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Printed from https://www.writing.com/main/view_item/item_id/1203096-The-Abduction
by Emby
Rated: 18+ · Script/Play · Sci-fi · #1203096
A foreign ship crashes into NYC, but all passengers don't know who they are.
SCENE 1
INT. KITCHEN
We open, traveling through a modern day home, a couple sings happy birthday. We open up to a typical family who are sitting around a modern day home kitchen table. The mother and father are in their early twenties, the child barely five. It's a cliche shot to the extreme. Balloons are on the back of a little boy's chair and streamers are around the table. The lights are off but we see their faces with the flicker of the candles. The song stops and we close up on the young boy.

JACOB
Come on, make a wish Scottie!
KELLY
It’s not every day you turn five. How do you feel?
SCOTTIE
Can I open the presents yet?
KELLY
Well you need to make a wish then blow out the candles.

SCOTTIE closes his eyes tight and blows the candles out.
JACOB
What did you wish for?
KELLY
No… he’s not supposed to tell.
SCOTTIE
Is it present time now?
KELLY just moves the cake over and brings all the presents in front of him.
My wish came true!
SCOTTIE picks up the biggest present at first but it is torn away by KELLY and replaced with the smallest. He rips the paper open to reveal a necklace with an odd symbol resembling a distorted heart.
SCOTTIE
I don’t want a necklace. They’re for girls.
JACOB
This was mine, I had it since I was your age and never took it off.
SCOTTIE
Really?
JACOB
Yup, and my dad did before me too. It’s one of a kind, just like you.




INT. MASTER BEDROOM
JACOB sits on the bed removing his socks while KELLY rummages through her dresser drawer for nightclothes.


KELLY
I can’t believe he’ll be starting kindergarten soon.
JACOB
I know, it seems like he was born yesterday.
KELLY and JACOB are both silent long enough to create tension.
KELLY
Do you want me to sleep on the couch tonight?
JACOB
No, you did last night. I will tonight.
KELLY
I promise I’ll go as soon as I find a new place. There’s a couple I’m looking to hear from.
JACOB
When are you going to tell Scottie?
KELLY
Well I wanted to wait until after his birthday at least, so soon.

(pause)

JACOB
Don’t go Kelly.
KELLY
Don’t start this again. You know if I don’t go then we’ll just end up in the same rut that we always get stuck  in.
JACOB
I just think that it’s something we can work through. Remember, keep communication open?
KELLY
I can’t, Jacob. Even now the parading around like everything is fine is not working for me. We just got into it way too soon.
JACOB
Well at least I had the strength to stick by your side.
KELLY
I don’t think that’s a foundation to a relationship. Just like Scottie isn’t.
JACOB
I told you I was sorry about that.
KELLY (snappily)
Don’t do that.
JACOB
Do what?
KELLY
Make Scottie sound like some frickin’ mistake that you regret.
JACOB
I’m not saying that. I’m just agreeing with you. Scottie came way too soon in our relationship so in that sense he is a mistake.

The camera zooms away from the two arguing to show SCOTTIE in between them farther back in the doorway and KELLY runs to where SCOTTIE stands with tears running down his eyes.
SCOTTIE
Are you and daddy fighting again?
KELLY
Of course not honey. We’re just talking a little too loudly, did we wake you up?
SCOTTIE
No. I think somebody else is in the house.
KELLY
Why do you think that sweetie?
SCOTTIE
I thought I heard footsteps.
KELLY
Nobody’s here honey, why don’t we get you back to bed and if you want daddy and I will look around the house and talk more quietly?
SCOTTIE
Can I have my night light back?
JACOB
Remember our talk about that?
SCOTTIE
Just tonight? It’s my birthday!
JACOB
Alright.

KELLY glares at JACOB while he walks up to them and takes SCOTTIE away from her and moves away from her with SCOTTIE in his arms.



INT. CHILD’S BEDROOM
Camera follows SCOTTIE and JACOB going into the room and JACOB tucks SCOTTIE in then sits on the side of the bed.

JACOB
Are you still scared?
SCOTTIE
A little bit.
JACOB
Well if you ever get scared just hold onto that necklace that I gave you alright?
SCOTTIE
Okay.
JACOB
I love you kid.
SCOTTIE
I love ya too daddy.

