0812034001331821018 the.., p.10
0812034001331821018 the book of eli,
p.10
Solara looks at it all in horrified awe. Eli, unperturbed, keeps on moving, still clutching his side.
ELI
Come on.
EXT. GOLDEN GATE BRIDGE - DAY
Eli and Solara make their way south across the bridge, side-stepping the fractures in the road.
EXT. SAN FRANCISCO RUINS - DAY
Eli leads Solara through the rubble of what used to be San Francisco. It’s like walking through the wreckage of 9/11’s Ground Zero, but a hundred times the scale. Horrifying.
They pass by the wreckage of a HOTEL, nothing but the lobby still standing. A HILTON sign protruding from the rubble.
Eli uses his sheathed sword as a walking stick, poking around ahead of him for loose rubble underfoot. He steps carefully.
ELI
Watch your footing. Step where I step.
EXT. SAN FRANCISCO - FINANCIAL DISTRICT - DAY
More buildings are still standing here, but they’re nothing more than great dead monoliths. Solara looks up at the blasted skyscrapers - she’s never seen anything like it.
The buildings loom over her like giant tombstones. It scares her - like walking through the graveyard of a dead world.
SOLARA
This... this is the world before?
104.
ELI
What’s left of it.
They keep walking, passing the TOPPLED TRANSAMERICA PYRAMID.
EXT. SAN FRANCISCO - FISHERMAN’S WHARF - DAY
Once a bustling oceanside tourist spot, now a ghost town.
Eli and Solara walk along the litter-strewn street, passing the old RIPLEY’S BELIEVE-IT-OR-NOT and WAX MUSEUMS. The celebrity mannequins are still in fair condition, but slumped at their feet are CHARRED HUMAN SKELETONS.
Eli is struggling now. He looks pale from the blood loss. His breathing labored. Solara takes him by the arm to help him.
EXT. SAN FRANCISCO - PIER 39 - DAY
A dead, ruined place, like everywhere else. We hear the sound of SEAGULLS nearby - the only sign of life at all.
Eli and Solara walk along the pier, until they reach its end.
The original end has long since collapsed into the sea, but a RICKETY HAND-MADE ROPE BRIDGE has been affixed to the pier’s sheared-off edge.
Eli and Solara stand at the pier’s end, looking out to sea.
ELI
Do you see that?
SOLARA
I see it. Is that it?
ELI
That’s it.
Reveal now that the rope-bridge leads out across the bay to: ALCATRAZ ISLAND
Looking much the same as it always has, old and dilapidated.
The coastal fog shrouding it gives it an ethereal look. It feels almost like a mythic place - the “promised land” Eli has sought for so many years.
A tattered STARS AND STRIPES still flutters in the breeze atop the prison lighthouse.
105.
EXT. BAY ROPE BRIDGE - DAY
Eli and Solara make their way carefully across the bridge. It feels highly unstable and sags low over the bay, the waters below close enough to lap around their ankles.
EXT. ALCATRAZ ISLAND - DAY
Eli and Solara arrive at the prison gates. Securely locked.
As they inspect it for a possible way to enter: VOICE (O.S.)
Who goes there?
They look up. A GUARD in paramilitary fatigues is stationed in one of the perimeter towers. Training a rifle on them.
ALCATRAZ GUARD
Identify yourselves!
In the opposite tower ANOTHER GUARD has his rifle trained on them too. Eli looks up, raises his hands.
ELI
My name is Elijah Stone. I have a message for your boss. I need you to tell him that I have a King James Bible in my possession.
BEAT.
ALCATRAZ GUARD
Remain where you are! Do not attempt to move or you will be fired upon!
Keeping the gun trained on them, the tower guard uses his free hand to talk into a WALKIE-TALKIE RADIO. We don’t hear the conversation. All Eli and Solara can do is wait.
The guard puts away his radio and shouts back down: ALCATRAZ GUARD
Be prepared to surrender any weapons at the gate!
