BONFIRE ON THE ICE
EPISODE ONE
SARA KEATING

INT. CCH LABORATORY-NIGHT

PAN ACROSS grey and white office space, filled with long rows of gleaming stainless steel tables alternating with computer workstations, all but one empty. At the last workstation on the right, closest to the door, we FIND Scientist #1 (an older white woman with greying brown hair) sitting at the keyboard typing, and Scientist #2 (a younger Hispanic woman) looking over her shoulder. Both are wearing business casual (button-down blouses, khakis) and long white lab coats. They are intent on a program that is flashing data rapidly across the computer screen in columns of numbers.

SCIENTIST #2
(excited)

This is the breakthrough we’ve been waiting for!

SCIENTIST #1
(calmly)

Don’t get too excited. We’ve thought we had it before.

TIGHTEN–COMPUTER SCREEN

We SEE Scientist #1's reflection in the screen overlying the program output as we HEAR the CLICKING of keys on the keyboard. Her reflection FADES BACK and the data FADES IN, a stream of numbers and letters, and then wire-frame pictures of a sports car rotate on the screen, with notes.

SCIENTIST #1
(amazed, os)

If these figures are right, this will double fuel efficiency in almost any aircraft. I’ll call Dr. Johnson. Keep an eye on the program.

SCIENTIST #2
(with contained excitement, os)

Right.

CUT TO OFFICE-WIDE ANGLE

A plain, spartan office, with a standard-issue desk, typist’s chair, bookcase full of 3-ring binders. There is a calendar on the wall behind the desk, open to the month of October. There is a multiline phone on the desk, a blotter, and a box of paper tissues. Sly Rax is sitting in the chair with his feet up on the desk and his arms crossed over his chest; Scientist #1 is standing next to him, leaning against the bookcase, a sheaf of printouts in her left hand.

SCIENTIST #1
(greedy)

Rax, we’ve got what you were looking for.

Rax swings his feet down to the floor and stands up.

RAX

It’s about time.

CUT TO OPENING SEQUENCE

END OPENING SEQUENCE/COMMERCIALS

INT. LASER GAME ARENA–TIGHT ON MALLOY

A red-lit, fog-filled, black-walled maze. Floyd Malloy, laser gun in his right hand, stands just outside a crossroads. He wears a black one-piece nylon suit with sensors over his heart (front and back), on his throat and abdomen, and on the thighs; the sensor on the left thigh is lit up, casting a dull blue glow onto the fog. He wears a helmet with a faceplate that obscures his eyes; there are two more sensors on the helmet.

Malloy moves lazily through the fog, looking for something; we SEE the fog move grudgingly with his slow movements, and the red light SHINE on the sensors. We HEAR Malloy’s slow footsteps. He is not paying too much attention to what’s going on around him.

ANGLE ON WARFIELD

Vanessa Warfield, dressed identically to Malloy, is in a corridor behind and to the left of Malloy; her hair is completely hidden under her helmet.

We SEE fog eddy and swirl around her quick, rapid movements and HEAR quick, light footsteps as Warfield DASHES across the corridor into the next one, and we SEE red light GLINT on her sensors. We SEE her pull her laser gun, identical to Malloy’s.

ANGLE ON MALLOY FROM BEHIND SHOWING CORRIDOR AHEAD

The fog drifts in slow swirls, flickering red in the light, alternately hiding and revealing a shape that might be a person crouched up ahead.

MALLOY
(os)

Oh yeah, babe ...

PULL BACK TO SHOW CORRIDOR BEHIND MALLOY

Malloy moves slowly up behind the shape and takes aim.

We SEE a shadow appear in the fog behind Malloy; the fog eddies and swirls with the shadow’s rapid approach, and we HEAR running footsteps.

Just as Malloy fires at the figure ahead of him, a scarlet laser beam CUTS through the fog behind him in two bursts, HITTING the sensor on Malloy’s back and then the one on his head. They LIGHT UP the same dull blue as the sensor on his thigh. We HEAR a LOW BELL, and an alarm SOUNDS, ending the game.

MALLOY
(shouting, o.s.)

Argh!

Lights come on in maze, revealing a dummy propped up against the wall. We HEAR the rumble of a fan and SEE the fog blown into shreds and sucked down vents in the walls.

ANGLE ON WARFIELD

Warfield pulls off her helmet, showing that her hair has been pulled back from her face and tightly braided. She looks pleased with herself and holsters her gun.

MALLOY
(petulant, o.s.)

You cheated!

Warfield’s expression changes to disgust; her hand is still on her gun.

WARFIELD
(contemptuous)

Quit whining, Malloy. That trick wouldn’t have fooled my kid sister.

