"INNERSPACE" (1987)

A crowded cocktail party is in progress. Open bar and huge buffet table. A well-dressed, predominantly male crowd in attendance. Uniforms from all branches of the military are in evidence everywhere.

CAMERA PROWLS THROUGH the room picking up random bits of conversation. A TELEVISION NEWS CREW, reporting live from the scene, comes INTO FRAME.

CAMERA MOVES OFF, eventually finds:

2 LYDIA MAXWELL

A knockout brunette in her early thirties. She is engaged in earnest conversation with a man whose eyes are seen to wander over her anatomy as they talk. (We'll call him ROVING EYES.)

3 TUCK PENDELTON

Emerging drunkenly into the banquet room from a door marked "No Admittance" and crashing head-on into a busboy with a loaded tray of dirty dishes.

The busboy is knocked for a loop and the DISHES SMASH to the floor.

Tuck reacts with inebriated indignation. He points to the "No Admittance" sign.

INNERSPACE - Rev. 12/3/85 2. *

The busboy looks baffled, and Tuck moves off with his dignity intact. Noticing that his glass is empty, he shoulders his way to the bar.

As he waits for his drink, we see that Tuck's rugged good looks are fading slightly and his once square jaw is in need of a closer shave. His Navy captain's uniform -- stretched tightly across his chest -- suggests that several pounds have been added since the last fitting.

As Tuck receives his drink from the bartender, a DISTURB- ANCE is heard to break out somewhere across the room:

Roving Eyes indicates a small Sony protruding from Lydia's clutch purse.

He swipes the recorder from her purse.

Other partygoers turn and look. So does Tuck. His eyes blaze. He storms over.

INNERSPACE - Rev. 12/3/85 3. *

Roving Eyes looks startled by Tuck's abusive tone.

Suddenly, the room falls silent, and Tuck realizes that all eyes are upon him.

Tuck looks embarrassed. He looks down at his drink, then looks up again with a big, foolish grin on his face.

She puts her hand on his arm.

Tuck pulls away from her.

It's obvious who Tuck is talking about. They stand there in their crisp uniforms, with short hair, erect postures and disapproving expressions.

INNERSPACE - Rev. 12/3/85 4. *

Tuck is standing before a DISPLAY OF LARGE ROCKET MODELS charting the history of the space program.

Tuck sees RUSTY, one of the ex-astronauts in the crowd, turn away in disgust.

Rusty looks enraged. He advances toward Tuck. But Tuck stands his ground -- smiles -- and drops Rusty with a hooking right fist. Uproar!

TWO young MARINES rush up to Tuck.

Tuck raises his fists. The Marines exchange a look. They know that they have no alternative.

Pow! Tuck takes it on the chin. He goes tumbling back- wards into the rocket display. The MODELS BANG into each other like falling dominos. Onlookers gasp and scream.

The TV News Crew hurries over. They turn on their lights and roll tape.

INNERSPACE - Rev. 12/3/85 4A. *

The News Correspondent looks disappointed.

Tuck props himself up on one elbow and works his jaw. Lydia rushes to his side.

Tuck gives her a dazed expression. No one else offers assistance. They look upon Tuck as a complete disgrace.

Then, one man comes forward. Dressed in a business suit. Tuck's own age. Clean cut. Athletic-looking. His name is PETE BLANCHARD. He offers Tuck his hand.

Tuck looks up at Blanchard and smiles sadly.

Blanchard pulls Tuck to his feet.

Lydia begins to lead Tuck away. But she leaves his side for a brief moment to snatch back her tape recorder from Roving Eyes' unsuspecting hands.

Lydia marches off, reclaims Tuck who waits for her on tottering legs, and heads for the door.

Roving Eyes watches them go. Pete Blanchard comes up beside him.

INNERSPACE - Rev. 12/3/85 4B.

ROVING EYES * (to Blanchard) * I am my congressman. *

Tuck and Lydia emerge from the hotel, Tuck's arm draped around Lydia's shoulder for support.

Revised 11/8/85 5. *

They approach the parking VALET. Lydia hands him her claim check.

Tuck is slumped in the passenger seat as Lydia drives him home. She glances at him with a concerned expression.

Lydia rolls her eyes at Tuck's hopelessness. Tuck picks up the tape recorder from the car seat.

Revised 11/8/85 6. *

Tuck takes a moment to mull this over, removing a pocket flask from beneath his uniform in the process.

Tuck and Lydia enter. Tuck turns on a light. The place is a cramped, unkempt bachelor's den.

Despite the usual clutter, Lydia notices right away a new element in the disarray: Biological charts, books and models. All of which pertain to the internal workings of rabbits!

She picks up one of the models.

Tuck takes it from her hand and puts it down.

Revised 11/8/85 7. *

Tuck goes into the kitchen, begins to rummage through the cabinets.

Tuck can see she means it. His expression turns serious.

He puts his arms around her.

He begins to nuzzle her neck.

He's breaking down her resistance.

He kisses her. She fights it -- but then melts.

Tuck is asleep in bed, but Lydia is dressed. She's leaving. She gives Tuck a farewell glance, then slips quietly out of the room.

But the slamming of the front door awakens Tuck. He realizes that Lydia is gone.

Revised 11/8/85 8. *

Then, from outside the house, he hears her car engine GROAN as it tries to fire up.

Tuck jumps from the bed. He's naked. He wraps the sheet around himself, then stubs his toe on the bed leg.

Tuck hops out of the house, favoring his injured toe, holding the sheet around his waist.

Lydia is inside her car, desperately trying to get it started.

Tuck rushes up to the car window.

With that, Lydia drives off in a cloud of white exhaust smoke. Tuck stands in the street, in the dawn's early light, clutch- ing the sheet, his head and toe throbbing, bewildered and alone.

TITLE: THE SILICON VALLEY Two Months Later

JACK PUTTER sits on the examination table. He's an agreeable -looking fellow in his mid-thirties.

DR. GREENBUSH leans against the counter, arms folded across his chest in an attitude of nonchalance that approaches total disinterest.

Greenbush tries unsuccessfully to stifle a yawn.

INNERSPACE - Rev. 12/3/85 10.

The sweat is pouring off Jack's face. Greenbush regards him impassively.

With that, Greenbush exits the exam room.

Jack, wearing his streetclothes, sits in front of Greenbush's desk. Greenbush bustles into the office with Jack's test results under his arm.

Jack regards him anxiously.

Jack looks disappointed.

Jack can't believe his ears. He seems ready to demand his money back.

12 HOLD ON JACK

Thinking it over. Doesn't sound like such a bad idea.

A VW Bug speeds into the parking lot of a Ralph's Market. Jack jumps from the car and races towards the entrance.

Very busy. Many shoppers. Jack hurries into the market and grabs his apron. A name tag clipped to it reads:

Revised 11/8/85 12. *

As Jack ties the apron behind his back, MR. WORMWOOD, the market manager, comes up beside him.

Jack walks down the row of check-out aisles, looking to see where he can lend a hand. He stops at the aisle where WENDY, an attractive young blonde, is working the register.

Jack begins to bag Wendy's customer's groceries, ever so often stealing a glance her way. Eventually:

Jack gives her a long, baffled look.

To which Wendy merely shrugs her shoulders and SNAPS her gum.

INNERSPACE - Rev. 12/3/85 13. *

16 PRODUCE DEPARTMENT

DR. DAVID NILES pushes a shopping cart between the crates of fresh vegetables. He's a studious young man with dark wavy hair and tortoise-shell glasses.

There is another man with him. We recognize this man as Pete Blanchard, from the NASA cocktail party. Blanchard seems ill at ease and very much out of place in these surroundings.

Blanchard draws back apprehensively.

Blanchard looks baffled. Niles wheels his cart toward the produce bins. Blanchard hurries along beside him.

Blanchard seems skeptical.

INNERSPACE - Rev. 12/3/85 14. *

The name draws a blank with Blanchard.

Blanchard seems totally exasperated and pissed off.

With that, Blanchard marches off.

Morning traffic crawls along a freeway interchange. Smog and mist hang in the air.

CAMERA LOCATES a rambling, one-story industrial complex in the shadow of a freeway overpass.

18 CLOSER ON COMPLEX

A chain link fence surrounds the property. A sign on the fence reads:

"SYNERGRATED VECTOR-SCOPE LABORATORIES"

INNERSPACE - Rev. 12/3/85 15. *

The lab looks cluttered and disorganized. A labyrinth of wires and cables snake across the floor. The numerous pieces of scientific equipment look exposed, functional and well used.

In the center of the lab stands a large, impressive- looking, Plexiglass GEODESIC DOME.

Youthful LAB TECHNICIANS wearing photo-ID badges go about their business with obvious enthusiasm.

OZZIE WEXLER is being videotaped by another Lab Technician.

Ozzie stops, notices that the Lab Tech has pointed the video camera away.

The Lab Tech pans back to Ozzie, who continues:

INNERSPACE - Rev. 12/3/85 16. *

A BELL RINGS. HORN SOUNDS. Lights flash.

Tuck Pendelton is alone in the room. He wears a Navy blue jumpsuit and sits on a bench with the same pensive expression of a football player before the big game.

He rises. Goes to a mirror over the sink and looks at himself.

The door BANGS open and Ozzie enters. Startled, Tuck jumps at the noise.

Tuck makes no reply. Ozzie sees a bulge under Tuck's jumpsuit.

Tuck removes a flask from his pocket -- pauses to con- sider it -- then pours its contents down the sink.

Ozzie nods his head, but then sees Tuck return the flask to his pocket.

Ozzie sighs to himself in resignation.

INNERSPACE - Rev. 12/3/85 17. *

Tuck and Ozzie come down the corridor. Tuck holds his helmet under his arm. He looks like he's walking "the last mile."

The corridor is lined with boxes of 3-D Action Man games. Many of them stamped, "Return for Refund," or "Defective," or "Discontinued Series."

Tuck glances at the boxes. It shakes his confidence. Ozzie sees this.

They round a bend in the corridor and emerge into:

22 THE LAB

Buzzing with activity. Technicians man their stations.

Tuck and Ozzie approach the geodesic dome. It looms up for Tuck like the Matterhorn. Something catches in his throat. His heart skips a beat. They draw closer and closer to the dome.

INNERSPACE - Rev. 12/3/85 17A. *

23 INSIDE THE DOME

Tuck and Ozzie enter, followed by several lab Techs. In contrast to the lab without, the dome is clean and orderly. Its translucent panels gently diffuse the light.

Tuck's eyes lead us to...

24 THE POD

Resting on a platform several feet above the floor. A gracefully-molded, teardrop-shaped white Fiberglass sub- mersible chamber with stabilizers, rotors, thrusters, top-mounted floodlights and articulating arms.

An expansive glass viewing dome wraps around the pod's cockpit.

25 TUCK

approaches the Pod.

A Technician opens the Pod's hatch and Tuck climbs in.

The hatch is closed and locked.

26 MISSION CONTROL

is a panel of monitors and terminals outside the dome. Ozzie takes his place behind the main controls.

