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INVENT03 23' INVENTOR'S DAUGHTER episode: bomb threat

EXT NIGHT WIDE: PRISON WALL

(a man dressed in all black, carrying a black canvas duffle bag,
approaches the high prison wall, looks both ways, looks up left
and right, puts down the duffle, unzips it, pulls out several
shape-charge explosive sticks, attaches them to the wall in a
rectangle the size of a door, pulls out a remote control
detonator, backs away along the wall while turning on the power,
a green light goes on, he leans against wall, covers his face
with one arm, presses button, boom, a door-shaped hole appears
in the wall, seconds later, the three Russian agents who
kidnapped Colonel Abernathy run out and exit frame with the
bomber)

INT NIGHT WIDE: MICHAELA'S BEDROOM

(light breaks into the room from the hallway as Dad opens the
door and quietly approaches Michaela, rubs her arm)

                              DAD

Michaela. Michaela, sweetie, wake up.

                           MICHAELA

(rolls over, looks at window, turns to Dad, sleepy)

It's not even light yet. It's not time to get up.

                              DAD

We have an emergency.

                           MICHAELA

(sits up)

What's wrong?

                              DAD

Those enemy agents who kidnapped Colonel Abernathy... they
escaped from prison.

                           MICHAELA

(throws back covers, sits up)

You want me to capture them?

                              DAD

Colonel Abernathy thinks the new helmet system will help you
track them down before they leave the country.

(exiting)

Get dressed and meet me down in the backyard. I'll have the beta
version of your helmet ready for you when you come down.

EXT NIGHT WIDE: MICHAELA'S BACKYARD

                              DAD

(now wearing a comm headset, kneels and holds the helmet in one
hand and types at a laptop computer with the other as Michaela
enters)

Okay.

Okay.

Okay.

                           MICHAELA

I'm ready.

                              DAD

Good, so am I.

(offers helmet)

                           MICHAELA

(takes and puts on helmet)

It looks the same as the prototype helmet.

                              DAD

(puts battery belt around her waist)

It's the same helmet. The major change is that I've increased
the battery power. You should have enough power to use more than
one of the devices at once. And the transporter and the
helicopter can now support TWO full-grown men.

(reads computer screen)

You are go for power on.

                           MICHAELA

HELMET SYSTEM ON.

                            MOTHER


System start up. All systems go.

                              DAD

Sound check.

                           MICHAELA

Testing one, two, three.

                              DAD

I hear you. Can you hear me?

Testing one, two, three.

                           MICHAELA

(thumbs up)

What else do I have to know?

                              DAD

I just rigged a way for me to see whatever you're left eye piece
is looking at. You can send a snap shot of what you see to my
computer.

                           MICHAELA

Cool!

                              DAD

The command is SNAP PICTURE.

                           MICHAELA

(looks toward workshop)

SNAP PICTURE.

(a picture of the workshop appears on the computer)

(looks toward house)

SNAP PICTURE.

(a picture of the house appears on the computer)

                              DAD

Good. Both pictures are clear as crystal. You can send pictures
one after another as fast as you can say the command.

                           MICHAELA

Okay, I guess I'm ready. But where do I look for the enemy
agents?

                              DAD

Well, the Army and the police are covering all airports,
seaports, railroads, bus terminals and highways out of town.

                           MICHAELA

So, what's left?

                              DAD

Well, Abernathy says there's a possibility that the agents won't
leave town right away. They may lay low for a while. Army
intelligence says the most likely place for them to hide is in a
section of the city called Little Moscow. If they're hiding
there somewhere, your see-through camera should be able to find
them.

                           MICHAELA

Okay. That's where I'll go, then.

(bends knees)

Can I go fast?

                              DAD

You may go fast.

                           MICHAELA

MOVE-ME UP NINE.

(special affect: Michaela rises out of frame in an instant)

EXT NIGHT WIDE: SKY

                           MICHAELA

(enters frame from below)

MOVE-ME UP ZERO.

(hovers)

Mother, WHERE IS LITTLE MOSCOW?

                            MOTHER

(voiceover)

Your heading is 0 6 3.

                           MICHAELA

MOVE-ME HEADING 0 6 3.

