Written by

@Robert_Cinema

Original Pitch by

Michael Chabon

Based on

THE FANTASTIC FOUR Created by Stan Lee & Jack Kirby,

published in Marvel Comics Magazine.

Made for Entertainment Purposes only

@Robert_Cinema - Twitter/X

myattemptatfilmstuff.wordpress.com - Website

myattemptatfilm@gmail.com - E-Mail
 To the Reader:

When Bernd Eichinger originally optioned the rights to The Fantastic Four, there
was a simple goal of making a Great American Superhero Movie on par, or even
surpassing the likes of Richard Donner’s Superman or Tim Burton's Batman. At
this point in history Marvel had only a few flops to its name and was in constant
financial stress. Eichinger was a long-time comic book fan whose dream was to
turn the Fantastic Four into a cinematic household name. He set out on this
expedition around 1986, after a previous attempt forced him to wait so he could
secure the rights to all four members of the Fantastic Four..

The year 1993 was approaching and Bernd had his back to the wall. He was no
closer to creating his comic book epic, but his option on the rights were set to
expire soon. What Eichinger did is as genius as it is morally questionable. He
exploited a loophole that required a Fantastic Four Film to be in production and
shooting, but he had no obligation to release said film. To secure the rights, he
commissioned Roger Corman to develop a Fantastic Four film for around $1
million dollars.

The film eventually became The Fantastic Four, directed by Corman’s in house
director Oley Sassone and starred a number of up-and-coming actors who were
hoping to see the roles open up a number of opportunities for future roles. The
movie was expected to release May 31st, 1994, with it’s world premiere at the
Mall of the America. This never materialized and rumors gravitated around that the
film reals were burned.

At the time of it’s development Bernd was in tough negotiations with 20th Century
Fox with the intent on working with them to develop the Fantastic Four film. Fox
quickly hired director Christopher Columbus (Home Alone) and he began
interviewing writers for the film, which Columbus intended to Direct and Produce.
One of the many writers they met with was Novelist Michael Chabon.

Chabon at this time had seen two novels and a collection of short stories
published and had written only one screenplay. Though the pitch meeting
ultimately didn’t go Chabon’s way, his Fantastic Four Pitch became something of
legend. A movie that treated the sensibilities of the 1960s as if they never ended –
that it was still, in spirit, November 21st 1963. The soviets were still a threat but
good old fashioned American Optimism was as alive as ever.

The pitch understood the essence of the Fantastic Four and has been widely
considered one of the bigger missed opportunities in the comic book movie genre.
I’ve been obsessed with the idea of seeing the pitch realized into a full draft, and
while there is only the essence and the basic story outline to work with, I took it
upon myself to develop a single draft of what could have been.

With the understanding that the movie would have likely been released sometime
between X-Men's July 2000 release date and Spider-Man's May 2002. With the
studio prioritizing it after the success of Independence Day and X-Men. The final
Release Date for this version would have landed Christmas 2001. This version
would have undergone basic edits to remove the World Trade Center from the
opening, while featuring it in scenes set in the 1960's. The film would have
represented the return of the Great American Spirit after tragedy.

This is my take on Michael Chabon's THE FANTASTIC FOUR...

 The Rules:

Rules are always important. They’re a structure that can help you build or hold you
back from a masterpiece. Rules generate the sense of necessity that generates
innovation. Typically rules and limitations push for more imaginative creations, and
here will be no different.

1.The Key Life must be tied to the Fantastic Four. In Chabon’s pitch the fate
of the world’s optimistic longevity has been tied to a singular Key Life. While
Chabon’s pitch never gave a specific individual as the Key Life, though it did
suggested it could be the tourist exploring the Baxter Building and watching the
video on the Four's origin. Here the script is under an obligation to make the Key
Life someone who can be tied to the history of the Fantastic Four.

2.Characters must fit the pitch. While the pitch is outlined and few characters
appear, there is reasonable option to introduce a few other characters – such as
the Red Ghost or The Mole Man. Characters must be able to fit the essence and
the concept of this world. They must fit naturally through their roles and presence
in the script.

3.Not an Origin Story. While the film would feature an origin for the Fantastic
Four, it isn’t a film that lingers or even explore the origin that deep. We're about 5-
6 years into the Fantastic Four being an active team. Instead, we’ll be treated to a
quick information video that will be our wider introduction into this universe.

4.Character is paramount. The characters and their struggles are a huge draw
of the Fantastic Four. In film it should be no different, and so we will give each of
the four their own character arc to explore and dissect the characters. Chabon’s
pitch was unable to properly develop something deeper for Johnny or Ben to
handle, so here we’ll develop something for the characters to deal with outside of
the fun adventure.

5.This isn’t Dark. One of the biggest misconceptions of comic book films is that
too be more sophisticated, it needed to be dark. This isn’t that, there isn’t any
way, shape, or form dark elements, but those elements are battled by old
fashioned American Optimism. At it's core, it’s about battling the dark and
maintaining the optimism and wonder of America’s sensibilities as they used to be.

6.Not a Connected Universe. There really weren’t any other superhero films this
could have been realistically tied too. So, for the sake of just giving the material
the best opportunity I can give it. So no, this wouldn’t have set up some sort of
cinematic universe.

The general hope is that with these rules, Chabon's outline, and the reader's
imagination, this effort would create the greatest Fantastic Four movie we never
got. Something that honors the characters and brings them to life in an epic,
vibrant story full of heart, action, love, and American Optimism.
 (THE FANTASTIC FOUR, pin up by John Byrne)

DR. REED RICHARDS, (Mid-30's), MISTER FANTASTIC; handsome,

fatherly, the smartest man alive and the Fantastic Four's
leader. Reed is the Super-Elastic Indiana Jones of
Theoretical Physics. He faces a difficulty with his and
Sue's relationship. Having seen a future without Sue , Reed
must step up and be the man Sue deserves.

SUE STORM, (Early 30's), THE INVISIBLE GIRL; a beautiful,

intelligent woman with the ability to bend and control Light
and Generate Force Fields. Sue is the team's sympathetic
ear, holding them together. She is at a cross roads with her
relationship with Reed, Worried about losing her identity as
a woman and only being seen as "Mrs. Fantastic." This crisis
causes her to debate leaving the team.

JOHNNY STORM, (Mid-20's), THE HUMAN TORCH; The pretty boy,

college aged Pyrokinetic member of the Fantastic Four.
Always eyeing an exciting adventure, Johnny has begun to
think about his life outside his adventures. Johnny has
decided to venture into the business side of Fantastic Four,
though he's worried his won't be taken seriously.

CPT. BEN GRIMM (Mid-30's), THE THING; Mutated into a man

made of Orange Rock with super strength, Ben Grimm is a
genuine American Hero. Though his condition has left him
depressed and short tempered, Ben has been using humor to
cope. Despite being a hero, he wonders if he'll ever be able
to be seen as a man and not a freak.
(Fantasticar MK 1 {Top Left}, Fantasticar MK 2 {Bottom Left}
Art by Jack Kirby, HERBIE The Robot {Right} Art by John
Byrne)

THE FANTASTICAR MARK 1; An Open top flying car, capable of

terrific speed and armed with incredible technology. This
iteration of the Fantasticar can transform to a terrain
vehicle. This was designed by Reed Richards, meant to be a
simple looking convertible vehicle that could easily be
disguised as a 60's era van.

THE FANTASTICAR MARK 2; The more advanced and redesigned

Fantasticar. Altered to be sleeker and more aerodynamic.
This version, designed and co-built by Johnny Storm. This
version was redesigned to be more "Toyetic" and cash in on
the team's superhero and celebrity status. This version gave
them a more unique looking vehicle that was easier to
merchandise. Certain upgrades were made, including voice
command and the ability to be piloted remotely.

H.E.R.B.I.E. THE ROBOT; The sassy droid and assistant to the

Fantastic Four. Herb, as he's affectionately called, acts as
the team's security and a mobile tutor. Herb pilots a body
roughly a meter tall. He's often more docile with Reed, but
should Johnny or Ben encounter him, he's quick to let out
his trademark sass.
 (DOCTOR DOOM, art by John Byrne)

VICTOR VON DOOM, (30's), DOCTOR DOOM; the humble monarch of

the Balkan Country Latveria. A mad man with Techno-pathic
abilities, an armor housing advanced weaponry and master
sorcerer, he wields both dark magic and advanced
technological weaponry. His armor allows him to fire
concussive blast, create force fields, and fly. He considers
himself 'Master of All'. Doom seeks to alter existence by
disposing of the 'Key Life', a person who's presence is
essential to the fabric of this reality. He seen a vision of
the future where the world has been destroyed. He has come
to the decision that the only way to save humanity from
being destroyed is for him to rule it with an iron fist.
(Doctor Doom at his Super Computer {Left} Doctor Doom at the
Time Platform {Right} Art by Jim Starlin {Both})

DOCTOR DOOM'S SUPER COMPUTER; Capable of calculating

terabytes of information a second, Doom's super computer
uses energy from the M'Kraan (Muh-KRON) Crystal to dissect
information through space and time. This is how Doctor Doom
is able to locate a "Key-Life" responsible for the world of
the Fantastic Four exist in. Without this Key-Life the world
could transform into a darker world. When discovering the
identity of this Key-Life Doom develops a plan.

TIME PLATFORM; built by Doom this device is capable of

sending anyone back in time. Though to have an effect on the
space time continuum he needs the M'Kraan Crystal. It's
unique structure not only acts as a power conduit but also
allows whoever is affected by it's energy the ability to
alter the past. Using a Distraction Doom seizes his chance
at capturing a shard of the M'Kraan crystal while the
Fantastic Four are distracted - this sets in motion events
that will change the four forever!
(THE RED GHOST and His SUPER APES, art by Jack Kirby {Left},
THE MOLE MAN, art by John Byrne {Top Right}, GIGANTOS, art
by Arthur Adams {Bottom Right})

GENERAL IVAN KRAGOFF, (50's), THE RED GHOST; and his Super
Apes (PEOTR, MIKHLO, and IGOR). Kragoff is a USSR General in
the 60's. He partners with the time traveling Doom in order
to take advantage of plans that allow a soviet dominated
world. Doom's plan sees Kragoff and his apes endowed with
Superpowers. Kragoff becomes intangible with the ability to
possess his apes. PEOTR, an Orangutan develops elasticity,
MIKHLO becomes a super strong Orange Rock Gorilla, and IGOR,
a baboon, becomes Pyrokinetic.

DR. HARVEY ELDER, (40's), MOLE MAN; short, stubby

archeologist who discovered a subterranean kingdom beneath
the Earth. He sought out the underground kingdom and found a
home among ancient monsters known as Moloids. Mole Man has
complete control over the subterranean beings, including the
subterranean Kaiju called GIGANTO. Mole Man becomes an
unwitting pawn of Doom's to distract the Fantastic Four.
(WILLIE LUMPKIN, art by John Byrne {Left}, YOUNG WILLIE
LUMPKIN, art by Richard Howell {Top Right}, WILLIE LUMPKIN
SUNDAY COMIC, art by Al Hartley)

WILLIE LUMPKIN, (Late 70's), the kind and elderly postman of

the Fantastic Four, and World War II Veteran. We meet him in
the modern day, when he takes his young Granddaughter, Jan,
to a tour of the Baxter Building. Despite his small scale
life, he has been determined by Doctor Doom to be a Key Life
in the fabric of this world's existence.

WILLIAM LUMPKIN, (Late 30's), Willie's 1963 counterpart, and

Doctor Doom's fabled "Key Life". This version, called
William, is a bit more down-on-his luck, not the happy-go-
lucky gentlemen we meet him as. He is having some difficulty
adjusting after being let go from his job as a salesman. He
lives in Queens alongside his wife Doreen and their son
Stanley. He is approached by the Fantastic Four from the
future as his and his family's life is in danger.
(M'Kraan Crystal, Art by Dave Cockrum - X-Men #107 [1977]
{Top Left}, Neogenic Recombinator, Spider-Man [1994-1998],
{Bottom Left}, Image Inducer, Art by John Bolton & Dave
Cockrum - Classic X-Men #4 [1986] {Right})

M'KRAAN CRYSTAL; A powerful Crystal connected to all time

and Space and the crown jewel of the Shi'Ar (She-Are)
Empire. The Empire sought the Help of the Fantastic Four to
save their planet and oust the would be revolutionary and
traitor to the Royal Family D'Ken Nuramani. As a reward the
Fantastic Four were gifted a large piece of the M'Kraan
Crystal as a generous show of peace and unity between Earth
and the Shi'Ar Empire. The Crystal's unique tether inspires
Reed Richards' interest in viewing the future.

NEOGENIC RECOMBINATOR; A device capable of re-writing the

DNA structure of one or multiple targets. This allows for
any being to be given unique and wondrous Superhuman
abilities. The device is a pet project that Doctor Doom
might have used on himself that lead to the development of
his techno-pathic abilities.

IMAGE INDUCER; an augmented reality device, capable of

changing the visual image of it's target to any desire
projection. This gives Ben the ability to appear as a normal
human being. Though the device has limitations as it can't
alter mass, height, or abnormal extremities. This device
allows Ben to blend in as a normal human during the team's
journey through 1960's New York City.
(THE FANTASTIC FOUR, pin up by John Byrne)
 FADE IN:

EST. SHOT (NEW YORK CITY):

We are Four-Thousand feet in the air, the bird's eye view of
Earth. The CAMERA descends through the clouds, revealing to
us the concrete Jungle of New York City. The industrial
steel, poured concrete, and vibrant paints assemble to
create Beacons of the American working class's heart and
spirit.

The city is bright and colorful with a retro-futuristic

style inspired by Malcolm Smith.

EXT. NEW YORK CITY - STREETS - DAY

Fading into the soundtrack is The Whole World is a Stage by

the Soul group The Fantastic Four.

As we lower, we see a story of the average American family:

the top floor shows everyone waking up through the window.

The next floor shows everyone brushing their teeth.

The next floor shows them getting dressed, eating breakfast.

We follow this progressing story through multiple stories

until we finally we land at the ground level as Husbands
kiss their wives and rush off to work, kids rush off to
play, Mother’s send everyone with loving gesture. Then we
see the streets…

The side walks are remarkably clean of litter and graffiti,

but the roads are filled with Studebaker, Pontiac, and
General Motor Cars caught in gridlock. Horns hock, people
shout to move on. Taxis navigate through the gridlocked
city, rushing their fares to their locations.

We see teens in hot rods speeding down empty neighborhood

streets while kids ride on skateboards and motorbikes racing
through.

We see bike riding kids racing each other. We see some kids
playing with chalk, one drawing a spaceship, the other a hop
scotch court. Girls playing Jump rope, teenagers holding
hands walking down the street – in love.

Moms with Beehive or Bob hairdos push strollers, while their

babies eat candy or drink milk and coo at the world around.

A RED TOUR BUS enters frame. We follow it as we take in the

sights of New York City from the ground level.
 2.

The Red Tour Bus passes...

EXT. CONSTRUCTION SITE - DAY

Men hard at work, piles of steel girders, cement trucks
spinning, Cranes hoisting equipment to upper levels. Sand
bedding the ground all over. The foreman yells out, trying
to get his voice over the loud racket of jackhammers and
sledgehammers pounding.

It's so small we almost don't see it... A small dip in the

sand, growing, just slow enough to be hard to notice, CAMERA
pushes in...

INT. RED TOUR BUS - MOVING - DAY

The bus is packed, most of them tourists, all of them
wearing the Number "4" on some merchandise; hats, buttons,
shirts, bags. We fall upon JAN, an eccentric Eight-Year-Old
girl, dressed in a homemade Invisible Girl costume. Next to
her, a man dressed in a tweed suit and thick glasses, WILLIE
LUMPKIN, (70's).

JAN
Papaw?

Willie Turns to her, smile on his face:

WILLIE
Yeah sweetheart?

JAN
You really know the Fantastic Four?

WILLIE
Of course I do. I deliver their mail.

JAN
But, have you met them?

WILLIE
Of course. You can't step foot in the
Baxter Building without seeing even
one of them.

Jan holds the smile on her face. Willie hugs her from the
side.
 3.

EXT. NEW YORK CITY - STREETS - DAY

We follow the bus as it arrives Forty-Second and Madison
Avenue. It parks in front, Tourists pour out chatter
spreading, gasps audible, excitement palatable.

We follow as JAN and WILLIE exit the bus:

WILLIE
Here we are...

Jan and Willie crane their necks up, amazed, we follow them
as we reveal:

THE BAXTER BUILDING - a Thirty-Five Story tower, attached to

the sides of it are various antenna, telescope, and other
devices you can't begin to imagine. But atop the Building,
embroidered is one very simple number:

4
We see JOHNNY STORM, THE HUMAN TORCH (Mid-20's) -- Ablaze,
fire emanates from the center causing a rippling effect, in
this form his skin is a bright orange, his eyes are a solid
yellow -- encircling the Building!

JOHNNY
(Shouts)
WELCOME TO THE BAXTER BUILDING FOLKS!

The crowd cheers, Torch waves at them then -- lands into a

secret opening!

Jan and Willie look up in amazement, Willie notices the

line, hurries her inside:

WILLIE
C'mon sweetie! Can't lose a moment!

The two enter:

INT. THE BAXTER BUILDING - LOBBY - CONTINUOUS

The inside of the Baxter Building is remarkable, the design
is something from the mind of Aldo Van Eyck, unrestrained
and complimented by large glass panels reflecting 60's style
pop art of the Fantastic Four's adventures.

Cameras Flash as tourists take pictures of the interior. We

follow Willie and Jan to the line and it hits us how
unbearably long it is.

Jan takes notice, sighs. Willie pats her on the back.

 4.

WILLIE
It's okay sweetheart.

We hear the clacking of High Heels hitting linoleum

flooring, moving at a quick pace, very efficient and astute.
She wears a blue skirt and suit jacket. The jacket carries
the encircled number 4 on the right breast, she has a blond
Bee-hive hairdo and a pair of circular glasses, this is
ROBERTA (30's).
She approaches Jan and Willie:

ROBERTA
Excuse me, Mr. Lumpkin?

Willie and Jan turn.

WILLIE
Yes?

ROBERTA
Dr. Richards has asked that we move
you to our V.I.P. Line.

Willie and Jan look over to the V.I.P line, empty. Jan looks
up at Willie with a smile.

WILLIE
Oh. Um we only paid for the standard
tour.

ROBERTA
Well Mr. Lumpkin, Dr. Richards was
insistent that you be refunded and
you're placed in our V.I.P. Line, as
thanks for your years of service.
Willie is shocked, but elated. Jan is practically jumping in
the air from excitement!

ROBERTA (cont'd)
Right this way.

Roberta leads them, Willie grabs Jan by the hand and the two
trek over to the V.I.P. Line.

ROBERTA (cont'd)
(To Jan)
You're Invisible Girl costume is
absolutely stunning.

JAN
Thank you! I made it myself.
 5.

Roberta leads them through the ropes of the V.I.P. line, an

attendant hands Jan a Gift Bag.

ROBERTA
Compliments of Fantastic Four.

Jan looks inside, letting out a squeal as she pulls out a

signed photo of Sue Storm. She shows Willie:

JAN
Papaw! Look!

Willie looks down, notices. Smiles.

WILLIE
That's wonderful.

ROBERTA
Before we begin the tour proper, we'd
love to show you our theater to view
an informational film.

Roberta guides Willie and Jan into a large theater, it's

already packed, save for two seats back of the floor row.
Curtains cover the screen.

People chatter, Roberta guides Willie and Jan to their

seats. They sit, Roberta takes her place at the front of the
stage, in front of the curtains.

ROBERTA (cont'd)
Welcome everyone, to the Baxter
Building. I'm sure you're all very
excited to begin our very special
tour.
People cheer and holler --

ROBERTA (cont'd)
Now without further ado, please enjoy
the film...

The lights go dark. It's as if we're sitting in the

audience. The curtains are drawn back. We see the Projection
Marker on screen: 4...3...2...1...

