The Prisoner
written by Ira Nayman
ZOOM OUT to reveal: INT. ATTIC - NIGHT It is small, cramped and dark. NUMBER SIX crouches on the floor. He is in his late 30s, muscular, with a jaw set firmly to his purpose. He is smart, but he can be betrayed by his temper. But that's for later. For now, Number Six is wearing headphones, listening to a conversation being recorded on the hard drive of the computer on the floor in front of him. On the screen of the monitor are three windows: two contain different images of two men arguing in a non-descript hotel room; the third contains the ever unfolding fractal. Also on the screen is a bar with a sound wave fluctuating. After a couple of seconds, Number Six reaches for a cigarette smoldering in an ash tray next to the computer and takes a long, languid puff. PAN with the smoke to the window of the attic, out of which we can see a hotel - The Ambassador. The sign in front of the hotel is in Spanish; we appear to be somewhere in Latin America. Without warning, the hotel explodes in a blinding light. INT. BEDROOM - DAY Number Six wakes up. Every muscle in his body is tense. He stretches. He warily rubs his eyes. Number Six gets out of bed, naked except for his underwear. He walks over to the wardrobe and, opening it, finds half a dozen black blazers. They are identical, except for the first, which has a button pinned to the lapel; the button is dominated by a drawing of a penny farthing bicycle. Superimposed over the wheel of the bicycle is a red number six. Number Six frowns. Where the hell are his clothes? He looks in a drawer of the wardrobe, and sees a pile of crisp white shirts. INT. FRONT ROOM - DAY It isn't large, but it is full of tasteful furniture and personal effects. Number Six walks over to the window, disturbed. He pulls aside the curtain and looks out at a fairy tale garden and pathway.NATALIYA What do you want?
(vo, bedroom ambience)CLIENT You will be well compensated for your efforts...
(vo, street ambience)NATALIYA They'll never let you go.
(vo, bedroom ambience)NUMBER SIX Priests!
(vo, office ambience, outraged)CLIENT You're the best. The go to guy when we need information. And, we need information.
(vo, street ambience)NUMBER SIX Women and children!
(vo, bar ambience, angry)CLIENT Need information.
(vo, street ambience)NATALIYA Let you go.
(vo, bedroom ambience)CLIENT Need information.
(vo, street ambience)NATALIYA Let you go.
(vo, bedroom ambience)CLIENT Need information.
(vo, street ambience)NATALIYA Let you go.
(vo, bedroom ambience)NUMBER SIX ...the right thing.
(vo, bar ambience)SECOND CLIENT Then, do your job.
(vo, impatient)NATALIYA You know too much. They'll never let you go.
(vo, bedroom ambience)
INT. DOOR - DAY Number Six, whose clothes have been filled out with dark slacks and sneakers, walks to the door. As he reaches for the handle, the door silently opens by itself. Number Six is surprised, but strides out. EXT. NUMBER SIX' COTTAGE - DAY It is a beautiful little cottage surrounded by trees and plants. Over the mailbox next to the door is a big porcelain number six. Number Six walks out the door and turns to close it. Too late - the door has already closed on its own. Number Six stomps off down the path that leads away from the building. EXT. ARCH - DAY Number Six walks through the arch. There don't seem to be any people about. EXT. CAFÉ - DAY Number Six walks through a square, passing by a café. Tables and chairs have been set out for the use of customers, and there is even a cup on one of the tables and a chess set - ready for a game - on another table, but the place is deserted. EXT. BEACH - DAY Number Six walks onto the beach. To his right is an abandoned ship that appears to have run aground and just been left there. Still no sign of another human being. Number Six turns, frustrated, and notices a bell tower in the distance. INT. BELLTOWER - DAY From the top of the belltower, Number Six can see a forest that seems to go to the horizon on one side and a body of water disappearing over the horizon on the other. In between are cottages, shops, official looking buildings and structures not as easy to identify. But not a single human being. Number Six is both dismayed and uncertain what to do. EXT. PATH - DAY Number Six walks down a path leading past a shop. For a brief moment, it looks like there is movement in the shop window. Number Six runs up the path and into the shop. INT. SHOP - DAY Number Six walks into a small shop. A bell over the door tinkles to announce his arrival. The shop is old-fashioned, bursting with racks and shelves of useful, and some frivolous, items. Notable by its absence is a cash register: on the counter at the front of the shop is an opaque sheet of glass. Behind the counter stands NUMBER ONE-THIRTY-SEVEN. He is short and round. He looks like Tweedledum - or maybe Tweedledee. Although he is probably not bright enough to be bored by standing around an empty shop, he does perk up slightly in the presence of a customer.NUMBER SIX Where the hell am I?
(voice over)
Number Six looks around the shop.NUMBER ONE-THIRTY-SEVEN May I help you, sir?
Number Six turns and takes a map off a rack behind him. He opens it, and finds a simple line drawing of The Village with landmarks generically indicated (for example: Forest, Residence, Administration, Sea, Shop, etc.). Frowning, Number Six turns back to Number One-thirty-seven.NUMBER SIX Where am I?NUMBER ONE-THIRTY-SEVEN The Village shop, sir.NUMBER SIX What Village?NUMBER ONE-THIRTY-SEVEN The Village.NUMBER SIX Mmm... Do you have any maps?NUMBER ONE-THIRTY-SEVEN On the wall behind you, sir.NUMBER SIX Thanks.
Number Six doesn't quite understand, but he decides to let the matter drop.NUMBER SIX (CONTINUING) Do you have any maps that, uhh, show a wider area?NUMBER ONE-THIRTY-SEVEN Only the local, sir.NUMBER SIX But -NUMBER ONE-THIRTY-SEVEN There's no demand for any other type of map.
Number Six begins folding the map.NUMBER SIX If you say so. Can I -NUMBER ONE-THIRTY-SEVEN Sir. Please. If you don't mind...
(indicates the map) I'm not very handy when it comes to folding maps.NUMBER SIX Oh. Sure.
Having finished folding the map, Number Six turns to put it back on the rack, then turns back to Number One-thirty-seven.NUMBER SIX (CONTINUING) Can I get a cellphone?NUMBER ONE-THIRTY-SEVEN Don't carry them, I'm afraid.
