    Full Stop
    by
    Michael Wheeler-Wyatt

    INT. MIKES BEDROOM. NIGHT

    1975

    Mike a six year old boy with a face of an angel plays in his den, full of toys. He has been busy collecting his parents interesting belongings. He sits crossed legged on the floor. The trinkets all around him in a circle. He pretends that his fathers favourite tie pin is a gun he shoots, a piece of his mothers Staffordshire.

    MIKE
    Peow peow, peoww.

    He then picks up a round brass alarm clock, the time is 8.30 PM. He holds it above all his parents other trinkets. His imagination transforms it into a flying saucer.

    MIKE
    Earth to base over. We just have
    time for a landing. Over.

    He hears a car door outside, and drops the clock. He looks out of the window, sees his parents. Panic sets in and he picks everything up off the floor hurriedly.

    MIKE
    I need more time, more time!

    He puts the vase back on a shelf, a hairbrush, cuff links, the tie pin, he runs in and out of every room..

    MIKE
    Just one more!

    He rushes back to his room and picks up the clock, he listens to it as he runs. He carefully places it on his parents bed side table, shaking it. The baby sitter shouts from downstairs.

    BABY SITTER
    Mike your Mum and Dad are back
    from the Hospital.

    Mike runs downstairs looking guilty. His parents are both in their early thirties, his Father enters wearing a brown flared suit, his Mother in tie dyed jeans, a floppy sweater and hat holds Mikes two year old sister, Emily.

    MOTHER
    Hello Mickey, Come hear.

    MIKE
    Is she sick mummy?

    Mum and Dad look at each other.
    FATHER
    No son, she's precious, very very
    precious, and that is why we have
    to check that she is OK all the time.

    MIKE
    Why mummy?

    MOTHER
    She breaths differently from you
    and I. We have to be very careful
    with her, and she needs lots of
    mummy's attention.

    She puts her hand through Mikes hair.

    MIKE
    How long will you be gone?

    MOTHER
    Oh darling I am not going anywhere.
    I will have to check on her every
    two hours. That's all.

    They both hug.

    MOTHER
    Now go back to bed, there's a
    good boy.

    INT. MIKES BEDROOM.NIGHT

    Mike wakes up quickly, startled. He looks up at the ceiling. Blue flashing lights reflect off all the walls. He looks at his clock. It says 11.55 PM. He hears shouting and gets out off bed.

    INT. HALL WAY. NIGHT

    Mike runs along the hallway and out of the front door.

    DAD
    Go back in Mike. Now!

    Mike looking frightened, doesn't move.

    DAD
    Mike I mean now!

    Mike starts to cry and runs away. Turns around and stops at the front door. He looks back. An ambulance is parked on the pavement.

    MOTHER
    Please make her breath, please
    please.
    Mikes father embraces her. She cries. A doctor, tries to resuscitate Mike's sister on the front lawn of the house. Neighbours watch over fences.

    MOTHER
    What are you all looking at. Do
    you all want to see my baby die!!
    Well do you?
    She sobs.

    FATHER
    Hey, hey come on. It isn't their fault.

    He goes to brush the tears off her cheeks.

    MOTHER
    (Shouting) Get off me. It was your
    fault anyway. You said you checked
    the clock. It's all your fault.

    The Doctor kneels over the baby. He looks at the parents and shakes his head. Mikes mother breaks down and falls into her husbands arms. Mike runs into the house, upstairs, and jumps into bed. The blue lights stop abruptly. He starts to shake. Sobbing uncontrollably, nervously biting his quilt cover.

    INT. JACKS HOUSE. HALL. DAY

    1999

    Mike now a thirty two year old Police Inspector is handsome and muscular. He stands in a hallway waiting for his partner, Jack. He talks to Ailsa, Jack's heavily pregnant wife.

    MIKE
    I nearly forgot, I bought you something.

    He rummages in his holdall and produces a big teddy bear.

    MIKE
    Girls and boys like teddies, right?

    Ailsa laughs.
    AILSA
    Right.

    MIKE
    So it doesn't matter whether it's
    a boy or a girl.

    AILSA
    Oh, thank you, that's sweet. Are you
    gonna be OK.
    MIKE
     About what?

    AILSA
    You know me having this baby.

    MIKE
    Of course. Why shouldn't I be.

    AILSA
    I just thought it may remind you
    of Emily.

    MIKE
    Don't be silly. I am as excited
    as you are.

    She kisses him. Jack, a twenty-six year old striking black man with a strong jaw line runs down the stairs.

    JACK
    Hey Mike, when you gonna get your
    own wife, man?

    They all laugh. An 'I've known you for ages laugh'. Jack hugs his wife, puts his hand on her swollen belly and laughs.

    JACK
    You better hang on till I get back
    little fella.

    AILSA
     I'll look after him don't you worry.

    JACK
    Bye darling. Remember if you feel
    any contractions, or you get hot
    or faint...

    AILSA
    I know, I know, I have your mobile
    number written on little bits of paper
    stuck all over the house. Now go.

    JACK
    Love you.

    Ailsa holds her stomach and wails in pain, Mike turns around as they both walk to his car.

    MIKE
    Jack!!!

    Jack looks at his wife and turns to run towards her. She stops acting and laughs hysterically.

    JACK
    Not funny.

    AILSA
    Love you. Go on, go on.

    INT. POLICE CAR. DAY

    Mike and Jack sit in their police car. A ladies voice over the radio says.

    VOICE
    Mike, it's the Midland Bank
    this time in Windsor. Can you
    respond. Over

    Mike picks up the radio and looks at Jack.

    MIKE
    Your joking! Not another one. Isn't
    there anything else?

    VOICE
    You said you wanted these.

    Mike slams down the radio, and drives off in a hurry.

    JACK
    She's right you know. You did
    volunteer. Weird if you ask me.

    MIKE
    We've been through this. These
    robberies just freak me out that's
    all. You know that feeling.

    Jack runs his hands down Mike's arm.

    JACK
    OOOERRR. You can be so scary man!

    Jack's mobile phone rings. He looks at Mike and smiles.

    JACK
    Yeah very funny.

    Jack laughs and then his face gets serious.

    JACK
    Ailsa, Ailsa. Shit, get this car
    turned around now.

    He signals to Mike to spin the car around. He does so professionally.

    JACK
    Hey slow down! Right. How far apart?

    Jack nods at Mike. Mike puts on the flashing lights and siren. He drives through some red lights causing other cars to swerve.

    JACK
    Sure, don't panic we'll be there
    before you know it. I love you too.

    Jack hangs up and rubs his sweaty palms on his trousers.

    JACK
    Oh my God this is it. Shit.
    Shit.

    MIKE
    Don't worry the Banks can wait.

    JACK
    Fuck the fucking Banks. My wife
    is just about to have your best
    mates baby. Or whatever. (confused)
    fuck, FUCK!

    MIKE
    Come on relax. I was joking. I'm
    looking forward to this as much as
    you are. She'll be fine.

    EXT. HIGH STREET. WINDSOR. DAY

    Mike's car screeches to an abrupt halt outside Jack's house overlooking Windsor Castle. Traffic stops through the town as his car obstructs the way. Bob Kendrick a twenty two year old sales rep in his Company Car impatiently sits behind Mikes car.,

    BOB
    Hey get a move on you pratt.

    Mike sneers at him and starts to walk over to his car, fists clenched.

    Jack runs to his front door.

    EXT. THE DOOR TO JACK HOUSE. DAY

    Jack turns to see Mike walking away.

    JACK
    Mike leave it. Go. You've
    got a case haven't you.

    MIKE
    Are you sure you will both be
    OK?

    The front door opens and Ailsa appears, now really holding her stomach in agony. Jack goes to put his arm around her.

    AILSA
    Get off me. Where the hell have you been?
    I had to call an Ambulance because my
    husband and his partner are both too
    busy playing Mr Policeman to take me
    to the Hospital.

    MIKE
    Hey it was my fault. Sorry! Will you
    call me as soon as you know anything?

    AILSA
     Of course we will, get going otherwise
    the Ambulance won't be able to get
    through..

    BOB
    For Gods sake, other people need
    to use this road you know!

    MIKE
    OK.OK put your teddy back in your
    pram. I 'm going. Jack call me. OK.

    JACK
     Go, go, we'll be all right.

    Mike roars off down the road. An ambulance pulls up outside Jack and Ailsa's apartment. It parks diagonally in front of Bob's car.

    BOB
    You're having a freaking laugh.

    Bob puts the car into gear and drives onto the pavement on the other side of the road. He nearly hits a Policeman who gets out his notebook as he walks up to him tutting. Bob puts his head in his hands in despair.

    INT. MIDLAND BANK. WINDSOR. DAY

    Mr Brennan a middle aged greasy haired Bank Manager, bends down to lock the large front doors. He looks agitated and annoyed. He shouts to Sarah, a young fresh looking cashier. The other ten cashiers in the bank are standing behind her.

    BANK MANAGER
    It doesn't add up. That's what
    I 'm saying.

    SARAH
    And I 'm telling you that I was sitting
    at my counter all afternoon.

    She looks at Judith her supervisor. She doesn't look like she is in the mood for any confrontation.

    SARAH
    Ask Judith. She knows. I've
    been in my seat all day haven't I?

    The Bank Manager walks up to Judith and looks closely into her eyes.

    BANK MANAGER
    Huh. OK. That's it nobody is
    leaving. We're gonna get to the
    bottom of this before the police
    arrive.

    He taps his long boned finger on his cheek.

    BANK MANAGER
    Now as Bank Manager of this
    branch. One of the most important
    branches in the country I might
    add, it is my sole responsibility
    to find out exactly what happened
    to all that money. Everyone knows
    that one hundred and twelve thousand
    pounds cannot just walk around by
    itself.

    He puts his hands on his hips and looks more closely at Sarah.

    BANK MANAGER
    (Talking quietly) So come on
    Sarah. You can be the first to
    open your locker.

    Judith stands between them. Fuming with rage.

    JUDITH
    You can't just go around accusing
    who you like. Wait till the police
    get here.

    BANK MANAGER.

    I see. In it together are you?
    The Supervisor and her favourite
    little lesbian cashier! Yes I
    think it is becoming clearer now.
    Judith gives him the finger close to his face.

    JUDITH
    Fuck you! Who do you think you
    are. You can't keep us here.

    She walks towards the window of the Bank.

    JUDITH
    And at the end of the day, you're
    only getting agitated because
    that money vanished from right
    under your ugly nose.

    EXT. MIDLAND BANK. WINDSOR. DAY.

    Mikes screeches his car to a halt and bangs on the door of the Bank.

    INT. MIDLAND BANK. WINDSOR. DAY.

    Judith sees the car and smiles sarcastically at her Manager.

    BANK MANAGER
    As you are so conveniently near
    to the escape route, would you
    let the kind Officer in please.

    Judith sneers and opens the doors. Mike enters.

    MIKE
    Inspector Mike Redwood. Whose
    in charge here?

    JUDITH
    (pointing and laughing) Mr Natural
    Leader over there!!

    BANK MANAGER
    I'm John Brennan, the Bank Manager.
    Please ignore Judith. She won't be
    with us for much longer.

    Mike ignores him and walks over to the cash machines. He looks up at a camera.

    MIKE
    How much is missing?

    BANK MANAGER
    Over a hundred thousand pounds.

    Mike points to the camera.

    MIKE
    These on all the time?

    BANK MANAGER
    All the time, yes. Would you like
    to look at the tapes?

    MIKE
    No! Don't touch anything. This I
    now a crime scene.

    Mike reaches for his mobile phone and dials.

    MIKE
    Hi. Yep absolutely the same as
    the others. I will need a
    fingerprint team and some guys
    to carry out interviews. OK.

    Mike puts his phone away. He points to a door where the staff gain access to the counter.

    MIKE
    How many of you know the
    combination of that lock?

    BANK MANAGER
    Everyone who works here. (Tuts)
    A major robbery has been committed
    here. Why don't you search the
    employees, or take statements,
    or something. If you don't mind
    me saying so, you don't look that
    concerned that a...

    MIKE
    Shut it! I 'm not in the mood.
    What did you say your name was
    again.

    Mike gets an electronic organiser out of his pocket and tries to make it work.

    MIKE
    No wonder Japan is in trouble,
    spending all their time making
    things so fucking small... it is
    isn't important. What is important
    is that six banks in this area
    have been hit in the last three
    days. Nothing out of the ordinary
    happened, there were no witnesses,
    no video. Nothing!

    BANK MANAGER
    So, as I said, it must be a member
    of staff.
    MIKE
    It could be, but they would have
    been seen wouldn't they? And that
    wouldn't even start to explain the
    link between all the other robberies.
    Would it?

    Mr Brennan shrugs his shoulders.
    JUDITH
    Excuse me. But what were the
    other Banks that were hit?

    MIKE
    Why?

    JUDITH
    Because my Aunt works across the
    Street in the Nat West.

    MIKE
    I can't tell you that I 'm afraid.
    But there haven't been reports of
    any injuries.

    BANK MANAGER
    I still can't believe you aren't
    going to search any one.

    MIKE
    Patience. OK. I 'm going to interview
    you all one by one. It will be done alphabetically. So Mr Brennan, as I
    am starting with the letter Z. Tonight
    is going to be a long one for you.

    INT. BACK OFFICE. BANK. NIGHT.

    Mike uses one of the back rooms in the Bank, stretches and yawns as he talks to the station on his mobile phone.

    MIKE
    I just have one more to do.

    He looks out the door at the Bank Manager impatiently looking at his watch.

    MIKE
    But he can wait. Has Jack called
    in at all? God she can't still be
    in labour. What. When.

    Mike gets up and throws his coat on. He runs out of the office.

    BANK MANAGER
    Wait. What about me.

    MIKE
    The station has sent some more
    men to take over. Wait here and
    let them in.

    BANK MANAGER
    But, But.

    EXT. THE PLAYGROUND CLUB. LONDON. NIGHT

    29th December 1999.

    A young girl runs along an excited queue of night-club goers. She gets to the front and joins her four young girl friends in skimpy dresses. They stand impatiently, shivering under the canopy to the Playground Club. One of them pushes a yellow round button with a smiley face on it and talks into an intercom.

