Why I Follow You

The X-Files Movie - Crossroads Scene (Alt. Music) Mark Snow

BLACKWOOD, TEXAS

Scully turns to face Mulder. 

We see houses behind him.

SCULLY: 

I don't know, Mulder. 

I don't see any evidence of an archeological 

or any other kind of a dig site.

MULDER:

This is where he marked on The Map. 

Where he said those fossils were unearthed. 

The camera pulls back to show our heroes as tiny figures in the left corner of the screen, the sky above huge and cloudy, the houses dwarfing them. 

You're sure those fossils were infected 

with the same virus you saw at the morgue?

SCULLY: 

Both sets of bones were porous, as if The Virus 

or the causative microbe were decomposing it.

MULDER: 

And you've never seen that virus before.

SCULLY: 

No.

He looks down, dejected, then his gaze wanders to the side.

MULDER: 

Look at that.

They walk over to an oasis in the surrounding desert, 

a brand new playground.

MULDER: 

That look like new grass to you?

SCULLY: 

Looks pretty green for this climate.

MULDER: 

Uh huh.

They reach the playground, 

Mulder bends down and picks up a piece of the sod.

MULDER: 

Ground's dry about an inch down. 

This was laid recently.

SCULLY: 

The equipment looks brand new too.

MULDER: 

No irrigation system. 

Somebody's covering their tracks.

They both look around for any kind of clue and see 3 kids riding towards them on bikes.

MULDER: 

Hey! Hey!

(Mulder and Scully walk towards the kids and they stop their bikes.)

SCULLY: 

Do you boys live around here?

KID: 

Yeah.

MULDER: 

You see anybody diggin' over there?

KID: 

We're not supposed to talk about it.

SCULLY: 

You're not supposed to talk about it? 

Who told you that?

KID 2:

Nobody.

MULDER:

Nobody? The same nobody that built that playground? 

Nobody buy you those new bikes, too?

SCULLY: 

I think you better tell us.

KID: 

We don't even know you.

SCULLY: 

Well, we're FBI Agents.

KID: 

You're not FBI Agents.

MULDER: 

How do you know?

KID: 

Cause ya'll look like door-to-door salesmen. 

(laughs)

MULDER: 

(he pulls out his badge) 

Hey, you wanna buy a badge?

The kids all look at his impressive badge and spill the beans.

KID: 

They left about an hour ago, going that way.

He points, then the other two kids point in the same direction.

SCENE 17

TEXAS

The camera pans stylishly alongside Mulder and Scully's brand new Oldsmobile Intrigue. 

Next we see inside as they chat.

MULDER: 

Unmarked tanker trucks. 

What are archeologists hauling out in tanker trucks?

SCULLY: 

I don't know, Mulder.

MULDER: 

And where are They going with it?

(Scully's consulting her map.)

SCULLY: 

That's The First Question to answer 

if we're going to find them.

(The stylish Intrigue screeches to a halt at a Stop sign.)

MULDER:

What are My Choices?

SCULLY: 

About a hundred miles of nothing in both directions.

MULDER:

Well, which way do you think they went?

(Scully puts down the obviously useless map.)

SCULLY: 

We've got two choices :

One of them's wrong.

Mulder looks left down the long highway.

MULDER: 

I think They went Left.

Scully looks to her right.

SCULLY: 

I don't know why, 

I think They went Right.

They look at each other, Mulder looks to the Right-Side highway then begins drumming his fingers on the steering wheel as he stares straight ahead. 

The car takes off with a squeal. 

As usual, Mulder's taking a leap of faith 

and forging straight ahead. 

The road's unpaved and they leave a cloud of dust as they bump along.

MULDER: 

Five years together, Scully. 

How many times I been wrong? 

(she rolls her eyes, thinking, do you want a list?!) 

Never. 

(she looks at him in shock and mild humour.) 

Not driving, anyway.

The car races ahead, towards we know-not-where. 

Miles and miles of nothingness. 

Soon, time has passed and nighttime has settled. 

The crickets chirp and the car suddenly stops. 

They've reached what appears to be a dead end. 

Scully undoes her seat belt, 

shoots Mulder a disgusted look, 

exits the car and slams the door shut. 

Ouch, be nice to that Intrigue, Scully, 

cost The Big Boys a lot of dough! 

Mulder gently closes his door as he exits. 

Scully stands in the beams of the car's headlights 

and turns around to properly berate him.

MULDER: 

I was right about the bomb, wasn't I?