JACOB is about to leave when

SCOTTIE
Daddy, don’t leave me. Can’t you wait until I fall asleep?
JACOB
You’re a big boy now Scottie, you don’t need me any more remember? And this is the last night with your night light.
SCOTTIE
But daddy I’m scared.
JACOB
I’m right around your neck Scottie. Just hold on to the necklace.
SCOTTIE
I love you!

JACOB leaves the door open a crack.

SCOTTIE
Daddy! I love you!
JACOB
I love you too Scottie, now it’s time for you to go to bed.




INT. KITCHEN
Close up of KELLY in the kitchen when the door in the background opens, JACOB enters unfocused.

KELLY
You know he’s going to turn out to be a spoiled brat if you keep on giving in to him like that.
JACOB
Come on Kelly, it’s his birthday.
KELLY
I’m just saying.
JACOB
Well you’re leaving soon so how I raise my son is -
KELLY
Our son -
JACOB
My own business.
KELLY
I may be leaving but he will always be our son, not just yours.
JACOB
Well your mistakes make me feel as though we are not together on anything. He is both our son but he is not our son.
KELLY
That doesn’t even make sense. This is why I didn’t want to start this conversation. I just don’t understand you any more. I don’t know if I ever did. I was just a scared high school girl with a crush on somebody and didn’t want to raise a child by myself so I turned to you because you were the cause.

JACOB turns around and exits the room, leaving KELLY alone for a second before she exits a different door.


INT. LIVING ROOM
Black, then close up of KELLY.

JACOB (V.O.)
Kelly, wake up now!
KELLY
What time is it?
JACOB
Scottie is missing.

KELLY jumps off of the couch and runs past JACOB to SCOTTIE’s room to find an empty bed, covers across the floor.

KELLY
Scottie?
JACOB
Kelly, I looked all over the house and he isn’t here any where.
KELLY (looking through the closet, under the bed)
Scottie!?! Scottie, come on it’s not time for playing. Scottie! Come on honey, I’ll make you a good breakfast.
JACOB
Kelly we need to call the police.
KELLY (screaming)
Scottie!!!! What the fuck did you do with him?
JACOB (completely calm)
Kelly! Somebody took him, we need to call the cops right now!
KELLY (still screaming, in hysterics)
You son of a bitch you took my son.

JACOB stands frozen as KELLY begins to slam her fists into him, both sinking to the floor.

KELLY
You took him. You took him. Give him back. I want my son, I need my son…

KELLY breaks down in sobs while JACOB hugs her. 



SCENE 2
EXT. JACOB/KELLY’S HOUSE

JACOB
Are you sure you have everything?
KELLY
Yup.
JACOB
Are you ever going to talk to me again?
KELLY
I don’t know Jacob, let’s just see where life takes us and if we happen to talk again then it will happen.

They pause in awkward silence and KELLY turns to leave.

JACOB
I don’t want to lose you Kelly.
KELLY
Then don’t.

KELLY moves toward her truck and drives away, leaving JACOB alone.


SCENE 3
Caption: fifteen years later
REPORTER is not seen but clips of a destructed building (live footage) are being shown.

REPORTER V.O.
A strange phenomenon has appeared as the country witnesses an enormous tidal wave devastating thousands in New York City a few hours ago. The wave was caused from what witnesses described as a strangely shaped rocket or plane. The object seemed to continue to move underwater, creating an enormous tidal wave which flooded a large portion of New York City. Several government agency workers have blocked the major scene near the Statue of Liberty to investigate the aircraft.
REPORTER ONSITE
Sir, can you tell us anything that has been found?
INVESTIGATOR
Sorry, Miss, but we cannot comment at the current time.




INT. LIVING ROOM
Camera zooms out from television to show older (60) man and younger (32) woman.

RANDY
Turn that shit off, Ellie, and get me another beer.
ELLIE
Dad it’s only six.
RANDY
Does it look like I give a shit? When does time ever have a factor in my life?
ELLIE looks down at her beeper
Fine. But if you want another beer get up off your lazy ass and get it yourself. I’m going out.
RANDY
And where do you think you’re going?
ELLIE
Into the city.

ELLIE begins to leave the house.