    YOUNG GIRL
    Hi John, remember me?

    She waves and blows a kiss into the closed circuit television camera above her.
    YOUNG GIRL
    Come on it's freezing out here.

    INT. JOHN'S BOOTH. THE PLAYGROUND CLUB. NIGHT

    In a small dark room inside the club John a fashionably dressed dark skinned thirty year old rolls from side to side on a swivel chair. TV Monitors cover a whole wall, he smiles as he looks at the girls in one of them. He taps his feet to the loud bass coming from inside the club. Grabbing the microphone he tries to put on a sexy voice.

    JOHN
    Why should I let you in?

    YOUNG GIRL
    (On the monitor) Because we are
    four young lonely girls looking
    for a good time, Johnny Boy!

    JOHN
    (To himself) Lonely. Ummmm, oh
    yeah baby.

    Johns pushes a button on the desk in front of him. On the monitor the girls rush through the now open door, down some stairs and crowd outside John's Booth. He gets up from his chair very slowly and cooley, lifts up his designer sunglasses and swigs his Budweiser. He starts to cough and choke, he spits the beer all over the girls. They all run off into the club, giggling.

    JOHN
    (Throwing the bottle on the
    floor) Fucking American gassy
    shit, I was in there!

    John lights up a joint and turns back to the monitors. A group of five Italian suited young men are looking at him. Still annoyed John talks into the microphone.

    JOHN
    What do you geeks want?

    YOUNG MAN
    Hey man, it's 'Wysiwyh', come on
    let us in.

    John starts to laugh loudly.

    JOHN
    Great name for a pop group guys,
    what does it stand for again.

    YOUNG MAN
    Everyone knows that. What you see
    is what you hear.

    John looks more closely at the monitor and sneers.

    JOHN
    Not everyone man. You may have
    had a couple of hits in the
    American charts, but your type
    of music is banned in this club.

    YOUNG MAN
    Oh come on, we promise we won't
    sing.

    The group all laugh. John takes another drag and blows the smoke onto the screen.

    JOHN
    Fuck off yanks, no women, no entry. Get
    lost and let someone serious use the intercom.

    YOUNG MAN
    (Annoyed) Your gonna hear from
    our lawyers about this man. Its
    Goddamn discrimination.

    JOHN
    Yeah, Yeah and your music sucks
    just like your films. Hype,
    special effects and no tunes.
    Next.

    A voice comes over the intercom
    VOICE
    John open up.

    John instantly recognises the voice and hits the button almost automatically. He realises he still has a lit joint in his hand and panics.

    JOHN
    Shit, Shit the boss!!

    John stubs the joint out under the table and searches around the booth for something. He knocks stuff off the shelves and then finds an aerosol of air freshener. He starts to spray everywhere. Stephen his boss is wearing a long cashmere overcoat and standing behind him.

    STEPHEN
    What the fuck do you think you
    are doing?

    John turns around and spraying his coat by mistake.

    JOHN
    Oh Jeepers, I 'm sorry.

    John starts to rub the foam off the lapels.

    STEPHEN
    Get off, get off you imbecile. Where's the
    counter?

    John gives him a chrome door counter.

    STEPHEN
    Fourteen seventy five. Um not
    bad. I'll let you off. But you
    gotta stop smoking weed in here
    understand? This club has enough
    stuff in it without you doin'
    it as well. Now how are the
    New Years Eve tickets selling?

    John ignores his remark as he spots Louise, Stephen's latest girl friend standing behind him. He follows her red stiletto shoes up her long tanned legs, passed her blue turquoise plastic mini skirt.

    STEPHEN
    Did you hear what I said? The
    Millennium, hello, hello.

    JOHN
    Sorry, yes all taken care of.
    All sold. Twice over, should be
    an awesome evening. Jez' Louise
    looks good tonight.

    STEPHEN
    Shut up. She's wired as usual.
    Just take her jacket will you.

    Stephen takes her arm and walks off through a door into the club. The door seems to stay open for a short while after they pass through it. John looks at his monitors.

    JOHN
    Cor, she was awesome. Now where
    did you go, where you go?

    He looks at all the monitors ignores the strange behaviour of the door and zooms in on Louise dancing on the floor.

    JOHN
    Yeah, oohh yeah. Move it baby,
    move it.

    John relaxes in his chair and re-lights his joint.

    JOHN
    Everything is cool, just reallllyyy
    coooll!

    INT. THE PLAYGROUND CLUB. NIGHT

    Louise moves rhythmically to the beat of the music. Lasers bounce off the perspiration on her body. Young people all around her move faster and faster as the music gathers pace. Louise mouths the words to the song 1999 by the artist formerly known as Prince.

    LOUISE
    Two thousand, zero, zero, party
    over oop's outa time.

    Her eyes fix on the sweaty bare muscular chest of mid twenty year old man dancing beside her. She dances in a bodily trance.

    LOUISE
    (Singing) So tonight I 'm gonna
    party like it's nineteen ninety
    nine.

    She faces him and lowers herself down to the floor. He grabs her small waist and grinds his hips with hers. They dance together erotically, the lasers get darker, the music gets louder and faster and the club is lit only by a stroboscopic light.

    LOUISE
    Easy, my bloke owns the club.

    The man caresses her body and squeezes her body harder.

    LOUISE
    Come on get off, get off get...

    INT. JOHN'S BOOTH. THE PLAYGROUND CLUB. NIGHT.

    Louise's face is lit by the monitors in John's booth. She looks bedraggled, confused and frightened.

    LOUISE
    (Breathless) What the fuck,
    what happened, what happened?

    Louise looks over to see John sitting on his chair. He looks at her.

    JOHN
    (Startled) Louise, what the...

    Through John's eyes we see the same red stiletto shoes, her legs are bruised and her small skirt hitched over her bare buttocks.

    JOHN
    What are you doing in here.
    How did you get in.

    LOUISE
    I don't know, I, I.

    She starts to cry, falling to the floor exhausted.

    LOUISE
    He was all over me, and there
    was nothing I could do.

    JOHN
    Wow No. No, No you can't stay
    here. This looks bad. Shit.
    Shit!!

    John gets up to help her. He notices a shadow move under the door. Stephen bursts in, looks at Louise and then John. He reaches in his jacket and pulls out a small pistol.

    JOHN
    Wait, wait I...

    STEPHEN
    (Pointing the gun at John) Just
    say another word. Louise can you
    move.

    LOUISE
    (still confused)I think so.

    STEPHEN
    (To Louise) Get out. And not a word
    to anyone!

    Louise gets up and leaves the booth. She stumbles down the steps to the club, rubs the tears off her face. She opens the door. Turns to look back at the booth. She opens her eyes wider.

    LOUISE
    (Running back up the stairs)
    Wait, wait, it wasn't him.

    Two gunshots come from the booth, blood splatters on the glass windows.

    EXT. PLAYGROUND CLUB. NIGHT

    A black BMW drives away.

    INT. HOSPITAL WARD. NIGHT.

    Jack is lying unconscious on a hospital bed. Tubes dangle from his mouth. His face and hands are bandaged and a heart monitor slowly bleeps in the corner of the room. A Doctor and Nurse stand over him. Mike looks at Jack.

    MIKE
    How is he?

    DOCTOR
    Hard to say. He has bad lacerations
    to his upper body and his leg is
    broken. Until the head x-rays come
    back, we can only guess how
    extensively the damage is there.
    I'm sorry.

    MIKE
    Fucking no way. Ailsa, how is Ailsa,
    his wife.

    Mike grabs the Doctor around the lapel.

    Mike
    Not now.. And the baby. They were
    coming here to have our, I mean
    their first baby.

    DOCTOR
    Calm down, please, She's stable.
    She is in intensive care, but
    her vital signs are very strong
    indeed.

    MIKE
    The baby?

    The Nurse walks up to Mike and puts her arm around his.

    MIKE
    Oh God No. No. Can I see her.

    INT. OUTSIDE HOSPITAL INTENSIVE CARE UNIT. NIGHT

    Mike presses his face up to the window of the ward. Tears stream down his face as he looks at Ailsa. She is lying on the bed draped in tubes and surrounded by machines. Another young policeman taps Mike on the shoulder.

    POLICEMAN
    Sir. I am sorry to disturb you. But
    I have just come from the accident
    scene.

    MIKE
    (wiping the tears off his face)
    Oh right. Yes, Yes what happened.

    POLICEMAN
    Well the Ambulance was travelling
    at some speed when it was involved
    in the accident so it is difficult
    to say exactly what happened. There
    isn't much left. I can speculate.

    MIKE
    Please do.

    POLICEMAN
    Well there wasn't another vehicle
    you see. The ambulance has the
    markings that are consistent with
    a high speed collision. But there
    is no other vehicle.

    MIKE
    People have been known to leave
    the scene of an accident you know.

    Mike starts to think and...

    Flashback to two faces of the ambulance drivers, they spot a black car coming straight at them. They scream.....After the accident the BMW is gone. Just the ambulance smashed to pieces remains with the blue light flashing... slowing down...slower...it stops.

    MIKE
    I don't want to know anymore.

    POLICEMAN
    They stopped in the dead middle
    of the road. No other damage to
    anything around them. The street
    was brightly lit. We checked everything.
    MIKE
    I said shut up. I am sorry, look
    I bet it was a fucking drunk
    driver or something.

    POLICEMAN
    No way sir. As I said..

    MIKE
    Get out will you. Leave me alone.

    The policeman leaves and Mike slides down the wall. He starts to cry uncontrollably.

    MIKE
    I should have given you a lift, I
    should have followed you. I am
    so sorry..

    EXT. ALPHALAND HOUSE. NIGHT.

    Following a Black shiny Jaguar XK8 down a long gravel driveway. The drivers tinted window goes down and Jem's hand clicks a remote control device. He has a pale washed out complexion, considering he is only twenty - nine. The huge ornate gates open to reveal a modern mock Tudor style mansion. Parked outside is a red Lamborghini Diablo. SV and a convertible TVR.

    INT. JEMS DRESSING ROOM. NIGHT

    Jem walks into the huge ballroom and claps his hands. The curtains draw, dim lights shine on a mirror ball and Bryan Adam's song 'The only thing that looks good on me is you' starts to play loudly. He is carrying three carrier bags full of money. He throws them into a large bedroom. A huge pile of fifty pound notes lies in the middle of the floor. He sits down in front of a huge theatrical mirror and sings to himself. He takes his dark quarter length jacket off his shoulders slowly. Flinching in pain as he reveals a deep cut in his upper arm. He picks up a bottle of whisky and takes a long swig.

    JEM
    Aaahhh! Wow. Close one. (to the
    mirror) You have to drive more
    carefully Jem my boy. Ha ha aha.

    He looks in the mirror and gets a glimpse of a machine in the far room. It looks like a silver bullet shaped sunbed. Jem raises the bottle and toasts towards the object.

    JEM
    Professor. Ha ha ha.

    INT. HOSPITAL. JACKS WARD. DAY

    A calendar on the wall shows the date to be the 30th December 1999. Jack slowly starts to gain consciousness. He focuses on the television set at the end of his bed.

    INT. HOSPITAL TELEVISION SET. DAY.

    NEWSCASTER
    The robbery in Bracknell today
    of another High Street Bank
    seems to have the Thames Valley
    Police Force baffled. We go
    over now to our outside News
    Reporter Sarah Swift. Sarah
    what is the scene there?

    EXT. MIDLAND BANK. BRACKNELL. DAY.

    Sarah Swift a smartly dressed forty year old BBC reporter is standing in front of the Bank. A crowd has gathered behind the police barrier.

    SARAH
    Well the police have come out
    in force to try and quell the
    huge public presence here today.

    NEWSCASTER
    Why so much interest do you think?

    SARAH
    This is another robbery in a
    long succession of incidents
    this holiday. Police have no
    witnesses, and no suspects.
    The public are intrigued by
    this whole series of crimes.

    NEWSCASTER
    Have there been any injuries.

    SARAH
    Reports have come in of an
    accident involving an ambulance
    just after the robbery in
    Windsor yesterday afternoon.
    But the names or details of
    injuries of those involved have
    yet to be released.

    INT. HOSPITAL. JACKS WARD. DAY

    Jacks face is bandaged except for his mouth and eyes. They fill with water as he remembers the crash. He tries to moan, but the tube down his throat prevents him. He starts to cough violently. Mike enters the room. Looking like he has slept on the floor all night. He runs over to Jack and puts his hands on his shoulders.

    MIKE
    Hey, hey, it's OK. Calm down.
    Try to relax. Nurse,(shouts)
    Nurse.

    The nurse comes in the room and holds Jack's head still.

    NURSE
    When I say now. Cough. Now!

    The Nurse pulls the long clear tube out of Jack's mouth. He start to choke and go blue. Mike slap him on the back.

    JACK
    Errr, my throat. (whispering)
    feels like I've swallowed razor blades.

    MIKE
    It's OK. You're out of the
    woods. You had us worried for a
    moment there.

    JACK
    Ailsa, Ailsa. Where is she. Did
    she survive? Oh man what happened?

    MIKE
    She is in intensive care. But she
    is a fighter.

    Jack grabs Mike around the arm.

    JACK
    The baby. Our baby. Man, the baby.

    He shakes Mikes arm.
    MIKE
    I am sorry mate. The collision
    was too much.

    NURSE
    Here, I want you to take one
    of these.

    MIKE
    Come on do what the nurse says.

    Jack swallows the pill.

    NURSE
    That will help you to sleep.
    You still have a lot of
    recovering to do. Jack starts
    to lose consciousness.

    JACK
    Mike. Was the baby a boy or a
    girl?
    MIKE
    A little girl. Now try and sleep.

    Jack closes his eyes.

    EXT. HOSPITAL STEPS. DAY

    Mike walks down the hospital steps wiping the tears off his face.

    MIKE
    Not again, not again.

    INT. BUSY POLICE STATION. WINDSOR. DAY

    Mike arrives at the hectic police station. The waiting room and corridors are packed with Business Men, Bank Staff and Reporters. Bob Kendrick is being escorted into the cells.

    BOB
    (pointing at Mike) That's him.
    He caused the whole thing. You
    should arrest him, he is a menace
    on the road.