Number Six turns to go, then turns back to the shopkeeper.NUMBER SIX No call for them?NUMBER ONE-THIRTY-SEVEN Precisely.
(not getting the joke)NUMBER SIX Uhh...is there a pay phone nearby?NUMBER ONE-THIRTY-SEVEN Out the door, then right and walk for a few metres - you can't miss it.NUMBER SIX Thanks.
Number Six notices a plastic skull on a shelf near him.NUMBER SIX (CONTINUING) I don't suppose you carry cigarettes?NUMBER ONE-THIRTY-SEVEN Sorry, sir.NUMBER SIX No demand?NUMBER ONE-THIRTY-SEVEN Sir! Cigarettes are bad for your health!
Number One-thirty-seven pulls a package of gum out from behind the counter and hands it to Number Six, who takes it.NUMBER SIX Interesting priorities. Pack of gum?NUMBER ONE-THIRTY-SEVEN Certainly, sir. What flavour?NUMBER SIX Surprise me.
Number One-thirty-seven gestures towards the pin on the lapel of Number Six' jacket.NUMBER ONE-THIRTY-SEVEN Wild cherry, sir. A vastly underrated flavour, if you don't mind me saying so.NUMBER SIX Okay.
(faint smile)NUMBER ONE-THIRTY-SEVEN Your number?NUMBER SIX Number?
(blank)
Number Six takes off the pin and hands it to Number One-thirty-seven. Number One-thirty-seven swipes the number across the glass built into the counter as Number Six turns to leave.NUMBER SIX (CONTINUING) Uhh...six?NUMBER ONE-THIRTY-SEVEN I need the pin, sir. To pay for your chewing gum.
Number Six stops moving but doesn't turn around. SOUND: beep signaling the success of the transaction.NUMBER ONE-THIRTY-SEVEN (CONTINUING) Sir, you have forgotten your number.
Number Six turns to face Number One-thirty-seven.NUMBER SIX Keep it.NUMBER ONE-THIRTY-SEVEN But, you barely know me!
(aghast)NUMBER SIX I don't need it.NUMBER ONE-THIRTY-SEVEN I'm sorry, sir. As a rule, I never disagree with a customer. But, I assure you, if you leave your number here, you - you're nobody!
Number Six looks at Number One-thirty-seven for a moment, not sure what to make of his panic. With a quick, smooth gesture, Number Six takes the pin out of Number One-thirty-seven's hand and drops it into his jacket pocket.NUMBER SIX I don't need a number to know who I am.NUMBER ONE-THIRTY-SEVEN Of course not. You need the number so everybody else will know who you are.
(panic rising)NUMBER SIX What if I don't care if other people know who I am?NUMBER ONE-THIRTY-SEVEN Please sir - Six! - I beg you not to saddle me with the burden of your identity!
(pleading)
Number Six turns and hurries out. The bell over the door tinkles to acknowledge his departure.NUMBER SIX Thanks for the gum.
EXT. PHONE BOOTH - DAY It is an old-fashioned British phone booth. Next to it is a platform holding a map of part of The Village (a line drawing similar to that of the map in the shop, but with additional generic detail). Prominent on this map is a star next to a phone booth in which are set the words: "You are here." Number Six takes one look at the map, snorts derisively and enters the phone booth. INT. PHONE BOOTH - DAY The phone, typical in all other respects, doesn't have a slot for coins. Rather, built into its top is an opaque piece of glass. Number Six picks up the receiver.NUMBER ONE-THIRTY-SEVEN Be seeing you.
(relieved)
Number Six fishes the pin out of his pocket and places it face down on the glass.OPERATOR How may I help you?
(on phone, pleasant)NUMBER SIX I'd like to make a call to Washing -OPERATOR Your number, please, Number Six.NUMBER SIX You...know my number.OPERATOR Please place your number on the glass plate.NUMBER SIX Oh. Of course.
SOUND: Muzak comes over the telephone. Number Six takes a stick of gum out of the package and starts chewing furiously. Then, he impatiently scratches the side of his nose. Just when it looks like he'll hang up, the Muzak abruptly ends.OPERATOR Thank you, Number Six. Washington? Please hold.NUMBER SIX But -
Number Six shakes his head in disbelief, but he is also starting to realize that some sort of sinister logic is at play here. He hangs up the phone and turns to go. Then, the phone rings. Number Six hesitates, but, since it seems quite insistent, he picks up the receiver.OPERATOR I'm sorry, Number Six, but all of the overseas lines are busy. I can ring you when a line becomes available, if you like.
Number Six takes a deep breath.NUMBER SIX I thought you said -NUMBER TWO I haven't had the opportunity to say anything, yet.
(on the phone, affable)NUMBER SIX Who is this?NUMBER TWO Please, Number Six. Calm down. We wouldn't want you to have a stroke your first day here.
SOUND: dial tone. Number Six hangs up. He turns and tries to open the door, but it is stuck fast. He puts his shoulder to it, but the space is awkward and he doesn't budge it. In frustration, Number Six takes the receiver of the phone and pounds it on the door, but the glass must be reinforced in some way, because he doesn't so much as scratch it. Finally, his energy spent, Number Six puts the receiver back on the hook and reluctantly puts the button on his lapel. With a gentle push, the door of the phone booth opens. EXT. GREEN DOME - DAY Number Six looks up at a building that could be the city hall of any fair sized metropolis. He walks up to the front door, which opens automatically before him. INT. ROTUNDA - DAY Marble floor. Green domed ceiling. Aside from the door through which Number Six entered, there are three other doors. Standing in the middle of the room is a BUTLER. He is 4 feet tall or so, mute and a bit severe. The Butler wears a black valet's uniform. He is the only person in The Village who doesn't wear a number pin. Number Six walks up to him.NUMBER SIX Okay. Who is this?NUMBER TWO I'm your...host. Make your way to the green dome so we can be properly introduced.NUMBER SIX But -NUMBER TWO The green dome, Number Six. Oh, and, don't forget your badge.NUMBER SIX Why?NUMBER TWO For one thing, you won't be able to get out of the phone booth without it. Be seeing you.
