(contains revisions dated:)
Rev. 09/11/85 (White)
Rev. 11/08/85 (Pink)
Rev. 12/03/85 (Blue)
INNERSPACE
Written by
Jeffrey Boam
WARNER BROS. INC. REV. FIRST DRAFT
4000 Warner Boulevard
Burbank, California 91522 August 6, 1985
Revised 12/3/85 *
INNERSPACE
FADE IN:
1 INT. HOTEL BANQUET ROOM - NIGHT
A crowded cocktail party is in progress. Open bar and huge
buffet table. A well-dressed, predominantly male crowd in
attendance. Uniforms from all branches of the military are
in evidence everywhere.
CAMERA PROWLS THROUGH the room picking up random bits of
conversation. A TELEVISION NEWS CREW, reporting live from
the scene, comes INTO FRAME.
NEWS CORRESPONDENT
(into hand-held mike;
facing mini-cam crew)
... Bob, I think that you and the
viewers at home can see that this
room behind me is packed to
overflowing. Former astronauts,
Space Shuttle crew members,
Washington bigwigs, Pentagon
officials... well, you name it
and they're here in San Francisco
tonight to celebrate the 30th
Anniversary of NASA, the National
Aeronautics and...
CAMERA MOVES OFF, eventually finds:
2 LYDIA MAXWELL
A knockout brunette in her early thirties. She is engaged
in earnest conversation with a man whose eyes are seen to
wander over her anatomy as they talk. (We'll call him
ROVING EYES.)
CAMERA PANS TO:
3 TUCK PENDELTON
Emerging drunkenly into the banquet room from a door
marked "No Admittance" and crashing head-on into a busboy
with a loaded tray of dirty dishes.
The busboy is knocked for a loop and the DISHES SMASH to
the floor.
Tuck reacts with inebriated indignation. He points to
the "No Admittance" sign.
TUCK
How come it says 'restrooms' when
it's really the damn kitchen!?
INNERSPACE - Rev. 12/3/85 2. *
The busboy looks baffled, and Tuck moves off with his
dignity intact. Noticing that his glass is empty, he
shoulders his way to the bar.
TUCK
(to bartender)
Cutty. Up.
As he waits for his drink, we see that Tuck's rugged good
looks are fading slightly and his once square jaw is in
need of a closer shave. His Navy captain's uniform --
stretched tightly across his chest -- suggests that
several pounds have been added since the last fitting.
As Tuck receives his drink from the bartender, a DISTURB-
ANCE is heard to break out somewhere across the room:
ROVING EYES
(to Lydia; loudly)
What are you doing!? That's a tape
recorder!
Roving Eyes indicates a small Sony protruding from Lydia's
clutch purse.
ROVING EYES
You can't do that, young lady!
Give that to me.
He swipes the recorder from her purse.
LYDIA
Hey!
Other partygoers turn and look. So does Tuck. His eyes
blaze. He storms over.
TUCK
What's going on here?
LYDIA
(surprised to
see him)
Tuck!...
TUCK
What's the trouble, Lydia?
LYDIA
He stole my tape recorder.
ROVING EYES
(to Tuck)
She was recording my conversation!
LYDIA
I told you I worked for a newspaper.
INNERSPACE - Rev. 12/3/85 3. *
ROVING EYES
This is a cocktail party, not a
damn news conference!
LYDIA
(firmly)
Give it back to me, please.
TUCK
You heard the lady... hand it over!
Roving Eyes looks startled by Tuck's abusive tone.
TUCK
I said, hand it over... ya damn
pencil-necked civilian!
Suddenly, the room falls silent, and Tuck realizes that
all eyes are upon him.
ROVING EYES
Captain, you're drunk.
Tuck looks embarrassed. He looks down at his drink, then
looks up again with a big, foolish grin on his face.
TUCK
Well... he's right. I'm drunk.
(to Lydia)
Guess I owe these folks an
apology, Lydia.
She puts her hand on his arm.
LYDIA
(softly)
It's okay, Tuck. Forget it.
Tuck pulls away from her.
TUCK
(belligerently)
Not until I apologize to these
people!
(for all to hear)
We got some real famous, all-
American hero-types with us
tonight! Space-walkers, an' moon-
walkers... an' Earth-orbiters!
It's obvious who Tuck is talking about. They stand there
in their crisp uniforms, with short hair, erect postures
and disapproving expressions.
TUCK
Gentlemen...
(belch)
... I'm sorry...
INNERSPACE - Rev. 12/3/85 4. *
Tuck is standing before a DISPLAY OF LARGE ROCKET MODELS
charting the history of the space program.
TUCK
(indicating one of
the rockets)
You boys have all gone up in these
babies. Hats off to you. I envy
you fellas...
(beat)
... The most excitement I ever had
was the time I landed a crippled
F-14 on the deck of a rocking
flattop in zero visibility with
the nose gear --
Tuck sees RUSTY, one of the ex-astronauts in the crowd,
turn away in disgust.
TUCK
-- Don't turn your back on me,
Rusty...
(beat)
... At least when my moment of
truth came, I didn't take a dump
down the leg of my flightsuit...
if that rings any bells for you!
Rusty looks enraged. He advances toward Tuck. But Tuck
stands his ground -- smiles -- and drops Rusty with a
hooking right fist. Uproar!
TWO young MARINES rush up to Tuck.
FIRST MARINE
Take it easy, Captain.
TUCK
Only two of you?
Tuck raises his fists. The Marines exchange a look.
They know that they have no alternative.
SECOND MARINE
Sorry, Captain.
Pow! Tuck takes it on the chin. He goes tumbling back-
wards into the rocket display. The MODELS BANG into each
other like falling dominos. Onlookers gasp and scream.
The TV News Crew hurries over. They turn on their lights
and roll tape.
NEWS CORRESPONDENT
(to Marine)
Who is he?
INNERSPACE - Rev. 12/3/85 4A. *
MARINE
Captain Tuck Pendelton, ma'am.
The News Correspondent looks disappointed.
NEWS CORRESPONDENT
(to crew)
Kill it, boys. He's nobody.
Tuck props himself up on one elbow and works his jaw.
Lydia rushes to his side.
LYDIA
Oh, Tuck... are you all right?
Tuck gives her a dazed expression. No one else offers
assistance. They look upon Tuck as a complete disgrace.
Then, one man comes forward. Dressed in a business suit.
Tuck's own age. Clean cut. Athletic-looking. His name
is PETE BLANCHARD. He offers Tuck his hand.
Tuck looks up at Blanchard and smiles sadly.
TUCK
Where's your uniform, Pete?
Blanchard pulls Tuck to his feet.
BLANCHARD
I grew up, Tuck. I wear a suit
now.
(beat)
Take him home, Lydia.
Lydia begins to lead Tuck away. But she leaves his side
for a brief moment to snatch back her tape recorder from
Roving Eyes' unsuspecting hands.
LYDIA
Pencil neck!
ROVING EYES
You should have your press
credentials revoked!
LYDIA
Write a letter to your
congressman!
Lydia marches off, reclaims Tuck who waits for her on
tottering legs, and heads for the door.
Roving Eyes watches them go. Pete Blanchard comes up
beside him.
INNERSPACE - Rev. 12/3/85 4B.
ROVING EYES *
(to Blanchard) *
I am my congressman. *
4 EXT. HOTEL ENTRANCE - NIGHT
Tuck and Lydia emerge from the hotel, Tuck's arm draped
around Lydia's shoulder for support.
LYDIA
And you said you weren't coming *
tonight! *
Revised 11/8/85 5. *
TUCK
No. I said I wasn't invited.
They approach the parking VALET. Lydia hands him her claim
check.
5 INT. LYDIA'S CAR - TRAVELING - NIGHT
Tuck is slumped in the passenger seat as Lydia drives him
home. She glances at him with a concerned expression.
TUCK
Don't give me that look.
LYDIA
(innocently)
What look?
TUCK
That 'Poor Pitiful Tuck' look.
(beat)
I had a great time tonight. I
like getting drunk. I enjoy
being hit in the face.
Lydia rolls her eyes at Tuck's hopelessness. Tuck picks
up the tape recorder from the car seat.
TUCK
What's on this, anyway?
LYDIA
I'm working on a story.
TUCK
I should have guessed.
LYDIA
It's a good story.
(beat)
Not that you'll ever know, of
course. You never read any of
my articles.
TUCK
That's not so. I read the one
about me.
LYDIA
I think you only looked at the
pictures.
TUCK
Well, you gotta admit, those were
great pictures.
(strokes his face)
Maybe I should grow that mustache
back.
Revised 11/8/85 6. *
Tuck takes a moment to mull this over, removing a pocket
flask from beneath his uniform in the process.
TUCK
Okay. Tell me about the story.
LYDIA
Espionage in Silicon Valley.
The buying and selling of advanced
technological secrets.
TUCK
Hmm...
LYDIA
That's why I had my tape recorder
with me. Every high-tech company
on the West Coast was represented
at that party tonight.
TUCK
Well, you're right about one thing,
Lydia...
(takes a pull on
the flask)
... I ain't gonna read it.
6 INT. TUCK'S HOUSE - NIGHT
Tuck and Lydia enter. Tuck turns on a light. The place is a
cramped, unkempt bachelor's den.
Despite the usual clutter, Lydia notices right away a new
element in the disarray: Biological charts, books and models.
All of which pertain to the internal workings of rabbits!
She picks up one of the models.
LYDIA
What's this?
TUCK
Nothing. Just some homework I'm
doing.
Tuck takes it from her hand and puts it down.
TUCK
How about a drink?
LYDIA
I can't stay, Tuck.
TUCK
Just for a minute.
(beat)
I know what you'd like: Tea! Can
I fix you some tea?
Revised 11/8/85 7. *
LYDIA
No, Tuck. I --
Tuck goes into the kitchen, begins to rummage through
the cabinets.
TUCK
What's tea come in again? A can?
A jar? Wait... I remember.
Little bags, right? Yeah...
here they are.
LYDIA
(firmly)
I'm not staying, Tuck.
Tuck can see she means it. His expression turns serious.
TUCK
Don't go, Lydia. Please stay.
He puts his arms around her.
LYDIA
Tuck --
He begins to nuzzle her neck.
TUCK
Mmmm. I love your perfume.
What's it called again?
LYDIA
I don't wear perfume.
TUCK
C'mon. What's it called again?...
He's breaking down her resistance.
LYDIA
(softly)
Midnight Lace.
TUCK
Mmmmm. Smells so good. Don't
go, Lydia...
He kisses her. She fights it -- but then melts.
7 INT. TUCK'S BEDROOM - DAWN
Tuck is asleep in bed, but Lydia is dressed. She's leaving.
She gives Tuck a farewell glance, then slips quietly out of
the room.
But the slamming of the front door awakens Tuck. He realizes
that Lydia is gone.
Revised 11/8/85 8. *
TUCK
Lydia?...
Then, from outside the house, he hears her car engine GROAN
as it tries to fire up.
TUCK
Lydia!
Tuck jumps from the bed. He's naked. He wraps the sheet
around himself, then stubs his toe on the bed leg.
TUCK
Owwww!!
8 EXT. TUCK'S HOUSE - DAWN
Tuck hops out of the house, favoring his injured toe, holding
the sheet around his waist.
Lydia is inside her car, desperately trying to get it started.
TUCK
Lydia! Wait!
Tuck rushes up to the car window.
TUCK
Where you going?!
LYDIA
(almost in tears)
I'm leaving, Tuck. Don't try to
stop me. Our relationship has
no future, and you know it. You
drink too much. You fight too
much. You don't value anything.
You destroy everything that's
good in your life. You ruin it.
You throw it away. And if I
stayed any longer, I'd be next.
TUCK
Lydia --
LYDIA
-- You're a big, dumb Palooka,
Tuck, and I know I love you, but
I don't think we should see each
other again for a long, long time.
With that, Lydia drives off in a cloud of white exhaust smoke.
Tuck stands in the street, in the dawn's early light, clutch-
ing the sheet, his head and toe throbbing, bewildered and
alone.
DISSOLVE TO:
9.
9 EXT. SUBURBAN MEDICAL BUILDING - DAY
TITLE: THE SILICON VALLEY
Two Months Later
10 INT. A DOCTOR'S OFFICE - DAY
JACK PUTTER sits on the examination table. He's an agreeable
-looking fellow in his mid-thirties.
DR. GREENBUSH leans against the counter, arms folded across
his chest in an attitude of nonchalance that approaches total
disinterest.
JACK
(indicating
his stomach)
... Feels like it starts about
here, then swoops around and comes
up to here, then -- zoom! -- heads
back down to about here, and that's
when I start to feel nauseous and...
Greenbush tries unsuccessfully to stifle a yawn.
JACK
Am I boring you?
GREENBUSH
No, Jack.
JACK
Because if I'm boring you, just tell
me. You're not the only internist
in the phone book, you know.
GREENBUSH
Jack, please! Let's not have a
falling out. Your monthly office
visit is the cornerstone of my
entire medical practice.
(beat)
Anything besides the nausea?
JACK
Headaches. Big, pounding
headaches. Lots of pain.
GREENBUSH
Headaches. Okay. Anything else?
JACK
Yeah. The dream.
GREENBUSH
Hmmm.
INNERSPACE - Rev. 12/3/85 10.
JACK
Want to hear it?
GREENBUSH
Okay.
JACK
I'm at work. I'm at the market. I'm
working one of the registers. The
next customer is this lady with bright
orange hair, Mrs. Mulrooney. She's a *
regular. She's wearing those pointy -- *
you know -- Harlequin Sunglasses.
With little sparkly things in them.
And a lime green jumpsuit with a
three-inch wide red vinyl belt.
GREENBUSH
Very vivid.
JACK
Yeah. I have the same dream every night.
(beat)
Anyway, I'm passing her stuff over the
bar-code scanner, and I don't notice it,
but the computer's gone nuts, and it's
ringing up all the wrong prices. I mean,
twelve-hundred dollars for a can of
coffee! So when I'm all done, I look at
the register and the total's like way
over a hundred thousand dollars.
(beat)
So Mrs. Mulrooney says to me, real *
calm, 'I don't carry that kind of
money on me, sweetie, will you take
this instead'...
(beat)
... And she reaches down into her purse
and comes out with a 357 Magnum this
long and shoves the barrel into my face
and pulls back on the trigger -- and
that's when I wake up screaming!...
The sweat is pouring off Jack's face. Greenbush regards
him impassively.
GREENBUSH
That it?
JACK
Yeah. What do you think?
GREENBUSH
I won't think anything until we run
the usual tests. Slip out of those
clothes, would you?
With that, Greenbush exits the exam room.
11.
11 INT. GREENBUSH'S PRIVATE OFFICE - DAY
Jack, wearing his streetclothes, sits in front of Greenbush's
desk. Greenbush bustles into the office with Jack's test
results under his arm.
Jack regards him anxiously.
GREENBUSH
You're fine, Jack. I can't find
anything wrong with you.
Jack looks disappointed.
JACK
What?...
GREENBUSH
Everything checks out.
Jack can't believe his ears. He seems ready to demand his
money back.
GREENBUSH
You are under a lot of stress,
however. You're way too uptight,
Jack.
JACK
(sarcastically)
Uptight? Are you sure that's the
correct medical term?
GREENBUSH
Look -- do you have any vacation
time coming? You need a rest. Get
away for some R & R. Peace and Quiet
-- that's my prescription for you.
12 HOLD ON JACK
Thinking it over. Doesn't sound like such a bad idea.
13 EXT. LARGE SUBURBAN SUPERMARKET - DAY
A VW Bug speeds into the parking lot of a Ralph's Market.
Jack jumps from the car and races towards the entrance.
14 INT. RALPH'S MARKET - DAY
Very busy. Many shoppers. Jack hurries into the market
and grabs his apron. A name tag clipped to it reads:
J. PUTTER
ASST. MANAGER
Revised 11/8/85 12. *
As Jack ties the apron behind his back, MR. WORMWOOD, the
market manager, comes up beside him.
WORMWOOD
Jack, where have you been?
JACK
Sorry, Mr. Wormwood. Doctor's
appointment.
WORMWOOD
(concerned)
Are you all right?
JACK
I'm fine.
(rubs his temples)
Do you have any aspirin on you?
15 CHECK-OUT AISLES - LATER
Jack walks down the row of check-out aisles, looking to see
where he can lend a hand. He stops at the aisle where WENDY,
an attractive young blonde, is working the register.
Jack begins to bag Wendy's customer's groceries, ever so
often stealing a glance her way. Eventually:
JACK
(softly)
We had a date last night, you know?
WENDY
Huh?
JACK
(louder)
Our date. Last night.
WENDY
(snapping at him)
I forgot. Okay?
JACK
You forgot? How could you forget?
WENDY
Look, Jack, I told you already, if
you're gonna be a part of my life,
you can't hassle me about stuff.
Jack gives her a long, baffled look.
JACK
Wendy... I'm not a part of your life.
To which Wendy merely shrugs her shoulders and SNAPS her gum.
CUT TO:
INNERSPACE - Rev. 12/3/85 13. *
16 PRODUCE DEPARTMENT
DR. DAVID NILES pushes a shopping cart between the crates of
fresh vegetables. He's a studious young man with dark wavy
hair and tortoise-shell glasses.
There is another man with him. We recognize this man as Pete
Blanchard, from the NASA cocktail party. Blanchard seems ill
at ease and very much out of place in these surroundings.
BLANCHARD
Great place to have a meeting.
NILES
Good as any.
(beat)
Do these bananas look ripe to you?
BLANCHARD
Let's get to the point, all right?
NILES
Okay.
(long pause)
We've made a breakthrough.
BLANCHARD
The satellite missile guidance
system.
NILES
Uh... we haven't perfected that
just yet. We got a bit
sidetracked.
Blanchard draws back apprehensively.
BLANCHARD
What are you talking about?
NILES
I'm talking about the world in an
eyedropper.
Blanchard looks baffled. Niles wheels his cart toward
the produce bins. Blanchard hurries along beside him.
NILES
Miniaturization. We can shrink
anything. Right down to the size
of --
(looks around, finds
a peapod)
-- a pea.
(beat)
Even smaller than that.
Blanchard seems skeptical.
INNERSPACE - Rev. 12/3/85 14. *
BLANCHARD
Bullshit.
NILES
We brought in Ozzie Wexler.
The name draws a blank with Blanchard.
NILES
The man who invented Action Man,
the 3-D video game.
BLANCHARD
Action Man didn't work!
NILES
Yes it did.
(beat)
The bottom dropped out of the
video market, that's all. The
public never gave it a chance.
Blanchard seems totally exasperated and pissed off.
NILES
Come and see for yourself what
we've done.
BLANCHARD
All right. Set it up. But you
better have something, Niles, or
I'm pulling the plug on you and
your entire misfit operation.
With that, Blanchard marches off.
DISSOLVE TO:
17 EXT. SOMEWHERE IN SILICON VALLEY - MORNING
Morning traffic crawls along a freeway interchange. Smog
and mist hang in the air.
CAMERA LOCATES a rambling, one-story industrial complex
in the shadow of a freeway overpass.
18 CLOSER ON COMPLEX
A chain link fence surrounds the property. A sign on the
fence reads:
"SYNERGRATED VECTOR-SCOPE LABORATORIES"
INNERSPACE - Rev. 12/3/85 15. *
19 INT. VECTOR-SCOPE LAB
The lab looks cluttered and disorganized. A labyrinth of
wires and cables snake across the floor. The numerous
pieces of scientific equipment look exposed, functional
and well used.
In the center of the lab stands a large, impressive-
looking, Plexiglass GEODESIC DOME.
Youthful LAB TECHNICIANS wearing photo-ID badges go about
their business with obvious enthusiasm.
OZZIE WEXLER is being videotaped by another Lab
Technician.
OZZIE
(into video camera)
Uh... experiment number 27-G-5000.
Time... eight-hundred hours. Date
... 5-26.
(clears his throat)
A full-grown human male will be
placed inside a submersible pod of
the type used in deep sea
exploration, miniaturized, and
introduced into the system of a
living organism, in this case, the
system of a common Lepus Cuniculus,
or: white laboratory rabbit...
Ozzie stops, notices that the Lab Tech has pointed the
video camera away.
OZZIE
What are you doing?
LAB TECH
Panning to the rabbit.
OZZIE
Don't pan anywhere! Keep the
camera on me.
The Lab Tech pans back to Ozzie, who continues:
OZZIE
Miniaturization is achieved
through the pairing of two 5000-
Series Photon Echo Memroy Chips...
called 'PEMS' for short.
(holds up both
chips)
The two chips are intergrated, but
electronically opposed. Only one
is necessary for miniaturization,
but both are required for
re-enlargement.
INNERSPACE - Rev. 12/3/85 16. *
A BELL RINGS. HORN SOUNDS. Lights flash.
P.A. SYSTEM VOICE
Zero minus fifteen, Oz.
OZZIE
(to Lab Tech)
Keep rolling. I want a record of
everything.
20 INT. LAB LOCKER ROOM
Tuck Pendelton is alone in the room. He wears a Navy
blue jumpsuit and sits on a bench with the same pensive
expression of a football player before the big game.
He rises. Goes to a mirror over the sink and looks at
himself.
The door BANGS open and Ozzie enters. Startled, Tuck
jumps at the noise.
