Mytro Script By Bret Ioli

8/11/2019 Mytro Script By Bret Ioli

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FADE IN:

EXT. HILL OF THE WINDS, BASQUE COUNTRY, SPAIN - DAY

The wind rustles through the tall grass and weeds that grow

above a wide field. CARLOS LLORENTE, mid 20s, keeps watch onthe horizon for any sign of the landowner or his hired men.

SUPER: Basque Country, Spain, 1766

Carlos glances down at a ONE METER WIDE HOLE near his feet.A rope is spiked into the ground with a long iron rod. Therope twitches as its other end is pulled farther and fartherinto the hole.

CUT TO:

INT. WORMHOLE - DAY

JOS LLORENTE, older brother of Carlos, snakes through thenarrow wormhole on his belly. His hands are stretchedforward and a rope is tied around his legs.

Twenty meters in, Jos crawls out of the wormhole and landson a stone floor within a pitch dark open space.

CUT TO:

EXT. HILL OF THE WINDS, BASQUE COUNTRY, SPAIN - DAY

Carlos fixes his eyes on the motionless spiked rope. Hecrouches down to inspect, but he stops at the sound of hisbrothers voice.

JOS(In Spanish)

Carlos! Send down the lamp!

CUT TO:

INT. CAVE - DAY

Jos pulls the rope through the wormhole until the lampreaches him. He strikes a flint to light the wick, and thelamplight reveals a LARGE CAVE, 20 feet tall and 40 feetwide, carved into the bedrock of the hill.


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Tall, curved walls arc up through the gloom. Somewhere waterdrips onto the ground. TWO TUNNELS lead into the darkness atthe far ends of both sides of the cave. Each of Jossfootsteps echo against the rocky walls.

CUT TO:

INT. CAVE - LATER

Jos ties two lenghts of rope together. Carlos ties one endof the rope around his waist. Jos finishes his knot andmoves toward Carlos. He gives the knot at his brotherswaist one more tightening tug.

Carlos steps into the tunnel on the right hand side of thecave.

The rope slides across Joss open palm as he watches hisbrother disappear into the tunnel.

Carlos follows the direction of the wind into the darkness.

The rope uncoils farther and farther. The winds blow withgreater force. The rope in Joss hands unspools and growstaut. Jos looks down at the rope and then toward thetunnel.

JOSCarlos?

Jos closes his hands around the rope, but the tunnel yanksthe rope through his palms and burns his skin. The strandsof the knot in the rope pop out under the strain.

The knot snaps. The rope disappears into the dark. Jossjaw drops in horror.

JOS (CONT'D)Carlos! CARLOS!

Joss voice echoes into the endless dark.

CUT TO:

EXT. CENTRAL PARK, NEW YORK CITY - DAY

14 year old TURTLE FULTON huffs and puffs his way through apractice race with his school track team. His sweat-soakedtee shirt bears the logo of the MANHATTAN FRIENDS TRACK TEAM.He counts out prime numbers between heavy breaths.

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TURTLETwo, three, five, seven, eleven,thirteen-

NICK AND NATE

(In Cecil Turtles voice)Slow and steady wins the race!

Blond identical twins NICK and NATE KINCAID run past Turtleand mock him in the voice of Bugs Bunnys classic racingnemesis. The twins also wear Manhattan Friends Track Teamtee shirts.

The twins look back at Turtle just long enough to LAUGH athis plodding gait. Turtle watches the Kincaid twins runfarther down the course. He restarts his prime number countfrom the beginning.

TURTLETwo, three, five, seven, eleven...

At the far end of Turtles field of vision, the Kincaid twinsturn and veer off the race course.

TURTLE (CONT'D)Thirteen?

The twins rummage through a cluster of tall green bushestopped by purple flowers that grow on the face of a TOWERINGROCK. The twins move farther into the greenery and submergethemselves as if to hide.

Turtle he reaches the point where the twins veered offcourse. He stops running. The sound of a SURGE OF WINDemits from the bushes. Turtle takes in large breaths andfinds no sign of the Kincaids among the brush.

A THRUMMING JACKHAMMER, the TRILL OF BIRDS, and mid-afternoonTRAFFIC NOISE fill the air as Turtle parts the bushes andsteps closer to the giant rock. Its edges are chiseled atrough right angles and the cracks are filled with brown dust.

The NUMBER 13, worn down to near invisibility, is carved intothe rock.

TURTLE (CONT'D)Thirteen.

At the base of the rock Turtle sees the faint imprint of aNike swoosh in a patch of drying mud. He puts his own footnext to the fresh track. It is close to his size, and Nickand Nates size as well.

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Turtle reaches out and rubs his hand along the surface of thestone. He feels a RUMBLE under his feet and hears whatsounds like a TRAIN ROARING BY, under the rock.

Turtle puts his ear against the rock wall. He feels the

RUMBLE again, and he hears the unmistakable CLACK CLACK,CLACK CLACK sound of a subway train rattling on iron rails,followed by a loud POUNDING from inside the rock.

Turtle flinches back from the sudden pounding noise, but heis drawn in again by the sound of a GIRLS VOICE. She yellssomething indiscernible.

Turtle leans forward against the rock face to listen for thegirls voice. As he puts pressure on it, the rock face givesway and moves inward on invisible hinges. The WIND frominside the rock begins to suck him into the opening.

Turtle grabs two handfuls of bushes to keep from falling intothe open rock. The bushes are right at the breaking pointwhen a 14 YEAR OLD GIRL barrels out of the open rock andknocks Turtle onto his back.

The girl is AGATA LLORENTE. She rolls her body off Turtleand scoots back several feet through the bushes. Thebackpack slung over her shoulder bulges out to the breakingpoint.

AGATAAyudame! Cierra la puerta!

TURTLEWhat?

AGATAClose the door!

Turtle follows the pretty girls orders and springs up towardthe open rock. He looks into the rock and sees a SUBWAYPLATFORM inside, 50 feet wide and 10 feet deep, gas-lit fromabove with crystal chandeliers.

A RED TRAIN made of two long cars coupled together idles onthe tracks. TWO MEN step out of the rear train car and rushtoward the door. Turtle sees that both men hold PISTOLS intheir hands. They are ADAMS and WARREN.

Adams is the taller of the two men. He has a scruff of blondbeard and steps out in front of Warren. Adams takes afocused look at Turtle as he marches toward the door. Henotices Turtles MANHATTAN FRIENDS TRACK TEAM tee shirt.

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Turtle reaches into the opening and puts his hand on theNUMBER 13 carved into the rock. The door swooshes shut justas Adams is about to step through the opening.

Turtle steps back from the rock and looks down at Agata. She

sits on the ground and struggles to catch her breath. Shereaches around her shoulder to make sure her backpack isstill there.

AGATA (CONT'D)Donde estamos?- Where are we?

TURTLENew York. Manhattan. CentralPark.

AGATABueno. We need to move.

Agata attempts to pull herself up off the grass. Her legswobble and she splats back down onto the ground.

Turtle wipes his hands on the sides of his sweatpants. Hereaches out to help Agata up from the grass. She stands agood half head taller than Turtle.

TURTLEIm Turtle - I mean Paul. Butpeople call me Turtle.

AGATA

Agata Llorente.

Agata reaches out to shake Turtles hand. An odd necklaceslips out of her shirt a leather string with a JAGGED-LOOKING COIN made of dull copper, a bit green on the edges.

Agata shakes Turtles hand and uses her other hand to pushthe coin necklace back under her shirt. She speaks perfectEnglish with a delicate Spanish accent.

AGATA (CONT'D)Can you show me the way out ofhere? Before that door opens backup.

TURTLEWhere to?

AGATAAnywhere. Your home.

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TURTLEMy home?

A series of loud THUDS and muffled SHOUTS emanate from therock. Turtle flinches. He looks toward Agata with an air of

embarrassment.AGATA

Yes, now,por favor.

Turtle leads Agata back onto the main path toward the Nsubway stop at the foot of the park.

A group of tourists stand near a bench and take photos withthe giant rock as a background. Turtle looks back at therock and squints his eyes to find the faded Number 13 carvedinto the rock.

TURTLEThose men are after you?

AGATAThey almost had me at the station.I dont know why they didnt comeout.

TURTLEThese people taking pictures wouldhave seen everything.

AGATA

But those men couldnt have...ormaybe itcould...

Turtle looks toward Agata as they walk double time throughthe park.

TURTLEIt, what is it?

AGATAIt, is the Mytro.

TURTLEMytro?

AGATALong story.

TURTLEWe have a long ride to Bay Ridge.

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AGATABay Ridge?

TURTLEBrooklyn.

CUT TO:

INT. THE HANGAR - DAY

A constant melodic RATTLING fills the dark cavernous space.

The RED TRAIN from the subway station in the park lurchesinto the massive Hangar. The light from the trains frontheadlight cannot penetrate the farthest corners of the hugebay.

A group of long, thin humanoid creatures glow upon thearrival of the train. They lift their heads like stalks ofwheat bobbing away from a gust of wind. They are theNAYZUNS.

The train comes to a halt at the work area of the foreman, aNayzun known as FOUR-ELEVEN. Broken glass from a shatteredwindow tinkles out of the metal frame and onto the ground.The gas lamps inside the train wink on and off.

Four-Eleven looks like a mantis with long arms and longerlegs. His skin is pearlescent with glints of yellow on hislong, thin face. He has dark sockets where his eyes would be

and small holes where ears would be. He has no mouth.

Four-Eleven looks down at the shallow streetcar tracks thatcrisscross the gray cinders of the Hangar floor. The Mytrosmachinery pitches the damaged train off the tracks and onto asmall set of side tracks with a THUMP.

Four-Eleven signals the younger Nayzuns. They shuffle out ofthe dark and toward the train with new replacement windows inhand. They pull the broken windows out and install the newones with painstaking precision.

