"K-PAX" (2001)

Rev. 11/03/00{Blue){Pages) Rev. 11/08/00{Pink)(Pages) Rev. 11/12/00{Yellow)(Pages) Rev. 11/14/00(Green)(Pages) Rev. 11/15/00(Goldenrod)(Pages) Rev. 11/20/00(Buff)(Pages) Rev. 11/28/00(Salmon)(Pages) Rev. 12/07/00(Cheny)(Pages) Rev. 12/08/00(Tan) (Pages) Rev. 12/11/00(Grey)(Pages) Rev. 01/09/01(Ivory)(Pages) Rev. 01/16/01(2nd Blue)(Pages) Rev. 01/22/01(2ndPink)(Pages) Rev. 02/06/01(2nd Yellow)(Pages) Rev. 02/12/01(2"'Green)(Pages) Rev. 02/27/01(2nd Goldenrod) (Pages) Rev. 07/17/01(2nd Buff)(Pages) Rev. 07/20/01(2ndSalmon)(Pages) Rev. 07/26/01(2ndCheny)(Pages) Rev. 07/30/01(2n'Tan)(Pages)

K·PAX

Screenplay

By

Charles Leavitt

(Based on the novel "K-PAX" by Gene Brewer)

ShootingDraft White October24, 2000

New immigrant familiesstand in ticket lines nextto body-· pierced teens. Dozensof languages fly throughthe air, none of them English. Thisis the crossroads of theworld for the down and out, hard luckand New York on 5 dollarsa day crowd.

Witness to it all isa grey-bearded BLACKHOMELESS VETERAN who sits with his prostheticleg parked beside him.

A young, SWEDISHCOUPLEwith backpacks catch his eye.

) bundlespasses by)

Heyyy - JackieChan! Shanghai Noon! I take traveler'schecks. Yeah, arrigato toyou, too!

He pauses for a moment,with a curious expression, assomeone else catches his eye ...

A BEAM OF HAZY SUNLIGHTshines down through one of thehigh arched windows of the terminalbuilding •..

onto a MllN. or an apparition.

The VET squints, closely .••

as the FIGURE seems to emergefrom the sunlight. Dark, wraparound SUNGLASSESmark his placid face. He wearscorduroy pants, a faded denim shirt. And though he carriesno luggage, his cheap canvas shoes looklike they've got some mileson them.

We will come to know this "man"as PROT. For now, he just stands there, taking everythingin with the fascinationof a tourist, as the crowd bustlesaround him.

Suddenly - in front of the restrooms -

TWOYOUNG THUGSbump into a middle-agedRUSSIAN WOMAN. One wrenching her SUITCASE away -the other knocking her down.

As shescreams for help,they run off -

shovingpast PROT and intothe crowd. Prot watches themfor a moment ...as if unsurewhether to register angeror caution. Then, he turnsto the woman.

Sheis on the ground, dazedand sobbing, while everyonesteps quicklyaround her.

Protapproaches her. Thevet keeping a careful eyeon him.

Protstops, standing overthe woman. She looks up athis dark glasses,stocky shoulders,fearfully. But as he holdshis handout, and offers a smile ...her fear is strangelyallayed.

TheCRACKLE of WALKIE-TALKIESinterrupt, as two TRANSITCOPS hurry over.

1ST OFFICER Hold it rightthere!

TheOFFICERS neverthelessregard Prot with suspicion.

1ST OFFICER Step away fromher.

2ND OFFICER Ma'am, whathappened?

Thewoman struggles with limitedEnglish.

2ND OFFICER Who took yourbag and hit you? This man?

Thevet shakes his head at the cops,sorrily.

Rev. 11/15/00 (Goldenrod) 3....

1 CONTINUED: (2)

The 1st officerspeaks into his radio:

1ST OFFICER Four-eight,this is Romano. Robbery and assault victim with facial wound at West Forty-Second entrance. (then,to Prot) Sir, I'd like you to just stand right there, answer a couple of questions for me. Standard procedure.

The2nd officer carefully handcuffs Prot. Prot gives both officersa curioussmile, as if discerning a foreign custom.

1ST OFFICER Are you travelling somewhere?

1ST OFFICER Where's your luggage?

1ST OFFICER * Your bags. *

PROT * Idon't require luggage. *

The officer takesa good, hard look at Prot. His sunglasses, canvas low-tops,general appearance. Outside, an ambulance pulls up with awhoop. An M.T. enters the station, starts tending to thewoman.

1ST OFFICER (pressingProt) Do youhave a ticket? (offProt's look) * A train ticket. A ticket stub. *

PROT * I didn'tarrive by train. *

Rev. 11/15/00 (Goldenrod) 4.

1 CONTINUED: (3) l

1ST OFFICER Then, what are you doing in the train * station, sir?

PROT * It seems a likely place tobegin.

The officers glance at each other, this isbeginning to sound familiar.

VET * Name! Rank! Serial number! All you * got to give 'em, my man! *

1ST OFFICER Freddy, chill. * (back to Prot) * Would you remove your sunglasses for • me, please?

A wry understanding moves across both officers' faces.

1ST OFFICER I see ... (into his radio) West Forty-Two. We have an E.D.P.

2ND OFFICER (to Prot, politely) I'm going to ask you to come withus.

As Prot is led away, the VET straps on his leg andgets himself up. For some strange reason he feels an affinitywith Prot.

A2 EXT. GRAND CENTRAL STATION - DAY A2

As Prot is led outside. His dark glasses take in the noisy chaos of New York, with amazement.

The VET hobbles out the doors, as PROT is placed in a POLICE CAR. The 1st officer comes back over to the vet.

1ST OFFICER You see this fella come out of a gate?

Rev. 11/15/00 (Goldenrod) 4A*.

A2 CONTINUED: A2

The vet leans closer,with import, to the officer:

Rev. 07/20/01 (2nd Salmon) (ReplacementScenes) 5.

A2 CONTINUED: (2) A2

The officer considers the veta moment, smelling the alcohol on his breath.

1STOFFICER Yeah, Freddy. I know what you're saying.

B2 EXT. MANHATTAN - DAY -QUICK CUTS: B2

Steam. Metal sheet onroad clatters as POLICE CAR speeds over it ... pan down throughgrill over bridge of POLICE CAR speeding underneathus.

POV from insidepolice car of metal lattice work on bridge strobing past.

The reflection ofa skyscraper ... becomes a SYRINGE.

B2A EXT. MANHATTANPSYCHIATRIC INSTITUTE (MPI) - DAY B2A*

Establish hospital. Powell walks to entrance.

C2 INT. MANHATTANPSYCHIATRIC INSTITUTE (MPI) - DAY C2

LOOKING OUT THE WINDOWof DR. POWELL'S OFFICE onto the TRAFFIC on 112th andAmsterdam below. Horns honk, drivers cuss.

Superimpose: One Month Later

DR.MARK POWELL, who has been staring out his window,closes it,shutting out the noisy world.

ERNIE sits in a comfortable chair. Pale,nervous, he wears rubbergloves and speaks through a surgicalmask.

Rev. 07/20/01 (2ndSalmon) (Replacement Scenes) SA*.

POWELL,late--forties,takes his seat. He rolls agold Montblanc pen in his fingers as he listens toErnie covering his tedium with the studied patience of aman who's been at his job a long time. Perhaps, too long.

) 2 CONTINUED: 2

Ernie shakeshis head vehemently.

Powell's BEEPER goesoff, much to hi.srelief. He glances at the clock onthe wall, presses a buzzerby his chair.

Powell addressesthe fear on Ernie's facewith a rushed smile.

He barely waits forthe attendant, SIMMS,to come in and escort Ernie out,before speaking intoa hand held RECORDER:

Rev. 02/22/01 (2nd Goldenrod) 7.

As Powell gets his jacket from the coat rack. *

JOYCE TREXLER sits at her computer. Pictures ofher husband, * a policeman, and her grown children grace her desk. As well as a knit affirmation that reads: "There is a Restof Your Life." She keeps her eyes on her screen,·hervoice pleasant:

Joyce hands him a file. *

Mrs. Trexler just raises an eyebrow to him. After fifteen years as his secretary, she's used to the sarcasm.

Powell navigates through NURSES, SOCIAL WORKERS, POLICE transferring homeless psychotics...

Head Nurse BETTY MCALLISTER, an unflappable woman,blocks his path with a clipboard. Beside her, two ATTENDANTS holda disheveled SCREAMING MAN.

McAllister gives him a wry eye, as he signs the admitting * paper. Just as he's about to escape, she hands him a second * clipboard. *

Rev. 07/20/01 {2ndSalmon) {Replacement Scenes) 8.

Powelllooks at the clipboard. Reluctantly writesthe prescription. As yet another clipboard is slippedto him.

He hands her back her clipboard, leaves herwith a wink.

A5 EXT. MANHATTANPSYCHIATRIC INSTITUTE {MPI)- DAY AS*

Powell enters hospital. *

Powell releases a harried breath againstthe closed door -

then notices he shares the elevatorwith an ATTENDANT and a PATIENT. The patient, SAL, abig, puggish, middle-aged bald man gives Powell an evil eye.

As the attendant waits with Sal, Powellobliges him with a brief smile. As he exits, saying:

Rev. 11/28/00 (Salmon) 9*.

A6 INT.MANHATTANPSYCHIATRIC - HALLWAY A6

Powellmoves past a ONE-WAY GLASS. Sees Protin his room for observaton, apparently looking at himself in the glass. Somethingabout Prot -- perhaps simply his arresting appearance -- stops Powell. He stops to look at him. It is * as if Protis looking directly at him. *

Powell stopsa puzzled beat. Prot smiles.

CLOSE ON several X-RAYS and MRI SCANS of a CRANIUM as they're snapped intoplace by DR. CHAKRABORTY, the chief Clinical Physician. Harvard School has not dulled his affable Indian accent. He turns as Powell enters.

He looks over hisbifocals. *

CHAKRABORTY * He claimsto be ...nothuman. * {clarifying) , * A visitor fromanother planet. *

Powell sits on a stool,studying the new transfer's FILE. *

Rev. 11/28/00 (Salmon) 91\*.

Chakraborty looks over his bifocals, at Powell.

Powell takes in Chakraborty's look for a moment. Then, with a frown, looks back down at the FILE.

Then, baffled, Powell lifts up from the file ... a sheet of notebook paper, handwritten in pencil, of the most astounding alien-looking HIEROGLYPHICS.

Powell can't help let out a wry chuckle.

(

Rev. 02/22/01 (2ndGoldenrod) 10.

A7 HALLWAYNEAR POWELL'S OFFICE A7 *

Navarro and Simmsescort Prot to Powell's office. *

Powell speaks intohis RECORDER. The file in front of him.

His door BUZZES. Powellleaves the RECORDER running, gets up from his desk. He straightenshis tie, puts on a professional face.

Two attendants, NAVARROand Simms escort ... PROT ... into the room. He wears the same denimshirt, corduroy pants and canvas shoes as we saw him inbefore.

He smiles, from behind hisdark glasses, at Powell.

Navarro, a big, bearish PuertoRican, reassures Powell with a nod, and a bandaged thumb's up.

Powell, nevertheless, keeps a carefuleye on Prot, who remains standing ... as Navarro and Simmsexit, closing the door.

Powell motions to one of two CHAIRS.

As they both slowly sit, Powellprobes Prot's sunglasses.

Rev. 02/22/01 (2ndGoldenrod) l0A*.

Powellregards him a moment,surprised.

Protreaches for a bowl ofFRUIT on the desk besidethem.

Powellconsiders the request,a little wary.

Protpicks an APPLE, admiringit.

Powellwatches as Prot takesa bite with a rapturoussigh.

Powellstares, as Prot devoursthe apple, core and all.

Rev. 11/3/00 (Blue) 12.

From behind the dark wraparound glasses comesa celestial smile.

Powell contemplates the conviction with which thiswas just said. When Prot suddenly laughs:

Rev. 11/3/00 {Blue) 13.

7 CONTINUED: {3) 7

Prot pauses from eating, tryingto think of how to put it.

Powell watches ..• as Prot raises ahand so that his fingers touch the hazy SUNLIGHT filtering throughthe window blinds.

Powell tries to couch his puzzled amusementwith seriousness.

Prot looks at Powell, with an astute smile.

Powell stares back at him, at a complete loss.

Protwatches Powell jot downsomething with hisMontblanc pen.

Powellputs his pen down,even more amazed at the guttural clicksand sounds that justcame out of Prot'smouth.

Powellhas had just about enoughof this.

(

Rev. 12/07/00 (Cherry) 15-15B.

Prot regards Powell with a patient sigh.

STAY ON POWELL, as he feigns a look of understanding.

7A OMITTED 7A *

7AA OMITTED 7AA*

Rev.07/20/01 (2ndSalmon) (Replacement Scenes) 15C-D.

A8 OMITTED A8

A8A EXT. POWELL HOUSE - EVENING A8A*

Powellenters house. *

As Powell comes in, carrying a bottle ofwine. He leaves his briefcase in the front hallway.

The house is well-to-do, art on the walls,a grand piano facing a woodsy patio.

Powell's daughters, NATALIE, 6, and GABBY, 9,sit trancelike in front of their PlayStation on a giantTV screen.

Powell scratches their heads, in greeting...

Gabby nods, barely looking up. WhileNatalie presents her father with a grin, displaying a new gapin her teeth.

Rev. 07/17/01 (2ndBuff)(Replacement Scenes) 16.

R8 CONTINUED: RB

He leavesher with that, and a .littlesmile, heads on toward * the kitchen. Natalie, watching him go. *

RA9 INT. KITCHEN -CONTINUOUS RA9

Powell carriesthe wine into the kitchen. Where RACHEL POWELL * is busytaking the components of a reheated dinner from the * oven, andplacing it on the kitchen table which she has set * for two. She is a vibrant woman, and it's clear she has taken * pains withthe meal. *

RACHEL * Kids already ate. *

She stopsto kiss Powell. A deep, committed kiss. *

RACHEL * How was your day? *

POWELL * Train was late. *

He turnsto the counter, rolls up his sleeves, goes about * uncorkingthe wine. *

Rev. 07/17/01 (2ndBuff) (ReplacementScenes) 17.

RA9 CONTINUED: RA9

POWELL

Six-fifteendidn't leave the station

untilalmost six-thirty.

(pourstwo glasses,

remarking to himself,

with half amusement)

Should've caught the nearest beam of

light.

She finishestossing the salad, regards him, curiously.

RACHEL

You caught what?

POWELL

Never mind.

Heplaces a glass of wine in front of her, with a smile. He's

reallyfilled it to the top.

POWELL

How was your day?

Shewatches him gulp down half his glass of PinotBlanc and

turn his attention to the mail on the counter.

RACHEL

Well -·I sent in the deposit for the

house on the Cape for the last two

weeks of August - which works out

perfectly, since Gabby gets out of

camp on the fifteenth -

Powell regards her a moment, at a loss.

POWELL

Sent in a deposit? Damnit, Rache,

that wasn't a definite. We werejust

talking - I said maybe. Maybe some

time in August looked clear.

A dispirited look crosses her pretty eyes ...as he turns back

to the mail, finding the new Journal of Psychiatryin the

stack.

RACHEL

Maybe we should startpaying you for

your time. Do youhave afamily rate?

POWELL

Oh, look. They publishedmy letter.