(special affect: Michaela's body turns away from camera)

(POV: left eye lens: a map of downtown superimposes over the
city with a blinking red dot over Little Moscow)

MOVE-ME FORWARD NINE.

(special affect: her body tilts to prone, she exits frame in an
instant)

(shouts)

Weee!

                              DAD

Michaela, you need to sneak up on them, remember?

                           MICHAELA

Sorry, Daddy. I'll be quiet.

(exits frame)

(jump cut: over center city)

(enters frame at high speed)

                            MOTHER

(voiceover)

Little Moscow is 1.1 miles ahead. At your current speed, you
will overshoot the target unless you begin slowing immediately.

                           MICHAELA

WO!

I mean...

MOVE-ME FORWARD ZERO.

(jump cut: over Little Moscow)

(enters frame decelerating to a stop, body tilting upright)

Daddy, I'm over Little Moscow. Where do I start looking?

                              DAD

Stand by...

Michaela, according to Army Intelligence, one of the escaped
agents has a cousin living in Little Moscow: 1217 West Main
Street, second floor.

                           MICHAELA

MOTHER, WHERE IS 1217 West Main Street?

(POV: left eye lens: street map redraws without a red dot)

                            MOTHER

The target is off to your left. Heading 3 3 7.

                           MICHAELA

Let's see... um... MOVE-ME HEADING 3 3 7.


(POV: left eye lens: street map redraws, then city below rotates
right until the city map overlays the city streets with a red
dot appearing in the distance)

MOVE-ME FORWARD FIVE.

(special affect: Michaela flies out of frame)

(jump cut: over cousins apartment)

(POV: left eye lens: red dot overlays the roof of a two story
building with a bakery on the first floor. As she approaches...

MOVE-ME DOWN 5.

(special affect: Michaela descends out of frame)

EXT NIGHT WIDE: ROOFTOP

(Michaela enters frame from above quickly)

                            MOTHER

(voiceover)

Safety override in three, two, one, MOVE-ME DOWN ZERO.

(special affect: Michaela slows and hovers three feet above the
flat roof)

                           MICHAELA

Thank you, Mother.

(POV: left eye lens: cross hairs aim at nearby roof)

SEE-THRU THAT.

(POV: left eye lens: image of roof is replaced with a bird's eye
view of a small kitchen below in shades of green, no people)

CLEAR SCREEN.

(POV: left eye lens: see-thru overlay disappears, roof is
visible, turns head)

SEE-THRU THAT.

(POV: left eye lens: image of roof is replaced with a bird's eye
view of a small living room in shades of green, no people)

CLEAR SCREEN.

(POV: left eye lens: see-thru overlay disappears, roof is
visible, turns head)

SEE-THRU THAT.

(POV: left eye lens: image of roof is replaced with a bird's eye
view of a bedroom in shades of green, no people.)

CLEAR SCREEN

(POV: left eye lens: see-thru overlay disappears, roof is
visible)

Daddy?

                              DAD

I'm here, sweetie.

                           MICHAELA

I looked through the roof, but the lights are off and there's
nobody home.

                              DAD

How many stories in this building?

                           MICHAELA

There's two.

                              DAD

Look inside of the floor below.

                           MICHAELA

The first floor is a bakery. The lights are off there too. I saw
it as I was flying over.

                              DAD

(sighs)

Okay, well, I guess the Intelligence boys lead us to a dead
end...

Wait a minute. What did you see inside the apartment. Anything
unusual?

                           MICHAELA

Well, just furniture.

                              DAD

What about the kitchen?

                           MICHAELA

A stove, a frig, a sink and a table.

                              DAD

Any clues? Any thing unusual?

                           MICHAELA

Well, there were dishes piled up in the sink, and there was a
bunch of junk on the table.

                              DAD

Junk? What kind of junk? Show me.

                           MICHAELA

(POV: left eye lens: cross hairs aim at nearby roof)

SEE-THRU THAT.

(POV: left eye lens: image of roof is replaced with a bird's eye
view of the kitchen below in shades of green)

SNAP PICTURE.

Did you get it, Daddy?

                              DAD

I got it. ZOOM IN.

                           MICHAELA

ZOOM IN. SNAP PICTURE.

                              DAD

Good. And the junk on the table is not junk.

                           MICHAELA

What is it?