INNERSPACE - Rev. 12/3/85 17B. *

27 INSIDE THE POD

Tuck straps himself into the body-contoured swivel seat. He is surrounded by computer terminals, display monitors, switches, lights and instruments.

28 MISSION CONTROL

Revised 11/8/85 18. *

29 THE FIRST PEM

(a chip no bigger than a postage stamp) is snapped into a complex circuit board. Several Technicians, using perfectly calibrated instruments, must oversee its precise placement.

30 THE SECOND PEM

is snapped into place on a portable circuit module with the same care and precision as the first chip. The module is then inserted into an opening in the nose of the Pod itself.

31 THE MINIATURIZATION SPHERE

(resembling a giant fishbowl made of smoked glass) descends from the top of the dome and is slowly lowered into place over the Pod.

32 INSIDE THE POD

Tuck watches the dark sphere slowly engulf him, shutting out all but the brightest laboratory lights.

He switches on the Pod's interior lights. They glow with a soft green luminescence.

33 CLOSE ON "BUGS"

The laboratory white rabbit. Wires from several terminals embedded under its skin connect to monitors and display screens. Bugs' nose twitches nervously.

Revised 11/8/85 19. *

The atmosphere is charged with a sense of purpose, dedication and the adventure of true scientific discovery.

Ozzie presses a flashing yellow button, and --

35 THE MINIATURIZATION SPHERE

begins to glow brightly. The Pod inside becomes a brilliant silhouette.

Ultra high-powered laser tubes bombard the sphere with beams of multi-colored light.

36 INSIDE THE POD

Tuck wears a green-visored helmet to protect his eyes from the blazing lights.

37 CLOSE ON VARIOUS MONITORS

Four different 3-D images of the Pod are displayed: A wire- frame image. A solid-model image. An X-ray image. A heat- generated image.

In all four cases it is very clear to us that the Pod is decreasing in size!

38 BACK TO SCENE

The Miniaturization Sphere is raised -- and the Pod has seemingly disappeared.

Everyone breathes a communal sigh of relief as small, congratulatory smiles are exchanged.

Revised 11/8/85 20.

MUZAK plays. Shoppers stroll. Teenagers hang out.

Jack Putter goes up the escalator to the second level.

A CUSTOMER is examining several cameras.

In the b.g., we see Jack walk by.

41 JACK

pauses to look into the window of a Travel Agency. Posters advertising Mexican cruises are featured.

Jack enters the agency.

Jack is seated next to the desk of a WOMAN TRAVEL AGENT.

Several TELEPHONE UTILITY TRUCKS pull up and park in the * parking lot. Telephone Company REPAIRMEN pile out wearing * hardhats and coveralls. *

Orange cones are placed on the ground around the truck. *

INNERSPACE - Rev. 12/3/85 21. *

44 CLOSE ON ORANGE CONE

as it is set down on the pavement. Somehow, this innocent act conveys a stong feeling of malevolence.

A computer-operated robotic arm places a hypodermic syringe filled with pinkish fluid beneath the lens of a powerful scanning electron microscope.

All technicians defer to Ozzie who is accorded the first look. He enters the dome and peers through the binocular-viewing eyepiece of the microscope.

46 WHAT HE SEES:

The Pod! Floating in the pink solution. Tuck clearly visible at the helm of the craft.

looks out the viewing dome at the strangely-shaped and colored globules that float past his Pod.

A group of TELEPHONE company REPAIRMEN enter the lobby. TWO security GUARDS are there. One sits behind a security command station desk where ten or more video monitors display different locations around the complex.

The Guard looks puzzled, and the Repairmen slip on gas masks in unison.

The Repairmen are suddenly holding what appear to be road flares. The flares produce a billowing PURPLE SMOKE.

INNERSPACE - Rev. 12/3/85 22. *

The Second Guard reaches for his gun, but his movements wind down like SLOW MOTION.

The Repairmen (who we shall now call THE INTRUDERS) toss the flares to the floor and enter the lab unmolested, as the entrance lobby fills with purple smoke.

The Intruders stride down the corridor. Several of them begin to snap together automatic rifles as they go.

A BLACK SEDAN pulls up and parks a short distance away from the telephone company trucks.

51 CLOSE ON BLACK SEDAN

Two men sit in front. A THIRD sits alone in the back. His power window glides down. The man is:

52 MR. IGOE

Steel-blue eyes. Shor blond hair. Year-round tan. Rug- ged physique. Igoe looks like an Alpine ski instructor with psychotic tendencies.

The Intruders enter. For a moment they go unnoticed by the busy Lab Techs. Then: the flares are produced and thrown in all directions.

One flare lands directly under the nose of the Technicians at the mission control panel.

Purple smoke begins to swirl in the air. Technicians begin to protest, but very quickly their eyes glaze over, their movements slow and their voices slur.

The chip is ripped from the circuit board. Intruder One walks toward the dome.

54 OZZIE INSIDE THE DOME

can see the silhouette of the approaching Intruder outside. His expression fills with alarm.

INNERSPACE - Rev. 12/3/85 23. *

55 OUTSIDE DOME

The Intruder smiles to himself and unleashes a FUSILLADE of GUNFIRE at the dome.

56 INSIDE THE DOME

Ozzie flinches as the Plexiglass dome begins to disinte- grate under the BARRAGE of GUNFIRE. Shattered pieces rain down on him. He crouches behind the big microscope for protection.

Then, glancing up at the hypodermic syringe under the microscope's lens, he makes a decision: He grabs the syringe, kicks open the dome's hatchway, and makes a dash for it.

57 OUTSIDE DOME

Ozzie emerges on the side away from the Intruders. They don't see him. He stays low, holding a handkerchief to his nose and mouth, darts between a few large pieces of equipment, and escapes.

The Intruders, meanwhile, have the Technicians lined up before them. They regard their captors with dopey, be- wildered expressions; swaying drunkenly from side to side.

An Intruder takes the videotape camera from one of the Techs.

The Tech looks confused. He makes an effort to understand; to focus his eyes. And slowly, the Intruder transforms for him into:

THE IMAGE OF HIS MOTHER.

A sweet, gray-haired old lady.

But "mom" is carrying an automatic rifle in her arms. She swings up the barrel.

INNERSPACE - Rev. 12/3/85 23A.

58 CLOSE ON WEAPON'S BARREL *

EXPLODING into GUNFIRE. *

59 CLOSE ON BUGS *

The white rabbit. Twitching and trembling at the sounds. *

Revised 11/8/85 24. *

Ozzie emerges from a side door into the bright light of day. He stops, looks in all directions -- then runs off.

Igoe sees Ozzie running across the parking lot in the distance toward a parked motorcycle. He hops on, kicks the starter. The ENGINE ROARS up -- he SQUEALS out across the parking lot.

Ozzie speeding off and the Black Sedan burning rubber in an effort to catch up.

Ozzie zooms down the street, but the Black Sedan begins to gain on him.

Now -- the Black Sedan pulls up beside him. The rear window lowers and an Uzi handgun is pointed at Ozzie.

Ozzie sees the gun -- reacts by making a sharp turn to the right. Tires SQUEAL, dust flies. The Black Sedan speeds past.

But now Ozzie finds himself traveling up a

64 FREEWAY OFF RAMP!

He dodges several cars coming down the ramp. HORNS HONK.

65 THE BLACK SEDAN

makes a sharp U-turn in the street -- ROARS up the Off Ramp in pursuit of Ozzie.

An EIGHTEEN-WHEELER barrels down the ramp. Its AIR HORN sounds. The Black Sedan swerves -- just missing a major head-on -- and proceeds up the ramp.

Ozzie shoots onto the freeway going 80 m.p.h. in the wrong direction. He hugs the freeway's shoulder, but oncoming traffic speeds past him at 65 m.p.h. with only inches of daylight to spare.

The Black Sedan is not far behind -- also racing along the shoulder of the roadway.

Of the three men inside, only Igoe is without fear.

Igoe leans forward and takes charge of the steering wheel. He yanks hard to the right.

68 THE BLACK SEDAN

swings out into the first freeway traffic lane, side-by- side with Ozzie's motorcycle.

69 OZZIE

looks over. Can't believe his eyes.

70 THE BLACK SEDAN

stays in the traffic lane. Fortunately, there are no opposing vehicles immediately approaching.

71 INSIDE THE BLACK SEDAN

Igoe yanks the wheel to the left.

72 THE BLACK SEDAN

swirves toward Ozzie.

73 OZZIE

gives the motorcycle the gas and it leaps forward. The Black Sedan's front bumper just grazes the cycle's rear fender.

Ozzie almost loses control -- the motorcycle swerves dangerously to one side.

CAMERA MOVES IN TIGHT ON THE SYRINGE

poking out from the pocket of Ozzie's lab coat.

Tuck is being buffeted about mercilessly. He struggles with the Pod's control sticks.

An OIL TANKER bears down on the Black Sedan. Both occupy the same traffic lane.

76 INSIDE THE BLACK SEDAN

Igoe's henchmen begin to WHIMPER. Igoe has control of the steering wheel.

The Oil Tanker is getting closer and closer. Igoe gnashes his teeth in frustration and reluctantly swerves back onto the freeway's shoulder, behind Ozzie.

77 THE OIL TANKER

Whizzes past, with only inches to spare.

78 INSIDE THE BLACK SEDAN

All three men suddenly see a freeway CALL BOX dead ahead.

Ozzie swerves to miss the Call Box. The Black Sedan brakes -- skids and squeals -- but can't stop in time.

BAM! The Call Box is sheared off, and goes flying over the sedan's roof.

80 OZZIE

speeds into the lead, and exits the freeway... this time using an ON RAMP to do so.

81 THE BLACK SEDAN

resumes its pursuit, barrels down the On Ramp.

Ozzie ROARS by. The Black Sedan soon follows.

Ozzie turns into the parking lot. The Black Sedan does likewise.

84 OVERHEAD VIEW OF PARKING LOT:

The motorcycle is much more nimble and quick, cutting in and out of parking lanes, leaving the Black Sedan in its dust.

INNERSPACE - Rev. 12/3/85 27.

85 THE BLACK SEDAN

Stops. Igoe jumps out, steadies his arm on the doorframe and aims his pistol -- BANG!

86 OZZIE'S MOTORCYCLE *

flies out from under him, skids across the pavement and crashes. But Ozzie gets to his feet and runs toward the * Mall Entrance.

87 IGOE

jumps back into the Black Sedan.

88 THE BLACK SEDAN

ROARS down the parking aisle -- jumps the curb and comes to rest directly in front of the Mall Entrance. Igoe and his Henchmen dash into the Mall.

The Customer still hasn't decided which camera to buy. The Clerk begins to load film into one of them.

Jack shakes hands with the travel agent, then gets to his feet.

Jack smiles uneasily.

Igoe and his Henchmen run into the mall. Igoe screws a * silencer onto the barrel of his pistol and looks in all * directions.

INNERSPACE - Rev. 12/3/85 28.

92 OZZIE *

is just barely glimpsed getting into the glass elevator to the second level. The doors are closing behind him. *

93 IGOE *

swings up his PISTOL with lightning speed and FIRES -- * PHHHT! *

94 OZZIE *

makes it on board the elevator. *

95 IGOE AND HIS HENCHMEN

hurry towards an escalator a short distance down the mall.

