The Fantastic Four: The Heroes Within

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Status: In Progress  |  Genre: Fan Fiction  |  House: Booksie Classic
The fantastic four gain their powers and their first nemesis is one of their own: Malice

Submitted: December 22, 2018

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Submitted: December 22, 2018

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The Fantastic Four:

The Heroes Within

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Written by:

 

Clark Ratliff

 

 

 

 

 

 

 

 

 

 

 

 

 

Copyright (c) 2018

 

 

clarkratliff@ymail.com

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dedicated with love and respect to:

 

 

Stan Lee

Jack Kirby

John Byrne

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Trailer for FF 1, The Fantastic Four: the heroes within

 

studio logos appear.

 

Blackness.

 

H. M. Unger (V.O.)

People fear what they cannot understand.

 

We see crowds of people looking up. Some point to the sky. We see a reflective-metallic spacecraft slowly, quietly, hover. Then, it docks atop the Baxter building.

 

Blackness.

 

H. M. Unger (V.O.)

They fear what you have become.

 

Show Sue Richards, Johnny Storm, Reed Richards and Ben Grimm, in space inside a space craft. As Johnny Storm ignites into flames. The others try to extinguish him with blankets. He screams (no sound).

 

Blackness.

 

H. M. Unger (V.O.)

Will there be others like them?

 

Show Sue Richards invisible, on a New York street. She reaches out to passers-by, desperate to be seen. The crowd backs away from her, as a reflective-metallic pod drops from the sky, to hover above Sue. She is then engulfed into the pod, it ascends.

 

Blackness.

 

H. M. Unger (V.O.)

They will envision the possibilities.

 

We see the Fantastic Four as they are now:

A building several stories on fire.

Mr. Fantastic stretches into the building and pulls out a mother and child.

The Thing supports a section of the building giving the others time to act.

The Human Torch, floats just off to the side of the building. He draws the flames into himself, extinguishing the flames of the building.

 

We see the Fantastic Four surrounded by people as they cheer. People take pictures.

 

H. M. Unger (V.O.)

They will become idols.

 

The Invisible Girl, steps from the three and turns invisible. She leaves through the crowd. No one notices.

 

Blackness.

 

H. M. Unger (V.O.)

Then they will ask. How long before

they turn on us?

 

Show the back of Sue Richards' head, with chopped hair, as she pulls the mask of Malice over her head.

 

Blackness.

 

H. M. Unger (V.O.)

They will try to rise up against you.

 

We see military and police, readying themselves with various firearms.

 

Blackness.

 

We HEAR gun shots echo.

 

Show where the bullets have stopped in their tracks, midair. Malice with her hand out holds them at bay. She relaxes her hand, the bullets drop to the ground with the sound of metal on pavement.

 

Malice moves her hand again; close up on the space from her hand. She forms, what looks like invisible bullets, then, they extend to be more spear shaped. She holds them there a moment. She looks to them, almost contemplating what she has created.

 

She then looks to the police and military, and with a wave of her hand, she unleashes them. They do not see them coming. We see the effects of them, as the spears pass through the Armour of the men, blood and meat splatters.

 

Blackness.

 

 

H. M. Unger (V.O.)

All thanks to me.

 

Show New York burning as the smoke rises to the top of a building. The up light shows a man, the Hate Monger in simple jeans and a jacket. He relishes in what he has created. He laughs madly.

 

Blackness.

 

Superimpose lettering:

 

The Fantastic Four

the heroes within

00/00/00

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1.

 

 

Superimpose lettering:

 

 

The feeling of loneliness never quite leaves you. -

 

Tim Burton

 

 

 

 

The fantastic Four: The Heroes Within

 

Studio logos appear.

 

Blackness.

 

Fade in:

EXT. AN AGED PRIVATE SCHOOL - DAY

 

Superimpose lettering:

 

New York: Zachary Taylor Academy.

 

 

INT. ACADEMY CLASSROOM - DAY

 

A class room filled with 30 all caucasian teens. A teacher, an older caucasian woman. She walks into class with an African-American student. He is thin. He appears uncomfortable.

 

TEACHER

Class. This is Laurence James Cheadle.

He has transferred here from Pennsylvania. Please welcome him as you would like to be welcomed.

 

Show the class deadpan. Close up on UNGER. A thin child, blonde.

 

Cut to:

 

INT. SCHOOL CAFETERIA - DAY

 

The cafeteria is packed with students engaged in their own clicks. There are no staff, no teachers present.

2.

 

Laurence leaves the lunch line. He walks through the cafeteria. It is obvious no student is welcoming him into their circle. He walks on to the outdoor courtyard.

 

EXT. COURTYARD - DAY

 

There are no other students in the courtyard. Laurence continues to walk to sit under a tree. At that moment, Unger steps from behind the tree. He looks to Laurence. Laurence starts to speak, but can tell he may become confrontational.

 

Laurence takes a step back. He looks to the side, the cafeteria. The students are still in their own worlds. He is alone. Laurence again looks to Unger. Unger has not moved, has not blinked, he just continues to look at Laurence.

 

Then, Unger begins striking himself violently. He brings the blood out from his own nose and tears a chunk of hair out of his own head. He slaps his own face several times till he tears up.

 

Laurence drops his tray and books. He runs for his life back into the cafeteria. The students finally notice him, but the cafeteria is so thick with students he can't get through in time. To see Unger appear at the doorway of the courtyard. He stands there a moment, again looks to Laurence. Unger drops to the ground, we believe he may be dead. The students swarm around Laurence, some to Unger.

 

CUT TO:

 

EXT. NEW YORK STREET – MORNING

 

A street side news stand opens as a newspaper delivery truck tosses a stack onto the curb. On the front page an article: Zachary Taylor Academy student; Laurence James Cheadle found dead off campus. Police chief Sampson will be conducting the investigation.

 

Blackness.

 

FADE IN:

 

EXT. STORM HOUSE - NIGHT

3.

An upper class neighborhood, Long island, NY.

We come to rest on a three story home. The mail box reads : Storm. We HEAR the sound of Carly Simon songs.

 

INT. LIVING ROOM - NIGHT

 

The home is very inviting. In a chair holding young Johnny Storm is MARY STORM (a Mandy Moore, type). In the center of the room is young SUE STORM playing with an extravagant doll house with Ken and Barbie dolls.

 

Through the front door walks FRANKLIN STORM a virile (Matthew McConaughey, type). He is carrying a medical bag and his coat and hat in arm. He places them in the foyer.

 

MARY STORM

Hello Dear.

 

Franklin smiles warmly. He walks over to Sue and kisses her on the head. Sue giggles.

 

SUE STORM

Dad, I'm playing.

 

Franklin looks to his wife. She laughs.

 

FRANKLIN STORM

(to Sue)

And what are we playing,

Big eyes. He said.

 

Sue holds the dolls up to show her dad and then plays with them inside the doll house.

 

SUE STORM

They're in love.

 

Franklin looks to his wife.

 

MARY STORM

(mouths, to Franklin)

I love you.

 

He in kind.

 

FRANKLIN STORM

(mouths to Mary)

I love you, too.

4.

Sue places the dolls. She takes a flashlight and shines it on the girl doll.

 

FRANKLIN STORM

Tell me, Susan. What makes you think

they're in love?

 

SUE STORM

She's gonna be a star. See?

Everyone will love her, but

he'll love her the most. And

they'll always be happy.

 

Franklin tickles, Susan.

 

FRANKLIN STORM

Just like who?

 

SUE STORM

(laughing)

Me, daddy, me.

 

He lets her go. She is smiling. She goes back to playing.

 

FRANKLIN STORM

That's important is it?

 

Sue no longer smiles.

 

SUE STORM

It's everything. The only thing.

 

Sue plays with the dolls looking intently at them. The mother stops smiling looks concerned. She looks to her husband with a questioning look. Franklin smiles softly, kisses his wife on top of her head.

 

FRANKLIN

(softly)

She'll grow out of it.

 

Sue continues to play intently as both parents watch her with concern.

 

Blackness.

 

 

 

5.

Superimpose lettering that will fade:

The Fantastic Four

the heroes within

 

Fade in:

 

EXT. NEW YORK, FALL – EVENING

 

Superimpose lettering:

 

State of New York: present.

 

EXT. RICHARDS CORRECTIONAL FACILITY - EVENING

 

A Lincoln Town Car turns from the main road onto a road leading to the penitentiary.

 

INT. PRISON MEETING ROOM - EVENING

 

A guard escorts into the room, SUE RICHARDS, late-twenties, (a Cristin Milioti type). Large eyes, brunette hair past her shoulders. She is a beautiful woman, who has given up. The thought that comes to mind when you first see her is, she could pass for “Adrian” from “Rocky”. Her clothing is that of an older lady's that has been altered to fit her. Almost as if a grown woman is playing dress up. She appears almost nervous.

 

Sue quietly sits at the table with her purse on her lap. The guard closes the prison door. The sound unnerves her, putting her on edge. The sound is repeated, as another guard escorts into the room, Franklin Storm. He is older, thin, a frail man. He is escorted to the table. He sits. The guard nods to Mrs. Richards and leaves the room, the sound of the door grates on her nerves.

 

They sit in silence. Franklin waits for his daughter to speak.

 

When Sue's nerves are more calm. She tries to speak, but can't form the words. She fumbles around in her purse. She pulls out what was once a mint condition copy of The Grimm's Little red riding hood.” Which is now tattered and torn.

 

 

 

 

6.

 

It captures her fathers attention. He too almost speaks, but can't. 'll fumble with the book combing through the pages, looking down to it. Never facing her dad)

 

SUE RICHARDS

I know you didn't want me to visit

you anymore and I did tell Johnny

you were dead, like you asked. I

just wanted to see you in case I

never get the chance again. I mean

anything can happen going into space.

At least Johnny won't be going, I won’t

have to worry about him up there.

 

Johnny's made something of himself. He's

a race car driver now, among other things.

The world just opens up for him. Which is

so amazing, considering how he used to be,

when I had to look after him, after we

moved in with Aunt Mary. The things we had

to do to keep him from being sent off,

because of his hotheadedness, setting fires, joyriding (stops herself). Thanks for that, dad.

 

Then there's Ben of course. Reed’s friend

for like a hundred years. Ben, he's our

rock. That's how he sees himself, a rock.

A rock, that isn't a part of our family,

not that any of us are much of that. No,

he's Reed's rock.He always looks out for

Reed and us I guess. It's funny, he used

to go by 'Rock' till that actor/wrestler

got known for it. I know he'd be the

first one there if anything happened. Well,

for Reed, because of Reed, not so much

because of me or Johnny. I always felt

deep down he never thought I was good

enough for Reed. I never wanted to hurt

Reed, or stop them from being friends.

 

What can I say about Reed and me?

 

I loved him from the first time I saw him.

I just knew, dad. I just knew. When I meet

him at Aunt Mary’s boarding house.

7.

SUE RICHARDS (CONT'D)

The things he said, the thoughts he had,

was so brilliant, they took my breath

away. I guess it makes me a little

different to be attracted to a man's

mind, but I was. That and the fact he

was so mature. He was so much older than

his age, I felt so at ease with him.

 

I could listen to him talk for hours

about what he wanted to do with his

life, his goals, his plans. I knew I

had to be a part of them.

 

Then, Mary drove him away. She never

told me everything she said to him and

to this day, Reed has never told me

what was said.

 

I did finally get my chance to go to

college. I wanted to study something

I could use anywhere and be there for

Johnny when he needed me. So I studied

computers. I also figured a business

degree couldn’t hurt. For myself, I

studied acting. I got to do a few

plays a few TV appearances, commercials. Nothing huge. That was for me.

 

Then, I met Reed again and we began

dating. He was chasing his dream to

fulfill his father's goal of studying

the cosmic rays event that occurs every, whatever years. Still planning his ship.

It was the last time I remember being

close to him, when we were working

together on his ship. I helped design

the software and, (almost proud) I

contributed to something that will go

into space, dad. Me. We were okay, as

long as I did what he wanted or needed.

Shared in his dream. That’s all that

really mattered, isn’t it?

 

It almost all worked out, till Mary

and Johnny.

 

She stops talking, looks down to the book.

8.

SUE RICHARDS (CONT'D)

So I left everything. I went back.

She and then I--

 

She stops talking again.

 

SUE RICHARDS (CONT'D)

It wasn't until the end, she told me

she loved Johnny and me. Never said

it once, from the time we came to stay.

It never bothered Johnny, he's just that

way. I looked her in the eyes when she

said it to me.

 

Sue stares intently into the room. She stops talking.

 

SUE RICHARDS (CONT'D)

So she died.

 

Sue runs her hand through her hair several times, uncontrollably. She then plays with her nails. Looking to them. She then speaks just looking out into the room.

 

SUE RICHARDS (CONT'D)

Then, Reed finally took me in, married

me, but I think the magic was gone.

We're together, but we're not. I think

everyday what it would have been like

if she hadn't drove him away. If things

could have happened naturally. There's

always that what-if.

 

Maybe we moved too quick after what

happened at the boardinghouse with

Mary and with me. Maybe he just felt

sorry for me.

 

Ever since college Reed, it seems,

it's as if he's pulled in so many

different directions. Always reaching

for what is beyond his grasp. He is

stretched so thin too. Sometimes I

don’t think he’ll bounce back, but he

does. He always does. He has one

obsession after another. Between his

plans to go into space, to god knows

what he’ll invent next.

 

9.

SUE RICHARDS (CONT'D)

I’ve just became one of the things

he never reaches for.

 

Then, Mr. Baxter, he was the closest

thing to a father for all of us.

Reed's dad is gone and you're here.

I would hate for him to see us now.

 

He ran the company so Reed could--

Then, he became ill and Reed wanted

me to step in till he recovered, but

he never did.

 

She stops talking. She stares at the floor.

 

SUE RICHARDS (CONT'D)

It’s been that way for years now.

I just feel for so long now, it's

like I'm not even there. Like no

one sees me at all. I might as

well be--

 

Maybe if there is fate, dad. Maybe

we were thrown together, for me to

distract him, to keep him from

going into space. I don’t know.

Why bring two people together to be

like this? Maybe I did my part

already with the software and, and

maybe that’s all I was meant to do?

 

Once he gets to go into space, I’m

sure he won’t see me at all after

that. So why wait for the last nail

in the coffin, dad? He’ll have

everything he ever wanted. I just

never really listened to his dreams

at the boarding house. I wasn’t a

part of them. Not just me. No mention

of a wife or kids. No.

 

She sits on the floor like a child. Holding her purse.

 

SUE RICHARDS (CONT'D)

I know people talk about us, that

we’re odd.

 

10.

SUE RICHARDS (CONT'D)

A husband and wife living with

her brother and his friend. I

thought we would be a family.

I thought we would all be close.

I suppose we’re more like a

family than I imagined we

could be. We just do barely

tolerate each other. I’ll never

get back what we had growing up,

dad. Up until mom died.

 

Maybe my life would’ve been different

if you had stayed, in mine and Johnny’s

life. I still needed you to be my dad.

 

I know you wanted to do the right

thing. When you killed that man. But

we needed a father. Guilt works just

like a prison.

 

You put yourself here, dad. Maybe

you could have thought about how

it would've affected us.

 

I know you tried to save mom.

 

What you did, the drinking, the

gambling, didn't matter to me. I

just wanted my dad. I know when

you killed that man, you couldn't

accept it. None of it mattered

to me, just you.

 

Mary. I know Mary only took us in

because of you.

 

Things just didn’t have to be this

way. I just wish we could all go

back, when mom was here. I just

can’t seem to make things right,

dad. I try so hard. And no one

appreciates it. No one cares. I’m

not a mom to them. I tried to have

everyone care for each other, but

no matter how hard I try.

No one will.

 

11.

SUE RICHARDS (CONT'D)

I remember when you would read this

to me when I was little. I never

thought it would be like this,

growing up, dad. You used to always

when you would read it to me, change

it to include me. “what big eyes you

have, Susan.” Remember?

 

She once again goes quiet.

 

SUE RICHARDS (CONT'D)

I’m to big for stories now.

I don’t need fairy tales any longer,

dad.

 

I just wanted to see you is all.

Case I don’t make it back, is all.

Give you this back.


 

Sue holds the book up from floor level.

Franklin reaches over the table, takes it. He sits, it is like a kick to the gut.


 

SUE RICHARDS (CONT'D)

I have to leave all of this

behind. I have to leave you.

I have to leave it all behind.

I have to grow up and live

my life.

 

Then, she stands and straightens herself up, brushes herself off.

 

SUE RICHARDS (CONT'D)

I just can’t do either letting the

men in my life treat me as if I'm

not there.

 

Sue takes a seat. Still straightening herself.

 

SUE RICHARDS (CONT'D)

And that's been my life, dad.

Between Johnny and Reed, you.

I gave up everything.

 

12.

SUE RICHARDS (CONT'D)

I wanted to be an actress, gave

it up. I got into computer science,

and engineering, I thought I was

pretty good at it. Now I don't

even do that. The business degree

helps. I didn't want to do what

I'm doing.

 

I'm more of a secretary now. I

have to keep going to Reed to

sign or approve anything. It's

the only time I see him. Most

times one of the staff just takes

it to him for me.

 

I'm sorry to say this to you, dad,

but I don't believe it would matter

if one of the times, I went to have

him sign some papers, if I stood

there naked, he wouldn't even notice,

or worse, he would and wouldn't care.

 

I can't believe he is the same man

who came here to ask you for your

blessing.

 

Dad, I'm disappearing from my own life.

 

Franklin wipes a tear from himself.

 

SUE RICHARDS (CONT'D)

I'm sorry to come here like this.

 

Sue almost cries. She stares to the side till she keeps herself from crying. She takes a deep breath.

 

SUE RICHARDS (CONT'D)

How's that for acting?

 

She puts her hand over her face for a moment.

 

SUE RICHARDS (CONT'D)

I'm smart, dad. I have degrees

on top of degrees. So why do I stay?

 

She fumbles with her purse. She takes out a compact. She freshens up her make-up.

13.

SUE RICHARDS (CONT'D)

I could still--

 

She stares into the compact mirror, then closes it up.

 

SUE RICHARDS (CONT'D)

Who am I kidding. Who the hell

would want this now? Who?

 

She puts the compact in her purse. She gets up walks over to the window and stares out it.

 

SUE RICHARDS (CONT'D)

You know you may only get one

shot, dad. At whatever.

 

If I was ever considered the glue

of the four of us, maybe I'm the

wrong glue. There should never

have been the four of us.

 

Because of me. We're trapped

together.

 

Sue stops talking, stares out blankly into the room. She then walks over and sits back down. She looks down to her purse and opens it up and takes out a set of papers that has a pen attached to them. She clutches them in her hand.

 

SUE RICHARDS (CONT'D)

I just want out, dad.

 

She tosses the papers onto the table in front of her dad.

She finally finds the courage to look at him.

 

He takes them, he takes the pen from the papers and sets it on the table. He . He looks them over, sees they are divorce papers. He is left speechless.

 

He just keeps looking over them in disbelief.

 

SUE RICHARDS (CONT'D)

Before coming here, I came from

there. Steven Franco's office.

He wants me to wait to file these

till after we return.

 

14.

SUE RICHARDS (CONT'D)

I suppose he feels if I try to

divorce Reed now with this- his

big moment. He should have this.

He's worked so hard. I don't want

to take that from him. I know he

needs to be focused.

 

I've known Steven for years. God

knows of all the people he

represented over the years. I

just never thought I'd be one of

'em. I respect him. Though, I

believe he feels waiting till

after the mission, I will change

my mind.

 

I don't know if it'll change

anything. I don't think one event

will make someone see you again. If

they don't see you at all.

 

There's been talks that they'll cut

funding to the project, maybe even

end it all together. If it gets

canceled, that will be a sign I

should go through with it and serve

him. If for some reason if it

goes through--

 

Reed has been good to me, dad.

He has. He has never mistreated me.

Never hit me, or yelled at me. The

only time he ever was stern with me,

was when we first moved in together

and I can’t remember if it was about

the penthouse, or when he first had

me help him with the company, or

both maybe. I don’t recall.

 

I felt it was his place his company.

I told him as much. That was how I

saw it. And he told me never to speak

of it again, that it was our home and

our company. It was the only time I

felt a little like a child to parent

dynamic. Other than that, he has never

spoke in a harsh way to me.

15.

SUE RICHARDS (CONT'D)

I know I should be grateful… for

everything. And I am. The food, the

clothing, a penthouse in Manhattan.

Taking Johnny in and lord knows how

many times he’s bailed him out. Just

because he is my brother. Let alone

this place. He bought a penitentiary,

just to make sure you were taken care

of, because you were my dad. Being

married to one of the smartest and

richest men on the planet, but despite

it all, I feel I don’t belong. And

maybe he loves me in his own way, but

it’s not the way I always dreamed it

would be, dad.


 

He was my knight on a white horse, but

when he rescues the girl, isn’t he

supposed to-- doesn’t mean anything

without love. I just wanted someone

to care if I showed up or not and

other things.

 

She looks sad.

 

SUE RICHARDS (CONT'D)

You never see what happens after

the fairy tale ends. Nobody wants

to know Cinderella gets fat, or

that the prince cheats on her. Or

worst of all, they just fall out

of love.

 

I guess sometimes it's not a white

knight you see... It's just how you

see them, or how you see yourself

with them. I don't need to see anymore.

 

I won't take anything in the divorce,

so it should be quick. Just another

signature from him and it’s over. Just

like that. The time it takes to sign

his name and our years of marriage are--

 

It dawns on her. She reaches over the table and takes the papers back and puts them in her purse.

16.

 

Sue, then picks up the pen and puts it in her purse.

 

SUE RICHARDS (CONT'D)

Can’t forget the most important part.

 

I've never been comfortable with it.

Reed's wealth. Never really spent it,

on myself, (she looks to herself,

rundown look) Maybe that’s why he,

why it feels like he doesn’t care if

I’m there or not. I always felt it

was his money, his home, his company.

I was just there. One more thing to

put his families' name on. And then

it became my turn.

 

She looks to her ring, she plays with it.

 

SUE RICHARDS (CONT'D)

Take my name back, maybe. Should.

 

I can always do something with

computers. Maybe even become a

CEO somewhere else, or maybe,

(laughs) I could finally be an

actress. That Stark guy seemed

interested in me when they were

recruiting from colleges, but I

stayed with Reed. Of course the

whole family rivalry thing that

has gone on since their fathers.

No, I wouldn't hurt Reed like

that. No job or career is worth

that.