OZZIE
(smiling)
Nervous?
Tuck makes no reply. Ozzie sees a bulge under Tuck's
jumpsuit.
OZZIE
Do you really need that?
Tuck removes a flask from his pocket -- pauses to con-
sider it -- then pours its contents down the sink.
TUCK
Okay?
Ozzie nods his head, but then sees Tuck return the flask
to his pocket.
OZZIE
You're taking it anyway?
TUCK
I have to.
(beat)
It's my lucky flask.
Ozzie sighs to himself in resignation.
OZZIE
Okay. Now remember -- trust your
on-board computer. Use it. I know
you've studied, but don't rely on
yourself when you don't have to.
The computer's been programmed to
answer any question you might have.
INNERSPACE - Rev. 12/3/85 17. *
TUCK
I remember.
OZZIE
Maybe we should review our objects
one more time.
TUCK
I know what our objectives are.
Retrieve tissue samples and test
efficiency of surgical laser beam.
(beat)
Look, Oz... I know I'm no prize,
but I'm the only one you could
get. And this mission's the only
one I could get. So let's just
get the job done.
P.A. SYSTEM VOICE
Zero minus ten.
21 INT. CORRIDOR LEADING TO LAB
Tuck and Ozzie come down the corridor. Tuck holds his
helmet under his arm. He looks like he's walking "the
last mile."
The corridor is lined with boxes of 3-D Action Man games.
Many of them stamped, "Return for Refund," or "Defective,"
or "Discontinued Series."
Tuck glances at the boxes. It shakes his confidence.
Ozzie sees this.
OZZIE
(defensively)
The game works! It's not my fault
the public lost interest in video!
They round a bend in the corridor and emerge into:
22 THE LAB
Buzzing with activity. Technicians man their stations.
P.A. SYSTEM VOICE
Zero minus eight.
Tuck and Ozzie approach the geodesic dome. It looms up
for Tuck like the Matterhorn. Something catches in his
throat. His heart skips a beat. They draw closer and
closer to the dome.
INNERSPACE - Rev. 12/3/85 17A. *
23 INSIDE THE DOME
Tuck and Ozzie enter, followed by several lab Techs. In
contrast to the lab without, the dome is clean and
orderly. Its translucent panels gently diffuse the
light.
Tuck's eyes lead us to...
24 THE POD
Resting on a platform several feet above the floor. A
gracefully-molded, teardrop-shaped white Fiberglass sub-
mersible chamber with stabilizers, rotors, thrusters,
top-mounted floodlights and articulating arms.
An expansive glass viewing dome wraps around the pod's
cockpit.
25 TUCK
approaches the Pod.
OZZIE
Good luck, Captain.
A Technician opens the Pod's hatch and Tuck climbs in.
TUCK
Just get me home again before my
air runs out.
OZZIE
Don't worry. You've got a 24-hour
supply.
P.A. SYSTEM VOICE
Zero minus five.
The hatch is closed and locked.
26 MISSION CONTROL
is a panel of monitors and terminals outside the dome.
Ozzie takes his place behind the main controls.
TECHNICIAN
(to Ozzie)
Dr. Niles and Mr. Blanchard aren't
here yet.
OZZIE
That's just too bad.
(slips on headset)
Do you read me, Captain?
INNERSPACE - Rev. 12/3/85 17B. *
27 INSIDE THE POD
Tuck straps himself into the body-contoured swivel seat.
He is surrounded by computer terminals, display monitors,
switches, lights and instruments.
TUCK
Loud and clear, Oz.
28 MISSION CONTROL
TECH
Zero minus three.
OZZIE
Engage PEM number one.
Revised 11/8/85 18. *
29 THE FIRST PEM
(a chip no bigger than a postage stamp) is snapped into a
complex circuit board. Several Technicians, using perfectly
calibrated instruments, must oversee its precise placement.
TECH
PEM Number One functional.
OZZIE
Engage PEM Number Two.
30 THE SECOND PEM
is snapped into place on a portable circuit module with the
same care and precision as the first chip. The module is
then inserted into an opening in the nose of the Pod itself.
TECH
PEM Number Two functional.
OZZIE
Activate Miniaturization Sphere.
31 THE MINIATURIZATION SPHERE
(resembling a giant fishbowl made of smoked glass) descends
from the top of the dome and is slowly lowered into place
over the Pod.
32 INSIDE THE POD
Tuck watches the dark sphere slowly engulf him, shutting out
all but the brightest laboratory lights.
He switches on the Pod's interior lights. They glow with a
soft green luminescence.
TECH'S VOICE
Zero minus one and counting!
DISSOLVE TO:
33 CLOSE ON "BUGS"
The laboratory white rabbit. Wires from several terminals
embedded under its skin connect to monitors and display
screens. Bugs' nose twitches nervously.
TECHNICIAN'S VOICE
... fifteen seconds... fourteen
seconds... thirteen seconds, (etc.) --
Revised 11/8/85 19. *
34 FULL SHOT - THE LAB
The atmosphere is charged with a sense of purpose, dedication
and the adventure of true scientific discovery.
TECHNICIAN
... two seconds... one second...
Zero Seconds.
Ozzie presses a flashing yellow button, and --
35 THE MINIATURIZATION SPHERE
begins to glow brightly. The Pod inside becomes a brilliant
silhouette.
Ultra high-powered laser tubes bombard the sphere with beams
of multi-colored light.
36 INSIDE THE POD
Tuck wears a green-visored helmet to protect his eyes from
the blazing lights.
37 CLOSE ON VARIOUS MONITORS
Four different 3-D images of the Pod are displayed: A wire-
frame image. A solid-model image. An X-ray image. A heat-
generated image.
In all four cases it is very clear to us that the Pod is
decreasing in size!
38 BACK TO SCENE
LAB TECH
Twenty percent reduction... fifty
percent reduction... seventy-five
percent reduction... we now have
full reduction.
OZZIE
Raise the sphere.
The Miniaturization Sphere is raised -- and the Pod has
seemingly disappeared.
Everyone breathes a communal sigh of relief as small,
congratulatory smiles are exchanged.
OZZIE
Nice work, team. Now let's get
the Pod into the syringe.
CUT TO:
Revised 11/8/85 20.
39 INT. A SUBURBAN SHOPPING MALL - DAY
MUZAK plays. Shoppers stroll. Teenagers hang out.
Jack Putter goes up the escalator to the second level.
40 INT. MALL CAMERA SHOP
A CUSTOMER is examining several cameras.
CLERK
Now this one is fully automatic.
CUSTOMER
Hmmmm.
In the b.g., we see Jack walk by.
41 JACK
pauses to look into the window of a Travel Agency. Posters
advertising Mexican cruises are featured.
Jack enters the agency.
42 INT. TRAVEL AGENCY
Jack is seated next to the desk of a WOMAN TRAVEL AGENT.
AGENT
... Fun, romance, excitement, relaxation --
JACK
-- I'll take relaxation.
AGENT
It's a cruise -- you get them all.
JACK
No excitement. Doctor's orders.
AGENT
Ah, but you're a single young man.
(beat)
What about romance?
JACK
As long as it isn't too exciting.
43 EXT. VECTOR-SCOPE LAB *
Several TELEPHONE UTILITY TRUCKS pull up and park in the *
parking lot. Telephone Company REPAIRMEN pile out wearing *
hardhats and coveralls. *
Orange cones are placed on the ground around the truck. *
INNERSPACE - Rev. 12/3/85 21. *
44 CLOSE ON ORANGE CONE
as it is set down on the pavement. Somehow, this innocent
act conveys a stong feeling of malevolence.
45 INT. LAB - INSIDE DOME
A computer-operated robotic arm places a hypodermic syringe
filled with pinkish fluid beneath the lens of a powerful
scanning electron microscope.
All technicians defer to Ozzie who is accorded the first
look. He enters the dome and peers through the
binocular-viewing eyepiece of the microscope.
46 WHAT HE SEES:
The Pod! Floating in the pink solution. Tuck clearly
visible at the helm of the craft.
47 TUCK - INSIDE THE POD
looks out the viewing dome at the strangely-shaped and
colored globules that float past his Pod.
TUCK
(softly)
Ho-ly shit.
(into mike)
Oz... I think you did it, boy.
I'm little. I'm shrunk right down
to nuthin'.
48 INT. ENTRANCE TO VECTO-SCOPE LAB
A group of TELEPHONE company REPAIRMEN enter the lobby.
TWO security GUARDS are there. One sits behind a security
command station desk where ten or more video monitors
display different locations around the complex.
GUARD
What's the trouble, boys?
TELEPHONE REPAIRMAN
No trouble...
The Guard looks puzzled, and the Repairmen slip on gas
masks in unison.
GUARD
Hey -- what is this?
The Repairmen are suddenly holding what appear to be road
flares. The flares produce a billowing PURPLE SMOKE.
INNERSPACE - Rev. 12/3/85 22. *
The Second Guard reaches for his gun, but his movements
wind down like SLOW MOTION.
The Repairmen (who we shall now call THE INTRUDERS) toss
the flares to the floor and enter the lab unmolested, as
the entrance lobby fills with purple smoke.
49 INT. CORRIDOR OF LAB
The Intruders stride down the corridor. Several of them
begin to snap together automatic rifles as they go.
50 EXT. LAB PARKING LOT
A BLACK SEDAN pulls up and parks a short distance away
from the telephone company trucks.
51 CLOSE ON BLACK SEDAN
Two men sit in front. A THIRD sits alone in the back.
His power window glides down. The man is:
52 MR. IGOE
Steel-blue eyes. Shor blond hair. Year-round tan. Rug-
ged physique. Igoe looks like an Alpine ski instructor
with psychotic tendencies.
53 INT. LAB
The Intruders enter. For a moment they go unnoticed by
the busy Lab Techs. Then: the flares are produced and
thrown in all directions.
One flare lands directly under the nose of the Technicians
at the mission control panel.
Purple smoke begins to swirl in the air. Technicians
begin to protest, but very quickly their eyes glaze over,
their movements slow and their voices slur.
INTRUDER ONE
Where's the chip?
INTRUDER TWO
Over there.
INTRUDER ONE
Get it.
The chip is ripped from the circuit board. Intruder One
walks toward the dome.
54 OZZIE INSIDE THE DOME
can see the silhouette of the approaching Intruder outside.
His expression fills with alarm.
INNERSPACE - Rev. 12/3/85 23. *
55 OUTSIDE DOME
The Intruder smiles to himself and unleashes a FUSILLADE
of GUNFIRE at the dome.
56 INSIDE THE DOME
Ozzie flinches as the Plexiglass dome begins to disinte-
grate under the BARRAGE of GUNFIRE. Shattered pieces rain
down on him. He crouches behind the big microscope for
protection.
Then, glancing up at the hypodermic syringe under the
microscope's lens, he makes a decision: He grabs the
syringe, kicks open the dome's hatchway, and makes a dash
for it.
57 OUTSIDE DOME
Ozzie emerges on the side away from the Intruders. They
don't see him. He stays low, holding a handkerchief to
his nose and mouth, darts between a few large pieces of
equipment, and escapes.
The Intruders, meanwhile, have the Technicians lined up
before them. They regard their captors with dopey, be-
wildered expressions; swaying drunkenly from side to
side.
An Intruder takes the videotape camera from one of the
Techs.
TECH
Who are you?...
INTRUDER
I'm yer mother.
The Tech looks confused. He makes an effort to understand;
to focus his eyes. And slowly, the Intruder transforms
for him into:
THE IMAGE OF HIS MOTHER.
A sweet, gray-haired old lady.
TECH
(smiling)
Mom...
But "mom" is carrying an automatic rifle in her arms.
She swings up the barrel.
TECH
Mom?...
INNERSPACE - Rev. 12/3/85 23A.
58 CLOSE ON WEAPON'S BARREL *
EXPLODING into GUNFIRE. *
59 CLOSE ON BUGS *
The white rabbit. Twitching and trembling at the sounds. *
Revised 11/8/85 24. *
60 EXT. VECTOR-SCOPE LABS
Ozzie emerges from a side door into the bright light of day.
He stops, looks in all directions -- then runs off.
61 INT. THE BLACK SEDAN
Igoe sees Ozzie running across the parking lot in the distance
toward a parked motorcycle. He hops on, kicks the starter.
The ENGINE ROARS up -- he SQUEALS out across the parking lot.
IGOE
Get him!
62 FULL SHOT - THE VECTOR-SCOPE PARKING LOT
Ozzie speeding off and the Black Sedan burning rubber in
an effort to catch up.
63 EXT. STREET NEAR LAB - DAY
Ozzie zooms down the street, but the Black Sedan begins to
gain on him.
Now -- the Black Sedan pulls up beside him. The rear window
lowers and an Uzi handgun is pointed at Ozzie.
Ozzie sees the gun -- reacts by making a sharp turn to the
right. Tires SQUEAL, dust flies. The Black Sedan speeds past.
But now Ozzie finds himself traveling up a
64 FREEWAY OFF RAMP!
He dodges several cars coming down the ramp. HORNS HONK.
65 THE BLACK SEDAN
makes a sharp U-turn in the street -- ROARS up the Off
Ramp in pursuit of Ozzie.
An EIGHTEEN-WHEELER barrels down the ramp. Its AIR HORN
sounds. The Black Sedan swerves -- just missing a major
head-on -- and proceeds up the ramp.
66 EXT. THE FREEWAY - DAY
Ozzie shoots onto the freeway going 80 m.p.h. in the wrong
direction. He hugs the freeway's shoulder, but oncoming
traffic speeds past him at 65 m.p.h. with only inches of
daylight to spare.
The Black Sedan is not far behind -- also racing along the
shoulder of the roadway.
25.
67 INT. THE BLACK SEDAN
Of the three men inside, only Igoe is without fear.
IGOE
(to the driver)
Run him off the road.
DRIVER
What?...
IGOE
Run him off!
Igoe leans forward and takes charge of the steering wheel.
He yanks hard to the right.
68 THE BLACK SEDAN
swings out into the first freeway traffic lane, side-by-
side with Ozzie's motorcycle.
69 OZZIE
looks over. Can't believe his eyes.
70 THE BLACK SEDAN
stays in the traffic lane. Fortunately, there are no opposing
vehicles immediately approaching.
71 INSIDE THE BLACK SEDAN
Igoe yanks the wheel to the left.
72 THE BLACK SEDAN
swirves toward Ozzie.
73 OZZIE
gives the motorcycle the gas and it leaps forward. The Black
Sedan's front bumper just grazes the cycle's rear fender.
Ozzie almost loses control -- the motorcycle swerves
dangerously to one side.
CAMERA MOVES IN TIGHT ON THE SYRINGE
poking out from the pocket of Ozzie's lab coat.
74 INT. THE POD
Tuck is being buffeted about mercilessly. He struggles
with the Pod's control sticks.
26.
TUCK
Hey! What's going on out there!
Ozzie, come in. Can you hear me?
75 EXT. THE FREEWAY
An OIL TANKER bears down on the Black Sedan. Both occupy
the same traffic lane.
76 INSIDE THE BLACK SEDAN
Igoe's henchmen begin to WHIMPER. Igoe has control of
the steering wheel.
The Oil Tanker is getting closer and closer. Igoe gnashes
his teeth in frustration and reluctantly swerves back onto
the freeway's shoulder, behind Ozzie.
77 THE OIL TANKER
Whizzes past, with only inches to spare.
78 INSIDE THE BLACK SEDAN
All three men suddenly see a freeway CALL BOX dead ahead.
79 EXT. THE FREEWAY
Ozzie swerves to miss the Call Box. The Black Sedan
brakes -- skids and squeals -- but can't stop in time.
BAM! The Call Box is sheared off, and goes flying over
the sedan's roof.
80 OZZIE
speeds into the lead, and exits the freeway... this time
using an ON RAMP to do so.
81 THE BLACK SEDAN
resumes its pursuit, barrels down the On Ramp.
82 EXT. SURFACE STREETS - DAY
Ozzie ROARS by. The Black Sedan soon follows.
83 EXT. PARKING LOT OF SUBURBAN SHOPPING MALL - DAY
Ozzie turns into the parking lot. The Black Sedan does
likewise.
84 OVERHEAD VIEW OF PARKING LOT:
The motorcycle is much more nimble and quick, cutting in and
out of parking lanes, leaving the Black Sedan in its dust.
INNERSPACE - Rev. 12/3/85 27.
85 THE BLACK SEDAN
Stops. Igoe jumps out, steadies his arm on the doorframe
and aims his pistol -- BANG!
86 OZZIE'S MOTORCYCLE *
flies out from under him, skids across the pavement and
crashes. But Ozzie gets to his feet and runs toward the *
Mall Entrance.
87 IGOE
jumps back into the Black Sedan.
88 THE BLACK SEDAN
ROARS down the parking aisle -- jumps the curb and comes
to rest directly in front of the Mall Entrance. Igoe and
his Henchmen dash into the Mall.
89 INT. MALL CAMERA SHOP
The Customer still hasn't decided which camera to buy.
The Clerk begins to load film into one of them.
CLERK
The best thing to do is to try it out.
90 INT. MALL TRAVEL AGENCY
Jack shakes hands with the travel agent, then gets to his feet.
AGENT
Congratulations, Mr. Putter.
Jack smiles uneasily.
JACK
Well... I didn't think it'd be
this expensive, but...
AGENT
Don't worry. You're going to have
a wonderful time.
91 INT. MALL *
Igoe and his Henchmen run into the mall. Igoe screws a *
silencer onto the barrel of his pistol and looks in all *
directions.
HENCHMAN
(pointing)
There!
INNERSPACE - Rev. 12/3/85 28.
92 OZZIE *
is just barely glimpsed getting into the glass elevator
to the second level. The doors are closing behind him. *
93 IGOE *
swings up his PISTOL with lightning speed and FIRES -- *
PHHHT! *
94 OZZIE *
makes it on board the elevator. *
95 IGOE AND HIS HENCHMEN
hurry towards an escalator a short distance down the mall.
96 INT. THE GLASS ELEVATOR
Ozzie is alone. His face ashen. *
Sweat beads on his forehead. His eyes look glazed.
Something is very wrong.
97 INT. SECOND LEVEL OF MALL
Jack emerges from the travel agency, glancing down at his
cruise brochures as he walks. He moves towards the elevator.
Meanwhile, the Customer and Clerk step out of the Camera Shop.
The Customer holds the camera in his hand.
CLERK
Go ahead. Give it a try.
98 IGOE
doesn't stand still on the escalator. He pushes past
other shoppers in his hurry to reach the second level.
99 JACK
arrives at the elevator.
100 HE CUSTOMER
swings the camera around, and -- for the want of anything
better to shoot -- points it at Jack.
CLERK
How 'bout that auto-focus!
101 HE ELEVATOR DOORS
open... and Ozzie stands there tottering on rubber legs. *
Jack looks at him -- is taken aback by his appearance.
Then Ozzie pitches forward and Jack catches him. *
Revised 11/8/85 29.
CLICK!
The Customer captures the moment on film.
102 INSERT: CLOSE ON OZZIE'S HAND
holding the hypodermic syringe. His arms wrap around Jack's
waist, and with his last dying breath he injects the pink
fluid into Jack's butt. *
103 THE POD - INSIDE THE SYRINGE
is thrusted powerfully forward with the equivalent force
of fifteen G's as the pink fluid rushes around it.
104 TUCK - INSIDE THE POD
is SLAMMED back into his seat by the unexpected burst of speed.
Unprepared for such a tremendous acceleration, he blacks out.
105 JACK
feels the sting of the needle. He tries to turn. The syringe
drops to the floor -- unseen by Jack.
Shoppers begin to SCREAM and SHRIEK: The back of Ozzie's
lab coat is soaked with blood. Jack lowers him gently to
the floor as a crowd begins to gather.
106 IGOE
arrives. Sees that Ozzie is dead. Then he spots the empty
syringe lying on the floor. *
In all the excitement, no one notices him pick it up and *
put it into his pocket.
Nor do the Henchmen have any trouble stealing the camera
away from the distracted Customer.
107 FULL SHOT - THE MALL
Everyone is rushing to the second level. Security Guards
come running.
Igoe and his Henchmen are conspicuous in that they are
the only ones walking in the opposite direction.
108 JACK
just stands there over Ozzie's body wearing a bewildered
expression on his face.
109 TUCK - INSIDE THE POD
Unconscious. Head slumped against his shoulder.
DISSOLVE TO:
30.
110 EXT. RALPH'S MARKET - DAY
Jack's VW Bug speeds into the parking lot.
111 INT. MARKET - DAY
Buzzing with activity. Jack dashes in, pale and sweaty.
Wormwood grabs him.
WORMWOOD
What now? Another doctor's
appointment?
JACK
Sorry, Mr. Wormwood. You wouldn't
believe what happened to me this
morning.
WORMWOOD
You're right -- I wouldn't.
Jack takes the apron and heads off.
WORMWOOD
(calling after him)
You're not on vacation yet, you know!
112 JACK
passes Wendy, clerking on Aisle Two.
JACK
Hi, Wendy.
WENDY
Jesus -- you okay?
JACK
Well, I...
WENDY
Because you look like shit.
Jack cringes, tries to comb his hair with his fingers.
113 WORMWOOD
grabs the store p.a. system microphone.
WORMWOOD
Check-lane Three is now open to
all shoppers. Immediate service
on Aisle Three.