BEAT. And then the massive front gates SLOWLY OPEN ON
MECHANICAL RUNNERS with the low groan of rusted iron.
Eli and Solara look at each other, then step gingerly inside.
106.
INT. ALCATRAZ - MAIN GATES - CONTINUOUS
As soon as they step inside they are SURROUNDED BY DOZENS OF
HEAVILY-ARMED SOLDIERS. Not U.S. military, more like a semi-official militia. But every bit as deadly.
Eli and Solara raise their hands. A pair of SOLDIERS take Eli’s pack and sword, pat them both down for other weapons.
SOLDIER
They’re clean.
The soldiers before them part - to reveal a THIN, BALDING MAN
wearing spectacles. He wears Kevlar body armor over his tweed jacket and tie. Professorial, academic.
He approaches, shakes Eli’s hand vigorously - very excited.
THIN MAN
Welcome, both of you. I’m Professor Lombardi. I’m the curator here.
ELI
Elijah Stone.
SOLARA
Solara.
LOMBARDI
Solara. What a delightful name. Is that by any chance Shakespearean?
SOLARA
I, uh, I think it’s Japanese.
LOMBARDI
Wonderful.
He turns back to Eli.
LOMBARDI
Is it true what they tell me? You have a King James Version?
ELI
Been carrying it with me for twenty-five years.
Solara looks at Eli, puzzled. Lombardi finds it hard to contain his excitement.
LOMBARDI
My goodness. I can’t tell you how exciting this is. Well, come, come!
(MORE)
107.
LOMBARDI (cont'd)
I’ll give you the nickel tour and then we can all sit down and take a look at it.
He leads them across the courtyard into the prison buildings.
EXT. DESERT TOWN - MAIN STREET - DAY
Redridge’s remaining vehicles drive back into town and come to a halt outside the theater. Redridge emerges from his car, carrying the bible. Walks up to the Palladium and enters.
INT. ALCATRAZ - CELL BLOCK - DAY
What was once a cell block is now an IMMENSE LIBRARY. Stacked floor to ceiling with books. Lombardi shows Eli and Solara around. Behind them, a pair of ARMED GUARDS follow closely.
LOMBARDI
Yes, we’ve been doing this for some time now. Collected over thirty thousand volumes from generous donors all across the nation. We even have a printing press that we hope to have operational soon.
Solara is stunned as she surveys the endless stacks of books.
She’s never seen anything like it.
SOLARA
You turned the whole prison into a library?
LOMBARDI
Well, not exactly. We’re more like a storage facility. We’re holding these books here in trust, if you like. When society gets back on its feet and no longer needs us to preserve these volumes, they’ll be here waiting.
(beat)
I must ask you, how did you hear about us? We’ve been doing
everything we can to get the word out, but we always like to know where our benefactors come from.
ELI
I was sent here by God.
Lombardi raises a quizzical eyebrow.
108.
LOMBARDI
Is that right? Well, it’s good to know we’re getting such high-profile referrals these days.
(beat)
I must say, I am so excited that we finally have a King James. You know, we have a Talmud here, we have two Korans, we even have that Scientology book. But never a Christian bible, until now. I honestly believed it was the one book I’d never see again, after what happened...
BEAT. Lombardi appears sad for a moment.
LOMBARDI
May I ask what condition it’s in?
ELI
It’s a little beat-up. But it’ll do the job.
LOMBARDI
Well, then. What say we take a look at it?
Lombardi looks at Eli with anticipation. So does Solara, interested to know where this is going to go next.
Eli winces in pain, puts his hand to his side.
ELI
Is there someplace we could sit?
LOMBARDI
Of course. Right this way.
INT. PALLADIUM AUDITORIUM - CARNEGIE’S BOX
Redridge appears. Carnegie looks at him eagerly.
CARNEGIE
Did you get it?
Redridge holds the bible up proudly. Carnegie beams.
CARNEGIE
Show me.
Redridge hands it over. Carnegie sits back in his chair, running his hand lovingly over the battered leather cover.
109.