 

I knew he would become someone

that he would go far, but I thought

he would notice, if I wasn’t with

him. Maybe I hold him back, or maybe

he keeps me down. I don’t know.

 

She stands up. She looks to her dad.

 

SUE RICHARDS (CONT'D)

If I don't get out of this, dad.

It's going to kill me.

17.

 

Sue walks to the door. She pecks on the door with her ring. The guard opens the door. Sue steps through it. She pauses and looks back to her dad.

 

SUE RICHARDS

(mouths)

I love you, dad.

 

Her father stands about to speak. He holds the book she gave him. She turns and walks on. The dad is not able to reply. The door closes and echoes.

 

Franklin doesn't hear the other door open. The guard speak to him. He is removed from everything. He is lead back to his cell. The door closes behind him. He steps to the window and sees his daughter's town car drive down the road.

 

Franklin turns and walks over to a wall. It is plastered with clippings, articles and pictures of his daughter and son, his wife, Reed Richards and Ben Grimm. He places the book Sue gave him upon a shelf. He walks backward and sits on his bed and just stares at the wall.

 

FRANKLIN STORM

What has your daddy done to you,

“big eyes.”

 

Cut to:

 

EXT. NEW YORK GENERAL HOSPITAL - NIGHT

 

INT. HOSPITAL HALLWAY - NIGHT

 

There are several security men along the hall. The kind to shoot first and ask questions later type. From the hall we hear a voice.

 

STARK (O.S.)

I don't care what he's doing.

You tell him I want to speak

with him now!

 

 

 

 

 

18.

 

INT. HOSPITAL ROOM - NIGHT

 

More of the same security men are there. Several nurses and doctors tend to ANTHONY STARK (a Ian Somerhalder, type). He looks like hell warmed in a microwave and someone forgot to go back and get it out. There is high tech medical equipment and wires and tubes going to his chest. Nurses are addressing wounds. A circular light shows below the bandages of his chest. Two beautiful women are showing Stark, reports on tablets, bringing him up to date.

 

STARK

(pissed)

Have me hold. Get a little piece

of metal in my chest go into a

little coma and then they forget

who really runs this show.

 

Cut to:

 

INT. WHITE HOUSE – NIGHT

 

NICK FURY (an Anthony Michael Hall, type). with an eye patch, over his left eye.

 

He takes the phone from a staffer. Covers receiver.

 

PRESIDENT FURY

(to staffer)

Always happy to hear from my

contributors.

 

Fury motions for everyone to leave the room.

 

PRESIDENT FURY

Stark. You up from your little nap,

or is there cell service in hell?

 

INT. HOSPITAL ROOM - NIGHT

 

STARK

I'm seeing right here. Right

in front of my eyes. Richards

is days away from launching.

Am I wrong?

 

19.

 

PRESIDENT FURY

That would be correct. If you

didn't almost get yourself blown

to hell an' back. You would know

this.

 

STARK

Your men said it was secure.

 

PRESIDENT FURY

Their bad.

 

Stark is infuriated.

 

Fury looks to his nails nonchalant, with the possibility he knows more than he lets on.

 

STARK(O.S.)

If I didn't know better. I

would think you set me up!

 

PRESIDENT FURY

Now. Stark. You're talkin' like

Your head is up your ass.

(looks to phone)

It isn't is it? Heard you were

pretty bad.

 

STARK (O.S.)

I'm still here. Now if you

want to stay where you are.

You tell me why about Richards.

 

PRESIDENT FURY

Don't get 'em in a bunch. Just

hedgin' my bets. If you were

to see the inside of a body bag,

Richards, we move him up.

Granted he doesn't have the 'blow

up the world' mentality and

tech domination you have a knack

for, but we can always pervert

what he comes up with to make sure

the U.S. stays number one.

 

 

 

20.

 

INT. HOSPITAL ROOM - NIGHT

 

STARK

How many presidents have my father

and I bought and paid for? I hope--

(listens) good, good. Just make that

little phone call for me and if you

have something pressing to do, make

sure it's where you can't be reached.

(laughs) well, not till his little

light show passes. You know with

him and running so many simulations

he may just miss it on his own, but

you see. I'm not a betting man.

Reed was always so cautious, I

never thought he would ever get

to this point. let’s make sure

his dream stays just that.

 

Stark hangs up.

 

STARK

Just you wait till election year.

 

CUT TO:

 

EXT. AN OLD FASHIONED DINER ON A NEW YORK STREET - NIGHT

 

Three guys go into the diner from the street.

 

INT. DINER - NIGHT

 

Of the three men is JOHNNY STORM, (a Toby Regbo type), blond, mid-twenties he exudes a charismatic charm. Wearing tennis shoes, jeans and a t-shirt of himself from a video game called 'Storm front' and a jacket. He has charm, not fashion sense. With him are obviously two of his friends DAVID GEORGE MUNSON “GEORGIE” (a Rupert Grint, type). Thin redheaded a real trouble maker. With him is GREG MULLINS (a Cole Sprouse, type). A stringy haired thin person. The kind of person you just feel uneasy around. Both are dressed like they're trying to keep the 50's alive.

 

Behind the counter is an elderly African-American male, (a Cedric Yarbrough, type). LEVAR MORRIS, or “SCOOPS” as he is known for.

21.

 

SCOOPS

Fellas.

 

Johnny happy to see Scoops.

 

JOHNNY STORM

Hey, Scoops. These are two of my old

buds from back in the day, remember

when we lived in Glenville.

 

SCOOPS

Don't remember livin' there with you.

 

JOHNNY STORM

Me and sis, smart ass.

 

SCOOPS

Dumbass. Learn to be clearer.

 

Johnny annoyed.

 

JOHNNY STORM

Anyway.

 

Johnny pulls Georgie to the front.

 

JOHNNY STORM

This is Georgie.

 

Georgie nods. Johnny points to Greg.

 

JOHNNY STORM (cont’d)

 

And not Georgie, we just call ‘im Greg.

 

Greg does not nod.

 

Scoops starts to offer out his hand, but he sees they have a problem with him. Scoops blows it off.

 

JOHNNY STORM

Hey, we're gonna grab a booth, Scoops.

Care if we get three burger specials?

 

As the three go to a booth. A cook starts cooking the food while Scoops makes the shakes from hand dipped ice cream.

22.

 

SCOOPS

Sure thing, Hotshot.

 

Scoops sets a tray up for the food. At the booth the three act like stupid teens. Scoops gets Johnny's attention. Johnny comes over to the counter. As the two talk, Greg, with a knife, carves something into table.

 

JOHNNY STORM

What's up?

 

Scoops gives Johnny a bottled soda. Johnny drinks as he talks.

 

SCOOPS

Isn't tonight the big night?

 

JOHNNY STORM

What? Ben's thing? It's just an

engagement blow out. No big deal.

 

SCOOPS

Might be to him. (to cook) Better

make them to go.

 

JOHNNY STORM

Yeah. I'm goin', I'm goin'. Soon

as I stuff my face. I could care

less. It's for family I guess,

even though Ben ain't no family.

'Sides at these things, I'm

no hors d'oeuvre kinda guy.

I gotta get some real food in me

'for I pretend to care.

 

Heck, If it weren’t for Sue, I’d

be outta there. Don’t care for Ben

and Reed (makes a noise) I guess his

wallet makes up for a lot.

 

Well, I'll take that back. Reed’s

okay I guess. I get to live in

Manhattan, in a place I could never

afford. They're both working all the

time, him and sis.

 

 

23.

JOHNNY STORM (CONT'D)

If I didn't know any better I'd

think they were avoiding each other,

and Ben has his girlfriend/fiance

anymore. I was against Reed at first,

but far as I can tell he’s done

alright by sis, (finishes drink)

and me.

 

SCOOPS

You know you sure talk a lot about

that sister of yours, that you

never bring by.

 

JOHNNY STORM

Aw Sue, she's all big time now.

She probably forgot about food

and places like this, not me

though, I'm a burger and shake

kidda guy. Yeah, after she moved up,

she ain't got time for me anymore.

She's always held up in her office,

she's never around. She's just like

Reed in his lab and that just leaves

Ben and now he's up Alynn's ass

 

 

SCOOPS

What'd I tell you about that mouth?

 

JOHNNY STORM

Sorry. It's kinda great, It's like

I got the whole penthouse to myself.

Well, when I'm not makin' appearances

and races and all that.

 

 

SCOOPS

You know it's not like you have to

travel 'cross the city to see her,

isn't she a couple of flights down?

Why don't you go down an' see 'er?

 

JOHNNY STORM

I would. I would, but it's soooo

boring. Meetings blah, blah, blah. It

suuucks, so bad.

 

24.

JOHNNY STORM (CONT'D)

I couldn't do what she does. Just

the thought of it makes me wanna--

(drops his head back pretends

to snore).

 

SCOOPS

Then that's on you.

 

JOHNNY STORM

I can live with that. Ya wanna know

somethin’ stupid? We don't even own

a dog. Reed's got that Herbie thing,

it's annoying like a dog. Maybe his

parents wouldn't let him have a pet

so he invented that thing. Or friends.

 

SCOOPS

You know, you could always get one,

bring it home.

 

JOHNNY STORM

And take care of it? No thanks. I

can barely take care of me.

 

SCOOPS

Maybe get you a girl then, take care

of you instead of your family all

the time. Fill up that place with

babies? Babies bring people together.

Wouldn't trade mine for the world.

 

JOHNNY STORM

No way, no one's keeping me down.

I figured by now sis an' Reed

woulda knocked outta a few. Career,

ain't family you know.

 

SCOOPS

You're one to talk.

 

JOHNNY STORM

Hey, when I'm ready, it'll be like a

human rabbit farm, they'll be

everywhere.

 

 

 

25.

 

SCOOPS

I'm sure she'll love that. You know

if you were mine, I'd done wore you

out the way you talk about your family.

 

JOHNNY STORM

Sue's my family.

 

SCOOPS

If you're under the same roof you're

family. Especially if someone's

providin' that roof for you.

 

Gives him look.

 

JOHNNY STORM

Damn, Scoops. You're bustin'

'em aren't you.

 

SCOOPS

You need to straighten up and appreciate

what you got. One day it won't be there. 'sides, it is what you make it.

 

JOHNNY STORM

Yeah, I guess.

 

SCOOPS

You know I'm right.

 

JOHNNY STORM

Heck, you're more family to me than they

are. I don't care to say you're my step

dad. Never really had a dad. He croaked.

 

SCOOPS

Can't blame a man for that.

 

JOHNNY STORM

Guess not. Whatever.

 

Cook sets three bags of food on the counter next to Scoops.

 

SCOOPS

Here you go burnin' man.

 

26.

 

JOHNNY STORM

Burnin' man?

 

SCOOPS

Yeah, you burnin' it at both ends

ain't ya?

 

JOHNNY STORM

Probably.

(hollers to guys)

'ey, come on.

(to Scoops) What'll I owe ya?

 

SCOOPS

A kidney.

 

JOHNNY STORM

Seriously.

 

SCOOPS

We'll settle up one day.

 

Scoops comes out from behind the counter.

 

As they go to leave, Johnny and Scoops do a man hug thing where they go to shake hands and draw each other in and pat each other on the back.

 

GEORGIE

Kiss him already.

 

GREG

Careful Johnny it might rub off.

 

JOHNNY STORM

Shut up.

 

SCOOPS

(to Johnny, low voice)

Never figured you to hang around with

cross burners.

 

JOHNNY STORM

(low voice)

Them? Nah. They're just idiots.

 

 

27.

 

SCOOPS

Maybe you should be hangin' 'round

with people you don't call idiots.

You know people judge you by the

company you keep.

 

JOHNNY STORM

Okay “dad”. I gotta drop you guys off

on the way. Reed would have a shit fit

if you showed up to one of his balls.

 

GEORGIE

So you like showin' up to his balls,

eh, Johnny boy?

 

JOHNNY STORM

(laughs)

Hey, I'm not my, sis.

 

Scoops gets Johnny by the back of the neck. His two friends are ready to fight. Johnny motions for guys to cool it. Scoops shoves Johnny off.

 

JOHNNY STORM

What the hell, man?

 

SCOOPS

You know better than to talk about

your sister that way, even jokin'.

 

JOHNNY STORM

Jeez, I'm sure she could take a joke,

but I get it, I get it. (Tells guys,)

No jokes about Sue. That goes for me

too.

 

Scoops shakes head at him disappointed. Johnny feels bad. As they go to leave.

 

SCOOPS

(to Johnny)

Have fun hangin' out with your

brother-in-laws balls.

 

JOHNNY STORM

(laughs)

How come you get to do it?

28.

 

SCOOPS

One, you got to be funny and two,

you got to respect family,

'specially the women of the world.

And you can take that to the balls.

 

Scoops taps Johnny's balls. He drops.

 

SCOOPS

Now go on get.

 

The guys leave. Scoops just shakes his head thinking about them. He goes to table the idiot guys were sitting at. He goes to wipe table. He moves the trash he sees “KKK” carved into table top. He looks out to Johnny's car in the parking lot, Johnny and Georgie are in the car. Greg looks to Scoops, pours his shake onto the ground then drops the styrofoam cup. Then backs around to other door and gets in. They back up and drive off. Scoops watches them drive off and wonders why bodily fluids were wasted making Johnny's friends.

 

CUT TO:

 

INT. BAXTER BUILDING, BALLROOM - NIGHT

 

floor. 60's art deco. A pond and fountain are in the middle of the room. A band plays the hits of today and the past. The room is packed with upper class people and a few out of place, such as a few military and police. A film crew is scattered through out.

 

A waiter rushes carefully through the crowd to find REED RICHARDS a noble looking gentleman with dark brown hair, with silvery almost white to his temples. (a Daniel Gillies, type). Dressed in suit and tie. He is in the middle of a conversation with guests as a waiter urges his attention, with a look. The waiter waits to be spoken to.

 

REED RICHARDS

(to guests)

Pardon me one moment.

 

Reed steps from the guests to the side. He looks to the waiter to tell him what is so important.

29.

 

WAITER 1

Sorry Mr. Richards, but there is

a call from the correctional facility.

A mister Storm is needing to speak

with you.

 

Reed sips his drink.

 

REED RICHARDS

I will tell my wife her father called.

Please, no further interruptions. And

one more thing, make sure no one is

to say a word about Mr. Storm in front

of Johnny, Am I clear? Not. One. Word.

 

The waiter nods and goes to walk away as Reed takes hold of his arm.

 

REED RICHARDS

Have you seen my wife?

 

WAITER 1

No sir.

 

Reed looks irritated at his watch.

 

REED RICHARDS

Fantastic!

 

Reed nods for him to go on. Reed is about to return to his guests when BEN GRIMM a large presence of a man, one you would believe to play football (a Robert Kazinsky, type). He is well dressed though his suit doesn't quite fit right. He also doesn't fit into his surroundings and being intoxicated doesn't help either.

 

Ben grabs Reed by the neck and shoulder.

 

BEN GRIMM

'Ey brain boy. This shit's alright

when it's for me.

 

Reed amused.

 

REED RICHARDS

I'm glad you like it, Ben.

 

30.

 

BEN GRIMM

Well it's no Hooters,

(bumps Reed's chest)

but it ain't half bad. 'sides,

who wants to hear the missus-

to-be--

 

Ben motions with his hand to imply she'll bitch up a storm.

 

REED RICHARDS

(amused)

Your words, or lack of.

(Reed looks to the camera)

It's good that there's no possible

way she could ever learn of it.

 

BEN GRIMM

Oh shit!

(laughs)

(to camera men)

You guys'll cut that shit right out, right?

 

Ben laughs in Reed's face as camera POV shakes 'no'.

 

Ben grabs Reed's neck and shoulder again.

 

BEN GRIMM

Man who would'a thought all those

years ago you an' me here. Me

getting' a scholarship off your old

man you meeting your best bud.

(slaps his own chest) So your old

man sent me to college, that like

makes us brothers doesn't it?

 

REED RICHARDS

I would like to think so.

 

BEN GRIMM

(mocks Reed)

'I would like to think so'. Come on,

Reed, it's a party. (hollers)

whoo- yeah!

 

Ben offers Reed a beer.

 

31.

 

REED RICHARDS

Thank you, Ben. Perhaps a few less

of these? I would hate to see anyone

make any rash decisions tonight.

 

BEN GRIMM

If you don't drink I'll--

 

Ben flexes like he could wreck the whole place. Reed nods with gesture to relax, he will have a drink. Reed takes a drink. He nods like he doesn't like it, but did drink.

 

REED RICHARDS

(dignified)

Woo-hoo.

(he looks to bottle)

I hope this won't effect me--

 

Reed takes another sip.

 

BEN GRIMM

Pussy.

 

Reed laughs, spitting out a lot of his drink. He covers his mouth.

 

REED RICHARDS

Thank you for that, Ben. I--

 

BEN GRIMM

Yeah, yeah. I remind you you're

not just a robot. Now, how 'bout

we drink a shit ton and we trash

this place. Have everyone screamin'

tryin' to get outta here?

 

Reed ponders it a second.

 

REED RICHARDS

Could you just imagine my father

seeing me do something like that?

To this place. His place.

 

Reed looks to his bottle almost a little angry. Ben takes the bottle from Reed.

 

 

32.

 

BEN GRIMM

Okay. Calm down. Now I remember

why we don't get you shit faced.

 

REED RICHARDS

(absentminded)

What?

 

BEN GRIMM

You were just about to go into a

tirade about your old man. Man, he

messed with your head but good

didn't he? Somethin' fierce.

 

REED RICHARDS

Something... yes.

 

Reed dignifies himself. Straightening himself up.

 

REED RICHARDS (CONT'D)

Well that's all in the past. I'm

sorry Ben (touches Ben's shoulder)

tonight is your night.

(pretends to be happy)

My best friend in the world is

engaged and we're here to celebrate

that and nothing else.

 

BEN GRIMM

Don't you worry, that space thing,

we got this.

 

Ben holds the back of Reed's neck so they are head-to-head.

 

BEN GRIMM

We got this. An' what wuz it

you told me.

 

REED & BEN

'An ex-football star and a nerd

may not be able to handle what's

out there'.

 

BEN GRIMM

'Unless'?

 

33.

 

REED RICHARDS

'Something about us changes'.

 

BEN GRIMM

And what's I tell you?

 

REED RICHARDS

That, 'I can always talk 'em to

death and you can tackle them'.

 

BEN GRIMM

We got this.

 

REED RICHARDS

Thanks Ben.

 

BEN GRIMM

That's why I'm 'ere. You 'n' me.

You an' me.

 

ALYNN CAMBERS comes up behind Ben. (A Kim Kardashian, type.) A striking woman with a spray tan, brunette hair and an outfit that is way to tight in a way it reviles way to much. Some may question if she had implants in more than one place and some might question if she was born this way.

 

Alynn grabs Ben and begins to pull him away.

 

ALYNN CAMBERS

Now.

 

Reed gives a nod to Alynn.

 

REED RICHARDS

Miss Cambers.

(distracted as Ben is lead away)

Yes. Of course. See you in a bit my

friend.

 

He looks to a table full of spirits.

 

REED RICHARDS (CONT'D)

My only friend.

 

 

 

34.

 

Reed looks up to the painting of three men. Which has their names under them. Nathaniel Richards (a Hugh Laurie, type) Howard Stark (a Steven Weber, type) and Jackson Leigh Baxter (a Jason Alexander, type).

 

He stares intently. Then he realizes without knowing he has a drink in his hand. A waiter passes by. Reed stops him.

 

REED RICHARDS

(to waiter 2)

Would you take this?

 

Waiter takes it, walks on.

 

GENERAL ROSS comes over with two drinks in hand.

Ross offers one to Reed. (General Ross, a Martin Cummins, type).

 

GENERAL ROSS

You look like you could use a

drink, son.

 

Reed starts to say no, but politely takes it.

 

REED RICHARDS

Thank you, general.

 

Ross. Looks up to the painting with Reed.

 

GENERAL ROSS

Your father was a hell’va man,

Richards. Each one of ‘em were.

Damn shame what happened between ‘em.

 

REED RICHARDS

Yes. It was.

 

GENERAL ROSS

I know you're doing our country proud

by this mission and partnering with us.

 

REED RICHARDS

My father started this project with our government, I just wanted to honor that.

 

 

35.

REED RICHARDS (CONT'D)

He and I felt this is more than

just a random phenomenon, which

seems to be occurring more

frequently and with more intensity and even mass perhaps.

It will help us to get a better

understanding. I for one hope it

is something that will be of

benefit to us on earth, but

should it be a threat. I feel

it's best to let those better

equipped to handle it, handle

it. Bar any unforeseen problems

we intend to follow the rays

perhaps to a point of origin.

 

GENERAL ROSS

Still. Don't think it would've

hurt to have Stark and his boys

put a few weapons on it.

 

REED RICHARDS

is an

exploratory mission, collect data,

able, send probes

, beyond our

solar system, and alert us to it

coming around again. Then, if we

assess it could be a credible threat

and there may be a need to take

action in the future, I would work

with Anthony to develop any defense

against it. If he were willing.

 

Ross pats Reed's back.

 

GENERAL ROSS

I'm damn glad to hear you talk like

that Reed. It'd be great to have you

boys work together.

 

REED RICHARDS

Never my choice, general. But, a

threat to the world its self, I

would do what was necessary.

 

 

36.

 

GENERAL ROSS

Maybe down the road, how about we

all sit and talk?

 

REED RICHARDS

As I said general, it's never been

up to me. I always send invitations

to these events to him. And as you

can see--

 

Reed motions to room full of people, no Stark.

 

GENERAL ROSS

Well. Keep tryin'.

 

REED RICHARDS

I always have, sir.

 

GENERAL ROSS

you two can bond over fortunes,

since his seems to be in question

since he went into a coma. Of course

if you had gone this alone it might

have put you on food stamps, Richards.

 

REED RICHARDS

It will be worth it in the end, general.

I assure you.

 

GENERAL ROSS

Well in the end, it may be our ship,

but you own every patent on the damn

thing. Hell, that hyperspace you call

it and that artificial gravity alone if

it works, will set you up pretty good.

Hell, the design of the ship its self.

(makes a whistle sound)

 

REED RICHARDS

It will all work. It has to. It may

have taken some time, but I believe

as Johnny put it, I didn't just

build an engine, but the whole car

to go around it.

 

Reed seems almost amused by the thought. General Ross looks over to Ben and Alynn dancing.

37.

 

Ben tries to dip Alynn and they go to far both hit the ground.

 

GENERAL ROSS

Are you sure you want him to pilot

the damn thing?

 

REED RICHARDS

I am sure. I wouldn't have

it any other way, general.