Five or six shoppers, with overflowing carts, charge toward
Aisle Three. A massive pile-up is only nearly averted.
INNERSPACE - Rev. 12/3/85 31. *
114 INT. THE POD
Tuck begins to regain consciousness. His eyes open, and
focus slowly. He shakes the cobwebs from his head, then
looks out the viewing dome.
115 TUCK'S POV THROUGH DOME
A long, hollow tunnel filled with fluid and floating red
and white donut-shaped globules.
TUCK'S VOICE
Blood cells!
(NOTE TO READER: When picturing sequences "inside the body,"
imagine the darkness of the ocean floor. The only source of
light being the Pod's own flood lamps. The effect is mys-
terious and claustrophobic -- with the everpresent heart beat
reverberating in the distance.)
116 RETURN TO TUCK
TUCK
(into mike)
Mission Control, come in. Can you
read me? What the hell's goin' on
out there? I think I blacked out.
Am I inside Bugs, or what?
(pauses for reply)
Ozzie. Come in. Do you copy?
(still no reply)
What's wrong with this damn radio!?
117 INT. RALPH'S MARKET
MRS. MULROONEY (looking just as Jack described her in his
dream -- orange hair, harlequin sunglasses and all)
swings her cart into Jack's check-out lane.
Jack sees her. He looks a little worried.
Mrs. Mulrooney begins to pile her selections onto the
conveyor belt. They move slowly toward Jack.
118 TUCK - INSIDE THE POD
TUCK
(into mike)
Mission Control, if you can hear
me -- I'm gonna try to restore
radio contact by activating one
of these electromagnetic booster
cells.
(beat)
Here it comes, Oz. Hold on to
your socks.
Tuck hits the booster button.
INNERSPACE - Rev. 12/3/85 32/33.
119 EXT. THE POD
BUZZZZZZZ! A strong Electromagnetic Charge is emitted
from the Pod in the form of a BRILLIANT BLUE LIGHT.
120 INT. THE MARKET - AISLE THREE
The Electromagnetic Charge begins to play havoc with Jack's
Bar-Code scanner. The register begins to record inaccurate
prices:
Twenty-five hundred for a loaf of bread. Six-thousand for a
can of dog food. Fifteen-hundred buys a box of Raisin Bran.
121 EXT. THE POD
BUZZZZZ! BUZZZZZ! Two more jolts of Electromagnetic
energy are emitted.
34.
TUCK'S VOICE
If this doesn't put radio transmission
back on line, nothing will.
122 INT. THE MARKET - AISLE THREE
Jack, and everyone surrounding him, have become aware of the
computer "glitch." The total on the register reads: $128,000.
Jack looks dazed. All color is drained from his face.
JACK
The dream... it's the dream...
the dream has come true...
Wormwood arrives to take charge, glances at the register.
WORMWOOD
Jack! What have you done!?
JACK
It's the dream...
WORMWOOD
The what?!
Wendy comes over to look.
WENDY
Boy, Jack... way to screw up!
MRS. MULROONEY
(to Jack)
Listen, sweetie, I don't carry
that kind of cash around on me.
The line rings bells in Jack's head... then his eyes
widen in horror as Mrs. Mulrooney reaches inside her purse.
JACK
(softly)
Oh, no... here comes the gun.
But she only removes a pack of cigarettes and lights up.
Jack breathes a deep sigh of relief and grabs his head.
JACK
(to Wormwood)
I need some aspirin --
(takes hold of
his lapels)
-- please! I beg you for an aspirin.
WORMWOOD
(slapping Jack's
hand away)
Unhand me, Putter!
INNERSPACE - Rev. 12/3/85 35. *
In desperation, Jack grabs a bottle of Bayer Aspirin from
Mrs. Mulrooney's purchases, pops off the top, discards the
cotton and puts the bottle to his lips as if to chug-a-lug
the tablets.
MRS. MULROONEY
Hey! I'm not buyin' those aspirin now.
ANOTHER CUSTOMER
At eight-hundred dollars a bottle,
who'd want to!
LAUGHTER from other shoppers. Wormwood fumes. He rips the
aspirin bottle from Jack's hand -- tablets go flying across
the floor.
WORMWOOD
Get ahold of yourself, Jack! You're
coming unglued! You're coming apart
at the seams!
Jack stares back at Wormwood with a glazed, uncomprehending
expression. Wormwood is alarmed.
WORMWOOD
My god... he's completely spaced-out.
WENDY
I'll handle this --
She steps forward and SLAPS Jack across the face with all
her might. Jack's head spins halfway around.
WENDY
Snap out of it, Jack!
123 INT. THE POD
Tuck gives up on the radio. He leans back in his chair
to think.
TUCK
Great! No radio. No communication.
I'm completely cut off.
(pause)
If only I could see out. Hmmm...
maybe I can.
He turns to the computer and flips a number of switches.
The COMPUTER begins to glow and HUM.
TUCK
Oz said this thing can answer any
question I have...
(to Computer)
... Hey, you... can I see out
through the eyes of this beast?
INNERSPACE - Rev. 12/3/85 36. *
COMPUTER VOICE
Sounds like a plan, Stan.
Tuck does a double-take.
TUCK
Huh??
COMPUTER VOICE
We can patch into the optic nerve.
Intercept the electrical impulses
going to the brain.
TUCK
Great. How do I find it?
COMPUTER VOICE
You want directions?
TUCK
Yeah.
COMPUTER VOICE
Say... didn't you prepare for this
mission?
TUCK
Do I have to defend myself to a
machine!? Let's have the
directions!
COMPUTER VOICE
Okay, okay. Keep your eye on the
screen, Player Number One, begin
the first level... and good luck!
TUCK
Swell! It's built out of old
video games.
The Computer "tunes up" like an arcade game and the
monitor begins to display the map Tuck needs.
COMPUTER VOICE
Take radial artery to axillary
artery to internal jugular vein
to frontal sinus to...
124 INT. MARKET - WORMWOOD'S OFFICE - DAY
Jack sits in a chair, recovering. He rests one arm on
Wormwood's desk. Wormwood stands over him.
WORMWOOD
I know I lost my temper, Jack. I'm
sorry. You've been like a son to me --
(MORE)
INNERSPACE - Rev. 12/3/85 37.
WORMWOOD (CONT'D)
(beat)
-- well, a nephew, anyway. You've
got a big future in retail food
marketing, and I'd hate to see you
blow it now by going psycho on us.
Wendy enters with a cup of coffee. Jack looks up, smiles
appreciatively.
JACK
Coffee! Great, Wendy. That's
just what I need.
But Wendy didn't bring it for Jack. She sips it herself.
WENDY
There's more down the hall if you
want some.
Jack just shakes his head, resigned to her indifference.
WORMWOOD
Jack... go home. Get some rest.
Start your vacation today, and
come back to us a new man.
JACK
Okay. Thanks, Mr. Wormwood.
Jack rises from his chair -- discovers that the arm he
was resting on Wormwood's desk is covered with paper clips.
Jack looks puzzled. He tries to brush them off, but can't.
WENDY
God, Jack -- what now?
Suddenly, Wendy's metal coffee spoon flies out of her
hand and sticks to Jack's chest with a resounding THUD.
Wormwood pries it off -- and it snaps right back!
WORMWOOD
Good lord... the guy's a living magnet!
125 TUCK - INSIDE THE POD *
begins to get a picture on the Computer's display monitor. *
TUCK *
All right! I'm getting a picture *
here... *
INNERSPACE - Rev. 12/3/85 37A. *
126 CLOSE ON MONITOR
As it begins to broadcast Jack's POV -- which at this
moment consists of Wendy and Wormwood looking at him with
astonished expressions. Of course, there is no sound.
TUCK
Wait a minute! Who the hell are
they?! And where am I?!
127 JACK - IN THE OFFICE
lifts his arm to look at the paper clips that cling to it.
128 TUCK - INSIDE THE POD
sees the human arm come INTO VIEW... and he realizes that:
TUCK
I'm in a man!
(almost panics)
I'm in a strange man, in a strange
room, surrounded by strangers!
(beat)
How'd I get inside a man!? What
happened to the rabbit!? I studied
up on rabbits!
(begins to calm
down)
Okay, Tuck... get a grip on yourself.
We've got a little snafu here, as we
say in the military. (Damn! Why'd
I pour that scotch down the sink!?)
Okay, okay. Think clear; stay cool.
Tuck takes a moment to consider his options -- then springs
into action.
TUCK
I gotta talk to this guy!
(turns to Computer)
I need directions to the inner ear.
COMPUTER VOICE
(sounding put-out)
So, now it's the ear you want?
TUCK
Yes! Now! Right now!
COMPUTER VOICE
Okay, Player Number One... it's
your quarter.
INNERSPACE - Rev. 12/3/85 37B.
129 INT. JACK'S INNER EAR
The Pod floats into the Middle Ear: An enormous, glis-
tening cavity that dwarfs the Pod.
The Pod's articulating arms fasten a small electronic
device to the eardrum.
130 INT. JACK'S VW BUG - TRAVELING - DAY
Jack behind the wheel. He feels a strange sensation in
his ear. It tickles. He shakes his head, then scratches
his ear with a finger.
131 EXT. SELF-SERVE GAS STATION - DAY
Jack fills his VW's tank. Nearby, two thirteen-year-old
BOYS put air into their bike tires. The young STATION
ATTENDANT leans against a pump drinking a Coke.
TUCK'S VOICE
Hello. Can you hear me?
Jack turns toward the Boys, sees that they are occupied
in their task. He shrugs it off.
TUCK'S VOICE
Respond if you can hear me.
Revised 11/8/85 38. *
Jack now turns toward the Attendant.
JACK
You talking to me?
The Attendant just gives Jack a blank look and continues
to sip his Coke.
TUCK'S VOICE
It works. I can hear you.
Jack turns fast toward the Boys.
JACK
Okay, fellas -- what's the joke?
BOYS
Huh?...
TUCK'S VOICE
This is no joke.
Jack looks startled. The voice is not coming from the
Boys at all. He turns back toward the Attendant.
JACK
You!
ATTENDANT
Me, what?
JACK
It's you.
ATTENDANT
(sarcastically)
Yeah, it's me all right. I been
me all my life.
The Boys laugh. The Attendant trades a look with them.
Jack is befuddled.
TUCK'S VOICE
I'm not out there. I'm in here!
JACK
In here?? Where's in here?!
TUCK'S VOICE
In you. In your body! They put
me in you instead of the rabbit.
Why'd they do that?
Jack can't believe what he's hearing. A lunatic smile of
madness registers on his face and he lets out a shriek of
HYSTERICAL LAUGHTER.
Now the Attendant looks alarmed.
Revised 11/8/85 39. *
ATTENDANT
You okay, fella?
JACK
Yes, of course. However, I've
apparently just gone insane!!
He jumps back into his car and SQUEALS away.
132 INT. THE POD
Traveling down the external auditory canal toward the
external ear opening.
TUCK
Hey, pal... how come I get the
sinking feeling that you don't know
what's going on any more than I do?
133 INT. DR. GREENBUSH'S OFFICE
Jack, looking very agitated, sits on the examination
table. Greenbush approaches him.
GREENBUSH
A little voice inside your ear, huh?
Okay, Jack, let's just have a look
and see...
Greenbush raises his ear-exam flashlight to Jack's ear.
134 INT. THE POD
A brilliant, searing light streams into the ear canal
with blinding intensity.
Tuck SCREAMS and grabs his eyes in pain.
TUCK
Oh, God!!
135 INT. GREENBUSH'S OFFICE
Greenbush withdraws the instrument from Jack's ear.
GREENBUSH
Didn't see a thing, Jack. Why
don't you just go home and try
to get some rest.
136 INT. THE POD
Tuck takes his hands away from his eyes. He looks around
with a vacant expression.
TUCK
I'm blind...
Revised 11/8/85 40. *
137 EXT. JACK'S APARTMENT BUILDING - DAY
Jack's VW swings into the parking area of a small
apartment complex.
138 INT. JACK'S APARTMENT
Jack enters and collapses into an easy chair in exhaustion.
He takes a few deep breaths and tries to forget the day's
traumatic events.
His eyes begin to close when...
TUCK'S VOICE
I CAN SEE!!
Jack leaps from his chair.
139 TUCK - INSIDE THE POD
TUCK
I can see! Thank God. And I was
just gettin' ready to kiss my
pilot's license goodbye.
140 JACK - INSIDE THE APARTMENT
stands in the middle of the room, poised for an attack
from any direction.
JACK
Where are you!? Who are you!?
TUCK'S VOICE
Jack, we've got ourselves a little
situation here.
JACK
You know my name!
TUCK'S VOICE
I heard somebody call you that...
right before the lights went out,
so to speak.
Jack rubs his temples.
JACK
(to himself)
Stay calm, Jack. Don't panic. Take
your doctor's advice: Get some rest.
Jack charges into:
INNERSPACE - Rev. 12/3/85 41. *
141 THE BATHROOM
where he throws open the medicine cabinet and begins to
rummage through the bottles. He finds one; looks at it.
142 TUCK - INSIDE THE POD
sees the bottle's label.
TUCK
Sleeping pills!
143 JACK - IN THE BATHROOM
JACK
(alarmed)
It even sees what I'm doing!
TUCK'S VOICE
Don't take those!
JACK
I'm going to sleep for a little
while. Not long. Say, two or
three days. And when I wake up,
if you're not gone --
TUCK'S VOICE
Wait! Don't! Listen to me: You're
not crazy. I'm real! And I've only
got a 24-hour air supply to begin
with, so don't go to sleep on me!
Jack pops the pills into his mouth.
JACK
Too late.
144 TUCK - INSIDE THE POD
TUCK
You fool! If I was normal size
and outside of you instead of
inside of you, I'd hit you so
hard your grandchildren would be
born with broken noses!
(then; to Computer)
Quick! The fastest way to the
stomach!
COMPUTER VOICE
The stomach?... Yech!
145 JACK - IN THE BATHROOM
stares into his medicine cabinet mirror, as if searching
his reflection for some clue to his sudden insanity.
Then it hits him: No more "voice."
INNERSPACE - Rev. 12/3/85 42.
JACK
Voice? Are you still there?
No reply. Jack seems pleased.
146 INT. JACK'S STOMACH
The Pod RIPS into the stomach through the convoluted
folds of the stomach wall.
147 INT. THE POD
We share Tuck's view through the dome as the Pod hurtles
into the foaming torrent of the stomach.
The gastric glands secrete their caustic juices and
hydrochloric acid bubbles up in all directions.
HERE COME THE SLEEPING PILLS!
Huge, gelatin capsules filled with multi-colored granules.
They tumble down into the stomach headed straight for the Pod.
Tuck swings a Laser-gun Sighting-Device into position.
He takes aim and FIRES.
Direct hits. The capsules VAPORIZE on the spot, explod-
ing into colorful gas balls.
148 INT. THE LIVING ROOM
Jack enters. But he stops to rub his stomach. He feels a
queasy sensation down there. He lies down on the sofa to rest.
TUCK'S VOICE
You jerk! Are you trying to kill
us both!? How many of those pills
did you take, anyway!?
JACK
Oh, no! It's back.
Revised 11/8/85 43. *
TUCK'S VOICE
You bet I'm back.
Jack puts his hands over his ears.
JACK
I'm not listening to you.
TUCK'S VOICE
Jack! Please!
Jack begins to HUM to himself to cover Tuck's voice.
TUCK'S VOICE
Jack! We have to talk!
JACK
I think I'll watch some TV!
TUCK'S VOICE
No you won't!
JACK
Ha! Try and stop me!
Jack picks up the remote control and turns on the TV.
149 TUCK - INSIDE THE POD
hits the Electromagnetic Booster Button and --
150 THE TELEVISION
shuts off.
151 JACK
turns it on again. But again, Tuck turns it off. Jack turns
it on again. Tuck turns it off. On. Off. On. Off. On.
Off.
JACK
Okay! Forget the TV!
152 TUCK - INSIDE THE POD
He's really pissed off now.
TUCK
No, no! Watch TV! Watch TV!
Enjoy yourself!
Tuck holds down both Electromagnetic Buttons.
153 INT. THE LIVING ROOM
A flash of blinding white light! The TV comes on -- FULL
VOLUME.
Revised 11/8/85 44. *
The channels begin to change -- faster and faster. The
picture is just a blur.
The indoor antenna shoots out to its longest extension
and begins to WHIP around the air like a scorpion's tail.
The volume grows LOUDER and LOUDER. The TV BANGS up and
down on the table.
Jack watches all this with stunned, open-mouthed horror.
Then: POPPING and HISSING.
JACK
Oh, noooooo!!
The TV EXPLODES. The sofa is blown over backwards and
Jack goes flying with it.
Jack lies there on the rug, breathing heavily.
154 TUCK - INSIDE THE POD
is also out of breath. Jack and Tuck are like two fighters
who have pummeled each other into total exhaustion, but are
both unwilling to concede defeat.
TUCK
(very sympathetically)
Jack, I think we've really gotten this
relationship off on the wrong foot.
155 JACK - LYING ON THE RUG
makes no reply. He just tries to catch his breath.
TUCK'S VOICE
I am real, Jack. You do believe
that now, don't you?
JACK
I -- I want to.
TUCK'S VOICE
Believe it, Jack, because it's true.
(beat)
Did you ever see that movie where
Tony Curtis and Sidney Poitier are
handcuffed together?
JACK
Yeah. Sure...
TUCK'S VOICE
Well, that's us, Jack.
JACK
That's us?
INNERSPACE - Rev. 12/3/85 45. *
TUCK'S VOICE
Yeah.
156 TUCK - INSIDE THE POD
TUCK
We're in this together and we have
to help each other.
(beat)
You don't work at the lab, do you?
JACK'S VOICE
I work at Ralph's Market.
TUCK
And you don't know anything about
the experiment, do you?
JACK'S VOICE
What experiment?
TUCK
(softly; as his worst
fears are confirmed)
Shit.
(then)
Jack... my name is Pendelton.
Tuck Pendelton. Captain, United
States Navy. I'm involved in a
miniaturization experiment. I was
supposed to be placed inside a
rabbit, but somehow I got inside
you instead.
157 JACK
rests his forehead against the wall.
JACK
Wow. What a day I'm having...
158 INT. CAR - TRAVELING - DAY
Dr. David Niles is behind the wheel. His passenger is
Pete Blanchard.
NILES
We're late. We've missed the best
part of the experiment.
BLANCHARD
Relax, would ya?
(lights a cigarette)
By the way -- who's your guy?
NILES
Huh?
INNERSPACE - Rev. 12/3/85 46.
BLANCHARD
Your pilot? Your guy inside the *
pod? *
NILES
Oh. Somebody you know, I think.
(beat)
Captain Tuck Pendelton.
Blanchard gives Niles a look of disbelief.
BLANCHARD
Pendelton...?
NILES
(concerned)
Yeah. What's wrong?
BLANCHARD
Oh, nothing. Except Tuck Pendelton's
got the worst attitude problem in
military history. He's been drummed
out of every space program since
Gemini -- and he drinks like a fish.
(long pause)
However... the dumb sonofabitch did
save my life once.
Niles gives Blanchard a look.
BLANCHARD
He pulled me out of my space
capsule when it caught fire on
the pad.
(beat)
Of course the only reason he got
to me so fast was because he had
sneaked into a restricted area
where he wasn't allowed.
159 EXT. DOCKS OF SAN FRANCISCO - DAY
Igoe's dented and battered Black Sedan is parked next to
a large, but inconspicuous-looking warehouse.
160 INT. THE WAREHOUSE
It's actually a scientific laboratory. Why beat around
the bush, this is the Bad Guy's Secret Lab. And some of
the Bad Guys are currently present:
Igoe and his Henchmen. Several LAB TECHS. And DR. MARGARET
CANKER -- an unusually glamorous-looking scientist.
They are all gathered around a TV MONITOR watching the
VIDEOTAPE made of the miniaturization experiment.
INNERSPACE - Rev. 12/3/85 47.
CANKER
There's two chips! It's a dual
chip system!
LAB TECH
We have one. Where's the other?
CANKER
In the Pod.
LAB TECH
But, where's the Pod??
Just then, another Lab Tech shows up with some ENLARGED PHOTOS.
(From the camera taken from the Camera Shop Customer.)
The first enlargement shows the hypodermic needle actually
entering Jack's backside. The second enlargement shows
Jack's face.
LAB TECH
The Pod's in him.
Canker looks at the photo of Jack, then turns to Igoe.
CANKER
Find him!
161 EXT. VECTOR-SCOPE LABS PARKING LOT - DAY
POLICE CARS with whirling red bubble lights. AMBULANCES.
CORONER'S VANS. A crowd of ONLOOKERS. POLICE OFFICERS
holding them back, setting up barricades. TV NEWS CREWS
arriving.
Jack shoulders his way to the very front of the crowd. He *
gets there just in time to see bodies -- draped in white *
sheets -- being wheeled from the lab on gurneys to waiting *
ambulances and coroner's vans. *
162 TUCK - INSIDE THE POD
views the situation on his monitor; his expression regis- *
tering horror and alarm. *
Revised 11/8/85 48. *
163 EXT. THE PARKING LOT
Jack tries to stop a POLICEMAN.
JACK
Officer... excuse me, Officer.
