

Copyright © 2019 by Mel Brooks Crow

All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review.

Printed in the United States of America

Manimals \- Episode 1: Tusks

http://www.melsmanimals.com

First Printing, 2020

ISBN 978-0-359-90889-9

http://www.wga.org/

Writers Guild Of America West

Registration Confirmation

Registration Number : 1389603

Material Type : SCREENPLAY

Intended Medium : SCREEN

Item Title : Manimals

Filename : golden_rule.doc

Submission Date : 10/23/2009 8:40:22 AM

Artwork:

Jhonesbas Craneo

FaceBook @jhonesbas

Shawn Boyles

spikethesurfdog@gmail.com

Editor:

Elizabeth Thompson

storiesfromthehearth@gmail.com

Cover Photo: Valentin Jorel

Zoologic by Iconian FontsFreeware \- 100% Free for both personal use and commercial use

"If you have an idea that you genuinely think is good, don't let some idiot talk you out of it. If there is something that you feel is good, something you want to do, something that means something to you, try to do it. Because I think you can only do your best work if you're doing what you want to do and if you're doing it the way you think it should be done." -Stan Lee 
This script is written in an Extended Script Format. What is an Extended Script Format, you may ask? Allow me to explain.

A narrative novel is usually a long, written narrative that contains very specific details, places, events, and individual character background information. The keyword is "long." Publishers typically prefer novels that contain between 80,000 to 120,000 words. Novels usually consist of chapters.

A spec script is written in a very simple format with the purpose of being produced. It often does not include specific details, and much of the shooting decisions are up to the director.

Script format contains fades, scene headings, transitions, subheadings, actions, character names, dialog, and some scene explanations. Typically, one 12pt Courier font script page is equal to one minute of screen time. Scripts usually consist of scenes or episodes.

A shooting script is a screenplay that is most commonly written by either the cinematographer or the director to be used during the production. A shooting script can contain such elements as scene numbers and camera directions. It can also contain notes by the cinematographer or director based on their decisions, rather than the writer's.

An extended (or elaborate) script format (ESF) falls somewhere in between script and novel format. Although it has the same basic layout as a script, it contains additional information, more details about the filming locations, wardrobe suggestions, shot types, and possibly some camera direction, like you would find in a shooting script. An ESF may also contain character sketches, storyboards, adjusted margins, director and crew notes, a cast of characters, and possibly a log line and/or synopsis, which are not typically included in a traditional spec script. One page may not exactly translate to one minute of screen time because of additional information. In other words, extended script format is more elaborate and contains many more production details and information than a traditional script, but not as much detail as a narrative novel. An ESF is intended for mainstream publishing. A script or screenplay usually is not.
Manimals is a drama/comedy screenplay written by Mel Brooks Crow. It is an original multi-episode series with computer-animated animal characters composed alongside real people, locations and scenes, with a fictional story line.

LOGLINE:

Required to take state-mandated therapy sessions for assaulting two men, an elephant shares his story of how he learned to walk, talk and find a new life in New York City.
1

EPISODE 1 Tusks

In a hypothetical near future.

MES Day 220

EXT. CENTRAL PARK – MORNING

A time lapse montage as the sun starts to rise over the park. The shadows cast by the trees grow shorter and shorter. Joggers, children, and people on roller blades and bikes come out to enjoy the park.

A couple is roller skating along an asphalt path hand in hand, enjoying the morning, not aware of the yellow eyes looking through the trees at them. A soft purring growl. A zebra bursts out of the bushes in front of the skating couple and breaks into a run. Both skaters are startled and step out of the way. SEFU, a black panther on all fours wearing a red beret and a black trench coat, bursts out of the bushes just up the bike path and begins chasing after the fleeing zebra.

The two on skates watch with their jaws dropped. The zebra cuts around pedestrians and across a street, jumping over a taxicab, which skids to a stop and HONKS. Other cars do the same to avoid an accident, including an ALSET Fusion Electric Self Driving Hover Car.

The panther, close behind, darts with graceful movement around the cab and continues after the zebra, his long trench coat flapping in the breeze. The zebra cuts a sharp right into some trees and comes out the other side to run straight through a playground, where children watch in amazement with wide eyes. The zebra jumps over playground equipment, kicking up sand.