                              DAD

Pieces of clocks and timers and cell phones, some batteries and
some wires.

                           MICHAELA

Maybe the kidnapper's cousin is a clock maker or something.

                              DAD

I don't like this. I don't like this at all!

                           MICHAELA

What's the matter?

                              DAD

I think the enemy agents were making bomb detonators there!

                           MICHAELA

Holy socks!

                              DAD

But there's no sign of a finished bomb there.

Stand by.

(sound cue: radio static)

Colonel Abernathy?

Howard Tuttle here. Michaela is at the cousin's apartment in
Little Moscow. We found bomb making materials on the kitchen
table, but no explosives.

You're the weapons expert, Colonel. What do you think?

That's what I was thinking too.

Yes, sir. Standing by.

                           MICHAELA

What did he say, Daddy?

                              DAD

He said it's pretty clear, now, that the enemy agents have no
intension of leaving the city as he thought. They're probably
planning to blow up something, maybe right here in the city. He
thinks that either they took the bombs with them to set them off
somewhere in the city OR it's also possible that they finished
only the detonators and took them with them to get some
explosives.

Hold on. Abernathy is on the phone.

Yes, Colonel?

Yes, I do know where the armory is.

Right away, sir.

Michaela, the colonel thinks the safe thing to do is to stake
out the places in the city that handle explosives. He wants you
to head over to the National Guard Armory right away.

                           MICHAELA

On my way.

MOVE-ME UP 9.

(special affect: Michaela ascends out of frame quickly)

EXT NIGHT WIDE: SKY

(special affect: Michaela ascends into frame quickly, camera
follows)

                           MICHAELA

MOVE-ME UP ZERO.

(special affect: Michaela slows to a stop)

MOTHER, WHERE IS the National Guard Armory?

                            MOTHER

Your heading is 2 0 5.

                           MICHAELA

MOVE-ME HEADING 2 0 5.

(special affect: Michaela's body turns)

(special affect: POV: left eye lens: pans the city skyline until
an overlay map appears with a red dot on her destination)

MOVE-ME FORWARD 9.

(special affect: Michaela's body tilts toward prone, she exits
frame quickly)

(jump cut: over National Guard Armory, Michaela enters frame and
slows to a stop, tilting upward)

Daddy, I'm here, but only the outside lights are on. I don't
think anybody is here.

                              DAD

Stand by. Let me check the other stake outs, see if they have
any activity.

(pauses)

                           MICHAELA

(sees the glint of flashlights through door crack and windows)

Oh, wait! Daddy! I see a flashlight. Two flashlights. Three
flashlights.

                              DAD

According to Colonel Abernathy, there is no activity at the
armory tonight. That HAS to be the enemy agents.

                           MICHAELA

I'll go down and take a look.

                              DAD

You be careful, sweetie, those guys are probably carrying guns
AND explosives.

                           MICHAELA

I'll be careful. I promise.

MOVE-ME DOWN 3.

(special affect: Michaela descends out of frame)

(jump cut: Michaela descends into frame slowly about twenty feet
above ground beside a warehouse building)

MOVE-ME RIGHT 3.

(special affect: Michaela's body rotates right, then exits frame
slowly)

(jump cut: Michaela enters frame from the left, drifting right
scanning the building, sees three men with flashlights through a
window)

It looks like they're coming out.

ZOOM IN.

(special affect: POV: left eye lens: zooms in on the left hand
of enemy agent, sees three small packages stacked)

                           MICHAELA

Daddy, each of them is carrying what looks like three big bars
of soap.

                              DAD

That means they already have the explosives.

                           MICHAELA

They can't do much damage with nine bars of soap.

                              DAD

If that's military grade explosives, ONE of those bars could
destroy our whole house.

                           MICHAELA

Holy socks! What do you want me to do?

                              DAD

Look around for a car or a truck parked nearby. I'm sure they
didn't get all the way across town on a city bus.

                           MICHAELA

Why do we care about how they got here?

                              DAD

They probably left the detonators to their bombs in their car.

                           MICHAELA

I see where your going with this!

MOVE-ME UP 5.

(jump cut: Michaela enters frame slowly from below)

MOVE-ME LEFT 0.

(POV: left eye lens: scans left, looking down at the ground)

MOVE-ME LEFT 0.

