After seeing some of the offers of literary creation from members of the MGU! I decided to share the begining of a screenplay I started a while ago, it is not yet finished, but there is much more than this done, If yous all likes it, I will post more in the future!
PROLOGUE: Family Beginings.
Fade in: Follow a 1979 Ford Crown Victoria driving through a wooded area on a side road.
SCREEN READS: Greenwich Ct. 1985
The Ford sedan pulls up to a gated estate. The license plate reads U. S. Government.
Inside the sedan a M.P. in his mid twenties sits in the driver seat. A seasoned colonel of about forty sits in the passenger seat smoking a cigarette. The car is darkened, and the light from the burning smoke is the only thing that lights up his face.
The M.P. starts to roll down his window at the gate. The colonel gestures to him that it is not necessary. The gate begins to open.
Follow the car as it drive up the long road leading to the house. The colonel on one side of the car seems comfortable, and at peace with himself. The M.P. on the other shows a hint of fear, and nervousness. Rain begins falling heavy as they get up to the house. This seems to be the only thing that has the colonel a little upset.
F'n rain, it couldn't wait another twenty minutes to open up.
The car rounds the final turn and the estate is shown high and gothic in the rainy evening. Lightening cracks off in the distance briefly illuminating a bit more detailed sight of the imposing house ahead. As the car gets closer the men inside see three people standing outside of the house on a long set of steps. The sight of the people gives the young man in the drivers seat a better idea of the scale size of the mansion. A cold shiver goes through him as he brings the car to a stop at the foot of the stairs.
The colonel gives the M.P. a look of blandness.
Don't assume you brought any rain gear with ya now soldier?
(nervously) Sorry sir I don't.
Now the colonel gives a look of a bit of agitation.
Ahh, what good are ya.
The colonel reached to get out of the car, and that is when the baby starts to cry in the back.
Well I guess we got lucky the little brat didn't start sooner ey boy ha!
The colonel slapped the M.P. on the back with this and gets out of the car. A second after the front door closes the back one opens, and the colonel grabs the baby in his car seat and takes the whole thing out to the people on the stairs.
The M.P. remains in the car watching the colonel talk with the others. He becomes sure that it is a woman who must be the owner, or wife of the house, the others are both men, one seems to carry himself like a servant, so the M.P. assumes he is the butler. The other man looks to be either the husband, or another party all together.
The colonel looks to be arguing with the others, and after a minute, he starts heading back to the car, the M.P. starts to get ready to leave when the colonel opens the back door instead of the front.
(severely agitated) NO NO NO Damnit! You signed on for this, it isn't now, nor was it ever negotiable! And you don't mess with the people I am associated with; I don't care who the hell you think you-
The colonel's sentence is cut off as he closes the door again after getting some papers from the back. The young M.P. is caught thinking about what he said about his "associates" this visually confuses him, but before he can think to deeply about it, the front door opens and the colonel (Now a bit damper) gets into the car brushing himself off.
--And you will NOT even think about doing anything stupid, (a severely cold glare crosses his eyes) it would be a devastating mistake, for a lot of people.
The colonel points his index finger towards the people on the stairs and the closes the door.
As they drive away the colonel turns to the driver
That goes for you to young man, whatever it is you think you saw or heard, you are sourly mistaken, and it would be good to just forget about the whole thing.
The M.P. somehow gets out a confident looking nod to the general, before looking back to the road as they drive away from the estate. The name THEEDON is seen on the gated fence as it closes behind them.
ACT I: So Much For Normalcy.
SCREEN READ: Lakeshore N.Y.
Open on a small cabin tucked away in the woods by a lake in upstate New York. The sun is just starting to rise above the trees across the lake.
Closing in on the house it is seen to be a ranch, a deck goes around the entire perimeter of it.
Stop alongside the back door, just next to it. A medium size brown package sits on the far side of the door. On the near side the newspaper.
The flimsy screen door opens and a pair of feet walks out with nothing on them, a dark blue robes bottom can be seen just at the top of view. The feet point towards the newspaper, a hand comes down and picks up the paper. The man walks back in the house.
A second later the mans feet appear again, this time pointed at the package. They stay for a second before as if by some unseen force the hands come down again to pick up the package.
Follow the man as he goes into his kitchen, which is actually one large room that includes the living room, and dining area. It is at the table in the dining area that the package is put down. The man walks over to the counter where his morning coffee is brewing. The focus remains on the package in the fore ground, and off to the side the still rolled up newspaper. The top corner of the paper can be read, it has a headline saying: WIDOW OF FAMED GENETICIST DIES IN CAR CRASH. A picture of a woman in her early sixties smiling is at its side.
The man walks back over to the table, now he can be seen from the chest down, his robe is slightly opened, and a t shirt saying TALLIC can be seen, the newspaper still sits unnoticed off on the side, the man stands in front of the box, pondering it. This whole thing seems to be throwing his daily routine out of whack.
After a moment the man opens the box, its contents are spilled across the table knocking the paper off. Inside he finds a video tape, and two envelopes, one legal size, and thick, the other a very small thin envelope. The tape has a sticker on it, that says: VIEW FIRST.