 

Ross puts his hand on Reed's shoulder.

 

GENERAL ROSS

Your funeral.

 

Reed appears perturbed as Ross walks off. Reed looks over his shoulder to father's image. His jaw clenched.

 

(camera crew films them)

Ben and Alynn dance, they see Reed.

 

ALYNN CAMBERS

What is up with your friend?

 

BEN GRIMM

Daddy issues. You think I was

kiddin' when I told you his old

man was a dick to him. Well,

doll-face, I wasn't just runnin'

off at the mouth. They should

to make one of those movie of the

weeks about his life. His old man

treated his mom like shit, ignored

'em both, wasn't ‘til Reed got

into science, the daddy know he was

alive. The mom wanted 'im to

'erself, guess cause she had no one.

Tried to sissy 'im up dance, piano,

opera all that shit. It was like

they were playin' 'im off each

other. Fuck, I’ll bet neither of 'em

wanted 'im. Poor bastard.

 

Now his wife, she avoids him after

he took her in after her little

break down.

38.

BEN GRIMM (CONT'D)

I thought it was a bad idea,

but you think it's love.

Whatever. You feel sorry for someone

you get 'em help, y'know? you don't

marry 'em. Then she moves her piece

of shit brother in on him. I think

I'm his only real friend. I'd take

a bullet for the guy. I just seen

'im needed a friend, hell the first

night I came here his old man

handin' out scholarships, Reed he

looked through hundreds. He told me,

mine was one he picked, he thought

I was somethin' came from nothin'

cause of him I got off yancy street,

out of the gangs, make my brother

proud, made it all the way to space.

And in a couple'a days I get to take

my friend with me. Fulfill his life

long dream, which is sad, not even

his. He still's trying to live up to

his dad, get his approval whatever.

Those cosmic rays was his dad's

baggage. Maybe, daddy thought they

were like a genie's bottle or

somethin' who knows. So Reed spends

his whole life chasin' his dad's

shit. Poor bastard.

 

Then on top of that, He doesn’t

know what’s out there, boogie men,

aliens, what have you. if we were

to find something out there,

Heck. if there was aliens out there,

I'd do like Will Smith in that movie

“welcome to earth, bitch”!

 

Ben then gestures like he would punch an alien out. Ben, then Stumbles forward a little. Alynn stops him from falling, he Laughs.

 

(CONT'D)

How much of his life's been doin'

this. What else could he have done?

Me, I'm there cause I feel sorry

for the guy.

 

39.

(CONT'D)

Should'a seen him in college

like the ugly fat girl no

one wants to be friends with sit

at their table. I got 'im out, me.

I’m the one. I'm the first person

to get 'im high. I got him to live

a little life. When I can get 'im

out of that freakin' lab.

 

ALYNN CAMBERS

Reed Richards high. Now that, I

would love to have seen.

 

Alynn looks to her purse. Pulls out a bag of the good shit.

 

ALYNN CAMBERS (CONT'D)

Let's liven 'im up.

 

BEN GRIMM

(laughs)

Maybe I should'a fucked his shit

up years ago. Helped him out. Get

him so fucked up he forgets about

daddy. I'm a bad friend. Change

his life, what is that song,

(tries to sing)

I went to follow daddy's dreams,

but I got high (laughs), I got

into a shitty marriage, piece of

shit brother--

 

ALYNN & BEN

But I got high.

 

BEN GRIMM

(confused)

What was I sayin'? Yeah, Reed.

Maybe we should fix 'im up? You

got some hot friends? One time,

golf ball through the garden hose.

Change his life. How 'bout we do

that when we get back? We should

get my bud straightened out. Be

the four of us instead of the

four we got. Huh?

 

40.

 

ALYNN CAMBERS

It'd take me a little bit. I Don't

quite know anyone who wants to marry

a billionaire.

(hand to mouth to holler to her friend)

Oh, Nan!

 

Ben and Alynn look to each other and laugh. Reed faces the direction of Ben and Alynn still seems lost. Ben flips Reed off from across the room. Reed comes out of trance, looks confused by it. Ben just waves him off to forget it.

 

BEN GRIMM

Aw, stupid bastard we're gonna

fix his wagon.

 

ALYNN CAMBERS

I think I'm going to like livin' here.

 

BEN GRIMM

Yeah. I'm just afraid he'll turn

out like his old man, well he

sorts is isn't he? ignore everyone

'round him. So I try to keep 'im

from jumpin' or pullin' the trigger,

or whatever rich people do. Have

one of the servants do it. (Laughs)

 

ALYNN CAMBERS

You're such a dick!

 

BEN GRIMM

An' that's why you love me, Doll-face.

Maybe--

 

Ben pulls Alynn to him smacks her ass.

 

BEN GRIMM (CONT'D)

Maybe you got daddy issues of yer own,

huh?

 

ALYNN CAMBERS

You're sick!

 

 

 

41.

 

BEN GRIMM

Maybe later, huh, see what you'll

do to earn that allowance?

 

ALYNN CAMBERS

(disgusted look)

Yeah, fine.

 

Ben laughs. They continue to dance.

 

BEN GRIMM

Gotta piss.

 

ALYNN CAMBERS

Thank you for that.

 

Ben leaves. He is headed towards the restrooms, when he passes Johnny as he enters the ballroom.

 

BEN GRIMM

Hey hothead. I’m--

(belches in Johnny’s face)

I’m pissin'.

 

JOHNNY STORM

Right now? As we’re talkin’?

 

BEN GRIMM

You. You’re funny. you’re alright.

 

Ben stumbles off.

 

JOHNNY STORM

(to crowd)

Wow. Top ten signs you’ve had to

much to drink; number ten. Am I

right?

(crowd not give him a bone)

Who are these people anyways?

 

AMY STEINER, a voluptuous blonde woman, in a dress that reveals quite a lot. (a Amy Schumer, type)

 

AMY comes over to Johnny. She has several hors d'oeurves in her hand and a drink.

 

 

42.

 

AMY STEINER

Nice you could show.

 

JOHNNY STORM

I got searched coming up to my

own place to live. Sometimes I

wonder if Reed puts ‘em up to it.

 

AMY STEINER

(almost sympathetic laugh)

Aww. You think he'd waste his

time on you. Hashtag, sad. Oh,

and you’re late.

 

JOHNNY STORM

As long as you never are.

 

Johnny waves to the crowd, they are unfazed by the presence he thinks he is.

 

AMY STEINER

You'd be raising it.

 

Amy pulls out switch blade, pops it.

 

(CONT'D)

Maybe next time I'll open it.

 

Amy makes a motion like to poke hole in the condom pack.

 

AMY STEINER (CONT'D)

Trap you.

 

JOHNNY STORM

(shocked)

Put that away! Are you crazy?!

Why do you have that?

 

AMY STEINER

Hey, a girl's gotta protect 'er self.

 

She puts it away.

 

JOHNNY STORM

If we're out I'll protect you.

 

They look to each other and laugh.

43.

 

JOHNNY STORM (CONT'D)

Now see, that’s the kinda shit

they should be getting, but they

ain’t.

 

AMY STEINER

Who?

 

JOHNNY STORM

The ones followin’ Ben an’ Alynn

around. I’m a bigger celebrity than

them. Why aren’t they up my ass?

I’m Johnny Storm, ratings booster.

 

AMY STEINER

You keep telling yourself that and

I will tell myself, I won't date

losers.

 

JOHNNY STORM

Hey!

 

AMY STEINER

Are we dating?

 

JOHNNY STORM

Well... no.

 

AMY STEINER

I'm your agent with benefits.

 

JOHNNY STORM

If that's the case, do you take

less of a cut because you get to

be with this?

 

oneof her hors d'oeurves.

 

AMY STEINER

I should compensate percentages

over inches.

 

JOHNNY STORM

(cocky)

Yeah right.

 

Amy drinks her drink slowly looking to Johnny.

44.

 

Johnny takes one of her hors d'oeurves. Looks around room.

 

JOHNNY STORM

Seriously. Why don’t I have a

crew follow me around?

 

AMY STEINER

Probably same reason as me,

annoying as hell.

 

JOHNNY STORM

You are my agent.

 

AMY STEINER

Oh... yeah. I guess I could look

into that, sure.

 

JOHNNY STORM

Why do I put up with you?

 

AMY STEINER

'cause no one else will put up

You know I can I put

'spin' on anything, but in here?

Well, it's a little hard to sell

you as an action junkie if you're

at places like this. I can spin,

Now if you

had a parachute and jumped off the

balcony. People would eat that up.

A little jackass action, not being

just a jackass.

 

Amy laughs he doesn’t. Amy spies Reed across the room.

 

AMY STEINER

Hey! Over there's Reed. We should

say ‘hi.’

 

Johnny from where they are now.

 

JOHNNY STORM

(loud)

Hi!

 

Amy and Johnny laugh.

45.

 

Alynn is sitting off from people with the film crew checking equipment and stylist are fixing her hair and dress. Ben was on his way back, but got stopped by a bunch of guys.

 

ALYNN CAMBERS

(sighs)

The things I do for fame. Fucking

reality show, marrying him, now I

gotta find his friend a new wife.

I better be getting a movie deal

outta this. One night with him

and I have to ride him to the top.

Could be worse, could have to work

a real job.

 

Alynn smiles and waves to him across the way.

 

ALYNN CAMBERS (CONT'D)

That's right dumb ass I'm waving

to you. Use your ape like paw to

wave back.

 

Ben grins back. Blows her a kiss.

 

ALYNN CAMBERS (CONT'D)

Jesus how hard is it to break into

this business? Hell, even Reed's

wife did some TV and commercials.

Maybe instead of dressing up, should

shop for my look in an alley way?

 

Crew laughs. At that moment a dark haired beauty with an intense look comes over. NAN FREEMAN(a Camila Mendes, type)

 

NAN FREEMAN

What were you yelling my name

about just a moment ago?

 

ALYNN CAMBERS

Took you long enough.

 

NAN FREEMAN

Tell them not me. you’d be

surprised how many creeps there

are at this party.

46.

NAN FREEMAN (CONT'D)

Apparently putting a suit on

doesn’t make you less of a

sleaze ball. Reed should have

a better screening process.

 

ALYNN CAMBERS

Money is its own screening process.

Speaking of Reed, you’re in.

 

NAN FREEMAN

What ‘in’?

 

ALYNN CAMBERS

Reed. Ben wants you and Reed

together. So don’t fuck this up.

 

Alynn motions with hands to go towards Reed.

 

ALYNN CAMBERS (CONT'D)

Get in there before Debbie-Sue

downer mopes it all up.

 

Nan dashes Reed’s way.

 

ALYNN CAMBERS

Wouldn’t that be a bitch. She

gets a billionaire and I get,

well him.

 

Crew laughs.

 

ALYNN CAMBERS (CONT'D)

I had implants in my ass, my tits,

lip injections, only thing real

on me anymore is my eyes... I think.

Hopefully he won't figure out any

of this isn't real until I'm famous

, how

could you not know? Tan so much skin

feels like leather. With all the

silicone and botox you think I'd

have a stroke. I used to have

strawberry blonde hair. now I look

like this, I was pretty for a

hometown girl, but fame doesn't come

to a home town.

 

47.

 

ALYNN CAMBERS (CONT'D)

Might help if we had a label that

ranlina”

“Benjaminlynn” “Alynnben”, egh,

maybe I should change my name too?

Tell you what I better not get

pregnant unless his friend sets it

trust-fund. How the hell

? couldn’t

tell that night we meet, we had a

good scene planned with a basketball

star give him so much money we pretend

to fight and argue couple of months

break up does him some good sleeping

with a model and me, in the tabloids

every week. Then dunderhead, has to

step in and play Mr. shivery, and

punch the fucker right out. Then he

test through the roof, apparently

America still believes in shivery,

honor, all that crap. So I have to

start dating him for a chance at

the top. Now marry him. How much

worse can it get? What kind of

freak show am I getting myself into?

(to camera men)

You better not be filming this.

 

CAMERA MAN

Relax. Just checking specs.

 

On camera it says “rec”.

 

Reed continues to look up to the painting of the three men. He exhales.

 

REED RICHARDS

I wish you were here.

 

A group of four couples; fourwith considerably younger wives, the other two with women closer to their own age. Walk up to Reed.

 

OLD MAN 1

Talking to ghost Richards?

 

 

48.

 

OLD MAN 2

I know he has a touch of the

/gray, but you're not old

enough yet to hold conversations

with ones you know aren't there,

eh Richards my boy?

 

REED RICHARDS

No sir.

 

OLD MAN 3

Speaking of talking to ones not

there, where is that wife of yours?

Haven't seen much of her lately.

 

REED RICHARDS

She... keeps busy.

 

OLD MAN 3

Ah, I remember those days. That's

why I moved on to number three here.

 

A young bride to be sure. She giggles tipsy.

 

REED RICHARDS

I'm afraid there's only one for me.

Till death do us part.

 

OLD MAN 4

So a toast to death it is.

 

Old men raise glasses in a toast. They laugh amused with Reed does not, he just looks off from the couples with a clenched jaw.

 

Nan comes up stands next to Reed. She tugs on his jacket sleeve. He turns to look to her.

 

NAN FREEMAN

(loud for group to hear, to Reed)

I’m here to rescue you.

 

REED RICHARDS

Rescue?

 

NAN FREEMAN

From these old fuddy duddies.

49.

 

Nan winks to the old men. They are taken with her.

 

NAN FREEMAN (CONT'D)

I believe you were about to ask me

to dance.

 

REED RICHARDS

I was?

 

NAN FREEMAN

You 'was'.

(she laughs)

A lady doesn't ask a gentleman.

 

The girls of the old men act snotty. The old men like Nan, a lot and it shows. All smiles when refer to her as she leads Reed away.

 

NAN FREEMAN

You're welcome.

 

REED RICHARDS

They were business colleges and--

 

NAN FREEMAN

'And' fresh fruit will wither just

the same next to old fruit. Now,

lead on.

 

Reed takes her to dance, In distance, Ben and Alynn grin.

 

NAN FREEMAN

So what were those old codgers

teasing you about?

 

REED RICHARDS

Ghosts.

 

NAN FREEMAN

Ooooo.

 

REED RICHARDS

More of the past, than roaming

the halls.

 

 

 

50.

 

NAN FREEMAN

Still you don’t talk about the host

at his own event, to his face, you

do the descent thing, wait till his

back is turned. So is the painting

like the spice girls, which one is

your favorite? The Beatles, one

direction. How old are you?

 

REED RICHARDS

(almost smiles)

Then I would have to say Mr. Baxter.

 

NAN FREEMAN

How come?

 

REED RICHARDS

(fondly)

I suppose, in keeping with the

ghost theme, my mother’s favorite

of all of the adaptations of

Charles Dickens' work, was the

film with George C Scott. She was

fond of a particular scene, with

“old Fezziwig”, when he has

everyone put away their work and

dance, for it was Christmas eve.

I always seen Mr. Baxter in that

light. He was a fair man, stern

when he had to be, but a good man.

He knew family was important,

friends. He was admired. An

inspiration.

 

NAN FREEMAN

Is that why you host these events?

 

REED RICHARDS

I hadn’t thought about it. On a

subconscious level, perhaps.

My father and Anthony Stark, his

father, they got to where they no

longer listened. Mr. Baxter

became more of a referee between

them. Work became more important.

The only importance.

 

51.

REED RICHARDS (CONT'D)

Howard Stark, he left, started

his own empire. My father stayed

here with Mr. Baxter He left my

father with all of this, what

they built together. Now it’s

mine... and Susan’s. Our family

as it were.

 

Reed looks as if he is lost in thought.

 

REED RICHARDS (CONT'D)

There is no one now to make us

clear everything away. “almost

caries no weight”. Maybe he

envisioned something... more, when

he willed it to me. Everything he

stood for... there is no trace of

it, not anymore.

 

Nan is empathetic to Reed.

 

Ben comes by the two. They haven't yet made it to the dance floor. At some point Reed finds himself with yet another drink.

 

BEN GRIMM

How do these keep winding up in--

 

Ben takes the drink out of Reed’s hand.

 

BEN GRIMM (CONT'D)

I think I know why you host so many

of these thing, pal. No one’d invite

you to theirs.

 

REED RICHARDS

(comes out of it)

Yes. That could very well be true.

 

BEN GRIMM

(laughs)

Hey-hey.

 

Like Reed finally got it.

 

 

 

52.

 

BEN GRIMM

(to Reed)

Go dance, either wit' her or wit' me.

 

REED RICHARDS

Very well.

 

a slower song begins.

 

NAN FREEMAN

Finally!

 

Reed and her walk to dance floor. They begin to dance.

 

REED RICHARDS

I'm afraid I usually only dance

with Susan and only Susan.

 

NAN FREEMAN

And how long has it been since

you... danced?

 

Reed stops dancing, he no longer enjoys the moment.

 

REED RICHARDS

I only... with Susan.

 

Nan 'forces' Reed to resume dance.

 

NAN FREEMAN

How 'bout I get you warmed up

for her and when she arrives

I'll step aside... if you want.

If that's what you want.

 

Reed and her continue to dance in silence. The song ends to quickly. Nan applauds as most do. A different song begins.

 

Reed is ready to walk away.

 

REED RICHARDS

Thank you, miss Freeman.

 

NAN FREEMAN

Drink?

 

53.

 

REED RICHARDS

I have to say no, miss Freeman.

I don't usually drink. I try to

avoid most things that impair

brain function.

 

NAN FREEMAN

Like smiling?

 

Reed finally smiles and laughs. She touches his arm as she takes and sips her drink.

 

NAN FREEMAN

Reed, if you don't mind my saying,

you seem a little defensive. Is it

because of your wife?

 

Another song begins she has him dancing without him realizing.

 

REED RICHARDS

She prefers to be alone most days.

So I... try to respect her wishes.

convinced her to head the

company she has made it her life,

with little time for anything else,

or any one else. She does so well

at it. Somehow I imagined our lives

a little different than they are now.

 

She is my wife and she heads our

company. I would never ask her to

step down for my sake alone. I

might as well ask that she become

bare foot and pregnant. No. She

has earned her place, but I want

a wife. There doesn’t seem to be

room for the two.

 

NAN FREEMAN

is two.

 

She dances with him looking into his eyes. (Ben and Alynn high five. The music stops Reed still holds her at a respectable distance.

 

 

54.

 

NAN FREEMAN

Ah, Reed, the music stopped.

 

REED RICHARDS

(distracted)

Music. Yes. The music.

(he let’s her go.)

I am sorry.

 

NAN FREEMAN

Don’t be. Music is just an

accompaniment.

 

Nan smiles to him. Reed still seems distracted.

 

REED RICHARDS

I do apologize for my behavior,

miss Freeman.

 

She turns to get a drink.

 

NAN FREEMAN

Or, Mrs. Richards.

 

EXT. BAXTER BUILDING - NIGHT

 

It has begun to mist. Susan's town car stops outside the building. The doorman walks over and opens the door for her.

 

SUE RICHARDS

(to driver)

Thank you, Kirby.

 

She nods and shyly smiles to the doorman. She stands a moment. She looks up the building it is 60's art deco. She looks to the front entrance that says “Baxter Building” with a plague by the door says established 1961.

 

She feels nothing as she walks towards the door that another doorman holds open for her. She steps into a massive lobby looks around. She looks to a large wall that has a painting of an older man. Jackson Leigh Baxter. She almost smiles.

 

 

55.

 

She goes to a private elevator, which is guarded by police. They let her pass, no question. As the elevator doors open. She gets in, pressing the ballroom button. She steps to the back. She closes her eyes as the doors close, then opens them as the elevator starts to move. She looks up to see the numbers of the floors get higher.

 

She takes out her tablet, she looks to its screen. She brings up Baxter building security. Selects cameras/ballroom. We see her swiping then, we see on her screen of Reed and Nan dancing.

 

SUE RICHARDS

Bitch.

 

She holds the tablet to her side and looks to the floor intently.

 

INT. BALLROOM - NIGHT

 

The groups of old men and their wives watch Nan with Reed.

 

OLD MAN 4

She would certainly be a breath

of fresh air.

 

OLD MAN 2

She would light a fire under

Richards. I do say.

 

The elevator doors open. Sue steps out. She sees the party is in full swing. A world it seems, that can go on without her. She sinks inside of herself.

 

OLD MAN 1

Speaking of the ghost of

Mr. Richards.

 

He points his drink in Sue’s direction. They turn to see her.

 

OLD WOMAN 2

Perhaps she was some sort of

obligation, like finding a stray

on the side of the road.

 

56.

 

OLD WOMAN 4

Or perhaps, when you were to

visit somewhere and bring back

a souvenir. I heard for the

life experience, he stayed in

boarding houses, instead of on

campus or letting his father put

him up in a suite somewhere.

 

OLD WOMAN 2

At least you can exchange a souvenir.

 

They laugh.

 

4

I know the Richards family gave

to charity, I didn't know that it

extended to the bedroom.

 

YOUNG WOMAN 1

Why is he still with her?

 

OLD MAN 1

Blackmail?

 

OLD MAN 3

Pity I would say.

 

Sue finds a corner near some plants and trees to just wait. She feels numb. A waiter bumps into her.

 

WAITER 3

Oh, sorry ma’am. I didn’t

see you.

 

Sue doesn’t even care. She just covers her face with her hand. The waiter looks to her, pauses to see if she’ll raise hell. She just doesn’t care, or notice she was ran into. The waiter backs away and goes on.

 

WAITER 1

(whispers, to Reed)

Sir. Your wife just arrived.

She is by the elevators.

 

Reed looks almost mad.

 

57.

 

REED RICHARDS

(to waiter 1)

Thank you.

(to Nan, he starts to turn,)

Susan is he--

 

He sees she has vanished. Reed amazed he is talking to thin air.

 

REED RICHARDS

Very well then.

 

Johnny is making his way through the crowd in a hurried pace. Amy follows behind him.

 

AMY STEINER

Slow down will you? You don’t

have heels on.

 

JOHNNY STORM

Gonna ask him what’s up.

 

AMY STEINER

They were dancing. As long as

it’s vertical, what’s the big deal?

 

Johnny stops, turns to her annoyed.

 

AMY STEINER

What?

 

JOHNNY STORM

Bad enough he treats her like he

does. Now this? No way!

 

He turns to continue on when two cops and the police chief cut him off.

 

JOHNNY STORM

Great these guys.

 

COP 1

'ey Johnny, boy. I was hopin’

you haven’t completely turned

over a new leaf.

 

 

58.