(POV: left eye lens: scans left, looking down at the ground)

MOVE-ME LEFT 0.

(POV: left eye lens: scans left, looking down at the ground,
sees a van parked on the other side of a chain-link fence)

ZOOM IN.

(POV: left eye lens: image magnifies, sees a man-sized hole in
the chain link fence)

Daddy, I found their car. It's a van. They cut a hole in the
fence. I'm going down.

MOVE-ME THERE.

(special affect: Michaela disappears)

EXT NIGHT WIDE: GROUND BEHIND VAN

(special affect: Michaela appears, framed by the hole in the
fence)

                           MICHAELA

Daddy, I'm here. If the detonators are in the van, I'm going to
take the detonators and fly away with them.

                              DAD

Be careful.

                           MICHAELA

(tries the back doors of the van, locked, hurries toward
driver's side door)

The doors are locked. I'll try the other doors.

(tries door, locked, hurries to passenger door, sees three enemy
agents round corner of warehouse and head toward the van)

That door is locked too. Oh no! They're coming!

                              DAD

Get out of there!

                           MICHAELA

(POV: left eye lens: cross hairs aim through window of the van
at flat floor behind front seats)

MOVE-ME THERE.

(special affect: Michaela disappears)

                              DAD

Good girl.

                           MICHAELA

(voiceover)

Daddy, I found the detonators!

                              DAD

Where?!

                           MICHAELA

(voiceover)

Here, inside the Van.

                              DAD

Michaela! I thought you moved away from the van!

(agents approach side doors, opens them, climb in as Michaela
exits by the back doors with three book-size detonators with
dangling wires)

                            ENEMY1

Somebody stole the detonators! Stop her!

(all Enemies exit the van, pull pistols, aim at Michaela)

                           MICHAELA

MOVE-ME UP 9.

(special affect: ascends out of frame quickly)

                            ENEMY1

What the....?

(sound cue: gun shots)

                              DAD

What was that? Michaela, was that gun shots? Michaela, are you
alright?!

EXT NIGHT WIDE: SKY

                           MICHAELA

(voiceover)

MOVE-ME UP ZERO.

(enters frame from below, slows to a stop)

Um, yeah, I think so. But they didn't hit anything.

(looks down at the detonators, only two remain)

Oh, no!

                              DAD

What happened?! Did they shoot you?

                           MICHAELA

Uh, no. I... I think I dropped one of the detonators. I should
go down and get it.

                              DAD

You will do no such thing!

                           MICHAELA

(looks down, sees an enemy agent scooping up the lost detonator
from the ground and climbing into the truck with it, the van
drives away)

Oh, it's too late anyway, they just drove away with it!

(looks down at the two detonators she's hugging to her chest,
breathless)

Daddy. Something is wrong. I can't breathe.

(legs curl up)

(special affect: Michaela begins spinning out of control)

                              DAD

Michaela, what's wrong?

(pauses)

Michaela?

Michaela, what's wrong?!

                            MOTHER

Safety override: AUTOMATIC LANDING PROTOCOL.

                              DAD

Michaela, if you can hear me, I'm on my way to you. I'm sending
paramedics immediately to your location.

EXT NIGHT WIDE: STREET NEAR ARMORY

(POV: michaela: dark screen)

                              DAD

(voice muffled)

Michaela. Michaela wake up. Michaela, talk to me. You're going
to be okay.

(view and sound clear up slowly, blurry image of ambulance and
strobe lights, an I.V. bag hangs over the gurney, gaze moves
down to Dad, who's holding her hand, standing beyond Dad is
Colonel Abernathy)

Michaela, can you hear me?

                           MICHAELA

(struggles and is restrained by Dad, breathless)

Daddy, did I drop the detonators?

                              DAD

No, sweetie, they're right here. You did good.

                           MICHAELA

What happened to me?

                              DAD

When you scooped up the three detonators, you apparently scooped
up a small screwdriver that stabbed you between your ribs and
punctured your lung. The paramedics had to reinflate your lung.
You're going to be okay.

                           MICHAELA

(struggles to sit up)

Then we have to go after the enemy agents before they bomb
something.

                           ABERNATHY

Problem is, we have no idea where they went or what their target
is.