RANDY (under his breath)
Fucking good-doer.



EXT. ON CRASH SITE, NYC NEAR STATUE OF LIBERTY
The NYPD are on the site, holding back a group of press and onlookers, all behind yellow tape. Debris is strewn across the street and there are still puddles everywhere.

REPORTER (seen in life)
Excuse me ma’am, do you know anything about the foreign object?

ELLIE ignores the REPORTER and walks past the police men and underneath the tape put up, flashing her badge. She walks over to a tall, gangly man, with a polo shirt and dress pants on. The badge accents his belt.

SEAN
Good to see you made it.
ELLIE
Traffics a bitch. What’d we find so far?
SEAN
Well the divers found the object but we don’t want to get too close to it.
ELLIE
Why?
SEAN
There’s noise coming from the inside.
ELLIE
People?
SEAN
We don’t know yet.
ELLIE
Where’d it come from?
SEAN
Interesting you should ask that.

They sludge through some debris while talking.

SEAN
It wasn’t on any radar. It kind of came from thin air. All of the witnesses just saw it crash down from the sky but not from any certain direction.
ELLIE
So basically we know the same amount as the press.
SEAN
Nothing.
ELLIE
Well that’s just perfect. So we’re not going to do anything about it?
SEAN
We’ve been waiting for your expertise actually.
ELLIE
What happened to Kevin?
SEAN
“Family emergency” and nobody can reach him.
ELLIE
Bullshit. He’s just pussying out of it like usual.

SEAN and ELLIE pause for a second as she looks to the flooded ground then into the water.

ELLIE
We need to get into it. If there are people in there they might be injured and in need of medical attention.
SEAN
And if it’s terrorists or aliens?
ELLIE
Well they’re stupid enough to crash into water, I’m willing to take that risk. Send the word.



SCENE 4
INT. KITCHEN
We close up on a phone ringing.

KELLY
(just voice)
Coming, I’m coming, just give me a second.
A hand picks up the phone. We pull out to see KELLY, older now, in a small kitchen with nothing in it but major appliances.
KELLY
Hello?
JACOB
Did you see the news?
KELLY
Jacob, you need to stop calling me every time something weird happens in the world. I don’t need daily phone calls from -
JACOB
Hundreds of people were discovered in an aircraft that crashed.
KELLY
What?
JACOB
Yeah, all were about the same age.
KELLY
Where?
JACOB
New York City
KELLY
Figures. You know I would have found this out. You didn’t need to call.
JACOB
They’re all about Scottie’s age.
KELLY
Don’t.
JACOB
What if he’s -
KELLY
Let it go, Jacob.
JACOB
But -
KELLY
Goodbye.

KELLY hangs up the phone up and moves into her living room to turn on her television. Every channel was covering the hundreds of people now all being transferred into police vehicles.


INT. OFFICE
ELLIE and DIRECTOR TROMBLY are on the phone, TROMBLY is at his desk with people randomly interrupting to place documents on his desk. ELLIE is not seen.

ELLIE
They all have identification, but  none remember how they got it.
DIRECTOR TROMBLY
How much do they remember?
ELLIE
Nothing sir.
DIRECTOR TROMBLY
How many?
ELLIE
All survived the crash but around fifty of them are suffering from major injury.
DIRECTOR TROMBLY
I want them all examined. Everything needs to be kept classified. The press cannot be involved.


CUT TO:

EXT. CRASH SITE
We follow ELLIE, on the phone, toward a black SUV.

ELLIE
Yes sir. I will take care of it.

ELLIE closes her phone and is escorted into the car with SEAN.

CUT TO:

INT. CAR

SEAN
What did Trombly say?
ELLIE
Not much as usual. Just, you know, no press keep it top secret: all hush hush.
SEAN
This will be fun.
ELLIE
Bundles of joy.
SEAN
The crash didn’t cause the amnesia?
ELLIE
Couldn’t have, otherwise some of the survivors would have remembered.
SEAN
What about the ship?
ELLIE
Oh my god, you ask as many questions as Trombly does. How am I supposed to know where the ship/aircraft came from?
SEAN
(quiet for a few seconds then, under his breath)
You’re not this bitchy with Trombly.