The Nayzuns resemble gigantic, long-limbed spiders as theyscrabble over the varnished wood of the Mytro car. Theirpointed fingers brush broken glass into dark holes, and thepads of their hands scan the surface of the train for damage.

Four-Eleven stands in front of the door to the damaged traincar. A DOUBLE CHIME rings out from the train, and the doorsopen. Four-Eleven steps inside the train.

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INT. MYTRO TUNNEL - DAY

The metal tracks end just a few feet into the tunnel. Fromthere, the train car travels over a skein of light and

plasma, a shining thread through the darkness of thewormhole.

Four-Eleven spins behind the train like a wraith. A MELODICTONE exudes from Four-Elevens body, and his bioluminescentskin casts a cold blue glow across the black tunnel.

CUT TO:

INT. N SUBWAY TRAIN - DAY

Turtle and Agata sit inside the nearly empty subway train as

it ratchets out of the tunnel and over the East River intoBrooklyn. A woman at the back of the car reads out loud froma political book about the economy, jobs, and the Bronx Zoo.

Agata looks out the window with a strained expression, stilltraumatized by her recent experience. She attempts to focuson something else. She points to a small green spot on thehorizon.

AGATAIs that the Statue of Liberty?

TURTLE

Thats it. Its green now, but itused to be gold. The air changedit. That the Brooklyn Bridgethere. Were on the ManhattanBridge.

AGATAIts all very beautiful.

Despite her complimentary words, Agatas voice isdowntrodden. Turtle looks away from the bridge and backtoward Agata.

TURTLEAre you sure we shouldnt call thepolice?

AGATAAnd tell them that I came here fromBarcelona in twenty seconds on asuper-powered train?

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TURTLEWhen you put it that way-

AGATAMy uncle told me to find a friend

named Kincaid, someone I met when Iwas very little.

TURTLEKincaid?

CUT TO:

EXT. CENTRAL PARK, NEW YORK CITY - DAY

The blond Kincaid twins run past Turtle on the race courseand look back at him for a quick laugh. Far ahead of Turtle,

the twins veer off the main path and into a cluster of tallgreen bushes.

CUT TO:


Turtle thinks back over his experience in the park.

TURTLEI go to school with twins namedKincaid. I swear I saw them go

into the Mytro just before you camethrough.

AGATAMy uncle must have known that theKincaids use that station.

Turtle nods his head in agreement. He shifts in his seat andtakes a breath.

TURTLECan you tell me why those men arechasing you?

Agata continues to look out the window, into the darkness ofthe subway tunnel.

AGATABecause of what my father knowsabout the Mytro.

CUT TO:

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EXT. AGATAS HOUSE, BARCELONA - DAY

The four story structure is over a hundred years old, but itis maintained with impeccable care. A warm ray of sun

illuminates the idyllic home. A small metal sign above thedoorbell reads Llorente.

AGATA(V.O.)

My father used to teach physics atCambridge. He met my mother there,shes American.

CUT TO:

INT. AGATAS HOUSE, THIRD FLOOR LIVING ROOM - DAY

A thin, wrought-iron spiral staircase leads up to the attic.A closed door protects the entrance to the office spacewithin.

AGATA(V.O.)

After I was born, my father beganto work from home. He did hisresearch from an office in theattic. It was his private space,and I never disturbed him there.

CUT TO:

INT. AGATAS BEDROOM - DAY

Agata finishes getting dressed and ready for school. A SMALLLAMP shaped like an old passenger train sits on the nightstand next to her bed.

AGATA(V.O.)

This morning, my mother was...nother usual self. She was, how doyou say, on the edge.

Agatas mother CLAIRE enters the bedroom with a stack of oldpapers in her arms. She picks up Agatas backpack and stuffsthe papers inside. Their conversation is in Spanish. Clairespeaks with an American accent.

AGATA (CONT'D)What is that?

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CLAIREI want you to take these to schoolwith you.

AGATA

To show my teachers?CLAIRE

Just hold on to them.

AGATAWhy? My backpack is already full-

CLAIRE(Shouting)

Just do it, Agata! You need tohave them with you!

Agata freezes in place at the unexpected sound of hermothers raised voice.

AGATAOkay, Mama.

Claire reaches into her pocket and pulls out the odd jaggedCOIN NECKLACE. She puts the leather string around Agatasneck.

CLAIREAnd I want you to hold on to thistoo.

AGATAWhat is it?

CLAIREIts your fathers.

Agata takes the serrated coin in her hand and looks at it.She sees small, strange markings punched into the metal.

AGATAIts turning green.

CLAIREJust, keep it under your shirt.

Claire conceals the coin necklace under Agatas shirt.

AGATAAlright.

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Claire straightens up Agatas shirt. She looks at herdaughter for a moment. She pulls Agata in close for a hug

CLAIREMi cielo.

Claire releases Agata and wipes a tear from the corner of hereye before Agata can see it. Agatas face is full ofconcern.

AGATAIll see you after school?

Claire nods her head. Agata turns to exit the room with aseries of uneasy steps.

CUT TO:

INT. CLASSROOM, ENGLISH ACADEMY, BARCELONA - DAY

Agata stares out the window while her teacher, MRS. TORRES,conducts a geometry lesson at the front of the classroom.Agata does not respond to the first or second time that Mrs.Torres calls out her name.

MRS. TORRES(O.S.)

Agata? Agata? Agata!

Agata snaps back from her daydream and looks toward her

teacher.

MRS. TORRES (CONT'D)(O.S.)

Todo bien?

CUT TO:

EXT. ENGLISH ACADEMY, BARCELONA - DAY

Agata waits outside the school for Claire to arrive. Shetakes out her cell phone and calls home. She listens for hermothers voice but doesnt hear it. Agata puts her phoneaway and walks into the street toward home.

CUT TO:

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INT. AGATAS HOUSE, THIRD FLOOR LIVING ROOM - DAY

Agata takes a few of steps into the empty and quiet livingroom. She looks around for any sign of her parents.

AGATAMama? Mama?

Agata looks toward the wrought-iron spiral staircase thatleads to the attic. The door to her fathers office isclosed as usual. Agata takes several hesitant steps towardthe staircase.

Agata climes the staircase. Her feet CLANG against thestairs with every step up. She arrives at the top and stopsin front of the office door. She makes several gentle KNOCKSon the door.

AGATA (CONT'D)Pap? Pap?

Agata waits for an answer but receives only silence. Shesteps back down the spiral staircase and rushes toward herbedroom.

CUT TO:

INT. AGATAS BEDROOM - NIGHT

Agata lays on top of her bed in the fetal position. Shewears her same school clothes from earlier in the day. Thelight from her train lamp casts a glow over the room.

AGATA(V.O.)

My parents had never left me alonebefore, I didnt know what to do.I tried to take a nap so that thetime would pass and I would justwake up when they came home. Butthey werent the ones who came in.

Agata hears FOOTSTEPS in the living room outside her bedroomdoor. She rolls off her bed and onto the floor. She crawlstoward the door and puts an ear on it to listen. She hearsthe footsteps get closer and closer to her door.

The DOORKNOB turns. Agata scurries away from the door andunder her bed. The door swings open, and a man sticks hishead inside. He watches Agatas shoes disappear under thebed.

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ERNESTOAgata, its me, Ernesto.

ERNESTO kneels down on the floor. He is a thin man withthinning hair, but his eyes are full of warmth for his niece.

Agata crawls out from under the bed and throws her armsaround her uncle. They speak Spanish to each other.

AGATATio! Where are Mama and Pap?

ERNESTOI called their phones. When Icouldnt reach them, I came here.Let me take you somewhere safe,okay?

AGATA

Okay.

Agata stands up and grabs her backpack. She stuffs a changeof clothes into her already overstuffed backpack. Ernestoleads her out of the bedroom with his hand on her shoulder.

CUT TO:

EXT. AGATAS HOUSE, BARCELONA - NIGHT

Agata locks the front door to her house. She steps away fromthe house with Ernesto. They make their way down the small

street lined with shops.

AGATAWhere do you think they are?

ERNESTOAgata, I want you to stay calm, andkeep walking with me. Because ofyour fathers research, someone hastaken your parents away.

Agata stops walking. Tears pour out of her eyes as she looksup to her uncle for answers.

AGATAWhos taken them! Why do they wantPaps research!

Ernesto crouches down and wipes the tears from Agatas face.

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ERNESTOAgata, please, you must staystrong, your parents need you.Keep walking, keep your voice down,and let me explain.

Agata takes hard and heavy breaths. She does her best toremain calm and listen to her uncle. She walks alongsideErnesto while he speaks.

AGATA(V.O.)

My uncle told me about the Mytro.He said that our family had beenconnected to it for hundreds ofyears.

CUT TO:

INT. CAVE - DAY

Jos Llorente lights his lamp to reveal the vast MYTRO CAVEall around him.

AGATA(V.O.)

Our long ago uncles, Jos andCarlos Llorente, discovered a Mytrotunnel on their farm land.

Jos watches as his brother Carlos steps into the tunnel onthe right hand side of the cave. A rope tied to Carlosslides across Joss open palm as his brother disappears intothe tunnel.

AGATA (CONT'D)(V.O)

Carlos was lost in the tunnel, butJos built a great fortune by usingthe Mytro for shipping.

Joss jaw drops in horror over the disappearance of hisbrother.

CUT TO:

EXT. LA RAMBLA, BARCELONA - NIGHT

Ernesto and Agata walk along the wide boulevard among throngsof other Spaniards and tourists. They pass a row of stallswhere parakeets and finches are for sale.

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AGATA(V.O.)

My uncle said that the familyfortune was lost during the CivilWar of the 1930s. The Mytro

stopped working, and it was all butforgotten until my father began hisresearch. There are men who wantto use the Mytro again, to makemoney.

Ernesto stops in front of Restaurante de Julio and points upat the sign.

ERNESTOAre you hungry? Might want to eatbefore the trip.

AGATAWhat trip?

ERNESTOOn the Mytro. You said your motherput something in your backpack.

AGATASome old papers.

