ASSIGNMENT: EARTH · Assignment: Earth · Pilot · First Draft. ... Her instinct now is to get out of here fast, but she hesitates, then: ROBERTA (cont'd) If I didn’t really owe

ASSIGNMENT: EARTHPILOT

Written byGene Roddenberry

Copyright © 1966

FIRST DRAFTNovember 14, 1966

#5999-96

CAST LIST

GARY SEVENROBERTA HORNBLOWER (BOBBI)HARTHISISMR. MARLEYLT. BRUNNERBATTALION CHIEFEDDIECYNTHIAPRISONERSENATORPORTLY GENTLEMANRUSSIAN COMMISSARCOMPUTER VOICENARRATOR

SET LIST

EXTERIORSSeven’s Office BuildingThe Kremlin

INTERIORSThe Book - Various StockOffice Building HallwaySeven’s OfficeSeven’s ApartmentRoberta’s Bedroom SuiteSeven’s Bedroom SuiteOmegan HeadquartersJail CellSenator’s OfficeKremlin CorridorASSIGNMENT: EARTH

1.

Assignment: Earth · Pilot · First Draft

TEASER

FADE IN

TITLE MONTAGE1 1

FORMAT – Always OPENING ON SCENE of GARY SEVEN arriving.Then to action TEASE scenes out from the body of the storywhich follows. For example, from this pilot episode, we’llsee a brief glimpse of the explosion, the vault being usedas a space-portal, the startling appearance of the OMEGANS,and ROBERTA fighting what she thinks is a seduction attempt.

NARRATORIn the hands of this one man… couldrest the future of all mankind. Hisname… Gary Seven… born in the year2319 A.D. The only survivor ofEarth’s attempt to send a man backthrough time to today. Assignment…fight an enemy who is already here,trying to destroy us. If he fails…there’ll be no tomorrow!

FREEZE FRAMETO:

TITLES

FADE OUT

END TEASER

2.


ACT ONE

FADE IN:

FULL ON THE BOOK2 2

Large, richly bound, bearing the inscription “EARTHHISTORY – l967 THROUGH 2300 A.D.” It opens, turning throughpages, and we see moving photos of the heavens, spacevehicles, selected scenes of the future:

NARRATORBy l967, mankind had reached themoon. And as his technical abilitiescontinued to grow… he began reachingout across the galaxy. And in theyear 2245 A.D., man found himselffacing another race of intelligentbeings…

SHOCK MOVING CUTS of dark, misty scenes through which weglimpse ELONGATED PHOTOGRAPHY of satanic looking creatures,the backgrounds suggesting fire, Baal-like idols, weirdrites suggesting a morality where evil is triumphant.

NARRATOR (cont'd)… the Omegans. Like memories out ofEarth’s dim legends, they werecreatures of darkness, worshippingand rejoicing in evil. And so, whileEarth…

To a page showing a giant, clean-lined Earth vessel of thefuture:

NARRATOR (cont'd)… sent its envoys to talk peace, theOmegans planned a death blow. Theyhad mastered the secret of time…

Page showing Earth street circa l957, HARTH and ISIS eyeingthe street, the people. SHOTS of a child crossing a street,a pretty young woman in a maternity dress, a researchphysician, a clergyman.

NARRATOR (cont'd)… and had sent a team of agents backto Earth… to Earth’s most criticalera, the l95O’s. Change Earth’sfuture! Eliminate this statesman oftomorrow… corrupt this mother of afuture educator… destroy this

(MORE)(CONTINUED)

3.


scientist… corrupt, weaken, destroy…NARRATOR (cont'd)

and Earth would have no tomorrow! Andso the real battle, the decisivestruggle, was joined… not in thefuture, but today… this veryafternoon.

During which we have gone to:

EXT. SEVEN’S OFFICE BUILDING - ESTABLISHING – DAY3 3

The building, the street… and ROBERTA HORNBLOWER approachingthe building, checking the address.

CLOSER - EMPHASIZING ROBERTA4 4

Roberta has flavor! Although twenty years old, she seems attimes a teenager with all that turbulent, changing child-woman vitality. This mixed with assuredness of one who hashad to make her own way for years. Honey–haired, her apparelshort-skirted Mod fashion – suggesting one who has leanedtoward rebellious kookiness only because her intelligencehas not yet found a full challenge. She ascertains that thisis the address she has been looking for, turns and walksinto the building. (And she walks nice, indeed!)

INT. OFFICE BUILDING HALLWAY – AT SEVEN’S OFFICE - DAY5 5

ESTABLISHING THE DOOR LEGEND: “THE -7- AGENCY”; beneath thata single word: “INVESTIGATIONS.” Then CAMERA PULLS BACK TOREVEAL Roberta entering down hallway to check a note againstthe name on the door. Satisfied this is the right place, shetries the door. It’s locked. She KNOCKS, gets no answer,checks her watch, moves as if to leave. But at this moment aCLICK from the door, as if a latch has been opened. A bitpuzzled, she tries the door again and it opens.

INT. SEVEN’S OFFICE - ESTABLISHING - DAY6 6

Roberta entering. Outside the window, the city from about aseventh floor perspective. Inside, a modern, well-equippedoffice. About the only unusual feature in it is the heavysix-foot steel door on one wall, complete with combination-locking mechanisms, apparently sealing off a walk-in vault.Surprised to find no one present, she goes to an insidedoorway and KNOCKS, opens it to reveal an inner privateoffice, also empty. She turns back, moves to a desk andlocates there a note pad and what appears to be a large,

(CONTINUED)

CONTINUED:2 24.


finely-tooled ball point pen. But just as she starts tocompose a note:

MARLEYPackage came for Mister Seven.

ANOTHER ANGLE - TO INCLUDE MARLEY7 7

as Roberta whirls toward the voice, sees MARLEY, BuildingSuperintendent, who has brought a heavy, stoutly-wrappedpackage in through the door. He’s fiftyish, rotund, the kindwith a heart half-gold and half-flint. WILLIAM FRAWLEY couldhave played this part perfectly. He stands holding the heavypackage, irritable at the delay:

MARLEYWhere do I put it? I run thebuilding, not an express service.

ROBERTABeats me, daddy.

Roberta has stepped out from behind the desk and Marleystops in the act of lowering the package, snaps:

MARLEYIf I was your “daddy,” young lady,and saw you wearing a skirt thatshort…

ROBERTA(interrupts;accusingly)

Are you sure you’re not?(examining Marley)

Mom said he had an evil gleam in hiseye… like yours. Ran off a week afterthe marriage. Were you in Decatur,Illinois, March, 1944?

MARLEYI certainly was not!

(slamming packageinto a corner)

Might have known he’d have asecretary like you. Should’ve knownnot to rent an office by mail. Firstit’s empty, then turn your back andit s filled up with furniture… thenlast night he cuts that safe into mywall…

(CONTINUED)

CONTINUED:6 65.


ROBERTA(interrupting)

Listen, maybe you could give him amessage for me. You see, there was anaccident…

MARLEYTell him yourself; said he’d be hereby two.

(moving to door)I’m the landlord, not a messengerservice.

Marley EXITS. He had indicated a clock (small wall orbookcase timepiece, easy to avoid) which reads six or sevenminutes before two o’clock.

CLOSE ON ROBERTA8 8

Moving to sit at the desk, picking up the note pad and “pen”again, starting to compose her note.

ESTABLISH: in addition to the outsized ballpoint pen (TheSERVO), also on the desk top a one-an–a-half inch squarejade-like translucent cube (The CALCULATOR), a heavy-framedpair of glasses (The X-SCOPE), plus a large, executivetelephone combination (The VIEWER), and what appears to besimply a large electric typewriter.

