand, supporting
himself against the rocks with his feet. It's tough. But
the kid is doing it.
Now ABNER is at the rope ladder. He's out of breath.
ABNER transfers from the drop line to the ladder without much
difficulty. But he's having trouble planting a foot on an
upper rung as the ladder is hanging askew. A bit of work.
Then ABNER gets his boot in.
ABNER starts to climb the ladder...
EXT. MOUNTAIN RIDGE - NIGHT
Their Helmet lamps lighting the way, VLADIMIROV and his men
traverse the narrow ridge.
VLADIMIROV
The opposite side of this ridge gives
us a clear place to jump. Fifteen
minutes flight time. Then we will be
over the border and into Soviet
territory.
(a question)
Is all ready at the landing zone?
COMRADE 3
Yes, comrade Captain.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 130.
VLADIMIROV
Dispense with the formalities, my
brother. We are equals now. We are
the Sons of Darkness.
COMRADE 2 brings up the rear, at work laying down the main
fuse line.
EXT. TRENCH WALL - NIGHT
ABNER is nearing the rim. About twelve more feet to go.
But danger rears its ugly head: the second ice-screw, the
only one anchoring the ladder, is
STARTING TO SLIP OUT.
On the ladder, ABNER cringes, REACHING UP FOR ANOTHER RUNG.
Suddenly the ladder shifts downward --
The ice screw is slipping out -- another inch and it's goodbye
ABNER.
ABNER is very still, afraid to move. The ladder shifts
downward again. ABNER cries out and snaps a LOOK DOWN at the
jagged rocks some 8 stories below. He snaps a desperate LOOK
UP to the bridge line above. But it's out of reach.
THERE GOES THE ICE SCREW -- POP.
The ladder goes slack. ABNER can feel himself starting to
Fall -- .
Suddenly -- from out of no where -- comes a DARK FIGURE,
swooping in like a bird.
THE FIGURE scoops up ABNER around the waist with nary a second
to spare.
IT'S ALABAMA SMITH.
ALABAMA clings to his bullwhip with one hand, his free arm
wrapped around ABNER. A quick shot details the fall of the
whip (that is, the unplaited strip at the end of the lash)
which is tied to the bridge line.
ABNER clings to ALABAMA, amazed --
ABNER
Dad. Where'd you come from?
Thought I was a goner.
ALABAMA
We're not out of this yet. Get around,
onto my back.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 131.
ABNER quickly, but carefully, climbs around onto his father's
back, piggyback style.
ALABAMA (CONT'D)
That's it. Now put your arms around
my neck. Hold on tight.
ALABAMA strains himself, working the little loop at the whip-
handle's end into a carabiner attached to the harness around
his waist. That allows him to hang freely and use both his
hands.
ALABAMA starts himself swinging toward the gorge wall. Soon
he's swinging strong. An ice axe in each hand, ALABAMA tries
to sink them into the think frost, which layers the wall. He
misses on the first attempt.
ALABAMA swings back -- and this time sinks the ice axes with
a reassuring THUNK. He rams his boot crampons deep into the
ice for added support. One slow move at a time, ALABAMA begins
the 12-foot climb to the rim.
EXT. HIGH LEDGE - NIGHT
VLADIMIROV and his men appear. The view is breathtaking from
up here. We can see right across into the heartland of Russia.
VLADIMIROV
Prepare to jump.
EXT. THE RIM - NIGHT
ALABAMA POPS UP from behind the rim. The ice axes, dug in,
are sturdy handholds. He's made it. Relief. Not so fast.
The FRAME ADJUSTS to show the row of dynamite sticks, only a
foot from ALABAMA'S face.
ALABAMA
You gotta be kidding me.
ABNER
What. What's wrong.
ALABAMA
Nothing -- reach over and grab hold of
the axe. I gotcha.
ABNER reaches out and grabs the axe handle.
ALABAMA (CONT'D)
I'm gonna help you. Now pull yourself
off and onto the ledge. Dig your boot
spikes in for support.
ABNER is doing a fine job of it.
Now Father and son are safe on the ledge. But what this --
ALABAMA is going back down.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 132.
ABNER
Where you going?
ALABAMA
Just stay here.
ALABAMA climbs back down to the bridge line. He pulls on the
bullwhip and the knotted end slides across to him. Using a
knife, ALABAMA cuts off the fall of the whip --
MATCH CUT TO:
ALABAMA as he cuts the main fuse line. ABNER scans the slope.
ABNER
He's gone. Dad. You gotta go after
him.
ALABAMA coils up his bullwhip and secures it to his belt.
ALABAMA
I'm not going anywhere.
ABNER
But you don't understand.
ALABAMA
Abner, enough. All I care about is
you.
ABNER
But, dad, he's the evil man. He's got
the skull. It's the end of all Godkind.
ALABAMA grimaces.
EXT. THE JUMPING LEDGE - NIGHT
VLADIMIROV is looking introspective all of a sudden. He has
a parachute bundle strapped on, watching the others put on
theirs.
VLADIMIROV looks as if he's made a decision. He unholsters
his sidearm and blasts his own men.
VLADIMIROV starts to back track along the narrow ridge.
EXT. THE HOLE - NIGHT
BILL'S cries for help are rising up through the hole --
BILL'S VOICE
Somebodeeee! Help!
ALABAMA and ABNER crouch down at the hole --
ALABAMA
Bill! That you?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 133.
BILL'S VOICE
Smith! Thank God. Get me out of here.
ALABAMA
What is this?
ABNER
He's in the Ark.
ALABAMA
Noah's Ark?
Immediately, ALABAMA is seized by the archaeologist in him.
He snaps on his helmet lamp and dunks his head through the
hole. Upside down, he shines his light over the interior.
ALABAMA (CONT'D)
My God.
BILL BELOW
Smith! Get me the hell out of here.
ALABAMA
(in awe; muttering)
Incredible.
ALABAMA turns his head and the helmet lamp shines on something
... looks like a wire ... it is dangling a foot from ALABAMA's
face turned upside down. But ALABAMA only has a second to
regard it --
ABNER SUDDENLY
(screeching)
Dad!
ALABAMA snaps back up through the hole --
VLADIMIROV has ABNER by the scruff of the neck, his gun pointed
at the boy's head.
VLADIMIROV
Not another move, Doctor Smith.
ALABAMA
Don't hurt the boy.
VLADIMIROV
I do not plan to. Unless you give me
a reason.
ABNER
Dad!
ALABAMA
Be still, Abner!
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 134.
VLADIMIROV
I did not expect to find you here,
Doctor.
ALABAMA
What do you want?
VLADIMIROV
Unfortunately, something you and I
both want. I've grown quite found of
the boy.
ALABAMA
What are you saying?
VLADIMIROV
I want the boy. World domination can
be very lonely.
ALABAMA
No. I won't let you take him.
VLADIMIROV
I'd say you have no choice in the
matter.
VLADIMIROV turns the gun on ALABAMA. At which point ABNER
stomps on VLADIMIROV'S foot with his spiky boot. VLADIMIROV
cringes. ABNER pulls free.
ALABAMA springs up and tackles VLADIMIROV to the ground. The
force sends both men sliding down the slope.
They bowl through the dynamite sticks and come to a stop just
a few feet from the rim. VLADIMIROV punches ALABAMA in the
face.
VLADIMIROV (CONT'D)
(spitting mad)
Simple minded fool! You have no idea
what you are up against!
ALABAMA spits blood.
ALABAMA
Just leave the boy!
VLADIMIROV
You have no idea how powerful faith
can be. Faith. Something you lack.
VLADIMIROV clamps his big hands around ALABAMA'S head. ALABAMA
grimaces at the inhuman pressure put on his skull.
VLADIMIROV (CONT'D)
An earthly imprison was the unclean
son's punishment.
(MORE)
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 135.
VLADIMIROV (CONT'D)
But that wasn't good enough for your
god. The All Mighty washed away which
was, by cast down, his world.
As VLADIMIROV rambles on, ALABAMA'S squirming hand brushes a
DYNAMITE STICK.
VLADIMIROV (CONT'D)
See the truth. You must see. Witness
for yourself the crimes that God of
yours has committed.
ALABAMA gets hold of the dynamite. He manages to
surreptitiously slip the stick into the pocket of VLADIMIROV'S
pants.
VLADIMIROV (CONT'D)
Witness the destruction your god handed
down. Your god of mercy. Your god of
love. Feel the pain that mine have
endured for 5 millennia.
ALABAMA'S hand slips out a match from those put in his pocket --
and he ignites it with his thumb.
VLADIMIROV (CONT'D)
(crazed)
See! See! See! See!
VLADIMIROV looks deep into ALABAMA'S eyes. At which point
all thoughts ALABAMA had of lighting the fuse evaporate; he's
taken into a numbing trance.
PICTURES begin to materialize in the big Russian's pupils.