Agata takes the backpack off her shoulder and hands it to heruncle. Ernesto crouches down to the ground and unzips theback pack. He pulls several of the papers halfway out and

makes a quick study of them.

ERNESTOYou have maps, and some ofHernandos research notes. Youmust have a map before you go tothe Mytro, otherwise you wont knowwhere to tell it to go, and youllbe lost in the tunnels.

AGATALost forever?

ERNESTOWe dont know. Your father and Ispent years on these maps. If youknow exactly where the stops are,you think it, you say it, and theMytro takes you there. We can-

Something catches Ernestos eye at the far end of La Rambla.

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ADAMS and WARREN make their way down La Rambla toward Ernestoand Agata. Both men wear dark jackets and military bootsthat crunch against the pavement with every step.

ERNESTO shoves the papers back into Agatas backpack and zips

it up. He puts the backpack around Agatas shoulders andturns the girl around to look into his eyes.

ERNESTO (CONT'D)Listen very carefully. Go into thealley between the stalls where theysell roses, all the way to the end.Youll see a Number 13 painted onthe wall. Push it and go through.

AGATAYoure not coming with-

ERNESTOIll find you later, now listen.Take the Mytro to New York, to theCentral Park South station. Saythat, Central Park South.

AGATACentral Park South.

ERNESTOAgain!

AGATA

Central Park South!

ERNESTOGo to my friend Kincaid, in NewYork, you met him years ago, Illtext you his phone number. Justremember to say, Central ParkSouth. Now go!

Ernesto pushes his niece toward the stalls where the rosesare for sale. He turns around and looks up La Rambla towardAdams and Warren. Ernesto marches toward the men. He sees athird member of their party, MARTIN.

CUT TO:

EXT. ALLEY - NIGHT

Agata runs down the alley and squints her eyes toward theback wall of a garage where a NUMBER 13 is written in fadedspray paint among a mesh of other graffiti.

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Agata stops at the wall, takes a breath, and pushes her handagainst the number.

Something small and black SNARLS and scampers across Agatasfeet. Agata YELPS and hops back away from the wall. Shelooks behind her for further signs of trouble.

Agata reaches out to push against the Number 13 even harder.The wall begins to give, and Agata falls inward on a cushionof air. The wall/door slams closed behind her.

CUT TO:

INT. BARCELONA LA RAMBLA MYTRO STATION - NIGHT

Agata stands up inside a long train station. Rails run inboth directions and disappear into the tunnel. Brown,unglazed adobe tile covers the station walls and ceiling.

A breeze lifts and swirls several loose leaves into the airat Agatas feet. The leaves blow down the tunnel into thedark just as a train squeals into the station. The trainstops, and the doors open with a DOUBLE CHIME.

Agata gawks at the train for a moment before she takes acareful step on board.

INT. MYTRO TRAIN CAR - NIGHT

Agata marvels at the interior of the train. The doors close

with a SINGLE CHIME, and the train heaves forward out of thestation at unnatural speed. The sudden acceleration pitchesAgata into one of the wicker seats.

Agata sits up straight in the chair and recalls some of herinstructions.

AGATANew York! New York!

Agata feels the train pick up even more speed. After a fewseconds of movement, the train stops. The doors open with aDOUBLE CHIME.

INT. CITY HALL MYTRO STATION, NEW YORK - DAY

Agata steps out into a station dimly lit by guttering gaslamps. Her train roars away into the tunnel. Agata amblesalong the platform in amazement. She spins around to soak inthe sights and sounds of the station from every angle.

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A NEW TRAIN trundles down the tracks into the station.

Agata stops and turns back toward the new train. Its doorsopen with a DOUBLE CHIME. No one exits the train. The doorsclose with a SINGLE CHIME, and the train chugs out of sight

into the tunnel.Agata walks toward a heavy wooden door held together withpolished iron bands. Sharp gold letters carved in deeprelief along the top of the door read City Hall. Shereaches out to push through the door, but then she stops.

AGATAThis isnt my stop.

Agata turns around and strides back toward the platform.Another train blows into the station. The doors open with aDOUBLE CHIME, and both ADAMS and WARREN step out. Agata sees

the PISTOLS in their hands and takes a step back.

WARREN(In Spanish)

You need to stand still, Miss.

The Mytro train doors CHIME and slam shut. A sudden BLAST OFAIR from the tunnel pushes Warren and Adams off balance.Both men stumble to the ground and roll several yards downthe platform.

The train doors open again. Agata dives inside.

INT. MYTRO TRAIN CAR - DAY

Agata looks out the window and sees Warren and Adams stand upoutside the doors to the adjacent train car. WARREN makeseye contact with Agata. He raises his pistol toward her andaims.

CUT TO:


Turtle listens to Agatas story with rapt attention. Agatatrembles as she describes the last moments of her ordealbefore her escape.

AGATAHe shot at me twice, shattered thewindows behind me, broken glassfell everywhere.

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They got into the other car beforethe doors closed, but they couldntunlock the entrance to my car. Ifinally remembered Central ParkSouth, so I screamed it out overand over again, Central Park

South, until we arrived. I ranout of the train, pounded on thedoor, and there you were.

Agata lets out a long cathartic sigh. Turtle takes a quickglance out the window, then looks back at Agata.

TURTLEThis is our stop.

CUT TO:

EXT. SIXTH AVENUE, BROOKLYN - DAY

Turtle leads Agata down the leafy streets of Bay Ridge, pastold duplex houses, toward his grandmothers small, thin brickhome with its well-tended front yard and gold numbers overthe old wooden door.

TURTLEIm not sure what to tell mygrandmother about you.

AGATASay Im a, what do you

call them...exchange.

TURTLEExchange student.

AGATAExactly.

CUT TO:

INT. TURTLES HOUSE, LIVING ROOM - DAY

Turtle holds the door open for Agata to enter. He closes andlocks the door behind her. He sees a note stuck to thedecorative key rail on the wall. Turtle pulls the note offthe rack and reads it.

TURTLEShes not here. She volunteers atthe retirement center. But she didleave food in the oven.

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AGATAI havent eaten all day.

TURTLELet me get the food out for you,

and Ill get cleaned up while youeat.

AGATAThank you.

Turtle and Agata cross the living room and head toward thekitchen. Agata stops and picks up a framed photo of Turtleand his grandmother.

AGATA (CONT'D)Is this your grandmother?

Turtle looks at the photograph in Agatas hand. He nods.

TURTLEThats from a couple years ago. Myparents died when I was still ababy, in a car accident. She andmy grandfather took care of me,until he caught pneumonia lastyear.

Turtle and Agata stand in awkward silence, unsure of how tobreak out of the sad remembrance of lost family.

TURTLE (CONT'D)The kitchens, in here. You mustbe starving.

CUT TO:

INT. KITCHEN, TURTLES HOUSE - DAY

Agata sits at the kitchen table and eats the last forkful ofspaghetti from her plate. Her fathers maps and notes arespread out on the table in front of her. She reaches out andplaces a finger beneath an intriguing word.

CUT TO:

INT. TURTLES BEDROOM - DAY

Fresh out of the shower and dressed in clean clothes, Turtlebrushes his teeth with vigor.

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He wipes his mouth clear of pasty residue, then he fusseswith his hair. He looks at himself from multiple angles tobe sure hes at his best.

CUT TO:


Turtle enters the kitchen with as confident a stride as hecan manage. He smiles at Agata and looks down at her emptyplate.

TURTLEI told you my grandmother makes amean plate of spaghetti.

AGATAIt was excellent. I put yours in

the oven to stay warm.

TURTLEThank you.

Turtle grabs an oven mitt and reaches into the oven toretrieve his half of the spaghetti. He sits down at thetable and scans the notes and MAPS that surround his plate.

Black and gray lines cross the map in frantic trajectories.The names of stations are written in a tiny, careful hand.Some of the stations are crossed out while others are checkedoff in red pencil.

TURTLE (CONT'D)Most of your fathers notes are inSpanish. I know a little from whatI hear on the street, but in schoolIve only studied German.

AGATAHeres a word thats not Spanish,or English. Nay-zun.

TURTLENayzun? Sounds. . .alien.

AGATAThe Nayzuns repair the tunnels andmaintain the trains. Thats allhe says.

TURTLEHas your uncle texted you yet?

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The phone RINGS in Turtles hand. Agata jumps back away fromthe ringing, and Turtle fumbles to keep from dropping thephone. After three rings, Agata nods her head and points atthe phone. Turtle hits the button to answer the call.

MANS VOICE(O.S.)Hello? The name Fulton came upon Caller I.D. Is this Nicksfriend Lizard?

Agata lets out a little laugh over the mans mistake.

TURTLETurtle, they call me Turtle. Whois, whats your-

MANS VOICE

(O.S.)Im Tom Kincaid, Nick and Natesuncle. Are you calling for Nick?

TURTLENot really. Im calling on behalfof, Ernesto Llorente?

There is a short pause on the other end before Kincaidspeaks.

KINCAID(O.S.)

How do you know Ernesto?

TURTLEI know his niece.

KINCAID(O.S.)

Agata, is she there with you?(In Spanish)

Agata, Im a friend of your uncleand your father. We met at youruncles party, when you were just alittle girl. I worked with yourfather on his research, I know hesgone missing. Please, let me helpyou.

Turtle looks at Agata. She takes a moment to think beforeshe speaks.

AGATAHow can you help us?

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KINCAID(O.S.)

Tell me where you are, Ill beright over.

Agata looks toward Turtle and nods her head.TURTLE

Bay Ridge, Brooklyn. Sixth Avenueat 68th Street.

KINCAID(O.S.)

I drive a silver Jeep withAdvanced Urban Archeology writtenon the side. Ill be there in tenminutes.

TURTLETen minutes? Arent you at Nickand Nates place, on Central ParkWest?

KINCAID(O.S.)

Youre right. Make it thirteenminutes.

Kincaid ends the call. Turtle looks at Agata with a puzzledexpression.