    Mike opens a door. As it opens we see the name on it. Chief Superintendent Deacon. Deacon is a fifty year old policeman with a lined face and a well travelled look. He sits in a chair and is on the phone. Mike walks in. Deacon puts his hand over the phone.

    DEACON
    Don't you know how to knock!

    Mike sits down and listens to the Supers conversation.

    DEACON
    Yes Sir, we have called all our
    best Officers back from leave. With
    the Millennium in a couple of days
    that was no mean feat. Of course Sir.
    I have the best man sitting right
    in front of me now Sir. Right away.
    Deacon Looks at Mike and smiles.

    DEACON
    A soon as I hear anything.

    Deacon slams the phone down and runs his fingers through his hair.

    DEACON
    I'm sorry Mike. That was thoughtless
    of me. How is Jack and his wife?
    We are all really cut up about it.

    MIKE
    They have lost the baby Sir. Jack's
    OK, but Ailsa is still in Intensive
    Care

    DEACON
    Oh I'm sorry. If there is anything I
    can do for them.

    MIKE
    Thank you Sir.

    DEACON
    You OK?

    MIKE
    A bit numb at the moment. Who was
    that on the phone?

    DEACON
    The Prime Minister is scared all
    this will spoil his holiday.

    MIKE
    He sounded annoyed.

    DEACON
    Bollocks, he's a fucking puppet.

    MIKE
    Who are all those people outside.

    DEACON
    You haven't heard.

    MIKE
    What!

    DEACON
    About the other two robberies today.
    Both bank jobs. Just like the others.
    All these people are here to
    be interviewed. I don't think we
    will find anything though. That's
    why I want you on this 24 hours a day.
    Mike grunts in disapproval but his real attention has switched to a man outside the office.

    MIKE
    Isn't that Jenkins the head of
    Scotland Yard?

    Deacon gets up of his chair.

    DEACON
    Where. Oh shit. What is he
    doing here?

    Jenkins is a middle aged heart attack waiting to happen. His fifty year old beer belly and double chin on his already large frame makes him a formidable figure. He is just about to talk to Mike when he is interrupted by an argument between a reporter and a press photographer. Jenkins becomes more and more angry as the noise in the room rises to a crescendo.

    JENKINS
    Will you all please be quiet!

    The commotion continues and Jenkins steps up onto a chair.

    JENKINS
    Shut the fuck up (shouting) Where
    do you think you are. It sounds
    like a sodding farmyard in here.

    He gets off his chair. The noise is now completely gone.

    Jenkins goes up to Mike.

    DEACON
    That' better Sir. Thank you.

    JENKINS
    Shut up Deacon. Redwood. Explain to
    me what is going on please.

    MIKE
    How do you mean sir.

    JENKINS
    The Home Office got me to fly
    down from Scotland especially
    to find out about these bank
    Robberies. You'd better have some
    answers, because I would prefer
    to spend New Year eating Haggis
    than drinking coffee on some
    Police Station.

    MIKE
    We are working on it sir.

    JENKINS
    Not good enough. Money doesn't walk
    out of banks in broad daylight does
    it. Someone must have seen
    something. Have you checked the
    videos?

    DEACON
    They are all in the lab now Sir. So
    far they haven't showed up anything.

    JENKINS
    God damn it. It is the year 2000 in
    a couple of days. The public doesn't
    want to be distracted by some stupid
    local crimes.

    MIKE
    Stupid local crimes? My partner and
    his wife have lost a baby and...

    JENKINS
    If you want out. Say so now.
    Look Redwood, the Government has
    spent over two hundred million on
    the dome. God knows how much on
    other celebrations and
    Millennium activity. There is a
    lot at stake here. Get it sorted.
    Both of you. Two days. I want a
    report flown up to Aberdeen. Two
    fucking days!

    Jenkins walks out of the room and slams the door.

    MIKE
    It must be great having so a boss
    who commands so much respect!

    DEACON
    Want a drink?

    MIKE
    After that. Yeah sounds good.

    Deacon gets a whisky bottle and two glasses out of the cabinet in the corner of his office and pours Mike a large glass.

    DEACON
    Here. (pointing to the pile of
    papers on his desk) Here are the
    accident reports from the ambulance
    crash last night.
    MIKE
    Do you think it had anything to do
    with the robbery in Windsor?

    DEACON
    We know from bank records that the
    money was stolen at about the same
    time. It's possible.

    MIKE
    What else do we know.

    DEACON
    That the other car involved was
    a black BMW.

    MIKE
    How did you find that out?

    DEACON
    It was found five miles away in
    Ascot, an hour after the crash.
    The damage, according to forensics
    was caused by a collision with a
    white coloured van or an ambulance.

    MIKE
    Any witnesses?

    DEACON
    The car was brand new. It was
    stolen from a showroom in Ascot
    that afternoon. Get this. In broad
    daylight. Through a fifteen foot
    square piece of showroom window.

    MIKE
    And no one saw anything? Did the
    staff in the banks come up with
    anything.

    DEACON
    Nope nothing.

    MIKE
    People outside.

    DEACON
    All drawn a blank. The only link is
    the BMW.

    MIKE
    Where was it found.

    Deacon passes Mike a piece of paper.

    DEACON
    Keep me informed of your whereabouts.
    I will let you know if anything
    comes up from forensics.

    Mike leaves in a hurry.

    INT. BMW DEALERSHIP. ASCOT. DAY.

    Mike walks into a spotlessly clean showroom. Men are working hard, cutting a large piece of glass. A skinny, effeminate very well spoken Manager appears out of his office, he walks across the floor looking Mike up and down. Mike is examining where the large window used to be. It is now covered with an MDF board.

    MANAGER
    Yes, Sir. How can I be of assistance?

    MIKE
    What happened to the window?

    MANAGER
    Just a slight accident. Vandals we
    think.

    MIKE
    Really! I am Police Inspector
    Mike Redwood. So you wanna tell me
    what really happened here?

    MANAGER
    Took your time getting here didn't
    you.

    MIKE
    Well in case you haven't noticed we
    are a little busy at the moment.

    MANAGER
    (sarcastically) Oh yes the Millennium.

    MIKE
    Whatever. So what did you see?

    MANAGER
    Oh I am sorry, but I wasn't here at
    the time. You need to speak to our
    coupe salesman.

    MIKE
    Where is he?

    MANAGER
    Sorry I should have said ex -
    coupe salesman.

    Mike grabs the young man around the collar.

    MIKE
    Listen to me. I haven't got time
    for your little salesman's games.
    Where can I find this bloke.

    MANAGER
    Er, er wait here.

    The manager comes back with a piece of paper, passing it to it to Mike reluctantly.

    MANAGER
    Here you go. All you had to do
    was ask.

    MIKE
    This is a home address.

    MANAGER
    I had to let him go. He wasn't
    performing anyway.

    MIKE
    I can guess how. I won't say
    thanks.

    MANAGER
    I bet you never do.

    Mike phones Mason on his mobile phone.

    INT. FRONT DOOR APARTMENT. DAY

    A young man in his early twenties opens the door to his apartment. Although it is late afternoon he is still wearing his dressing gown. Martin the ex - BMW salesman has a passion for cars. Mike follows him into his front room. The walls are adorned with posters of exotic cars.

    MARTIN
    So you met my fag of a boss.

    MIKE
    How did you know I was on my way
    over?

    MARTIN
    He thought he should warn me. To
    be quite honest I am glad to be
    out of it. The boss's son is always
    the worst employer.

    Mike picks up a model of a Porsche 911.

    MIKE
    Looks like you love cars.

    Martin sits down.

    MARTIN
    They are my life. That is why I put
    up with that asswipe for so long.
    He didn't believe me you see. No one
    did.

    MIKE
    What didn't they believe?

    MARTIN
    (Ignores him and looks into space)
    But surely they must have thought
    that I couldn't have come up with
    such an incredible story, it would
    be just too unbelievable to have
     made up.

    MIKE
    Wo - wo - slow down. Something as
    incredible as what? Start from the
    beginning.

    MARTIN
    There isn't much to tell really. I
    was in my office finishing off a
    mailshot telling my customers about
    the new M3 model - you know trying
    to drum up extra business when the
    bell went off in the showroom.

    MIKE
    Bell?

    MARTIN
    It tells the sales staff when a
    customer walks in.

    MIKE
    Other salesmen?

    MARTIN
    They were out the back having a
    smoke. Anyway I put my head around
    the corner to look out and the
    front glass widow was smashed to
    pieces. Small bits of glass
    were still falling on to the
    floor, as if it had just happened.
    What was even weirder was
    that the BMW M3 had disappeared.

    MIKE
    Weird, why weird.

    MARTIN
    It makes the hairs stand up on my
    back. I should have heard something.
    Either the glass breaking, the engine
    revving or at the very least the
    alarm on the car.

    MIKE
    You weren't asleep?

    MARTIN
    I don't think an elephant would
    sleep through an M3's alarm. It
    sounds like a bloody air raid siren.
    What was really strange was that the
    keys had been taken off the rack
    behind me. Now that just completely
    freaks me out. One minute they were
    there and the next, I turned around
    and...

    Mike picks up a small tube of cardboard off the floor. It looks like a roach.

    MIKE
    You smoke Martin?

    MARTIN
    Yeah. Want one.

    He offers Mike a cigarette.

    MIKE
    Not cigarettes, blow, ghanga, Bob
    Hope.

    MARTIN
    Bob Hope?

    MIKE
    Dope.

    MARTIN
    No way. Sometimes at weekends but
    at work, forget it.

    MIKE
    Are you sure you didn't hear a thing.
    You didn't see any one suspicious
    before it happened?

    MARTIN
    You don't believe me either, do you?
    No wonder I got sacked. It sounds
    crazy I know. All I can think off
    is that I passed out.

    MIKE
    Maybe.

    Mike notices a postcard in a picture frame of a BMW M3 on the shelf.

    MIKE
    This is the same car isn't it?

    MARTIN
    Yes, you know your motors.

    Martin takes the postcard off Mike and frowns.

    MARTIN
    Except this one is standard

    MIKE
    How do you mean?

    MARTIN
    Well it doesn't have the wide arches.
    The polished alloys or the boot
    spoiler. I reckon the thief had
    great taste.

    MIKE
    So it isn't standard, a one off.

    MARTIN
    I think there about five in the
    country.

    MIKE
    Was there anything else to
    distinguish it from the others.
    No reason why the thief would
    want this particular car?

    MARTIN
    No, no I don't think so. It was taken
    in the workshop when it was delivered
    to us. Hey wait! It had a 'Sniffer'
    fitted.

    MIKE
    A what?

    MARTIN
    Yeah that's right the customer
    specifically asked for a 'Sniffer'.
    Oh it's a new type of tracking alarm.
    There really expensive, but when you
    spend near on fifty grand for a new
    car I guess you want the best.

    MIKE
    Why is it so special.

    MARTIN
    It emits a signal like a radar to the
    local police station. No matter where
    it is in Europe it can be tracked by satellites that pinpoint it's position.

    MIKE
    Like the cabs in London.

    MARTIN
     Yeah, but it won't help because it
    will just tell you where it is now.

    MIKE
    That's the only thing we do know.
    If you think of anything let me know,
    here's my number. Thank you. That's all
    I think.

    MARTIN
    Hey, wait, so you have you found the
    car.

    MIKE
    I am afraid that I shouldn't tell you
    that. Thanks for your help.

    MARTIN
    You do believe me don't you?

    MIKE
    Yeah I guess so.

    INT. MIKES CAR OUTSIDE MARTINS HOUSE. DAY

    Mike calls Jenkins on his mobile.

    MIKE
    A bit of background, but that's all
    here. Hold on. Call Waiting.

    Mike presses another key on his phone.

    MIKE
    Redwood. Martin, that was quick.
    Yeah.

    Martin looks out of his window at Mike sitting in his car.

    MARTIN
     That alarm we fitted is the top of
     the range.

    MIKE
     So.

    MARTIN
    I know where all this info stored.
    I still had the salesman's
    card in my wallet.

    MIKE
    Great. What's the number?

    INT. FORENSICS LAB. DAY

    Jenkins gets off the phone from Mike, he writes down the phone number of the alarm company, he is talking to a forensics expert. Mason wears a long white coat. His small oblong glasses just about stay on the tip of his long nose. He is looking at a computer screen. Mason gives him the number.

    MASON
    I don't need to call them I
    can look it all up from here.
    You see this is a map of the
    Thames Valley. These dots
    represent the car's movements
    over the last few days.

    JENKINS
    What dots. I only see one.

    MASON
    I think the memory must have been
    damaged in the crash. Because apart
    from this one address, where the car
    appears to be stationary for a
    period of about two hours, nothing
    else shows up.

    JENKINS
    So the thing is shot.

    MASON
    No it can't be, look it is still
    giving out a signal from this lab.

    He points to the screen.

    JENKINS
    So it does work. You'd better
    give me that address.

    Mason prints out the address and spots a flashing red light on the computer screen. He hits the keyboard.

    MASON
    Yes. It works.

    JENKINS
    What is it.

    MASON
    As I said before we can do it all
    here, this network is patched into
    the police central computer. When
    ever I call up a name, registration
    number or address it automatically
    searches all the crime sheets.

    JENKINS
    And.

    MASON
    And. Bingo. Your address is
    the same address that appears
    on this report, and...A Professor
    Wells died there of a heart
    attack two weeks ago. Weird.

    JENKINS
    Coincidence more like.

    MASON
    Here's the address anyway. Want
    to see something that is weird?

    Mason walks over to a TV monitor and video. He hits the play button.

    MASON
    Look at this. This is a few seconds
    footage from the Windsor robbery.

    JENKINS
    The same night as on the alarm memory.

    MASON
    Yep. Look.

    INT. VIDEO SCREEN. FORENSICS LAB. DAY

    A black and white piece of footage shows a view from inside the bank looking out. A car seems to appear and disappear very quickly.

    INT. FORENSICS LAB. DAY.

    JENKINS
    What was that.

    Mason rewinds the tape and freezes the image.

    MASON
    It's really blurred, but I think
    that is a Black BMW.

