ALABAMA SMITH
and the
Sons of Darkness
Written by
R. MARSHALL SMITH
(C) 95-2003 Robert Smith
Second Draft - Feb 4, 1997
FROM THE OLD PARAMOUNT PICTURES LOGO,
MATCH DISSOLVE TO:
A mound of sand in the shape of the logo's mountain peak. On
the mound's summit, a child's bronze-skinned hand places a
large piece of dried-out wood.
WIDE - A DESERT WASTELAND CAMP
3 BEDOUIN TEENAGERS perform before a small audience of BEDOUIN
YOUNGSTERS: the first teenager, a boy, is imitating an
elephant; the second teenager, a girl, is pretending she is a
lion; and the third teenager, another boy, is acting like a
donkey. There is CLAPPING and LAUGHTER as the teens parade
around the waist high sand pile, making SOUNDS akin to their
particular animal. MAIN TITLES BEGIN.
EXT. NORTHWESTERN SHORE OF THE DEAD SEA - DAY
Heat-rippled air distorts far off figures: 4 BEDOUIN SHEPHERDS,
as they lead their herd of rams along the rocky shore.
DISSOLVE TO:
EXT. ROCKY SHORE - DAY
Set against the Judaean rust-colored hills, the 4 SHEPHERDS
(1 boy and 3 elders) keep the herd moving along steadily.
The train of rams kicks up a veil of dust, hooves CLACKING
intermittently on loose rocks and stones.
At the rear, the bronze-skinned BEDOUIN BOY uses his goad to
urge an unruly ram back into the procession. The BOY grows
impatient, as the animal refuses to cooperate.
At the front, the ELDERS have themselves a big laugh at the
boy's expense.
The resentful BOY whacks the ram with his goad.
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"SONS OF DARKNESS" 02/04/97 2.
The startled animal BLEATS NOISILY and runs off. Speaking
Arabic, the elders order the boy to retrieve the ram.
EXT. ARID WATERCOURSE / CANYON - DAY
From a high vantage, we see the steep rocky cliffs that form
a U around the dry-bed watercourse. The runaway ram has made
the mistake of entering what amounts to a dead end canyon.
EXT. CANYON - FURTHER IN
The runaway ram scampers past. The BOY is not far behind,
feet kicking up the sand as he chases after the ram.
EXT. CANYON - DEAD END
The BOY runs around a bend and finds the ram pacing back and
forth, cornered by the canyon's dead end.
The BOY approaches the jittery beast slowly; he doesn't want
to spook it.
Now the BOY is within pouncing distance. He leaps at the
ram. But the tricky animal side-steps and the boy lands in
the dirt, face first. The BOY spits sand out as he gets to
his feet.
Now the BOY grows uneasy, watching the ram charge up the rear
cliff face, taking the steep grade in leaps and bounds. The
animal vanishes from sight behind jagged rocks, high above.
EXT. HIGH UP ON THE CLIFF - NARROW LEDGE - DAY
The BOY appears, climbing onto the narrow ledge. He marvels
at the opening to a cavern. The BOY looks high and low, but
can't see the ram anywhere. Then he hears the ram's ECHOING
BLEATS, coming from deep inside the cavern.
The BOY picks up a stone and throws it hard and deep into the
shadowy maw.
To the BOY'S amazement, comes the distant SHATTERING SOUNDS
of pottery.
INT. JUST INSIDE THE CAVERN
It is dark. The BOY fishes his trusty Zippo lighter from a
leather shoulder pouch and flicks it on. The weak orange
light shallowly penetrates the dark.
INT. BACK WALL OF CAVERN - JUST AFTER
The BOY holds the Zippo over his head like a torchlight, easing
his way towards the rear of the cavern. The flickering light
shines on the ram, which is squatting serenely on the rear
floor of the cavern. It is strangely unfazed by the boy's
appearance. Now the light shines on a collection of dusty
clay jars.
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"SONS OF DARKNESS" 02/04/97 3.
All 12 of them are intact except for one, which is broken
open.
The stone the BOY fired into the cavern minutes ago lies among
the shattered pieces. The captivated BOY crouches down and
pulls from the broken jar a foot-long, cylindrical object.
It is soft like leather. (Titles end)
SHARPLY CUT TO:
EXT. A DESERT AIRSTRIP - DAY
A tri-propeller-driven Breda-Zappata ROARS IN and touches
down on the sunbaked tarmac.
EXT. THE DESERT AIRSTRIP - PARKED PLANE - JUST AFTER
A legend appears:
JORDAN - 1947
The plane door opens wide and ALABAMA SMITH, presentably
dressed in a three-piece-suit, steps out into the blazing
sunlight. He hurries down the universal stairs.
MR. LOTT, a clean-cut, Jordanian government official, greets
ALABAMA at the bottom. They shake hands.
MR. LOTT
Doctor Smith, welcome to Jordan.
LOTT escorts ALABAMA towards a government jeep.
ALABAMA
The scrolls -- how many did you find?
MR. LOTT
First, let's get you settled in at the
hotel.
ALABAMA
If it's all the same to you, I'd rather
go to the site first.
MR. LOTT
(amused)
Of course.
CUT TO:
EXT. REAR OF DEAD END CANYON - THE EXCAVATION CAMP - DAY
ALABAMA and LOTT move quickly through the encampment. The
famous archaeologist is now fitted in hiking boots and workman
gloves, and naturally they clash with his three-piece suit.
A nearby GAS-POWERED GENERATOR -- the awful NOISE it produces --
makes conversation pointless.
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"SONS OF DARKNESS" 02/04/97 4.
The BEDOUIN WORKERS are busy with odd-jobs, tasks and chores.
The camp is situated below the cavern. ALABAMA looks up.
There is a sturdy wooden platform, metal strut reinforced,
anchored to the cliff face. It extends from the natural rock
ledge, making access to the cavern much safer, as well as
easier. One gains access to the cavern via a solid basket
elevator on a motorized winch.
EXT. THE CAVERN - ON THE WOODEN PLATFORM - JUST AFTER
The basket elevator rises into view. The noisy generator is
less obtrusive up here. However, conversation is difficult.
ALABAMA and LOTT climb out of the basket and step towards the
opening.
MR. LOTT
I must warn --
(louder)
I must warn you, doctor -- though it
probably won't surprise you -- we've
received a number of death threats
since excavating started a few days
ago.
ALABAMA
From who?
MR. LOTT
They call themselves "The Sons of
Light."
ALABAMA
Yes . . . I've heard of them.
HOLD on ALABAMA'S face. Thoughtful.
INT. DEEPER INTO THE CAVERN - NARROW PASSAGEWAY - JUST AFTER
Bulb fixtures run the full length of the cavern, which are
fed by a SINGLE ELECTRICAL CABLE anchored to the rock ceiling.
The bulbs provide enough light for ALABAMA and LOTT to navigate
the narrow passageway. The noisy generator isn't as prevalent
this far in.
MR. LOTT
Fortunately for us, the scrolls were
preserved by the region's extreme
aridity.
(beat)
We've dated them using a new technique
developed by Professor Willard Libby,
University of Chicago: radiocarbon
dating. The scrolls date to
approximately 200 B.C., almost two
millennia ago, Doctor.
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"SONS OF DARKNESS" 02/04/97 5.
INT. REAR OF CAVERN - NOW A MAKESHIFT EXAMINATION ROOM - JUST
AFTER
ALABAMA and LOTT watch as a SCROLL SPECIALIST handles a PAPYRUS
MANUSCRIPT with almost superhuman patience and care.
ALABAMA beams.
MR. LOTT
From preliminary transcribing, we know
the scrolls include manuals of
discipline, hymnbooks, Biblical
commentaries, and apocalyptic writings.
ALABAMA notes the ancient handwriting.
ALABAMA
Biblical Hebrew. Not one of my better-
known languages, I'm afraid. What's
that passage he's transcribing?
LOTT leans in closer and reads the ancient writing over the
old scholar's shoulder.
MR. LOTT
Interesting . . . it's the Book of
Genesis . . . 8:4 to be precise.
ALABAMA
(quoting; automatic)
"And the Ark rested in the seventh
month, on the seventeenth day of the
month, upon the mountains of Ararat."
MR. LOTT
(impressed)
You know your Bible, Doctor.
ALABAMA
(wryly)
Pushy father.
CUT TO:
EXT. OUTSIDE THE CAVERN - BACK ON THE WOODEN PLATFORM - DAY
ALABAMA and LOTT emerge from the cavern and shield their eyes
from the intense sunlight. The noisy generator is prominent
once again.
MR. LOTT
(shouting)
Soon the department will start
excavating the remaining caves in this
area.
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"SONS OF DARKNESS" 02/04/97 6.
ALABAMA
(shouting)
Terrific. I'd like to be part of the
excavation. Is that possible?
As ALABAMA is asking this, a CREEPY BEDOUIN WORKER eyes him
out the corner of his eye. He sets down a load of coiled
ropes and surreptitiously draws a gleaming dagger from the
folds of his garment.
MR. LOTT
Doctor, with your reputation I'm certain
the department will welcome your -- !
Suddenly, LOTT gasps, and falls away quickly. His face is
replaced by the creepy Bedouin's snarling mug. The dagger
clutched in his hand is smeared with blood.
ALABAMA steps back, stumbling. CREEPY advances, the dagger
out, its metal blade catching the sunlight. ALABAMA blinks
as the reflected sunlight stings his eyes.
ALABAMA steps backwards off the wooden platform and onto the
narrow rock ledge.
Now two more nasty BEDOUINS drop in from the rocks above the
cavern. Call them SPOOKY and SCARY. ALABAMA puts out his
hands and speaks in ARABIC:
ALABAMA (*SUBTITLED*)
I mean you no harm!
SPOOKY and SCARY whip out daggers.
ALABAMA (CONT'D)
(shouting)
Hey! Hey! I got a problem up here!
Down in the camp, nobody can hear ALABAMA over the generator's
awful racket.
Back on the ledge, the dagger trio is advancing slowly.