AGATAMaybe he drives fast?

CUT TO:

INT. CENTRAL PARK SOUTH MYTRO STATION - DAY

Four-Elevens train rumbles into the station. The Nayzunhops of the back of the train and onto the platform. Thewalls of the station are inlaid with polished brass and tilecoated with crackled glaze. The ceiling swings up high above.

Four-Eleven moves past a wooden booth with glass windows. Aticket machine pokes out of it, and a length of connectedtickets sticks out it like a tongue. A hand-lettered sign,yellowed with age, reads Closed Until Further Notice.

Four-Eleven examines the wooden door that leads out to thegiant rock in the park. The wood is covered in delicatecarvings and polished to a bright sheen. Sharp letters alongthe top of the door read Central Park South.

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Four-Eleven brushes his long fingers over a BULLET HOLE inthe wood. He turns his head back toward the platform andsees AGATAS IMAGE materialize out of a mist and run throughthe closed door of the front car of his train.

Agatas image sprints across the platform toward the woodendoor. Four-Elevens body glows again in the presence ofAgatas image. He watches the holographic Agata shout andpound at the wooden door with her fists.

A VIRTUAL BULLET crashes into the brick and tile next toAgatas head. Four-Eleven looks back at the platform andsees the IMAGES OF WARREN AND ADAMS outside the closed doorsof the rear car of his train.

Warren fires a second virtual bullet into the thick woodendoor. As the girl shouts and pulls on the iron door handle,Four-Eleven sees something concealed under the girls shirt.

It FLASHES like a phosphore flare every few seconds.

The images of Warren and Adams stomp toward the door. Animage of the door itself opens inward, and Four-Eleven gets aquick but close glimpse of the IMAGE OF TURTLE before Agatasimage jumps out and knocks Turtle away.

The image of Adams steps out in front of Warren. He is aboutto step through the opening of the door, but the image ofTurtles hand reaches in and closes the door at the very lastsecond.

Adams pounds on the closed door in a rage. Warrens image

stands behind him and waits. The images of both men pulsewith a rich cerulean blue. They turn away from the door andrush back inside the Mytro train through closed doors.

Four-Eleven moves back along the platform. The Mytro tracksBUZZ with something like electricity. He reaches out to grabthe back of the train, but then retracts his arm. The doorsopen with a DOUBLE CHIME, and Four-Eleven enters the car.

INT. MYTRO TRAIN CAR - DAY

The train jerks out of the station, but Four-Eleven is notknocked off balance. He sits down in one of the wickerchairs. His posture and body language are awkward, unsure,as if this is the first time hes actually sat in a chair.

CUT TO:

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INT. TURTLES HOUSE, LIVING ROOM - DAY

Turtle and Agata look out the front window. They see aSILVER JEEP pull up and park across the street. Advanced

Urban Archeology is written on the side. Turtle looks downat his watch.

TURTLEThirteen minutes.

TOM KINCAID steps out of the Jeep. He appears to be a closerelative of the twins with his dark blond hair and tall lankybuild. He wears large sunglasses over his weather-beatenface, and he surveys the street for any sign of the kids.

AGATAHe does look familiar, but it was

so long ago.

Kincaid looks toward Turtles front window and sees Agatasface. He smiles and struts toward the front door of thehouse. Turtle walks toward the front door and opens it.Kincaid removes his sunglasses and looks into Agatas eyes.

KINCAID(In Spanish)

Do you remember me now?

AGATA(In English)

From my uncles engagement party.You made smoke rings.

KINCAIDBut I dont smoke anymore. And youmust be...Turtle.

TURTLEPaul Fulton.

KINCAIDMay I please come in, Paul Fulton?We have a lot to discuss.

TURTLESure.

Turtle steps to one side to allow Kincaid to enter. Turtlecloses and locks the front door. Agata leads Kincaid intothe kitchen.

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AGATAWe have my fathers maps and notesin the kitchen.

KINCAID

Good, you have maps. You needthose.

TURTLEOr else youll be stuck in thetunnels forever.

KINCAIDVery good, Paul. And hey, now youknow how Nick and Nate always beatyou at those track meets.


Kincaid follows Agata into the kitchen. He looks down at themaps spread out over the table. Turtle enters the kitchenafter them with a perturbed look on their face.

TURTLEThey use the Mytro to win races?

AGATAThey cheat.

KINCAID

I wanted them to use it to get toschool on time. But they had otherideas.

Kincaid sits down and leafs through the loose pages of noteson the kitchen table. He finds a paper with a peculiardrawing on it.

KINCAID (CONT'D)Now Agata, the men who took yourparents-

AGATAThe ones who want to make moneyfrom the Mytro.

KINCAIDYes. They need something calledthe Conductors Key, to put theirplans in motion. Your fatherdidnt want them to have it. Haveyou ever seen anything like this?

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Kincaid points to the drawing of a LONG SKELETON KEY with ahuge fob at one end. The Key is covered with dials and tinyswitches.

AGATA

No, never.KINCAID

Not at your house, in your fathersoffice?

AGATAIm not allowed in his office.

KINCAIDOkay.

Kincaid picks up a different paper and points to different

drawing.

KINCAID (CONT'D)What about this one? Its calledthe Railmans Key. You use it towind and set the Conductors Key,at least we think so.

Turtle and Agata look down at a drawing of a strange CIRCULAROBJECT with a part cut out at a jagged angle - the coppercoin on Agatas necklace.

Turtle glances at Agata. Her body tenses up just a bit as

she answers.

AGATANo, not that one either.

KINCAIDWe need to find these. Its theonly way to keep your parents safe.Maybe theres something in yourfathers office thatll help.

AGATAWe have to go back, to Barcelona?

KINCAIDRight away.

Kincaid rises from the table.

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KINCAID (CONT'D)Paul, youve been a great help, andI know Agatas family appreciatesall that youve done. Ill take itfrom here.

Kincaid puts his hand on Agatas shoulder.

KINCAID (CONT'D)Lets gather up your fatherspapers, we still need them.Especially the maps-

TURTLEIf its all the same to you, Mr.Kincaid, Id like to come along.

Kincaid looks up from the maps on the table.

KINCAIDIt could be dangerous, Paul.Theres no reason to bring youfurther into this.

TURTLEI understand that, but...she foundme in the park. That kind of makesher my responsibility. I want tobe sure she stays safe.

Agata smiles back at Turtle. Kincaid looks down at Agata and

sees her reaction.

KINCAIDAlright, Paul.

AGATAYou can call him Turtle.

Turtles cheeks blush in reaction to Agatas statement.

KINCAIDTurtle. Youll be my extra set ofeyes, to watch my back, right?

TURTLERight. Just let me leave a notefor my grandmother.

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Turtle pulls a piece of paper from his notebook and scribblesout a quick note. Agata stuffs her fathers maps and papersinto her backpack.

CUT TO:

INT. KINCAIDS JEEP - DAY

Agata sits in the back seat of the Jeep and buckles her seatbelt. Two marble statues wrapped in plastic take up the restof the space in the back. The snarling snout of a FIREPLACELION peeks out at Agata from under the plastic.

Turtle occupies the front passenger seat and takes a nickelout of his pocket. He pops the coin over each of hisknuckles and into his hand for a flawless coin walk.

Kincaid turns the key to start the Jeep. He observesTurtles coin walk before he drives the Jeep into the street.

KINCAIDYou do that when youre nervous,Paul? I mean Turtle, since werefriends now.

TURTLEJust something I picked up fromreading.

KINCAID

What else have you picked up?

TURTLECryptography, magic, slight ofhand, I can pick pockets - but justfor show, not to steal.

KINCAIDOf course. With those skills,youll make an excellent additionto the Mytratti.

TURTLEMytratti?

KINCAIDPeople who study the Mytro. We goback a long time, long beforeAgatas family found those tunnelson their farm.

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AGATAWho are the...members of theMytratti?

KINCAID

Hernando of course, Ernesto,myself, a few others - here we are.

Kincaid steers the Jeep down an alley behind the AlpineCinemas. He switches on the headlights. They shine againsta blank brick wall with a NUMBER 13 spray-painted in brightblaze orange like a gang tag.

AGATAI saw the same thing in Barcelona -Number 13.

TURTLE

There was a 13 carved on the doorin the park.

KINCAIDIts on all the station doors.Its a prime number, the bad luckthing keeps people away, andthe 3 looks like a sideways M, forMytro, underlined by the 1. Signalof the Mytratti.

Kincaid edges the car forward. The front bumper touches thebrick. The wall starts to move and fold up on itself like a

garage door on invisible hinges. The heavy bricks tip upenough to let the Jeep pass through.

CUT TO:

INT. BAY RIDGE FIFTH AVENUE THEATRE MYTRO STATION - DAY

Kincaid smiles as Turtle and Agata stare in awe at theincredible brick door. The kids spin around to watch thewall fall back down and grind into place with a sound ofgravel on gravel.

The Jeeps headlights shoot bright beams into the station. Asign that reads Bay Ridge Fifth Avenue Theatre under a pairof comedy and tragedy masks hangs over the main door. Thelarger door they came through is no longer visible.

KINCAIDThey used to run whiskey throughthese tunnels during Prohibition.

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TURTLEPeople have used these tunnels?

KINCAIDAs long as the Mytro lets them.

AGATAIt lets them? Is it...alive?

KINCAIDThe Mytratti have asked thatquestion for centuries. Ever heardof a wormhole?

TURTLETwo spots that open up in space?

AGATA

And space is bent inbetween, myfather taught classes about them.

KINCAIDHe did more than lecture aboutthem. He went through them. Andso will you, in just a few.

The wind picks up within the station. A Mytro train rollsout of the dark and into the station. This new train is madeof three cars - two passenger cars on the front and back witha large, flatbed carrier in the middle.

Kincaid maneuvers the Jeep onto the flatbed. As soon as heapplies the handbrake, the train rattles off into thedarkness. Sparks shoot up from the wheels of the train asthey tick and pick up speed.