SCENE 6
INT. MEDICAL FACILITY
ELLIE and SEAN arrive at the medical center where the founded people are provided with shelter. There are doctors with their clipboards going in and out of the shot. The place in general seems to be in a basement, cement walls and floors are not painted and most people are just sitting in folding chairs.

WORKER
Agent Ramone? Agent Codwell?
ELLIE
Yes?
WORKER
All patients so far have been stabilized and are completely healthy to our standards but there is one patient I would like you both to meet.
ELLIE
Name?
WORKER
He says they called him Damien.
SEAN
They?
WORKER
That’s why I thought you would like to meet him. He has no id on him, unlike all the others and is unhurt from the crash. The only thing is, his eyes, well he‘s blind.
ELLIE
And that isn’t from the crash.
WORKER
No. There is no damage to him at all and he remembers being blind before the crash.
ELLIE
How does he know?


TRANSITION TO:

INT. DAMIEN'S ROOM
The three approach a door with the number 412 on it and the WORKER knocks lightly before opening it. There sits DAMIEN on a stretch bed, eyes closed like he is meditating. He doesn’t even flinch when the door is opened and closed again as the WORKER leaves the other two alone with him.

DAMIEN
Ellie?
ELLIE looks toward SEAN who is still staring, captivated by this man.
ELLIE
Damien?
DAMIEN
It’s nice to meet you.
ELLIE
The pleasure is mine.
DAMIEN
Do you have questions for me?
SEAN
How old are you?
DAMIEN
I’m twenty years old, and yourself?
SEAN and DAMIEN together
Thirty-nine.
DAMIEN
Could you leave us alone Mr. Codwell?

SEAN looks at ELLIE who nods and he exits the room. ELLIE moves closer to the bed  and DAMIEN responds by opening his eyes. ELLIE tries not to jump: DAMIEN’s eyes are pure white with a little tint of blue in the very center. Instead of reacting, ELLIE grabs a voice recorder out of her pocket and begins to record.

DAMIEN
Agent Ramone. You want to know what happened, where this aircraft came from and why nobody else remembers anything don’t you?
ELLIE
Me and the rest of the world, yes it seems a little strange you might admit.
DAMIEN
Well… not exactly. Humans have always been a little, well, self-absorbed you might admit. The smartest creature out there and those who think there are truly other species smarter are normally laughed at.
ELLIE
So you were abducted?
DAMIEN
Would you believe me if I said yes?
ELLIE
I would think that you simply are just a smart ass who wants attention. Think about the possibilities and the fact that you are the only one who has this theory.
(to his blank face)
Well if that’s what you believe then if and when you exit this facility you have the freedom to share it with whoever will listen. Just know that we won’t be behind your theory.
DAMIEN
Of course not. You’ve lasted this long protecting the truth why not extend it for a while?
ELLIE
(not believing a word he is saying)
If you are telling the truth then, why me? Why tell the government now?
DAMIEN
I’m not telling you because you’re government. I’m telling you because I know you have some sense and I need you to help me.
ELLIE
How could I possibly help you?
DAMIEN
Prove my theory.
ELLIE
How-
DAMIEN
There is a broken family. The son was on the ship.
ELLIE
Who?
DAMIEN
Scott Roberts. He has a necklace on that he has never took off. It’s the key.
ELLIE
Key?
DAMIEN
You should question him.
ELLIE
Anything else?
DAMIEN
His parents are Kelly and Jacob. You should go now. Trombly is waiting for you.

ELLIE’s beeper goes off. TROMBLY.

TRANSITION TO:

INT. HALLWAY OF FACILITY
ELLIE walks down the hallway again, dialing on her cell phone.

TROMBLY
What do you have for me?
ELLIE
A nut case apparently.
(remembering who she is talking to)
Sir.
TROMBLY
Name?
ELLIE
Damien.
TROMBLY
Last name?
ELLIE
None provided sir.
TROMBLY
I’d like a report sent to me within the next two hours.
ELLIE
Yes, sir. I have a few more witnesses I’d like to interview.
TROMBLY
Make it four hours then, and detailed.


CUT TO:

INT. TROMBLY’S OFFICE
TROMBLY hangs up the phone as KEVIN, a redheaded stocky man, walks through the door.