ALABAMA looks back, over his shoulder, and isn't surprised by
what he sees:
He is running out of ledge. Just a few more steps to the
edge, and then it's a 50-foot drop, straight down.
ALABAMA takes inventory: he looks up -- no good -- sheer rocks
above. The basket elevator -- no, too far away -- yes, it
appears our hero is trapped.
ALABAMA scowls -- typical!
Suddenly, ALABAMA sees a thick ELECTRICAL CABLE at his feet.
It's the same one we saw anchored to the ceiling inside the
cavern.
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"SONS OF DARKNESS" 02/04/97 7.
Suddenly, we're following the cable . . . all the way down
the cliff face . . . to discover that this cable is connected
to the noisy generator.
Back on the ledge, we also discover that this cable is running
between SCARY'S feet.
Moving quickly, ALABAMA snatches up the cable and yanks it
hard. The cable snaps up and -- OUCH! -- nails SCARY in the
crotch. He cups himself, eyes rolling back in their sockets.
He drops like a tone of bricks, out cold. One down, two to
go.
Suddenly, SPOOKY belts out a battle cry and charges at ALABAMA.
SPOOKY tackles our hero and they both sail out into space.
While in mid-air, our fast thinking hero tightens his gloved
grip on the cable, which is still in his hands.
At the same time, SPOOKY locks his arms and legs around ALABAMA
like a vicious monkey.
FLASH SHOT -- INSIDE THE CAVERN -- as the combined weight on
the electrical cable yanks it loose, popping the rivets one
by one, all along the cavern ceiling --
Back outside, ALABAMA -- his clinging monkey with him -- is
falling fast, on the lengthening cable.
Suddenly, the cable snaps taut and ALABAMA is violently jerked
to a stop in mid-air.
ALABAMA smacks the cliff face, hard, cringing grotesquely.
Immediately ALABAMA'S hands start to slide down the cable.
His weight, combined with his clinging attacker, is too much.
ALABAMA plants his boots on the jagged rocks, and this lessens
the strain. He snakes his arm around the cable, which gives
him the needed leverage.
Now we see ALABAMA is some 40ft up. And far below is that
noisy generator.
SPOOKY, arms and legs like vices, bounces up and down, trying
to pull ALABAMA from the cable. ALABAMA tries to shake the
lunatic, while --
On the ledge above, CREEPY shouts to his cohort in Hebrew:
CREEPY (*SUBTITLED*)
Shalem, hold on!
SPOOKY (*SUBTITLED*)
Cut the cable! Do it now. With haste.
I will gladly die for He who is good.
At which point SPOOKY nails ALABAMA with his eyes. Our steel-
nerved archaeologist is chilled to the bone by the man's
apparent conviction.
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"SONS OF DARKNESS" 02/04/97 8.
SPOOKY (CONT'D)
(at the top of his lungs)
PRAISE THE SONS OF LIGHT. DAMN THE
SONS OF DARKNESS TO ETERNAL SUFFERING.
And SPOOKY does the unthinkable -- he lets go!
ALABAMA, spooked, watches the man plunge silently to his death.
THUD! ALABAMA grimaces and turns away. Gruesome.
Above, CREEPY is preparing to cut the cable with his dagger.
Below, ALABAMA is suddenly struck by a bad feeling. He quickly
secures handholds in the rocks and releases the cable -- and
just in time!
Above, CREEPY slices through the electrical cable and receives
one hell of a shock for his trouble.
INSIDE THE CAVE, the bulbs explode in their fixtures. POP!
POP! POP! The SCROLL SPECIALIST is startled out of his seat.
The cut cable spits sparks and whooshes downward, past our
cliff hugging hero.
On the ground below, as the heavy cable pummels the generator
housing, collecting on the ground. Then it stops, a tangled
mess, live end spitting sparks and flip-flopping like a snake
set on fire.
Back to ALABAMA, as he adjusts for a better grip and almost
falls to his death when the rock beneath his boot breaks away.
Shale and rock chunks rain down, clanking on the generator,
which is still running.
Back to CREEPY, on his feet again, feeling sluggish, head
buzzing. He shakes it off quickly and peers down over the
ledge. He curses to himself -- the infidel is still alive!
CREEPY looks around desperately. . . and spots the perfect
thing. He rushes away. He returns a few moments later,
pushing a large, wheeled watertank towards the edge. He
wrestles with the tank until its over-sized tap is in line
with ALABAMA'S head below.
CREEPY primes the hand-pump vigorously. Water belches out at
first ... then starts to sputter ... now water gushes forth.
The heavy flow cascades down the cliff face.
There is a strange sound, and ALABAMA looks up --
Water splashes down all over him. He coughs and gags. , and
hangs on for dear life.
CREEPY jumps up and down, clapping his hands.
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"SONS OF DARKNESS" 02/04/97 9.
ALABAMA is getting drenched. The rock is turning slick, very
slippery.
CREEPY reaches for the hand-pump again, but
SOMEONE
(shouts at him in ARABIC)
You! What's going on?
CREEPY whirls around. The SCROLL SPECIALIST has emerged from
the cavern. Before he can say another word, there is a flash
of metal --
THOOP! Now there is a dagger protruding from the scholar's
chest. The old man falls back, dead. CREEPY scurries over
to the body and reclaims his trusty dagger.
CREEPY, back at the watertank, is pumping again. But water
only trickles from the tap. CREEPY growls.
Below, ALABAMA'S boots slip on the wet rock, but he resets
them quickly. Yup, our dripping-wet adventurer looks pretty
hopeless.
Suddenly, another strange sound -- A PITTER-PATTER -- something
falling on ALABAMA'S hat.
Above, CREEPY wrestles with the bulky watertank, determined
to push it off the ledge. The front legs (like those on a
wheel-barrel) are scraping sand and pebbles from the ledge.
ALABAMA looks up -- pebbly sand smacks him in the face. He
spits -- yuck!. Pit-tu!.
Now it happens, and gravity pulls the teetering watertank off
the ledge. The cast iron drum/support trailer falls -- aimed
at ALABAMA!
But suddenly, it smashes against the rocks and starts to break
apart --
WHOOSH!. The banged-up watertank flashes downwards past
ALABAMA, just missing him by a few feet.
Below, the watertank slams into the ground with a CRUNCH,
just missing the running generator by a few feet.
Above, CREEPY curses -- he can't get a break!
ABRUPTLY CUT TO:
CREEPY, as he grabs a coiled rope from the pile he unloaded
earlier.
Now CREEPY is at an outcropping of rock, tying off the rope.
Now CREEPY is back at the ledge, dropping the coiled rope
over the side.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 10.
The rope drops in, out of ALABAMA'S reach. Our precariously
situated archaeologist looks up and sees this nightmare isn't
over yet.
With his dagger clamped between his teeth, CREEPY starts to
scale down the cliff face.
Suddenly, CREEPY drops in, only ten feet separates him from
his prey.
ALABAMA sights a handhold and pulls himself up, which expands
the distance between him and CREEPY.
ALABAMA works his boot into a crevice -- but again his weight
is too much! Big chunks of rock break loose, and pummel the
generator. A rock punctures the gas drum and gasoline gurgles
out, splashing very close to the cut electrical cable, still
spitting sparks.
Back to CREEPY, as he pushes off the cliff face, swings out
on the rope and lands with a grunt. Now CREEPY is within
arm's reach. ALABAMA is defenseless.
With one hand on the rope, the other clutching his dagger,
CREEPY lashes out at ALABAMA.
The blade CLINKS on the rocks, slicing past ALABAMA'S boot.
ALABAMA slips, trying to avoid the dagger, but quickly regains
his footing.
Below, the inevitable: the sparking cable ignites the gasoline.
Flames engulf the generator. But there is no explosion.
CREEPY lashes out a second time, missing, but does catch
ALABAMA'S pant leg. A long, tattered incision opens up,
revealing the pink flesh of ALABAMA'S shin.
The reaction on ALABAMA'S face is priceless.
On the ground, the fire-engulfed generator is still in one
piece, surprisingly. Another surprise, as the FRAME ADJUSTS,
revealing a row of gasoline cans squatting near the crackling
blaze. Desperate, ALABAMA snaps off a chunk of limestone and
throws it at CREEPY. It hits CREEPY square in his face. The
zealot is dazed only slightly -- and worse still he didn't
let go of the rope.
ALABAMA can't believe it. He can't believe this either:
CREEPY is also doing something desperate. He is about to throw
his dagger. He has it by its tip -- he looks evil -- and
there goes his hand . . . back . . . back . . . back
KAH-BOOM!
At the same time, both men look down and gasp at a huge
fireball shooting upwards at them.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 11.
ALABAMA hugs the cliff face for dear life as the fireball's
mushroom of death roars up and fills the screen. A high-
pitched shriek chills our spine. His body set ablaze -- CREEPY
is seared off the rope and plunges to his death!
In a moment, the fire and smoke dissipate . . .
ALABAMA materializes -- he's alive! But how? ALABAMA pats
down his wet clothing. Fortuitous fireproofing.
ALABAMA lets out a big sigh of relief, happy to be alive. He
looks at CREEPY'S charred remains below. . .
ALABAMA grabs the singed rope dangling nearby. He tests it
for strength. Feels secure enough.
ALABAMA starts climbing up to safety.
CUT TO:
EXT. DOWNTOWN AMMAN, JORDAN - DAY
A four-star hotel rises from the street teeming with activity.
INT. ELEGANT LOBBY OF THE FOUR STAR HOTEL - DAY
ALABAMA limps up to the front desk. His suit is grime-soiled
and torn, his face mud caked.
ALABAMA
Doctor Henry Smith, checking in.
The DESK MANAGER yelps, startled by ALABAMA'S nasty appearance.
DESK MANAGER
Allah be merciful! Doctor, did you
have an accident? Do you require
medical attention?
ALABAMA
No, no -- nothing a hot shower and a
couple dozen aspirin won't cure.
INT. ALABAMA'S HOTEL SUITE - DAY
ALABAMA enters, walking stiffly, and winces painfully at his
sore joints and muscles.