SUDDENLY, A BLINDING LIGHT FLASHES BRIEFLY. ALABAMA FINDS
HIMSELF SUSPENDED IN MID-AIR AND SURROUNDED BY A 360-DEGREE
PROJECTION OF THE MIND. IMAGES, AS HIGH AS BUILDINGS, JUMP
OUT AT ALABAMA. OUR HERO WANTS TO SCREAM, BUT CANNOT.
SCENES FROM 5 MILLENNIA AGO. EACH ONE OF THEM ASSAULTS OUR
SENSES. POWERFUL. OVERWHELMING. RELENTLESS.
NOAH'S ARK, THROWN BY A TORRENTIAL SEA. RAIN. LIGHTENING.
THE CRACK OF THUNDER.
THE IMAGES ARE RANDOM. NO ORDER TO THEM.
HELPLESS PEOPLE, TRYING TO STAY AFLOAT. THEY GRAB FOR THE
ARK. OTHERS ARE THROWN AGAINST THE ARK BY SUPER WAVES.
SCREAMS. CRIES FOR HELP.
A MAN WITH A SKULL, THE FAITHFUL SERVANT, SNEAKING ON BOARD
THE ARK. THE SERVANT HIDING THE SKULL IN THE BOW. THE SERVANT
TEARING HIS WAY OUT FROM INSIDE THE ELEPHANT -- GHASTLY.
TIDAL WAVES CRASHING DOWN ON VILLAGES.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 136.
EARTHQUAKES BREAKING APART THE COUNTRYSIDE. WATER GUSHING UP
WITH IMMEASURABLE PRESSURE FROM HUGE CHASMS.
MORE DEATHS AT SEA. HUNDREDS -- THOUSANDS -- OF BODIES SINKING
INTO THE MURKY DEPTHS.
NOW ABNER'S PITIFUL FACE MATERIALIZES. "HELP ME." ABNER CRIES.
ALABAMA BELTS OUT A PRIMAL SHRIEK -- AND BREAKS FREE. A
BLINDING FLASH AND ALABAMA FINDS HIMSELF BACK ON THE SLOPE.
ALABAMA trembles from the overload on his senses. Through
BLURRY VISION he looks for ABNER. His son is gone.
ALABAMA, with great effort, gets to his feet. He stumbles
his way up the grand slope, falling, getting back up. Then
he collapses in a heap, too weak.
EXT. JUMPING LEDGE - NIGHT
ABNER is kicking ferociously. VLADIMIROV does something
desperate. He punches ABNER in the face. The boy goes
unconscious. VLADIMIROV works quickly, clipping ABNER'S
harness to his own.
VLADIMIROV holds the boy under one arm and steps to the edge.
But there's something he forgot --
EXT. NARROW RIDGE - NIGHT
ALABAMA, on his feet, is back in business. ALABAMA looks for
crampon tracks in the snow as he climbs over some rocks.
He's not paying close enough attention to where he places his
boots -- it costs him.
ALABAMA'S boot is wedged between the rocks. ALABAMA tugs
hard, desperate to free his boot.
WHAT'S THAT?! ALABAMA hears a FIZZLING SOUND; a sound all
too familiar to him.
A sparkling bright dot appears, traveling up over the rocks,
hissing past ALABAMA. The main fuse -- it's been lit.
ALABAMA shakes his head at it, reminding himself --
ALABAMA
Cut. Cut the line.
ALABAMA continues trying to free his boot. Suddenly, like
lightening, it hits him --
ALABAMA (CONT'D)
Wire. Down hole. Dynamite.
Now seconds count. ALABAMA gives it everything he's got --
AND THE BOOT POPS OUT.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 137.
EXT. BACK TO THE GRAND SLOPE - JUST AFTER
ALABAMA runs along the charred fuse line. At the top of the
slope, he looks down the grade -- and there it is. The
sparkling dot is just seconds from dropping into the hole.
ALABAMA leaps into the air. He lands hard on his stomach and
the momentum takes him sliding down the slope.
ALABAMA is coming up fast on the hole -- horrified by the
sight of the sparkling dot dropping down inside.
ALABAMA brakes with his hands and comes to a stop at the hole.
ALABAMA thrusts his arm down through the opening, up to his
shoulder.
ALABAMA'S HAND frantically moves side-to-side, blindly probing
for the hanging dynamite bundle --
THERE IT IS -- THE DYNAMITE. ALABAMA'S HAND GRABS IT.
ALABAMA pushes himself up -- THE SPARKLING DOT IS WITHIN A
SECONDS OF IGNITING THE BUNDLE.
ALABAMA snaps the bundle free from the charred fuse line and
hurls it away with everything he's got.
The bundle sails out -- over the trench -- and EXPLODES in
mid-air.
THE WHOLE SLOPE SHUDDERS.
EXT. PERIMETER OF MOUNTAIN - THAT MOMENT
SHARON hears a distant boom, like thunder. But there's not a
cloud in the sky.
SHARON looks way up the mountain to the peak. She squints at
something. What is that?
It looks like a balloon. No -- it's a parachute. And it's
10,000 feet up.
EXT. GRAND SLOPE - THAT MOMENT
After the big explosion there is an uneasy lull of silence.
But it doesn't last.
SOUNDS: LIKE A BILLION CRACKLING ICE CUBES. SEISMIC TREMORS
VIBRATE AND GROAN DEEP BELOW THE ICE. THE ENTIRE SLOPE BEGINS
TO SHAKE. SOMETHING CATACLYSMIC IS ABOUT TO HAPPEN.
ALABAMA watches the ice under his boots start to splinter and
fragment like shattering glass.
ALABAMA, at the hole, shouts down --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 138.
ALABAMA
Bill! Bill!
BILL BELOW
Smith! What the hell was that.
ALABAMA
Listen to me. I gotta get you out.
But there's no rope.
BILL BELOW
I've got one!
ALABAMA
That doesn't help me!
At the top of the slope, the crust splits open a foot wide.
A fault line expands horizontally, reaching out across to the
jutting cliffs that flank the grand slope. The ice crust
that covers the Ark could crumble away at any second.
ALABAMA (CONT'D)
Can you get it up to me?
BILL'S VOICE
My leg is broken.
ALABAMA chuckles gruffly; he can never get a break.
ALABAMA
I need that rope!
ALABAMA snaps rigid, a thought coming to him.
AT THE RIM, ALABAMA reaches down for the scaling line, still
anchored to ledge. But the instant he does THE ICE SPLITS
UNDERNEATH HIM AND BREAKS AWAY. The anchored rope is yanked
away from the rim.
CHUNKS of falling ice snap the bridge line.
ALABAMA high tails it back up the slope with the ice breaking
away under his feet.
Dropping to the hole --
ALABAMA (CONT'D)
(ugly)
Biiiill! Get that rope up to me now
or kiss your a --
WHOOSH! Something shoots up through the hole. ALABAMA is
startled by it. He watches it shooting up into the air --
it's a flare.
Something FALLS from the sky and lands alongside ALABAMA --
it's a stretch of rope, the end clipped through the eye of a
piton.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 139.
ALABAMA can barely retain his excitement.
ALABAMA (CONT'D)
The rope secured?
BILL BELOW
Pull! Pull!
ALABAMA digs in his boots and starts to haul BILL up with all
his might.
EXT. PERIMETER OF MOUNTAIN - THAT MOMENT
SHARON is watching the parachute as it descends toward a
distant ridge on the horizon.
EXT. GRAND SLOPE - THAT MOMENT
ALABAMA grabs hold of BILL as his shoulders clear the hole.
ALABAMA pulls hard. BILL winces at the sharp pain in his
leg.
Suddenly, a huge section of ice shifts -- and breaks off just
below the hole. Immense slabs of ice slide away --
They drop over the rim and crash down into the trench with a
sound like thunder.
A lower section of the Ark is exposed, clear of its frozen
shell.
ALABAMA quickly starts up the disintegrating slope. He almost
has to carry BILL.
SLABS OF ICE CONTINUE TO BREAK FREE AND SLIDE AWAY.
Under ALABAMA'S running boots, the frozen crust is splintering,
opening up, trying to swallow the daring adventurer and his
shouldered burden.
ALABAMA is almost at the top when a huge section of frozen
shell cracks open. ALABAMA is on that section --
ALABAMA grabs hold of the ice axe dangling from the belt. The
instant he does, the slab breaks free and starts to slide
away from the summit.
ALABAMA leaps forward with BILL. The ice axe in ALABAMA'S
hand sinks deep into the ice on the stable side of fault line.
The huge chunk of ice slides out from under ALABAMA and BILL.
Now there is a sheer cliff where the chunk broke away. ALABAMA
and BILL dangle against the new-formed cliff. BILL, acting
fast, gets his own ice axe and drives it deep into the lip.
BILL hangs freely to allow ALABAMA to pull himself up and
onto the safety of the lip.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 140.
ALABAMA helps BILL up to safety now.