MALLOY
(sulky, os)

Heck with this!

We HEAR quick heavy footsteps recede in the distance, pause and HEAR a door slide open; then we HEAR more footsteps and a door slide closed.

Warfield shakes her head and stretches, joining her hands and holding them out in front of her, then raising them over her head. She walks down the corridor to her left and pushes a panel aside to reveal a numerical touchpad with glowing red LEDs below each number. She taps the pad in a quick sequence (center, middle right, bottom left, top right, middle left,), the LEDs turning green as she touches each number, and the door SLIDES open. Warfield walks through and the door slides closed behind her.

INT. TRAINING ROOM--DAY–MEDIUM ANGLE ON MALLOY, SHEPPARD, DAGGER FROM BEHIND

The maze exits into VENOM’s training room. On the left are windows showing an outdoor obstacle course and a door leading to it; on the far side of the room, behind glass, is an indoor firing range. On the far right is an open door leading to a concrete corridor. We SEE Malloy, Bruno Sheppard, and Cliff Dagger, all dressed in the same nylon suits with sensors, walking toward the door on the right side of the room.

DAGGER
(os, bewildered/amazed)

How does she do that?

MALLOY
(os, complaining)

She cheats.

They walk through the door, Sheppard first, then Dagger; Malloy, last through, slams the door loudly behind him.

MEDIUM SHOT -- ON WARFIELD AND RAX

Rax is leaning against the wall of the maze, paying no attention to anything going on. He hasn’t noticed Warfield yet; she smiles, walks silently up behind him, grabs his arm, and flings him over her shoulder to the ground. He SLAMS into the floor with a dull THUD.

RAX
(startled, then pain when he lands)

Yah----OW!

WARFIELD
(laughs)

Rax gets back up and brushes himself off.

RAX
(sullen)

That isn’t funny, Vanessa. Mayhem wants to see you right now.

Warfield shrugs.

WARFIELD
(amused)

What for?

RAX
(sullen)

You’ll find out when you get there.

FOLLOW Rax as he walks across the room and enters the glassed-in shooting range; he puts on ear protectors, picks up a rifle, and starts shooting.

CUT TO Warfield, who walks through the training room to the door on the right side, and exits into the corridor.

CUT TO MAYHEM’S OFFICE-WIDE

Dark paneling, thick carpet, massive antique furniture. Everything is carefully ordered and extremely neat; there is a calendar open to the month of October on the back wall. Miles Mayhem, in uniform, is sitting at a huge, dark, antique desk, going over some papers. He is sitting in the office’s luxurious leather executive chair; his posture is very military, even sitting.

We HEAR a KNOCK on the door.

TIGHTEN--MAYHEM

Mayhem doesn’t look up from the paperwork he is studying; he makes a brief note on the page before acknowledging the knock.

MAYHEM
(bored)

Come in.

ANGLE ON DOOR

Warfield opens the door and enters; her hair is pulled back in a ponytail, and she wears a crisply pressed military-style uniform(blue jacket with gold braid, plain white blouse, blue slacks), polished boots, and carries a gun at her hip. She closes the door behind her and walks across the room to stand in front of Mayhem’s desk.

WARFIELD
(cool, doesn't really expect this to be anything big)

What’s up, Mayhem?

MEDIUM ANGLE ON WARFIELD AND MAYHEM FROM RIGHT

Mayhem picks up the papers, taps them into a neat stack, and looks at Warfield.

MAYHEM
(brisk and businesslike)

I have an assignment for you, Warfield. I think you’ll like it.

WARFIELD
(cool but slightly interested)

What is it?

MAYHEM
(still businesslike)

CCH Technology has come up with new technology VENOM needs. I want you to infiltrate and get that technology.

He hands Warfield the sheaf of papers; she takes them in her left hand and taps the top sheet with her right index finger.

CUT TO WARFIELD

She looks down at the papers and we HEAR the paper rustle as she shuffles through them, skimming quickly.

WARFIELD
(pleased - it looks interesting)

Long term or short term infiltration?

TWO-SHOT PROFILE ON WARFIELD AND MAYHEM FROM RIGHT

MAYHEM
(chuckles, then is back to businesslike)

Long term. CCH has several very interesting technologies we could use. Tell Rax to make or buy you a new identity for the duration.

Warfield taps the papers into a neat stack as she says,

WARFIELD
(determined)

When do I start?

MAYHEM
(crisp)

Right now. Get to work.