INT. SUITE BATHROOM - DAY
ALABAMA stands barechested in front of the mirror. He dabs
at his scraps and cuts with a wet face cloth.
ALABAMA
Getting
(yelp)
to old for this.
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"SONS OF DARKNESS" 02/04/97 12.
There is a knock at the suit door.
INT. HOTEL SUITE - AT THE ENTRANCE
ALABAMA opens the door and reveals a:
BELLHOP
Urgent telegram for you, Doctor Smith.
ALABAMA takes the telegram.
ALABAMA
(worried frown)
Thank you.
He shuts the door. He opens the telegram and starts to read.
ALABAMA'S goes numb, as the horrible news hits him.
The telegram falls from his limp fingers and lands face up on
the carpet.
It reads:
FROM: DR. GOODWIN, BOSTON MERCY HOSPITAL
DEAR DR. SMITH: REGRETFULLY, I MUST INFORM THAT COMPLICATIONS
IN YOUR FATHER'S CONDITION HAS RESULTED IN HIS PASSING AWAY.
YOUR IMMEDIATE RETURN IS REQUESTED.
DISSOLVE TO:
A TOMBSTONE THAT READS:
HENRY SMITH SR.
BORN: SEPTEMBER 16, 1872 DIED: SEPTEMBER 16, 1947
BELOVED HUSBAND TO WIFE MARGARET
HONORED FATHER TO SON HENRY
EPITAPH:
"WHOEVER BELIEVES MAY IN HIM HAVE ETERNAL LIFE"
EXT. A BOSTON CEMETERY - OVERCAST DAY
LEGEND APPEARS:
BOSTON - ONE YEAR LATER
Grey storm clouds loom in the sky above ALABAMA, who is
kneeling at his father's grave. He holds a muffin in his
hand, set with a single candle. ALABAMA lights the candle
with a Zippo.
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"SONS OF DARKNESS" 02/04/97 13.
ALABAMA
(somberly)
Happy birthday, dad.
He blows out the candle. Distant thunder rumbles.
EXT. BOSTON UNIVERSITY - OVERCAST DAY
The stately university is obscured through pouring rain.
INT. BOSTON UNIVERSITY - THE FACULTY LOUNGE - OVERCAST DAY
ALABAMA lounges in a sofa chair, reading the day's newspaper.
UP CLOSE, ON THE HEADLINE:
TRUMAN DISCLOSES: SOVIETS HAVE THE BOMB
BILL HUMPHREY, a highbrow, thirtysomething professor, sits
down in a sofa chair across from ALABAMA. BILL is holding a
hardcover book.
BILL
Good afternoon, Smith.
ALABAMA lowers the newspaper. Upon seeing BILL, ALABAMA
promptly raises the paper.
ALABAMA
(from behind the paper)
Same to you, Bill.
BILL
(perturbed)
Smith, please, I've asked you numerous
times to refrain from calling me Bill.
My Christian name is William.
ALABAMA
Sorry, William.
BILL glances down at the hardcover book in his hand. On the
back jacket is the author's photo: a scholarly snapshot of
ALABAMA.
BILL
I'm enjoying your book . . . although
a bit too layman for my palette.
ALABAMA shifts uncomfortably. BILL lights his pipe. Then:
BILL (CONT'D) (CONT'D)
Have you heard? The University of
Cincinnati is assembling an expedition
team to explore King Nestor's palace
in Greece. My invitation to join the
team arrived yesterday.
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"SONS OF DARKNESS" 02/04/97 14.
ALABAMA
(rubbing it in)
Got mine three weeks ago, William.
BILL
Hmmm . . . appears we'll both be
partaking in what is sure to be a
rewarding exploration.
ALABAMA
(lowers the newspaper)
I'm not going.
BILL isn't surprised.
BILL
This is a first, Smith. Usually the
very mention of the word "expedition"
sends you home to pack.
ALABAMA
Well, we all can't just take off when
ever we want -- go traipsing around
the planet. Some of us do have
responsibilities . . . schedules . . .
minds to enrich.
BILL
(counterfeit sigh)
My, my. . . I never thought I'd see
the day. You know, Smith, I've watched
you fossilize over the last year. It
really saddens me to think you've tossed
in your pick. But, as they say, out
with the old and in with the new.
ALABAMA
(standing)
Excuse me, Bill. My dentures are coming
loose.
ALABAMA walks away. BILL makes a face -- how rude! He looks
down at ALABAMA'S book.
The cover reads:
THE MODERN ARCHAEOLOGIST - DR. HENRY SMITH, JR.
BILL (V.O.)
The modern archaeologist indeed.
MATCH CUT TO:
THE SAME BOOK. WE ARE:
INT. A PUBLIC LIBRARY - DAY
A LIBRARIAN checks in ALABAMA'S BOOK and places it aside.
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"SONS OF DARKNESS" 02/04/97 15.
Arms loaded with a number of hardcover books, a BOY cautiously
steps up to the check out counter. He tries to unload the
books, but they topple over and scatter.
The boy smiles sheepishly.
LIBRARIAN
Abner, be careful.
ABNER
Sorry, Ms. Rothhorn.
ABNER is about 11 years old, fit as a fiddle, with sharp eyes
and a tongue to match.
The LIBRARIAN collects the scattered books.
LIBRARIAN
You're checking out all of these?
ABNER
Give that lady a cigar!
The LIBRARIAN glares at ABNER. She reads a few of the book
titles out loud.
LIBRARIAN
"Time of Noah and The Ark" . . . "The
Genesis Flood" . . . The Search for
Noah's Ark" . . . ?
(eyeing the boy strangely)
Why on earth do you want all these
books on Noah's Ark?
ABNER
(spiritedly)
Well, I'm workin' on a big bible-class
project. For a contest. It's gonna
be great. No -- fantastic. Displays,
photos, even a model of the ark. Like
it looks now. Up on top of Mount
Ararat. First prize is a trip to the
Holy Land, Jerusalem.
(cocky)
They may as well just gimme the prize
now.
LIBRARIAN
Sounds a little too ambitious to me.
ABNER
But Ms. Rothhorn, competition's fierce
these days. You gotta go all out.
You just gotta.
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"SONS OF DARKNESS" 02/04/97 16.
EXT. ABNER'S HOUSE - DAY
The sun is shining brightly. ABNER rides up to the house on
his bike.
INT. ABNER'S HOUSE - FRONT DOOR - JUST AFTER
ABNER marches into the house, his backpack stuffed with books.
ABNER
Mom. I'm home. Mom.
Silence.
INT. ABNER'S TIDY BEDROOM UPSTAIRS - JUST AFTER
ABNER upends his backpack and the library books fall out onto
the bed. He starts to neatly arrange the books on his desk.
A brief look at Abner's room: It's well organized. Everything
in its place. ABNER is no ordinary kid.
ABNER, a puzzled look on his face, holds up a book. It's
ALABAMA'S book.
ABNER
Where'd this come from?
He glances at the back jacket, the author's photo.
ABNER (CONT'D)
(shrugging it off)
Must'a got mixed in.
Cut to
ABNER, now at a worktable. He pours melted candle wax over
sections of a foot-long Popsicle stick model of NOAH'S ARK.
The ark is painted to look rotted. Jagged holes in the bow
and stern add convincingly to the effect. The wax hardens as
it cools, adding even greater detail to the model. A simulated
layer of ice. ABNER is crafty to say the least.
On another table, there is a papier-mâché MT. ARARAT (just
its snow-capped peak has been duplicated). White cotton
simulates the snowcap. Very professional looking.
Push in slowly, on the fake Mt. Ararat.
CUT TO:
EXT. THE REAL MOUNT ARARAT, TURKEY - SUN UP
A vast aerial view of the mountain, as seen from the underbelly
of an airliner. The snow-capped peaks reach up, threatening
to knock us out of the sky.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 17.
EXT. THE SKY OVER MT. ARARAT
A RECONNAISSANCE PLANE banks sharply, allowing us to see the
SOVIET RED STAR insignia on its wing.
EXT. SNOW COVERED LOWLANDS, RUSSIA - OVERCAST
The lines of a MILITARY AIRFIELD and OUTPOST are visible behind
a veil of blowing snow.
UP CLOSE, on the outpost sign written in Russian. Its
translation appears on the screen: HEADQUARTERS -- SOVIET AIR
COMMAND.
INT. SOVIET A.C. - MAIN OPERATIONS - OVERCAST
The spacious operations room is brightly lit. A DOZEN AIRMEN
are manning their individual radar screens and communication
stations. RADIO CHATTER is in RUSSIAN.
INT. THE COMMANDING OFFICER'S CHAMBER - OVERCAST
The nameplate on the desk is in Russian. Its translation
appears on the screen: CAPT. YUGI VLADIMIROV.
VLADIMIROV, built like a bull, is sitting at his desk,
reviewing the day's reports. He is a career military man in
his early forties. The many plaques, the framed photos of
him with Soviet leaders present and old, reveal that VLADIMIROV
is an important man.
There's a sharp rap on the chamber door.
VLADIMIROV (*SUBTITLED*)
(curtly)
Enter.
A YOUNG LIEUTENANT enters with an air of urgency about him.
YOUNG LIEUTENANT (*SUBTITLED*)
Excuse the interruption, comrade
Captain.
And now through the magic of motion pictures the conversation
continues in English (no Russian accents, please).
YOUNG LIEUTENANT (CONT'D)
But a routine reconnaissance flight
has found something I think you should
see.
The officer places a LARGE AERIAL PHOTO in front of his
superior.
VLADIMIROV
(testily)
What am I looking at?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 18.
YOUNG LIEUTENANT
Aerial photo: Mount Ararat.
VLADIMIROV
Why do you waste my time with this?
YOUNG LIEUTENANT
Please, if you will --
He swings over a photo magnifier on a retractable arm.
YOUNG LIEUTENANT (CONT'D)
The section here.
VLADIMIROV gives in, reluctantly, and adjusts the magnifier.
He looks through the glass at the photo. The section of
interest is magnified.
YOUNG LIEUTENANT (CONT'D)
Do you see it, comrade Captain?