Roberta finds herself unable to make the pen work, it leavesno mark on the paper. She looks for a pencil, finds none.Then (not too expertly) she manages to get a piece ofnotepaper into the typewriter. As she prepares to put herfingers on the keys, she composes to herself:

ROBERTAOh… dear Mister Seven, if I that’syour name…

And she jumps half out of her seat when the typewriter,obediently and quite unaided, types out those very words.We can see from the expression on her face that she’swishing herself to assume that she unconsciously did put herfingers on the keys. She starts to put them there, again,then pulls them back:

ROBERTA (cont'd)No, I didn’t do that! I’m not thatfast!

She examines the typewriter curiously, then peers down intothe mechanism, frowns, straining her eyes at the

(CONTINUED)

CONTINUED:7 76.


sophisticated tiny mechanisms she sees… reaches for theglasses to see into the machine better.

CLOSE SHOT - ROBERTA9 9

Putting the glasses on, bending over the machine, the lookon her face of one who cannot possible believe what shesees! She yanks the glasses off, sits back, eyeing themachine, startled. Then, still startled but curious, sheslips the glasses back on.

SHOT – ROBERTA’S POV (THRU “GLASSES”) - THE ELECTRIC10 10TYPEWRITER

The entire casing of the machine gone totally transparent,the inner mechanism revealed as if by some kind of x–raydevice.

BACK TO SHOT11 11

Roberta, discarding the glasses fast:

ROBERTAWow! You’ve got some kind ofdetective agency, Mister.

The typewriter obediently and automatically types thissentence for her, too. Her instinct now is to get out ofhere fast, but she hesitates, then:

ROBERTA (cont'd)

If I didn’t really owe you this noteI’d have started running about now.But, you see, there was this woman…

The typewriter has begun obediently and rapidly typing tothat point, returns its own carriage, sits waiting. It’seasy to admire Roberta – she gives the machine a look,decides she is not going to be frightened off by a piece ofequipment, however efficient it is.

ROBERTA (cont'd)… she had your office address in herpurse. A big piece of marble sidingfell off the top of a building … in away she saved my life. She fellagainst me, or anyway humped me outof the way… but it killed her.

(MORE)

(CONTINUED)

CONTINUED:8 87.


(beat; thinking)ROBERTA (cont'd)

I’m sorry, I really hope she wasn’tsomeone too close to you. Or maybesince you are just opening up thisoffice, she was looking for a job assecretary. Which I’m not, although,man, could I be one with thistypewriter of yours.

(as the typewriterquickly catches upwith her words)

Paragraph.(the typewriterobediently shifts)

ANGLE ON WINDOW12 12

Wide window ledge (our building is one with sufficientlateral ledging to permit the following) – first see ashadow, then a large black female cat leaps down onto ourwindow ledge. Strangely sinister and intelligent looking, iteyes Roberta through the partially open window. The animalhas an unusual jeweled choker-necklace around its neck.During which:

ROBERTA’S VOICEAnyway, I thought I ought to letsomebody know. Yours sincerely, orwhatever… Bobbi… no, make thatRoberta… Hornblower.

ANOTHER ANGLE13 13

Having finished message, Roberta getting up from chair atypewriter. She sees the cat.

ROBERTAKitty? How on earth did you get wayup…

EMPHASIZING THE CAT14 14

Arching its back, the cat hisses and spits at Roberta.

EMPHASIZING ROBERTA15 15

eyeing the cat, advancing toward it.

(CONTINUED)

CONTINUED:11 118.


ROBERTAHey! I usually get along pretty wellwith…

The female cat again hissing, spitting. The strong-mindedRoberta is not about to take that. She moves toward theanimal, backing it out onto the window ledge, slams thewindow down in its face.

ROBERTA (cont'd)All right! For some reason I don’tlike you either. So you can justclimb down the same way you…

A slight SQUEAKING causes Roberta to whirl back toward theoffice.

ANGLE INCLUDING VAULT16 16

The door slowly swinging open by itself.

SHOT - OFFICE CLOCK17 17

It is exactly two o’clock, the second hand just leaving thehour mark.

SHOT - WINDOW LEDGE - THE CAT18 18

reacting, turning and leaping from sight.

SHOT - INCLUDING ROBERTA AND WALL VAULT DOOR19 19

As the heavy metal door swings full open, revealing what canonly be described as shimmering nothingness – a strangeswirl of light and shadow as if space, time and dimensionmeet at that point. Then, becoming faintly visible, atransparent figure can be seen walking toward us. The figuregrows more and more solid as it approaches the vault openingand this room.

CLOSE ON ROBERTA20 20

Reacting, unbelieving.

CONTINUED:15 159.


ANGLE INCLUDING VAULT DOORWAY21 21

As MISTER SEVEN (GARY) steps out into the room, becomingcompletely solid. He’s in his early thirties, his featuresstrong and yet capable of humor, too. His wardrobecontemporary, but with a faint suggestion of metallic sheenin some lighting – as if there may be more to the fabricthan is apparent. Behind him the SHIMMERING background hasfaded away, replaced by a more prosaic interior of astandard walk-in vault.

SEVEN(looking around,relieved; toRoberta)

I’m the fourteenth who’s tried sinceyou got here. Some of them you knew;I’m sorry. My name is 7Y6006, codeidentity…

Interrupted by KNOCK at the door. Roberta is standing there,still too startled to respond; Seven crosses quickly to thedesk and grabs up the “glasses” and turns to the door,putting them on. Another KNOCK. Seven slips the glasses intohis pocket, turning to Roberta.

SEVEN (cont'd)Authority of some type, metal. Saynothing, I’ll handle it.

ROBERTAWhat?

Seven has picked up the ballpoint pen and waved it casuallyat the door and we hear the lock UNCLICK as:

SEVENCome in.

WIDER ANGLE22 22

As the door opens and POLICE LIEUTENANT BRUNNER enters,takes in the room at a glance, an appreciative look towardRoberta, a suspicious one toward Seven as he takes his badgefrom pocket, exhibits it.

BRUNNERLieutenant Brunner, Detective Bureau.

SEVENIf it’s business, I’ve only justarrived in town…

(CONTINUED)

10.



Man, did he! You see that vault?

Brunner eyes her, the vault she’s indicating, waits for herto continue. Roberta suddenly realizes how silly it’llsound.

ROBERTA (cont'd)(continuing)

Uh… maybe you’ll believe it this way.(goes to typewriter;dictates)

Dear Mister Policeman, I wasstanding…

(eyes machine,repeats)

Dear officer…!

Nothing happens. And both Seven’s puzzled look and thedetective’s fisheye expression make her nervous.

ROBERTA (cont'd)Nothing important. I was leavinganyway…

Starts to cross toward door, pulls to a stop as:

BRUNNERStay… listen!

(to Seven)

Takes a Commission license to open a private eye office. Youhaven’t applied for one; we’re wondering why.

SEVEN(gives Roberta alook; to Brunner)

It should have been taken care of thefirst thing in the morning, I’ll… Iassure you.

BRUNNER(interrupting;surveying room)

So far, I don’t like what I see.(with a glance atRoberta)

Nice, but maybe too nice.(to Seven)

We get them… rent a plush office fora few days, grab off a few pigeonswith a fancy front…

(CONTINUED)

CONTINUED:22 2211.


SEVENI’ve leased this office for a year,Lieutenant, paid in advance.

BRUNNERI’ll check on that too. We’ll betalking some more.

Lieutenant Brunner turns, exits. Roberta starts for thedoor, Seven blocks her way.

ROBERTALook, I just came by to…

SEVENForgetting the license wasinexcusable. And what was thatcomment about my arrival?

ROBERTAListen, Charlie…

SEVEN7Y6006; code name “Gary Seven.”

ROBERTA(tries to movearound him)

Pleased to meet you; I’m RobertaHornblower, and now if you’ll…

SEVENI’m well aware of your coveridentity.

(looking her over)Your wardrobe could be in bettertaste.

ROBERTA(stung)

Better what?! Well, for yourinformation, Charlie…

SEVENSeven… Code name Gary Seven.