What's going on --
POLICEMAN
-- get back! Stay back!
The Policeman hurries off.
JACK
(to Tuck)
Did you hear that?
TUCK (V.O.)
Yeah. Gimme a minute to think...
164 EXT. ENTRANCE TO LAB
Newspaper reporters and TV Crews have been allowed past the
police line. One of these reporters is Lydia. She muscles
her way up to Pete Blanchard who is emerging from the building.
LYDIA
Pete! Just a few questions!
BLANCHARD
I have nothing to say, Lydia.
LYDIA
Isn't it true that Vector-Scope
Laboratories was working on a secret
Satellite Missile Tracking System
for the Defense Department?
BLANCHARD
That's absolutely untrue. And
you can quote me on that.
(to Police)
Get the press back.
The Police do as instructed, herding the Press back behind
police lines.
Lydia is forced back, and she finds herself standing directly
in front of Jack. (Who is, of course, a total stranger to
her.)
Jack's nose is within inches of Lydia's hair.
INNERSPACE - Rev. 12/3/85 49. *
165 TUCK - INSIDE THE POD
Smells something strange coming in through his air vents.
He sniffs, then turns the air jets so that they shoot
directly at his face. He sniffs again.
TUCK
(to himself)
Midnight Lace...?
Then, he sees something on his monitor: Dr. Niles hurrying
past.
TUCK
(to himself)
Dr. Niles...
(to Jack)
... Follow that short guy with the
curly hair and glasses!
166 JACK - IN THE PARKING LOT
begins to move through the crowd, trying to keep up with
Niles who is on the other side of the police barricade.
JACK
Who is he?
TUCK'S VOICE
Dr. Niles. He runs the lab. Don't
let him out of your sight. If we
can just talk to him --
JACK
-- Lost him!
Niles ducks into his parked car and slams the door behind
him.
167 TUCK - INSIDE THE POD
views the scene on his monitor.
TUCK
He's not driving off. There's
someone in the car with him. Is
this as close as you can get?
168 JACK
is about thirty yards away from the parked car. A crush
of onlookers surrounds him.
JACK
Yeah.
INNERSPACE - Rev. 12/3/85 50. *
TUCK'S VOICE
Keep looking at the car.
JACK
Why?...
169 TUCK - INSIDE THE POD
begins to make some frantic adjustments to the dials on
his console.
TUCK
Look directly at them! Don't turn
your head. I think I can beef up
this reception a little...
Suddenly: NILES' VOICE is heard loud and clear over the
Pod's speaker:
NILES' VOICE
... my God... what happened in
there...?!
TUCK
That's it!
170 JACK
looks startled.
JACK
Hey! I can hear them!
TUCK'S VOICE
I know. Now shut up and listen...
171 INT. CAR
BLANCHARD
You've been hit good. Professional
work. Who'd want to do this to you?
NILES
Anybody -- or any country -- that
wants to leapfrog a decade's worth
of research.
Blanchard looks very distressed.
BLANCHARD
I hope you know that we can't get
involved in this. You're on your
own now...
INNERSPACE - Rev. 12/3/85 51. *
172 TUCK - INSIDE THE POD
reacts to the sound of Blanchard's voice. He looks closely
at his monitor, but sun glares off the car's windshield,
hiding Blanchard's face.
TUCK
(to himself)
I know that voice...
173 INT. CAR
BLANCHARD
... We've got to keep our hands
clean. This is your baby... you
change the dirty diapers.
NILES
But... what about Pendelton?
BLANCHARD
What about him?
NILES
He's out there somewhere.
BLANCHARD
(coldly)
Pendelton's been around the military
long enough to know that every
mission contains an element of risk.
NILES
He saved your life once!
174 TUCK - INSIDE THE POD
TUCK
(to himself)
Pete Blanchard!...
175 INT. THE CAR
BLANCHARD
There's nothing we can do to help
Pendelton now. The chip's gone
and his air supply runs out in --
(checks his watch)
-- almost twenty hours.
(a beat)
Start the car. Get me out of here.
176 JACK
watches as Blanchard and Niles drive away.
JACK
Sounds like you're being kissed off.
INNERSPACE - Rev. 12/3/85 52. *
177 TUCK - INSIDE THE POD
is silent. But the expression of betrayal he wears
speaks volumes.
178 EXT. VECTOR-SCOPE PARKING LOT
Lydia returns to her car where her colleague DUANE FLORNOY
(a well-dressed black man) is waiting. Duane stands outside
the car holding the business end of the car's short-wave
radio in his hand.
DUANE
Well?
LYDIA
Blanchard's stone-walling. He
knows more than he's telling.
DUANE
Guess who's arriving at the airport
in exactly four hours?
LYDIA
(after a moment)
The Cowboy?
DUANE
You got it.
Lydia smiles knowingly, glances back at the Vector-Scope
Lab, then turns to face Duane again.
LYDIA
The pieces are beginning to fall
into place.
179 INT. FIRST CLASS CABIN OF 747 - DAY
We hear the HUM of the ENGINES. CAMERA MOVES DOWN aisle,
eventually DISCOVERS a pair of snake-skin cowboy boots.
CAMERA PANS UP, taking in blue jeans, suede Western sports
coat, bib-front shirt and felt Stetson hat.
This is the COWBOY. But dispite his name and his dress,
his looks are distinctly foreign: Prominent nose and
cheekbones, pointy chin and dark, bushy eyebrows.
He reads what looks to be the Arabic version of People
magazine.
180 INT. JACK'S VW - TRAVELING
Jack behind the wheel.
INNERSPACE - Rev. 12/3/85 53.
TUCK'S VOICE *
Well, Jack... we're on our own.
JACK
We?? What can I do?
TUCK'S VOICE
Help me to get that other chip back.
Jack looks miserable.
JACK
This is really bad timing. I mean,
I just got a few extra days vacation,
and on Monday I'm supposed to leave
on a cruise...
181 TUCK - INSIDE THE POD
TUCK
(sarcastically)
Gee, Jack... how thoughtless of
me.
(then, in a normal
tone of voice)
Look: You heard the guy. I got
twenty hours of air left. I wouldn't
worry about missing your cruise.
182 JACK - DRIVING
JACK
You know... that isn't much time.
TUCK'S VOICE
(again; very
sarcastic)
Gosh, you're right! Why didn't I
think of that?
JACK
I mean, what happens if we fail?
What happens if we don't get this
chip back and your air supply
runs out? What happens then?!
TUCK'S VOICE *
Then you've got a miniaturized *
submersible pod floating around *
your insides with a tiny, little *
human skeleton at the helm. *
JACK
(revolted)
Aaagghh!
TUCK'S VOICE
Not a pretty thought, is it?
INNERSPACE - Rev. 12/3/85 54. *
Jack begins to bang his head against the steering wheel.
183 TUCK - INSIDE THE POD
is also being rocked back and forth by Jack's head movement.
And Tuck's head is SLAMMED against the console a few times
as well.
184 INT. JACK'S APARTMENT
Jack enters, glances at the exploded TV, then heads toward
the kitchen.
JACK
I need some aspirin. My head is
killing me. Maybe it's my
allergies.
185 TUCK - INSIDE THE POD
rubs his own battered forehead.
TUCK
Maybe it's from banging it against
the steering wheel.
186 JACK
picks up the aspirin bottle from the counter and fills a
glass with water when a KNOCK is heard at the door.
TUCK'S VOICE
What's that?
JACK
The door.
TUCK'S VOICE
Be careful...
Jack opens the door to find a MESSENGER standing there.
MESSENGER
Mr. Jack Putter?
JACK
Yeah.
MESSENGER
(hands him an
envelope)
From World Tour Travel.
Jack looks puzzled.
Rev. 11/8/85 55. *
MESSENGER
Cruise tickets, I think.
(hands him a
clipboard)
Sign on number twelve.
(as Jack signs)
Mind if I use your phone?
Gotta call my dispatcher.
JACK
(returning clipboard)
Oh, well... okay. Sure.
The Messenger comes in, sees the exploded TV.
MESSENGER
Shot out your TV, huh, man?
Just like Elvis.
Jack doesn't respond. He just points out the phone. The
Messenger picks it up and dials.
MESSENGER
(to Jack)
Lucky man. Goin' on a cruise.
What about your roommate?
JACK
Roommate?
MESSENGER
Thought I heard you talkin' to
somebody as I came to the door.
JACK
No. I live here alone.
187 TUCK - INSIDE THE POD
TUCK
Don't trust him! He's not a
messenger!
188 JACK
turns his back on the messenger.
JACK
(in a whisper)
How do you know?
TUCK'S VOICE
I got a gut reaction! Call it
survival instinct. Get out now.
Jack turns back toward the Messenger who is talking into
the phone:
Revised 11/8/85 56. *
MESSENGER
Okay. I made the drop.
Everything's cool.
The Messenger hangs up the phone -- sees that Jack is
looking at him strangely.
Jack glances at the door. The Messenger grows suspicious.
Jack makes a dash for the door. The Messenger draws a
gun and leaps after him.
But the throw rug slides out from beneath the Messenger's
feet and the Messenger goes flying!
Jack swings open the door -- it CONNECTS with the Mess-
enger's head -- and the Messenger THUDS unconscious to
the floor, the gun still clutched in his hand.
TUCK'S VOICE
Run!
189 EXT. APARTMENT COURTYARD - DAY
Jack runs from the apartment into the courtyard. This is
what he sees:
190 THREE MEN IN DARK BUSINESS SUITS
entering the courtyard. One of the men is Igoe.
191 JACK
ducks behind a palm tree, out of sight. Igoe and his
two Henchmen pass by, heading for Jack's apartment.
When safe, Jack runs off.
192 EXT. APARTMENT PARKING AREA - DAY
Jack runs into the parking area, but stops short. One of
Igoe's Henchmen is standing guard over his VW.
Jack steps back into the shadow of a garbage dumpster.
JACK
They're watching my car.
TUCK'S VOICE
Go to a pay phone. Call a cab.
JACK
Where am I going? How am I gonna
pay for it?
INNERSPACE - Rev. 12/3/85 57.
TUCK'S VOICE
You're going to my place. You
can pay the cabbie when you get
there... my treat.
193 INT. TUCK'S HOUSE - DAY
Jack looks around.
JACK
Nice place.
(under his breath)
What a dump.
TUCK'S VOICE
I heard that... and you're right.
(beat)
I could use a drink, Jack. Bet
you could, too.
JACK
I don't drink.
TUCK'S VOICE
Well, I do. See if there's a
bottle of Cutty under the sofa *
cushion, would ya?
Jack makes a face, but takes a look.
TUCK'S VOICE
No! The other cushion.
JACK
Oh.
194 ON TUCK'S VIDEO
We see Jack's hands flip over the cushion and find the
bottle.
JACK'S VOICE
Got it.
195 TUCK
is licking his lips.
TUCK
Okay! Here's what you do: Take a
nice big tug on that baby and I'll
see what I can catch on the way down.
JACK'S VOICE
How...?
INNERSPACE - Rev. 12/3/85 58.
TUCK
Let me worry about that.
196 EXT. THE POD
One of the Pod's articulating arms extends out from the
Pod's body with a soft, mechanical WHIRRING sound.
Clutched in the arm's claw is Tuck's empty flask. *
197 INT. THE POD
Tuck looks out the viewing dome to make sure arm and
flask are properly in place.
TUCK
Okay, Jack -- down the hatch.
JACK'S VOICE
I'm not much of a drinker.
TUCK
C'mon! Let 'er rip!
Then: A TIDAL WAVE of AMBER LIQUID SPLASHES down from
above and CRASHES against the Pod. The Pod rolls over
and over in the THUNDERING alcohol current.
Finally it comes to rest in some dark, vestibular channel
of Jack's digestive system.
Tuck presses a few buttons and the articulating arm
begins to retract into the Pod. Claw and flask slide
into the Pod through and air-lock opening.
TUCK *
Come on, lucky flask! *
Tuck eagerly grabs the flask and sloshes it around under
his nose. His expression sours.
TUCK
Hmmm. Smells a little strange.
(peeks at it)
Looks a shade green.
(shrugs it off)
Oh, well. Probably just some
harmless biochemical waste
material...
Then a drop splashes out onto his jumpsuit, HISSING and
burning a small hole in the fabric.
TUCK
... mixed with a bit of stomach
acid.
(pause)
What the hell!
(MORE)
INNERSPACE - Rev. 12/3/85 59. *
TUCK (CONT'D)
Rot-gut whiskey's better than none
at all. Cheers!
He throws back a drink. His eyes fill with tears and he
GASPS for air. He begins to pound his fists against the
console and he makes a full spin in his swivel chair.
TUCK
(wiping his mouth
with his sleeve)
Wow! That's strong enough to grow
hair on a snake!
Tuck takes another belt.
198 JACK
also seems pleased by what has just passed his lips. He
looks at the bottle's label, shrugs his shoulders, and
takes another drink.
199 TUCK - INSIDE THE POD
really feels relaxed. He rummages around and eventually
finds what he's looking for: An audio cassette.
200 CLOSE ON CASSETTE
Sam Cooke's Greatest Hits.
201 TUCK
inserts the tape into a player and kicks back.
TUCK
Nuthin' like a little Cutty and Sam
Cooke to chase away the miseries of
the day.
202 EXT. STREET - DAY
The Black Sedan carrying Igoe and his Henchmen ROARS by.
203 INT. BLACK SEDAN
Igoe sits in the back seat wearing an expression of stony
resolution. The car presses on relentlessly.
204 INT. POD
Rocking to the music of Sam Cooke's "TWISTIN' THE NIGHT
AWAY." Tuck leans back, flask in hand, foot tapping
against the console.
INNERSPACE - Rev. 12/3/85 60. *
SAM COOKE'S VOICE
(singing)
Here's a man in evenin' clothes,
how he got here, I don't know.
But, man, you ought to see him go...
Twistin' the night away!
205 JACK
is lip synching to the song and twisting his heart out.
He's infused with the spirit of the music... and perhaps
with the spirit of the Cutty as well.
SAM COOKE'S VOICE
(singing)
Lean up! Lean back!
Twistin' the night away!
206 TUCK - INSIDE THE POD
TUCK
(shouting over
the music)
Jack! Hey, Jack!
(finally turns
the music low)
Jack!
JACK'S VOICE
What?...
TUCK
Go look in the mirror.
JACK'S VOICE
Why?
TUCK
Because I just realized I don't
know what you look like.
207 JACK
turns, looks for a mirror. Sees one on the wall. He
staggers over to it.
208 TUCK - INSIDE THE POD
can tell by looking into his monitor that Jack is weaving
from side to side.
TUCK
Hey, you're not drunk, are you?
JACK'S VOICE
No. Just a little dizzy.
INNERSPACE - Rev. 12/3/85 61. *
TUCK
(amused)
Ha! And after only one stinking
drink!
209 JACK
approaches the mirror. He looks at the Cutty bottle in
his hand. It's almost half empty.
JACK
More than one drink, I think...
(looks into mirror)
... How's this?
210 TUCK - INSIDE THE POD
sees in his monitor Jack's face as it is reflected in the
mirror. But Jack is way too close, creating a distorted
fish-eye look.
TUCK
Too close. Back up. Back up.
Jack does.
TUCK
That's better...
For a moment Tuck just looks at the face of the man whose
body he inhabits. Then, he turns OFF the MUSIC.
TUCK
Jack... I guess you realize some
very serious bad guys are after
you because of me. So if you want
to bail out, I understand. Just
sneeze me into a Kleenex or
something and hand it over to them.
211 JACK
stares into the mirror with a besotted expression.
JACK
Didn't you just save my life?
TUCK'S VOICE
When?
JACK
You warned me about that phony
messenger.
TUCK'S VOICE
Well, yeah. I guess I did, but --
INNERSPACE - Rev. 12/3/85 62. *
JACK
-- So just shut up about the
Kleenex!
212 TUCK - INSIDE THE POD
realizes that Jack, in his own way, is saying he won't
quit. Tuck is moved.
TUCK
Thanks, Jack.
213 JACK
turns away from the mirror, embarrassed.
TUCK'S VOICE
But let's face it... We need help.
Can you drive? Is your head clear?
JACK
Well... uh...
TUCK'S VOICE
Slap yourself in the face.
JACK
Huh?
TUCK'S VOICE
In the face. Slap yourself.
Wack! Jack does.
TUCK'S VOICE
Harder.
Wack! Jack does it harder.
TUCK'S VOICE
Again.
Wack! Jack does it again.
TUCK'S VOICE
How's that feel?
JACK
One more time!
Wack! Jack does it one more time.
TUCK'S VOICE
Okay! How's that feel now?
JACK
It feels good!
INNERSPACE - Rev. 12/3/85 63.
TUCK'S VOICE
Okay! Let's roll!
214 EXT. TUCK'S HOUSE - THE GARAGE DOOR - DAY
We hear it before we see it. The FULL-THROATED ROAR of
its twelve cylinder, 4.4. liter engine.
The garage door swings up revealing a:
215 FIRE-ENGINE RED 1969 FERRARI DAYTONA
One of the most awesome road machines ever produced.
Jack is behind the wheel. He just touches the gas pedal
and the car rockets out of the garage.
216 EXT. ROAD - DAY
Jack SQUEALS around the hair-pin curves leading away from
Tuck's hillside house.
*
TUCK'S VOICE
Are you sure you're sober!? *
Suddenly, Igoe's black sedan barrels around the bend *
towards them. The Ferrari crosses the center line. Jack *
SCREAMS and yanks on the wheel. The Black Sedan skids off *
the road and onto the shoulder in a cloud of dust. *
JACK *
I'm sober now! *
217 INT. THE BLACK SEDAN
*
IGOE
It was them! Turn around! Turn
around!
But the sedan is stalled, and now the engine fails to
turn over. It GROANS uncooperatively.
IGOE
I hate this black sedan! I want
a new black sedan! I want a
Mercedes-Benz 500 SEL!!
HENCHMAN
Yes, Mr. Igoe.
Then: the engine fires up -- SPUTTERS -- and the car
lurches into gear.
218 EXT. FREEWAY - DAY
The Ferrari barrels along. Jack clutches the steering wheel
with both hands -- as if the car might speed out from under
him.
INNERSPACE - Rev. 12/3/85 63A.
219 INT. THE POD
Tuck has his eyes glued to the monitor which displays
Jack's POV of the freeway, etc.
TUCK
(nervously)
Watch out for that truck up ahead.
Change lanes -- get in the fast
lane. Wait -- not now. Okay --
now. Watch your tachometer. Okay:
shift into fifth! Easy on the clutch.
Always shift at 4500 RPMs. Keep an
eye on the temperature gauge...
JACK'S VOICE
Boy! Talk about back seat drivers!
TUCK
This car's a classic! It's the only
thing I own that's worth a shit!
220 JACK - IN THE FERRARI
JACK *
Maybe you should tell me where I'm going. *
TUCK'S VOICE *
Downtown. We're gonna look up a *
friend of mine. *
221 INT. NEWSPAPER PRESS ROOM - DAY
Duane Florney is at his desk talking with the CITY EDITOR.
Lydia practically flies by.
LYDIA
I'm off, Duane!
EDITOR
Hey, Lydia! Wait a minute. Where
are you going?
LYDIA
Airport.
EDITOR
What about this Vector-Scope story!?
LYDIA
I'm playing a hunch, Gus.
DUANE
This could be big, Gus.
EDITOR
Hey -- who do you two think you
are, anyway? Redford and Newman?
Revised 11/8/85 64. *
Lydia does a double take.
DUANE
(to Editor)
I think you mean Woodward and
Bernstein, chief.
Lydia disappears out the door.
222 EXT. THE STREET - DAY
Lydia emerges from the Newspaper Building and heads for
her car parked at the curb.
At the same moment, Jack and Tuck in the red Ferrari
come down the street.
223 INT. THE FERRARI
TUCK'S VOICE
That's her!
JACK
Where??
TUCK'S VOICE
I saw her out of the corner of
your eye.
Jack looks around.
TUCK'S VOICE
Getting into her car! Hurry!
She'll get away. Honk your horn!
Jack hits the HORN. It has a very distinctive sound.
Lydia turns and looks in Jack's direction.
224 CLOSE ON LYDIA
Sunlight glistens off her copper-colored hair. She
looks beautiful.
225 CLOSE ON JACK
Immediately smitten.
226 EXT. THE STREET
Lydia marches up to the parked Ferrari.
JACK
(to Tuck)
Here she comes.
Lydia arrives at the car. Jack opens his mouth to
speak, but doesn't get a chance:
INNERSPACE - Rev. 12/3/85 65. *
LYDIA
I know this car. This car belongs
to Tuck Pendelton! What are you
doing with Tuck Pendelton's car!?
Tuck would sooner trust somebody
with his life than with his Ferrari.
How'd you get this car? Who are
you, anyway? Does Tuck know you
have this car!?
227 TUCK - INSIDE THE POD
TUCK
(out of frustration)
Lydia, shut up and listen!!
228 JACK - IN THE FERRARI
JACK
(blurts it out
automatically)
Lydia, shut up and listen!!
Lydia looks shocked. Jack wants to eat his words.
229 THE BLACK SEDAN
pulls up to the curb across the street from where Jack and
Lydia are talking. Igoe and his Henchmen pile out. One
Henchman slams the door on Igoe's hand.
