#K2815 - "Slidecage" - 1st Yellow Revs. 11/24/97                                                              1.

ACT TWO

FADE IN

21 INT. LABYRINTH - TERMINUS OF MAGNETIC CORRIDOR - NIGHT -
MOMENTS LATER

Quinn is unconscious, on the ground near the airlock. Colin is still held, though no longer struggling,
looking at the sealed, silent hatch with despair.

JANIE
Lock him down. Computer room.

COLIN
I'm not leaving my brother!

JANIE
We're not going to hurt your brother.

He stares at her, then relents, exits with the others. Janie walks to a bowl of water, dips a rag.
She moves to Quinn, dabs his face. Some of her men stand guard a few feet off. Quinn starts
to rouse.

JANIE
Come on, come on now. That's it.

Quinn comes awake, remembers Maggie being chucked out the airlock.

QUINN
Maggie!

He scrambles for the airlock.

JANIE
She's gone.

He wheels on her.

QUINN
Don't give me that! You murdered her!

JANIE
She wouldn't have made it here, and she would have taken some of us with her.

QUINN
You didn't even know her!

With a cry, he lunges for her. Her men restrain him.

JANIE
Turn that hate where it belongs, on the Kromaggs.

QUINN
The Kromaggs? The Kromaggs! I hope you burn in hell!

JANIE
This is hell. Didn't you notice? The mainframe that runs this place is sealed up
tight. We can't get into it, can't do a damned thing. And most of all, we can't leave.
Nobody takes prisoners here. We get a Magg, we open him up, leave him for the
others. I do what I do to keep these people alive.

Quinn says nothing, only glares at her.

JANIE
There are a million ways to die here, but only one to live. Go cool down
and think about that.

She nods to her men -- take him away. They haul Quinn off.

22  INT. CONDUIT CENTRAL - NIGHT

Dark. We're in the walls at some juncture that opens up to a larger space. In the shadows, we see
a misshapen FIGURE, glinting metal, carrying something.

It sets its burden down gingerly -- and now we see that it's Maggie, eyes closed, unmoving. She
might be dead or merely unconscious.

23  ON THE FIGURE

As we now see that it's actually a man in a cobbled-together SPACE SUIT. He raises his visor,
revealing his face. This is THOMAS (40s), a small, hectic man, very bright but nervous, with a
sensitive face. He looks down at Maggie, studying her, his expression gentle, uncertain.

24  INT. KROMAGG LAIR - NIGHT

Lighting dim. MALE AND FEMALE KROMAGGS busy themselves at various tasks, tending
rough-hewn hydroponics, etc. Many have scars from battles, rags obscuring parts of their faces,
covering missing eyes or badly healed wounds. The Kromaggs we saw earlier drag Rembrandt in.

REMBRANDT
Lemme go! Let go of me!

KOLITAR (O.S.)
You humans are so loud, even when you're not in pain.

KOLITAR surges through the crowd to Rembrandt (NOTE: His arm has no bandage).

KOLITAR
I haven't seen you.

REMBRANDT
Wish I could say the same. But everywhere I go, there you are.

KOLITAR
(to the others) Was he alone?

REMBRANDT
No, I had my group with me.

KOLITAR
Group?

REMBRANDT
You know, bass, drums, keyboards. Didn't bring my back-up singers on this
tour...the Brownettes.

Kolitar suddenly backhands Remmy hard. Remmy's head snaps back. Remmy looks at Kolitar
defiantly.

REMBRANDT
You're gonna have to go the limit with me. I've done my time in Kromagg hell.

Kolitar thinks that over for a moment. Then:

KOLITAR
What about your companions? The rest of the humans? Where do they camp now?

Rembrandt says nothing. Kolitar sighs. Turns to one of the others.

KOLITAR
Hold his head.

Several Kromaggs hold Rembrandt's head so that he's forced to look into Kolitar's eyes.
Rembrandt's alarmed.

KOLITAR
Do you know the difference between a human brain and a Kromagg brain?
A human brain is blood and tissue. A Kromagg brain is a knife.

Kolitar stares into Rembrandt's eyes and concentrates, begins to mentally scan Rembrandt's mind.
Rembrandt feels his mind being violated, thrashes, but is held tight. It's painful to Rembrandt. 
Kolitar continues to scan him, cool, absorbed.

24A  ON REMBRANDT AND KOLITAR

as Koitar bears down, scanning Rembrandt. Rembrandt grimaces.

KOLITAR
Your friends... A woman. Two men. Something special about the men. Especially
one of them. (Surprised) You're sure he's going to find a way out of here.

Suddenly, Kolitar is perplexed by something he can only dimly scan, very alien to the rest of
Rembrandt's mind.

KOLITAR
Something else there. Hidden. Buried. Deep...

And now a change comes over Rembrandt. Although his eyes are still fixed on Kolitar, his
expression goes blank. He begins a LOW MOAN. There's a resistant quality, but not as
though Rembrandt is resisting, but rather the information itself is, separate from his will.

Kolitar's composure is faltering, locked to Rembrandt's mind.

KOLITAR
Secret. A Kromagg secret. What? (beat, intense) Open to me.