 

COP 1 (CONT'D)

‘cause of you, we get sweet gigs

like this your brother-in-law

pays us to stand around as a way

to say thanks for losin’ so much

paper work and lettin’ him know

before we even report anything.

 

JOHNNY STORM

Don't tell me Reed's a cheap skate.

You're tellin' me he doesn't pay

you guys enough to just lay around?

You have to stand and ride the clock?

Seems more like an allowance than a

pay off.

 

The Chief steps towards him.

 

CHIEF

You might want to watch what you say.

 

JOHNNY STORM

Hey, I’m sure every year the

precinct needs it’s squad cars

replaced and all those gadgets

Reed comes up with to make your

(coughs) jobs easier. I’m not as

smart as Reed, but all that

because you bozos look the other

way most times, doesn’t really add

up, other than you guys's wallets.

 

COP 2

Say the word Chief, I think he’s

got a concealed weapon.

 

JOHNNY STORM

(antagonistic)

Yeah, and it’s getting harder

just hearin' you call it a

concealed weapon.

 

Cop 2 steps towards Johnny. Johnny is confident knowing he believes they won't shot him.

 

 

 

59.

 

JOHNNY STORM

(to Amy)

Care to put a spin on this?

 

Amy raises her fist, she flips Johnny off and then twists her wrist so she is flipping off the cop. Amy as goes to walk off sipping her drink.

 

AMY STEINER

My work here is done.

 

Amy simply walks off and goes over to the buffet table.

 

JOHNNY STORM

Ha!

 

He goes to Walk off. The two cops start to block johnny’s way when Reed steps over.

 

REED RICHARDS

Chief.

 

A drink in hand he offers it to the chief, which he takes.

 

REED RICHARDS (CONT'D)

Officers. (long exhale) Johnny.

 

JOHNNY STORM

(to Reed)

Nice ball.

 

Johnny covers up his junk, so no one will tap it.

 

REED RICHARDS

(to Johnny)

This is not a ball, but a simple

gathering, an engagement party,

as Ben wanted, Though.

 

Reed looks to what Johnny is wearing.

 

REED RICHARDS (CONT'D)

It is nice to see you dressed

up for it.

 

Johnny looks to himself.

60.

 

JOHNNY STORM

What? Hey! Reed, I was just coming

to see you. I wanted--

 

REED RICHARDS

(abrupt, to Johnny)

Perhaps, in a moment. Chief. I

trust Johnny was thanking you

properly for looking after our

family.

 

Reed looks to Johnny, cold. Johnny leans forward to bow having his middle finger face the cops.

 

JOHNNY STORM

Couldn’t do it without you guys.

 

Johnny stands upright laughs as Amy comes back over stands in front of him and flicks him on the forehead.

 

JOHNNY STORM

Ow!

 

Amy as she is dragging him away.

 

JOHNNY STORM

(to chief)

Remember to say ‘how high’.

 

Reed holds firm to chief's shoulder, leads him in other direction. The chief wants to go tear Johnny’s head off.

 

REED RICHARDS

Have I have never told you chief,

how I admire the restraint you and

your men show from day to day when

faced with persons who would make

lesser men snap.

 

CHIEF

You admire us? You're the one that

has to live with 'im.

 

REED RICHARDS

(slight smile)

Then perhaps I will admire myself

as well.

61.

 

REED RICHARDS (CONT'D)

(to cops)

Gentlemen, be sure to take some

food home to your families.

 

Cops nod like appreciate it. They walk off.

 

CHIEF

Y’know Reed. One of these days he’s

gonna push someone that isn’t lookin’

out fer family. I ain’t sayin’ it’ll

be my boys, but he travels a lot.

 

REED RICHARDS

I do enjoy the peace and quiet

during those--

 

CHIEF

(abrupt)

I’m just sayin’ maybe you’d like a

little more peace an’ quiet ‘round

here. You know a couple of my boys

could--

 

REED RICHARDS

No.(pauses)if I knew it wouldn’t

.

 

Reed inhales with a smile, thenexhales.

 

REED RICHARDS (CONT'D)

There is always room in the garden”.

Ah,

we’re just talking right? Perhaps

somethings are best left to

o drink up.

 

Reed walks off from chief. Athe buffet table;

 

AMY STEINER

Weren’t you all enraged a moment ago?

 

JOHNNY STORM

Reed? I’ll tear ‘im a new one just

as soon as the chief gets done

tenderizing the old one.

 

62.

 

come over to buffet table stand next to Johnny.

 

JOHNNY STORM

Again? Aren’t there real criminals

out there? Or doesn’t their families

contribute anything to you guys’s

summer homes?

 

Amy takes out her cell phone and starts filming.

 

AMY STEINER

(nonchalant)

Oh, my god film at eleven.

 

Cops walk off.

 

AMY STEINER

(still nonchalant)

Yay. Oh, there you are. I couldn’t

see you for your adoring fans.

 

They laugh.

 

Reed steps over to Johnny and Amy.

 

REED RICHARDS

(to Amy)

I hope you will forgive my manners.

 

Reed touches his hand to his stomach gives a slight bow.

 

REED RICHARDS (CONT'D)

I wanted to complement you on

your dress, Amy. Stunning.

 

Amy blushes all speechless. Johnny looks to her like 'what is wrong with you'? Reed looks to Johnny nonchalant.

 

REED RICHARDS

(to Johnny)

You said you were looking for me?

 

 

 

 

63.

 

JOHNNY STORM

Well yeah, but first I gotta say,

people on your payroll should have

better manners.

 

REED RICHARDS

If you wouldn’t put yourself in

situations to where they were

called for, I wouldn’t have to

have them in our home at all.

 

JOHNNY STORM

How’s this my fault?!

 

Amy laughs at his cluelessness.

 

AMY STEINER

It’s a good thing you’re cute.

 

REED RICHARDS

Is manners all you wanted to

discuss?

 

Johnny dumbfounded/slightly agitated.

 

JOHNNY STORM

What?! No!

 

REED RICHARDS

Good. There is more then.

 

JOHNNY STORM

What?! No! Yes! Stop doing that!

I'm pissed! I seen you with what's

'er face, Nan.

 

REED RICHARDS

Yes?

 

JOHNNY STORM

'Yes' And? What the hell, Reed?

You're not married to her. You

remember Sue, right?

 

 

 

 

64.

 

REED RICHARDS

Unless I miss my guess, the

things I do, they don’t require

me to have someone bail me out.

But, for your information, Miss

Freeman, she got me away from a

conversation I preferred not to

much like this one.

 

Amy turns to the side and laughs.

 

AMY STEINER

Damn!

 

Johnny shoves her.

 

REED RICHARDS

And as it so happens, mywife is

here. As I was headed in her

direction, which I will share

with her ourbusiness, perhaps

while you have so much time to

be concerned with others, you

and Amy could congratulate Ben

and his bride-to-be.

 

Reed starts to walk off, then turns.

 

REED RICHARDS

Oh, and Johnny--

 

He walks right up to Johnny.He straightens up Johnny's jacket.

 

REED RICHARDS (CONT'D)

You really shouldn’t antagonize

them, part of the funds I supply

them with go for the common

element, lead. Which one day they

may just use on you. Provocation

or not. I would hate to think I

contributed to that in anyway.

I know that would bother Susan.

 

JOHNNY STORM

You too, right? Right?!

 

65.

 

Reed brushes Johnny’s jacket shoulder then just walks away.

 

AMY STEINER

(amazed)

Damn! That’s cold, but with

such class.

 

JOHNNY STORM

Shut up Amy.

 

Johnny watches Reed make his way through the crowd.

 

JOHNNY STORM

(mumbles)

Fucking asshole.

 

Amy grabs a beer as waiter passes by.

 

JOHNNY STORM

(pissy)

cheat on my sis--

 

AMY STEINER

(finishes his thought)

Or I'll beat his ass.

 

JOHNNY STORM

No! I will!

 

drinks herdrink.

 

AMY STEINER

Please, I'd have you cryin'

before I finished this.

 

both offended and annoyed.

 

AMY STEINER (CONT'D)

.

 

Reed makes his way through the crowd to find Sue sitting on a bench near the elevators. She is focused on her tablet just swiping away.

 

 

 

66.

 

REED RICHARDS

(clinical)

I wasn’t sure if you were going

to make it, Susan.

 

Sue does not look to him, still focused on her tablet

 

SUE RICHARDS

I did. Not everyone has time

to dance.

 

REED RICHARDS

(still clinical)

I assure you I did nothing

inappropriate, nor do I have any

intentions tor have an interest

in.

 

SUE RICHARDS

(abrupt)

I believe you.

 

Reed clenches his jaw. A moment of silence passes between them. Sue closes her eyes, sets the tablet in her lap with one hand and her other hand, she holds to her face like having a headache.

 

REED RICHARDS

(cold)

Are you having one of your headaches,

yet again?

 

SUE RICHARDS

All of a sudden.

 

REED RICHARDS

Does it have anything to do with

your father?

 

Sue looks intently to the floor past him.

 

SUE RICHARDS

Why?

 

REED RICHARDS

He called earlier.

 

67.

 

SUE RICHARDS

(cautious)

Did he say anything?

 

Some guests pass by, shake Reed's hand, and go on.

 

REED RICHARDS

No. I was told he called. I knew

it had to be for you.

 

Sue tilts her head looking to the side with her hand on her head. looks mad. Sue as more guest come off elevator they greet Reed.

 

SUE RICHARDS

Now he wants to be a father.

 

REED RICHARDS

Did you say something, Susan?

 

Sue is looking to her tablet, on screen she brings up Baxter building phone service, touches ‘block calls’ she scrolls down a list till sees one of last is ‘Richards correctional facility’, she selects it, enters blocked.

 

REED RICHARDS

Susan? Your father? Do you need

to call him back?

 

Sue turns the tablet off but sees her reflection in it she looks lost.

 

SUE RICHARDS

No. I’ve taken care of

everything. Almost, everything.

 

She sets the tablet on her lap. She covers her face with both hands.

 

REED RICHARDS

(clinical)

Do you need to lie down? See doctor

Coalfield? The mission is but days

away. Will you be able to--?

 

Sue looks pale. She stands, seems confused.

 

68.

 

SUE RICHARDS

I-I’ll make it. I have to. I just

have to. I’ll make it.

 

Sue stops talking.

 

REED RICHARDS

(annoyed)

Susan?

 

Sue not knowing which way to turn.

 

SUE RICHARDS

I need some air.

 

REED RICHARDS

Didn’t you just come from

the outside?

 

SUE RICHARDS

(hurriedly)

I need more.

 

She dashes off in the direction of the balcony.

 

Reed watches her run away. He starts to follow her, then just stops. He looks to the floor his jaw clenched. More guests arrive pat him on the back as they pass by he not aware.

 

Sue makes it to the balcony. She is alone. She is having a panic attack. She steps to the rail. She takes a few breaths till she calms herself.

 

SUE RICHARDS

Bastard.

 

She sits on a bench and starts pulling at her hair.

 

SUE RICHARDS

Oh god! I can’t take this. Mom.

(She looks up)

Mommy?

 

Sue looks intently off to the side to the floor.

 

 

69.

 

SUE RICHARDS

I don’t know why you had to

leave us. I hate it here.

(she looks down, so sad)

I hate it here.

 

She sits in silence a moment.

 

SUE RICHARDS

God. Grant me what it takes to

make it through this life.

 

Silence.

 

SUE RICHARDS

Just help me.

 

She stands looks into the ballroom full of people.

Amy and Johnny are walking near the balcony area.

 

AMY STEINER

I'm just sayin'. Your sister

could be hot, if she bagged

the sag, get her hair done and--

 

JOHNNY STORM

(abrupt)

Shut up, they were my aunts

clothes, she altered them to fit

her. If you talk to her about it

she just-- sojust don't-- this is

why I don't want you talking to her.

 

AMY STEINER

Hey, I'm just pointin' it out. At

the moment Reed's hotter'n her,

sometimes a girl's gotta take

responsibility for herself and not

blame the guy when, welllll.

 

JOHNNY STORM

(pissy)

How about you just worry about my

career and not my sister's marriage,

or how she looks.

 

 

70.

 

AMY STEINER

Your choice. you already come from

a broken home why not two?

 

JOHNNY STORM

Why don't you mind your own

business?

 

AMY STEINER

(while eating)

Tryin' not to sound like a bitch,

but, you are my business, hotshot.

You go all weepy on me when all of

this goes south, and you can't do

what I book you for. Yeah it's my

business. I’m just tellin’ it like

it is. I take her shopping one time

and he’s all up in that. She be

barkin' like a seal. (laughs) can

you imagine?

 

JOHNNY STORM

No! That's my sister you're talkin'

'bout.

 

AMY STEINER

Sister. (sips drink) Divorcee.

 

JOHNNY STORM

I don’t wanna see my sister dress

like you.

 

AMY STEINER

He noticed me. All I'm sayin'.

 

JOHNNY STORM

Yeah well, you ain't the kinda

girl I'd take home to mom. Anyway,

if she were still around. So yeah,

that’s why I haven’t brought you

around, Sue.

 

AMY STEINER

You’re an asshole.

 

 

 

71.

 

JOHNNY STORM

Hey I’m just being honest. I don’t

want her to think of me with girls

like you.

 

AMY STEINER

Helen Keller would have to be your

sister to not know the kind of

girls you hang with. Prick.

 

JOHNNY STORM

(oblivious)

What’s got you so bent out

of shape? Jeez!

 

AMY STEINER

(walks off from him)

Had to be an agent.

 

Amy is walking away, as Alynn is headed to the buffet Amy bumps into Alynn. In background Johnny feeds his face. He takes a bite of something, doesn’t like it puts it back on table, repeats. People look to him like he is a blight on humanity. He sees Amy with Alynn, he’ll get more and more pissy the longer they talk.

 

AMY STEINER

Oh shit! Sorry. Hey, you're Ben's

fiancee. Right?

 

ALYNN CAMBERS

Alynn. Right.

 

AMY STEINER

Well, congrats.

 

ALYNN CAMBERS

(nonchalant)

Sure. So you and Johnny?

 

AMY STEINER

(laughs)

God, no. Could you imagine? No.

I just use ‘im for sex and to

get ten percent off whatever

he makes. He’s arm candy.

 

72.

 

ALYNN CAMBERS

That candy any good?

 

AMY STEINER

Surprisingly. Once he’s focused

on, not himself.

 

Girls laugh.

 

ALYNN CAMBERS

So you're an agent?

 

AMY STEINER

Hell, yeah. So who's idea

was-- (points to cameras).

 

ALYNN CAMBERS

My agent and manager.

 

AMY STEINER

(laughs)

Oh, sorry.

 

ALYNN CAMBERS

I need--

 

AMY STEINER

(laughs)

Yeah you do.

 

Amy reaches into her bra and pulls out a business card.

 

AMY STEINER

You really need to hit me up.

So what, you’re an actress or

what?

 

ALYNN CAMBERS

Model, some acting. Got into

this reality show thing ‘cause

Ben punched out this guy and--

 

AMY STEINER

Oh yeah, I remember. The big lung

saves pretty girl. So you do nudity?

 

Amy does air quotes with one hand, drink in the other.

73.

 

AMY STEINER

“If it’s vital to the part?”

 

ALYNN CAMBERS

Sure. I didn’t build this to have

it sit in the garage.

 

AMY STEINER

Great, I’m thinking some J-lo

type movies y’know maid marries

president whoever yadda-yadda,

y’know stuff J-lo thinks she’s

to good for anymore.

 

ALYNN CAMBERS

I loved her in those movies.

 

AMY STEINER

I know, right? Now, eh. Definitely,

give me a call and Johnny’s manager

she’s the best. She used to be his

agent and got moved up now I got

her left overs (bumps Alynn) and her

old clients.

 

ALYNN CAMBERS

Whatever it takes. I’m in.

 

AMY STEINER

This should be fun.

 

Girls laugh.

 

Johnny finally has enough. He takes out his zippo lighter and flicking on and off. He walks over to Amy.

 

JOHNNY STORM

(to Amy)

I don’t want you talkin’ to her.

 

AMY STEINER

Well, that’s a little hard since

I’m gonna be her agent.

 

JOHNNY STORM

No. You're not.

 

74.

 

AMY STEINER

Ugh, yeah!

 

JOHNNY STORM

It’s her friend messin’ with Reed.

 

AMY STEINER

Tired to help. Moving on.

 

JOHNNY STORM

So you’re doin’ this to spite me?

 

AMY STEINER

Remind me, what is it I do

for a living?

 

JOHNNY STORM

And you think you can sell her?

 

AMY STEINER

I can sell the shit out of her.

 

JOHNNY STORM

So, I guess we’re done talkin’

‘bout me?

 

Amy laughs at him. Johnny keeps flicking his lighter.

 

JOHNNY STORM

Seriously. Are you kidding me

with this? Really?

 

AMY STEINER

No. I'm good like that. I can

push all ya all, bitches. Why’re

you so pissy, anyways?

 

JOHNNY STORM

It’s called boundaries. Ever

heard of it? I’m thinkin’ not.

 

AMY STEINER

Believe me, you guys take the

cake in boundaries.

 

 

75.

 

AMY STEINER (CONT'D)

Nobody seems to know what the

others are doing, or seems to

care. You know, for a family.

 

JOHNNY STORM

It works for us.

 

AMY STEINER

Doubt it.

 

Amy starts texting on her phone, ignoring Johnny. Johnny just keeps flicking his Zippo lighter. Ben and Nan come over to the table.

 

BEN GRIMM

‘ey Johnny boy. what’s got you

all fired up and I don’t just

mean arson.

 

Alynn laughs. Nan is quiet.

 

JOHNNY STORM

Yeah. Well, there seems to be to

many people at this party messin’

where they don’t belong. Everyone

it seems are connected to you.

Alynn’s getting my agent--

 

BEN GRIMM

(cuts Johnny off)

(to Alynn)

Congrats baby.

 

Alynn smiles. Johnny steps in front of Ben blocking his view of Alynn.

 

JOHNNY STORM

(to Ben)

‘ey, I’m talkin’ here. She’s got

her and then her friend there is

tryin’ muscle in on my sister’s

territory. They’re your problem

and now they’re becoming mine.

 

 

76.

 

BEN GRIMM

‘ey, I just came fer a bite, but

if an ass whoopin’s on the table,

it is a buffet. After all.

 

Nan steps in front of Ben.

 

NAN FREEMAN

Ben, no.

 

JOHNNY STORM

(to Nan)

You’re saying ‘no’? I didn’t

think you had it inya.

 

Ben gets up in Johnny’s face, pushes Nan to the side.

 

BEN GRIMM

What’s yer problem hothead? You

got one with Nan or just the

whole world?

 

JOHNNY STORM

Well I’m sure the whole world

would like to be all rubbing

up on my brother-in-law--

 

Johnny looks at Nan, she is feeling nervous.

 

JOHNNY STORM (CONT’D)

But Nan there, seems to be the

first in line. (to Nan) Well

there ain’t no line, He’s

married to my sister, so go

dance or whatever you’re

wanting to do with someone else.

 

Ben pushes a finger on Johnny's chest.

 

BEN GRIMM

You better watch yer mouth.

 

JOHNNY STORM

What? You know what she’s after,

ain’t you got any other friends?

 

 

77.

 

JOHNNY STORM (CONT'D)

(like dawns on him)

oh, none that ain’t got money

like Reed.

 

Alynn and Nan walk off.

 

BEN GRIMM

Least my friends ain’t in jail,

or just gettin’ out. An’ outta

the blue yer worrin’ ‘bout Reed?

Or you just worrin’ ‘bout yer

free ride endin’? Maybe if you

drove better, did everything

better, you wouldn’t still be

livin’ with yer sister and her

old man.

 

JOHNNY STORM

You don’t worry ‘bout me. What

about you, huh? You tell me, huh?

‘Best friend’. What kinda friend

stays with his friend and his wife?

 

Ben shoves him back.

 

BEN GRIMM

A good friend.

(snarls at Johnny getting pissed)

Least I’m there fer ‘im. I’m workin’

with ‘im night an’ day to get us

inta space. He’s changin’ what I do

fer a livin’ to make it a hell’va

lot better an’ safer. Time I could

be slumpin’ ‘cross town, I’m here,

ta save time. I’m earnin’ my keep.

Never ask ‘im fer nothin’ You,

you’re just a parasite.

 

It dawns on Johnny.

 

JOHNNY STORM

Oh my god! You. you’re settin’

‘em up. aren’t you? You’re tryin’

to get rid of-

 

Ben shoves him again.

78.

 

BEN GRIMM

You watch what yer sayin’ and as

his best friend, I ain’t begrudgin’

him gettin’ what he ain’t gettin’.

 

Johnny hits Ben (if you want to call it that).

 

BEN GRIMM

Hope you fight better’n that on

your way out the door. Cause I’ll

be shovin’ you out it.

 

JOHNNY STORM

(stunned)

You never liked Sue.

 

BEN GRIMM

Hey, I want Reed ta be happy,

but if that means a bother-in-law

like you bein’ ‘round, a lotta

guys would’a been onto marriage

two by now. Me. I got nothin’

‘gainst no body. Nobody here’s

goin’ outta their way. Me I’m

Reed’s friend plain ‘n’ simple.

Who he’s with don’t make a damn

to me. Long as he’s happy. You

seein’ anyone happy? You’re so

worried ‘bout Suzy. tell me,

where she at?

 

Johnny looks around.

 

JOHNNY STORM

...Um.

 

BEN GRIMM

Thought as much. Maybe you’re

defendin’ someone don’t wanna

be defended.

 

Ben gestures to him like, ‘think about it’.

 

BEN GRIMM

Nan, Suzy, Reed. They’re grown-ups

they do what they want.

 

79.

 

BEN GRIMM (CONT'D)

If I could control people, I’d

have you off yer sisters apron

strings, long time ago.

 

See you’re all up on me. When’s

the last time you an’ Suzy talked?

You know what she’s goin’ through?

You talk ta her what it takes to

keep her old man happy, or that

weird you out? She ain’t got no

friends that I know of.

(looks to Johnny in disgust)

An’ from what I can tell, not much

of’a family. You wanna be th’ hero

hotshot, hero yer self.

 

JOHNNY STORM

What about you, huh? You talk to

Reed how he treats her?

 

BEN GRIMM

Nope. He don’t talk ‘bout it and

I don’t ask. That’s his business.

I don’t pry. He wants ta talk I’m

here. Nobody in this chicken

outfit’s talkin’. Me, I’m gettin’

fed up with it. Me. I’m gettin’

married, gonna knock out a few

kids, hav’a family. I’m lookin’

out fer me an’ mine-to-be.