CUT TO:

INT. THE HANGAR - NIGHT

The air of The Hangar vibrates with the MELODIC RATTLING andRINGING that is the song of the Nayzuns. Four-Eleven directsother Nayzuns in their repairs to the train damaged by Warrenand Adams.

Four-Elevens body lights up with a bright glow, and AGATASIMAGE, inside Kincaids Jeep on the Mytro train, flashesthrough Four-Elevens consciousness.

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The other Nayzuns take a step back from Four-Eleven. Theirforeman directs them to return to their work.

CUT TO:

INT. MYTRO TUNNEL - NIGHT

The darkness overtakes the Jeep and its passengers. Thetrain veers hard to the left, then shakes back and forth toright itself as it continues into the darkness. Kincaidcloses his eyes and shouts over the screaming wind.

KINCAIDBarcelona, La Rambla!

Turtle counts off his prime numbers to keep his headstraight.

TURTLETwo, three, five...seven. . .eleven. . .

The travellers hit a wall of total silence and crystallinespace. Turtle is unable to count any further.

CUT TO:


The train comes to a abrupt stop. Turtle gasps for breath.Agata nods her head at the sight of the now familiar setting.Kincaid drives off the edge of the flatbed and onto theplatform. He parks the Jeep and switches off the engine.

KINCAIDThis is one of the few stations bigenough for a car.

Kincaid and Agata climb out of the Jeep. Turtle takes amoment to catch another breath before he sidles out of theJeep and onto the Mytro platform. He follows Kincaid andAgata to an iron door bolted into the station wall.

CUT TO:

EXT. LA RAMBLA, BARCELONA - NIGHT

Kincaid, Agata, and Turtle walk down the popular esplanadestill crowded with locals and visitors alike.

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They take the reverse course that Ernesto and Agata walkedbefore her escape.

KINCAIDThe Mytro is nonlinear. There areno actual lines from stop to

stop, city to city. We just makethe maps like that as a way to wrapour minds around it.

TURTLETrains are a linear idea. Is thatwhy they...or it, uses trains?

KINCAIDBefore trains there were wagons.Better to ride in one of those thanto be flung into the darkness by awild wind.

AGATAWhen you put it that way-

CUT TO:

INT. AGATAS HOUSE, THIRD FLOOR LIVING ROOM - NIGHT

The front door swings open. Agata pulls her key out of thedoor and directs Turtle and Kincaid to the wrought-ironspiral staircase that leads to her fathers office in theattic.

The CLANGING of their shoes on the spiral staircase makesthree distinct tones based on the different weights and shoetypes of the three. Agata reaches the top first. She knocksand puts her ear to the door.

AGATAPap?

She hears nothing from within the office. She turns thedoorknob and pushes the door open.

INT. HERNANDOS ATTIC OFFICE - NIGHT

The office is impeccably arranged and packed full ofbookshelves, filing cabinets, desks, and stacks of papers andbooks. Faded pictures of old subways, printed schedules, andtrain track maps cover every inch of exposed wall.

One of the computer monitors lays facedown on the floorsurrounded by a halo of broken glass.

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Kincaid, Agata, and Turtle each hunker down in front of astack of papers and begin to comb through the data.

CUT TO:

INT. MYTRO TUNNEL - NIGHTFour-Eleven and an older Nayzun called TWO TWENTY-SEVEN clingto the walls of the tunnel like large luminous insects. Four-Eleven assists Two Twenty-Seven as he repairs the walls ofthe tunnel with a dark material that glitters with starlight.

Four-Elevens body pulsates with BLUE LIGHT. A stream ofplasma from the Mytro pulls itself through Four-Eleven andshoots into the darkness of the tunnel.

In his consciousness, Four-Eleven sees the plasma stretch allthe way to the City Hall station in New York.

CUT TO:

INT. CITY HALL MYTRO STATION, NEW YORK - DAY

Warren and Adams step through the station door and onto theplatform.

CUT TO:

INT. MYTRO TUNNEL - NIGHT

Four-Eleven sees the IMAGE OF WARREN take out a Mytro map.THE IMAGE OF ADAMS points to the stations on the map. Thecrackle of their presence cascades through the thread ofplasma and back to Four-Eleven like a fly in a spiders web.

Four-Eleven detaches himself from the tunnel wall. He fallsonto the skein of light and plasma that is the truest form ofthe Mytro. He rides the waves and particles of the Mytro andhurtles through the howling darkness of the wormhole.

CUT TO:


Agata flips through a pile of papers. She stops at a paperthat is the color of weak tea. It has fine printing on theedge and it is folded in half. A Post-it note in stuck inthe middle reads Para Agata.

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AGATALook at this!

Turtle and Kincaid step away from their piles of books andpapers and jostle toward Agata. She points to the Post-it

note.AGATA (CONT'D)

For me.

Agata unfolds the paper to reveal an old Mytro map, differentfrom the one in her backpack. Its a topographic map thatshows surface detail with shaded colors. It depicts the areaaround three large cities Vienna, Prague, and Budapest.

There is a small inscription in the corner: 15 AOT 1914.

AGATA (CONT'D)

Its French.

KINCAIDAugust 15th, 1914. An historicaldate for the Mytratti. The LastConclave.

TURTLEThat sounds ominous.

KINCAIDIt was meant to be benevolent. Agreat sharing of information among

Mytratti throughout the world.

CUT TO:

INT. ABANDONED WATCH FACTORY, GENEVA, SWITZERLAND - NIGHT

A group of 20 men of diverse nationalities sit at a largeround wooden table. Piles of papers, models, and gadgets arescattered across the surface. The men engage in passionatediscussion.

KINCAID(V.O.)

The First World War had begun, andthe Mytro was more important thanever. But one member of theMytratti, a mystic named FraterPerdurabo, refused to share what hehad discovered.

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FRATER PERDURABO sits at the table. A hood conceals most ofhis face, and the table space in front of him is free of theclutter found in front of the other Mytratti.

CUT TO:

INT. MANDURIA SPIAGGIA CIMITERO MYTRO STATION - NIGHT

Perdurabo sits within the smooth sandstone station. A gaslamp provides the only illumination. His right ear is turnedtoward the tunnel.

KINCAID(V.O.)

Perdurabo had listened to Mytro fordecades. Those sounds, in thetunnels, the melodic background

tones. He believed that soundwould allow him to harness theMytro.

CUT TO:

INT. ATTIC ABOVE FACTORY, MANDURIA, ITALY - NIGHT

Perdurabo sketches the designs for his creation in an almostrobotic motion. He doesnt look at the paper on which hedraws - the ideas appear to flow out of his body through thecharcoal with which he sketches.

KINCAID(V.O.)

He envisioned a Key, the wardscontrolled by clockwork. It wouldsend melodic, musical signalsthrough the Mytro that could stopit, start it, control it.

Perdurabo sketches two Keys side-by-side. The CONDUCTORSKEY is a long thin skeleton key topped by a clockwork controlsystem with a crown that could be wound like a watch. TheRAILMANS KEY is the very necklace worn by Agata.

KINCAID (CONT'D)(V.O.)

The Conductors Key held the realpower, but the Railmans Key wasneeded to wind and set it.

CUT TO:

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Turtle and Agata trade glances at the mention of theRailmans Key, still hidden beneath Agatas shirt.

CUT TO:

INT. ABANDONED WATCH FACTORY, GENEVA, SWITZERLAND - NIGHT

Thirteen of the twenty Mytratti stand at the table and yellout for Perdurabo to share his knowledge of the Keys.Perdurabo sits in his chair, still as a statue. His darkeyes peer out from beneath his hood but meet no others.

KINCAID(V.O.)

Perdurabo made the Keys with hisown hands. When he saw how wellthey worked, the power that theycould yield, he became frightened.He wouldnt give his Keys or hisdesigns to the Mytratti.

CUT TO:


Perdurabo trudges across the empty station toward the Mytro

tunnel. He carries a locked wooden box under one arm. Agust of wind picks up, and the darkness of the Mytro tunnelswallows the hooded mystic and his wooden box.

KINCAID(V.O.)

The more extreme members of theMytratti made threats, butPerdurabo would not turn over hiscreation. After the Conclave, hewas never seen or heard from again.

CUT TO:


Turtle wipes a bead of sweat from his forehead. Agata takesa deep breath. Kincaid steps back from the kids and thespecial map theyve found. He looks down at them with asmile.

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KINCAIDSo you would agree that August15th, 1914 is a rather significantdate to be written on that map.

Turtle and Agata both nod their heads in the YES direction.TURTLE

Uh huh.

KINCAIDAnd if Hernando has found theConductors Key, you see why somany dangerous men would be afterhim?

AGATAUh huh.

KINCAIDBetter study that map then. Uhhuh?

Agata opens up a drawer in one of her fathers desks andpulls out a magnifying glass. She hunches over the map andpasses the magnifying glass across the page, inch by inch, inevery detail.

The lines on the map are drawn in different colored ink andby different hands, and there are a few spots where the linesstop and then start up again an inch or so away. Each of the

stops is marked with a tiny 13 and a set of letters.

AGATALook at this.

Agata stops the magnifying glass on the lower right edge ofthe map over something that appears out of place. It is asmall note, scrawled in light pencil. It consists of a setof letters and then five numbers, with two words underneath:

EQAFNUC 5, ITYAQGC, OQCDC 1, 12, 28, 8, 21

BUSCAR AQU

Agata points to the handwritten Buscar Aqu.

AGATA (CONT'D)Thats my fathers handwriting. Itsays Seek here.

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Kincaid stands behind the kids and closes his eyes. He takesin a deep but silent breath through his nose.

KINCAIDGood eyes, Agata. You guys get to

work deciphering that code. I haveto make a quick phone call. LetNick and Nates Mom know not toexpect me back anytime soon.

Kincaid backs out of the room. His shoes clang against thespiral staircase as he descends to the third floor livingroom. Turtle and Agata remain fixated on the maps codedmessage.