The Butler goes to the door on his left, opens it and steps through. Number Six takes a look around the rotunda and follows. INT. NUMBER TWO'S OFFICE - DAY It is sunk into the ground. As a result, Number Six and the Butler have to walk down a flight of stairs. The walls of the room are dark. Towards the rear of the room, three large plasma screen television sets hang suspended in midair. On the first screen are four windows, each containing a different view of The Village. Each image is replaced by another view in turn around the screen every two seconds. There are no people in any of the images. On the second screen is CNN. On the third screen is an ever-changing fractal. In the centre of the room are two curved tables. On one sit a couple of cellphones and a wireless computer keyboard. NUMBER TWO sits at the other table, concentrating on building a large tower made out of Lego. Number Two is an old man whose dress is a bit old-fashioned and who moves slowly, but he has a dry wit and a quick, sharp mind.NUMBER SIX I was told to come here.
Number Two looks up from the Lego tower. The Butler silently walks to the side of the room and patiently stands, waiting.NUMBER SIX Where am I?
As they refresh, the images of The Village on the first screen now appear full of bustling people going about their business. Number Six doesn't notice.NUMBER TWO The Village.NUMBER SIX That's supposed to mean something to me?NUMBER TWO It means something to us.NUMBER SIX You and the Butler, there?NUMBER TWO And the 2000 or so other people who live here.
(smiles)NUMBER SIX I didn't see anybody out there.NUMBER TWO Perhaps, it was because they could not see you.
Number Two laughs heartily, which angers Number Six. The moment Number Two starts to laugh, the middle screen goes black.NUMBER SIX Who are you?NUMBER TWO I am Number Two.NUMBER SIX Who is Number One?NUMBER TWO You are Number Six.NUMBER SIX I am not a number! I am a human being!
(defiant)
38 appears on the black screen.NUMBER SIX (CONTINUING) What's so funny?NUMBER TWO Number Six! Really! Not a number? Are you not your age?
6 appears on the screen.NUMBER TWO (CONTINUING) Your height?
151 appears on the screen. The numbers slowly start to circle each other.NUMBER TWO (CONTINUING) Your weight?
Three more numbers appear on the screen and start to intertwine with the others.NUMBER TWO (CONTINUING) Collar? Shoulder width? Pants length?
Four long numbers appear on the screen and enter the writhing mass of numbers.NUMBER TWO (CONTINUING) Four credit cards.
Four more long numbers appear and are sucked into the writhing mass.NUMBER TWO (CONTINUING) Social insurance. Health insurance. Debit card. Driver's licence.
Dozens of double digit numbers, most very high, fly onto the screen and into the writhing mass, which has now gotten quite large. It starts to coalesce into a figure.NUMBER TWO (CONTINUING) Grade school marks. High school marks. College marks.
Four more numbers appear. They complete the figure on the screen - the silhouette of a man's body.NUMBER TWO (CONTINUING) Telephone number of home in New York. Phone number of home in London. Phone number of home in Jerusalem. And, oh, your average golf score.
Number Two looks at him appraisingly.NUMBER TWO (CONTINUING) My dear chap, what are you if not the sum of all of your numbers?NUMBER SIX Those numbers describe me, but they don't define me.
(dark)
Middle screen returns to CNN. Because he has focused on speaking to Number Six, Number Two has had his back turned to the screen the entire time.NUMBER TWO For our purposes, they define you well enough.
They stare each other down. Then, Number Six violently knocks over the Lego tower, showering pieces all over the room. He turns and quickly strides out.NUMBER SIX What do you want?NUMBER TWO Information.NUMBER SIX You already seem to know everything there is to know about me.NUMBER TWO We know who you are. We need to know what you're capable of.NUMBER SIX What do you want?
(growing impatient)NUMBER TWO For over a decade, you've been involved in industrial espionage -NUMBER SIX I'm a consultant.NUMBER TWO You're a spy. Working for some of the largest corporations and governments in the world. Yesterday, without warning, you announced that you were retiring. I'm sure you can appreciate that some of your former clients were...concerned about you.NUMBER SIX It was a matter of conscience.NUMBER TWO Was it? Forgive my skepticism, but consider some other numbers we know about you. You don't pick up the phone for less than $10,000. You never take on a client for less than a million, substantially more if the assignment requires a lot of your time. Your clients have included dictators who oppress their people and corporations who engage in all manner of illegal activities. You have no conscience.NUMBER SIX What do you want?NUMBER TWO Information.NUMBER SIX You won't get it.NUMBER TWO By hook or by crook, we will.
INT. FRONT ROOM - DAY Number Six angrily paces the room. SOUND: ringing telephone. Number Six stops and looks at the phone, but doesn't make a move to answer it. It keeps ringing.NUMBER TWO (CONTINUING) We always do...
(sadly)
Number Six looks around for the source of the voice.NUMBER TWO Please pick up the phone, Number Six.
(voice over)
Number Six looks with suspicion at the television set. Reluctantly, he picks up the ringing telephone.NUMBER SIX If we can talk like this, why should I?NUMBER TWO Talking on the telephone will feel more natural to you.
(voice over)
The front door opens.NUMBER SIX What do you want?NUMBER TWO Number Six, while I am an avid advocate of physical fitness, I do not think it's wise of you to spend all day pacing in that small room.
(on telephone)NUMBER SIX What's it to you?NUMBER TWO One of my most sacred duties, one which I perform with the utmost seriousness, is to ensure the happiness of all of the citizens in The Village.NUMBER SIX Then, tell me how to get away from this place.NUMBER TWO You know, experiments show that lab rats in isolation slowly go insane. They - we - absolutely require the stimulus only social intercourse can provide.NUMBER SIX Alone or with others, it's still a cage.NUMBER TWO The chess club is currently recruiting new members, and I understand a fourth is needed for a rubber bridge match in the café.
Number Six looks at the door, slams down the phone and stalks out. The door sedately closes behind him. EXT. ARCH - DAY Number Six follows the flow of people through the arch. Coming from the opposite direction is a golf cart with a taxi sign on top of it. Number Six waves at the taxi. It stops in front of him. Number Six leans into it to speak to the driver, NUMBER EIGHT SEVENTY-THREE.NUMBER TWO (CONTINUING) Why don't you get out? Meet people. Explore.