(slipping on theglasses; examiningher)

You have a good figure, however; thatcould be useful…

ROBERTAHey! Watch what you…

(MORE)(CONTINUED)

CONTINUED: (2)22 2212.


(she quicklyROBERTA (cont'd)

retreats to behindthe desk)

SEVEN(interrupting;taking off glasses)

I don’t understand. To check theskeletal framework of a fellow agent…

ROBERTAI’ll bet!

(moving for door)This may be the biggestunderstatement of your day, Mistercode name Gary Seven, but I thinkyou’ve got the wrong RobertaHornblower.

She gives the now-normal interior of the vault an amazedlook as she passes.


Oh wow! Have you ever!(pauses at door;indicates)

I came by to leave a message. It’s inyour typewriter.

Seven pulls the note out of the typewriter and, almostcasually, he takes out his ballpoint pen, waves it at thedoor. We HEAR the lock CLICK, as Roberta reaches the door,tries to open it. Alarmed, she tries to locate the lockingmechanism. Meanwhile, Seven has looked up from the note,reflecting an alarm of his own.

SEVENThis isn’t a joke?

ROBERTAIt better be.

(indicates door)Out, please!

SEVEN(eyes her)

I see.(crosses in)

Let me explain… Roberta Hornblowerwas accidentally killed this morning.I mean, you were supposed to be.Quite unrecognizably dead.

(CONTINUED)



ROBERTAThanks loads.

(indicates doorlock)And now if…

SEVENWhy would 3Y3 risk her life to saveyou? You have no consequence.Historically speaking, that is…

ROBERTAThanks loads again.

SEVEN3Y3 was selected because sheresembled an old photograph of you.Since you passed away without livingrelatives, identities could be easilyswitched…

Seven trails his words as if realizing this takes himnowhere. Roberta pulls at the door again, turns:

ROBERTALast chance! Or do I scream for thatdetective?

SEVEN(suddenly switchingfield, LAUGHS)

This is all a joke, of course. Didyou like my entrance? A trick, ofcourse, mirrors and that sort ofthing. I really thought you were mynew secretary.

INSERT - OFFICE WINDOW23 23

The female black cat with jeweled necklace has returned,sits eyeing him. The same sinister, intelligent look as ifit’s listening, planning. Then, leaping into scene fromanother terrace, a larger, shaggier black male cat, joiningthe female, also watching intently the two o.s. people inthe room, as we continue to hear:

SEVEN’S VOICE(continuing)

… I like to get started right.

ROBERTA’S VOICE… relax the new girl with a laugh…

(CONTINUED)



SEVEN’S VOICEYes, that sort of thing. Exactly.

TWO SHOT – SEVEN AND ROBERTA24 24

Seven joining her at the door. We can see his effort to keepit natural, an ordinary twentieth–century exchange.

SEVENAnd it occurs to me perhaps you’d beinterested in the job. Since you areout of work, and out of yourapartment, too, for that matter… thelandlady shouldn’t have kept yourclothes, I agree with you on that…and with only a dollar thirty-sixcents in your purse.

At the look on her Face, he trails his words – caught up inthe suddenness of this crisis, he’s been much too exact.He decides to wave his pen at the door, the lock UNCLICKS.

SEVEN (cont'd)At any rate, think about it. I’llknow where you are…

(realizes pen was amistake too;corrects self)

… that is, as a detective, I’ll haveways of getting in touch. Thank youfor leaving the note.

Roberta eyes him, decides a simple nod is safest. She opensthe door, remembers, turns and indicates:

ROBERTAOh… your cat’s out on the ledge, soif…

Turning toward window, indicating – SCREAMS with fear atwhat she sees. Seven reacts hard, whirling to look towardthe window…

POV - INSERT OF WINDOW25 25

Shocking us, as we see not the two cats, but HARTH and ISIScrouched on the ledge, positioned very much as the catswere. He is reminiscent of the better actors who once playedCount Dracula roles, dark and gaunt almost formal attire.ISIS, beautifully dressed also, still wearing the jeweled

(CONTINUED)

CONTINUED:23 2315.


choker-necklace we saw on the cat, is incredibly beautifulin an ageless sort of a way.

BACK TO TWO SHOT - SEVEN AND ROBERTA26 26

Roberta, shuddering, turning away and pressing to the safetyof Gary Seven.

SEVEN(urgently toRoberta)

Quickly! Was there anything else?

Roberta has risked another look toward the window, reactshard as she sees:

INSERT - THE WINDOW27 27

The two cats again! They’re turning, leaping out of scene,exiting.

BACK TO SHOT28 28

Seven, grabbing Roberta, pulling her attention quickly backto him.

SEVENHurry! Did anything new happen here?Any changes!

ROBERTANo… nothing. Just a package that camefor you…

She indicates; Seven takes only time for a quick glance,and:

SEVENOutside!

He throws himself and her in his arms out into the hallway,rolling; CAMERA JIGGLES as EXPLOSION rips through what hecan see of the office.

INT. OFFICE BUILDING HALLWAY - SPECIAL EFFECTS FIRE29 29

Seven, having thrown himself over Roberta, his body andclothing protecting her, as CAMERA CONTINUES JIGGLE through

(CONTINUED)

CONTINUED:25 2516.


remainder of EXPLOSION, with FLAME BLASTING OUT through theopen door all around them.

ANOTHER ANGLE30 30

He makes certain the explosion is finished, then pulls awayfrom her, looks back toward the office where we see remnantsof the FLAME LICKING at the charred and blasted interior ofthe office. Roberta, getting up too, is suddenly aware thatflame from the open door has charred and blackened thehallway carpeting around where they had lain – except forthe clearly defined and unburned outline where he and hisclothing had protected her. She’s suddenly shaky as sherealizes she should have been charred black as the carpetaround them.

ANOTHER ANGLE - MORE OF HALLWAY31 31

Where alarmed tenants have been hurrying out into thehallway and Marley appears on the run, Detective LieutenantBrunner following. Marley reacts to the dying traces ofFLAME and SMOKE:

MARLEYFire! Get the hose there!

BRUNNER(snaps to ND tenant)

Call the fire department!

Marley leaps to a cabinet of commercial building requiredsafety fire hose, yanking it from its neat accordion–pleatedrack, runs toward the door. Brunner, heading for Seven andRoberta, has no choice but to hurry back and twist on thewater valve, which has given Seven time to get quickly tohis feet.

SEVENCome on!

Yanks Roberta to her feet, pulling the surprised girl backtoward the charred, smoking office. The water jet fromMarley’s hose, directed first at the smoking hall carpet,catches them en route, almost knocking Roberta from herfeet, drenching them both.

INT. SEVEN’S OFFICE - DAY32 32

As they enter, both soaking wet, Seven slamming the door andthe LOCK CLICKING shut. Roberta coughing through smoke,

(CONTINUED)

CONTINUED:29 2917.


crosses to the cracked window, opens it for air; Sevenalready leaping to grab up from his charred desk the stillgleaming, jade-like cube, speaking into it:

SEVENComputer on! Read back in time inthirty seconds!

The cube immediately begins HUMMING and Gary places it onthe charred desk in the center of the room.

INSERT – THE SERVO33 33

Still HUMMING, beginning to pulsate with light.

COMPUTER VOICE(mechanical tone)

Scanning…

BACK TO SHOT34 34

We HEAR VOICES and HAMMERING replacing the SOUND of theWATER JET on the locked office. Roberta, drenched, andbefore she can decide what to do she’s amazed as thejade–like cube quickly BEEPS, the light fading, and we arealready into the following rapid exchange:

COMPUTER VOICEReport ready. Cover base damaged,blast intensity point–zero–one-three;flame measured six-thousand-and–fourdegrees centigrade at source…

SEVEN(interruptingrapidly)

Computer, I did not ask for anymeasurements. Simply compute andexecute the energy-matter formulanecessary to repair…

COMPUTER VOICE(light pulsatingagain; interrupting)

Repair to original state requires amodified time-warp taking this areaback exactly twenty-seven-point-one-six-three seconds in time…

(CONTINUED)

CONTINUED:32 3218.