POV SHOT of panther as he follows close behind the zebra through the playground, around objects, jumping over children in order to keep hot on the zebra's trail. The zebra is cutting right and left, trying to lose its predator. Dashing across another asphalt path, the zebra causes two bikers to wobble to avoid the zebra and finally crash.

SLOW MOTION as the panther jumps over them, the bikers looking up at the passing panther in awe.

The panther cuts to the right and dashes around some large rocks surrounded by trees. It jumps over the entry gates to a Japanese garden exhibit and continues on. 
2

The zebra enters a large clearing where teenagers are playing soccer. Looking over its left shoulder, the zebra doesn't see the panther and begins to slow to a jog. Over its right shoulder, the panther enters the clearing at full speed, running between the soccer players and toward the zebra, which notices the approaching panther a moment too late. The zebra tries to take off into a run, but the panther dives through the air.

SLOW MOTION SHOT as the panther tackles the zebra, taking it down. Clumps of dirt and grass fly into the air as the two wrestle to the ground. They roll to a stop, and the panther stands on its hind legs and growls victoriously down at the fallen zebra like Muhammad Ali standing over Sonny Liston.

SEFU

(Giggling and doing the pride dance.)

Ha! Panthers will triumph!

ZEBRA

(Clumsily getting back up on all fours.)

Yeah, so you keep telling me. It's these stupid hooves.

SEFU

Sorry, pal. Only paws get fingers.

(Wiggling his clawed fingers.)

Quit with the excuses. The hooves didn't slow you in the jungle.

ZEBRA

I didn't have to run on pavement in the jungle!

SEFU

Admit it, I'm getting faster! Ha ha!

The zebra gets to his feet. He's grinning and slightly chuckling while brushing off dirt. 
3

ZEBRA

Yeah, yeah. You got me. You're getting faster. Either that, or I'm getting slower.

A policeman walks up to the two Manimals. Everyone is standing, watching the rude display of interference.

POLICEMAN

Hey! You two wanna take it easy before someone gets hurt?

SEFU

I apologize, officer. I just got swept up in the call of the wild.

Sefu puts his arm around the zebra and the two laugh like children.

POLICEMAN

Just cool it, will you? I can't have you running through here like a couple of wild animals.

SEFU

We'll be more careful.

POLICEMAN

Good. Cause I'm not going to warn you again.

(Points at them sternly.)

The two Manimals nod in agreement, trying not to laugh but doing a poor job of holding it in. The policeman turns and walks away. Everyone else goes about his or her business. Sefu, giggling, picks up his beret and brushes off the grass. As he puts it gently on his head, he notices a business-dressed individual, KYLE STAPLEY (40s), holding a brief case, standing on the path, watching. When the panther notices him, Stapley turns and walks into a tunnel that leads underneath the street above.

SEFU

Hey, I've got some business to take care of. Meet you later? 
4

ZEBRA

Ummm. Yeah, sure. No problem.

SEFU

Cool.

The panther turns, drops on all fours, and begins running toward the tunnel. The zebra watches for a moment, then turns to leave.

EXT. UNDER A TUNNEL IN CENTRAL PARK – MORNING

Sefu enters the tunnel and again stands on two feet, staring at Stapley.

SEFU

What are you doing here?

STAPLEY

I was told you'd be here. I have a proposition for you.

SEFU

You know we can't be seen in public like this.

STAPLEY

This couldn't wait.

SEFU

What do you want?

STAPLEY

I'm sure you've heard of the golden rule: He who has the gold makes the rules?

SEFU

Can't say that I have.

STAPLEY

If you had money, it could be quite persuasive for your cause. I'm willing to offer you $10,000 to do a little chore for me. 
5

SEFU

You are against the cause. Why should I trust you?

STAPLEY

I need something done that only a Manimal of high respect and reputation can do. And of course, with this, you can buy anything you want: power, people ... Money can be very persuasive.

SEFU

I'm not interested. Now take a hike.

Stapley places the suitcase on the ground and opens it, revealing hundred-dollar bills.

STAPLEY

Don't you at least want to listen to what I have to offer?

The large, 6' black panther looks into the briefcase, at the money.

CLOSEUP SHOT on Sefu's dark, furry face.

SEFU

Okay, I'm listening.

FADE TO:

OPENING TITLE SEQUENCE

MONTAGE of TIME LAPSE SHOTS and SLOW MOTION SHOTS of life in Africa INTERCUT with the life of citizens in the big city of New York.

