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Version 2.0
July 1998
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Robalini
The
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Klearinghouse
Part XIII
The following is part thirteen of a thirteen part serialization for the screenplay Blinded, written by Robert Sterling. It is suggested for mature audiences only. Though it is copyrighted, feel free to forward it to others, or to put it on your website.
Sit back, turn down the lights, microwave a bag of popcorn, and enjoy the show.
INT. WAREHOUSE HALLWAY - MINUTES LATER
They walk down a hallway, Carl stumbling and hobbling,
a strange echo to their steps. They speak to him,
their voice having a strange sound from the drug Carl's
taken, giving the whole scene a feeling of a
hallucination.
GUY # 1
What happened to the Hood couple?
CARL
I... I killed them.
GUY # 2
Good. No mess to clean up. The
police report will follow our
instructions.
CARL
Who... who am I? A killer?
GUY # 2
I suppose we can tell you. You'll
forget it soon, anyway.
GUY # 1
As best we can tell from your
diaries, yes, you are a killer.
GUY # 2
You're from a wealthy background,
and became obsessed with a
murderer who appeared a little bit
after your birth.
GUY # 1
His reign of terror ended around
the death of your parents.
GUY # 2
You blamed yourself for their
deaths, and imagined YOU were the
killer.
GUY # 1
So you re-enacted the murders, but
it wasn't enough. You had to BE
the killer.
GUY # 2
You had connections with our
company, and discovered we were
working on a project, the Tachyon
Teleporter.
Confused look on Carl's face.
GUY # 1
Goes through time worm holes to
the past and future.
GUY # 2
You broke in, forced a scientist
to start the machine, and killed
him.
GUY # 1
You took off for the past with no
i.d.
GUY # 2
Only you didn't know about the
memory pills. Going in them
without one's like putting your
head in a blender.
GUY # 1
Makes you sick as a mutt.
GUY # 2
You lose your memory, too.
CARL
(real confused)
Who... are you?
GUY # 1
Corporate henchmen. We were to
make sure you didn't fuck with the
past too much, and bring you back.
GUY # 2
From previous tests, we believe
altering the past can lead to
serious effects, known as "paradox
waves". The more things change,
the greater the paradox waves
affect the future.
GUY # 1
Swatting a fly, almost nothing.
Assassinating a young Hitler,
Armageddon.
GUY # 2
What's important is that
information doesn't change.
Anything changed in the past
shouldn't alter future
information.
GUY # 1
So we received counterfeit i.d.
and posed as government agents.
Made it all top secret, so we
could disappear without a trace.
GUY # 2
We figured your subconscious might
lead you to those you'd known or
knew about.
GUY # 1
We had a list of prime subjects
and checked them all.
GUY # 2
Unfortunately, someone found out
who you were when checking the
prints. As it turns out, he was
supposed to disappear anyway.
GUY # 1
So we terminated him.
GUY # 2
Also, the butler was to die in a
violent late night attack. And a
boat explosion was to kill your
parents.
Confused reaction shot of Carl.
INT. WAREHOUSE ROOM - CONT.
The room is empty, and there is a look of realization
on his face. Guy # 1 takes out something like a
beeper, and speaks into it.
GUY # 1
Materialize and open.
In the middle of the room, the TELEPORTER appears and
opens up, filled with hi-tech equipment, "Ms. May, CEO"
printed on the side. They turn to Carl.
GUY # 2
Come on Sigmund. It's time to go.
Carl's face turns from a daze to a smile. He laughs,
seeing it is true.
GUY # 1
Don't worry, we won't kill you.
You're too rich and important.
GUY # 2
We'll put you through therapy,
erase the memories of the murders.
INT. TELEPORTER - CONT.
The three walk in the teleporter. Guy # 1 speaks in
the beeper.
GUY # 1
Close door and begin
teleportation.
The doors close, and a computer voice is heard from the
teleporter.
TELEPORTER
Target date?
GUY # 2
Previous sector date.
TELEPORTER
(slowly)
Countdown beginning for
cancellation. Twenty, nineteen,
eighteen...
GUY # 1
(to guy # 2)
I think we've done a good job.
GUY # 2
We've kept damage to a minimum.