RACHEL

I had a talk withNatalie about being

in the after schoolprogram next year,

in case I go backto teaching. (

Rev. 07/17/01 (2nd Buff)(ReplacementScenes) 17A/18*.

RA9 CONTINUED: (2) RA9

Powell stops flipping throughthe journal, turns to her. *

POWELL * Dental floss? What? * (then,realizing, * apologizing) * I'm sorry, honey- I wasn't listening. *

She just takes a sip ofwine. Hungry, having waited for him. *

RACHEL * I know. Comeon, let's eat. *

He sits down, brings thewine with him. Tries to make things * good again with a smile anda sigh. *

POWELL * Train was late. I'm tired. And to * top it off,the city's dumping * patients onus ... *

Rev. 07/17/01 (2ndBuff)(Replacement Scenes) 18A.

Powellturns off the water, sits on the tub's edge, sleeve wet. Natalie, in the bubble bath, gives him the silent treatment.

As Powelltries to get her to look at him, he thinks amoment, laughsto himself, adopting a mock seriousness:

Natalie finally meets his eyes, witha bewildered kid'sbrow.

CLOSE ON HOWIE, 30 years old, unkempthair, thick wire-rim glasses covered with grime. He readsa dog-·earedvolume of the Time/Life Nature Library, eyesracing across the pages. Ernie sits with him at the same table.

About him, in the large DAY ROOM, wesee the other charges of the ward. BESS, a skinny, dread-lockedblack woman with the saddest face, sits in front ofthe TV, watching a snowboarding segment. Russell iswalking around with his bible. Sal sits alone coloring.

Rev. 02/06/01 {2nd Yellow) 18B.

Prot sits by himself, jottingnotes into a GREEN NOTEBOOK. *

ERNIE * Howie, I think youshould talk to him. * Go on -- Go on. *

Howie, who has been stealingglances at Prot, slides over to * Prot and brings him the pencilsharpener. Prot looks at it * and uses it to sharpen his pencil. *

Rev. 02/06/01 (2ndYellow) 19.

Prot turns his dark glasses to the ceiling, but really beyond it, then back to Howie, with a discerning smile.

Howie presses him further. *

PROT * Well K-PAX is somewhat bigger than your planet.. It is ... a beautiful world, as is Earth of course, with its infinite color and variety of life * and we are circled by seven purple * moons.

Sal, nearby, overhearing, comments to himself as he walks to * art room. *

SAL * Bullshit. Bull bull bull shit. *

Ernie mutters the word "K-PAX" to himself, and again, trying * it on for size. *

Howie's thick glasses remain intent on Prot. *

HOWIE * Go on. Please go on. *

Prot regards Howie's expectant face, obliging. *

PROT * Well ...K-PAX is especially lovely * when K-MON and K-RIL are in * conjunction. Those are our two suns, * what you call AGAPE and SATORI - *

Sal, with a laugh of derision, to himself: *

SAL * Man, whatever they got you on -- I * want a dose. *

HOWIE * (repeatingto himself, as * if storing the * information) * Agape. Satori. Two suns. *

Rev. 02/06/01 (2ndYellow) 20.

Sal, still painting,makes a face at Protas Prot heads to *

SAL * ObiwanLoonobie. *

Russell, who hasbeen "preaching" as he paces. *

Prot brings abook about astronomy to Howie. *

Russellpauses fromhis babbling, looks toward Prot. *

Prot gives Howiebook. *

Howie, ignoring Sal,intent on Prot, points to the alien * hieroglyphics. *

HOWIE * What's that? What language is that? * K-PAX? *

PROT * K-PAXian,yes. *

SAL * Gotta knowevery little thing, don't * you? Stink! Stink! STINK! *

Now Ernie joins in. *

10 CONTINUED: (.3) 10

Howie suddenlybolts for a BOOKSHELF. Flinging aside a World Atlas, he grabsan old Time/Life.Bookof S~ace, and starts rifling throughit. Repeating "Agape• • •al:ori...n

Now, Ernie,who has been sitting fearfullyon the far side of his bench,slides closer to Prot.

His calmvoice gets their attention.

Sal andErnie look at Prot, then eachother. Suddenly feeling strangelyashamed.

(

Rev. 02/06/01 (2nd Yellow) 21.

Prot smiles at Ernie, seeing his fear. *

Sal looks at the book. Prot gets up, walksover to put it * back in the bookshelf. But stops by Sal. *

His calm voice has made Sal's demeanor change. Suddenly, Sal * is feeling strangely ashamed. *

Prot goes to the TV room and watches Bess lookingat TV. *

Prot then sits in a chair outside the room andwrites in his * green book. *

Rev. 12/07/00 (Cherry) 22.

Powell wears a mild frown, judging Prot through theWINDOW. As Nurse McAllister prepares her morningMEDICATION CART.

Powell gives her a ridiculous look.

Al3 INT. CONFERENCE ROOM- DAY A13*

DR. CLAUDIAVILLERS, Director of the Hospital, chairs a * meeting of the senior staff, including Powell, Betty * McAllister, Chakraborty and DR. WALTERFLEEN, as well as * several RESIDENTS. *

POWELL * ...It just seems glib to call him a * psychotic. That's a wastebasket * diagnosis. *

FLEEN * He thinks he comes from outer space. * W.hatdo you think's wrong with him -- * jet lag? *

POWELL * How come he didn't respond to the * Haldol? *

VILLERS * Haldol can make you more psychotic. * It's rare, but it happens. *

FLEEN * I'd say try him on a newer, better * agent. *

Rev. 12/07/00 {Cherry) 23*.

A13 CONTINUED: A13

POWELL * They've already tried Risperidal. *

POWELL * We don't even have a history on him. * Look, I'm not saying that medication * can't be a useful tool to help someone * like this, but -- *

FLEEN * He might be a good subject for the * betazine protocol. The drug is in a * clinical trial here *

POWELL * You want to experiment on him before * we have a diagnosis.. *

FLEEN * You have some better idea? *

POWELL * He's not a danger to anyone. How * about getting to know him first? *

FLEEN * You know, Mark, I think on some level * it pisses you off that it's become so * easy to actually help people. *

VILLERS * The clinical trial requires consent, * which means locating the patient's * family. * (gesturesto files) * How are we going to reach his family, * Mark -- the Hubble telescope? In the * meantime, we have ten new transfers to * takecare of this morning. *

As everyone turnsto a new file, Villers shoots Powell a look. * As she turns toher file, Powell looks at her. *

POWELL * You know,Claudia, maybe what's wrong * with him is that he is. *

VILLERS * Iswhat? *

POWELL * Fromthe planet K-PAX. *

Rev. 02/22/01 (2nd Goldenrod) 24.

A13 CONTINUED: (2) A13

Villers looks at Powell. The sly look in Powell'seyes betrays him. Villers laughs. Everyone laughs. Then Powell joins in.

B13 EXT. MANHATTAN PSYCHIATRIC - PARKING LOT -EVENING B13

(PREVIOUSLYSHOT AS SCENE 7AA)

Grey, brick institution behind wrought iron gates. Powell * follows Villers to her car.

POWELL * Come on, Claudia. We don't even know * what meds to feed him. He's not * textbook amnesia, he's not textbook * delusional - he's not textbook * anything. *

VILLERS * I read the police report on him, * E.D.P., possibly violent. *

POWELL * Oh, so now the police have credentials? *

VILLERS * I'm just being an administrator. I * like it when things run smoothly, * especially my hospital. I sleep * better at night. *

She gets into her car. Then looks back up at him. Lets out * a breath. *

VILLERS * He better not be a problem. You watch * him. *

Powell smiles at her, shows his thumbs. *

POWELL * Don't worry. So far the only thing * he's bitten into is an apple. *

CUT TO: *

(

Rev. 02/22/01 (2ndGoldenrod) 25.

Cl3 INT./EXT.THE 6:15 METRO NORTH - EVENING C13

(PREVIOUSLYSHOT AS SC. AB) *

Powell, clutchinghis bottle of WINE in its paper bag, sits with theother COMMUTERS. Talking on CELL PHONES or absorbed with their PALM PILOTS ...Nobodyacknowledginganother's existence...

Rev. 02/06/01 (2ndYellow) A25-A*.

Cl3 CONTINUED: Cl3

Powell looksout the train window •.. Cars clogging the * Bruckner Expressway ...Boarded-up high-rises in the Bronx * Graffiti ... Giantlips on a dot-com billboard. *

Powell looks atthe GIRL beside him -- a sexy girl in her * twenties, boppiingto the loud music on her WALKMAN as she * gazes out thewindow. *

The girl can't hearhim ...An elderly WOMAN sitting behind * Powell leans forwardto eavesdrop ... *

Then Powell says out loud: *

POWELL * But I'd doit. Let's do it! * (beat) * Just to feel...something. *

The girl turns. Looksat Powell. Lifts off her headphones. *

GIRL * What? *

POWELL * Nothing. *

CUT TO: *

A14 OMITTED A14 AND AND

Rev. 11/12/00 (Yellow) 25B*.

A15 CONTINUED: Al5

(

A15 CONTINUED: A15

) very bad smell. The moment of climax

is like being kickedin the stomach and falling intoa pool of mot shit.

Powellcan't believe he's goingalong with this.

Prot laughs. Then, as Powellwatches, incredulous, Prot pulls a penciland a little RED NOTEBOOKfrom his shirt pocket and startsjotting a note of his own.

Rev. 01/09/01 (Ivory) 27.

Al5 CONTINUED: (2) Al5

Powell just sits there •.•puts his own pen down.

WE FOLLOW PROT, as hemoves cheerfullythrough the ward. He greets Nurse McAllister,who isreadying her medication cart.

He moves on, greeting Navarro,who is escorting a BABBLING MAN.

Navarro gives him a cautious look.

Prat continues down thehallway, passing Maria, who wears a red dress today, her hair teasedup.

Prot takes his notebook out,makes a curious note of this. Then heads into the DAY ROOMwhere Bess sits, with her blank * expression, in front of the TV. *

PROT * Good morning, Bess! *

Rev. 07/17/01 (2nd Buff)(ReplacementScenes) 27A.

Bess remains staring atthe TV. Prot waits, expecting her to * reply. When she doesn't,he is not sure what to do. *

ERNIE * She nevertalks to anybody. Afraid * smoke'll comeout of her mouth. Been * here sinceshe was a little girl. * (eyesBess) * Shouldn'tplay with matches. Very * dangerous. *

HOWIE * (admonishingErnie) * It was anelectrical fire. Don't make * up stories. *

Prot's dark glasses lingeron Bess...as she remains oblivious. * He gives her a polite smile,and continues on. *

Rev. 01/22/01 (2ndPink) 28.

A HAND appears from the room, takes the cake, flings it at Simms.

Simms, wiping frostingfrom his face, sees Prot.

As Simms walk off,Prot, intrigued, moves closer to the room.

MRS. ARCHER, a onceglamorous society belle, sits at a table next to herbed. She wears a bathrobe and sips tea from a plastic cup, as ifit were fine china. With impatience, she rings a little silverbell.

Just as Prot peeksin her doorway.

Mrs. Archer stares at him,his dark glasses, his smile.

In a state, she checks herselfin a silver compact, adding some blush to her cheeks. *

Rev. 01/22/01 (2ndPink) 29.

PROT * You have set a place for two ... *

Mrs. Archer looksback at her table straightening it, a little * defensive. *

MRS. ARCHER * I'mexpecting someone. *

Prot regardsher, strangely, looks around again, curious brow. *

PROT * Haveyou been waiting a long time? *

Mrs.Archer remainsstaring at him. Then clears her throat, * politely. Hidinga vulnerable hitch in her voice. *

MRS. ARCHER * Elevenyears. * (then,head high again) * Some "·-aroundhere -- might call that * crazy. Iprefer ...tocall it romantic. *

PROT * Romantic... *

MRS. ARCHER * (seeshis expression of * unfamiliarity) * Likea waltz in the moonlight? A * candlelightdinner? A sunset? *

Prot smiles. *

PROT * Ah, yes. On K-PAX, we have two suns. * They rise togetheronly once every two * hundred years. * (as if farawaya moment) * Now that isa sight ... *

An enchanted smile cracksacross Mrs. Archer's makeup. She * pours him some tea in aplastic cup. *

MRS.ARCHER * Won't you ...won'tyousit down? *

Chakraborty, a strange look on his face,hands Prot's EYE CHART to Powell.

Rev. 01/22/01 (2nd Pink) 29A*.

Powell takes a disagreeably stiff sip ofc6ffee, puts it down, taking the chart. Trying to decipher it.

Rev. 02/22/01 (2nd Goldenrod) 30.

Powell looks at Chakrabortywith some confusion. He peers at Chakraborty, hoping for some kindof explanation from him. Chakraborty hesitates:

Powell, utterly bewildered,looks at Prot's eye CHART in his hand. He tries to think. He squints up - at the lights in Chak's office. It's brightin here.

A18 HALLWAYNEAR POWELL'S OFFICE Al8*

Powell walks down hallwaytoward his office. Worker opening

"mushroom lights" fromboxes in hall.

Powell, with an intentlook, unscrews a light bulb from a lamp, replacing itwith a dim NIGHT LIGHT BULB. He goes to his other lamp,does the same. Then he closes his window blinds. He looksaround, satisfied. The room is dark ... like twilight.

Mrs. Trexlerwatches him, strangely, as she files in the OUTER OFFICE. Shedoes not see Navarro leave Prat off at the door, behind her. Pratwalks in, unescorted.

Rev. 01/09/01 (Ivory) 31.

Mrs. Trexler whirls around, startled. After a moment,she allows herself to glance down at her frumpy sweater,skirt, Dr. Scholl's shoes.

Powell comes out of his office, puts on a friendly face.

He exchanges a glance with Trexler, leading Prot intohis office, closing the door.

She stands there a moment, then fixes her sweater.

Prot stands there, surprised at first by the dark lightingi.n the room. Then ... with a wide, pleasant sigh ••.

As Powell observes him, intently

Prot reaches up and slowly removes his GLASSES.

Powell peers, for the first time ... at Prot's EYES.

They shine in the dim light, very much human - yet - verymuch like some nocturnal animal. He plucks a papaya from the f~uit basket and takes a bite, sitting down, comfortably.

As Powell remains staring ... Prot takes out his red notebook. *

PROT * I wonder i.fwe might begin by my * asking you a question. *

POWELL * Please. *

PROT * Bess. She does not speak. Why is * that? *

Rev. 01/09/01 (Ivory) 32.

Powell takes a moment, interestedby the question. Interested * that Prat would ask it. Prat tiltshis head, curiously, as if * trying to understand. Powell decides to staywith this, * sensing he may be onto something •.. *

POWELL * You see, on our planet ••• sometimes * things happen to people and they just * shut down. But enough aboutBess ..• *

Prat sits there a moment. He thinks about jottingsomething * down in his notebook. But then, just closes it,tucks itaway. *

Powell moves over to his window, peeksout theblinds at the * snarl of traffic on Amsterdam Avenue,people hustling here and * there. He brings an eye back to Prat. *

PROT * What would you like to know? *

Powell gi.veshim a ridiculous look. *

POWELL * I' Not as often as I'd like. *

Rev. 01/09/01 (Ivory) 32A*.