CARNEGIE
The new world begins here...
He opens the book and looks inside.
BEAT. And then he looks up at Redridge, confused.
CARNEGIE
What the fuck is this?
INT. ALCATRAZ - CAFETERIA - DAY
Eli, Solara and Lombardi sit at one of the long lunch-room tables. The two armed guards keep watch nearby.
ELI
Do you have something you can write with?
LOMBARDI
Mmm? Oh, yes of course!
He pulls a pen from his pocket, motions to one of the guards.
LOMBARDI
Could you please bring us some writing paper?
The guard nods and moves toward the door. As he does so: ELI
Bring a lot of it.
INT. PALLADIUM AUDITORIUM - CARNEGIE’S BOX
Carnegie looks at the open bible, jaw hanging loose, his complexion ashen. Like he’s just been slapped in the face.
REDRIDGE
What? What is it?
INT. ALCATRAZ - CAFETERIA - DAY
The guard brings a THICK SHEAF OF WRITING PAPER to the cafeteria table, sets it down by Lombardi.
ELI
Are you ready?
LOMBARDI
What exactly am I writing?
110.
ELI
Pay close attention and write down every word exactly as I say it.
Eli removes his goggles. Solara can’t believe what she sees.
His eyes are pale, milky-white, dead. TOTALLY BLIND.
ELI
The First Book of Moses called Genesis. Chapter one, verse one. In the beginning God created the heavens and the earth. Verse two.
The earth was without form, and void; and darkness was on the face of the deep. And the spirit of God was hovering over the face of the waters. Verse three. And God said,
“Let there be light,” and there was light.
Lombardi hurriedly writes down every word.
INT. PALLADIUM AUDITORIUM - CARNEGIE’S BOX
Carnegie sits at his desk, still in shock. Eli’s bible sits open on the desk before him.
A BRAILLE BIBLE.
Claudia is ushered in by a guard.
CLAUDIA
What’s wrong?
He rushes forward and thrusts the bible into her hands.
CARNEGIE
You told me once that you know how to read this. This blind language.
CLAUDIA
Well, a long time ago, when I was a little girl...
CARNEGIE
You’re going to read it for me.
Every word. And I’m going to write it down. Start at the beginning.
As Carnegie hunts on his desk for a paper and pen, Claudia opens the book and trails her fingertips across the raised lettering.
111.
For a moment there is a glimmer of recognition... a faint smile... but then it fades as Carnegie turns back to her, eagerly clutching the writing materials.
CLAUDIA
I’m sorry. It’s been so long. I don’t remember. I don’t remember any of it.
Carnegie is aghast. BEAT as the anger swells within him, threatening to explode...
CARNEGIE
God fucking dammit!
He swipes violently at the bible, knocking it out of Claudia’s hands. He grabs it up and tries to rip it in two, but it’s too thick to tear. Red-faced with rage, he tosses it out over the box balcony. It lands somewhere in the dark auditorium below, between the rows of gutted theater seats.
As he paces angrily back past Claudia: CLAUDIA
Bill, is there something-
CARNEGIE
Just go. Just get out of my sight.
He slumps in his chair, exhausted and furious. Claudia sadly turns and leaves him alone with his thoughts.
INT. ALCATRAZ - CAFETERIA - NIGHT
Some considerable time later. Great stacks of paper have been filled with Lombardi’s handwriting.
Lombardi’s pen races across the paper, struggling to keep up with Eli’s recitation.
Solara is curled up on a nearby bench, asleep. Eli’s coat covering her to keep her warm.
Eli clutches his wound painfully as he continues to recite.
He looks paler now than ever. Close to death.
ELI (V.O.)
Dear Lord, thank you for giving me the strength and the conviction to complete the task you entrusted to me. Thank you for guiding me straight and true, through the many obstacles in my path.
(MORE)
112.
ELI (V.O.) (cont'd)
And for keeping me resolute when all around seemed lost.
EXT. ALCATRAZ - EXERCISE YARD - PRE-DAWN
The prison yard shrouded in the dim light just before dawn.