Ozzie is alone. His face ashen. *

Sweat beads on his forehead. His eyes look glazed. Something is very wrong.

Jack emerges from the travel agency, glancing down at his cruise brochures as he walks. He moves towards the elevator.

Meanwhile, the Customer and Clerk step out of the Camera Shop. The Customer holds the camera in his hand.

98 IGOE

doesn't stand still on the escalator. He pushes past other shoppers in his hurry to reach the second level.

99 JACK

arrives at the elevator.

100 HE CUSTOMER

swings the camera around, and -- for the want of anything better to shoot -- points it at Jack.

101 HE ELEVATOR DOORS

open... and Ozzie stands there tottering on rubber legs. * Jack looks at him -- is taken aback by his appearance. Then Ozzie pitches forward and Jack catches him. *

Revised 11/8/85 29.

CLICK!

The Customer captures the moment on film.

102 INSERT: CLOSE ON OZZIE'S HAND

holding the hypodermic syringe. His arms wrap around Jack's waist, and with his last dying breath he injects the pink fluid into Jack's butt. *

is thrusted powerfully forward with the equivalent force of fifteen G's as the pink fluid rushes around it.

is SLAMMED back into his seat by the unexpected burst of speed. Unprepared for such a tremendous acceleration, he blacks out.

105 JACK

feels the sting of the needle. He tries to turn. The syringe drops to the floor -- unseen by Jack.

Shoppers begin to SCREAM and SHRIEK: The back of Ozzie's lab coat is soaked with blood. Jack lowers him gently to the floor as a crowd begins to gather.

106 IGOE

arrives. Sees that Ozzie is dead. Then he spots the empty syringe lying on the floor. *

In all the excitement, no one notices him pick it up and * put it into his pocket.

Nor do the Henchmen have any trouble stealing the camera away from the distracted Customer.

Everyone is rushing to the second level. Security Guards come running.

Igoe and his Henchmen are conspicuous in that they are the only ones walking in the opposite direction.

108 JACK

just stands there over Ozzie's body wearing a bewildered expression on his face.

Unconscious. Head slumped against his shoulder.

Jack's VW Bug speeds into the parking lot.

Buzzing with activity. Jack dashes in, pale and sweaty. Wormwood grabs him.

Jack takes the apron and heads off.

112 JACK

passes Wendy, clerking on Aisle Two.

Jack cringes, tries to comb his hair with his fingers.

113 WORMWOOD

grabs the store p.a. system microphone.

Five or six shoppers, with overflowing carts, charge toward Aisle Three. A massive pile-up is only nearly averted.

INNERSPACE - Rev. 12/3/85 31. *

Tuck begins to regain consciousness. His eyes open, and focus slowly. He shakes the cobwebs from his head, then looks out the viewing dome.

115 TUCK'S POV THROUGH DOME

A long, hollow tunnel filled with fluid and floating red and white donut-shaped globules.

(NOTE TO READER: When picturing sequences "inside the body," imagine the darkness of the ocean floor. The only source of light being the Pod's own flood lamps. The effect is mys- terious and claustrophobic -- with the everpresent heart beat reverberating in the distance.)

116 RETURN TO TUCK

Jack sees her. He looks a little worried.

Mrs. Mulrooney begins to pile her selections onto the conveyor belt. They move slowly toward Jack.

Tuck hits the booster button.

INNERSPACE - Rev. 12/3/85 32/33.

BUZZZZZZZ! A strong Electromagnetic Charge is emitted from the Pod in the form of a BRILLIANT BLUE LIGHT.

The Electromagnetic Charge begins to play havoc with Jack's Bar-Code scanner. The register begins to record inaccurate prices:

Twenty-five hundred for a loaf of bread. Six-thousand for a can of dog food. Fifteen-hundred buys a box of Raisin Bran.

BUZZZZZ! BUZZZZZ! Two more jolts of Electromagnetic energy are emitted.

Jack, and everyone surrounding him, have become aware of the computer "glitch." The total on the register reads: $128,000.

Jack looks dazed. All color is drained from his face.

Wormwood arrives to take charge, glances at the register.

Wendy comes over to look.

The line rings bells in Jack's head... then his eyes widen in horror as Mrs. Mulrooney reaches inside her purse.

But she only removes a pack of cigarettes and lights up. Jack breathes a deep sigh of relief and grabs his head.

INNERSPACE - Rev. 12/3/85 35. *

In desperation, Jack grabs a bottle of Bayer Aspirin from Mrs. Mulrooney's purchases, pops off the top, discards the cotton and puts the bottle to his lips as if to chug-a-lug the tablets.

LAUGHTER from other shoppers. Wormwood fumes. He rips the aspirin bottle from Jack's hand -- tablets go flying across the floor.

Jack stares back at Wormwood with a glazed, uncomprehending expression. Wormwood is alarmed.

She steps forward and SLAPS Jack across the face with all her might. Jack's head spins halfway around.

Tuck gives up on the radio. He leans back in his chair to think.

He turns to the computer and flips a number of switches. The COMPUTER begins to glow and HUM.

INNERSPACE - Rev. 12/3/85 36. *

Tuck does a double-take.

The Computer "tunes up" like an arcade game and the monitor begins to display the map Tuck needs.

Jack sits in a chair, recovering. He rests one arm on Wormwood's desk. Wormwood stands over him.

INNERSPACE - Rev. 12/3/85 37.

Wendy enters with a cup of coffee. Jack looks up, smiles appreciatively.

But Wendy didn't bring it for Jack. She sips it herself.

Jack just shakes his head, resigned to her indifference.

Jack rises from his chair -- discovers that the arm he was resting on Wormwood's desk is covered with paper clips.

Jack looks puzzled. He tries to brush them off, but can't.

Suddenly, Wendy's metal coffee spoon flies out of her hand and sticks to Jack's chest with a resounding THUD.

Wormwood pries it off -- and it snaps right back!

begins to get a picture on the Computer's display monitor. *

TUCK * All right! I'm getting a picture * here... *

INNERSPACE - Rev. 12/3/85 37A. *

126 CLOSE ON MONITOR

As it begins to broadcast Jack's POV -- which at this moment consists of Wendy and Wormwood looking at him with astonished expressions. Of course, there is no sound.

lifts his arm to look at the paper clips that cling to it.

sees the human arm come INTO VIEW... and he realizes that:

Tuck takes a moment to consider his options -- then springs into action.

INNERSPACE - Rev. 12/3/85 37B.

The Pod floats into the Middle Ear: An enormous, glis- tening cavity that dwarfs the Pod.

The Pod's articulating arms fasten a small electronic device to the eardrum.

Jack behind the wheel. He feels a strange sensation in his ear. It tickles. He shakes his head, then scratches his ear with a finger.

Jack fills his VW's tank. Nearby, two thirteen-year-old BOYS put air into their bike tires. The young STATION ATTENDANT leans against a pump drinking a Coke.

Jack turns toward the Boys, sees that they are occupied in their task. He shrugs it off.

Revised 11/8/85 38. *

Jack now turns toward the Attendant.

The Attendant just gives Jack a blank look and continues to sip his Coke.

Jack turns fast toward the Boys.

Jack looks startled. The voice is not coming from the Boys at all. He turns back toward the Attendant.

The Boys laugh. The Attendant trades a look with them. Jack is befuddled.

Jack can't believe what he's hearing. A lunatic smile of madness registers on his face and he lets out a shriek of HYSTERICAL LAUGHTER.

Now the Attendant looks alarmed.

Revised 11/8/85 39. *

He jumps back into his car and SQUEALS away.

Traveling down the external auditory canal toward the external ear opening.

Jack, looking very agitated, sits on the examination table. Greenbush approaches him.

Greenbush raises his ear-exam flashlight to Jack's ear.

A brilliant, searing light streams into the ear canal with blinding intensity.

Tuck SCREAMS and grabs his eyes in pain.

Greenbush withdraws the instrument from Jack's ear.

Tuck takes his hands away from his eyes. He looks around with a vacant expression.

Revised 11/8/85 40. *

Jack's VW swings into the parking area of a small apartment complex.

Jack enters and collapses into an easy chair in exhaustion. He takes a few deep breaths and tries to forget the day's traumatic events.

His eyes begin to close when...

Jack leaps from his chair.

stands in the middle of the room, poised for an attack from any direction.

Jack rubs his temples.

Jack charges into:

INNERSPACE - Rev. 12/3/85 41. *

141 THE BATHROOM

where he throws open the medicine cabinet and begins to rummage through the bottles. He finds one; looks at it.

sees the bottle's label.

Jack pops the pills into his mouth.

stares into his medicine cabinet mirror, as if searching his reflection for some clue to his sudden insanity. Then it hits him: No more "voice."

INNERSPACE - Rev. 12/3/85 42.

No reply. Jack seems pleased.

The Pod RIPS into the stomach through the convoluted folds of the stomach wall.

We share Tuck's view through the dome as the Pod hurtles into the foaming torrent of the stomach.

The gastric glands secrete their caustic juices and hydrochloric acid bubbles up in all directions.

HERE COME THE SLEEPING PILLS!

Huge, gelatin capsules filled with multi-colored granules. They tumble down into the stomach headed straight for the Pod.

Tuck swings a Laser-gun Sighting-Device into position. He takes aim and FIRES.

Direct hits. The capsules VAPORIZE on the spot, explod- ing into colorful gas balls.

Jack enters. But he stops to rub his stomach. He feels a queasy sensation down there. He lies down on the sofa to rest.

Revised 11/8/85 43. *

Jack puts his hands over his ears.

Jack begins to HUM to himself to cover Tuck's voice.

Jack picks up the remote control and turns on the TV.

hits the Electromagnetic Booster Button and --

150 THE TELEVISION

shuts off.

151 JACK

turns it on again. But again, Tuck turns it off. Jack turns it on again. Tuck turns it off. On. Off. On. Off. On. Off.

He's really pissed off now.

Tuck holds down both Electromagnetic Buttons.

A flash of blinding white light! The TV comes on -- FULL VOLUME.

Revised 11/8/85 44. *

The channels begin to change -- faster and faster. The picture is just a blur.

The indoor antenna shoots out to its longest extension and begins to WHIP around the air like a scorpion's tail.

The volume grows LOUDER and LOUDER. The TV BANGS up and down on the table.

Jack watches all this with stunned, open-mouthed horror.

Then: POPPING and HISSING.

The TV EXPLODES. The sofa is blown over backwards and Jack goes flying with it.

Jack lies there on the rug, breathing heavily.

is also out of breath. Jack and Tuck are like two fighters who have pummeled each other into total exhaustion, but are both unwilling to concede defeat.

makes no reply. He just tries to catch his breath.

INNERSPACE - Rev. 12/3/85 45. *

157 JACK

rests his forehead against the wall.

Dr. David Niles is behind the wheel. His passenger is Pete Blanchard.

INNERSPACE - Rev. 12/3/85 46.

Blanchard gives Niles a look of disbelief.

Niles gives Blanchard a look.

Igoe's dented and battered Black Sedan is parked next to a large, but inconspicuous-looking warehouse.