FADE TO BLACK [Commercial space]

FADE IN

EXT. CCH TECHNOLOGIES–DAY
ANGLE ON MATT TRAKKER AND BRUCE SATO

A building of glass and steel, ultra-modern, with a few rows of sharply pruned evergreens and a scattering of marigolds between the building and the sidewalk. Light blazes off the glass. We SEE Matt Trakker and Bruce Sato, in suits, standing next to Thunderhawk; the car door on the sidewalk side is open. Matt closes the door. (Parked on the right side of the street)

TRAKKER
(slightly worried)

This new technology could double our range easily. But it could do the same for the opposition.

SATO
(nods)

Do you think they will try to steal it?

TRAKKER
(firmly, but still worried)

I’m convinced they will.

INT ADIVA CORPORATION DAY, WIDE ANGLE ON OFFICE AREA

An office space, most of a floor, with a dozen cubicles and an open space on the south wall with an Adiva Corporation banner. There are motivational posters on the walls, and a dozen engineers (eight men, four women) in jeans and t-shirts and a (male) manager in a suit are trying to run in terror from Rax and Malloy on the north side of the room, who are intent on stopping them.

RAX
(as excited as Rax gets)

Stiletto, fire!

Several rounds of stiletto blades fire out of Rax’s exoskeleton, driving the engineers and the manager back against the south wall. One engineer is hit by a blade in the thigh and sags against the wall with blood running down his leg.

MALLOY
(edging toward manic)

Buckshot, fire!

Buckshot scatters across the floor from Malloy’s mask. Several of the engineers slip and slide and finally fall on their butts, having to half-crawl, half-slide to join the others. Malloy laughs wildly.

RAX
(yelling)

Nobody moves, nobody else gets hurt. Malloy, keep ‘em pinned down.

MALLOY
(hyper)

No problem!

RAX
(still yelling)

All right, give us everything you’ve got!

EXT. CCH TECHNOLOGIES-DAY, WIDE ANGLE ON THUNDERHAWK, INCLUDING SIDEWALK TO RIGHT

Trakker and Sato are still standing by Thunderhawk. No time has passed. Wells, on her black motorcycle, roars down the street from the front of the shot, turns across a lane of traffic, and parks immediately behind Thunderhawk - horns honk and a male driver in a beat-up pickup shakes his fist at her. MacAlister in his convertible comes from the rear of the shot and parks in front of Thunderhawk.

Matt frowns as Wells dismounts and pulls off her helmet; she walks over to join them. Her hair is tightly braided, and she's wearing a black leather motorcycle jacket over a light-colored shirt, heavy pants, and black boots. MacAlister climbs out of the convertible and walks up to join the group; Matt stops frowning. MacAlister is dressed in a lightweight button-down shirt and khakis.

TRAKKER

So I called in some help. Bruce, meet our newest recruits, Elizabeth Wells and David MacAlister.

Everyone shakes hands. Wells steps back a pace, standing almost militarily straight and drops her hands easily at her sides. MacAlister doesn’t step back, grins, and stuffs his hands in his pockets.

WELLS
(calm, professional)

Matt’s already filled us in on the details. We’re ready to go.

MACALISTER
(enthusiastically)

Yeah, I can’t wait to get started.

There is the SOUND of a BEEPER as Trakker’s pager goes off; he takes the pager from his left jacket pocket and looks at it. The others turn to look at him, waiting.

TIGHT SHOT ON PAGER

The screen reads Alex Sector-URGENT in serif Terminal-style type.

ANGLE ON TRAKKER, SATO, WELLS, MACALISTER

Trakker puts the pager back in his jacket pocket and turns to Sato.

TRAKKER
(slightly worried, but not willing to admit it)

Bruce, you know Dr. Johnson. I’ll call Alex and see what’s up.

SATO
(nods, turns to the other two)

Right, Matt. Elizabeth, David, please come with me.

Sato, Wells, and MacAlister enter the building, MacAlister holding the door and gesturing for Wells and Sato to go in first. Trakker slides into Thunderhawk, closes the door and accesses the computer; he taps in a command, and Alex Sector’s face DISSOLVES into existence on the screen.

SECTOR
(voice slightly distorted)

Matt, we’ve got word that Rax and Malloy have attacked Adiva Corporation.

TRAKKER
(startled and puzzled)

Adiva?

SECTOR
(voice slightly distorted)

Yes. They’ve been working on several advancements in armor technology.

Trakker

I'll get Bruce and meet you there, Alex.

CUT TO OUTSIDE ADIVA CORPORATION-WIDE

Trakker, Sato and Sector, in masks and uniforms, are standing by Thunderhawk and Rhino on a hillside. Sato is looking through binoculars at the building. Adiva Corporation is in front of them, a monolithic building of glass and steel, partway down the hill. Below and to the left of Adiva is a small city. With everyone in masks, all conversations are effectively offscreen.

SATO
(urgently)

They’re moving!

