THE THIEF OF SECRETS or CAPER
by Ryan Dever
SCENE 1
EXT. MEDITERRANEAN SEA. DAY.
The sun burns white hot as we pan down a cloudless sky to a heat shimmered horizon of saltwater. Smoldering debris floats in front of the camera. A body is wrapped about one of the timbers. There is splashing off screen and then a hook catches the timber. Sailors drag the also smoking and burned body to the deck of a dow (Arabian ship). The eyes flutter, he is alive. A Persian man, obviously in charge, parts the crowd and steps forward.
IBN FADLAN
Where is the fleet?! (takes the man by the soggy collar) The rest of the fleet! Where is it?
We see now that there is an almost perfect seam between the man's left side, which has 4th and 5th degree burns, and his right which is salty and sun blistered but not burned.
MAN
Pharos….
IBN FADLAN
What?!
The man falls dead to the deck.
SAILOR
Pharos, Ibn. It is Greek for light.
SCENE 2
INT. TENT. NIGHT.
It is a beautiful night and the tent is lavishly decorated. A slight breeze moves the fabric lending a ripple to the light. Autolycus gazes into the eyes of a luscious concubine. His hands, of course, are elsewhere.
FATIMA
Oh, your hands are so dexterous.
AUTOLYCUS
That's how I make my living.
FATIMA
(taking this to mean something along the lines of 'Hey I seduce bimbos like you all the time.') What!
AUTOLYCUS
Huh? Oh, I'm a… jeweler. Takes lots of patience. (Fatima's necklace vanishes from her neck. She does not notice.) And dexterity.
FATIMA
(giggles) I'm glad I was wrong about you.
AUTOLYCUS
(kissing her hands and biting the stones out of her rings as he goes.) What ever do you mean?
FATIMA
At first I thought you were just like my master. You would try to buy me as he has with all these trinkets.
AUTOLYCUS
Is that where you got them all. Speaking of your master when will he be back?
FATIMA
I don't know.
As Autolycus sucks the gem from her navel he sees a shadow on the front of the tent.
AUTOLYCUS
Too soon I fear. Fatima my sweetmeat, I must be going.
Autolycus points to the shadow. She looks, then back, Autolycus is gone.
FATIMA
Oh, phooey.
SCENE 3
EXT. BACK OF THE TENT. NIGHT.
Autolycus rises into the frame, brushes invisible dirt from himself and walks away looking like the cat that not only ate the canary but did it while granny was watching and then used her toothbrush. Shadows move along behind him. He cocks an eyebrow hearing them. The grappling hook drops from his sleeve to his hand. A figure clad entirely in black silk moves for him. The hook finds a tree limb and Autolycus is off.
AUTOLYCUS
Yo-dilay-hee… (the rope is severed and Autolycus lands on his back) ough!
A scimitar comes to rest on Autolycus neck. Throughout this scene we will never be sure how many men surround Autolycus. He looks disgusted with himself but quickly
AUTOLYCUS
Say, is that your concubine back there? Very nice. She was just telling me that a short, blond, guy with a huge scar on his face had taken all her jewels and well I was just going after him when I seemed to have had some equipment troubles you should never buy equipment from traveling salesmen, but I digress, as I was saying I was after the succulent young woman's accoster when I ran into you fellows and I think if we hurry-
When Ibn Fadlan speaks his tone is flat and measured, there is nothing menacing about it except the words. He never looses his temper.
IBN FADLAN
Be silent. You are Autolycus, the king of thieves. We have a task for you. (there is something distinctly royal about that 'we')
AUTOLYCUS
Hey, I don't know who you guys have been talking to but I'm no mercenary. At least not a cheep one anyway.
IBM
Silence…. You will go to the library of Alexandria, there you will find and appropriate the secrets of the Pharos. They will be in the Cryptic Vault.
AUTOLYCUS
Cryptic Vault? The pharoes? (as in Egyptian kings) What kind of obscure grave robber do you think I am?
IBN FADLAN
Silence. 'Pharos' not 'pharoes'. It is the name of their light house. The Cryptic Vault is where the most secret information is kept.
AUTOLYCUS
So you want me to filch the files for the Pharos, eh? (tries to sit up but the scimitar keeps him there.) I could do that, for a reasonable fee. What are you offering?
IBN FADLAN
Your life.
AUTOLYCUS
Oh, very generous but I'm afraid I'm already in possession of that. (uncomfortable silence.) I mean, I could say I was going to do the job and then just disappear. You'd never find me.
IBN FADLAN
We already have.
AUTOLYCUS
Oh sure, with a trap. I mean what thief worth their salt wouldn't go for a dish like that. And she was nice looking to.
IBN FADLAN
No trap. We found you.
AUTOLYCUS
What!? You mean her old man's coming back! We gotta get out of here.
IBN FADLAN
He will not be returning. (this is a polite way of saying he is dead)
AUTOLYCUS
You're not leaving me many options here are you?
IBN FADLAN
Death.
AUTOLYCUS
Oh, yeah, that. Tell you what, I'll make you a deal. For the piddling some of …oh… my life, I'll do the job for you.
IBN FADLAN
You are wiser than your face.
The indeterminate number of figures fade back into the shadows.
AUTOLYCUS
oh, hey yeah, thanks….. jeez you'd think they were born without mothers.
Brushes himself off again and turns to leave. Remembers that Fatima's master will not be returning and actually decides to return what he has stolen.
SCENE 4
INT. TENT. NIGHT.
Autolycus enters. Fatima is curled on her pillows. He crosses to her.
AUTOLYCUS
Fatima there is something I should -
He stops mid-sentence as her body, mostly bellow frame, rolls toward him. Autolycus raises his hand, there is blood on it.
SCENE 5
EXT. DADELUS' WORK SHOP. DAY.
In the yard outside the shop Dadelus is getting an assistant to test an odd looking stick with handlebars and a place to stand. The assistant falls over repeatedly.
DADELUS
No, no. Like this.
Dadelus takes the stick, gets on and begins to bounce. It's a 'Pogo-stick'.
DADELUS
Weee… I knew it would work!
We get Dadelus' POV as he bounces. A few assistants watching as the camera springs up and down.
ASSTANT#1
Can I try?
ASSTANT#2
No, I want to try.
A cloaked figure in the background yells into the shop.
AUTOLYCUS
Hey everybody look at this!
All the assistants rush out and soon it's a mess of "Woah cool!" "Me next!" "No me!"
SCENE 6
INT. DADELUS' WORK SHOP. DAY.
Autolycus walks in like he owns the place, goes to a rack of scrolls and runs his finger along the index.
AUTOLYCUS
C,D,E,F. Farming, no. Fishing, no. Fission? Ah, flying. They'll like that. Wings, ornithopters. Buttresses? Bubble. That ought to do it.
Goes to the appropriate slot and pulls the case, tucks it under his arm and starts to stroll out. An unseen worker appears from under a table, grease smudges his face. He is eighteen.
WORKER
Oh! I'm sorry, can I help you?