PROT * Do you find it unpleasant? *

POWELL * (finding this evenmore * ridiculous) * Sometimes. *

PROT * Do you get someone to do it for you? ·*

POWELL * I would if I could. *

PROT * But you don't, and you don't think * twice about it. You just do it. And * it does have its rewards, right? *

Powell resists the temptation to laugh. *

POWELL * Okay, look, let's move on. Do you * have family on K-PAX? *

Rev. 01/09/01 (Ivory) 33.

Prot finishes the papaya, licks his fingers. SensingPowell * is up to something. *

Prot releases a tedious breath, as if not carip.gfor the direction of this conversation.

(

Rev. 11/28/00 (Salmon) 34.

Rev. 01/09/01 (Ivory) .35*.

PROT * Let me tell you something,Marko. * Most humans subscribe to thepolicy of * "an eye for an eye," "a life for a * life." Most of your religions are * famous for this formula, known * throughout the Universe for its * stupidity. Your Christ and your * Buddha had a different vision, but * nobody paid any attention to them, not * even the Christians and Buddhists. * So, no. On K-PAX beings do not kill * other beings, but if they did there'd * be no punishment. Apparantly this is * impossible for Earth beings to * understand, but it's the secret of * life, believe me. *

POWELL * No crime, brutality, violence on K-PAX? *

Powell remains staringat Prot •.• feelingthe thread of • reality slipping awayagain •••

CHICKEN, HOT DOGSAND CORNSIZZLING ON AN OUTDOOR GRILL.

A swing hangs froma giant spruce. Natalie and Gabby are being chased by theircousin, JOSH, 10,arO\md the big yard.

Powell, lost in thought,watches over thegrill. As Rachel comes up, snaps herfingers in front ofhis face, playfully. Then gives him a kiss.

Powell just givesher a frustrating smile,and puts the corn on a platter, handingit to her.

Powell knocks backhis glass of wine, leavesit by the grill. And follows her acrossthe yard, with a secondplatter heaped with hot dogs and chicken-

almost tripping overSHASTA, a golden retriever,who is being chasedunder the backporch.

He sets the platterdown on a PATIO TABLE -at which sit his sister ABBY, late-thirties,and her husband,STEVE, a burly, bearded fellow.

Napkins are opened, andhungry "Ooohs" evoked. The kids join them at the table. As theyall sit down andstart eating, Abby and Rachel eye eachother, before Abby addressesher brother.

Rachelgives him a mischievouslittle smile back.

Steve wipes corn offhis mouth, his voice a friendlyTennessee drawl.

Powell meets Abby's eyes. There is tension betweenbrother andsister.

) him a cardwith a nice, big check. As

usual.

Abby exchanges a glancewith Rachel, who stays outof it. Abby looks back at herbrother, lets a beat pass,can't help herself:

Powell catches a look fromhis two young daughters.

(

Rev. 11/3/00 (Blue) 38.

Abby says no more. And Powell does not giveher the satisfaction of taking this any further. They continue eating. After a moment, Powell turns to Steve, thoughtfully.

The KIDS laugh, repeating the funny name several times.

As theyall laugh, Powellremains mildly serious.

Rachel,Abby, Steve, and thekids stare at him.

Powellviews them, with anembarrassed laugh.

Powelljust gives his sistera tired look.

Stevescratches his bushybeard.

As Powell hurries down thehallway with Nurse McAllister.

Theyget to the ONE-WAY MIRROR, lookinto the DAY ROOM, tosee

HOWIE, just sitting calmly, gazingout a window.

(

Rev. 02/06/01 (2ndYellow) 40.

Powell staresat the peaceful Howie, in utter amazement.

As Powell enters. Slowly approaching Howie, he notices that Howie's glassesare, for the first time, clean. And through them,Howie remainsgazing, with fixed purpose, out the window.

Powell leansdown to squint out the window with him.

Powell's expressionchanges.

Howie nods, his eyesnot leaving the gardens and brick walls of the gated hospitalgrounds outside.

HOWIE

•

It'sa task, the first of three. I don'tknow what the othertwo are, yet. He'll tell me. (smiles,proudly) If Icomplete all three, I'llbe cured.

Powell's look tightens.

Shrubs and flowersline the high, oldbrick walls. A fountain bubbles. Attendantsslowly walk patientsalong the paths.

Ernie stands undera tree, taking deepbreaths. As Prot coaches him, reassuringly.

Ernie, breathing,manages a nervous smile- then spies Powell marching across thegrass toward them.

Prot turns, curiously,as Powell marchesup.

Ernie looks from Protto Powell. Then, fearfully,up at the sky. He scramblesbackwards across the lawn,up the veranda steps, and into therefuge of the hospital.

While Powell viewsProt with an aggravatedbreath.

Prot regards Powell,baffled at his angry tone.

42 •

PROT (CONT'D)

•

(witha smile) For your information- every being has the capability to curethemselves. This is something we haveknown on K-PAX for millionsof years.

As Powell staresat Prot, fishing fora reply -

Prot carefullytakes out several foldedNOTEBOOK PAGES, hands them to him.

Powell, leftwith nothing to say, justtakes the pages.

Steve scratcheshis beard, mystified,as he looks over Prot's NOTEBOOK PAGES. Behind him, we seea giant telescope and a vast ar:cayofdigital instruments andcomputers. He speaks on the phone:

Powell leansback in his chair, with aconfident smile.

Rev. 11/3/00 {Blue) 43.

Steve's expressionsays otherwise, as he examines Prot•s neat HANDWRITING onthe pages spread out before him.

Powell straightensup in his chair, skeptical, phone to ear.

He looks aroundthe observatory, lowering his voice into the phone, with ashrewd smile:

STAY ON POWELL - ashe holds the phone. He attempts a little laugh, unwilling tobelieve what he's hearing, then glances into the outer officeat Mrs. Trexler, who looks up from her work at him, oddly.

Rev. 11/28/00 (Salmon) 44.

Steve shakes his head, laughs.

Powell scribbles on a pad, stymied,as he listens over headphones to a CASSETTE RECORDER. He ejects a tape, puts i.n another. We see that i.tis labelledPrat - Session 7.

Thick MEDICAL VOLUMES lay openaround him ...Psychodenic and Retrograde Amnesia, Amnesia/HistoricalCase Book, an the bible of clinical psychiatry - theDSM, Diagnostic and Statistical Manual of Mental Disorders. Powell £lips through the DSM. Pausing a moment at the chapter on Post- Traumatic Stress Disorder. He runshis finger over the CASE HISTORIES ...

THE PIANO DRIFTS IN from the doorway. He rubs his temple, distracted by it. He gets up.

Rachel and Natalie sit at the piano. Natalie tenuously plunking out London Bridge is FallingDown, while Rachel, with a teacher's patience, guides her along.

They both glance up, seeing the studydoor shut. Rachel's eyes stay on it for a thoughtfulmoment ...

Powell sits back down. Puts his headphonesback on. Finally, he just punches the tape machine off,rips his headphones off. Closes all the big books. In utter frustration. *

Then, his eye catches - the TELESCOPE standingby his picture window. He stares at it. And from theTELESCOPE

Rev. 11/3/00 (Blue) 45 *.

A35 INT. TAXICAB - NIGHT A35*

C.U. ON the back ofthe TAXI DRIVER'S HEAD ...

IN THE REAR VIEWMIRROR - WE SEE PROT, flanked by Chakraborty and Navarro.

Powell is in the frontseat.

As the TAXICAB drivesup, dwarfed by the six-story SPHERE. A gleaming wonderof glass and metal that faces Central Park.

A37 INT. HAYDEN SPACE CENTER -CONTINUOUS A37*

As they enter. The place is empty. The visitors have long * departed. A giant mobile of the solar system hangs four * stories high. There are meteorites, and displays of space * exploration andgiant, backlit PHOTOS from the Hubble ··- * GALAXIES,NEBULAS, the now-famous GAS PILLARS at the edge of * the knownuniverse. *

Nav~rro, amazed,never having seen anything like this himself, * gives Prota sly, little look.

NAVARRO * This your neighborhood, huh? *

Prot takesit all in ... with a laugh of both wonder and * familiarity.

Powell,a little anxious, shakes hands with the three astronomersSteve has brought. DUNCANFLYNN, distinguished, white-haired,with a pipe - and two others, DAVID PATEL and STUART HESSLER. They wear the intense eyes of men who have spenttheir lives looking to the heavens.

Rev. 11/3/00 (Blue) 45A*.

As Prot enters throughthe double doors, with Navarro and Chakraborty.

We are in a HUGE,DOMEDROOM. Empty stadium seats all around. A formidable camera/computerprojector rises from the center of the floor.

Navarro, amazed, hasnever seen anything like this himself. * He takes a seatby the doors, with Chakraborty. *

Rev. 11/3/00 (Blue) 4 6*.

Letting Pratwalk slowly ... toward a semi-circular conference tablehooked up with two state-of-the-art FLAT-SCREENMONITORS * atwhich sit Steve, Flynn, Patel and Hessler. *

Themen stare at Prat, not really knowing what to expect.

Powellquietly takes a seat by Chakraborty and Navarro. He catchesSteve's eye, gives him a little nod.

Protlooks around, takes the chair in the center of the room by theprojector, facing them.

Steve laughs, looks at his colleagues. He likes this guy.

Flynnmotions to Steve, who walks over to the planetarium * consoleand presses a button. The lights go dim. And on the * DOME abovethem all is projected ... an astonishing SPLASH OF STARS. It fills our senses, as if we are actually there.

Chakrabortyand Navarro lean back in their chairs. Navarro's eyesnow as wide as his mouth, as he utters:

Powelllooks from the stars to Prot ...

As Prottakes his glasses off ... gazing up - and around - at the IMAGE ...with a wide, breathless smile ••. and a laugh, ofboth wonder and familiarity.

Flynn clearshis throat, trying as hard as he can to treat Prat seriously.

Flynnattempts an awkward.littlelaugh, looks atthe others.

By thedoors, Navarro, amused,repeats "make sureyou can swim"to Powell and Chakraborty,in case they didn'tget it.

Thescientists give each otherdubious glances.

Theyrespond to this with tentati.velaughter. Stevetakes over,being friendly.

Powell'sexpression becomesuncertain. He catches awary sidelongglance from Chakraborty.

He sitsthere with a wide grin.

Rev. 11/8/00 (Pink) 48.

St.eveviewshim with uncertainty.

The scientistscan't help let out a couple of belly laughs. Steve regards Prot,shrewdly.

More laughter.

Powellhas to smile, a bit sadly, as he regards Prot, seeing what a farcethis is becoming.

When Flynn attempts to be.serious again, perusing Prot's notebook PAGES in frontof him.

At the planetarium console, Steve presses another button - and a huge INSERT OF A MAGNIFIEDSTAR SYSTEMAPPEARS projected against thedome of stars.

CONTINUED (

Rev. 11/3/00 (Blue) 4 9.

38 CONTINUED: (4)

He gets up, goes over tothe lightpad, picks up the stylus

there. Unsure, he looksback at the scientists. They nod, Prot makes a mark on the lightpadover the projector. He

looks up. It appears asa scribbleacross the STAR SYSTEM. He shakes his head, erasesit, then starts again, animated, looking up to the starswith every mark he makes.

The scientists lean backin their chairs with bafflingly amused expressions.

But as Prot's scribblestake shape up ABOVE THEM ... their expressions begin to change ..•

For there ... projectedover the STARS ... emerges a cogent, detailed DIAGRAM of whatlooks like a 4-PLANET SOLAR SYSTEM * around the two brighteststars. Complete with a grid of

ANGLES and FORMULAS of relativedistances.

Prot looks up, puts downthe stylus, satisfied.

Flynn, slowly, takes thepipe out of his mouth.

Steve has the PrincetonObservatory database on line. As multiple STAR CHARTS andtheoretical CHARTS appear on his MONITOR, he hurriedly inputsProt's information from the DOME. *

Powell looks from Prot'sdiagram to the scientists, confused.

Flynn, Patel and Hesslerget up from their chairs to crowd around Steve's laptop.

The scientists watch,agog, as the monitor displays an exact * replica of Prot's solarsystem. *

Prot observesthem, with a knowingchuckle.

For a longbeat, the scientistsjust stare at Prat, speechless.

Flynn and hiscolleagues look at eachother, stupidly•

Prat sits waitingi.nthe TAXI withNavarro and Chakraborty.

Powell and Stevestand on the sidewalk.

Steve, with alook toward the taxi, confidesto Powell:

Powell just stares,maddeningly, at hisbrother-in-law.

f

Rev. 11/20/00 (Buff) 51.

Powell sits in the dark. With an emptyScotch glass. Gazing up, troublingly, at the sparse Connecticutstars. Prot's planetarium DIAGRAM rests in his lap.

He turns, to gaze at his wife through theglass doors ...

She sits playing the piano very softly,as the kids are long asleep. He admires her back, her lithebeauty, the way she tucks a strand of hair back and turns themusic page.

He gets up, comes into the ..-

A42 INT. HOUSE - CONTINUOUS - NIGHT A42

Rachel hears the patio door slide open, turns. They regard each other for a beat. *

RACHEL * It's okay. *

POWELL * Please. *

RACHEL * There's a key stuck. *

POWELL * We'll have to get that fixed. *

He sits beside her on the bench. She shows him ... *

POWELL * That's probably an important one, huh. *

RACHEL * My old teacher -- I've told you about * her -- *

POWELL * Hilda. *

RACHEL * Right. *

Powell smiles. *

Rev. 11/20/00 (Buff) 52*.

A42 CONTINUED: A42

POWELL * Hilda fromthe City Opera. With the * yellowteeth and the cat with the * stomachtrouble. Who would fart in * four/fourtime. *

Rachel laughs. Powelllaughs.

RACHEL * Yes. *

POWELL * Withhis tail going. Like a metronome. *

RACHEL * Shutup. She was a very good teacher. *

POWELL * As long as you like cats. *

Their laughtersubsides. Rachel looks away from Powell for an * introspectivebeat. Then turns to him. *

RACHEL * Sheused to tell me, don't play the * notes. *

POWELL * Don'tplay the notes? *

RACHEL * Yeah. If you just play the notes, * you'll miss it. *

They lookat each other. On Powell, *

CUT TO: *

Rev. 11/28/00 (Salmon) 52A.

CLOSE ON HOWIE. Seated at his post by thewindow. His eyes * suddenly widen. And a smile of immeasurablejoy spreads * across his face. *

HOWIE * Bluebird... *

Erhie and Sal look up from a checker game. Russell stops * muttering a Bible passage. Only Bess remainsdisinterested, * in front of the TV. *

As Howie jumps out of his chair *

HOWIE * Bluebird!! *

He starts running from window to window -- jumpingover * tables, knocking over chairs. *

HOWIE * Bluebird! Bluebird! *

AT THE NURSE'S STATION - McAllister spots him from theone-way * glass. She hastens into the DAY ROOM. *

MCALLISTER * Howie? *

window. Where she looks out, surprised. *

MCALLISTER * Oh, my •.. *

He bounds out of the day room -- and down the CORRIDOR *

Shouting from ROOM to ROOM at the top of his lungs: .*

HOWIE * Bluebird! Bluebird! *

Patients peek out of doorways with wide eyes and medicated * smiles. *

BACK IN THE DAY ROOM - Ernie turns fearfully to Sal. *

ERNIE * Do -- do bluebirds bite? *

SAL * No, they don't bike, stinkhead! *

BACK DOWNTHE HALLWAY *

Howie, like a barefoot dervish twirls up onto a windowsill. * He puts his face to the BARS shouting out, freely, * euphoric, with all his might -- as sunlight kisses his face: *

Rev. 11/28/00 (Salmon) 52B*.