Trakker runs for Thunderhawk and climbs in. Thunderhawk roars down the hillside; then the doors open and the car launches into the air with a blast from the afterburners, just as Malloy and Rax (still in masks and uniforms) leave the building. Rax is carrying a box. They see Thunderhawk and run for their vehicles. Sector and Sato leap into Rhino, which charges downhill at Malloy and Rax.

ANGLE ON MALLOY AND RAX

Rax leaps into his seat on Piranha, shoving the box he was carrying into the sidecar. Malloy swings up onto Vampire and guns the engine. Rax kicks Piranha into life and the engine roars. Rax roars around the building and down the hill to the left, heading for the city.

RAX
(over radio)

Malloy, go left. I’ll go right. Get down to the city and lose them in traffic!

MALLOY
(Yelling)

Lose them? Why are we trying to lose them? We’re supposed to -

ANGLE ON THUNDERHAWK AND MALLOY FROM BEHIND THUNDERHAWK

Trakker in Thunderhawk swoops down in a long smooth curve and lays down a line of fire that Malloy only barely kicks Vampire into action fast enough to avoid.

ANGLE ON MALLOY

MALLOY
(shrieking)

Never mind!

Malloy follows Rax and cuts to the right, aiming for a different road into the city.

WIDE SHOT OF ENTIRE AREA

Thunderhawk is circling overhead. Rhino is moving quickly for Rax and Malloy, but the big truck isn’t nearly as maneuverable. Rax and Malloy are making good time down to the bottom of the hill.

TRAKKER

Alex, Bruce, go after Malloy. (beat) I’ll go after Rax.

SECTOR

Righto, Matt. Tallyho!

ANGLE ON MALLOY AND RHINO

Rhino charges down the hill after Malloy; Rhino’s shots always just miss as Malloy swerves left and right. The shots raise clouds of dust, and as the chase goes on, Malloy eventually appears and disappears as he dodges through the dust.

MALLOY
(complaining)

Mayhem doesn’t pay enough for this!

RAX

Stop whining and move it! Once we get into the city, they won’t dare shoot at us. Too many people.

Malloy increases speed as the road (barricaded with cop cars) looms up ahead.

ANGLE ON RAX AND THUNDERHAWK

Thunderhawk dives down to shoot at Rax, laying down a line of fire on either side; Rax dodges each shot. He spins around and shoots back, clipping Thunderhawk on the left wing; Thunderhawk pulls back up.

ANGLE ON TRAKKER IN THUNDERHAWK

TRAKKER

Alex, they’re headed for the city! If we don’t stop them now we’ll have to give up the chase.

SECTOR

Malloy’s almost made it, Matt!

ANGLE ON MALLOY

Malloy guns the engine and jumps Vampire over the barricade, crushing one of the cop cars on the way down. He roars off going the wrong way. A car swerving to avoid him hits a truck. The truck hits another car, and the crashes spread until the street is completely blocked. Horns are honking, sirens are wailing, there's a lot of screaming and yelling.

ANGLE ON SECTOR AND SATO IN RHINO

SECTOR

Sorry, Matt. Rhino can’t get through there without risking a lot of civilian injuries.

SATO

Not to mention massive property damage.

ANGLE ON TRAKKER IN THUNDERHAWK

TRAKKER

Regroup. I’ll see if I can stop Rax.

ANGLE ON RAX FROM BEHIND

Rax is roaring toward a barricade at top speed. Laser fire comes down from behind him, getting closer and closer with each shot as Thunderhawk’s shadow draws closer and closer. We SEE Thunderhawk’s shadow cover Rax just as he breaks through the barricade and roars into the city beyond.

ANGLE ON THUNDERHAWK

Thunderhawk pulls up and circles back.

FADE TO WHITE [Commercial space]

FADE IN FROM WHITE

INT. LABORATORY–DAY–WIDE ANGLE ON WELLS

CCH Laboratory during the day looks much as it did at night, but filled with people and noise. We FIND Elizabeth Wells being introduced to an older woman, Susan Hopkinson, at a workstation at the far left end of the room by Scientist #1. There is a spare chair nearby. Susan appears to be in her mid to late forties with nondescript brown-blond hair, wearing black slacks, flats and a dark blue blouse.

Scientist #1
(bored)

Ms. Wells, you’ll be working with Susan. Susan, this is our new tech, Elizabeth Wells. You’ll be showing her how to run the programs and do the routine maintenance.

TIGHTEN ON SUSAN HOPKINSON

Whose emerald-green eyes FLASH as she says,

HOPKINSON
(bored)

No problem. Have a seat, Wells.

Wells pulls over a chair and sits down as Hopkinson points at the screen.

CUT TO END CREDITS

END