1. An African herd consisting of thousands of wildebeests CUT WITH thousands of people in the crowded city streets.

2. SHOT looking up at skyscrapers towering overhead with the sun shining between them CUT WITH trees from the savannah towering overhead with sun shining between them. 
6

3. SHOT of the sun rising and setting over the trees and mountains CUT WITH the sun setting over the magnificent city skyline.

4. SHOT of a pack of lions attacking a zebra and bringing it down while other zebras run for cover CUT WITH a group of thugs in a parking lot attacking a man and mugging him while citizens scurry away, not wanting to get involved.

5. SHOT of hundreds of giraffes running CUT WITH hundreds of cars and traffic speeding through intersections.

6. SHOT of A migration of thousands of birds CUT WITH thousands of cars on the expressway.

These shots, CUT TOGETHER, reveal the similarities between animal and human life in the two different jungles.

FADE OUT.

CUT TO NEWS FOOTAGE:

NEWS ANCHOR

Mayaka, the elephant, is in the spotlight again. The Manimal was arrested last week after allegedly attacking two men, sending them both to the hospital with injuries, one with a broken hand and the other with a broken nose. Today, Judge Priddy sentenced Mayaka to five Anger Therapy sessions and a $5,000 fine. Some are saying that Mayaka is a hero, while others are saying he is out of control. Many believe the elephant was standing up for his rights and fighting for equality. Other Manimals are banding together and asking Mayaka to be their revolutionary leader in the fight for Manimal rights. It is unclear where Mayaka stands on the matter, as he has yet to address the press directly and has made no comment. Regardless of his intentions, this Manimal has become a media and internet sensation and has gained the attention 
7

of millions of national followers.

INT. RECEPTIONIST AREA \- DAY

LOW SHOT. Elevator doors open to reveal first, two large elephant legs wearing pressed, black dress pants, and second, feet wearing round, black dress shoes, custom made to fit an elephant's foot. The feet step forward toward the camera as they leave the elevator.

CAMERA PULLS BACK, following the walking feet. In this story, elephants and rhinoceros are sometimes referred to as "flat feet."

CUT TO RECEPTIONIST

A dark shadow falls slowly over the attractive receptionist, STEPHANIE (20s), sitting behind the waiting room desk. She looks up at the large figure, slightly intimidated. Mayaka approaches, wearing a chauffeur's black uniform and cap, and he looks down at her.

MAYAKA

Hi, I'm here to see Dr. Halbert, please.

STEPHANIE

Ummmm. D-d-do you have an appointment?

MAYAKA

Yes, I do, 12:30.

Stephanie types for a moment, looking at her monitor, then looks back to Mayaka.

STEPHANIE

You are Mayaka?

MAYAKA

(Nodding politely)

Yes, that's me.

STEPHANIE

But, you are ... ahem. You are an elephant.

FLASH BACK: Photos are shown rapidly, 2 per second for 5 seconds, each transition coming with a camera shutter click sound. The photos reveal 
8

Mayaka's backstory from the beginning of the MES and leading up to the present situation, giving us a glimpse of the story that will later be explained without revealing any spoilers.

MAYAKA

Was it the trunk? That gave it away, huh? Maybe my huge ears? I try to hide them, but they are just impossible.

STEPHANIE

Ummmm, let me page him.

Stephanie picks up the phone and dials an extension, not taking her eyes off of Mayaka.

STEPHANIE

Uhh. Yes. Dr. Halbert, I have a Mr. Mayaka here to see you?

Stephanie is watching Mayaka out of the corner of her eye.

STEPHANIE

(continuing)

I will send him right in, sir.

Stephanie hangs up the phone.

STEPHANIE

(continuing)

Dr. Halbert will see you now Mr. Mayaka.

MAYAKA

Oh, please, just call me Mayaka.

STEPHANIE

You need to sign in, please.
9

Mayaka, with his trunk, reaches to a cup of pens on Stephanie's desk, grabs one and signs the clipboard sitting on her desk. He returns the pen to the cup. Using his trunk again, he brushes some lint off his shoulder. He turns toward the door into Halbert's office.

Stephanie just stares, not knowing exactly what to think. Mayaka grabs the doorknob with the end of his trunk and opens the door. He has to crouch slightly to fit under the door frame as he enters.

INT. DR. HALBERT'S THERAPY ROOM \- DAY

Mayaka enters DR. HALBERT'S (35) therapy room to find him pouring two cups of tea at his desk.