                           MICHAELA

Well, they kidnapped Daddy to get the new inventions and they
kidnapped you to get the new inventions. Maybe they're going to
bomb the new inventions so we can't use them either. Where are
they?

                              DAD

After the kidnappings, I moved all but your helmet to the army
base.

                           ABERNATHY

By golly, Howard, I think she has a point there!

                              DAD

(motions)

Colonel, may I have a word?

(Dad and Abernathy exit frame conversing about the threat,
Michaela leans on one elbow to look around, sees the helmet and
the battery pack sitting on the back step of the ambulance,
camera pans to Dad and Abernathy)

                              DAD

I thought the new inventions would be secure in the vault on the
army base. Am I wrong?

                           ABERNATHY

Normally I would say they'd be as secure as Fort Knox, but now I
think the enemy agents might have an inside man in our unit.
They seemed to know that they could kidnap you on the way home
from the Army base and when I was most vulnerable to kidnapping.
The inside man may have given them the floor plans for the Army
base and the research center.

(points)

What is she doing?

                              DAD

(turns head)

Michaela!

(camera pans toward Ambulance)

(special affect: Michaela, now wearing helmet and belt, ascends
quickly out of frame)

EXT NIGHT WIDE: SKY

(empty)

                           MICHAELA

(voiceover)

MOVE-ME UP ZERO.

(enters frame from below, slows to a stop)

Mother, WHERE IS Daddy's prototype helmet?

                            MOTHER

Heading 1 1 3.

                           MICHAELA

MOVE-ME HEADING 1 1 3.

(special affect: Michaela's body turns)

                              DAD

Michaela, what do you think you're doing?!

                           MICHAELA

It was my fault those enemy agents still have one of the bombs.
I need to get it back.

                              DAD

Come down here, now!

                           MICHAELA

MOVE-ME FORWARD 9

(special affect: exits frame quickly)

(voice over)

Sorry, Daddy, I have to do this.

(jump cut: empty darkness in sky over army base)

                           MICHAELA

MOVE-ME FORWARD 2

(special affect: Michaela enters frame slowly)

(POV: left eye lens: cross hairs move over red dot superimposed
over office building next to a helipad as Michaela slowly
circles the building)

Daddy, I'm over the army base and I'm looking down at the
building where the prototype helmet is kept. I'm looking for the
van that the enemy agents were in, but I don't see it yet.

(sound cue: explosion)

                              DAD

What was that?! Michaela, are you alright?

                           MICHAELA

(POV: left eye lens: cross hairs move to a puff of smoke rising
from the other end of the building, camera moves toward puff)

I'm fine, Daddy. The explosion was at the other end of the
building. It wasn't even near the prototype helmet.

                              DAD

Stand by.

(partially muffled)

What do you think, Colonel? Are any weapons or secrets stored on
that end of the building?

                           ABERNATHY

(partially muffled)

No. That's the reception area and the meeting rooms. I think the
enemy agents may have used some of the explosives to blow the
front door off the hinges.

(sound cue: explosion followed by horns and sirens continue to
end of scene)

                              DAD

I heard another explosion, then horns and sirens.

                           ABERNATHY

That means the enemy agents have entered the restricted part of
the building. They're going after the vault.

                           MICHAELA

I'm going in.

MOVE-ME FORWARD 9.

(special affect: Michaela's body tilts to prone, exits frame
quickly)

                              DAD

Going in where?!

Michaela rose!

Don't you dare! Michaela!

Those men have guns! Michaela!

INT NIGHT WIDE: ARMY RESEARCH BUILDING

(Michaela's incoming flight is framed by the mangled door
opening. She flies through the door, past the camera and down
the hall, camera follows, she flies through a second mangled
door opening and down the hall and into the darkness)

(jump cut: outside the vault room)

                           MICHAELA

MOVE-ME FORWARD ZERO.

(special affect: enters frame slowing, tilts up and lands gently
on the floor, looks left and right slowly)

(POV: left eye lens: looks left and right, red dot moves across
screen showing Michaela where the vault is)

SEE-THRU THAT.

(POV: left eye lens: in shades of green, one agent is seen
taping remaining bricks of explosive to the middle of the vault
door while a second agent sets the timer and the third agent
holds the flashlight. Once the explosive is attached, the second
agent attaches the detonator to the explosive and pokes the
bricks with blasting caps)

                              DAD

Michaela, will you please talk to me?! Where are you?