TROMBLY
Kevin.
KEVIN
Yes Director Trombly?
TROMBLY
Damien is his name. You must extract him immediately and quietly.
KEVIN
That may be a little bit difficult to do without attracting attention.
TROMBLY
How so?
KEVIN
A lot of people already know about him.
TROMBLY
They won’t question his removal if multiple subjects are taken for, ahem, more inspection.
KEVIN catching TROMBLY’S drift
Yes sir. I understand.
TROMBLY as KEVIN is about to leave
Oh, and Kevin?
KEVIN
Yes sir?
TROMBLY
Keep Ellie out of it.
KEVIN
Of course sir.


SCENE 7
INT. RANDY’S LIVING ROOM
RANDY lies on a couch when ELLIE comes in, cleaning up around him. It’s mid-afternoon but he is passed out cold. Close up of ELLIE as she continues to clean around the passed out figure.


INT. BEDROOM
Flashback. Focus on clock - six a.m. - music come on and camera moves to show a young (18/19) couple in bed. The female hit’s the off button and rolls over to face the male.

ELLIE
Another half hour.
JAKE
Did you set the second?
ELLIE
Yep
JAKE
Okay.

Both go to sleep and camera moves around a bare room, showing it’s clean except for the random articles of clothing, until it stops on a bag of clothes with a white shirt and nametag on a neckstrap - “ELLIE, Intern.” Alarm beeps and turns off. Camera holds for a beat until a hand grabs the shirt and nametag. Focus remains on name tag as it is put on then camera zooms out to see a younger ELLIE in full professional attire, moving towards the male and laying next to him. He brings her into a bear hug.

JAKE
Why do you have to work today?

ELLIE shrugs her shoulders.

JAKE
This sucks. The only days I have off -
ELLIE
- I have to work.

JAKE kisses her forehead. They hold that position until ELLIE tries to get up and JAKE brings her down again. She giggles and tries again.

JAKE
Nope.
ELLIE
Okay.

She gets under the covers again and camera moves up for a birds eye view then comes back down quicker to show JAKE opening his eyes.

JAKE
Okay I should get up
(beat)
What time is it?

He turns over to look at the alarm. 6:35 a.m.

JAKE
What time did you set the alarm?
ELLIE
6:25.
JAKE
Well in that case-

He rolls back over to ELLIE and kisses her.

BLACKOUT


INT. POLICE STATION          
Phones are ringing, police officers walking in a hurry. Camera zooms on a phone (silent) then it, too, rings. Young ELLIE’S hand reaches in and picks it up.

ELLIE
Kevin Cassidy’s office, how can I help you?
KELLY
I need help. My son has been kidnapped. I’ve called three other detectives but nobody will take my case.
ELLIE
Alright m’am I just need you to calm down for a moment. Mr. Cassidy is actually in a meeting right now but if you want I can give him a message.
KELLY
When will he be out?
ELLIE
In a few hours.
KELLY
I’m Kelly Roberts. My son’s name is Scottie, he’s only five. Please, I need help as soon as possible.
ELLIE
I’m sorry, I’ll have him look into it as soon as possible.
KELLY
It says in the ad that he specializes in this type of situation.
ELLIE
Right now he has five other cases of the same nature, yes.
KELLY
Will he have enough time to look into ours?
ELLIE
Of course. I’ll have him call you back when he finishes his meeting.
KELLY
Okay.


SCENE 7
INT. ELLIE’S HOUSE
We see older Ellie now, still moving about the house.

RANDY
Ellie is that you?
ELLIE
Of course.
RANDY
(very slurred, hardly understandable)
Good. Get me another beer.
ELLIE
No dad. I think you should go to bed.
RANDY
I am-
ELLIE
In your own bed. A real night’s sleep might do you some good.
RANDY
(eyes closed, more out of it)
I’m sorry. I’m so sorry-
ELLIE
Come on, let’s get you up.
RANDY
(mumbling)
I’m such a fuck up…

ELLIE just picks him up off of the couch and swings an arm over her shoulder. She grunts a few times but finally gets him into the room.

BLACKOUT.


SCENE 8
INT. KITCHEN
KELLY picks up the phone.