The men catch their breath. BILL looks below where the ancient
Ark rests, almost totally free of its shell. The awe-inspiring
sight captivates BILL.
BILL
My God...
ALABAMA
(testily)
Yeah, it's beautiful. C'mon!
EXT. PERIMETER OF MOUNTAIN - THAT MOMENT
SHARON pulls back hard on the horse's reigns. The animal
whinnies and halts. The parachutist drops out of sight behind
the distant ridge. SHARON growls, frustrated.
EXT. JUMPING LEDGE - THAT MOMENT
ALABAMA shoulders BILL along the narrow ledge. They come to
the spot where VLADIMIROV leaped. ALABAMA sees the parachute
packs on the shot-dead comrades and makes the connection.
ALABAMA
He jumped. Sonofabitch!
ALABAMA starts to unbuckle the parachute pack from one of the
dead comrades.
ALABAMA (CONT'D)
The Soviet border is just over that
far ridge. That's where he'll set
down.
BILL
Alabama... I'm in no condition to be
parachuting off a mountain.
ALABAMA
I didn't bust my ass to save your life
so that you could freeze to death up
here.
BILL
I want to stay with the Ark.
ALABAMA exhales huffily.
ALABAMA
Goddamn you, Bill.
EXT. THE ARK - THAT MOMENT
A huge chunk of ice breaks off from above and goes smashing
through the vessel's roof.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 141.
The whole frame starts to slide downward, scraping on the
rocks beneath it, making our ears hurt.
EXT. JUMPING RIDGE - THAT MOMENT
ALABAMA cuts off BILL with his hand --
ALABAMA
Listen!
There is a deep, powerful rumble.
BILL
What is that?
EXT. THE ARK
As it teeters on the edge; then drops off into the trench.
The rotted wood vessel is crushed under its own weight. The
thunderous noise produced vibrates the nearby cliffs.
EXT. A HIGH PEAK
As the vibrations shake loose a wave of snow and ice.
EXT. JUMPING RIDGE - NIGHT
A NOISE! ALABAMA snaps a look up -- and SEES a big wave of
snow rolling down the cliff face above. ALABAMA and BILL are
about to be buried alive --
ALABAMA grabs BILL around the waist and runs him screaming
toward the edge --
They sail out into open space.
AND JUST IN TIME -- THE AVALANCHE CRASHES DOWN, BURYING THE
LEDGE UNDER A DRIFT OF ICE AND SNOW.
EXT. PERIMETER OF MOUNTAIN - THAT MOMENT
SHARON can hear the distant wails of someone screaming. She
looks up and sees a black dot against the moon. Then another,
a much larger dot, expanding like a balloon -- a second
parachutist.
SHARON spurs on the horse and charges off.
EXT. THE TRENCH
As tons of snow, rocks and ice flow into the trench and fill
it up. The shattered pieces of Noah's Ark are sealed away
for all eternity.
EXT. THE NIGHT SKY
BILL clings to ALABAMA for dear life, wailing at the top of
his lungs. ALABAMA has hold of BILL by his harness, but --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 142.
ALABAMA
Bill! Bill! I can't steer holding
onto you!
BILL
Don't let go! I don't wanna die!
BILL kicks up his good leg and wraps it around ALABAMA'S waist.
ALABAMA grunts painfully.
EXT. THE GROUND BELOW - THAT MOMENT
SHARON is keeping up this time. The parachutist, high up in
the air, is almost directly over her head.
EXT. THE NIGHT SKY
ALABAMA barks --
ALABAMA
Bill! Stop moving around. Put your
arms through my harness. I gotta steer
this thing or we'll end up on the rocks.
BILL isn't listening; too freaked out. His leg slips off.
He tries kicking it back up around ALABAMA'S waist again.
One too many attempts tears ALABAMA'S clipped bullwhip free --
EXT. DOWN BELOW - THAT MOMENT
As the BULLWHIP drops in around SHARON'S neck, scaring her.
SHARON brings the horse to a stop. She looks at what fell on
her: ALABAMA'S BULLWHIP.
SHARON
(hopefully)
Alabama?
SHARON watches as the parachutist drops out of sight behind
the distant ridge.
SHARON turns her head and sees a moon-washed road about a
mile's distance.
SHARON (CONT'D)
Yah!
EXT. WOODLANDS - THAT MOMENT
VLADIMIROV emerges from the dark woods with ABNER'S limp body
under his arm. He quickly walks to a sedan hidden in the
bushes.
EXT. THE PAVED ROAD - NIGHT
SHARON charges up the bank and onto the road.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 143.
SHARON pulls on the reigns, halting the horse, in order to
read a road sign: TURKEY BORDER 5 MI.
EXT. A SOVIET BORDER POST - NIGHT
The Soviet flag flutters in the breeze. Windows in the
guardhouse are lit. The gate arm is lowered and locked in
place.
INT. BORDER POST - NIGHT
The TWO SOVIET GUARDS on duty look bored, drinking coffee and
reading the latest issue of Pravda. The headline is in
Russian, but one English word stands out big and loud: A-BOMB
Now there is a THUD -- something landing on the roof of the
guardhouse. The soldiers start and look up at the ceiling.
They jump to their feet at the sounds of boot steps overhead.
The GUARDS bolt to the door and get it open fast. But they
reel back at something strange: a large sheet -- no, the
parachute -- as it floats down and covers the doorway like a
curtain. The two guards exchange looks.
EXT. PAVED ROAD - NIGHT
SHARON brings the horse to a trot, not liking what she sees:
up the road a bit is the Turkish border post.
SHARON growls.
INT. TURKISH BORDER POST - JUST AFTER
The lone TURKISH GUARD is reading a comic book, his back to a
large window that looks out at the gate.
Suddenly, a brownish blur flashes by outside, hurdling the
gate arm. The guard frowns, feeling peculiar. He looks out
the window behind him, but all appears normal.
EXT. NO MAN'S LAND - JUST AFTER
It is the section of road between the two border posts. SHARON
rides the horse at a full gallop. She is coming up fast on
the Soviet border gate.
SHARON suddenly SEES ALABAMA -- he's being held at bay by
Soviet guards with automatic rifles.
EXT. SOVIET BORDER POST - THAT MOMENT
ALABAMA is pleading with the guards, speaking RUSSIAN, and no
doubt explaining the terrible story about his son's kidnapping.
But the guards aren't stupid. GUARD #1 orders the American
dog to be quiet. BILL is on the ground, withering in pain.
GUARD #2 kicks BILL, demanding silence and getting it. He
smiles at his comrade, but finds he is being looked upon
scoldingly.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 144.
GUARD #1 (*SUBTITLED*)
We are not animals. Control yourself.
GUARD #2 shrugs sheepishly. ALABAMA starts up again. GUARD
#1 silences him with a curt finger brought to his mouth.
Suddenly, there is the CRACK of a bullwhip. GUARD #2 reacts
nervously to something like a snake wrapping itself around
his rifle. He releases the gun and it clatters on the road.
ALABAMA leaps at Guard #1 and tackles him to the pavement.
ALABAMA pulls the guard's rifle away and jumps to his feet.
ALABAMA is more than glad to see --
ALABAMA
Sharon!
SHARON
Where's Abner?
ALABAMA points the rifle at the frazzled guards.
ALABAMA
We're about to find out.
EXT. VLADIMIROV'S WOODLAND ESTATE - NIGHT
VLADIMIROV'S sedan races up the driveway --
INT. THE ESTATE - JUST AFTER
VLADIMIROV marches in through the front door, pulling ABNER
behind him. The boy struggles to free himself. ABNER is
still wearing the crampons. The spikes scrap across the marble
floor and scratch it all to hell.
The butler, ALEXANDER, is shocked --
ALEXANDER
Sir, I've never been one to meddle in
your affairs, but please have the boy
remove the spikes, as they are damaging
the floor.
VLADIMIROV laughs.
VLADIMIROV
You are a riot, Alexander.
BUTLER
I'm glad you find me so amusing, sir.
Also --
Struggling with the boy --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 145.
VLADIMIROV
(pleasantly)
Something else?
BUTLER
Yes. A telegram from Premier Stalin
came. I put it on your desk in the
study.
VLADIMIROV
Thank you, Alexander. That will be
all.
A BLACK SCREEN ALL OF A SUDDEN.
Then light spills in as a door opens below us. The high shot
again, looking down the stone staircase spiraling into the
murky depths. VLADIMIROV starts down, ABNER kicking and
fussing.
INT. SOVIET BORDER/GUARD HOUSE - NIGHT
ALABAMA is getting only resistance from the stubborn guards.
ALABAMA
Call Stal Andropov. Secret Police.
Now!
The guards stick to their guns, stoned faced, not moving.
ALABAMA snarls and snatches the rifle away from SHARON.
ALABAMA jabs the barrel against the guard's face and snaps
back the bolt.
ALABAMA (CONT'D)
Now!