Looking through the magnifier, we can make out a RECTANGULAR
MASS protruding through the ice and snow.
VLADIMIROV
(intrigued now)
Yes . . . something there.
YOUNG LIEUTENANT
Rectangular -- not a protrusion of
rock . . . but something else.
VLADIMIROV
Yes . . . too geometrical for Mother
Nature. Strange. What mountain is
this?
YOUNG LIEUTENANT
Mount Ararat, comrade Captain.
VLADIMIROV
(thoughtfully)
Ararat.
VLADIMIROV seems elsewhere as he leans back in his chair.
YOUNG LIEUTENANT
Does something trouble you, comrade
Captain?
VLADIMIROV
(thinking aloud to
himself)
Can it be . . .?
YOUNG LIEUTENANT
Beg your pardon, comrade Captain?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 19.
VLADIMIROV
(back on earth)
How many have seen this photo?
YOUNG LIEUTENANT
I brought it directly to you, comrade
Captain. You are the first to see it.
VLADIMIROV
I will take care of it. Is that clear?
YOUNG LIEUTENANT
Yes, comrade Captain.
VLADIMIROV
Dismissed.
The officer salutes and exits promptly.
VLADIMIROV leans in and studies the photo through the
magnifier. A beat. Then VLADIMIROV raises his head and gazes
out at the room. He whispers CRYPTICALLY, in a language that
isn't Russian.
CUT TO:
EXT. ABNER'S HOUSE, STATE SIDE - NIGHT
Somewhere in the house a phone is RINGING.
ABNER (V.O.)
(voice garbled)
Ma! Answer the phone.
INT. ABNER'S HOUSE - BATHROOM
ABNER'S mouth is full of toothpaste, as he's right in the
middle of brushing his teeth.
RING! RING! RING!
ABNER
Maaaa!
He growls and spits out the toothpaste.
INT. MOM'S BEDROOM - JUST AFTER
ABNER answers the phone gruffly.
ABNER
Hello. Yeah, hang on a second. She's
here somewhere.
INT. LIVING ROOM - JUST AFTER
ABNER enters, shouting --
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 20.
ABNER
Mom. Phone. Maaaaam!
MOM is sprawled out on the couch, her face hidden behind a
pillow.
ABNER (CONT'D)
(sharply)
Mom!
MOM doesn't answer. ABNER stomps to the couch, knee catching
the corner of the coffee table, which causes two empty Vodka
bottles to CLINK together.
ABNER shakes his mother. Again. Mom groans behind the pillow
over her face.
ABNER (CONT'D)
Mom. Phone. Mom.
More groans. ABNER exhales heavily, rolling his eyes. He
spins around to leave . . . but something catches his eye. A
SHOEBOX, sitting on the coffee table, lid off. From it, ABNER
takes out a number of newspaper clippings. Some of the
articles contain PHOTOS. ABNER frowns, recognizing the man
in these photos.
INT. ABNER'S BEDROOM - JUST AFTER
ABNER is looking at the PHOTO on the back jacket of ALABAMA'S
BOOK.
ABNER
. . . Same guy.
ABNER places the book aside. He has brought the shoebox
upstairs with him. Rummaging through it, he finds an UNOPENED
ENVELOPE, "Return To Sender" stamped across the front of it.
ABNER tears open the envelope. He reads a hand-written letter
to himself.
SHARON (V.O.)
Dear Alabama: I'm writing this letter,
as I have something to tell you. It
wasn't right to keep him a secret from
you all these years. I feel rotten.
It was selfish of me. But the truth
is... I was scared. Scared you would
neglect him. Or worse . . . he'd want
to follow you around the world. I've
already lost two men to the lure of
archaeology. I didn't want to lose
another . . . especially my own son.
(beat)
I wanted to spare him the dangers and
hardships you and my father experienced.
But it's not fair. I know that now.
(MORE)
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 21.
SHARON (V.O.) (CONT'D)
It's not fair to Abner. That's what
I've named our son --
ABNER
(blurting)
Son!
SHARON (V.O.)
(continuing)
Alabama, you're his father. Abner
needs a father. Please contact me
when you can. Love, Sharon.
ABNER, mind racing, finds in the envelope a PHOTO of himself
at age 7.
ABNER notices a snapshot in the shoebox, faded with age. In
the PHOTOGRAPH, smiling, their arms around each other, is
ALABAMA, SHARON and SHARON'S FATHER.
ABNER, numb, stares down at ALABAMA in the photo.
ABNER
Dad?
(then with delight)
Dad!
Cut to
ABNER, as he reads the "About the Author" section of ALABAMA'S
BOOK.
Cut to
ABNER, as he pushes aside food tins in the kitchen cupboard,
and takes out a coffee can. Inside it is money. Mostly ones
and fives. But a couple of tens and twenties as well.
Cut to
ABNER, back in his bedroom, as he stuffs clothes -- shirts,
socks, underwear, etc -- into his backpack.
Cut to
ABNER, as he opens the bedside table drawer and takes out his
PASSPORT. He looks at it thoughtfully.
ABNER (CONT'D)
(nodding to himself)
Just might need this.
Cut to
ABNER, about to leave, but not without ALABAMA'S book.. He
picks it up off the bed and smiles brightly at the author's
photo.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 22.
ABNER (CONT'D)
(he can't get over it)
I got a dad.
Close up, the back jacket photo of ALABAMA, and:
MATCH CUT TO:
The real ALABAMA. We are:
INT. BOSTON UNIVERSITY - LECTURE HALL - DAY
At the moment, ALABAMA is speaking to a large class of
UNIVERSITY STUDENTS.
ALABAMA
-- to understand the present, we must
first understand the past.
(beat)
But bear in mind that the past is a
hungry animal. With a voracious
appetite. And if you're not careful,
it will devour you.
(beat)
Now, most of you probably view
archaeology as an interesting vocation
. . . some of you may see it as a good
reason to get out of the house . . .
others, a potential hobby. But for
some of you -- the unlucky few -- it
will take control of your lives . . .
and before you know it, your search
for the past has become
(a bit of realization
here)
. . . a dangerous obsession.
ALABAMA looks thoughtful. The STUDENTS sit patiently, waiting
for him to resume.
ALABAMA glances at the wall clock.
ALABAMA (CONT'D)
That's all for today.
Students groan, and start to exit the lecture hall.
When the last of the students has filed out, ALABAMA sits
down at his desk. He looks exhausted . . . sad.
Suddenly --
ABNER (O.S.)
Nice speech, mister.
ALABAMA, startled slightly, looks up at the back row. ABNER
is sitting in a desk, his backpack in front of him.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 23.
ALABAMA
Uh . . . excuse me . . . how did you
get in here?
ABNER
Through the door.
ALABAMA
Is that right. Well, my little friend,
class is over. So, if you don't mind --
ABNER
Say, you always this uptight?
ALABAMA
I'm not uptight.
ABNER
You could'a fooled me.
ALABAMA smirks.
ALABAMA
A wiseacre, huh?
ABNER
My mom thinks so. Actually, I probably
get it from her. Hey, maybe you know
my mother?
ALABAMA
Do I look like the type that would
associate with wiseacres?
ABNER
(irked)
Hey, you can say what you want about
me, buster. But mom's off limits.
Got it?
ALABAMA
Sorry . . . didn't mean to ruffle your
feathers. By the way, where is your
mother, kid?
ABNER
Back in Vermont.
ALABAMA
So . . . you're here with your father
then?
ABNER
You could say that.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 24.
ALABAMA
Well, kid, it was real nice chatting,
but I've got some --
ABNER
You wanna know my mother's name?
Sharon. Her name's Sharon.
ALABAMA
Really.
ABNER
You know a Sharon . . . don't you?
ALABAMA frowns.
ALABAMA
Yes . . . I did. How did you know
that?
ABNER
But you haven't seen her in a long
time, right?
ALABAMA
Is this going somewhere, kid? 'Cause
I'm a busy man and I don't have time
for --
ABNER
Settle down, Alabama. I'm almost done.
ALABAMA
(shaken)
What . . . what did you call me?
ABNER
Alabama. It's your name. Isn't it?
ALABAMA
Nickname.
(uneasy)
I think it's time we find your father.
ABNER
Already did.
INT. CORRIDOR OUTSIDE LECTURE HALL - DAY
ALABAMA, rattled, accidentally trips as he enters the hall,
spilling his papers and things on the floor. ABNER appears,
chasing after him. ALABAMA kneels and starts to collect his
papers.
ABNER takes out the photo of ALABAMA, SHARON, and SHARON'S
FATHER.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 25.
ABNER
Look -- here -- see, that's mom in the
middle. Sharon Crowtree. Guy on the
right, that's you. And on the left,
is my mom's Dad. I never met him.
Mom said he died. She also told me my
dad died when I was just a baby.
ALABAMA'S and ABNER'S eyes meet briefly. ALABAMA dashes away,
more flustered than ever now.
ABNER chases after him.
EXT. BOSTON U - FACULTY PARKING LOT - NEAR SUNDOWN
ALABAMA, almost running, heads for his parked sedan. ABNER
trails behind him.
ABNER
I'm not going away, mister. So you
better get use' to it.
ALABAMA
(barking)
No! I mean it, kid. Beat it. Vamoose!
ABNER looks dejected.
ABNER
(teary eyed)
I'm . . . I'm not tryna pull a fast
one, mister. Just -- I --
(beat)
Aw, forget it!
ABNER runs off. ALABAMA salutes the kid "good riddance."
INT. ALABAMA'S SEDAN - JUST AFTER
ALABAMA, grumbling ad-libs, slides in behind the wheel. He
takes a moment, trying to get his head straight. He chuckles
to himself.
ALABAMA
Ridiculous. It's absurd.
Then he catches his reflection in the rear-view mirror. He
looks closer. Now ALABAMA groans, bringing a hand to his face.
ALABAMA (CONT'D)
Oh, Sharon . . .
(into rear-view mirror)
He's got my eyes.
EXT. A RESIDENTIAL STREET - NEAR SUNDOWN
ABNER walks along the sidewalk, head down, shoulders slumped.