INT. SCREEN - N/A

A Jazzy tune plays and we're treated to our title card:

The Fantastic Four

 6.

This is our Opening Credits, playing while we watch the

film.

The title card dances, in tune with the 60's style jazz
track. Then we hear:

NARRATOR
The World of Tomorrow and the science
that is shaping it may seem fantastic
and impossible. But yesterday's
impossible are tomorrow's facts. We
begin our film in...

We see the painted view of Central City, CA. Fading into the
shot is a picture of a teenage REED RICHARDS.

NARRATOR (cont'd)
Along the coast of Central City
California - College Student Reed
Richards harbors a dream. To be the
first man to walk along the surface
of Mars. To that end, he explores
every doctorate in the scientific
filed.

Wipe to:

New York's Empire State University.

NARRATOR (cont'd)
During his time extending his
education, Dr. Richards was enrolled
to the prestigious Empire State
University. Where he would go on to
meet long time best friend, football
star Benjamin Grimm!
We see a Photo of Ben, in his Football Uniform, side by side
with Reed, dressed in a cheap brown suit. The two men hug
like brothers.

NARRATOR (cont'd)
In New York the two college chums
rented rooms at the Dinkins Boarding
house, where the twenty-one year old
secretary student Susan Storm
assisted her aunt in the running of
the family business. The young Miss
Storm became infatuated with Reed,
and the two began a loving
relationship.
 7.

SUSAN STORM, at 21, is stunning. Her hair is in a slanted

Bob, her cheeks and lips are rose colored, and she looks out
towards the audience with a sense of motherly love.

The Three are pictured together; Reed, Sue, and Ben.

Something seems off, and as if on Que:

NARRATOR (cont'd)
Lets not forget, Sue's younger
brother, trade school student
Jonathan Storm!

We see JOHNNY STORM, 16, fade into the image. He's brass,
arrogant, and full of himself (and yeah you can tell just by
the picture.) His image shows him holding the bunny ears
behind Ben's head.

NARRATOR (cont'd)
Though after their formal years of
college each would go their own
way...

We see an Image of Ben, transforming from a Football Star to

a Decorated Air Force Soldier:

NARRATOR (cont'd)
Ben Grimm became Captain in the
United States Air Force and member of
NASA.

Johnny goes from the charming 16 year old, to the charming

Twenty-One year old covered in grease:

NARRATOR (cont'd)
Jonathan Storm would go on to
graduate trade school and become a
world class mechanic.

Finally we see Reed Richards, aged thirty-one, and Sue, Aged

twenty-nine, working together, Reed at a lab, Sue
transcribing his notes.

NARRATOR (cont'd)
Dr. Richards and Miss Storm would go
on to work together in effort to
achieve their Dream of traveling
across the stars!

A montage of photos show Reed's progress building the

Rocket, and with him - for every step, is Sue. The two are
almost inseparable.
 8.

NARRATOR (cont'd)
Though it would take many years.
Eventually through a series of Grants
backed by the United States
Government, Reed Richards would build
a rocket capable of transporting
himself and others to the fantastic
surface of Mars!

We now see the image of a Rocket Ship at a launching pad,

and four figures clad in darkness:

NARRATOR (cont'd)
Under the cover of Darkness, in an
effort to beat the Commie's to the
Planet Mars, Dr. Richards, Captain
Grimm, Sue and Johnny Storm, all race
to Dr. Richard's rocket!

We see an animation of the Rocket taking off -- We see the

Rocket enter space --

NARRATOR (cont'd)
As the craft arrived into space, the
fantastic happened!

We see the Rocket bombarded by colorful waves of Radiation!

As it's bathed by the radiation we see the Rocket turn and
land back on earth.

NARRATOR (cont'd)
The four lifelong friends were
granted abilities beyond imagination!

We see Reed in his space Suit, stretching in a dynamic pose,

Sue vanishes into frame holding a force field, Johnny
appears fully engulfed as the Human Torch, and finally Ben,
no longer a handsome Rock Hudson-type, now made of Orange
Rock.

NARRATOR (cont'd)
United together these four champions
of the beyond have taken the name The
Fantastic Four, The World's great--

The building shakes, the projector flickers -- Roberta steps

in:

ROBERTA
(Chuckles)
Sorry folks, a rumble from our family
upstairs. Perfectly normal at the
Baxter Building.
 9.

To us the theater and the walls become translucent, and we

PAN UP to see various rooms of the Baxter Building: The
Trophy Room (part of the tour), Conference Room, Monitoring
Room, Reed's Lab, Sue's Office, Johnny's Garage, Ben's
gymnasium, a hangar for the Fantasticar and the Pogo Rocket,
and where the commotion is... The Common's room.

INT. BAXTER BUILDING - COMMON'S ROOM - DAY

We see BEN GRIMM, THE THING (Mid-30's), just as he looked in

the photograph, dressed in light blue trunks with a black
belt and the Four Badge as an off-center buckle, is coming
right at us, his grumbles are watered down swear words:

BEN
You little hot rod driving pencil
necked pip squeak!

Ben rushes right past us and after: THE HUMAN TORCH, JOHNNY
STORM, still in full flame. Johnny hurls fireball after
fireball at Ben's face --

BEN (cont'd)
GET OVER HERE!

JOHNNY
Maybe when you get less ugly!

Something drops from Johnny - a book covered in a fireproof

plastic. Ben notices and snatches it up before Johnny can
grab it--

BEN
What's this!

JOHNNY
Wait!

Johnny tries to grab it, Ben plays keep-away with the book,
we see that it is "introduction to business management."

BEN
(Chuckles)
What? You getting bored?

Johnny's flame fades, we see Johnny in his normal form;

handsome blond, youthful features that still echo a sense of
excitement. He wears his Uniform, a Light Blue two-piece,
with a circular badge of the Number 4 encircled on his
chest. The uniform is complimented with a black belt, black
gloves, and black boots - this is the team's standard
uniform.
 10.

JOHNNY
No!

Johnny snatches the book back from Ben.

BEN
What's-a-matter squirt?

Johnny looks at Ben, then to the book. Ben places a hand on

his shoulder:

BEN (cont'd)
C'mon kid. I'm your best friend. You
can tell me.

JOHNNY
I'm re-enrolling.

Ben lets out a playful gasp --

JOHNNY (cont'd)
But not because of anything stupid. I
just... I see everything Sue has
done, she went from being a secretary
to a well respected scientist and
teacher. Reed he's the world's
smartest man and runs the company. I
was hoping that maybe if I got my
degree in this business stuff, maybe
he'd let me take a more central role.

BEN
Why not talk to Reed?

JOHNNY
I don't want him to just hand it to
me because I'm Sue's brother. I want
to earn this.

BEN
Bull hockey. You're afraid he'll say
no.

JOHNNY
You think he would?

BEN
I dunno. I mean, I would. You're
still wetting your bed at night -
hardly the habit of a CEO--

A FIREBALL blasts Ben in the face! He grabs for Johnny, who

flames on and floats in the air!
 11.

BEN (cont'd)
You little jack-wagon!

JOHNNY
Hey! You deserved that!

Ben lunges for Johnny --

INT. BAXTER BUILDING - REED'S LABORATORY - DAY

The space is clean, the definition of immaculate. Machines
exist all over the place, all of them look like they could
have been designed by M.C. Escher.

One machine takes up nearly the entire center of the room.

The machine builds out towards the ceiling, connected to a
futuristic Micro-scope.

A figure is hunched over this Time Micro-scope. the figure

has a white lab coat on over his Fantastic Four uniform, a
closer look reveals a handsome face with a five o'clock
shadow, gray temples on brown hair, this is REED RICHARDS,
MISTER FANTASTIC (Mid-30's).
What he's looking at shakes him. It's haunting. He pulls
himself away. He walks over to his table, a holographic
keyboard illuminates. He begins typing, a device rises from
the table - a cylindrical canister.

A figure floats over to him, it's about a meter tall,

composed of two boxed shapes on top of each other - this is
H.E.R.B.I.E. The Robot.

H.E.R.B.I.E.
Dr. Richards?
Reed turns to H.E.R.B.I.E.

H.E.R.B.I.E. (cont'd)
You asked me to let you know when the
tour progressed. They've left the
projection room and currently in the
Observation deck. Should be through
the trophy room soon.

REED
Thanks Herb. Is... Is Sue in the
building?

H.E.R.B.I.E.
No, Dr. Richards. Miss Storm had an
appointment today with Miss Masters.
 12.

Reed takes the information in, you can see his face drop.

REED
Any chance of calling her on her
communicator? It's very important.

H.E.R.B.I.E.
It seems her communicator has
switched off. She is very protective
of her Girl time with Miss Masters.

Reed grabs the cylinder, he stares long and hard at it.

REED
This holds the most important thing
I've ever created. I'm almost too
scared to open it. I was really
hoping Sue would be here. Herb,
You've seen me and Sue together a lot
right?

H.E.R.B.I.E.
Yes, Dr.

REED
She loves me right?

SUE
(O.S.)
Of course I love him. I love him more
than anything in the world. But being
with him, It's left me with so many
questions.

INT. ALICIA MASTERS' APARTMENT - ART STUDIO - DAY

The Apartment is spacious, with little art clinging to the
wall, what art is here is Sculptures, one of them being of
BEN GRIMM in his rock form. There's no television, only a
radio, a couch, and a lounge chair.

SUE STORM, THE INVISIBLE GIRL (early 30's) a beautiful blond

with soulful blue-eyes sits, wrapped in a day coat, opposite
ALICIA MASTERS (30's), blind, beautiful, wearing an apron
covered in dried clay. Alicia reaches out delicately for her
tea cup. Sue uses a force field to hand it to her:

ALICIA
Thank you. What questions?

SUE
I love Reed, but with him it's
science twenty-four-seven.
(MORE)
 13.

SUE (cont'd)
I wake up in the middle of the night
and he's snuck into his lab. And last
night it was odd. I found him in his
lab and he looked so pale, like he
was scared to death.

ALICIA
Well that's always been Reed hasn't
it?

SUE
Yes, but I thought things would
change. And they have, but he's been
getting progressively distant. I
almost wonder if he'd notice if I did
leave.

ALICIA
With everything you've built, you
must feel the weight of it.

SUE
I mean, I love him. I always
envisioned us getting married and
having kids. But with the adventures
slowing down lately, and him being
reclusive, is it fair for me to
leave?

ALICIA
You've built something remarkable
with the Fantastic Four but you do
have to care for yourself.

SUE
I don't want to be remembered as the
Fantastic Four's Yoko Ono.

ALICIA
(Chuckles)
You're part of the band, if anyone
would be the Yoko that would
technically be me.

Sue chuckles.

ALICIA (cont'd)
You have to ask yourself questions.
"Can you still see your future with
Reed?", "Can this work-obsessive
behavior change?", and "Can you
really be with him if it doesn't?" I
can't tell you what to do Sue.
(MORE)
 14.

ALICIA (cont'd)
I know there's times when Ben, when
he's so depressed and I feel like the
weight of his happiness rests on my
shoulders.

SUE
How do you handle that?

ALICIA
Sometimes it's my art, sometimes it's
good wine. And sometimes I remind
myself he deals with my pity-parties
too. It's a package deal and we both
signed up for it. At the end of the
day I do love him. Just like you love
Reed.

SUE
Look at me, talking as if he's
proposed... If we did get married, if
I were his wife, would I just be
"Mrs. Fantastic" or would I still be
"Invisible Girl"? It's like my
identity is so tied to him, to them,
that I kinda don't know if Sue Storm
wants to be Sue Richards. I wish
there was an easy answer to all this.

ALICIA
Maybe there is. Maybe you just need a
break. From what little adventures
you've had and from Reed. Soul
searching. Find yourself, so you know
that if you're with him, you're with
him faults and all. Or if you decide
it's time to go, either way you can
be your own woman.

The building rumbles. Sue shoots a force field around her

and Alicia.

ALICIA (cont'd)
What's going on?

SUE
It feels like an Earthquake, but we
haven't had one since the seventies.

EXT. CONSTRUCTION SITE - CONTINUOUS

The site Rumbles the hardest, beams wave and equipment
falls, the workers get out of the way. The sink hole grows
exponentially.
 15.

INT. BAXTER BUILDING - REED'S LABORATORY - CONTINUOUS

Reed takes in the seismic waves, his body weaves and wobbles
stretching out to balance. H.E.R.B.I.E. Floats un-affected
by the shock --

REED
HERB, Scan and analyze the Earthquake
pattern. Check the vault!

INT. BAXTER BUILDING - GYM - CONTINUOUS

Ben's weights shake and tumble to the floor, he's thrown off
the weight bench:

BEN
What in Sam Hill is going on!

INT. BAXTER BUILDING - GARAGE - CONTINUOUS

Johnny, uniform shirt pulled down, with a white T-Shirt
stained with grease, holds onto a bright red hot rod, a book
on tape for business management cuts in and out during the
rumble, his tools are scattered all over the place:

JOHNNY
What the--

INT. BAXTER BUILDING - OBSERVATION LEVEL - CONTINUOUS

Roberta stands firm, Willie and Jan hold onto railings
keeping themselves from falling to the ground:

WILLIE
Ma'am, is this another Rumble?

ROBERTA
I don't believe so...

INT. ALICIA'S APARTMENT - ART STUDIO - CONTINUOUS

The rumble has calmed. Sue lowers her force field, looks out
of the window.

SUE
Alicia, you alright?

ALICIA
Yeah, thanks.
 16.

Sue steps over to the window, looking out. CAMERA follows

her gaze down to the street and all the way over -- it
extends past her line of sight too...

EXT. CONSTRUCTION SITE - CONTINUOUS

The sinkhole has grown to a crater, large enough half the
construction site has sunk in, the entire crew are looking
into it.

One of the men look into the crater, something YANKS him in!

INT. BAXTER BUILDING - GYM - CONTINUOUS

Ben rubs his head, sitting on the floor.

BEN
Somebody tell me it's safe to get up
now.

INT. BAXTER BUILDING - GARAGE - CONTINUOUS

Johnny pulls his uniform shirt back on, he walks over to the
window:

JOHNNY
What the hell was that?

INT. BAXTER BUILDING - REED'S LABORATORY - CONTINUOUS

Reed's body returns to it's normal form, H.E.R.B.I.E.
floats, it's face replaced with a sensor. Reed rushes over
to another device in the laboratory, something you'd mistake
for a giant super computer, Reed places his hand on a
sensory, it scans his hand, and retina -- the Sensor opens,
revealing: a piece of The M'Kraan Crystal! It's about the
size of a softball, a beautiful glowing pink crystal.

Reed breathes a shy of relief.

REED
It wasn't damaged.

H.E.R.B.I.E.
Sir?

REED
If the M'Kraan crystal was damaged it
could be catastrophic. An explosion
through time and space.
(MORE)
 17.

REED (cont'd)
The Shi'Ar empire had to take it to a
pocket dimension to successfully give
us this shard.

H.E.R.B.I.E.
I thought it was the whole crystal.

REED
No. Just a fragment of a whole. It
took me months to successfully
fragment off a smaller piece for
what's in that canister. Any data on
the Earthquake?

H.E.R.B.I.E.
Nothing to indicate it was a fault-
line. Only the island of Manhattan
was affected.

REED
What could have caused it.

H.E.R.B.I.E.
It will take a moment to analyze the
data, but Dr. Richards...

REED
Yes?

H.E.R.B.I.E.
Your V.I.P. Guests are currently in
the trophy room.

REED
Where's the container?
H.E.R.B.I.E. Shoots it out at Reed. Reed's hand stretches
into a baseball mitt-like shape and catches it.

INT. BAXTER BUILDING - TROPHY ROOM - CONTINUOUS

Jan and Willie look around, the area is amazing. Relic's of
the Fantastic Four's adventures: The Cosmic Control Rod of
Annihilus, a Doombot Head, Paste Pot Pete's adhesive Gun,
The Wizard's Helmet, A Token from Atlantis, A Vibranium
shard, A Ray-Gun from the Skrull world, A lead container of
Clay from the Puppet Master, an Apothecary Satchel from El
Diablo, and the arm of Mad Thinker's Awesome Android.

A door opens, Reed enters the room.

REED
Welcome to the Baxter Building!
 18.

Willie steps over, offering his hand to Reed, they shake.

WILLIE
Good to see you in fine form Dr.
Richards.

REED
Willie, please, Reed. Call me Reed.
(Noticing Jan)
Who's this little lady?

Jan clicks her heels together, her face blushes red, a child
meeting one of her heroes.

WILLIE
This is my granddaughter Jan.

Reed sits crisscross on the floor, offering his hand out to

her:

REED
Nice to meet you Jan, I'm--

JAN
Mister Fantastic!

She hugs him, Reed gives her a light hug then stands.

REED
I'm glad you both could make it. You
know Jan you're grandfather is very
important to this whole operation.

JAN
How's that?

REED
If it weren't for him delivering the
mail, we wouldn't have gone on half
the adventures we've been on. Or
received half the grants or fan mail.

JAN
Oh...

REED
I love your costume. You modeled it
after Sue, didn't you?

JAN
Mm-hmm...

REED
She your favorite?
 19.

JAN
YEP!

REED
Don't tell the others, especially Ben
it would break his heart, but she's
my favorite too.

Willie notices the canister in Reed's lab coat.

WILLIE
What's that you got on you Dr.
Richards?

REED
Oh this, well it's a very important
surprise.
(To Jan)
You think you could keep a secret for
me?

She nods enthusiastically. Reed removes the canister from

his lab coat. He carefully cracks it open, mist escapes, and
we see...

A GOLD RING, a small shard of the M'Kraan Crystal as the

center-stone on the head.

REED (cont'd)
You think Sue would like it?

JAN
(Entranced)
It's sooo pretty... She'll love it!

Reed smiles.

REED
I hope so. I'm nervous about asking
her. Willie, any tips?

WILLIE
Well, Romantic Dinner, getting down
to one knee, that kinda stuff usually
works.

Reed chuckles. Pats Willie on the shoulder.

REED
Thanks Willie.

H.E.R.B.I.E. Floats over to Reed, Jan is in awe of the

robot.
 20.

H.E.R.B.I.E.
Dr. Richards. Data on the Fault-
line... It appears you are needed in
the hanger.

REED
Alright. Send the flair.

Reed runs for the door to his lab --

WILLIE
Dr. Richards!

Reed stops, turns to Willie:

WILLIE (cont'd)
Excelsior!

Reed smiles, waves him and Jan goodbye -- disappears into

his lab.

Willie and Jan continue to look at the artifacts -- CAMERA

PANS over the Doombot head, the eyes light up...

EXT. BAXTER BUILDING - DAY

The roof opens to the Hangar, a device, something similar to
a cannon rises out of the side of the building and FIRES an
object into the air --

EXT. NEW YORK CITY - STREETS - CONTINUOUS

The Flare sails into the sky then explodes creating the
encircled 4!

INT. BAXTER BUILDING - GYM - CONTINUOUS

The windows open up. Ben sees the flare!

BEN
Time for some action!

INT. BAXTER BUILDING - GARAGE - CONTINUOUS

Johnny sees the flare, He leaps out of the window:

JOHNNY
FLAME ON!

His body combusts, he becomes the Human Torch!

 21.

INT. ALICIA'S APARTMENT - ART STUDIO - CONTINUOUS

Sue looks outside the window, sirens can be heard,
ambulances, fire department, police, all pooled together to
make on loud blaring noise.

SUE
Are you going to be safe here?

ALICIA
Why?

SUE
Because I have a bad feeling about
this.

Sue sees the flare.

SUE (cont'd)
Alicia, do you mind if I leave my day
coat here?

ALICIA
Not at all.

Sue removes her coat, revealing her FANTASTIC FOUR uniform.

SUE
I'll shut the window behind me, it
looks like the boys need me!

Sue steps out the window, moving as if she's stepping on

stairs. Her body is covered in force field, she floats
floats off! The Window shuts.

ALICIA
Good luck, girl.