The man walks across the room to the rather modest television set in one corner, dust has gathered on it, giving the impression that it has been a while since the occupant watched any movies.
Slipping the tape in the man sits down, for the first time his face is shown, He is young, his looks say so, but his eyes show a great many more years than they should, he is a handsome man, about the age of twenty six, as the tape comes on, his eyes widen drastically. A look of surprise has invaded his face.
The television screen shows the same woman that was in the paper; only in the video she looks about five years younger.
Hello Mark, I am not sure how or when this will find you, but I know it will, that much I can trust. However unfortunately if this has found you, then I have left this world for another, I do hope it will be a long time from now, but either way I am no more.
MARK THEEDON, sitting on the couch in his robe starts to feel himself slipping.
EXT. Theedon estate the past
Follow as a little boy runs around playing. The view moves to a window and Mrs. Theedon watching the boy inside. Mr. Theedon is in the back round talking.
Mark you have to understand, I wanted more than anything to tell you, tell you the truth. But your father, he knew that if we told you they would take you away. You see you are different than other people.
The scene now shows a boy about twelve years old, sitting in his room reading.
You were such a smart child, whether that was because of our help raising you or not, I don't know. This is so hard to say, Mark your entire life is a lie.
A set of shots are shown showing Mark growing through the years.
Your parents didn't die in a fire, and we did not adopt you. You are part of a covert government project called Arch Angel Six.
The shots of Mark as a happy child are gone. Replaced by shots of doctors and military men involved with experimentation.
Your father, that is your adoptive father, my husband was part of this group. They biologically engineered human beings to be super soldiers, there were two groups of children, those that were activated at conception, and kept in the outfit from birth, given only codenames and guns, never love, always trained, focused completely on their powers, and nothing else. Essentially emotionless.
Shots of the children are shown, about two dozen of them first young, about seven or eight years old. Then ten, then twelve, fifteen. The older they get the more they look like robots rather that children. Killing machines.
The second group was what they liked to call "sleepers" children who were put under the protection of either the doctors, or the military involved. This is what you are Mark. The big difference between you and the "front line" soldiers as they like to call them, is that there is one more treatment that you must go through to activate your powers. A simple injection with the final commands to alter your DNA. This is of course irreversible. I am not telling you what to do; I just cannot lie to you anymore.
Now Mark is seen present day sitting on his couch in his bathrobe, seemingly a different person than the one who sat there minutes ago.
Returning to the television and Martha again she begins to speak.
There's one more thing Mark. I'm sure you remember when your father died.
A flashback shows Martha sitting Mark down, he's about eighteen. She begins to talk
I told you he died in a car accident. That was another lie, god after they killed him I wanted nothing more than to tell you everything, but I couldn't whether it was fear or what I guess it doesn't matter now. The truth is they came for you, and your father wouldn't give you up. They decided they could wait, but to teach us a lesson they killed him to scare me. It didn't end there, about two years later a contact I had developed after James' death told me that they would be coming within a month. I had only one choice.
A series of shots show Mark and Martha fighting, and Martha drinking.
I had to send you away Mark, or they would find you. Well for me that was a week ago, I have no clue when this will get to you.
Mark is now sitting in utter disbelief staring almost through the television set.
Mark I know this is a lot to take in at once, but you must listen. Inside the package that this tape came in there are two envelopes. The large one contains instructions to a series of off shore bank accounts that I have set up for you over the years. There is more than enough money to fund you no matter what you decide to do, but if I know you at all then you will want the second smaller envelope. It contains just a card, on the card is the name and address of one of my contacts, who can assist you in the final injection for your ahem "powers" if you go to him when you meet simply say "Wallace". It is a code that he will understand. Mark I want you to know that while it may not make up for all of this, your father and I loved you with all our hearts. In the end we both gave our lives for our love, I hope that can matter at least a bit. I am truly sorry.
After that Martha is seen getting up and walking towards the camera, then it turns to snow.
Mark remains sitting on the couch for a moment.
Cut to the box still on the table. Mark is in the back round, his back to the box. Suddenly his head turns to the box.
Mark is seen sitting at the kitchen table with the two envelopes in his hands. He puts down the large envelope and opens the small one. Inside just as the tape said is only a card. The name Ian Simmons is written on it, below it says 1413 Vesters way Minneapolis Minn. Mark turns the card around and notices a thumb print in what looks like blood on the back.
Mark puts his head on the table
This can't be true. This can't be true
Mark begins to sob, then stops himself. He looks up at the television the snow still dancing across the screen. His face twists into an almost unnatural rage he stands up and throws the table aside. The second envelope falls to the ground in the corner of the room.
Marks walks over to the television staring out the window the whole time. Picking up the television.
DAMN YOU ALL DAMN YOU ALL TO HELL!!
Mark throws the television through the window screaming as he does it. Then he collapses in the corner where it once stood. His eyes cris cross the room until stopping on the second package on the ground. FTB