HOWIE * BLUEBIRRRRRRRD!! *

Rev. 11/20/00 (Buff) 53.

MOVING UP - fromHowie's shouting face, and WIDENING - to take in the other WARDS onthe floors above. As pale FACES, some with shaved heads andhollow eyes come to the WINDOWS, looking out with suspicion andwonder ...

Navarro and Simms stepoff the elevator - into pandemonium.

Patients running outof rooms, up and down the corridors, some half naked, shouting "Bluebird! Bluebird!"

Navarro whips the walkie-talkieout of his belt, speaks quickly into it:

• Powell barrelsthrough two SWINGINGDOORSand runs down the CORRIDOR,Chakraborty and theoverweight Fleen tryingto keep up withhim. They hear CHANTINGcoming from down thehall .•.

We FOLLOWTHEMinto the DAYROOM -

where theentire ward has eruptedinto an ecstatic chorusof "BLUEBIRD, BLUEBIRD, BLUEBIRD!"Patients are crowdedaround the windows,jumping up anddown, some standing ontables to get abetter look.

Fleen looksshaken.

Powelleyes him, ridiculously. Nevertheless, tryingto catch sightof somebody, anybody,in charge.

McAllisterturns from thewindow. She knows it'ssilly, but shewipes a tear and smiles,pointing out.

Powellregards her bafflingly- when Howie suddenlygrabs him by the arm.

Disinclined, Powell letshimself be led to theWINDOW -

to see, indeed - a beautiful,common BLUE JAY.

Itflits, majestically, fromtree to tree, chirpingand pecking. Finally settlingon a branch.

As Powell gazes upon it, inprofound astonishment- Villers now wends her way throughthe commotion.

She gives him a nonsensicallook.

Rev. 11/28/00 (Salmon) 55.

Powell opens his mouth to say somethingmore. But instead, looks from the window - around, slowly- witnessing the unbounded hope and excitement on everypatient's FACE.

He turns ... catching sight Of Prot,who stands observing from the day room doorway. Their eyes lockfor a moment.

Prot smiles at him.

And then ... Powell, to his absolute amazement,sees Mrs. Archer come into the day room! She looksaround at the commotion with wide eyes, and the smile ofa little girl. Taking hold of Prot's arm .•.

Then Ernie approaches Powell. *

ERNIE * Doctor Powell, can we go outsideand * look at it? *

Powell takes a beat. *

POWELL * You want to go outside, Ernie? *

ERNIE * To look at it. *

POWELL * Okay. Let's go outside. *

Powell puts his arm around Ernie. As theyhead outside, he * and Prot exchange a last look. On Prot, *

CUT TO: *

STAYING ON POWELL, as he stands with all the otherCOMMUTERS on the Metro North PLATFORM, waiting for the 6:15 to Connecticut. Across the tracks on another platform,he watches a FATHER kid around with a young SON.

They are obviously on their way to a ball game,both wearing Mets caps. The father with a food cooler, theboy with a mit.

Rev. 11/28/00 (Salmon) 55A*.

A fleeting, wistful look crosses Powell'seyes, as he watches father and son board a train. Prot'sWORDS filling his head:

Powell opens his briefcase, takeshis CELL PHONE from its pocket. He ponders it. Then fumblesthrough his wallet for a phone number.

(

Rev. 02/06/01 (2nd Yellow) 56.

With indecision, he dials the number. Gets an annoyingNO SERVICE BEEP. He moves back, up the crowded stairs. Tries again. Hand over his ear.

Has the look of being just moved into. Milk crate furniture, an electric guitar and amp, bicycle hanging up on the wall. A 21-YEAR OLD with a still boyish face looks up from the TV - as the phone rings.

He puts down his McDonalds dinner. His hair is cropped short, bleached. His eyebrow is pierced. The phone rings again. He gets up, walks over to it, answers it.

Powellcalls on pay phone at Grand Central Station. *

MICHAEL * Hello. *

POWELL * Michael. Happy birthday. I forgot to * call. *

MICHAEL * Dad? Hey, how you doing? *

POWELL * Good -- you? *

MICHAEL * All right. *

POWELL * That's good. How's your mother? *

Rev. 02/06/01 (2ndYellow) 56A-C*

MICHAEL * Fine. I saw her 'bout a week ago. * She asked about you. *

POWELL * Did she? Tell her I said hi. Listen, * my train's about to leave. I * just ...wantedto say happy birthday. *

MICHAEL * Okay. Take care. Thanks for calling. *

POWELL * Okay. You too. *

MICHAEL * All right. 'Bye, Dad. *

CUT TO: *

AND AND

Rev. 11/14/00 (Green) 57.

A narrow bed and a small metal table are theonly fixtures. Prot sits at the TABLE in front of his grilledWINDOW,his glasses resting beside him. He .looksup ...to a few STARS twinkling through the grill.

PROT'S POV. The stars visibly move acrossthe cloudy heavens.

Their faraway light fills his face. He closeshis eyes, concentrating ...

and starts drawing DOTS, fast and furious,on the blank SHEET OF PAPER in front if him.

IN THE HALLWAY - Bess, roaming the halls, stops. In front of Prot's door. Through its small window ... shewatches him. Her eyes silent, piercing.

IN HIS ROOM - Prot stops drawing for amoment, as if sensing her presence. Without turning around, he offersBess a smile.

IN THE HALLWAY - Bess keeps staring at him. She doesn't smile. But there is an intent belief in herquiet voice.

As Protwalks down the hallway. Maria stands there ina white nurse'scap and gloves. He greetsher with palpable good cheer.

Protwalks on, pointing a fingerat Navarro, who pointsa fingerback at him.

A furtiveSal gets his attention,with a "Pssst." Curious, Protcomes over. Sal glancesup and down the hallwayto make sureno one's watching,motions Prot into the ART ROOM.

A54 INT .ART ROOM- CONTINUOUS A54

Patientartwork is all overthe walls. Sal draws Protcloser, keepshis voice low.

Sal picks up a brush,pretends to paint just to lookbusy - as he makes his voice even lower,eyes searching forany prying ears.

A54 CONTINUED: A54

Sal pullshim closer, expressionchanging, nose scrunching-

He looksright into Prot's darkglasses, with a senseof close camaraderie.

As Sal'slip trembles, Prot's own expressionchanges, asif dwellingon Sal's plight. Then,his voice soothing:

Sal viewsProt's smile, hungrily.

A54 CONTINUED: (2) A54

Sal staresat him. Histough, rowid facebreaking into a • thrilled,clandestinesmile.

Pratlooks at him, sincerely.

Pratsits, meditatively,in the garden.

As Powellapproaches, somethingclearly on hismind. He observesProt for a few beats,before sittingdown next to him on thestone bench.

Prat knitshis brow, with a problematicsigh.

Powellblinks, not sure he'sheard correctly.

CONTINUED (

Rev. 07/30/01 (2nd Tan) (ReplacementScenes) 61-63A*.

Powell sits there, at amomentary loss for words. He lets out a flummoxed laugh.

Powell stares at him, stunnedby the finality of these words. Trying to collect himself,he helps himself to a strawberry.

Prot just turns back to thefountain, with a smile of certainty.

THRU THRO

Rev. 07/30/01 (2nd Tan) (Replacement Scenes) 64.

A60 INT. POWELL'S BEDROOM - CONNECTICUT - NIGHT A60 *

As Powell wakes up in the dark, with a gasp,heart beating. Rachel sits up beside him.

She smooths his face, puzzled. He turnsto her, still breathing hard. Then, suddenly, jumps out ofbed, wrestles on some pants, and hurries out of the bedroom.

Rachel quickly puts on a robe, following afterhim -

ON THE LANDING - Natalie comes blearily out of her room, having been woken up, sees her father bound down the stairs.

Natalie,not convinced, watches her mother bound down the stairs afterhim.

B60 INT. DOWNSTAIRS STUDY -IN A MOMENT B60

As Powellturns on the desk lamp and rifles through the cassetteTAPES - until he finds the one he wants. Rachel. watcheshim, with mounting confusion. As he pops the tape into themachine, dons headphones, rewinding - forwarding - until -

He unplugs theheadphones, so she can hear. As Rachel listens, she keepsher eyes, di.sturbi.ngly,onher husband. His hai.riswild, his eyes fixated.

(

AGO INT. POWELL'S BEDROOM- CONNECTICUT- NIGHT A60

As Powell wakesup in the dark, witha gasp, heart beating. Rachel sits upbeside him.

She smooths hisface, puzzled. He turnsto her, still breathing hard. Then, suddenly, jumpsout of bed, wrestleson some pants, andhurries out of thebedroom.

Rachel quicklyputs on a robe, followingafter him -

ON THE LANDING- Natalie comes blearilyout of her room, having been wokenup, sees her fatherbound down the stairs.

Natalie, not convinced,watches hermother bound down the stairs after him.

B60 INT. DOWNSTAIRSSTUDY - IN A MOMENT B60

As Powell turnson the desk lamp and ri.flesthroughthe cassette TAPES -until he finds the onehe wants. Rachel watches him, withmounting confusion. As he pops the tape into the machine,dons headphones, rewinding- forwarding - until -

He unplugs the headphones,so she can hear. As Rachel listens, she keepsher eyes, disturbingly,on her husband. Hi.shair is wild,his eyes fixated.

Rev. 11/28/00 (Salmon) 65.

B60 CONTINUED: 360

Powell turns off the tape, looksat her.

She's more worried about her husband,than trying to understand.

Natalie and Gabby now join her in thedoorway, viewing their father with uncertainty.

He looks at her, looks at his daughters,as if the answer was evident.

RACHEL * What are you afraid of? *

POWELL * That he's planning to do something * violent. To himself or someoneelse. * I've got to get to him before that * date. *

Powell's family just remain staring at him ...

I

Rev. 1.1/28/00(Salmon) 65A*.

A sunny day, the trees brilliant green. A flag flies above the front portico. Abby helps Rachelspread a tablecloth across a long picnic table. Stevepops a beer, smiles at the day. Natalie runs barefoot around theyard with festive streamers.

Powell stands at the top of his drive,looking.up and down the street. As Gabby comes up to him,with a skeptic's brow.

GABBY

• Is the spaceman hereyet?

A CAR comesdown the tree-linedstreet.

As the CARpulls into the drive,Rachel views it, cautiously, from theyard. She comes overto her husband. Keeps hereyes on it, asit rolls toward them •••

Gabby givesboth her parents apitiful look. As the car approachesthe head of the drive ...

(

67 •

POWELL

• Not to worry. Mrs. Trexler's oldest

is a high school varsitywrestler. And Betty McAllister'shusband is a black belt. So, Ithink we're covered.

Rachelputs on her best face, asthe CAR comes to a stop

A big,muscle-bound 18-YEAR-OLDOLD with a buzzcut stepsout first, followedby Mrs. Trexler.

Next outof the car are NurseMcAllister and her husband,DOM, a realNew York Italian.

Trexler andMcAllister look into thebackseat of the car, beckoning someoneelse out. A beat.

Slowly •••hesitantly ••• Prot climbsout of the car. He stands there. The trees reflectedin his dark glasses.

Rachel staresat him. As Natalie, Joshand Gabby run up, she grabs theirhands tight, to hold themback.

Powell shushes them,furiously.

60 CONTINUED: (.3) 60

Rachel remains staringat his dark glasses. She doesn't know • whether to extendher hand. Instead, shejust smiles back.

Suddenly - the DOGruns out from under thehouse, and barrels straight for Prot.

But to Powell's surprise,Shasta wags hertail, flattening herself against Prot'sleg as if he were atrusted friend.

Inthe next instant,to everyone's surprise,Prat falls to the ground, rolling, playing,even barkingwith Shasta.

Abby eyes Steve, who comesup behind her,utterly amazed.

Before anyone can stopthem, Natalie and Joshrun over to join in the fray.

) RACHEL AND ABBY

(simultaneous,horrified) Kids!

Pratsits down on the grass,moves the kidsonto his knees. He regards them, happily,and with gentle fascination.

Powell signals Rachel andAbby with his eyes,to relax.

Pratbegins to "talk" toShasta in remarkably accuratedog whelps. Even more remarkable,Shasta starts howlingback.

Thekids stare at him, inopen-mouth disbelief.

Even Gabby the skeptic hasto laugh in amazement.

As Prat resumes "talking"to Shasta - Powelli,spuzzlingly amused. He catchesRachel's eye - she isnot so sure.

Dom, watching Prat,gives McAll,istera lookthat says "this guy is the biggestwingnut I've ever seen." She cautions him with a nudge.

The grill sizzles. Everyone is seated aroundthe PICNIC TABLE. As food ispassed around, Rachelplaces a giant FRUIT SALADon the tablein front of Prat.

Prat just sits there,admiring the beautifulfruit. Then looks at Rachel,with such deep appreciationhe does not know ) what to say. His reactiongets to her fora moment, she doesn't know why.

Prat digs in, takingspoonful, after spoonful- after spoonful. Until thereis a heaping mountainof i,ton his plate.

As EVERYONE stares. The kids hold their handsover their mouths to not laugh. Prat glances up, givesthem all a smile.

Everyone takes this asa cue to start eating,food is passed around. Dom, puttingketchup on his burger,pauses self- consciously a moment,as he watches Prat shovelin fruit salad.

McAllister gives herhusband a kick under the table.

Rev. 11/20/00 (Buff) 70.

Rachel gives Powell a poignant glance. She's never heard anything so outlandish said so convincingly.

Prot, lemonade in hand, walks across theyard, atail-wagging Shasta at his side. WE SEE things throughhis DARK GLASSES now ... almost in moving snapshots ...Abby, pulling a prickler from Gabby's bare foot ...Mrs. Trexler smelling a flower ... Dom, giving McAllister a little smooch. Prot absorbs them all, smiling at-everyone ashe wanders

through the open patio doors, and into theHOUSE.

McAllister shoots Powell a look. Powell considers amoment, then gives her a nod. McAllister follows Prat ...

Prat wanders into Powell's den. Finds FAMILY PHOTOGRAPHS * there. Picks one up. It is a PHOTO of Powell's son,Michael, * from a previous marriage. Rachel enters. Finds Prat there. *

PROT * There is a picture of a young man * where your other pictures are. *

RACHEL * That's Michael. Mark's son. From his * first marriage. *

PROT * How many marriages has he had? *

RACHEL * Just the two, so far. *

PROT * So far? *

RACHEL * I mean he's not out to set a world * record. *

PROT * (withphoto) * He is not here today? !

Rev. 11/20/00 (Buff) 71.

PROT * Because I'm alocked-up lunatic, so * what couldthe harm be? *

RACHEL * (chuckling) * Maybe. Maybe that's it. *

Prot smiles. Then looks atthe photo again and turns suddenly * reflective... *

RACHEL * (ruefully) * Do you think hemeans it? *

PROT * You don't? *

RACHEL * Do you know what a familyis? You * worry. They don'ttell you that when * you decide to leaveyour single life * behind...When they'rethrowing the * rice and dancing thetarantella ...That * there is no "biologicalconnection" -- * not the way you say it,like it's * something concrete -- likea rope or * a ligament. There's justthis * desperate effort to holdon -- to hold * onto them. And when yousee someone * you love falling away --falling * and you can't hold on anymore... *

PROT * Then·? *

Rev. 11/20/00 (Buff) 72.