Igoe doesn't even flinch. He just looks down at his hand.
All five fingers are caught in the tightly closed door.
The guilty Henchman looks worried for his own safety, but
Igoe calmly opens the door and pulls his hand free.
230 JACK
catches sight of Igoe and the Henchmen who are prevented
from crossing the street by heavy traffic.
JACK
Oh, no -- it's them!
Lydia looks up with a quizzical expression.
JACK
Hop in!
Lydia hesitates.
JACK
Hop in! Tuck's in trouble! He
needs your help!
Lydia takes a chance. She jumps in beside Jack and the
FERRARI SQUEALS away from the curb.
INNERSPACE - Rev. 12/3/85 65A.
231 TUCK - INSIDE THE POD
TUCK
Atta girl, Lydia!
232 IGOE - ON THE STREET
signals his men back into the black sedan.
Revised 11/8/85 66. *
233 EXT. THE STREET
The Ferrari only gets one block before it must stop at a red
light. Jack bangs his fist against the steering wheel.
LYDIA
Who are those men?
JACK
Bad guys! Very bad guys!
The Black Sedan also comes to a stop -- about ten cars back.
It's a long light and Jack is getting nervous. He glances
over his shoulder.
234 IGOE AND HIS HENCHMEN
decide to leave their sedan and rush Jack on foot. They race
up the line of stopped vehicles and get within a car's length
of the Ferrari when: Blink! The light turns green.
The Ferrari SQUEALS through the intersection, burning rubber.
Igoe and his Henchmen turn and run back toward the Black Sedan.
Igoe gets there first. He doesn't bother to wait for the
others. He slides in behind the wheel and ZOOMS away.
The Henchmen are left standing in the street.
235 INT. THE FERRARI - SPEEDING DOWN A CITY STREET
Jack glances into the rearview for glimpses of the Black Sedan.
JACK
I don't see 'em. I think we gave
'em the slip!
236 EXT. BUSY INTERSECTION - DAY
The Black Sedan is stalled in the middle of the intersection
causing a major traffic jam. HORNS HONK madly. Igoe jumps
from the car and SLAMS the door in anger.
He then looks around, wrestles a bicycle away from an OLD
CHINAMAN and pedals off in pursuit of Jack.
237 INT. CHINATOWN RESTAURANT - DAY
Lydia and Jack at one of the tables.
JACK
... you might say Tuck's been
taken hostage.
LYDIA
Who has him?
INNERSPACE - Rev. 12/3/85 67. *
JACK
That's a little hard to explain.
We need something called a 'PEM'
to get him back. It's a micro-
chip. It was taken from the
Vector-Scope lab this morning.
LYDIA
Vector-Scope! Everything's comin'
up Vector-Scope today. Have you
gone to the police?
JACK
There's no time for long
explanations and police reports.
As a matter of fact, we only have...
238 TUCK - INSIDE THE POD
checks his air supply gauge.
TUCK
Sixteen hours.
239 JACK - INSIDE THE RESTAURANT
JACK
Sixteen hours.
LYDIA
Sixteen hours?! Can't we negotiate
for more time?
JACK
Not a chance.
Jack begins to squirm uncomfortably in his seat.
LYDIA
What's the matter?
JACK
I gotta pee real bad!
Lydia looks aghast. Jack freaks.
JACK
I can't believe I said that!
240 EXT. THE RESTAURANT - DAY
Igoe pedals up to the restaurant. He sees the parked Ferrari
and smiles to himself. He discards the bike and approaches
the restaurant.
INNERSPACE - Rev. 12/3/85 68.
241 INT. RESTAURANT REST ROOM
Jack stands before the urinal, relieving himself. Another
restaurant CUSTOMER washes his hands at the sink.
JACK
You didn't tell me she was going *
to be so beautiful.
The Customer at the sink glances over at Jack.
TUCK'S VOICE
You think so?
JACK
Absolutely.
(beat)
And I think we should tell her the
truth, too.
Revised 11/8/85 69. *
Again, the Customer looks over in Jack's direction, sees
him looking down into the urinal, talking softly.
TUCK'S VOICE
Who would believe it?
(pause)
Besides... it's humiliating being
this small. There -- I've said it!
JACK
What's so bad about being small?
The Customer now comes up behind Jack.
CUSTOMER
Play with it, pal, but don't talk
to it.
With that, the Customer exits the restroom. Jack looks
mortified.
TUCK'S VOICE
Who was that?
JACK
Never mind.
Jack flushes the urinal -- watches the water swirl down
the drain.
JACK
You still there?
TUCK'S VOICE
Yeah... why?
JACK
Just checking.
242 INT. THE RESTAURANT
Jack emerges from the rest room and approaches the table.
We see JACK'S POV as he moves toward Lydia.
Lydia looks up -- then registers alarm. She rises from
her chair and draws what appears to be a gun from her
purse and takes aim -- seemingly at Jack.
LYDIA
Freeze!
Restaurant patrons SCREAM and take cover under tables. Jack
stands there, frozen in horror. Then he looks behind him and
sees:
Revised 11/8/85 70. *
243 IGOE
Who stops in his tracks and slowly raises his hands
above his head.
244 TUCK - INSIDE THE POD
Igoe's face appears on his display monitor -- then the picture
suddenly scrambles. All the instruments begin to go haywire:
Needles on gauges spin. Lights flash. Radio reception BUZZES.
Tuck doesn't know which problem to attend to first.
245 FULL SHOT - THE RESTAURANT
Lydia has the drop on Igoe.
LYDIA
This is an electronic stun-gun. A
non-lethal personal defense weapon
deploying a charge of 5,000 volts.
It will immobilize you for up to
twenty minutes and, in all probability,
render you unconscious as well. So,
don't take one step closer.
Igoe looks at the gun. An expression of abject terror
on his face.
LYDIA
(to a waiter)
Call the police!
Igoe suddenly grabs Jack.
LYDIA
No!
She squeezes back on the trigger. A STUN DART shoots out from
the weapon. Igoe uses Jack as a shield and the dart hits Jack!
246 CLOSE ON JACK'S MARKET NAME TAG
The dart penetrates the plastic name tag, melting it instantly
and releasing half its charge with a loud BUZZZZ!
The other 2,500 volts enter Jack's body, and Jack goes limp
in Igoe's arms.
247 TUCK - INSIDE THE POD
also feels the impact of the electrical charge. CRACKLING
ribbons of electric current dance around the contours of the
Pod. Tuck is SLAMMED back into his seat as electricity
courses through his limbs.
Revised 11/8/85 71. *
The Pod's lights dim, then brighten once again. But Tuck is
left a shaken man. His hair sticks straight up in current
Punker fashion, and his head glows from within like a
jack-o'-lantern.
Tuck's consciousness returns, when the Pod is suddenly
turned upside down as...
248 IGOE - IN THE RESTAURANT
picks up Jack's limp body and tosses it over his shoulder
like a sack of flour.
Igoe runs from the restaurant amid an UPROAR of YELLING
and SCREAMING.
LYDIA
Someone call the police!!
As Igoe runs off, the FERRARI KEYS slip from Jack's pocket
and fall to the floor. Lydia sees this and snatches them up.
249 EXT. ALLEY BEHIND RESTAURANT - DAY
Igoe runs down the alley with Jack over his shoulder. Jack
begins to snap out of it. He can't imagine where he is or
why he's being conveyed this way. (We also see that he, too,
sports an electrified Punk hairdo.)
Igoe notices a DELIVERY TRUCK pulling away from a loading dock.
He's able to pop open the cargo doors and throw Jack inside.
But now the truck is driving away. Igoe runs alongside of it.
It begins to pick up speed. Igoe keeps up with it, leaps onto
a running board, throws open the cab door, yanks out the
driver and takes his place behind the wheel.
The truck THUNDERS down the alley at top speed.
250 TUCK - INSIDE THE POD
Is grateful to see his instruments come back on line. The Pod
is righted once again, its speed and direction under control.
TUCK
Jack! Jack! Are you all right?
What happened? Seems like we
experienced a massive power surge.
No response from Jack. Tuck looks concerned.
TUCK
Hey, Jack... you there, babe?
He glances at one of his gauges in alarm.
Revised 11/8/85 72. *
TUCK
What's goin' on, Jack!? Your
heart rate's slowin' way down!
JACK'S VOICE
I'm f-f-f-f-f-f-
TUCK
(relieved)
Jack! You had me worried. Thought
I'd lost you for a minute, kid.
(beat)
What happened? Where's Lydia?
Where are we?
(peers into his monitor)
I can't see a thing. Why's it so
dark?
JACK'S VOICE
I'm f-f-f-f-f-f-f-
TUCK
You're what?? Can't make you out,
Jack. Message garbled. Try again.
JACK'S VOICE
I'm f-f-f-f-f-f-freezing!
TUCK
You're freezing??
251 EXT. THE DELIVERY TRUCK - TRAVELING - DAY
Igoe behind the wheel. CAMERA PANS to the sign lettered
on truck's side. It reads:
BAY AREA FROZEN FOOD SUPPLY CO.
TUCK'S VOICE
Jack! What's that loud tapping
sound!?
252 INT. TRUCK'S CARGO AREA - CLOSE ON JACK'S TEETH
CHATTERING loudly. (The tapping sound heard by Tuck.)
CAMERA PULLS BACK TO REVEAL:
Jack huddled in the corner among the boxes of frozen foods.
His entire body shaking beneath a thin layer of frost. His
Punk hair spikes looking like inverted icicles.
253 EXT. SECLUDED SPOT BENEATH THE GOLDEN GATE BRIDGE - DAY
The Frozen Food truck is parked. A LIMO rolls up beside it.
Henchmen rush to open the back door, and VICTOR SCRIMSHAW
slides out. Scrimshaw's dress and demeanor suggest a man of
near limitless power.
INNERSPACE - Rev. 12/3/85 73. *
254 INT. CARGO AREA OF TRUCK
The cargo doors are flung open. Sunlight pours in. Jack
lifts his head to look, squinting against the light. He
resembles some kind of friendly snow creature.
Scrimshaw climbs into the truck. One of the Henchmen thought-
fully throws a huge fur coat over Scrimshaw's shoulders,
making him look even more formidable than before.
Snowflakes cling to Jack's eyelashes as he looks up at
the towering Scrimshaw.
Scrimshaw looks down at Jack impassively, then calls off:
SCRIMSHAW
Dr. Canker! Get in here!
Dr. Margaret Canker sweeps out of the limo and is helped
into the truck's cargo area by a Henchman. Scrimshaw
indicates Jack.
Canker whips out a stethoscope and checks Jack's chest.
SCRIMSHAW
Well?
CANKER
Early stage hypothermia.
SCRIMSHAW
(mulls it over)
Do we need him alive?
Jack's eyes widen at this.
CANKER
Oh, yes. He should be alive.
Jack looks relieved.
SCRIMSHAW
(to Henchman)
Bring a blanket!
CANKER
I know how to warm him up...
She begins to run her hand up the inside of Jack's leg.
Jack's eyes widen again.
SCRIMSHAW
Knock it off, Margaret! Here comes
a blanket.
The Henchman clambers into the truck with an instantly
produced blanket and drapes it over Jack's shoulders.
INNERSPACE - Rev. 12/3/85 74. *
HENCHMAN
We're taking him to the lab now, Mr.
Scrimshaw. Would you like ride in
the limo?
SCRIMSHAW
No, no. Go on ahead. It's a short
trip. I'm going to stay back here
and keep an eye on him.
CANKER
I'll stay with him.
SCRIMSHAW
Forget it, Margaret. Take the limo.
Canker packs up her medical bag as if she didn't care.
255 EXT. TRUCK
A Henchman closes the truck's cargo doors, then jumps
into the limo. The limo drives away. Then the truck
begins to rumble off as well.
256 INT. TRUCK'S CARGO AREA
Scrimshaw pulls up a box of frozen food and takes a seat
next to Jack. He lights up a fat cigar and blows smoke
into the air.
SCRIMSHAW
Nuclear weapons, Jack?...
(beat)
... They mean nothing. Everybody's
got 'em; nobody's got the balls
to use 'em. Am I right?
Jack shivers silently, not daring to say a word.
SCRIMSHAW
Space you say?
(pause)
Space is a flop. Didn't you know
that? An endless junk yard of
orbiting debris.
(pause)
Ahhhh... but miniaturization,
Jack. That's the ticket.
(beat)
It's the edge everyone's been
looking for. But who will have
that edge, Jack? What country
will control miniaturization?
(pause)
Frankly, I don't give a shit. I'm
only in this for the money. And
that's why we gotta get that little
pod out from inside of you.
INNERSPACE - Rev. 12/3/85 75. *
Scrimshaw punctuates this remark with a finger jabbed
forcefully into Jack's ribs. Jack looks worried.
Scrimshaw settles back to enjoy his cigar.
257 EXT. HIGHWAY - DAY
Lydia zips along in the open-topped Ferrari. A truck tries
to pass her. She casually glances up at its driver -- and
recognizes Igoe behind the wheel.
Lydia reacts. She lightens up on the gas, allowing the
truck to pull ahead of her.
258 INT. THE POD
TUCK
I have some bad news for us, Jack.
Looks like we've fallen into the
hands of the bandits. They're
taking us to some lab, and I don't
like the sound of that.
259 JACK - INSIDE THE TRUCK
listens in silence. Huddled under the blanket, he has
begun to warm up a bit.
TUCK'S VOICE
Jack... glance around slowly so that
I can get the lay of the land.
260 JACK'S POV AS HIS EYES PAN:
Boxes of frozen foods come into view. Then the hulking, fur-
coated Scrimshaw siting nearby. Then the cargo doors...
TUCK'S VOICE
Go back, Jack! Go back. Go back
to the doors.
Jack's glance returns to the doors. We see that they
are not properly closed. The latch is not in place.
A crack of daylight shows through.
261 TUCK - INSIDE THE POD
views the unlocked doors on his monitor.
TUCK
Jack, this is it. The doors are
unlocked. We can take them by
surprise: Bust outta here before
they know what hit 'em!
(beat)
Can you do it, Jack? Cough if you
can do it.
Tuck waits for the cough. Silence.
INNERSPACE - Rev. 12/3/85 75A.
TUCK
Okay, Jack. Listen to me. This
is your moment. This is your
turn to be the hero, Jack.
(MORE)
Revised 11/8/85 76. *
TUCK (CONT'D)
(beat)
Psyche yourself up. Look at the
doors. (You gonna stack soup
cans all your life, Jack?) See
yourself leaping to your feet.
(Gonna bag groceries until you
die, Jack?) See yourself pushing
open the doors! See yourself
jumping from the truck! Can you
see it, Jack!? Can you see it!?
262 JACK - INSIDE THE TRUCK
Sheds his blanket and jumps to his feet.
JACK
I can see it!!
SCRIMSHAW
Huh!
TUCK'S VOICE
Jack! No! Wait until --
Jack charges toward the cargo doors and flings them open.
TUCK'S VOICE
-- the truck has stopped...
Too late. The doors swing out. The highway flies by
underneath at sixty miles per hour. Jack clings to one
of the doors.
JACK
Ohhhhhhhhhhh!!!...
Jack holds on for dear life -- his feet kicking in midair,
several feet above the surface of the roadway.
Scrimshaw tries to reach out and grab him. He fails --
it's just too damned dangerous.
SCRIMSHAW
You stupid idiot!
263 TUCK - INSIDE THE POD
shares Jack's POV of his precarious situation. Tuck
can't look. He covers his eyes.
264 LYDIA - DRIVING IN THE FERRARI
sees events unfolding before her. She has kept back, but
now she speeds up.
Revised 11/8/85 77. *
265 SCRIMSHAW - INSIDE THE TRUCK
begins to POUND against the back wall to alert Igoe in
the driver's cab.
SCRIMSHAW
Stop the truck! Stop the
truck!
266 IGOE - INSIDE THE CAB
has a radio turned up FULL VOLUME playing "Ride of the
Valkyries." He can't hear Scrimshaw's pounding.
We notice that Jack, swinging on the cargo door, is briefly
visible in the sideview mirror. Igoe glances into the mirror,
but too late: Jack has already swung back out of sight.
267 SCRIMSHAW - INSIDE THE TRUCK
sees that the door is swinging back toward the truck.
He positions himself to grab hold of Jack.
Jack sees what's coming. He puts out his foot and kicks
off against Scrimshaw's chest.
SCRIMSHAW
Ooomph!
Jack and the door swing back out over the highway, and
Scrimshaw tumbles backwards into the boxes of frozen foods.
268 LYDIA - IN THE FERRARI
ZOOMS up behind the truck.
LYDIA
Jump in, Jack! Jump in!
269 JACK
looks down. Both vehicles are doing sixty and the door
is swinging back and forth.
Scrimshaw has gotten to his feet and is advancing unsteadily
toward Jack.
LYDIA
Jump!
TUCK'S VOICE
Jump!
Jack lets his feet drop down into the Ferrari, but continues
to cling to the door with his hands.
Revised 11/8/85 78. *
The two vehicles begin to drift apart. Jack's hands are
attached to one; his feet are attached to the other. It
looks like he's being stretched.
Lydia reaches out, grabs Jack's pant leg.
LYDIA
Let go!
JACK
Let go!? Are you crazy!!
Lydia steers the Ferrari in closer to the truck.
LYDIA
Now let go!
Jack lets go and falls backwards into the Ferrari's
passenger seat. Lydia stomps on the gas pedal and ROARS
off ahead of the truck.
She sees a sign up ahead: S.F. INTERNATIONAL AIRPORT --
Next Exit. She cuts in front of three lanes of traffic,
including the truck, and takes the exit.
270 LYDIA AND JACK
exchange an expression of victory.
271 TUCK - INSIDE THE POD
recovers from all the excitement by draining his pocket flask.
TUCK
This stuff has really lost its kick.
He tosses the empty flask aside.
272 INT. MAIN CONCOURSE - S.F. INTERNATIONAL AIRPORT - DAY
The Cowboy strides across the concourse.
273 JACK AND LYDIA
observe the Cowboy from a distance.
LYDIA
There he is. The Cowboy. I've been
tracking his movements for months.
Jack looks nervous; he glances anxiously at his watch.
JACK
What has this got to do with Tuck?
Revised 11/8/85 79. *
TUCK'S VOICE
Good question.
LYDIA
Maybe everything.
(beat)
The Cowboy deals in stolen technology.
He's a middleman. Why do you think
he arrived today? Dollars to donuts
he leads us right to that chip.
The Cowboy gets on a pay phone.
LYDIA
I'd love to know who he's calling.
JACK
Maybe I can hear.
LYDIA
Very funny.
JACK
I mean it.
LYDIA
He's fifty feet away.
JACK
Let me try...
274 TUCK - INSIDE THE POD
makes the proper adjustments to heighten the sensitivity
of Jack's hearing.
275 JACK
looks directly at the Cowboy and begins to hear, despite
the echoing din of the crowded concourse.
JACK
He's leaving a message for somebody...
(beat; listens)
Victor Scrimshaw.
(beat)
Hey! That was the guy in the truck!
Amazed, Lydia fumbles in her pockets for a pad and pencil.
LYDIA
I don't believe this.
JACK
(listening)
He's staying at the Mark Hopkins
Hotel. He wants Scrimshaw to pick
him up at six in the morning...
Revised 11/8/85 80. *
LYDIA
(taking notes)
Six in the morning?
JACK
(listening)
He says he never sleeps.
The Cowboy hangs up and walks off. Lydia puts away her
notebook.
LYDIA
(to Jack)
You're amazing.
JACK
(smiling)
You're pretty wonderful yourself.
Lydia smiles awkwardly.
LYDIA
Let's go.
As they walk briskly off:
JACK
Who is Victor Scrimshaw, anyway?
LYDIA
He's very mysterious -- and very
powerful. I can call the paper
for his file when we get there.
JACK
Get where?
LYDIA
The Mark Hopkins Hotel.
276 EXT. MARK HOPKINS HOTEL - DAY
The Cowboy arrives by cab.
Moments later, Jack and Lydia drive up in the Ferrari.
They disappear into the hotel parking garage.
277 INT. HOTEL PARKING GARAGE
Jack finds a parking space. Oddly enough, there are at
least twenty other Ferraris parked nearby.
Jack and Lydia get out from the car.
JACK
This place looks like a Ferrari
owner's convention!
Revised 11/8/85 81. *
LYDIA
Get the suitcase from the trunk.
JACK
Huh?...
LYDIA
I'm checking in. It's less
suspicious if I have a suitcase.
Jack opens the trunk, discovers the suitcase.
JACK
How'd you know this was here?
LYDIA
Tuck always keeps a packed suitcase
in the trunk --
(suggestively)
-- just in case he wakes up in a
'strange place.'
278 TUCK - INSIDE THE POD
winces painfully.
TUCK
(to himself)
Didn't know she knew about that suitcase.
279 INT. HOTEL LOBBY
The Cowboy has just registered. A Bell Boy is taking him
to his room. As they walk to the elevators, they pass a
signboard that reads:
WELCOME!
FERRARI OWNERS OF AMERICA
National Convention
Main Ball Room
280 INT. COWBOY'S HOTEL ROOM
Cowboy sits on the bed polishing a pair of dressy lizard-
skin boots.
Country & Western MUSIC plays LOUDLY from the radio.