EXT. CONSTRUCTION SITE - DAY

The construction crew back up, something Massive reaches
out, a scaly Green Arm the side of a fire truck reaches out
of the earth slamming into the remainder of the construction
site. Then another hand! Something begins to pull it self
out --

The construction workers are stricken with terror --

 22.

INT. BAXTER BUILDING - HANGAR - CONTINUOUS

Reed stands without his lab coat, pulling his gloves on, Ben
Arrives behind him cracking his knuckles. The two look up to
see Johnny floating above them.

JOHNNY
What's the down-lo boss man?

REED
Mole Man. Herb said at least two
construction workers dead. Trampling
downtown. Where's Sue?

Out of thin air ans on Que, Sue appears floating down.

SUE
Here.

REED
We're all here. Good. We need a plan
of attack.

The three arrive to a Device, rising out of the floor...

It's sleek, stylish, and seats four. It looks like four
topless DeLoreans articulately and artistically put
together, this is -- THE FANTASTICAR, Mark II.

EXT. BAXTER BUILDING - CONTINUOUS

The Fantasticar Rises, seating Sue, Reed, and Ben, Johnny
flies alongside!

EXT. NEW YORK CITY - SKYLINE - CONTINUOUS

The Fantasticar shoots through the sky like a rocket.

EXT. FANTASTICAR - MOVING - CONTINUOUS

Reed pilots, Ben operates the left compartment, Sue the
right. All three wear headsets to communicate through the
wind.

REED
Sounds like Mole Man has another
giant monster wrecking Downtown.

BEN
Good just over me above and I'll
clobber 'em.
 23.

SUE
It the readings say it came out of a
giant sink hole. Ben if you miss the
target you could fall all the way to
the center of the earth.

BEN
Then I'll aim real carefully as I
fall.

REED
We need to coral it back into that
hole and scare it or seal it.

Johnny flies along side Ben:

JOHNNY
What's going on?

BEN
We all agreed you're scary and want
to seal you away.

JOHNNY
Haha. Jerk.

Johnny flies over to Reed:

JOHNNY (cont'd)
What's the plan?

REED
Still working it out.

JOHNNY
Hey, while I got you for a minute,
can we talk about something later?

REED
Sure. But right now we need to
focus...
(To Sue)
But Sue. I think we need to talk
later.

SUE
Really? Is now a good time?

REED
No, I mean talk later. Dinner?

SUE
Sure. Yeah, I think we have some
stuff to talk about.
 24.

JOHNNY
Are you two bored, really? Making
dinner reservations while going to
fight a giant monster?

SUE
Bud out Johnny.

REED
Yeah, Back off for a minute Johnny.
Just. When you get my mark, hurl some
fireballs at that thing will ya'

JOHNNY
Sure!

REED
The monster, not Ben!

EXT. NEW YORK CITY - STREETS - DAY

Civilians run, panicking and screaming, loud thumps crack
the asphalt as something moves, cars are crushed under heavy
clawed feet... Finally we see...

The Giant Monster - GIGANTO, moves like an ape, roughly the

size of King Kong with enlarged forearms and clawed hands.
It yells and screeches. Something... Someone stands on top
of it's shoulders, holding a large wooden scepter, steering
Giganto. THE MOLE MAN, (40's) dressed in dirty green one
suit, a thick black visor, and a long ragged cape, rides
Giganto.

MOLE MAN
Yes my pet! Rampage!
Mole Man looks up and in the distance sees the Fantasticar!

MOLE MAN (cont'd)

(Directing)
There my pet! There are the flies for
you to swat!

As the Fantasticar nears Giganto raises it's monstrous hand

to swipe at it, the Fantasticar dodges it. Giganto swipes
again, this time getting much closer --

MOLE MAN (cont'd)

This insipid quartet must die!

The Fantasticar levels well above Giganto.

 25.

EXT. FANTASTICAR - FLOATING - CONTINUOUS

REED
Ben it's a mile off from it's crater.
I need you and Johnny to lure it
back!

BEN
Gotcha!

REED
Sue, I need you to create a field
around it, crowd control and hurding.
It moves backwards not forwards.

SUE
Right. What are you gonna do?

REED
I'm gonna try and get the mole of
it's back!

Ben unbuckles and casually leaps off!

BEN
(Falling)
YAHOO!

Sue's compartment breaks off and lands on the ground, Reed

kicks the Fantasticar back into gear! Reed gestures to
Johnny -- He flies at Giganto hurling string of fireballs at
the beast!

EXT. NEW YORK CITY - STREETS - CONTINUOUS

As Ben Falls he moves his arms forward, making a missile of
himself!

BEN FALLS. Wind whistles --

AND FALLS. Ben's speed picks up --

AND FALLS. His shadow starts to show on the ground --

AND SLAMS into the ground in front of Giganto...

Mole Man looks down and begins to Laugh!

Something Taps Mole Man's shoulder, He turns to see A fist

knocking into him, Reed circling Mole Man and Giganto is
throwing right hook after right hook.
 26.

Sue approaches the Beast, throwing her hands out she

generates a force field from her body -- She moves forward,
the force field pushes against Giganto!

Ben rises from the rubble, shakes off some of the debris. He
spots Giganto:

BEN
Open the door Susie, I'm going in!

Ben hurries -- A pocket opens for Ben to blast through --

The big man begins throwing his massive fists, delivering
lefts and rights at the beast -- Giganto slams it's massive
fist against Ben, sending him down the city block rolling!

INT. BAXTER BUILDING - LOBBY - DAY

People are gathered around watching the Four battling the
Mole Man projected on the various Clear screens.

INT. BAXTER BUILDING - TROPHY ROOM - CONTINUOUS

The room is empty, the Doombot head glows. The head quivers,
a metallic screech echoes, slowly peeking out of the neck of
the Doombot head are THREE SPIDER-LIKE METAL LEGS. The eyes
of the Doombot shoot a laser and in a perfectly symmetrical
motion cut a circle through the glass. One of the spider
legs pops the cut glass out. It crawls out of the Glass.

The Door to Reed's lab opens, H.E.R.B.I.E. Emerges:

H.E.R.B.I.E.
What's going on in here?
The lights flicker on and off -- in the background we see
the Doombot head behind H.E.R.B.I.E. digging into the wall
and wiring.

H.E.R.B.I.E. Turns, facing the doombot head:

H.E.R.B.I.E. (cont'd)
Oh no you don't!

H.E.R.B.I.E. rushes it -- the Doombot Head leaps over --

H.E.R.B.I.E. Slams into the wall -- The Doombot head crawls
on his back:

H.E.R.B.I.E. (cont'd)
I'm gonna kick your a--

H.E.R.B.I.E. Goes quiet, the spider-legs have pierced his

back, and opened him up. The two tumble onto the floor...
 27.

INT. BAXTER BUILDING - REED'S LABORATORY - CONTINUOUS

The Doombot head enters, it's eyes switch from red to blue,
they emit a faint scanner, it slowly encircles the room
until it falls upon Reed's safe. It approaches the safe and
opens it forcefully -- the M'Kraan Crystal sits, enchanting
as it as the first time.

The top of the Doombot head opens, the spider legs carefully
grasp the crystal and place it in top of the Doombot head.
The Three Spider come together forming a cone --

The spider legs ignite, like a rocket and the Doombot head
blasts through the roof of the Baxter Building.

EXT. NEW YORK CITY - CONSTRUCTION SITE - DAY

The four have advanced the fight. We're half a block from
the Crater. Sue continues trying to Force Giganto back,
Johnny hurls fireballs, Ben is pushing on the monster to go
backwards.

Reed continues to fly the Fantasticar over head -- Reed

reaches out with punches -- Giganto roars and swipes at Reed
as he flies -- Reed presses a button on the console of the
fantasticar, a Net shoots out wrapping around Giganto -- It
gives a strong swipe causes the vehicle to swerve -- Another
Massive fist comes down and Crushes the Fantasticar --

Reed leaps out of the way -- his Body stretches out, like a
flying squirrel and he sails to the ground -- Reed stretches
into a giant rubber wheel -- He rolls over to Ben and Sue.
Sue continues the advance, Ben is punching the Monster's
legs --

BEN
How'd getting that Mole go?

REED
Don't ask.

The Fantasticar crashes into the ground -- People continue

to flee from Giganto and Mole Man -- A woman runs, holding
her baby in one hand, and a little boy in the other -- the
boy loses grip and falls --

SUE
(SCREAMS)
REED!

REED sees the kid, 'oh damn!' repeats in his head as he

leaps around:
 28.

REED
Open a Pocket!

Reed balls up and bounces through the pocket, he rolls --

wraps around the boy -- He stands, kids in his arms -- the
boy points out his mother -- Reed looks around analyzing the
situation -- Giganto's foot steps back -- Reed expands
around the boy -- a Force Field surrounds Reed and the boy:

REED (cont'd)
I'll get you back to your mom. But
first, you ever play with a bouncy
ball?

The Boy nods.

REED (cont'd)
Good. You know how they work? Force
and motion. I'll be wrapped tightly
around you, but I'll conduct the
force, okay?

The boy is too confused then nods. Reed Stretches over the
boy, his face peeking out --

REED (cont'd)
This might be the coolest experiment
ever!

Reed bounces himself in the air a couple times to get

momentum --

Sue watches, wondering what Reed is doing:

REED (cont'd)
(Over Comm)
Sue, when I say go lower the force
field, me and little man here are
going to bounce.

SUE
(Questioning)
Oh Okay...

Reed's body bounces higher, higher --

REED
GO!

The Force Field lowers -- Reed bounces and the Boy's face is
terror -- then excitement!
 29.

He's moving like a bouncy ball, bouncing off the Street, the
buildings, the wrecked cars -- Reed controls the motion and
the Boy giggles -- Giganto tries to stomp on Reed, missing
by inches on each bounce -- The boy laughs!

-- Sue creates force fields, blocking Giganto from moving

forward as they bounce -- Johnny lays down some cover fire,
blasting it with Fire Bolts -- Ben hammers at the creature!

Reed sees the mom -- Bounces high -- Reed opens into a

wheel, the boy grabs onto Reed's sides, they roll
together -- Reed relapse into himself, holding the boy as he
runs him to his mother -- She runs holding both children.

Reed turns back to the fight!

REED (cont'd)
(SCREAMS)
JOHNNY!

Johnny appears, still hurling fireballs and dodging swipes.

He takes notice of Reed:

JOHNNY
What?

Reed makes a Circular Motion, Johnny picks up his speed

flying around Giganto and Mole Man -- Each time he passes
Johnny gets a little closer -- a wall of Fire builds burning
Giganto -- The fire wall forces the Monster to retreat --
Giganto reaches for Johnny, grabs him -- Johnny turns up the
flames, the flame burns him and he Roars!

Giganto is nearing the edge -- Reed looks around, finds a

couple of building columns. He taps Sue's shoulder:

REED
Open it.

He runs through an opening, past Giganto. He stretches

himself around the column of one building then -- His other
half reaches around the Column on the opposite side --
Giganto continues to move Backwards -- Mole Man notices
Reed, sees the crater!

MOLE MAN
NO! NO! You're going the wrong way
you stupid beast!

The heat, the punches, the force field, it proves too much
and Giganto stumbles backwards, it's foot hitting Reed's
stretched out body sends it tumbling back into the Crater,
Mole Man is thrown off the Beast's back and rolls onto the
sand of the construction site.
 30.

The beast screams as it fall into the darkness of the

crater! A Force Filed pushes the ruined construction
materials over the crater closing the monster in -- Johnny
flies above it, melting the steel sealing the crater
permanently.

Mole Man stumbles, reaching for his wooden scepter. A foot

presses on his hand. Mole Man looks up to see Reed, shaking
his head. Slowly, one by one, Sue, Johnny, and Ben enter
frame.

SUE
I don't think so.

EXT. CONSTRUCTION SITE - MOMENTS LATER

Police are handcuffing the Mole Man, putting him in the back
of a SWAT Van. The four are gathered around some of the
officers shaking hands.

REED
Hopefully we can keep him above
ground for a while.

Johnny holds the Wooden Scepter.

JOHNNY
Hey Chief Mind if we keep this? Would
make for a great addition to the
trophy room.

Sue rolls her eyes.

BEN
Hey stretch what about our ride?
Didn't that what's it call destroy
it?

Reed sighs. Looking at the cops:

REED
Think one of these SWAT vans could
give us a lift?

EXT. DOOMSTADT, LATVERIA - EVENING

Latveria is a small Balkan country, surrounded by the
beautiful mountain range. The style and visage would remind
you of an old germanic-styled village. Technology exists,
but it's design is more in-line with a Victorian era
aesthetic.
 31.

The people seem happy. Pushing carts, selling fruits,

vegetables, meats. Vendors offer wares of plates, hand
crafted jewelry, cloth and clothing. People choose to ride
bikes than drive cars, children run and play simple games of
tag and hop scotch than racing each other on skateboards.

There is a large hill leading to a large CASTLE - the kind

of castle you'd expect Count Dracula to inhabit. In the
distance we see the Doombot head arrive --

INT. CASTLE DOOM - DOOM'S LABORATORY - CONTINUOUS

The Lab is advanced, beyond a sense of style, beyond a sense
of aesthetic. Everything in the room has a purpose.
Everything is sleek, clean, silver. The floor and walls are
stone. Machines move in the background working on things as
if directed. Monitors display everything from the stock
market, to senate hearings, to various news channels.

We follow as the Doombot Head enters from the top.

It lowers it self at a steady pace, landing on a small

launch pad.

The Spider Legs carry the Head over to a figure almost

wrapped in the Machinery of the lab. Screens encompassing
him, calculating. We don't see this figure yet.

On one of the monitors, we see the Fantastic Four, posing

for the cameras, smiling.

The Doombot Head drops to the mysterious figure. It opens

like a chest, presenting the M'Kraan Crystal. An ARMORED
HAND reaches out and grabs the Crystal. The hand moves it,
examining it...

DOCTOR DOOM
(Hidden)
For all their adventures. It's their
own spoils that have failed them.
Their flaw of underestimating my
genius has allowed me to watch them
for years, but now...

The figure Stands, a GREEN Cloak covers him, flowing as he

moves to a device in the center of the Lab, where Reed's
Time Microscope was massive, This figure's machine, the Time
Telescope, is simple, connected to a large computer.

DOCTOR DOOM (cont'd)

I have everything I need to wipe
their very stain from time and space.
 32.

The figure operates the computer, a port opens, an arm takes

it. The Computer comes alive, displaying information through
out the Multi-verse.

DOCTOR DOOM (cont'd)

Of all human civilization there has
been key lives to help balance the
condition of the world. Lives that if
erased could change the fabric of our
reality.

We see the computer analyzing many different figures,

everyone from Doctor Doom himself, to Reed Richards, to
many, many citizens. The computer Transcribing billions of
Yottabytes of information.

Reveal on DOCTOR DOOM (Mid 30's), He's clad in Silver

Medieval styled Armor, a holstered weapon on his right side
and he is wrapped in a green tunic and Cloak. A Haunting
Silver Mask over his face.

DOCTOR DOOM (cont'd)

Richards has his "Time Microscope"
fitting for how small he always
thinks.

Parts of the computer twist and turn, beeping and screaming

as it works through the calculations.

DOCTOR DOOM (cont'd)

Calculating the prescient effect of
each life on earth and it's impact to
the greater existence could be time
consuming.

The Machine begins projecting images of Earth, of New York,

as it alters with the calculated death of each individual
citizen. Accounting all variables.

DOCTOR DOOM (cont'd)

Time is of the essence if I am to
save this world. I must know who the
sacrifice will be to create utopia.

The images project the image of a Dark New York:

DOCTOR DOOM (cont'd)

Stop!

The Machine stops.

DOCTOR DOOM (cont'd)

Show me more.
 33.

The Machine processes. It shows us a series of stills:

Graffiti covered walls, drive by shootings, people at war,
missiles exploding into buildings. Soviet soldiers invading
the city, this is not our New York, it is a gothic hell-
scape. A world with no Fantastic Four.

DOCTOR DOOM (cont'd)

Who was removed to cause this world?

The Machine projects the image of: WILLIE LUMPKIN.

DOCTOR DOOM (cont'd)

What is the date his actions alter
the course of history?

The Machine calculates, Willie is turned younger, younger...

until it stops, showing a different looking Willie, now 32
years old. A date under him is projected:

1963-MAY-29
Doctor Doom stands, curious. Contemplative. The date stares
at him.

DOCTOR DOOM (cont'd)

This world, this version of New York
would be weak. Weaker than now. The
crime, the corruption would have it's
peoples in arms, begging for a
savior.
(Realization)
A savior would could protect them
from the wars of the outside world.
Someone strong and Iron-Willed. It's
perfect.
Doctor Doom taps on his computer:

DOCTOR DOOM (cont'd)

Richards and his freaks will be here
soon. I must prepare.

He leaves the room.

EXT. BAXTER BUILDING - DAY

Doctor Doom's laugh bleeds into Cheers. As People are
gathered around the Baxter Building.

The SWAT van arrives and the Four exit, the crowd cheers
even louder!
 34.

Johnny waves the Mole Man's wand around, He looks at Reed

with a smile:

JOHNNY
(Whispers)
How about we give them something
special?

REED
What were you thinking.

Johnny raises his hands, holding the staff:

JOHNNY
(To Crowd)
Because of our totally awesome butt
whipping of the Mole Man, All Mole
Man related Fantastic Four
merchandise is Forty-percent off!

The crowd erupts into an even louder Cheer! They try to rush
into:

INT. BAXTER BUILDING - LOBBY - CONTINUOUS

Johnny is jovial in his movement, The other three are
staring at him confused:

SUE
Was that really a good idea?

JOHNNY
What? Gotta play to the crowd.

REED
We'll honor the discount but Johnny
you should really talk to us.

JOHNNY
Hey! The Mole Man stuff hasn't been
selling lately and I thought maybe
all the excitement might get them
hungry for some of our classics.

Sue covers her face, then fades from sight. Reed

instinctively gives her a side hug.

REED
I appreciate you reading the
merchandise manifest, but Johnny we
all run this together.
 35.

Reed grabs the Mole Man's scepter. Reed and Sue enter one of
the elevators, Johnny drops his hands defeated. Ben places
his hand on Johnny's shoulder:

BEN
Sorry kid. I thought it was a good
idea.

Johnny pulls himself away, upset:

JOHNNY
Just go be a monster somewhere else!
Okay!

Ben's face drops. Johnny looks at him and knows immediately,

that was uncalled for. Johnny tries to open his mouth,
nothing comes out. He just walks away. Ben looks around the
lobby, it's gone quiet, the tourists just stare.

BEN
(Agitated)
Why don't you take a friggin'
picture, it'll last longer!

A kid drops his Human Torch Doll and screams. People begin
snapping pictures. Ben grumbles and rushes to a secret
elevator.

INT. BAXTER BUILDING - ELEVATOR - DAY

Reed and Sue stand, almost on apposite ends. The silence is
rough. Reed puts his hand in his pocket, we see him pulling
his hand out, he puts the hand behind his back, he rubs the
item, we see it is the engagement ring.

REED
Sue?

SUE
(Looking up)
Yeah?

REED
You know how I feel right. About you,
us?

SUE
Yeah.

REED
I know there's a time and place for
things. An--
 36.

SUE
Reed. I... It's been difficult
lately.

The door opens to...

INT. BAXTER BUILDING - TROPHY ROOM - CONTINUOUS

Reed steps out, Sue doesn't move. Reed turns back to Sue, a
look of guilt in her eyes, as if she knows his heart is
about to be ripped out.

REED
What's wrong.

SUE
I want... Need us to take a break. To
think about things, the Fantastic
Four...

REED
Oh.

Reed places the engagement ring back into his uniform

pocket.

REED (cont'd)
Sue...

SUE
I'm sorry.

REED
I get it. I'm sorry.
Reed turns, Sue exits the elevator, a tear rolls down her
cheek. Then something grabs their attention... They see the
cut glass from the Doombot head.

REED (cont'd)
What the...

SUE
Herbie?

REED
Herb?