SEVEN(irritated;interrupting)

Computer, stop gabbing about whatneeds doing, simply do it! Fix thisbase; give us time to get through theportal!

During which Seven’s crisis is mounting. Outside, we hearSOUND of FIRE SIREN approaching; HAMMERING at the door,MARLEY’S and DETECTIVE BRUNNER’S VOICES SHOUTING for entry.The Computer, more determined, is PULSATING and HUMMINGagain. Seven has raced to the vault steel door, quickly andexpertly setting in a combination, calling to the still wetand dripping Roberta:

SEVEN (cont'd)Come on!

ROBERTAWhere?

(indicatingcomputer)

What is that thing, anyway?

The Computer light pulsations faster, brighter, Seven racesback to Roberta, pulls her toward the vault door which issmoothly and automatically swinging open. FIRE SIRENS cannow be HEARD pulling to the curb on the street below,during:

SEVEN(rapidly, urgently,indicating vaultdoor)

Space-portal. It’s set for oursleeping Quarters…

ROBERTA(reacting; pullingback)

Our what?!

SEVEN(interrupting,pulling; she won’tmove)

Please! You’ll find it quiteluxurious by 20th Century standards,ample dry wardrobe to choose from…

CONTINUED:34 3419.


ANGLE EMPHASIZING ROBERTA35 35

Roberta suddenly girlish and frightened, her basic selfrevealed as she attempts to pull away, pleading:


Maybe my Mod clothes fooled you;actually, I’m very old fashioned!

(pleading; wrenchingaway)

You’ll get arrested; I’m hardlytwenty…!

PLINGGGGG … strange ECHOING SOUND like a fourth-dimensionalharp string being plucked. Roberta turning toward the SOUNDand seeing one b.g. OFFICE WALL OPTICALLY SHIMMER DISSOLVEfrom its burned condition hack to freshly painted as before.Another strange PLINGGGGG … and an office chair goes fromashes back to clean and new. Seven scoops the amazed girl upinto his arms, steps toward the open vault.

ANGLE AT VAULT36 36

The steel door open, through which we see only the strangeSHIMMER of nothingness which will become familiar and formatwhen this space-portal is engaged. Seven steps into the doorwith Roberta in his arms, leaving only the grey steelinterior of an ordinary walk-in vault in view as the doorsmoothly and automatically closes on it.

FADE OUT

END ACT ONE

20.


ACT TWO

FADE IN:

INT. SEVEN’S APARTMENT - PANNING AND ESTABLISHING37 37

The huge, two–level living room of a luxury penthouseapartment. CAMERA takes in plush, thick carpeting… deep andsoft luxury couches and chairs… richly lustrous cabinet andtable pieces… rare art objects and fine paintings. Doorsleading off into what we’ll discover are bedroom suites. Inall, a millionaire bachelor’s dream penthouse.

SOUND of a RECORD TURNTABLE coming on and CAMERA WHIP PANSTO REVEAL a fine stereo unit in process of dropping arecord – SOFT MUSIC begins. CAMERA CONTINUES WHIP PAN TOREVEAL decorative lighting coming on at an aquarium, at aplanting group, then to draperies sliding open at a wideexpanse of windows, revealing the city vista stretching outpast tall buildings, the sparkle of a river and bridges, andbeyond. The room is being prepared for the arrival of itsoccupants.

ANOTHER ANGLE - CLOSET DOOR38 38

Automatically swinging open, revealing a simple utilitycloset, then the SHIMMERING SPACE-PORTAL EFFECT and we seeSeven come up with Roberta in his arms as we last saw them,MATERIALIZING INTO SOLIDITY as he steps into the room. Thecloset door swings shut behind him and he places a damp andstartled Roberta on her feet, indicates the bedroom door.

SEVEN(urgently)

We’ve only minutes; you’ll find dryclothes in your bedroom suite…

Seven has headed for an adjoining door, turns, motions herurgently toward the other door.

SEVEN (cont'd)If you’re waiting for me to carry youin there too…

Roberta decides to comply, moves into the room indicated.

INT. ROBERTA’S BEDROOM SUITE – ESTABLISHING39 39

as Roberta enters, gasps at what she sees. If the livingroom is a bachelor’s dream, this is equally a bachelorette’s

(CONTINUED)

21.


vision of perfection! The decor totally feminine, from softermine–like rug, to an incredibly huge bed of silks andsatins. LIGHTS are automatically coming on at a luxuriousmakeup table complex, next to which are rows of perfumes,lotions, every conceivable luxury and beauty aid.

CLOSE - ROBERTA40 40

Turning even more unbelieving, as she sees:

EMPHASIZING WARDROBE AREA41 41

Doors silently sliding open and LIGHTS coming on to revealrow upon row of wardrobes – sports outfits, lounging robes,cocktail outfits, evening dresses, furs of every style andselection, and more.

SEVEN’S VOICEPlease hurry! I’ll dress you if Imust!

ROBERTAI’m… hurrying.

Roberta, with little choice, hurries to the rows of clothingand begins to select an outfit.

INT. SEVEN’S BEDROOM SUITE - MED. CLOSE ON SEVEN42 42

We need not see as much of his bedroom suite. He is alreadygetting into a dry outfit, turns and calls:

ROBERTA’S VOICEWho are you?

SEVENDo you like that suite? It wasdesigned for… my late secretary.

ROBERTA’S VOICEI’ll bet she was.

SEVENThe woman who saved your life.

ROBERTA’S VOICEOh… I’m… sorry. I just meant… shemust have meant a lot to you.

(CONTINUED)

CONTINUED:39 3922.


SEVENActually, we hadn’t met. I was out…out of the country when she wasselected for the job.

INT. ROBERTA’S BEDROOM SUITE43 43

as (SELECTED ANGLES) she dresses.

ROBERTAWhat I meant was… sharing anapartment sort of doesn’t look likejust a business arrangement.

SEVEN’S VOICEMy secretary has to be immediatelyavailable. Are you dressing? We’veless than a minute now!

ROBERTA(a bit irritably)

Yes! I’m dressing!

INT. SEVEN’S BEDROOM SUITE44 44

Dressing rapidly, but considering his words carefully.

SEVENPleasant address here; Parkside area.And since you’ve just lost your ownapartment, and my late secretarywon’t be needing that wardrobe now…

ROBERTA’S VOICE(not as certain)

I’ve… a girl friend I can stay with.

SEVENAs I recall the records, Cynthia,isn’t it? Are you dressed?

INT. ROBERTA’S BEDROOM SUITE - ANGLE ON ROBERTA45 45

in slip, choosing a dress.

ROBERTAAlmost.

(CONTINUED)

CONTINUED:42 4223.


SEVENDid you know Cynthia will marry anEddie Norris later this year?

ROBERTAGuess again. She loathes him!

Seven enters; Roberta quickly pulls her dress into place,turns to button it.

SEVENIf you’ll notice, there’s also a lockon your door. Your lock. I can’t workthat one. I simply need a secretary.You might call the apartment andclothes a “fringe benefit.” Assalary, whatever you…

(carefully)…ah, think would be fair, of course.Would a thousand a month beequitable?

Roberta stops dressing, looks up, absolutely flabbergasted.Seven grabs her arm, pulling her from the room.

SEVEN (cont'd)Hurry, we’ve got just seconds!

As they exit, Roberta trying to adjust her skirt,

CUT TO:

INT. SEVEN’S OFFICE - ANGLE INCLUDING DOOR46 46

The office, clean and fresh, undamaged, exactly as itappeared at the opening of our story. Except for the VOICESAND SOUND from outside which can only be firemen hurrying upthe hallway with equipment.