KELLY
Hello?
ELLIE (V.O.)
Hi. I’m looking for Kelly.
KELLY
This is Kelly.
ELLIE
Hi this is Ellie Ramone.
KELLY
Ellie? From…
ELLIE
One of the same. I guess it’s been a while.
KELLY
I’m surprised you even know who I am still. And even more so that you know how to get in contact with me.
ELLIE
Well let’s just say I’ve moved up a little ways since then. More connections if you know what I mean.
KELLY
So, Ellie, I’m sure this call isn’t just for small chat about how our lives are going?
ELLIE
I actually need a favor from you.
KELLY
A favor?
ELLIE
Yes, with your permission I would like to meet with you as soon as possible.
KELLY
Well I have today and tomorrow off.
ELLIE
Can we meet now?
KELLY
What is this pertaining to Ms. Ramone?
ELLIE
It’s actually confidential. I can’t speak of it until we are face to face and you have signed a contract indicating you’re ability to keep the information revealed from all other life.
KELLY
I should be ready in an hour.
ELLIE
It’s set. I will call upon my arrival.


INT. CAR
Close up on ELLIE’s phone hanging up then camera zooms out to show her and SEAN sitting next to each other, SEAN driving.

SEAN
Wow, you were really nailing that robot sound towards the end there.
(at her glare)
No, seriously you started to sound a little bit like Trombly.
ELLIE
Very funny.


EXT. KELLY’S HOUSE
ELLIE walks up to the front door but before she can even knock KELLY opens the door, she has one of her very few business suits on.

KELLY
So where are we going?


INT. SUV
Same car seen earlier, and SEAN is still driving. KELLY and ELLIE are sitting in the back.

KELLY
You never answered me.
ELLIE
Do you keep up with the news?
KELLY
Lately yeah, it’s hard not to.
ELLIE
Well, I’m just about head of the investigation, in the field anyway.
KELLY
Meaning?
ELLIE
Meaning that I am held responsible, from my superiors, to investigate the scene and make sure that the press doesn’t get too much knowledge of what’s happening.
KELLY
Why keep it so hush hush?
ELLIE
I’m just following orders.
(pause)
I need you to identify somebody for me.
KELLY
Somebody from the crash? A dead body?
ELLIE
No, he’s definitely alive.
KELLY
Who is it?
ELLIE
My source says that his name, well it’s Scott.


INT. MEDICAL FACILITY

WORKER
Agent Ramone, nice to see you again.
ELLIE
I need to see a patient here.
WORKER
Name?
ELLIE
Roberts. Scott Roberts.
WORKER
Follow me.


TRANS. TO

SCENE 9
OUTSIDE PATIENT’S ROOM

WORKER
This is it. Do you need anything else?
ELLIE
That will be all, thank you.

The WORKER fades into the background, walking back the way they came, leaving ELLIE and KELLY standing in front of a closed door.

ELLIE (comforting)
Are you sure that you want to do this?
KELLY
Yeah. I need to know.

ELLIE opens the door and we follow KELLY into it. The room is small, only enough room for a bed and dresser. SCOTT sits up on his bed, he wears only a pair of sweatpants that are too big for his bony legs and a sweatshirt just as big. KELLY and ELLIE move closer towards the bed so that the door can be shut for privacy. They stand up against the wall while SCOTT looks at the floor.

SCOTT
(still looking at the floor, mumbling almost)
Time for more tests?
ELLIE
No, just some questions.
SCOTT scoughs
My second guess.
(pause)
Look, I told the other nineteen billion people I talked to. I don’t remember anything. I hardly know who the hell I am.
ELLIE
Does this woman to my right look familiar at all to you?

SCOTT continues to look at the ground.

ELLIE
Scott?
KELLY
(just to ELLIE)
It’s okay.
(pause)
Scott? Do you have a necklace?
SCOTT’s head snaps up to look at KELLY
Had one. Jackass took it when they first took me in. It’s with my wallet and all the other shit they took from me.
KELLY
What did it look like?
SCOTT
I don’t know, some kinda heart shaped thing.

KELLY’s eyes began to swell, her hands went to her face.

KELLY
Scott? Scottie? Oh my God.

KELLY came to the edge of the bed where SCOTT was sitting and took his face into her hands. At first he jerks away until he looks closer into her eyes, at her face.