Number Six starts to climb in.NUMBER SIX Are you free?NUMBER EIGHT SEVENTY-THREE In what sense?NUMBER SIX Is the taxi available?NUMBER EIGHT SEVENTY-THREE Yes, sir.
Number Six gets out of the taxi and walks away.NUMBER SIX Take me to the next village.NUMBER EIGHT SEVENTY-THREE Sorry, sir. Local service, only.NUMBER SIX I can pay you a lot of -NUMBER EIGHT SEVENTY-THREE I'm sorry, sir, but -NUMBER SIX Fine.
EXT. FOREST - DAY Number Six walks through the brush. INT. NUMBER TWO'S OFFICE - DAY Number Two is drinking a cup of tea while watching the middle screen, on which is a map of The Village. Over the map are two thousand red dots. The majority of the dots are concentrated in three or four areas, with the rest scattered about the lower half of the map. One dot is moving away from the others in the upper half of the map. The Butler stands to the side, patiently waiting.NUMBER EIGHT SEVENTY-THREE Be seeing you!
(shouts after him)
EXT. WOODS - DAY Number Six walks through and, ultimately, out of the woods. In front of him are forbidding mountains far too high for him to climb. He swears under his breath and angrily turns back. EXT. BEACH - DAY An ELDERLY WOMAN (Number 2027) sits on a bench. Number Six approaches and sits on the bench. He sees that she is watching people climbing on the half-sunken ship, and he watches them with her for a couple of moments. Number Six notices a dock in the distance, to which a small boat is chained. Number Six turns to the Elderly Woman.NUMBER TWO My dear chap, where do you think you're going?
The Elderly Woman mumbles something to herself.NUMBER SIX Do you know who owns that boat?ELDERLY WOMAN Eh?NUMBER SIX That boat...
(gestures towards it) Who owns it?
The Elderly Woman mumbles to herself again.NUMBER SIX (CONTINUING) Can you tell me what it's used for?
Then, to Number Six' surprise, the Elderly Woman jumps up and rushes off. EXT. DOCK - NIGHT Number Six creeps up to the shoreline. He sees that the boat is no longer tied to the dock. Satisfied, he curls up in the shade of a small dune and waits. EXT. DOCK - NIGHT (LATER) Number Six sleeps fitfully. SOUND: putter of an outboard motor. Number Six is immediately awake and alert. A boat is pulling up to the dock. It contains two men in working clothes, one at the wheel, the other standing next to him. They are speaking in a foreign language. Number Six creeps towards the boat under cover of darkness. One of the men jumps off the boat and starts to tie the line. Number Six rushes him and knocks him off the dock into the water. The other man shouts angry incomprehensibilities at Number Six, who jumps onto the boat. The man grabs a hook and tries to impale Number Six on it. Number Six squirms away from the hook and lands a 1-2 combination to the man's gut and face. He drops the hook and staggers. Number Six rabbit punches him in the throat, and the man falls to the deck of the boat, gasping for air. Number Six rolls him over the side and guns the engine. EXT. BOAT - NIGHT With grim determination, Number Six pulls the boat away from the shoreline and heads out.NUMBER SIX (CONTINUING) Can you tell me anything?ELDERLY WOMAN Questions are a burden to others! Answers a prison to oneself!
(shouts)
Number Six looks around for the source of the voice.NUMBER TWO I wouldn't want to meet you in a fair fight - what a ferocious display!
(off)
Number Six pulls the radio out of its place. Trailing wires, the radio is chucked overboard. Pause.NUMBER TWO (CONTINUING) Unfortunately, you will find that physical force counts for very little, here.
Number Six guns the engine. INT. OCEAN BED - NIGHT The water along the bottom starts bubbling, disturbing the fish. From the roiling ocean bed, a perfect white sphere quickly develops and flows upwards. EXT. BOAT - NIGHT The boat speeds on. Suddenly, a large white sphere pops up out of the water into its path. Number Six turns the wheel, hard. The boat veers away from the sphere. The sphere turns with it, catching up to the boat. The sphere hits the side of the boat, throwing Number Six overboard. He swims away from it, but the sphere easily catches up to him. INT. SPHERE - NIGHT A man's screaming face and hands push at the rubbery surface of the sphere. EXT. OCEAN - NIGHT The sphere slowly and elegantly moves through the water, trailing Number Six's inert body behind it. INT. HOSPITAL WARD - NIGHT It is a typically white, sterile room. There are a dozen beds, but the only one occupied holds Number Six. Number Two walks into the room and sits next to Number Six just as he opens his eyes and weakly looks around.NUMBER TWO (CONTINUING) As I said. A word of caution, Number Six: turn back. In a few metres, you will encounter our automated defense system, and I'm afraid your fate will be out of my hands.
(pause, louder) Number Six! Turn back!
NUMBER TWENTY-EIGHTEEN enters. He is young and good looking. For some reason, he is wearing a Napoleon outfit.NUMBER TWO That metallic taste in your mouth? It will go away in a couple of hours.NUMBER SIX What...?
(rasps)NUMBER TWO Rover? It combines mechanical and biological components with a low functioning artificial intelligence. It's about as smart as a smart dog or a stupid cat, but strong as an ox. And, as you may have noticed, Rover can be quite...determined.NUMBER SIX Why?NUMBER TWO Security. Several nations have expressed interest in the prototype, but I prefer to continue tests rather than unleash it into the world. We -
Number Twenty-eighteen looks at the chart hanging from the back of the bed.NUMBER TWO (CONTINUING) Ah, Doctor Twenty-eighteen. How's the patient?
Number Twenty-eighteen notices Number Six staring at him.NUMBER TWENTY-EIGHTEEN Rover has given his system quite a shock. As usual.
(mild disapproval)NUMBER TWO But, he'll live.NUMBER TWENTY-EIGHTEEN Yes.NUMBER TWO As usual.NUMBER TWENTY-EIGHTEEN Yes, Number Two.