RACHEL * You don't have a family? *

PROT * We don't have familieson K-PAX. *

RACHEL * Then you don't knowwhat you're * missing. *

PROT * What? Or who? *

They exchange a look. *

RACHEL * Let me get you anotherlemonade. *

On Prot, as he watches Rachel,exit. Then he notices a * TELESCOPE in the study. Moves to it. Considers it a moment. * Then he bends down. Lifts his sunglasses. Squints through * the eyepiece. As he does, he lowershis scope. Focusing on * something earthbound out the window... *

And we see that it is Powell, at the faredge of the yard, * that he has in his sights. *

CUT TO: *

As Prot walks over to Powell. They stand theretogether under the trees. Powell takes a sip of beer. Protnoisily slurps his lemonade.

Prot turns his dark glasses to Powell.

Just then, Natalie runs up, grabbing Prot's hand.

Rev. 11/20/00 (Buff) 72A*.

As she leads Prat off to the TREE SWING, Powellwatches, circumspectly ... as Prot's fingers close sonaturally and tenderly around hers.

Rachel comes out of the house, also watching ...carefully.

Prat picks Natalie up, sits her down on theswing. Making sure her hands grip the ropes.

He pushes her, gently - playfully - a littlehigher, now. He ducks under the swing - comes back up. Making Natalie laugh. Her buoyant laughter bringing a big smileto his face.

As Prot walks over to Powell. They standthere together under the trees. Pow

ON POWELL••. as hewatches, struck.by how familiarPrat is withNatalie ••• as ifhe's pushed a swingmany times.

Justthen - Josh dashesout of the house in abathing suit, andturns on the LAWNSPRINKLERS -

thewater hissing up injets around the swing -

TheSOUND of it suddenlymakes Prat stiffen. He looks around- vi.siblyshaken- at the harmless sprayof water. The hissingtaking on anominous quality.

Powellregards Prat,strangely, noticing the changein him.

Abby runs after Josh,angrily grabbi.nghis hand.

Natalie slides off theswing, gleefully.

He grabs her arm.

Natalie breaks free, runsfor her mother.

Around his DARK GLASSES, Prat'sface fill.swithpain and dread watching Natalie runoff.

He starts after her

At the same time Powellruns for him, Dom and Dannyquickly take their cues. They rushPrat, bringing him down. But he struggles like a wild animal. His voice choked and inarticulate, as he keepstryi.ngto reach for Natalie.

PROT

• Ddddddddd Nnnnnnnnnn!

Gabby watches,horrified, as •••

Danny, 180pounds of varsity wrestler,is flung off. Leaving Dom, Powell- and now Steve - strainingto hold Prat down.

McAllister goesfor her purse, uncapsa syringe.

Mrs. Trexlerhelps Danny up, viewingPrat with a mixture of fear and pity- as the others tryand keep him down.

In the struggle,Prot's GLASSES getknocked off. With amoan, he buries hisface in his hands.

Abby finally getsthe spri.nklersoff. Rachel clutches Natalie.

Powell, Dom andSteve stand up, slowly,carefully, dripping wet.

Prat remainson his knees, head tothe ground. His shoulders shaking. Shastalicks him, whimpering.

He gropes on thegrass, finding hisglasses. Puts them on. Then lifts hishead, a little disoriented. He gets up, brushes himselfoff. Bewilderedby all the unnerved FACES staring back athim. Natalie, now afraid,hi.desbehind Rachel.

Prat just smiles,sniffs the air -

He walks, unsteadily,towards thepicnic table. He sits, serves himselfa slice of APPLE PIE. Starts devouring it.

Rachel comes upto Powell, angrily.

She throws thetowel at him she has justdried Natalie off with, and walksaway.

Rev. 12/11/00 (Grey) 75.

Leaving Powell standing there. He stares at Prot ••. not without excitement.

Powell paces in front of Villers, at her desk.

Rev. 12/11/00 (Grey) 76.

Powell thinks a beat.

,.

Rev. 12/11/00 (Grey) 77.

He looks at her. It takes him a moment to say this.

On Villers, as she considers a beat,

Powell stands in the doorway of PROT'S EMPTY ROOM. Navarro and Simms stand there with him.

Navarro and Simms eye each other, extremely embarrassed,but extremely stumped.

Powell shakes his head, unwilling to hear this. Hemarches over to a SECURITY MONITOR by the nurse's station, Navarroand Simms following on his heels.

A SECURITY GUARD is already rewinding the night's surveillance video for them. They all watch the MONITOR .•• on it, Prot appears walking down the hallway, and into his room.

Powell keeps his eyes glued to Prot's door in the time-stamped video, as it is fast-forwarded. We SEE what Navarro relays:

(

Rev. 11/28/00 (Salmon) 78.

The securityguard rewinds - plays - three seconds of STATIC appearon thescreen - then the picture comes back.

Powell looksat Navarro.

A67 INT. DAY ROOM A67*

Hemarches intothe DAY ROOM, looks around.

Sal keeps hiseyes on the checkers between him and Ernie.

Howie lifts hishead, casually, from a book.

Mrs. Archer gives Powellan obvious smile, over her Japanese fan.

Rev. 11/28/00 (S~lmon) 78A*.

A67 CONTINUED: A67

Powell views them all, ludicrously.

(

We're in the bowelsof the hospital. It'spitch dark, save for the beams of severalflashlights.

Powell, wearing anobsessed expression,plays his beam over broken Xerox machinesand corroding file cabinets. A young SECURITY GUARD giveshim a weary look.

A 2ND BEEFIER SECURITYGUARD, down on hisbelly, flashes his beam into the last cornerof the tunnel - illuminatinga brick wall. He looks backat Powell, shaking his head.

Powell looks at themboth, wipes a cobweb from hisface.

McAllister, Chakraborty,Fleen, the rest of the gang,seated. As Villers stares - incredulous- at Powell, who stands.

Powellnods, there's nothing he'dlike better.

Bleary-eyed,Powell sits at hisdesk, on the phone.

Rev. 11/3/00 (Blue) 80.

He hangs up, looksthrough the doorway to his outer office - where Mrs. Trexlerstill sits.

Curiously, hegets up, shirt rumpled, tie loose. He walks over, observingher diligent face - as she scrolls through windows of listsand information on her COMPUTER.

She laughs,as if this were a silly question, eyeing her DAY CALENDAR ... which already says JULY 17. *

She turns fromhis pointed gaze, back to her computer. Then, pauses, to regardthe PHOTO of her HUSBAND on her desk, fondly.

Bl.

Shewipes a tear fromher cheek, looks upat Powell, in amazement.

Powelllooks at her',noteven knowing how torespond.

Powell,asleep, his headon his desk. A finger of SUNLIGHT streamsin across the desk.•. kisses his face. He squints, stirring,wakes up. Realizes he's been thereall night.

He sits there a moment. Then, puts hishand into the beam of sunlight.•• a funny sensationcoming overhim.

He gets up, quickly, followsthe BEAM - outhis office - into the HALLWAY. To a window. He peers out -

tothe hospital grounds,below. Birds chirpin the early morning sun, dew is stillon the grass. And on the bench by the fountain ••. sitsa solitary FIGURE.

Powell can tell from theback - that it isProt.

As Powell, tie loose, suitwrinkled, hairdisheveled, races across the grounds to Prot,who hears him comingup, behind.

Prot regards Powell, nota little put off byhis attitude.

Rev. 01/22/01 (2nd Pink) 82.

Prot shifts hisglasses away, somewhat confused and disturbed. As Powell sitsdown next to him. Powell's eyes remain, intently, on him.

Powellwalked right into that one.

Powellrealizes, at this moment, just how much this "being" has gotten under his skin. It is also, at this moment, he senseshis opportunity:

(

Rev. 01/22/01 (2nd Pink) 83.

Prot's glasses meet Powell's eyes,unsurely.

For a long moment, Prot is silent. He looks, disquietly, out at the birds and the trees and thehigh brick wall.

Powell's voice becomes gentle, earnest. *

POWELL * I want to help you, Prot. *

PROT * (smiles) * You have. You've providedme with a * place to stay while I writemy report. * You've fed me. The fruit is * wonderful *

POWELL * I don't mean that kind ofhelp. *

The resistance on Prot's brow begins to cave,as he struggles * with Powell's request. *

PORTER * Let me help you, Prot. *

A long beat. Prot brings his eyes back to Powell. *

Rev. 01/09/01 (Ivory) 83A.

Prot looks atPowell. Squeezes his knee.

Prot exits. On Powell, as he watches Prot enter the hospital.

A72 INT.MONITORING ROOM - BEHIND A ONE-WAY-MIRROR - DAY A72

Chakraborty,wearing headphones with a mouthpiece, sits at a * heart andpulse MONITOR. A pulse rate beeps on it.

WE MOVETHROUGH THE ONE-WAY MIRROR INTO -- *

Windowless, subdued lighting. Prot is reclined in a special CHAIR. His darkglasses rest on his lap. A wire monitor is patched to onewrist, andanother to his chest, beneath his

shirt. Despite this,he looks comfortable.

More so than Powell,who, wearing a tiny EARPHONE, sits facing * him. Nevertheless, Powell keepshis voice calm. *

Rev. 01/22/01 (2ndPink} 83A*.

A72 INT. MONITORING ROOM- BEHIND A ONE-WAY-MIRROR - DAY A72

Chakraborty, wearingheadphones with a mouthpiece, sits at a heart and pulseMONITOR. A pulse rate beeps on it.

WE MOVE THROUGH THE ONE-WAYMIRROR INTO --

Windowless, subdued lighting. Prot is reclined in a special CHAIR. His dark glassesrest on his lap. A wire monitor is patched to one wrist, andanother to his chest, beneath his shirt. Despite this,he looks comfortable.

More so than Powell, who,wearing a tiny EARPHONE, sits facing him. Nevertheless, Powellkeeps his voice calm.

Rev. 01/16/01 (2ndBlue) 84.

Prot looks at the bright CIRCLE onthe otherwise bare wall.

Prot's clear, dark eyes are fixedon the white circle. His voice getting more relaxed.

Prot's breathing becomes deeper, eyelids getting droopy,head beginning to tilt ...

A73 INT. MONITORINGROOM - SAME A73

Chakraborty eyes his monitors, carefully. Into his mouthpiece.

Rev. 01/16/01 (2nd Blue) 84A*.

A73 CONTINUED: A73

Powell stays fixed on Prot.

Prot's shoulders slump. Eyes closed. Expressionblank. *

Rev. 01/09/01 (Ivory) 85.

Prot's pulse beeps slow andsteady on the monitor. * Chakraborty rubs his chin, staresat Prot through the one-way * glass. *

Powell stares at thehypnotized Prot, waits a beat:

A moment passes. Another. Then, Prot speaks •..lucidly, clearly, but as if through along distance.

Prot's eyes open. They areas blank as the rest of his * expression.

POWELL * How do you feel? *

PROT * Like ..• nothing. *

POWELL * That's exactly how youshould feel. * Now •.• I want youto go back in time * • • .itis no longerthe present. You * are becoming younger. Younger ...and * younger *

Prot's brow knits. His eyesmove, as ifwatching something. *

POWELL * (watching, closely) * What do you see? *

Rev. 01/16/01 (2ndBlue) 85.

Prot's pulse beeps slowand steady on the monitor. Chakraborty rubs hischin, stares at Prot through the one-way glass.

Powell stares at thehypnotized Prot, waits a beat:

A moment passes. Another. Then, Prot speak? ...lucidly, clearly, but as if througha long distance.

Prot's eyes open. They are asblank as the rest of his expression.

Prot's brow knits. His eyes move, as if watching something.

Prot makes a slight movement. *

POWELL * What was that? What do you see? *

Rev. 01/09/01 (Ivory) 86.

IN THE MONITORING ROOM- Chakraborty sits forward, with avid * interest.

Prat hesitates a moment.

POWELL * What is hisname? *

Prot's voice comes out soft, sing-song,like a little boy. *

PROT * Not telling. *

Powell regards him, confused, attempting:

Chakraborty, watching, in amazement. *

CHAKRABORTY * He's regressed *

Powell, realizing he's talking to a childnow, proceeds:

Rev. 01/09/01 (Ivory) 87.

Prot makes an "Idon't know" face, scratches his head. His entire body languagehas become that of a little boy.

Prot shrugs, again,as if not knowing.

Prot nods vigorouslywith a wide, childlike smile.

Powell cannot hidehis excitement, knows he's onto something.

Rev. 01/09/01 (Ivory) 88.

POWELL * Where is this place? *

Prat begins tofidget uneasily in his seat. *

Chakraborty checksthe monitor. *

CHAKRABORTY * (heedfully) * Pulse just shot up ten bpm. *

ABO INT. EXAMININGROOM - SAME ABO*

Powell slowsdown, voice calm. *

POWELL * Do you know ..•where this place is? *

Prat scratcheshis head again, fidgets, gives another "I don't * know" shrug. *

POWELL * Okay. I'd like you to move forward in * timenow •.• *

Before Powellcan say another word, Prot's eyes are already * moving ..• asif his whole body is in motion. He sits up * straighter,older, demeanor changing. *

POWELL * (watchinghim, intently) * Where are you? *

PROT * Night time. We're in his house. *

POWELL * Theother boy's house? *

PROT * Yeah. 1 want him to come outside. *

POWELL * Why? *

Prat liftshis eyesto the ceiling, with an expansive smile. *

( PROT * To lookat the stars. That's where I * came from,you know. *

Rev. 01/09/01 (Ivory) BSA*.

ABO CONTINUED: ABO

A long, slow look of discouragement comesover Powell's

features. It is all he can do tohold it in. But then

his expression changes, suddenlyundersanding. He takes a * stab:

POWELL * Is your name •.• Prat?

PROT

Wow! How did you know.

B80 INT. MONITORING ROOM - SAME B80*

Chakraborty, too, understands. Whispers intohis mouthpiece.

CHAKRABORTY

Of course, Prot is an imaginary

friend - invented by this youngboy!

Rev. 01/09/01 (Ivory) 89.

Powell, energized by the realization,continues:

Prat starts to fidget again,uncomfortable, squirming in his

seat. *

Rev. 01/09/01 (Ivory) 90.

Chakraborty, understanding •.. *

CHAKRABORTY * He's too young to have figuredout * light travel yet. *

A84 INT. EXAMININGROOM - SAME A84*

Powell watches as Prat really starts twistingimpatiently. *

PROT * Can I go outside now'? *

B84 INT. MONITORING ROOM - SAME B84*

CHAKRABORTY * (cautioning) * Read his body language,Mark. I don't * think he wants to talk anymore, today. *

Powell hides his disappointment with a pleasant voice.

from five to one. As I count .•• you * will become more and more alert. * (MORE)

Rev. 01/16/01 (2nd Blue) 90A*.

(snaps his fingers) *

Prot's head bobs, like someone who's suddenly realizedhe's fallen asleep. His eyes blink.

Prot eyes him, slyly.

Rev. 02/22/01 {2ndGoldenrod) 91.

Powell just blows imaginarysmoke from his fingers.

PROT {CONT'D) {smiles) Well, Ihope it was helpful.