    JENKINS
    Why is it only there for a second?

    MASON
    For a twenty fifth of a second
    actually. Faster than the human eye
    can see. Unless the tape got sliced?

    JENKINS
    Hold on a sec.

    Jenkins dials on his mobile phone.

    JENKINS
    Mike we've got an address on...

    INT. PROFESSORS CELLAR. VIDEO MONITOR. DAY

    A screen in a dark room shows a video of an old Professor talking to a lecture room full of students.

    PROFESSOR
    The power to create ones own reality
    is now here. You see reality is made
    up of the components of experiences
    received by our physical senses.

    The Professor snaps his cane in half.

    PROFESSOR
    But these senses can be fooled.

    He lifts up the cane and it has joined back together, The young audience laugh.

    PROFESSOR
    By tapping into these areas of
    the brain to manipulate the signals
    it takes in, we should be able to
    fool the conscious brain into
    thinking that what we tell it to
    be real actually is.

    A student sticks his hand up. The Professor nods at him.

    STUDENT
     With the greatest of respect. Sir,
    isn't that exactly what scientist
    have tried to prove with experiments
    in Virtual Reality?

    PROFESSOR
     No, no. I was involved in building
    the very first VR machine with
    Morton Heillig in the sixties.
    It was called the Sensorama.
    The problems we had are similar
    to those facing researchers of
    today. Creating devices that
    try to make our eyes, ears and
    so on perceive reality is extremely
    difficult. The brain is not easily
    fooled. The key is to find a way
    for each and every one of us
    to create his or her own reality.

    EXT. PROFESSORS HOUSE. DAY.

    Mike breaks into the Professor's house, searches all the rooms and soon finds a cellar, the door is unlocked and ajar. He opens the large metal door. He walks down the stairs and fumbles for a light switch. He notices a light in the corner. Kitty a pretty, New Age looking American University Student is watching a video.

    MIKE
    Hello, I 'm Inspector Mike Redwood.

    She ignores him. He walks up to her and puts his hand on her shoulder. She turns to look at him, tears role down her cheeks. Mike show her his warrant card.

    MIKE
     Hey, it's OK. Come on.

    KITTY
    I thought the Police had
    finished here.

    MIKE
    I 'm just following up... Why
    were you crying?

    KITTY
    It's a long story. I 'm Kitty Reinhold.
    I was following the Professor's work,
    that is until he died.

    MIKE
    You don't look like the type who
    would be interested in science.

    AILSA
    Umm. And you don't look like a
    Policeman.

    Mike looks around the room.

    MIKE
    What the hell?

    The room is filled with laboratory equipment. In the centre of the room is an aluminium casket which looks like a futuristic sunbed. He notices the room is split into five areas.

    MIKE
    Sight, sound, taste, touch,
    smell.

    Under each label is a set of shiny silver knobs. Mike notices cables running from each area into the main device in the centre of the room. Kitty walks over to the machine and strokes it affectionately.

    KITTY
    It is called a CASM. A Complete
    Altered State Machine.

    MIKE
    Altered states. Hum, I remember a
    talk about that on a Police Drugs
    Course. LSD and alike.

    Mike goes to touch a green button on the top of the machine.

    KITTY
    Don't touch please. It is a delicate
    instrument. I believe it works. That
    is why I am here.

    MIKE
    To see if it works.

    KITTY
    No, to disable it. It could be
    very dangerous in the wrong hands.

    MIKE
    How can a sunbed be dangerous.

    KITTY
    A CASM!! It is hard to explain.

    MIKE
    Try me. It may help a case I 'm
    working on.

    Kitty looks around the cellar. She takes two small polystyrene balls off a model of a molecule on the shelf.

    KITTY
    It isn't that easy.

    MIKE
    I did Chemistry and Physics at school.

    KITTY
    OK. All things are made up of
    tiny, tiny atoms. Imagine these balls
    represent two halves of an atom. X
    here and Y here.

    MIKE
    Let me sit down this sounds
    complicated.

    Mike sits on the edge of the workbench and Kitty sits on a swivel chair next to him.

    KITTY
    It isn't really. Well the theory
    isn't any way. So these are two
    identical parts of the same atom.
    Now if you hold on to X and let Y
    loose, say to the other end of town,
    then what ever you do here to X is
    replicated in Y.

    Mike picks up the Y ball.

    MIKE
    How do you mean.

    KITTY
    This is the biggest mystery of
    science. I can do anything to X.
    Change it's shape, it's speed
    anything. In fact if I could send
    Y to the other end of the universe
    at light speed and it would mirror
    and change so it was exactly the
    same as the X particle in my hand.

    MIKE
    So if X is in London and Y is in
    America they would look and behave
    in the same way.

    KITTY
    That's the theory.

    MIKE
    How the hell do they know what
    each is doing?

    KITTY
    Well some physicists think the
    person conducting the experiment
    effects the results.

    MIKE
    So we can change things with our
    minds. Telepathy right.

    Mike looks at the machine with interest.

    KITTY
    Well the Professor was trying to
    prove that the human mind is so
    advanced that it can change the
    nature of things at a sub-atomic
    level.
    MIKE
    The universe is mind stuff. I heard
    that somewhere.

    KITTY
    Umm. And it could be true. The CASM is
    designed to put the user into a
    state where the mind is tuned in
    to a particular frequency that
    allows us to change these atoms.

    MIKE
    And why would any one want to
    do that?
    KITTY
    Imagine if you could change things.
    All things at a sub-atomic level.
    The Professor believes, sorry believed
    that reality would change. The users
    mind could basically change the world
    to fit in with his own idea of reality.

    Mike
    Umm (Confused) How did you get involved
    with all this?

    KITTY
    I came to England to help in a project
    at your Reading University, I met the
    Professor when I was doing my
    degree and we have been in a kind
    of race if you like to prove this
    theory ever since.

    MIKE
    So do you have a machine like this?

    KITTY
    No, no. I split atoms in a huge
    particle accelerator and then try
    and measure tiny results from
    that activity.

    MIKE
    Ahh. So this is what the CASM is, a
    mind machine. How does it work
    then.

    Kitty looks around the room.

    KITTY
    Come over here. Let me show you
    something.

    She puts a large silver helmet on his head with wires protruding from it. and pulls a switch. An oscilloscope fires into action.

    MIKE
    This is safe isn't it.

    She points at the screen on the machine.

    KITTY
    Of course. OK see these lines
    here. They represent the electrical
    impulses that your brain gives out.

    MIKE
    My brain is electric!!

    KITTY
    No, your brain is really a
    sophisticated chemical factory.
    Small reactions are happening
    millions of times a second. This
    machine measures them. These
    brainwave frequencies as they
    are called are always changing
    depending on your mood, alertness
    activity and so on. Look.

    She pinches his arm and the line on the oscilloscope goes haywire.

    MIKE
    All right, I think I got that!
    So the more active or stressed I
    am the more the electricity.

    KITTY
    Not necessarily. The vibrations
    as we call them, are different.
    Most of the time we are in Alpha
    State. According to neuroscientists
    we have to get into the Delta State
    to tap into the two thirds of the
    brain we don't use. The Delta State
    fires up our subconscious.

    Mike takes the apparatus off his head.

    MIKE
    This is all very interesting, but
    what does this machine actually do?

    KITTY
    He discovered how to get the mind
    to make different frequency waves
    at the touch of a button.

    MIKE
    So it is a bit like a radio.

    KITTY
    Well the radio carries the messages
    and transfers them into sound. The
    CASM enables the user to create these
    waves which he believed could effect
    all matter around us, and therefore
    our reality.

    Kitty walks over to the machine and lies in it.

    KITTY
    Lie next to me and I will show
    you.

    MIKE
    Now there's an offer I can't refuse!!

    INT. CASM. DAY

    Mike gets into the machine. There is only enough room for one. So he has to put his arm around her.

    KITTY
    Reality is what we perceive around
    us. This is made up of sight, tastes,
    sounds, touch and what we smell. This
    stimuli is bombarding us all the time.
    So our subconscious is clouded by them.

    She waves her hand in front of her eyes.

    KITTY
    But the CASM uses our five senses
    to focus the brains activity inwards
    not outwards. This energy makes a
    new reality.

    She points to the different parts of the machine that stimulate the different senses.

    MIKE
    So it lets you change what your senses
    perceive.
    KITTY
    That's it. I think.

    MIKE
    What do you mean you think. I
    thought you were good at this
    stuff?

    KITTY
    Well it can happen in this dream
    state that the machine creates.
    But how this becomes real I don't
    really know. We can change our
    concept of space and time in a
    trance that is produced by these
    waves, but whether you can actually
    change others peoples' ideas of what
    is real or not is what the Professor
    was trying to prove.

    MIKE
    Did he?

    KITTY
    He worked with one young man a lot,
    but I never met him so I don't know.

    MIKE
    Do you know how to use this thing.

    KITTY
    Not really. I saw him power it up
    a couple of times but he was very
    careful not to let anyone see what
    he was doing. Why are you so
    interested in a dead Professor and
    his work anyway?

    Mikes phone rings. He gets out of the machine.

    MIKE
    Hello, Redwood.

    Kitty looks around the room with interest. She switches on a computer in the corner of the room.

    MIKE
    Sorry I have to go. Here is my
    number if you figure how this works
    give me a call.

    KITTY
    Do you think the Professor was
    murdered?

    Mike runs for the door.

    MIKE
    I don't know what to think. Call me.
    OK?
    KITTY
    No promises. But hey it was nice to
    meet you. By the way why didn't you
    ask about my accent?

    MIKE
     Your American right? That's the only
    bit of our conversation that I have
    figured out!

    INT. JEMS TOWER ROOM. NIGHT.

    Jem wears a pair of leather trousers and a cut off t - shirt. He sits alone in his mansion in the middle of a circular room in a swivel chair. In a complete circle all around him are wide screen TV's. He watches the lottery show on BBC1. Ulrika Jonnson hosts the show.

    ULRIKA
    (On TV) So tonight it could be you!
    Six little numbers for you to dream
    about. Here we go.

    The white gloved Camelot adjudicator nods to Louise the pop star.

    LOUISE
    Good luck everyone.

    She presses the button. The balls bounce around in the machine...

    Jem presses a green silicon ball in his hands. The wires attached to it glow warmly. They travel all the way downstairs, through the hall into the room where the sunbed contraption is rocking gently. Steam rise from it. Computer screens flicker with binary text. An LED clock slows down and stops.

    JEM
    Pause people.

    He looks at the TV's they have all been paused as the balls hang in mid air.

    JEM
    No such thing as luck.

    EXT. JEMS HOUSE. NIGHT

    Outside Jem gets into his Lamborghini. He drives off down the country lane. Music blaring.

    EXT . MOTORWAY. NIGHT

    The lamborghini swerves around traffic on the Motorway that is now all stationary.

    EXT. LONDON. NIGHT

    Jem pulls up outside the BBC Television Centre in White City.

    INT. BBC LOTTERY STUDIO. NIGHT

    Jem walks into the studio. The well lit audience are all frozen. Jem runs on to the stage. He puts his hands on Ulrika's hips and talks to the still audience.

    JEM
    It' me again. Back for another week.
    Ulrika here is going to help me to
    win some money aren't you Ulrika.

    Jem kisses her china cheek.

    JEM
    Unfortunately once again none of
    you are going to win sorry.

    Jem gets out a lottery ticket and reads off the numbers. He puts the correct balls in the selection funnel. He puts his hands in the air.

    JEM
    Perfect!! Oh even more perfect.

    He walks up to Louise and puts his hands through her hair he strokes her thigh and plays with her white knicker elastic.

    JEM
    Umm.

    EXT. LONDON SUBURB. NIGHT

    Jem drives home fast, he drives past a shop 'Toys 'R' Us'. He screeches the car to a stop. Smoke from the tyres bellows into the air. He gets out of the car, looks around, picks up a brick and throws it at the shop window. It smashes, he goes in.

    EXT. JEMS MANSION. NIGHT

    Jem gets out of the car outside his home. Picking up a large box out of the passenger side of the car.

    INT. MANSION, NIGHT

    Jem enters a room down stairs and puts the boxed radio controlled helicopter kit on the floor. He starts to count all the other kits piled against the back wall.

    JEM
    Sixteen, seventeen to do.

    He then looks in another room there are dozens of completed helicopters.

    JEM
    And twenty one already down.

    He runs upstairs and goes into his circular room. He sits in his chair and closes his eyes. He picks up the blob of green plasma silicon.

    INT. ROOM WITH CASM IN. NIGHT

    The device starts to rock and steam again.

    INT. JEMS CIRCULAR ROOM. NIGHT

    Jem opens his eyes and watches the TV's reactivate. The numbers appear as he has placed them earlier. He takes the lottery ticket out of his pocket.

    JEM
    Twenty four and thirty six. My
    God I have won the jackpot.

    Jem picks up a scrap book from under his chair. He flicks through it. There is a lottery ticket pasted to each page.

    JEM
    Again!! So how much is that now!

    He picks up a calculator and starts to count.

    JEM
    One hundred and eighty nine million.
    Should be a good Millennium!!

    Ulrika appears on the TV screens again. She says goodnight to Louise. Louise's hair is all ruffled and she pulls her skirt straight. Her cheeks blush.

    LOUISE
    I - I just want to say umm good
    night.

    Jem reaches into his top pocket and pulls out a pair of white knickers and smells them.

    JEM
    Perfect..

    INT. HOSPITAL WARD. MORNING

    Mike and a Pakistani Doctor look over Ailsa, she is lying in the same bed. Jack sits in a wheelchair holding her hand.

    JACK
    Thanks for coming Mike. She was
    whispering something about you
    last night.

    Jack eyes start to water.

    MIKE
    How is she holding up?

    DOCTOR
    She still keeps drifting in and
    out of consciousness.

    JACK
    Her heart stopped beating last night.
    I can't handle this for much longer.

    MIKE
    Come on Jack she would want you to
    be strong for her now.

    Just then Ailsa's her eyes open slightly. She speaks in a soft frail voice.

    AILSA
    Jack. I, I .

    Jack strokes her cheek.

    JACK
    It's OK darling. You're back now.

    AILSA
    It hurts.

