The Essential Ellison Part 70

FLINT(looking around)Where's Dr. Zarkov?

As if that were a cue, DR. ZARKOV, the huge trained German Shepherd,faithful only to Flint, comes loping through the door from anotherroom. As he moves toward Flint, Derek goes to one knee to receive him and the dog's collar and tags make a VERY DISTINCT CLANKING SOUND.

FREEZE THE FRAME!.

Dog halted in mid-movement.

55 SPLIT-SCREEN.

BLACK FRAME with a vertical frame down one side, with Flint in

CLOSEUP, listening to the SOUND of the tags clanking.

Then an identical, but separate vertical frame opens on the otherside, with an identical SHOT OF FLINT listening to collar and tagsclanking...but radically different in sound to the first clanking.HOLD these split frames as we-and Flint-compare the two differentsounds, then CUT TO:.

56 CLOSEUP ON FLINT.

a single frame that matches the two identical splits we've justseen, as we realize from his expression that Flint is troubled.Something is wrong. CAMERA PAST FLINT as the action resumes and thedog comes to him. Flint scratches its muzzle for a moment, thenrises. CAMERA PULLS BACK TO FULL SHOT.

FLINt.i.t's a little warmer in here than usual, about three degrees,don't you think?

Claudia and Tania exchange glances. Very quick.

CLAUDIAWe left the drapes open to catch the afternoon sun.

FLINTAfternoon?

As he registers that question, the light changes in the room.Subtly, but discernibly.

FLINT (CONT'D.)I could have sworn it was morning.

57 WITH FLINT.

as he goes to a wall panel of mercury switches and hits one. A wallswings around and out comes a bookcase.

FLINTWhile I'm waiting for Cramden, I believe I'll check thatEgyptian death fantasy.

He reaches for a book in the stacks. CAMERA IN ON THE BOOK bearingthe t.i.tle BOTANICAL ASPECTS OF EGYPTIAN EMBALMING.

which suddenly flickers and superimposed over it, but much clearerso we can see it, is an entirely different book called BREASTED'S HISTORY OF EGYPT.

It flickers for only a moment, but in that moment Flint's hand drawsback from the book. Then it solidifies and Flint tracks across thebooks till he finds the Breasted volume he was seeking. He draws itout, slowly.

FLINT(with a tone)I must have misfiled it.

He returns the bookcase to the wall, and turns. Tania is walkingacross the room. He watches her. Again, we SUPERIMPOSE ANOTHER SHOTof Tania walking, but the walk is slightly different, a little lesswiggle perhaps.

Now CAMERA MOVES IN ON FLINT as he looks from the corners of hiseyes at the apartment. There is a s.h.i.+mmering, misty quality to theouter edges. (GREASED LENS or DIFFUSE.) FLINTIsn't that peculiar that I would have misfiled it. And out oforder with the Dewey Decimal System. Mmm.

At that moment there is the SOUND of the doorbell, and Claudia goesto the door as we HOLD THE SCENE.

58 ANOTHER ANGLE-THE ACTION.

as RALPH CRAMDEN, head of the super-secret organization for whichFlint works, comes into the apartment. He looks around for the dog,and Flint motions Dr. Zarkov to lie down. Cramden, relieved, giveshat and coat to Claudia, and comes toward Flint with hand extended.

Cramden has a bluff heartiness, a hale-fellow-well-met pompositythat reminds one of a Kiwanis post president meeting his junior Senator. NOTE: He is dressed in extremely good taste, neat as a pin,almost elegant.

CRAMDEN.

(effusive)Flint! Flint! A-mazing, just amazeing! You never cease toamaze me. My congratulations!

Flint seems a bit bewildered, but accepts the handshake.

FLINTWould you like something to drink? Mr. Cramden?

CRAMDEN.

(rubbing hands together)No, no, thank you, Flint, but we've got business to get to,right away, immediately, no time to waste, eh?

FLINTThis is a very nice 1964 La Mission Haut-Brion.

He holds up his wine gla.s.s to indicate the offer... then his facegets that peculiar expression. Runs tongue over lips.

FLINT (CONT'D.)Although...a bit smokier than I'd recalled.

He holds the gla.s.s up to the light and swirls the contents. We getthe sense that he has found something else "wrong" in his world, orat least "awry."

CRAMDEN.

(impatient)Flint, don't do this to me again. I grant you we cut it prettyclose with that bunch of gun-runners, but, well, eventechnology goes wonky every once in a while. We rescued you asquickly as we could. So...please!

Flint looks at Cramden.

59 FLINT'S POV-CRAMDEN-WHAT FLINT SEES.

He looks at Cramden all spiffy in his tailored suit and vest, hisnatty accoutrements. Then he raises the wine gla.s.s in front of hiseyes again DOMINATING THE FRAME IN CLOSEUP so we see Cramden throughthe wine gla.s.s. There is a roiling, a turbulence in the gla.s.s for amoment, then Flint lowers it and we see Cramden standing inprecisely the same position, but he is dressed differently. Now helooks rumpled and a bit fusty, like an absent-minded collegeanthropologist. The suit is baggy and really square, the tie is abow tie, crooked, his hair is mussed, there are gravy stains on the s.h.i.+rt; in short, the same Cramden, different ambience. Flint raises the gla but ss ag now ain, with and an entirely CUT BACK TO:.

60 SAME AS 58.

Cramden is dressed spiffy again.

FLINT.

(muses)I must confess you look very urbane, Mr. Cramden. Natty. Newsuit?

CRAMDENFlint!

(beat)The Gunsmiths, as an organization, are finished. We wiped themout in the attack; we're now secure; so-please Flint...handover the black diamond so I can get it to our security people.

FLINT(with meaning)And did you capture the Chairman of the Board?

Cramden reaches out, holding his hand for the diamond.

CRAMDEN(an order)Flint! The diamond!

61 INTERCUT-FLINT'S POV-WHAT HE SEES.

He looks at Cramden's hand, and notices for the first time thatRalph Cramden has six fingers on his hand.

CUT BACK TO:.

62 FULL SHOT-THE ROOM-FEATURING FLINT.

as he notices the six fingers but makes virtually no sign that he'sseen this final, clinching indication that something is very rottenin Scandinavia. He moves across the room to Tania.

FLINTI have it right here in the safe.

CRAMDEN.

(impatient)Well, let's get to it, man, let's get to it. Time is of theessence!

FLINt.i.t's coded to Tania's voice-print.

He takes the beautiful girl by the shoulder in a very fatherlymanner and walks her to the handsome metal sculpture on itspedestal, at one side of the room. He plucks a vaguely Hindu tune onthe metal strings of the sculpture and the circular top of thepedestal (with the metal sculpture still resting on it) swings offto one side as the outer sh.e.l.l recedes into the floor (dropping thepedestal top & sculpture to the floor on one side) revealing theinner core, a safe set in a circular column of case-hardenedmolybdenum steel, the dial and door in its circular top.

FLINT(to Tania) Repeat after me: "Twas brillig and the slithey toves, did gyre

and gimble in the wabe."

TANIA"Twas brillig and the slithey toves, did gyre and gimble inthe wabe."

Nothing happens.

CRAMDEN(annoyed)What's the matter, why didn't the safe open?

FLINT.

(smiles)Quite simple, really. Whoever this young lady is, she isn'tTania, so nothing happens.

Cramden begins to fumfuh, to huff and puff; Tania draws away fromFlint as though he's mad.

CLAUDIADerek! What a terrible thing to say.