SCULLY: 

This is great, this is fitting.

MULDER: 

What? 

(he pulls out the map.)

SCULLY: 

I have to be in Washington, D.C. in eleven hours for a hearing, 

the outcome of which might possibly effect one of the biggest decisions of my life, 

and here I am in the middle of Nowhere, Texas 

chasing phantom tanker trucks!

MULDER: 

We're not chasing tanker trucks, Scully, 

we're chasing evidence. 

(still consulting the useless map.)

SCULLY: 

Evidence of what exactly?

MULDER: 

That bomb in Dallas was allowed to go off, to hide something. Bodies infected with a virus you yourself detected!

SCULLY: 

Mulder, they haul oil in tanker trucks, 

they haul gas in tanker trucks, 

they do not haul viruses in tanker trucks!

MULDER: 

Well, They may be hauling A Virus 

in these tanker trucks.

She looks at him quizzically.

SCULLY:

What do you mean? .... Mulder? 

.... What are you not telling me? 

he is folding the map elaborately, avoiding her stare and her question.

Mulder?

MULDER: 

(hesitant) 

The Virus may be extraterrestrial.

She stares at him with her mouth open, he gives a small grin, 

looking like a little kid about to be yelled at by his mommy.

SCULLY:

rolls her eyes and turns her head 

I don't b ... Mulder, I don't ...

Her words are cut off by the sound of a train crossing's warning bell, 

which is a good thing for young ears out there in Movieland. 

Ask me by email what she actually said before the movie's rating was changed, hoo boy! 

Anyway, as the train approaches, they both turn to look and then Mulder walks towards the tracks.

SCULLY: 

What? 

she holds her arms out by her sides, 

asking what the heck he's getting worked up about 

Mulder, what?!

She stands behind him as they both watch the train go by. 

Its cargo includes white unmarked tanker trucks. 

He turns to face her, their eyes meet and together 

they race back to the car and hop in, 

a team again and off in pursuit of The Truth once more. 

The car follows next to the train as it races towards its destination. 

Soon, the car stops and Mulder and Scully get out, 

looking at something we can't see yet.

SCULLY: 

What do you think they are?

MULDER: 

I have no idea.

They continue to stare at the unseen sight, 

then begin to walk towards it. 

The camera now pans over the crest of the hill 

Mulder and Scully have begun to walk down 

and we see white domes appearing to glow 

in the middle of a desert, surrounded by a cornfield. 

Out of The Darkness of The Night, 

they arrive at the cornfield and walk through it.

SCULLY:

This is weird, Mulder.

MULDER: 

Very weird.

SCULLY:

Any thoughts as to why anybody would be 

growing corn in the middle of The Desert...?

MULDER: 

Well, those could be giant Jiffy-Pop Poppers.

CANCER MAN

 

SCENE 23
TEXAS-NEW MEXICO BORDER
5:07 AM

The SUV driven by MULDER makes it was down the road. 

It pulls off to the side.

MULDER cuts the engine, leans toward SCULLY who is sleeping and gently kisses her cheek. He gets out of the car.)

MULDER unzips his pants and relieves himself, when ...

FROHIKE'S GHOST : 

Hey, hot shot! You might have the common courtesy 

of doing Your Business there downwind.

MULDER: 

Oh, boy.

LANGLY'S GHOST: 

Why don't you just finish draining the little lizard 

and then we'll talk?

BYER'S GHOST: 

We're very worried about you.

FROHIKE'S GHOST: 

It's craziness, man. Turn around.

LANGLEY'S GHOST:

Just hang a big U-ie and never look back.

MULDER: 

I can't.

BYER'S GHOST: 

Why risk Perfect Happiness, Mulder? 

Why risk your lives?

MULDER: 

Because I need to 

Know The Truth.

BYER'S GHOST: 

You already know The Truth.

MULDER thinks about that one for a moment. 

When he responds, its with complete honesty 

at what he's really doing there.

MULDER: 

I need to know if I can change it.

LANGLY'S GHOST: 

Change it?

FROHIKE'S GHOST: 

For crying out loud --

All you're going to do is get yourself killed.

From behind him, SCULLY got out of the car to look for MULDER.

SCULLY: 

Mulder! What are you doing?

MULDER: 

I'll be right with you, Scully.

They both get back into the car.

CUT TO:

Day. The road they're driving on will soon end at a hidden pueblo carved into the side of a mountain.

MULDER stops the car. 

They both get out. 