    JACK
    I know, I know. I have some bad
    news that I have to tell you.

    Jack looks at the doctor.

    DOCTOR
    Right, I'll be just outside the
    door if you want me.

    He leaves.

    AILSA
    It's all right I know, she's fine.

    JACK
    How could you know that.

    AILSA
    I went there Jack.

    JACK
    Where, where did you go?

    AILSA
    I died didn't I?

    Mike looks perplexed. Jack looks at him for help.

    MIKE
    Your heart stopped beating for a
    while but...

    AILSA
    And I met the Professor, your friend.

    MIKE
    My friend?

    AILSA
    He has her. He is keeping her safe
    until you sort this mess out. He
    said it is the habit that is the
    key.

    Jack looks at Mike. He shrugs his shoulders.

    JACK
    You need to rest now. You aren't
    out of the woods yet.

    Ailsa lies back on her bed and closes her eyes. The Doctor comes back in.

    DOCTOR
    You should let her rest now.

    JACK
    I'll see you later then.

    He smiles at Ailsa. Her eyes close again. The Doctor opens the door and Jack leaves. Mike is left with Ailsa. She opens her eyes.

    AILSA
    This is your chance isn't it.

    MIKE
    What do you mean?

    AILSA
    To stop blaming yourself.

    MIKE
    Blaming myself?

    AILSA
    For your sister. Now you can put
    it all right.
    The Doctor puts his hand on Mikes arm.

    DOCTOR
    We should leave her now.

    Mike turns around and then back to look at Ailsa, she is asleep.

    MIKE
    (To himself) What habit.

    He looks at the Doctor.

    MIKE
    Did she really die?

    DOCTOR
    Clinically yes. Not long enough
    to cause any brain damage but her
    heart did stop beating for a few
    minutes yes. Why.

    MIKE
    Nothing really, she said she new
    her baby was OK. None of us said
    anything though.

    DOCTOR
    That is actually not that unusual.

    MIKE
    Really?

    DOCTOR
    A lot of people believe when you
    die you travel to this place where
    we can meet relatives, especially
    recently departed ones. Sometimes
    messages are even brought back.
    Come on we should leave her.

    INT. JACKS HOSPITAL ROOM. DAY

    Mike enters Jacks room.

    JACK
    Looks better doesn't she.

    MIKE
    She'll be fine, thank God. How
    are you?

    JACK
    As long as she pulls through. I'll be
    OK. Great way to spend the Millennium
    hey? What are you gonna do?

    MIKE
    I am gonna find the bastard that did
    this to you.

    JACK
    It's done now. Leave it man.

    MIKE
    Over my dead body.

    Mikes mobile phone rings. A large framed fifty year old stern looking matron bursts in.

    MATRON
    Switch that off now. Don't you know
    what those waves do to our equipment?

    MIKE
    I'd better go.

    MATRON
    Come on please, visiting
    hours are over any way.

    She shoos him away, tutting.

    MATRON
    (To Jack) You, sleep!

    EXT. HIGH STREET. DAY

    Jem drives through a busy town in the afternoon sunshine. He pulls up at some traffic lights in his Lamborghini. He wears a baseball hat that says 2000. He wheel spins away from the lights. A woman with a pram jumps out of the way to safety. He pulls up outside a model shop. A muscular builder notices what has happened. Jumps off some scaffolding and helps the lady.

    BUILDER
    Hoy, Come 'ere you twatt!

    JEM
    Easy.

    The builder walks up to Jem. He gets him around the neck.

    BUILDER
    People like you should be
    exterminated.

    The builder punches him in the face. One of his friends joins in and kicks him in the ribs. The lady shouts out.

    LADY
    Leave him, leave him, I 'm OK.

    They kick him on the floor for measure.

    BUILDER
    Are you sure?

    LADY
    Yes yes, Leave him.

    The builders climb back up their scaffolding. Jem manages to finally get up, he crawls back into his car, blood drips on his leather seats.

    INT. JEMS CAR. DAY

    JEM
    Bastards. Big mistake you
    fucking reprobates.

    Jem opens his glove compartment and gets out small case. He opens it and pulls up an aerial. An LCD screen comes on and then he plugs two wires into the back of a small lump of green silicon.
    JEM
    Let's see if this works remotely.

    He shuts the car door and concentrates, closes his eyes and breaths deeply. The gel glows more brightly. A clock appears on the screen. It slows and stops.

    JEM
    Got you. All right, now lets see,

    EXT. TOWN CENTRE.DAY

    He gets out of the car, all the crowds in the street are frozen, cars stopped. He climbs the scaffolding. He pushes both the motionless builders off the structure. They land in a skip below. Jem looks around him as he climbs back to the pavement.

    JEM
    Ohh that must have hurt. Now then
    what can I do with you?

    He scratches his head, and notices a fire engine opposite.

    EXT. JEMS CAR LEAVING TOWN.DAY

    Jem drives off and pulls up about a quarter of the mile up the road. He closes his eyes and squeezes the silicon. It glows again. He looks in his mirror.

    JEM
    That'll teach you tossers.

    He laughs hysterically as he drives off.

    EXT. TOWN CENTRE. DAY

    Everything starts again. A car smashes into another in confusion. People look dazed and confused. The lights to the fire engine flash, the siren squeals. A fireman looks for his keys to turn it all off. All the crew get out and gather at the back of the engine. They all laugh loudly.

    EXT. BACK OF FIRE ENGINE.DAY

    The two builders are tied by the hoses, naked, to the back of the engine. They have been covered in white paint from the building. They moan and groan in pain.

    INT. PROFESSORS LABORATORY. DAY

    Mike walks into the laboratory.

    MIKE
    Hi ya.

    KITTY
    Oh great you got here quickly.
    Look at this.

    She taps at the computer and the CASM glows and shakes.

    MIKE
    What the hell.

    KITTY
    It is all in the software. Once I
    broke those codes it was a breeze.

    Mike walks over to it.

    MIKE
    Can we use it.

    KITTY
    It means getting into that green
    goey stuff.

    Mike puts his finger in the bottom of the CASM. It is filled with green plasma.

    MIKE
    Gross, it's like something out of
    Ghostbusters.

    KITTY
    That was the hard part getting
    all the ingredients to make so
    much of it. It is amazing, it
    conducts electricity better than
    anything I have ever seen.

    MIKE
    Your not going to get technical
    again are you?

    KITTY
    You wish. Take your clothes off.

    MIKE
    You Americans are so forward.
    We're not like that here in
    Blighty.

    KITTY
    Just get in.

    She points to the CASM. Mike crawls in and lowers himself into the slime.

    MIKE
    ERRR. It's really cold.

    Kitty types on a computer keyboard and activates the processor system to the device.

    KITTY
    It will warm up soon. You didn't
    ask me if was safe.

    MIKE
    I didn't think you would let me
    use it if it wasn't.

    A warning message flashes up on a screen in the opposite corner of the room. Kitty runs over to look at it.

    SCREEN
    WARNING!! FOREIGN FIBRES DETECTED,
    POSSIBLY MAN MADE NYLON AND COTTON
    MIXTURE.

    Kitty laughs.

    KITTY
    Mike take 'em off.

    MIKE
    You didn't say my shreddies as
    well!

    Mike gets out of the machine, dripping slime everywhere.

    KITTY
    It looks good fun in there,
    shame there is only room for
    one.

    Mike takes off his Calvin's and embarrassingly jumps back into the machine. She reads the directions on the screen.

    KITTY
    OK, Relax. New user, calibration.
    Testing....

    The top of the CASM lowers until it slaps shut. Air forces out of the top of a valve with a hiss.

    KITTY
    Pressurising. Reading Wave Codes.

    She talks into a microphone.

    KITTY
    You OK in there.

    MIKE
    A bit cramped.

    KITTY
    OK, I am going to initiate the part
    that reads your brain. It takes a snap
    shot of all your processes and neural
    networks. Then the machine can change
    what your brain responds to.

    MIKE
    Blah, blah blah.

    KITTY
    Data captured. Last used programme
    load.

    She hits the return key.

    KITTY
    Hold on, I don't want it to do that.
    Stop. I don't know what the last
    programme was.

    INT. CASM. DAY

    Mike opens his eyes wide. He travels along a long corridor of light in his minds eye. The machine stops. He gets out. Kitty has gone, the room looks different with more equipment. An old man walks up to him.

    PROFESSOR
    Jem, Jem my boy how was it?

    Mike hears a voice in the room that isn't his.

    VOICE
     Better, much better than last time.

    PROFESSOR
    Does it feel real?

    VOICE
    Very, come closer and I will
    show you.

    PROFESSOR
    You're such a brave boy. I wouldn't
    know what to do without you.

    Mike watches as his own hands come together in a fist. He punches the Professor in the chest and watches him fall to the floor.

    PROFESSOR
    But I, I wanted to help you, that's
    all. That's ...

    He breathes his last breath.

    Mike blinks his eyes as he travels back down the long corridor to the CASM again.

    KITTY
    Got you.

    She types in a code and the canopy of the CASM opens. Mike struggles out. He looks around confused.

    INT. FRONT ROOM. PROFESSORS HOUSE. DAY

    Mike sits in front of an open fire, wrapped in a towel. Kitty enters with a cup of hot tea.

    KITTY
    Was this the guy.

    She gives Mike a picture of the Professor.

    MIKE
    Yes, that's him. Who is he.

    KITTY
    That was the Professor. You must
    have seen the Professors death.

    MIKE
    But it was so real.

    KITTY
    I loaded up the last programme used.
    So that means that the last person to
    use the machine must have killed the
    Professor. You saw his murder. Did you
    see who it was?

    MIKE
    I can't really remember. This is too
    weird. You mean my reality was his.
    Jem's, who ever he is.
    KITTY
    Jem.

    MIKE
    What.

    KITTY
    You said Jem.

    MIKE
    That's what he called him.

    KITTY
    Of course Jem Stark. He was one of
    the Professors students. I think he
    helped set this up after he flunked
    at University.

    MIKE
    The Professor sounded like he was his
    father.

    KITTY
    No. he didn't have children. But Jem
    was a bit strange, I seem to remember.
    I only met him once. He didn't really
    like anyone. He was very religious
    I remember for a while. Then I think
    his father died and he went a bit
    in on himself. Drugs and stuff.

    MIKE
    Maybe the Professor took him under
    his wing. We got him. Whatever
    happened, I've got him now.

    KITTY
    Maybe.

    MIKE
    No I felt it, his pain. This is our
    man. Can you get an address? I saw
    an address book by the phone in
    there.

    She comes back in the room with an open book.

    KITTY
    Result. But only a phone number.
    Where are you going.

    MIKE
    Time to stop playing around. I need
    to check this number and get some
    back - up. Give you a lift anywhere?

    KITTY
    No there are still some things I
    want to check on.

    MIKE
     Take my mobile, just in case you
    find out any more. Careful, though,
    he may come back.

    INT. POLICE STATION BREIFING ROOM. DAY

    The room is full of Police Officers, Plain clothes and uniformed. Deacon and the Forensics Expert stand at the front of the room in front of a flip chart. The audience look despondent and cheesed off.

    DEACON
    OK, OK. Listen, we have a lot to
    get through I am sorry that I have
    had to call you off leave but we
    need all the men we can get.

    VOICE FROM BACK OF ROOM
    Must be really important to miss
    New Years.

    DEACON
    All right calm down. We have a
    lot to get through, so listen up.

    Mike walks in.

    DEACON
    Ah Redwood. Nice of you to join
    us. You can carry on. Start with
    the robberies.

    Mike walks up to the front of the room. An Officer speaks to him as he walks past.

    OFFICER
    How is Jack. We're all really sorry.

    MIKE
    They lost the baby.

    OFFICER
    No way. Jack lost the baby.

    MIKE
    I am completely stumped on this one.
    I think we have found the perfect
    crimes? Do any of you know what is
    going on?

    Everyone laughs.

    An Officer at the back of the room holds up a daily paper. The headline is 'Lottery Fixed'!!

    VOICE AT THE BACK OF THE ROOM
    I wish we did. I wouldn't mind being
    able to do this.

    DEACON
    Listen, listen. Bank robberies in all
    the major towns around here. Hundreds
    of thousands of pounds, vanished? If
    any one has any ideas or questions I
    would love the hear them gentlemen.

    OFFICER
    What about the CCTV's in the Banks?

    MASON
    No, it seems that the offender moves
    without being seen by a camera.

    OFFICER
    More like he knows haw to stop the
    tape.

    MASON
    No. The tapes are all brand new.
    Besides you can only record on
    them once. That's how there
    designed.

    OFFICER
    So we need to find the Invisible
    Man?

    They all laugh.

    MIKE
    We might as well be! You see we
    spotted the BMW on one tiny frame on
    one of the videos which is the same
    car that was involved in the death of
    Jack's new born.

    OFFICER
    Where is it now?

    MIKE
    In our workshops, but the alarm it
    had led us to an address. We haven't
    got any further. But the suspect is
    still out there.

    OFFICER
    So who are we looking for. Sir?

    Mike looks at the Forensics Expert.

    MASON
    Well, we have black wollen fibres
    from a European sourced jacket. A
    half smoked Marijuana joint in the
    cars ashtray and the position of
    the electric seat show that we are
    dealing with a man of around
    five foot ten tall.

    Pleased with himself, Mason smiles broadly.

    MIKE
    Is that it. Average height and
    smokes dope. That must be every
    man in this room.

    They all laugh.

    MASON
    Your lucky we have this much.

    OFFICER
    Sir.

    MIKE
    Go ahead.

    OFFICER
    Sir, I interviewed some of the
    female staff from the robberies.

    MIKE
    Go on.

    OFFICER
    Well it seems some of them felt a
    little Strange after the money had
    gone missing.

    MIKE
    How do you mean?

    OFFICER
    Well, in a nutshell they all felt
    as if they had been, you know.

    DEACON
    What.

    OFFICER
    They felt as if they had all
    been interfered with. They
    were all really embarrassed.
    But they all sounded straight
    up.

    They all laughter.
    MASON
     We looked into that Sir!

    Howls of laughter.

    MASON
     Very funny. And there was nothing
    of interest in the few claims we
    had.