Headlights appear behind him.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 26.
ALABAMA'S sedan drives up and pulls over to the curb.
ALABAMA
(out the passenger-side
window)
Hey, kid! I'm on my way to visit some
body. You wanna tag along?
Sulking, ABNER doesn't say anything.
ALABAMA (CONT'D)
C'mon . . . I could use the company.
EXT. THE CEMETERY - SUNDOWN
ALABAMA and ABNER are standing at the foot of Smith senior's
grave.
ABNER
What was he like?
ALABAMA
Strong. Passionate. Stubborn.
ALABAMA turns introspective.
ABNER
Mr. Smith . . . how come you never
contacted my mother? Letter she sent
asked you to get in touch with her.
ALABAMA
I didn't get any letter from her, Abner.
ABNER
(making sense of it)
. . . Letter had "return to sender" on
it . . . did you move or something?
ALABAMA
Dad and I moved here about 4 years
ago.
ABNER
There was a picture . . . me at 7. . .
that was 4 years ago . . . you weren't
at that address . . . so I guess the
post office returned the letter . . .?
(beat)
You know what's really sad, Mr. Smith
. . . mom hated you all these years .
. . herself . . . all because she
thought you sent back that letter.
ALABAMA
Abner, if I could turn back the clock,
I would. I'd say we have lots of
catching up to do.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 27.
An interruption:
VLADIMIROV (O.S.)
(Russian accent)
Doctor Smith?
ALABAMA sees a large man approaching him, dressed in a long
trench coat and a fedora.
VLADIMIROV smiles warmly.
ALABAMA
Yes. Can I help you?
VLADIMIROV
Please excuse the intrusion, Doctor.
Your secretary said I might find you
here. My name is Yugi Vladimirov. I
am a captain with the Soviet Air Force.
Do you have a moment? I wish to discuss
something of importance with you.
ALABAMA
Really isn't a good time. I'm here
with my . . . my son . . . we're
visiting his grandfather's grave.
VLADIMIROV
Henry Smith Senior . . . yes, I knew
of your father. My condolences. But
please, Doctor, it won't take up much
of your time. And what I have to tell
you is of great archaeological
significance.
EXT. THE CEMETERY - JUST AFTER
The scene begins on a close-up of VLADIMIROV'S shoes . . .
the souls . . . they're smoldering. Fine wafts of smoke
linger in his tracks. Also -- though it makes little sense --
we hear a faint, but distinct SIZZLING sound each time his
shoes press into the grass. Are we seeing/hearing things?
ALABAMA and VLADIMIROV are together, walking and talking.
VLADIMIROV
This was taken two days ago. An aerial
photograph of Mount Ararat. Here,
this will help.
He hands ALABAMA a magnifier.
VLADIMIROV (CONT'D)
The section circled in red. Do you
see what is there?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 28.
ALABAMA
(looking through
magnifier)
A protrusion of some kind. Almost
rectangular.
VLADIMIROV
Do you know the story of Noah and his
Ark, Doctor?
ALABAMA
Captain, I believe every school child
knows it.
VLADIMIROV
(embarrassed slightly)
Yes. Doctor, my apologies. I am an
educated man. But sometimes I have
difficulty dispelling my sense of Soviet
superiority.
ALABAMA
You think this object is Noah's Ark?
VLADIMIROV
The Book of Genesis clearly disclosed
the final resting-place of the Ark:
Mt. Ararat. Tales of men coming down
from the mountain with pieces of
preserved timber -- from heights where
trees cannot grow -- have been told
for centuries.
ALABAMA
Excuse me for asking . . . but when
did the Russians start believing in
the Bible?
VLADIMIROV
Yes. Well, you see, Doctor . . . I am --
how you say -- the black sheep of the
family -- I believe . . . and it is my
hope to make you a believer as well.
(beat)
Yes, I too have had bouts with faith.
In your book -- a good read by the way --
ALABAMA nods "thank you."
VLADIMIROV (CONT'D)
-- you speak of it in great detail.
Your point about faith being for
children and fools intrigued me the
most.
(MORE)
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 29.
VLADIMIROV (CONT'D)
(beat)
But if the Ark is there on Mt. Ararat,
then it stands as a testimony to God's
word -- His vindication.
(beat)
Doctor, peace of mind awaits us both.
ALABAMA
Sorry, but I can't help you.
VLADIMIROV
Doctor -- please, the Ark's discovery
will shake the atheist institutions to
their very foundations. We are living
in godless times -- in the shadow of
the atomic weapon. You and I together
can give the world what it needs . . .
salvation.
ALABAMA isn't buying.
VLADIMIROV (CONT'D)
(aggravated)
But I don't understand. You are an
archaeologist. Surely the historical
significance of such a find is of
interest to you.
ALABAMA exhales heavily.
VLADIMIROV (CONT'D)
(calming down a bit)
Sorry. But at least let me make you
an offer: I am assembling an expedition
team. Your expertise in this area is
what I require --
ALABAMA
Again, I'm not interested.
VLADIMIROV
The job pays very hand --
ALABAMA
(snapping)
I don't want your money. Now, please,
I just want to be left alone.
ABNER, following at a distance, but close enough to catch
bits and pieces of the conversation, heard what ALABAMA just
said, and looks away, hurt.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 30.
BACK TO THE MEN:
ALABAMA (CONT'D)
(exhaling)
Captain, there are Russian
archaeologists, just as skilled as I
am, who can help you?
VLADIMIROV
Yes. But Doctor, you led an expedition
of this kind before. In 1942. The
Andes.
ALABAMA
(taken off guard)
That was classified. A secret mission
for the U.S. Army.
VLADIMIROV
(chuckling)
Doctor, military secrets are like boats
. . . they leak on occasion.
ALABAMA
(directly)
What's the real reason, Captain? My
Andes expedition was no great feat by
any stretch of the imagination.
VLADIMIROV
True. All right, Doctor, I will be
candid. I am here today without the
permission of my government. I have
not yet brought to their attention the
object photographed on Ararat.
ALABAMA
Why?
VLADIMIROV
Well, I am a selfish man, Doctor . . .
some would say a dreamer. To uncover
something of such biblical importance
would surely make me a hero in the
eyes of the world.
ALABAMA
(snidely)
What about your loyalty to the Kremlin?
To Stalin?
VLADIMIROV
Yes . . . I am torn between duty and
vanity. But, Doctor, you of all people
should understand vanity.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 31.
ALABAMA
(irked)
Captain, you have the wrong man. You're
looking for a glory seeker. I'm not
him.
VLADIMIROV
I see. Well, Doctor, I know when I'm
beaten. I will not bother you with
this any more. But in case you change
your mind, there is a plane leaving
Boston in the morning for Istanbul I
have taken the liberty of booking you
on the flight. If you decide to join
us, remember that the expedition is
being kept secret. So please be
discreet.
(beat)
The Turkish government would not approve
of us poking around.
(beat)
After you land in Istanbul, instructions
direct you to the city of Dogubeyazit
where the expedition party is being
assembled. The password is "skull."
(pulls out an envelope)
Everything you will need to know is in
here.
VLADIMIROV holds out the envelope.
ALABAMA
I won't change my mind.
VLADIMIROV
In case you do.
ALABAMA, being polite, takes the envelope.
VLADIMIROV (CONT'D)
It's nice to have met you. Good day,
Doctor.
ALABAMA shakes VLADIMIROV'S big hand. CLOSE-UP, the cryptic
tattoo, on the back of the Russian's hand.
ABNER approaches.
VLADIMIROV (CONT'D)
(smiling)
And a good day to you, young man.
ABNER
(smiling back)
Bye.
VLADIMIROV starts walking away. ABNER joins his father.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 32.
ALABAMA
(shouting)
Captain.
VLADIMIROV turns around.
ALABAMA (CONT'D)
If it's a glory seeker you're after,
try Doctor William Humphrey. You'll
find him on campus.
VLADIMIROV
Is he skilled?
ALABAMA
He likes to think so.
VLADIMIROV grins, and tips his hat "goodbye."
ABNER
Nice man. Who is he?
ALABAMA
Nobody important.
ALABAMA crumples up the envelope. ABNER watches ALABAMA shove
it into his coat pocket.
ABNER
So, what now?
ALABAMA
Home. You should call your mother and
let her know you arrived safely.
ABNER
(hiding something)
Yeah. Good idea.
CUT TO:
INT. ABNER'S BEDROOM BACK HOME - NIGHT
SHARON CROWTREE, hung over, staggers into her son's bedroom.
SHARON
Abner . . . you in here? Abner?
SHARON spots the SHOEBOX on the bed.
SHARON (CONT'D)
Dammit. Oh, stupid. Stupid.
The shoebox's contents are scattered on the bed. SHARON finds
the opened letter. Her knees buckle. She tries to push back
the pain and tears, but can't. She breaks down crying.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 33.
INT. SHARON'S LIVING ROOM - JUST AFTER
SHARON is on the phone, all fired up now. In her hand is a
newspaper clipping.
The article's headline reads:
BOSTON U WELCOMES WORLD RENOWNED ARCHAEOLOGIST
SHARON
Boston directory? Yes, I need an
address and phone number?
INT. ALABAMA'S LIVING ROOM - NIGHT
ABNER has just finished his dinner (a sandwich and a class of
milk).
ALABAMA has taken out the family PHOTO ALBUM. He is showing
ABNER pictures of Smith Senior as a young man.
ALABAMA
That's dad . . . he's about thirty
here . . . that's him in Egypt, 1927.
ABNER
He found king Tut's Tomb?
ALABAMA
(amused)
No. Dad was there doing research.
ABNER
(disappointed)
Oh.
(pointing)
Who's that?
ALABAMA
Lucas Brody. A friend of the family.
A great archaeologist in his day.
ABNER
Can I meet him?
ALABAMA
He passed away a few years ago.
(small voice)
Everybody's leaving me.
ABNER feels for his father. He lightens up the mood a bit.
ABNER
Hey, you wanna see my pictures. I
brought some with me.
ABNER takes out a bundle of photos from his backpack.
Something falls to the floor.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 34.