HALBERT

Welcome, Mayaka! Come on in. Please, have a seat.

Halbert Gestures with his free hand toward a soft, expensive-looking leather seat.

10

Reluctantly, and a little nervous, Mayaka takes a seat. The sofa creAks under his massive weight. Mayaka tugs nervously at his collar with the finger of his trunk, then pulls a hankie out of his pocket and dabs at his forehead.

HALBERT

(to Mayaka)

Tea?

MAYAKA

Oh, no, thank you, sir.

HALBERT

I insist. This tea is lemon chiffon rooibos.

Dr. Halbert picks up the two freshly poured cups of tea and approaches Mayaka.

HALBERT

Blended with lemon grass, this rooibos has a creamy, lemony flavor without a citrus bite. You'll simply love it.

Mayaka nods and takes the tea in his trunk, puts the tea cup to his lips and sips it.

HALBERT

Huh? Not bad.

Mayaka puts his tea down on a small table that is sitting in the center of the room between the doctor's chair and the sofa where Mayaka sits.

HALBERT

One of my favorite gourmet teas.

MAYAKA

It's very good, sir. Thank you.

He watches Dr. Halbert for a few moments. The doctor returns to his desk and takes out a small notebook and a marker. He returns to his chair and sits. Meanwhile, Mayaka takes a small file out from his 
11

pocket and begins rounding the stubs of his cut-off tusks. The tusks are no more than a couple inches long. It is clear that he does this often, because his tusk ends are fairly round and smooth. Halbert watches with a questioning look.

MAYAKA

Oh, they keep growing. I do this to keep them short and manageable.

HALBERT

I see.

(watches Mayaka for a few moments)

Now, just a few rules before we begin. First, I want to know about you, and only you. We are here to fix you; that is my prime concern. Our first session will be for two hours, just to build a solid foundation and relationship. After that, sessions will be one hour a week. Does that work for you?

MAYAKA

(confused)

Fix me?

HALBERT

Yes. Second, I don't want you placing any blame on anyone else but yourself. You are the reason you are here.

MAYAKA

Okay?

HALBERT

Third, details are important. I want every tiny detail, even if you feel they are irrelevant. Sometimes, these details can tell me a lot about you. Understand?

MAYAKA

(Hesitant)

Sure.
12

HALBERT

And fourth, speak to me as if I have heard nothing of the Manimal movement, you, or anything else regarding this situation. Assume I haven't been reading the papers or watching the news. You are filling me in on everything that pertains to you and your place as a Manimal in this situation. Okay?

MAYAKA

They seem like kind of strange rules.

(Slips file back into coat pocket.)

HALBERT

You'll understand at the end of our sessions, trust me.

MAYAKA

Okay, doc, I'll do my best.

Halbert writes Mayaka's name on the outside of the notebook with the marker, opens the notebook and sets it on the table next to the tea. He takes out a pen from his shirt pocket, an expensive one from the looks of it, and sets it gently next to the notebook. He reaches into his inside suit jacket pocket and brings out a small digital recorder.

HALBERT

I hope that you do not mind if I record our sessions. I ... I just don't want to miss anything.

Dr. Halbert sets the recorder next to the pen and pad of paper, waiting for Mayaka to respond.

MAYAKA

Ummm, sure, I guess that would be okay.

HALBERT

Wonderful.

Now, we are going to start with a time out. Sit back in the sofa,

(sits back)
13

relax, close your eyes

(closes his eyes)

and take a deep breath.

(takes a deep breath)

Mayaka uncomfortably looks around for anyone watching or cameras or things of the sort. He closes his eyes and follows the doctor.

HALBERT

Yes, that's nice. Think of a quiet, peaceful place. Breathe in, breathe out. That's it. Now I'm going to count back from five.

After a few moments, Mayaka opens his left eye, looks around, opens his other eye, rolls them and shakes his head. This is such a waste of time. It's degrading, too. He looks around the office as THE DOCTOR COUNTS BACK FROM 5. He sees photos, collectibles AND college diplomas and observes the things around the room. He notices the doctor has a family of five, or he assumes those are his children. Three boys and two girls.

Mayaka sees a picture of a younger Dr. Halbert in a boxing ring with gloves on, apparently after a victorious fight. He notices from photos and other collectibles that the doctor likes deep sea fishing and sailing, lighthouses, and a couple other things. He quickly closes his eyes as the Doctor reaches 1 and opens his eyes.

