Next Page #15

Synopsis: Blessed, or cursed, with the ability to see events minutes before they occur, Cris Johnson (Nicolas Cage) earns a living as a magician in Las Vegas and keeps a low profile under an alias. When terrorists threaten to detonate a nuclear weapon in Las Angeles, government agent Callie Ferris (Julianne Moore) goes on the hunt for Cris and hopes to convince him to help her stop the coming apocalypse.
Production: Paramount Pictures
  2 wins & 3 nominations.
 
IMDB:
6.2
Metacritic:
42
Rotten Tomatoes:
28%
PG-13
Year:
2007
96 min
$17,993,461
Website
948 Views


She signals and Cris is dumped into the waiting helicopter.

The door is slammed behind him.

INT. helicopter - DAY

Inside, Cris is surprised to find himself alone with Liz. He

edges closer so they can hear each other.

CRIS:

Don’t let them know you’re

pregnant.

The helicopter takes off.

CrIS

You don’t have to raise him. But at

least let him be born. Can you do

that? It might be the only chance

either of us gets.

LIZ:

I promise.

They gaze at each other with intense longing.

LIZ:

Work with them Cris. So we can be

together.

He shakes his head, fatalistic.

CRIS:

I’ll get us out of here. We can

still make the plane.

She knows it’s hopeless.

97.

Ext. HOMELAND SECURITY - VEGAS OFFICE - day

Coming into view by air.

ext. HOMELAND SECURITY - MEDICAL LAB - day

MED TECHS perform a battery of tests on Cris and Liz. Wisdom,

Baines, and Ferris watch through glass in an adjoining room.

Wisdom

Are you out of your mind? Did you

ever play chicken before?

FERRIS:

This game was different. He knew I

wouldn’t flinch.

Baines covertly makes the “big balls” gesture with two clawed

hands. Wisdom nods knowingly.

baINES

What’s new with the Code Orange?

WISDOM:

It’s red now. And we’re out of

leads.

fERRIS

Then you better hope he’s what I

say he is.

WISDOM:

Please, make me a believer.

WHITE VESTIBULE:

Size of an elevator. Cris stands there, bound ankle and

wrist. Click, the metal shackles open automatically and drop

to the floor.

Cris reaches down for them. Possible weapon. Struggles to

lift them. Can’t.

FERRIS (o.c.)

Electromagnets.

Int. Observation room - daY

Ferris, Baines, and Wisdom peer down into the White Vestibule

through a window. Technicians operate a control panel.

98.

WiSDOM

Aren’t you being a little overcautious?

FERRIS:

Not possible with him.

She leans forward, flips a toggle. Down below, in the

Vestibule, a door slides open.

FERRIS:

Cris, please step into the next

room.

WHITE VESTIBULE:

Cris gives up on the chains and sullenly steps forward.

WHITE ROOM:

Size of a squash court. Cris enters gingerly and peers

around. Twenty feet up, an OBSERVATION WINDOW, opaque. On the

other walls, RIFLE BARRELS poke through NARROW SLITS. The

door slides shut behind him.

Observation room

Ferris leans forward and speaks.

FERRIS:

Cris, we’ll be firing at you with

live ammo. Are you ready?

WisDOM

You’re shooting your secret weapon?

Ferris signals Wisdom to be patient. Cris just stands there,

flatfooted, arms folded, unafraid.

Ferris nods. A Techie presses a button. The THREE RIFLES

FIRE.

Cris is hit square in the chest!

By THREE BLUE PAINTBALLS.

CrIS

You’re paying for the shirt.

WisDOM

(unconvinced)

I hope you’ve got more than that.

99.

FERRIS:

Now we are going to use live ammo.

WISDOM:

Not on my watch, you’re not.

FERRIS:

I promise you, he won’t be hit.

Wisdom looks her in the eye. Sees her certainty.

WISDOM:

It’s your experiment.

Ferris leans toward a microphone, but before she can speak...

CRIS:

“From now on, Cris, the bullets are

real.”

Ferris sits back and nods to the techies to proceed.