They search around, Sue spots H.E.R.B.I.E.'s body, crumpled

and destroyed:
 37.

SUE
(PANIC)
REED!

Reed looks over, sees the body. The Mole Man's scepter drops
as he rushes over.

REED
No.
(Angered)
Which display was broken?

Sue runs over, looks at the plaque "DOOMBOT."

SUE
It was him.

Reed runs --

INT. BAXTER BUILDING - REED'S LABORATORY - CONTINUOUS

Reed busts through the doors and runs over to the safe.

It's empty. Reed clenches his fist.

REED
Doom.

Sue presses the emblem on her uniform, it activates a

communication system with the others:

SUE
Guys. Get up here. It's Herbie.

REED
No. The hangar.

SUE
The hangar then...

INT. BAXTER BUILDING - HANGAR - CONTINUOUS

Reed is marching, Sue looks at him, worried about him. Ben
and Johnny stand firm watching Reed:

JOHNNY
The Boss man looks mad.

REED
We're going to Latveria.
 38.

BEN
WHOAH! Stretch, easy. We're going
invading a foreign nation?

REED
Doom attacked us at our home. He
stole from us. He started it. We're
going to stop it.

BEN
That ain't like us stretch. We all
loved Herb --

REED
No 'but'. Whatever Doom is doing, it
means everyone is as risk. I won't
hear another word about it.

JOHNNY
Reed how are we going to get there?
The Fantasticar was destroyed?

REED
We have the old model.

SUE
Reed, think about this. If Doom did
this it must be a trap.

REED
It worked. We're going.

Reed approaches a large item covered over with a tarp. He

pulls it off, The Fantasticar Mark One. It looks like a
Convertible Flat-nosed Volkswagen Van, the Wheel covers are
also Thrusters.

REED (cont'd)
Everyone in.

EXT. BAXTER BUILDING - CONTINUOUS

The Fantasticar Shoots into the sky!

EXT. DOOMSTADT, LATVERIA - EVENING

The Fantasticar enters the air space, aiming straight for
Castle Doom!
 39.

INT. CASTLE DOOM - TIME CHAMBER - CONTINUOUS

The Time Chamber, A massive space, a floor that could fit an
army, connected to a control panel. The device itself is a
TIME PLATFORM.

Doctor Doom begins tapping away, he sets the control panel

to send him a few days before.

DOCTOR DOOM
Time will be needed to make
connections. I will require their
assistance.

A loud, thunderous Crack is heard -- Doctor Doom begins

tapping away faster.

DOCTOR DOOM (cont'd)

No. Richards is not going to stop me
this time!

Doctor Doom holds the M'Kraan Crystal, he moves with intent

as he steps over to a control panel. The panel opens:

DOCTOR DOOM (cont'd)

The power of time and space in this
crystal. The power to manipulate time
is now mine!

He places the Crystal into an opening on the control panel -

we see the machine lighting up - cables connect it to
Metallic Paneling making up the floor -- it goes from a
stale silver to radiating a green energy.

Doctor Doom continues to work the panel, we see him choosing

a date:

1963 - MAY - 28TH

Then a Location:

HASSENSTADT, LATVERIA: 44.439663, 26.096306

Finally a Time:

20:00.00
Lights Flash, a Glaring Alarm erupts, Grabbing Doctor Doom's
attention:

DOCTOR DOOM (cont'd)

Of course.
 40.

Electricity sparks creating a dome around the time

platform --

EXT. CASTLE DOOM - NIGHT

The castle fires lasers at the Fantastic Four, flying around
in the Fantasticar!

Ben leaps out of the Fantasticar... And falls... Right

into...

INT. CASTLE DOOM - TIME CHAMBER - CONTINUOUS

Doctor Doom throws an energy shield as debris shoots at
him -- Ben stands, heroic -- Ben Rushes Doctor Doom --

BEN
IT'S CLOBBERIN' TIME!

DOCTOR DOOM
Not hardly, you rock-brained
imbecile!

Doctor Doom punches him downward, like swatting a fly -- Ben

drops hard -- Doctor Doom kicks Ben so hard that Ben sails
across the Room --

A fireball shoots at Doctor Doom, his Energy shield absorbs

it -- Johnny Bursts through already in Torch form --

JOHNNY
(Entering)
Hey only I get to make fun of the big
guy!
Doctor Doom blasts Johnny mid-air with his blaster -- Ben
runs after Doctor Doom -- Doctor Doom opens his palms, light
flashes blinding Ben -- Doctor Doom side steps Ben and
throws him, Ben flies into the wall --

Doctor Doom fires an energy blasts at Johnny -- Johnny

dodges a few, one connects and sends him to the ground,
Hard --

Reed and Sue drop down through the open hole -- Doctor Doom
uses telekinesis to throw Ben and Johnny at Reed and Sue --
Sue catches them in a force field and rights them --

REED
DOOM!
 41.

DOCTOR DOOM
Richards.

REED
I want it back!

DOCTOR DOOM
Tsk. Tsk. Weren't you pesky Americans
taught to share your toys?

Doctor Doom shoves the Energy shield forward it collides

with the Four -- Doctor Doom creates energy bands, binding
the four to the wall of the chamber --

DOCTOR DOOM (cont'd)

I wish I had the time to enjoy this.
Torturing you. But I am about to
change the foundation of existence.

REED
NO!

Reed breaks free of his bands, He rushes Doctor Doom,

rolling into a ball and bouncing at him -- Doctor Doom sends
electric shocks through Reed's body --

The Control Panel becomes active.

DOCTOR DOOM
Perhaps I will take you Richards,
your suffering would be a fitting
trophy to bask in as I save the
world.

REED
(In Pain)
Sue...

Sue watches, Reed writhing in pain, her eyes swell "No" is

all she can think! Her eyes GLOW:

SUE
(SCREAMS)
NO!

She breaks free - the castle wall collapses, She sends grabs
Reed with a force field and moves him out of the way -- She
rushes Doctor Doom and the two collide -- punching each
other -- the time platform kicks on --

They fall together, falling through time -- Reed, weakly,

reaches for her:
 42.

REED
(SCREAMS)
SUE!

INT. TIME VORTEX - N/A

Doctor Doom and Sue fall through time -- The two warriors
pounding on each other -- Doctor Doom Blasts Sue, Sue tries
to suffocate Doctor Doom in a force field --

EXT. HASSENSTADT, LATVERIA - NIGHT

LEGEND:

- 1963/MAY/28th -
Lush green fields, no walls, no sign of technocracy. Instead
it's a more simplistic village, carts, vendor stands, people
roaming the streets. Lamps light the paths, and the moon
glows over them.

An invasive force exists among the people... Soviet Soldiers

manning the place. Soldiers march up and down the streets,
inspecting the people. Soldiers push the people around.

The Castle isn't Doom's, it is a Soviet Union military base,

Bitterfrost.

Wind rushes, electricity sparks -- the People and the

Soldiers notice, they begin to back up -- A bright light,
wrapped in electricity rips like a black hole -- from it
Doctor Doom and Sue Storm drop -- Their battle has fatigued
them to the point of being unconscious...

INT. CASTLE DOOM - TIME CHAMBER - PRESENT DAY

Ben and Johnny help Reed up. Reed pulls himself away from
them, forces himself to stand.

REED
I'm going to kill him.

BEN
Easy stretch! She's gonna be okay!

REED
No. If Doom has her, there's no
telling what will happen.
 43.

JOHNNY
Reed, let's just set this baby back
for five minutes an--

REED
No! Interacting with our past selves
could either kill us, leaving Doom
unimpeded, or cause a rift that will
destroy all of space and time.

BEN
What in Sam Hill do we do?

REED
We've got to follow him.

BEN
With what information?

INT. CASTLE DOOM - DOOM'S LABORATORY - CONTINUOUS

Reed rushes in, begins hacking into Doom's computer.

REED
The M'Kraan Crystal is connected to
the fabric of space and time. Under
normal circumstances Time travel
wouldn't do anything but create a
separate dimension. But because of
the crystal it creates a unique
signature. Through Doom's time
platform anyone sent through will
have that energy, and it extends onto
whoever he has contact too.

BEN
English.
(To Himself)
Lord, even when he's angry he talks
gibberish.

REED
Doom doesn't do anything without a
reason. He wanted to go back in time.
He wanted to make a change.

The Information appears on the Computer. It replays for

Reed, Johnny, and Ben what it showed Doctor Doom; A Gothic
New York plagued by crime, corruption, violent streets,
civil unrest. It shows the picture of Willie, de-aged to be
about thirty-Eight or thirty-nine.
 44.

BEN
Wait. Junk face is going back in time
to kill our mail man?

REED
Apparently Willie is a 'key life'
something he does, or has done
drastically changed the fabric of
reality.

BEN
So we go to New York, and protect
Willie from old Doc Doom?

REED
Not that simple. My goal is finding
Sue. We're going to find Doom and
stop him before he even gets to
Willie.

BEN
Reed be logical about this! Doom
already has a head start. He has Sue.
We can't leave Willie unprotected.
Especially if he's as important as
you says. Susie, she's a big girl and
can handle anything that maniac
throws at her.

REED
I don't care. I need to save Sue!

BEN
You need to think this through
stretch. You, me, burnout there go
through and arrive in Russian
territory we're gonna unintentionally
start world war three.

JOHNNY
Plus there's someone else's life at
stake. Someone who couldn't possibly
be prepared for Doom.

REED
Fine. You're right. We'll find Willie
in New York and put him somewhere
safe. But we are going to find Sue
and Doom!

The emotions hit Reed, he covers himself. Ben grabs Reed by

the shoulder:
 45.

REED (cont'd)
You don't understand Ben. She is too
important to me. If I lose her...

BEN
I get it stretch. Let's go.

The four re-enter:

INT. CASTLE DOOM - TIME CHAMBER - CONTINUOUS

The fantasticar lowers through the open hole. Reed steps
over to the control panel:

REED
Doom's last co-ordinates put him here
back when Latveria was under USSR
control. The Castle used to be a
soviet military base, Bitterfrost.
This gives us an advantage. We can go
straight to New York.

Reed takes his scanner, he flips it open, a chip in it, he

taps on the control panel.

REED (cont'd)
We're going to be stuck in the past
and we won't have much time. While
being that we have noticed the
changes of anything or haven't
altered ourselves time must be moving
co-currently. Which means Doom hasn't
been successful yet. We each have
trackers in our uniforms, we'll be
able to keep track of each other.
He inserts the chip into the control panel.

REED (cont'd)
Whatever is going to change reality
will happen Twenty-Four hours after
we arrive. This should give us time
to find and stop Doom and save Sue.

JOHNNY
Twenty-Four hours to stop Doctor
Doom.

BEN
Save Willie and Sue.
 46.

REED
And get back here. We fail, we miss
it by even an inch, make any drastic
alterations to the past, there's no
telling what world we come back to.

BEN
I hope we're taking the Fantasticar.

REED
We'll have to. We don't have enough
time do everything without it.

JOHNNY
We better get going then.

REED
Doom set his arrival for Eight p.m.
Latverian time, It's a seven hour
time difference we'll have to account
for.

Reed finishes tapping on the control panel.

REED (cont'd)
Hopefully we find Willie before Doom
does.

He sets it for:

1963 - MAY - 28th

NEW YORK, NY - UNITED STATES: 40.7831° N, 73.9712° W

13:00.00
He stretches into the Control panel, revs the Fantasticar --

REED (cont'd)
Excelsior.

INT. TIME VORTEX - N/A

The group ride the Fantasticar through the trippy and far-
out presence of the time vortex --

EXT. NEW YORK CITY - 1963 - MORNING

LEGEND:

- MAY 28TH, 1963 -

 47.

The New York Skyline is remarkably similar, the most dynamic

change is the amount of Construction sites building
skyscrapers, including a construction site where the Baxter
Building will be.

The skyline ripples -- Storm clouds gather, thunder cracks

and lightning ripples -- The Fantasticar breaks through.

We follow the Fantasticar as it settles into an alley.

EXT. AMERICAN CONSUMER MARKET ENTERPRISES - DAY

A.C.M.E. A large corporate building housed in the Baxter
Building. It's considerably less impressive than when we saw
it earlier. No element of it sticks out as unique, save for
the A.C.M.E. Logo painted over the doors. If you didn't
notice you wouldn't even assume it was the Baxter Building.

INT. A.C.M.E. - MANAGER'S OFFICE - DAY

The office is nice, large window making up most of a wall, a
nice corporate bar for one of the high-ranking managers.
WILLIAM LUMPKIN, (30's) Much younger, darker hair, handsome,
his shoulders slumped, he echoes the essence of a defeated
man. His leg shakes, he waits. A door closes, and he winces:

MANAGER
(Entering Frame)
Will, thanks for coming in.

WILLIAM
(Nods)
No problem. Is everything alright?

MANAGER
How are Doreen and Jackie?

WILLIAM
It's Stanley, sir but they're Good.
Mr. Wilson, can you explain why I'm
here?

MANAGER
There's no easy way to go about it
Will. Your sales numbers are great,
but the economy...

The Manager mimics and explosion.

 48.

MANAGER (cont'd)
Things changing new attitudes, new
people coming in. It's not good on
us.

WILLIAM
I don't follow.

MANAGER
We're letting you go. You do great
work, but let's face it... You're
replaceable. You came in after the
War, you did a great job in your
department, you put your head down
but I get college kids applying every
day. I need someone who can put in
another thirty-forty years. I'm sorry
big guy.

The Manager stands, William can't move. He just freezes

there. The Manager exits frame, we hear the door open:

MANAGER (cont'd)
(O.S.)
No hard feelings Will. You'll land on
your feet.

William stands, steps over to the window, he places his head

against it.

MANAGER (cont'd)
(O.S.)
I'll give you a minute.

The Door closes. A single tear rolls down William's face. He

looks down to New York - a city of millions...

EXT. NEW YORK CITY - ALLEY - CONTINUOUS

The Fantasticar Lands in the Alley, The thrusters turn back
into Wheel Covers, Four Rubber Tires pop out. Reed hits a
button, a TOP pops up over the Fantasticar, enclosing it.

Reed, Johnny, and Ben exit.

REED
We need to find Willie, but Ben, you
stick out like a sore thumb.

BEN
Aww man, you're benching me?
 49.

REED
Just for now. Trust me. I just need
to gather materials.

JOHNNY
With what money? Any paper we got has
to be too modern for this town.

REED
I thought about that.

Reed pulls out a clear briefcase from the Fantasticar,

opening it. It has several clear compartments with various
currencies. Reed flips through it like a book.

REED (cont'd)
(To Himself)
Let's see... United States Currency,
early sixties...

We see a section of U.S. Currency dating back decades.

REED (cont'd)
I saw this in a movie once. I thought
it was a good idea so I began
collecting a bunch of currencies from
different decades and so on.

JOHNNY
You're such a dork.

Reed pulls about two-hundred dollars.

REED
We need clothes, and I need a radio
shack.

JOHNNY
Did they even have that this long
ago?

BEN
Oh lord. The kid's a moron.

JOHNNY
Hey big guy, just play living statue
till the grown-ups get back.

BEN
You little-- You're lucky I don't
throw a cow pie at you!
 50.

REED
Enough! Both of you. Ben, wait in the
Fantasticar, Johnny come with me.

Reed moves to exit the alley, Johnny follows:

BEN
Hey kid. This is your chance. Talk to
stretch.

Johnny smiles. Pats Ben on the shoulder. Ben enters the

Fantasticar, Johnny exits the alley...

EXT. CASTLE DOOM "BITTERFROST" - NIGHT

Castle Doom, or as it's known in 1963: Bitterfrost Military
Base, is draped in the Soviet Hammer and Sickle. Anything
technologically impressive is replaced with very boring-
looking tech of the time.

INT. BITTERFROST - DUNGEON - DOCTOR DOOM'S CELL - NIGHT

Doctor Doom is tied up, his cloak and tunic removed, but his
body is still encased in it's armor. The mask still wrapped
around his head.

The door opens, closes. Footsteps echo, but Doctor Doom

remains still. He raises his head. A figure comes onto
screen, setting a chair down.

We notice what Doctor Doom notices: The figure wears a

Soviet General's uniform, his hair is short and white, a
trimmed and kept beard outlines his jaw. His face is cold
and steely as his blue eyes look out. This is GENERAL IVAN
KRAGOFF, (50's).
He eyes Doctor Doom, as Doctor Doom eyes him. For now,
Kragoff speaks only Russian subtitled in english.

KRAGOFF
What is this get up?

He grabs Doctor Doom's cloak and tunic.

KRAGOFF (cont'd)
(Sighs)
Why didn't you strip the prisoner?
 51.

SOLDIER
(Responding in
Russian)
We tried. His armor electrocuted Yuri
when he tried to remove it.

KRAGOFF
(To Soldier)
Why not shoot him?

SOLDIER
We tried. The bullet bounced off and
killed Igor.

CAMERA pans over to Yuri, burned to a crisp and Igor, laying

dead, his face blank - a hole in his head from the Ricochet.
Kragoff chuckles.

KRAGOFF
(To soldier; Humored)
This is unfortunate.

A soviet soldier presents Kragoff Doctor Doom's side-arm, a

blaster. On closer inspection we notice it resembles a World
War II Era RUGER. Kragoff takes the weapon, holds it in his
hands. He aims it at the wall:

KRAGOFF (cont'd)
(Playful)
Pew Pew.

The soldiers laugh, Kragoff pulls the trigger -- an LASER

bursts through erupting through the wall -- turning the wall
into ruble.

KRAGOFF (cont'd)
Now this. This is Fantastic.

DOCTOR DOOM
(In Russian)
I assure you, If Doctor Doom is
anything, it is certainly more than
"Fantastic."

Kragoff focuses solely on Doctor Doom.

KRAGOFF
You speak our language.

Doctor Doom will continue to respond in Russian, subtitled

English:
 52.

DOCTOR DOOM
I speak all languages. When I come
from, I am master of all things.

KRAGOFF
You came out of the light. Boom! You
and your female.

DOCTOR DOOM
The female was not with me.

KRAGOFF
So you wouldn't mind if we...
(Imitates Slitting
throat)
Eh?

DOCTOR DOOM
If you wish to think on such a small
scale. She is powerful.

Kragoff laughs.

KRAGOFF
The girl? More powerful than us? You
have an American's sense of humor.

DOCTOR DOOM
(Insulted)
I am no American. I am from here.
Latveria.

KRAGOFF
Okay, Latverian. Tell me, what
crosses our paths? You make a wrong
turn towards Russia?

DOCTOR DOOM
I come from the future. I am here to
help the Soviet win the war.

KRAGOFF
(Laughs)
And how do you want to help us win
the war? Kill the capitalist
President? We already try.

DOCTOR DOOM
He is insignificant. There is someone
else. An American. Eliminate him and
you would see you're beloved empire
reign supreme.
 53.

KRAGOFF
Why am I listening to this nonsense?

DOCTOR DOOM
The same reason I didn't murder you
for insulting me.

This catches Kragoff's attention. His expression shifts to a

cold insulted tone.

KRAGOFF
Big talk from the one tied up.

DOCTOR DOOM
You live because I allow it.

The restraints on Doctor Doom melt -- He stands with no

effort. The Soldier begins firing on Doctor Doom -- the
bullets simply melt before they even reach Doctor Doom -- He
throws his arm up and fires an energy blast that knocks the
Soldier out of the room! Doctor Doom looks down on Kragoff.

DOCTOR DOOM (cont'd)

General, you can either die as my
enemy, or you can serve me and
receive more power than you could
have ever hoped to possess.

A dozen Soviet Soldiers barge in, with AK-47's all cocked

and aimed directly at Doctor Doom. Kragoff holds his hands
out, he is awe-struck.

DOCTOR DOOM (cont'd)

(A beat.)
Take me to the female.

INT. BITTERFROST - DUNGEON - SUE STORM'S CELL - CONTINUOUS

Sue is still unconscious, an IV of drugs feed into her,
keeping her sedated. Doctor Doom enters escorted by Kragoff.