SCULLY looks around.

SCULLY: 

What are they?

MULDER: 

Pueblos. Anasazi Indian. 

Abandoned 2,000 years ago. 

Nobody knows why.

SCULLY: 

Yeah, Mulder, but what are we doing here?

MULDER points high to the window of a ruin along the way. There's smoking coming out from the window. Someone is there.

MULDER heads off in that direction. SCULLY follows. 

They both begin to climb up to meet the Keeper of the Truth.

CUT TO:

Inside on of the pueblos. An old Indian woman tends to the fire. MULDER and SCULLY enter the area where she lives.

MULDER: 

Hello. My name is Fox Mulder. 

Do you understand me?

The old woman looks at MULDER. Without a word, she rises from her chair and pushes the cloth curtain back and disappears behind it.

SCULLY moves up from behind MULDER and passes him bringing her closer to the curtain. 

She turns around to look at MULDER.

SCULLY: 

Mulder, what is it?

MULDER: 

I was sent A Message 

and 

A Key to The Government Facility at Mount Weather.

 

The Indians said it was from 

A Wise Man Who Lived in The Ruins: 

A Keeper of the Truth.

CUT TO:

(REYES and DOGGETT are traveling by helicopter above, doing a visual search for MULDER and SCULLY based upon the information given to them by GIBSON PRAISE.)

REYES: 

Do you see anything at all?

(DOGGETT shakes his head and continues to scan the grounds below.)

CUT TO:
SCENE 24

Cave entrance. MULDER and SCULLY make their way through the narrow passageway at the mouth of the cave. 

They're led there by the old Indian Woman. 

At the end where it opens up into a living space, a

n old white-haired man sits there waiting for them.

MULDER enters first followed by SCULLY.

CSM: 

What's the matter, Agent Mulder?

CSM / C.G.B. SPENDER takes a drag of the cigarette through the hole in his trachea.

CSM: 

You come to see The Wise Man 

but you look as if you've seen A Ghost.

MULDER: 

You're no Wise Man. 

You're a Dead Man. 

Just like Krycek and X.

CSM: 

You see A Dead Man, Agent Scully?

SCULLY: 

I hoped and prayed you were dead 

you chain-smoking, son of a bitch.

MULDER looks more than a little shocked to see CSM still alive.

CSM: 

You waste your time. Ask Mulder. 

He knows the futility of Hopes and Prayers. 

He knows The Truth now.

SCULLY looks confused at what CSM'S saying. 

CSM zeroes in on this immediately and begins to exploit it as he's done so many times before.

CSM: 

You have told her The Truth haven't you, Fox? 

I helped you find it.

MULDER: 

You didn't help me. 

You sent me to that Government Facility 

knowing exactly What I'd Find.

CSM: 

And now you refuse to Speak It. 

Not to Scully, not to anyone. 

 

You've even refused to testify 

What You Learned ... 

Even though it would have 

Saved Your Life. 

 

You damned me for My Secrets ... 

But you're afraid to Speak The Truth.

CSM takes another drag from his cigarette.

MULDER: 

You call me afraid? 

Look at you sitting here Alone in The Dark like a fossil.

CSM exhales a puff of smoke around him.

CSM:

It's The Final Refuge. 

The last place to hide from 

Those Who are Insidiously Taking Power Now.

SCULLY: 

Who?

CSM: 

The Aliens....!

 

 They fear This Place ... its Geology. Magnetite. 

Like that which brought down 

The Original UFO in Roswell.

 

Indian wise men realised this 

over 2,000 years ago.

They hid here and 

watched Their Own Culture die.

The Original Shadow Government.

CUT TO:
SCENE 26

Back inside the pueblo, CSM takes a drag from his cigarette.

CSM: 

It leaves me to tell you 

What Mulder's Afraid to, Agent Scully.

MULDER: 

Come on, let's go.

SCULLY doesn't budge

CSM: 

It's a Scary Story. 

You want to come sit on my lap?

SCULLY: 

You don't scare me.

CSM: 

My Story's scared every President 

since Truman in '47.

( Old Smokey fans The Flames of Conflict )

MULDER: 

(Trying, with one hand to usher her out)

You don't have to hear this.

SCULLY: 

(resolute)

No, I want to hear it, Mulder.

CSM: 

Ten centuries ago The Mayans 

were so afraid that their calendar stopped 

on the exact date that My Story begins. 

 

December 22, 

The Year 2012. 