It's actually a scientific laboratory. Why beat around the bush, this is the Bad Guy's Secret Lab. And some of the Bad Guys are currently present:

Igoe and his Henchmen. Several LAB TECHS. And DR. MARGARET CANKER -- an unusually glamorous-looking scientist.

They are all gathered around a TV MONITOR watching the VIDEOTAPE made of the miniaturization experiment.

INNERSPACE - Rev. 12/3/85 47.

Just then, another Lab Tech shows up with some ENLARGED PHOTOS. (From the camera taken from the Camera Shop Customer.)

The first enlargement shows the hypodermic needle actually entering Jack's backside. The second enlargement shows Jack's face.

Canker looks at the photo of Jack, then turns to Igoe.

POLICE CARS with whirling red bubble lights. AMBULANCES. CORONER'S VANS. A crowd of ONLOOKERS. POLICE OFFICERS holding them back, setting up barricades. TV NEWS CREWS arriving.

Jack shoulders his way to the very front of the crowd. He * gets there just in time to see bodies -- draped in white * sheets -- being wheeled from the lab on gurneys to waiting * ambulances and coroner's vans. *

views the situation on his monitor; his expression regis- * tering horror and alarm. *

Revised 11/8/85 48. *

Jack tries to stop a POLICEMAN.

The Policeman hurries off.

Newspaper reporters and TV Crews have been allowed past the police line. One of these reporters is Lydia. She muscles her way up to Pete Blanchard who is emerging from the building.

The Police do as instructed, herding the Press back behind police lines.

Lydia is forced back, and she finds herself standing directly in front of Jack. (Who is, of course, a total stranger to her.)

Jack's nose is within inches of Lydia's hair.

INNERSPACE - Rev. 12/3/85 49. *

Smells something strange coming in through his air vents. He sniffs, then turns the air jets so that they shoot directly at his face. He sniffs again.

Then, he sees something on his monitor: Dr. Niles hurrying past.

begins to move through the crowd, trying to keep up with Niles who is on the other side of the police barricade.

Niles ducks into his parked car and slams the door behind him.

views the scene on his monitor.

168 JACK

is about thirty yards away from the parked car. A crush of onlookers surrounds him.

INNERSPACE - Rev. 12/3/85 50. *

begins to make some frantic adjustments to the dials on his console.

Suddenly: NILES' VOICE is heard loud and clear over the Pod's speaker:

170 JACK

looks startled.

Blanchard looks very distressed.

INNERSPACE - Rev. 12/3/85 51. *

reacts to the sound of Blanchard's voice. He looks closely at his monitor, but sun glares off the car's windshield, hiding Blanchard's face.

176 JACK

watches as Blanchard and Niles drive away.

INNERSPACE - Rev. 12/3/85 52. *

is silent. But the expression of betrayal he wears speaks volumes.

Lydia returns to her car where her colleague DUANE FLORNOY (a well-dressed black man) is waiting. Duane stands outside the car holding the business end of the car's short-wave radio in his hand.

Lydia smiles knowingly, glances back at the Vector-Scope Lab, then turns to face Duane again.

We hear the HUM of the ENGINES. CAMERA MOVES DOWN aisle, eventually DISCOVERS a pair of snake-skin cowboy boots. CAMERA PANS UP, taking in blue jeans, suede Western sports coat, bib-front shirt and felt Stetson hat.

This is the COWBOY. But dispite his name and his dress, his looks are distinctly foreign: Prominent nose and cheekbones, pointy chin and dark, bushy eyebrows.

He reads what looks to be the Arabic version of People magazine.

Jack behind the wheel.

INNERSPACE - Rev. 12/3/85 53.

TUCK'S VOICE * Well, Jack... we're on our own.

Jack looks miserable.

TUCK'S VOICE * Then you've got a miniaturized * submersible pod floating around * your insides with a tiny, little * human skeleton at the helm. *

INNERSPACE - Rev. 12/3/85 54. *

Jack begins to bang his head against the steering wheel.

is also being rocked back and forth by Jack's head movement. And Tuck's head is SLAMMED against the console a few times as well.

Jack enters, glances at the exploded TV, then heads toward the kitchen.

rubs his own battered forehead.

186 JACK

picks up the aspirin bottle from the counter and fills a glass with water when a KNOCK is heard at the door.

Jack opens the door to find a MESSENGER standing there.

Jack looks puzzled.

Rev. 11/8/85 55. *

The Messenger comes in, sees the exploded TV.

Jack doesn't respond. He just points out the phone. The Messenger picks it up and dials.

188 JACK

turns his back on the messenger.

Jack turns back toward the Messenger who is talking into the phone:

Revised 11/8/85 56. *

The Messenger hangs up the phone -- sees that Jack is looking at him strangely.

Jack glances at the door. The Messenger grows suspicious.

Jack makes a dash for the door. The Messenger draws a gun and leaps after him.

But the throw rug slides out from beneath the Messenger's feet and the Messenger goes flying!

Jack swings open the door -- it CONNECTS with the Mess- enger's head -- and the Messenger THUDS unconscious to the floor, the gun still clutched in his hand.

Jack runs from the apartment into the courtyard. This is what he sees:

190 THREE MEN IN DARK BUSINESS SUITS

entering the courtyard. One of the men is Igoe.

191 JACK

ducks behind a palm tree, out of sight. Igoe and his two Henchmen pass by, heading for Jack's apartment.

When safe, Jack runs off.

Jack runs into the parking area, but stops short. One of Igoe's Henchmen is standing guard over his VW.

Jack steps back into the shadow of a garbage dumpster.

INNERSPACE - Rev. 12/3/85 57.

Jack looks around.

Jack makes a face, but takes a look.

194 ON TUCK'S VIDEO

We see Jack's hands flip over the cushion and find the bottle.

195 TUCK

is licking his lips.

INNERSPACE - Rev. 12/3/85 58.

One of the Pod's articulating arms extends out from the Pod's body with a soft, mechanical WHIRRING sound. Clutched in the arm's claw is Tuck's empty flask. *

Tuck looks out the viewing dome to make sure arm and flask are properly in place.

Then: A TIDAL WAVE of AMBER LIQUID SPLASHES down from above and CRASHES against the Pod. The Pod rolls over and over in the THUNDERING alcohol current.

Finally it comes to rest in some dark, vestibular channel of Jack's digestive system.

Tuck presses a few buttons and the articulating arm begins to retract into the Pod. Claw and flask slide into the Pod through and air-lock opening.

TUCK * Come on, lucky flask! *

Tuck eagerly grabs the flask and sloshes it around under his nose. His expression sours.

Then a drop splashes out onto his jumpsuit, HISSING and burning a small hole in the fabric.

INNERSPACE - Rev. 12/3/85 59. *

He throws back a drink. His eyes fill with tears and he GASPS for air. He begins to pound his fists against the console and he makes a full spin in his swivel chair.

Tuck takes another belt.

198 JACK

also seems pleased by what has just passed his lips. He looks at the bottle's label, shrugs his shoulders, and takes another drink.

really feels relaxed. He rummages around and eventually finds what he's looking for: An audio cassette.

200 CLOSE ON CASSETTE

Sam Cooke's Greatest Hits.

201 TUCK

inserts the tape into a player and kicks back.

The Black Sedan carrying Igoe and his Henchmen ROARS by.

Igoe sits in the back seat wearing an expression of stony resolution. The car presses on relentlessly.

Rocking to the music of Sam Cooke's "TWISTIN' THE NIGHT AWAY." Tuck leans back, flask in hand, foot tapping against the console.

INNERSPACE - Rev. 12/3/85 60. *

205 JACK

is lip synching to the song and twisting his heart out. He's infused with the spirit of the music... and perhaps with the spirit of the Cutty as well.

207 JACK

turns, looks for a mirror. Sees one on the wall. He staggers over to it.

can tell by looking into his monitor that Jack is weaving from side to side.

INNERSPACE - Rev. 12/3/85 61. *

209 JACK

approaches the mirror. He looks at the Cutty bottle in his hand. It's almost half empty.

sees in his monitor Jack's face as it is reflected in the mirror. But Jack is way too close, creating a distorted fish-eye look.

Jack does.

For a moment Tuck just looks at the face of the man whose body he inhabits. Then, he turns OFF the MUSIC.

211 JACK

stares into the mirror with a besotted expression.

INNERSPACE - Rev. 12/3/85 62. *

realizes that Jack, in his own way, is saying he won't quit. Tuck is moved.

213 JACK

turns away from the mirror, embarrassed.

Wack! Jack does.

Wack! Jack does it harder.

Wack! Jack does it again.

Wack! Jack does it one more time.

INNERSPACE - Rev. 12/3/85 63.

We hear it before we see it. The FULL-THROATED ROAR of its twelve cylinder, 4.4. liter engine.

The garage door swings up revealing a:

215 FIRE-ENGINE RED 1969 FERRARI DAYTONA

One of the most awesome road machines ever produced. Jack is behind the wheel. He just touches the gas pedal and the car rockets out of the garage.

Jack SQUEALS around the hair-pin curves leading away from Tuck's hillside house.

Suddenly, Igoe's black sedan barrels around the bend * towards them. The Ferrari crosses the center line. Jack * SCREAMS and yanks on the wheel. The Black Sedan skids off * the road and onto the shoulder in a cloud of dust. *

JACK * I'm sober now! *

But the sedan is stalled, and now the engine fails to turn over. It GROANS uncooperatively.

Then: the engine fires up -- SPUTTERS -- and the car lurches into gear.

The Ferrari barrels along. Jack clutches the steering wheel with both hands -- as if the car might speed out from under him.

INNERSPACE - Rev. 12/3/85 63A.

Tuck has his eyes glued to the monitor which displays Jack's POV of the freeway, etc.

JACK * Maybe you should tell me where I'm going. *

TUCK'S VOICE * Downtown. We're gonna look up a * friend of mine. *

Duane Florney is at his desk talking with the CITY EDITOR. Lydia practically flies by.

Revised 11/8/85 64. *

Lydia does a double take.

Lydia disappears out the door.

Lydia emerges from the Newspaper Building and heads for her car parked at the curb.

At the same moment, Jack and Tuck in the red Ferrari come down the street.

Jack looks around.

Jack hits the HORN. It has a very distinctive sound. Lydia turns and looks in Jack's direction.

224 CLOSE ON LYDIA

Sunlight glistens off her copper-colored hair. She looks beautiful.

225 CLOSE ON JACK

Immediately smitten.

Lydia marches up to the parked Ferrari.

Lydia arrives at the car. Jack opens his mouth to speak, but doesn't get a chance:

INNERSPACE - Rev. 12/3/85 65. *

Lydia looks shocked. Jack wants to eat his words.

229 THE BLACK SEDAN

pulls up to the curb across the street from where Jack and Lydia are talking. Igoe and his Henchmen pile out. One Henchman slams the door on Igoe's hand.

Igoe doesn't even flinch. He just looks down at his hand. All five fingers are caught in the tightly closed door. The guilty Henchman looks worried for his own safety, but Igoe calmly opens the door and pulls his hand free.