BRUNNER’S VOICE(through door)

Last warning! This is the police,open up!

MARLEY’S VOICEHurry! They’ve got to be dead,smothered…!

BRUNNER’S VOICEAll right, break it in!

(CONTINUED)

CONTINUED:45 4524.


The fire axe SMASHES at the door, the point of it visible asit cuts through the door panelling. Then another BLOW fromthe axe, the door beginning to splinter. CAMERA WHIP PANS TOREVEAL the steel door of the vault swinging automaticallyopen, the SHIMMER SPACE-PORTAL EFFECT appearing… SOUND OFDOOR SPLINTERING OPEN, as we see Seven and RobertaMATERIALIZING, GROWING SOLID.

ANGLE ON DOOR47 47

A final SMASHING BLOW and a fire uniform arm and handreaches through to wrench at the knob from the inside,trying to find the lock.

WIDE ANGLE - INCLUDING SEVEN AND ROBERTA48 48

Fully MATERIALIZED now, the vault door swinging closedbehind them… Seven taking his ballpoint pen SERVO frompocket, waving at door and lock UNCLICKS. The door burstsopen and fire BATTALION CHIEF, Marley, Detective Brunner, anN.D. FIREMAN with hoses and equipment rush into the room,pull up startled at the sight of a totally undamaged office.

EMPHASIZING MARLEY, BRUNNER AND BATTALION CHIEF49 49

Marley and Detective Brunner totally unbelieving, totallyuncomprehending. The Battalion Chief is already throwing thepolice lieutenant a questioning look.

BATTALION CHIEFAll right, Lieutenant… what fire?

BRUNNER(indicating)

There was a…(looking around,confused)

I saw flame and smoke from thehallway.

(sudden idea)Out there! Check the hallway carpet.

CLOSE ANGLE – EMPHASIZING SEVEN50 50

Using the ballpoint pen SERVO, half-hidden in his hand, thenputting it away.

CONTINUED:46 4625.


ANGLE TO INCLUDE OPEN OFFICE DOOR51 51

Brunner leading the Battalion Chief toward where tenants andothers are crowded around outside.

BRUNNERAll right, everybody back! Clear thearea!

MARLEY(authoritarian;remembering this ishis building)

Everybody back!(to Battalion Chief)

I know the condition of my owncarpet, Chief. If you’ll just look atit…

Both Detective Brunner and Marley pulling to an unbelievingstop as the tenants and others outside have pulled back,revealing a totally unburned surface on the carpet outsidethe door.

CLOSER ANGLE AT DOOR AREA52 52

Including Seven, who crosses in and to the Battalion Chief.

SEVENDo you get many mistakes of thissort?

Battalion Chief gives an angry look toward Brunner; then tohis men:

BATTALION CHIEFFalse alarm; courtesy the policedepartment this time.

Brunner fuming; Battalion Chief and his men exiting.

INT. OMEGAN HEADQUARTERS - CLOSE ON CRYSTAL SPHERE53 53

Inset in a weirdly-fashioned table, the shape of it and theevil gargoyle carvings on it suggesting something of blackwitchcraft legend. At first, the crystal sphere seems filledwith swirling clouds and then we hear:

26.


HARTH’S VOICEAladeus… Polloyon… Balberita… Belia…Eban–eban…

(repeating asnecessary forfollowing)

The swirling mists in the crystal begin to clear and webegin to see more and more sharply defined the image of thescene we just left… Seven’s office, Gary Seven and Roberta,Detective Lieutenant Brunner and Marley, the actioncontinuing SILENT. CAMERA PULLS BACK TO REVEAL Harth andIsis in their human form, hovering over the crystal,watching intently.

ISISTheir clothing has changed.

HARTH(nods)

His space-portal. Let him put trustin mechanisms.

EMPHASIZING HARTH AND ISIS (CRYSTAL SPHERE O.S.)54 54

Revealing the room, large areas shrouded in dark shadow, thepools of faint light coming from flickering green flames atceremonial urns and altars. Here and there a reflectioncatches what appear to be huge idols, images with unearthlyevil forms and features.

HARTHAlways humanity’s weakness, Isis.They prattle of the power of theirsouls, but give their faith tomaterial devices.

ISIS(still eyeingcrystal)

He escaped our first trap.(at Harth’s look)

It would be foolish to underestimatehim.

HARTH(indicatingsuddenly)

This one… observe.

(CONTINUED)

CONTINUED:53 5327.


ISIS(nods)

Jerome Howard Brunner…

HARTHTitle… ‘Detective Lieutenant.’ I seeanger there… observe him, he may heuseful.

As they watch:

INT. SEVEN’S OFFICE - ANGLE AT DOOR55 55

Anger there indeed. Marley is upset about the condition ofhis door and Brunner is throwing angry looks at Seven.

MARLEYYou ordered him to chop that doordown!

BRUNNER(reacting)

And I admit it was a mistake…

MARLEY(interrupting)

You bet it was. And when I file suit…

BRUNNER(quickly)

… and my Captain doesn’t like toworry about mistakes. I’ll pay tohave a new one put in. Okay?

MARLEYI’ll expect it tomorrow.

Marley exits. A steaming Detective Lieutenant Brunner turnson Seven.

BRUNNERAnd you’re under arrest, Mister.

ANOTHER ANGLE – INCLUDING ROBERTA56 56

as surprised as Seven. Then defiant:

ROBERTAFor what?I Seven gives her asurprised but pleased look.

(CONTINUED)

CONTINUED:54 5428.


SEVENYou’ll take the job?

ROBERTA(nods)

But I don’t know why. I’ve got lotsof questions…

SEVENI’ll answer them… in time.

Brunner has taken from his pocket a brown evidence envelope,opened it and is now taking out a wad of money.

BRUNNER(interrupting)

You’re making a mistake, Miss.(exhibiting money toSeven)

You give this to Marley?(at Seven’s look:barks)

Marley! The owner of this building!

SEVENOh… the money for the lease.

BRUNNER(by rote; thenecessary verbiage)

Understanding that anything you saycan be used against you and you arenot required under law to makeadmissions or confessions, exceptfreely and voluntarily… did thismoney come from you?

SEVENYou might say it did.

BRUNNERThen the charge is counterfeiting.

(exhibiting money)Best job I’ve ever seen. Perfect,except for one little mistake. Everyserial number on every bill isexactly the same!

SEVENOh? But that can be fixed quiteeasily…

(CONTINUED)

CONTINUED:56 5629.


BRUNNERI’ll bet!

Brunner spins Seven around, begins to shake him down.

SEVEN(to Roberta)

You’ll be able to get me on thetelephone there…

BRUNNER(completingshakedown)

No calls, only your lawyer. Let’s go.

Seven and Roberta exchanging looks, the girl needinginformation and Seven unable to give it to her.

SEVENTry dialing 7Y34490178J. Write itdown, quickly!

ROBERTA7Y… what?

BRUNNERThat’s no phone number, lady. Saveyour…

In b.g. the typewriter with machine-gun rapidity suddenlytypes out those digits. Brunner whirls toward it, startled.

SEVEN(quickly, toRoberta)

Oh, and the typewriter still has ashort in it. Better have it fixed.

ROBERTAUh… yes, Mister Seven.

Seven is forced to exit, Brunner’s arm on him.

SEVEN(as the door closes)

And don’t play with the cats!

And as the door slams, Roberta is left alone in the office,bewildered, wondering if she’s doing the right thing… and abit frightened.



INT. OMEGAN HEADQUARTERS - CLOSE ON CRYSTAL SPHERE57 57

Revealing, as before, as if in a transparent crystal pool,the scene from a preceding shot… Seven’s office whereRoberta is alone, uncertain, crossing to the desk, to sit.

ANGLE ON HARTH AND ISIS58 58

Watching her, then a pleased smile from Harth.

HARTHHow beautifully foolish these humanfemales. He offers a room, scentedoils, a few colorful garments…

ISISAnd himself.