DOCTOR DOOM
Americans will be coming for her.

KRAGOFF
Americans? They jump start World War
Three if they enter Soviet territory.

DOCTOR DOOM
They would criple your entire regime.
These... Americans are freaks. They
will come for her.
 54.

KRAGOFF
What would you expect us to do?

DOCTOR DOOM
Unhook her. You'll need to assemble
equipment for me.

KRAGOFF
What are you planning to do?

DOCTOR DOOM
(In English)
I'm going to give you an assassin to
kill the American and the Americans
who will be coming for her.

EXT. NEW YORK CITY - STREETS - DAY

Reed and Johnny walk around, their uniforms on display.
Johnny jives with the city, eyes the ladies. Reed is moving
fast and focused. Finally Johnny takes his opportunity:

JOHNNY
Hey Reed.

REED
We shouldn't be too far from it.

JOHNNY
No not that. Listen, I've been
wanting to expand my role more. In
the company.

REED
Is this another 'I've found my
direction and I want to try this'
pitch Johnny?

JOHNNY
Look, this isn't just a spur of the
moment decision. I've been working
with the accountants, I've been
studying with Herb...

REED
Two more blocks, then left.

Johnny cuts Reed off, standing right in front of him, He's

taking this moment.

REED (cont'd)
Johnny we need to hurry!
 55.

JOHNNY
Reed I want to do more with the
company. I've been spending the last
few months busting my ass because I
want to be apart of this. Not just
the fame and heroics. I want to be a
part of the business.

Reed stops. Breathes in.

REED
And now! You're telling me now? While
there's a literal ticking clock
Terminator situation going on?

JOHNNY
Look I get you're the leader, I get
you're the world's smartest man and I
have to work to get your attention,
but this is the only time we've even
talked this long in months.

REED
(Relents)
Okay. What do you need? And let's
walk while we do this.

They continue walking:

JOHNNY
Look I've been shadowing every suit
and tie, and every skirt. Not doing
anything I shouldn't. I've been
learning. I know you wouldn't just
hand me the keys to the business end
and I know you certainly wouldn't
even think about it. I applied to
Yale. Mail-In courses. Stuff I can do
from the Baxter Building. But I'm
worried I'm not smart enough for
this.

REED
Johnny you're an expert mechanic. If
you did college courses in
engineering you'd probably graduate
six months ahead of everyone else.
You sell yourself short.

Reed pats Johnny on the back.

 56.

REED (cont'd)
I'm the world's smartest man, but
that doesn't mean you have to be to
run a company. You want to take these
business courses, we can certainly
arrange it. But now, I need to save
your sister and stop Doom.

JOHNNY
I haven't seen you this steamed in a
while.

Reed stops. He points to the store sign.

REED
I'm going in here. I'm spending about
twenty-thirty bucks. I need you to go
there...
(Points across the
street)
And get clothes for all of us. Loose
fitting. For Ben, well, get the
biggest you can get okay?

Reed hands Johnny some money.

REED (cont'd)
And Johnny. Be a business man, keep
it under budget.

Johnny smiles.

JOHNNY
Can do boss man.

Johnny zips across the street, Reed breathes out... Sighs.

Reed enters the Radio Shack...

EXT. BITTERFROST - SUE STORM'S CELL - NIGHT

We hear electric shocks, screaming. Pain. We see the
silhouette of Sue, writhing in pain.

We see Doctor Doom.

DOCTOR DOOM
I do feel sorry this, Ms. Storm.

We see Sue, she looks at Doctor Doom with a sense of hatred.

A slight nose bleed shows her pain.
 57.

SUE
(Heavy Breathing)
Why can't I use my powers?

DOCTOR DOOM
Unfortunately I've had to use a power
dampener, while I do admire your
abilities I'm afraid I can't let you
go, yet.

SUE
Yet? You plan on killing me?

DOCTOR DOOM
No. Among Richards' band of freaks,
huh...
(Thinks)
I never realized that Richards
probably hid your true potential from
you. You're power.

SUE
Just let me go, I'd be more than
happy to demonstrate my true power on
you.

Doctor Doom moves in close, studying Sue.

DOCTOR DOOM
You're power is remarkable. You're
abilities continue to evolve. If I
took that dampener off, you could
stop my cold black heart. You could
create a microscopic force field,
cause a brain aneurysm. You could
expand my lungs and blow me up from
the inside. Did you know?

SUE
I didn't need Reed to tell me how
powerful I am.
(Pure Hatred)
When I get out of here, we'll test
your theories on my power.

DOCTOR DOOM
My dear, you need not worry. Your
fellow freaks will follow, and you'll
get every opportunity to test your
powers.

Doctor Doom steps away from Sue.

 58.

DOCTOR DOOM (cont'd)

I wish I could say this isn't
personal. But considering how often
I've been bested by you and your
freaks... It has become very much so.

Doctor Doom activates a control panel, we hear the machine

warming, a device wraps around her head:

DOCTOR DOOM (cont'd)

You will come to hate your beloved
Dr. Richards and you will become my
assassin.

SUE
(Preparing)
Never.

The Device begins shocking Sue, Doctor Doom enters a Tape

from his armor into the machine and we see projections of
Reed, Ben, and Johnny:

DOCTOR DOOM
(Voice Echoing)
Remember these as the faces of your
pain. Let your hatred flow along the
suffering as you feel the abandonment
from them. Allow your Malice to take
over.

Sue is gritting her teeth, fighting the primal urge to

scream... and she... is starting... to lose... the fight.

Sue's scream curdles blood, as we move off her and back to

the silhouette...

EXT. NEW YORK CITY - ALLEY - DAY

Ben sits in the Fantasticar, grumbling. He exits the
vehicle, paces back and forth. Anxious. He sits, taking the
form of August Rodin's The Thinker.

He watches, people walking down the street, couples hand in

hand, kids playing, Men passing by all going to work.

Ben's eyes begin to move around, his muscles fight to stay

in place, but his eyes linger and become fixed on a street
sign not to far. At the end of the alley. His eyes focus in
on the signs and he fights his own, internal reaction as the
street sign becomes clear, and the name on the street sign
reads:

YANCY ST.
 59.

The word "DAMN!" repeats in his head, he fights his

reaction, in his mind he begins to pray. Then we hear the
sound of a can kicked off screen. He knows what's coming.

We look Down as Ben's eyes focus on the sign, and we watch

the rattling can just roll to his feet. It stops.

YANCY STREET THUG #1

(O.S.)
What is that ugly thing?

Into frame, a YANCY STREET THUG steps. He's got the size of
a high school football player, short hair and an Peace Sign
pin with a strike crudely carved over it. Two other Yancy
Street Thugs arrive.

YANCY STREET THUG #1 (cont'd)

Man. This must be some kinda art
thing cause it is ugly.

They inspect Ben close. They touch the rocky hide skin:

YANCY STREET THUG #1 (cont'd)

This thing feels weird. What the hell
is this?

Ben fights the urge to scream and cry. The Yancy Street Thug
notices a tear welling.

YANCY STREET THUG #1 (cont'd)

What the--

He moves his finger to touch the tear, as it inches closer,

Ben makes a choice:

BEN
BACK UP YA' LITTLE TWERP!

The Kid practically pisses his pants, Ben's booming voice

causes him, and the two other Yancy Steet Thugs to jump.
They run and screaming, trying to escape the alley!

YANCY STREET THUG #1

(Running)
MONSTER! HE'S A FREAKIN' MONSTER!

Ben chuckles.

Johnny and Reed enter the Alley, Reed wears a simple button
up shirt and slacks. He carries a paper bag of items, Johnny
is dressed in a leather jacket and jeans holding a long coat
and Hat. Johnny tosses them to Ben:
 60.

JOHNNY
Here big guy, it's the biggest they
had.

Ben catches:

BEN
Thanks.

Ben slides a jacket on:

BEN (cont'd)
Not much of a disguise...

REED
Well, I've got a solution for that.

Reed tinkers with items in the Fantasticar.

REED (cont'd)
I've had this idea for a minute. I
based it on the mark two's cloaking
technology.

Reed turns around handing Ben what looks like a digital

watch.

BEN
(Hesitant)
Uh... Thanks stretch...

REED
It's an Image inducer. It projects a
different Image over your current
form making you look human.
Ben studies the device:

BEN
Really? So I'd look like my old self?

REED
Look yes, but it can only do so much,
to the touch you'd still feel like
rock.

BEN
Hey I'll take what I can get.

Ben snaps the watch on; looking to Reed:

BEN (cont'd)
Little help?
 61.

Reed taps on the device, we see Ben "change" the rocks fade
into a pink skin. his hands and face revert to normal, but
what we see is the human version of BEN GRIMM.

BEN (cont'd)
(Astonished)
This... This is Amazing!

REED
Good now we search for Willie.

BEN
We're in a city of several million
people stretch. Where do we start?

JOHNNY
I dunno, the yellow pages?

EXT. WILLIAM LUMPKIN'S HOUSE - EVENING

The house is a nice single family ground level home. A
station wagon sits outside, A woman, DOREEN LUMPKIN, 30's,
beautiful and homely, dressed in a sun-dress, she ushers in
a young boy.

INT. WILLIAM LUMPKIN'S HOUSE - LIVING ROOM - CONTINUOUS

Doreen rushes through the door, the young Boy goes off to
play. Doreen grabs him, turns him around. The boy locks eyes
with his mother, she speaks to him:

DOREEN
(In Sign Language)
Stanley, make sure you do your
homework!

Stanley nods.

STANLEY
(Signing)
Okay, Mom. I will

She moves towards the couch to sit down --

KNOCK, KNOCK.

Doreen rises instantly, she opens the door to see:

Reed, Johnny, and Ben standing at the door.

REED
Mrs. Lumpkin?
 62.

She stares at them in a sense of worry pooling.

DOREEN
Y--yes.

REED
Is your husband, Willie, home by
chance?

DOREEN
Nuh-NO. Who are you?

REED
My apologies I'm Dr. Reed Richards.
We're--

JOHNNY
We're with the Government Ma'am.

Reed shoots Johnny a very disapproving look, Johnny shrugs

"What?"

REED
(Introducing Johnny)
This is special agent Storm.
(Introducing Ben)
And Cpt. Grimm.

DOREEN
Is my William in some sort of
trouble.

REED
(Thinking)
It may be more complicated. May we
come in?
Doreen moves aside, the three enter. She closes the door.

DOREEN
What division of the Government did
you say were from?

JOHNNY
Division Four, sub division of the
house Un-American committee.

Reed gives Johnny a "Really?" look. Johnny shrugs, he's

going to roll with it.

DOREEN
You think my William is some sort of
communist?
 63.

JOHNNY
No, no no no no. Nothing like that.

REED
We believe communists have targeted
your husband and his, and possibly
your and your son's life will be in
danger.

DOREEN
The communists want to kill a
salesman?

REED
Well, he's been selling things for
the government, under president
Kennedy's orders.

DOREEN
I need to call William.

REED
I wouldn't mind finding him if you
want. I can let agent Storm or
Captain Grimm stay here to guard you.

DOREEN
I'm sorry, Dr. But do you have any
I.D. A badge?

Reed freezes. He pats his jacket:

REED
(Stammers)
Uh...
Johnny approaches her, flashes his wallet - too fast for her
to see:

JOHNNY
Listen, Mrs. Lumpkin, this is of
National Importance. Please. Do you
happen to know where your husband is?

DOREEN
He-- He sometimes goes to Josie's
Bar, after work.

Reed waves over Johnny and Ben:

JOHNNY
Who should stay?
 64.

REED
Who would be the best to protect Mrs.
Lumpkin?

Reed and Johnny look at Ben:

BEN
Oh you guys suck.

REED
You're right. I'll stay. I need to
think about how Doom will try and
find Willie. Plus Ben's been to
Josie's before.

JOHNNY
When?

BEN
(To Johnny)
All the time. Alicia loves it. Holds
some sort of Blind Meet up there.
(to Reed)
You want us to take the Fantasticar?

REED
Yeah. In case he's trunk. Keep it in
Van mode.

Johnny and Ben move for the door:

REED (cont'd)
Guys please be careful.

Johnny and Ben wave at Reed.

DOREEN
Uhm... Dr. Richards, can I get you
anything?

REED
Uhm. Water please. I need space and
some paper and a pen.

DOREEN
Oh of course.

INT. BITTERFROST - PROGRAMMING ROOM - LATE NIGHT

The Room houses a cobbled together computer, a series of
monitors wired together, and some rudimentary spy equipment.
The Monitors Project the Island of Manhattan and the
surrounding burrows. Doctor Doom watches.
 65.

In the background we see various MILITARY SCIENTISTS

building a device, it looks like a RADAR GUN mixed with an
ANTI-TANK GUN supported by a TRIPOD.

Kragoff approaches Doctor Doom, speaking to him in Russian:

KRAGOFF
Where you find this American?

DOCTOR DOOM
The others will lead us to them.

KRAGOFF
I can't send in Soviet Forces into
New York.

DOCTOR DOOM
You won't have too.

Doctor Doom reveals Sue's Four Badge in his hands. He

connects the badge to the computer, it lights up showing the
locations of Reed in Queens, and Johnny and Ben moving into
Manhattan.

KRAGOFF
But how do we get there?

DOCTOR DOOM
I've already though of that.

KRAGOFF
Your mind control work?

DOCTOR DOOM
Yes.
(To Someone O.S.)
Malice.

We hear the foot steps, the steps of hard, heavy boots

smacking the ground. We see the boots stepping.

Camera PANS UP Reveal on: SUE STORM, now MALICE, dressed in

a Nylon Top, exposing her shoulders and upper chest, around
her waste is a spiked leather belt and a metal belt buckle
that holds up a pair of black leather pants, with a series
of zippers and rings, bloused into a pair of military style
boots. Malice speaks in Russian:

MALICE
You call, Good Doctor?

DOCTOR DOOM
You have a mission.
 66.

He caresses her cheek:

DOCTOR DOOM (cont'd)

You will kill someone. You will face
opposition.

Doctor Doom walks Malice over to a table, on the table is a

large BLACK BOX.

DOCTOR DOOM (cont'd)

They will try to corrupt you. That's
why I have something for you.

Doctor Doom steps over to the box. He opens it, revealing a

mask much like Doom's, though this one is black and has
spiked studs.

DOCTOR DOOM (cont'd)

It would be a fool's errand to send
you in without this, but this should
help you temper Richards' and those
other abominations' effects on you.

Doctor Doom puts the mask on Malice. The back of the Mask
wraps around her, trapping her blond hair, straps snapping
around it, her hair protruding in a wild fashion.

She wears it with a sense of pride. The mask sits on her

face, almost molded to it. She is unquestionably Doom's.

Doctor Doom steps over to the computer:

DOCTOR DOOM (cont'd)

You want to know how I will send her
to New York, Kragoff? Like this.
He taps on the computer, the device the scientist work on
kicks on, energy cycles through, some still working on the
device are instantly electrocuted, it fires a blast of
ENERGY creating a PORTAL, a swirl of black and purples
opening through space revealing NEW YORK.

EXT. JOSIE'S BAR - EVENING

The Bar is dead, few people stand outside, some smoke others
just talk. The music from the inside isn't very loud.

INT. JOSIE'S BAR - BAR HALL - CONTINUOUS

William sits at the Bar, beer in front. A stack of
applications to his right. The BARTENDER stands in front of
him:
 67.

BARTENDER
So what you got laid off. Half the
mooks that pop in here are spending
their unemployment checks.

WILLIAM
Oh don't say that. I can't get like
that.

William unfolds the top application, it's for MARVEL

Publishing:

WILLIAM (cont'd)
I could operate a printing press
right?
(to himself)
Had to a lot during the war.

William begins filling the application. The door opens,

Johnny and Ben enter. They sit on either side of William.

BARTENDER
Get you boy's anything?

BEN
An Old Fashion.

Johnny shoots Ben a look, Ben nods.

JOHNNY
We're good, thank you.
(to William)
Sir you wouldn't happen to be William
Lumpkin?

William looks between Ben and Johnny, baffled.

WILLIAM
Yeah. What's going on?

JOHNNY
We're from government.
(flashes his wallet)
We believe your life is in danger.

William grabs Johnny's wallet:

WILLIAM
Wait a minute.
(looks at it)
Driver's license, really?

William tosses Johnny the wallet back.

 68.

WILLIAM (cont'd)
Real funny.

JOHNNY
Okay, maybe we're not feds, but we're
serious.

WILLIAM
I am in trouble.

William holds up the stack of applications, the self defeat

in his eyes hits Johnny.

JOHNNY
What happened?

WILLIAM
I worked at a place for twenty-years,
ACME as an office sales associate. I
just got sacked.

JOHNNY
(To Bartender)
We could use a couple drinks.

INT. WILLIAM LUMPKIN'S HOUSE - LIVING ROOM - NIGHT

Reed continues to write on various pieces of paper, Doreen
watches caught between confusion and worry.

DOREEN
Shouldn't they be back by now?

REED
Yes.

DOREEN
Dr. Richards, you seem distracted.

Reed sets his pen down. Rubs his eyes, he looks at the work
and sighs.

REED
I am. Mrs. Lumpkin--

DOREEN
Doreen, please.

REED
Doreen, how long have you and William
been married?
 69.

DOREEN
I'd say Nine years this July.

REED
You ever wonder what it would be
like, I don't know how to say this
without worrying you...

DOREEN
Who is the lucky lady?

REED
Her name is Sue. Sue Storm.

DOREEN
That's funny, I know a boarding house
ran by a Margret Storm.

REED
Yeah, that is... Recently I saw a
version of what my life would be like
without her. It scared me. Now she's
missing and somehow, I can't explain,
it's connected to the people who want
to kill your husband.

DOREEN
Oh. Is she a government agent too?

Reed nods. Doreen, sits with him, holds his hand.

REED
I'm worried she'll get hurt, I'm
worried I'm losing her.

DOREEN
Have you been fighting lately?

REED
No. There's just been this distance.
I'm obsessed with my work. I don't
know. She said she wanted to take a
break.

DOREEN
Oh my. I know what it is.

Reed looks to Doreen, hopeful.

DOREEN (cont'd)
In this day and age, a girl as more
opportunity now than we had during
the war.
(MORE)
 70.

DOREEN (cont'd)
And you do something because the
country or the people you love ask
you too. You do it for so long you
get your mind wrapped up in it. It
becomes your identity. It doesn't
mean you don't love what you do, it
just means... Maybe she doesn't know
if all she is an agent or if she's
someone else.

REED
I know she is. There's not a more
inspirational person alive than her.

DOREEN
Maybe all she needs is reminded. You
and the others, you seem like you're
all connected, like a family.

REED
(Thinking)
Connected. Oh, oh no.

Reed stands, realization hits:

REED (cont'd)
He wanted one of us to be trapped
with him. He knew the others would
save whoever got trapped and if we
went back in time we would--

Reed looks to Doreen:

REED (cont'd)
Call Josie's. Get them back here NOW!

INT. JOSIE'S BAR - BAR HALL - CONTINUOUS

Ben, Johnny, and William sit together, a couple beer glasses
in front of each of them.

WILLIAM
Twenty-Years doing something, what
the hell else am I supposed to do?

BEN
I tell ya' one thing. Mail service,
Always hiring. My Uncle Jack worked
there since the depression. Started
as a lad. Use ta' doodle on the
envelopes.
 71.

WILLIAM
Mail Man. That's got good benefits.

JOHNNY
Good exercise. The ones who walk.

WILLIAM
I wonder if grabbed one of their
applications.

William sifts through -- the Phone rings:

BARTENDER
(SHOUTS)
YO, WILLIE! WIFE WANTS YA' HOME!

BOOM! The front of the BAR is obliterated! No fire damage,

but a force field that expanded and popped! The force throws
everyone back.

Johnny and Ben are the first to stand. Ben helps William,
Johnny stands in front of both of them, his jacket begins
smoking:

JOHNNY
Who in the hell did that?

MALICE enters.

JOHNNY (cont'd)
Who the hell is that?

