INT. CREEK MOUNTAIN/LEVEL 28/FOSSIL ROOM – EVENING
Entering the bare concrete room, O’Neal walks over to the far end, where a guard sits at a desk before a sealed security door. Rising to his feet, the guard raises his hand in a salute. Returning the salute, O’Neal reaches over and picks the register up from the desk, signing it. Once the guard goes over O’Neal’s signature, he presses a large red button set in the top of his desk. With a low grinding noise, the security door begins to rise, revealing a smaller alcove beyond.
Stepping into the alcove, O’Neal peers in at its sole attraction; there, bolted to the wall, is the otherworldly set of fossils recovered from the Langford excavation. Stepping up to the petrified creature, O’Neal narrows his eyes at it, scrutinizing its dark eyes and sharp beak.
FADE TO
A framed photograph retreating into a background of bright blue sky with puffy white clouds.
The photograph is of an eight-year-old Jonathan “Jack” O’Neal with his mother, father, two younger sisters, and older brother; while they are smiling and dressed in white, he is sullen and dressed in black. As the photo grows ever-smaller, the background darkens until it turns pure black. Once the photo becomes a distant pinpoint, white cracks zigzag out from the centre of the background and the heretofore unseen pane of glass shatters into thousands of jagged shards.
EXT. PINK HOUSE/FRONT YARD – DAY (FLASHBACK)
The front window of a small, pink house behind a white picket fence shatters, raining shards of glass onto the beautiful red flowers planted below. Jack O’Neal, about fourteen years old, is standing outside the picket fence, bending down to pick up another stone to throw, when the front door swings open. The owner of the house – a spindly lady of late middle age done up like a 1950s housewife with bright red hair – comes storming out, waving a broom above her head.
MIDDLE-AGED HOUSEWIFE: Goddamn you to hell, you little catamite!
As the woman makes her way down her front steps, Jack takes off in a run, laughing at the destruction and strife he has caused.
INT. GENERIC MIDDLE CLASS HOME/LIVING ROOM – EVENING (FLASHBACK)
Jack O’Neal, now sixteen, is riffling through an ornate box placed on the mantle in the dark, looking for valuable items worth stealing. As he finds $900, he stuffs the money in his pants and turns to leave. As he moves toward the window he entered, a large rottweiler – who until now has been lying low – springs out of the shadows, growling as it lunges at the juvenile burglar. Spinning around, the surprised teen lashes out at the dog with his flashlight. Yelping, the canine collapses to the floor, unconscious with a bloody wound on its temple.
EXT. BACK ALLEY – EVENING (FLASHBACK)
Jack, now eighteen, is – with two other thugs – accosting a pretty young woman with short red hair, a black shirt, and red pants. While O’Neal is only interested in her purse, his two acquaintances have more than theft on their minds.
PUNK #1: Nice pants you got there, Red. Tight and red. Not the only thing on you tight and red, uh, Red?
The other punk giggles hysterically.
PUNK #1: (squeezes her rump) Plump, just the way I likes 'em. (beat) You ever let anyone in your back door, Red?
PUNK #2: (giggles) Let’s show ‘er how it’s done!
O’NEAL: (uncomfortable) C’mon, guys, cut the shit. We’ve got what we need. Let’s get outta here before somebody sees us.
PUNK #1: (sneers) Why? Red here not man enough for you, Jack?
RED: (struggles against the punks) You stupid motherfuckers!
PUNK #2: (covers Red’s mouth and bends her over) Time for a warm-up! Bend over and touch your toes!
As the first punk unzips his pants, two uniformed police officers spring out from around the corner with their revolvers drawn.
COP #1: Freeze!
Releasing their grip on Red, the punks take off like scared rabbits for the other end of the alley. O’Neal, moving too slow to follow after them, takes a bullet in the ass and goes down. With O’Neal out of commission, the first cop goes off in pursuit of the punks while his partner stays behind to read the juvenile delinquent his rights.
INT. COURTHOUSE/COURTROOM – DAY (FLASHBACK)
Jack O’Neal, still sixteen, stands in court before a stern-faced judge.
JUDGE: (cont’d) … but I’ll be lenient and let you decide, Jonathan. Which will it be: enlistment in the armed forces or a year in the Washington State Correctional System?