Harth looks up, meets her eyes.

HARTHIs he attractive, Isis?

ISIS(nods)

To an earth female.

HARTHIn the tomorrow you appeared to himonce, I believe; spoke to him…

It’s a challenge. Isis meets Harth’s look, then:

ISISI appeared to many men in hiscentury. Their torment gave mepleasure.

SHOT PAST ISIS - OVER SHOULDER ONTO HARTH59 59

Behind Harth in flickering shadows on the wall. He eyesIsis, then nods.

HARTHThen go to the Lieutenant of Police,my dear. You’ll have pleasure there.

(looks back atsphere)

The girl is mine.

31.


INT. SEVEN’S OFFICE – ROBERTA60 60

In the midst of dialing out the long number given her bySeven, referring to the numbers still in the typewriter asshe dials. Completes it, waits, listening at the receiver…nothing. She hangs up the phone… then another idea occurs toher. She dials a normal seven-digit number. We HEAR aFILTERED PHONE RING from the receiver at her ear. ThenANSWERING PHONE CLICK, then we HEAR filtered:

CYNTHIA’S VOICEHello?

ROBERTACynthia? Bobbi.

CLOSER ANGLE - OVER ROBERTA’S SHOULDER ONTO PHONE61 61

Roberta is turned slightly away from the wide executivetelephone and doesn’t notice at first that there is silentlyrising up out of the instrument a viewing screen. On it is aCAMERA ANGLE of the girl answering the phone, CYNTHIA, agirl about Roberta’s age, seated in what is a small, quitemodest apartment.

CYNTHIA(trace of surprise,discomfort)

Uh… hi, Roberta.

ROBERTASomething wrong?

Roberta suddenly becomes aware of the viewing screen, trailsher words.

CLOSE ANGLE ONTO ROBERTA62 62

Eyeing the screen, uncomprehendingly.

CYNTHIA’S VOICENothing, hon. An old sorority sisterdropped by. Could I call you back?

ROBERTASure…

32.


ANGLE PAST ROBERTA ONTO TELEPHONE AND SCREEN63 63

as a young man, EDDIE NORRIS, loud plaid jacket, walks intoview behind Cynthia, carrying a pair of fresh drinks,proffers one toward her… Cynthia quickly putting a finger toher lips for silence. Then, into phone:

CYNTHIAI haven’t seen… Helen, you’ve heardme mention her, for years, andthere’s so much to catch up on…

CLOSE ONTO ROBERTA - EYEING THE O.S. SCREEN64 64

Then:

ROBERTATell Eddie I‘ll kill him!

ANGLE ON TELEPHONE SCREEN65 65

Eddie sees Cynthia’s startled look, puts his ear down towardthe telephone and hears:

ROBERTA’S VOICE(louder)

Can you hear me, Eddie, you two-timing phoney!

On the screen Eddie so startled he almost drops the drinks.He and Cynthia exchange puzzled looks.

CYNTHIA(into phone)

Are you out of your mind, Bobbi? Ican’t stand that goon Eddie. And anygirl that sees a boy friend of herbest girl friend…

ROBERTA’S VOICE

And wearing the plaid jacket I gave him for Christmas! Tellhim next time he sees you, to wear his own clothes!

Roberta hangs up the telephone hard… and the images of thesurprised Cynthia and Eddie fade. The screen slides smoothlyout of sight down into the telephone.

HARTH’S VOICEI can destroy Eddie…

33.


WIDER ANGLE - INCLUDING HARTH66 66

Roberta whirling – then chilled as she sees the gaunt, evilfigure of the Omegan standing by the open window. A half-smile flickers on Harth’s features.

HARTH(continuing)

… for you, Roberta. If you’d dosomething for me.

FADE OUT

END ACT TWO

34.


ACT THREE

FADE IN:

INT. SEVEN’S OFFICE - SHADOWS ON OFFICE WALL67 67

Shock – SOUND of Roberta SCREAMING – and on the wall theshadow of Roberta backing away from a larger, menacingshadow suggesting a catlike biped creature melting into athing with bat-like wings.

CAMERA WHIPPANS TO:

TWO SHOT - ROBERTA AND HARTH68 68

Harth in human form is advancing on Roberta backing away,the terror on her face suggesting that her mind is seeingglimpses of what the o.s. shadows have been suggesting.Roberta is being backed into the corner.

ROBERTA(faintly)

No… please…

HARTHAre these eyes of an evil man? Lookinto them…

CAMERA DOLLIES INTO EXTREME CLOSEUP OF ROBERTA as her gazemeets Harth’s eyes.

CLOSEUP TIEDOWN - HARTH69 69

His MATTE eyes becoming pools of brilliance, not unlike thejeweled SHIMMER we’ve seen on Isis’ necklace.

OVER HARTH’S SHOULDER ONTO ROBERTA70 70

Her look of terror beginning gradually to fade…

HARTH(chanting)

Look… look deeply… libeabub…tiantilus… eban-eban…

(her face goingblank; he touchesit)

What a lovely one of us you’ll make.

35.


INT. OFFICE BUILDING HALLWAY - AT DOOR TO SEVEN’S OFFICE71 71

Marley, at the instant he passes and does almost a doubletake – the door, the sign ”THE - 7 AGENCY,” are replaced,intact and whole, not a mar, not a suggestion of thesplintered surface and jagged hole of less than twentyminutes ago.

MARLEYImpossible! Nobody’s come in this…

INT. SEVEN’S OFFICE - ANGLE ON DOOR72 72

Marley KNOCKING and entering as:

MARLEY(continuing)

… building with a new door…!

Trailing his words as he sees:

WIDER ANGLE - INCLUDING ROBERTA73 73

Standing in the corner where we last saw her, immobile,staring into space. In front of her, the huge, black malecat which has turned on Marley, SNARLING-SPITTING.

MARLEY(continuing)

And no pets! It’s in the lease!Plain, clear language!

The cat turns, fleeing out of sight past the desk.

CLOSER - ROBERTA AND MARLEY74 74

Marley becoming aware of the strange expression on her face,misreading it:

MARLEYThere, there… of course you’re upset.Your employer turning out to be acriminal…

ROBERTA(shudders)

No… no, it’s not…

Roberta coming out of it with relief flooding her, trying tohold back tears. Marley, his expression softening, moves in.

(CONTINUED)

36.


Roberta buries her head on his shoulder, sobbing. Marleycomforts her.

MARLEYOne thing I know is faces. And Icould see from the first you weren’tthe kind to be mixed up in…

(uncertain;indicates)

… in all this.

Roberta, her head on Marley’s shoulder, still shudderingover her narrow escape.

ROBERTAIt was terrible… he came… so close toowning me…

MARLEYI read it in him immediately…criminal features… beady eyes…

ROBERTAYes… the eyes. They seem to reachout, take possession of you…

MARLEYAnd that name… ‘Seven!’ An alias if Iever heard one. He’s probably wantedin every state.

ROBERTA(looks up,surprised)

What? No, not…

MARLEY(nods; moving fordoor)

You can depend on it. I never miss ona face.

ROBERTANo… don’t go.

Marley exits. Roberta stands for a moment, uncertain, eyeingthe office, then makes up her mind and hurries to thetypewriter.

CONTINUED:74 7437.


ANGLE ON TYPEWRITER75 75

Showing on the paper in it the digits previously typed bythe machine.

ROBERTASpace, space…

(typewritercomplies; rapidly)

Dear Mister Seven… I’m sorry…

ANGLE ON ROBERTA76 76

Quickly dictating, the machine automatically and rapidlytranscribing it.

ROBERTA(hurriedly)

… it’s certainly not the salary. Andit’s not you… I sort of did like you…

(moving for door)… but you need someone a lot smarterand braver than me, respectfully,Bobbi Hornblower.