AUTOLYCUS
(fiddling with his mustache) Um well…
WORKER
You must be the merchant here about the new toy contract. Everyone should be out front I don't know how you could have missed them. I'll just call-
AUTOLYCUS
Oh that won't be necessary.
but it's to late the boy is on his way out. Suddenly he stiffens and falls back, Autolycus catches him. There is an arrow in his chest. Autolycus looks about frantically but sees no one. The boy coughs and Autolycus turns back to him. Immediately he begins shredding the boys shirt to use as packing on the wound. There is a note wrapped about the shaft which reads "We're watching", in Greek of course. Autolycus quickly wraps the wound and makes for the window.
AUTOLYCUS
Hey! HELP! HELP! This man is injured!
as soon as people come through the door Autolycus vanishes out the window.
SCENE 7
EXT. BEACH. DAY.
Xena is ridding along the waters edge practicing tricks with Argo. Gabrielle lies on her back watching a kite, the handle of which has been lazily stuffed under one leg. She has an unfinished scroll in one hand and an undipped quill in the other. Argo thunders past and Gabrielle turns to admire Xena's form as she springs from one side of her mount to the other. Autolycus appears far up the beach and Xena rides to meet him.
AUTOLYCUS
Oh thank the gods, I found you. You have to help me.
XENA
(From on high) I don't have to do anything, thief.
AUTOLYCUS
Look, babe, I saved your life once now here's your chance to return the favor.
XENA
Excuse me? (dismounts menacingly)
AUTOLYCUS
Someone's gonna kill me unless I do what they say.
XENA
And that would be returning what, exactly?
AUTOLYCUS
I didn't steal anything… yet. They want me to break into the library at Alexandria.
GABRIELLE
(entering) Really?
XENA
They want you to break into a library? I don't get it.
GABRIELLE
Not just any library, the grand repository at Alexandria.
XENA
They have some over due books they don't want to pay the fine on?
AUTOLYCUS
No, crazier then that, man. They want me to steal the plans for a lighthouse. And if I don't do it there gonna kill me.
SCENE 8
EXT. SAME BEACH. LATER.
they've obviously been talking a while.
AUTOLYCUS
…so then I figured, I need backup and you owe me one. I knew the kid (Gabrielle) would be able to figure out the library faster than I could.
GABRIELLE
Kid!? I'm the Queen of the Amazons.
AUTOLYCUS
Yeah and I'm the king of thieves, so what.
GABRIELLE
So if you want my help you'd better apologize.
AUTOLYCUS
All right already. I'm sorry you're a kid.
XENA
This is not productive. This Cryptic Vault?
AUTOLYCUS
Is in the library. I've done some checking and you can't get into the library unless you've got something they want to copy. That's where the… Gabrielle comes in. She can get in, find the vault and tell me what it looks like. Then all I have to do-
XENA
Is break in and steal the plans and you want me backing you up.
AUTOLYCUS
Something like that. Alexandria is well guarded but what I'm really worried about is the guys who want me to do this. They've kill at least two, possibly three people just to prove they could find me anytime they wanted.
XENA
Bodyguard to a thief's not very glamorous.
AUTOLYCUS
More glamorous than being a dead thief. And since when have you been a glamour girl?
XENA
We're going to need a way into the city, some cover. I think I know just the man for the job.
SCENE 9
EXT. THE MARKET AT NAXOS. DAY.
A close-up of a customers feet wearing squirrel bladder sandals. The feet shift from side to side making odd balloon squeak and fart noises. The feet stop, we hear money change hands then the feet bounce happily on their toes and walk away.
SALMONIUS
Another satisfied customer. (there is the sound of more people behind him) Salutations, and welcome to Sal's Squirrel Sandal Shoppe. How can I help you?
HURTICLIES
You can start by giving me back my money!
SALMONIUS
Hurticlies!?
HURTICLIES
Those swords you sold me fell apart when it rained. They were talcite.
SALMONIUS
They were for decorative use only. I can't-
HURTICLIES
Tell that to Throttleus. He lost three brothers that day.
Indeed, Throttleus does not look happy, nor do any of the dozen or so others.
SALMONIUS
Normally there's a no money back-
SCENE 10
EXT. THE MARKET AT NAXOS. DAY.
The market is packed with booths and signs. Ropes criss-cross the air dangling fabrics, fruit and what-have-you. Autolycus is talking to a tailor. The plans he stole from Dadelus are spread between them.
AUTOLYCUS
So you could have it cut by tonight but when could you have it sewn by?
Salmonius, totally flustered and out of breath, runs into Autolycus.
SALMONIUS
Help! You have to help me!
AUTOLYCUS
Hey, don't wrinkle the suit.
SALMONIUS
They're going to kill me!
AUTOLYCUS
I've had worse done to me. Take it like a man.
There is obviously no help here so Salmonius runs away. Autolycus is immediately buffeted and trampled by Hurticlies et.al.
AUTOLYCUS
Hey, watch the suit.
SCENE 11
EXT. THE MARKET AT NAXOS. DAY.
Gabrielle leans too casually against a wall, to her right is an open door which is swung out to the street. There is a rope tied to the doors handle. Her eyes slide left and Salmonius enters the shot robes a flap, sandals making odd farting noises. He hurries past without seeing her. Hurticlies et.al. enter at full tilt, Gabrielle bumps the door closed with her hip. The rope rises and the pursuers sprawl over it. She stretches as though yawning and unknots another cord which covers them in blankets. She casually strolls away. CUT TO
SCENE 12
EXT. THE MARKET AT NAXOS. DAY.
A HIGH ANGLE SHOT, we are above the ropes of goods and following Salmonius with a TILT PAN as he runs towards us. We tilt down until Xena's shoulders fill the screen, side to side. She is only slightly lower than the camera. She ducks from the shot and we get quick cuts; Salmonius feet running, Xena's hand grabbing the front of his robes, Salmonius' screaming face, his feet leaving the ground and finally a two shot. Xena and Salmonius face to face, she dangles him by the collar as she balances on a rope ten feet over the market as though this were the sort of thing anybody might do two or three times before lunch.
SALMONIUS
Oh, Xena am I-
XENA
glad to see me? You keep selling inferior weapons and you're going to get all the wrong people mad at ya, Sally.
SALMONIUS
oh I don't do weapons anymore. Strictly health products.
XENA
Yeah right. C'mon that blanket trap's not going to hold them forever and we have to talk.
She hops to a nearby roof and sets Salmonius down.
SCENE 13
INT. SECOND FLOOR ROOM AT AN INN. DAY.
The room is empty.
XENA (VO)
Just hurry up and get in there.
Salmonius comes through the window followed by Xena.
SALMONIUS
This not a very dignified way for a man of my stature to enter a room.
XENA
Of your stature? You'd have to be standing on Olympus for snakes to look up to you. (Sal starts to protest) Or maybe you'd rather be whooping it up with your satisfied customers?
SALMONIUS
Point taken. But I don't do weapons anymore and that's exactly the reason why.
XENA
Yeah you said, health products.
SALMONIUS
Like this, a toothbrush. It's a real hot seller at the vomitoriums.
XENA
A what?
SALMONIUS
A brush for you're teeth. Give 'em a quick scrub after you eat and wha-la, no more parsley stuck in there. Keeps 'em nice and white and if you use a sprig of mint it freshens your breath.
Gabrielle has entered during this last.
XENA
(examines the toothbrush, then to Gabrielle) Hey.
GABRIELLE
You were long gone before they even got their heads out. They don't know where he is.
XENA
Good. (to Salmonius) This is a good idea, Salmonius. (turns away)
SALMONIUS
That'll be two denars.