 

Anybody wants to come ‘round,

they’re welcome, Reed too, he

don’t, what can I say? Man

prefers his own company. Me, I

want a woman under me, kids

botherin’ me, friends get

drunk with, count on, do

somethin’ ‘sides work. Step

outside, fer Christ’s sake.

 

Ben goes to walk by Johnny, pushes him off at the chest.

 

BEN GRIMM (CONT’D)

You guys can have this. Whatever

the hell this is.

80.

 

Reed comes over not wanting to hear it.

 

REED RICHARDS

Ben. Johnny.

 

BEN GRIMM

(to Reed)

Don’t you start on me. I was

mindin’ my own business.

(pushes Reed off)

Maybe everybody needs to do that.

 

REED RICHARDS

(concerned)

Ben?

 

Ben keeps walking off. Reed looks to Johnny.

 

REED RICHARDS

If this was about--

 

Johnny gives up.

 

JOHNNY STORM

Who cares? Right, Reed? Who the

hell cares at all?

(as goes to walk off)

Not that anyone ever did.

 

Amy comes over to Johnny.

 

AMY STEINER

(to Reed)

Sorry, Reed.

 

Reed tries to speak, but can’t, he is at a loss.

Amy as leads Johnny away.

 

AMY STEINER

(to Reed)

Nice party.

 

Amy as her and Johnny walk.

 

AMY STEINER

(to Johnny)

How about when this is over, we--

81.

 

JOHNNY STORM

(down in dumps)

It’s over for me.

 

Amy spies a coat closet.

 

AMY STEINER

I know what’ll cheer you up.

Come on.

 

Reed watches them walk off. He grabs achampagne and He walks right past Nan. She knows not to speak or to follow.

 

Reed pauses a second, seeing Sue on the balcony. She is looking intently to the floor. He clenches his jaw and walks on to the stairwell. He enters. As the door closes he leans against it.

 

REED RICHARDS

I truly dislike being here.

 

He starts to drink but doesn’t.

 

REED RICHARDS

I don’t think I will ever enjoy,

any time, I will ever spend here.

 

He walks to rail looks down, a long way down.

 

REED RICHARDS

I hope you’re down their father.

 

With one hand holding the bottle, his other hand, he presses his tie against himself. He looks as if he has a thought. He places the bottle on the rail. He holds the bottle opening, balances it by one finger. Ponders it a moment.

 

REED RICHARDS

An engagement party…

 

He then removes his finger. It falls endlessly. He watches it a moment longer.

 

 

82.

 

REED RICHARDS (CONT’D)

Not a pity party.

 

He starts to walk back to the party, then pauses. A curious thought seems to cross his mind.

 

REED RICHARDS

...Hmm?

 

Then we HEAR the crash of the bottle(still scientist even when down). Reed almost smiles. Then pulls open the door.

 

Amy and Johnny walk near the balcony area where Sue is. Johnny finishes a beer. Amy takes it from him and hands it off to a waiter, which she then grabs another beer and gives it to Johnny.

 

AMY STEINER

Who'd thought a coat closet

would've been so busy?

 

JOHNNY STORM

Or the fact they didn't even let

up when you asked about makin'

it four.

 

They laugh.

 

AMY STEINER

Sooo. Crazy, huh? You don’t

believe, really, all that about

Ben and what’s ‘er face do ya?

Maybe everybody's had a little

to much. Waddaya think?

 

JOHNNY STORM

Whatever. All I know is if Sue

gets the boot, we’ll get a place

of our own. I guess.

 

AMY STEINER

Aww. That’s so weird.

 

JOHNNY STORM

Shut up. I’ll make sure she’s

taken care of. We’ll be just

fine. Believe me.

83.

 

Amy sips her drink, spies Sue on the balcony. Sue is still alone. She is just staring out at the city, from the bench.

 

AMY STEINER

(as wine still in mouth,

almost dribbles as she speaks)

Mm-hmm. Speaking of. (swallows it)

Screw it. I'm gonna say ‘hi’.

 

JOHNNY STORM

I told you to leave her alone.

 

Amy starts to walk, Johnny trips her, she spills her drink on herself.

 

AMY STEINER

Ugh! You're such an asshole!

 

JOHNNY STORM

I will drop you as my agent if

you mess with Sue.

 

AMY STEINER

Whatever. Not like I can't find

another client, who thinks they're

hot-shit.

 

Johnny and Amy look to each other. Possibly gone to far?

 

AMY STEINER

(like whatever)

I'm gonna clean this off.

 

Amy walks off towards a bar to get club soda to rub on her dress. Johnny takes out his lighter. He strikes it several times across his leg without knowing. Opening and closing the lid as flames come out, closes it repeats it several times without knowing.

 

Ben (still drunk and a little high)holding a beer. He comes over to Johnny.

 

BEN GRIMM

Hot-shit. what’s up with yer girl?

 

 

84.

 

JOHNNY STORM

(dumbfounded)

Seriously? You're talkin' to me?

Number nine, definitely. Nine.

 

Johnny can tell from aroma, Ben has been smoking pot.

 

JOHNNY STORM

How high are you? Seriously?

 

BEN GRIMM

Dunno. Old lady said I needed ta

chill. Puts it in fron’a me.

I’m good. Why?! What’s yer

problem?

 

JOHNNY STORM

Ugh, You.

 

BEN GRIMM

No. You ain’t got no problem

wit’ me. You’d know if ya had

a problem wit’ me.

 

Amy comes back over with a glass of club soda and a bar towel.

 

AMY STEINER

(as wipes)

See? All alcohol under the bridge.

 

JOHNNY STORM

Maybe we should just keep some

goin’ all the time, in the air-vents.

 

Amy huffs to Johnny as she continues to wipe.

 

JOHNNY STORM

Yeah. Fine. Whatever.

(to Ben)

She wanted to meet Sue.

 

BEN GRIMM

So?

 

JOHNNY STORM

So? It's Amy.

85.

 

Amy still wiping spot on dress.

 

AMY STEINER

(infuriated)

Asshole!

 

BEN GRIMM

I wouldn't have no problem

with 'er. If I weren’t engaged

I'd--

 

AMY STEINER

(stops rubbing)

He gets it.

 

JOHNNY STORM

(to Amy)

Just keep rubbin’.

(to Ben)

So you'd take 'er to meet your

dear aunt Petunia, huh?

 

Ben, starts to say something, stops, backs away.

 

AMY STEINER

Really?! I don’t know why the

two of you fight, you’re just

alike. (still wiping)

Fucking brothers!

 

Johnny and Ben look to each other. Amy catches Ben’s aroma.

 

AMY STEINER

Got anymore?

 

BEN GRIMM

I can’t get high. I’m a--

(forgetful) I’m a--

 

JOHNNY STORM

Houston, we have a problem.

We're comin' in fer a landin'

but we're not touchin' the

ground.

 

Amy and Johnny laugh.

86.

 

BEN GRIMM

(offended)

I'm a fuckin' astronaut.

 

Ben downs his beer.

 

JOHNNY STORM

Number eight, hell and seven for--

 

Johnny acts out like token a doobie. Ben shoves Johnny.

 

BEN GRIMM

Watch what yer doin' ya flamin'

shit-head! People watch!

 

JOHNNY STORM

Good thing their noses don't

work, huh?

 

BEN GRIMM

Anybody close enough ta smell me,

they're gonna have a problem, worse

than-- (loses thought) what the hell

was I--

 

JOHNNY STORM

Six. So I could kick your ass

right now and you'd--

 

Johnny acts like he forgot what he was saying. Amy laughs. Ben snatches the lighter out of Johnny's hands.

 

JOHNNY STORM

Hey! What the hell, Ben?!

 

Ben spies a waiter passing by with several alcoholic drinks. Ben snatches a glass of alcohol. He then tosses an alcoholic drink on Johnny.

 

JOHNNY STORM

Hey! What the hell, Ben?!

 

BEN GRIMM

How about I turn you into a--

(flicks lighter on)

‘human flame’?

 

87.

 

Johnny backs up.

 

JOHNNY STORM

Are you crazy?!

 

Amy flicks Ben's ear.

 

BEN GRIMM

Oww!

 

Amy snatches the lighter.

 

AMY STEINER

I can't sell a crisp.

(she looks to Johnny)

'The human crisp'?

 

JOHNNY STORM

Fuck you both. There's nothin'

funny about--

(snatches lighter from Amy)

‘Human torch’ what you should

call me.

 

Amy and Ben laugh.

 

BEN GRIMM

(to Amy)

Fire bug's got feelin's.

 

Johnny takes off his jacket and offers it to Ben.

 

JOHNNY STORM

Why don't you put this on?

 

Johnny holds his lighter by his side. Ready to light it.

Ben smacks the jacket to the floor.

 

BEN GRIMM

'Torchy! (laughs, to Amy)

Did I say 'torchy'?

 

On the balcony, Sue is alone. She is swiping at tablet, she just looks so unhappy. Reed opens the door, but doesn't step out.

 

 

88.

 

REED RICHARDS

Susan?

 

Sue does not hear him.

 

REED RICHARDS

(firm)

Susan?

 

She doesn't look to him, but does set the tablet down on her lap.

 

REED RICHARDS

It is almost time for the

toasts. Will you be--?

 

He looks to her. She still does not look to him. She places her hand to her head like she is having another headache. Reed straightens himself up.

 

REED RICHARDS

I have to give mine, in a few

moments. I will... tell him

something.

 

He turns, closes the door. He walks on. Reed walks through the crowd leaving Sue alone.

 

In the background Johnny and Ben are into a heated discussion.

 

Amy, stands next to the buffet and eats from it with her hands. People look to her like someone brought a hooker in and left her.She just looks to them with her he points to her mouth.

 

AMY STEINER

'ee food' (chews).

 

Pwalk away.

 

A(CONT’D)

Oalk away. Go, or don’t.

There’s plenty to see here.

 

 

 

89.

 

She snarls her nose like THEY don't have a reason to be snotty. Alynn comes over stands next to Amy looking to Ben and Johnny.

 

ALYNN CAMBERS

You don't care?

 

AMY STEINER

Not really. This shit happens

all the time. Drama keeps me

busy. You'd be surprised how

many people can't work together.

But, the studios for the sake of

money makes them. (laughs) Just

like real life.

 

ALYNN CAMBERS

So who started it this time?

 

AMY STEINER

All I know is, Johnny gets a

few in him and then he thinks

he can take on, well, your

boyfriend.

 

ALYNN CAMBERS

Who got a few in him?

 

AMY STEINER

(laughs)

Me! He said some stupid things

earlier, I just didn’t want to

let it go. So here we are. Again.

I figured it's better Ben beats

him, than me, a girl and his

agent, try selling that.

 

Girls laugh.

 

JOHNNY STORM

Oh my god! If I had a dollar

every time you mentioned you

played football or space I’d

make Reed look poor.

 

 

90.

 

JOHNNY STORM (CONT'D)

I'm surprised you haven't played

space-football. Moonball. What

the fuck ever.

 

BEN GRIMM

You ever listen at the shit you

spew? Why don't ya do us all a

favor and go for a few laps

with your car. Must be hard

going in a circle.

 

JOHNNY STORM

Oh and space is a big deal?

 

Ben gestures like it is.

 

BEN GRIMM

Hey, it is ‘rocket science’. Not

‘car science’.

 

JOHNNY STORM

Yeah?! Show me whatcha got,

ain't no Yancy street gangs

around. Rock-shot. Just you

'n' me.

 

BEN GRIMM

You leave 'em outta this. Ya, punk.

 

JOHNNY STORM

What's a matter Benji, not such

a big shot without a football

team, or a gang around ya?

 

BEN GRIMM

Not even my

dear I’ll clobber ya!

 

JOHNNY STORM

Nice catch phrase, needs a little

work though.

 

BEN GRIMM

I'm Grimm baby! Nothin' can

break this rock.

 

91.

 

BEN GRIMM (CONT'D)

Nothin' got past me on the field,

on Yancy street. Nothing! if I

wanted 'em down, they were down

and if I wanted to go threw 'em,

well, it's clobberin' time.

 

JOHNNY STORM

That’s better.

 

Ben charges at Johnny, Johnny moves. Ben misses and goes into the pond. Ben splashing around trying to get a footing.

 

JOHNNY STORM

Ha! Rocks also sink and

surprise, you're not the only

one in the world to play football.

 

Ben getting pissed.

 

JOHNNY STORM

Anyone got a bar of soap? I think

this rock slide is all washed up.

 

Johnny laughs at his own joke. Ben pissed and surprisingly quick for his size, grabs Johnny and tosses him into the camera crew. They try to recover as

Johnny gets up. He looks to camera.

 

JOHNNY STORM

Did you get that?

 

Camera POV nods 'yes', as Ben is coming up behind Johnny.

 

Reed is with guests when police chief comes over to him.

 

CHIEF

Reed. Your boys are at it again.

 

Chief points with his thumb over his shoulder to direction they are. As we HEAR the crowd react.

 

CHIEF

Looks like it might spill over

into the crowd. You want us to--?

 

92.

 

Reed looks that way. His jaw clenches tight, as if his jaw has been wired shut.

 

REED RICHARDS

No. Chief. I will deal with those

two, yet again. Do make sure though,

no one is caught up in it, will you?

 

Chief tips his cap to Reed as walks away and gets on his radio to other cops. Reed still hasn't moved.

 

REED RICHARDS

Perhaps this time, I'll just

see who wins.

 

He takes a glass of champagne off a waiters tray. He takes a long sip. Then, a long exhale. He begins his slow walk across the ballroom.

 

Sue opens the door from the balcony. She looks drained. A large crowd dashes from the back area, towards the commotion. Sue stops walking and looks to see once again, Ben tries to tackle Johnny and lands in the pond.

 

Sue holds her hand to her chest. She strains to breath.

 

SUE RICHARDS

(under breath)

Mom. I don’t know if I can wait

till after the mission. They're

going to kill me.

 

The crowd becomes so thick Sue can no longer see what is happening. Sue stands, her posture is one of someone who has given up.

 

SUE RICHARDS

I wish I had the power to end

all of this.

 

Nan and Alynn are conversing off to the side. Cops are keeping people back. Ben picks Johnny up, holds him above his head, about to slam him on to the buffet table. The crowd is stunned and gasps.

 

 

 

93.

 

AMY STEINER

(screams)

Wait!

 

Everyone pauses. Ben in state of confusion, slowly sets Johnny down on the floor. Amy walks over and gets a bowl of shrimp, then steps back. Ben and Johnny are just dumb founded. Amy waves her hand for them to continue.

 

AMY STEINER

(as eats)

Go on. e called your mom fat.

Whatever.

 

Ben grins to Johnny.

 

BEN GRIMM

You heard the lady.

 

JOHNNY STORM

That's no lady, she's my agent!

 

Amy hands off the bowl to a stranger who is confused by this. Amy motions with a fist to flat hand, to lay him out.

 

AMY STEINER

(to Johnny)

Not you baby, someone else.

 

She again motions to Ben, both hands like 'what are you waiting for'?

 

AMY STEINER

(to Ben)

Just not the face. That’s mama’s

money maker.

 

JOHNNY STORM

Oh, what the hell?!

 

AMY STEINER

(to Johnny)

Again. Someone else.

 

 

94.

 

BEN GRIMM

Screw it! You two talk to much.

Me?

 

Ben the gut.

 

BEN GRIMM (CONT’D)

I'm a talk later kinda guy.

 

Jthe air knocked out of him, clings to Ben, as is going down.

 

BEN GRIMM

Jeez. Ya make me wanna hit ya

again just for this.

 

Johnny finally slides off of Ben, out of frame.

Reed walks over stands next to Amy.

 

REED RICHARDS

I walk away, five, ten minutes.

How did this start?

 

AMY STEINER

Who knows how this stuff starts?

 

Amy turns her back to Reed, as he goes over to Ben and Johnny. Amy Open mouthed, excited, indicates herself to the stranger still holding her shrimp bowl, who is even more confused by that. Amy takes the bowl back, snarls at him for not thinking it was funny.

 

Johnny is on the ground trying to get air. Ben still has a fist drawn, waiting.

 

And in a stupid move, Reed steps up behind Ben and forcefully grabs Ben's shoulder to have him face him. Ben turns and pops Reed in the eye. Reed drops like a stone. Guests gasp. Chief smiles. Alynn stands next to Amy she and Alynn cover mouths, enjoy surprise.

 

AMY STEINER

Shit.

 

Amy whispers to Alynn. looks down at Reed. Johnny is trying to breathand laugh.

 

95.

 

BEN GRIMM

(to Reed)

‘ey. Sorry pal. Ya shouldn't

a tried ta--

 

Ben helps Reed up.

 

BEN GRIMM (CONT’D)

Ya should probably walk that off.

 

REED RICHARDS

(little irate)

With my face?!

 

BEN GRIMM

You might want to calm down,

brains. You still got one

good eye.

 

Reed looks to him annoyed.

 

BEN GRIMM

Just sayin'.

 

Reed touches his eye area, hurts.

 

REED RICHARDS

Fantastic!

 

Amy walks over to Ben.

 

AMY STEINER

How's that for aunt Petunia?

 

BEN GRIMM

'ey! (to Johnny) I see what

ya mean.

 

JOHNNY STORM

(to Ben)

Thank you.

 

AMY STEINER

(fuck)You both.

 

Nan tries to run past Amy to Reed.

 

96.

 

NAN FREEMAN

Reed!

 

Amy trips her.

 

AMY STEINER

(says drawn out)

Yeahhh. That happened.

 

Nan looks to her like someone would trip her highness. Amy puts her hand on her purse. With a look to try something. Nan has a look on her face like annoyed and offended. A guest helps Nan up. She then pushes the guest off of her. Nan walks off as we concentrate on others.

 

Sue emerges from the crowd. Looks down to Johnny deadpan, then to Ben.

 

BEN GRIMM

'ey. Sorry, Suzy, he just-- I'm

sure he's fine. I pulled my--

I didn't hit 'im that hard.

 

Sue looks intently at him, but not his face.

 

BEN GRIMM

Umm, ...okay.

 

Ben stops talking. Sue looks to Johnny with contempt.

 

JOHNNY STORM

(to Sue)

What?!

 

Sue keeps the look of contempt, then just turns and walks away. Amy, is taken aback by Sue's look.

 

AMY STEINER

Um. Maybe I won't say 'hi'

just now.

 

Johnny looks to her with contempt. She laughs.

 

AMY STEINER

Aww. you're trying to be like

your sister.

 

97.

 

Johnny like someone let the air out of his sails.

 

JOHNNY STORM

I hate everyone at this party.

 

AMY STEINER

(laughs)

And I'm sure they feel the same

about you.

 

Johnny laughs.

 

BEN GRIMM

(to Johnny)

You see the way she looked at me.

'cause of you.

 

Ben starts to go at Johnny again. Johnny stops laughing pushes Amy back. Reed again starts to reach for Ben as Alynn comes over.

 

ALYNN CAMBERS

(loud and firm)

Benjamin Jacob Grimm!

 

Ben stops.

 

BEN GRIMM

Aw, jeez!

 

Ben goes to hug her.

 

BEN GRIMM

Doll-face, c'mon. I was just--

 

ALYNN CAMBERS

Don't get me wet.

 

Johnny starts to say something.

 

BEN GRIMM

(to Johnny)

Shut it.

 

ALYNN CAMBERS

This is why I don't take you

on location with me.

98.

BEN GRIMM

But he-- look at 'im. Ya just--

He makes ya wanna hit 'im.

 

JOHNNY STORM

I really do.

 

ALYNN CAMBERS

We're getting married. I want to

be on covers of magazines, not

tabloids. I don't want to spend

my career answering questions of

who you beat up this week, or

last week.

 

BEN GRIMM

Bah! (to Johnny) You're lucky.

 

JOHNNY STORM

No you're the lucky one.

 

Ben starts to get pissed.

 

JOHNNY STORM

I didn't mean that in a keep

fighting sort of way.

 

Johnny Holds up his hands. Reed steps over helps Johnny up. His hands on both Ben's and Johnny's shoulders.

 

REED RICHARDS

(to Ben & Johnny)

My arms can't stretch far

enough to keep you two apart,

or bring the two of you together.

That being said, this is Ben's

night, Johnny. If you--

 

JOHNNY STORM

Got it bro-in-law.

 

REED RICHARDS

Now shake hands. This is

supposed to be a celebration.

 

Ben, drops his head reaches out his hand. Johnny holds out his hand. They shake.

 

99.

 

Johnny has an “L” shape with other hand to his forehead. Ben about to crush Johnny hand. Johnny lets go.

 

ALYNN CAMBERS

(to Ben)

Change. And not just your clothes.

 

Alynn looks to Johnny like he is less than. Amy laughs at Johnny.

 

AMY STEINER

I can see why people don't

like you.

 

JOHNNY STORM

Maybe it is the company I keep?

 

AMY STEINER

(laughs)

Admit it. You thought this was

fun, don't lie.

 

JOHNNY STORM

(laughs) Yeah.

(looks over shoulder to Ben)

And he’s wet too.

 

Reed looks to both Ben and Johnny.

 

REED RICHARDS

I hope this is the last time

the two of you squabble. Now

the both of you a moment

to discuss calmly your

differences.

 

Reed takes a few steps back. His arm crossed at the elbow, his fist to his mouth, a finger to across his lip. He is waiting/thinking. Neither one says anything. After a moment or two, Reed finally gives up.

 

REED RICHARDS

Well. I think we should get to

the final portion of this evening

and do our toasts. Before anything

else spoils this evening.

 

100.

 

Amy comes over and flicks Johnny's ear. She pulls him away. Johnny laughs.

 

AMY STEINER

Oh my god! Now I know why you

stay here, you need adult

supervision.

 

JOHNNY STORM

(laughs)

I do.

 

Reed and Ben walk towards the stage. Reed still holding his eye.

 

REED RICHARDS

Ben. You are bigger than him.

You could easily kill him

without meaning to. Did you

even stop to consider that?

 

Ben doesn’t say anything, like a father would say to an older sibling. They stand in silence a moment, then:

 

The band stops playing and a light shines to the stage/podium. There stands Johnny. He takes the mic, he taps it three/four times.

 

JOHNNY STORM

Check. Check. Visa. Master card.

 

He laughs at his own joke. The crowd does not.

 

Amy puts her face into her hand

 

AMY STEINER

Oh, god. Don’t let me get

pregnant by him.

 

JOHNNY STORM

(like there would’ve been applause)

Thank you.

 

BEN GRIMM

(to Reed)

Do you invite him, or does he

just show up?

101.

 

Ben starts towards the stage like wanting to kill Johnny.