BARE WHITE CHAMBER

Cris balances, at the ready, as the three rifles take aim at

him. He LUNGES at the very instant that one rifle FIRES. A

bullet ZINGS by his ear.

As the second rifle fires, Cris contorts -- and a bullet

parts his hair.

As the third rifles fires, he tumbles away, almost a blur.

More shots, in rapid sequence, erratic rhythm. Two at a time.

Three at a time.

Like a pinball, Cris pivots, crouches, dodges every bullet.

Then suddenly stops. Stands there. An easy target. Click,

click, click, the guns are out of bullets.

FERRIS:

He’s almost impossible to shoot,

hit, surprise, capture, or contain.

WISDOM:

Mind if I try?

FERRIS:

Be my guest.

Wisdom takes out his handgun, carefully aims, and discharges

six shots at Cris - doesn’t score a hit.

100.

WisDOM

How do you know it’s prevision?

Maybe he’s reading minds.

Ferris shows the aiming gantries to Wisdom.

FERRIS:

No minds to read. The guns are

aimed automatically by infrared.

WiSDOM

(impressed)

What other tricks can he do?

Ferris pushes a toggle, and a pocket door slides open in a

wall.

ferris

(to Cris)

Please step into the next room.

CRIS:

I’m going. No need for a hotfoot.

BaiNES

(explains, to Wisdom)

The floor is electrified. He must

have tried resisting and foreseen

the result.

Cris walks through the doorway into...

THE SMALLER WHITE ROOM

which is familiar from the opening sequence, but not exactly

the same. Because it’s not exactly the same future. A HEAVY

CHAIR, bolted to the floor, faces a PLASMA SCREEN MONITOR on

the wall. To the left of the screen is a MIRROR; to the

right, a DIGITAL CLOCK-CALENDAR.

Ferris’ FACE appears on the monitor.

Ferris on monitor

Cris, it’s time to get started with

the next test. This won’t be

unpleasant. We just need to you sit

in the chair.

Cris eyes the chair with suspicion.

101.

Ferris on monitor

I want you to look ahead, tell me

the time on the clock and then tell

me what film clip you see playing.

Let’s start with five minutes from

now. Then we’ll press ahead as far

as you’re capable of.

(to Wisdom)

The clips have been assembled at

random by a computer, so nobody

knows what’ll be playing next.

Cris looks into the mirror and sees his face reflected - as

an old man. He turns away.

cris

Look, I’ll stand here and tell you

what I see.

INTERCUT BOOTH / WHITE ROOM

Ferris on monitor

I’m afraid we need you to sit.

CRIS:

Why?

Ferris on monitor

Why not?

CRIS:

I know what happens.

Ferris oN MONITOR

Tell us.

CRIS:

You tie me down and never let me

out.

Wisdom looks at Ferris. She shrugs, sheepish.

FerriS

That’s only because you won’t

cooperate.

CRIS:

Because you’re trying to force me.

102.

Ferris

Work with us, Cris, and you can be

a hero. Fight us, and things will

get worse and worse.

Cris squints, frustrated, looking for a way out.

Ferris ON MONITOR

(severe)

Now sit in the chair. One. Two.

Three.

Ferris switches the toggle. The sizzle of electricity.

Cris hops and jumps in agony.

Ferris turns away, then makes herself look.

WISDOM:

Whoa, you are one tough b*tch.

FERRIS:

We’re still in a Code Red if I’m

not mistaken.

She turns off the juice.

WISDOM:

He knew he’d get shocked, but he

chose to resist.

FERRIS:

He’s almost never had to face

consequences.

(flips toggle)

Cris, are you ready to get in the

chair?

Cris, recovering, shoots her the finger.

She switches the toggle again - and leaves it on. Wisdom

doesn’t have the stomach to watch.

FERRIS:

We need information, right?

Cris collapses, unconscious.

FERRIS:

Leave him there. We’ll start again

when he recovers.

103.

Int. Wisdom’s office - day

Wisdom and Ferris are both traumatized by the torture.

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Gary Goldman

Gary Wayne Goldman is an American film producer, director, animator, writer and voice actor, he is well known for working on films with Don Bluth such as Anastasia, An American Tail, and The Land Before Time. more…

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