XENA
I just saved your life.
With her back still to him Xena slides her breast dagger from its much coveted hiding place and drops the toothbrush in, then replaces the dagger.
XENA
I have a proposition for you. (Sal gets a lecherous smile) How would you like to go to Alexandria?
An odd look crosses Xena's face and she does a flex and swivel of her midriff to fix whatever the toothbrush is doing.
SALMONIUS
(lechery is immediately replaced by dollar signs) Really? You know there's a great trade I've been trying to get going. You by olives here sell them in Alexandria use the money to buy dates and sell the dates here. It's perfect, a win win trade. No mater how bad things get there's always money for delicacies. There's just one problem, it's impossible to get into Alexandria. They have this standing policy, the price to dock there is a book they don't already have. Have you seen their library? Where am I supposed to get a book they don't already have?
GABRIELLE
Here.(she places her scroll case on the table)
SALMONIUS
We'll need money of course. For olives and a boat.
XENA
No -(cut)
SCENE 14
EXT. THE SAME ROOM. LATER.
AUTOLYCUS
- problem?! What do you mean I have to buy a boat full of olives?
XENA
It's our cover. We go in as traders, the fee for berthing a boat is letting them copy a book. That gets Gabrielle into the library she tells you where to find what you're looking for and we just sail away. Hey, it's your life not mine.
AUTOLYCUS
With or without those little red things in the center.
SALMONIUS
Without. Hey, you're that guy I bumped into in the market.
AUTOLYCUS
What? Oh, ah, sorry about that I was busy.
SCENE 15
EXT. THE DOCKS AT NAXOS. NEXT DAY.
They board the ship with their gear. Autolycus has a new rather large back pack which Gabrielle finds all the more interesting because he won't let her get a good look at it.
AUTOLYCUS
So is that it? We're loaded?
SALMONIUS
I'd feel a lot better if we had a crew.
XENA
(casting off) No time and who could we trust. Look at it this way, you'll make a bigger profit.
Gabrielle takes the wheel as they raise the sails.
XENA
We'll take three hour shifts at the wheel to make sure we don't get too tired.
We CUT TO A CLOSE UP of the notches where string meets bow. As the string is drawn we hear the catgut whisper. CUT BACK TO Xena pricks her ears just before we hear the 'Tie fighter' howl of an arrow. Slow motion of Xena moving on Gabrielle who is also reacting to the arrow, looking as if she might try to catch it actually. Back to real time as Xena's hand closes on the shaft.
XENA
Are you crazy?!
GABRIELLE
What?
XENA
You were gonna try and catch it weren't you?
GABRIELLE
You do it all the time.
XENA
I am not you.
GABRIELLE
Oh, how politic. What you really mean is "I'm not you"!
Both are distracted from what is obviously a futile argument as Xena discovers a note wrapped around the shaft.
XENA
(to Autolycus) We just got a note from your friends. They tried to pin it to Gabrielle.
AUTOLYCUS
Sorry about that.
GABRIELLE
Sorry? They've been knocking people off randomly around you and you didn't tell us?
AUTOLYCUS
I did. Maybe not in so many words but-
SALMONIUS
Excuse me, did you just say that people are being killed at random around this man?
XENA
You don't want to know.
SALMONIUS
Okay. (walks away and hides below decks)
AUTOLYCUS
I told you they were dangerous. What's the note say?
XENA
"You're taking too long."
GABRIELLE
(looking to the horizon) Not much we can do about that now.
SCENE 16
Establishing shot of Xena at the wheel, it's night.
INT. AUTOLYCUS' CABIN. NIGHT.
Gabrielle cracks the door, peaks in, sneaks in, closes the door and looks for that bulky pack. She finds it, opens it and pulls out silk, silk, and more silk. Apparently the whole thing is stuffed with one giant piece of silk, no ends and no corners. Amidst the rhythmic sounds of the ship there is a creak. Gabrielle looks for a place to hide. SHOT OVER GABRIELLE'S SHOULDER as the door opens, Autolycus is looking out to the deck.
AUTOLYCUS
Call me when it's my shift.
He enters and the room is apparently empty. A tense moment as Autolycus goes to the far side of the bed but she's not there. Then he sits on the trunk to take off his boots which he drops behind the trunk, but she's not there either. He stretches and then loses himself in thought as his fingers drum on the chest. The camera closes on his drumming fingers. Suddenly he stands, snaps the lid open and rifles through the trunk, which contains not even one small Gabrielle, and retrieves a mustache comb and hand mirror. As he quaffs his 'stache he walks about the cabin and then mysteriously begins to talk to the mirror.
AUTOLYCUS
If you want to be anything other than mediocre you should try suede boots, those leather ones creak slightly when your weight shifts.
THE CAMERA PEDESTALS DOWN while holding Autolycus' face in frame. The room parallaxes behind him until we see Gabrielle braced between the rafters.
AUTOLYCUS
And you might want to work on your breathing, it's touch loud.
GABRIELLE
You try breathing quietly while you're doing this. (she drops to the floor light as a cat)
AUTOLYCUS
Oh, I do. On a regular basis. Everyday in every way Autolycus is getting better and better.
GABRIELLE
You are completely unbearable. (makes to leave)
AUTOLYCUS
Still, the ceiling as a hiding place shows promise. (she slows) It takes most thieves years to think of that.
GABRIELLE
I'm not a thief.
AUTOLYCUS
Oh, right, you're a scholar. Spend all your time with your nose in books.
GABRIELLE
Information. Knowledge, is more valuable than anything you could ever steal.
AUTOLYCUS
Wanna bet? (produces her scroll case) Why did you come in here?
GABRIELLE
Give me that.
AUTOLYCUS
Ah! (places his hand on her forehead as she goes for the case which he hold out of reach) First you're going to tell me what happened to that ring you lifted off me after we stole that Ark thingy.
She puts him in a thumb lock and drops him.
GABRIELLE
Someone stole it from me in a bar in Thival. (takes her case and releases him) Before I could find it's rightful owner.
AUTOLYCUS
Uh,… and after all I went through to get it.
but Gabrielle is already gone.
AUTOLYCUS
Shame, thought she might actually keep it. (the ring not the pack)
SCENE 17
EXT. THE BOAT. NIGHT.
Xena is at the wheel, Gabrielle enters.
XENA
You two have fun?
GABRIELLE
Don't even go there.
We fade through various people at the wheel over two days until
SCENE 18
EXT. THE BOAT. DAY.
SALMONIUS
Land ho!
XENA
Make ready to come about.
Alexandria stretches across the horizon, a great city, the biggest any of them have ever seen. The arms of her harbor wall curl out to greet them and there, on an island, at the tip of the eastern wall stands the Pharos. Three hundred feet tall it is the tallest functional building in the world. Its sides are exquisitely polished and sculpted marble in a three tiered stack. The base has four sides, the middle, eight and the top hundred and fifty feet is cylindrical, capped by a glass cage which, even in daylight is slightly brighter than the sky.
GABRIELLE
There's a couple of tow boats rowing out to meet us.
XENA
(to Autolycus) It's beautiful.
AUTOLYCUS
(to Xena) It's huge. I'm glad I don't have to break into it.
SALMONIUS
Lower the sail. They'll check our manifest and bring us in.