Powell hovers aroundMrs. Trexler, who is at her computer. His thoughts are racingahead of him.

He looks at her. And she can seethat there is a desperation beginning to show in his eyes.

A86 HALLWAYON POWELL'S FLOOR A86*

Powell walks down hallway. Mushroom lights standin hall. *

As Prot gives Howie a nod and a smile, then turnsback to writing in his red notebook.

Howie, with a purposeful smile, marches down theHALLWAY. He carries a stack of BLANK PAPER and a bunch of fatpencils.

Rev. 02/22/01 (2nd Goldenrod) 91A*.

There is an unspoken tension inthe air. Sal plays solitaire, distractedly. Ernie sits, sneakingglances at the others around the room.

Mrs. Archer comes in, holdsup two plastic CUPS, in a quandary.

{

Howie suddenly plops thePAPER and PENCILS down ona table. He looks around, keenly,through his wi.re-rimglasses.

Thereis the screeching of chairsas everyone comesover to graba sheet of paper. Everyoneexcept Russell andBess.

Russell stands there, wringinghis stringy beard,torn between his Bible and the stack ofpaper. He tentati.velytakesa sheet.

Bessturns slowly from the TV. Vi.ews thestack ofpaper, then herfellow inmates. For the firsttime, as she smiles,we see thedepth of sadness and dejectionin her eyes.

Sheturns back to the TV.

Rev. 02/12/01 (2nd Green) 93.

Everyone suddenly shuts up,looks nonchalant - as Prat enters.

He takes note of them all,warmly, like they were family.

Russell, fingering his dog-earedBible, slowly approaches.

Prat considers him. Seeshow deeply the question is etched on Russell's tormented brow. He gives Russell an assuring smile.

Russell's features quiverwith elation.

ASS INT. EXAMINING ROOM - DAY ASS*

Powell positions several orb-likeLAMPS around the room. He * does so carefully, with purpose,as if setting a stage. He * turns them all on. Then goesover and flicks off the sterile * room lights. *

He takes stock of the darkenedroom. Satisfied. *

B88 INT. MONITORING ROOM - SAME B88*

Chakraborty views the lights,and Powell, through the window. * Figuring there must be amethod to his madness. *

Prat stares beyond the white circle,already in a hypnotic trance. Powell begins, calmly,but with a hint of more urgency.

Rev. 02/12/01 (2nd Green) 93A*.

Prot slouches in the chair, limbs becominggangly, adopting a teenager's insouciance. He chews imaginarygum. Then starts acting as if he's conversing with someone

Rev. 02/06/01 (2ndYellow) 94.

Powell hides his frustration behind his smile.

MONITORING ROOM - Chakraborty can't help a little chuckle.

Rev. 01/09/01 (Ivory) 94A*.

POWELL * Tellme about Pete. *

Prot pauses, as if conjuringPete inside him. He puts on a * complicated frown. *

POWELL * What happened? Is there a problem? * (discerning) * Is thatwhy he called you? *

Prot nods. *

POWELL * What's theproblem? *

PROT * He has a girlfriend. *

Powell searches Prot's face. It is the pinched face of a * worried seventeen-year-old. *

POWELL * The problem iswith his girlfriend? *

Prot sighs, his frown intensifies. *

PROT * She• s. . .pregnant. * (lamentably) * He can seewhat's coming. Get * married, havea bunch of kids, take * the same job thatkilled his dad. *

POWELL * Does he blameher for this? *

PROT * (taken aback) * No, no. He lovesher. He just * hates the chainspeople shackle * themselveswith. We don't have all * that crap onK-PAX. *

Powell sits back, stymied,presses on. *

POWELL * All right. .Listencarefully I'm * going to ask youto come forward in * time again ••• saytwo weeks ... *

Prot sheds the worried seventeen-year-oldface for a wide * smile of solace. *

POWELL * What do you see? *

Rev. 02/06/01 (2nd Yellow) 94B.

Prot appears to be traveling throughhis head.

Rev. 01/09/01 (Ivory) 94C*.

Powellwatches, in amazement, as Prat transforms his entire * persona toreflect a lumbering docility. *

PROT * He works. Same place his father and * grandfatherdid. *

POWELL * The slaughterhouse. *

PROT * Yessir, the old butchery. * (indisgust) * He' sa knocker. *

POWELL * A knocker? *

PROT * The guy who knocks the cows in the * head sothey don't struggle when their * throatsare slit. I know, barbaric, * isn't it'? *

Powell considershim with a deep look, :imaginingthis. *

POWELL * Does he still live in the same town? *

PROT * outside of town. An old place he * fixedup. It's not much, but it's got * a coupleof acres ..• and trees, and * a river. * (smiles,:imaginingit) * Reminds me a little of K-PAX, except * for the river. *

POWELL * Tellme . . •didhemarry that pregnant * girl? *

PROT * What amemory! Yes, they're married. * But she'sno longer pregnant. That * was six yearsago. *

POWELL * I've forgottenher name. *

PROT * s * (stops,wary) * Inever toldyou her name. *

Rev. 01/09/01 (Ivory) 94D-98*.

POWELL * (takinga chance) * Can you tell me now? *

Chakraborty sits forward, not knowing what to expect. He * watches Prot's PULSE RATE beep steady *

Prat sits there, shoulders rising and falling with several * thoughtful breaths. Finally, quietly, he says: *

PROT * Sarah. *

ON POWELL, barely concealing his elation. *

POWELL * Did they have a son or daughter? *

Prot's eyelids squinch, fondly. Then, in a soft, tender * breath: *

PROT * Rebecca her birthday's next week. *

STAY ON Powell a moment •.• moved by this. *

91 OMITTED 91 * THRO THRU

Rev. 01/09/01 (Ivory) 99.

Powell lies in bed, wideawake. He looks over at Rachel, asleep, curled away fromhim. A knit on her brow. He leans over, kisses her, softlyenough that she doesn't waken ...

As Powell and Villershurry off the elevator -·Chakraborty is * waiting for them. Theyhead for the EMERGENCY ROOM. *

VILLERS * What happened? *

CHAKRABORTY * Howie tried to killErnie. *

POWELL * What!? *

They enter the EMERGENCYROOM - to findErnie sitting up in a * BED, hands behind his head. A beatific smile on his fee. *

Rev. 01/09/01 (Ivory) 100.

ERNIE .. My good friend Howie just about .. strangledme to death. ..

Villers andPowell stare at Howie, at a complete loss. As he * throws hishead back with a laugh, the red abrasion on his .. neck clearlyvisible. *

hurry - and when I woke up -- *

Ernie grabsPowell, with a look of revelation.

Powell seesthe confidence in Ernie's eyes •.• and begins to * get anuneasy feeling as to who's really behind this. *

Windowless, padded walls. As the heavy door opens, Powell and * Villers step inside .••they wear serious, careful expressions. *

Rev. 01/09/01 (Ivory} 101*.

But Howie, sitting in the corner,calmly - cuts Powell a wide, proud smile.

Villers' expression changes. *

AlOl INT. WARD 4 - HALLWAY - IN A COUPLEOF MINUTES AlOl

As an ATTENDANT locks back the seclusioncell door and walks * away. Leaving Powell andVillers standingthere. *

Powell brings his eyes to her. yillers' look is harsh, the * weight of her authority behind it. *

POWELL * The hypnosis is working,Claudia. I * know it. I'm this close. I just * need - *

VILLERS * This isn't just about Protany more, * Mark. It's about all thepatients. *

His eyes stay on her. Doesn't wantto admit she's right. *

VILLERS * Ultimately, they'remy patients. So, * now, I'm going to make adecision. * And here it is. You've runout of * ti.me. *

Powell stands in the ART ROOM, alone. He looks around, taking in all the paintings and the clay sculptures. Every single one of them ... depicts space travel. There are crazy planets •.• bursts of stars ..• and spaceships ..• andbeams of light ...

Powell tears JOLY 23 off his desk calendar - revealingJULY 24TH. He considers the new date, soberly. Crumpling the old one up, tightly, in his hand. He stares at thediplomas on hi.swall •.•

Then comes into his OUTEROFFICE. AboveMrs. Trexler' sdesk, on the wall ·- isa MAP of the United States. RED PINS show the locations of slaughterhouses.

Rev. 01/22/01 (2nd Pink) 102.

He stares at the dozens anddozens of red pins ... a flicker of fear in his eyes. Fearof failure.

Prot sits hypnotized oncemore, a peaceful, blank expression on his face.

But Powell wears the weightof determination on his.

Powell takes a moment,prepares himself for what he is about to do.

Chakraborty checks the monitors,beeping steady.

There is no hint of shock or emotionon Prot's face. He only smiles.

Powell closes his eyes, ready toburst with frustration.

Rev. 01/09/01 (Ivory) 103.

Powell regards him, keener now.

Prot's face becomes blank, expressionless, almost alien-like. His voice that of an outside observer

Prot's features tremble, as if a shiver passes throughhim.

IN THE MONITORING ROOM, the monitors beep steady .•.

A look of revelation comes on Powell's face.

Chakraborty, stunned, sits back in his seat. *

Rev. 01/09/01 (Ivory) 104.

CHAKRABORTY * Jesus •.• * (then,into his * mouthpiece) * Jesus, Mark .•. we're not prepared for * this. I think .•. I think you should * calm him down and bring him back. *

Powellhears, but chooses to ignore, too intent on getting * throughto Prat, now.

Powellstares at Prat. His whisper intended for Chakraborty. *

CHAKRABORTY * Mark, with all due respect ••• I have * to speak in an official capacity now. *

Powellremains fixed on Prat. Knowing he's about to cross the * line. *

IN THE MONITORINGROOM, Chakraborty can't believe this. He * braces himself. *

PROT * No. *

Rev. 01/09/01 (Ivory) 105.

POWELL * Thenwhy won't he tell me? *

Prot's breathinggrows heavy, fighting a visible shudder of remorse.

IN THE MONITORINGROOM - Prot's pulse monitor starts beeping * rapidly. *

Prot's voicebecomes a sober whisper, as if glimpsing the * secret in the deepestplace of his soul. *

PROT * Becausethen .•.you would know what * evenhe doesn't want to know ... *

POWELL * Thenyou have to help him, Prot! Help * him tellme what happened. *

PROT * He doesn'twant to talk about it. Are * you fuckingdeaf!? *

POWELL * But timeis running out for him! *

PROT * Time isrunning out for everyone. * (grimly) * He jumpsin. He is floating ..• *

Prot's eyelids flutter,as if trying to keep a dispassionate * distance from whathe is seeing. *

Chakraborty, with alarm,watches Prot's pulse rate keep rising. *

Rev. 01/09/01 (Ivory) 105A.

CHAKRABORTY * Pulseis up to a hundred and ten, * respiration'sup to twenty-five! For * God'ssake, Mark - BRING HIM BACK!! *

POWELL * Savehim, Prat! You are his friend, * youcan save him. *

PROT * Iam his friend. That is why I won't * interfere *

POWELL * Savehim! *

PROT * No! There is no chance •.• the * currentis too strong .•• *

He starts coughing,as if full of water. Slowly as Powell * watches,riveted •••Prat slips out of his chair and onto his * knees ..•putting his arms around himself. *

PROT * I ...cannot .•• *

He is shiveringnow. Shivering so violently that the shivers * come outhis nose in snorts. *

IN THE MONITORINGROOM - Chakraborty stands, spellbound. *

POWELL * Listen to me, Prat. Listen to me •.. * you'vehelped a lot of patients here. * You helped Mrs. Archer, you helped * Howie, and Ernie. I'm going to ask * you to help cure Pete. Let's call it * a -· task.I want you ••. to let me * speakto him. *

Prat, kneelingthere, shivering, snorting, shakes his head in * stiff resistance. *

POWELL * Ifhe's listening, I want him to know * he can trust me. I want him to know * •.. thatif it was •••Sarah - or * Rebecca - he did something bad to - *

Suddenly, Pratopens his eyes. He shakes his head, horrified, * asif Powell doesn't understand. *

Rev. 01/09/01 (Ivory) lOSB-106

PROT * N-n-·n-n-n··n.No. He - he - he - *

As Powell watches, in alarm now - Prot's features transform * from horror into seething murderous rage -- into bottomless * anguish. *

PROT * Oh, God - Oh, God - Oh, God - Oh, * God - Ohhhhhhh GOOOOOOOOOOOOODl! *

IN THE MONITORING ROOM - Chakraborty tears his headphones off. * Presses a CODE RED BUTTON on the wall. *

Prot's SCREAM continues - tapering off into a sobbing animal- * like wail. He kneels there, pressing his fists to his head, * inconsolable. *

Powell watches •.. his alarm turning to a painful look, and * finally, to one of profound compassion. He kneels down, picks * Prot's glasses up from the floor. And Prot's notebook and * pencil. Then •..puts his arm around Prot. *

POWELL * It's okay, it's okay. *

As McAllister rushes into the room, with a needle ready. And * Navarro and Simms, with leather restraints. Powell, keeping * hold of Prot, motions them back. *

POWELL * (toProt) * It's okay •.. *

Prot reaches out for Powell's arm, taking hold of it, taking * his glasses *

PROT * Yes, yes. It's okay. *

Shakily, he puts the glasses on. And to everyone's surprise * ..•raises himself, ragaining his breath, looking around. *

PROT * Five .•.four ••• three •.• two .•• * one. Yes, feeling fine. Feeling * refreshed. *

Powell just staresat him *

112 OMITTED 112* AND AND

Rev. 01/09/01 (Ivory) 107.

Long gone are theWall Street commuters. In fact, the only two souls on thedeserted train car are Powell and a HOMELESS MAN.

Powell, wrung out,rides with an aimless look.

The HOMELESSMAN jabbers to himself, in a plastic Star Wars helmet and pink tights. Under a soiled trenchcoat, a faded sweatshirt reads: "BeamMe Up" .••

As Powell stares athim •••caught in the crazy loneliness of the man's babble .••his own full sense of failure hits him. Seized by the desireto do something, he fishes out his wallet to gives the fellowa dollar. But as he does -

PROT'S PENCIL fallsout of his pocket - onto the train floor.

Powell looks down atit, surprised. A beat. His eyes narrowing ••.

The pencil isblue ...whittled down almost to nothing from use.

Powell reaches down,picks it up. Curious ••• then ..• with an inconceivable look .••

On the side of thepencil, almost worn out, is a word and a half "The Salva ..." And underneath it, what looks like an area code . • •"505."All the rest has been long sharpened away.

He scramblesto open hisbriefcase, goes for hiscell phone - but thephone pocket is empty. He searches madlythrough the briefcase,checks his own jacketpockets. Musthave left the damnphone at the office.

As thetrain squeals to astop, Powell squints outthe window withunfamiliarity. No matter. He just gets off-

Al16 EXT.RAISED TRAIN PLATFORM- CONTINUOUS All6

Graffiticovers the platform. Powell has gotten offat 125th Street. He looks around fora pay phone. None. He runs down themetal stairs to the - ··

This isHarlem. A radiobooms rap from a BuickLeSabre on the corner. Several tou9h lookingHOMIEShang around it. They viewthe white man with thebriefcase, warily. Powelldoesn't care. He makes a B-line forthe -

PAY PHONEin front of an all-nightgrocery. He fishescoins out ofhis pocket, puts themin the phone. Holds thePENCIL up tothe light to read thearea code on it, andpunches in a number . . .waits

The homieson the corner eye eachother, not knowing whatto make ofPowell.