SCOTT (quietly)
I know you from somewhere.
KELLY
Shit Scott, your dad said that you might be… I can’t believe this it’s… It’s you.
SCOTT (eyes twinkling with tears, words caught in his throat)
Mom?

ELLIE moves farther away from the two figures and she jumps when her beeper goes off

ELLIE (barely a whisper)
Excuse me.

We follow ELLIE moving out of the room, pausing briefly to see KELLY wrap her arms around her boy. Into the hallway we follow ELLIE past numerous doors, none numbered but each with a small window on the door. The WORKER stands behind his desk, a few people on phones and some more walking behind them.

WORKER
Agent?
ELLIE
I need a phone.
WORKER
Of course.

ELLIE retrieves the phone from the WORKER.

TROMBLY
Yes?
ELLIE
It’s me, sir.
TROMBLY
I assumed you would be smart enough to return my page this quickly so I assumed it was you. Do you have anything for me yet?
ELLIE
I’m working on it at the moment. I just got a lead -
TROMBLY
You know that's not sufficient for me at this time. I need it now.
ELLIE
I will give you what I have.
(pause)
Sir.

A click is heard and ELLIE gives the phone back to the WORKER.

ELLIE (to the WORKER 2)
I need to access the patient’s personal belongings.
WORKER 2 (flipping open a file and handing ELLIE a large stack of papers)
I need you to fill out the first two forms, read the disclosure stating you will return the belongings to the office and not allow the patient to gain access of said belonging and sign. You will need the patient number, his room number and the object of which you need to examine, if you don‘t already. You can only examine said object in the designated room and will not be allowed access to that patient’s room until you sign another form stating you have, under dual control, locked away the patient’s belonging.
ELLIE
Thank you.

Scene 10
INT. MEDICAL FACILITY, HALLWAY
ELLIE is shown walking down the hallway away from the WORKER. She stops abruptly and turns to her right. A close up on the numbers 412 appears for a moment then returns to ELLIE as she gets closer to the door. She knocks a few times but there is no answer. She opens the door revealing a room even more bare than the one she saw before. There was still a bed but no blankets or sheets, just a bare mattress. Suddenly a hand grabs her shoulder and she spins around to face the WORKER.

WORKER
Did you find what you needed?
ELLIE
Yes.
(pause)
Where’s the patient who was in here?
WORKER
Transferred.
ELLIE
Why wasn’t I notified?
WORKER
Classified stuff. I don’t even know the half of it.
ELLIE
Paperwork?
WORKER
Not even. Well there is but it went straight to Mr. Trombly.
ELLIE
Thanks.
(she looks over at him and thinks)
You wouldn’t happen to know where he went do you?

WORKER just shakes his head. ELLIE nods her head in understanding (top secret stuff) and moves on down the hallway. She enters SCOTT’s room, avoiding the awkward silence that was floating thick in the air, and throws down a sketchpad. Being a mediocre artist, ELLIE knows this drawing should jog both their memories. SCOTT looks up at her.

SCOTT
They won’t give it back will they?
ELLIE
Trust me, they’re being extremely careful about who sees what, and who keeps what around here. I probably put a toe over the line drawing this.
SCOTT
Figures. Fucking government.

KELLY just looks at him, obviously shocked by his language.

ELLIE
So, how did you obtain this?
KELLY (coming from the corner)
His father, Jacob, gave it to him as a present. Before…
ELLIE
Did he say anything about it?
KELLY
Just that he had it since he was a boy.
ELLIE
And you’ve always seen him wear it.
KELLY
Yes.
ELLIE
Well thank you both. I’ll be in touch with you Scott.
And it would probably be better if you didn’t tell anybody about this meeting, or your necklace.
SCOTT
More secrets. Sure.

As KELLY and ELLIE are about to leave the room, ELLIE looks back at him.

ELLIE
You know a guy who was on the plane by the name Damien?
SCOTT (averting his eyes to the floor)
Nope.

ELLIE smiles, nods, and turns to exit, leading KELLY towards the exit.



ACT II
Scene I
SEAN and ELLIE are seen walking through a park, SEAN is eating a pretzel with one hand and every so often looks over to ELLIE to have her hand him the soda she’s carrying for him.