SCENE 19
EXT. THE BOAT. DAY.
COMPOSITE SHOT: Gabrielle and Autolycus stare in awe up the side of the Pharos as the boat is towed into the harbor. We get a really good sense of scale as Gabrielle climbs the mast more than thirty feet above the water and still cannot see the top. Its walls slide by monolithically taking up the whole background.
She looks to the deck, Salmonius is dealing with the port officials, Xena is at the wheel, but farther out to sea there appears to be trouble on another ship. The tow boats for it are hurriedly retreating. A man stands on the prow of one of the two smaller vessels and waves two flags. He apparently gets the attention of someone at the top of the Pharos and starts his semaphore. When he is finished something truly scary happens, no blinding flash of light, no warbling death ray sound effect just a shimmering column of heat which sweeps across the water and touches the other ship. Instantly its lighter materials (sails and clothing) burst into flame and soon the heavier ones follow as the heat ray mercilessly cooks the ship, and all its contents, to ash.
Xena, Gabrielle, Autolycus, and Salmonius are stunned. There is a perfunctory silence from the port officials then
PO#1
Your papers are in order. You will be given until three quarter sun tomorrow to complete your business which is stated as the sale of… (checks his papers) thirty urns of olives. Hmm, perhaps you could make me a deal on some I have many Greek and Thracian friends.
SALMONIUS
What-what happened to that ship?
PO#1
(instant suspicion) Can you not read semaphore? You're a sailor.
SALMONIUS
Merchant.
XENA
(to Sal) I read them, sir. They were carrying a plague.
SALMONIUS
Couldn't they be cured?
PO#1
At the risk of infecting the greatest city in the world? No. There's no cure better than death. Now, where are the documents which will act as your berthing fee.
SALMONIUS
Ah…
GABRIELLE
Right, here. (hands over her scroll case)
PO#1
(With disdain) Hmh, travel journals. Well, local customs and histories are always useful.
Autolycus covertly hands Gabrielle the case he stole from Dadelus.
GABRIELLE
.. and these too.
PO#1
Ah, technical plans. (to Sal) Now, here are the names of the people you must talk to for market space. (gives Sal a list) And you, young lady, must take these (the scrolls) to the library and have them fill out this form which must be returned to the harbor masters office by night fall. If any of you wish to sleep anywhere other than this ship you must make those arrangements yourself. Thank you, and good trading.
PO#1 exits with PO#2 who has done nothing but scribble math on a clipboard and count on his fingers all this time.
XENA
(to Autolycus) Now we know why they want you to steal it.
AUTOLYCUS
I'll say.
SALMONIUS
What? He's a thief ? Xena , could I have a word with you. (takes her aside) First, you don't tell me that people are dying around this guy and now I find out that he's supposed to steal that! How can he steal something that we can't even see the top of !?
XENA
Look on the bright side you're making a profit.
SALMONIUS
I could be loosing my life! I want to go home. Did you see what that thing just did?
AUTOLYCUS
Keep it down, man, you're attracting attention.
SALMONIUS
You… don't talk to me about attracting attention, people are trying to-
AUTOLYCUS
Hey! Remember, any profit you turn on this is coming out of my pocket.
SALMONIUS
What good is money if you're not around to spend it?
SCENE 20
INT. THE LIBRARY. DAY.
With the cameras balanced for the interior the light that spills through the door is a hot, dusty white. Gabrielle enters and goes to the desk. Her eyes are still adjusting to the comparative gloom.
ATOZ
How may I help you?
Gabrielle, who is looking about her, hands him the slip of paper.
ATOZ
Ah, books for duplication. I'm Mr. Atoz.
GABRIELLE
Gabrielle.
ATOZ
Follow me please.
They pass from the smaller front hall through double doors into a huge open space. It is three stories tall with balconies at each level, books cover every surface. There is a great deal of activity here.
GABRIELLE
Oh wow.
ATOZ
This is the catalogue and index room. Duey! (a young man comes over) Duey this is…
GABRIELLE
Gabrielle. (to Atoz) This is just an index? How do you keep track of it all?
ATOZ
Duey is much better at these things than I am. I'll leave you with him. (exits)
DEUY
You have books for duplication, Gabrielle? (he is obviously taken with her)
GABRIELLE
Yes. How do you find anything in here?
DEUY
Tell me what subjects your books are on and I'll show you. (she hands him the scrolls) Well, this is a travel journal. That would go in travel or one of the cultural sections. We have ten base categories, within those there are subcategories and within the subcategories it's alphabetical… more or less. If we left it to Mr. Atoz it'd be strictly alphabetical. Which is pretty ridiculous when you consider that a lot of the things we have don't even have titles.
During this they have crossed the index, Duey has sorted his keys and opened a door into a room with regular rows of shelves which seem to run to the vanishing point. They have climbed a spiral stair case and gone to a duplication room. The room is full of scribes and is well lit by windows and sky lights.
DUEY
This is where your travel journals will be copied. There are separate copy rooms for each section.
GABRIELLE
Oh, I have these too.
DUEY
(with new admiration) Did you design these?
If we look closely we might notice that these are plans for a hot air balloon. Da Vinci-esque.
GABRIELLE
No, they were given to me as part of the docking fee.
DUEY
We keep technical stuff like this in a special section. The Cryptic Vault, sounds imposing doesn't it?
SCENE 21
INT. LIBRARY. DAY.
Gabrielle and Duey stand in front of the Cryptic Vault as it's thick steel door swings open. They enter. Nothing but them touches the floor. The bookcases and tables hang from heavy chains that reach to the ceiling. Naturally there is a slight swing to things. A skylight provides light. We get the impression that Gabrielle isn't supposed to be here but Duey is hoping to make some points.
DUEY
This is where we keep all the secret stuff. City plans, aqua-ducts, weapons, armor, ships….
GABRIELLE
Your harbor, the light house…?
DEUY
Yeah. Even have plans for the library in here. It's completely secure. As you can see the floor is pressure sensitive and the skylight is covered by steel shutters after we close.
GABRIELLE
Pressure sensitive? How do they do that?
DUEY
Hydraulic. Feel how it shifts under our weight. There's a layer of water underneath. Any pressure and it sounds an alarm. I don't know exactly. It's a secret, of course.
Duey pauses in front of the door to the secure copying room.
DUEY
Uh… you're not supposed to be in here so-
GABRIELLE
(having gotten her look a lot easier than expected is completely understanding) Oh of course, I'll wait outside while you give those to the scribes. Wouldn't want to get you in trouble.
Gabrielle exits the vault and waits. Duey emerges.
DUEY
It will take a few hours to finish copying your books… (Gabrielle braces for the date question) I have duties to attend to but you are welcome to brows the library while you wait. There are reading rooms up front.
SEGUE: a number of shots of Gabrielle reading various books and loving it. The final shot is Gaby under a table with her back to it leg. We pedestal-up and a stack of books on the table dissolves into
SCENE 22
EXT. STEPS OF THE LIBRARY. DAY.
…the steps of the library. Autolycus mills about amongst the columns at the top of the steps, Xena leans against a stone lion. The lion isn't in the traditional British style it's Hellenistic or Phoenician.
AUTOLYCUS
What's taking her so long?
XENA
Relax. There's a lot to copy.