ALABAMA picks up ABNER'S PASSPORT.
ALABAMA
(amused)
You brought your passport . . . ?
ABNER
Thought I needed it to get here.
ALABAMA
Just when you leave the country.
ABNER replaces the passport in his backpack.
ABNER
(embarrassed)
Yeah, that's what the bus ticket lady
said.
ALABAMA
I'm surprised your mother didn't tell
you.
ABNER looks guilty.
The phone RINGS. ALABAMA gets up to answer it.
ALABAMA (CONT'D)
(nervously)
Maybe that's your mother . . . you did
call her?
ABNER
Sure. While you were making sandwiches.
ALABAMA answers the phone.
ALABAMA
(a deep breath; then
into phone)
Hello? . . . No, I'm afraid he's not.
Doctor Smith past away last year.
Thank you. I'm his son. Is there
something I help you with?
ABNER rises from the couch and whispers:
ABNER
Where's the bathroom?
ALABAMA covers the mouthpiece:
ALABAMA
Upstairs. End of the hall.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 35.
INT. FRONT DOOR HALLWAY - JUST AFTER
ABNER is about to go upstairs when he sees ALABAMA'S coat
draped over the banister.
Cut to
ABNER, as he sneakily removes the crumpled-up ENVELOPE from
ALABAMA'S coat.
INT. WASHROOM UPSTAIRS - JUST AFTER
ABNER rushes in, shuts the door and locks it. He quickly
uncrumples the envelope. Inside, there is a PLANE TICKET and
a few sheets of FOLDED STATIONARY, typed instructions on them.
ABNER starts to read the first page.
A moment. Now ABNER'S eyes bug out.
ABNER
Noah's Ark. Holy Toledo. They found
it.
INT. SHARON'S LIVING ROOM - NIGHT
SHARON is on the phone, getting a busy signal. She slams the
handset back into its cradle.
SHARON
Goddammit!
SHARON thinks hard for a moment. Then she snatches up the
receiver again.
SHARON (CONT'D)
Operator? I need a phone number. The
bus station.
CUT TO:
INT. SPARE BEDROOM IN ALABAMA'S HOUSE - NIGHT
ALABAMA tucks ABNER into bed.
ABNER
Mom use'ta tuck me in all the time...
but she stopped.
ALABAMA
Why's that?
ABNER
She hasn't been herself lately. Hitting
the bottle a little too heavily, if
you know what I mean.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 36.
ALABAMA
(a sinking feeling)
I'm sorry.
ABNER
Not your fault. She just thinks it's
your fault.
ALABAMA can't hold back a smile.
ALABAMA
Get some sleep.
ALABAMA starts to leave the room.
ABNER
The man you talked to today . . . was
he trying to hire you for something?
In the doorway:
ALABAMA
An expedition.
ABNER
How come y'didn't take his offer?
ALABAMA
Something you wouldn't understand.
ABNER
Your dad died . . . made you feel all
bad inside . . . like nothing can ever
be good again.
ALABAMA
You read my mind.
ABNER
I get that ability from mom, too.
ALABAMA
That's one talent you can do without.
ABNER
Mr. Smith . . .
ALABAMA
Alabama.
ABNER
Alabama . . . maybe some day me and
you can go on a big adventure.
ALABAMA
I'd like that.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 37.
ABNER
Might give you a boast. Y'know, getcha
back on your feet.
ALABAMA
(smiling)
Goodnight.
ABNER
'Night.
ALABAMA closes the door. At which point ABNER throws off the
bed covers. He grabs his backpack and takes out the PLANE
TICKET.
ABNER (CONT'D)
(stars in his eyes)
Yeah, a big adventure: The search for
Noah's Ark.
CUT TO:
INT. ALABAMA'S BEDROOM - LATE AT NIGHT
ALABAMA is stirring in his sleep.
INT. ALABAMA'S LIVING ROOM - DREAM
Bags packed, ALABAMA is talking on the phone, trying to put
his trench coat on at the same time.
ALABAMA
Dad, listen, I gotta go. Yes, I know
it's your birthday. I -- I -- listen:
I gotta call from the Jordanian
Department of Antiquities. They found
some scrolls. Yes, I know you're in
the hospital. Stop it, Dad. You're
not gonna die. Of course I care.
CLICK! The phone goes dead.
ALABAMA (CONT'D)
Dad? Dad. Dammit!
He slams the receiver into its cradle.
Suddenly, a voice:
DAD'S
Junior?
ALABAMA spins around and discovers his FATHER standing behind
him in a hospital gown.
ALABAMA
Dad?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 38.
DAD
Happy birthday.
Suddenly, dad's mouth opens horribly wide. A hand pops out,
clutching a candle-lit birthday muffin. The hand crushes the
muffin.
INT. BACK IN ALABAMA'S BEDROOM
As ALABAMA snaps awake with a jerk. Immediately, he hears
SOMEONE pounding on the front door, the sound shooting up
from downstairs.
ALABAMA looks at the bedside clock: 4:30 in the morning.
ALABAMA'S face reads "who could that be at this hour?"
INT. FOYER
ALABAMA throws open the front door. SHARON doesn't wait, and
barges right in.
ALABAMA
Sharon!
SHARON
Where is he? Where's Abner?
ALABAMA is all flustered.
SHARON (CONT'D)
Where's my son, goddammit!
ALABAMA
You mean our son.
SHARON snarls at him.
SHARON
No, mister -- my son! You had your
chance!
ALABAMA
(overlapping)
Sharon, lis -- listen to me.
SHARON
I want Abner right now.
ALABAMA
Sharon, please. He's all right. He's
upstairs sleeping.
SHARON pushes past ALABAMA and yells up the stairs:
SHARON
Abner! Abner!
ALABAMA grabs SHARON by her arm.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 39.
SHARON (CONT'D)
Get your filthy paws off me, you dirty
bastard.
ALABAMA
What the hell's wrong with you? I
didn't get your stupid letter.
SHARON
You sent it back. Unopened. One look
at my name on the envelope and you
dropped it back into the mailbox.
ALABAMA
Please, Sharon. Just give me a chance
to explain.
SHARON
Explain! You wanna explain? Try
explaining why 12 years ago we went
for a drink. Explain why, that night,
we made love. Explain why you didn't
call me -- ever. 12 years you
sonofabitch. 12 years. Nothing. Not
even a goddamn post card.
ALABAMA
I --
She surprises him with a right-hook across his chin.
SHARON
Save it!
ALABAMA rubs his chin, shaken.
ALABAMA
I deserved that. Maybe I deserved a
lot of things. But I didn't deserve
you.
SHARON
What the hell is that suppose' to mean?
ALABAMA
Sharon . . . what kind of a life could
I've given you? I didn't try to contact
you because . . . because I felt I
didn't deserve you. You're too good a
lady. Too good for a bum like me.
SHARON
About goddamn time you realized that!
ALABAMA
You're not making this easy.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 40.
SHARON
Don't talk to me about easy, mister!
You had it easy all your rotten,
stinking life. And you wanna know
why? Because you never had to care
about anybody. First signs of commitment
or responsibility and you went running
back to your picks and shovels. Back
to your ancient ruins. Well, if that's
where you wanna be, then that's fine
with me. I'll just take my son and
let you get back to the one thing I
know you love.
SHARON starts up the stairs.
ALABAMA
(small voice)
I gave it up?
SHARON halts on the stairs. Her eyes swell up with tears.
ALABAMA goes to her.
ALABAMA (CONT'D)
Nothing, Sharon. Not one foot out of
Boston. Going on 12 months now.
(wryly)
A record.
SHARON surprises ALABAMA, throwing her arms around him.
SHARON
I hated you for so long.
ALABAMA embraces her.
ALABAMA
You had every right to.
Their eyes meet. They kiss long and deep. Now they break
and ALABAMA wipes away her tears. SHARON cracks a remark:
SHARON
Christ, you got old.
ALABAMA chuckles. SHARON hugs him again.
ALABAMA
I feel old.
SHARON
You and me both.
ALABAMA frowns . . . something puzzles him.
ALABAMA
Sharon . . . you didn't know Abner
came to see me?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 41.
SHARON
No . . . he found the letter. My
clippings. I figured he made the
connection. Why?
ALABAMA
Abner told me you put him on the bus
to come here.
(smirking)
Little scamp lied to me.
SHARON
He must get that from you.
ALABAMA chuckles.
CUT TO:
EXT. BOSTON INTERNATIONAL AIRPORT - MORNING
CIRCA: LATE 1940'S.
INT. THE AIRPORT PASSENGER TERMINAL - MORNING
ABNER holds on to the PLANE TICKET, waiting impatiently for
departure time. Beat. Another. Then:
OVER P.A.
Flight 36 to Azores, Rome, and Istanbul
now boarding at gate 7.
ABNER jumps up and runs to gate 7.
A FEMALE TICKET TAKER greets TRAVELERS with a smile and sends
them through the gate.
TICKET TAKER
Thank you . . . thank you . . . have a
nice flight.
ABNER is next.
TICKET TAKER (CONT'D)
Hello there. Are you flying alone?
ABNER
(nervously)
Un-huh . . .
The TAKER checks ABNER'S ticket.
THE RAIDERS' MARCH mixes up faintly. Just audible enough to
put a grin on our faces.
ABNER (CONT'D)
Istanbul . . . that's in Turkey, right?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 42.
TICKET TICKER
Yes it is. Are you meeting a relative
or parent there?
ABNER
My dad.
Pregnant pause. Then:
TICKET TAKER
Enjoy your flight.
SHARPLY CUT TO:
THE FULL SCREEN MAP:
Images of ABNER'S DC-3 in flight are SUPERIMPOSED over the
adventure map. THE RAIDERS' MARCH kicks in, big and loud, as
a solid red line starts at BOSTON, moves across the Atlantic
Ocean, and connects to AZORES, to ROME, and lastly to ISTANBUL.
DISSOLVE TO:
EXT. ISTANBUL AIRPORT, TURKEY - SUNRISE
ABNER'S plane comes to a stop. The universal step is wheeled
into position.