281 INT. JACK AND LYDIA'S HOTEL ROOM
They can hear the loud C & W music pounding through the wall.
LYDIA
I tipped the desk clerk a twenty. He
put us right next door to the Cowboy.
(MORE)
Revised 11/8/85 82. *
LYDIA (CONT'D)
(beat)
Listen for any sound of him leaving
his room. I'll be in the bedroom
calling my paper.
JACK
Okay.
Jack watches Lydia depart into the bedroom; his eyes
drinking in every inch of her.
282 TUCK - INSIDE THE POD
also ogles Lydia on his monitor, SIGHING deeply to him-
self. Then he realizes what's going on:
TUCK
Hey! Cut that out! What are you
looking at? I thought you were a
gentleman!
283 JACK - INSIDE THE HOTEL ROOM
JACK
(to Tuck; softly)
C'mon, Tuck. Who can blame me?
She's one in a million.
(beat)
What's the deal between you two,
anyway?
TUCK'S VOICE
(angrily)
Never mind.
284 INT. VICTOR SCRIMSHAW'S OFFICE
Scrimshaw is on the phone and he's hopping mad.
SCRIMSHAW
Margaret! I'm meeting with the
Cowboy tomorrow morning and I
still don't have that other chip!
285 INT. A BEDROOM
Dr. Canker is sitting on the edge of the bed in a
spaghetti-strap negligee, the phone pressed to her ear.
CANKER
That's not much time, I --
INTERCUT BETWEEN CANKER AND SCRIMSHAW:
INNERSPACE - Rev. 12/3/85 83. *
SCRIMSHAW
-- We had him! He slipped right
through our fingers! I'm thinking
maybe your boy Igoe's not all he's
cracked up to be, Margaret!
Canker's eyes begin to blaze.
CANKER
You're crazy!
(beat)
He's the most perfect creature on
earth.
Just then, Igoe enters the bedroom wearing a silk robe,
carrying a bottle of wine and two glasses. Canker
regards him with adoration.
SCRIMSHAW
(from phone)
Just find that idiot supermarket
clerk -- and don't let the Cowboy
out of your sight, either!
Igoe takes the phone from Canker's hands and hangs it up.
She turns and throws open his robe revealing a tattoo on
his chest.
286 CLOSE ON TATTOO
A large heart, filled with roses and a scroll with the
name "Margaret" written across it.
287 CANKER
gently runs her fingers over the tattoo, then looks up
into Igoe's eyes.
CANKER
Come to Momma.
He embraces her passionately.
Revised 11/8/85 84. *
288 INT. NEWSPAPER PRESS ROOM - DAY
Duane Flornoy is on the phone. He has punched up Victor
Scrimshaw's file on his computer -- the monitor before him
displays Scrimshaw's picture and bio.
FLORNOY
(into phone)
... This is one mean dude, Lydia. I
can't believe this guy: Legal council
to reputed organized crime figures;
administrator of four teamster pension
funds; suspected of black market arms
dealing... yet somehow he manages to
keep his nose clean.
289 INT. HOTEL BEDROOM
Lydia on the phone, taking notes.
LYDIA
Anything else?
FLORNOY'S VOICE
Yeah.
(beat)
They say he keeps Jimmy Hoffa's
wristwatch in his desk drawer as a
souvenir.
290 INT. THE POD
Tuck casts a concerned glance at his air-supply gauge.
TUCK
Jack, I've got about nine hours
of air left in here. I think it's
time we formulate a plan.
291 INT. THE HOTEL ROOM
Jack is stealing a glance at Lydia through the partially-
closed bedroom door. Now he turns away.
JACK
Great! A plan. Let's do it.
292 TUCK - INSIDE THE POD
seems troubled by Jack's sudden enthusiasm.
TUCK
You're awfully eager, aren't you?
Revised 11/8/85 85. *
JACK'S VOICE
You bet. I'm into this now. I'm
hooked on adventure. What's your
plan?
Tuck isn't sure he likes this new attitude of Jack's.
TUCK
Okay. The Cowboy will lead us to
the chip, right?
JACK'S VOICE
Right.
TUCK
So... you're going to be the Cowboy.
293 JACK - IN THE HOTEL ROOM
wears a frozen half-smile on his face.
JACK
Me.
TUCK'S VOICE
Sure. And when Scrimshaw's men come
by to pick up the Cowboy, they're
gonna get you and me instead.
JACK
Yeah... but I don't look like the
Cowboy.
TUCK'S VOICE
Let me worry about that.
Jack seems hesitant. Then he sees Lydia emerging from
bedroom -- her usual vision of efficient loveliness.
JACK
All right. I'll do it.
LYDIA
You'll do what?
JACK
(to Lydia)
I have a plan...
294 INT. THE COWBOY'S HOTEL ROOM
The Cowboy is trying on a flamboyantly embroidered silk
Western shirt in front of the mirror.
Revised 11/8/85 86.
COWBOY
(singing along with the
radio in a weird, thick
accent)
'... Mama, don't let your sons grow
up to be cowboys...'
He continues to sing as he puts on his generous supply of
gold rings, chains and bracelets.
295 INT. JACK AND LYDIA'S ROOM
Lydia has just heard Jack's plan. She seems resistant.
LYDIA
I don't know, Jack. It's a good
plan, but it seems dangerous.
Victor Scrimshaw likes to play
hardball.
JACK
(firmly)
I'm not afraid.
LYDIA
Well... neither am I. I've never
run from danger in my life.
JACK
Then don't start now.
LYDIA
I'm not going to...
(beat)
... but are you sure you can pull
this off?
JACK
(modestly clears *
his throat)
Well... I do have two years of high
school drama under my belt. As a
matter of fact, I once understudied
the Sky Masterson role in a production
of Guys and Dolls.
LYDIA
Good. That's good, Jack. The thing
to do now is stay close to the Cowboy.
Wherever he goes tonight, that's *
where we're going.
JACK
We're not exactly dressed for a night
on the town.
Revised 11/8/85 87. *
LYDIA
(heading for the door)
There's a dress shop in the lobby.
(beat)
You can dip into Tuck's suitcase.
296 TUCK - INSIDE THE POD
TUCK
(to Jack;
peevishly)
Go ahead! Dip all you want.
Nothing will fit you!
297 INT. THE HOTEL ROOM - LATER
Jack has just finished dressing into Tuck's clothes.
A rumpled but sporty look. And everything fits.
Lydia emerges from the bedroom in her new dress. Jack
turns in her direction and has to gasp for breath.
JACK
You look... beautiful.
LYDIA
Thank you, Jack. And you look...
Her voice trails off. A wistful look comes into her
expression and she gently runs her hand down Jack's lapel.
JACK
What's the matter?
LYDIA
Oh, nothing. I was just reminded of
a time when Tuck wore this jacket...
298 TUCK - INSIDE THE POD
seems to melt as he views Lydia's melancholy expression.
TUCK
(as if he were
talking directly
to Lydia)
It was the night we first met. You
were writing that article about me.
We had dinner and talked until three
in the morning. I got drunk and
fell down a manhole walking you home.
299 JACK AND LYDIA - IN THE HOTEL ROOM
The SOUND of a DOOR CLOSING breaks the mood.
88.
LYDIA
What was that?
JACK
A door...
LYDIA
The Cowboy! He's leaving.
Lydia peeks out into the:
300 CORRIDOR
where the Cowboy is walking. He turns down another corridor,
passing a ROOM SERVICE WAITER, and heads for the elevators.
301 CAMERA HOLDS ON ROOM SERVICE WAITER
who is actually one of Igoe's Henchmen. He waits for the
Cowboy to board the elevator, then whips out a walkie-talkie.
HENCHMAN
(into walkie-talkie)
The Cowboy rides!
The Henchman then wheels his serving tray away. Moments
later, Jack and Lydia arrive from the opposite direction
and approach the elevators.
302 EXT. THE HOTEL - NIGHT
A new, black Mercedes 500 SEL is parked across the street
from the hotel.
303 INT. THE 500 SEL
Igoe sits in the back. Two Henchmen sit up front.
IGOE
I love this car. You can't beat
German engineering.
The Henchmen begin to giggle. Igoe glares at them.
304 INT. HOTEL LOBBY
The doors to the Main Ball Room swing open and FERRARI
OWNERS pour out, talking loudly to one another.
At the same moment, the Cowboy emerges from the elevators,
walks through the mob of Ferrari Conventioneers and out the
front door. All the while being observed by another Henchman
dressed as a Bell Boy.
89.
BELLBOY HENCHMAN
(into walkie-talkie)
Cowboy out of the chute!
305 INT. HOTEL PARKING GARAGE - NIGHT
Jack and Lydia hurry towards their parked car. Meanwhile,
Ferrari Conventioneers arrive at their cars. ENGINES FIRE
up throughout the garage.
306 EXT. HOTEL - NIGHT
The Cowboy waits for a cab.
307 INT. THE 500 SEL - NIGHT
Igoe keeps an eye on the Cowboy, sees a cab pull up and
the Cowboy climb in.
IGOE
There he goes. Follow that cab.
HENCHMAN
Look!
Igoe looks again -- sees Jack's Ferrari drive out of the
parking garage.
IGOE
It's him!
HENCHMAN
Who do I follow?...
IGOE
The Ferrari!
The Henchman begins to pull away from the curb, when:
HENCHMAN
Which Ferrari??
IGOE
Huh?!
308 EXT. STREET IN FRONT OF HOTEL - NIGHT
Suddenly, the street is filled with Ferraris ZOOMING off
in all directions. Many of them look just like Jack's.
309 INT. 500 SEL
Igoe's head is spinning as four identical red Ferraris ROAR by.
IGOE
Forget the Ferrari! Follow the cab!
90.
HENCHMAN
Where'd it go?!
Everyone looks. In the confusion, the cab has disappeared.
310 CLOSE ON IGOE
Boiling mad. Gnashing his teeth. White foam bubbles
from his stretched lips.
311 EXT. SAN FRANCISCO STREET - NIGHT
The Ferrari sticks close to the cab's tail.
312 INT. THE FERRARI - TRAVELING - NIGHT
A white scarf, wrapped around Jack's neck, snaps in the wind.
LYDIA
After we get the microchip back,
how do we get Tuck?
JACK
Don't worry. I'm in... uh...
constant touch with him.
LYDIA
You're what?!
(beat)
I can't figure you out, Jack. But
I know there's a lot you're not
telling me.
JACK
Trust me, Lydia. The time will come
when I'll tell you everything. But
this isn't it.
(beat)
The cab's pulling over!
313 EXT. NIGHTCLUB - NIGHT
The cab pulls up to a trendy night club and the Cowboy
jumps out.
LOUD MUSIC fills the air and shakes the walls. People
mill around the entrance: A mixture of hardcore PUNKS
and adventurous YUPPIES.
One of these people is:
314 WENDY
She wears her hair in pink and orange spikes and is dressed
in a black leather mini-dress studded with metal rivets.
Revised 11/8/85 91.
Wendy is stunned to see Jack drive up in a Ferrari with *
Lydia at his side. Her jaw drops open.
WENDY
(to herself)
Jack...
Jack leaves the Ferrari in the charge of a Parking Attendant
at the curb. He and Lydia shoulder their way through the
crowd toward the club entrance.
WENDY
Jack!
Jack turns -- can't believe his eyes: Wendy, the Punk Harlot.
JACK
Wendy...
She can't keep her hands off him.
WENDY
My God, Jack! Look at you!
JACK
Uh... look at you, Wendy...
LYDIA
(to Jack)
I'm going in before we lose him!
Lydia pushes her way into the club. Jack wants to follow,
but Wendy has ahold on his arm.
315 INT. THE NIGHTCLUB
Crowded. Smoke-filled. MUSIC BLASTING. The dance floor
jammed.
Jack and Wendy are dancing. As they dance:
WENDY
... I can't believe it, Jack! It's
so exciting. I mean, how long have
you been leading this double life?
JACK
Oh, for a while now.
Jack steals a glance at:
316 LYDIA AND THE COWBOY
who are also dancing together. The Cowboy is wild and
uninhibited in his movements. Lydia entices him on,
playing up to him.
92.
317 INT. NIGHTCLUB - MUCH LATER
Lydia and the Cowboy are seated at a table. He smokes a
big cigar, drinks whiskey and whispers in her ear. She
laughs and plays with her hair.
Jack and Wendy are at a table nearby. Jack's attention
is equally divided between Wendy and Lydia.
WENDY
... I know I've been mean to you,
Jack. I'm a real shit sometimes.
It's probably on account of my
life sucking like it does. I'm a
complete mess, you know. I mean...
I think you're the only person at
the market I haven't slept with,
and like -- you're the only one I'm
even partially attracted to!
Jack smiles painfully.
WENDY
That lady is signaling to you.
Jack turns, sees Lydia gesturing him over. Jack gets up
from his table. Wendy follows.
The Cowboy sees them approaching.
COWBOY
This is getting good!
LYDIA
Cowboy, this is Jack and, uh...
WENDY
Wendy.
COWBOY
Howdy, Wendy and Jack.
Jack and Wendy sit down.
JACK
Hi, Cowboy.
The Cowboy smiles broadly and looks from one face to the next.
COWBOY
Say! Looks like we got just the
right number for a foursome!
Jack, Lydia and Wendy are speechless. Finally:
JACK
(to Lydia)
I hope he means golf.
Revised 11/8/85 93.
The Cowboy LAUGHS UPROARIOUSLY and POUNDS the table.
COWBOY
(wiping the tears
from his eyes)
Jack, you are a real clown!
LYDIA
Uh... c'mon, Cowboy. Let's dance.
The Cowboy leaps to his feet.
COWBOY
Okay, Buffalo Gal! Do the Cotten-
eyed Joe!
Cowboy and Lydia dance off.
WENDY
What a weirdo.
318 THE BAR - LATER
Jack is paying for two beers as Lydia comes up behind him.
LYDIA
(urgently)
He's taking me back to the hotel.
JACK
I'll go with you!
LYDIA
No! We're taking a cab. Follow
us. I have to go.
She hurries away. Jack takes the beers to Wendy who is
waiting for him at the table.
JACK
Sorry, Wendy. Gotta go.
WENDY
(disappointed)
Oh. Okay...
(smiling anyway)
See ya, Jack...
Jack smiles back and hurries off. Wendy watches him go
with a sad expression on her face. *
319 EXT. SAN FRANCISCO STREET - NIGHT
Four o'clock in the morning. The streets are deserted.
The sun is almost coming up. The Ferrari streaks by.
94.
320 INT. THE FERRARI
Jack behind the wheel.
TUCK'S VOICE
Hurry up!
JACK
I'm speeding now! I'm doing fifty!
TUCK'S VOICE
Don't leave her alone in that hotel
room with that sleazy cowboy!
JACK
Hey -- I don't want them together
any more than you do!
TUCK'S VOICE
You don't?
(warily)
Why not?
JACK
Well, I...
TUCK'S VOICE
I knew it! You're in love with her!
JACK
I hardly know her!
TUCK'S VOICE
You're in love with her!
JACK
Are you?!
TUCK'S VOICE
I... uh... well...
JACK
You are!
TUCK'S VOICE
Damn...
JACK
Shit...
321 EXT. THE HOTEL - NIGHT
A cab pulls up. The Cowboy climbs out with Lydia.
322 INT. 500 SEL - NIGHT
Parked across from the hotel with two Henchmen inside.
They observe the Cowboy's return.
95.
HENCHMAN ONE
Good. He's back.
HENCHMAN TWO
Yeah. And he got lucky.
HENCHMAN ONE
Good for him. Now, let's go home
and get some sleep.
HENCHMAN TWO
Oh, no. Look. It's the Ferrari.
We see Jack's Ferrari entering the parking garage.
HENCHMAN ONE
So what? It's the tenth one
tonight. Let's go.
323 INT. HOTEL CORRIDOR
Jack strides purposefully down the corridor toward the
Cowboy's room.
TUCK'S VOICE
I've got your adrenaline pumping!
Can you feel it!
JACK
I can feel it!
TUCK'S VOICE
You're strong! Very strong! Do
you feel strong?
JACK
I feel strong!
(beat)
There's his room!
TUCK'S VOICE
Kick in the door!
BASH! Jack kicks open the door.
324 INT. THE COWBOY'S ROOM
The Cowboy is caught standing in the middle of the room
wearing nothing but his Stetson hat and European-style
black bikini underwear.
Jack reacts to the sight.
COWBOY
(smiling, but surprised)
Big Jack!
INNERSPACE - Rev. 12/3/85 96. *
TUCK'S VOICE
Duke the sonofabitch!!
Jack's fist flies out -- POW! -- catching the Cowboy on
the jaw and sending him unconscious to the floor.
Lydia rushes in from the corridor.
LYDIA
What happened?!
JACK
(confused)
Where were you??
LYDIA
Next door. In my room.
JACK
Ooops.
TUCK'S VOICE
Beauty punch anyway, Jack.
DISSOLVE TO:
325 INT. POD
TUCK
(to Computer)
What gives people certain physical
characteristics?
COMPUTER VOICE
Genes.
TUCK
Think we can tamper with his genes
a little?
COMPUTER VOICE
Sounds like fun, I'll admit. But
genetic alteration can only occur
before conception.
TUCK
Shit...
Tuck looks depressed. Then:
COMPUTER VOICE
Were you thinking permanent or
temporary changes?
TUCK
(surprised by the
question)
Temporary.
INNERSPACE - Rev. 12/3/85 96A.
COMPUTER VOICE *
Ohhhh... that's different. *
326 INT. HOTEL ROOM - LATER
Lydia knocks on the closed bathroom door.
LYDIA
How's it going in there?
JACK
(from within)
Fine, fine. Just give me a few
more minutes.
327 INT. THE BATHROOM
The Cowboy is bound and gagged and seated on the toilet.
Jack, dressed in the Cowboy's western atire, stands
before the mirror looking at himself.
*
TUCK'S VOICE
Get ready. What I'm going to do is,
electronically stimulate some glands.
See if I can't enhance their hormonal
secretions.
Jack shudders at the thought.
TUCK'S VOICE
Here goes!...
97.
328 CLOSE ON JACK'S FACE
as portions of it begin to bulge! Forehead. Bridge of
the nose. Chin. They swell slightly, then receed, then
swell again in a horrific "ripple effect."
JACK
(startled by what
he sees in mirror)
Ahhhh!!
The Cowboy observes this hideous display with frantic alarm.
His eyes pop and he struggles against his gag and bindings.
COWBOY
Mmmmmphhh! Humphmiffffddd!
TUCK'S VOICE
Wait a minute... I'm getting the
hang of it now... how's this?
A CRACKING, STRETCHING sound is heard and Jack's nose
begins to get thinner and longer.
JACK
That's it. That's his nose exactly!
TUCK'S VOICE
Let's go for the cheekbones now.
POP! SNAP! Jack's cheek bones become distinctly more
sculptured.
JACK
Perfect!
The Cowboy can take no more of this bizarre event. He
faints dead away.
329 INT. HOTEL ROOM - LATER
The bathroom door opens and Jack strides out as the
Cowboy. He's an almost perfect twin. Lydia GASPS.
LYDIA
Jack?
JACK
Yup.
LYDIA
Ohmygod, Jack...
She does a 360 degree tour of his body.
LYDIA
Ohmygod... ohmygod...
Revised 11/8/85 98. *
Then: A KNOCK at the DOOR. Lydia and Jack tense up.
JACK
Showtime!
(beat)
Open the door.
Lydia opens the door to two of Igoe's HENCHMEN.
HENCHMAN #1
Mr. Cowboy, we're ready to take you
to see Mr. Scrimshaw.
JACK
Good. Let's hit the trail.
(Jack does a reasonably good imitation of the Cowboy's
strange accent and guttural tone.)
Jack and Lydia begin to leave when one of the Henchmen
holds Lydia back.
HENCHMAN
The one-nighter stays.
Lydia flashes Jack a threatening look. Jack good-naturedly
throws an arm around her shoulder.
JACK
Why, nonsense, boys -- I don't go
nowhere without this little filly.
The Henchmen shrug indifferently. Lydia smiles at Jack.
As they leave the room, Jack is certain to leave the DO
NOT DISTURB sign dangling from the doorknob.
330 EXT. NAPA VALLEY - MORNING
A Limo glides silently through the rolling hills of the
Napa Valley Wine Country.
331 INT. THE LIMO - MORNING
The two Henchmen ride up front. Jack and Lydia in back. They
glance out the window and wonder where they are being taken.
332 TUCK - INSIDE THE POD
glances at his air supply gauge.
TUCK
Three hours of air left, Jack. Aren't
we cutting this a bit close?
No reply from Jack.
INNERSPACE - Rev. 12/3/85 99. *
TUCK
Hey... wait a minute! Why didn't
I think of this before? I'll go
to the lungs, open the hatch and
take in more air!
(to Computer;
confidently)
Take me to the lungs!
COMPUTER VOICE
Uh... I have some bad news for you.
(beat)
The hatch only opens from the
outside.
Tuck looks stunned. He tries the hatch. The Computer is
right.
TUCK
Damn! Leave it to the inventor of
3-D Action Man!!
COMPUTER VOICE
Sorry, Player Number One.
333 EXT. THE LIMO - MORNING
It leaves the main highway and turns up a narrow dirt
road that winds into the hills.