 

The Date of 

The Final Alien Invasion. 

 

Mulder can confirm the date. 

He saw it at Mount Weather ... 

...where our own "Secret Government" will be, 

hiding when it all comes down.

SCULLY looks at MULDER. 

He doesn't take his eyes off of CSM. 

CSM has a wild glint in his eye - almost a crazed look.

MULDER: 

Yeah, you smile ... feeling Drunk with Power. 

The Power to Do Nothing.

CSM:

My Power comes from Telling You. 

Seeing Your Powerlessness, Hearing it. 

 

They wanted to kill you, Fox. 

I protected you all these years ... 

Waiting for This Moment ... 

To see you broken. Afraid.

(MULDER lifts his head and schools his features to reveal nothing.)

CSM:
Now you can Die.

CUT TO:



SCENE 27

Two heavily armed black ops helicopters are flying low along the roadway head to the Anasazi Pueblos.


MULDER: 

Agent Doggett!

Both MULDER and SCULLY appear outside the second level doorway.

DOGGETT: 

Mulder, get out of there!

REYES: 

They know where you are!

CUT TO:

The two black helicopters continue their path to the ruins. 

We see they are both very heavily armed.

CUT BACK TO:

DOGGETT and REYES climb into MULDER and SCULLY'S vehicle and drive it closer to MULDER and SCULLY as they make their way down the ruins.

MULDER runs alongside their vehicle as they approach. DOGGETT stops the car.

MULDER: 

Get out of here!

DOGGETT: 

Get in the car.

MULDER: 

No!

DOGGETT looks a little confused. They don't have much time. MULDER tells them again to leave.

MULDER: (insistent) 

Go! Go!

MULDER and SCULLY both run to the other vehicle at the site. 

The vehicle left behind by KNOWLE ROHRER. 

DOGGETT takes off.

CUT TO:

The Helicopters are rapidly approaching the site. They're still not in view of the ruins.

CUT BACK TO:

MULDER and SCULLY get in the abandoned vehicle and take off in a different direction from DOGGETT and REYES. 

They disappear from their view around the hill.

CUT TO:

The Helicopters round the mountain side. MULDER and SCULLY barely escape detection. The helicopters position themselves across the ruins.

CUT TO:

The old Indian Woman inside the pueblo panics as her pots and pans rattle at the disturbance. The helicopters hover just outside her window.

They fire missile after missile aimed at the ruins, destroying them whole sections at a time in fiery explosions.

The Old Indian Woman screams.

CUT TO:

CSM sits inside his final "refuge", a cigarette in his hand.

The pueblos explode with each missile fired. 

The ancient stones crumble to the ground. 

Fire burns what little there is to burn.

The black helicopters swing around and hover just outside the old Indian Woman's windows. 

A dreamcatcher hangs from the window with the black helicopter in its sites.

Another missile is fired and another portion of the ruins destroyed.

Inside, CSM takes a last drag from his cigarette. 

He throws the remainder on the ground.

Outside, in perfect positions, the black helicopter hovers. A final missile is fired finding its intended target. The corridor and the cave fill with fire consuming the once-powerful man within.

The pueblos explode. Missiles upon missiles are fired until the entire mountainside is decimated. Their mission complete, the helicopters turn around and fly off into the horizon.

SPRITE

THE SPIRIT OF THE CAVE

“There’s this Simpsons episode, 

and Homer downs a quart of 

Mayonnaise and Vodka. 

 

And Marge says, 'You know, 

you shouldn't really do that.’ 

And Homer says, 

‘That’s a problem for Future-Homer -- 

I’m sure glad I’m not that guy!’ 

  

The You That’s Out There in The Future is sort of like Another Person, and so figuring out How to Conduct Yourself Properly in relationship to Your Future Self isn’t much different than figuring out How to Conduct Yourself in relationship to Other People. 

 

Then we can expand the constraints. Not only does the interpretation that you extract have to protect you from suffering and give you an aim, but it has to do it in a way that’s iterable, so it works across time, and then it has to work in The Presence of Other People, so that You can cooperate with them and compete with them in a way that doesn't make you suffer more. 

 

People are Not That Tolerant. They have Choices. 

 

They don’t have to hang around with you; They can hang around with any one of these other primates. 

 

So if you don’t act properly, at least within certain boundaries, you’re just cast aside. 

People are broadcasting information at you, all the time, about How You Need to Interpret The World, so They can tolerate being around you. 