Reed stops him.

 

REED RICHARDS

Remember what I said. He is

family, Ben. Unfortunately.

 

BEN GRIMM

So if I stop to consider it?

 

Reed goes to smile, the smile hurts his eye.

Ben pushes Reed at the chest.

 

BEN GRIMM

Hey, sorry you can't duck.

 

Reed shakes his head with a slight laugh.

 

JOHNNY STORM

Hey, I’d like to say as few

words, before, Ben “the right

hook” Grimm. (laughs).

 

Ben grins, bumps Reed’s chest, like he gets it. Reed clenches his jaw. Some in crowd laughs. Johnny points to whoever, like they got it.

 

JOHNNY STORM

Well, as Benjamin’s aunt Petunia

might say ‘if you can’t say

anything nice--’

 

Johnny just walks off stage thinking he’s funny. He is the only one. Amy is the only one to clap, then slowly stops. As he goes over to her.

 

MY STEINER

Oh god don’t stand next to me.

 

Johnny still thinking it's funny. Stands next to her.

 

MY STEINER

Damn it.

 

Ben grabs Alynn pulls her on stage with him.

Some guests pat Reed on his back in support of him.

 

102.

 

Ben (full of himself) stands in front of the mic Alynn beside him.

 

BEN GRIMM

That's means a lot.

 

Ben gets a laugh from the crowd.

 

JOHNNY STORM (O.S.)

(loud)

Seriously?!

 

BEN GRIMM

I’d also like to give another

shout out to my aunt Petunia.

Who couldn’t be here, even

though she wanted to. She’s

takin’ care of my uncle Jake.

So-- ‘nuff said ‘bout that.

 

At that moment, portions of the walls give way to monitors that show various images of Ben and Alynn together and as kids, etc (continuous).

 

BEN GRIMM

Aw, that’s nice right there.

 

When it shows Alynn, it shows her as she used to be with strawberry-blonde hair thin, nothing of the way she looks now. Alynn looks a little troubled by it.

 

BEN GRIMM

(stupidly to Alynn, with mic still on)

‘ey! Remember when to looked like that?

 

Alynn looks hurt by the comment. She looks down, quiet.

The crowd is quiet as well. Amy covers Johnny’s mouth.

 

BEN GRIMM

(oblivious)

So anyways where wuz I? I know.

I wuz gonna say I wuz the best

man at Reed’s weddin’ and I know

he’ll be mine, at ours.

 

Crowd looks to Reed, who holds up a glass of champagne with a dip to his head as gesture that he would be.

103.

 

The crowd applauds.

 

BEN GRIMM

Yeah, that’s nice ain’t it? Reed,

he’s like a brother to me. We wuz

jus’ talkin’ ‘bout it earlier, I

meant it then and I mean it now.

 

He’s done more for me than anybody.

Him and his old man. They gave out

scholarships and Reed, he was the

one who picked mine. Made sure

sure I got off Yancy street out of

the gangs better myself. Then he

got me to go back, help better the

‘hood I came from built a community

center, which I named after my brother.

Daniel.

 

Ben gets little choked up.

 

BEN GRIMM (CONT’D)

Wish he were here. I made it out

he didn’t. Reed got me into wantin’

ta make things better than just

runnin’ aways from ‘em, maybe so

others wouldn’t always be runnin’

too, I guess.

 

Crowd applauds.

 

BEN GRIMM

Reed’s got heart I tell ya.

Modest bastard too.

 

A light shines to Reed. He waves his hand to stop.

 

BEN GRIMM

(laughs)

You do alright in this world

with a friend like that. Yeah,

he got me all interested if

flight, jets all that, and space.

(to Reed)

Am I right?

 

Crowd again applauds.

104.

 

BEN GRIMM

Skinny little nerd tells me one

day he’s gonna build a rocket

ship go explorin’. Me. I tell

‘im. ‘you build it and I’ll pilot

the thing'.

 

Crowd applauds. General Ross, an aid comes over to him, whispers in his ear. Ross looks like he has been kicked in the gut, but still takes it like a man. He nods to the aid and continues to listen to Ben. He tries to hide his anger.

 

BEN GRIMM

I gotta tell ya. I got it great.

Hey I got a lot. I’m tellin’ ya.

I got a hot babe. hat’s agreed

to marry me.

 

Crowd applauds. Ben ass. Sstill unnerved by the photos and Ben.

 

BEN GRIMM (CONT’D)

And I gotta say, she ain’t doin’

to bad for herself.

 

He flexes and laughs.He drinks a drink.

 

BEN GRIMM

S'alright, s'alright. Seriously,

though. I wouldn’t want ta lose

this, any of this, who wouldn't

want to be me, huh?

 

My aunt Petunia, she told me ta

shoot for the stars, so I did.

 

Ben puts his arm around fiance’s waist.

 

BEN GRIMM (CONT’D

I’ve been up there, but I gotta

tell ya, this one right here,

makes me feel like I’m back there.

 

Crowd ‘Aww’s’.

 

 

105.

 

JOHNNY STORM (O.S.)

(loud)

I could use some space to hurl

after that.

 

Ben trying to look for Johnny with spotlight in his eyes. He points to the crowd

 

BEN GRIMM

(to Johnny)

I know where you live.

 

Alynn rushing him off stage.

 

BEN GRIMM

Anyways ‘nuff ‘bout me ‘n’ us.

We’ll let someone else have at it.

 

As they walk off stage crowd applauds. Alynn goes over to Nan, they whisper. Nan looks over to Ben like he should have been aborted. Ben goes over to Reed who goes to set an empty glass on waiter’s tray and misses, the waiter takes it from him and places it on the tray and goes on.

 

Ben slaps Reed's back who then turns to face Ben.

 

BEN GRIMM

So ya think Suzy’ll say a few?

 

REED RICHARDS

I... wouldn't expect she will,

Ben. She seemed rather ill earlier.

 

BEN GRIMM

Yeah she did.

 

REED RICHARDS

I know she thinks the world of

you, though. Ben.

 

Reed goes to walk towards the stage. Ben pats Reed’s back.

 

BEN GRIMM

Ya should'a been a politician,

ya rat bastard.

 

106.

 

Reed looks perplexed by the comment, but continues on.

Reed walks up to the mic. He waits, looks out to the crowd. He sees Ben is going through the crowd looking for Johnny, who is moving constantly with Amy to avoid him. Reed lets out a long exhale. then begins.

 

REED RICHARDS

I trust everyone has been

enjoying themselves?

 

Some applause from the crowd. A long pause from Reed.

 

REED RICHARDS

This room has seen so much

history. A room built by

Mr. Baxter to host and entertain

those that would change the world.

Those that will change history not

just be a part of it. A room for

family... and friends.

 

Reed looks to the floor his jaw clenched.

 

REED RICHARDS (CONT’D)

Thank you, Mr. Baxter.

 

Reed pauses a moment straightens himself up.

 

REED RICHARDS

I thought as Mr. Baxter did, he,

my father Nathaniel and... Howard

Stark, together would have made

the world as a whole, better.

Then each carved out their places

in the world. Not together, not at all.

 

Myself, Ben, my wife Susan our teams,

I hope to (trails off) to make it--

all of us and continue our endeavors.

Side by side.

 

Reed is sweating takes a handkerchief from his pocket pats his brow.

 

 

 

 

107.

 

REED RICHARDS

I remember in this very room

Mr. Baxter first meet Susan.

This room... we wed.

 

There is no applause from the crowd.

 

REED RICHARDS

Soon we will make history,

together. We will not go as

our fathers did and--

 

The crowd senses something is wrong with Reed. Hear chatter of speculation from the crowd.

 

REED RICHARDS

Ben. Ben is why we are here

tonight. Ben.

 

Ben in the crowd, knows Reed does not sound right, gives up looking for Johnny to return to the stage.

 

REED RICHARDS

When I met Ben, and the other

graduates, I seen the

extraordinary in him and now,

Alynn,

(holds glass out to Alynn)

he has someone else who sees that

in him as well. I only hope

they'll be as happy as--

 

Reed stops, looks to his ring. He straightens himself up.

 

REED RICHARDS

Well. I hope them all the

happiness in the world.

To friends and loved ones.

 

Reed holds up a glass, others at the party do as well.

 

REED RICHARDS

It seems like only yesterday I

married my wife here in this

very room.

 

Reed stops talking.

108.

 

Nan stops Ben, she pats him on the chest like she's got it. Nan dashes up to the stage with a glass of champagne, sets in front of Reed at the podium. She smiles, waves, shyly to the crowd, as she scurries off stage. The crowd laughs. She goes to the side. Reed comes out of it. He laughs, takes a sip.

 

REED RICHARDS

(smiles)

Thank you Miss Freeman. I just

wanted to say to... my brother.

 

Ben holds fist up, like ‘yeah’.

 

REED RICHARDS (CONT’D)

I am so very eager to see him

and Miss Cambers, wed in this

very room.

 

Reed holds up a glass, so does the crowd. Reed goes to walk off stage. He turns goes back to the mic, the crowd thought he was done.

 

REED RICHARDS

Um... did I finish my thought?

 

JOHNNY STORM (O.S.)

(heckles him, loud)

You suck! Get off the stage!

 

REED RICHARDS

(into mike)

Thank you.

 

Amy to get them away, flicks Johnny on forehead.

 

MY STEINER

Come on, before he really Reed's

up your face.

 

Johnny laughs, then dawns on him.

 

JOHNNY STORM

Twould suck.

 

 

 

109.

 

MY STEINER

Not if he can’t find us.

(she )

I know just the place.

 

As Reed goes to walk off the stage, a little woozy. Nan comes up and helps him off the stage. She is arm and arm with him. As they come off stage, Sue comes over, Nan starts to speak to Sue.

 

Sue gives her a look like she could step through her. Nan lets go of Reed's arm and backs the hell up. Alynn pulls her away. They go on.

 

REED RICHARDS

(to Sue)

She is rather nice--

 

Sue gives him the same look, but not to his face. Sue turns to leave. Reed goes to follow, but trips over his own feet. Ben catches him before he hits the ground. Sue less than sympathetic to Reed starts to speak when general Ross comes over to them with other military personal. Ross goes up to Reed.

 

Camera crew all up in their business.

 

GENERAL ROSS

Reed. I hate to tell you this

on such a--

 

Ross looks to see Reed is a little buzzed, perhaps not quite coherent. Ben is drunk, still soaking wet. Sue looks as if she could punch a hole through their chests. Crowd seems puzzled.

 

GENERAL ROSS

Hell with it. The mission has

been canceled, Richards.

 

Reed tries to grasp what Ross just said.

 

REED RICHARDS

What? Why, General?!

 

 

 

110.

 

GENERAL ROSS

I got word from high up just

moments ago, all space travel

is postponed until further notice.

 

REED RICHARDS

What? That makes no sense. Why?

Did they give a treason, reason?

Let me speak to them, to him. I'm

sure I can convince him to allow us,

General. We have only a few days

for the rays to enter our solar

system. They are so close. We are

so close.

 

GENERAL ROSS

I'm afraid there's nothing I can

do Richards. The President will

be unreachable until he returns.

I’m on my way back to Washington

wheels up soon as I depart here.

 

Reed looks to the floor, so many emotions, swirly through his head. Ross puts his hand on Reed's shoulder.

 

GENERAL ROSS

I hate to be the one to say it,

but all the delays and simulations

you kept running, you could have

been up there by now. I am sorry

Richards.

 

General Ross and his men turn and walk away. There is a moment of stunned silence. Ben covers the camera lens with one hand, shoves them off.

 

BEN GRIMM

Give it a rest. Will ya?

 

Ben stands like he has been hit to the gut trying to catch his breath.

 

Sue deadpan. She steps up to Reed. She begins to pull out the divorce papers from her purse.

 

SUE RICHARDS

Reed.

111.

 

Reed turns, sees the papers, before he can ask, Ben comes over.

 

BEN GRIMM

What’s that Suzy? Bah! Business

can wait.

 

Ben shoves the papers back into Sue's purse. Sue stares intently to her purse.

 

REED RICHARDS

What if it's only a matter of

time till they dismantle it?

 

BEN GRIMM

Well,... they can’t dismantle

what ain't there.

 

Ben bumps Reed’s chest with elbow, beer in hand. Reed smiles

 

BEN GRIMM (CONT’D)

Am I right, huh?

(grabs Reed’s neck and forearm)

Fuck him. How about we just take

it? Tonight. You. Me. Her.

 

Sue continues to stare intently to her purse.

 

REED RICHARDS

Aunt Petunia would want us

to commit a felony?

 

BEN GRIMM

You know she would.

 

REED RICHARDS

(sly smile)

Well, we wouldn't want to let

your dear aunt down. Now would

we?

 

BEN GRIMM

Not if ya know what's good

fer ya. Come on.

 

 

112.

 

Ben ushers Reed and Sue to stand over by the coat closet away from everyone.

 

Inside the coat closet Johnny is next to the door. Him and Amy are hot 'n' heavy kissing. Suddenly, the door is hit, it stops Johnny not Amy.

 

BEN GRIMM (O.S.)

I outta break that piece of

shit in half!

 

JOHNNY STORM

(low voice)

Crap!

 

BEN GRIMM (O.S.)

I know. I know yer gonna say

he wuz just doin' his job. He

knows more than he's lettin'

on. Comin' up in here tellin'

us we can't go inta space.

Somethin's fishy. That's why

we're stealin' your ship

tonight. Who's gonna expect

that of ya? Nobody that's who.

 

JOHNNY STORM

(low voice)

What?!

 

AMY STEINER

If I'm doing this alone, then

get out of the way and let me

finish.

 

JOHNNY STORM

Shhh! I'm tryin' to listen.

 

AMY STEINER

Whatever.

 

She drops down below frame.

 

 

 

 

113.

 

BEN GRIMM (O.S.)

So how long it take you?

 

REED RICHARDS (O.S.)

An hour, possibly.

 

BEN GRIMM (O.S.)

Suzy, whoever ya got, give 'em

a call. For ya ain't gonna be

in tomorrow.

 

REED RICHARDS (O.S.)

What about you?

 

BEN GRIMM (O.S.)

Me? I just gotta knock one outta

the park wit' the old lady and

I'm good. (beat) Oh sorry, Suzy.

 

REED RICHARDS (O.S.)

So about an hour. We meet out

front. We'll have Stan drop

us off at the base.

 

BEN GRIMM (O.S.)

What about the other eggheads?

Hour's not much of'a notice,

ya feel me?

 

REED RICHARDS (O.S.)

There won't be time, we'll have

to do this with just the three

of us. Sue can run most of the

systems. So much is automated.

They're good people. I don't

want to jeopardize their

careers. I will have to run all

the tests myself. Who needs

sleep right?

 

BEN GRIMM (O.S.)

Like you'd sleep. A lifetime

happens tonight. You ready?

Give me one of those 'fantastic'

you always sayin'

 

 

114.

 

REED RICHARDS (O.S.)

Is it cliche to say, I was

born ready?

 

BEN GRIMM (O.S.)

Jeez. Maybe I should just

leave you here.

 

REED RICHARDS (O.S.)

Ben, what about-- we have

been drinking.

 

BEN GRIMM (O.S.)

Not much to hit going straight

up. 'sides you'd be surprised

how many I've done this. Like

this.

 

REED RICHARDS (O.S.)

Ben. That is of little comfort

to me. And you'll have Sue and

myself.

 

BEN GRIMM (O.S.)

'ey. I promise ya. Ain't nothin'

gonna happen long as I'm behind

the wheel. I'm the guy gets ya

there 'n' back. It's all on me.

I ain't gonna let nothin' happen

to either of ya. I couldn't live

wit' that. Ya don't know what

that'd do ta me?

 

JOHNNY STORM

Yeah, that makes me feel better.

Stupid drunk ass.

(to Amy)

Hey, anything I got comin' up

put it on hold, I'm gonna be

tied up for awhile.

 

Amy, we just see her hand grab his chest, digs her claws into chest. Johnny winces in pain.

 

JOHNNY STORM

What are you doing?

(Looks down)

115. JOHNNY STORM (CONT'D)

Oh. (like finally gets it)

Hey. I need to borrow a

buck or two.

 

Amy holds up her purse, from out of frame.

 

JOHNNY STORM

What? How much do you bribe

a driver so you can hide in

a trunk?

 

Purse goes down out of frame. Amy just shoving her, thin long wallet up on him from below frame. Johnny opens it, has assortment of fifties and hundreds. He holds it in his hand.

 

JOHNNY STORM

Damn! How much these guys make?

Maybe I'm drivin' the wrong car?

Are you even listening to me? Oww!

 

BEN GRIMM (O.S.)

You two think it over. We get in

that car there ain't no turnin'

back, got me? Me. I can handle

bein' locked up. You two got an

hour. An' Reed you back out on

me last minute you 'n' me. You

ain't gonna like it. You

prepared we might not make it

off the tarmac?

 

REED RICHARDS (O.S.)

Ben. I'm not letting a life's

work, two live's go by not

another decade. I will see

this through.

 

BEN GRIMM (O.S.)

Well, I always knew one day

yers would drop. Tonight we

ride. (laughs) Alright, I'm

findin' my doll-face and--

well you know.

 

A moment of silence, then Reed laughs excited.

Outside closet. Sue finally looks Reed in the eyes.

116.

SUE RICHARDS

(sincere)

I hope you get everything you

ever wanted.

 

REED RICHARDS

(ecstatic)

We, Sue! We!

 

He darts off.

 

SUE RICHARDS

“We”?

(she watches him leave)

I think you forgot someone.

 

Se is left standing alone. It seems Amy and Johnny fall out of the closet, behind Sue. It's as bad as it appears, he has his pants around his ankles, in boxer shorts, with a fist full of dollar bills.

 

Sue turns. tries to stand up, trying to pull his pants up.

 

JOHNNY STORM

(to crowd)

Nothing to see here, folks.

 

AMY STEINER

Sadly.

 

Sue looks to Johnny with such a look of disappointment.

Before either one can speak, Sue goes towalk off.

 

AMY STEINER

(from floor, to Sue)

Hi, Sue.

 

Sue walks on without a look back.

 

JOHNNY STORM

I know that look.

 

Johnny like knows he's blown it.

 

 

117.

MY STEINER

I don't think she heard me

say 'hi'.

 

JOHNNY STORM

(pissy)

Just one more word.

 

AMY STEINER

Word.

 

CUT TO:

 

EXT. BAXTER BUILDING - NIGHT.

 

The building appears quiet. A gentle rain falls as the bustling city which has relaxed.

 

INT. PENTHOUSE - NIGHT

 

Sue is alone sitting on the balcony. She is wearing a blue skintight flight suit with black gloves, boots and a belt. She finishes a letter by hand. She places the pages and a credit card into an envelope. She reaches out her hand to have the rain fall on her finger tips. She uses the rain drops on the envelope to seal it. She appears almost lost.

 

Sue looks to the inside, all the lights are on. She gets up goes inside, closing the balcony doors.

 

INT. JOHNNY STORM'S BEDROOM - NIGHT

 

It is like a teenager would have. Messed up, posters of girls, cars, himself from 'Storm front' video game, half eaten food, trophies, etc.

 

Sue walks in. She goes to place the envelope on his dresser next to a light.

 

SUE RICHARDS (V.O.)

Dear, Johnny. I'm leaving you this

letter because I'm a coward.

 

Sue places the envelope and sees a picture in a frame of herself and Johnny as kids, happy, hugging each other. She touches the picture.

 

118.

SUE RICHARDS (V.O.)(CONT'D)

I'm leaving Reed as soon as we

return. I won't be coming back

here. I wanted to do this one

. I'm leaving

you this card. It's not Reed's

money. It's most of what I never

to make sure

you're okay for awhile. With me

gone, I don't know if you would

want to stay.

 

I don't know if you will be

welcomed after I go. I just wanted

so much for all of us to be a

for so

long. I can't wait anymore. Tonight,

I seen it will never be like it was

with mom and dad. All of our nights

and all of our days are tonight over

and over.

 

I have to leave you too, Johnny.

 

Sue sets the frame back, face down. She steps to the door turns off his light.

 

SUE RICHARDS (V.O.)(CONT'D)

I don't think I'm needed anymore

by anyone, so I'm not staying

where I'm not wanted. I tried to

look after you for so long. Like

mom wanted and I wanted too, but

I never did a good enough job. The

trouble you got into, I could never

be enough for you to stop.

 

It hurts me to leave you, but I

can't stay anymore. I don't think

you'll grow up with me around. I'm

sorry I let you down, Johnny. I

love you.

 

But I have to be on my own with

no one to look after and no one

to look after me.

 

 

119.

 

SUE RICHARDS (V.O.)(CONT'D)

I want you to be happy, fall

in love, get married, have

everything I could never have.

Better than I could ever have.

 

Sue goes into the master bedroom. She goes to the walk-in closet. All of her stuff is gone. She looks to Reed's side. It is immaculate. She pulls open a drawer of his cufflinks, watches. She closes the drawer. She runs her hand along his jackets and ties.

 

She sits a moment. She reaches over to a hamper for worn clothes. She picks up a shirt of his, holds it to her cheek, then to her face and breathes it in. She almost cries, but stops herself. She places the shirt back into the hamper. She stands going to the closet doors and turns off the light.

 

She walks by the bed. She sits on his side and touches his pillow. She has almost a sad smile. She looks at a picture of her and Reed on his nightstand, the day they were married. She picks up the picture and holds it firmly with both hands. After a moment, she then turns it over and takes the picture out of the frame and closes the frame back up and sets it back on his nightstand. She holds her chest looking to the picture. Then stands up goes to the door. She takes a last look and turns off the light and closes the door.

 

Sue stands at the front door with it open. There are several suit cases there on a luggage trolley. Sue slips on an overcoat. She writes an address on a piece of paper and gives it to the doorman.

 

SUE RICHARDS

(to doorman)

Have these sent to this address.

No one is to know.

 

The doorman nods. She takes from her wallet several large bills and gives them to the doorman. He takes the cash and wheels Sue's life away.

 

Sue stands at the threshold a moment.

 

 

120.

 

She slips a leather laptop bag onto her shoulder. She looks deadpan to the entire penthouse. She pulls out her tablet. A couple of swipes with her right hand. She pauses, then slides her fingers down the tablet and the entire penthouse slowly goes dark. From inside we see her take her laptop bag and a blue hard-shell suitcase with wheels. She closes the door.

 

Blackness.

 

INT. BAXTER BUILDING LOBBY - NIGHT

 

The private elevator doors open. Sue steps out with her suitcase and leather bag over her shoulder.