Solara crosses the yard. She looks more mature somehow.
Determined and strong. She carries with her ELI’S SWORD - and something else, tucked under her arm.
ELI (V.O.)
Thank you for your protection and for your many signs along the way.
She stops in a nondescript corner of the yard.
At her feet is a SHALLOW MOUND OF DIRT. At the head of the mound, a SIMPLE TOMBSTONE.
She kneels and places a SINGLE FLOWER on the grave.
INT. PALLADIUM - CARNEGIE’S BEDROOM - NIGHT
Lit only by the pale moonlight, barely enough to see by.
Carnegie sleeps soundly in bed. Next to him lies Claudia, wide awake. She checks that Carnegie is sound asleep, careful not to wake him before she creeps out of bed and exits.
INT. PALLADIUM AUDITORIUM - NIGHT
Claudia is on her hands and knees in the darkness, searching blindly in the aisles and beneath the theater seats.
She finds Eli’s bible in some litter strewn on the floor.
ELI (V.O.)
Thank you for the good that I have done. For whatever light you were able to shine into the darkness of this world through me.
Sitting in the darkness, Claudia opens the book and runs her fingers across the braille, reading. And though we can barely see in the dim light, we see the smile on her face. The joy.
EXT. ALCATRAZ - EXERCISE YARD - DAWN
As Solara kneels by the grave, we see now that she wears Eli’s SAINT CHRISTOPHER PENDANT around her neck.
The tombstone reads:
113.
HERE LIES ELIJAH STONE
DIED AUGUST 21, 2048
FAITHFUL SERVANT TO THE LORD
AND FRIEND TO SOLARA
She unsheathes Eli’s sword, plants it in the ground before his grave. Takes the BOOK from under her arm and opens it up.
It’s a NEW BIBLE. Crudely typeset from Lombardi’s original transcription and printed on the prison press.
She opens it up and begins to read a passage from the bible over Eli’s grave. We don’t hear what she says.
As Solara finishes her reading and closes the bible, LOMBARDI appears behind her.
LOMBARDI
You know, you don’t have to leave.
You’re welcome to stay here with us. You’ll be safe.
SOLARA
Thanks.
She stands, pulling Eli’s sword from the earth.
SOLARA
But I gotta do what I gotta do.
LOMBARDI
Where will you go?
BEAT. Solara looks at the sword, her fingers playing across its hilt. The blade glimmers in the light of the rising sun.
There is a determined, purposeful look in her eye.
SOLARA
Home.
EXT. ALCATRAZ ISLAND - DAWN
The sun rises through the fog on the horizon.
The great iron gates grind open. Solara emerges from inside the prison, steps out onto the island rock.
She is dressed in a flak jacket, combat pants and boots.
Eli’s old pack across her back. Hair tied in a neat pony tail. Atop that, Eli’s ragged fur hat.
ELI (V.O.)
Thank you for the friend I made.
114.
In her hand she clutches a copy of the newly-printed bible.
Eli’s sword slung over her shoulder.
ELI (V.O.)
Please watch over her as you watched over me.
MONTAGE as Solara walks back along Fisherman’s Wharf...
through the San Francisco rubble... across the Golden Gate bridge...
ELI (V.O.)
Thank you for allowing me finally to rest. I’m so very tired. The time of my departure is at hand and now I surrender my soul into your care, at peace in knowing that I have carried out your will. That I have done right with my time on this earth.
EXT. ROAD - DAY
...and finally back onto a desolate road leading off into the desert wasteland. She looks up and down the road, then turns and heads toward the sun on the horizon. Headed east.
ELI (V.O.)
I have fought the good fight. I have finished the race.
As she walks away into the sun, her lonely silhouette on the road reminds us of Eli as we saw him so many times before.
ELI (V.O.)
I have kept the faith.
She grows smaller and smaller as she walks into the distance, until she consumed by the rising sun and we FADE OUT:
Unknown, 0812034001331821018 the book of eli