INT. HOSPITAL WARD - NIGHT (LATER) It is dark. The only light comes from the round window set in the door. Number Six stirs, then gets to his feet a little unsteadily and heads towards the door. INT. HOSPITAL CORRIDOR - NIGHT Number Six walks out of his room. The corridor is long and thin. There are half a dozen doorways to either side of Number Six on both sides of the hallway, each with a round hole. At the end of the hallway is a door without a window. Number Six walks across the hall to the door opposite his and peers into the hole. INT RUBBER ROOM - NIGHT A dozen Napoleons in straightjackets are sitting, squatting, pacing and orating at each other in a padded room. INT. HOSPITAL CORRIDOR - NIGHT Number Six shakes his head, not certain he can believe what he's seen. He moves to the doorway on his right, bringing him closer to the doorway at the end of the hall, and looks through its window. INT. EXPERIMENT ROOM - NIGHT The room is full of hi tech medical equipment. A couple of technicians in white lab coats move about, checking equipment and jotting down notes in Palm Pilots. In the centre of the room, a man's body lies on a bed. Although his head is obscured by a helmet, the body could be that of Number Six. At the head of the bed, another lab technician works frantically at a computer. INT. HOSPITAL CORRIDOR - NIGHT Number Six frowns, as if trying to remember something he knows he should know. Reluctantly, but gaining strength, he moves to the next door, one door closer to the end of the corridor. INT. RUBBER ROOM NUMBER TWO - NIGHT This padded room appears empty. Without warning, a head pops into the window, shaking so fast that it quickly becomes a blur.NUMBER TWENTY-EIGHTEEN (CONTINUING) I was being fitted for my costume for tomorrow's Ball when Number Two requested I look in on you.NUMBER TWO It's the Village Carnival, Number Six. You shouldn't miss it.NUMBER SIX I'm in...no...shape...NUMBER TWO Nonsense! You get a good night's rest, and, tomorrow, you'll feel as good as new!NUMBER TWENTY-EIGHTEEN Number Two, really!NUMBER TWO Can I help it if I'm an optimist?NUMBER TWENTY-EIGHTEEN He'll need three day's bed rest, at least.NUMBER TWO I'm sorry, Number Six. Still, there'll be another Ball next year.
(shrugs)NUMBER SIX I won't be here...(moans) To enjoy it.NUMBER TWO You see, doctor? Optimism is contagious!
INT. HOSPITAL CORRIDOR - NIGHT Number Six turns to face a burly, but not unkind, orderly, NUMBER FOUR-FIFTY-SIX, who has just walked through the door at the end of the hall.NUMBER FOUR-FIFTY-SIX Number Six, really!
(voice over)
Number Six begins the retreat back to his hospital room. INT. BEDROOM - DAY Number Six is asleep in a bed. The clock next to the bed turns from 6:59 to 7:00.NUMBER FOUR-FIFTY-SIX How do you expect to recover if you don't get your rest?NUMBER SIX Wanted to stretch my legs.
(mumbles)NUMBER FOUR-FIFTY-SIX You'll have a lifetime of stretching your legs. For now, rest. Rest.
INT. KITCHEN - DAY The kitchen is small, but with all the modern amenities. Number Six is making eggs on a burner. SOUND: knock on the door.VILLAGE VOICE Rise and shine! It's another glorious day here in The Village! I'm sure you enjoyed Carnival, but that's no excuse! A week is plenty of time to recover! This week -
(overly pleasant)NUMBER SIX I've died and gone to Hell.
(mumbles)
The door automatically opens. NUMBER SIXTY-FOUR enters, followed by NUMBER ONE-FORTY-FOUR and NUMBER EIGHTY-ONE. Number Sixty-four is a short, busty Asian woman, vibrant and chatty. Number One-forty-four is tall, thin, young and somewhat shy. Number Eighty-one is a roly-poly, balding, middle-aged man who doesn't appear to be terribly interested in being there.NUMBER SIX Go away!
Number Six turns off the burner and uses a spatula to coax the eggs off the frying pan and onto a plate.NUMBER SIXTY-FOUR Yoo hoo! Number Six? Sorry we haven't popped round earlier, but your prolonged stay in the hospital for the...uhh...NUMBER EIGHTY-ONE Incident?NUMBER SIXTY-FOUR Accident? Well, anyway, this was our first opportunity, you understand - pity you were...unable to attend the Ball. I was dressed as Bo Peep and Number One-forty-four was -NUMBER SIX What do you want? NUMBER SIXTY-FOUR Ah, yes, sorry for getting ahead of myself, there. We're your welcoming committee. We're here to answer any questions you may have about The Village and to help you orient yourself.NUMBER SIX You're wasting your time.NUMBER SIXTY-FOUR Why?NUMBER SIX I don't plan on being here long.
Number Six drops the dirty frying pan into the sink.NUMBER SIXTY-FOUR Oh, lots of people say that, but you'd be surprised how many are won over by The Village's bucolic charm.
Number Sixty-four shoos the others away. They gratefully go the front door, which opens for them, and leave the house. Number Sixty-four follows, then turns back to Number Six.NUMBER SIX What do you want?
(disbelief)NUMBER SIXTY-FOUR Do you have any questions -NUMBER SIX Who is Number One?NUMBER SIXTY-FOUR Oh, Number Six!
(giggling)NUMBER EIGHTY-ONE It has to be a question that has an answer.
(stern)NUMBER SIX If you don't mind, I'd like to eat my breakfast.NUMBER SIXTY-FOUR Of course.
Number Sixty-four exits. The door closes behind her. Number Six shakes his head. This is a weird place. INT. GYM - DAY Number Six is enthusiastically punching a bag. EXT. CAFÉ - DAY Number Six is sipping a drink, watching people go by. On the table in front of him, a chess game on which two or three moves have been made is laid out on a board. EXT. KITCHEN - NIGHT Number Six is fixing himself a meal. INT. GYM - DAY Number Six is running around a track. EXT. CAFÉ - DAY Number Six is sipping a drink, watching people go by. He tentatively moves a piece on the chess board, which is now in its end game. EXT. KITCHEN - NIGHT Number Six is fixing himself a meal. INT. NUMBER TWO'S OFFICE - NIGHT The lights are dim. On the outer screens are the usual changing images of The Village (at night) and fractals. Number Two is watching the middle screen, on which we can see Number Six working out in the gymnasium, having dinner, waking up, having breakfast, over and over. The video changes every two seconds. Down the side of the screen is a timetable which outlines Number Six' schedule (ie: 7am: wake up; 9am: exercise; 4pm: coffee at the Cafe; etc.) The Butler passively watches Number Two watching the screen as he speaks on the telephone.NUMBER SIXTY-FOUR (CONTINUING) Remember...if there's anything you need...anything at all...NUMBER SIX I'll whistle. Be seeing you.