Rembrandt lets out a SCREAM and goes unconscious. Kolitar CRIES OUT, breaks off the
contact. A TRICKLE OF BLOOD escapes one nostril. He dabs at it with a rag, studying
the unmoving Rembrandt. A boy, face completely covered in rags, approaches. This is 
KALDEEN (18), only his eyes visible.

KALDEEN
Is he dead, father?

KOLITAR
No, merely unconscious. There is a wall in his mind. But I will break it.

Kolitar sighs, touches his head. It aches terribly.

KOLITAR
I must rest now. (to others, off Remmy) Chain him.

They drag Rembrandt to a nearby wall, chain him. Kolitar sees that Kaldeen is still looking at
Rembrandt with curiosity. He speaks more softly.

KOLITAR
You remember how I told you of the serpent in the garden, how the humans despised
it and tried to kill it? They hate anything that is not like them. You are not speak to 
him, do you understand me?

Kaldeen starts to protest, then nods obedience. Kolitar head off. 

25  OMITTED

26  INT. TERMINAL ROOM - NIGHT

A circular room with a row of computers. Colin stands by a keyboard and monitor, typing in
different commands. With each try, the screen shows ACCESS DENIED.

COLIN
I see now why this is the perfect prison for us. (hits the console with a fist) I
can't get this to work.

Quinn's not listening. He's running his hand along the locked door, grieving.

QUINN
Beat the odds, that's what I told her. Like always. We didn't beat them this time.

COLIN
I miss Maggie, too, but we have to get to Rembrandt if he's still alive. You're the
only one who has a chance with this computer.

QUINN
To do what? Get us out of here, get you killed, too? Maggie had no home to find.
She was only here to help me find mine.

Colin comes up behind Quinn, speaks softly.

COLIN
On my world, we know death well. Many families lost a child, a parent or both.
When the influenza carried off my foster mother and father, at first I didn't want to
live. Why had it taken them and left me alone?

He puts his hand on Quinn's shoulder, rubs it.

COLIN
I read somewhere that death is a natural part of life. You can't avoid it. You can't
change it. All you can do is remember those we've lost, and live for the ones still here.

Quinn turns to him and the two embrace, the emotion welling up in Quinn. A beat, then Quinn gets
command of himself again.

QUINN
Okay. Okay...

He moves to the computer.

QUINN
Let's see what we can do.

27  INT. CONDUIT CENTRAL - NIGHT

Maggie lies bundled in rough blankets, unmoving. Then she GASPS, takes a deep breath and sits up.

She looks around, disoriented. A SOUND. She turns to Thomas, hurrying up to her. He gives her
a reassuring smile.

THOMAS
It's all right, you're not dead. (off the surroundings) I mean, it would be a pretty
sorry afterlife if it looked like this.

Maggie tries to speak, croaks out:

MAGGIE
Where am I?

THOMAS
(off handed) In the walls. You're confused, that's only natural after what you've been
through. Pitching you out in the methane, honestly I don't know what they were 
thinking. (extends a hand) Thomas. Thomas Beecham.

MAGGIE
Maggie Beckett.

THOMAS
Maggie... You know, I would have figured you for a Betty, or maybe a Lola.
When I saw you in the corridor with your friends --

Her friends! Maggie tries to rise.

MAGGIE
I've got to get to them.

She's seized with a fit of coughing. He rushes to her.

THOMAS
Easy, easy there. You're not up to anything yet.

He helps ease her back. She gives a cry of frustration, but relents.

THOMAS
That's it, just relax, you're a guest. (sheepish) Matter of fact, you're the first.
I'm a bit of a stay-at-home. But when I saw what was happening to you, I --

Some inner emotional pain flashes in his face, something dark and down deep. He wipes it away,
all brightness again.

THOMAS
Well, what's done is done. You get some rest now.

He starts away, but she grabs his hand, murmurs:

MAGGIE
Thank you.

He flushes, embarrassed, gives a small smile. Pats her hand.

28
THRU  OMITTED
29

29A  INT. KROMAGG LAIR - NIGHT (FORMERLY SCENE 36)

Rembrandt lies curled in a fetal position, eyes closed, chained to a wall. Kaldeen crouches,
looking at him, beyond Rembrandt's reach. Remmy opens his eyes, sees the boy.

KALDEEN
I'm not allowed to talk to you.

Rembrandt sits up with a groan.

REMBRANDT
Okay with me.

Remmy rubs his eyes, then looks at Kaldeen.

REMBRANDT
Who are you?

KALDEEN
My name is Kaldeen. Kolitar is my father. Everyone's out foraging. Except the guards,
and they're not watching us.

Rembrandt raises up his chain.

REMBRANDT
You wouldn't happen to have the key to this place on you?

Kaldeen shakes his head.

REMBRANDT
No, I didn't think so.

KALDEEN
I've never been this close to a human before. I mean, not a whole one.

REMBRANDT
Enjoy the show. My head's killing me.

KALDEEN
I could help that, go into your mind. It took me a long time to --

REMBRANDT
You just stay out of my mind. I 've had enough of that today. (then) How come
you keep your face all covered up like that?