IBN FADLAN
(off screen) Perhaps our thief is nervous because his life is at stake.
Autolycus instantly vanishes.
XENA
Who are you?
AUTOLYCUS
(apparently a disembodied voice) He's the one who 'hired' me.
Xena gets menacing and is about to take Ibn by the collars. Ibn Fadlan doesn't even flinch.
IBN FADLAN
I should like to apologize for the misguided attempt on your companion. The agent responsible has been corrected.
XENA
Corrected?
IBN FADLAN
With extreme prejudice. At the time we did not realize how well our thief had made his plans. After the fact of her being a bard came to light all made sense. There are many fine tea houses in this city and tea always makes conversation more civilized. Won't you join me.
SCENE 23
Establishing shot of Salmonius selling olives. Pan to
INT. TEA HOUSE OFF THE BAZAAR. DAY.
Xena, Autolycus and Ibn Fadlan are seated around a low table on cushions. Ibn Fadlan smokes a hookah as the tea service is laid before them. The bustle of the bazaar can be seen through the window behind them. Perhaps it isn't a window, to save money the tea room could be an awning off the side of a building with railings, a sort of patio-bar. Ibn Fadlan, ever the proper Arab, begins to serve the tea to his 'guests'.
AUTOLYCUS
Look, mac, I'm not interested tea. All I want is to do the job and get Tarterus between me and you as fast as I can.
XENA
(accepting the cup he offers) Thank you.
IBN FADLAN
You should be more like your friend, thief. She understands, she is content to wait.
AUTOLYCUS
It's not her life you threatened.
IBN FADLAN
Death comes to all who wait but is that what motivates you still? After seeing the prize and the obstacles is it not something else? One does not become the king of anything without a taste for what gets one there. Would you not agree Warrior Princess? I am sure you would not deny that war can be an unsightly business and that often the best way to avoid war is by the mutual respect of the adversaries.
XENA
Power needs its balances. Not enough to win, or, too much to lose.
IBN FADLAN
Precisely. Risk and sacrifice must be weighed against what one hopes to gain. But if one side should have undue advantage over the other foolish leaders could let such considerations fall to the dust. Bronze against stone inevitably wins, steel against bronze inevitably wins but that (points out the window to the top of the Pharos which can be seen over the buildings) is lightning against sticks and stones.
XENA
I don't know what's in that hookah, friend, but from where I sit that tower's a little big to be anything but defensive.
IBN FADLAN
What if it were not? What if the technology could be made portable?
AUTOLYCUS
What if! Who in Hades are you?
IBN FADLAN
A dealer in secrets. Who owes who. Who owns who. That tower is making certain… eastern interests very nervous.
XENA
And if we steal the plans they'd have the power too. A balance. Quid pro quo?
IBN FADLAN
Precisely. With the return of mutual threat, the return of mutual respect. I read a fascinating book from the library here. It's by a man named Sun Tze, in it he says "All battles are won and lost before ever they begin."
XENA
You would prefer that they don't begin.
IBN FADLAN
I like your friends, thief. You could learn much from them. (he leaves)
XENA
That could be the scariest man I have ever met.
AUTOLYCUS
Good, I thought it was just me he gave the willys to.
Gabrielle enters in an unusually good mood.
GABRIELLE
It's about time I found you guys.
XENA
You're looking chipper.
GABRIELLE
You should see all the books they have. (Autolycus opens his mouth to speak) Okay, found the vault, know its traps, got a way in… but you have to take me with you.
AUTOLYCUS
I'll be the judge of that.
The following speech becomes a VO segue to the next scene.
GABRIELLE (VO)
It's all measured off in my paces. From the front door to the index room is ten paces. The index itself is twenty-two paces plus two for the walls at either end. Stop, turn right, go eight paces, stop, left seventeen paces. Stop. Left again, twenty-six paces. Right twelve paces and you should see a sky light to your right.
SCENE 24
EXT. ROOF OF THE LIBRARY. NIGHT.
A grappling hook comes over the edge followed by Autolycus, Gabrielle, and Xena. Gabrielle lines herself up with the front of the building and marks off the paces as above. Her own VO narrates. The roof is dotted with skylights. When they get to the appropriate one it is covered with steel shutters.
AUTOLYCUS
Why didn't you just say, 'look for the only one with steel shutters'?
GABRIELLE
(covering not having thought of something so obvious) Well, there could have been others.
AUTOLYCUS
Yeah and if you put wheels on my grandmother she'd be a-
XENA
Shut up and pick the lock.
Autolycus looks at the lock. It's solid and shiny almost like a modern Dudley.
AUTOLYCUS
These guys are serious about their locks. So-
he puts a chisel on the hinge and pops the pin.
AUTOLYCUS
Simpletons.
working quickly he unputties the glass and removes the beading. The pane lifts easily out and a look of concern crosses Autolycus face. The pane is narrower than his shoulders but he's not saying anything. He gets Xena to help him rig a rope which he lowers into the room. He tries to enter but can't fit, removes all his equipment but still can't.
AUTOLYCUS
Aw, bull pucky!
XENA
What?
AUTOLYCUS
I can't fit.
XENA
You want me to try?
AUTOLYCUS
Oh, sure. If my shoulders can't fit you think yours' will?
both look at Gabrielle. CUT TO
SCENE 25
INT. CRYPTIC VAULT. NIGHT.
A shaft of blue moonlight off center in a black frame. A black line, the rope, hangs motionless in the light. Gabrielle spirals down it and stops. Her toe hooks a pre-tied loop and she removes something from her belt. Arching over backwards until horizontal she extends her arms. CLOSE-UP of the hand crossbow as it fires. CLOSE-UP of the dart sticking into a bookshelf with line attached. CLOSE-UP She ties the thin line to her belt then FULL SHOT pulls herself to the bookshelf which sways on its chains. She searches for the volume she wants, removes it and slides out to neutral.
She swings to a suspended desk and seats herself with the rope still attached to her foot. The plans are laid open on the desk. She produces a sheaf of papers and a roller. The handle of the roller she, uncaps, fills with an obviously strong smelling liquid, and closes again. Then she starts the process of duplication: a blank page is laid on a written page, the roller covers the sheet, wait a few seconds, peel away a mirrored copy of the document, repeat for next page.
AUTOLYCUS
Hurry it up.
All goes well until the last page, the one with the lens description on it, when she runs out of fluid half way through without realizing it. She returns the book to its place and climbs the rope. Part way up she feels a tug at her belt. The crossbow dart is still in the shelf.
AUTOLYCUS
C'mon.
she fiddles with the line
AUTOLYCUS
Just yank it!
she does and all eyes widen as the string breaks. The dart flings free of the shelf and starts a SLOW MOTION arc in the direction of the tug. As it flips end over end it is painfully obvious that it won't get as high as Gabrielle. REAL TIME CLOSE UP of Gabrielle's face dropping from frame. SLOW MOTION CLOSE UP of the dart falling. EXTREME CLOSE UP, EXTREME SLOW MOTION of the floor, the dart enters the shot, CLOSER STILL as its tip rotates to the floor, less than a centimeter to go and it stops. The tip of the dart just hangs there motionless. FULL SHOT OF THE ROOM, Gabrielle hangs upside-down, arms fully extended, with her feet crossed tight on the rope, the noc of the dart between thumb and forefinger.