WHAM! A force slams Johnny against the wall. Ben looks at

Johnny and Malice.

BEN
Oh no. Don't make this worse lady.

Ben uses his body to block William, William helps Johnny up:

JOHNNY
We got to get you out of here. She
could kills us all.

BEN
I'll hold you off. Get stretch and
get him here now!

Johnny grabs William, they move -- A Force Field pops up,

Ben rushes Malice -- Ben takes wild swings at her, She
dodges them her body moving with an incredible
flexibility -- Malice uses her force fields to catch the
blows that come close to her --
 72.

Ben gets a close look at her eyes, he sees the force fields,
he knows it's Sue -- She throws him against the wall --

in the background Johnny and William exit. Malice moves for

William, Ben rushes her again --

BEN (cont'd)
Susie don't make me clobber ya'

Malice wraps a force field around his arms, pulling them

like a lasso -- She shoves him back into the wall, he cracks
through -- Ben is quick to his feet, and runs back at her --
Malice grabs his arms and throws him through the open
wall --

EXT. NEW YORK CITY - STREETS - CONTINUOUS

Ben rolls onto the ground, his image inducer is damaged, we
see the Rocky Form of the THING again. The Fantasticar comes
alive -- Johnny slaps the side of the vehicle:

JOHNNY
Get in!

Ben moves, running to the car -- he leaps in, Malice exits

the bar -- Malice uses her force fields to rip open the
roads, the Fantasticar can barely keep up:

INT. FANTASTICAR - MOVING - CONTINUOUS

Johnny slides the steering wheel over to Ben -- Ben hits a
button to switch it back to flying mode:

WILLIAM
(SCREAMS)
WHAT IS THAT THING!

BEN
That's the Thing! Be polite.

JOHNNY
Guys focus.

BEN
How in Sam Hill did they find us?
What did Doom do to her?

JOHNNY
Her?

BEN
That's Sue!
 73.

JOHNNY
I don't know. Think this thing can
make calls?

BEN
Maybe the comm system from our
badges.

JOHNNY
WAIT! The badges have locators Doom
used Sues' badge to find us!

BEN
We gotta turn them off!

Ben fumbles with the Badge on his belt, he rolls his eyes
and in an "aw screw it" fashion crushes the buckle.

JOHNNY
She's gonna follow us up here. You
fly Willie home, I'll see If I can
break through her programming.

BEN
If not?

JOHNNY
We'll see. I'll keep my badge on
until I save her or lose her.

BEN
Good luck kid.

Johnny opens the top, looking around the open air, he sees
nothing --
A BLAST of AIR hits him, MALICE appears, she throws force
fields at them:

JOHNNY
(pulling gloves on)
I really liked this jacket.

Johnny leaps out of the Fantasticar, Malice watches him,

curious, the Fantasticar keeps moving --

EXT. NEW YORK CITY - ABOVE THE CITY - CONTINUOUS

JOHNNY
(SHOUTS)
FLAME ON!
 74.

Johnny goes full Human Torch, his clothes burn off, his
uniform is on, He flies around Malice:

JOHNNY (cont'd)
Sue it's me your baby brother!

MALICE fires off different force fields to try and knock

Johnny down:

JOHNNY (cont'd)
Come on! You know me!

Johnny forces himself to toss a couple fireballs at her, he

feels bad, even though they're blocked -- Malice catches his
fire blasts in a force field -- and hurls them back at
Johnny -- He dodges them --

In the air, the fight is intense, Johnny flies off -- Malice

gives chase --

MALICE
I'll kill all you freaks!

Johnny hurls fireballs at her -- she continues to dodge --

he changes tactics, moving in between buildings in a zig
zag -- Malice just rips through in a straight line --

JOHNNY
Come on! Your Sue Storm! The
Invisible Girl!

Malice screams, a wave of energy expands from her, hitting

Johnny -- He falls!

Johnny corrects himself -- He continues his escape --

JOHNNY (cont'd)
You've GOT to remember us! Picnics at
crystal cove! Mom and Dad taking us
to the movies!

Another painful blast of energy is hurled towards Johnny --

Malice vanishes again -- Johnny twists around -- Malice
appears behind him, grabbing him in a choke hold!

JOHNNY (cont'd)
(Choking)
I probably deserve this, in my
defense I was nine when I blew your
barbies up!

Johnny raises a Hand in front of Malice's face:

 75.

JOHNNY (cont'd)
This will suck!

His arm FLASHES like a SOLAR FLARE -- Malice lets go --

Johnny takes the opportunity to hide behind a building.

EXT. NEW YORK CITY - STREETS - CONTINUOUS

Johnny lowers down to the ground, his flame off. He looks
into the sky, he sees Malice SCREAMING!

JOHNNY
(Hurt)
Sue.

Johnny runs. He hits a device on his badge, turning the

locator off!

EXT. WILLIAM LUMPKIN'S HOUSE - NIGHT

The Fantasticar rolls down the Street, Reed exits the house,
he sees inside the car, William and Ben sitting.

REED
Where's Johnny?

BEN
Reed, he's fighting Sue.

REED
What?

BEN
They must have brainwashed her or
something cause she ain't acting like
Sue. She tried to kill us. I crushed
my badge so they'd lose us.

REED
Doom tracked us through our badges. I
don't know how but he's smart enough
to figure that out. I turned mine off
inside the house when I realized.

William exits the Fantasticar, hugs Doreen:

WILLIAM
You'll never believe what happened.

Doreen just hugs and kisses him, tears roll down her face:
 76.

DOREEN
I'm just glad you're alive. These men
have been looking for you.

WILLIAM
I know. They said they're from the
government. But Doreen what I've seen
them do I've never see a government
agent do.

DOREEN
What do you mean?

REED
I think he means this...

Reed's arm stretches out, he grabs the door knob to their

house and opens the door. Doreen gives him the most puzzled
look.

REED (cont'd)
Really? People are usually more
surprised.
(Pats Vehicle)
Ben.

Ben exits, he locks eyes with Doreen, his rocky form in her
face:

BEN
Ma'am.

Doreen faints, Reed and William catch them.

REED
Go get your son. We're going to
figure out a safe place for you to
stay.

WILLIAM
I think I have an idea...

EXT. MARGRET STORM'S BOARDING HOUSE - LATE NIGHT -

William, Doreen, and young Stanley step on the porch. The
Door opens, MARGRET STORM, 30's, modestly dressed, beautiful
but strong jawed woman answers.

MARGRET
Mr. Lumpkin?
 77.

WILLIAM
There's been a break in at our home.
We need a place for the night.

MARGRET
Oh come in!

She ushers the Lumpkins inside. We see The Fantasticar, back

in Van mode, Reed, Johnny, and Ben all look at the house.

JOHNNY
A lot of fond memories here.

REED
I think we all met here. Let's get
back to the Lumpkin's house. Time to
set a trap.

They all enter the Fantasticar, the engine kicks on, they
peel rubber:

INT. MARGRET STORM'S BOARDING HOUSE - LIVING ROOM - CONT.

Margret watches them leave from the window. She turns to see
the Lumpkins huddled together on her couch.

INT. BITTERFROST - WAR ROOM - DAY

The Room is filled with Soviet Soldiers, Kragoff and Doctor
Doom stand on opposite sides.

The area warps, a hole opens, deep blacks and rich purples
swirl as MALICE appears. Doctor Doom speaks english, Malice
replies in Russian, subbed to English.

DOCTOR DOOM
Well my dear?

Malice takes a knee:

MALICE
I failed, Good Doctor.

Doctor Doom's eyes widen, a sense of rage inhabits him, but

he refines himself.

DOCTOR DOOM
We've lost the element of surprise.
But Richards and his freaks...

Doctor Doom helps Malice up, showing a bit of gentelemen in

his character.
 78.

Kragoff steps forward, breaks his Russian to speak to Doom

in English:

KRAGOFF
Your assassin, impressive, But she
fail.

Doctor Doom grabs Kragoff by the throat, lifts him in the

air:

KRAGOFF (cont'd)
(Choking/Straining)
You need more help! You need freaks
to fight--

Kragoff's face begins to turn blue, Doctor Doom drops him,

Kragoff lands grasping his throat.

KRAGOFF (cont'd)
You need freaks to fight freaks. I
have Idea in mind.

INT. BITTERFROST - ZOO - CONTINUOUS

Kragoff and Doctor Doom enter the Zoo. Zoo might be a polite
term, as it is just a series of cages with animals locked
in. No greenery, no toys, nothing for the animals to
interact.

KRAGOFF
I start here, trained them for Vostok
program. They became loyal soldiers.

Doctor Doom breathes in, inspecting. We see:

APES. An Orangutan, PEOTR - a Gorilla, MIKHLO - IGOR, a

baboon - and BORIS, a chimpanzee.
Doctor Doom chuckles.

DOCTOR DOOM
You want me to give these apes
powers?

KRAGOFF
You want more assassins. I want power
and I want them to be my Super Apes.

Doctor Doom faces Kragoff. He approaches him, starring him

down. Kragoff keeps a stone cold face.
 79.

DOCTOR DOOM
Your terms are agreeable. I will give
you your 'Super Apes.'

Kragoff begins to laugh. Doctor Doom just studies Kragoff.

You can see the cogs turning in Doctor Doom's mind, how he
will make this situation benefit him.

INT. WILLIAM LUMPKIN'S HOUSE - LIVING ROOM - NIGHT

Reed watches out the Window. Johnny sits on a chair,
lighting his finger on fire, and Ben just sits slumped over
playing with his inhibitor watch.

The silence is intense. Reed looks at his team, his family.

REED
I want to talk to you guys about
something...

Ben sits forward, Johnny looks up:

REED (cont'd)
Sue wanted to go on a break, before
we left. Right before.

BEN
What?

JOHNNY
You've got to be kidding.

BEN
Yeah what's going on with you two?

REED
We've been distant lately. Me and the
lab, you know. After we helped the
Shi'Ar, they gave us a piece of the
M'Kraan Crystal. They said it was
connected to the fabric of space and
time, so I got curious. I began
experimenting. Taking it to an
alternate dimension to shave off a
small piece. I created this machine
that would examine the crystal and I
was able to see the future.

Johnny and Ben are puzzled but invested.

 80.

JOHNNY
What did you see? The end of the
world? Mole Man voted Sexiest man
alive?

REED
I saw the end of us, the Fantastic
Four.

BEN
Like our deaths?

REED
No. Sue leaves. She goes off to find
herself and we disband. I saw that
and something in me changed. It
scared me, scared me more than any
fight or any problem we've ever dealt
with. More scared than when we were
hit by the radiation.

Reed reaches into his pocket, reveals the engagement ring.

REED (cont'd)
Before Sue told me she wanted a break
I was going to propose.

Johnny and Ben look at the ring, a sense of dread hits them.

REED (cont'd)
This was the piece of the M'Kraan
crystal I used. I thought, who better
to wield the power of time and space
than her.

Reed glasps the ring, his fist closes, clenching.

REED (cont'd)
Now Doom has done God knows what with
her.

Reed relaxes his grip. Ben puts a hand on Reed's shoulder.

BEN
She won't stay gone, Stretch. We'll
save her. We ain't gonna break up.

REED
She has a right to leave. Whether
we're the Fantastic Four or not is up
to her. But Damn it, I'm going to
save her from Doom. I'm going to tell
her how much I love her.
 81.

JOHNNY
(Sullen)
Come on Reed, let's turn the badges
back on. Doom will know it's a trap
but it's our only play right now.

Reed and Johnny press on their badges. Then...

EXT. WILLIAM'S HOUSE - NIGHT

Reed, Ben, Johnny exit the house, they stand on the road.
Waiting.

The Portal opens. Laser blasts erupt, Reed, Johnny, and Ben
get battle ready --

DOCTOR DOOM
Do not let her escape!

Malice exits the portal, gripping her abdomen, she stumbles

out -- Johnny throws some fireballs into the Portal --
Doctor Doom raises his own force field -- Reed wraps around
Malice, pulling her away from Doctor Doom --

Doctor Doom pulls his laser gun and fires at Reed -- A shot
catches Reed in the shoulder and it burns -- The portal
closes as Doctor Doom approaches --

Malice lays, holding Reed. Reed holds her close:

REED
(Overwhelmed)
I thought I lost you.

Malice holds him close.

MALICE
We need to find William.

Reed nods.

REED
We know, they're safe.
(to All)
We need to go.

INT. FANTASTICAR - MOVING - NIGHT

Malice lays down, Reed drives, Johnny and Ben sit opposite
each other. Something is eating at Johnny, Ben sees it, they
talk quietly:
 82.

BEN
What's a matter kid?

JOHNNY
How did she know?

BEN
What?

JOHNNY
How did Sue know Willie was the key
life?

BEN
She had to have overheard it from
Doom. He's a loud mouth.

Johnny gets up, sits next to Reed:

JOHNNY
Doesn't it seem a little weird Sue
knew who we needed to find?

BEN
It's like I told him stretch, Doom
couldn't shut his mouth about his big
plan. She had to have overheard it.

JOHNNY
Reed we got to be smart about this.

REED
Guys enough! We don't have time for
this.

JOHNNY
Reed.

REED
No. I'm not--We're not losing Sue
again.

Johnny sits back, his face looks like a scalded child.

Something in Ben just changes as he looks at Johnny.

BEN
The kids got a point here stretch. We
can't trust her. We can't go back to
them. Not until we know for sure
Sue's acting right.
 83.

REED
She escaped Doom, laser blasts all
around, you really think she's
compromised?

BEN
Time is on our side stretch. The
kid's right.

REED
(Calming)
So where do we go?

BEN
Somewhere only the real Sue would
recognize.

REED
I know where. We might have to break
in someplace.

EXT. HAYDEN PLANETARIUM - LATE NIGHT

The fantasticar pulls up the planetarium. Ben and Johnny
exit. Reed follows behind carrying Malice.

BEN
Think they got alarms at this place?

REED
If they do the password is one-nine-
eight-five-two-eight-zero.

BEN
How'd you know that?

REED
Because, in a few days from now, my
father proposes to my mother here. He
installed the system.

Ben forces the door open, Johnny enters, tapping the code on
a small alarm unit:

JOHNNY
This is weird.

REED
What?
 84.

JOHNNY
This alarm, it's more advanced than
any alarm system I've seen you come
up with.

BEN
Well no time for us to doddle. We'll
have to file this away as 'weird' for
later.

The four enter.

INT. HAYDEN PLANETARIUM - OBSERVATION ROOM - LATER

Reed inspects a Zeiss Mark IV Projector. Around them is the
stars and galaxies. The site is beautiful. Ben and Johnny
hang around:

BEN
How's this supposed to work stretch?

REED
If she's compromised we'll notice
through subtle clues. References, how
recent things are remembered. It's
still Sue, but the effects required
to program or control someone heavily
alters recent memories. Perhaps
they're fuzzy or remembered
incorrectly. More so than than older
ones. We'll take this one at a time.

JOHNNY
Why this place Reed? What makes this
place so special.

REED
I was going to propose to her here.
This is where we kissed on our first
date. Figured if she was in a place
she had good memories, it would help
break through any programing she
might have.

Reed smirks, the memory comforting. Malice sits tied up,

waking. Her mask lays in her lap.

MALICE
R--Reed?

Reed turns to her. Johnny steps around, Ben walks over to

them.
 85.

MALICE (cont'd)
(Panicked)
Why am I tied up?

REED
Because we have to make sure you are
you.

MALICE
You know I am. Darling I'm scared.
You have no idea what he has planned.

REED
I want to believe you, but we've been
through a lot today and we can't
afford any more surprises.

Malice nods.

MALICE
Okay.

JOHNNY
Where did we grow up?

MALICE
Long island, for a few years. Aunt
Marge's boarding house for most of
it.

JOHNNY
Where's dad?

MALICE
Dead.

BEN
You fought us at the bar.

MALICE
(Nods)
I know.

BEN
(Sighs)
Why?

MALICE
He made me.

BEN
Who?
 86.

MALICE
Doctor Doom.

REED
Why?

MALICE
It was an assassination.

BEN
On us?

Malice shakes her head.

REED
Who?

MALICE
William.

REED
Do you know why Doom wants Willie?

MALICE
William's the key life. The Doctor
said if he removed William's life
from existence it would change the
fabric of reality.

REED
You know what year this is?

MALICE
Nineteen Sixty-Three.

REED
What was the last thing you said to
me? Before the mission.

MALICE
(Tears)
I love you.

Reed grabs Malice's mask and throws it:

REED
(Enraged)
DAMN IT!

MALICE
(Panicked)
Reed you're scaring me.
 87.

REED
He still has you. Where is he?

MALICE
L--Latveria.

REED
Who is helping him?

MALICE
(Shaking)
I don't know.

REED
Who!

MALICE
(tears)
A General. I don't know his name. I'm
sorry.

REED
I know.

Malice's face changes. Her tears are gone, She looks at him
cold --

MALICE
No. I am sorry.

The ropes snap, she stands -- Ben lunges at her, she catches
Ben Mid-Air! Johnny erupts into flames -- Flies at Malice --
Malice swats Johnny with Ben -- Reed reaches for her, wraps
around her --

Her suit charges sending voltage through Reed -- She slams

Ben into the ground --

WHAM! Ben's body hits the ground, cracking cement --

WHAM! Ben's body goes limp, His eyes says it all -- he's
dazed.

WHAM! Ben is out cold. She throws him through the

planetarium.

Malice kneels down to Reed.

MALICE (cont'd)
(In Russian)
I am sorry, but you three can't stop
us now.

Malice stands over Reed.

 88.

MALICE (cont'd)
I will find them.

Reed reaches for her, but he's fading in and out of

consciousness.

REED
(Weak)
Sue.

She slams a foot into his face, knocking him out cold.

EXT. HAYDEN PLANETARIUM - CONTINUOUS

Malice exits, she slides her mask back on and steps over to
the Fantasticar.

INT. FANTASTICAR - STATIONARY - CONTINUOUS

Malice enters, taps on the navigation computer. The driving
log pulls up, one address sticks out, Margret Storm's
Boarding House.

MALICE
Doctor, are you listening? The
Lumpkins are at...

EXT. MARGRET STORM'S BOARDING HOUSE - LATE NIGHT

All is quiet. Not a single sound.

INT. MARGRET STORM'S BOARDING HOUSE - LIVING ROOM - CONT.

William is up, pacing. Doreen rubs his back, young Stanley
is asleep.

DOREEN
What's wrong sweetheart?

WILLIAM
I'm worried about them and about us.

DOREEN
We'll be safe here. You'll be safe.

WILLIAM
Hell, I'm not worried about me.
Today's been... I'm worried I'm
failing you.
 89.

DOREEN
What do you mean?

WILLIAM
I lost my job. They fired me. Nearly
twenty years there.

Doreen places a hand on William's chest, then her head.

DOREEN
Sweetheart, everything will be fine.
We've faced our hardships and the
good lord has watched over us.

WILLIAM
I know. I'm just... I wish I... I
wish able to provide for this family.

DOREEN
Honey. You'll get another job.
Stanley and I, we aren't going
anywhere.

William smiles, holds Doreen close.

DOREEN (cont'd)
Those men, Dr. Richards and his
friends, say you're important.

WILLIAM
(Nods)
Yeah?

DOREEN
They're right. I don't know if the
earth would stop without you but our
world will.

Doreen kisses William.

DOREEN (cont'd)
You're a great man William. I don't
care if you're a salesman, a postman,
or a fireman. I just want you.

William gives her a very tight hug. Something catches his

eye. Doreen turns...

INT. HAYDEN PLANETARIUM - OBSERVATION ROOM - WRECKED - NIGHT

Reed wakes. Ben is helping Johnny up.
 90.

JOHNNY
Where'd she go?

EXT. HAYDEN PLANETARIUM - CONTINUOUS

Reed, Ben, and Johnny all stand outside. The Fantasticar is
gone.

INT. MARGRET STORM'S BOARDING HOUSE - LIVING ROOM - CONT.

Doreen and William approach the window facing the front
lawn.