Rev. 01/16/01 (2nd Blue) 109.

Powell looks at the pencil, mouthingthe letters to himself S-A-L-V-A ... then, realizing.

A wild SHOUT escapes Powell. He hangsup. Thrusts more coins into the phone. Punches in anothernumber, eyeing his watch, which says 11:30 p.m.

Mrs. Trexler, hastily put together,sits at her computer. Powell looking over her shoulder.

She looks up to her wall, at theMAP of slaughterhouses. Powell is right with her. As shemoves her finger - to one of three RED PINS in New Mexico. Theone stuck in a small town named Guelph.

Trexler gets out of one web site - ontoanother, exploring. Her fingers flying. Powell's eyes glued toher screen.

Then . . .anamazed smile from Trexler.

MRS •TREXLER (workingas fast as she can) It's a longshot.

Ina moment, before them,on the screen appearsThe Guadalupe CountyObserver.

Ittakes her a few interminablemoments, but shegets to the frontpage of the JULY 27TH,1995 edition. Theyscan down the FRONTPAGE HEADLINESon thecomputer screen ••.nothing.

Mrs. Trexler punches up the28th. The front pageappears. Powellputs his finger onthe screen -

GuadalupeCounty Observer,front page, July 28th,1995, reads: "DEADLYATTACKLEADS TO MURDER, SUICIDE FOR GUELPHMAN".

Mrs. Trexler puts her handto her mouth.

He letsout an incredible laugh. Plants a kiss on astartled Mrs. Trexler's cheek.

Mrs.Trexler looks back, troublingly,at the head.lineonthe screen . . .MURDER,SUICIDE• • •notentirelysure.

Rev. 11/3/00 (Blue) 111.

Rachel, worried, hasn't slept,buttering Natalie's waffle and pouring herself some coffee -when the phone rings. She picks it up, quickly. Greatly relieved.

As a JET comes smoothly in for a landing ...

Al20 EXT. GUELPH, NEW MEXICO - DAY A120

Powell drives from airport to Guelphin alien landscape of New * Mexico. *

The SHERIFF, who walks with the gutand gait of a man used to his small town badge, flips through anold squeaky file cabinet.

While Powell sits against the edge ofa desk, briefcase and coat in hand, waiting. The slow pacehere is maddening. He can't help glance at the Cattleman'sBank DAY CALENDAR on the wall ... July 26th.

He finds the file.

He looks through it, remembering, with a regrettable shakeof his head. Walks over to let Powell take a look.

Rev. 11/3/00 (Blue) lllA*.

Powell is amazed by somethinghe finds in the file.

He reachesfor his hat on ahook, regards Powell.

As Powellstares up at the tallwooden STRUCTURE. It stands like ahellish, grinding furnaceagainst the stark blue sky.

But to Powell,it is an affirmationof the truth. And ashe lets outa silent laugh of awe,we WIDEN -

to take inthe expanse ofmooing ANGUS STEERS. Literally acres ofthem. The smell practicallyin our nostrils.

The Sheriffcomes up, standsbeside him.

Powell turnsto him, astounded,at .hearingthat phrase.

As theSheriff's CAR comes up adirt road, to stop •.•

at the RUINS ofwhat was once anidyllic small farm. Powell climbs outof the car, slowly. Lets the place seep into his senses.

The Sheriffcomes around the car,viewing the ruins, solemnly.

He takeshis hat off, almost respectfully,and walks up the overgrownpath. Powell followinghim -

up stone steps- into a HOUSE thatis little more than pillars in the openair.

A loveseat taken overby weeds, shards of dishes,a mirror, clumpsof what wereonce books, toys ••. is allthat is left to testify that a familyonce lived here.

Powell's eyes fall,a moment, on the broken hammersof what was once a piano soundboard .•. as the Sheriffbegins, grimly, quietly:

CLOSER ON POWELL •.•he gazes out past the hingesof what once was a back door. He hearsProt's VOICE calling .•."Becky? Sarah?"

PROT'S FACE. But it isnow ROBERTPORTER'S FACE. A happy, ti.redhumanityon it ashe gets out of his truck,overalls stained after a hard day'swork. He waits forhis daughter to run out of the house andinto his arms. Waits ...

But he i.smet with an eeriesilence. Perplexed,he heads up thestone path - and intothe HOUSE.

FOLLOWINGPORTER - hisboots trudge up the stair·s,face growing worried at the silence.

His breathing becomes quicker,panicked, as he movesdown the narrow hallway . . .seesa dollon the floor . . .anoverturned watering can ••• he comes tothe bedroom

POWELL'S EYES, wide,shaken,listening to the Sheri.ff

POWELL FLASHESON:

THE BEDROOM ...blood everywhere ...hands tied tobedposts

of abed.

ON PORTER ...witnessing this,eyes frozen. He wears thelook of aman whose universe has,in one instant, shattered. And left himin the airless blacknessof space. From deepwithin him comesa choking sound •..

Porterstaggers back into thehallway - to see WALKER. Who, scared,takes out a gun. Dazed,but with an animal-like reflex,Porter knocks it out ofhis hand. They strugglefor the gun,like two grunting beastsuntil Porter .•. withan inhumanstrength, grabs Walker'swrists, and pins him tothe wall. Then raises his other fist .••a savage look coming intohis eyes. A look built upover a lifetime ofmeekness.

1\NDWE STAY ON PORTER'SFACE- as, with a final savagery- he sends theside of his fist intoWalker's neck •.•

BACK TO

POWELL- as he closes his eyes.

TheSheriff puts his hat on, walksout, down the rubble of backsteps. Powell follows him-

As theSheriff continues on, towardthe trees, Powell lingers a moment. To view a withered vegetablegarden. He approaches it,astonished •.• to see ...

theremains of a LAWN SPRINKLER somehowsaved from fire. It sitsthere in the grip of weeds, attachedto a blackened hose.

Along withthe scorched handlesof what's left of a child's jump rope. And as Powell staresat it ...

AN IMAGE FLASHESACROSSHIS EYES:

A beautifulyoung woman, longblack hair shining in thesun ..• and alittle girl, much likeNatalie. They jump rope barefoot,innocently, happily,in the spray of water.

THENANOTHER IMAGE:

Dusk. RobertPorter, staggeringout of the house. He kneels down, tryingto wash the bloodoff his hands in the sprinkler, sees the jumprope...

As Powellblinks the images fromhis mind •••

A FINAL ONE COMESTO HIM:

NIGHT . . .Porterstandson thebank of a rushing RIVER. He stares, asif into nothing. Overallsspattered with thedried blood ofboth man and slaughteredcows. With one hand •••he rips off thestraps, lets the overallsfall.off him. Withthe other hand,he tears the shirt offhis chest. Naked now ••• devoid of anyhuman expression • . .hedropsinto the water ..• letting itcarry him away •..

Powell staresinto the rushing whitewater. He and the Sheriff standing,carefully, on thebank. As the Sheriff continues,loudly, above the soundof rapids:

He looks downstream,thoughtfully, fora couple moments.

Rev. 07/30/01 (2ndTan) (ReplacementScenes) 116.

Powell considersthe Sheriff. Then the river. With a deep, poignant gaze.

The last glow ofthe western sun shines through a plane window ... onto Powell'sscotch and peanuts.

He sits there, lookingthrough a copy of the Sheriff's FILE bearing the label: "Porter" ...

There are grizzlyphotos of the crime scene ... driver's license photo ofRobert Porter ... mug shots of Walker. Glimpses of wordsfrom the report: "Forced entzy 25 cm gash . . .thoraxtoabdomen • • .blood•••semen . . .the deceased: SarahPorter, Rebecca Porter ..•

Beside Powell, restingon his briefcase, is also an old high school YEARBOOK ...from Guadalupe High School. 1985.

Powell closes thefile, with sober reflection, and looks out his window ...at the first stars twinkling in the darkening sky.

Al25 EXT. POWELL HOUSE··NIGHT Al25

As a taxi stopsin front. And Powell steps out, with nothing but his briefcase. The clothes on his back stick to him. He is bone-weary. But the sight of his home fills him with emotion.

AB125 INT. GIRLS'BEDROOM - UPSTAIRS AB125

Powell standsthere in the doorway. Gazing upon his

DAUGHTERS. Their angelic faces, as they sleep ...

He alsonotices Prot's star map ... the girls have tacked it * up on theirwall. It seems to fit right in with the twinkling * moon and starwallpaper.

B125 INT. POWELL'SHOME - IN A FEW MOMENTS B125

Powell stepsquietly. The house is in some disarray. *

Rachel lieson the couch in exhausted sleep, knots of worry on * her brow.

He kneelsdown, and just drinks her in with his eyes. Takes * phone fromher hand, which has fallen, and gently lifts it * back onto the couch. Not wanting to let her hand go. He gets * up.

Rev. 07/30/01 (2nd Tan) (Replacement Scenes) 116A*.

B125 CONTINUED: B125

She awakens, surprised that she'd fallen asleep. That tired. * But when she sees him, she doesn't care. He's herenow. *

He holds her tight.

She wipes tears of relief from her face, then collects herself, anxious to hear -

Powell sits up with her. *

She looks up, at her husband. Sees the conflicton his face.

Rev. 07/30/01 (2nd Tan) (ReplacementScenes) 116B.

B125 CONTINUED: (2) B125

He looks at her.

It is then, he sees aNOTE by the mobile phone. He picks it * up, curiously ... Itsays ..."Call Steve - Important". *

B125 (ALT) INT. POWELL'SHOME - IN A FEW MOMENTS Bl25*

Powell steps quietly. The house is in some disarray. *

Takes in Rachel. Shelies on the couch in exhausted sleep, knots of worry onher brow. *

He comes over, gentlytakes the mobile phone out of her hand. He holds ontothat hand. Doesn't want to let go of it ...

It is then,he seesa NOTE by the mobile phone. He picks it * up, curiously ... Itsays ... "Call Steve - Important". *

Cl25 INT. PRINCETON OBSERVATORY- CONFERENCE ROOM - DAY Cl25*

(PREVIOUSLYSHOT AS SCENE 56) *

Steve turnson a SPEAKER PHONE, around which sit Flynn, Patel * and Hessler. Behind them are an array of COMPUTER SCREENS * displayingSTAR MAPS. *

STEVE * I'm puttin' you on speaker phone, * Mark. I've got the boys here. *

Flynntakes the pipe from his mouth, leans toward the phone. *

FLYNN * We've been admiring your patient's * star map, Doctor Powell.

He looksdown at Prot's hand-drawn STAR MAP. It looks like * likescribbles and dots and swirls. A crude little arrow in * themiddle of the map points to a position labelled "Earth". *

FLYNN * To be honest, at first it looked like * just a bunch of scribbles and dots. * (MORE)

Rev. 07/30/01 (2ndTan) (ReplacementScenes) 116C*.

C125 CONTINUED: Cl25

But then, we noticed - two spiraling

smudges in the left quadrant - in

relation to the position he indicates

for Earth.

He turnsto another COMPUTER SCREEN on which Steve bringsup

a realSTAR MAP.

FLYNN (CONT'D)

On our map, that's supposed to be the

position of a neutron star called A45,

that we estimate is several times

smaller than our sun. Are you with me

so far?

Dl25 OMITTED Dl25*

E125 EXT. POWELL'S PATIO - NIGHT E125*

Powellstands, mobile phone to his ear, unsteadily...

POWELL

Uh ...

F125 INT. OBSERVATORY - SAME Fl25*

(PREVIOUSLYSHOT AS SCENE 58PT)

Now Steve leans over to the phone again.

STEVE

See, Mark, the chart I generatedwas

for the night sky as we seeit from

Earth - only transposed onethousand

light years to where K-PAXis supposed

to be. But ... I madea mistake. You

see, from one thousandlight years -

we'd have a slightly differentview of

A45.

He holds PROT'S MAP next to yet anotherSCREEN .•. on which

there is a very large white star thatseems to coincide ·-

exactly - with Prot's TWO SMUDGES.

STEVE

We've analyzed Prot'smap and compared

the coordinates to theknown star

field. Where we thoughtthere was

only a neutron star,he has drawn what

appears to be a starand an accretion

disc.

Rev. 07/30/01 (2nd Tan) (ReplacementScenes) 116D*.

Gl25 EXT. POWELL'S PATIO - NIGHT Gl25*

Powell squints up at the night sky,then, into the phone. *

POWELL * Accretion disc? *

FLYNN * The data related tothe stars in this * area suggests the existenceof a body * of enourmousmass. *

AH125 INT. OBSERVATORY ·-SAME AH125

(PREVIOUSLY SHOT AS SCENE 58PT) *

STEVE * No, we're going todouble-check with * the Keck in Hawaii -but I'm pretty * sure your boy justconfirmed the * existence of a suspectedblack hole. *

Flynn moves closer to the phone,attempting: *

FLYNN * Believe me, Doctor Powell,I know how * crazy this sounds ...but, there is no * way someone could guessthis, or * intuit a map likethis - * (no otherway to say it) * - unless he had actuallybeen there * ... to this planetK-PAX. *

Hl25 EXT. POWELL'S PATIO - SAME -NIGHT Hl25*

Powell, dazed. He lowers thephone for a moment. Even as we * hear Steve talking through it - *

Powell raises the phone again. Doesn'tknow what to say into * it, except - *

POWELL • Steve, please don'tdo anything for a * couple of days. I reallyappreciate * that. Thank you foryour input. *

Powell looks at the starry night. *

(

Rev. 07 /30/01(2ndTan) (ReplacementScenes) 116E*.

ERNIE, wearing a PARTY HAT,blows a NOISEMAKER.

There are streamerseverywhere. A festive BANNER strung across the day roomreads: "BON VOYAGE, PROT!" The entire WARD is in party hats.

At a table, Howie isbusy collecting "Why I Want To Go To K- PAX" ESSAYS. We seethe handwritten titles, some in crayon, as they are put ina pile.

Howie looks up, surprised- as Navarro slips him an essay.

Powell looks downat the dog-eared cover of an old Guadalupe HIGH SCHOOL YEARBOOK, 1985. From Guadalupe County, New Mexico. It sits onhis desk. He looks at it, thinking hard.

Then takes out abottle of SCOTCH and two tumblers. Places them beside the yearbook. He pours himself a tumbler. Downs it. And just standsthere, preparing himself, waiting

In a couple moments,his door opens. And Prot enters. Powell puts on a smile.

Prot eyes him, carefully,sitting.

Powell lets outa delayed "I get it" laugh. Then, pours both glasses of Scotch. Prot, watches, with uncertainty, sensing Powell has somethingup his sleeve.

Rev. 01/22/01 (2nd Pink) 117.

Powell picks up both glasses - leaving the yearbookthere on his desk. He comes over, hands Prot a glass. Still unsure, Prot gets up, takes it from him. They standthere.

Prot watches Powell drink. Then, after amoment's hesitation, does the same. Letting out a whistle.

PROT * Mark ...Iwant to tell you something. * (beat) * Something you don't know yet. *

Powell waits, eyes riveted on Prot. *

As Powell's look turns unclear...Prot peers into hisempty * Scotch glass, with a solemn fatalism. *

Rev. 01/22/01 (2nd Pink) 117A*.

Powell, in surprise, swallowssome more Scotch, coming around, to sit - in his patient'schair.