SCENE 26
EXT. ROOF OF THE LIBRARY. NIGHT.
Gabrielle emerges from the skylight, dumps the rope and tosses the dart to Autolycus. Obviously enjoying herself.
GABRIELLE
No problem.(she picks up her stuff and heads to the edge of the roof.)
XENA
What did you do to her?
AUTOLYCUS
Nothing. Afraid your little sidekick enjoyed herself?
XENA
She's good, Autolycus.
AUTOLYCUS
(over ridden by Xena) not bad
XENA
She's the only person I've ever met that was innately good. I don't want that to change. (not so threatening) I need that not to change, Autolycus.
AUTOLYCUS
(smiles at the fact that she was actually straight with him) I know. Don't worry, I've seen it before. Some people are just good at certain things. Think about it, this is a library, if anything was going to tempt her, this was it.
XENA
A little better.
AUTOLYCUS
She didn't even steal anything. These are copies, the books are still there.
GABRIELLE (off screen)
Are you guys coming?
XENA
And it was in a good cause, keeping the peace… oh and saving your life of course.
AUTOLYCUS
Now you're getting the hang of it. It's called rationalization, a lot of us less driven types use it.
SCENE 27
INT. THE BOAT. DAY.
Xena and Autolycus have the plans spread out before them and each is using a mirror to read them.
AUTOLYCUS
Three languages, this is ridiculous. (reads on) Latin again. (hands it to Xena)
XENA
Lucifer.
AUTOLYCUS
Lucifer?
XENA
It's a mineral, phosphorous in Greek. When it's pure it has to be sealed in wax ingots because it spontaneously combusts on contact with air.
AUTOLYCUS
Lovely. I guess that's what they use to get the light so bright.
XENA
I'd hate to be on the receiving end of that thing.
AUTOLYCUS
Balance of power should work. I mean, nobody would be crazy enough to start a war when both sides have a thing like that.
XENA
Here we go, "Gearing, Focus and Aiming". They lower a series of special lenses into place that focus the beam. "…see page eighteen."
AUTOLYCUS
It's over here somewhere. (searches) Got it. (brings his mirror up, then stops) Wait a minute! Half of it's missing! Gabrielle!!
GABRIELLE
(crashed in the background looks up blearily) …uh?…yes. What?
XENA
(intervening) Half of the last page is missing.
GABRIELLE
(still foggy) What?
Autolycus shows her the page.
GABRIELLE
Oh,… your gadget must have run out of fluid. So?
AUTOLYCUS
So it's the most important part, sweetheart. They're gonna kill my ass dead 'cause of this! Because of you!
GABRIELLE
Well….we …uh
XENA
We'll just have to go back and get it.
SALMONIUS
(entering) Okay, all loaded, no thanks to you. Time to cast off.
AUTOLYCUS
We have to stay another night.
SALMONIUS
Oh no we don't. Dates a-spoiling.
AUTOLYCUS
Yes we do.
SALMONIUS
No we don't.
AUTOLYCUS
I bought this boat!
SALMONIUS
And it'll be nothing more than a pile of ash if we don't leave when they tell us to.
XENA
Salmonius is right… but I have a plan. (she has that look in her eyes.)
SCENE 28
EXT. ALEXANDRINE HARBOR. DAY.
ESTABLISHING: The sun is low in the sky and the horizon over the city is shifting to the rose-yellow of a desert sunset. MEDIUM-LONG: Our heroes' boat is tugged beyond the seawall and cast off. LOCK-OFF SHOT: The sail comes up and as they move we cross fade to the same shot at night. No boat, just city and stars, and of course the Pharos.
SCENE 29
EXT. ALEXANDRINE HARBOR. NIGHT.
In the far background the base of the Pharos, in the foreground the seawall punctuated every twenty or thirty feet by stone uprights which stand three feet tall. A guard enters on patrol, stops, scans. The camera pans to the softly rippling water and we watch his reflection leave. Beat, beat… the water is silently broken by slick black hair and then wide open bright blue eyes. She has been watching him from beneath the black water and she continues to do so even as she reaches for a crack in the stonework and climbs. Her skin is blackened with ash and sheaned with oil. The water doesn't even drip but slides silently off of her back in a beauty shot of well sculpted shoulders in rippling light. LONG SHOT: We see about forty feet of the wall in silhouette. At far screen right Xena cresting the wall to the right of one of the uprights, at far screen left a guard enters. Cut to the guard, hard yellow light from his left, rippling blue reflections from his right, follow him past the upright. There's nothing there but a shadow that opens its eyes. She waits, the Pharos' light sweeps past them and she moves. A quick shot to the neck and he's down.
SCENE 30
EXT. ALEXANDRINE HARBOR. NIGHT.
Xena throws a line to Autolycus and Gabrielle who are in a raft that looks like it's made of the beds from the ship. The raft is covered in a black tarp. Xena pulls them in and they unload.
XENA
(already putting on her armor) There in twos about thirty seconds apart and ten minutes between each pair.
AUTOLYCUS
How long have we got?
XENA
About seven minutes.
GABRIELLE
(shouldering Autolycus bulky pack) I must be crazy.
XENA
You liked it last night.
GABRIELLE
That was different.
SCENE 31
EXT. DOOR TO THE PHAROS. NIGHT.
Two guards stand at the door with pole-arms.
AUTOLYCUS
(entering) Excuse me, I was wondering if you could help me.
the guards react instantly to the intruder.
AUTOLYCUS
I have this bet with a friend of mine that she-
Xena clangs the guards' heads together from behind
AUTOLYCUS
-could do that. Not bad.
he crouches at the door, springs the latch as though it were nothing and stands.
XENA
After you.
AUTOLYCUS
Oh no, after you, I insist.
With sword in hand Xena kicks the door in and punches the first person she sees.
SCENE 32
INT. GUARD ROOM. NIGHT.
It's what you might expect of a guard room. A single table some chairs and a few board/stunned guards who are quickly pummeled. Our heroes go up the stairs to the next level.
SCENE 33
INT. STORAGE ROOM. NIGHT.
A much larger room but we can't see the walls for all the wax coated bars of phosphorous stacked in it. The next level is exactly the same. The level after that is filled with oil casks and the level after that is a staging area for a large platform connected to a winch which is used for hauling things to the top.
GABRIELLE
Oh thank you. (she drops the pack on the platform with a sigh)
The ropes run through the center of the platform where there is a stack of gears with a double handle, like on railway hand cars. Gabrielle grabs three metallic gold jump suits from hooks on the wall as Xena rolls two barrels of lamp oil on as well as a few bricks of phosphorus. Xena and Autolycus take the handles.
AUTOLYCUS
Next stop, women's' lingerie.
Xena snaps her end down and Autolycus catches his in the chin.
AUTOLYCUS
All right, all right.
they start pumping and lift off, the camera tilts to follow and we see that the stairs spiral up the walls which converge in darkness. This is the main shaft, it goes the remaining 250 feet to the top.
AUTOLYCUS
Housewares? Novelties. Top secret military hardware that could fry a whole city. Uh, what am I doing here?
XENA
Why are you asking me?
SCENE 34
INT. THE LIFT. NIGHT.