EXT. MARGRET STORM'S BOARDING HOUSE - CONTINUOUS

A Portal opens, a group of a several Soviet Soldiers exit,
each carries an AK-47, and a side arm.

The Fantasticar arrives, Malice exits. She directs them to

the house:

INT. MARGRET STORM'S BOARDING HOUSE - LIVING ROOM - CONT.

DOREEN
William, you need to go!

WILLIAM
What? No!

DOREEN
Listen, those men say you're
important, we can't let the communist
get you.

WILLIAM
Please.

DOREEN
Go!

William clenches his fists, "Shit." He runs for the back

door. Doreen runs over and grabs Stanley, holds him tight.

The Door kicks open -- a light comes on from upstairs,

Malice directs people upstairs. Malice keeps her attention
on Doreen.

MALICE
Where is he?
 91.

DOREEN
No.

MALICE
We don't want to hurt you or your
son.

DOREEN
Go to hell!

Malice twists her hand -- a force field wraps around Doreen

and Stanley.

MALICE
I can make this painful.

DOREEN
I can't...

The force field begins to shrink, Doreen pushes against,

Stanley cries:

MALICE
You can save yourselves.

DOREEN
(crying)
I don't know.

The force field shrinks a little more.

DOREEN (cont'd)
Please. I just told him to leave.

A Hand grabs Malice, she turns with a clenched fist to see:

DOCTOR DOOM.

DOCTOR DOOM
Come my dear. We have no reason to
threaten. They will do well as
hostages.

Doctor Doom motions for soldiers to escort Doreen and

Stanley into the portal.

DOCTOR DOOM (cont'd)

Richards and his freaks will come for
them. Tell those abominations if they
want to save the family, to bring
Lumpkin to us.

A Soldier brings Margret Storm down the stairs, she screams

at them:
 92.

MARGRET
WHAT IN GOD'S NAME IS THIS? WHO DO
YOU PEOPLE THINK YOU ARE?

Doctor Doom waves his hand, an invisible force slams

Margret's head against the wall, she's out cold as the
soldier sets her down gently..

MALICE
If they refuse?

EXT. MARGRET STORM'S BOARDING HOUSE - CONTINUOUS

William sneaks around, Soldiers have fanned out. William
grabs one of them brings them down and knocks him out.
William grabs the Soldiers AK-47.

He opens fire at The soldiers, at Doctor Doom, as they force

Doreen and Stanley into the Portal. Soldiers return fire on
William -- He runs to the Fantasticar:

INT. FANTASTICAR - STATIONARY - CONTINUOUS

William slams the door:

WILLIAM
(Frantic)
Drive! Drive! Drive!

It does nothing. He sees the keys in the ignition, He turns

it over, Soldiers fire on the vehicle -- William winces. The
Vehicle is alive, he puts it into gear and drives!

EXT. MARGRET STORM'S BOARDING HOUSE - CONTINUOUS

Soldiers continue firing. Doctor Doom watches as the vehicle
progress, Malice exits the house, intent on stopping it,
Doctor Doom holds her back.

DOCTOR DOOM
Let him return with Richards. Kill
them all.

Doctor Doom hands Malice a small device.

DOCTOR DOOM (cont'd)

Use this to come back to me when your
mission is done.
 93.

INT. FANTASTICAR - MOVING - LATER

William drives, he constantly looks behind him, breaths
fast. He feels the adrenaline - it boils and he screams.

He stops the Fantasticar. Breaths. He looks at the computer:

WILLIAM
Find Dr. Richards.

It does nothing. He begins to press buttons.

WILLIAM (cont'd)
Find Dr. Richards.

Again it does nothing, William begins punching it:

WILLIAM (cont'd)
(SCREAMS)
FIND DR. RICHARDS GODDAMN YOU!

A blip appears.

Then another. Two blips. Moving towards him,

WILLIAM (cont'd)
Does this thing have an autopilot or
something? Come on! Up and away!
Excelsior!

The word kicks on the Computer -- Excelsior. William smiles.

WILLIAM (cont'd)
Thank God. Auto-pilot, auto-drive
show me something.
The Computer runs a list of programs: Auto Pilot, Assemble.

WILLIAM (cont'd)
Assemble?

He presses it, a flare gun pops out of the top of the

Fantasticar, FIRES!

EXT. NEW YORK CITY - SKYLINE - LATE NIGHT

The Flare erupts in the air creating the FOUR logo.

EXT. NEW YORK CITY - STREETS - CONTINUOUS

Reed, Johnny, and Ben see it.
 94.

REED
I'm hoping that's good news. Let's
go.

INT. FANTASTICAR - STATIONARY - CONTINUOUS

William presses a few buttons. We see the Fantasticar slide
in and out of van mode and cloaking. He presses another
button, it begins to rise, entering flight mode. William
presses auto-pilot.

EXT. FANTASTICAR - FLOATING - CONTINUOUS

The Fantasticar charges, Johnny lands in front of the
vehicle.

JOHNNY
Whoa, easy William.

WILLIAM
Thank God! Where are Dr. Richards and
the Rock guy?

EXT. FANTASTICAR - LATER

Reed, Ben, Johnny, and William stand around the Fantasticar.

REED
So Doctor Doom has your family?

William nods.

REED (cont'd)
They won't stop until you're dead.

BEN
We ain't in the business of lettin'
things like that happen.

JOHNNY
Yeah big guy, you're safe.

WILLIAM
They want me dead that's fine. I
don't care as long as I can save
them. I'll die for them.

REED
I can't let you fall into their trap
Willie.
 95.

WILLIAM
You know what a family means to a man
Dr. Richards?

Reed nods.

WILLIAM (cont'd)
Then you won't dare tell me not to
get involved. We need a plan all of
us participate.

REED
We need a plan that gets us to them.
That frees them and Sue, and stops
Doom.

WILLIAM
One of Doom's lackeys is waiting for
us back at the boarding house. I'll
play the bait, you stop them.

REED
It's probably Sue. She's under his
control.

WILLIAM
What?

BEN
(Leaning in)
Long story.

REED
So we need to get back to Sue. Save
her and hopefully she can take us
back to Doom and help us stop all of
this.

JOHNNY
This hinges on one thing.

WILLIAM
What? What does it hinge on?

REED
Sue.

JOHNNY
If it goes the other way, if she's
too far gone?

REED
She isn't. She just needs us to help
show her the way.
 96.

Reed places his hand out.

REED (cont'd)
We succeed, or we fail. But we do
this as a team.

William puts his hand on top of Reeds.

WILLIAM
Do or die.

JOHNNY
All for one. One for all.

Johnny places his hand on top. Ben places his hand over
theirs.

BEN
It is not ours to ask who or why, but
to do or die.

EXT. BITTERFROST - DAY

The air is cold. The Castle stands, as intimidating as ever.

INT. BITTERFROST - PROGRAMMING ROOM - DAY

The room has shifted into a make shift laboratory. Half of
it is sectioned off, creating an Inner chamber. A large
device that looks similar to a Zeiss Projector is aimed at
the inner chamber.

Kragoff's apes, in their cages, are rolled into the inner

chamber. Kragoff stands among them. Doctor Doom continues to
assemble the device.

KRAGOFF
What is this?

DOCTOR DOOM
A pet project. The Neogenic
Recombinator.

KRAGOFF
What does this do?

DOCTOR DOOM
It targets the DNA, rewriting it to
give it's target superhuman
abilities.
 97.

KRAGOFF
You build these machines, so little
time, how?

Doctor Doom holds his hands out, wires and pieces of metal
wrap around the Neogenic Recombinator, completing it's
assembly:

DOCTOR DOOM
I bend technology it self to my will.

Kragoff watches the display of technology building itself

around Doctor Doom. He begins to step away from the apes,
something stops him -- A FORCE FIELD.

KRAGOFF
(Panic)
What is this?

DOCTOR DOOM
You wished for power, General. As the
old saying goes "Careful what you
wish for."

The Force Field cages Kragoff in the inner chamber, the

Neogenic Recombinator switches on, the noise is deafening,
the hum is unworldly. Doctor Doom watches from the outer
chamber.

Lights on the device turn on all over. The hum becomes

controlled:

KRAGOFF
(SCREAMS;PANIC)
LET ME GO!

DOCTOR DOOM
You want power? Then you must learn
to sacrifice for it General.

A beam radiates from the Machine as it BLASTS everything in

it's path, Kragoff, the Apes, all changing, the sound of
skin ripping, horrific screams echo--

EXT. MARGRET STORM'S BOARDING HOUSE - DUSK

The Fantasticar arrives. Reed, Ben, Johnny, and William
exit. Malice exits the home, she holds Margret Storm in a
force field.

REED
(To William)
You'll need to get her to safety.
 98.

MALICE
You want the woman? Have her.

Malice throws Margret, Reed stretches into a rubbery safety

blanket, catches her.

JOHNNY
C'mon sis, thought we stopped
fighting a long time ago.

Malice steps towards them, William takes Margret and runs. A

force field pops up blocking them.

REED
If you're going to kill him, you have
to kill us first.

BEN
I think she knows that, stretch.

REED
I know you're still in there Sue!
Take that mask off, show the real
you.

Malice throws a force field at Reed, he bends around it --

Ben rushes her, She creates a wall he can't break -- Johnny
ignites, goes for an air born attack, She shields herself --
Reed bounces and rolls around the area dodging bursts of a
concussive force field --

Ben hammers at the Wall, the wall kicks him back like a
pinball -- Johnny turns up the heat, Malice extends a force
field around him cutting the air off -- Reed tries to wrap
around her, she expands her personal space with a growing
field --
Reed lets go, adjusts himself -- Johnny falls, writhing,
suffocating -- Ben is too dazed to move -- Reed stretches
out, grabbing trashcans, manhole covers, hurling them at
Malice --

Malice drops her field over Johnny, catches the debris from
Reed -- She sends it back at him -- He moves with grace and
inhuman flexibility, dodging each piece --

Ben staggers to his feet, hurls a parked car at Malice --

She catches it in a field, raises it higher in the air --
She slams it down on Ben like a fly swatter, Ben braces --

Johnny crawls away, rolls over and fires a blast of heat

from the ground -- A force field wraps around a fire hydrant
ripping it up, another field funnels the water dousing
Johnny --
 99.

Reed rolls into a ball and bounces at her -- Malice's force

field begins to crack, her nose starts to bleed, the
constant barrage is more taxing than Giganto --

MALICE
Enough.

Malice generates a wide expanding force field, like a

concussive Bomb hitting everyone -- Ben is burried under
rubble -- Johnny is thrown into debris -- Reed forces
himself to stand, but his body literally blows in the
wind -- The force calms.

Reed stands up.

REED
This is enough. You're going to kill
me. Do it with your bare hands.

Johnny stands, Ben rises from the rubble, Reed just holds
his hands out "Stop." They exchange looks of worry but relax
and back off. Malice approaches Reed.

Malice uppercuts him -- Reed's nose bleeds, He drops to his

hands and knees -- Malice kicks him in the ribs, he doesn't
stretch he takes it --

MALICE
What was she to you? Something to
look at? A pretty relic to be
observed but never held, touched.

Malice tears up. She hits Reed in the back -- He collapses

on the ground -- She rolls him over, he looks at her -- She
uses her force fields to pummel him with debris, it's like
she's pounding his face relentlessly --

MALICE (cont'd)
Doom taught made me my own woman. He
taught me to hate you.

Reed bleeds, Johnny can't watch, Ben cries -- It takes

everything but they stop themselves from intervening.

REED
(Hurt)
You were always your own woman, Sue.
You've always been.

Malice stops the pummeling. She creates a force field around

his neck, pulling an invisible lasso to strangle Reed:
 100.

REED (cont'd)
(Gasping)
You're the best of us.

Malice snears at him:

REED (cont'd)
(Fighting to Breath)
You made us more than just a team.
You made us a family. You're the
reason why we are what we are.

Malice loosens up, but keeps the grip, she begins to tear:

REED (cont'd)
(relaxed)
I'd rather die, now than lose you.
Because we're only fantastic with
you.

Reed's hand shakes as he reaches into his pocket and reveals

the engagement ring. Malice is stunned, she staggers back:

REED (cont'd)
I love you. I know you're in there.

The field around Reed's neck is gone, Malice screams -- Reed

stands and holds her --

REED (cont'd)
Invisible Girl was always a silly
name but I only ever ran with it
because that's what you called
yourself. You're more than that and
always have been.
Malice breaks away from Reed, her body writhes like it's in
pain. It's a battle of spirit, Sue versus Malice --

REED (cont'd)
You're the Invisible Woman. Your the
best of us. You're the soul of us.
You're my soul.

Malice, Sue claws at the mask --

REED (cont'd)
It doesn't matter if you want a break
or not. It matters that you know I
love you, and I will always be there
for you, as Boyfriend, as Husband, as
Friend.

Sue begins to pull the mask off --

 101.

REED (cont'd)
Because there's no one as unique as
you, Susan Storm.

Sue rips the mask off. The symbol of her servitude to Doctor
Doom. Her hands generate a field around it, crumbling it --
The EARTH shakes around her, Sparks fly and electricity
crackles -- the Mask folds in on itself -- in the force
field is a small explosion, controlled and self contained.
Sue drops the mask, smoke rises.

Sue cries.

SUE
I love you more than anything Reed.

Reed's pummeled face begins to reshape, swelling remains but

he looks more himself.

REED
I love you too.

Reed holds Sue, he places the ring in her hand.

REED (cont'd)
Through all space and time, that's
one constant. But us, being married,
that's your choice.

Sue smiles, she hugs Reed so close. Johnny and Ben move in
hugging them. There's a sweetness to the moment, a family
reunited.

SUE
Reed, I do have an answer for you.
Reed holds her:

REED
(Points to William)
I know. But that man needs his family
back first.

Sue smiles, nods.

JOHNNY
We just need a way to get to them.

SUE
Doom knew you all would show. He
trusted me to kill you all.

Ben rubs his shoulder:

 102.

BEN
Trust me Susie, you got much closer
than anyone else ever did.

Sue reveals the device Doom gave her.

SUE
He left me this, to return to him
when the job is done.

REED
We go together. All of us.

William approaches the Fantastic Four, he holds the weapon.

SUE
Is--Is he coming with us?

REED
He owes it to his family.

Sue puts a hand on his shoulder:

SUE
You're the famous Willie.

WILLIAM
Yeah.

SUE
I'm sorry for trying to kill you. I
promise I will protect you.

WILLIAM
Thanks. Time is running out. What's
the plan?
Everyone looks to Sue, she looks to Reed, Reed looks to
Johnny.

REED
What do you say sport? Got a plan?

Johnny, thinks a moment.

JOHNNY
Travel through that portal and kick
Doctor Doom's ass.

BEN
As good a plan as I ever heard.

Ben pats Johnny hard. Johnny winces, smiles.

 103.

REED
You all heard him. Let's go kick
Doom's ass.

Sue operates the device, a portal opens -- it widens.

The opening changes from a mixture of black and purple, to a

view on the otherside:

INT. BITTERFROST - PROGRAMMING ROOM - CONTINUOUS

Soviet Soldiers look up and see the Fantastic Four and
Willie -- They're stunned. They see Sue, She sends a force
field through the Portal, it expands in the room slamming
the Soldiers against the wall, one of them slams into a RED
ALARM, a Siren sounds off --

INT. BITTERFROST - WAR ROOM - CONTINUOUS

Doctor Doom observes a map of the time line projected from
his gauntlet, no change. Doctor Doom screams, flipping over
tables. The Siren rings, breaking Doctor Doom's
concentration.

He moves towards a cage. Figures in the dark sit. The sounds

of a simians huddled together in fear.

DOCTOR DOOM
It's time for you to use your power.

Pale hands grab the bars of the cage, Kragoff enters from
the dark, his face is pale, his uniform is red from the
blood spilled during the transformation, he's a RED GHOST.
Slowly exiting the darkness, Peotr his brain and body
stretched out then Igor, already on fire, and Finally we see
Mikhlo, a gorilla made of orange rock who holds the
destroyed body of Boris.

KRAGOFF
Yes.

Doctor Doom opens the cage, Peotr's movements are overly

stretched, when he slams his hands down they stretch as far
as they can, Igor flies through the air, Mikhlo places the
body of Boris down, and steps, the sound of heavy shifting
rocks follows him.

Kragoff vanishes into a mist, He's inhaled by Mikhlo:

 104.

MIKHLO
(Kragoff's voice)
Come. We kill the Americans.

Mikhlo moves forward, Doctor Doom grabs him by the wrist.

DOCTOR DOOM
Fail me, you will never be a human
being again.

Mikhlo exhales in a huff, Doctor Doom lets go and they

continue on.

INT. BITTERFROST - DUNGEON - CONTINUOUS

The Fantastic Four and William enter the Dungeon.

JOHNNY
This place is way too big.

REED
Only makes sense to keep prisoners in
a dungeon.

INT. BITTERFROST - HALLS - CONTINUOUS

The Super Apes move through the halls, Doctor Doom's voice
is broadcast over a P.A. System, but we see him in...

INT. BITTERFROST - WAR ROOM - CONTINUOUS

Doctor Doom watches the monitors, he sees the Fantastic Four
in the dungeon:

DOCTOR DOOM
They're in the dungeon. Kill them
all!

CAMERA pans away from Doctor Doom to DOREEN and STANLEY,

tied together shaking in fear.

INT. BITTERFROST - DUNGEON - CONTINUOUS

We see the four checking each cell, finding nothing. More
Soviet Soldiers poor in, Sue generates a force field -- It
moves at them like a wall smacking them into the castle --

The wind changes in the room.

 105.

SUE
Guys. Something else is in here with
us.

Igor appears, firing off blasts of heat -- Johnny leaps in

front of the team and takes it, Johnny ignites, meets Igor
in the air -- It becomes a rolling fire fight

Mikhlo appears, Ben takes a long hard look at the beast:

BEN
Awe crap.

Kragoff exits Mikhlo, the Gorilla becomes enraged and leaps

at the four, Ben runs and tackles the beast! They roll into
each other slamming fists into one another, breaking through
wall --

SUE
I really don't want to see what's
next.

The Two stretched out arms of Peotr appear, Peotr enters the
room both feet forward, kicking Reed -- Sue looks around to
see Kragoff -- She throws a couple force fields at him, they
pass right through and into the castle walls -- The walls
collapse and open up:

INT. BITTERFROST - UNDERCROFT - CONTINUOUS

The entire undercroft is open, wreckage of steel jabs out
from collapsed brick dungeon cells.

William fires at Mikhlo, Ben struggles with the beast --

William's ammo runs out, He grabs another AK from the
knocked out soldiers -- Ben slams a fist into Mikhlo, Mikhlo
responds by bounding Ben in the chest with both fists --

Igor and Johnny Wrestle -- Igor wraps around Johnny,

becoming a literal monkey on the back -- He flies back first
into the wall, slamming the simian --

Reed is dodging the flexible and stretched fists and

poundings of Peotr -- Reed's return attacks are less than
effective -- Peotr turns his attention to William -- William
backs away firing at Peotr --

Peotr moves in for a punch, Reed steps into it -- Reed's

body goes rubber and wraps around William, the two roll back
into a standing formation -- Reed leaps at Peotr --

William spots Kragoff, opens fire -- The Bullets pass right

through --
 106.

Ben is taking the beating of a life time -- But Ben gives

back just as good as he gets, the boxing match between him
and Mikhlo is nothing short of spectacular --

BEN
How in Sam Hill do we beat these
things?

SUE
I'm on it.

The battle is epic. Sue navigates through the Dungeon

chasing after Kragoff, moving between Ben and Mikhlo
wrestling -- avoiding Johnny and Igor's nonsensical fire
fight -- Reed blocking Peotr from getting to Sue --

Kragoff returns to his mist form -- He goes for Igor:

IGOR
(Kragoff's voice)
Fire with fire, Funny litt--

Sue slams Igor down in a force field -- Then tosses him into
Mikhlo, throwing the gorilla off of Ben!

SUE
We can't keep fighting duplicates.