INT. UNDERGROUND CRYPTIC CHAMBER
VLADIMIROV walks in and throws ABNER to the floor. He locks
the heavy wooden door behind him with a large iron key.
VLADIMIROV
Silence! I have preparations to make.
ABNER
I hate you!
VLADIMIROV
But in time ... you will worship me.
INT. SOVIET BORDER/GUARD HOUSE - THAT MOMENT
ALABAMA snatches the phone away from Guard #1.
ALABAMA
(into phone)
Vladimirov has my son.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 146.
ANDROPOV'S VOICE OVER PHONE
Yes, Doctor Smith, we are aware of
this. Vladimirov has returned to his
home with your son.
ALABAMA
What the hell are you waiting for?
Arrest him.
ANDROPOV'S VOICE OVER PHONE
This we cannot do, Doctor.
ALABAMA
I'm getting tired of this game. My
son's life is at stake. Does that
mean anything to you?
ANDROPOV PHONE VOICE
Yes. And the state would more than
likely assist you under different
circumstances. But I am afraid our --
how do you put it -- our hands are
tied on this one. We neglected to
inform you earlier, but Vladimirov is
very good friends with Stalin himself.
You can understand how rushing blindly
into this could pose serious political
complications.
ALABAMA
Damn your politics. I want my son.
ANDROPOV'S VOICE OVER PHONE
Yes. Very well, Doctor. I have
children myself. The consensus I am
prepared to make is as follows: the
state will close all eyes to any actions
you decide to take, but only for a
maximum of one hour. After that time,
you will be arrested for illegally
crossing the border and threatening
the lives of Soviet military men.
These are serious charges, Doctor. I
advise that you do what you must
quickly.
ALABAMA
You gotta be kidding!
ANDROPOV'S VOICE OVER PHONE
This is no joking matter, Doctor.
ALABAMA
(bitingly sarcastic)
Guess that's communism for you, huh?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 147.
ANDROPOV'S VOICE OVER PHONE
Communism works, Doctor. It will be
here long after democracy has crumbled.
ALABAMA
Just give me the address.
ANDROPOV'S VOICE OVER PHONE
Yes. You agree to the terms, then?
ALABAMA
No. But what choice do I have?
ANDROPOV'S VOICE OVER PHONE
I must remind you, Doctor, that if any
of this conversation is mentioned to
U.S. authorities, the Kremlin --
ALABAMA
Yeah -- the kremlin will deny everything --
I got that part already. Now gimme
the goddamn address.
INT. UNDERGROUND ANTECHAMBER
VLADIMIROV is in a room off the main worship chamber. He is
undressing. He takes off his pants ... something in his
pocket.
VLADIMIROV slides out the DYNAMITE STICK from his pocket.
VLADIMIROV
(grinning with approval)
You are a crafty one, Doctor Smith.
EXT. WOODLAND ROAD - NIGHT
ALABAMA races along on a motorbike with SHARON in the sidecar.
INT. ANTECHAMBER
VLADIMIROV, naked, slips into a priestly robe, doing so with
patience; savouring the ritual.
EXT. THE WOODLAND ESTATE
As the commandeered motorbike roars up to the front entrance.
ALABAMA leaps off the bike, snatching the rifle from the
sidecar. SHARON starts out --
ALABAMA
Stay here! Don't argue with me.
He means it.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 148.
EXT. THE ESTATE, AROUND BACK - JUST AFTER
ALABAMA creeps up to a window. He peers in, seeing the pushily
decorated living room, but no signs of VLADIMIROV or ABNER.
INT. THE PLUSH LIVING ROOM - JUST AFTER
ALABAMA opens the window and pokes his head in. Suddenly, he
is grabbed by the scruff of the neck and yanked through the
window like a rag doll.
ALABAMA crashes to the floor.
HANDS grab ALABAMA by his jacket and heave him up --
ALABAMA, dazed, looks into the gentle face of ALEXANDER, the
estate butler. Without saying a word, ALEXANDER hurls ALABAMA
over the couch.
ALABAMA crashes through the coffee table on the other side.
ALEXANDER takes a moment to adjust a skewed painting on the
wall.
ALABAMA jumps up behind ALEXANDER, ready to let fly with
bullets from the retrieved rifle.
THE WEAPON EXPLODES IN ALABAMA'S HANDS.
Without turning around --
ALEXANDER
Always check your weapon first. If
you had, then you would've noticed
that the barrel was bent.
Who the hell is this guy.
Throwing the useless rifle to the floor --
ALABAMA
Where's my son?!
ALEXANDER
Playing with the master.
ALABAMA
Where?
ALEXANDER
As you Americans say: that's for me to
know and for you to find out.
ALABAMA doesn't like this guy; he charges at him.
ALEXANDER spins gracefully around, thrusting out his hand.
ALABAMA'S chest takes the full impact. Eyes popping out,
ALABAMA grabs at his chest and drops to his knees.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 149.
ALEXANDER steps around behind ALABAMA.
ALEXANDER (CONT'D)
It has been fun, sir, but I have some
chores to attend to. Goodbye.
ALEXANDER takes ALABAMA by his neck and squeezes hard. ALABAMA
claws at the butler's pale hands, turning beat red.
ALABAMA struggles but the butler's grip is inhuman.
ALABAMA is about to pass out.
At which point SHARON runs up and smashes a large vase over
the butler's head. But, incredibly, it has no affect.
ALEXANDER continues strangling ALABAMA.
SHARON panics. She grabs what she sees and beats the butler
on the head with everything and anything. ALABAMA can't take
much more of this -- he's just seconds away from blacking
out.
As a last resort, SHARON drives her leg up between the butler's
legs. This has an affect: the butler lets go and drops to
the floor, not moving.
SHARON kneels at ALABAMA'S side.
SHARON
Oh god -- are you okay?
ALABAMA is trying to catch his breath.
SHARON (CONT'D)
Alabama Smith, you keep telling me to
stay put -- but you keep needing to be
rescued.
Staggering to his feet --
ALABAMA
(hoarsely)
Abner -- he's here. We gotta find
him.
INT. CRYPTIC CHAMBER
VLADIMIROV looks priestly, all decked out in his robe. He
gently lifts out the skull from a cloth shoulder bag and steps
to the upright casket.
VLADIMIROV parts the lid and stares up in reverence at the
headless skeleton.
VLADIMIROV
Behold Abner...
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 150.
The little boy is pressed into a corner, weeping, scared.
VLADIMIROV (CONT'D)
...a creation 3 millennia in the making.
Comprised of some of the world's most
fearsome men...ruthless...savage
...decadent men.
VLADIMIROV points to areas of the skeleton --
VLADIMIROV (CONT'D)
The feet: Caligula...the legs: Napoleon.
Spine: Genghis Khan. Ribcage: Attila
The Hun. Shoulders: Herod. Arms and
hands: Hitler. And the crowning
glory...
VLADIMIROV sets the skull down on the spine. The skull stays
magically perched as VLADIMIROV'S hands move away.
VLADIMIROV (CONT'D)
...the Unclean Son.
INT. FRONT FOYER
ALABAMA and SHARON, brandishing broadswords, are ready to
search the house.
ALABAMA
I'll look down here. You check up
stairs. Shout if you need me.
SHARON
Ditto.
SHARON runs up the grand staircase.
ALABAMA is about to move out when he sees something at his
feet.
ALABAMA picks up a piece of pointed metal -- A BOOT SPIKE,
BROKEN OFF.
ALABAMA regards the marble floor, gouged and scratched up.
INT. DOOR TO UNDERGROUND CHAMBER - JUST AFTER
ALABAMA has followed the trail of gouges and scratches to
this spot.
ALABAMA suspiciously regards the door before him...
INT. STONE STAIR WELL
ALABAMA starts down the steps, sword brandished, reflexes
sharp; he's ready for anything.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 151.
INT. HIGH STONE CORRIDOR
ALABAMA looks at the heavy wooden door at the corridor's end.
VLADIMIROV'S chanting ECHOES darkly through the corridor.
ALABAMA starts along the underpass, candle light flickering
on his face. He moves ever so cautiously, eyeing with unease
the humanoid statues that flank him.
AT THE HEAVY DOOR
ALABAMA looks down -- light is flickering out from under the
big door.
ALABAMA grabs hold of the iron handle and pulls. The door is
locked solid.
ALABAMA kneels and peeks through the keyhole: ABNER is on the
floor, crying into his hands. VLADIMIROV is nowhere in sight.
ALABAMA thinks. A plan starts to surface. ALABAMA looks up
at the tall statue looming next to him; and then back at the
big Door -- it just might work?
INT. UPSTAIRS BEDROOM
SHARON takes a peek inside. The bedroom is empty. SHARON
nudges the door open, sword at the ready.
Suddenly, a DARK FIGURE steps in behind SHARON.
SHARON senses the presence immediately. SHARON spins around,
her sword coming around fast in both hands --
ALEXANDER reflexively puts up his arm to block what's coming
at him -- AND THE SWORD CHOPS HIS ARM OFF AT THE ELBOW.