O’NEAL: (resigned) I’ll take enlistment, Your Honour.
FADE TO
O’Neal seated in a barber’s chair. Now a USAF trainee, he is receiving his first crew cut.
MONTAGE – VARIOUS (FLASHBACK)
We watch O’Neal as he is trained in infiltration, wilderness survival, assassination, the manufacture and detonation of explosives, and the blending of chemical weapons from common household materials.
INT. MILITARY BASE/COL. KAMPEN’S OFFICE – EVENING (FLASHBACK)
A couple of years haved passed, and an older, far more disciplined Staff Sergeant Jack O’Neal now stands before ANTHONY KAMPEN, a balding major with a large mustache plastered over his bland-looking face.
MAJ. KAMPEN: Welcome to Jump Two Company, Sergeant O’Neal.
The two airmen salute.
FADE TO
O’Neal and Kampen in the same office, but some months later under different circumstances.
COL. KAMPEN: (hands a folder to O’Neal) This is your target, Jack.
O’Neal opens the folder and pulls out a large photograph of a Middle Eastern man sporting a toothbrush mustache.
COL. KAMPEN: (cont’d) We don’t want him to live out the week. Do you understand?
O’NEAL: (nods once) Yes, sir.
MONTAGE – VARIOUS (FLASHBACK)
SSgt. O’Neal carries out a series of political assassinations. Interspersed between these images of murder are images of O’Neal consuming large quantities of scotch whisky.
FADE TO & ZOOM IN
On O’Neal’s head back-lit with blue light, his bloodshot eyes glowing red. Countless ghostly heads spin about him in a whirlwind, grinning ghastily.
DISEMBODIED VOICE #4: (V.O.) We call him “Voodoo” 'cause he only seems to come to life when Jump Two goes into action ….
GHOSTS: Voodoo, Voodoo, Voodoo, Voodoo ….
CROSSFADE TO
A close up shot of Sarah Langenkamp’s – the future Sarah O’Neal’s – face, lit up with life and happiness.
EXT. JESUIT COLLEGE – DAY (FLASHBACK)
As Sarah and a friend make their way down the steps from the college, 2nd Lieutenant O’Neal (his exemplary feats having earned him a commission) face downcast, attention elsewhere – walks straight into her. Colliding, the man and woman both topple to the pavement.
SARAH: (angry) Why don’t you watch where you’re going, jarhead!?
Rising to his feet, O’Neal goes to help her, a sheepish expression on his face.
O’NEAL: Sorry – I’m sorry. I wasn’t paying attention ….
As the lieutenant pulls Sarah to her feet, the two individuals make eye contact.
O’NEAL: (cont’d) … to my surroundings.
SARAH: (frowning and smiling) It’s … alright. Okay.
Seeing her heartwarming smile, O’Neal can’t help but smile back in return.
MONTAGE – VARIOUS (FLASHBACK)
We watch as O’Neal and Sarah send more time with one another. Starting off as mere acquaintances, they soon become close friends and, finally, intimate lovers.
INT. JACK & SARAH’S APARTMENT/LIVING ROOM – EVENING (FLASHBACK)
O’Neal and Sarah stand facing one another, serious expressions on their faces. As Sarah looks down at her flat belly, placing a hand on it, O’Neal flies into a sudden rage.
O’NEAL: (shouting) You did this on purpose! You did this to me on purpose! You did this to trick me into marrying you! But I’m not going to, Sarah, you hear me?! I’m not going to!
Sarah, tears welling up in her eyes, says nothing.
CUT TO
Sarah in their bedroom, stuffing items into a large suitcase.
CUT TO
Sarah, suitcase in tow, storming past O’Neal and out the apartment door, slamming it behind her.
O’Neal, seated at a small table with a morose expression on his face, pours himself a glass of whisky. As he overfills it, spilling whisky over the side, he picks it up and lifts it to his eye.
As he looks into the golden brown liquid, the morose expression on his face transforms into one of determination. Without a word, he hurls the glass away from him. As the glass hits the far wall, it shatters, splashing whisky everywhere.