REED
We need a switch up.

Reed wraps himself around Mikhlo -- Sue lifts the gorilla up

via force field -- Reed jumps off -- Sue slams Mikhlo down
as far into the Earth as she can!

Ben grabs Igor by the tail:

BEN
Sorry 'bout this little guy.

Ben slams him onto the ground, like a child whipping a doll
around, Igor howls -- Ben whips Igor at Sue who catches him
and slams him down into the same hole Mikhlo went -- Johnny
controls a blast of heat on Peotr --

Peotr screams and begins whipping rocks at Johnny -- Johnny

keeps Peotr busy dodging the debris -- Sue tries to capture
Kragoff in a force field -- Kragoff passes right through,
and drops into the hole --

SUE
I don't think that will hold them for
very long.
(MORE)
 107.

SUE (cont'd)
(to Reed)
Go, stop Doom! We'll take care of
this!

Reed nods. William sees Reed, looks at Sue, she exchanges a

look herself "Go." William nods and follows Reed.

INT. BITTERFROST - HALLS - CONTINUOUS

Reed and William run through the halls, more Soviet Soldiers
appear, Reed Stretches out, creating a false wall -- Bullets
bounce off him -- William finds an opening and returns
fire -- He hits his targets --

Reed tightens his stretched body -- The Bullets soak into

Reed's body, William sees the stretching the bullets do to
Reed's body -- Like a sling shot the bullets start to bounce
back at the Soldiers -- They all drop, taken care off --

Reed returns to normal, continues, William follows --

INT. BITTERFROST - UNDERCROFT - CONTINUOUS

Mikhlo crawls out of the hole, Igor rises up -- still on
fire -- Peotr reaches out for Sue -- Ben grabs him, Peotr
stretches around Ben, Ben punches back -- Johnny begins
hurling fireballs at Mikhlo --

Sue opens a force field around Igor -- Kragoff takes over

Peotr's body and begins fighting Ben -- Johnny's fireballs
serve to piss of Mikhlo -- Sue's force field suffocates
Igor, he thrashes about inside, his fire dying more than his
energy --
Sue sees the trouble Ben is having, She opens a hole in the
force field, Igor's flame kicks back on -- She hurls the
monkey at Peotr -- WHAM! The force is enough to knock
Kragoff out of Peotr, knocking the general out -- Peotr
stares at Kragoff, enraged, leaps at Ben --

Ben catches Peotr trapped in the force field --

INT. BITTERFROST - WAR ROOM - CONTINUOUS

Doctor Doom stands, in front of him a table, a globe.
Computers surround him. Reed and William enter, William
holds up the AK-47, aiming it right for Doctor Doom.

REED
Doom!
 108.

DOCTOR DOOM
Richards. You ever stop to think why
I do what I do?

William enters behind Reed, Doctor Doom pulls his laser gun
and blasts at William, Reed leaps in his way and takes the
damage -- It hurts, but Reed is still conscious, still
focused.

REED
You're a maniac.

DOCTOR DOOM
You seem to think so little of me.

REED
You've always been power hungry. It's
what drives a tyrant like you.

Doctor Doom scoffs.

DOCTOR DOOM
Tyrant? Maniac? Words you use to
describe a mind more brilliant, yet
your arrogance refuses you the
ability to acknowledge it.

WILLIAM
Where the hell is my family?

Doctor Doom steps over to a curtain, he pulls it revealing

Doreen and Stanley in the Super Apes' cage, tied up and
gagged.

DOCTOR DOOM
All you have to do to save them is
Die.

Reed steps in front of William, he lowers William weapon.

REED
Why? Why all this?

DOCTOR DOOM
I've seen visions. Visions of worlds,
peaceful and prosperous Worlds.
Worlds on the brink of perfect unity
destroyed. Worlds, more advanced than
ours even with my genius, fallen to a
God. A being of pure destruction.

Reed and William keep pace, walking around the table as

Doctor Doom speaks and moves:
 109.

DOCTOR DOOM (cont'd)

Perhaps I saw these visions too
young. Perhaps it was divine
intervention, but these visions have
driven me for years. For years I've
seen this world die at the hands of a
being so powerful you could barely
comprehend it. I've searched through
every possible outcome I could and
the only one where the world is saved
is one where I rule supreme.

REED
So, taking over the world, proving
you're smarter than I am, this is all
one elaborate plan to save all of
existence. It sounds like a bad joke
from a little man in a suit of armor.

DOCTOR DOOM
How dare you!

Doctor Doom lunges at Reed -- They grapple -- William runs

for the cage, he tries to open, it's locked -- He shoots the
lock, bullets ricochet, "Shit" -- William looks around,
Doom's Side Arm, the energy blast!

Reed and Doctor Doom punch each other -- Reed wraps his body
around Doctor Doom -- Electricity surges through Reed --
Reed writhes in pain --

Doctor Doom stands over him -- Bolts of energy shoot out

from the gauntlets of Doctor Doom's armor -- William fires
several rounds at Doctor Doom -- Doctor Doom turns his
attention to William --
Doctor Doom fires a bolt of electricity at William --
William dodges it -- The computers come alive, wires rip out
as they move to grab William -- William dodges the wires
leaping around them like a man of action --

Reed staggers, he grabs Doctor Doom's side-arm and Fires it

into Doctor Doom's back -- The energy burns a hole through
his cloak, and Doctor Doom feels the burning heat -- Doctor
Doom turns back to Reed -- Reed punches Doctor Doom in the
face --

INT. BITTERFROST - UNDERCROFT - CONTINUOUS

The fight against the Super Apes continues -- It's still a
painfully even match but Johnny, Ben, and Sue are looking
more tired than the Apes --
 110.

Ben ducks a fireball from Igor -- The Fireball burns Peotr,

inspiration strikes:

JOHNNY
I got an idea!
(to Sue)
Force Field!

Johnny begins spinning, mid-air and on fire! His flames whip

around the Room -- Sue generates a force field around
herself and Ben -- Johnny's vortex grows more intense, metal
and stone begin whipping around him --

Ben and Sue watch Peotr's rubbery body and Kragoff's misty
form get funneled into Johnny's fire vortex -- Kragoff
screams -- Peotr reaches for his 'master' --

Igor flies at Johnny but is caught by BEN -- Ben slams the

simian down and begins hammering it -- Mikhlo runs at Ben --
The fiery vortex lifts Mikhlo, the gorilla thrashes, unable
to control it self in the air -- The heat is over
encompassing --

Kragoff screams as his body turns to fire, he claws for

something to hold on to -- Peotr screams as his body
continues to stretch and burn, thrashing around in the
wind -- Mikhlo's thrashing tires him, the heat gets to
him --

Ben holds Igor in a choke hold, the fire is too much and
Burns Ben -- Sue generates another force field around Igor,
cutting off the oxygen --

Mikhlo chokes, Peotr becomes too stretched to handle the

pain and passes out -- Kragoff's body evaporates from the
heat --
Johnny falls! His energy, his fire is spent. Sue's force
fields drop -- Ben catches him.

BEN
Ya' did good kid.

The three look on as the Super Apes are out cold.

SUE
We need to help Reed.
 111.

INT. BITTERFROST - WAR ROOM - CONTINUOUS

Reed and Doctor Doom continue their struggle -- William
grabs Doctor Doom's blaster from the floor -- He runs over
to the cage and fires -- the Lock burns away, William opens
the cage, removes the gags and unties Doreen and Stanley!

Sue, Johnny, and Ben enter -- They watch Doctor Doom and
Reed punching the hell out of each other -- Reed is losing,
like before Doctor Doom holds Reed's limp body like a
trophy -- Reed is fading --

Ben leaps at Doctor Doom -- Doctor Doom responds with a

powerful backhand that takes Ben down -- Johnny shoots a
fireball at Doctor Doom -- Doctor Doom waves a hand and the
fireballs redirect to Johnny and Sue --

Sue leaps out of the way -- She shoves a force field at

Doctor Doom -- Doctor Doom staggers but barely -- Doctor
Doom retaliates, a concussive blasts emits from his armor
heading towards Sue -- She throws her own force field up --

Johnny flies at Doctor Doom -- Doctor Doom catches Johnny

mid-air and slams him down -- Doctor Doom delivers a strong
kick to Johnny in the ribs -- The force sends Johnny flying,
Sue catches him --

Ben wraps his arms around Doctor Doom -- Doctor Doom breaks
Ben's grip and Elbows him -- The rocks crack and Ben doubles
over -- Doctor Doom throws Ben like a child throwing a
doll --

Reed wraps around Doctor Doom's legs, a last feeble

attempt -- Doctor Doom delivers a hard RIGHT into Reed's
jaw -- Reed goes limp --
Doctor Doom lifts Reed up, holding him with both hands --
Reed reaches out for Sue -- She stares at Reed, a tear
rolling down her cheek, Reed's right eye swollen shut --

Sue feels the engagement ring in her pocket, she takes it

out and holds it in her hand -- She looks to Reed -- Reed
reaches out for her --

She looks too Reed and kisses the ring:

SUE
(SHOUTS)
REED!

She tosses the Ring -- Reed, Doctor Doom, Ben, Johnny all
watch as it sails through the air -- William holds his
family close -- The ring falls into Reed's hand, he balls up
his fist and...
 112.

WHAM! The force is unimaginable, Doctor Doom's mask dents --

Doctor Doom drops Reed, Reed stands.

REED
This.

WHAM! Reed delivers another punch, the impact sends a pulse

of energy cracking the room, the energy show echoes of time
as it cracks through the walls!

Various areas wiping through, the walls of the war room are
gone. It exists in space between timelines. Energy pulses
through the room as we see moments in time: the Jurassic
Period, The Bronze Age, The Era of Ancient Rome, The
Colonial Era, Modern Day, and visions of a Future, The room
is almost like an alter in between space and time. The site
is both horrifying and fantastic.

William covers his Family, Sue protects them, herself, Ben,

and Johnny in a force field.

REED (cont'd)
Is for.

WHAM! Another punch. Reed is confident. Doctor Doom is

hurting.

WHAM! WHAM! Doctor Doom is knocked on his ass! Reed is

taking control -- Doctor Doom stands

REED (cont'd)
All your self-righteous, holier than
though bull crap!

In Reed's hand we see the ring's M'KRAAN Crystal shard

CRACKED!
Reed's fist enlarges:

REED (cont'd)
NOW GO TO HELL!

WHAM! Reed slams into Doctor Doom so hard he LIFTS OFF the
GROUND -- Doctor Doom's body Slams into the time echoes --
Tendrils of energy grabs Doctor Doom -- Doctor Doom's body
is being dragged into The Jurassic Era -- Time Pulls Doctor
Doom in -- Doctor Doom grabs and claws at the floor, He
fights desperately to stay:

DOCTOR DOOM
(SCREAMS)
THIS WILL NEVER BE OVER RICHARDS!
WHEN THE END IS NEAR, YOU WILL NEED
ME!
 113.

Doctor Doom's grip fails, he falls into time -- Reed takes

the ring, the small M'Kraan crystal and SLAMS his fist down
shattering it -- the Time Echoes fade.

Doctor Doom is trapped, the war room is wrecked but in it's

proper time.

Reed staggers forward, He falls into the arms of his family.

Sue holds him the closest. Reed places his hand on her
cheek, rubbing it:

REED
I think you'll need a new engagement
ring.

Reed's hand opens, the ring is bent, the gem is dust. Sue
embraces Reed:

SUE
It's okay sweetheart. I love this one
as is.

Reed stands, his family together, Reed acknowledges them

each:

REED
Johnny, I've known about the classes.
There isn't a dean in town who
wouldn't tell me about it. They say
you're smarter than you let on. Today
you really proved that you're driven.
Get your degree, start from the
bottom up.

Reed pulls in Sue for a side hug.

SUE
He wants to run the family business?

Reed nods. Sue ruffles Johnny's hair, smiles on their faces.

SUE (cont'd)
I think he could do it.

REED
But you got to work your way up.

Reed then turns to Ben.

REED (cont'd)
The image inducer worked. Wouldn't be
too hard to build you another.

Ben places a hand on Reed's shoulder.

 114.

BEN
That's as normal as I ever wanna be
stretch.

Sue lets go, Ben pulls Reed in for a hug.

REED
Thanks for being my rock during this.
For holding me together.

Ben let's go. Reed gets down on one knee, holding the bent,
broken engagement ring to Sue as he looks at her eye-to-eye:

REED (cont'd)
I'd prefer to do this formally.
Though, I doubt any date I plan could
possible live up to what we've just
gone through. But, Susan Storm will
you marry me?

Sue tears up.

SUE
Yes, of course I'll marry you.

Reed stands, he slide the bent up ring over her ring finger.
The two kiss, their lips locked and the embrace is something
otherworldly, a pure display of affection, warmth, love.

They then turn to see William, holding his family.

William extends a hand to Reed:

WILLIAM
Thank you. For saving me and my
family.
Reed takes it, they shake.

REED
There's so much you've done... Well,
will do for us. The pleasure is mine.

WILLIAM
Why me?

REED
There's something special about you
William. You may not be president, or
a billionaire, but in your own way
you bring a better world to everyone
around you. It's hard to explain even
for me.
 115.

WILLIAM
So, what do we do now? Go home?

REED
Well not exactly. In a couple hours
you'll do something that will set the
course for the world to be a better
place. It's nothing grand but you do
do it and it will keep the world
safe. Even though it may not seem
like it?

WILLIAM
What's that?

INT. NEW YORK POST OFFICE - LOBBY - DAY

The office is simple. Hundreds of pieces of mail organized
into hundreds of cubbies, helmed by various Postal Workers.

A sign in the window reads "OPEN INTERVIEWS".

William, a little cleaner wearing a suit and tie, and

carrying a resume enters.

INT. NEW YORK POST OFFICE - MANAGER'S OFFICE - CONTINUOUS

William sits, opposite him is the manager, who goes over the
resume.

MANAGER
Tell me something, Willie, where do
you see yourself in five years?

EXT. NEW YORK POST OFFICE - DAY

Stanley and Doreen play around the family car. Reed, Sue,
Ben, and Johnny wait inside the Fantasticar.

They see William exit the Post Office, and wait with baited
breath...

WILLIAM
(Smiles)
I start next week.

The Fantastic Four clap, Doreen and Stanley hug William.

William bends down to Stanley, he begins to sign to his son:
 116.

WILLIAM (cont'd)
(signing)
Guess your old man has another Job.

STANLEY
(signing)
More money for comic books?

William laughs and nods. He steps over to the Fantasticar:

WILLIAM
So what now?

REED
We've got our own time to return to.

WILLIAM
We'll meet again, right?

REED
Absolutely.

WILLIAM
What about those Super Apes?

REED
Well, we've got a unique solution for
that.

Sue makes the Fantasticar Invisible, we see the Super Apes,

sedated, tucked in between Johnny and Ben.

REED (cont'd)
When we're from, this would make a
fantastic new exhibit.
Reed starts the Fantasticar, it becomes visible again.

WILLIAM
Wait, I never thought to ask, but
with those costumes... What do you
call yourselves?

SUE
The Fantastic Four. Goodbye Willie.

The Fantasticar rises then...

IT SHOOTS INTO THE SKYLINE!

 117.

INT. FANTASTICAR - MOVING - DAY

Reed holds the remote to Doctor Doom's time platform, he
checks his watch:

REED
It's about time!

A large GLOWING platform appears pushing down on them -- the

Fantasticar disappears into:

INT. CASTLE DOOM - TIME CHAMBER - CONTINUOUS

The interior of Castle Doom is as we left it, a broken
heaping mess. The Fantasticar appears on the platform as the
energy platform lowers.

Reed exits the vehicle and steps over to the control panel,
he opens it and removes the M'Kraan Crystal. Sue uses her
force field to crumble it up.

REED
That's enough time traveling for a
life time.

SUE
Well there's one thing I wouldn't
mind seeing from the future.

Reed smiles as he re-enters the Fantasticar.

REED
Whats that?

EXT. BAXTER BUILDING - DAY

LEGEND: FOUR MONTHS LATER...

Another Tour Bus arrives, again we see a group of tourists

exit, but we see a dapper WILLIE, dressed in a Tuxedo,
escorting a very beautiful Jan, dressed in a lovely Blue and
White Dress.

JAN
I'm so excited, I love their new
uniforms!

INT. THE BAXTER BUILDING - LOBBY - CONTINUOUS

Willie and Jan enter, Roberta leads them to a special VIP
line.
 118.

ROBERTA
Welcome back to the Baxter Building
Mr. and Miss Lumpkin.

Roberta escorts them through the line, we follow them into

the elevator.

INT. BAXTER BUILDING - ELEVATOR - CONTINUOUS

We ride up with Willie, Jan, and Roberta. We see the
improvements made to the Baxter Building, including the
"SUPER ZOO."

After a moment the Elevator dings and we open too:

EXT. BAXTER BUILDING - ROOF - CONTINUOUS

A Full wedding Party, Willie and Jan exit and take their
seats up front on the Groom's side. Willie spots Reed,
dressed in a Fresh Uniform, the Blue is vibrant, and the
black has been replaced with white, the Four badge right in
the center as always.

Ben is stationed as Reed's Best Man, wearing blue tights

with a white belt and the Four badge as an off center belt
buckle, complimented with white boots. Opposite Ben is
Alicia standing on Sue's side, wearing a lovely Jade Colored
Gown.

Everything slows, people quiet. Here comes the Bride plays,

as the Elevator opens once again. This time it's Sue,
wearing her uniform, holding a bouquet of flowers. Johnny,
wearing the same uniform as Reed, walks her down the isle.
Sue arrives to the alter, Johnny hands her off to Reed, the
two Brothers shake. The Minister begins to read...

MINISTER
Dearly Beloved, we are gathered here
today, to witness the fantastic. The
union of those in love...

INT. BAXTER BUILDING - PARTY HALL - LATER

It's a real party, music sounds, guests dance. Reed and Sue
sit at the head table, playfully wiping each others faces.
Reed and Sue lean into each other and share a very
passionate kiss.
 119.

Jan approaches Reed and Sue, holding a PEOPLE Magazine with

a cover photo of Reed and Sue. Jan holds it up to Reed and
Sue:

JAN
Would you please sign this for me?

Reed stretches out and takes the magazine, handing it to

Sue:

REED
This is your number one fan. Willie's
granddaughter.

SUE
OH! I've heard so much about you. I
saw a photo of your costume it was
amazing.

JAN
(Blushing)
Thank you! I love your new Uniforms!

Sue signs the Magazine, offers it too Reed, Reed signs.

SUE
I do too. I thought they'd seem a
bit... Happier.

Reed hands her the magazine back.

Johnny steps forward, microphone in hand:

JOHNNY
Hey everybody, welcome to the wedding
of the century! As the little brother
I wanted to be among the first to say
congratulations to Dr. Reed Richards
and Mrs. Susan Storm-Richards!

People cheer, Sue blushes, Reed smiles. Ben watches from

afar.

JOHNNY (cont'd)
Or should we all say to Mr. Fantastic
and the Invisible Woman!

The People cheer! Ben yanks the Microphone from Johnny:

BEN
As best man I just want to say--

A Loud ROAR erupts...

 120.

BEN (cont'd)
Aw crap...

Reed, Sue, Ben, and Johnny peak out the window of the Baxter
Building to see:

EXT. NEW YORK CITY - STREETS - CONTINUOUS

GIGANTO and the MOLE MAN busting through skyscrapers.

INT. BAXTER BUILDING - PARTY HALL - CONTINUOUS

Reed looks at Sue:

REED
There's always time for the Honeymoon
after work.

Sue chuckles, pulls Reed in for another kiss -- the crowd

"WOOS".

EXT. BAXTER BUILDING - MOMENTS LATER

The new FANTASTICAR Mark III rises from the roof of the
Baxter Building -- Johnny is already on fire -- Ben, Reed,
and Sue all pilot the car together.

Fading into the soundtrack is You Gave Me Something (And

Everything's Alright) by The Fantastic Four...
The End.
121.