 

Sue stops in the lobby. She looks to Mr. Baxter's painting.

 

SUE RICHARDS

(to painting)

Take care of them.

 

Sue touches the wall. Takes a last look. Looks so sad.

 

SUE RICHARDS

Goodbye, Mr. Baxter...

and the house you built.

 

Sue looks up the building and cathe ballroom, the party, is still going on. She steps to the waiting town car as another door man opens itShe gets in. The doorman collapses the handle on the suitcase and hands it into Sue. She takes it and then the doorman closes the door and they drive off.

 

INT. TOWN CAR - NIGHT

 

The seats face each other. Reed and Ben are dressed the same as Sue. Reed is sitting behind the drivers side. Ben sits across from him, the seat next to him is empty. Sue is sitting next to Reed with her suitcase and leather bag between them. No one is saying anything. Sue keeps swiping at her tablet.

 

The car travels on to the highway.

 

121.

 

INT. TOWN CAR, TRUNK - NIGHT

 

Blackness.

 

JOHNNY STORM

Damn! I can't believe Reed made

these outfits. Not that the

ladies would mind 'em being this

tight. Not a fan of the pressure

though. Think my grapes'll be

raisins.

 

A lot of NOISE inside the trunk as the car hits a pot hole.

 

JOHNNY STORM

Really? I bet he's doin' that on

purpose. Last time I bribe one of

Reed's people.

 

Another pothole.

 

JOHNNY STORM

Damn it to hell! I need to see what

the hell. Where's my lighter at?

 

A couple of flicks of the lighter and we see Johnny holding the lighter. He too is wearing the blue skintight fight suit.

 

JOHNNY STORM

That's better. Never thought of

myself as afraid of the dark,

but trunks I could do without!

 

Johnny laughs then looks over to see a full gas can.

 

JOHNNY STORM

Well. That would suck.

 

Johnny laughs as moves the lighter around to imply he'd be on fire running around.

 

JOHNNY STORM

(muffled play screaming)

Ahhhh!

 

122.

 

He cracks himself up even more.

 

JOHNNY STORM

Seriously? Who keeps a gas can in

a fancy car? I mean really? Who

talks to themselves in the trunk

of a fancy car, with a can of

gasoline? I’m getting hungry.

How long've I been in here?

 

Johnny starts getting antsy. Looks over to the gas can and then to his lighter and then to the gas can again.

 

JOHNNY STORM

To much temptation for me.

I gotta get outta here. Time to

crash this party!

 

Johnny shines the light to the back of the backseats. There is a switch to flip, to be able to open the backseat to escape. He pulls on it and goes to push on it.

 

Inside the car no one is talking. The seat flies open and he pops out.

 

Ben screams like a bitch!

 

BEN GRIMM

Oh, my aunt Petunia!

 

JOHNNY STORM

(laughs)

Hereeeee’s, Johnny. Cause well,

I’m Johnny. Hey, are we there yet?

Are we gonna eat before, or after

we're up?

 

SUE RICHARDS

(shock and rage)

Johnny!?

 

REED RICHARDS

(perturbed)

Fantastic!

 

 

123.

 

Johnny laughing. Sue open mouthed stunned. Reed a stern annoyed look. Ben holding his chest looks up to roof of the car.

 

JOHNNY STORM

(to Ben)

Hey. Little help?

 

Ben pulls him out. Sue raises her legs as Ben dumps him on the floorboard.

 

JOHNNY STORM (O.S.)

(from floorboard)

Thank you.

 

Sue slaps car partition.

 

SUE RICHARDS

Stan! Stan! Stop this car! Now!

 

REED RICHARDS

Sue there is no time.

(to driver)

Keep driving, Stan.

(to Johnny)

Jonathan. Why are you here?

 

JOHNNY STORM

'Jonathan'? Sounds like I'm in

trouble.

 

SUE RICHARDS

(screams)

Oh my god!

 

REED RICHARDS

(calm)

Susan.

 

JOHNNY STORM

Sue. Come on.

 

REED RICHARDS

Perhaps you should not speak to

her at this time.

 

 

124.

Johnny looks over to Sue. She is pulling on her hair, lost in rage.

 

JOHNNY STORM

Umm. Okay.

 

Reed looks over to Sue.

 

REED RICHARDS

Perhaps, until we arrive, it might

be best if no one were to speak.

 

Each one of them does not look to the other.

 

Sue sucks on her finger tips of her right hand. Sue looks to the window takes her hand, the finger tips brings them down the glass making a noise, unbearable. She stares intently through the glass.

 

SUE RICHARDS

(to Johnny)

When we get there. You go back in

the car. You go back!

 

No one speaks.

 

Johnny gets up sits in the empty seat. After a moment.

 

JOHNNY STORM

Hey. How long has it been since

we were all in a car together?

 

Each one looks to the other. Not one has the answer.

 

The car drives down the highway.

 

JOHNNY STORM (O.S.)

We suck.

 

EXT. HIGHWAY, NEAR BASE - NIGHT

 

The town car pulls off to the side of the road. Sue steps out of the car with her suitcase not saying a word. Leaving the door open. She goes to the trunk sets it up. In the distance a large commercial jet is approaching.

 

 

 

125.

 

JOHNNY STORM

Okay. All I wanna know is: was

anyone gonna open the trunk?

 

Ben and Reed just look to him.

 

JOHNNY STORM

What's she doin' anyway?

 

BEN GRIMM

Stuff.

 

JOHNNY STORM

What kind of stuff? The ship's

over there ain't it?

 

From the road they see a storage building lights up and the fuel depot. Parts of the ship lights up.

 

BEN GRIMM

Ya got no idea what yr

sister does do ya?

 

Johnny looks on in disbelief.

 

JOHNNY STORM

Stuff.

 

INT. GUARD SHACK - NIGHT

 

A private and corporal are doing paper work and checking monitors.

 

PRIVATE 1

Corporal. I got activity around

the Richards ship. It is being

fueled and--

 

CORPORAL

It got a code?

 

PRIVATE 1

(looks)

Yes sir.

 

CORPORAL

Then let the 'bots do what they do.

126.

 

 

PRIVATE 1

I thought they canceled it?

 

CORPORAL

Who knows? It's got a code.

 

PRIVATE 1

Still. Should we get the major?

 

CORPORAL

You're just afraid of

(says Schwarzenegger voice)

Ah-nold, he come for you. e'll

kill us all.

 

Private like freaking him out.

 

PRIVATE 1

CBad enough those

things take our jobs.

 

CORPORAL

Yeah. I guess if ole Stark had

his way, the Army'd be a bunch'a

kiosk.

 

EXT. TOWN CAR - NIGHT

 

Johnny looks up to the night sky in the direction of the jet.

 

JOHNNY STORM

Hey. I fly planes. I'm thinkin'

they shouldn't be near a ship goin'

up. Should they?

 

BEN GRIMM

Dumbass. We're not supposed to be

goin' up. Give 'er a minute.

 

JOHNNY STORM

What's she gonna do?

 

Sue on her computer. Brings up FAA security. She changes area to a no fly zone. A moment later the jet changes course.

127.

 

 

JOHNNY STORM

Holy crap! Are you tellin' me

she's doin' all that?

 

Reed smiles. Ben shakes his head at Johnny like he is stupid.

 

JOHNNY STORM

Damn. Why haven't we been robbin'

banks or--

 

Ben reaches over smacks the back of Johnny's head.

 

JOHNNY STORM

You think she's still mad at me?

 

Johnny puts his face near the back glass. Sue slaps the back window. Johnny moves the hell back. Ben laughs.

 

BEN GRIMM

Alright ya flamin' turd. What

really gives?

 

Sue gets in.

 

SUE RICHARDS

Go.

 

Reed reaches behind him taps the glass. The car moves down the road to the gate. Armed guards stop them. One steps to the side of the car. Reed rolls down his window shows the guard his I.D. The guard waves them on.

 

They drive to a secure area the car stops.

 

BEN GRIMM

(to Johnny)

Far as ya go kid. Jeep'll

be here in a minute take us up

ta the shack.

 

Johnny like a kid that you hurt his feelings. Sue gets out of the car. Looks back in on him.

 

 

 

128.

 

SUE RICHARDS

(to Johnny)

You go home. Go home!

 

Sue grabs her bag and suit case. She slams the door and goes to walk to the waiting area.

 

JOHNNY STORM

Come on guys. Don't send me off,

come on.

 

BEN GRIMM

I'm convinced. Let him go.

 

REED RICHARDS

Sue doesn't want you

to go, Johnny. You're not trained

I'm sure she is only

looking out for you. Do what you

sister asks, Johnny.

 

JOHNNY STORM

I'm goin'.

 

BEN GRIMM

Good.

 

JOHNNY STORM

I mean goin' with you. Not home.

What I meant.

 

eed gets out of the car.

 

REED RICHARDS

Ben. Handle this.

 

Reed tries to straighten a tie he does not have.

 

BEN GRIMM

Are ya straightenin' a tie you

don't have on?

 

Reed embarrassed as a gentleman.

 

REED RICHARDS

Habit. Shut up.

 

129.

 

Reed walks off. Ben gets out goes over to Reed. Ben laughs as taps Reed's chest.

 

BEN GRIMM

Oh, he's goin' alright.

 

REED RICHARDS

Ben?

 

BEN GRIMM

It'll be worth it, trust me on

this. Teach him good ta be a

fourth wheel. 'sides we couldn't

get everyone we should'a since

we're borrowin' without askin'.

Now we'll go back bust 'is balls

a bit. C'mon it'll be a hoot.

 

Reed follows behind Ben.

 

REED RICHARDS

Yes. A 'hoot'. Exactly my

intention.

 

Ben and Reed walk back over. Ben gets in.

 

BEN GRIMM

What's really goin' on. You on

the run? How'd ya fuck up this

time?

 

JOHNNY STORM

I didn't. Not that I know of.

please guys. It's Sue. She's

Come on. I just--

I want to protect 'er is all.

I thought

she’d be okay, when you had

everybody going, but it’s

just the three of you now.

(to Reed)

I know you planned this with

a bigger crew, Reed. I'll do

anything. Whatever you want.

I swear. I know it's stupid,

I just feel I got to be with

you all.

130.

 

JOHNNY STORM (CONT'D)

his eyes water up)

uck. I just wanna to go. Okay?

 

BEN GRIMM

(to Reed)

s he gonna do this the whole trip?

 

JOHNNY STORM

(excited)

!

 

Reed and Ben look to each other.

 

BEN GRIMM

Shouldn’t be that hard ta sneak a

stow away on’a stolen ship.

 

Reed puts his hand to his face.

 

REED RICHARDS

Just fantastic! All these years

of planning and-

 

BEN GRIMM

Please paw. Let me keep 'im.

 

Reed annoyed, then look of 'what'? Ben and Johnny grin at Reed. Reed disgusted look.

 

BEN GRIMM

We could try honesty fer once?

Worth a shot?

 

JOHNNY STORM

I already got the outfit and

everything.

 

Reed starts to speak then is dumbfounded.

 

REED RICHARDS

I want to ask how, but--

 

Reed stands his hand a top the car.

 

 

 

131.

 

REED RICHARDS

Sue, darling. Um, Johnny is coming

with us. (low voice) if that's okay.

 

Sue busy on tablet.

 

SUE RICHARDS

(pissed and distracted)

Oh my god! No!

 

REED RICHARDS

(calm, but hesitant)

Susan. We could use him.

 

Sue has her back to them just stops doesn't face them.

She puts the bag over her arm. She goes to throw her tablet, being pissed, but doesn’t let it go.

 

REED RICHARDS

(calm)

Susan. We have to do this now.

Any delay--

 

Sue doesn't face them.

 

SUE RICHARDS

We have to do this now.

 

Reed waits. Sue still doesn't turn to face him.

 

SUE RICHARDS

He better not get in the way.

And he better not get killed.

You want him. You take

responsibility for him. This,

all of this, is on you.

 

BEN GRIMM

(to Reed)

Did we just get in trouble

over her brother?

 

REED RICHARDS

I believe we did.

 

 

 

132.

 

JOHNNY STORM

(laughs)

Classic.

 

Johnny pulls his duffle bag out from the trunk.

 

BEN GRIMM

I think I liked it better when

she was ignoring us, like she

has been for years.

 

Ben taps the car. As the driver drives off, he honks the horn, two-three times.

 

BEN GRIMM

Jeez! Where do you get these

guys?

 

REED RICHARDS

(distracted, to Ben)

They are the ones who drive

us, Ben.

 

BEN GRIMM

So yer sayin' without 'em we

wouldn't be here?

 

REED RICHARDS

(annoyed)

Frankly, yes.

 

BEN GRIMM

Me. I miss the Byrne guy.

 

JOHNNY STORM

We all do.

 

REED RICHARDS

(pissy)

Perhaps we can put the mission

aside and discuss drivers.

 

JOHNNY STORM

So-rry. Jeez. What'a dick.

 

 

133.

BEN GRIMM

Right?

 

Reed perturbed. Ben pushes Reed off at the chest.

 

BEN GRIMM

'ey. Ya got me started with

Honker-man there.

 

JOHNNY STORM

Guys. Guys.

 

They look to him.

 

JOHNNY STORM

That's all I had to say.

 

Johnny motions for them to continue on. As they make their way:

 

BEN GRIMM

(to Reed)

Somebody should'a erased him

years ago.

 

Reed smiles. Sue has stopped, still on her tablet. Her hand still on the suitcase handle. Ben closest to her as the guys pass by. He swings his arm down, in one swoop he picks up the case.

 

BEN GRIMM

I got this.

 

SUE RICHARDS

(astonished)

Ben! Be careful that is delicate--

I'm still connected through it.

 

BEN GRIMM

Relax Suzy. Ain't nothin' gonna

happen to yer stuff, or us.

 

Sue holds her hand to her head like a headache coming on.

 

BEN GRIMM

'sides what's left ta do?

 

 

134.

 

SUE RICHARDS

I went through Ross's computer

so it looks as though Ross sent

us a message to leave tonight.

So we were doing what we were

told. A mix up?

 

BEN GRIMM

You're sneaky as hell, Suzy.

 

SUE RICHARDS

I just need this to be over.

 

She walks off from him. Ben doesn't give it a second thought. Sue walks past Johnny and Reed.

 

JOHNNY STORM

(to Sue)

Hey, Sue. Sue?

 

Johnny reaches for her coat arm, placing his hand on it. She jerks it away from him and keeps walking.

 

Johnny stops walking, hurt.

 

JOHNNY STORM

I thought space travel was

supposed to be fun?

 

Ben comes up beside him pushes him on.

 

BEN GRIMM

Yeah, fucking joyride, kid.

 

All four stand at the waiting area. Ben looks ill to Johnny.

 

BEN GRIMM

(to Johnny)

Ya know ya bring out the

worst in people.

 

Johnny starts to say something, then looks over to Sue still on her tablet. He just lowers his head. After a moment a jeep pulls up. They go over to it and get in back. The jeep takes off.

 

135.

 

As they drive, Sue on her tablet, the jeep hesitates for a second. Sue looks up long enough to where we know it is her doing.

 

PRIVATE 1

(mumbles)

You'd think a guy like Stark

would make a better jeep.

 

Ben leans past Johnny to speak low voice to Reed:

 

BEN GRIMM

(low voice, to Reed)

Good thing about government work,

one hand doesn't know what the

other is doing. We just need ta

get out'a the shack quick.

 

As they continue on. They see another robot controlled machine transport several crates to the ship.

 

BEN GRIMM

(to Johnny)

Glad to see that. That's our

supplies, food 'n' shit. Would

hate to starve up there.

 

JOHNNY STORM

Starve?

 

Ben grabs Johnny's shoulder/neck.

 

BEN GRIMM

Good thing you're comin' along.

We might need a protein source.

 

JOHNNY STORM

I'm not food!

 

Reed smiles almost laughs.

 

BEN GRIMM

Hannibal you right up.

 

JOHNNY STORM

Sue!

 

136.

 

Sue looks up from her tablet, still pissed. Johnny taken-a-back.

 

JOHNNY STORM

Might be better than that.

 

Ben laughs, patting his belly.

 

BEN GRIMM

Get in my belly, ya flamin' bastard.

 

JOHNNY STORM

Oh god.

 

The jeep makes it to the guard shack. It parks. The four get out and make their way up the stairs.

 

INT. GUARD SHACK - NIGHT

 

Inside, there is the corporal joined by a major.

 

CORPORAL

Company.

 

Reed opens the door up for the others. The four step in. Sue looks up from her tablet. It becomes very real now for her, that they could be killed. She looks to see the rifles and firearms of the soldiers. Sue backs herself into a corner. She is like a child who knows its punishment is coming. She doesn't take her eyes off the men.

 

CORPORAL

Mr. Richards.

 

REED RICHARDS

Corporal.

 

CORPORAL

It looks as though you've already

seen stars.

 

Corporal taps his own eye to imply Reed's shiner. Reed looks over to Ben with a bit of disdain. Ben grins.

 

REED RICHARDS

A few.

137.

 

 

CORPORAL

Well, these orders say you'll

be up among 'em, not just

seein' 'em.

 

REED RICHARDS

Yes.

 

Corporal looks on screen, looking it over. Ben looks over toSue. She still looking to the men.

 

BEN GRIMM

(quiet, to Sue)

Ya ready to work yer magic

if'n ya need ta?

 

Sue can't speak. Ben steps in front of Sue blocking her view. She comes out of it.

 

BEN GRIMM

Ya sure about doin' this, Suzy?

 

SUE RICHARDS

No.

 

MAJOR

We just have to make sure.

Lot've paper work. Lot've

money tied up in that toy.

 

Reed wants to interject, but bites his tongue, to the 'toy' comment. Ben grins at that.

 

MAJOR

No press for the big send off?

 

REED RICHARDS

No. Not this time.

 

The phone rings. The corporal picks it up. Listens. Hands the phone to the major.

 

CORPORAL

It's the lieutenant colonel.

 

 

138.

 

The major takes the phone outside and goes down the back stairs. Ben grabs Reed's shoulder/neck like a coach. Ben leans in next to Reed's ear.

 

BEN GRIMM

(low voice, to Reed)

Grow a pair and make 'em hurt.

We gotta sell this shit.

Remember the old days and the

commies?

 

Private 1 comes back into shack.

 

PRIVATE 1

I tell ya, you never know what

goes on at this base. First

it's next week, then it's

scrubbed, then--

 

REED RICHARDS

Son this mission is top secret.

Do you really think we’re goin’

up to for a light show? We had

to make it look to the commies

we were out. These orders son,

say we’re in.

 

PRIVATE 1

‘Commies’ sir? You believe

we’re still in the cold war?

 

BEN GRIMM

Ya ever reach our level of

clearance yer mind'll explode.

 

Johnny walks by, behind Reed and Ben, and does hands to head gestures like mind exploding. Ben pulls Reed off to the side.

 

BEN GRIMM

When did you become a chatty Kathy?’

 

Reed amazed at self

 

 

 

 

139.

 

REED RICHARDS

I just hope this thing’ll launch

with all the bricks I’m smuggling

aboard.

 

BEN GRIMM

Bricks?(He pauses a second) Bricks.

Ha. Reed made a funny.

(to corporal)

Okay. Less talk, more fly. So

we good ta go or what?

 

CORPORAL

I'm just the corporal.

 

BEN GRIMM

Not much of'a corporal.

 

Reed pulls Ben back to get him to quit. At that moment the major comes back in.

 

BEN GRIMM

I'm just sayin' we could walk

there by now.

 

MAJOR

He wants me to get a

hold'a Ross.

 

Sue pulls Ben back to stand beside her next to windows away from everyone. Johnny just looking out the windows Reed is hovering at the counter being agitated. Johnny sees Ben and Sue are up to something. Johnny stands beside them.

 

Sue turns her back to them, on her tablet, we see, out going call to General Ross, captured, routing to tablet, in silent mode.

 

SUE RICHARDS

(to Ben)

You know how general Ross talks?

 

BEN GRIMM

Like a di-- er, yeah.

 

 

140.

 

Sue shows him tablet, that ready to voice to simulate General Ross.

 

SUE RICHARDS

Answer it like he would.

 

Ben amused. Johnny sees.

 

JOHNNY STORM

That is cool as shit!

 

BEN GRIMM

(to Johnny)

Ya said ya'd mind. So sit

down an' mind.

 

Johnny pouts as goes to sit on the bench.

 

MAJOR

Sorry, Mr. Richards. Just

followin' orders. Still need to

get clearance from high up the

totem pole.

(as goes to get on phone)

We'll try an' get you goin'

in'a minute.

 

Ben and Sue step more off to themselves. The tablet indicates it is receiving the call. the and speaks, on the major's phone he sounds like the general.

 

BEN/”Ross”

WI'll have your

head for this.

 

MAJOR

SSorry to disturb you. I

have here, Reed Richards and

his crew for the craft. I have

an code, but the

lieutenant wanted--

 

BEN/”Ross”

I know what he wanted. Can't wipe

his own ass without-- You want my

blessing?

141.

 

BEN/”Ross” (CONT'D)

Come down there with a

bottle of champagne, christen the

damn thing? That bird needs to be

in the air. Do I need to come down

there and open the cage? Do I

private?!

 

MAJOR

It's major, sir.

 

BEN/”ROSS”

Not when I'm through. That's why

we have codes, so every private

in these god damn united states

doesn't call me in the wee hours

of the morning.

 

MAJOR

Sir, yes sir. Goodnight sir.

 

BEN/”ROSS”

Well I hope you like being a

private, you're going to be

that for--

 

Sue pulls on tablet.

 

BEN/”ROSS” (CONT'D)

Gotta go. (panics) Love you.

 

Sue hangs up. eyes are huge like he is stunned. He still holding phone in shock. Sue floored/looks to Ben.

 

BEN GRIMM

I'm used to talkin' to Aylnn.

Maybe he won't tell and no one

will ask. Think?

 

They turn look to the major, who is staring with bewilderment at the phone. Johnny nervously playing with cigarette lighter.

 

PRIVATE 1

(to Johnny)

Sir there's no smoking in here.

142.

 

JOHNNY STORM

I don't smoke.

 

The fseem Sue more and more, nervous, holds hand to head like a headache. Reed snatches Johnny's lighter out of his handsThe lieutenant colonel bursts in, in his robe and pajamas.

 

LIEUTENANT COLONEL

(mumbles)

Launch this late, someone could

wake me, or were you men

waiting for the rockets to do

that?

(to major)

You still talkin’ to Ross?

 

The major comes out of the trance of staring at the phone.

 

MAJOR

No. No I am not, sir.