EXT. CAFÉ - DAY Number Six sits drinking a coffee, watching. A new game has been set up on the chess board. A shadow falls across the table.NUMBER TWO Yes... Yes. Just over four months. I agree, Number Six does appear to have settled into a comfortable routine.
(pause) What I always do: remind him of the essentially chaotic nature of the universe...
Number Six looks up to see CHARLES, a tall, black man with a British accent. His button identifies him as Number Twenty-four.CHARLES (off) Well, look what the tide brought in.NUMBER SIX Who...
Charles indicates the table.CHARLES I thought you were dead.NUMBER SIX Charles?CHARLES No names here, if you please. We might make the mistake of thinking we're human. May I?
Charles pulls an unoccupied chair away from another table and sits next to Number Six.NUMBER SIX Uhh, sure.
He's interrupted by a waitress, Number Eight-Thirty-three, who walks up to the table, Palm Pilot in hand.NUMBER SIX (CONTINUING) What are you doing here?
(low)CHARLES Damned if I know. One evening, I went to bed in my apartment, the next morning I woke up in this place. You?NUMBER SIX Yes. How -
She walks away from the table.NUMBER EIGHT-THIRTY-THREE Can I get you anything?CHARLES I'm just going to enjoy the sunshine for now, thanks.NUMBER EIGHT-THIRTY-THREE Suit yourself.
(miffed)
Number Six nods.CHARLES You've got to love this place.NUMBER SIX Why?CHARLES For one thing, the laundry. Every morning, I wake up to find my clothes have been cleaned.NUMBER SIX How do you know they simply haven't been replaced by new ones? You can't assume anything. Not here. How long have you been in The Village?CHARLES A couple of weeks. You?NUMBER SIX Four months, five days.CHARLES What is this place?NUMBER SIX I don't know. And I don't intend to stay long enough to find out.CHARLES If you have a plan, don't tell me. I don't believe secrets are safe here...
Smiling, Number Six takes two pawns off the board. EXT. BEACH - DAY The Elderly Woman sits on the bench, watching the water. Number Six, standing behind her, watches it as well.CHARLES (CONTINUING) Shall we have a game of chess, then? It's a cheap metaphor, but it does pass the time.
Number Six pretends to be considering, but this is actually what he has been working towards the entire conversation.NUMBER SIX It's beautiful, here.ELDERLY WOMAN It is merely light reflecting off a fractal surface.NUMBER SIX Ah...and yet, that doesn't explain why we're attracted to it.ELDERLY WOMAN After millions of years of evolution, our eye is still attracted to movement in our environment that signals potential danger.NUMBER SIX There must be more to it than that.ELDERLY WOMAN The phenomenal world is fairly well understood.NUMBER SIX Yet, there is still so much we don't understand.ELDERLY WOMAN I do not think so.NUMBER SIX Let me give you an example.
Frustrated, Number Six walks away. INT. SHOP - DAY Number Six approaches the counter.NUMBER SIX (CONTINUING) I do not understand why you sit here all day.ELDERLY WOMAN Ah, well, the mind - as opposed to the brain - is a deep, unfathomable well.NUMBER SIX But isn't the mind a manifestation of the brain, and, therefore, subject to the physical laws that govern it?ELDERLY WOMAN Questions are a burden to others.NUMBER SIX Oh, no, I didn't -ELDERLY WOMAN Answers a prison to oneself.NUMBER SIX But -ELDERLY WOMAN Questions are a burden to others.
Number One Thirty-seven gets a package of spearmint chewing gum out from behind the counter. Meanwhile, Number Six turns to find Number Sixty-four, carrying some goods of her own, standing nearby.NUMBER ONE THIRTY-SEVEN And what will it be today, sir?
(warm)NUMBER SIX It looks like it could rain...NUMBER ONE THIRTY-SEVEN Oh, I hate to contradict a customer, but I'm sure you're mistaken.NUMBER SIX Why?NUMBER ONE THIRTY-SEVEN Oh, it never rains in The Village.NUMBER SIX Ah, yes, well, suppose...for the sake of argument, suppose that I'm not. What would be a good flavour to have on a rainy day?NUMBER ONE THIRTY-SEVEN Spearmint's just the thing. You need a little...snap when foul weather threatens.NUMBER SIX Spearmint it is, th -NUMBER SIXTY-FOUR Number Six!
(off)
Number Six turns, takes the gum from Number One Thirty-seven and gives him his pin.NUMBER SIX Ye-es?NUMBER SIXTY-FOUR Number Sixty-four.
(brief pause) I was a member of your welcoming committee.NUMBER SIX Ah. Right. How are you?NUMBER SIXTY-FOUR Good! Good. And you?NUMBER SIX Fine.NUMBER ONE THIRTY-SEVEN Ahem.NUMBER SIX Excuse me.
Number One Thirty-seven swipes the pin across the counter and hands it back to Number Six. Number Six puts it on and turns back to Number Sixty-four.NUMBER SIXTY-FOUR Of course. Sorry.
SOUND: beep ending transaction.NUMBER SIXTY-FOUR (CONTINUING) If you -NUMBER SIX I have a question, yes.NUMBER SIXTY-FOUR Okay.
EXT. CAFÉ - DAY Number Sixty-four is thrilled to be sitting at a table, drinking with Number Six. A couple of bags of groceries are by her feet under the table.NUMBER SIX Shall we get a drink?
Number Six starts to say something, then changes his mind.NUMBER SIX Do you know the old woman on the beach?NUMBER SIXTY-FOUR Everybody does. It's a sad story.NUMBER SIX What happened?NUMBER SIXTY-FOUR She came here 18...19 years ago with her husband -NUMBER SIX The Village has been here that long?NUMBER SIXTY-FOUR The Village has been here forever.