Walls scroll past in the background. Gabrielle is finished putting on the gold lamé jumpsuit. It has a hood and a pair of metallic goggles attached (like Inuit snow goggles, a solid piece with a thin slit over the eyes). She looks like a sci-fi jogger or an oriental lab tech from a 007 movie. The suit is a little puffy.
GABRIELLE
Trade.
Gabrielle and Xena trade places. Xena starts to pull her suit on over her armor, the combination of oiled and ash black skin with gold weave makes her look like something out of a Carl Lagerfeld show. A low drone starts and grows.
AUTOLYCUS
What that noise?
XENA
(pointing to pale slits of sky in the walls) Draft holes. It's the draw for the flame, it's like a giant lamp. Air comes in here and goes straight up through a feed hole in the bottom of the burnner.
By now she is shouting to be heard over the wind which sucks at their hair and cloths.
SCENE 35
INT. WATCH ROOM. NIGHT.
Two guys sit playing cards in gold jump suits. An air pipe runs through the center of the room and hums in its baffles.
GUY#1
Go fish.
GUY#2
This game sucks.
There is a noise below.
GUY#1
Was that the winch? (looks at a rack of hour glasses) Next shift's not due for three turns.
guy#1 goes to the door in the floor just as Xena comes up. He is startled, she reaches for her chakram which is covered by the jump suit.
XENA
Damn!
she grabs him by the face and hurls him down the stairs behind her. In the room below Gabrielle and Autolycus (in gold now) are unloading the oil. Gabrielle sees guy#1 first as he starts to stand, she forearms his upper chest, his head cracks off the wall, then she sweeps his feet and he continues to roll down the stairs. With no landings to stop him now there is an endless succession of "Ooo! Ow! Ouch!".
GABRIELLE
(watching him tumble into darkness) Oh, man. That's gotta hurt.
We get a good look at the room, several barrels of oil stand open against the wall. Four inch pipes lead from the barrels through the ceiling, the pipes appear to be packed with huge wicks.
CUT TO: Gabrielle and Autolycus entering the Watch room. Guy#2 is still standing, Xena gives him one of her feather weight face pushes and he drops into a chair. Xena looks at the cards
XENA
You were gonna lose anyway.
GABRIELLE
That it?
XENA
Looks like it.
AUTOLYCUS
Let's do this thing and get out of here.
SCENE 36
INT. THE TORCH ROOM. NIGHT.
Xena opens the door at the top of the stairs and the brilliance factor is astounding. The three of them look away as they done their goggles, then enter the room. SOFT HORIZONTAL STAR FILTER, APERTURE OPEN ONE STOP TOO WIDE: The floor is mirror smooth marble, the wall on the half that faces the city is covered in hammered and polished silver. The half that faces the sea is glass, each pane looks like a giant Fresnel lens. In the center is the source of the god like brilliance, a fire howls in a circular three foot (3 ft.) cage about four feet (4 ft.) off the ground. It is fed by the pipes we saw earlier. Behind the fire mounted on a circular track about the cage is a four foot (4 ft.) parabolic mirror. Mounted to the same apparatus as the mirror is a series of gear arms and lenses which are pointed to the ceiling away from the fire. The roof is supported by eight pillars and made of huge sheets of sliced amber with a chimney in the middle.
SCENE 37
INT. GUARD ROOM. NIGHT.
The unconscious guards litter the room. Another guard enters, sees them and sounds the alarm.
SCENE 38
INT. TOP OF THE LIFT. NIGHT.
Autolycus runs down the stairs and almost falls into the abyss where the lift was. Looking over the edge he can see that guards are loaded on and it's starting to move. He grabs his silk filled pack and goes up to the watch room.
AUTOLYCUS
(yelling up the stairs) We've got company!
INT. THE TORCH ROOM. NIGHT.
Xena has torn off a silver panel and bent it over the fire so that Gabrielle can get to the lenses without being burnt. Gabrielle is using measuring sticks and calipers then writing the figures down as best she can, considering the ink is steaming.
XENA
(to herself) Thought we'd have longer. (to Autolycus) Cut the rope!
INT. TOP OF THE LIFT. NIGHT.
Autolycus is already hanging from the pulleys over the shaft doing just that. The fact that the rope is moving is making things difficult.
AUTOLYCUS
What a novel idea. She must think I'm a moron.
Frustrated at not being able to cut the moving rope he jams his dagger between a block and its wheel and pries until the pin pops. There is a great thunk as the platform drops a foot and bounces. CUT TO THE PLATFORM: guards stumble, one or two actually fall over the edge. The ones with bows take aim at the top of the shaft and let fly. CUT TO TOP OF THE LIFT: Oblivious Autolycus continues to work. Xena enters, looks at Autolycus, then down the shaft at the arrows that have no chance of getting this high and in fact are already starting to fall back at the platform.
XENA
Morons.
she rolls a barrel to the stairs. CUT TO THE PLATFORM: guards cover themselves as their own arrows rain back at them. CUT TO TOP OF THE LIFT: the last of the block and tackle comes free as does Autolycus, realizing too late his mistake. He falls less then four feet when Xena hauls him to safety.
AUTOLYCUS
Funny, I thought I'd stopped screaming.
both look over the edge at the screaming. There is a distant echoing crash. Torches are coming up the stairs.
XENA
Not like I was expecting less. Go. I'll hold them here, the stairs are only two people wide.
during this last the two have rolled the barrel Xena moved up the stairs to the watch room.
SCENE 39
INT. THE TORCH ROOM. NIGHT.
AUTOLYCUS
Look out, sister, I gotta get up there.
GABRIELLE
I'm almost finished. (continues working)
AUTOLYCUS
We're all gonna be finished if I don't get this thing (his balloon bag) ready.
Gabrielle gets down, doodles a few sketches. Autolycus pushes the silver panel out of the way, climbs the mirrors' stand then stands on top of the mirror itself to reach the ceiling. The apparatus protests as he pops a ceiling panel and throws the bag up. He steps on a gear arm, the lenses fall into place causing the room to dim a bit.
GABRIELLE
Woah! (ducks)
the beam falls on a patch of sea which starts to steam.
GABRIELLE
(as she crawls around the fire) Watch what you're doing!
she tugs at the lever but it's bent, the lenses are stuck in place. She pulls another lever closing the aperture in the second parabolic mirror which dims the room to nearly normal. On the roof Autolycus has the end of the giant silk bag over the chimney and is flapping hot air into it. Battle sounds from downstairs, Gabrielle goes to help.
SCENE 40
INT. WATCH ROOM. NIGHT.
Xena is half out of the stairwell holding six guards below her. Guy#2 comes to, gets up, approaches Xena from behind, sword in hand. Gabrielle enters from above and trashes him.
XENA
Thanks.
Xena and Gabrielle hold them off for a bit.
AUTOLYCUS (VO)
(from above) It's just about ready!
GABRIELLE
(still fighting) How we gonna do this?
XENA
You're going to grab that phosphorus brick and tell me when you're at the top of the stairs.
Gabrielle does just that.
GABRIELLE
Ready!
Xena pushes one guard into the others to buy time and is quickly with Gabrielle at the top of the next stairs. As the guards surge after her we see that there are an least a dozen of them. Xena and Gabrielle hold them again.
XENA
Gimme the brick!(Gabrielle does) Now go!
GABRIELLE
But how will you make it?