AGATAWhat do we do with this?

Turtle motions toward the encrypted note.

TURTLELike it says, we seek here.

Turtle takes the map to one of Hernandos desks and sitsdown. Agata follows him there. Turtle grabs a clean sheetof paper and copies the numbers and letters with a pencil.As he writes, he describes an observation about the map.

TURTLE (CONT'D)Look to the left of the note on themap. The word Cechy is

underlined twice, in the same inkas the note. Keep that in mind.

Agata looks over Turtle shoulder. He points to the numbersand letters of the code.

TURTLE (CONT'D)These letters repeat, which makesit a substitution cipher. Oneletter takes the place of oneother. All you need to decode itis the coded alphabet.

AGATAHow do you know this?

TURTLEIm a poor kid on scholarship at arich kid school. I fill the gapsin my social calendar by readingabout things like this.

44.

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ABCDEFGHIJKLMNOPQRSTUVWXYZCEHY D O Q

AGATA

What about the second C inCechy?

TURTLEIn a Caesarean cipher, you dontrepeat letters. One-to-onesubstitution.

AGATAAnd the rest?

TURTLESee how the writing is quick, like

he didnt have a lot of time tomake it overly complex? Just fillin the rest with the remainingletters of the alphabet, in order,that we havent already used.

Agata picks out the remaining letters of the alphabet withgreat care. She does not look up from her work as shespeaks.

AGATARight about now, Turtle, Im gladthose rich kids werent your

friends.

Turtle smiles at Agatas unexpected remark.

CUT TO:


A train rattle-clacks into the station. The doors open witha DOUBLE CHIME. Adams steps out, followed by Warren. Warrenfumbles with the map and trails behind Adams. They head forthe iron door out of the station.

The train doors close with a SINGLE CHIME. The train rushesout of the station with a cool blast of air.

Adams pulls the heavy iron door open.

FOUR-ELEVEN zooms out of the tunnel on a thread of plasma.He lands on the platform a few feet behind Warren.

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Adams steps through the doorway and out into the alley.Warren keeps his eyes fixed on the map as makes his way outof the station.

Four-Eleven waves his long, thin arm in a wide arc.

The station door SLAMS closed. Warren looks up from his map.He stuffs the map into his pocket and yanks on the ironhandle of the station door. Warren notices the flicker ofFour-Elevens blue light reflected on the station door.

Warren turns around and sees Four-Eleven. Warrens eyes popopen, and the color drains from his frightened face.

A train pulls into the station and stops with a SCREECH.Four-Eleven gestures toward the train with his long fingers.The Nayzun speaks in a voice like the hiss of a wire brush onsteel.

FOUR-ELEVENThis is your train.

Warren backs up against the iron door. He shakes his head ashe squeaks out his response.

WARRENNo!

FOUR-ELEVENYou can board the train and it willtake you home. You will never ride

this train again. Or you can stayhere and fight.

Warren remains in place with his back against the door. Hispanicked lungs suck in mouthfuls of air.

The train doors close with a CHIME.

Warren pulls his pistol from his shoulder holster and aims.He squeezes the trigger and FIRES a bullet. Four-Elevenshifts to the right. The bullet THUNKS into the side of thedeparting train and splinters the wood molding.

Warren FIRES another round. Four-Eleven leaps up and clingsto the ceiling. An electrical energy CRACKLES between hishands and the ceiling. A mechanical HOWLING noise fills thestation. Four-Eleven looks toward the tunnel.

Darkness from both ends of the tunnel pours into the smallstation. It rolls over the trackbed and up onto theplatform. Warren watches in horror as the darkness laps athis shoes.

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Four-Eleven crawls down the wall as Warren SCREAMS. TheNayzun reaches out from the wall, grasps Warren by the wrist,and lifts him up away from the encroaching blackness. Warrendrops his pistol into the darkness below his feet.

WARRENStop this!

FOUR-ELEVENThe woman, the girls mother.Where?

WARRENManduria, Italy. The refugee camp.Shes not hurt.

FOUR-ELEVENAnd youre trying it as well?

WARRENWhat? Trying what?

FOUR-ELEVENTheft. Slavery.

Four-Eleven releases Warrens wrist, and the man crumblesonto the platform. The darkness rises up and engulfs Warrenin a black flood.

Four-Eleven scampers across the ceiling and falls atop anarriving train. The trains wheels slosh through the

darkness like a streetcar through a puddle. The darknessoozes off the train. It leaves no residue.

Four-Eleven watches the flood recede from the burnishedcopper roof of the train. There is no trace of Warren lefton the platform.

CUT TO:


Turtle and Agata both jot down letters on the piece of paperin front of them. Once theyve completed their cipheralphabet, they pull back from the paper and take an overviewof their work.

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ABCDEFGHIJKLMNOPQRSTUVWXYZCEHYABDFGIJKLMNOPQRSTUVWXZ

TURTLE

Its a short code, but just longenough to hide something.

Turtle scribbles out the rest of the code on their sheet ofpaper.

EQAFNUC 5, ITYAQGC, OQCDCBREHOVA 5, JUDERIA, PRAGA

Turtle looks at Agata. She reads out what she sees.

AGATA

Juderia.

TURTLEThe Jewish quarter.

AGATAMost big cities in Europe have one.

TURTLELooks like well be visiting theone in Prague. As soon as Mr.Kincaid finishes his phone call.

Turtle folds up his decryption paper and places it inside hisbackpack. He zips it up and slings it back over hisshoulder.

TURTLE (CONT'D)(CALLING OUT)

Mr. Kincaid! Tell Nick and Nate-

Turtles words are cut off by the appearance of ADAMS in thedoorway of the office.

Agata puts her bursting backpack around her shoulders. Shenotices that Turtle has stopped speaking. She looks towardhim. She follows his stupefied gaze toward Adams in thedoorway.

AGATAMaleton!

Kincaid returns to the attic and steps out from behind Adams.He holds up his hands toward Agata.

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KINCAIDCalma, Agata. Hes not here tohurt you. He works for Mr. Goode.

Kincaid steps to the side to allow MR. GOODE to enter. Goode

is a middle-aged man with close-cropped hair. He carries astun gun whose silver barbs glint with menace in thelamplight.

GOODEThats quite a set of stairs. Goodevening, children.

Turtles eyes fixate on Goodes stun gun. It lays in hishand like a sleeping snake, hanging lazily as if Goode forgotit was even there.

TURTLE

It doesnt look good from here.

GOODEYou have my assurance, Mr. Adamshere meant no harm.

Adams flashes a smarmy smile toward Turtle and Agata.

ADAMSTrigger slipped.

AGATAThree times.

GOODENow Agata, Paul, whats past ispast.

TURTLESeven bullets past her head.

Goode grins toward Kincaid.

GOODEThomas, you werent kidding whenyou said this boy was clever. Andyou certainly werent kidding aboutthis.

Goode widens his eyes and he strolls across the office towardHernandos special door. Goode gives the door three lighttaps.

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GOODE (CONT'D)Miss Llorente, your father is a manof singular brilliance. I wouldlike to take you to him now, and toyour mother. If you can tell me

about the Key.AGATA

Asqueroso!

TURTLETake us to her parents first.

GOODEYour part in this is finished, Mr.Fulton. From here on, you watchfrom the sidelines, silently.

TURTLENo until she sees her parents.

Goode turns his eyes toward Adams. He cricks his neck inTurtles direction. Adams treads across the office and takesa set of white PlastiCuffs out from his pocket. Kincaidtakes a step toward Adams.

KINCAIDNot too tight.

Adams smirks at Kincaid. He pulls the cuffs taut aroundTurtles wrists. Agata looks toward Kincaid.

AGATAMy uncle called you his friend.

Kincaid is unable to respond. Adams cuffs Agatas wrists andpushes her toward Goode. Kincaid takes a step toward Goode.Adams glares in Kincaids direction.

GOODEMy dear Miss Llorente, we shall nowboard the Mytro. I am certain thatyou know where your fathers Key ishidden. Once we are all aboard,you will tell the Mytro where totake us. If you do not bring me tothe Key, then I will tell the Mytrowhere to take us. And you will notlike it there.

Goode struts toward Hernandos portable station door. Heopens the door with a flourish just as the next train roarsinto view.

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FOUR-ELEVENI am Nayzun Number Four-Eleven.

AGATANayzun. My father says you repair

the tunnels and maintain thetrains.

FOUR-ELEVENWe are the ones who work.

TURTLEAre you an...alien?

FOUR-ELEVENIf it helps for you to think of meas one, then I can be.

Turtle takes a moment to consider Four-Elevens statement.

TURTLENo, that doesnt help.

FOUR-ELEVENBut I am here to help.

AGATAThats what Mr. Kincaid said.

TURTLEWe just want to find her parents.

Can you help us with that?

FOUR-ELEVENYes. But to get them back, youmust retrieve the Conductors Key.

TURTLEYou too? Everybody wants this Key.

FOUR-ELEVENNot for myself. I want you to havethe Key. You, and. . .Agata.

Four-Elevens body pulses with a white light when he saysAgatas name.

AGATAYou know my name?

FOUR-ELEVENYes.

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Agatas fear dissipates. She smiles and takes one trustingstep toward Four-Eleven. Turtle follows her with a singlestep.

TURTLE

And my name is Paul, Fulton.AGATA

You can call him Turtle.

FOUR-ELEVENTurtle, Agata. The Mytro ischanging, and there are men whowould try to tame it while it isweak.

TURTLEMr. Goode.

FOUR-ELEVENHave you learned where to find theKey?

Turtle and Agata look at each other. Agata nods her head inthe Yes motion.

AGATAPrague. Juderia.

Four-Eleven waves his hand. The train lurches forward andseems to move faster. Turtle and Agata hold on to the wicker

seats to keep from falling over.

AGATA (CONT'D)This train is not very steady.

FOUR-ELEVENIt is not really a train. It isEntropy. Endless Change. A fieldof energy that we all move through.This is your stop.