 

LIEUTENANT COLONEL

Bet he couldn’t get off there fast

enough could he? So?

 

The major has a look on his face.

 

LIEUTENANT COLONEL (CONT’D)

Tore you a new one?

 

MAJOR

I believe he gave that

impression, sir. But to answer

your question: He says we're

good.

 

LIEUTENANT COLONEL

That's all he said?

 

MAJOR

All I'm sayin', sir.

 

 

 

 

143.

 

LIEUTENANT COLONEL

I don't trust a man that chases

big green men around. Get me

Washington on the horn. Fury

says nothing's supposed to go up.

 

Major begins to look for the number.

 

LIEUTENANT COLONEL (CONT'D)

(mumbles)

I need clearance above a

goblin chaser.

 

BEN GRIMM

Great! We hav'ta get super

soldier here.

 

LIEUTENANT COLONEL

(to Reed)

Nice eye. You know, it says here,

yours was to be a complement of

seven, wasn't it?

 

REED RICHARDS

...um. Budget cuts.

 

JOHNNY STORM

Really?

 

Reed kicks Johnny's leg.

 

JOHNNY STORM

Ow! (dawns on him) Ohhh! Ow.

 

The Lieutenant colonel appears relentless. Sue in a state of regression.

 

SUE RICHARDS

(underbreath)

No. No. They'll stop it. No.

Can't stop it. I can't. Not

anymore. Have to go. Have to--

 

She starts backing up from the others.

 

 

 

144.

 

SUE RICHARDS

(underbreath)

They can't prevent it, they

can't. We have to go. We have

to go now.

 

Sue looks to her tablet. She captures the out going call and places it in continuous loop, so it will only ring.

The phone seems more annoyed, as Sue begins to lose it.

 

SUE RICHARDS

(underbreath)

Why can't we just go? Everything

was covered. He'll stop us. We

won't be able to go. We won't be

able to go. We'll be trapped here.

I'll be trapped here. I can't.

I can't be.

 

Sue on her tablet, brings up the ship, it shows it is fueled. Sue then brings up the fuel depot. She builds up controls to overload.

 

SUE RICHARDS

(underbreath)

We have to go. We have to go.

We need to go.

 

MAJOR

(to Lieutenant colonel)

Sir. It seems Washington isn't

there. No one is answering.

 

The Lieutenant colonel snatches the phone

 

LIEUTENANT COLONEL

Give me that!

 

He listens as phone continues to ring. Ben looks over to Sue with a smile that quickly fades as he sees she has tensed up in anticipation of something.

 

BEN GRIMM

Suzy?

 

 

145.

 

At that moment there is an incredible explosion at the fuel depot. It appears the flames are more than a mile or two high. The shock wave blows out the windows in the shack. Shaking the ground its self. Everyone but Sue is shocked by it. Sue closes her eyes as Ben instinctively shields Sue from the glass. She doesn’t know he does it.

 

All there, their ears are ringing. Ben gets up looks over, Sue is gone, the door is wide open. Reed is still standing in bewilderment. Chunks of glass in his hair, a few minor cuts.

 

REED RICHARDS

(stunned)

...must be the commies.

 

PRIVATE 1

(in disbelief)

Fuck!

 

Ben helps Johnny off of the floor, gets them together.

 

BEN GRIMM

We got to go now.

 

Reed looks around.

 

BEN GRIMM

(to Reed)

Between me and this explosion

here, you ain’t lookin’ to good.

 

Ben brushes Reed off a bit.

 

REED RICHARDS

Sue?

 

BEN GRIMM

Unless she can turn invisible,

she's gone on. You two get.

Me, I got this.

 

The major tries to help up the lieutenant colonel.

 

LIEUTENANT COLONEL

(to the corporal)

Corporal. Sound those damn sirens!

146.

 

Which the corporal does.

 

LIEUTENANT COLONEL (CONT'D)

Get a line out!

 

Outside, the base is in a panic. Sue is running. She is on her tablet, all out going calls, landlines and cell phones/internet communications, no service.

 

CORPORAL

I can't get a line out, sir.

 

MAJOR

Where is Mrs. Richards?

 

Ben goes over, pulls back his fist.

 

BEN GRIMM

When ya wake up, you'd've

figured it out by then.

 

Ben knocks the major out. The corporal pushes the lieutenant colonel back behind the counter. The corporal goes to reach down to grab a rifle. Ben steps on it. The corporallooks up to Ben. One good hit, it's lights out for the pulls it away from the private.

 

Ben for his size is fast. He jumps over the counter

 

BEN GRIMM

You're slower than anyone on

the field, boy!

 

Ben lands on the ieutenant colonel. Ben holds the gun and the 's hand, with one hand, and pops the lieutenant colonel, two-three good times. He's out. The private cowers.

 

Ben while on the l's chest, spies under the counter, all the wiring to various controls. Ben as reaches for them:

 

BEN GRIMM

Can't let 'er have all the fun!

147.

 

Ben gets up looks over to the private.

 

BEN GRIMM

You almost ain't worth it.

 

Ben his body language implies he's letting the private off the hook. The private has a moment of relief.

 

BEN GRIMM

Eh, who'm I kidin'? Come 'ere

you. Get ya some.

 

Ben pops the private two-three times. Ben stands.

 

BEN GRIMM

I'm Grimm baby.

 

Johnny laughs amazed.

 

JOHNNY STORM

H-holy shit!

 

REED RICHARDS

Was that necessary, Ben?

 

BEN GRIMM

(grins)

Not really.

 

Ben grins to Johnny up close.

 

JOHNNY STORM

I'm sorry for anything I did

to you in the past, or will

ever do in the future.

 

Ben pats Johnny's chest a time or two, then pushes him off.

 

BEN GRIMM

Well. I'm ready fer space.

How 'bout you boys?

 

Ben goes out the door.

 

 

 

148.

 

JOHNNY STORM

Boy! I'm glad you guys are

on our side.

 

Johnny pauses thinking about it.

 

JOHNNY STORM

You guys're on our side right?

Sis? Reed?! Ben?

 

Ben jerks him (O.S.) out the door.

 

BEN GRIMM (O.S.)

If we weren't, there'd only

be three comin’ back.

 

Johnny screams (O.S.).

 

Reed looks around the room and out to the destruction on the field. The utter chaos. Shakes his head.

 

REED RICHARDS

Fantastic.

 

EXT. BASE - NIGHT

 

Soldiers are scrabbling. There is yelling and orders being shouted as more explosions occur. Sue is running.

 

Soldiers are entering jets, helicopters and jeeps, preparing to pursue them. Lights shine onto the ship.

 

Ben, Johnny and Ben is carrying Sue's suitcase.

 

JOHNNY STORM

(amazed)

Holy shit! A jail break! I mean

a ship break.. we're breaking

something! (Laughs)

 

Ben, Johnny and Reed begin to pick up their pace.

 

 

 

 

 

149.

 

BEN GRIMM

(to Reed/Johnny)

I think yer wife, yer sister,

has gone nuts.

 

JOHNNY STORM

What do you mean by that?

 

Another explosion happens.

 

BEN GRIMM

Who do ya think is blowin'

this shit up?

 

Reed and Johnny stop running.

 

JOHNNY STORM & REED RICHARDS

Sue?!

 

The three look to the field to see the Crew Transport Vehicle go past the shack (it is raised one to two levels) and Sue runs after it. She climbs it like a squirrel and enters it. Ben looks back to Reed, who pauses a second and smiles fondly.

 

BEN GRIMM

Ya don't seem surprised by that.

 

REED RICHARDS

I'm not surprised. She would climb

the tree all the time next to--

 

Johnny stops, looks to Reed with a hard questioning look.

 

REED RICHARDS (CONT'D)

(cautious)

at the boarding house...

 

Johnny like 'what the hell' look.

 

REED RICHARDS (CONT'D)

to um... see me. Experiments.

 

BEN GRIMM

We get it. Little midnight visits.

 

Johnny looks slightly pissed.

150.

 

 

REED RICHARDS

(to Johnny)

I assure you. Nothing

inappropriate took place--

 

BEN GRIMM

(disappointed)

Way to go, stretch. Just when

I thought fer a minute you were--

 

JOHNNY STORM

That's my sister you're talkin'

about!

 

BEN GRIMM

What?! He married 'er didn't he?

like free milk never hurt nobody.

 

Johnny pushes Ben's back.

 

BEN GRIMM

Ya wantin' to go now, hothead?

 

JOHNNY STORM

You guys run your mouths about

Sue one more time and I'll--

 

Ben stops gets in Johnny's face.

 

BEN GRIMM

This might be one'r those times

fer an apology.

 

Ben grins, cracks his neck. Johnny back peddles, but still pissy.

 

JOHNNY STORM

(forced)

I. Am. Sorry.

 

Ben slaps Johnny's chest flattens him onto the stairs.

 

BEN GRIMM

It's good ya run yer mouth

over yer sister.

 

151.

 

BEN GRIMM (CONT'D)

Like I wuz sayin' He married

'er and not nothin' ta be

dirty 'bout.

 

Reed helps Johnny up as gives a look to Ben that there may have been a little inappropriateness.

 

JOHNNY STORM

Oh come on!

 

Johnny pushes Reed off and walks ahead of them. Ben grabs Reed's neck and shoulder like a coach, roughly.

 

BEN GRIMM

(proud)

Not such a bookworm after all!

 

REED RICHARDS

(stern)

Ben!

 

BEN GRIMM

'ey! Im just sayin' I'd marry

a girl that'd climb a tree fer

me. Just sayin'. Where's this

Suzy been?

 

Reed stops walking down the stairs, ponders it.

 

REED RICHARDS

I. don't. Know.

 

Ben grabs him to come on.

 

BEN GRIMM

We ain't got time fer this. The

two of ya can talk on the flight.

An' if we don't move faster,

she's gonna leave without us.

 

The three haul ass down the stairs and onto the field. The field is covered with large debris from earlier explosions.

 

 

 

152.

INT. CREW TRANSPORT VEHICLE - NIGHT

 

The transport is traveling at a high rate of speed. Sue is in the isle on her knees as shots hit the transport. She is driving the transport by her tablet. Sue on her tablet tries to bring up data on vehicles and aircraft, but her signal is to weak. With a message of:

'unable to obtain data'.

 

SUE RICHARDS

(desperate)

No. No. No. The suitcase.

 

Sue drops to the floor, devastated. A bullet comes through a window at the rear of the transport.

 

SUE RICHARDS

(stunned)

Have to go back for it.

I have to go back.

 

Sue looks up through the shattered window. She sees the other three running. Ben has the suitcase.

 

SUE RICHARDS

(desperate)

You have to hurry. Oh god. Hurry.

How could I mess this up?! Why

didn’t I-- Why didn’t I--

 

The three are still running when Johnny slows to a stop. Dumbfounded. As the Crew Transport Vehicle keeps getting smaller and smaller in the distance.

 

JOHNNY STORM

She is comin' back for us, isn't she?

 

Reed turnsto look at Johnny. Johnny stand there his questioning Gestures like WTF? Ben stops then Reed.

 

BEN GRIMM

Kid's right, Reed. What the fuck?

I can't ain't on it.

 

Reed like this is just dawning on him now. He looks out to the distant Transport.

 

153.

 

REED RICHARDS

Sue?

 

More jeeps wiz by. More shots are fired at the Transport. Reed snaps out of it.

 

REED RICHARDS

(pissed)

Right now, Ben, I'm more concerned

over my wife being shot at.

 

JOHNNY STORM

My sister too!

 

BEN GRIMM

Listen ya shit head twins, that's

what they do. We're stealin' that

thing and, she did kinda start it.

 

Reed starts to speak when:

 

BEN GRIMM

(abrupt)

I gave ya an hour ta decide. Being

shot at never occurred to ya? This

is a fuckin' military base there's

a good chance more'n one of us is

gonna a bullet in the brain.

If it ain't her, then one us.

 

REED RICHARDS

(perplexed)

Then why did we do this, Ben? Why

did I put us all in danger?

 

BEN GRIMM

Ya wanted it. I'm yer friend. I made

a promise. So I'm here, dead or alive.

Them. You're the one has to live with

yer little light show may just get us

all killed.

 

REED RICHARDS

I can stop it. I'll tell them it

was me.

 

 

154.

 

BEN GRIMM JOHNNY STORM

No!

 

Ben and Johnny look to each other.

 

JOHNNY STORM

What? We're in this together. All

for one and all thcrap.

All we gotta do is steal the ship

and not get shot, right? And that

might be a little easier with Sue--

 

Johnny direction.

 

JOHNNY STORM (CONT'D)

--not forgetting us!

 

BEN GRIMM

(to Johnny)

Never figured ya had it in ya.

 

Johnny shrugs like didn't either.

 

BEN GRIMM

Hope ya don't mind it in ya

when ya go ta prison fer this.

 

Johnny's jaw drops.

 

JOHNNY STORM

Sorry bro-in-law, but I'm sellin'

you out when the time comes.

 

REED RICHARDS

I would expect nothing less.

 

BEN GRIMM

I'm ready ta shoot us all. Save

'em the trouble.

 

JOHNNY STORM

And you would do that for me?

Aww. Thanks, Ben.

 

Ben lunges at Johnny as Johnny sees around Ben that the transport has stopped and is reversing. The jeeps pursuing swerve out of the way.

 

155.

 

JOHNNY STORM

Sorry, Ben. I don't have time

for an ass woopin' right now.

 

Johnny straightens himself up like Reed does.

 

JOHNNY STORM

I have a bus to catch.

 

Johnny sticks out his thumb like a hitch hiker. His foot rests atop a large piece of debris.

 

Ben just looks to Johnny and believes there's nothing he couldn't do to him, that his mother didn't do already, by dropping him on his head.

 

REED RICHARDS

(astounded)

It was one drink multiplied by--

 

Ben gives Reed a go-to-hell look.

 

The jeeps are following the transport. Firing on it.

 

INT. CREW TRANSPORT VEHICLE - NIGHT

 

Sue is holding her hand on the tablet as if it were a gas peddle.

 

SUE RICHARDS

(desperate)

I need that suitcase!

 

A PING on the tablet. Sue looks to it. It has detected the class of Stark jeeps pursuing her. She selects disable. The jeeps come to a rolling stop.

 

The transport is barreling at Ben, Johnny and Ben.

 

SUE RICHARDS

(desperate)

Has to be lower!

 

She touches another spot on the tablet.

 

EXT. CREW TRANSPORT VEHICLE - NIGHT

156.

 

The transport begins to lower to ground level.

 

BEN GRIMM

(to Reed & Johnny)

How often she drive?

 

JOHNNY STORM

Maybe that's it? Her foot got

stuck, right?

 

BEN GRIMM

Sure, kid.

 

The is still being shot at.

 

JOHNNY STORM

Jeez! hese guy'll shoot anything

that moves. Don't move!

 

Johnny and laughs. Ben slaps the back of his head.

 

BEN GRIMM

Dumbass!

 

The transport off from the three.

 

JOHNNY STORM

And you guys were worried.

 

Reed and Ben look to each other. Johnny begins to go towards the transport. Sue bursts out of the transport runs past Johnny to Ben. She jerks the suit case out of Ben's hand.

 

BEN GRIMM

(to Sue)

Forget something?

 

Sue drops to the ground reestablishcontact.

 

JOHNNY STORM

(laughs)

Like us? Maybe?

 

 

 

157.

 

SUE RICHARDS

(desperate)

We have to go! We have to

go now! Have to go!

 

REED RICHARDS

(concerned)

Susan?

 

She reestablishes contact gets up starts in hast to run back to the transport. Reed goes to reach for her. Sue moves to fast. Reed reaches down picks up Sue's suitcase. All four begin to run. The concern on Reed's face is apparent.

 

Johnny slaps Reed’s and Ben’s back.

 

JOHNNY STORM

Hey come on it’s Sue. She’s

got this. She always does.

You’ll see. Last one on the

ship is a--

 

Johnny runs ahead, can’t hear the rest.

 

BEN GRIMM

(to Reed)

You know we’re gonna die, right?

 

Reed determined. Looks ahead as they move forward.

 

REED RICHARDS

Probably.

 

More jeeps are coming firing and hitting the transport.

 

Ben runs along side Sue. Across the field they HEAR the men yelling and battling the blaze of the fuel depot.

 

BEN GRIMM

(to Sue)

Good thing there weren't any

men 'round when ya blew that.

 

Sue stops. The look on her face tells us she didn't know if there were. Sue agonizes over it. She grips her chest.

 

158.

 

Across the field men holler as fire reaches a tanker. The men escape in time before it blows. Next to a few more vehicles. The explosion unnerves Sue as did the sounds of the prison doors. She is lost.

 

SUE RICHARDS

Dad?

 

Johnny brings up the rear. He is having fun. A blast. Johnny calls out to his sister.

 

JOHNNY STORM

Sue! Sue! This is so awesome--

 

Sue does not reply. She has not moved. He stops in front of Sue and grabs her shoulders with a little to much excitement.

 

JOHNNY STORM

Woo-hoo! Did you see that, Sue?!

Sue! How awesome is this?!

 

Sue snaps. She pushes him to the ground, hard. Johnny is blindsided by this.

 

SUE RICHARDS

(ranting)

You'll ruin this! You always ruin

everything!

 

Reed and Ben turn to see Sue standing over Johnny yelling. Johnny is trying to get away from her. They turn to run back to them.

 

JOHNNY STORM

(a little afraid)

Come on, Sue. I'm sorry I'm--

 

SUE RICHARDS

(ranting)

I need this to be over! Over!

Dar me?! And you have

to muck it up like everything

you do! Single! Thing!

 

Sue enraged screams at him. Johnny doesn't know who the hell she is.

159.

 

He crawls backward till he can get himself up. As he stands he takes a bullet (a flesh wound) to his arm. Johnny cries out in pain. Sue becomes even more angry. She starts hitting him in his arm where he was shot. He drops to the ground crying. Sue continues to keep hitting her brother. He tries to block his face.

 

SUE RICHARDS

(ranting)

You see?! You're going to get

yourself killed! You're going

to get us all killed!

 

Ben out of nowhere picks Sue up, as he does, Sue gets a good kick into Johnny's ribs. Ben places her to one side away from Johnny. Reed goes to tend to Johnny. Johnny is screaming and crying like a kid covering his face not wanting Reed to touch him.

 

Sue tries to push Ben. He's sold as they come. He ain't moving. Ben to Sue, (gestures)''.

 

SUE RICHARDS

You two want him?! Then the two

of you look after him! Get us

all killed!

 

Sue just huffs at Ben. She goes over picks up her tablet. Reed gets Johnny to hold his arm, the place, with his other hand to apply pressure. Reed is speechless.

 

SUE RICHARDS

We need to go now!

(to Johnny)

You should've stayed at home!

You never do what you're told!

Ever!

 

Reed starts to say something.

 

SUE RICHARDS

(abrupt, to Reed)

You wanted this! You did!

 

 

160.

 

Johnny goes to reach out to Sue like a child. Sue looks to him cold as death. Reed helps Johnny up as a chopper fires down on them as comes into range. Ben in time is able to grab a large piece of debris and hold it to keep the rounds of bullets from striking them. The chopper continues on.

 

Several jeeps charge at the four. Firing their weapons. The debris is getting pounded. Sue still outraged. Her tablets keeps PINGING.

 

BEN GRIMM

You guys wanna move yer asses?

This thing'll be fillin' up with

holes! Then, those holes’ll wanna

go somewhere new, like me!

 

REED RICHARDS

Ben's right. We need to go now.

 

Sue walks up to and past Ben with her tablet. Before Ben can utter a word. Sue touches her tablet. We HEAR the jeeps screech to a halt. Then, Sue moves her hand across the tablet towards them and the jeeps start going backwards at a high rate of speed.

 

Ben drops the debris in disbelief. Sue looks to Ben and just huffs. Sue starts walking towards transport.

 

BEN GRIMM

(to Reed)

You should carry her purse.

 

Reed gives Ben a dirty look, as he does, of course, he picks up the suitcase. Ben picks up Johnny and carries him. They move at a fast pace.

 

INT. CREW TRANSPORT VEHICLE – NIGHT.

 

Sue is first in. She kneels on the floor and starts the transport rolling before the other three are fully on. Ben sets Johnny down in the isle. Ben reaches over and grabs the belt from Sue's coat.

 

 

 

161.

BEN GRIMM

(to Sue)

Mind?

 

Ben wraps the belt around Johnny's arm. Pats Johnny's chest, as way to say he'll be okay. Reed goes over and sits next to Johnny. Both are quiet. Ben as goes to go past sue:

 

BEN GRIMM

If'n ya don't mind, Suzy. Let

me have this. If I'm gonna die,

I want it to be at my hands.

 

Ben sits at the wheel. Sue releases it.

 

SUE RICHARDS

It's done.

 

JOHNNY STORM

I prefer not to die at anyone's

hands.

 

Reed puts his hand on Johnny to keep him quiet, before Sue finishes the job. Ben floors the transport. A smile comes to his face.

 

BEN GRIMM

I see ya disabled the governor.

Nice. Aunt Petunia always said

if yer gonna get there, get

there.

 

Sue does not respond to his complement, or his small talk. Sue moves her hand over the tablet. The entire platform to the ship lights up. A spectacle.

 

The chopper flies over them to block the ship. The sound is deafening. Sue looks up.

 

SUE RICHARDS

No.

 

Sue once again goes to her tablet. Ben becomes suspicious. He looks over his shoulder. On Sue's tablet she brings up all vehicles, Stark industries, class. The first to come up are jeeps. She disables them. Two fire trucks rush down the field with sirens.

162.

 

The tablet asks: Are you sure you want to disable The chopper comes up. She sees it is in front of them, above them. She taps it. Ben can see the chopper is having difficulty about to crash.

 

Ben lets the transport roll to slow speed as he gets up to confront Sue. He comes at her.

 

BEN GRIMM

Sue! Those are men in there!

 

Sue makes the chopper land and builds it up. Ben goes to grab the tablet. as in the chopper hear it is building to de, theget in time and run. They clear it as it explodes. Sue looks to him cold, snatches the tablet back. Sue still on tablet.

 

SUE RICHARDS

No one is stopping us.

 

Ben goes back sits down in the drivers seat, enraged. Ben begins to accelerate the transporter. Reed comes up, by Sue, to check on Ben.

 

BEN GRIMM

(mumbling)

Our boys.

 

As Ben drives around the burning wreckage of the chopper.

Reed touches Ben's shoulder in support. Ben brushes him off.

 

CUT TO:

 

 

 

 

 

 

 

 

 

 

 

 


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