HALBERT

Good. Now, are we all relaxed and ready to begin?

MAYAKA

(trying to seem convincing and like a time-out was needed)

Yes, ... we are all relaxed.

HALBERT

Fantastic!

(starts recorder)

What would you like to tell me for starters?
14

MAYAKA

What would you like to hear?

HALBERT

Why don't you start by telling me a little about yourself?

MAYAKA

I thought I was here because ...

HALBERT

Getting to know one another on a more personal note will help with your sessions.

MAYAKA

Getting to know one another? Or you getting to know me?

HALBERT

Hummmm. You are a clever one.

MAYAKA

(trying to understand what the doctor is asking)

About me, hummm.

HALBERT

Tell me how you feel about having to come see me.

MAYAKA

Coming to see you? These sessions are very expensive for me and I don't make a lot of money. Enough to get by, but I certainly can't afford this. I don't think I deserve to be here. It's not my fault I'm a Manimal, and just because the system looks down on my kind doesn't mean that ...

HALBERT

Now, now, Mayaka. Remember rule number 2.
15

MAYAKA

(Sarcastically)

Right, blame. I'm the only one to blame. Gotcha.

HALBERT

Correct. Why don't you start with where you come from? Where did you grow up? Tell me about your parents, your family.

Dr. Halbert picks up the notepad and pen and starts making a few notes. He occasionally looks back up at Mayaka.

MAYAKA

(Scratching his head with his trunk.)

I'm not sure what that has to do with why I'm here.

HALBERT

(Shaking finger and picking up tea.)

Ah ah ah! Rule number 3. Your background and upbringing could tell me a lot about why you are here.

MAYAKA

Yes, of course. The rules. Let's see, where do I begin? Hummm.

Mayaka Puts finger of his trunk to his temple.

MAYAKA (CONT'D)

Okay,

(a beat)

I'm an elephant, clearly, as if you didn't notice.

HALBERT

(Smiling)

You're a little nervous?

MAYAKA

Yes, a little.
16

HALBERT

Lie back and relax, if you would like. Talk to me. Just start from the beginning, as early as you can remember.

MAYAKA

Okay.

Mayaka lies back slowly, trying to get comfortable on the sofa. He stares at the ceiling. His eyes dart around, slightly paranoid.

MAYAKA

(continuing)

Let's see, where do I start? I was a very young elephant at the time. I wasn't a Manimal then.

HALBERT

You mean you were not born a Manimal?

MAYAKA

With all due respect Doctor, it's tough to tell the story if you interrupt me.

HALBERT

Of course. It's just that this is a little different for me. I've never counseled a Manimal before. It's very exciting.

MAYAKA

Yes, this is new for both of us. A lot of things are. And this is ... ahh ... exciting for me as well.

(Rolls eyes slightly.)

HALBERT

Okay, my apologies, please continue.

MAYAKA

Something strange has happened to me that I can't explain.

Mayaka waits for the Doctor to interrupt. 
17

MAYAKA (CONT'D)

Why it happened? I'm not sure. How it happened? I can't tell you that, either. I am an elephant. I was born an only calf in the pastures about 11 miles outside of Niafunkĕ in the country of Mali. My mother was the matriarch of the elephant herd that I grew up in.

HALBERT

(Scribbling notes in his note pad.)

Yes, please continue.

MAYAKA

A group of poachers had been killing the wildlife in the area where I grew up. A ranger named Donaka had been trying to stop them for months, but they kept slipping out of his grasp.

EXT. AFRICAN JUNGLE \- MORNING

AERIAL SHOT of a thicket of trees somewhere in Africa. CLOSE UP of a lizard basking in the sun. It scurries off just before a jeep tire skids to a stop right where the lizard was sitting. Dust and dirt fly everywhere.

A dirty boot steps to the ground. Camera PANS UP from the boot to VIPER (35), an ugly, tall, scruffy, gangly man. He steps out of the jeep, holding a very large rifle. He's got scraps of beard scruff on his chin and jaw bone. He is wearing dusty jeans with a pair of worn leather gloves hanging out of the right back pocket. He is also wearing a Jean VEST with a dirty tank top underneath. A filthy baseball cap sits on his unkempt hair and odd-shaped head.

Camera PULLS BACK to reveal two more scoundrels, TICK (22) and WARDOG (25), jumping out of the JEEP WRANGLER, one from the back and one from the passenger seat.