Pause.NUMBER SIX Go on.NUMBER SIXTY-FOUR Her husband was some sort of a scientist - I think she was a mathematician, but I'm not a hundred per cent certain. Anyway, they were inseparable. Then, one day, he...got very angry and...and started smashing everything in his laboratory.NUMBER SIX Why?NUMBER SIXTY-FOUR Who knows? They sent the big white ball to stop him.NUMBER SIX Rover?NUMBER SIXTY-FOUR Is that what you call it?NUMBER SIX That's what...Number Two called it.NUMBER SIXTY-FOUR Really? I...I didn't know.
(hurt)
EXT. BEACH - DAY Number Six sits on the bench, watching people move about on the shipwrecked vessel. After a moment, Number Two walks up to the bench and, standing behind him, watches with Number Six.NUMBER SIX What happened?
(gently)NUMBER SIXTY-FOUR He died. His heart couldn't take it.NUMBER SIX I'm surprised they didn't know about his heart.NUMBER SIXTY-FOUR Who does, really? Know about another person's heart, I mean?NUMBER SIX So, about her...?
(nodding)NUMBER SIXTY-FOUR She never accepted her husband's death. She thinks he went away. Somewhere. She waits on the beach for a ship that will bring him back to her.NUMBER SIX A ship that will never come.NUMBER SIXTY-FOUR If you don't mind my asking...NUMBER SIX Yes?NUMBER SIXTY-FOUR Why does she interest you?NUMBER SIX I...she doesn't seem to belong here.
(finishes his drink) Thanks for the...for the information.NUMBER SIXTY-FOUR Any time, Number Six. Any time.
(beams)
For the first time in the conversation, Number Six turns to face Number Two. But Number Two is no longer there.NUMBER TWO Industrious, aren't they?NUMBER SIX Like good little ants.NUMBER TWO You prefer our actions to have meaning? How pre-modernist of you.NUMBER SIX Where's the old lady?NUMBER TWO Number Twenty Twenty-seven? Dead, I'm afraid.NUMBER SIX What did you do to her?NUMBER TWO As you say, she was an old lady.NUMBER SIX Sent her out to sea on an ice floe? How ancient of you.NUMBER TWO Actually, she was buried in our cemetery. It is most impressive. Non-denominational, of course.NUMBER SIX Of course.NUMBER TWO You really ought to acquaint yourself with it.
(menace?)NUMBER SIX That is a pleasure I think I will have to pass on.
(pause) Did you come here for a reason?NUMBER TWO Ah. Indeed, I did. In a couple of weeks, The Village will be holding our annual Arts and Crafts Fair. I was hoping to be able to persuade you to create something for us.NUMBER SIX Why?NUMBER TWO To show your community spirit.NUMBER SIX I haven't got any.NUMBER TWO Sincerity, my dear chap. If you can fake that, you've got it made.NUMBER SIX I...I'll think about it.NUMBER TWO Excellent! Entry forms can be picked up at the Village Gymnasium and, of course, my office. Mind you follow all the rules - wouldn't want you to be disqualified on a technicality...NUMBER SIX I'll keep that...
INT. METAL SHOP - DAY Number Six is soldering two pieces of metal together at an odd angle. INT. NUMBER TWO'S OFFICE - NIGHT The lights are dim. Number Two is sitting at one of the desks, his back to the screens, speaking on the telephone. Number Six can be seen welding on the middle screen during the day. The revolving images of The Village on the left hand screen clearly show it to be night. The fractal is typically fractalish. The Butler, as ever, stands at the ready.NUMBER SIX (CONTINUING) In mind.
(to himself)
EXT. ARCH - DAY Number Six stands on one side of the interior of the arch, his back to it, apparently hiding. After a moment, he purposefully strides through the arch and into NUMBER TWENTY-ONE ELEVEN, knocking the small man down.NUMBER TWO Oh, yes. Certainly.
(into phone)
(pause) No, I've had our engineers look over the list of materials Number Six requisitioned. They assure me that he cannot use them to construct anything...untoward.
(pause, smiles) Well, exactly. Mustn't make things too easy for the lad...
He offers a hand to Number Twenty-one Eleven, but the man spurns it, getting back on his feet by himself.NUMBER SIX Oh, I am sorry. Here, let me -
Number Twenty-one Eleven stalks off in a huff, unaware that he is no longer wearing his number badge. Number Six pockets the badge.NUMBER TWENTY-ONE ELEVEN Why don't you watch where you're going?
(angry)NUMBER SIX You're right. You're right. So sorry.NUMBER TWENTY-ONE ELEVEN Be more careful next time!
Number Six turns. On the other side of the arch stands NATALIYA. She is tall, dark and striking. She speaks with an east European accent. The pin on her chest has the number 2112. Number Six is shocked to see her.NATALIYA You!
(off)
Number Six crosses over to her.NUMBER SIX What...what are you doing here?NATALIYA I don't know.
Number Six takes Nataliya by the hand and walks away with her. EXT. WOODS - DAY Nataliya follows Number Six into a copse in the woods. She stands against a tree as he paces back and forth. She is confused and hostile.NUMBER SIX Come with me.
Number Six stops pacing. He looks at Natilya.NATALIYA What is this place?NUMBER SIX EPCOT for spies.NATALIYA But, I am not a spy.NUMBER SIX I know. I know.NATAILYA So, what am I doing here?NUMBER SIX I don't know. Maybe...maybe they think they can get to me through you.NATALIYA Don't they know how much I hate you?NUMBER SIX Nataliya, I -NATALIYA They? Who are they, anyway?NUMBER SIX The people who run this place.NATILYA That doesn't answer my question. Who are they?
Pause as they follow their separate thoughts.NUMBER SIX I don't know.
Number Six looks at her for a moment. Then, he gives Nataliya a big hug. She doesn't return it, but she doesn't back away from it, either. INT. NUMBER TWO'S OFFICE - DAY Number Two is on the telephone. Number Six bursts in.NATALIYA I thought you were dead.
(quiet)NUMBER SIX Is anybody looking for me?NATALIYA I don't think so...NUMBER SIX I've been gone for...almost five months!NATALIYA You go away without telling anybody all the time on your...missions.NUMBER SIX But four months!NATALIYA Yes! Sometimes for months!