    DEACON
    All right, that's enough, I don't
    think we need to worry about
    that. I suggest we look for
    large amounts of money being
    moved around. Big purchases.
    Anything out of the ordinary.

    MIKE
    It's a holiday. All the shops
    are closed. He couldn't spend it if
    he wanted.

    A policeman bursts in the room and runs up to Mike.

    POLICEMAN
    I got a strange call earlier and I
    traced it to that old Professors
    house. The woman said she had
    worked it out, whatever that means?
    That's all I could make out.

    Mike runs out of the room. Into his car. He tries to call his phone.

    PHONE
    'Were sorry there is a fault'.

    MIKE
    Shit, shit.

    EXT. COUNTRY ROAD. DAY

    Mike drives fast along a country road. A Lamborghini approaches rapidly.

    MIKE
    Move over . Move over.

    The Lamborghini stays in the middle of the road. Mike has to swerve into the verge as the car tears passed.

    MIKE
    Fucking asshole.

    INT. JEMS CAR. DAY

    Jem laughs and looks at Kitty, she has a black hood on, hunched up in the passenger seat.

    INT. PROFESSORS HOUSE. DAY

    Mike runs in to the laboratory.

    MIKE
    Kitty, Kitty where are you.
    Shit. Shit.

    Mike stoops down to pick up the gun he gave her earlier. He looks around and sees that the monitor is still on. Looking at the screen he notices an address in bold type.

    MIKE
    Nice one.

    He looks at the CASM. Written in felt pen on the side of the machine after the printed logo is the number 2.

    MIKE
    CASM 2? He has another one.
    He must have built another
    one.

    EXT. JEMS HOUSE. DAY

    Mike sits in his car outside the gates of Jems walled house. He looks through the gates. Cameras with infrared lights cover all the grounds.

    INT. JEMS CIRCULAR ROOM. DAY

    Jem looks at his Television monitors.

    JEM
    A ha, a visitor.

    Jem presses his green slime. Running down the drive, opening the gates and Mikes car door.

    Time stops.
    JEM
    Move over.

    Jem pushes Mike into the passenger seat. Turning the car around Jem puts a brick under the accelerator peddle. He punches Mike as hard as he can in between his legs. Jem presses the slime and breaths deeply.

    Time starts.

    INT. MIKES CAR. DAY

    Mike looks out of his car window. He flinches in pain and creases his body up. Looking up just in time to see the car careering into a tree. All goes dark.

    INT. JEMS CIRCULAR ROOM. DAY

    Laughing, Jem watches the accident on the monitors.

    INT. HOSPITAL. NIGHT

    Jack enters in his wheelchair.

    JACK
    What are you doing in here.
    Thought you were missing out
    did you man?

    Mike lies in a hospital bed. He looks dazed. A nasty gash weeps on his forehead.
    MIKE
    I've got to get to her. He has
    one.

    JACK
    What's he got.

    MIKE
    A CASM, he has his own CASM.

    JACK
    Do you wanna start from the
    beginning? You've completely
    lost me!

    Mike starts to tell the story. Flashbacks of the Professor falling over, of Kitty crying and Ailsa lying in bed come into his mind. Flashing blue lights from the ambulance remind him of the night his sister died.

    JACK
    Hey, snap out of it. None of it
    was your fault was it?

    MIKE
    And he has Kitty.

    JACK
    You like her don't you.

    MIKE
    She's OK. For an American.
    JACK
    So you gotta save her.

    MIKE
    How.

    JACK
    Learn how to use this machine thing.
    You can do anything you want you say?

    MIKE
    Create your own reality or something.

    JACK
    So you need to know what he is doing.
    What his dream is. But before you go
    your gonna need a piece.

    MIKE
    I got one.

    JACK
    Forget it, the Matron would have
    had that melted down by now.

    JACK
    Go to this address tonight. It
    looks derelict but it is a safe
    house.

    MIKE
    Thanks Jack.

    JACK
    One other thing. That tosser killed
    my baby, make it hurt when you get
    him.

    MIKE
    It's done.

    He leaves.

    EXT. SAFE HOUSE. NIGHT

    Mike runs out of his car, looks around and smashes the lock to the door of the safe house. He walks into the front room. Furniture is covered with plastic sheets. He lifts up a rug and opens a trap door going down into a dark room.

    MIKE
    This should make it more even.

    He ascends out of the hole in the floor with a khaki bag full of weapons.

    EXT. MIKES CAR. NIGHT

    He throws the contents on the passenger seat and takes out a pre-packed morphine syringe, and injects his muscular arm.

    MIKE
    Ahh. Amazing stuff.

    Driving off he shakes his head in exhilaration.

    INT. CELLAR.JEMS HOUSE. NIGHT

    Kitty wakes up in a dark cellar. She strikes a match and looks around her. She can just make out a huge table with half-made Radio Control Helicopters on it. She notices that there are Happy New Year messages tied to all the undercarriages. Trying to get up she notices that she is chained to the wall by some handcuffs. Jem appears out of the shadows. He is wearing a menacing black leather jacket and sunglasses.

    JEM
    They're forged steel, I wouldn't
    bother.
    KITTY
    (Shocked) You can't keep me
    down here.

    JEM
    Ah an American. How cute.

    He turns on the light. Kitty shields her face.

    JEM
    Come on don't be shy.

    He puts his hand on her cheek.

    KITTY
    Get lost.

    JEM
    Wait, I know you. I've seen you
    with the Professor. You think all
    this is bullshit don't you?

    KITTY
    I don't have to talk to you.
    You killed him. What did he ever
    do to hurt you. He was an old man
    for God's sake!

    Jem undoes her handcuffs and drags her to her feet.

    JEM
     What do you fucking know. You
     don't know that I killed him. You
    don't know Jack shit about me.

    KITTY
    You can't get out of it, the police
    are already on their way.

    JEM
    You know nothing. Anyway I really
    don't care. The stuff he was working
    on was wasted in his hands. That's
    all that matters.

    KITTY
    The stuff, as you call it was probably
    the most important scientific
    discovery ever!

    JEM
    Really. And why is that.

    KITTY
    Changing reality, just imagine
    what that could mean to all the
    starving children in the World.

    Jem gets annoyed.

    JEM
    A starving World. Is your dad
    fucking Mr Greenpeace or something.
    Your so unbelievably fucking naieve.
    Have you seen what this technology
    can really do? No. So shut up!

    He locks her handcuffs tightly and starts to walk off.

    KITTY
    Wait, the CASM. I know about the
    CASM. And so do the Police.

    JEM
    Of course you know about the CASM.
    Your a scientist aren't you. Now
    shut it and you might live to see
    the year 2000.

    KITTY
    Just answer me one question before
    you go.

    JEM
    Oh fun, just one last question,
    like in the movies. This isn't
    a movie. No more questions.

    KITTY
    Your afraid aren't you?

    JEM
    I am not afraid of anything.

    KITTY
     I don't believe you.

    JEM
    Oh God Americans just don't know
    when to shut the fuck up. I think
    it is time for you to be afraid.

    He grabs her cheek and forces her mouth open. He gets a silver pill box out of his pocket and forcibly shoves a pill down her throat.
    JEM
    That should keep you quiet for
    a while. I've got work to do.

    Kitty waits until he is gone and spits the pill into her hand. She looks at the crest on the top of it. It is an 'X'. She puts it in her pocket.

    INT. CELLAR WINDOW. NIGHT

    Kitty fumbles in the dark. Her hand finds the side of an old Grandfather clock. She tries to open the case. It falls to the floor. She quickly gets back in her seated position, and stays quiet. She hears the roar of Jem's Lamborghini outside and again reaches forward to pick up the hour hand that has fallen off the clock's face.

    KITTY
    Got you. They do this on TV, so...
    Got it.

    Kitty picks the lock to the handcuffs and runs up the stairs to the cellar door. It is locked. She looks around at all the helicopters and starts to pick things up. She notices a pile of cards, they read Happy New Year!!

    KITTY
    What are you up to.

    She notices that on all the undercarriages are small metal hinged boxes.

    KITTY
    Why would any one want so many
    radio controlled toys?

    She notices a modeller's drill on the workbench.

    EXT. JEMS HALL. NIGHT

    Kitty bursts through the now open cellar door and runs through the house. In every room the windows are sealed with metal shutters. She bangs then with her fists.

    INT. THE PROFESSORS CELLAR. NIGHT

    Mike sits in front of the computer screen.

    MIKE
    I can use Windows so this can't
    be that different.

    The computer screen says 'Please log on'.

    MIKE
    What! Where's the mouse.

    He looks around for a mouse.

    MIKE
    Oh shit, don't say I've got to
    use the keyboard!!

    He presses the return key. The screen asks for a password.

    MIKE
    This is going to take all night.
    1234..no.4321..no.KITTY..Kitty.no.

    He looks around the room.

    MIKE
     Kitty how did you know what to
     use?

    He spots a calendar on the wall. The date shows the 26th December 1999. That's not right. He gets up to change the date.

    MIKE
     27..28..29..30. Wait what's
    this?

    He looks at the calendar and notices that the pages after December 31st are missing.

    MIKE
    Milennium. One 'l' two ''n's?
    No. Two 'l's two 'n's? Got ya.

    The CASM powers up and a message appears in front of Mike.
    SCREEN
    1. CALIBRATION. 2. NEW USER. 3.
    2. LAST USER. 4. DATABASE SEARCH.

    MIKE
    This Jem guy must be using this.
    Let's try a search.

    He hits the search key.

    SCREEN
    PLEASE WAIT....SEARCH IN PROGRESS....
    LOADING WAVEFORMS....PLEASE CHOOSE
    PROGRAMME NUMBER....

    MIKE
    Oh gaud! Which one. Oh wait their
    dated. What's this. Yesterday's
    date. Jackpot.

    The screen reads....Please enter the CASM now....the door will close once a human subject is detected....please remove all clothing and ensure that the power back-up is initiated. Mike takes off his clothes and enters the machine. The green plasma starts to glow and the canopy closes with a hiss.

    SCREEN
     HUMAN MALE LIFE FORM DETECTED.
     SEARCHING FOR BRAINWAVE MATCH.
     INITIATE 30TH DECEMBER 1999
    PROGRAMME. 5-4-3-2-1...

    The machine start to bump and wobble. Steam pours over the floor. Power meters on the wall flicker haphazardly.

    INT. CASM. NIGHT

    A set of LCD panels lower onto Mikes eyes. He takes a big breath and enters the long white tunnel again as before. The lid opens and he sees Kitty sitting in the corner on the computer.

    MIKE
    Oh thank God, Kitty it's me.

    She doesn't move.

    Jem walks into the room oblivious that Mike is there, and pushes her off the chair. He taps something into the computer.

    JEM
    Now where are they.

    He smashes bottles and test tubes off the shelves. He opens a drawer and rummages in the back of it. He finds a silver pill box engraved with an X on the top. He lifts Kitty over his shoulder and leaves.

    MIKE
    Kitty, kitty over here!!

    She stares ahead a distant empty stare. As she moves out of the way of the computer screen she is carried away. Mike reads the message.

    SCREEN
    CASM 1 TERMINATION SEQUENCE...
    INITIATED BY NEXT USER....
    ACTIVATED....

    Mike closes the machines lid quickly and holds his breath again. The LCD panels lower and stops half way. The green plasma starts to glow pale pink...red...deep red...black. It starts to burn Mikes legs.

    MIKE
    Fuck, fuck. This must open from
    the inside.

    He pushes the lid with all his strength. His back and legs start to smoke. He looks around panicking. Suddenly his face changes.

    MIKE
    Wait this is controlled by my mind.
    So I don't want this to happen. I
    don't want this to happen...I don't...

    He enters the long tunnel again. This time it is fierce and swirling red and mauve. He gets nearer to the white light at the end of the tunnel. He is travelling at great speed. He hears a long reverberating voice all around him. A hard object slaps him in the chest and stops his descent. He looks up dazed. The Professor is standing over him, he has some green plasma in his hand. He throws it at Mike's face. All Mikes last few seconds are reversed. The lid of the CASM opens. Mike falls on the floor of the Professors laboratory. Legs and back burnt. The machines starts to vibrate violently.

    SCREEN
    WARNING...OVERLOAD...DANGER...DANGER...

    EXT. PROFESSORS HOUSE. NIGHT

    Mikes runs out of the house still naked. A group of drunk Irish high-spirited young people stop outside the house.

    MIKE
    Run run, she's gonna blow.

    IRISH MAN
    Looks like she already did!!

    MIKE
     Come on, come on!!

    IRISH GIRL
     Now there's an offer I couldn't
    refuseeeeee........

    The house explodes in a massive mushroom of fire and gas.
    Mike flies through the air and lands on the roof of his car. The drunk man from the crowd lands next to him, with a loud thump..

    IRISH MAN
    Sweet mother of Jesus.

    MIKE
     You OK?

    He offers Mike his intact bottle of Guinness.

    IRISH MAN
     Fucking aye.
    He passes out and rolls off the car. The rest of the gang cheer and shout as they get up off the road, dusting themselves down.

    MIKE
    You all OK.

    IRISH GIRL
     Don't worry about us! Nothing
    like starting the New Year with a
    bang.

    Mike gets in his battered dented car pulls on some track suit bottoms and a T-shirt and tries to start it.

    IRISH GIRL
    The best of Irish luck to you.

    EXT. JEMS HOUSE. NIGHT

    Mike runs along the wall outside his house with a machine gun on his back. He climbs the wall and jumps onto the front lawn running towards the house.

    INT. JEMS CELLAR. NIGHT

    Kitty looks outside and sees Mike running towards her. She bangs on the widows between the metal bars. She shouts at the top of her voice.

    KITTY
    Mike, mike, down here.

    He notices her and grabs her hand.

    MIKE
    Are you OK.
    KITTY
    You've got to get me out of here
    before he comes back.

    MIKE
    Stay there, I'll try and find a
    way in.

    Mike scales a drain pipe and gets in the top window. He runs down stairs and notices another CASM in a room. Hearing Kitty's shouting he runs down to the cellar door.

    MIKE
    Stand back, I am coming in.

    Mike runs at the door and smashes it down. Kitty hugs Mike.