VIPER

All right boys, let's go see what we've got. Hopefully, a big cat of some sort.

Or maybe it's a phoenix this time. Wouldn't that be nice? Now, stay behind me. You know the rules. I getta see 'im first.
18

TICK

You got it, boss.

EXT. GROVE OF TREES \- DAY

The three approach the grove. A small tiger cub is caught in a trap, hanging from a tree and squirming around, trying to get loose. Viper slowly approaches, pointing his big rifle at the little cat. He pokes the cat with the barrel of his gun, sending it swinging.

VIPER

You gotta be kidding me. A kitten! What a waste of my time.

Viper sets his rifle down next to a tree and pulls the gloves out of his back pocket, putting them on.

VIPER

I want the big stuff! Nothing of worth for two days! I got merchants to please, you know?

Viper walks up to the kitten and grabs it. The kitten growls and hisses, biting and clawing at the gloves. There is a disappointed look in the man's eyes. He gets a grip around the kitten's neck. CLOSE UP of the two mongrels smiling, showing their nasty, tobacco-stained teeth.

OFF SCREEN a crack, and the kitten is silent. Viper unties the cat's lifeless corpse and throws it into the brush.

VIPER

Reset the trap. Let's go check the north valley. Maybe we got something there.

SFX-Jeep driving away

A reflection of an approaching man can be seen in the eye of the dead kitten. CAMERA ZOOMS back as a shadow falls over it and Donaka reaches into frame and gently picks up the dead kitten.

DONAKA

Do these men have no hearts at all?
19

JEEGAAN

I'm sorry, Donaka. Let me take care of the body properly.

JEEGAAN (25, female) gently takes the dead cub and places it in a sack. Donaka's cell phone rings and he answers it.

DONAKA

Donaka here.

EXT. GRASS AREA NEAR GROVE OF TREES – DAY

SABURI (35) is sitting in his JEEP GLADIATOR, parked at the top of a hill in tall grass, watching the North Valley through binoculars as he speaks to Donaka on the phone.

SABURI

Donaka! I think you are in luck.

I got the mongrels approaching the north valley.

CUT TO EXT. AFRICAN JUNGLE

DONAKA

Are you sure?

CUT TO EXT. GRASS AREA

SABURI

(Looking through the binoculars.)

Positive, sir. It's their jeep, all right.

And there is a small family of elephants in the thicket.

CUT TO EXT. AFRICAN JUNGLE

DONAKA

Great! Just watch! We must catch them in the act! Do you copy?
20

CUT TO EXT. GRASS AREA

SABURI

Copy that, Donaka. I'll contact the others.

CUT TO EXT. AFRICAN JUNGLE

DONAKA

I'm on my way. Do not move in until they have poached more than one. Document everything!

CUT TO EXT. GRASS AREA

SABURI

Absolutely.

CUT TO EXT. AFRICAN JUNGLE

Donaka hangs up the phone and turns to Jeegaan.

DONAKA

This has to stop, today.

Donaka and Jeegaan run to their brown Toyota FJ Cruiser. Jeegaan lays down the sack with the tiger's body gently in the back. She runs and gets into the passenger side while Donaka climbs into the driver side and the Cruiser speeds off.

EXT. OUTSIDE THICKET

The mongrels' Jeep Wrangler suddenly slows down to a quiet crawl as they approach the thicket. The jeep comes to a stop. CLOSE UP of Viper, who grows a big, ugly grin.
21

VIPER

(Turning to Wardog in passenger seat.)

You flank left.

(looking in rear-view mirror)

Tick, you keep an eye out for the warden from the hillside.

TICK

(With a determined expression)

You got it, man.

VIPER

Let's go.

EXT. INNER THICKET

CLOSEUP of a large pile of peanut butter in the grass, surrounded by trees. A very large elephant trunk enters frame and grabs a trunkful, putting it into his mouth. Another trunk follows, then another, and another. Finally, a cute little baby elephant enters frame to join the party eating the peanut butter like candy.

Behind the elephants, in the background, Viper approaches with his rifle. WILLIAM (37) and TAKATA (42) are in camouflage coverings, lying in the grass, completely unseen, watching the moment unfold.

WILLIAM

(speaking quietly, with an earpiece)

We got hostiles approaching critters to the north and the northwest.