KALDEEN
Because I'm hideous, a mutation. We don't have looking glasses, but my father 
has told me.

REMBRANDT
Nice of him.

KALDEEN
What's your name?

REMBRANDT
Rembrandt.

KALDEEN
That's an odd one.

REMBRANDT
It's after a painter.

KALDEEN
Are you a painter, too?

REMBRANDT
No. I'm a singer.

KALDEEN
I've heard of songs. They are a human weakness. Are you from the home world?

Rembrandt stiffens, gets a suspicious look.

REMBRANDT
This more of the interrogation?

KALDEEN
(surprised) No, just talking.

REMBRANDT
I'm not from the home world, never seen it. And from the way it's going, doesn't look
like I will.

He looks at the chain, shakes his head.

REMBRANDT
When my mama was dressing me for kindergarten, I never expected to wind up here.

KALDEEN
Tell me about your mother.

REMBRANDT
Why?

KALDEEN
I never knew mine.

Rembrandt looks at the boy, thinks to say no. But then he feels sympathy for him, this outcast.

REMBRANDT
Well, where should I start?

KALDEEN
At the beginning.

Rembrandt looks at Kaldeen a moment. There's something about this kid. Very un-Kromagg.

30  OMITTED

31  INT. CONDUIT CENTRAL - NIGHT

The space suit hangs on a hook. Maggie stands studying it.

THOMAS (O.S.)
Made it myself so I could explore outside.

She turns to see Thomas approaching with a tray bearing various bowls of glop.

THOMAS
Good thing, too, or I wouldn't have been able to get to you. You're
looking worlds better.

MAGGIE
Still pretty unsteady on my pins.

He helps her to a chair.

THOMAS
Naturally, to be expected. (off the tray) Hey, presto, I cooked something. Actually,
it comes from a gizmo in the wall, so it's more accurate to say I extruded it.
I didn't know what you liked, so I ordered up a choice. Artificial ham. Artificial
turkey. Actually, it all tastes like artificial chicken.

Maggie tries some. Makes a face.

THOMAS
But it does grow on you. So. How'd you land here? I assume you were
off world.

MAGGIE
I was traveling with my friends. It's a little complicated.

THOMAS
Complicated is good. It makes for a long story. And time we have in abundance.

MAGGIE
How about you? How'd you end up here?

THOMAS
(evasive) Oh, various and sundry, this and that. It's not really important. 

MAGGIE
Been here awhile?

THOMAS
In the walls? Not long. Oh ... ten years.

MAGGIE
Ten years?

THOMAS
It's not as bad as it sounds. Really. I always liked tunnels and corridors. Remember
that TV show? Beauty and the Beast? Not the Disney one, the other one. God, I
loved that. 

Maggie's looking off at a ROW OF MONITORS set high along one wall, switching to various 
scenes of empty corridors and rooms.

THOMAS
I see you've noticed my home entertainment center. (draws up to monitors) I set
these up to keep an eye on things. Generally, from eight to twelve I watch the humans,
from twelve to four the Kromaggs. Quite diverting. (confidential) I have my 
favorite characters.

MAGGIE
We could use these to find my friends.

Thomas grows uncomfortable.

THOMAS
Well, yes, theoretically. But I wouldn't recommend it. Some of the things you might see --
You're not up to much excitement yet. 

MAGGIE
Thomas, please, It matters.

He looks away, doesn't want to say yes. But she's looking at him with such warmth, he can't deny her.

THOMAS
All right.

Maggie smiles, grateful.

32  INT. TERMINAL ROOM - NIGHT

Quinn's typing commands at the terminal, Colin nearby.

QUINN
It's just as I hoped. The same de-encryption string our father hid in the
micro-dots he planted here.

COLIN
He surmised we might come this way.

QUINN
And gave us a key.

COLIN
Can we turn off the Slidecage mechanism?

QUINN
Not from here, it's on a separate grid. So first we've got to find a way out.
(off data on the screen) There's a venting duct that comes in here, I can
override its locking code. Only hitch is there's a stretch of it that's open
to the outside atmosphere. 

COLIN
How long a 'stretch'?

QUINN
Just a few hundred feet. (nothing to it) We'll hold our breath.

Colin looks very worried. Quinn keys the command. The hatch on the vent starts to slowly open,
methane FUMES wisping out.

QUINN
Got it. (off Colin's nervousness) We won't be in there long. Just think of it like
being underwater in a swimming hole. 

COLIN
A swimming hole isn't filled with methane, brother.

QUINN
You don't always have to be so literal.

They take several quick, deep breaths, hold it. Quinn and Colin then dive in. The hatch SLIDES
SHUT behind them. 

33  INT. CONDUIT - NIGHT

SWIRLING TOXIC ATMOSPHERE within. We MOVE WITH QUINN AND COLIN in
the tight, hellish space.

Colin starts to falter, Quinn grabs him, pulls him along, determined. But they seem to be running
out of steam, losing the battle. The MIST GROWS THICKER until they're lost from sight.

                                                            FADE OUT

END OF ACT TWO