She opens door, MUSIC STING! It’s locked! Roberta callsvainly to “Mister Marley,” fights to open the door. Then shenotices the telephone, hurries back to it.

ANGLE PAST TELEPHONE77 77

Onto Roberta, quickly dialing the digits left by Seven. Thephone viewer screen slides silently up out of the phone. Sheregisters, seeing someone on it.

ROBERTAMister Seven…?

ANGLE PAST ROBERTA78 78

Onto screen where we can see Seven pacing a jail cell.

ROBERTAMister Seven…

(clicking phonecradle)

Please, how do I work this thing?

On the viewer, Seven paces, does not hear.

38.


ANGLE ON CAT79 79

Gliding into sight from behind a cabinet, moving toward her,as:

ROBERTA’S VOICEYou must hear me! I need help!

INT. JAIL CELL – SEVEN80 80

As we saw him on viewer in preceding scene. In one corner ofthe cell, in dim shadow, a double-decked bunk there.Seven turns as he hears:

ISIS’ VOICEHello, darling…

ANOTHER ANGLE – INCLUDING CELL WINDOW81 81

Seven whirling at the voice to find Isis, necklace andslinky dress, sitting on the inside ledge of the barred cellwindow. She smiles, indicates cell door.

ISISWhy didn’t you simply walk out? I’msure you can handle a primitive celldoor.

SEVENAnd try functioning as an escapedcriminal?

ISISI’ve taken care of all that, darling.Tomorrow they’ll find license intheir files. And I’ve corrected thenumbers on the money.

CLOSER - ISIS82 82

As Seven crosses into TWO SHOT with her, inspects her. Then:

SEVENWhy?

ISISSo you can leave with me, darling.Now. Together we can kill Harth.We’ll both be free to choose any yearwe please, any life…

(CONTINUED)

39.


SEVEN(interrupting)

And which of us would own the other,Isis? One of us would have to.

ANOTHER ANGLE - THE CELL BUNK (SEVEN AND ISIS O.S.)83 83

As, in this dim cell corner, revealed now in this CLOSERSHOT, we see the head of a half-asleep PRISONER appear,awakened by the voices, and registering unbelieving as hesees:

ISIS’ VOICEYou would own me, of course, darling.In any form you wish…

ISIS AND SEVEN84 84

As she pleads, she touches her necklace and it falls intoher hand, swinging and sparkling in front of Seven’s eyes.For a moment it seems she’s successful, his eyes riveted toit.

ISISAnd I’ll make pleasures for you…

SEVEN… eban-eban…

(looks up at her)One lie, then another…

Seven grabs the necklace; Isis fights to hold onto it.

ISISNo! You must go with me.

(fighting)I have possession of one of them.Come with me or he’ll kill you.

ANGLE AT CELL85 85

Seven’s fellow prisoner taking his eyes off them for amoment in the process of rolling out of the bunk… duringwhich a cat’s HISS…

(CONTINUED)

CONTINUED:82 8240.


PRISONERLeave her alone,(buddy!(on feet, turning)

If the lady wants to please us…

He stops, blinks his eyes.

WIDER ANGLE - INCLUDING CELL WINDOW86 86

Seven alone at the window, his hand at his mouth, nursing ascratch there.

BRUNNER’S VOICESuspect Gary Seven…

Lt. Brunner at the cell door unlocking it. His motionsalmost zombie–like, his eyes set unblinking, blank, hisvoice lifeless, emotionless.

BRUNNER(continuing)

Outside.(swinging door open)

I am ordered to question you.

CLOSER - SEVEN AND ERUNNER87 87

Seven hesitates, taking in Brunner’s “possessed” expression.The detective draws his snub-nosed revolver, and he repeatsin the same lifeless tone:

BRUNNEROutside… I am ordered to questionyou.

ROBERTA’S VOICE(CLICK; then mid-sentence; filtered)

… help me, Mister Seven, please hearme. He’s back, he’s after me…

SNARLING CAT SOUND, then we hear Roberta’s SCREAM… ECHOINGINTO SILENCE. Seven has reacted hard, but Brunner’s thumbCLICKS the pistol hammer back into firing position, the gunwaving Seven toward the door. Seven obeys, Brunner CLANGINGthe cell door closed behind him and takes Seven down the dimjail corridor, pistol at his back.

CONTINUED:85 8541.


INT. SEVEN’S OFFICE - ROBERTA AND EARTH88 88

Roberta breaking free, running and grabbing up the greencomputer cube from the desk, rubbing it as she saw Seven do.As she retreats from Harth:

ROBERTA(into cube)

Computer help me!

Harth, amused at her attempts; the cube has glowed light,BEEPS once, grows silent.


Computer! At least tell me what todo!

Again the cube glows for a moment, BEEPS, grows dead andsilent again. Robert backs up past the window, sees nopossibility there, Harth now trapping her in a corner of theoffice.

CLOSE – ROBERTA AND HARTH89 89

Terrorized, Roberta throws the cube hard directly at Harth.It hits him heavily, he GROANS and goes down to his knees.Roberta flees past him, desperately tries the office dooragain… still locked. And Harth is GROANING, getting to hisfeet. Roberta’s eyes fall on:

THE VAULT90 90

Roberta fleeing there… frantically spins the combination.

ROBERTAAnywhere… anywhere else.

The heavy steel door begins to swing open. Harth, his faceshowing dark anger, staggers toward her. The vault door isfar enough open to see the familiar space-portal SHIMMER andRoberta, with no other choice and Harth approaching her,flings herself into the opening.

INT. SENATOR’S OFFICE91 91

At the desk a distinguished grey-haired SENATOR working onsome papers. Behind him through the window a vista of theNational Capitol Building. Roberta comes stumbling out a

(CONTINUED)

42.


small door adjoining the office and the Senator looks up…it’s hard to tell which of them is the most startled.

ROBERTAWhere am I?

(then noticing vistaout window)

Washington?

The Senator reaches for the intercom on his desk, BUZZES.

SENATOR(into intercom;quietly)

Miss Jensen, please call the CapitolGuards. Someone’s put a woman in mydressing room.

ROBERTANo, it’s quite all right. It’s MisterSeven’s space-portal…

But the Senator is already on his feet, moving toward her,indicating the door.

SENATORClever! But I’m an old hand atscandal.

ROBERTADon’t you know him? He must beplanning to visit you…

But the Senator is propelling her steadily back toward thedoor she entered.

INT. SEVEN’S OFFICE - AT VAULT92 92

Harth vainly trying to pull open the vault door. Then,angry, he spins the combination, puzzling over it.

INT. MEN’S RUBDOWN ROOM - ANGLE INCLUDING STEAM ROOM DOOR93 93

As the steam room door opens; both a cloud of steam andRoberta come out. The MASSEUR at the rubdown table looks upin startled surprise; his CUSTOMER grabs an additionaltowel, protecting his modesty. Now, from behind Roberta, aportly GENTLEMAN, draped with sheet, comes out of the steamroom, pulls the sheet tight around him and looks from her tothe other men in the room flabbergasted.

(CONTINUED)

CONTINUED:91 9143.


ROBERTAAm I still in Washington, please?

PORTLY GENTLEMANChicago, Madam. It could happen nowhere else.

ROBERTAThank you, I’ll try again…

She turns back to the steam room door; the portly Gentlemanreleases one hand from the sheet long enough to courteouslyopen the door for her and she disappears in the clouds ofsteam coming out.

EXT. JAIL ALLEY - JAIL REAR DOOR94 94

As Brunner follows Seven out into the alley.

BRUNNER(same lifelessmonotone)

You will now attempt to escape.

SEVENTry to understand, you’ll only createproblems for both of us. My clothing…

Brunner FIRES point-blank at Seven’s torso. Seven looks downwhere the bullet hit, registers a bit of relief.