Number Two holds up a restraining hand.NUMBER SIX Why have you -
Number Two hangs up and places the phone on the table. Number Six positions himself in front of Number Two.NUMBER TWO Yes, doctor. The full treatment. You have my authorization.
(into phone)NUMBER SIX What is she doing here?NUMBER TWO Sorry I cannot discuss the matter further, but something has, ahh, come up. Right. Be seeing you.
(into phone)
An image of Nataliya warily looking out her cottage window appears on the middle screen.NUMBER TWO (CONTINUING) Number Six, this is most -NUMBER SIX Nataliya.
Number Two looks at Number Six for a moment and decides not to press the point.NUMBER SIX (CONTINUING) What is she doing here? She's a civil rights worker, not a spy.NUMBER TWO Are you sure of that?NUMBER SIX Yes.
Number Six moves menacingly towards Number Two. The Butler moves to intervene, but Number Two gently waves him off. The Butler returns to his passive position.NUMBER TWO Well, Number Six, not everybody in The Village is a spy, you know. We need others to...fill out the casts of our little dramas.NUMBER SIX Send her back. She doesn't belong here.NUMBER TWO I would say that was entirely up to you.NUMBER SIX Me? What can I do?NUMBER TWO Tell me...why did you resign?
After a moment, Number Six turns and stalks out. INT. METAL SHOP - DAY Number Six is working on his sculpture. Three metal pieces are stuck together at odd angles, and he is considering what to do with a fourth. He tries it this way, then that. Charles watches, bemused.NUMBER SIX I could snap you in two. Like a twig.
(quietly)NUMBER TWO I daresay you could. But are you prepared to live with the consequences?NUMBER SIX What consequences?NUMBER TWO (smiles) You would have to take over.NUMBER SIX I would set everybody free.NUMBER TWO But everybody is free.NUMBER SIX I would burn this place to the ground.NUMBER TWO Ah, my young friend, didn't your encounter with Rover teach you anything about the futility of force?
Number Six looks up at him, but finds Charles smiling.CHARLES You need more physical dimensions.NUMBER SIX Why?
(preoccupied)CHARLES Then you could put it at right angles to each of the three pieces you've already got.NUMBER SIX Mmm...no. Straight ninety degree angles aren't all that interesting. Too perfect. The trick is to create strange intersections that draw the viewer's eye into the work.CHARLES I'll have to take your word for it. You always were better at figuring the angles than I was.
Charles looks questioningly at him. Number Six puts a finger to his nose. Charles nods. Number Six goes back to looking for the best fit for the piece in the sculpture.CHARLES (CONTINUING) Have you figured out a way -NUMBER SIX Questions are a burden to others.CHARLES I beg your pardon?NUMBER SIX Answers a prison to oneself.
Number Six looks at him. Deeply.CHARLES Is this -NUMBER SIX Are you feeling alright?CHARLES You mean, aside from the usual flashes of paranoia and dread?NUMBER SIX This place does have that affect on one.CHARLES Brilliant. I feel just brilliant.
Charles walks over to the table and does as he is instructed.CHARLES (CONTINUING) What?NUMBER SIX Feeling creative?CHARLES Oh, well, that's not my -NUMBER SIX Hold this piece of metal exactly like this.
Pause.NATALIYA At first, I thought it was my apartment in London.NUMBER SIX Me, too.NATALIYA How can they do that? I mean, how do they know?NUMBER SIX I don't know.NATALIYA Why would they even want to go to the trouble? I mean, what's the point?NUMBER SIX I...I don't know.NATALIYA Don't you want to know?NUMBER SIX I want to get away - then, none of it will matter.NATALIYA That's you all over. Never question anything. I always told you you'd regret it.
Number Six puts a finger to her lips.NATALIYA (CONTINUING) Father Ortega -
Nataliya brushes his hand away.NUMBER SIX Always assume somebody is listening.
Nataliya hesitates, conflicted.NATALIYA How convenient for you.
(angry)NUMBER SIX Nataliya -NATALIYA I know you killed Father Ortega.NUMBER SIX I didn't!NATALIYA You and your crusade against terrorism! Father Ortega was no terrorist!NUMBER SIX Nataliya, I know.NATALIYA Then, why?NUMBER SIX Listen to me. Nobody told me that the hotel would be bombed. The Colonel had set up an alternate operation without my knowledge - they were the ones who killed all those people.
Now, Nataliya really doesn't know what to say. Number Six takes the opportunity to lean over and kiss her.NATALIYA But, how - why...why should I believe you?NUMBER SIX I resigned.NATALIYA What?NUMBER SIX I told the Colonel I was out of the game, and that he should spread the word throughout the network.NATALIYA I...I didn't believe you would actually - I didn't know.NUMBER SIX Nobody does. The next morning, I woke up here.
They kiss again. Nataliya is more passionate.NUMBER SIX I'm sorry. I'm sorry you're involved in this.NATALIYA What are we going to do?NUMBER SIX I'm going to escape.NATALIYA But how?NUMBER SIX Don't worry. I'll reach the authorities, then I'll come back to get you. Okay?NATALIYA Okay.
Pause. EXT. CAFÉ - DAY Number Six and Charles are playing chess and drinking tea. Charles is tense, and he has developed a slight tic in his right eye.NATALIYA (CONTINUING) Do you want...to stay?NUMBER SIX Do you want me to stay?
Number Six puts a finger to his right eye.CHARLES You know what I can't figure out?NUMBER SIX What's that?CHARLES Where they get their supplies.NUMBER SIX Their supplies?CHARLES I've stayed up all night watching different shops. Nobody seems to deliver goods to them. But when I go in the next day, the shelves are always full.NUMBER SIX Interesting. I hadn't thought -
(notices tic) Something wrong with your eye?CHARLES No. Why?NUMBER SIX You're ticing.CHARLES I'm sorry?
Number Six looks at him penetratingly.NUMBER SIX Are you sure you're okay?CHARLES Fine. Really.NUMBER SIX No run-ins with Rover?CHARLES No, thank goodness.
(shudders)NUMBER SIX They haven't done anything to you?CHARLES I've been left totally to my own devices.NUMBER SIX How are your dreams?CHARLES Funny - I can't remember having any since I got here.