230 JACK

catches sight of Igoe and the Henchmen who are prevented from crossing the street by heavy traffic.

Lydia looks up with a quizzical expression.

Lydia hesitates.

Lydia takes a chance. She jumps in beside Jack and the FERRARI SQUEALS away from the curb.

INNERSPACE - Rev. 12/3/85 65A.

signals his men back into the black sedan.

Revised 11/8/85 66. *

The Ferrari only gets one block before it must stop at a red light. Jack bangs his fist against the steering wheel.

The Black Sedan also comes to a stop -- about ten cars back.

It's a long light and Jack is getting nervous. He glances over his shoulder.

234 IGOE AND HIS HENCHMEN

decide to leave their sedan and rush Jack on foot. They race up the line of stopped vehicles and get within a car's length of the Ferrari when: Blink! The light turns green.

The Ferrari SQUEALS through the intersection, burning rubber.

Igoe and his Henchmen turn and run back toward the Black Sedan. Igoe gets there first. He doesn't bother to wait for the others. He slides in behind the wheel and ZOOMS away.

The Henchmen are left standing in the street.

Jack glances into the rearview for glimpses of the Black Sedan.

The Black Sedan is stalled in the middle of the intersection causing a major traffic jam. HORNS HONK madly. Igoe jumps from the car and SLAMS the door in anger.

He then looks around, wrestles a bicycle away from an OLD CHINAMAN and pedals off in pursuit of Jack.

Lydia and Jack at one of the tables.

INNERSPACE - Rev. 12/3/85 67. *

checks his air supply gauge.

Jack begins to squirm uncomfortably in his seat.

Lydia looks aghast. Jack freaks.

Igoe pedals up to the restaurant. He sees the parked Ferrari and smiles to himself. He discards the bike and approaches the restaurant.

INNERSPACE - Rev. 12/3/85 68.

Jack stands before the urinal, relieving himself. Another restaurant CUSTOMER washes his hands at the sink.

The Customer at the sink glances over at Jack.

Revised 11/8/85 69. *

Again, the Customer looks over in Jack's direction, sees him looking down into the urinal, talking softly.

The Customer now comes up behind Jack.

With that, the Customer exits the restroom. Jack looks mortified.

Jack flushes the urinal -- watches the water swirl down the drain.

Jack emerges from the rest room and approaches the table. We see JACK'S POV as he moves toward Lydia.

Lydia looks up -- then registers alarm. She rises from her chair and draws what appears to be a gun from her purse and takes aim -- seemingly at Jack.

Restaurant patrons SCREAM and take cover under tables. Jack stands there, frozen in horror. Then he looks behind him and sees:

Revised 11/8/85 70. *

243 IGOE

Who stops in his tracks and slowly raises his hands above his head.

Igoe's face appears on his display monitor -- then the picture suddenly scrambles. All the instruments begin to go haywire: Needles on gauges spin. Lights flash. Radio reception BUZZES.

Tuck doesn't know which problem to attend to first.

Lydia has the drop on Igoe.

Igoe looks at the gun. An expression of abject terror on his face.

Igoe suddenly grabs Jack.

She squeezes back on the trigger. A STUN DART shoots out from the weapon. Igoe uses Jack as a shield and the dart hits Jack!

246 CLOSE ON JACK'S MARKET NAME TAG

The dart penetrates the plastic name tag, melting it instantly and releasing half its charge with a loud BUZZZZ!

The other 2,500 volts enter Jack's body, and Jack goes limp in Igoe's arms.

also feels the impact of the electrical charge. CRACKLING ribbons of electric current dance around the contours of the Pod. Tuck is SLAMMED back into his seat as electricity courses through his limbs.

Revised 11/8/85 71. *

The Pod's lights dim, then brighten once again. But Tuck is left a shaken man. His hair sticks straight up in current Punker fashion, and his head glows from within like a jack-o'-lantern.

Tuck's consciousness returns, when the Pod is suddenly turned upside down as...

picks up Jack's limp body and tosses it over his shoulder like a sack of flour.

Igoe runs from the restaurant amid an UPROAR of YELLING and SCREAMING.

As Igoe runs off, the FERRARI KEYS slip from Jack's pocket and fall to the floor. Lydia sees this and snatches them up.

Igoe runs down the alley with Jack over his shoulder. Jack begins to snap out of it. He can't imagine where he is or why he's being conveyed this way. (We also see that he, too, sports an electrified Punk hairdo.)

Igoe notices a DELIVERY TRUCK pulling away from a loading dock. He's able to pop open the cargo doors and throw Jack inside.

But now the truck is driving away. Igoe runs alongside of it. It begins to pick up speed. Igoe keeps up with it, leaps onto a running board, throws open the cab door, yanks out the driver and takes his place behind the wheel.

The truck THUNDERS down the alley at top speed.

Is grateful to see his instruments come back on line. The Pod is righted once again, its speed and direction under control.

No response from Jack. Tuck looks concerned.

He glances at one of his gauges in alarm.

Revised 11/8/85 72. *

Igoe behind the wheel. CAMERA PANS to the sign lettered on truck's side. It reads:

BAY AREA FROZEN FOOD SUPPLY CO.

CHATTERING loudly. (The tapping sound heard by Tuck.)

CAMERA PULLS BACK TO REVEAL:

Jack huddled in the corner among the boxes of frozen foods. His entire body shaking beneath a thin layer of frost. His Punk hair spikes looking like inverted icicles.

The Frozen Food truck is parked. A LIMO rolls up beside it. Henchmen rush to open the back door, and VICTOR SCRIMSHAW slides out. Scrimshaw's dress and demeanor suggest a man of near limitless power.

INNERSPACE - Rev. 12/3/85 73. *

The cargo doors are flung open. Sunlight pours in. Jack lifts his head to look, squinting against the light. He resembles some kind of friendly snow creature.

Scrimshaw climbs into the truck. One of the Henchmen thought- fully throws a huge fur coat over Scrimshaw's shoulders, making him look even more formidable than before.

Snowflakes cling to Jack's eyelashes as he looks up at the towering Scrimshaw.

Scrimshaw looks down at Jack impassively, then calls off:

Dr. Margaret Canker sweeps out of the limo and is helped into the truck's cargo area by a Henchman. Scrimshaw indicates Jack.

Canker whips out a stethoscope and checks Jack's chest.

Jack's eyes widen at this.

Jack looks relieved.

She begins to run her hand up the inside of Jack's leg. Jack's eyes widen again.

The Henchman clambers into the truck with an instantly produced blanket and drapes it over Jack's shoulders.

INNERSPACE - Rev. 12/3/85 74. *

Canker packs up her medical bag as if she didn't care.

A Henchman closes the truck's cargo doors, then jumps into the limo. The limo drives away. Then the truck begins to rumble off as well.

Scrimshaw pulls up a box of frozen food and takes a seat next to Jack. He lights up a fat cigar and blows smoke into the air.

Jack shivers silently, not daring to say a word.

INNERSPACE - Rev. 12/3/85 75. *

Scrimshaw punctuates this remark with a finger jabbed forcefully into Jack's ribs. Jack looks worried. Scrimshaw settles back to enjoy his cigar.

Lydia zips along in the open-topped Ferrari. A truck tries to pass her. She casually glances up at its driver -- and recognizes Igoe behind the wheel.

Lydia reacts. She lightens up on the gas, allowing the truck to pull ahead of her.

listens in silence. Huddled under the blanket, he has begun to warm up a bit.

260 JACK'S POV AS HIS EYES PAN:

Boxes of frozen foods come into view. Then the hulking, fur- coated Scrimshaw siting nearby. Then the cargo doors...

Jack's glance returns to the doors. We see that they are not properly closed. The latch is not in place. A crack of daylight shows through.

views the unlocked doors on his monitor.

Tuck waits for the cough. Silence.

INNERSPACE - Rev. 12/3/85 75A.

Revised 11/8/85 76. *

Sheds his blanket and jumps to his feet.

Jack charges toward the cargo doors and flings them open.

Too late. The doors swing out. The highway flies by underneath at sixty miles per hour. Jack clings to one of the doors.

Jack holds on for dear life -- his feet kicking in midair, several feet above the surface of the roadway.

Scrimshaw tries to reach out and grab him. He fails -- it's just too damned dangerous.

shares Jack's POV of his precarious situation. Tuck can't look. He covers his eyes.

sees events unfolding before her. She has kept back, but now she speeds up.

Revised 11/8/85 77. *

begins to POUND against the back wall to alert Igoe in the driver's cab.

has a radio turned up FULL VOLUME playing "Ride of the Valkyries." He can't hear Scrimshaw's pounding.

We notice that Jack, swinging on the cargo door, is briefly visible in the sideview mirror. Igoe glances into the mirror, but too late: Jack has already swung back out of sight.

sees that the door is swinging back toward the truck. He positions himself to grab hold of Jack.

Jack sees what's coming. He puts out his foot and kicks off against Scrimshaw's chest.

Jack and the door swing back out over the highway, and Scrimshaw tumbles backwards into the boxes of frozen foods.

ZOOMS up behind the truck.

269 JACK

looks down. Both vehicles are doing sixty and the door is swinging back and forth.

Scrimshaw has gotten to his feet and is advancing unsteadily toward Jack.

Jack lets his feet drop down into the Ferrari, but continues to cling to the door with his hands.

Revised 11/8/85 78. *

The two vehicles begin to drift apart. Jack's hands are attached to one; his feet are attached to the other. It looks like he's being stretched.

Lydia reaches out, grabs Jack's pant leg.

Lydia steers the Ferrari in closer to the truck.

Jack lets go and falls backwards into the Ferrari's passenger seat. Lydia stomps on the gas pedal and ROARS off ahead of the truck.

She sees a sign up ahead: S.F. INTERNATIONAL AIRPORT -- Next Exit. She cuts in front of three lanes of traffic, including the truck, and takes the exit.

270 LYDIA AND JACK

exchange an expression of victory.

recovers from all the excitement by draining his pocket flask.

He tosses the empty flask aside.

The Cowboy strides across the concourse.

273 JACK AND LYDIA

observe the Cowboy from a distance.

Jack looks nervous; he glances anxiously at his watch.

Revised 11/8/85 79. *

The Cowboy gets on a pay phone.

makes the proper adjustments to heighten the sensitivity of Jack's hearing.

275 JACK

looks directly at the Cowboy and begins to hear, despite the echoing din of the crowded concourse.

Amazed, Lydia fumbles in her pockets for a pad and pencil.

Revised 11/8/85 80. *

The Cowboy hangs up and walks off. Lydia puts away her notebook.

Lydia smiles awkwardly.

As they walk briskly off:

The Cowboy arrives by cab.

Moments later, Jack and Lydia drive up in the Ferrari. They disappear into the hotel parking garage.

Jack finds a parking space. Oddly enough, there are at least twenty other Ferraris parked nearby.

Jack and Lydia get out from the car.

Revised 11/8/85 81. *

Jack opens the trunk, discovers the suitcase.

winces painfully.

The Cowboy has just registered. A Bell Boy is taking him to his room. As they walk to the elevators, they pass a signboard that reads:

WELCOME! FERRARI OWNERS OF AMERICA National Convention Main Ball Room

Cowboy sits on the bed polishing a pair of dressy lizard- skin boots.