A brightly lit station materializes around the train like acomplex origami. The train stops alongside the platform, andthe doors open with a DOUBLE CHIME.

INT. STAR MESTO MOST KARLUV PRAGA MYTRO STATION - NIGHT

Turtle and Agata step out of the train and onto the platform.Four-Eleven remains within the train. The kids notice thatthe Nayzun has not followed them onto the platform. Theyturn around and look toward him as he speaks.

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FOUR-ELEVENI cannot leave the station. In onehour, I will meet you at theportable door in your fathersstudy. Those men are no longer

there.AGATA

What will you do for the next hour?

FOUR-ELEVENReturn to The Hangar, and work. Weare the ones who work.

TURTLEBefore you go back to work at TheHangar. . .

Turtle holds up his ziptied hands.

TURTLE (CONT'D). . .can you untie us first?

The Nayzun holds up his own hands to reveal that he has nothumbs.

TURTLE (CONT'D)No thumbs. So youre not aprimate.

The train doors close with a SINGLE CHIME. The train rolls

away from the platform and into the tunnel.

AGATAI have a little knife in my backpocket.

Agata hops around and leans forward. Turtles face turnsbright red as he fishes the small pocket knife out of Agatasback pocket. Agata hops back around and holds out herziptied hands. She looks at Turtles blushing face.

AGATA (CONT'D)Are you okay?

TURTLEOh yeah. This is fun.

AGATATheyre shooting at us.

TURTLEThey keep missing.

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Agata throws her cut zipties to the ground. She takes theknife and cuts Turtle loose from his cuffs. Both kids rubtheir wrists as they walk across the platform toward twosmall doors, each only three feet high.

The sign above the door to the left reads Na Karlove moste,while Pod Karlovym mostem is written on the sign over thedoor to the right.

TURTLE (CONT'D)Have you learned any Czech at yourschool?

AGATANot this year.

TURTLEWhen in doubt, always go to the

right.

Turtle reaches out and opens the door to the right. A WALLOF WATER rushes out of the door and into the trackbed. Thekids leap out of the way, and the door slams shut.

AGATARight was not right.

Turtle moves toward the door on the left. He pulls the dooropen about a quarter inch. Nothing pours out, so he opens ita bit further. Turtle steps into the doorway and waves Agatathrough. The door closes behind them.

The station is empty for a moment. A new train arrives, anda MAN IN A LONG RAINCOAT disembarks. He treks across theplatform, reads the two signs at the end, and takes the leftdoor out of the station.

CUT TO:

EXT. CHARLES BRIDGE, PRAGUE - NIGHT

The bridge is lined with tall sandstone statues of thirtysaints who look down over the dark brown river. Crowds oftourists click pictures with cameras and cell phones whilehawkers on the bridge sell caricatures and jewelry.

Turtle and Agata walk across the bridge. Agata takes out hercell phone and opens a map application. A virtual pin dropsto their location. Her phone DINGS with a new message.

TURTLEIs that your uncle?

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AGATAIts the phone company. They sendtexts when you land in a newcountry. What they think of megetting from Spain to Prague in

three seconds I have no idea.Turtle leans over and looks at the map on Agatas phone.

TURTLEThis is the Charles Bridge.Brehova is that way.

Turtle points northeast over the Vltava River.

CUT TO:

EXT. OLD TOWN PRAGUE, BREHOVA STREET - NIGHT

Old Town Prague looks like a fairy tale with its ornate brickbuildings and leering gargoyles looking down over the cobbledstreets. Turtle and Agata look up at a line of white stonebuildings.

AGATAIts there, the hotel.

Agata points to a large yellow and cream brick buildingoffset by bright white decorations. A tall blond DOORMANstands in front of the hotel. He holds the door open for

guests to enter.

AGATA (CONT'D)Theres a Number 13 somewhere inthere.

TURTLEHow do we get past the doorman?

AGATAThats the easy part.

Agata grabs Turtles hand, and the two of them stroll acrossthe street into the light cast by the posh hotel. Turtleglances down at his and Agatas hands, clasped together. TheDoorman looks down at the kids in his doorway.

DOORMAN(In Czech)

Can I help you?(In English)

Can I help you?

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AGATAMy grandmother is here.

DOORMANIs she a guest of the hotel?

AGATAOf course.

DOORMANThen go to the front desk. Theycan call her down for you.

INT. LOBBY, BREHOVA 5, HOTEL, PRAGUE - NIGHT

Turtle and Agata saunter hand-in-hand across the marblefloors of the brightly lit hotel lobby. Agata smiles wide

and surveys the area in search of the elevators.

AGATAEasy, like I said. Ive stayed inlots of these hotels.

TURTLEIve never stayed in any.

Agata leads Turtle to the elevators. She pushes the downbutton.

TURTLE (CONT'D)

Down? Were on the first floor.

AGATABasement. Start at the bottom,work our way up.

The elevator doors open with a curt DING.

CUT TO:

INT. BASEMENT, BREHOVA 5, HOTEL, PRAGUE - NIGHT

Turtle and Agata step out of the elevator and into thebasement. The entire floor is one large, mostly empty roomwith a few smaller rooms at the far end. There are piles ofsheets and pillows dumped into big cloth bins.

The kids find a darker, wider, and older elevator door nextto the one they just exited.

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AGATAStaff elevator?

Agata approaches the dark elevator door. She reaches out andruns her finger over something scratched into the paint - a

NUMBER 13.AGATA (CONT'D)

Bingo. . .is that the right word?My Mom says it when she findssomething.

TURTLEBingo is right.

Turtle smiles at Agata and jams the down button on the darkelevator. The doors open with a much lower, foreboding DONG.Turtle steps back away from the dark elevator.

TURTLE (CONT'D)I hope its Bingo.

Agata shakes her head and steps into the elevator.

CUT TO:

INT. SUB-BASEMENT, BREHOVA 5, HOTEL, PRAGUE - NIGHT

Turtle and Agata move out of the dark elevator and into thequiet and dirty sub-basement. The kids see a door marked WC

to the left of the elevator, and then another room, its doorajar.

Turtle and Agata peer into the open door and find a roomlined with lockers. Someone inside rustles about with aduffel bag. The kids creep past the door and go deeper intothe cellar. The space is lit with bare light bulbs.

Turtle and Agata arrive at a large, wooden double door at theend of the hall. Turtle reaches out to open the door butfinds it locked. Agata looks back along the right side ofthe hall.

AGATANotice the room numbers?

TURTLEThere are no room numbers.

AGATAExcept that one.

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Agata points to a door with a small NUMBER 13 drawn in blackmarker.

TURTLEIts dark in here, anyone could

have missed it.AGATA

Almost anyone.

Turtle marches toward the door marked with the 13. He givesthe door a good push and nearly falls in when the door openswith little resistance.

INT. STOREROOM, SUB-BASEMENT, BREHOVA 5, HOTEL - NIGHT

Agata taps a button on her cell phone to turn on the built-in

flashlight. She sweeps the area in front of them with thelight.

Old leather chairs are stacked up in a jumble, and a set oftablecloths look as if theyve seen too much tomato sauce. Atoilet flushes somewhere above, and the rush of water roarsthrough the pipes within the ceiling.

Turtle and Agata walk along a wall made of carefully cutstone bricks. They step over several pieces of brokenfurniture toward an area where the debris is cleared intomore orderly stacks.

AGATAThis is something my Dad would do,clear up the broken furniture.Remember how organized his officewas?

Turtle runs his hand along the brick wall as he walks. Hefeels something out of place on the wall and stops moving.

TURTLEShine the light right here, on thewall.

Agata aims the light toward Turtles hand. A set of brickswithin the wall are noticeably lighter in color than theothers, as if theyd been cleaned. The clean bricks formedthe shape of a letter A.

TURTLE (CONT'D)A. . .Agata.

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Turtle presses one of the clean bricks into the wall. Thebrick CLICKS back a bit with his touch. Turtle pushes therest of the bricks in until he has completed the A. Thewall begins to vibrate. Turtle steps back.

The wall rolls inwards and then back to reveal a NEW MYTROSTATION made of long sheets of riveted polished steel. Newtracks are set into dark concrete and studded here and therewith a kind of glowing mineral.

Above the door the kids see a name etched into the metal:AGATA STATION, PRAGUE.

INT. AGATA MYTRO STATION, PRAGUE - NIGHT

Turtle and Agata step into the bright new station. The wallrolls back down behind them to seal the station. The kids

glance black at the wall as it closes. They make their wayacross the platform.

AGATAOver there.

Agata points to a METAL BOX on the ground. It sits againstthe far wall at the end of the platform. The kids rushtoward the box and crouch down to inspect it. The box has aclose-fitting lid locked in place with a numbered dial.

TURTLEThe numbers.

Turtle unslings his backpack from his shoulder and takes outhis decryption paper. He reads off the numbers. Agata turnsthe dial back and forth to the corresponding numbers.

TURTLE (CONT'D)1, 12, 28, 8, 21.

Agata tugs on the lid. The kids look inside the box and finda CONDUCTORS KEY. It has a fob that looks like a pocketwatch, and the length of the key is studded with dials andbuttons. It is so brightly polished that it seems to glow.

The Key sits on a soft silk pillow. Agata lifts the pillowout of the box with the Key on top. Agata takes the Key offthe pillow and admires its craftsmanship. Turtle looks backdown into the box and sees something inside.

TURTLE (CONT'D)Theres another one.

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An OLDER, DARKER CONDUCTORS KEY rests on the bottom of thebox. Turtle takes the older key out of the box.

The FAR STATION WALL behind them rolls outwards and then in.The kids turn around and see the MAN IN A LONG RAINCOAT enter

the station. He wears gold spectacles on his face and aberet over his head.

Turtle and Agata stuff the Keys into their backpacks. Theystand up and face the mysterious man in the raincoat. Turtletakes a step behind Agata and reaches into her back pocket.