The severed arm flops onto the carpet. ALEXANDER regards his
bloody stub with mild curiosity.
SHARON
(chest heaving)
What the hell are you?!
BUTLER
The butler, madam.
SHARON
Well pack your bags, pal. 'Cause you
just got the axe.
At which point SHARON pulls the big sword back in both hands
and lets fly -- swoosh!
ALEXANDER'S head is cut off and it goes spinning through the
air.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 152.
INT. STONE CORRIDOR
ALABAMA is on top of the statue, about ten feet up. ALABAMA
slides in behind the head, sets his boots firmly, and then
works himself into place, back pressed up against the stone
wall.
ALABAMA'S master plan is revealed: A QUICK TRACKING SHOT
takes us from ALABAMA'S bullwhip, one end tied to the statue,
along the whip's full length, to the other end where it is
tied to the handle of the big door.
ALABAMA, his back against the wall for leverage, pushes down
with everything he's got.
INT. CRYPTIC CHAMBER
VLADIMIROV'S chanting is affecting the skeleton: it rattles
nosily.
THEN, HORRIBLY, TENDONS, MUSCLES, ORGANS BEGIN TO TAKE SHAPE,
GROWING, REACHING OUT TO THE BONES.
INT. STONE CORRIDOR
As ALABAMA gives it a big push --
The statue starts to tip off its base. One more big push
and the statue teeters. The whip is pulled taut with a snap --
and then the big door is yanked right out of its frame as the
statue falls and smashes on the floor.
ABNER looks --
ABNER
Dad!
INT. CHAMBER
As ALABAMA runs in --
ALABAMA
Run! Get out of here!
ABNER scrambles out into the corridor --
ALABAMA spins around expecting VLADIMIROV -- but he's gone.
ALABAMA sees a closed door and runs to it --
ALABAMA doesn't notice the skeleton. Veins are spreading and
A HEART THUMPS STEADILY IN THE CHEST CAVITY.
INT. ANTECHAMBER
As the door is kicked open by ALABAMA. The room is empty.
ALABAMA spots the STICK OF DYNAMITE on the table.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 153.
ALABAMA rushes in after the stick. VLADIMIROV drops down
from a ledge over the door and lands on ALABAMA. The
adventurer is sent crashing into the table. The dynamite
stick is knocked off the table and it goes skittering across
the floor.
VLADIMIROV flips ALABAMA over onto his back.
VLADIMIROV
(spitting mad)
You evidently haven't seen enough.
ALABAMA
(evenly)
I've seen plenty. Enough to know you're
one sick sonofabitch.
VLADIMIROV hoists ALABAMA up and tosses him clear across the
room.
ALABAMA hits the back wall and lands hard, his face smacking
the floor --
ALABAMA sees the stick of dynamite lying near his head.
ALABAMA grabs it quickly -- but is hoisted up and off the
floor again.
VLADIMIROV pulls ALABAMA in very close. Their faces are only
an inch apart.
VLADIMIROV
You don't know when to give up.
ALABAMA
Always been a sore loser.
ALABAMA, we see, has the dynamite stick in his hand. ALABAMA
surreptitiously makes the fuse real short.
VLADIMIROV doesn't notice.
VLADIMIROV
And lose you will.
Suddenly, ALABAMA pulls free and serves up a walloping left-
hook. The punch stuns VLADIMIROV -- just long enough for
ALABAMA to light the fuse off a nearby candle.
ALABAMA stuffs the fizzing stick into VLADIMIROV'S robe.
ALABAMA
Sorry. I win.
ALABAMA bolts for the door --
INT. CORRIDOR
As ALABAMA runs from the chamber --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 154.
INT. CHAMBER
As VLADIMIROV, panicking, digs in his robe for the live
dynamite stick.
VLADIMIROV finds the stick and pulls it out -- the dynamite
is just seconds away from detonating.
VLADIMIROV flings the stick away in a rush to get rid of it.
At which point the big Russian screams like a woman when he
sees where he has thrown the dynamite stick --
The live stick lands with a clunk inside the casket -- JUST
AS THE EYES OF THE UNCLEAN SON SNAP OPEN.
INT. CORRIDOR
KAH-BOOM! -- a huge fire ball shoots through the doorway like
fire from a dragon's mouth.
INT. UPSTAIRS, AT THE DOOR TO UNDERGROUND CHAMBER
As SHARON and ABNER react alarmingly to the explosion. They
freeze at the thought of ALABAMA dead...
Now the big door swings open and ALABAMA SMITH stumbles out.
ABNER
(shaken)
Is the evil man dead?
ALABAMA
Yes. C'mere!
Father and son hug like there's no tomorrow.
ABNER holds up ALABAMA'S BULLWHIP. ALABAMA takes it,
appreciative.
EXT. THE ESTATE - NIGHT
ALABAMA, SHARON and ABNER, their legs feeling like lead, walk
to the parked motorbike.
INT. SUDDENLY WE ARE BACK INSIDE THE ESTATE
As the big door to the underground chamber slowly opens and
reveals a ghastly VLADIMIROV, his skin burned and charred;
his robe tattered and scorched.
INT. THE STUDY - JUST AFTER
VLADIMIROV staggers over to the desk and collapses
unceremoniously into the chair.
VLADIMIROV takes a pistol out of the desk drawer. He points
the gun at his own head.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 155.
VLADIMIROV
(a whisper)
I have failed thee.
VLADIMIROV'S finger starts to pull back on the trigger --
At which point VLADIMIROV notices something on the desk.
VLADIMIROV puts the gun down. Our gothic choir mixes up.
PUSH IN ON A WHITE ENVELOPE RESTING ON THE DESK MATE. The
gothic choir climaxes, reverberating with the resurrection of
evil.
EXT. THE ESTATE - NIGHT
At the bike --
ALABAMA
We've got less than fifteen minutes to
get to the border. Take any longer
and we'll be permanent guests of the
Kremlin.
CRACK! A gunshot startles everyone. Two more follow -- BLAM!
BLAM!
ALABAMA looks at the estate.
ALABAMA (CONT'D)
Wait here.
INT. FOYER - JUST AFTER
ALABAMA enters the estate, heedful, cautious.
AT ALABAMA'S foot is the butler's headless body, pock-marked
with bullets, the legs twitching.
INT. DOOR TO UNDERGROUND CHAMBER - JUST AFTER
The big door is wide open. ALABAMA looks down at a trail of
blood leading away --
INT. THE STUDY - JUST AFTER
ALABAMA, alert, peeks in. The room appears to be empty. The
trail of blood tracks across the room and over to the desk.
Now ALABAMA is at the desk looking at a telegram with
VLADIMIROV'S bloody fingerprints on it. ALABAMA mutters to
himself in English bits of the telegram typed in Russian.
ALABAMA
Presence is requested?...important day
in history?...testing?...
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 156.
ALABAMA is confused by the telegram. He looks to the side
contemplatively.
At which point ALABAMA sees a rolled up Pravda. ALABAMA unrolls
the newspaper and reads out loud in English the headline
written in Russian:
ALABAMA (CONT'D)
"THE A-BOMB ACHIEVEMENT"
Suddenly --
SHARON'S VOICE CRIES OUT ALABAMA!
EXT. THE ESTATE - JUST AFTER
ALABAMA runs outside in time to catch the taillights of
VLADIMIROV'S sedan as it races away.
ALABAMA
No!
SHARON
Alabama. Over here.
ALABAMA whirls around and is relieved by the sight of SHARON
and ABNER safe.
ABNER
That was Vladimirov. You said he was
dead.
ALABAMA jumps onto the motorbike.
ALABAMA
Stay here with Abner.
SHARON
Stay here -- where the hell are you
going?
Firing up the bike --
ALABAMA
To drop a bomb on the crazy sonofabitch.
The motorbike peels out.
EXT. COUNTRY ROAD - NIGHT
With THE RAIDERS' MARCH trumpeting on the soundtrack, ALABAMA
appears astride the high speeding motorbike. Far up the road,
ALABAMA can see the sedan's taillights.
EXT. A SOVIET AIR FORCE BASE - NIGHT
Beyond the sentry post and front gate, are hangers,
administration, and officer's quarters.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 157.
INT. OFFICER'S LOUNGE - NIGHT
The SOVIET HIGH BRASS is gathered here in an atmosphere of
patriotic snobbery. A sturdy built man has his back to us as
a waiter says --
WAITER
Your drink, Comrade Premier.
Soviet Premier, JOSEPH STALIN, turns around and takes his
drink. He returns to the conversation with HIGH MILITARY
BRASS and their WIVES:
STALIN
As I was saying: The Kremlin
acknowledges American development and
deployment of the first A-BOMB. But
it was crude and not very reliable.
The Soviet A-BOMB is masterfully
constructed and is sure to be the envy
of the Americans.