SEVEN (cont'd)We made tests with these antiqueweapons and the clothing wasexpressly designed…

Brunner FIRES again. Then he FIRES a third time, a fourthtime. Seven gives up trying to explain, steps into themuzzle of the gun, clips Brunner hard in the chin and thedetective slumps, FIRES; Seven hits him again and thedetective goes unconscious.

WIDER ANGLE95 95

A UNIFORMED OFFICER has appeared at the doorway, sees Sevenand the unconscious detective, pulls his service revolver.Seven turns, finds his way locked by still a secondUniformed Policeman running up the alley.

(CONTINUED)

CONTINUED:93 9344.


SEVENGentlemen, I must leave. I’ll try toexplain later.

Seven pivoting, flipping the officer who was racing up thealley toward him, Then he runs down the alley, escaping. Theofficer at the top of the stairs begins FIRING; the otherofficer rolls to his feet, draws, and adds his GUNFIREtoward the retreating figure of Seven, which rounds thecorner, exiting.

EXT. THE KREMLIN (STOCK)96 96

MUSIC cuing this surprise cut.

DISSOLVE TO:

INT. KREMLIN CORRIDOR97 97

A pair of RUSSIAN UNIFORMED GUARDS, carrying burp guns,racing down this section of marble corridor, searching forsomeone. As they round the corner, exiting, Roberta comesout of hiding from behind a piece of statuary or a case ofartifacts. She eyes the three or four doorways in sight,puzzled. Each door looks exactly the same!

ROBERTA(to herself)

Which door did I come in from? He’ssure planned himself some interestingvisits.

She starts for one of them, reaches for the handle… but thedoor opens first and a bald, civilian-clad COMMISSAR startsto step out and stops startled at the sight of the younglady.

ROBERTA (cont'd)Commissar, could you tell me wherethere’s an office just like this one?

COMMISSAR(In Russian) What in the devil? Yousound like an American!

ROBERTAAmericanski?… Uh… Si, mucho.

Roberta has already moved, peeks into the next office.Behind her the Commissar is raising the alarm:

(CONTINUED)

CONTINUED:95 9545.


COMMISSAR(In Russian) Guards! Guards!

And the Guards appear, SHOUTING A WARNING as they spotRoberta, their boots CLATTERING AND ECHOING as they racedown the corridor toward her.

CLOSER - ROBERTA98 98

As, barely in the nick of time, she finds the right door.

ROBERTAYes, this one.

She moves into it, exiting.

INT. OMEGAN HEADQUARTERS – ANGLE ON HEAVY STONE DOOR99 99

Facing the door, standing ready are a pair of OMEGANNOVICES. Once Earthmen, they are now like walking dead. Infront of the doorway a boiling, sulphureous, molten areaflickering with flame. Harth and Isis enter, cross to thispoint.

HARTH(to Isis)

Her next portal brings her here.(indicates firstNovice)

Smith came to me through fire. He wasquite hurried about agreeing toserve.

Harth smiles, turns back to the door, waiting.

INT. SEVEN’S OFFICE - ANGLE ON GREEN “COMPUTER” CUBE100 100

Pulsating with LIGHT and we HEAR from it:

COMPUTER(mechanical tone)

… questions phrased inaccurately. Itwas impossible to comply.

During which CAMERA PULLING BACK TO REVEAL Seven anxiouslyquestioning the cube:

(CONTINUED)

CONTINUED:97 9746.


SEVEN(interrupting)

Computer, I do not want a moment bymoment description!

COMPUTER(pulsating)

Computing.(BEEPS; then)

The space-portal was used. A varietyof space-warps, all pre-selectedcases for your attention. Washington,D.C., Senator Monroe’s office…Chicago, the City Athletic Club…

SEVEN(interrupting)

Where is she now?!

COMPUTER… London, Scotland Yard… the Kremlin,Ministry of War…

INT. OMEGAN HEADQUARTERS - CLOSE ON HEAVY STONE DOOR101 101

as it begins CREAKING slowly open.

WIDER ANGLE102 102

Harth, Isis and the Novices standing ready. Harth waves atthe flames and they leap higher, reflecting on the slowlyopening door.

ANGLE THROUGH DOOR103 103

ANGLE from inky darkness out into the pit of fire and flame,Harth and Isis with the Novices waiting expectantly on theother side. Roberta MATERIALIZING into view, MOVING AWAYFROM CAMERA and stepping toward the pit of fire. She seesher danger and tries to stop her forward movement, toppling,SCREAMING.

INT. SEVEN’S OFFICE - CLOSE ANGLE ON OPEN VAULT - NIGHT104 104

Roberta’s SCREAM continuing over, then SILENCE. Finally, wesee MATERIALIZING in the form of Seven carrying the barelyconscious Roberta out of the space–portal and the two ofthem growing solid as he steps into the room and sets her onher feet. The steel door silently closes behind them. Her

(CONTINUED)

CONTINUED:100 10047.


dress is torn, darkened, the hemline singed away. The upperpart of his body and his arms are also singed and sooty.Seven is at the vault, setting in a new combination.

SEVENI’ll set for our quarters. It isgetting a bit late…

ROBERTAI don’t suppose… every day is goingto be like this?

SEVENOf course not. The first day in a newjob…

Both of them looking up startled at SOUND OF DOOR OPENING.

SHOT TO INCLUDE MARLEY105 105

Entering, pulling up short, startled at their appearance.He holds up a manila envelope he holds.

MARLEYUh… business permit from the police.

(eyes them again)They, uh… returned the money… thatis, they said it was all a mistake.

(hesitates)Is there something wrong with myoffice, Mister Seven. You seem tohave… problems in here.

SEVENProblems, Mister Marley? None I knowof.

Marley looks a little fatigued, mops his brow, nods, decidesto exit.

DISSOLVE TO:

INT. SEVEN’S APARTMENT – FULL SHOT LIVING ROOM - NIGHT106 106

Pleasant MUSIC playing. The room looks warm and comfortable.A door CHIME; Seven, slipping on a smoking jacket, entersfrom his bedroom suite, crosses to the door.



CLOSER ON DOORWAY107 107

As Seven opens it, revealing outside the young man, EddieNorris, whom we saw earlier briefly on the telephone viewerwith Cynthia. He eyes Gary Seven nervously:

EDDIEUh… I guess I’ve got the wrong place…

SEVEN(interrupts)

If you’re looking for someone…

EDDIEHer girl friend must have gotten theaddress mixed up. You see, they werequarreling anyway and…

SEVENYou mean Roberta?

Eddie, who has already turned to go, spins back, startled.His voice BREAKS as:

EDDIERoberta… here?

Eddie is unable to articulate it but his surprise andmeaning are quite clear. Seven nods.

EDDIE (cont'd)Oh, I see…

SEVENI’m pleased. Good night.

Seven closes the door on the young man. He crosses to hisdoorway when Roberta enters in a dressing gown, then quicklypulls back, modestly half-hidden.

ROBERTAOh, did I hear a door chime? I was…sort of expecting someone to drop by…maybe.

SEVENIt’s quite late; office hours beginat eight a.m., I’ll expect you to beready.

ROBERTAUh… yes, sir. Was it someone for me?

(CONTINUED)

49.


SEVEN(beat)

It was no one for you.

ROBERTA(beat, then)

Good night, Mister Seven.

Roberta exits.

ANGLE ON SEVEN108 108

Standing there, puzzled.

SEVEN(to himself)

Well, I can’t kill the girl simplybecause she was supposed to die. Andsince I do need a secretary, I cansee at the same time that she doesn’tcontaminate history…

(suddenly irritated)And it’s totally ridiculous for a manto be talking to himself. Even inthis century!

Seven whirls, exits into his bedroom suite, CAMERA FOLLOWINGhim as he exits, and we:

FADE OUT

THE END



Documents

ASSIGNMENT: EARTH · Assignment: Earth · Pilot · First Draft. ... Her instinct now is to get out of here fast, but she hesitates, then: ROBERTA (cont'd) If I didn’t really owe