TURTLE (CONT'D)Wheres that knife?

AGATAOye!

Turtle fishes the knife out of Agatas pocket. He steps infront of Agata and brandishes the tiny tool like a samuraisword.

TURTLEStay back! Im not afraid to usethis!

The man in the raincoat shoots his hands up into the air. Hespeaks with a soft British accent.

MAN IN LONG RAINCOATDont shoot, or rather, stab? My

names is Niles Partridge. I am afriend of Hernandos.

TURTLEFriend of Hernando, friend ofErnesto, weve heard it all.

PARTRIDGEPlease, Agata, and...Agatasfriend. I am Hernandos assistant.

AGATAThen why dont I know you?

PARTRIDGEI work out of Cambridge. I keepcopies of his research there, safeand out of the way. When Icouldnt reach Hernando I went tohis study, through the portabledoor. I saw the old map, with thecode, and I followed it here.

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INT. THE HANGAR - NIGHT

Four-Eleven communicates with a group of older Nayzuns.Their conversation is a series of melodic rings and rattles,

the soundtrack of The Hangar. Their bodies pulsate withdelicate light synced to the rhythm of their conversation.

Four-Elevens body blazes with white light like a flare. AnIMAGE OF THE CONDUCTORS KEY flashes through hisconsciousness. Four-Eleven steps away from the elder Nayzunsand rushes toward the tunnel.

CUT TO:

INT. AGATA MYTRO STATION, PRAGUE - NIGHT

Turtle finishes winding the Old Conductors Key with the coinfrom Agatas necklace. He hands the winder back to Agata andexamines the watch-like fob at the top of his Key.

TURTLEWhy do you need the Railmans Key?Couldnt you just wind them withany coin or piece of strong metal.

PARTRIDGEGive it a try?

Turtle reaches into his pocket and takes out a nickel. He

pops the coin over each of his knuckles for a quick coin walkbefore he tries to wind the Old Key. Partridge nods hishead. Agata rolls her eyes at Turtles showboating.

Turtle positions his nickel over the jagged hole in the backof the Old Key. The nickel should easily fit into the space.Turtle pushes the nickel in, and the Key SNAPS out anelectric spark. Turtle yanks the nickel out of the groove.

TURTLEOw!

Turtle drops the Old Key, but Partridge catches it before ithits the ground. Partridge smiles at Turtle and he hands theOld Key back to him.

PARTRIDGERailmans Key only.

TURTLEOkay...what about this button atthe top?

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Turtle places his thumb over the GOLD BUTTON at the top ofthe key fob.

PARTRIDGEThat button controls the trains,

and this knob here on the side isfor building. But please, do notpress or turn anything until itstime to use them.

A train whooshes into the station. The kids zip up theirbackpacks and sling them over their shoulders. The traindoors open with a DOUBLE CHIME. Partridge motions toward thetrain.

PARTRIDGE (CONT'D)Shall we?

Turtle and Agata enter the train, and Partridge follows. Thedoors close with a SINGLE CHIME.


The trio take the first three seats near the door. Turtlesits in the protective spot between Agata and Partridge.

AGATABarcelona, the portable door.

The train rolls into the dark. The window glass rattles in

its frame as the train picks up speed. Partridge taps hisfoot on the wooden floor.

The clatter of the train stops, and everything freezes inplace. The gas lamps flicker off and leave the trio in thedark.

TURTLEWhat did you do?

PARTRIDGENot a thing.

AGATAEveryone just, sit still.

Agatas voice cracks a bit with fright. A cold blue glow iscast over the train. The train doors open with a DOUBLECHIME. Four-Elevens upside down head appears in thedoorway.

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PARTRIDGEOh, bother. . .

Four-Eleven climbs down from the top of the train and entersthe car. His bioluminescent skin lights the dark train in a

bluish tint. Partridge cowers at the site of theotherworldly being.

FOUR-ELEVENI have stopped the train.

AGATAWe were going back to the portabledoor, like you said.

PARTRIDGEYou know this...individual?

AGATANiles Partridge, Nayzun Number Four-Eleven.

PARTRIDGENayzun? I was never certain theyexisted. Your father and Idisagreed on the matter.

TURTLEYou lose.

FOUR-ELEVEN

We have a new destination.

The gas lamps light up, and the train jerks forward onceagain in motion. Partridge grips the sides of his wickerseat to keep from falling forward. He takes out his notebookand scribbles furious notes as he observes the Nayzun.

FOUR-ELEVEN (CONT'D)I have spoken to the elder Nayzuns.We must keep those men out of TheBreach.

AGATAThe Breach?

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PARTRIDGEIt was your fathers chief concern.An enormous station, beneathBarcelona, the size of the entirecity. It was built with a Key,

just like the station in Prague.CUT TO:

INT. THE BREACH - DAY

The colossal cavern stretches out for miles in alldirections. A slow CRACKING noise echoes through the emptyspace. A stone falls from the high ceiling and makes a smallcrater on the cinder floor below.

PARTRIDGE(V.O.)But it was never completed. TheCivil War of the 1930s endedeverything. And now Mr. Goode hasdesigns on The Breach for heaven-knows-what reason.

CUT TO:


Partridge looks at Four-Eleven for some kind of validation ofhis assessment. Four-Eleven shows no reaction.

TURTLEThats why he wants the Keys, tocomplete The Breach, the wayAgatas father made that station inPrague.

PARTRIDGEBut The Breach is too large, itsunstable. It could destroy theentire city.

Agata turns to Four-Eleven.

AGATAAre were still going to Barcelona?

FOUR-ELEVENItaly. Their plan begins in Italy.That is where your family is held.

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Find them there, and keep those menfrom entering The Breach.

Four-Eleven waves his arm. The train slows down and pullsinto a sandstone station. The sign above the rough-hewn doorreads Manduria Spiaggia, Cimitero. Partridge reads the

sign with an air of dread.PARTRIDGE

Cimitero. That means cemetery.Delightful.


Partridge and the kids walk out of the Mytro train and ontothe platform. The only decoration on the walls of thestation is a tile inlay map of Italy with a golden dot at theheel of the boot-shaped peninsula.

Four-Eleven stands in the doorway of the train and addressesthe trio. They turn around to listen to the Nayzun.

FOUR-ELEVENWe will meet again when your workhere is complete. I cannot leavethe station.

TURTLESo you go back to The Hangar again?

FOUR-ELEVEN

We are the ones who work.

AGATAI dont like the way you say that.As if the work is not your choice.

FOUR-ELEVENChoice is irrelevant. We are theones who work.

TURTLEChoice is always relevant.

The train doors close in front of Four-Eleven with a SINGLECHIME. The train clatters out of the station.

CUT TO:

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EXT. REFUGEE CAMP TENT CITY, MANDURIA, ITALY - NIGHT

The trio cuts through the aisle between tents. Weak LEDlamps outside each tent light their way. Agata shivers in

the chill night air. She rubs her hands over her arms.AGATA

Its so cold here.

Farther down the aisle, several families huddle around atelevision powered by an unseen gas generator. Partridgesquints his eyes and peers toward the television.

PARTRIDGETheyre watching a football match -soccer to you Americans. Thatswhat they were cheering for.

Theyll be glued to those sets forthe next hour. No one will pay usany-

BOYS VOICE(O.S.)

Are you looking for someone?

The trio jumps around in a fright. They find a 14 year oldNIGERIAN BOY standing outside one of the tents. The boywears an old taped-up parka over a long-sleeve shirt andjeans that are a bit big on him.

NIGERIAN BOYYou are American?

TURTLEYes.

PARTRIDGENo. English.

AGATASpanish.

NIGERIAN BOYNigerian. Ehioze.

TURTLEEhioze? Whats that?

EHIOZEMy name.

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PARTRIDGEJust a family friend. Is yourfather here?

EHIOZE

Its just me and my mother here.PARTRIDGE

A terrible thing-

Another chorus of CHEERS resonates through the camp.

EHIOZEFootball. I dont care so much,but everyone else does.

AGATAWere counting on that.

Ehioze leads the trio through the rows of tents. He looksaround a corner to be sure it is safe. He shepherds thevisitors across a dark aisle past a row of kiosks.

One man stands at his stall and looks into his cell phone.The glow of the bright screen shines on his face. The manlooks up at Ehioze.

Turtle, Agata, and Partridge shrink back into the shadows.Ehioze waves at the man.

EHIOZE

(In the Hausa language)Any money on the game?

The man GRUNTS at Ehioze and looks back down at his cellphone.

Ehioze brings the trio close to the bunker-like centralbuilding. It is made of wooden pallets nailed togetheraround a steel and concrete frame. The red paint is chipped,and ARMED GUARDS stand at the front entrance.

EHIOZE (CONT'D)One of those guards is my friendsolder brother. He is very mean.

Ehioze takes them to a break in the makeshift wall along theside of the building. The trio slip inside through thebroken wall.

CUT TO:

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INT. STAIRWELL, BUILDING NUMBER 13 - NIGHT

Ehioze leads the trio up a flight of stairs to the secondfloor. The CHUGGING sounds of a diesel generator fill the

air. The only other noise seems to be scattered voices onthe third floor.

INT. THIRD FLOOR LANDING, BUILDING NUMBER 13 - NIGHT

The group arrives at the third floor landing. They creeptoward a half-open door to a room that seems to be the sourceof the voices. They crouch down toward the floor. Agatalooks inside. She puts her hand over her mouth.

CUT TO:

INT. GOODES OFFICE, BUILDING NUMBER 13 - NIGHT

Mr. Goode paces around a dark wooden desk within his warm andrichly appointed office. Kincaid and Adams stand near awindow covered by a thick red curtain. CLAIRE and ERNESTOsit in wooden chairs with their wrists tied in plastic cuffs.

GOODEIts nothing the Mytro hasnttransported before, only now wellhave a more permanent presence,with a factory, in The

Mytro Script By Bret Ioli

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Transcript of Mytro Script By Bret Ioli