EXT. LANGENKAMP HOME – TWILIGHT (FLASHBACK)
As the house sits out in the open, blizzard winds and snow beating against it, O’Neal’s car pulls into the driveway, coming to a stop in front.
INT. LANGENKAMP HOME/LIVING ROOM – TWILIGHT (FLASHBACK)
Sarah, pulling a curtain back, peeks out the window at the car parked outside. Turning from the cold glass, she looks at her parents, who are seated in matching armchairs.
SARAH: It’s him.
EXT. LANGENKAMP HOME/FRONT YARD – TWILIGHT (FLASHBACK)
The front door of the house swings open, and Sarah – clad in a purple parka – steps out. Closing the door, she walks toward the car.
FADE TO
O’Neal and Sarah seated in the car behind fogged up windows, arguing fiercely.
INT. LANGENKAMP HOME/LIVING ROOM – EVENING (FLASHBACK)
Sarah – along with O’Neal – step inside the living room. Mr. and Mrs. Langenkamp – still seated in their armchairs – have fallen asleep. The two walk over to them.
SARAH: (shaking them) Mom, Dad – wake up. Wake up!
MR. LANGENKAMP: (awakens) Sarah?
MRS. LANGENKAMP: (yawns) What time is it?
SARAH: I have someone I’d like you to meet.
O’Neal steps forward, offering the two older people his outstretched hand. Tentatively, they both take turns shaking his hand.
O’NEAL: I’m Jonathan O’Neal. It’s a pleasure to finally meet you, Mr. and Mrs. Langenkamp.
SARAH: (nudges him with her elbow) Tell them the good news.
O’NEAL: (to her parents) Sir – ma’am – I’m pleased to say that your daughter and I are getting married. (beat) We’d like to have your blessing.
MR. LANGENKAMP: (nonplussed) S-sure.
MRS. LANGENKAMP: (smiles uncertainly) Why not?
FADE TO
O’Neal and Sarah walking down the aisle.
FADE TO
A close up shot of O’Neal’s lips up against Sarah’s ear.
O’NEAL: (whispering) I promise that I’ll love you and cherish you now until the day I die, and not a moment sooner.
INT. HOSPITAL/DELIVERY ROOM – DAY (FLASHBACK)
Sarah O’Neal, heavily pregnant and in labour, is sitting up in her hospital bed, sweating and breathing heavily with doctors and her husband standing around her. Gritting her teeth, she groans as she pushes, and soon the groan builds into a cry of anguish. It all comes to an end soon, however, as the baby slides out into the main doctor’s arms.
DOCTOR: (turns to O’Neal) It’s a boy.
O’NEAL: (grins at the newborn) Hello, Tyler Charles O’Neal. Welcome to the big, wide world.
INT. O’NEAL HOME/LIVING ROOM – DAY (FLASHBACK)
Tyler O’Neal, celebrating his sixth birthday, sits at the centre of the room surrounded by friends and family. O’Neal, watching the boy rip into his first present, turns to his wife with tears of happiness in his eyes. Meeting his gaze, Sarah smiles back.
INT. MILITARY BASE/COL. KAMPEN’S OFFICE – DAY (FLASHBACK)
O’Neal stands before Kampen’s desk, looking down at the colonel who is seated behind it.
O’NEAL: (blunt) I want out of Jump Two, Tony.
COL. KAMPEN: You can’t be serious, Jack. You’re our best, our go-to guy.
O’NEAL: (frowns) Then you’ll have to find yourselves another “go-to guy”, Colonel, because I’m getting out. (beat) I’m sick of the killings, sick of the guilt. If I have to resign from the Air Force – if I have to leave the good ol’ US of A altogether – I don’t care; I’m getting out.
COL. KAMPEN: (sighs) Alright, Jack, alright. (beat) Personnel of your calibre never really retire, though, you know. One day, sooner or later, you’ll be called on for another mission, and it doesn’t matter whether you like it or not, Uncle Sam’s gonna have his way with you.
FADE TO
O’Neal and a twelve-year-old Tyler playing softball out in their backyard in the sun.
PAN OVER
The backyard on to the front yard. We are now several months into the future. O’Neal, behind the wheel of a mini-van, pulls up the driveway and comes to a complete stop. Opening the door, he steps out.