Country & Western MUSIC plays LOUDLY from the radio.

They can hear the loud C & W music pounding through the wall.

Revised 11/8/85 82. *

Jack watches Lydia depart into the bedroom; his eyes drinking in every inch of her.

also ogles Lydia on his monitor, SIGHING deeply to him- self. Then he realizes what's going on:

Scrimshaw is on the phone and he's hopping mad.

Dr. Canker is sitting on the edge of the bed in a spaghetti-strap negligee, the phone pressed to her ear.

INTERCUT BETWEEN CANKER AND SCRIMSHAW:

INNERSPACE - Rev. 12/3/85 83. *

Canker's eyes begin to blaze.

Just then, Igoe enters the bedroom wearing a silk robe, carrying a bottle of wine and two glasses. Canker regards him with adoration.

Igoe takes the phone from Canker's hands and hangs it up. She turns and throws open his robe revealing a tattoo on his chest.

286 CLOSE ON TATTOO

A large heart, filled with roses and a scroll with the name "Margaret" written across it.

287 CANKER

gently runs her fingers over the tattoo, then looks up into Igoe's eyes.

He embraces her passionately.

Revised 11/8/85 84. *

Duane Flornoy is on the phone. He has punched up Victor Scrimshaw's file on his computer -- the monitor before him displays Scrimshaw's picture and bio.

Lydia on the phone, taking notes.

Tuck casts a concerned glance at his air-supply gauge.

Jack is stealing a glance at Lydia through the partially- closed bedroom door. Now he turns away.

seems troubled by Jack's sudden enthusiasm.

Revised 11/8/85 85. *

Tuck isn't sure he likes this new attitude of Jack's.

wears a frozen half-smile on his face.

Jack seems hesitant. Then he sees Lydia emerging from bedroom -- her usual vision of efficient loveliness.

The Cowboy is trying on a flamboyantly embroidered silk Western shirt in front of the mirror.

Revised 11/8/85 86.

He continues to sing as he puts on his generous supply of gold rings, chains and bracelets.

Lydia has just heard Jack's plan. She seems resistant.

Revised 11/8/85 87. *

Jack has just finished dressing into Tuck's clothes.

A rumpled but sporty look. And everything fits.

Lydia emerges from the bedroom in her new dress. Jack turns in her direction and has to gasp for breath.

Her voice trails off. A wistful look comes into her expression and she gently runs her hand down Jack's lapel.

seems to melt as he views Lydia's melancholy expression.

The SOUND of a DOOR CLOSING breaks the mood.

Lydia peeks out into the:

300 CORRIDOR

where the Cowboy is walking. He turns down another corridor, passing a ROOM SERVICE WAITER, and heads for the elevators.

301 CAMERA HOLDS ON ROOM SERVICE WAITER

who is actually one of Igoe's Henchmen. He waits for the Cowboy to board the elevator, then whips out a walkie-talkie.

The Henchman then wheels his serving tray away. Moments later, Jack and Lydia arrive from the opposite direction and approach the elevators.

A new, black Mercedes 500 SEL is parked across the street from the hotel.

Igoe sits in the back. Two Henchmen sit up front.

The Henchmen begin to giggle. Igoe glares at them.

The doors to the Main Ball Room swing open and FERRARI OWNERS pour out, talking loudly to one another.

At the same moment, the Cowboy emerges from the elevators, walks through the mob of Ferrari Conventioneers and out the front door. All the while being observed by another Henchman dressed as a Bell Boy.

Jack and Lydia hurry towards their parked car. Meanwhile, Ferrari Conventioneers arrive at their cars. ENGINES FIRE up throughout the garage.

The Cowboy waits for a cab.

Igoe keeps an eye on the Cowboy, sees a cab pull up and the Cowboy climb in.

Igoe looks again -- sees Jack's Ferrari drive out of the parking garage.

The Henchman begins to pull away from the curb, when:

Suddenly, the street is filled with Ferraris ZOOMING off in all directions. Many of them look just like Jack's.

Igoe's head is spinning as four identical red Ferraris ROAR by.

Everyone looks. In the confusion, the cab has disappeared.

310 CLOSE ON IGOE

Boiling mad. Gnashing his teeth. White foam bubbles from his stretched lips.

The Ferrari sticks close to the cab's tail.

A white scarf, wrapped around Jack's neck, snaps in the wind.

The cab pulls up to a trendy night club and the Cowboy jumps out.

LOUD MUSIC fills the air and shakes the walls. People mill around the entrance: A mixture of hardcore PUNKS and adventurous YUPPIES.

One of these people is:

314 WENDY

She wears her hair in pink and orange spikes and is dressed in a black leather mini-dress studded with metal rivets.

Revised 11/8/85 91.

Wendy is stunned to see Jack drive up in a Ferrari with * Lydia at his side. Her jaw drops open.

Jack leaves the Ferrari in the charge of a Parking Attendant at the curb. He and Lydia shoulder their way through the crowd toward the club entrance.

Jack turns -- can't believe his eyes: Wendy, the Punk Harlot.

She can't keep her hands off him.

Lydia pushes her way into the club. Jack wants to follow, but Wendy has ahold on his arm.

Crowded. Smoke-filled. MUSIC BLASTING. The dance floor jammed.

Jack and Wendy are dancing. As they dance:

Jack steals a glance at:

316 LYDIA AND THE COWBOY

who are also dancing together. The Cowboy is wild and uninhibited in his movements. Lydia entices him on, playing up to him.

Lydia and the Cowboy are seated at a table. He smokes a big cigar, drinks whiskey and whispers in her ear. She laughs and plays with her hair.

Jack and Wendy are at a table nearby. Jack's attention is equally divided between Wendy and Lydia.

Jack smiles painfully.

Jack turns, sees Lydia gesturing him over. Jack gets up from his table. Wendy follows.

The Cowboy sees them approaching.

Jack and Wendy sit down.

The Cowboy smiles broadly and looks from one face to the next.

Jack, Lydia and Wendy are speechless. Finally:

Revised 11/8/85 93.

The Cowboy LAUGHS UPROARIOUSLY and POUNDS the table.

The Cowboy leaps to his feet.

Cowboy and Lydia dance off.

Jack is paying for two beers as Lydia comes up behind him.

She hurries away. Jack takes the beers to Wendy who is waiting for him at the table.

Jack smiles back and hurries off. Wendy watches him go with a sad expression on her face. *

Four o'clock in the morning. The streets are deserted. The sun is almost coming up. The Ferrari streaks by.

Jack behind the wheel.

A cab pulls up. The Cowboy climbs out with Lydia.

Parked across from the hotel with two Henchmen inside. They observe the Cowboy's return.

We see Jack's Ferrari entering the parking garage.

Jack strides purposefully down the corridor toward the Cowboy's room.

BASH! Jack kicks open the door.

The Cowboy is caught standing in the middle of the room wearing nothing but his Stetson hat and European-style black bikini underwear.

Jack reacts to the sight.

INNERSPACE - Rev. 12/3/85 96. *

Jack's fist flies out -- POW! -- catching the Cowboy on the jaw and sending him unconscious to the floor.

Lydia rushes in from the corridor.

Tuck looks depressed. Then:

INNERSPACE - Rev. 12/3/85 96A.

COMPUTER VOICE * Ohhhh... that's different. *

Lydia knocks on the closed bathroom door.

The Cowboy is bound and gagged and seated on the toilet. Jack, dressed in the Cowboy's western atire, stands before the mirror looking at himself.

Jack shudders at the thought.

328 CLOSE ON JACK'S FACE

as portions of it begin to bulge! Forehead. Bridge of the nose. Chin. They swell slightly, then receed, then swell again in a horrific "ripple effect."

The Cowboy observes this hideous display with frantic alarm. His eyes pop and he struggles against his gag and bindings.

A CRACKING, STRETCHING sound is heard and Jack's nose begins to get thinner and longer.

POP! SNAP! Jack's cheek bones become distinctly more sculptured.

The Cowboy can take no more of this bizarre event. He faints dead away.

The bathroom door opens and Jack strides out as the Cowboy. He's an almost perfect twin. Lydia GASPS.

She does a 360 degree tour of his body.

Revised 11/8/85 98. *

Then: A KNOCK at the DOOR. Lydia and Jack tense up.

Lydia opens the door to two of Igoe's HENCHMEN.

HENCHMAN #1 Mr. Cowboy, we're ready to take you to see Mr. Scrimshaw.

(Jack does a reasonably good imitation of the Cowboy's strange accent and guttural tone.)

Jack and Lydia begin to leave when one of the Henchmen holds Lydia back.

Lydia flashes Jack a threatening look. Jack good-naturedly throws an arm around her shoulder.

The Henchmen shrug indifferently. Lydia smiles at Jack.

As they leave the room, Jack is certain to leave the DO NOT DISTURB sign dangling from the doorknob.

A Limo glides silently through the rolling hills of the Napa Valley Wine Country.

The two Henchmen ride up front. Jack and Lydia in back. They glance out the window and wonder where they are being taken.

glances at his air supply gauge.

No reply from Jack.

INNERSPACE - Rev. 12/3/85 99. *

Tuck looks stunned. He tries the hatch. The Computer is right.

It leaves the main highway and turns up a narrow dirt road that winds into the hills.

The limo enters the walled-in compound nestled deep in the Napa hills. The limo parks and Jack and Lydia are greeted by two more henchmen who lead them away.

Also parked in the drive is Igoe's black 500 SEL.

Several dwellings occupy the compound grounds. Jack and Lydia are taken on a tangled journey between buildings, through a courtyard and down a long, narrow breezeway.

Jack glances at a huge wrought-iron aviary housing a large assortment of rare and exotic birds.

Jack and Lydia are ushered into the solarium (a glassed- in veranda) where a large breakfast table has been set.

Seated at the table are several henchmen, Dr. Canker and Victor Scrimshaw -- dressed in an elegant summer suit.

INNERSPACE - Rev. 12/3/85 100.

A friendly-looking GOLDEN RETRIEVER is curled restfully on the floor near its food dish.

Scrimshaw rises.

Jack and Lydia approach the table.

Both Jack and Lydia look relieved.

CANKER * (suggestively) * You haven't forgotten the last time * we saw each other, have you, Cowboy? *

Jack smiles uncomfortably. *

He points down to his cowboy boots. Scrimshaw nods, then signals to his servant with the coffee pot.

INNERSPACE - Rev. 12/3/85 100A.

Jack and Lydia glance around the table at the decidedly unfriendly faces of the henchmen. They sit.

Scrimshaw produces two cigars from his pocket.

Jack takes the cigar and lights up apprehensively. This is probably his first cigar. He draws in deeply.

looks out through the viewing dome, sees a thick cloud of smoke rolling his way.

The smoke envelopes the Pod, darkening everything. Tuck seems alarmed. He turns on his high beams.

Revised 11/8/85 101. *

338 JACK

is choking on cigar smoke. Lydia slaps him on the back. Scrimshaw looks on. Finally Jack regains his composure. He puts the cigar to one side.

Canker clears her throat.