PROT * You know what I'velearned about * Earth? How much youtake it for * granted. There'senough life on earth * to fill fiftyplanets. Plants, * animals, people, fungi,viruses, all * jostling to findtheir place. * Bouncing off eachother. Feeding off * each other... * (beat) * Connected. *

POWELL * You don't have that kindof connection * on K-PAX? *

PROT * Nobody needs. Nobodywants. Nobody * on K-PAX missesme -- therewould be * no reason to. But whenI leave here, * I will be missed. * (beat) * A strange feeling. *

POWELL * I want to help you, Prot. *

PROT * Thank you, Mark, but I don'tneed your * help. I'm going home. *

Prot pauses for a moment. *

POWELL * You don't have to leave, Prot. I'm * sure there must be some way forme to * help you ... * (off Prot's look) * ...to stay. As one of us. *

Prot looks at Powell. Squeezes his knee. *

Rev. 01/22/01 (2ndPink) 117B*.

PROT * I'll miss you, Doctor Powell. *

They sit there, looking straight into each other for abeat.

Powell, sensing the moment has come, glances over at the yearbook on his desk. Then back at Prot. *

Prot tries to read his expression... *

Powell hesitates, just a moment too long... *

Prot puts down the Scotch glass, stands up, burps. *

Rev. 01/22/01 (2ndPink) 118.

Powell regards him. *

The YEARBOOK sits onthe desk... *

They stare at each other. There are two ways Powell could go * here. But...somethinginside him makes him ...just...takethe * gold Montblanc pen fromhis own pocket...and holds it out to * Prot. *

Prot takes it, admiringit, grateful.

Rev. 07/26/01 (2nd Cherry) (Replacement Scenes) 119.

Powell watches him walk to the door. He senses the moment has * come. It' snow or never. *

POWELL

I want to show you something,Prot.

He hastens over to his desk, grabsthe manila envelope.

Prot's expression grows moreunsure, as Powell opens the * envelope, and takes out ...the Guadalupe High School Yearbook * 1985. *

He shows it to Prot.

CLOSE ON PROT ... he staresat the Yearbook

Powell watches Prot, intensely,waiting for a reaction

We, too, are waiting fora reaction.

An expression of immensesadness takes hold of Prot ...

followed by immediatecalm.

PROT

That isRobert Porter ... my dear

Earth friend. You found him. I knew

you would. Good work, Doctor Powell.

POWELL

(earnestly)

It'syou, Prot. You and Robert Porter

are thesame person.

PROT

(witha laugh)

That is patently absurd. I am not

evenhuman.

POWELL

(trying)

At least admit the possibility.

PROT

I will admit the possibility. If you

will admit the possibility that I am

from K-PAX.

Powellhas no reply to this.

PROT

Now, if you'll excuse me. I have a

beam of light to catch. * I i

Powellcan only watch him walk to the door ...

Rev. 07/26/01 (2nd Cherry) (ReplacementScenes) A119- .A*.

But, just as Prot is aboutto walk out, he pauses, looks back * at Powell. Leavinghim with a wise little smile. *

PROT * Mark ...now that you've found him. * Take careof him. *

And with that he walksout the door. *

Powell stands there. A look comes into his eyes, half * understanding. He finisheshis Scotch ... *

The Bon Voyage PARTY isin full swing. Cake frosting rings every patient'smouth, as a rousing "For He's a Jolly Good Fellow" is sung to Prot.

Powell stands at theWINDOW, watching the festivities.

As Villers comesup, briefcase in hand, joins him there.

She shakes herhead at the spectacle.

And with that,she just walks away, to the elevator, gets on.

Rev. 02/12/01 (2nd Green) 120.

Powell regards the clockon the wall: 10:56 P.M. He draws a * reluctant breath.

He turns, tired, to theelevator.

As the SONG finishes witha loud cheer, Howie comes'up, and with an air of formality,presents Prot with the ESSAYS. As everyone remains clapping- Sal suddenly rips off his party hat. His face angry,desperate. He shouts:

The room turns instantlyquiet. Ernie, Maria, Howie, the others - all put theirparty whistles down, to look at him.

Prot looks around. Seeingthat Sal speaks for all. He smiles, as if he willmiss every one of them.

There is a mad scramble, aseveryone dashes for their rooms. Maria leaves Prot with a tearfulembrace.

In a few moments, Howie isthe only one left. He walks over, eyeing Prot through hiswire-rims. He clears his throat.

Prot tucks the essays away,whispers to Howie, significantly.

Rev. 02/12/01 (2ndGreen) 120A*.

Howie is crestfallen. But as Prot pats him on the shoulder * with a nod of implicittrust...something, slowly, comes into * Howie's eyes. And he stands a little straighter, a little * more important, witha measure of self-worth. *

Rev. 07/17/01 (2ndBuff) (ReplacementScenes) 121.

R130 INT. POWELL'SOFFICE - NIGHT R130

Powell enters. Emotionally and physically exhausted. It is

then, he notices-

Rachel, sittingthere on his couch. A couple of TAKE-OUT

CARTONS in frontof her. His surprise is so complete, he

doesn't knowwhat to say.

At thismoment, she is the most beautiful sight he has ever

seen.

From the place on Broadway -- with the

ugly lanterns in the window.

Shepats the seat next to her. He doesn't resist. She spoon * feedshim a bite, and another. *

POWELL

The fortune cookies never had any

fortunes in them.

They share a laugh. Then, Rachel gives him a deep smile,

holding up another bite.

RACHEL * We didn't need any. I knew my fortune

that night. He was sitting right

across from me.

Their eyes remain on each other. And Powell realizeshow much

this woman means to him.

POWELL

I hope he still is.

Rachel puts down the food. Leans forward. Kisseshim.

As Powell's eyelids start to close, she gently lieshim down,

puts a couch pillow under his head ...

(

Rev. 07/17/01 (2ndBuff) (ReplacementScenes) 122.

Prot sits straightand quiet, arms folded in his lap, holding his red notebook. His bed is neatly made, the room tidy. He just sits there asif waiting for a plane.

Powell, asleep, Rachelsnuggled up to him. His wristwatch BEEPS.

He wakes up with astart. Waking her up. He tries to squint at his watch. Can'tsee it. Turns to his desk clock: .5:42 A.M.

Navarro sits inthe hallway, posted outside Prot's door. An oxygen tank and respirationequipment stand with him.

He turns to Simms,posted at the fire escape door, and holds up a twenty dollarbill.

At the SECURITY STATION- the guard checks his three MONITORS: Prot, sitting inhis room. Hallway, Navarro stationed. Stairwell, empty. He glances up at the CLOCK. As it turns to 5:49 A.M. Then looksover to the nurses station.

McAllister closesthe book she's been reading, getting a little fidgety now. She picks up the phone.

Powellcomes skiddingaround a corner, running ashe puts his jacketon. He hits theelevator button.

As he waits, he is drawnto a window. He looksout, up - at theSKY. There is anelectricness about it. A lone star twinklesin the darkpurple pre-light of dawn.

Powell punches thebutton again, frantically. Then, just takesthe STAIRS.

The security guard eyesthe clock: 5:50 A.M.

On one of his MONITORS, Powellappears dashing down the stairwell.

PROT, IN HIS ROOM - standsup. Takes his dark glassesoff.

NAVARRO, IN THE HALLWAY- looks through Prot's door.

MCALLISTERcomes out frombehind the nurses station,alert.

PROT folds his glasses, setsthem on his table. He faceshis window • • .asthe first lightof dawn comes through it.

Just as - POWELL bursts ontothe WARD, from the stairwell door. He runs, whisperingunder his breath -

PROT'S ROOM- the rising SUN sendsits first sharp RAY through Prot's window - and into Prot'sEYES.

SECURITY STATION - the securityguard glances at the clock,as the numbers turn to .•• 5:51A.M.

AND NOW, EVERYTHING HAPPENSAT ONCE

Mrs. Archer runs out of herroom -·

Wait forme, you fucker!

She collides with Powell, knockingthem both down.

Navarro turnsaway from Prot'sdoor, to the commotion.

As Powell liftsMrs. Archer backup, he looks past her - to see a blindingorange BEAM OFSUNLIGHT shining through the window ofProt's door.

The securityguard looks to theMONITORof Prat's room. Whi.ch has now ·gonetostatic •••

POWELL grabsNavarro's KEY RING. Runs for Prot's DOOR.

Blindedby the sunbeam coming throughits window, he fUlllbles for the rightkey - gets it in thelock - opens the door-

STAY ON POWELL'S FACE- as his eyessearch the room - the window - thetable - walls - every corner. No trace of Prat.

For an instant,a smile of disbeliefflashes across Powell's features. Thenhis eyes lower

He kneels down •.•to the BODYcrumpled underneath thebed i.n a fetal position. Barely conscious,eyes half open with a dead, vacant look.

Navarro andMcAllister hurry into theroom.

THE PATIENTS, who havenow woken up, gatherin the hallway, murmuring curiously- as Prat is carriedout of his room, past them, on a gurney. His eyes remain vacant,body rigid.

Rev. 07/20/01 (2nd Salmon} {ReplacementScenes) 125.

Ernie notices the sunstreaming through the day room windows. He smiles.

Maria looks around, asif sensing someone else is missing.

The patients look ateach other, then all around.

R137 INT. BESS'S ROOM - INA MOMENT Rl37

As the patients allconverge in her open doorway, staring ..•

A pair of hospital slipperssit neatly by Bess's bed. And her HOSPITAL BRACELET, leftneatly on her pillow.

Mrs. Archer's facetrembles with envy.

An ebullient smilespreads across Ernie's face.

Howie nods. It'strue.

Howiemakes hisway over to the bed. Picks up ... a piece of * paper from Bess'spillow. On it ... is a crude, simple * drawing of flamesshooting out of a house. And a bluebird, * flying away fromthe fire. And the WORDS: "I Have No Home". *

Rev. 07/20/01 (2ndSalmon) (ReplacementScenes) 125A*.

As Navarro and Simmssolemnly pull the GURNEY into the ELEVATOR. And theelevator doors close ...

AND WE DISSOLVE TO

Powell leansback in his chair, staring at the small recorder on his desk.

Rev. 07/20/01 (2nd Salmon) (ReplacementScenes) 126.

He looks down atProt's RED NOTEBOOK, opens it to a title page, which reads,in pencil: "Preliminary Observations on B-TIK (Earth)."

Then, his eyestake him out his study window - where Rachel, Gabby and Natalieare planting a rose bush in the garden.

Rl40 EXT. CENTRAL PARK- CACTUS GARDEN - DAY R140

WIDE SHOT,MOVING IN SLOWLY ...

on ROBERT PORTER,who sits in a WHEELCHAIR, blanket wrapped

aroundhim, hair rustling in a breeze. Powell, seated on a

bench, readsa LETTER, aloud, to him ...

POWELL

(havingtrouble reading

Howie's handwriting)

I like my new job at the library very

much ... I like helping people find

things ... except when they get * impatient with me. *

AS WE COME IN CLOSE NOW ...

Powelllooks at Porter, whose gaze remains vacant. He

continuesreading the letter, anyway -- *

be a crisis counselor? * (laughs at the thought of * this)

Imagine that.

Porter remains mute.

POWELL

Look, Howie sent a picture. *

CONTINUED !'

Rev. 07/20/01 (2ndSalmon) (Replacement Scenes) 126A*.

Rl40 CONTINUED:

R140

With a smile,he holds up a PHOTOGRAPHto Porter. Porter's * eyesmove, slowly, to the smiling picture of Howie and Ernie. * But he registersno reaction. *

Powelltakes it back, tries to keep a smile. He goesback to * readingthe letter -- *

POWELL

Say hello to all my friends ... Imiss

them. And please let me know when

Bess comes back because I wantto know

all about K -

He stops himself. Reflective a moment. Glances at Porter,

troubling. Then, just folds up the letter,puts it in his pocket. *

Rev. 07/20/01 (2nd Salmon) (Replacement Scenes) 127.

Rl40 CONTINUED: (2) Rl40

POWELL

That's one thino weneed to talk about • ... Bess.

;.:::- Really worriedabout Bess.

We've checked shelters,halfway homes,

the police have comeup empty ...it's • as if she ... justdisappeared.

(looks cannilyat Robert)

July twenty-seventh. You wouldn't

happen to want totell me anything

about that, wouldyou, Robert?

He's searching Porter's expressionlessEYES.

POWELL

No?

(withan earnest smile)

Well,maybe it'll come to you.

Wheneveryou're ready. I'll be

waiting.

He gets up, gives Portera pat on the shoulders. And takes

the handles of thewheelchair. Pushing Porter on, along the

path, through thepark.

POWELL

Doctor,patient. Curious human

distinction

WE TAKE IN THE DAY ROOM. As Maria gazes out a window. And Russellmumbles to himself, Bible in hand. And Sal and Mrs.Archer play a contentious game of fish.

WE MOVE ON ... into the ART ROOM. Where Navarro, setting a new patient down at some watercolors, pauses, respectfully - tolook at PROT'S GLASSES, which rest on a pedestal, like a shrine,facing the window.

AND WE LOOK OUT THROUGH THOSE DARK GLASSES ... into the dancing sunlight ...

Rev. 07/26/01 (2ndCherry) (ReplacementScenes) 127A*.

The SUNGLASS LENSESNOW FILLING THE SCREEN ... and the pinpoints of sunlightplaying like a thousand twinkling stars...

Rl41 (ALT) INT. WARD 2 -ART ROOM - DAY Rl41

Powell walks, slowly ...toward PROT'S SUNGLASSES, which rest * on a pedestal, likea shrine, with a "Do Not Disturb, Be Back * Soon" sign. They facethe window. *

Powell stares at them fora long beat. *

Then, looking around, seeingno one else is there, he bends * down . . .toLOOK THROUGHTHEM ... *

And as he does,WE SEE THROUGHTHEM into the dancing * sunlight ... the SUNGLASS LENSES NOW FILLINGTHE SCREEN * and the pinpointsof sunlight playing like a thousand * twinkling stars ... *

A142 INT. GRAND STATION A:142

AND WE ARE BACK withthe OUT-OF-FOCUS CROWDS of Grand Central Station ... the FIGURESresolve into PEOPLE, rushing here and there ...

Rev. 07/17/01 (2ndBuff)(Replacement Scenes) 128*.

A142 CONTINUED: Al42

And nowCLOSE ON POWELL, standing with his briefcase, * searchingfor someone in the crowds ... *

We hearPrat, O.S. *

Powellmoves his eyes over the nameless faces, more intently, * searching *

collapse back on itself -- then expand * again. It will repeat this process * again and again, forever. What you

don't know ... is that .•. when the * Uni.verseexpands again, everything * will be as i.twas before. Whatever * mistakes you make this time around, * you will live through again. Over and * over, forever.

A smile seizes Powell, as he's found who he's searching for ... *

And WE SEE MICHAEL. Coming out of a gate, duffle bag overhis * shoulder. Pierced eyebrow. He looks around, unsurely. Until * he spies his father. He smiles, tentative.

They approach each other, through the CROWDS. Stand there, * facingeach other. Powell initiates a hug, halting at first, * then warm, gripping his son around the shoulders.

And as the CAMERA PULLS BACK ... they walk off together, * through a SHAFT OF SUNLIGHT streaming down from one of the * high, station windows ... and on ... to the Metro North * gates ...

142 OMITTED 142*

FADE OUT: *