O’NEAL: You out here, Ty? Let’s not be late for the game.
Leaning into the mini-van, O’Neal gives the horn a few honks, trying to rouse his son. When he gets no result, he give it up. Closing the van door, he jogs up to the front of the house, unlocking the door and stepping inside.
INT. O’NEAL HOME/LIVING ROOM – DAY (FLASHBACK)
O’NEAL: Son, you in here? Ty?
Finding the living room deserted, O’Neal leaves for Tyler’s bedroom.
INT. O’NEAL HOME/TYLER O’NEAL’S BEDROOM – DAY (FLASHBACK)
O’Neal opens the door to his son’s bedroom and peers inside. Though Tyler’s softball jersey hands off the back of his armchair, Tyler himself is not present. A worried expression creasing his face, O’Neal closes the door.
INT. O’NEAL HOME/O’NEAL BEDROOM – DAY (FLASHBACK)
O’Neal barges into the room, his eyes focusing on the nightstand on Sarah’s side of their bed.
The nightstand’s drawer hangs ominously open.
Frantic, O’Neal races over to the bed and, getting down on his hands and knees, feels around for something under it.
O’NEAL: The key – where’s the key!?
INT. O’NEAL HOME/CORRIDOR – DAY (FLASHBACK)
O’Neal runs up the corridor, panicking.
EXT. O’NEAL HOME/BACKYARD – DAY (FLASHBACK)
O’Neal bursts through the back porch door, breaking the screen door off its hinges. Racing down the steps, his eyes focus on something lying out on the grass before him.
O’NEAL: (shouting) Tyler? Tyler!
CUT TO & ZOOM IN
On Tyler O’Neal’s still figure lying down on the grass. Half-dressed for his softball game, his father’s gun sits in his right hand, a bloody hole punched through his head.
As O’Neal runs over the corpse of his dead son, a piercing siren – one borne out of O’Neal’s own fractured mind – wails through the air, muffling all other sounds. Reaching Tyler’s body, O’Neal drops down to his knees beside it, his mouth twitching involuntarily. Taking his son into his arms, tears streaming down from his eyes, O’Neal throws his head back, releasing a tortured, soul-shattering scream.
INT. O’NEAL HOME/LIVING ROOM – DAY (FLASHBACK)
O’Neal, dressed in his black funeral clothes, stands facing the living room mantle, his hand gripped around his Smith & Wesson – the same weapon which took his son’s life.
Pulling the Model 29’s hammer back, he places the barrel of the gun under his chin as he looks upon a photo which stands atop the mantle. It is a photo of Sarah in happier times, grinning into the camera.
FLASH CUT TO
A close up shot of Sarah’s face, bathed in harsh red light, as she screams.
FLASH CUT TO
A headshot of O’Neal, his gun hand trembling.
CUT TO
The photo of Sarah.
PAN UP
To a crucifix which is hanging in place on the wall above the photo.
CUT TO
O’Neal, disgusted with himself, disarming the weapon and tossing it aside.
INT. O’NEAL HOME/O’NEAL BEDROOM – DAY (FLASHBACK)
O’Neal stands in the open door of his bedroom, looking in on Sarah, who is seated on the bed. Shortly after the visit with Anderman and the other officer, O’Neal’s hair is still long. He is shaved and showered, though, and clad in his crisp officer’s uniform.
His expression sullen, he watches Sarah seated on the bed, sobbing into her hands. He wants to say something, anything, to his wife, but upon opening his mouth, he clams up.
Resigned, he turns away and silently leaves.
FADE TO
O’Neal back in the here-and-now.
Gen. West, having entered the room, now stands beside the colonel inside the alcove with the fossils.
GEN. WEST: (regards the fossils) Our people tell me this thing used to be alive.
O’NEAL: I thought I was doing this alone.
GEN. WEST: (turns to him) And you will. (beat) As soon as the team completes their survey, you’ll be on your own.
O’NEAL: The more people we send through, the greater the chances something’s gonna go wrong. And Jackson could be a problem. He’s smart. He won’t go along with this plan if he figures it out.
GEN. WEST: Then it’s your job to make sure he doesn’t.
O’NEAL: (turns to West) General, you’ve opened up a doorway to a world we know nothing about.