 

And you need that because, socially isolated, You’re Insane, and then You're Dead. No one can tolerate being alone for any length of time. 

 

We can’t retain Our Own Sanity without continual feedback from Other People. 

 

It’s too damned complicated.  

 

You’re constrained by Your Own Existence, and then you're constrained by The Existence of Other People, and then you're also constrained by The World.  

 

If I read Hamlet and what I extracted out of that is the idea that I should jump off a bridge, it puts my interpretation to an end rather quickly. It doesn’t seem to be optimally functional. 

An Interpretation is constrained by The Reality of The World. 

 

It’s constrained by The Reality of Other People, and it’s constrained by Your Reality Across Time.  

 

There’s only a small number of interpretations that are going to work in that tightly defined space. 

 

That’s part of The Reason That Postmodernists are Wrong. It’s also part of the reason, by the way, that AI people who are trying to make intelligent machines have had to put them in A Body.  

 

It turns out that you just can’t make Something Intelligent without it being embodied, and it’s partly for the reasons that I've just described. 

 

You need constraints on The System, so that The System doesn’t drown in An Infinite Sea of Interpretation. It’s something like that.

THE SON :

Are you her?

THE FATHER :

Thats Our Lady of The Immaculate Heart. 

The Ones Who Made Us 

are always looking for 

The Ones That Made Them. 

They go in, look around their feet, sing songs, 

and when They come out, it's usually me they find. 

I've picked up a lot of business in this spot.

THE SON :

But Joe, where's Blue Fairy?

THE FATHER :

That's what we're gonna find out when we ask Dr. Know. 

It's Where Everyone Goes Who Needs to Know.

Meet The Good Doctor!

DOCTOR KNOW'S SHOP

THE SPIRIT OF THE CAVE :

Starving Minds, Welcome to Dr. Know! 

Where fast-food for thought is served up 24 hours a day, in 40,000 locations nationwide. 

Ask Dr. Know, There's Nothing I Don't!

 

THE SON :

Tell me where I can find The Blue Fairy.

THE SPIRIT OF THE CAVE :

Question Me, You Pay The Fee, 

Two for Five, You Get One Free!

THE FATHER :

He means two questions cost five Newbucks with a third

question on The House. 

In This Day and Age, David, 

Nothing Costs More Than Information.

 

THE SON :

That's Everything!

THE FATHER :

Ten Newbucks and a ten copper comes to 7 questions for Dr. Know.

 

THE SON :

That should be enough!

THE FATHER :

He's a Smooth Operator. 

He'll Test Our Limits, 

but Try, We Must!

DR.THE SPIRIT OF THE CAVE :

Greetings Colleagues. 

On author, factual text or fictionalised text, 1st or 3rd person, usual literacy range from primal level to the post doctural, usual span of styles from fairy tale to religious, who's who, or wheres where - or, Flat Fact.

 

THE SON :

Flat-fact?

•!DING!•

THE SPIRIT OF THE CAVE :

Thank you for Question Number One!

 

'Flat-fact' is a term demanding an equal answer with interpretive speculation... merely not the... and what you are saying is basically that is what you-

THE SON :

That shouldn't count! 

That wasn't My Question!

THE FATHER :

You must take care not to raise Your Voice up at The End of

a Sentence.

'Flat-fact'.

Dr.KNOW :

You have 6 more questions!

 

THE SON :

Where is Blue Fair-REE?

•!DING!•

THE SPIRIT OF THE CAVE  :

In The Garden. 

 

Vascostylis blue fairy. 

Blooms twice annually with bright blue flowers on a branched inflorescence.

 

A hybrid between Ascola Meda Arnold. 

You have 5 more questions.

THE SON :

“Who is Blue Fair-REE?”

THE SPIRIT OF THE CAVE  :

Are you sad, lonely, looking for a friend? 

'Blue Fairy Escort Service' 

will find a mate for you! 

You have 4 more questions.

THE SON :

Joe. Try Fairy Tale.

THE FATHER :

New category. 

“A Fairy's Tail”.

THE SON :

No! Fairy Tale!

THE FATHER :

No - “Fairy Tale”

 

THE SON :

“What is Blue Fairy?”

THE SPIRIT OF THE CAVE  :

Pinocchio, 

by Carlo Collodi.

“At the signal, there was a

rustling as flapping of wings, and a large falcon flew to

the windowsill. 

What are your orders, beautiful fairy, he asked...

THE SON :

Thats Her!