STALIN takes a sip of his champagne.
A WIFE
Comrade Premier?
STALIN
Yes, my dear. And may I say you look
stunning tonight. The light generated
from an atomic explosion does not
compare to your radiance.
He's gotta be kidding. The light from a match is more radiant.
Safe to assume STALIN is feeling the champagne. The wife
smiles, charmed off her feet.
STALIN (CONT'D)
Please, what was your question?
WIFE
Yes. Well, about tonight's de --
deployment? Is that correct?
STALIN
Yes, my dear.
WIFE
The deployment...how will this be
accomplished?
STALIN
Good question. A C-23 Bomber, the
pride of the Soviet Airforce, will
take off from here, fly out over the
Kara Sea about 100 miles and deploy
the bomb.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 158.
WIFE
Over the Kara Sea -- how will we see
it?
STALIN
Very good. Beauty and brains. A fine
combination. But in answer to your
query, a transport will take us to the
coast where we will have a front row
seat. That reminds me: the transport
should be leaving very shortly.
EXT. SOVIET AIR FORCE BASE - NIGHT
ALABAMA kills the motorbike's engine and coasts to a stop,
back about a hundred feet from the main gate.
EXT. MAIN GATE SENTRY POST - NIGHT
ALABAMA creeps up. He looks inside the guardhouse. On the
floor lies a SENTRY, dead and bleeding.
INT. OFFICER'S LOUNGE - NIGHT
A WAITER interrupts STALIN and his guests --
WAITER
Sorry for the interruption, Comrade
Premier, but Captain Vladimirov wishes
to speak with you.
STALIN
Ah, wonderful. Where is he?
WAITER
(whispering)
I believe he is feeling ill. He is in
the staff washroom. I only heard his
voice coming from a stall, and he
requested that I fetch you immediately.
STALIN
Ah, the man has been celebrating
already. Please, excuse me.
INT. STAFF WASHROOM - JUST AFTER
STALIN enters.
STALIN
Captain, you have called me away from
a vision of loveliness. I hope that
for your sake you are good and ill.
Captain?
From behind a stall door comes --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 159.
VLADIMIROV'S VOICE
Comrade Premier, I am over here.
STALIN walks to a nearby stall.
STALIN
What is wrong with you?
On that, the stall door is thrown back and the disfigured
VLADIMIROV springs out. VLADIMIROV puts STALIN in a neck-
breaking chokehold and shoves a pistol into the Premier's
side as an added incentive.
VLADIMIROV, we note, is all decked out in his military dress
uniform.
STALIN (CONT'D)
(gagging)
What -- what is the meaning of this,
Captain?
VLADIMIROV
Atonement.
EXT. THE BASE - NIGHT
ALABAMA has commandeered a cap and raincoat from the sentry
post. He blends in nicely as he searches high and low for
VLADIMIROV.
EXT. BETWEEN THE OFFICER'S QUARTERS - NIGHT
VLADIMIROV is forcing STALIN to toward a distant hanger.
Deep shadows provide excellent cover.
STALIN
You will die in a Siberian prison for
your crimes against the state.
VLADIMIROV
I will die, comrade, but not in a
prison. After I am through tonight,
the world will be a different place.
STALIN
What are you raving about?
VLADIMIROV
When I am through, the Super Powers
will be at war.
EXT. THE BASE - NIGHT
ALABAMA isn't having much luck -- and it just gets worse:
A SENTRY on a motorcycle rides up.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 160.
BIKE SENTRY
Comrade, do you have a light?
ALABAMA turns slowly around and faces the sentry.
ALABAMA digs into his pant's pocket and pulls out -- nope --
just a match. He lights the sentry's cigarette.
SENTRY
Thank you, comrade.
(frowning)
I have not seen you before...
ALABAMA
Just transferred. Yesterday.
SENTRY
Yesterday you say. From where did you
transfer?
ALABAMA just cornered himself.
INT. A HANGER - NIGHT
A GROUND CREW is busy with final preparations. The pride of
the Soviet Air Force awaits her confirmation for take off.
INT. COCKPIT OF BOMBER
PILOT and CO-PILOT make final flight instrument checks.
EXT. BACK TO ALABAMA
SENTRY
(suspicious now)
I will ask you again: where did you
transfer?
ALABAMA
(playing dumb)
Oh, transfer from...yes...now I see.
The sentry makes a face.
INT. THE HANGER
VLADIMIROV peers out, hidden within the shadows. The bomber's
four propeller-driven engines start up.
EXT. BACK TO ALABAMA
Who now hears the engines of a plane somewhere -- that hanger,
just over there. The sound is coming from that hanger.
SENTRY
What is your name? Or have you
forgotten that too?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 161.
ALABAMA
My...name. My name. You wanna know
my name.
INT. THE HANGER
VLADIMIROV, his head down, walks behind STALIN with the pistol
jabbed into the small of the Premier's back. They move toward
the plane.
A CREWMAN sees the Premier approaching and snaps to attention.
CREWMAN
Comrade Premier. The plane is ready.
VLADIMIROV fires off a shot. The crewman drops dead. The
engine noise muffled the gunshot.
EXT. BACK TO ALABAMA
Who did not hear the gunshot, and who is too busy with the 20
questions. The sentry shuts off the bike and stands.
SENTRY
I will report you, comrade. What is
your name? Where did you transfer?
He reaches for his sidearm.
ALABAMA
Transfer from...well, I did transfer
once...from the downtown to the uptown
bus.
ALABAMA doesn't wait for a reaction -- and elbows the sentry --
dead in the face.
INT. COCKPIT OF BOMBER
As the PILOT and CO-PILOT are shot dead.
STALIN
You call yourself a Russian? No Russian
would shoot his fellow countryman in
cold blood.
VLADIMIROV
(maniacally)
I'm not Russian -- I'm a Son of
Darkness.
At which point VLADIMIROV conks STALIN on the head with the
butt of his pistol. The Premier drops to the cockpit floor,
out cold.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 162.
EXT. BACK TO ALABAMA
Who is dragging the KO'd sentry behind some crates. The sentry
out of sight, ALABAMA looks out across the apron to the hanger.
EXT. THE HANGER
As the bomber rolls out --
BACK A BIT, ALABAMA watches the plane, not sure why.
INT. COCKPIT
VLADIMIROV is at the controls.
OVER A SPEAKER
Red Bear 1, you have not been cleared.
Repeat: you have not been --
VLADIMIROV clicks off the speaker. Suddenly the co-pilot
pops up.
He lunges at VLADIMIROV and the big Russian is thrown forward
in the chair, his hand ramming the throttle stick.
EXT. THE BOMBER
As its engines roar noisily.
BACK A BIT, ALABAMA snaps a look at the plane. The big bomber
starts to veer, as if out of control.
INT. COCKPIT
VLADIMIROV and the CO-PILOT are struggling for the pistol.
It fires accidentally and shoots a hole through the cockpit
glass.
EXT. A ZIP PAN
Finds ALABAMA. There's no doubt in his mind now.
ALABAMA leaps onto the sentry's motorbike.
INT. COCKPIT
As VLADIMIROV gets the gun away and unloads it into the
meddlesome CO-PILOT.
VLADIMIROV, back at the controls, trims the engines.
EXT. BACK TO ALABAMA
Who is having trouble getting the bike started.
ALABAMA
C'mon! C'mon!
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 163.
EXT. THE BOMBER
As its big wheels roll forward --
EXT. THE TAXIWAY - JUST AFTER
The bomber rolls onto the taxiway. The SOUND of distant sirens
picks up.
EXT. BACK TO ALABAMA
Who finally gets the bike started. ALABAMA looks out across
the airfield and reacts alarmingly to the bomber's takeoff
position on the runway.
INT. COCKPIT
As VLADIMIROV eases the throttle forward --
EXT. BACK TO ALABAMA
Who now sees a distant squad of MILITARY VEHICLES racing toward
the bomber. But it's no comfort. A glance to the bomber
tells us why --
ALABAMA
Too far. Dammit!
ALABAMA guns the throttle.
EXT. RUNWAY - JUST AFTER
The bomber picks up speed.
Suddenly ALABAMA drives onto the runway, back about a 100
feet from the plane.
ALABAMA guns the throttle and the bike pops-a-wheelie.
INT. COCKPIT
VLADIMIROV is intent on the runway ahead.
EXT. FAST MOVING BOMBER
As ALABAMA drives in under the plane's wing and matches the
craft's speed.
ALABAMA is dangerously close to the plane's spinning tire.
ALABAMA reaches out and grabs hold of the gear strut -- and
pulls himself off the bike.
The rider-less motorbike drops to the rushing ground beneath
it and flips side-over-side, smashing to pieces.
ALABAMA, with much effort, gets his boots up and onto the
wheel cowling --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 164.
Suddenly the plane lifts off --
INT. COCKPIT
As VLADIMIROV flicks the landing gear up switch --
EXT. UNDER THE WING
As the hydraulics hum and startle ALABAMA. The landing gear
starts to fold in. ALABAMA can do nothing.