                           MICHAELA

(whispers)

I'm outside the vault room.

                              DAD

You mean you're INSIDE the building?!

                           MICHAELA

They just attached the explosives and the detonator to the vault
door.

(POV: left eye lens: When they back away and exit the room
running, the timer LEDs read 1:00. Michaela, backs around a
corner to hide as the agents run by)

                              DAD

Michaela Rose, you get out of that building RIGHT NOW!

                           MICHAELA

(enters vault room)

(POV: left eye lens: aims cross hairs at detonator)

PULL THAT 4.

(special affect: explosives and detonator fly across room and
into her hands)

(turns, runs to hallway)

In a minute.

                              DAD

Don't "in a minute" me!

                           MICHAELA

That's how much time is left on the timer.

                              DAD

Timer? What timer?

                           MICHAELA

The timer on the detonator reads...

(reads LEDs)

... 51 seconds.

                              DAD

Please tell me you're not close enough to that bomb to actually
READ the timer!

                           MICHAELA

(running down the hall)

Sorry, Daddy, I'm a little busy now.

MOVE-ME FORWARD 5.

(special affect: jumps head first, floats through the air,
accelerates out of frame horizontally)

                              DAD

Michaela, what are you doing?! Michaela?!

EXT NIGHT WIDE: ARMY RESEARCH BUILDING

(special affect: Michaela's flight through the reception area is
framed by the mangled door opening. She flies through the door
and over the camera)

                           MICHAELA

Okay, Daddy, I'm outside now. Everything will be alright... in
just a few seconds.

                              DAD

I don't like the way that sounds.

                           ABERNATHY

Maybe she's carrying the bomb.

                              DAD

Oh, please!

Michaela Rose, please tell me you're not carrying a bomb with C4
explosives!

                           MICHAELA

(POV: left eye lens: pans in both directions, stops when enemy
agents come into view, follows them, catches up to them, flies
over them, sees the van in the distance)

There it is!

                              DAD

There what is?!

                           MICHAELA

I found the van that belongs to the enemy agents. I can stop
them from getting away.

(POV: left eye lens: moves cross hairs to the pavement in front
of the van)

MOVE-ME THERE.

(special affect: Michaela disappears)

EXT NIGHT WIDE: STREET OUTSIDE THE FENCE

(special affect: Michaela reappears standing in front of the
van)

                              DAD

Michaela Rose, please tell me you got rid of the bomb!

                           MICHAELA

It's okay now, Daddy, I'm at the van.

                              DAD

Michaela! What did you do with the bomb?!

                           MICHAELA

(pressing bomb to the side of the van)

It's right here, Daddy.

                              DAD

Michaela, that bomb is about to explode!

                           MICHAELA

It's okay, Daddy. There's still...

(reads LEDs)

eight.. seconds left.

                              DAD

Oh, dear God, please help my little girl!

                           MICHAELA

(turns, runs)

MOVE-ME FORWARD 9.

(special affect: dives forward, flies, arches back slightly,
bends knees slightly, changes direction to vertical, exits frame
at full speed straight up)

(sound cue: big explosion)

(Sky lights up Enemy Agents, who stop, turn, run away, are blown
down by the explosion)

EXT NIGHT OVERHEAD: SKY

(special affect: Michaela orbits yellow mushrooming explosion on
the ground)

See, Daddy? It wasn't even close.

                              DAD

You are so grounded! No television, no internet, no telephone,
no video games, no friends visiting, nothing!

                           MICHAELA

Does that mean I don't get my hundred dollar test flight fee
from the Army?

                           ABERNATHY

Don't be so tough on the kid, Howard. She just single handedly
saved the Army about ten million dollars worth of destruction.

(sound cue: sirens)

AND she helped us capture all three of the escaped enemy agents.

EXT NIGHT WIDE: ARMY RESEARCH BUILDING

(Military police vehicles enter frame from the left with lights
and sirens as three enemy agents enter from the right running
from the explosion in the background, they stop as the MPs exit
their vehicles with guns drawn. Enemy agents raise hands and
drop to their knees)

2013 Bob Snook. Conditions for use:
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