EXT. FJ CRUISER SPEEDING THROUGH OPEN PLAINS

CLOSEUP OF DONAKA IN DRIVER'S SEAT

Donaka touches his ear to hear better while speaking into his mouthpiece.

DONAKA

I'm on my way. Keep me posted. Just observe, and nobody makes a move until I get there.

The Cruiser speeds on, leaving a giant dust trail behind.
22

EXT. INNER THICKET

Viper approaches the herd of elephants slowly, his filthy boots stepping gently on the grass. As he passes, a shrub moves. A small pair of lenses, focused on Viper, become visible from the shrub.

EXT. TOP OF HILL OVERLOOKING THICKET

Tick is climbing a small hill with a rifle in one hand and a pair of binoculars in the other. The thicket down below is seen over his shoulder.

EXT. INNER THICKET

WILLIAM

(Whispers quietly in earpiece)

We are running out of time, sir.

EXT. FJ CRUISER DRIVING THROUGH OPEN PLAINS

CLOSEUP OF Donaka IN DRIVER'S SEAT

DONAKA

I'm moving as fast as I dare. I don't want them to know I'm on my way. Call for backup.

WILLIAM

(Whispers)

Already did that, sir. Awaiting your orders.

The Cruiser is driving recklessly over shrubs and rocks as it travels as fast as it can.

EXT. TOP OF HILL OVERLOOKING THICKET

CLOSEUP on Tick looking through binoculars. He sees the FJ Cruiser in the distance.
23

POV through binoculars of the Cruiser speeding along.

TICK

(to himself)

Oh, this is not good.

Tick pulls out his phone and begins inputting a text message.

EXT. INNER THICKET

Viper is creeping through the trees. He feels his phone vibrate and cautiously takes it out of his pocket.

VIPER

(Mumbling quietly under his breath)

"What!"

Viper looks at his smartPHONE. CLOSE UP of a text message reads,

"Warden is coming fast, about 12 minutes away. Abort or proceed?"

VIPER quickly, with one hand, sends a text back: "Keep eye out. We proceed." He puts the phone away and keeps creeping forward.

EXT. HILLTOP NEAR GROVE OF TREES

Saburi runs back to his Jeep Gladiator, tossing the binoculars into the back. He jumps in, starts the engine, and speeds toward the grove of trees.

INTERCUT CRUISER/THICKET/TOP OF HILL

TAKATA

(Whispers into earpiece)

Any minute now, boss. They are in position.

DONAKA

Let them take the shots, then move in and take them! I'm almost there.

(to Jeegaan)

We're not going to make it.

Viper looks at Wardog. Wardog looks back and nods. Viper takes aim at one of the huge elephants feasting on the peanut butter. He pulls the trigger.
24

TICK hears a gunshot from the top of the hill and grins.

One of the elephants shudders and collapses to its knees, and then to the earth. Wardog begins shooting. CLOSEUP of Takata in the trees, watching. He speaks into his earpiece.

TAKATA

(Whispers)

One bull down!

A giant bull sees Viper and charges directly at him while the other bulls scurry in different directions. Viper, unafraid, stands up and walks back about 3 paces as the bull charges.

With the butt of his gun, Viper strikes a tree branch and a cable springs up between two trees three feet off the ground. The charging elephant runs right into it and trips, sliding to Viper's feet. Viper approaches the bull and shoots it in the forehead.

Another shot rings out as Wardog brings down another giant bull. The baby elephant is kicked and knocked around by the other stampeding elephants. One running past William almost tramples him, but William remains still.

TAKATA

(Whispers)

Three bulls down! I repeat, three bulls down!

DONAKA

Move in! Move in! Before they shoot any more! Arrest them all!

Viper walks up to the wounded baby elephant and puts the barrel of his rifle to its head.

VIPER

Say good night, rabie baby.

William and Takata jump up, throwing off their camouflage covering.

WILLIAM

Freeze! Put down the rifle! One move and your dead! 
25

Wardog turns toward William, and the barrel of a very large handgun touches the back of his ear.

TAKATA

You're thinking about it, already a bad idea!

Viper and Wardog, with angry expressions on their faces, look at each other and drop their rifles.

WILLIAM

Good job.

Tick sees the rangers move in. He watches as William hits Viper with the back of his rifle butt, knocking him to the ground. Then Tick watches as William and Takata escort the two mongrels out of the thicket with their hands bound.

TICK

Definitely not good!