AUTOLYCUS
I can't hold this thing forever.
and he is right the balloon is trying to fly. It's taking all his strength and a few ropes to hold it down.
XENA
Believe me I'll make it, now go!
Gabrielle goes. She climbs the mirror and stand, Autolycus gives her a final boost and slips. Close up: His foot moves the aperture lever which opens. Hanging by both hands from the ceiling he kicks to get up and sets the gun spinning. Xena dives further into the room as the man in front of her boils to nothing, his black and cracked bones falling to the floor still holding his weapons. There is a moment as all in combat look to see what the beam is doing. It continues its clockwise spin forcing Xena farther into the room. The guards surge forward. The beam hits the silver panels and the guards are blinded by the tremendous diffusion flash. The gun stops turning so that the beam spills through the gap where Xena took the silver panel earlier.
EXT. ROOF OF THE PHAROS. NIGHT.
Gabrielle is in the balloon basket, which is made of collapsible round mettle ribs and the back pack. She sees the beam fall on the city, its cone squarely on the library.
GABRIELLE
NO! (to Autolycus) Turn it off!! Turn it off!!
The library erupts in a literal fountain of fire. Books are drawn up the incinerating thermals and flaming pages float out over the city. Gabrielle falls silent, she tears the golden hood and goggles from her head and stares. CUTAWAY: All those books burning. Shelves and shelves and shelves of them, whole rooms.
A guard swings at Autolycus' feet on the gun. He hops out of the way and the gun swings back vaporizing his assailant and forcing the guards back down the stairs. Xena cracks the wax and throws the phosphorus down the stairs. It lands on the oil barrel they left in the watch room for just that purpose and bursts into flame. The lid is almost instantly gone and the barrel explodes. Flaming oil spills down the stairs igniting other barrels and liquid fire rains down the shaft to the storage rooms below.
The beam continues its counter-clockwise spin back at Xena. She looks, it spins, she flips her sword around and throws it like a spear. Lenses and mirrors shatter, the fire is sputtering because the barrels are cracked and burning. Xena retrieves her sword and gets to the roof as the guards run back into the room fleeing the fire beneath them.
EXT. ROOF OF THE PHAROS. NIGHT.
Autolycus and Xena cut the ropes and the balloon rises fast. COMPOSITE SHOT: We look down as the balloon and its passengers rise past us, the Pharos is far below.
XENA
That fire should distract them long enough that they won't see which way we float.
As this line is finished there is a bright flash in the windows at the base of the tower. We hear the sound we heard earlier at the draft holes but much louder until the Pharos sounds like a giant wind instrument. Suddenly the top is engulfed in flame, the tower looks like a huge road flare. Gabrielle is very quiet, watching the library burn.
XENA
(to Gabrielle) Hey. ('are you ok?' is left unsaid)
GABRIELLE
Nothing…
but her eyes glitter in the dark more than they should
GABRIELLE
…all those books. Maps, histories-
AUTOLYCUS
Blueprints and engineering documents. Hey hey, we've got the only copies and even the machine is gone. I'm we're gonna be rich. This couldn't have worked out better if I'd planned it.
SCENE 41
EXT. BALLOON OVER THE DESERT. DAY.
They float over empty desert. Horizon to horizon, nothing but sand. Xena and Autolycus, who have removed their jump suits, look in the direction they are floating. Gabrielle looks where they've been.
AUTOLYCUS
It's a proto-type! How was I supposed to know you can't steer it?
XENA
The balloon is cooling. We're not going to be up much longer.
Gabrielle taps Xena on the shoulder. She turns, Gabrielle points at a line of dust following them in the distance.
SCENE 42
EXT. DESERT. DAY.
SLOW MOTION through a LONG LENS we see dark forms in the shimmering heat. They coalesce into riders. CUT TO LOW ANGLE CLOSE-UP NORMAL SPEED Ibn Fadlan and five riders thunder straight at the camera in full Arabian tac. Robes flowing, tassels and fringe on their mounts bouncing, dirt flying from hooves, hell bent for leather they pound past.
Back in the balloon Autolycus has hooked a cooking pot under the hole and has something burning in it.
XENA
It's not doing any good. We're going down.
GABRIELLE
(still watching the dust) They're gaining on us.
XENA
Won't be long now.
and indeed it's not, one more shot of the riders. PULL BACK to reveal that they are at the balloon which is twenty feet up and dropping, but moving fast. The Arabs have their swords up and do not look friendly.
AUTOLYCUS
You think they want to talk?
a dagger spangs off the pot.
XENA
Nope.
Xena crouches at the edge of the basket and drops on the lead horse. After tossing the rider she goes after the rest of them, Ibn Fadlan is smart enough to stay clear of her. The basket hits, still moving fast, and stuff goes everywhere including Gabrielle and Autolycus. The balloon drags the basket as the horses pursue and Xena tries to run interference. One of the Arabs hacks at the balloon which comes apart and soon stops but there is still much action. Gabrielle and Autolycus scurrying about in the debris, horses prancing on billowing silk, Warrior Princesses doing their worst. Suddenly Ibn Fadlan has a dagger to Autolycus throat.
IBN FADLAN
STOP! (all turn to face him) I want the plans, thief. That was the arrangement.
AUTOLYCUS
Hey, there's no reason to be upset about this. The Pharos is destroyed and the plans were burned along with the rest of the library.
IBN FADLAN
You have copies. My employers want them.
AUTOLYCUS
Okay, okay. I'm sure once we look through this mess we'll find them.
GABRIELLE
They're here.
she is kneeling next to the still burning pot holding the papers high.
IBN FADLAN
(to one of his men) Get them.
GABRIELLE
No! (holds them over the fire)
AUTOLYCUS
Let's not be rash, Gabrielle.
GABRIELLE
Xena told me what you said about a balance of power. Mutual fear. Why do the people you work for want this power now that Alexandria no longer has it? To kill more sailors who's only crime was being sick? To burn more books? To upset the balance? (she lights an end of the papers on fire)
AUTOLYCUS
What are you doing?!
GABRIELLE
There are no plans. They were lost in the crash. The originals were burned with the library and the weapon has been destroyed. Your mission is accomplished, balance restored.
Ibn Fadlan considers slitting Autolycus throat and for the first time smiles. He pats Autolycus on the cheek.
IBN FADLAN
With friends like this, thief, you should be thankful you have enemies like me.
he laughs loudly and goes to his horse, as do his men. Just before leaving he turns his mount back.
IBN FADLAN
Have you read Sun Tze, girl?
GABRIELLE
'I must build a golden bridge across which my enemy may retreat.'
IBN FADLAN
Precisely. (rides off)
Xena, Autolycus, and Gabrielle are alone again. They are a mess; soot and sweat streek their faces, Xena more than the others because of her camouflage. All of them have bruises, scrapes, or fat lips. They pick up their stuff and as they walk away from us we see the plans for the Pharos and the balloon sticking out of Gabrielle's scroll case.
AUTOLYCUS
How are we going to get out of here?
XENA
I think the Niles' that way.
AUTOLYCUS
Oh great. I didn't appreciate you playing fast and easy with my life young lady.
GABRIELLE
'Contract Negotiations' by some guy called Gekko. Read it in the library.
XENA
What was that golden bridge line again? Maybe I could use that sometime.
They disappear into the desert heat.
THE END