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~~
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