Scrimshaw anticipates an angry reaction from Jack -- but doesn't get one.

Canker and Scrimshaw exchange a look.

Canker takes a gold pill box from her pocket and places it on the table. Jack and Lydia conceal their excitement.

Canker opens the pill box and holds up the chip with a pair of surgical tweezers.

sees the chip on his display monitor. There it is! The only thing on earth that can save him. So close and yet so far.

Revised 11/8/85 102.

340 JACK AND LYDIA *

react to the chip the same as Tuck. Jack reaches out for it. *

Scrimshaw glances at Jack's hand. Jack wears one of the Cowboy's flashy gold rings.

Jack and Lydia react.

342 RETURN TO SCENE

One of the henchmen grabs Jack's wrist and SLAMS his hand to the table top.

Scrimshaw snaps his fingers and Igoe enters the solarium. Lydia quickly turns her face away, fearing Igoe will recognize her. Igoe holds a surgical scalpel in his hand -- sunlight glistens off its blade.

Tuck looks in his monitor and sees that Igoe has arrived on the scene. Then, his electronic equipment begins to BUZZ and CRACKLE. Dials begin to spin -- just like in the Chinatown restaurant. *

Revised 11/8/85 103.

He loses radio and video contact. Lights flash on and off.

344 RETURN TO VERANDA

where everyone is looking at Jack in absolute, stunned horror.

345 ON JACK

as his face begins to stretch and bulge! The hormones are totally out of control.

His skull begins to enlarge. His neck thickens. His nose turns into an animal's snout and pushes forward from his face.

Horrible SNAPPING, STRETCHING, CRACKING sounds are heard. Jack MOANS painfully.

346 LYDIA, SCRIMSHAW, CANKER, IGOE, HENCHMEN AND SERVANTS

can't believe their eyes.

A Servant drops the coffee pot with a CRASH. Canker GASPS. Lydia SCREAMS. And then...

347 JACK'S FACE

abruptly snaps back to normal. And everyone sees that he is not the Cowboy at all.

Jack grabs the chip and tries to escape. *

SCRIMSHAW * He's got the chip! *

Henchmen rush toward Jack. Lydia upends the table in their faces. Coffee and breakfast muffins go flying. Henchmen slip on the solarium's tile floor.

Igoe leaps in front of Jack, blocking his path.

Revised 11/8/85 104. *

Jack tosses the chip toward Lydia, but it goes over her shoulder and lands in the dog dish with a soft PLOP.

Igoe throws his arms around Jack and locks him in a vise- like bear hug. We hear Jack's bones begins to SNAP.

Scrimshaw pushes the Golden Retriever away from its dish --

-- and begins to dig around in the gooey Kal-Kan for the chip.

can feel the Pod's walls begin to bend as:

349 JACK

is being squeezed by Igoe.

350 SCRIMSHAW

finds the chip. He holds it up in his sticky, brown hand. Then turns to Igoe.

Igoe releases Jack, who has gone cross-eyed from Igoe's squeezing.

Jack and Lydia are locked in the cellar. Jack franti- cally looks for a way out.

Jack is silent for a moment.

Revised 11/8/85 105. *

Dr. Canker hangs up the phone, turns to Scrimshaw.

Lydia wears a delirious, flabbergasted expression of skepticism and disbelief.

Jack approaches Lydia. She looks at him expectantly.

Lydia is convinced. Her mouth drops open and her eyes moisten. She's looking at Jack, but she's seeing Tuck.

Revised 11/8/85 106. *

She throws her arms around Jack's neck. Jack isn't sure what to do with his arms. He steps back from Lydia.

Lydia looks perplexed, as well she might considering the situation.

It dawns on Lydia that she's in the middle. Silence. Then:

Tuck cuts out. Jack can feel a change in his body: A momentary sensation of freedom that is reflected in his expression.

He takes Lydia's hands in both his own.

LOUD FOOTSTEPS are heard coming down the cellar steps.

Jack impulsively takes Lydia in his arms and kisses her.

INNERSPACE - Rev. 12/3/85 107.

Swirling and spinning. Caught in a whirlpool; a mael- strom of foaming liquid.

Tuck fights for control of the craft. What he sees outside his viewing dome resembles an undersea view of the crashing surf.

But in truth... it is mere human saliva.

Jack breaks the kiss and Lydia's eyes remain closed. Then, the door is thrown open and Igoe stands framed in the doorway.

Tuck is trying frantically to restore communications to his Pod.

A pair of Bell Jet Ranger helicopters fly over the landscape, heading toward San Francisco.

Scrimshaw, Dr. Canker and a Henchman Pilot.

Revised 11/8/85 108.

Jack, Lydia, Igoe and another Henchman Pilot. Jack and Lydia exchange worried glances.

Meanwhile...

Traveling swiftly down a twisting channel whose sides are made up of delicate, convoluted folds.

The flood lights atop the Pod illuminate the way.

Tuck looks out the viewing dome. The twisting channel is opening into a dark, hollow chamber.

And then Tuck sees something more incredible than anything he has ever seen in his entire life. His eyes widen and his jaw drops open in astonishment.

This is what Tuck sees:

365 A HUMAN FETUS

Eight weeks old. Curled in its sac of amniotic fluid. A tiny, unformed human being. Almost transparent.

It sails up to the fetus in the sac -- which in reality is only one inch long, but dwarfs the Pod like a giant.

views the fetus. Awed and overwhelmed by the miracle of human life. Moved. Speechless. Then it hits him:

The helicopters land atop the warehouse situated on the docks. Everyone piles out and disappears down a rooftop access.

Jack and Lydia are ushered into the lab. Busy Technicians are involved with their work. Canker leads everyone to: A POD

INNERSPACE - Rev. 12/3/85 109.

resting on a platform. It looks very much like Tuck's Pod, except its color is a flat, metallic black. We will call it the BLACK POD.

Jack and Lydia exchange a puzzled glance.

Jack and Lydia's expressions darken.

Scrimshaw signals to the Henchman who whisks Lydia away.

Jack is taken to a stainless steel table and lashed down.

Revised 11/8/85 110.

Lydia and the Henchman enter the office. The Henchman pushes Lydia toward a chair.

Lydia does as she's told.

Igoe is now seated inside the Black Pod.

A clear glass cone is lowered from above, engulfing the Pod. Jack watches in wide-eyed wonderment.

Lydia snakes her hand into her purse. Suddenly, she's on her feet with the electronic stun-gun pointed at the Henchman.

ZAP! She fires the gun. Five thousand volts enter the * Henchman's body. He sinks to his knees, but doesn't fall forward. He just kneels there: Stunned.

Lydia grabs the phone and dials.

Duane Flornoy is on the phone.

Revised 11/8/85 111.

INTERCUT BETWEEN LYDIA AND DUANE:

Lydia hangs up the phone. She glances around the office, spots Canker's lab coat hanging from a hook. She puts it on.

She goes to the stunned Henchman, takes the pistol from under his coat and slips it into her pocket. Then she exits the office. As the door SLAMS behind her, the kneeling Henchman CRASHES face-first onto the floor.

Lydia moves briskly down the hallway. She arrives at an intersection and stops to look both ways before proceeding.

Lydia GASPS, jumps and spins around.

Revised 11/8/85 112.

Lydia slips in unnoticed, wearing the lab coat. She stands among the other technicians.

Jack is strapped to the table. Canker looms over him with a long hypodermic needle. Jack tries to wiggle free.

Jack and Lydia react in horror.

Revised 11/8/85 113.

Hearing this, Jack struggles valiantly against his bindings.

Jack strains and strains and strains. His veins pop out in his neck, and... SNAP! SNAP! SNAP! SNAP! He frees himself.

Lab Technicians rush forward to seize Jack. He struggles manfully, but there are too many of them.

Canker jabs the needle into Jack's arm and injects Igoe and the Black Pod into his body.

Lydia pulls out the pistol taken from the Henchman and FIRES it into the air. Everyone jumps.

There are no heroes here, only scientists and engineers. They release Jack immediately. Lydia comes over to his side.

POLICE CARS speed through the streets, SIRENS SOUNDING.

Held at gunpoint, Scrimshaw, Canker and the Lab Techs watch the Miniaturization Cone descend down upon them.

The Cone fully engulfs them now.

Revised 11/8/85 114.

Jack goes back to the circuit board, finds the chip and yanks it free.

VOICE I'll take that now.

Jack looks up -- sees that the Henchman who Lydia stunned has returned. And he's got an automatic rifle pointed at him.

Jack doesn't want to give up the chip. An idea hits him:

So saying, he pops the chip into his mouth and swallows it. At the same moment, Lydia comes up behind the Henchman and clubs him over the head with her gun. He once again sinks to his knees.

They make a dash for a corridor, SLAMMING a heavy metal DOOR behind them.

They run down the corridor.

Lydia winces to herself. Now they realize that they have sealed themselves into a dead-end hallway. But they spot a ladder that leads to a trap door in the ceiling.

They emerge onto the roof and see the parked helicopters.

Revised 11/8/85 115.

Then they see that the choppers are being guarded by another Henchman.

Jack leaps at the Henchman with flying feet and fists-of-fury. WHAM! BAM! POW! The Henchman goes flying off the roof.

The Henchman who Lydia clubbed with her gun has regained consciousness, and now staggers out into the alley with his automatic rifle.

He looks up -- sees his comrade falling from the sky. BOOM! The falling Henchman lands on top of the other one, knocking them both out cold.

Jack and Lydia board one of the choppers and strap them- selves in.

Jack looks flabbergasted. It takes him a moment to recover.

Revised 11/8/85 116.

Lydia grabs Jack and plants one on his lips. His eyes widen into saucers as Lydia's tongue goes into his mouth.

Propelled with a mighty force, in a swirl of foaming saliva, back into Jack's body.

Lydia breaks the kiss.

The POLICE burst in, but stop short at the sight of the weirdly-shimmering Miniaturization Cone.

He pulls a handle and the Cone begins to rise. The Policemen watch with bated breath until Canker, Scrimshaw and the Lab Techs are fully revealed: Each one about two feet tall.

INNERSPACE - Rev. 12/3/85 117. *

The chopper lifts off into the sky.

The Henchmen are coming to their senses. They look up, see the chopper flying off. They clamber up a fire escape toward the rooftop and the second chopper.

It flies erratically out over the Bay, then practically drops from the sky, plunging toward the water.

Then, only several feet from the water's surface, it levels off and begins to gain altitude.

Jack has a firm grip on both sticks, if not the situation itself.

He turns to one of his display monitors. It shows a wire-frame image of Jack's body. Two lights are blinking. One represents the chip, the other represents the Black Pod.

INNERSPACE - Rev. 12/3/85 117A.

Coursing through the soft muscle tissue that resembles huge strands of wire rope. Igoe is visible through the cockpit dome.

Revised 11/8/85 118.

Igoe checks his instruments. Sonar "Blips" pin-point the location of the chip and Tuck's Pod. Igoe is surprised * by what he sees:

The two Henchmen take off in the second chopper.

Jack's chopper almost clips the top of the bridge.

Speeding at a low altitude over the freeway. Getting lower and lower...