The aircraft's door opens wide and ABNER, first one out, rushes
down the steps.
INT. ALABAMA'S LIVING ROOM, STATE SIDE - SUNSET
Both ALABAMA and SHARON are crashed out on the couch. They
must have fallen asleep here . . . or is it something else?
FRAME ADJUSTS, and reveals TWO EMPTY WINE BOTTLES on the coffee
table. They're not asleep. They're passed out.
The phone starts to RING. ALABAMA stirs. The sharp RINGING
hurts his head. It stops finally. SHARON groans, starting
to wake up. ALABAMA glances at his wristwatch -- WHAT!
ALABAMA
Six o'clock.
He recoils from his own voice -- he's got one whopper of a
hangover.
INT. FRONT DOOR HALLWAY
ALABAMA staggers into the hallway and is about to take the
stairs when he catches sight of a NOTE, tapped to a mirror.
INT. THE SPARE ROOM UPSTAIRS - JUST AFTER
ALABAMA rushes into the room, in a state of panic. ABNER is
gone!
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 43.
ALABAMA
Not good!
INT. THE LIVING ROOM DOWNSTAIRS - JUST AFTER
ALABAMA shakes SHARON out of her drunken sleep.
ALABAMA
Sharon! Sharon!
SHARON
(crankily)
Wha -- what? Stop -- stop it.
ALABAMA
Sharon -- now, just relax -- got some
bad news. But I think --
SHARON
What? Something happened to Abner.
Tell me!
ALABAMA
Easy. Now, chances are he's just
playing games.
SHARON
What, goddammit!
ALABAMA
Abner's gone.
SHARON
Wha -- whuddiya mean "he's gone?"
ALABAMA hands her the note.
SHARON (CONT'D)
What's this?
ALABAMA
Read it.
SHARON
(reading)
"Dear dad: got just the thing that'll
put you back on your feet.
(grimacing at Alabama)
What is this --
ALABAMA
Just read it.
SHARON
(reading)
"Got just the thing that'll put you
back on your feet.
(MORE)
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 44.
SHARON (CONT'D)
You said one day we'd go on a big
adventure. Well, there's no time like
the present. I went to look for the
Ark. You know where to find me."
(grimacing at Alabama)
The Ark? The Ark of the Covenant?
ALABAMA
Noah's Ark.
SHARON
Noah's Ark!
(in his face)
You bastard! You've been filling his
head with crazy stories.
ALABAMA
No stories. He must've overheard my
conversation yesterday.
SHARON is confused.
ALABAMA (CONT'D)
A Russian man tried to hire me for an
expedition, but I refused. He gave me
some instructions and a plane ticket.
(beat)
What am I thinking . . . Sharon,
Abner's fine. He's just playing games
with us.
INT. ISTANBUL CUSTOMS CONTROL - SAME TIME
ABNER is with the
TURKISH CONTROL OFFICER
(gruffly)
Passport.
ABNER
(confused)
Passport?
(then he remembers)
Right. Passport. It's in my bag.
The BAGGAGE INSPECTOR is pulling items out of ABNER'S backpack.
He fumbles with ABNER'S compass set, almost dropping it.
ABNER (CONT'D)
Hey. Watch it there. That's a gift,
pal.
The inspector grins sheepishly.
INT. ALABAMA'S LIVING ROOM - SAME TIME
ALABAMA takes SHARON by her shoulders and smiles reassuringly.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 45.
ALABAMA
Sharon . . . he's alright. Trust me.
SHARON
(a bad feeling)
The plane ticket . . . did you throw
it away?
ALABAMA
Yes -- of course I did.
SHARON breathes a little easier. ALABAMA, however, doesn't
look so confident anymore.
Cut to
ALABAMA -- in the front hall -- as he searches the pockets of
his jacket for the crumpled-up envelope. He doesn't find it.
ALABAMA looks at SHARON -- his face says it all.
EXT. ISTANBUL CUSTOMS CONTROL - SAME TIME
Back to the:
TURKISH CONTROL OFFICER
(now looking at Abner's
passport)
This passport has expired.
ABNER
Uh . . . that's bad, right?
TURKISH CONTROL OFFICER
(impatiently)
Why are you in Istanbul?
ABNER
(fidgety)
Uh . . . my dad's here. Wait a minute --
ABNER removes the typed instruction sheets from his pocket.
He reads them over. Then:
ABNER (CONT'D)
Erzurum. That's the place.
TURKISH CONTROL OFFICER
Your father, he is there now?
ABNER
Give that man a cigar!
The BAGGAGE INSPECTOR sniggers.
TURKISH CONTROL OFFICER
Your father's name, what is it? At
what hotel is he staying?
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 46.
ABNER is starting to feel the pressure.
INT. ALABAMA'S LIVING ROOM - SAME TIME
SHARON
(hysterical)
Oh god -- if he left last night -- he
could be anywhere by now. Christ,
while I was passed out on the couch my
boy ran off to Turkey.
ALABAMA
(the voice of reason)
Sharon . . . calm down . . . just think
about this for a minute here. C'mon,
nobody's gonna let a little boy on a
plane to Turkey by himself.
SHARON
Oh yeah -- a year ago Abner visited
his aunt in London -- by himself.
ALABAMA
Okay -- but you put him on the plane,
right? And besides, he can't leave
the country. Not without a pass --
HHHELLO!
ALABAMA rushes to the phone and dials quickly.
SHARON
What -- who are you calling? Alabama!
A sudden thought disturbs her.
SHARON (CONT'D)
No . . . tell me they didn't let him
into the country. Did they?
ALABAMA
(not so sure now)
Turkey's a Democratic Republic . . .
country's a tourist trap these days.
(into phone)
Yes, operator, overseas connection:
Istanbul, Turkey.
EXT. ISTANBUL CUSTOMS CONTROL - SAME TIME
ABNER
Listen, buster, my dad's a big important
archaeologist. He's not gonna be too
happy when he hears you been harassing
me like this.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 47.
TURKISH CONTROL OFFICER
(hostile)
Again, what is the name of the hotel?
ABNER is losing his cool.
TURKISH CONTROL OFFICER (CONT'D)
(barking)
Hotel! Name!
ABNER flinches, and almost drops his backpack. He doesn't
know what to say.
Suddenly, a WOMAN TOURIST shrieks. All eyes look in her
direction.
A PEASANT BOY has grabbed her purse, and is making off with
it. AIRPORT SECURITY give chase.
The CONTROL OFFICER, disinterested, looks back at ABNER --
But the boy is gone!
EXT. A BUSTLING CITY STREET, ISTANBUL - JUST AFTER
ABNER ducks into an alleyway, out of sight. He takes a minute
to catch his breath. Phew. That was a close one.
ABNER takes out the instruction sheets and reads them over.
ABNER
(reading out loud)
"Istanbul train station. Purchase a
ticket to Erzurum."
EXT. THE CITY OF ISTANBUL - DAY
This sprawling ancient metropolis -- with its many districts
separated by channels of blue water, with its stunning Muslim
temples, with its grand domed palaces, and with its assorted
edifices of another age -- is among the world's most enchanting
cities.
EXT. ISTANBUL RAILWAY STATION - TICKET WINDOW - DAY
Using the cash he stole from the coffee can, ABNER pays for
his train ticket.
ABNER
Thank you.
Suddenly, the FRAME ADJUSTS, and reveals a suspicious looking
man watching ABNER, as the boy walks out onto the platform.
We'll call this man, SPY.
INT. PLATFORM'S PUBLIC PHONE BOOTH - JUST AFTER
Now the SPY is on the phone, talking to his superior.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 48.
SPY
Comrade Captain, I am at the train
station now. Doctor Smith did not get
off the plane. But there is an American
boy here. He just purchased a ticket
to Erzurum.
INT. VLADIMIROV'S WOODLAND ESTATE, OUTSIDE MOSCOW - DAY
VLADIMIROV isn't just an important man, he's a rich man as
well. His estate rivals the best of Europe.
VLADIMIROV (V.O.)
An American boy . . .
INT. VLADIMIROV'S ESTATE - THE STUDY - DAY
The big Russian is on the phone with his SPY.
VLADIMIROV
Doctor Smith used the ticket. This we
know.
SPY (V.O.)
Yes, comrade Captain, but Doctor Smith
did not get off the plane. The only
American onboard was the boy.
At first VLADIMIROV is puzzled. Then he figures it out.
VLADIMIROV
The doctor's son.
(into phone)
Follow the boy, and make certain he
isn't harmed
SPY (V.O.)
Yes, comrade captain.
VLADIMIROV hangs up the phone. He looks thoughtful.
Now the phone rings, and he answers it.
VLADIMIROV
Yes?
PREMIER (V.O.)
Comrade, tying up official lines . . .
you're worse than a woman.
VLADIMIROV
Comrade Premier. A pleasure to receive
your call.
There's a knock at the study door.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 49.
VLADIMIROV (CONT'D)
Comrade Premier, please, one moment.
Come.
A BUTLER enters. We'll call him
ALEXANDER
A Mr. Farnsworth is here to see you,
sir.
VLADIMIROV
Excellent.
(into phone)
I do not wish to rush you, comrade
Premier, but I must attend to important
matters.
PREMIER
Yes, and no doubt these matters are of
the two breasted, two legged kind.
(beat)
Do not worry, comrade, you may attend
to these matters shortly. First, you
must confirm your attendance at Friday's
test. An important day in Soviet
history, comrade. A day you won't
want to miss.
VLADIMIROV
I will make it my highest priority,
comrade Premier.
PREMIER
Very good.
INT. VLADIMIROV'S ESTATE - LIVING ROOM - JUST AFTER
The decor is simply majestic. 15th Century Gothic.
VLADIMIROV
Ah, Mr. Farnsworth. Welcome. You've
brought me a surprise, I see.
MR. FARNSWORTH, a distinguished looking British man in his
40's, is holding a large black container; about the size of a
breadbox.
FARNSWORTH
I must say, getting it into the country
was rather effortless. No doubt you
have friends in high places, Mr.
Vladimirov.