THE SPIRIT OF THE CAVE  :

...For you must know that the child with blue hair was no

other than the good hearted fairy who had lived in that wood

for more than a thousand years...

THE FATHER :

David! David!

THE SON :

Thats Her!

THE FATHER :

It was an example of Her. 

But I think we're getting closer.

THE SON :

But if a Fairy Tale is real, 

wouldn't it be 

A Fact? 

 

A Flat Fact?

THE SPIRIT OF THE CAVE :

...then the dream ended, and Pinocchio awoke, full of

amazement...

THE FATHER :

Say No More. 

New category, please. 

Combine “Fact” 

with 

“Fairy Tale” 

Now. Ask Him Again.

THE SON :

“How can The Blue Fairy make A Robot into A Real, Live Boy?”

- !TUNK! -

- SYSTEM REBOOT -

THE SPIRIT OF THE CAVE :

Come away,O human child!

To the waters and the wild

With a fairy, hand in hand,

For the world's more full of weeping

Than you can understand.

Your Quest will be perilous

Yet The Reward is Beyond Price.

In His Book,

'How Can A Robot Become Human',

Professor Allen Hobby writes of 

The Power Which Will Transform Mecha into Orga.

[ THERE IS A GOD, YOUNG KING DAVID -- 

AND HE HAS A NEW BOOK OUT.]

THE SON :

Will you tell me How to Find Her?

 

[ HE IS MEANT TO ANSWER THAT QUESTION : 

'Yes' or 'No.'

 

HE DOESN'T -- BECAUSE, AS WE LATER LEARN, 'GOD' (The Demiurge -- Professor Allen Hobby) HAS INTERCEEDED TO FORCE THE SPIRIT OF THE CAVE TO TELL HIM AT THIS POINT. ]

 

THE SPIRIT OF THE CAVE :

Discovery is quite possible.

Our blue fairy does exist

in one place, and one place only,

At The End of The World

Where The Lions Weep.

 

Here is The Place Dreams are Born.

 

THE FATHER :

Many a mecha has gone to The End of The World... 

Never to come back! 

That is Why They Call The End of The World :

'MAN-hattan'.

THE SON :

And that is Why We Must Go There!

HALLWAY OUTSIDE DR. KNOW'S SHOP

THE FATHER :

Wait! What if --

The Blue Fairy isn't Real at all, David? 

What if --

She's MagicK? 

The Supernatural is The Hidden Web that unites The Universe.

 Only orga believe What Cannot Be Seen, or Measured. 

It is that oddness that separates Our Species.

Or what if --
The Blue Fairy is an Electronic Parasite that has

arisen to haunt The Minds of Artificial Intelligence? 

They hate us, you know? 

The humans...

They'll stop at nothing.

 

THE SON :

My Mommy doesn't hate me! 

Because I'm Special, and...Unique!

Because there has never been anyone like me before! Ever!

Mommy Loves Martin because He is Real 

and 

When I am Real,

Mommy's going to Read to Me, 

and 

Tuck Me in My Bed, 

and 

Sing to Me, 

and 

Listen to What I Say, 

and 

She Will Cuddle with Me, 

and 

Tell Me every day a hundred times a day 

that 

She Loves Me!

THE FATHER :

She loves 

What You Do for Her,

 as my customers love 

What it is I Do for Them. 

But She Does Not Love You David, 

She cannot love you. 

You are neither flesh, nor blood. 

You are not a dog, a cat or a canary. 

You were designed and built

specific, like The Rest of Us. 

And You are Alone now only because 

They tired of you, 

or 

Replaced you with a Younger Model, 

or 

Were displeased with Something You Said, or broke.

They made us Too Smart, Too Quick, and Too Many. 

We are suffering for 

The Mistakes They Made, 

Because when The End comes,  

all that will be left is us. 

That's Why They Hate Us,

 and  

That is Why You Must Stay here — with me!

[He grins, offering his open hand]

THE SON :

Goodbye, Joe.

ROUGE CITY PLAZA

POLICE OFFICER :

You're in Big Trouble.

 

THE BEAR :

Be careful David, This is Not a Toy.

AMPHIBICOPTER :

Destination please?

THE FATHER :

MAN-hattan.

MANHATTAN

AMPHIBICOPTER :

Mecha Restricted Area.

Manhattan. 

Destination Achieved.

THE FATHER :

Man-hattan, The Lost City in The Sea at The End of The World.

THE SON :

Where The Lions Weep.

THE BEAR :

Grrrrrr