334 EXT. SCRIMSHAW'S COMPOUND - MORNING
The limo enters the walled-in compound nestled deep in the
Napa hills. The limo parks and Jack and Lydia are greeted
by two more henchmen who lead them away.
Also parked in the drive is Igoe's black 500 SEL.
335 EXT. THE COMPOUND
Several dwellings occupy the compound grounds. Jack and Lydia
are taken on a tangled journey between buildings, through a
courtyard and down a long, narrow breezeway.
Jack glances at a huge wrought-iron aviary housing a large
assortment of rare and exotic birds.
336 INT. A SOLARIUM
Jack and Lydia are ushered into the solarium (a glassed-
in veranda) where a large breakfast table has been set.
Seated at the table are several henchmen, Dr. Canker and
Victor Scrimshaw -- dressed in an elegant summer suit.
INNERSPACE - Rev. 12/3/85 100.
A friendly-looking GOLDEN RETRIEVER is curled restfully
on the floor near its food dish.
Scrimshaw rises.
SCRIMSHAW
Hello, Cowboy. Come in. Sit down.
Join us.
JACK
(in an aside to Lydia)
Do you think we're close friends?
LYDIA
I hope not.
Jack and Lydia approach the table.
SCRIMSHAW
How long has it been, Cowboy?
JACK
Uh... you tell me.
SCRIMSHAW
Almost ten years...
Both Jack and Lydia look relieved.
SCRIMSHAW
Don't you remember?
(beat)
Idi Amin's barbecue.
JACK
Oh, yes. How could I forget.
CANKER *
(suggestively) *
You haven't forgotten the last time *
we saw each other, have you, Cowboy? *
Jack smiles uncomfortably. *
SCRIMSHAW
You look taller, Cowboy. *
JACK
(after a moment's
hesitation)
Lifts.
He points down to his cowboy boots. Scrimshaw nods, then
signals to his servant with the coffee pot.
SCRIMSHAW
Sit down. Coffee?
INNERSPACE - Rev. 12/3/85 100A.
Jack and Lydia glance around the table at the decidedly
unfriendly faces of the henchmen. They sit.
Scrimshaw produces two cigars from his pocket.
SCRIMSHAW
(to Jack)
Please join me. I believe these are
the kind you like... Cuban.
Jack takes the cigar and lights up apprehensively. This
is probably his first cigar. He draws in deeply.
337 TUCK - INSIDE THE POD
looks out through the viewing dome, sees a thick cloud
of smoke rolling his way.
The smoke envelopes the Pod, darkening everything. Tuck
seems alarmed. He turns on his high beams.
Revised 11/8/85 101. *
338 JACK
is choking on cigar smoke. Lydia slaps him on the back.
Scrimshaw looks on. Finally Jack regains his composure.
He puts the cigar to one side.
SCRIMSHAW
All right, then. So much for the
pleasantries. Let's get down to
business.
(glances at Canker)
Dr. Canker.
Canker clears her throat.
CANKER
(to Jack)
Miniaturization works on a dual-chip
system. We have one chip in our
possession at this moment. We will
have the other one shortly.
Scrimshaw anticipates an angry reaction from Jack -- but
doesn't get one.
JACK
Fine. I'll take what you've got.
Canker and Scrimshaw exchange a look.
CANKER
(to Jack)
You do understand, the first chip
only miniaturizes... both chips are
required for re-enlargement.
JACK
Right. We'll whet their appetites
with what we've got!
SCRIMSHAW
Good point.
(to Canker)
Show him the chip.
Canker takes a gold pill box from her pocket and places it
on the table. Jack and Lydia conceal their excitement.
Canker opens the pill box and holds up the chip with a
pair of surgical tweezers.
339 TUCK - INSIDE THE POD
sees the chip on his display monitor. There it is! The only
thing on earth that can save him. So close and yet so far.
Revised 11/8/85 102.
340 JACK AND LYDIA *
react to the chip the same as Tuck. Jack reaches out for it. *
SCRIMSHAW
Not so fast, my friend. If I let you
take the chip, you must leave something
behind as collateral...
Scrimshaw glances at Jack's hand. Jack wears one of the
Cowboy's flashy gold rings.
SCRIMSHAW
That.
JACK
The ring?
SCRIMSHAW
No. The finger.
Jack and Lydia react.
341 TUCK - INSIDE THE POD
TUCK
That bastard!
342 RETURN TO SCENE
One of the henchmen grabs Jack's wrist and SLAMS his hand
to the table top.
SCRIMSHAW
Don't worry, Cowboy. When it comes
to re-attaching severed limbs, Dr.
Canker here has pioneered the field.
CANKER
We'll just keep that little baby on
ice for you.
JACK
But -- but -- but -- but...
Scrimshaw snaps his fingers and Igoe enters the solarium.
Lydia quickly turns her face away, fearing Igoe will
recognize her. Igoe holds a surgical scalpel in his
hand -- sunlight glistens off its blade.
343 INT. THE POD
Tuck looks in his monitor and sees that Igoe has arrived
on the scene. Then, his electronic equipment begins to
BUZZ and CRACKLE. Dials begin to spin -- just like in
the Chinatown restaurant. *
Revised 11/8/85 103.
TUCK
Damnit! Every time this guy shows
up my equipment goes haywire!
What's he got -- a pacemaker?!
He loses radio and video contact. Lights flash on and off.
TUCK
Jack! Jack! Can you hear me, Jack!?
Something's gone wrong! I can't hold
the balance on these hormones!
344 RETURN TO VERANDA
where everyone is looking at Jack in absolute, stunned horror.
345 ON JACK
as his face begins to stretch and bulge! The hormones
are totally out of control.
His skull begins to enlarge. His neck thickens. His nose
turns into an animal's snout and pushes forward from his face.
Horrible SNAPPING, STRETCHING, CRACKING sounds are heard.
Jack MOANS painfully.
346 LYDIA, SCRIMSHAW, CANKER, IGOE, HENCHMEN AND SERVANTS
can't believe their eyes.
SCRIMSHAW
God in heaven, deliver us from Satan!
A Servant drops the coffee pot with a CRASH. Canker GASPS.
Lydia SCREAMS. And then...
347 JACK'S FACE
abruptly snaps back to normal. And everyone sees that he
is not the Cowboy at all.
IGOE
It's him! The one with the Pod!
SCRIMSHAW
Grab him!
Jack grabs the chip and tries to escape. *
SCRIMSHAW *
He's got the chip! *
Henchmen rush toward Jack. Lydia upends the table in their
faces. Coffee and breakfast muffins go flying. Henchmen
slip on the solarium's tile floor.
Igoe leaps in front of Jack, blocking his path.
Revised 11/8/85 104. *
JACK
Lydia -- catch!
Jack tosses the chip toward Lydia, but it goes over her
shoulder and lands in the dog dish with a soft PLOP.
Igoe throws his arms around Jack and locks him in a vise-
like bear hug. We hear Jack's bones begins to SNAP.
Scrimshaw pushes the Golden Retriever away from its dish --
SCRIMSHAW
Get outta there!!
-- and begins to dig around in the gooey Kal-Kan for the chip.
348 TUCK - INSIDE THE POD
can feel the Pod's walls begin to bend as:
349 JACK
is being squeezed by Igoe.
350 SCRIMSHAW
finds the chip. He holds it up in his sticky, brown
hand. Then turns to Igoe.
SCRIMSHAW
Hey, don't kill him! Lock him up.
The girl, too.
Igoe releases Jack, who has gone cross-eyed from Igoe's
squeezing.
351 INT. A WINE CELLAR
Jack and Lydia are locked in the cellar. Jack franti-
cally looks for a way out.
JACK
We've got to get out of here!
There's only two hours left!
(turns to Lydia)
Don't just stand there. Help!
LYDIA
Not until you tell me what's going
on! I want to know everything!
Right now!
Jack is silent for a moment.
TUCK'S VOICE
What the hell. You might as
well tell her.
Revised 11/8/85 105. *
352 INT. THE COMPOUND - DAY
Dr. Canker hangs up the phone, turns to Scrimshaw.
CANKER
They're preparing the lab now.
SCRIMSHAW
Good. We'll take the choppers.
353 INT. THE WINE CELLAR
Lydia wears a delirious, flabbergasted expression of
skepticism and disbelief.
JACK
(to Tuck)
I don't think she believes me.
LYDIA
You're talking to him right now,
aren't you? No... it can't be true.
354 TUCK - INSIDE THE POD
TUCK
I'll just have to prove it to her.
(beat)
Jack... repeat to Lydia exactly
what I say.
355 JACK - IN THE WINE CELLAR
JACK
Okay.
Jack approaches Lydia. She looks at him expectantly.
JACK
(repeating Tuck's
words)
Lydia... you were right. I do
fight too much, and I do drink
too much, and I have ruined
everything that's good in my life.
(beat)
You were the best thing in it,
Lydia. And I threw you away, too.
I'm a big dumb Palooka... just
like you said I was.
Lydia is convinced. Her mouth drops open and her eyes
moisten. She's looking at Jack, but she's seeing Tuck.
LYDIA
Oh, Tuck... it is you.
Revised 11/8/85 106. *
She throws her arms around Jack's neck. Jack isn't sure
what to do with his arms. He steps back from Lydia.
JACK
Okay! Wait a minute here!
Lydia looks perplexed, as well she might considering the
situation.
JACK
Tuck, I want a moment alone!
TUCK'S VOICE
Huh?
JACK
Shut down your sensors. No sound.
No picture.
TUCK'S VOICE
Bad idea, Jack. I'd be navigating in the
dark. And what if I couldn't restore
contact? No, Jack. I can't do that.
JACK
I want a moment alone.
TUCK'S VOICE
Alone with Lydia, you mean!
JACK
You owe me this, Tuck!
It dawns on Lydia that she's in the middle. Silence. Then:
TUCK'S VOICE
Okay, Jack. Signing off.
Tuck cuts out. Jack can feel a change in his body: A
momentary sensation of freedom that is reflected in his
expression.
He takes Lydia's hands in both his own.
JACK
Lydia... I'm not sure what I want
to say to you. I've only known
you for less than a day, but --
LOUD FOOTSTEPS are heard coming down the cellar steps.
LYDIA
They're coming!
JACK
Well, no time for words!
Jack impulsively takes Lydia in his arms and kisses her.
INNERSPACE - Rev. 12/3/85 107.
356 EXT. THE POD
Swirling and spinning. Caught in a whirlpool; a mael-
strom of foaming liquid.
357 INT. THE POD
Tuck fights for control of the craft. What he sees outside
his viewing dome resembles an undersea view of the crashing
surf.
But in truth... it is mere human saliva.
358 INT. THE WINE CELLAR
Jack breaks the kiss and Lydia's eyes remain closed. Then,
the door is thrown open and Igoe stands framed in the doorway.
IGOE
Let's go!
359 INT. THE POD
Tuck is trying frantically to restore communications to
his Pod.
TUCK
Jack? Jack? Do you read me?
(beat)
Damn! No reception! I knew I
shouldn't have shut down my sensors!
(looks out his
viewing dome)
Where am I, anyway?
*
360 EXT. SKIES ABOVE THE NAPA VALLEY - DAY
A pair of Bell Jet Ranger helicopters fly over the landscape,
heading toward San Francisco.
361 INT. THE FIRST CHOPPER
Scrimshaw, Dr. Canker and a Henchman Pilot.
Revised 11/8/85 108.
362 INT. THE SECOND CHOPPER
Jack, Lydia, Igoe and another Henchman Pilot. Jack and
Lydia exchange worried glances.
Meanwhile...
363 EXT. THE POD
Traveling swiftly down a twisting channel whose sides are
made up of delicate, convoluted folds.
The flood lights atop the Pod illuminate the way.
364 INT. THE POD
Tuck looks out the viewing dome. The twisting channel is
opening into a dark, hollow chamber.
And then Tuck sees something more incredible than anything
he has ever seen in his entire life. His eyes widen and his
jaw drops open in astonishment.
TUCK
Oh my God...
This is what Tuck sees:
365 A HUMAN FETUS
Eight weeks old. Curled in its sac of amniotic fluid.
A tiny, unformed human being. Almost transparent.
366 EXT. THE POD
It sails up to the fetus in the sac -- which in reality
is only one inch long, but dwarfs the Pod like a giant.
367 TUCK - INSIDE THE POD
views the fetus. Awed and overwhelmed by the miracle of
human life. Moved. Speechless. Then it hits him:
TUCK
(hushed)
Lydia...
368 EXT. SECRET WAREHOUSE LAB - DAY
The helicopters land atop the warehouse situated on the docks.
Everyone piles out and disappears down a rooftop access.
369 INT. THE LAB
Jack and Lydia are ushered into the lab. Busy Technicians
are involved with their work. Canker leads everyone to:
A POD
INNERSPACE - Rev. 12/3/85 109.
resting on a platform. It looks very much like Tuck's Pod,
except its color is a flat, metallic black. We will call it
the BLACK POD.
CANKER
There it is!
SCRIMSHAW
What is it?
CANKER
Our Pod. Perhaps not as sophisticated
as the one inside Mr. Putter, but I
think it will get the job done.
Jack and Lydia exchange a puzzled glance.
SCRIMSHAW
What job?
CANKER
We'll use the chip we have. Mr. Igoe
will be placed in our Pod,
miniaturized and injected into Mr.
Putter. He will then locate their
Pod, eliminate its pilot by whatever
means necessary, take command of it
and retrieve the second chip.
Jack and Lydia's expressions darken.
*
CANKER
Prepare the miniaturizer!
SCRIMSHAW
Where can we stash the girl?
CANKER
Use my office.
Scrimshaw signals to the Henchman who whisks Lydia away.
Jack is taken to a stainless steel table and lashed down.
Revised 11/8/85 110.
370 INT. DR. CANKER'S OFFICE
Lydia and the Henchman enter the office. The Henchman
pushes Lydia toward a chair.
HENCHMAN
Just sit down and shut up.
Lydia does as she's told.
371 INT. THE LAB
Igoe is now seated inside the Black Pod.
CANKER
Engage the PEM 5000!
TECHNICIAN
PEM functional.
CANKER
Lower the Miniaturization Cone!
A clear glass cone is lowered from above, engulfing
the Pod. Jack watches in wide-eyed wonderment.
372 INT. CANKER'S OFFICE
Lydia snakes her hand into her purse. Suddenly, she's on her
feet with the electronic stun-gun pointed at the Henchman.
LYDIA
Stay right where you are! This
is an electronic stun-gun. A
nonlethal personal defense weapon
deploying a charge of five thousand *
vo-- oh, what the hell...
ZAP! She fires the gun. Five thousand volts enter the *
Henchman's body. He sinks to his knees, but doesn't fall
forward. He just kneels there: Stunned.
Lydia grabs the phone and dials.
LYDIA
Duane! It's me, Lydia. Listen
carefully. I'm being held in a
warehouse somewhere along the
Embarcadero. You've got to reach
Pete Blanchard for me! *
373 INT. NEWSPAPER PRESS ROOM - DAY
Duane Flornoy is on the phone.
FLORNOY
Blanchard?! Hell, I'll call the
police!
Revised 11/8/85 111.
INTERCUT BETWEEN LYDIA AND DUANE:
LYDIA
Yes! Call the police. But call
Blanchard, too. Tell him we've
got Tuck Pendelton!
FLORNOY
Tuck who?
LYDIA
Pendelton. He'll understand.
Tell him we're coming in with
Tuck. Dr. Niles has got to get
ready for us at Vector-Scope.
*
FLORNOY
Lydia... are you in as much
trouble as you sound?
LYDIA
Maybe more.
(beat)
Tell the police to look for the
warehouse with the helicopters
on the roof.
FLORNOY
Whatever you say, Lydia.
LYDIA
Thanks, Duane.
Lydia hangs up the phone. She glances around the office,
spots Canker's lab coat hanging from a hook. She puts it on.
She goes to the stunned Henchman, takes the pistol from under
his coat and slips it into her pocket. Then she exits the
office. As the door SLAMS behind her, the kneeling Henchman
CRASHES face-first onto the floor.
374 INT. LAB HALLWAY
Lydia moves briskly down the hallway. She arrives at an
intersection and stops to look both ways before proceeding.
TUCK'S VOICE
Lydia.
Lydia GASPS, jumps and spins around.
LYDIA
What the hell!? --
TUCK'S VOICE
Lydia, it's me -- Tuck.
Revised 11/8/85 112.
LYDIA
Tuck, where are...
(it hits her)
Oh, no. But... how?
TUCK'S VOICE
You must have kissed Jack, Lydia.
LYDIA
I only... I mean, he kissed me, but...
TUCK'S VOICE
That's not important. We've got
to get that chip. My time is
running out.
LYDIA
What about Jack?
TUCK'S VOICE
We don't leave without him.
375 INT. THE LAB
Lydia slips in unnoticed, wearing the lab coat. She
stands among the other technicians.
Jack is strapped to the table. Canker looms over him with
a long hypodermic needle. Jack tries to wiggle free.
CANKER
Ready to inject the Pod into the
subject.
SCRIMSHAW
Wait a minute. After Igoe takes
command of their Pod, how do we get
the chip out?
CANKER
Mr. Igoe will pilot the Pod out
through a tear duct or sweat gland.
SCRIMSHAW
Why chance it? As soon as he takes
over the Pod and gets the chip, let's
re-enlarge!
CANKER
While it's still inside Mr. Putter!?
SCRIMSHAW
Sure.
Jack and Lydia react in horror.
Revised 11/8/85 113.
CANKER
Do you have any idea what kind
of mess that would make?
Hearing this, Jack struggles valiantly against his
bindings.
JACK
Tuck! Give me some adrenaline!
Make me strong, Tuck!
Jack strains and strains and strains. His veins pop out
in his neck, and... SNAP! SNAP! SNAP! SNAP! He frees
himself.
SCRIMSHAW
Look! He's loose! Grab him!
Lab Technicians rush forward to seize Jack. He struggles
manfully, but there are too many of them.
Canker jabs the needle into Jack's arm and injects Igoe
and the Black Pod into his body.
CANKER
He's in! Igoe's in!
Lydia pulls out the pistol taken from the Henchman and
FIRES it into the air. Everyone jumps.
LYDIA
Let go of him!
There are no heroes here, only scientists and engineers.
They release Jack immediately. Lydia comes over to his side.
JACK
(to Scrimshaw)
So! You wanted to enlarge the Pod
while it was still inside me, huh!
Well, let's see who has the last
laugh now!
(beat)
Everybody into the miniaturizer!
376 EXT. A SAN FRANCISCO STREET - DAY
POLICE CARS speed through the streets, SIRENS SOUNDING.
377 INT. THE LAB
Held at gunpoint, Scrimshaw, Canker and the Lab Techs
watch the Miniaturization Cone descend down upon them.
SCRIMSHAW
I'll get you for this, Margaret!
The Cone fully engulfs them now.
Revised 11/8/85 114.
JACK
Let's go!
LYDIA
Wait! The chip!
Jack goes back to the circuit board, finds the chip and
yanks it free.
VOICE
I'll take that now.
Jack looks up -- sees that the Henchman who Lydia stunned has
returned. And he's got an automatic rifle pointed at him.
HENCHMAN
Hand it over.
Jack doesn't want to give up the chip. An idea hits him:
JACK
Here it comes, Tuck!
So saying, he pops the chip into his mouth and swallows it.
At the same moment, Lydia comes up behind the Henchman and
clubs him over the head with her gun. He once again sinks
to his knees.
LYDIA
Let's go!
They make a dash for a corridor, SLAMMING a heavy metal
DOOR behind them.
378 INT. THE CORRIDOR
They run down the corridor.
LYDIA
Where's the chip!?
JACK
I swallowed it!
Lydia winces to herself. Now they realize that they have
sealed themselves into a dead-end hallway. But they spot
a ladder that leads to a trap door in the ceiling.
LYDIA
The roof!
JACK
Let's go!
379 EXT. THE ROOF
They emerge onto the roof and see the parked helicopters.
LYDIA
It's our only chance.
Revised 11/8/85 115.
Then they see that the choppers are being guarded by
another Henchman.
JACK
Don't worry. Tuck's given me the
strength of ten men! I'll handle
this.
LYDIA
But --
TUCK'S VOICE
-- don't tell him now!
Jack leaps at the Henchman with flying feet and fists-of-fury.
WHAM! BAM! POW! The Henchman goes flying off the roof.
380 EXT. AN ALLEY
The Henchman who Lydia clubbed with her gun has regained
consciousness, and now staggers out into the alley with
his automatic rifle.
He looks up -- sees his comrade falling from the sky.
BOOM! The falling Henchman lands on top of the other one,
knocking them both out cold.
381 EXT. THE ROOFTOP
Jack and Lydia board one of the choppers and strap them-
selves in.
JACK
C'mon, Tuck! Tell me how to fly
this thing!
LYDIA
Jack --
JACK
-- not now, Lydia! Tuck, give me
instructions!
LYDIA
He can't, Jack! He's not in you
anymore! He's in me!
Jack looks flabbergasted. It takes him a moment to recover.
JACK
For how long?...
LYDIA
Since the wine cellar.
Revised 11/8/85 116.
JACK
(sounding like
Jerry Lewis)
You mean... when I broke... and
when I hit... and when he fell over
the thing... it wasn't Tuck who...
LYDIA
It was you, Jack. All you. But
we better get this thing in the air.