ALABAMA hangs on for dear life ... and disappears up inside
the wing.
The covers fold in and seal over the landing gear like a coffin
lid.
The bomber climbs to a high altitude and levels off.
INT. COCKPIT
VLADIMIROV switches on the autopilot. He rises and goes to
the navigator's station.
VLADIMIROV begins to flip through a binder. Inside are maps
with latitude and longitude lines.
VLADIMIROV plots a bombing coarse -- over the Arctic Circle --
and into the United States.
INT. THE WING
ALABAMA is crammed inside the service duct. ALABAMA wiggles
himself toward an access panel.
ALABAMA pushes on the panel but it won't open.
INT. COCKPIT
VLADIMIROV stops plotting a course ... there is a muffled
Sound ... a pounding of some sort, just heard under the hum
of the engines.
INT. THE WING
ALABAMA is punching the panel with his fist. It buckles.
Then snaps open --
INT. BELLY OF PLANE
ALABAMA pulls himself through the access opening and drops
down into the belly. The ceiling is quite low; ALABAMA has
to squat.
ALABAMA looks for a hatchway overhead and sees one.
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"SONS OF DARKNESS" 02/04/97 165.
INT. THE BOMB BAY
In the floor, the hatchway cracks open a bit and ALABAMA'S
eyes pop up and peer out at the bomb bay -- it's empty.
ALABAMA reaches down to unholster the .45 when suddenly the
hatchway door opens and a HAND reaches down, grabbing him by
the scruff of the neck.
ALABAMA is yanked up through the hatchway.
VLADIMIROV tosses ALABAMA aside.
ALABAMA hits the floor and rolls into a camera tripod -- OUCH.
There are a half dozen automatic motion picture cameras on
tripods. Soviet home movies.
Holding a pistol on ALABAMA --
VLADIMIROV
Fool! Did you really think you could
stop me?!
Getting to his feet --
ALABAMA
(wryly)
That was the idea.
VLADIMIROV
Doctor, Doctor...will you never learn?
ALABAMA
Always did have a problem with attention
span. Teachers hated it.
VLADIMIROV
(chuckling)
Very good, Doctor. You are a funny
man. Even in the face of death. I
applaud you. It is a shame you will
miss my finest hour.
(a thought)
Ah, but why miss it. I should strap
you to a chair...let you watch as I
fly this plane directly into the Empire
State building. Or better: right into
your living room. Boston seemed like a
nice place. Nice enough, I think, to
wipe cleanly from the face of the earth.
ALABAMA
You'll never get away with it. The
U.S. Airforce will be all over this
plane once you enter --
VLADIMIROV laughs hardily.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 166.
ALABAMA (CONT'D)
I say something funny?
VLADIMIROV
Doctor, I'm surprised by your display
of ignorance. Obviously atomic science
is not your specialty. Let them shoot
me down. Once I arm the bomb, it won't
matter. Yes, possibly my desired target
will be missed. But in the end it
will be the same result -- World War
III.
ALABAMA
Why?
VLADIMIROV
Atonement, Doctor. I will meet my
maker with a clean conscience. Can
you say as much?
ALABAMA
Your maker? I hate to rain on your
parade, but I doubt very much that the
All Mighty will be thrilled to see
you.
VLADIMIROV
Your God, no. My God, yes. Are you
that clueless, Doctor? What almost
happened tonight goes beyond simple
notions of good and evil. Godkind
came close to extinction tonight.
Ever so close.
(GRIMACING)
You have no idea, Doctor. Yes, this
world is His....for the time being.
But there will come a time.
(beat)
Soon I think. But for now a planet at
war...millions dead...millions more
suffering from fallout....will have to
do. Simply put, Doctor: Armageddon
will have to wait.
ALABAMA
You're insane.
VLADIMIROV
All the great ones are.
(pause)
On second thought, I don't consider
you worthy enough for such a front row
seat. You should die plainly -- without
honour. You should die like a fallen
animal. A merciful bullet to the head.
VLADIMIROV snaps back the trigger -- CLICK. The gun's empty.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 167.
ALABAMA smirks.
ALABAMA
Hasn't been your day.
ALABAMA snaps his hand back to his holstered .45 -- whoops,
it's not there. VLADIMIROV mockingly smiles.
VLADIMIROV
Not yours either.
ALABAMA makes a face. Then ALABAMA surprises us with the
appearance of his trusty bullwhip. The whip lashes out. It
misses the Intended target -- VLADIMIROV -- and wraps itself
around the leg of a camera tripod.
VLADIMIROV (CONT'D)
You must work on your aim, Doctor.
ALABAMA
It's usually pretty good.
VLADIMIROV
It must be the pressure.
On that, VLADIMIROV charges at ALABAMA.
ALABAMA gets out of the way fast and drops down into the bomb
Rack -- his boots slamming down onto the warhead's shell.
VLADIMIROV halts and smiles grotesquely.
VLADIMIROV (CONT'D)
(referring to bomb)
Beautiful...isn't it, Doctor. How
does it feel to be standing on 15
kilotons of mastered power?
ALABAMA
Why don't you come down here and find
out for yourself.
VLADIMIROV
Just think how lovely a light it makes.
A cloud of fire 900 feet in the air.
Though not as hot as Hell, Doctor.
But close enough.
ALABAMA
Rot in Hell you sonofabitch.
VLADIMIROV
I look forward to it.
At which point VLADIMIROV spots something on the floor. He
bends down and picks up ALABAMA'S .45.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 168.
VLADIMIROV (CONT'D)
Yours?
ALABAMA rolls his eyes.
VLADIMIROV (CONT'D)
Are you always this prepared, Doctor?
VLADIMIROV points the gun at ALABAMA and chuckles.
VLADIMIROV (CONT'D)
Goodbye, Doctor Smith. I hope you and
your God will be happy together.
SUDDENLY HEAVY MACHINEGUN FIRE CUTS IN. Bullets punch through
the fuselage and rake the bomb bay.
EXT. THE NIGHT SKY
A squadron of SOVIET FIGHTER PLANES is attacking the bomber.
Their roaring wing canons light up the night sky.
INT. A FIGHTER PLANE'S COCKPIT
Over the PILOT'S radio --
A VOICE (*SUBTITLED*)
(orders)
Splash the bomber. Repeat: splash the
bomber.
INT. BOMB BAY
As VLADIMIROV rushes up inside --
A GUN TURRET.
VLADIMIROV opens fire on the squadron.
BELOW, ALABAMA is starting to climb out of the bomb rack when
raking bullets force him to duck. A hydraulic hose ruptures --
hit.
-- and sprays ALABAMA with fluid.
The least of his problems, as now the bomb bay doors flop
open from a lose of pressure -- right out from under ALABAMA'S
feet.
ALABAMA grabs hold of the first thing he sees -- the handle
of the dangling bullwhip. ALABAMA starts to fall out, but is
stopped by the whip jerking taut in his hands.
ALABAMA'S boots are sticking outside the plane, exposed to
the rushing air.
ALABAMA, hand-over-hand, starts to pull himself back up inside
the bomb rack.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 169.
But his weight is starting to bend the tripod leg, which the
end of the whip is lassoed to.
UP INSIDE THE GUN TURRET
VLADIMIROV is having a great old time. He fires wildly at
the swooping planes.
EXT. NIGHT SKY
As VLADIMIROV'S fire takes out a fighter plane -- KAH-BOOM.
INT. BOMB BAY
Suddenly, the tripod snaps free from its anchors and topples
over. ALABAMA drops -- right out into space --
EXT. THE BOMBER
As ALABAMA, clutching the whip in a deathgrip, is slammed up
against the underside of the fuselage by the force of rushing
air.
INT. BOMB BAY
The tripod gets pulled down into the bomb rack where it gets
lodged in the framework.
EXT. UNDERSIDE OF PLANE
The whip no longer taut, ALABAMA is pushed by the rushing air
and slides backwards, his stomach pressed up against the
underside of the plane. But he only goes a few feet, then is
jerked to a stop as the whip snaps taut again.
INT. BOMB BAY
STALIN revives slowly and staggers to his feet. He cringes
at the sound of machine fire.
INT. COCKPIT OF BOMBER
STALIN gets on the radio --
EXT. UNDERSIDE OF BOMBER
ALABAMA, hand-over-hand on the whip, struggles against the
powerful rush of air and pulls himself along, trying to get
back to the bomb bay --
INT. COCKPIT
STALIN barks into the radio --
STALIN (*SUBTITLED*)
Call off the planes.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 170.
INT. COCKPIT OF FIGHTER PLANE
AS THE ORDER COMES TO
RADIO VOICE (*SUBTITLED*)
Abort. Abort. Comrade Premier is on
board the bomber.
EXT. THE SKY
As the squadron ceases firing immediately.