    KITTY
    I knew I could rely on you. You
    don't know how pleased I am to
    see you.

     KITTY
    What have you done to yourself?

    She gently holds his arm and lifts up his T-shirt to reveal a nasty cut.

    MIKE
    I'll live. Where is he?

    KITTY
    He drove off somewhere half an
    hour ago.

    Mike tuns on the light and sees the helicopters.

    MIKE
    What are all these?

    KITTY
    I don't know. Can we just get out
    of here.

    MIKE
    No I need to look around, there is a
    CASM upstairs.

    KITTY
    I don't care. I don't want any part
    of this.
    MIKE
    Just 5 minutes. Come on.

    INT. JEMS HOUSE . NIGHT

    Mike drags a nervous Kitty into Jem's room. Kitty walks up to The CASM 2.

    KITTY
    It's different from the Professor's.

    MIKE
     Because it's in one piece?

    KITTY
    Umm.

    She ignores Mike and turns the computer on.

    KITTY
    If I can just load up the last
    programme...What do you mean?

    MIKE
    I forgot to tell you. It was booby
    trapped. It's gone.

    KITTY
    What! All of it.

    MIKE
    Let's just say that the Professor's
    house is now a plot of land!

    The CASM starts to glow a faint green colour. The computer powers up.

    KITTY
    What the? He must be using this
    remotely.

    MIKE
    Can he do that?

    Kitty looks at some diagrams on the wall of the room.

    KITTY
    All these drawings must be plans
    for or portable device. Oh shit
    look at these.

    She points at some MRI Scan photographs.

    KITTY
    This is his brain. Look at the
    change in colours between these
    two scans.

    MIKE
    What does that mean.

    Kitty gets the pill Jem gave her earlier out of her pocket.

    KITTY
    What would say this was.

    She passes it to Mike. He crumbles it in his hands and licks the powder.

    MIKE
    It's ecstasy. Strong as well
    judging by the bitterness of it.
    Where did you get this from?

    KITTY
    He tried to force it down my
    throat. That would explain...

    She looks more closely at the scans.

    KITTY
    Of course! Ecstasy makes the
    brain produce more endorphins
    as well as other things, God knows
    what effect this has if you use the
    CASM while on it.

    MIKE
    Addiction!

    KITTY
    What.

    MIKE
    The Professor said addiction
    was the key.

    KITTY
    When did he say that?

    MIKE
    He didn't, he kind of left a
    message with my Partners wife.

    Mike looks out of the window towards the gates of Jem's house. They open and a white van drives towards them. Jem gets out.

    MIKE
     He's back. You'd better get in the
    cellar. What are you doing...come on.

    Kitty puts a zip drive in the computer and starts to copy files.

    KITTY
    Just a bit longer. Scoop up some
    of that green stuff, we're gonna
    need it. Come on. Come on. Got it.

    They both run into the cellar. Mike handcuffs Kitty to the wall, he hides under a table, machine-gun cocked.

    INT.JEMS HOUSE.NIGHT

    Jem walks in to house and leaves the front doors open. He opens the back of the van and walks into the room with the CASM 2 in it and looks at his watch. 9.30 PM. He pops a pill.

    JEM
    Two and half hours. Not enough time.

    He squeezes the green blob of plasma and takes a deep, deep breath.
    Time stops.

    JEM
    All the time in the world. Ha ha.

    INT. JEMS CELLAR.DAY

    Mike and Kitty look at each other, frozen in time. Jem walks in and starts to gather the helicopters together. He looks at Kitty.

    JEM
    Not so many questions now,
    hey yank.

    He strokes the hair away from her face.

    JEM
     I'll have time for you later.

    Time starts.

    INT. JEMS CELLAR. NIGHT

    Mike looks out of the window, the white van drives away.

    MIKE
    That was quick!

    KITTY
    The Helicopters? Undo these.

    Mike picks the handcuffs. They run up stairs, the house is cleared, the CASM 2 gone.

    MIKE
    Where's it all gone.

    KITTY
    He couldn't have done all
    this in the time. He is
    slowing down our time.

    MIKE
    Or stopping it. Just imagine
    being able to stop time.

    Flashback as he looks at the alarm clock which says 12.00 on the night his sister died.

    KITTY
    Oh jeez what's the time?

    Mike looks at his watch.

    MIKE
    9.31pm. Why?
    KITTY
    The Millennium, The messages on
    the helicopters said Happy New
    Year. We've gotta find a computer.

    MIKE
    Back at the Station. Come on.

    They run out.

    EXT. KNIGHTSBRIDGE. LONDON. NIGHT

    Jem drives his van passed Harrods. There are thousands of people milling around. There is a fantastic party atmosphere. Two young girls in a convertible Mercedes in front of him blow him a kiss. Their car is covered in foam, streamers and ticker tape. The traffic has come to a complete standstill.

    JEM
    Bollocks.

    INT. JEMS VAN. NIGHT

    He climbs into the back of his van. A family points towards the vans back windows. They glow green as it starts to rock on it's suspension.

    Time stops

    Jem gets out of the van and walks up Knightsbridge through the frozen motionless crowds to see if he can get through. An old tramp stands in front of him with a sandwich board over his shoulders, it says 'The end is nigh, The Millennium will kill us all'.

    JEM
    Shit, shit.

    He drags the two girls out of their car and throws them on the pavement. He rolls the car out of the way. Getting back in the van and presses the green slime. The CASM 2 in the back of the van stops glowing.

    Time starts.

    The crowds of people on the pavement stumble over the two girls. Confusion sets in. The girls are so drunk they stay on the pavement. Other people join them.

    GIRL
    Join the impromptu party!!

    Jem drives the van towards Trafalgar Square. The place is packed. A policeman on horseback points at him in his van.
    Jem winds down his widow reluctantly.
    POLICEMAN
    You can't come down here. The
    whole place is pedestrianised.

    JEM
    I have to get to St Martins-in
    the-Fields.

    POLICEMAN
    Only if your van can fly!

    The policeman looks over the vehicle with suspicious eyes.

    POLICEMAN
    What you got in the back?

    JEM
    Err, just burgers and rolls to restock
    the vans over there.

    Two other Policeman on foot walk around the back of the van. Jem fumbles for the green slime impatiently.

    JEM
    Hold on I have a pass here somewhere.

    He crouches down to look under the seat. The policeman tries to open the back door of the van.

    POLICEMAN
    Please step out of the vehicle sir.

    Jem finds a crowbar and hits the officers horse with it. The Policeman falls to the ground. The crowd around him see what has happened. The atmosphere of joviality turns to one of hatred. The crowd close in. The policemen at the back of the van manage to force the doors open. Jem finds the green plasma and....

    Time stops.

    He gets out of the van and kicks the Officer in the ribs. Looking around he notices a trader selling chestnuts from his wooden barrow. He tips it over and starts to run into the frozen crowd with it. People pile up on either side as if hit by a snow plough. Jem drives through the new pathway.

    INT. ST MARTIN-IN-THE-FIELD. NIGHT

    Jem goes into the church and sees that it is packed with worshippers. He runs back to the van and gets his Machine pistol. He goes back in to the church, presses the green plasma and everyone starts to move. The congregation look at him. He fires into the air.

    Time stops.

    JEM
    Everyone out now.

    The congregation panic and run down the steps into the following Police Officers. Jem waits for the last person to leave and he reactivates the slime.

    Time starts.

    He starts to unload his van of the CASM 2 and the helicopters into the Church.

    EXT. TRAFALGER SQUARE. NIGHT

    Jem looks into the sea of statues. A huge LED clock on the base of Nelson's column says 10.20 PM. He goes into the Church and closes the huge doors behind him. Plugging the CASM 2 into the power socket on the wall. He gets inside and..

    Time starts.

    EXT. TRAFALGER SQUARE. NIGHT

    The policeman gets up off the floor. Mayhem ensues as people in the crowd panic as they try to prevent themselves being crushed. The Policeman looks around for the van which is now in front of the church where Jem left it. The policeman radios for help to the Police Station.

    INT POLICE STATION. NIGHT

    A clock on the wall say's 10.30 PM. Deacon, Mike and Kitty talk around a desk.

    DEACON
    What the hell happened to You.

    MIKE
    It's a long story, and one we
    haven't got time to tell. This is
    Kitty she is assisting me.

    DEACON
    Nice to meet you.

    MIKE
    She needs to use a computer.

    KITTY
    One with a Zip drive?

    DEACON
    Go down the corridor, Door No 4.
    KITTY
    Thanks.

    Kitty leaves.

    DEACON
    It's a bit dangerous dragging
    a member of the public into this.

    MIKE
    I wouldn't have got this far
    without her.

     DEACON
    And just how far have you come?

    MIKE
    A long way, but we are running
    out of time. He is planning
    something for the New Year
    celebrations.

    DEACON
    That wouldn't include somewhere
    as obvious as Trafalgar Square
    would it?

    MIKE
    Why.

    DEACON
    We had a report of a disturbance
    there a few minutes ago. I am on
    my way there now.

    MIKE
    Any mention of a white van?

    DEACON
    Yes, I think there was.

    MIKE
    You go and I'll follow once
    Kitty has finished. He's dangerous,
    tell everyone to be careful down
    there.

    DEACON
    I forgot Jack wants you to call him
    from hospital.

    Jenkins leaves and joins another six policeman waiting for him follow in a hurry.

    INT. POLICE STATION. COMPUTER ROOM. NIGHT

    Kitty has the computer system in bits. The green plasma lies on a pedestal, wires cascade from it.

    MIKE
    Wow, fast work. What are you doing.

    KITTY
    I reckon that I can use the power
    from any computer to activate
    the CASM 2 remotely.

    MIKE
    You'd better move it. Looks like
    we have to get to Trafalgar
    Square. On the busiest night
    of the last thousand years.

    KITTY
    Stop talking and I might have a
    chance. Mike uses a phone in the
    corner of the room. He dials Jack,
    the Matron answers the phone.

    MIKE
    Please, it is very important. Look
    I am a Police Officer and I need
    to speak to him as a matter
    of urgency. Listen, either you get
    him or I'll come down there and
    wake everyone up. Thank you.

    JACK
    Mike, how you doing.

    MIKE
    God she's such a bitch.

    JACK
    Who?

    MIKE
    That Matron.

    JACK
    Forget her. Ailsa is OK man.

    MIKE
    That's great news. When did they
    give her the all clear?

    JACK
    This morning. She looks so much
    better Mike. She wanted me to let
    you know that you shouldn't blame
    yourself and that she has another
    message for you.

    MIKE
    Who from this time?

    JACK
    The Professor. And get this, he wants
    you to be with Martin in his
    field next year.

    MIKE
    That it?

    JACK
    'Fraid so.

    Kitty screams with joy as the green plasma starts to glow.

    KITTY
    Mike. Mike!!

    MIKE
    I gotta go. You watching the
    celebrations on TV tonight.

    JACK
    I wouldn't miss this night for the
    world.

    MIKE
    See ya, love to Ailsa.

    Mike walks over to see what Kitty is doing.

    KITTY
    You need some Ecstasy.

    MIKE
    Two hours to go, and you drop that
    one on me. I hate drugs, I use decaf
    tea bags you know. Oh wait, I know.
    Wait here.

    Mike runs down the corridor and breaks into the Room marked 'Seized Property'. He shuffles through bags of white powder, grass and eventually finds a plastic bag full of pills. He gets a large carton of orange juice out of another room.

    MIKE
    Got ya.

    INT. CHURCH. NIGHT

    Jem pulls the plug out of the wall. The CASM 2 continues to glow warmly.

    JEM
    What the. That can't be. I destroyed
    the other one.

    He runs over to his computer and initialises a search to find out who else is on line.

    COMPUTER SCREEN
    INITIALISING SEARCH. TELEPRESENCE
    SYSTEM ACTIVATED. GLOBAL
    SATTELITE POSITIONING
    LOCK ON.

    A map comes up on the screen. The Police Station is highlighted.

    JEM
    Bollocks, the busy's.

    He runs up a spiral staircase and opens a door at the top. He steps out onto the roof of the church. Radio controlled helicopters cover the whole area. He picks one up and presses a button on the box on it's undercarriage. A red light flashes. ARMED. He start the engine and makes it fly over the crowd in Trafalgar Square. A little boy on his dad's shoulders looks up and points at it hovering. It flies away.

    INT. POLICE STATION. NIGHT

    Mike joins Kitty in the computer room.

    KITTY
    Any luck.

    MIKE
    Oh yeah. I washed 'em down with
    orange juice. I couldn't taste 'em.

    KITTY
    How many did you take.

    MIKE
    Just the one.

    KITTY
    If he is addicted to them he
    must have loads in his system.
    Take a few more.

    MIKE
     Gross!
    Mike downs another three pills and takes long swig of orange juice.

    MIKE
    Err!! You hear that?

    KITTY
    What.

    MIKE
    Sounded like a chain saw.

    He goes into the corridor and looks out of the window. He shakes his head to try and focus. He takes a deep breath. Feeling dizzy his wavy vision spots a speck in the sky. As it gets nearer he recognises it to be a helicopter.

    MIKE
    Come on, we've gotta go.

    KITTY
    OK I'll take the laptop with me.
    If it works from here we should
    be OK on site as well.

    She throws the green plasma at Mike.

    KITTY
    Catch.

    Kitty picks up the laptop and wiring, they charge down the corridors and get to the front door.

    MIKE
    It's locked.

    Kitty looks out of the glass door, the lights from the helicopter dazzle her. It flies towards them.

    KITTY
    Shit.....

    They leap into the first door they see. The helicopter slams through the doors and explodes in a huge fiery inferno. They get blown onto a wall at the back of the room. Fire licks under the door. They get on a table and escape out of a small window and land on the grass with a thump.

    KITTY
    Where we going?

    MIKE
    Trafalgar Square. Come on.

    Mike hot wires a police motorbike and slings the machine gun over his shoulder as kitty gets on the back. As they ride off the Police Station explodes in a ball of fire.
    EXT.M4 MOTORWAY. NOGHT

    Mike drives the motorbike at great speed. Kitty hangs on for dear life. The pills start to take effect. He squints as the street light confuses his eyes. He gets close to another car and causes it to swerve violently.