TUCK'S VOICE
Lydia! I'm on the tip of your tongue!
Get me back into Jack! Kiss him!
Lydia grabs Jack and plants one on his lips. His eyes
widen into saucers as Lydia's tongue goes into his mouth.
382 EXT. THE POD
Propelled with a mighty force, in a swirl of foaming
saliva, back into Jack's body.
383 INT. THE CHOPPER
Lydia breaks the kiss.
JACK
Wow! What was that for!?
TUCK'S VOICE
Hi, buddy!
JACK
(disappointed)
Oh.
384 TUCK - INSIDE THE POD
TUCK
Jack, turn on the master switch.
Disengage the clutch, then start
the ignition. You've got two
sticks at your sides. One for each
hand. Here's what they're for...
385 INT. THE LAB
The POLICE burst in, but stop short at the sight of the
weirdly-shimmering Miniaturization Cone.
POLICE CAPTAIN
Stay back, men!
He pulls a handle and the Cone begins to rise. The Policemen
watch with bated breath until Canker, Scrimshaw and the Lab
Techs are fully revealed: Each one about two feet tall.
INNERSPACE - Rev. 12/3/85 117. *
POLICEMAN
Jesus Christ, Captain... munchkins!
386 EXT. THE ROOFTOP
The chopper lifts off into the sky.
387 EXT. THE ALLEY
The Henchmen are coming to their senses. They look up,
see the chopper flying off. They clamber up a fire
escape toward the rooftop and the second chopper.
388 EXT. THE CHOPPER
It flies erratically out over the Bay, then practically
drops from the sky, plunging toward the water.
Then, only several feet from the water's surface, it
levels off and begins to gain altitude.
389 INT. THE CHOPPER - FLYING
Jack has a firm grip on both sticks, if not the situation
itself.
390 TUCK - INSIDE THE POD
TUCK
Keep your RPMs in the green, Jack!
I've got to reach that microchip
before the other guy does.
He turns to one of his display monitors. It shows a wire-frame
image of Jack's body. Two lights are blinking. One represents
the chip, the other represents the Black Pod.
COMPUTER VOICE
Player Number Two is taking the
digestive system.
TUCK
Right. But I can beat him by
taking the circulatory system,
can't I?
COMPUTER VOICE
Yes. But that means going through
the heart, Player Number One!
TUCK
I know... but it's worth a shot.
(to Jack)
I'm going through the heart, Jack.
It could get hairy in there. Your
pulse rate is up to one hundred and
seventy. My pod might not withstand
the beating.
INNERSPACE - Rev. 12/3/85 117A.
391 EXT. BLACK POD
Coursing through the soft muscle tissue that resembles
huge strands of wire rope. Igoe is visible through the
cockpit dome.
Revised 11/8/85 118.
392 INT. THE BLACK POD
Igoe checks his instruments. Sonar "Blips" pin-point the
location of the chip and Tuck's Pod. Igoe is surprised *
by what he sees:
IGOE
Ha, ha! You fool! You'll never
make it through the heart!
393 EXT. ROOFTOP OF WAREHOUSE LAB
The two Henchmen take off in the second chopper.
394 EXT. SAN FRANCISCO-OAKLAND BAY BRIDGE
Jack's chopper almost clips the top of the bridge.
395 INT. THE CHOPPER
JACK
That was close!
(beat)
How do I find Vector-Scope?
LYDIA
Follow the freeways!
396 EXT. THE CHOPPER
Speeding at a low altitude over the freeway. Getting
lower and lower...
397 INT. THE CHOPPER
Jack and Lydia in a panic.
LYDIA
I said follow the freeway, not take
the freeway!
JACK
I can't get it back up into the --
LYDIA
-- Jack, look!!
398 JACK'S POV
They are fast approaching the mouth of the Bay Bridge tunnel
-- flying only inches above the traffic below them.
JACK
Oh, nooooo!
399 INT. THE TUNNEL
The CHOPPER ROARS into the tunnel above the traffic.
Motorists gawk and brake -- TIRES SCREECH, HORNS BLOW.
Revised 11/8/85 119.
400 EXT. THE TUNNEL
The chopper emerges from the tunnel and begins to climb.
INTERCUT THE FOLLOWING:
401 THE CHIP *
floating through Jack's stomach, headed for the small
intestine.
402 THE POD
sailing through the pulmonary veins toward the left ventricle
of the heart.
403 THE BLACK POD
sliding down the endlessly long esophagus toward the stomach.
404 TUCK - INSIDE THE POD
TUCK
Try to slow down your pulse rate!
I'm about to enter the left ventricle!
405 EXT. THE CHOPPER
Flying backwards across the sky.
406 INT. THE CHOPPER
Jack and Lydia look stunned as they speed through the air
in reverse.
TUCK'S VOICE
I'm in! I'm in the ventricle, Jack.
Stay calm, stay calm.
Jack tries to take a deep, calming breath when the enemy
chopper, piloted by the Henchmen, appears in the sky.
LYDIA
Jack, over there!
Jack turns, sees the enemy chopper.
JACK
(startled)
Aaahhh!
407 INT. THE LEFT VENTRICLE
Jack's fear causes a sudden rush of blood into the ventricle,
followed by strong ventricle contractions. The Pod is
buffeted and tossed like a beer can in the pounding surf.
Revised 11/8/85 120.
408 INT. THE POD
Tuck fights for control of his craft. It shakes and vibrates.
Interior lights dim and flash. It seems the Pod will tear
apart at the seams.
Tuck almost blacks out. Then he sees:
409 THE AORTIC ARCH
offering four distinct pathways out of the heart.
410 TUCK - INSIDE THE POD
TUCK
The aortic arch! I'm almost out!
I've got to make it through the
opening on the right!
He pulls hard on the control stick. The Pod begins to turn.
It trembles and shakes. Portions of the sidewalls are pushed
inward by the tremendous pressure. Gauges shatter. Warning
lights flash and BUZZ.
411 EXT. THE POD
SLAMMING against the muscle-lined vascular wall. Bouncing
back. Shooting through the proper "archway" into the
relative calm of the AORTA.
TUCK (V.O.)
I'm through!
412 INT. THE BLACK POD
Igoe views his sonar scanner in disbelief. The "Blip"
tells him that Tuck has made it safely through the heart.
IGOE
Impossible!
413 INT. THE STOMACH
Tuck's Pod BLASTS through the membrane lining of the
stomach wall.
TUCK (V.O.)
I'm in the stomach. No sign of
the bandit.
414 INT. THE BLACK POD
Igoe enters the stomach. He can see Tuck's Pod up ahead.
He swings his Laser Gun Sighting Device into place.
Revised 11/8/85 121. *
415 EXT. THE SKY
Jack and the enemy chopper are engaged in a nasty dogfight.
The Henchman FIRES at Jack's chopper with his automatic
rifle. Somehow, Jack is able to maneuver out of the line
of fire.
416 INT. THE STOMACH
A dogfight of a different kind rages here. Both Pods dart
around the stomach, shooting LASER BEAMS at each other.
A stray laser beam hits the stomach wall, burning a small
hole in it.
417 INT. THE CHOPPER
Jack winces and grabs his stomach.
LYDIA
Are you all right!?
Then: The enemy chopper comes up right beside Jack.
The Henchman inside levels his automatic weapon, but
before he can fire --
418 A HUEY-COBRA U.S. MILITARY HELICOPTER
THUNDERS out of the clouds like a bad dream and FIRES a
heat-seeking missile. The missile SCREAMS across the
skies and hits the enemy chopper.
It EXPLODES in a ball of fire and evaporates into dust.
419 JACK AND LYDIA
watch it happen with dazed expressions.
420 INT. HUEY-COBRA
Pete Blanchard, wearing his military uniform, is on the
radio-phone.
BLANCHARD
That one was for Tuck, Lydia! You
can tell him I've put my uniform
back on.
(beat)
We're taking you in, Lydia. Follow
us down.
421 INT. THE STOMACH *
Meanwhile, the two Pods play cat-and-mouse through the *
corridors of the GASTRIC GLANDS in the upper stomach. *
Tuck gets the edge on Igoe -- FIRES his laser. Direct hit!
INNERSPACE - Rev. 12/3/85 121A. *
422 INT. POD
TUCK
Got 'im!
COMPUTER VOICE
Nice shooting, Player Number One.
TUCK
Stop calling me that! This isn't
a video game -- this is real life!
COMPUTER VOICE
I agree, Player Number One.
(beat)
Advance to the second level.
Revised 11/8/85 122.
423 INT. THE BLACK POD
Corrosive hydrochloric acid pours into the Pod through
the hole blasted by Tuck's laser beam.
IGOE
Damn! Stomach acid!
The interior of the Black Pod is being rapidly eaten
away. It looks bad for Igoe.
424 INT. THE SMALL INTESTINE
Tuck's Pod locates the chip at the opening of the intestine, *
but the chip is many times larger than the Pod. Nonetheless,
the Pod's articulating arms reach out and take hold of it.
425 INT. THE CHOPPER
Zipping along beside the giant Huey-Cobra.
TUCK'S VOICE
I've got the chip. *
JACK
(to Lydia)
He's got it!
Lydia gives a silent cheer.
TUCK'S VOICE
I'm coming up the esophagus with it.
I'm gonna plant it right on your tongue.
How much farther to Vector-Scope?
Jack looks down.
JACK
We're over San Jose now. How's
your air supply?
426 TUCK - INSIDE THE POD
glances at his mission clock.
TUCK
Twenty minutes.
427 INT. THE STOMACH
Igoe abandons his disintegrating Pod and swims out into
the caverns of the upper stomach.
Tuck's Pod sails by, pushing the enormous chip before it. *
Igoe waits for the right moment -- then grabs hold of
Tuck's Pod. He clings on tightly, crawls to the top and
pries open the hatch with his fingers.
INNERSPACE - Rev. 12/3/85 123. *
428 INT. THE POD
Tuck swivels in his chair to see Igoe entering the Pod.
Igoe's mighty hands clamp down around Tuck's neck. The
fight is on!
429 EXT. VECTOR-SCOPE LABS - DAY
A BATTALION OF U.S. INFANTRY SOLDIERS have assembled in
the parking lot. Duane Flornoy is there as well.
The two choppers appear in the sky. The Huey-Cobra is
the first to touch down.
430 INT. JACK'S CHOPPER - FLYING
JACK
Tuck? How do I land this thing!?
(no reply)
Tuck!
(no reply)
Can't anything ever be easy!?
431 INT. THE POD
Tuck and Igoe duke it out. Tuck's face is bloodied, but
not Igoe's.
432 EXT. THE POD
Moving swiftly up the esophagus with the chip, even as
Tuck and Igoe struggle inside.
433 EXT. VECTOR-SCOPE LABS
Jack's chopper comes down hard. Blanchard, Flornoy and
Infantrymen rush to help Jack and Lydia out.
Everyone then dashes into the lab.
434 INT. POD
Tuck and Igoe slam against the pod's various instruments.
Tuck puts his hand to his jumpsuit pocket.
TUCK
Shit! You broke my lucky flask!
An exposed WIRE BUZZES. Igoe leaps back from it like a
scared child. Tuck is surprised by this reaction.
TUCK
Afraid of a little electricity,
huh!
Igoe can't take his eyes off the CRACKLING WIRE. Tuck
takes advantage of the distraction and:
INNERSPACE - Rev. 12/3/85 124. *
Drives his fist into Igoe's stomach. In fact, Tuck hits
Igoe so hard that his arm sinks into Igoe's body clear up
to his elbow!
Tuck looks horrified.
He pulls his arm out. And with it, much of Igoe's inner
workings: Wires, circuits, relays, diodes, switches. They
all come tumbling out in one big tangled, HUMMING, heap.
TUCK
An android!
Igoe begins to short-circuit. Smoke billows out from all
the openings in his body. A HISSING noise. SPARKING WIRES.
Then, Igoe erupts into flames. Tuck jumps back.
CAMERA MOVES IN CLOSE ON IGOE'S TATTOO.
Flames shrivel and melt the "skin" on Igoe's chest, and
the heart-shaped tattoo with Margaret's name in the center
begins to perish.
435 TUCK
grabs an onboard extinguisher and tries to douse the fire.
Igoe is melting right before his eyes and the pod is filling
with an acrid black smoke.
The air-supply gauge begins to flash WARNING!, WARNING!
COMPUTER VOICE
The fire is consuming your remaining
air! The fire is consuming your
remaining air!
TUCK
Where are we now!?
COMPUTER VOICE
Middle esophagus! Too far to go!
Not enough air! Only one chance to
make it!
TUCK
What!? Tell me!
COMPUTER VOICE
A human sneeze has been clocked at
over one hundred miles per hour.
Tuck turns to his mike:
TUCK
Jack -- sneeze!!
INNERSPACE - Rev. 12/3/85 125. *
436 INT. VECTOR-SCOPE LAB
Where it all began. Dr. Niles and his technicians surround
Jack.
JACK
(to Tuck)
Sneeze?? I can't sneeze!
437 TUCK - INSIDE THE POD
TUCK
You have to! Think allergies!
Ragweed! Pollen! Cat fur! Uh...
COMPUTER VOICE
Fungus spores! Dust mites!
Animal dander!
438 JACK'S EYES
begin to tear up and redden.
JACK
Ah... ahhh...
439 TUCK - INSIDE THE POD
braces himself. He can feel the sneeze coming. The pod
begins to tremble as Jack's respiratory system starts to
convulse.
TUCK
No power in the world like the
power of suggestion!
440 CLOSE ON JACK
JACK
Ahhhhhh -- Chooooo!!
441 THE POD
is no more than a blur as it rockets up the esophagus at
near "warp speed."
442 TUCK
is pressed flat against the pod's rear wall -- his face
horribly contorted by the powerful forward thrust.
443 CLOSE ON JACK'S NOSE AND MOUTH
The sneeze explodes out in SLOW MOTION. A glistening
spray of mucous and saliva containing both the chip and
the Pod...
INNERSPACE - Rev. 12/3/85 126. *
... All of which SPLATTERS against the face and glasses of
Dr. Niles.
NORMAL SPEED RESUMES as Technicians rush to Niles.
TECH ONE
There's the chip!
It's sliding down Nile's cheek. They quickly remove it,
then search Niles' face for the Pod.
TECH TWO
I see it! Bring a slide!
The Pod is placed on a glass slide.
NILES
Quickly! Quickly!
TECH THREE
Re-enlarger functional!
Niles presses a button. Lights flash in the lab. An
incredible HIGH-PITCHED WHISTLE is heard. Everyone is
forced to cover their ears. And then:
444 THE POD APPEARS!
Full-sized. Standing in the middle of the lab. Dented
and battered. Dripping with gooey biochemical waste
material and glandular secretions.
Smoke pours from its vents.
BLANCHARD
Fire on board!
Blanchard rushes forward to open the hatch.
445 TUCK - INSIDE THE POD
holds a handkerchief to his nose and mouth, waiting for
the hatch to open.
COMPUTER VOICE
Goodbye, Player Number One...
Tuck gives the computer a farewell glance.
COMPUTER VOICE
... Good game.
The hatch is then popped open.
INNERSPACE - Rev. 12/3/85 126A.
446 INT. LAB *
Tuck scrambles from the hatch with Blanchard's assistance. *
TUCK *
Get back! It's going to blow! *
All scatter. But Tuck suddenly goes back. *
TUCK *
The chip! *
Tuck goes to the nose of the pod and tries to pull out *
the circuit module containing the second chip. It doesn't
come free.
Several Technicians and Infantrymen come forward, but
Tuck warns them back.
TUCK
Get back!
They jump away. Finally, Tuck pulls the module free and
he dives for safety.
The POD EXPLODES. Everyone hits the floor. The lab fills
with debris. But when the smoke clears, one-by-one all
get to their feet.
First Blanchard. Then Niles. Then Flornoy. Then Jack.
Then Lydia. Then Tuck.
Tuck is a mess. His face bloodied and bruised. His
jumpsuit torn, burned and sweat-stained.
But Lydia rushes into his arms nonetheless.
LYDIA
Tuck!!
Tuck lifts her off her feet.
TUCK
Lydia!
Then, looking over Lydia's shoulder, Tuck sees Jack. He sets
Lydia gently back on her feet. She sees who he is looking at.
*
Tuck regards Jack with an expression of deep affection
and profound appreciation. He steps towards him.
JACK
(offering his hand)
Glad to have you back, Captain.
INNERSPACE - Rev. 12/3/85 126B. *
Tuck ignores the hand to give Jack an enormous bear hug.
Technicians and Infantrymen CHEER. Lydia wipes a tear
from her eye.
Now, everyone closes in on Tuck to welcome him back.
Lydia and Jack become lost in the crowd. But soon...
Tuck wiggles free and takes Lydia aside.
TUCK
Lydia, we have to talk in private.
Tuck takes her into Niles' office, which is visible to
the lab proper through a large glass window.
447 INT. NILES' OFFICE
TUCK
(urgently)
I never got to go up in a space
capsule, Lydia. I never got to
orbit the Earth or walk on the
moon... but I've just gone places
where no man has ever gone before.
I've done things, and seen things,
Lydia, that have opened my eyes.
To you... to life... to everything!
Lydia looks confused and overwhelmed. Tuck tries to slow
down a little.
TUCK
It's not too late for me, Lydia.
I can change. I can be better.
I'm a different man already...
(beat)
... I've known all along. Why
couldn't I just admit it to myself?
LYDIA
Admit what, Tuck?...
TUCK
That I'm in love with you, of
course.
Lydia is bowled over.
LYDIA
Boy...
TUCK
You broke my heart that morning
you drove off and left me.
LYDIA
You are a changed man, Tuck.
INNERSPACE - Rev. 12/3/85 126C. *
TUCK
Lydia... this is a personal question,
but I've got to know. Since that
last night we spent together...
have you spent a night like that
with anyone else?
Revised 11/8/85 127. *
LYDIA
Tuck!
TUCK
Please, Lydia. It's important to me.
Lydia can see that Tuck means it.
LYDIA
All right, Tuck...
(beat)
No. I haven't.
TUCK
(surprised)
You haven't?
LYDIA
(defensively)
I've been pretty busy, don't forget.
TUCK
(after a pause)
We're going to have a baby, you know.
Lydia gives him a look.
TUCK
You did know, didn't you?
LYDIA
I wasn't sure...
TUCK
Be sure, Lydia.
(beat)
I've seen it.
Lydia begins to smile.
LYDIA
Is it a boy or a girl?
Tuck smiles back at her. Approaches her. Puts his arms
around her waist.
TUCK
I didn't even notice. We'll just
have to wait and see.
Lydia wraps her arms around his neck. For a moment they
just look into each others eyes. Then they kiss.
448 INT. THE LAB
Jack looks through the glass window into Niles' office.
He sees Tuck and Lydia.
INNERSPACE - Rev. 12/3/85 128. *
Then, they spot him. Jack turns away. Lydia and Tuck
come after him.
TUCK
Jack --
LYDIA
-- Wait!
Jack stops, turns to them.
JACK
You don't have to say anything. I
know you're in love with each other.
Tuck and Lydia feel good and bad at the same time.
JACK
Look... this has been the most
exciting twenty-four hours of my
life. I've been chased, kidnapped,
frozen, electrified, amplified,
magnetized and terrorized -- and
I haven't felt this good since
high school.
(smiles sweetly)
It wasn't rest I needed... it was
adventure. And for one day it was
mine.
(to both Tuck
and Lydia)
We made a good team, didn't we?
Lydia smiles and gives Jack a kiss.
DISSOLVE TO:
449 EXT. DECK OF A CRUISE SHIP - DAY
Tuck and Lydia stand together on the deck. Tuck wears a
tuxedo and high hat. Lydia wears a wedding dress. The air
is filled with flying confetti and brightly-colored streamers.
A BAND PLAYS.
Tuck cups his hands around his mouth and calls off:
TUCK
Thanks again for the cruise
tickets!
450 EXT. THE DOCK
Jack is on the dock along with a hundred other people who
have gathered to see the ship off.
INNERSPACE - Rev. 12/3/85 129. *
JACK
Bon voyage!
(beat)
Happy honeymoon!
The ship's HORN BLOWS and the ship begins to pull away
from the dock.
451 TUCK AND LYDIA
give Jack a final farewell wave -- then turn to each
other and kiss.
452 EXT. THE PIER
Jack walks away from the deck and the departing ship
toward the red Ferrari which is parked nearby.
Jack tosses the keys in his hand as he approaches.
453 INT. THE FERRARI
Jack climbs in behind the wheel. For a moment, he just
sits there.
Then he reaches into the glove compartment and takes out a
white silk scarf, wraparound sunglasses, pigskin driving
gloves and tweed motoring cap. He puts it all on and FIRES
up the Ferrari's powerful engine.
Then, one final touch: He takes a cassette from his
pocket.
454 CLOSE ON CASSETTE
Sam Cooke's Greatest Hits.
455 JACK
slides the cassette into the tape player and turns the
VOLUME WAY UP.
SAM COOKE'S VOICE
(singing)
Cu-pid... draw back your bow-oo
and let... your arrow go-oo
straight to... my lover's heart
for me-eee.
Jack listens for a moment. Smiles to himself. Then
shifts the CAR into gear and SQUEALS away in a cloud
of dust.
FADE OUT.
END
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