INT. GUN TURRET
VLADIMIROV shouts triumphantly at the squadron banking away
and flying off.
INT. BOMB BAY
VLADIMIROV drops down from inside the gun turret and finds
himself at gunpoint.
STALIN
Enough, Captain!
At which point VLADIMIROV runs to the bomber's station. STALIN
fires. VLADIMIROV is hit in the side, but he remains on his
feet. VLADIMIROV fights the pain as he reaches out and
ARMS THE WARHEAD.
STALIN fires repeatedly. VLADIMIROV takes each slug with a
sneer.
VLADIMIROV
Bombs away!
At which point VLADIMIROV pulls up the bomb release handle
and jumps down onto the warhead -- just as it is deployed.
EXT. UNDERSIDE OF BOMBER
As VLADIMIROV, clinging to the warhead, drops out into open
Air -- right past ALABAMA who's eyes widen at the sight of
VLADIMIROV Grinning at him.
VLADIMIROV waves maniacally as the bomb falls away.
VLADIMIROV
Long live the Sons of
Darkneeeeeeeeeeeeeeeeeeess.
ON THE FALLING BOMB WITH VLADIMIROV -- THE SKY ZOOMS PASSED.
VLADIMIROV works himself around so as to face the --
Dark ocean below. The waters rise up, getting closer and
closer with each passing second.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 171.
VLADIMIROV (CONT'D)
(under his breath)
I'm coming home.
Suddenly, the OCEAN is right in our faces.
A BLINDING LIGHT WHITES OUT THE SCREEN.
ALABAMA, still pressed up against the underside of the plane,
snaps his eyes shut. Light -- as bright as the sun -- floods
him momentarily.
BELOW, AN ENORMOUS MUSHROOM CLOUD RISES HIGH INTO THE SKY.
THE BLAST WAVE EXPANDS OVER THE OCEAN AND INSTANTLY VAPORIZES
ICEBERGS THE SIZE OF BUILDINGS.
INT. BOMB RACK
ALABAMA reaches in and gets hold of a strut. He starts to
heave himself up when STALIN reaches in and offers his hand.
STALIN
Take my hand.
ALABAMA takes STALIN'S hand.
INT. COCKPIT - JUST AFTER
ALABAMA and STALIN stagger in. STALIN, exhausted, takes a
seat in the pilot's seat. ALABAMA, his body aching, eases
into the co-pilot's seat.
STALIN
I won't ask how you got here.
ALABAMA
Good.
(weakly)
Can you land this thing?
STALIN
Certainly.
ALABAMA
Good. 'Cause I can't.
STALIN takes the controls.
STALIN
You tried to stop him. Didn't you?
ALABAMA
Tried to.
STALIN
Very bold.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 172.
ALABAMA
Very stupid.
STALIN
Just the same, my country is grateful.
Your show of courage deserves a reward.
Anything you want. It is yours.
ALABAMA
Anything, huh? How about abolishing
the communist party and giving democracy
a chance?
STALIN gives ALABAMA a look.
ALABAMA (CONT'D)
No. Then how about a first class ticket
back home?
STALIN
Gladly.
ALABAMA
Better make that four tickets.
STALIN
Ah, for your girlfriends, no doubt.
ALABAMA
No ... for my family ... and one major
pain in the ass.
EXT. THE SKY
The bomber gently banks and flies away into the rising sun.
DISSOLVE TO:
EXT. ISTANBUL AIRPORT - DAY
ALABAMA, SHARON, ABNER, BILL AND MALLAH. BILL'S leg is in a
cast and he stands on crutches.
ALABAMA
Mallah, I can't thank you enough.
MALLAH
My pleasure, Alabama. I am happy that
you and your family are reunited.
SHARON kisses MALLAH.
SHARON
You're a saint, Mallah. A angel sent
from heaven.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 173.
MALLAH
(moved)
Thank you, Sharon. My love to you
all. Especially you, little Alabama.
MALLAH ruffles ABNER'S hair.
ABNER
(smiling)
Bye, Mallah.
MALLAH walks away, singing, arms pumping to the rhythm.
MALLAH
Aaa British tar is a soaring soul as
free as a mountain bird...his energetic
fist should be ready to resist...
MALLAH's singing fades.
ABNER
Can we go home now?
ALABAMA and SHARON give ABNER incredulous looks.
BILL
Yes...please.
ALABAMA
After you, William.
BILL
Bill, will do.
ALABAMA
Fine, Bill...after you.
BILL
May I call you, Henry.
ALABAMA
We'll talk about it.
DISSOLVE TO:
EXT. A VERMONT ELEMENTARY SCHOOL - DAY
Establish the quaint little school, as over we hear:
THE PRINCIPLE'S VOICE
And this year's bible-class grand
prizewinner, a trip to Jerusalem, goes
to --
INT. SCHOOL GYMNASIUM - DAY
The school PRINCIPLE is at a podium before a large assembly
made up of KIDS and PARENTS.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 174.
A big bible-class contest banner hangs from the rafters.
Display cubicles number in the dozens.
PRINCIPLE
-- Mark Graham.
The crowd applauds. But there is one among them that does
not... ABNER.
EXT. THE SCHOOL - SOON AFTER
ALABAMA, SHARON and a glum looking ABNER, stroll along the
cement pathway.
SHARON
Hey, don't look so glum. You won third
prize -- it's better than nothing.
ABNER
Bet if I had a piece of the Ark, I
would have come in first.
Mention of the Ark brings back unpleasant memories for all.
After a beat:
SHARON
(changing the subject)
Hey, whuddayou guys say we eat out
tonight and catch a movie. "Treasure
of Sierra Madre" is supposed to be
pretty good.
ABNER
(beaming)
Treasure.
SHARON
(having second thoughts)
Maybe not that one.
ALABAMA
(to himself)
It's gonna take some getting used to.
SHARON
(over hearing him)
And what's that, pray tell?
ALABAMA snuggles up close to SHARON and smiles.
ALABAMA
Home cooked meals...Saturday morning
catch....report cards....first date.
SHARON
(feeling naughty)
Something else you'll have to get used
to...
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 175.
ALABAMA
And what's that, pray tell?
SHARON
The long, hot, passionate nights.
SHARON and ALABAMA kiss long and deep. They break.
SHARON (CONT'D)
So, Kiddo --
SHARON almost screams -- ABNER is gone.
ALABAMA
Don't panic. He's gotta be around
here some place.
They scan the school grounds.
ALABAMA (CONT'D)
Maybe he's at the playground.
A few tension filled moments. Then:
ABNER'S VOICE
Hey!
ABNER runs up with his Popsicle stick Ark in hand.
SHARON
Abner! I'm gonna put you on a leash!
ABNER shoots his mom a sarcastic look.
ALABAMA
Why'd you go back for your model?
ABNER
I don't know...guess this Ark's better
than no Ark.
ALABAMA
They might uncover it again someday.
The idea of that sits pleasantly on the minds of ABNER and
ALABAMA. SHARON, on the other hand, not so pleasant.
ALABAMA (CONT'D)
The man to uncover it might just be
you.
SHARON shoots ALABAMA a stern look.
ALABAMA (CONT'D)
Or maybe not.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 176.
SHARON
Mister, the only thing I want you
digging up are the weeds in the
backyard.
ABNER
Aw, ma.
SHARON
You promised to do it weeks ago.
Whispering up at ALABAMA conspiratorially --
ABNER
And she wonders why I ran away.
SHARON
(hearing that)
You didn't run away.
ABNER
Yeah....that's true...I went looking
for my dad.
ALABAMA
And you found him.
ABNER
Happy I did?
ALABAMA doesn't have to think about that.
ALABAMA
You betcha.
ALABAMA smiles.
ABNER takes his mom's hand and -- ah --
ABNER
Here, hold this.
ALABAMA takes the Ark model from ABNER. The boy's hands are
free. ABNER takes his mom's hand and his father's hand.
ABNER (CONT'D)
Mom, dad, let's go eat.
JUMP BACK: the united family walk away together, hand-in-hand,
headed off on another big adventure.
The one called life.
RAIDERS' MARCH UP. ROLL END CREDITS.
Ah, THOUGHT IT WAS OVER, DIDN'T YA?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 177.
THE FANS WHO HUNG AROUND FOR THE END CREDITS GET A SPECIAL
TREAT:
INT. ALABAMA'S HOUSE - FRONT DOOR - SUNDOWN
Someone is KNOCKING. ALABAMA opens the front door and reveals:
GENERAL DOUGLAS MACARTHUR AND HIS ENTOURAGE.
ALABAMA
General, what a pleasant surprise.
Pause.
GENERAL MACARTHUR
Henry, you gonna invite us in or are
we just gonna stand out here all day.
ALABAMA
Please, please -- c'mon in.
ALABAMA shouts over his shoulder --
ALABAMA (CONT'D)
Sharon, set down three more plates.
We've got guests for dinner.
CUT TO BLACK.
--------------------------
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