    MIKE
    (Laughing) Whoops!! Sorry.

    INT . BOB KENDRICKS CAR. NIGHT

    Bob swerves out of Mike's way. As he does he loses control of the car and drives towards the hard shoulder. Mike looks back, Bob recognises who it is.

    BOB
    I don't believe it, you can't
    ride a bike eitherrrrr....

    The car lifts off, flies through the air and lands in a reservoir causing a huge splash.

    EXT. CHURCH. NIGHT
    The church is cornered off. The Police try to make the crowd stand behind a barrier. The shouting and noise from the crown makes Deacon shout loudly to his police colleagues.

    DEACON
    We have no chance evacuating.
    There must be half-a-million
    people in town tonight.

    POLICEMAN
    What is in there sir?

    DEACON
    Until Redwood gets here we
    will just have to treat it
    as an armed suspect held up
    in there. That's all.

    POLICEMAN
    Of all the nights to pull a stunt
    like this.

    Mike pulls up on his motorbike.

    MIKE
    Get out the way, Police, Police!!

    Kitty gets off the bike and goes up to Deacon.

    KITTY
    Where can I power all this up?

    DEACON
    Come with me.

    He brakes into the back of a TV outside broadcast van.

    DEACON
    This do?

    KITTY
    Fine.

    Mike looks at the LED clock. 11.50 PM. He runs up to the back of the van.

    MIKE
    Ten minutes. Come on Kitty, come
    on tell me what you want me to do.
    I am all ears. Come on.

    DEACON
    What's wrong with him?

    KITTY
    Too much caffeine! Just a few
    moments more...got it.

    The Plasma shines green again.

    INT. CHURCH. NIGHT

    Jem runs into the knave of the church. The CASM 2 is glowing. He swallows another bunch of pills. His eyes are dilated and his complexion very pale.

    JEM
    Oh yeah, wanna play do ya.

    He gets into the machine and closes the lid.

    INT. VAN. NIGHT

    Mike squeezes the plasma, takes a long deep breath.

    KITTY
    That should work first time if...

    Time stops.

    Mike looks at Kitty she stops talking. Staring at him motionless. Mike looks at her closely.

    MIKE
    You know, I haven't told you this
    but you are really very beautiful.

    He brushes her hair with his hand. He steps outside and notices the clock. Stopped at 11:54. The crowd stand still.

    MIKE
    Wow, weird, very, very weird.

    He looks up into the sky, Concorde hangs in the clouds like a balloon.

    MIKE
    It is so quiet. Eerie.

    He walks towards the church. Three girls lean on a crowd barrier, they all point towards Nelson's Column, smiling.
    Mike looks at them closely and waves his hand in front of there eyes.

    MIKE
    Nothing.

    He takes the machine gun off his back and walks up to the church doors and tries to push them open.

    INT . CHURCH. NIGHT

    Jem hides behind a set of pews. Mike shoots at the huge doors they open with a thump. He walks up the aisle of the huge structure. He looks all around him. The pills are now taking their full effect. He looks at a spectacular cross behind the altar. He finds it hard to focus. Jem creeps behind him and hits him over the head with a collection box and takes his gun.

    He feels a pain on the back of his head and falls to the tiled floor.

    JEM
     You policeman don't know when
     to give up do you.
    Mike crawls along the aisle getting closer to the cross. He regains focus and tries to get up. Jem kicks him in the chest.

    JEM
     Who the fuck do you think you are
     coming into my world as if you
     owned it.

    Jem throws his hands out wide and looks at a stain glass window depicting the entry to heaven.

    JEM
     This is my heaven, and mine only.

    Jem crouches down and grabs Mikes throat.

    JEM
    So come on then where are
    you controlling the Plasma from
    huh. I can't let you share my
    world. I can't share it with any
    one you see, it would be to
    dangerous.

    Mike looks up at Jem.

    MIKE
    Nothing could more dangerous than
    allowing such a fantastic discovery
    to stay with a psychotic drug addict.

    Jem goes to kick Mike again. He rolls out of the way.

    JEM
    What do you know. This discovery is
    mine. All mine.

    MIKE
    What about the Professor? I seem to
    recall that you assisted him. The
    only way people like you can get
    anything in life is to take it.

    Jem kicks Mike in the face. Mike crawls nearer to the front door of the church.

    JEM
    Shut up dick head. I am gonna kill you
    right now. Then this world will be all
    mine.

    Jem points the machine gun at Mikes head.

    JEM
    Count down time. Just like in the
    movies. Ah ha ha ha!!!!!! Five . four..

    EXT . TRAFALGER SQUARE. NIGHT

    A radiant beautiful light shines down from the dark sky. A large white tunnel appears and a figure just comes into focus. But it is a long way off.

    JEM
    Four...three..

    The light gets brighter. The image gets sharper and more defined. The whole steps of the church light up. Light beams in through the stained glass windows. The image of the entry to heaven shines magnificently.

    JEM
    What the FFFUU

    Mike siezes the opportunity and jumps on Jem. They grapple on the floor. Mike bangs Jem's head on a step He moans in pain. Mike is distracted by the image in front of him. Jem runs into him and picks up the gun again. The image walks into the church entrance. Jem rubs his eyes in disbelief. The Professor enters from the light.

    PROFESSOR
    Put it down. Don't you think you
    have done enough damage.

    JEM
    I killed you. This isn't happening.
    Your dead..dead!!

    PROFESSOR
    Mike, you OK.

    MIKE
    I, I think so but.

    PROFESSOR
    All in good time. First I am
    going to deal with this little
    interfering sod.

    He compassionately kneels beside Jem.

    PROFESSOR
    So come on what happened.
    What was so important
    that it changed you this much.

    JEM
    I didn't mean it. Really. The drugs
    did it. I didn't know what I was
    doing. I didn't mean to kill
    you, honest I didn't.

    PROFESSOR
    So it had nothing to do with power.
    All that power. You can stop time,
    what more could you or any other man
    want?

    JEM
    But nothing is worth the life of a
    human being.

    PROFESSOR
    You should have thought of that
    earlier. Before you killed me
    and stole my work.

    JEM
    I am sorry, really.

    PROFESSOR
    Get off me. I have been watching you.
    You're vile, sick and vile. I didn't
    work my fingers to the bone for
    thirty years so you could fulfil one
    of your little fantasies. Mike are
    you OK?

    Mike clears his throat. He looks inquisitively down the tunnel of light.

    MIKE
    A little confused?

    PROFESSOR
    I trusted him. He actually help me
    build all the machine.

    MIKE
    What are you going to do with him.

    PROFESSOR
     He can stay here. It is the best place
    for him.

    JEM
    You mean your going to kill me.
    No, no.

    He picks up the machine gun and puts it in his mouth. He fires. Blood spaltters everywhere. His body slumps down the steps of the church. His body starts to glow green. A ghost like image of Jem rises above the motionless carcass of his earthly body.

    JEM
    What the.. I should be dead..dead!!

    PROFESSOR
    There is hardly any difference for
    you. You have been using my machine
    for so long now that you can't
    sense the difference between Earth
    and this world.

    JEM'S GHOST
    I can change. Give me a chance, please.

    PROFESSOR
    Don't kid Yourself. Always kidding
    yourself.

    MIKE
    What are you going to do with him?

    PROFESSOR
    He can come here of course. No one
    is refused entry. But in your case
    we will assign you a guide.

    JEMS GHOST
    What kind of guide?

    PROFESSOR
    One that will look like you, act and
    behave like you. But will be programmed
    to think a little differently than you.
    He will think lovely, wholesome good
    thoughts, and every time you think of
    anything bad from now on - he will
    be there. You will never be able to get
    rid of him.

    JEM
    Never?

    PROFESSOR
    Except if you refrain from thinking
    nasty things. Then he will leave you.
    Think of it as having a Head Master
    of your conscience. Now go. You have
    disappointed me.

    The ghostly image of Jem floats away into the light.

    The Professor walks down the steps of the church. Mike hobbles along side him. Covered in blood.

    EXT. CHURCH. NIGHT

    PROFESSOR
    So many lucky people.

    MIKE
    Why lucky?

    PROFESSOR
    Because they can all create their
    own future. The Millennium will
    gives you all more opportunities
    to experience life to its full.
    And therefore death as well.

    MIKE
    I don't understand?

    PROFESSOR
    We do not die Mike. Only our bodies
    do.

    He points to Jem's dead body.

    PROFESSOR
    But our minds, our consciousness,
    that goes on evolving, expanding,
    growing.

    MIKE
    But how do we survive without a
    body?

    PROFESSOR
    All the experiences, feelings and
    memories you bring with you from
    earth allow you to set up your own
    sphere of existence on the other side.
    You can have what you want, when you
    want. You are truly free. What you
    think you can be.

    MIKE
    I still don't understand how you got
    here.

    PROFESSOR
    I spent many years trying to raise
    the level of our awareness and
    consciousness by experimenting with
    manipulating the brains frequency.

    MIKE
    The CASM right.

    PROFESSOR
    Right. But what I actually did was
    to develop a machine that allowed
    the bridge to be crossed between
    this world and the next.

    MIKE
    So the only thing that survives
    death is our consciousness.

    PROFESSOR
    The only thing!! That is what make you
    and I different. Your mind is your soul.
    It is your essence of being.

    PROFESSOR
    But the world isn't ready yet. One
    day the human species will evolve
    to such an extent that it will be able
    to do everything just by thought. This
    moment will bring this earthly world and
    the next together as one. Life will then
    be never ending. But you are not ready.
    That is why you must destroy all the
    equipment. I have to go now. My work
    is done. I have one last thing to tell
    you.

    MIKE
    What is that?

    PROFESSOR
    Because Jem's work originated from
    the CASM, it can be reversed. Please
    stand back.

    The light shines even brighter. Figures appear. John appears from the night club, followed by Bob Kendrick and some other figures. The Professor holds his hands out. A new born baby floats through the air. He passes it to Mike. Mike looks at it and a tears roll down his cheek.

    PROFESSOR
    Here you are. This is what you really
    wanted. Tell Ailsa to look after her.
    Remind you of your sister?

    He screws his wrinkled nose up at her. The Professor walks towards the tunnel.

    MIKE
    Yes, all babies do.

    PROFESSOR
    It wasn't your fault we all know
    that. She is doing just fine up
    here, don't you worry.

    He floats away into the spot of light.

    PROFESSOR
    Happy New Year.

    EXT. STEPS OF CHURCH. DAY

    Mike walks out of the church His clothes cut, hair messy, he looks tired. He looks out into the sea of motionless people and notices the huge LED clock in front of Nelson's column. He hugs the baby.

    MIKE
    Eleven fifty nine and forty five
    seconds. Why isn't it back to normal?

    BOB
    He said destroy all the equipment
    didn't he?

    MIKE
    You get the machine in there, it
    looks like a sunbed, smash it up so
    there is nothing left and I'll get
    the rest.

    BOB
    Hey, I am glad your OK. I didn't realise
    you were trying to save the planet
    otherwise I would have left you alone.

    MIKE
    Thanks.

    JOHN
     Let me give you a hand. It's thanks
     to that machine that I am going
     to have this damn scare on my forehead
     for the rest of my life.

    They run into the church.

    Mike walks over to the van where the rest of equipment is. He picks up the green slime and throws it into the sea of people. The fireworks start. Concorde flies overhead. The noise becomes deafening once more.

    Time starts.

    Kitty walks up to Mike and sees the baby.

    Kitty
    You did it. Who is this then.

    MIKE
    Oh am I pleased to see you. Hold
    on a minute.

    Mike grabs the arm of a camera crew who are filming the celebrations.

    MIKE
    Hey I want to say something.

    He looks into the camera and hold up the baby.

    MIKE
    Happy New Year!! Jack and Ailsa.

    INT. HOSPITAL. NIGHT

    Jack sits on Ailsa'a bed. They both watch the celebrations on TV. Mike appears with their baby. Ailsa starts to cry in joy and they both hug.

    EXT. TRAFALGER SQUARE. NIGHT

    Mike puts his arm around Kitty and kisses the babies head.

    MIKE
    Watch the clock. All watch the
    clock.

    A whistle goes off and another and another. A firework explodes In the sky. The noise becomes louder and louder. People are hugging each other, smiling, laughing, kissing. Cheers from the mass of people cause everyone to look up at the clock.

    CROWD
    Fourteen, Thirteen, Twelve..

    The clock shows 11:59:47,48,50...Kitty grabs Mike.

    KITTY
    Come on it's the new millennium, we
    can't miss this.

    Everybody shouts shout. Four, three, two.. Mike looks at Kitty.

    KITTY
    May I have the first kiss of the
    Millennium?

    Mike looks into her eyes and they kiss. Mike looks up into the stars.

    KITTY
     Listen, isn't that a helicopter.

    Mike looks toward the roof of the church. A whole squadron of remote controlled helicopters fly out above the exuberant crowd.

    MIKE
    He must have had then on a timer.

    Kitty looks out into the crowd. Children and families hug and sign oblivious of the twenty or so helicopter flying above them.

    KITTY
    No, no. Not tonight. Mike
    we have to stop them.

    A small child points into the sky. The crowd follow his lead and soon everyone goes quiet as they view the small models in amazement. One of the boxes attached to the fuselages opens. Kitty gasps.

    MIKE
    I can't watch this.

    A piece of paper slowly floats out of the helicopter down into the hand of a small boy. He shows it to his father. It's a lottery ticket. Other boxes open, people pick up fifty pound notes, thousands of them, and more lottery tickets. The whole sky is covered in paper it seems. Kitty takes the baby and Mike puts his arm around her.

    CROWD
    For auld lang syne my dear!!

    KITTY
    Why didn't you do anything back
    there, they could have easily
    been bombs on those helicopters.
    Everyone could have been killed.

    Mike smiles at Kitty and the baby cooes and giggles.
    Mike grins widely to himself.

    CREDITS ROLL

    EXT. LOTTERY HEADQUARTERS. LONDON

    A long queue of excited people wait outside the Lottery Headquarters. They all grasp their winning tickets in their hands. One couple runs outside holding up a cheque. They dance and cheer.

    JETHE END~~
    70

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