Jack and Lydia in a panic.

398 JACK'S POV

They are fast approaching the mouth of the Bay Bridge tunnel -- flying only inches above the traffic below them.

The CHOPPER ROARS into the tunnel above the traffic. Motorists gawk and brake -- TIRES SCREECH, HORNS BLOW.

Revised 11/8/85 119.

The chopper emerges from the tunnel and begins to climb.

INTERCUT THE FOLLOWING:

401 THE CHIP *

floating through Jack's stomach, headed for the small intestine.

402 THE POD

sailing through the pulmonary veins toward the left ventricle of the heart.

403 THE BLACK POD

sliding down the endlessly long esophagus toward the stomach.

Flying backwards across the sky.

Jack and Lydia look stunned as they speed through the air in reverse.

Jack tries to take a deep, calming breath when the enemy chopper, piloted by the Henchmen, appears in the sky.

Jack turns, sees the enemy chopper.

Jack's fear causes a sudden rush of blood into the ventricle, followed by strong ventricle contractions. The Pod is buffeted and tossed like a beer can in the pounding surf.

Revised 11/8/85 120.

Tuck fights for control of his craft. It shakes and vibrates. Interior lights dim and flash. It seems the Pod will tear apart at the seams.

Tuck almost blacks out. Then he sees:

409 THE AORTIC ARCH

offering four distinct pathways out of the heart.

He pulls hard on the control stick. The Pod begins to turn. It trembles and shakes. Portions of the sidewalls are pushed inward by the tremendous pressure. Gauges shatter. Warning lights flash and BUZZ.

SLAMMING against the muscle-lined vascular wall. Bouncing back. Shooting through the proper "archway" into the relative calm of the AORTA.

Igoe views his sonar scanner in disbelief. The "Blip" tells him that Tuck has made it safely through the heart.

Tuck's Pod BLASTS through the membrane lining of the stomach wall.

Igoe enters the stomach. He can see Tuck's Pod up ahead. He swings his Laser Gun Sighting Device into place.

Revised 11/8/85 121. *

Jack and the enemy chopper are engaged in a nasty dogfight. The Henchman FIRES at Jack's chopper with his automatic rifle. Somehow, Jack is able to maneuver out of the line of fire.

A dogfight of a different kind rages here. Both Pods dart around the stomach, shooting LASER BEAMS at each other.

A stray laser beam hits the stomach wall, burning a small hole in it.

Jack winces and grabs his stomach.

Then: The enemy chopper comes up right beside Jack. The Henchman inside levels his automatic weapon, but before he can fire --

418 A HUEY-COBRA U.S. MILITARY HELICOPTER

THUNDERS out of the clouds like a bad dream and FIRES a heat-seeking missile. The missile SCREAMS across the skies and hits the enemy chopper.

It EXPLODES in a ball of fire and evaporates into dust.

419 JACK AND LYDIA

watch it happen with dazed expressions.

Pete Blanchard, wearing his military uniform, is on the radio-phone.

Meanwhile, the two Pods play cat-and-mouse through the * corridors of the GASTRIC GLANDS in the upper stomach. *

Tuck gets the edge on Igoe -- FIRES his laser. Direct hit!

INNERSPACE - Rev. 12/3/85 121A. *

Revised 11/8/85 122.

Corrosive hydrochloric acid pours into the Pod through the hole blasted by Tuck's laser beam.

The interior of the Black Pod is being rapidly eaten away. It looks bad for Igoe.

Tuck's Pod locates the chip at the opening of the intestine, * but the chip is many times larger than the Pod. Nonetheless, the Pod's articulating arms reach out and take hold of it.

Zipping along beside the giant Huey-Cobra.

Lydia gives a silent cheer.

Jack looks down.

glances at his mission clock.

Igoe abandons his disintegrating Pod and swims out into the caverns of the upper stomach.

Tuck's Pod sails by, pushing the enormous chip before it. *

Igoe waits for the right moment -- then grabs hold of Tuck's Pod. He clings on tightly, crawls to the top and pries open the hatch with his fingers.

INNERSPACE - Rev. 12/3/85 123. *

Tuck swivels in his chair to see Igoe entering the Pod. Igoe's mighty hands clamp down around Tuck's neck. The fight is on!

A BATTALION OF U.S. INFANTRY SOLDIERS have assembled in the parking lot. Duane Flornoy is there as well.

The two choppers appear in the sky. The Huey-Cobra is the first to touch down.

Tuck and Igoe duke it out. Tuck's face is bloodied, but not Igoe's.

Moving swiftly up the esophagus with the chip, even as Tuck and Igoe struggle inside.

Jack's chopper comes down hard. Blanchard, Flornoy and Infantrymen rush to help Jack and Lydia out.

Everyone then dashes into the lab.

Tuck and Igoe slam against the pod's various instruments. Tuck puts his hand to his jumpsuit pocket.

An exposed WIRE BUZZES. Igoe leaps back from it like a scared child. Tuck is surprised by this reaction.

Igoe can't take his eyes off the CRACKLING WIRE. Tuck takes advantage of the distraction and:

INNERSPACE - Rev. 12/3/85 124. *

Drives his fist into Igoe's stomach. In fact, Tuck hits Igoe so hard that his arm sinks into Igoe's body clear up to his elbow!

Tuck looks horrified.

He pulls his arm out. And with it, much of Igoe's inner workings: Wires, circuits, relays, diodes, switches. They all come tumbling out in one big tangled, HUMMING, heap.

Igoe begins to short-circuit. Smoke billows out from all the openings in his body. A HISSING noise. SPARKING WIRES.

Then, Igoe erupts into flames. Tuck jumps back.

CAMERA MOVES IN CLOSE ON IGOE'S TATTOO.

Flames shrivel and melt the "skin" on Igoe's chest, and the heart-shaped tattoo with Margaret's name in the center begins to perish.

435 TUCK

grabs an onboard extinguisher and tries to douse the fire. Igoe is melting right before his eyes and the pod is filling with an acrid black smoke.

The air-supply gauge begins to flash WARNING!, WARNING!

Tuck turns to his mike:

INNERSPACE - Rev. 12/3/85 125. *

Where it all began. Dr. Niles and his technicians surround Jack.

438 JACK'S EYES

begin to tear up and redden.

braces himself. He can feel the sneeze coming. The pod begins to tremble as Jack's respiratory system starts to convulse.

440 CLOSE ON JACK

441 THE POD

is no more than a blur as it rockets up the esophagus at near "warp speed."

442 TUCK

is pressed flat against the pod's rear wall -- his face horribly contorted by the powerful forward thrust.

443 CLOSE ON JACK'S NOSE AND MOUTH

The sneeze explodes out in SLOW MOTION. A glistening spray of mucous and saliva containing both the chip and the Pod...

INNERSPACE - Rev. 12/3/85 126. *

... All of which SPLATTERS against the face and glasses of Dr. Niles.

NORMAL SPEED RESUMES as Technicians rush to Niles.

It's sliding down Nile's cheek. They quickly remove it, then search Niles' face for the Pod.

The Pod is placed on a glass slide.

Niles presses a button. Lights flash in the lab. An incredible HIGH-PITCHED WHISTLE is heard. Everyone is forced to cover their ears. And then:

444 THE POD APPEARS!

Full-sized. Standing in the middle of the lab. Dented and battered. Dripping with gooey biochemical waste material and glandular secretions.

Smoke pours from its vents.

Blanchard rushes forward to open the hatch.

holds a handkerchief to his nose and mouth, waiting for the hatch to open.

Tuck gives the computer a farewell glance.

The hatch is then popped open.

INNERSPACE - Rev. 12/3/85 126A.

Tuck scrambles from the hatch with Blanchard's assistance. *

TUCK * Get back! It's going to blow! *

All scatter. But Tuck suddenly goes back. *

TUCK * The chip! *

Tuck goes to the nose of the pod and tries to pull out * the circuit module containing the second chip. It doesn't come free.

Several Technicians and Infantrymen come forward, but Tuck warns them back.

They jump away. Finally, Tuck pulls the module free and he dives for safety.

The POD EXPLODES. Everyone hits the floor. The lab fills with debris. But when the smoke clears, one-by-one all get to their feet.

First Blanchard. Then Niles. Then Flornoy. Then Jack. Then Lydia. Then Tuck.

Tuck is a mess. His face bloodied and bruised. His jumpsuit torn, burned and sweat-stained.

But Lydia rushes into his arms nonetheless.

Tuck lifts her off her feet.

Then, looking over Lydia's shoulder, Tuck sees Jack. He sets Lydia gently back on her feet. She sees who he is looking at.

Tuck regards Jack with an expression of deep affection and profound appreciation. He steps towards him.

INNERSPACE - Rev. 12/3/85 126B. *

Tuck ignores the hand to give Jack an enormous bear hug. Technicians and Infantrymen CHEER. Lydia wipes a tear from her eye.

Now, everyone closes in on Tuck to welcome him back. Lydia and Jack become lost in the crowd. But soon...

Tuck wiggles free and takes Lydia aside.

Tuck takes her into Niles' office, which is visible to the lab proper through a large glass window.

Lydia looks confused and overwhelmed. Tuck tries to slow down a little.

Lydia is bowled over.

INNERSPACE - Rev. 12/3/85 126C. *

Revised 11/8/85 127. *

Lydia can see that Tuck means it.

Lydia gives him a look.

Lydia begins to smile.

Tuck smiles back at her. Approaches her. Puts his arms around her waist.

Lydia wraps her arms around his neck. For a moment they just look into each others eyes. Then they kiss.

Jack looks through the glass window into Niles' office. He sees Tuck and Lydia.

INNERSPACE - Rev. 12/3/85 128. *

Then, they spot him. Jack turns away. Lydia and Tuck come after him.

Jack stops, turns to them.

Tuck and Lydia feel good and bad at the same time.

Lydia smiles and gives Jack a kiss.

Tuck and Lydia stand together on the deck. Tuck wears a tuxedo and high hat. Lydia wears a wedding dress. The air is filled with flying confetti and brightly-colored streamers. A BAND PLAYS.

Tuck cups his hands around his mouth and calls off:

Jack is on the dock along with a hundred other people who have gathered to see the ship off.

INNERSPACE - Rev. 12/3/85 129. *

The ship's HORN BLOWS and the ship begins to pull away from the dock.

451 TUCK AND LYDIA

give Jack a final farewell wave -- then turn to each other and kiss.

Jack walks away from the deck and the departing ship toward the red Ferrari which is parked nearby.

Jack tosses the keys in his hand as he approaches.

Jack climbs in behind the wheel. For a moment, he just sits there.

Then he reaches into the glove compartment and takes out a white silk scarf, wraparound sunglasses, pigskin driving gloves and tweed motoring cap. He puts it all on and FIRES up the Ferrari's powerful engine.

Then, one final touch: He takes a cassette from his pocket.

454 CLOSE ON CASSETTE

Sam Cooke's Greatest Hits.

455 JACK

slides the cassette into the tape player and turns the VOLUME WAY UP.

Jack listens for a moment. Smiles to himself. Then shifts the CAR into gear and SQUEALS away in a cloud of dust.

END