As countdown continues, they take memory pills for
themselves, popping them in their mouth. As they do,
Carl quickly raises his arm, cuffs now off, and knocks
their heads together as he fights his drugging with his
willpower. He shoves them against opposite walls, as
lights and noises whirl in the teleporter. He goes to
guy # 1, punching him, cuffs on fist like a brass
knuckle. Guy # 1 falls down, and Carl hobbles to guy #
2, punching him. The guy tries pulling his gun out,
but Carl grapples with him for it. Carl pulls the gun
away and fires at guy # 2 as he lunges for Carl, blood
spurting everywhere as he's shot. Carl turns and sees
guy # 1 pulling his gun out. Carl fires and kills him,
more blood flying. The computer count is now low, and
Carl grabs the beeper on the floor and speaks in it.
CARL
Abort! Abort! Cancel.
TELEPORTER
Tachyon procedure stopped.
The lights stop blinking and the noises stop in the
machine. Carl looks relaxed for a second. There is a
look of realization.
CARL
Evelyn. (beat) Open door!
The teleporter opens up, and he quickly hobbles out,
still with beeper and gun.
EXT. WAREHOUSE - CONT.
He exits to the front of the warehouse for the car, and
a sign is revealed on the building, saying "THE PEERCEX
CORPORATION".
INT. MOTEL ROOM 13 - MORNING
It is just becoming light outside, as Carl hobbles into
the room. Evelyn lies in bed, eyes closed, not,
moving. He goes to her and gently shakes her.
CARL
(whispering, slowly)
Evelyn? Evelyn? Wake up. It's
me.
She lies there, not moving. He closes his eyes in
fear. Then, she begins to move, appearing in weak
shape, and he smiles.
EVELYN
Carl? Is that you?
He holds her, kissing her cheek.
EVELYN
Are you alright?
CARL
(whisper, nodding)
Just tired. But I'm fine.
(looks up, lets out
nervous laugh)
I... I know who I am.
EVELYN
Wh-who?
CARL
(strange smile)
I'm... your son.
EVELYN
(sick, confused look)
Are... are you okay?
CARL
I'm Sigmund. From the future.
EVELYN
Carl, this is cra...
CARL
My forehead.
He lifts up his hair, giving better view of scar in
forehead.
CARL
This scar look familiar? It's the
same scar he got a few days ago.
(beat) Look at my stomach.
(lifts shirt, revealing
extra nipples)
Remember these? You noticed them.
You know why? Who else has them?
Think! Think!
Evelyn closes her eyes.
CUT TO:
HOOD MANSION - FLASHBACK
Shot of her holding Sigmund, who has no shirt on. The
shot gets closer and closer to his stomach, revealing
extra nipples.
RECUT TO:
INT. MOTEL ROOM 13 - CONT.
She closes eyes, looking worse, as he stares.
CARL
You noticed them because they
were like your sons, even if you
didn't realize it.
EVELYN
I... I don't believe this.
CARL
Look at me. Look in my eyes.
Tell me you don't see your son.
She looks at him and stares. Very sick, she closes her
eyes and cries. He caresses her shoulder.
CARL
Shhh. It's alright. (beat) I've
been thinking. Maybe we can stay
together. Raise Sigmund. Maybe
he'll turn out alright this time.
(kissing her)
I love you, mom.
She stares at him with her sickest look. She gets up,
and runs to the bathroom like she's going to vomit. He
hobbles slowly next to the door, speaking calmly.
CARL
Evelyn?
There's no answer for a few seconds. He looks worried.
CARL
Evelyn?
Still no answer. A look of fear appears on his face,
and a loud thud is heard from the bathroom. He knocks
into the door a few times, finally busting through.
The strength of busting in the door, combined with the
effects of the drug, knock him out.
INT. MOTEL ROOM 13 BATHROOM - HOURS LATER
Slowly, he wakes up, still groggy. Remembering where
he is, he gets up, looking for Evelyn. He see her,
lying on the ground, holding on bottle of white pills,
now scattered everywhere. He goes to her body and
shakes her, but she doesn't respond. He's hysterical.
CARL
Oh God! Wake up! Wake up!