VLADIMIROV
Yes . . . being a member of the Soviet
Military has its privileges. Please,
sit down. I am anxious to see what
you've brought.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 50.
FARNSWORTH
Sir, I've suffered a great deal, having
concealed those remains from the world.
I admit to having many sleepless nights
over the past three years. And if
this sounds unmannerly, please excuse
me -- but I expect to be well
compensated for my suffering.
VLADIMIROV
Compensation beyond your wildest
imaginations, Mr. Farnsworth. Now, if
you please, I wish to view the remains.
Farnsworth hands over the box. VLADIMIROV takes it to a large,
antique desk and sets it down. With great anticipation, he
removes the lid and gazes at --
HUMAN BONES.
FARNSWORTH
We discovered the bastard in the rumble
of his bombed bunker. I, along with
an army compatriot, found the body
just after the fall of Berlin.
(beat)
Sir, there are only three people who
know the true identity of those remains.
You, me, and my compatriot, who recently
died, I'm afraid.
VLADIMIROV
My condolences.
(beat)
Mr. Farnsworth . . . may I ask why you
never informed the world? Surely the
news would have soothed the minds and
souls of those torn by war; comforted
those who suffered through the holocaust
. . .
(beat)
Remains of the most hateful man this
century has ever seen, lie in this
box.
(beat)
If it had been me, I would've ran into
the streets, shouting "He's dead!
Hitler is dead!"
(beat)
So, why the secrecy, Mr. Farnsworth?
FARNSWORTH
I can't really say . . . something
just came over me while I stood there
in that bunker . . . something told me
that one day I would profit immensely.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 51.
VLADIMIROV
Yes, Mr. Farnsworth, your inner voice
served you well. And yes, you will
profit immensely.
(dramatic pause)
However, money isn't your reward.
Farnsworth stiffens.
FARNSWORTH
What . . . what do you mean?
VLADIMIROV
I'm going to bestow upon you a greater
gift. You will be among those fortunate
few, those rare men and women who will
be spared the witness to the end of
all Godkind.
Farnsworth realizes his life is about to end.
VLADIMIROV (CONT'D)
Your reward, Mr. Farnsworth . . . is
death.
VLADIMIROV raises a pistol -- CRACK!
CUT TO:
BLACK SCREEN.
Hold. Then light spills in as a door opens below us. The
shot is from high above a stone staircase, steps spiraling
downwards into the murky depths. VLADIMIROV appears, black
box in hand, and starts down the steps.
INT. UNDERGROUND - HIGH STONE CORRIDOR - JUST AFTER
VLADIMIROV walks towards a heavy wooden door at the end of
the corridor. The stretch of underpass is darkly lit by
candles. HUMANOID STATUES, menacing and horrid looking, run
in numbers down the corridor's full length.
CLOSE UP -- one of these horrid statues -- the man-beast is
eating a small child. At its hoofed feet, other children,
shackled to the beast's ankles.
INT. UNDERGROUND CRYPTIC CHAMBER
The air here is thick with evil. VLADIMIROV places the box
on a stone table where a large, leather bound TOME is perched.
The dozens upon dozens of black candles cast an eerie light,
flicking off the damp, brimstone walls. There is a LOW RUMBLE
. . . the hum of evil . . . as if the chamber walls are the
only barriers between us and the fiery pits of Hell.
VLADIMIROV bows before a shrine, which amounts to an upright,
cocoon shaped casket.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 52.
VLADIMIROV opens the casket's double lid. They come apart,
slowly, like the jaws of a giant Venus Flytrap.
Inside there is something macabre . . . simple . . . yet
nonetheless frightening.
A HUMAN SKELETON. It's intact, except for two missing arms
and the head. From the black box, VLADIMIROV gently removes
the bones that were once Hitler's arms.
VLADIMIROV starts to reassemble the bones on the table, one
piece at a time. He CHANTS a cryptic incantation, as we:
Push in, on the headless skeleton . . . it makes our skin
crawl . . .
CUT TO:
ABNER -- ON BOARD A TRAIN -- looking out the window at the
bleak and lonely highlands of Northeastern Turkey. A few
rows back, sits the SPY. He's keeping a watchful eye on ABNER.
CUT TO:
INT. ALABAMA'S LIVING ROOM - NIGHT
ALABAMA hangs up the phone, visibly worried.
SHARON
What? What did they say? Alabama.
Goddammit!
ALABAMA
Sharon . . . listen to me . . . a
baggage inspector at Istanbul Airport
remembers seeing Abner.
SHARON
Oh my god -- no!
ALABAMA
Hey, he's all right. He got this far.
(smirking)
Let's give him some credit.
SHARON
Credit! Alabama, for chrissakes, he's
just a little boy.
(barking)
It's all your fault.
ALABAMA
My fault?
SHARON
(mockingly)
Adventure -- archaeology -- it's in
his blood.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 53.
ALABAMA takes her gently by the shoulders.
ALABAMA
(soothingly)
I need you calm . . . okay . . .
nothing's going to happen to Abner. I
told the authorities about the
situation. If -- when -- they see
Abner, they'll ship him right back
here on the next available flight.
SHARON gawks at ALABAMA in disbelief. She shoves him aside
and goes to the phone.
ALABAMA (CONT'D)
Sharon . . . what are you doing?
SHARON
(into phone)
Operator, Boston Airport.
ALABAMA
Sharon, flying off to Turkey is
ridiculous. The authorities will find
Abner. By the time you get there,
he'll already be on his way back home.
SHARON
(into phone)
Yes, I wanna book a flight to Istanbul,
Turkey.
ALABAMA
You're not listening.
SHARON
(into phone)
Yes, one ticket.
ALABAMA
(growling)
Make it two.
SHARON
He isn't your responsibility.
ALABAMA (CONT'D)
Abner's my son. That makes him my
responsibility.
SHARON
You don't have to do this, Alabama. I
I don't want your guilt.
ALABAMA
Goddammit -- just make the flight for
two.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 54.
SHARON
(into phone)
Make that two. When is the next flight?
(pause)
Friday morning! Christ, that's two
days from now.
(to Alabama)
I can't wait that long.
Pause.
ALABAMA
(at a loss)
What choice do we have?
HOLD on SHARON. Desperate.
CUT TO:
EXT. ERZURUM'S NONDESCRIPT RAILWAY STATION - LATE IN THE DAY
ABNER steps down off the train. He walks along the platform,
reading from the instruction sheets.
ABNER
"At Erzurum hire a taxicab. Take it
to the town of
(say it like it's spelt)
Dogubeyazit."
(making a face)
Dogubeyazit.
ABNER looks around and sees a group of chatty, LOCAL CABBIES
at the exit, leaned up against their junk-box taxicabs.
ABNER (CONT'D)
Taxicabs . . . look like out-houses on
wheels.
ABNER sighs resignedly.
CUT TO:
EXT. THE ANCIENT CARAVAN ROUTE - SOON AFTER
ABNER'S taxicab putt-putts along the ancient roadway, making
slow tracks eastward across the eroded, hilly pastures of the
North East.
ABNER'S VOICE
(chatty)
My dad and me -- he's a big, famous
archaeologist -- maybe you heard of
him, Doctor Henry Smith . . . ?
CABBY'S VOICE
(moaning)
Mmmm.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 55.
ABNER'S VOICE
He wrote a book and everything. Anyway,
me and my dad are here -- well my dad's
not here yet -- but he's coming . . .
I'm pretty sure of that . . .
EXT. THE OTTOMAN BRIDGE - SOON AFTER
ABNER'S taxicab backfires, chugging across the architecturally
graceful Ottoman Bridge, which spans the narrow Aras River.
ABNER (V.O.)
. . . I don't think it's fair . . . do
you think it's fair?
CABBY (V.O.)
Mmmmm.
ABNER (V.O.)
Lucy -- we all call her Lucy-caboosey
at school, on account of her big butt --
she's always getting off scott-free.
This one time, she stole my brand new
pen set mom gave me for Christmas --
(interrupting himself)
Hey, we almost there?
CABBY (V.O.)
Mmmm.
INT. ABNER'S CAB - SOON AFTER
ABNER springs forward, wonderstruck by the view outside. He
mutters the words:
ABNER
Mount Ararat.
EXT. THE TAXICAB - APPROACH TO DOGUBEYAZIT
There, on the horizon, is Mt. Ararat. Breathtaking.
ABNER (V.O.)
Holy Toledo!
CABBY (V.O.)
Mmmm.
CUT TO:
EXT. THE GHETTO TOWN OF DOGUBEYAZIT - SUNDOWN
Filthy, stone buildings, all sandwiched together, stand on
both sides of the main cobblestone street. ABNER'S taxicab
drives into town and stops. ABNER pays the cabby and gets
out. A close look at the CABBY, and we realize why he hasn't
spoken a word. A grimy handkerchief, ends tied at the top of
his head, is holding a cold compress against his check.
-----------------------------------------------------------------------------------------------------
"SONS OF DARKNESS" 02/04/97 56.
The poor guy has a toothache.
ABNER
Better get somebody to look at that
tooth.
CABBY
Mmmm.
ABNER
Bye.
EXT. MERCHANT SQUARE - JUST AFTER
ABNER pushes through a busy merchant square. TURKISH MERCHANTS
shout over the din, advertising their goods to the LOCALS.
A PEASANT BOY runs up to ABNER.
PEASANT BOY
You, American boy. Want to buy Turkish
dictionary? Good price. 2 American
dollars.
ABNER considers the offer.
ABNER
Turkish dictionary . . . might come in
handy. Okay, sure.
ABNER pulls out his bundle of cash. The peasant boy's eyes
light up.
PEASANT BOY
You big shot American, huh?
ABNER hands over two one-dollar bills. The peasant boy hands
over the dictionary.
PEASANT BOY (CONT'D)
(always the salesmen)
You need things? I get you everything.
The best.
ABNER
Know where the Dogu
(says it like it's spelt)
cafe is?
PEASANT BOY
Dogu
(says it do-u)
Very close by. I show the way for 5
American dollars. Cheap price.
ABNER
Geesh . . . five bucks. Only cost me