ELLIE
Can you believe this shit? I work my ass off, get a lead to the mystery of the century and somebody snipes my lead right from under my nose. It seems Mr. Trombly doesn’t need any of my fucking help if he already has his own beliefs as to what happened if he knows who to pull from the facility.
SEAN
(mouth full)
Well why don’t you tell him all that? Well, okay not like that, a little less angry with more tact, and just ask him where he transferred your lead to.
ELLIE
Yes, that might work in theory, but have you ever talked to him before?
(off of his look)
Exactly. One of the main reasons I was qualified for this job was because I was pretty much the only person who isn’t terrified of this man. Every time I ask you to come with me your fucking tail goes between your legs and you whimper until I take back my offer. That’s the other thing, everybody is too busy kissing the boss’ ass to actually question any authority he holds. You know how fucking unprofessional it was for him to take somebody under my watch away from me?
SEAN
Okay, alright. What do you want me to say Ellie? I have no answers for you. Why don’t you just mention it in your report? Have you even started gathering everything?
ELLIE
I don’t want to tell Trombly about Scott.
SEAN
Ellie! You have to. Besides Damien, Scott’s the only other lead you have. I mean think about it: a kid who was abducted fifteen years ago ends up in this crash?
ELLIE
(ignoring his previous statement)
Fuck him. I’m going to go in there and tell him exactly what I think about him taking people out from under my supervision without notifying me first.


CUT TO:


SCENE 2
MR. TROMBLY’s OFFICE

ELLIE is standing in front of his desk and we see her stern face before turning to look at the revolving chair in front of her which reveals MR. TROMBLY. A man who is in his late forties, early fifties, MR. TROMBLY still has most of his hair, most of it graying at his temples and spread throughout the rest, but his suit says he is in a position of power and his numerous rings on his right hand indicate he has excess money to spend on his own luxuries.

MR. TROMBLY
(hanging up his desk phone)
Ah Ms. Ramone. I belief I made it clear a written report would have sufficed but yet here you are.
ELLIE
I apologize for any inconvenience this may hold, sir. Unfortunately I don’t have as much information for you as I had hoped.
MR. TROMBLY
(putting emphasis on Ms.)
Is this job too much for you Ms. Ramone?
ELLIE
No, sir. But I was distressed to hear that my main lead has been removed from my overseeing and out of the facility.
MR. TROMBLY
If you are referring to the man Damien, I must let you know that he was released from your care for further testing.
ELLIE
Testing that I was not notified of?
MR. TROMBLY
If you are telling me that I should not have the authority to initiate testing that is imperative to this department’s current situation then maybe you should take a look around Ellie and remember who you are speaking to. It took me a long time to get where I am today and I will not have a lower ranking female telling me what I can and cannot do.
ELLIE
Sir.
(pause)
I don’t mean to question your authority and I realize how much more experience you have in all aspects of this job.
MR. TROMBLY
Get to the point Ms. Ramone.
ELLIE
Is there a way I can gain access …
MR. TROMBLY
(cutting her off)
No possibility.
ELLIE
(leashing her temper)
Sir. He was my only lead, he claimed to know things others didn’t. If I could just…
MR. TROMBLY
Ellie you are pissing me off. I will notify you when he is finished with the testing. Until then, find another lead.
ELLIE
Yes, sir. Thank you for your time.


HALLWAY OUTSIDE OF OFFICE
ELLIE comes out to see SEAN sitting in a chair and at her look he gets up and they begin walking down the hall.

SEAN
Well that didn’t go so bad.
ELLIE
(temper flaring)
How do you figure that? Not only did he say I was insulting him for being right and calling him on it, but he practically said the reason he’s in his position is because he has a dick.
SEAN
He didn’t say that.
ELLIE
Might as well have. You know how many times he reminded me I’m female? That means that a lot of the time he must’ve been thinking it.
SEAN
I’m real sorry ELLIE but he does have more years under his belt and
ELLIE
(cutting him off)
You do too.
SEAN
(putting emphasis on and)
And, he has more experience.
ELLIE
I don’t think anybody has experience in a case like this.
SEAN
Well obviously he does if he pulled the right person from you.

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