(sticks fingers in her
throat)
Throw up! Throw up!
She lies there, body limp. He grabs her wrist, trying
to find a pulse. He gets no response. She's dead. He
cries, holding her and kissing her.
CARL
Oh God oh God oh God.
In shock, he picks up her body and hobbles out of the
bathroom and out of the room, holding her in his arms.
CUT TO:
MONTAGE SIGMUND'S CHILDHOOD - FLASHBACK
All the memories come flooding back to him, the good,
the bad, and yes, the ugly.
CUT TO:
INT. WAREHOUSE ROOM - MORNING
He hobbles into room, her still in his arms, and takes
out the beeper, speaking into it.
CARL
Materialize and open.
It does. He enters with Evelyn.
INT. TELEPORTER - CONT.
He looks sad and very sick.
CARL
Close door, begin teleportation.
TELEPORTER
Target date?
CARL
The end of time.
TELEPORTER
Countdown beginning for
cancellation. Twenty, nineteen,
eighteen...
The noises and lights sound and whirl. He closes his
eyes, Evelyn still in his arms.
TELEPORTER
...three, two, one. Countdown
commencing. Fire tachyon booster.
(pause, boom sound) We are now
entering hyperspace.
The teleporter disappears from the room into a ray of
light. It makes loud noises as it travels through
hyperspace, red lights and alarms sounding, Carl still
holding her, eyes closed. An electronic calendar in
the machine moves forward quickly. Carl looks in pain
as he suffers the affects of not taking pills,
screaming loudly. An explosion blows through the
teleporter.
TELEPORTER
MALFUNCTION! MALFUNCTION!
More explosions blaze through as Carl screams.
Finally, an explosion causes metal shrapnel to fly,
hitting Carl where his eyes are, blood flowing down.
He drops Evelyn, still screaming, as explosions
continue to rock the teleporter.
TELEPORTER
We are crash landing. Repeat, we
are crash landing.
The teleporter sounds like a crashing plane, and
there's the sound of the landing, explosions
everywhere. Everything goes black.
FADE TO:
INT. HOOD LIVING ROOM - LATER DAY
Two female POLICEWOMEN are facing camera.
POLICEWOMAN # 1
We're sorry about what happened.
Shot of Lilian facing them, holding baby Sigmund. She
is bruised but okay.
LILIAN
I'm sure I'll recover. I just
feel bad for Mr. and Mrs. Hood,
and dear Mr. Nicholas.
POLICEWOMAN # 2
Looks like Ms. Hood picked the
wrong guy to help. As best we can
tell, Mr. Hood died in the boat
explosion. We haven't found Ms.
Hood's remains, but we're told she
definitely died in it as well. As
for Mr. Nicholas, well...
LILIAN
(closing eyes)
It was horrible. I saw
everything. I barely survived.
POLICEWOMAN # 1
Good thing you did, as you're the
baby's godparent.
POLICEWOMAN # 2
(smiling)
He's adorable.
POLICEWOMAN # 1
And wealthy.
They all smile. Sigmund cries, reaching for Lilian's
chest.
POLICEWOMAN # 2
What's the matter with him?
LILIAN
(smiling)
He wants to be breast fed.
(to Sigmund, sweetly)
I'm sorry, dear. No milk in here.
POLICEWOMAN # 1
What a poor thing. Imagine your
parents dying at such an early
age.
POLICEWOMAN # 2
I hope he ends up okay.
LILIAN
Oh, don't worry. I'll raise him
just how his father wanted. He'll
be his father's spitting image.
Close-up of Lilian smiling. She begins singing to the
baby.
EXT. VAST WASTELAND - FUTURE
It is a strange futuristic desert isle, skulls, bones,
and sand everywhere, the sky a blood red, teleporter
lying there. The hatch opens, and Carl stumbles out
and begins vomiting. Cockroaches surround him, the
only creature still living in the area (indeed,
thriving). A loud wind blows through the area.
CARL
Fuck.
He lifts his head, now blind, blood where eyes used to
be, facial expression confused. He looks very damaged,
mentally and physically. He slumps forward,
unconscious, and the shot pulls back. Imposed over the
shot is "To Mom. With love." The closing credits
roll.