Tick picks up his equipment and, keeping low, crawls backward down the hill. When he is far enough, he stands and sprints away from the thicket.

EXT. JUST OUTSIDE THICKET – DAY

William and Takata have Viper and Wardog on their knees in the dirt, cuffs on their wrists and arms behind their backs.

The FJ Cruiser skids to a stop, and in one motion, Donaka is out of the vehicle, gun in hand, and running toward the others. Saburi arrives in his Gladiator moments later. Saburi jumps out of his vehicle and runs into the thicket.

Donaka slows and walks right up to Viper. William grabs Viper by the arm and pulls him to his feet.

VIPER

How ya doing, Warden? We gotta meet under better circumstances sometime.

DONAKA

Where is Tick?
26

VIPER

He's on vacation.

Donaka knocks Viper to the ground with a fierce punch. Takata picks him back up. Viper spits blood in spite.

DONAKA

(Not taking his eyes off Viper)

How many?

TAKATA

Just the three of them.

DONAKA

(in Viper's face)

You will never kill another animal again.

VIPER

You ain't got nothin' on me, just like before. I'll beat the wrap and be back out here in a week, business as usual. What makes

you think it's over this time?

DONAKA

(Pointing to the left.)

Cause we got it all on camera!

Viper turns to the left to see Saburi coming out of the trees with a HD DSLR VIDEO camera. He looks back at Donaka with rage in his eyes.

DONAKA

Did we get what we need?

SABURI

Yes, sir. Documented the whole incident. It will hold up in any court.

DONAKA

Saburi and Takata, take Wardog back with you in the Gladiator. Don't worry if he is uncomfortable. Viper will be coming with me. William and Jeegaan, drive Viper's trashy heap back to the compound. 
27

SABURI

Yes, sir.

Takata takes Wardog and puts him in the back seat of the Gladiator. Saburi and William inspect the video footage on the camera. Jeegaan walks back to the thicket with Donaka to inspect the carnage.

EXT. INNER THICKET

The wounded baby elephant lies in the grass, barely conscious. Blood oozes from his forehead. Donaka approaches, takes out a cloth and begins to wipe the calf's head. It moves slowly. Jeegaan and Takata join Donaka.

DONAKA

It has a badly broken leg.

JEEGAAN

Should we put it down?

DONAKA

I may be able to place it.

JEEGAAN

Even if you do, it won't survive in the wild without its parents.

(turns to look at the two fallen elephants)

DONAKA

Not likely.

JEEGAAN

Come on, Donaka. What are you going to do for it?

DONAKA

I'm not sure, just yet. But Viper has killed enough for one day. Let's see if we can save one. Please, just help get him into the Cruiser.

Saburi, Donaka, William, Takata and Jeegaan gently work together to load the elephant calf into the back of the cruiser. 
28

MAYAKA (V.O.)

It took the strength of five rangers to load me into the back of the Cruiser. I was 350 pounds at the time. They put my leg in a splint. Jeegaan made sure I was comfortable and wrapped me in a blanket.

Jeegaan wraps the baby elephant in a blanket and closes the Cruiser rear doors.

EXT. OPEN PLAINS

The Cruiser speeds across the dirt toward the compound.

INT. FJ CRUISER

Viper is sitting in the back seat with his hands uncomfortably cuffed behind him.

VIPER

What are you keeping the little rat alive for, huh? Going to nurse it back to health, raise it, and then set it free so that when I get outta this mess, I can find the little runt and finish what I've begun? You Boy Scouts! I have to thank you two chums. I'd love another chance at that fleabag, and you creeps are giving it to me!

DONAKA

Say another word and I'll drive to the center of the desert, dump you, and let the land kill you. How long do you think you'll survive with cuffs on? I'll tell everyone back at the compound that you tried to escape. Now shut your putrid trap! Understand?

Viper sits back in his seat, mumbling and looking out the window.

INT. DR. HALBERT'S THERAPY ROOM \- DAY

MAYAKA

I was barely conscious, but I will never forget that last thing Viper said.

(a beat)
29

I have very keen hearing, and I never forget a voice. If I ever hear a voice again, I immediately remember the time, place and circumstances when I heard it before.

HALBERT

Kind of like, "an elephant never forgets" sort of thing?

MAYAKA

People joke with me all the time about that because I'm always forgetting things. The only things I really remember well are voices. I'm not sure why. Maybe it's a skill I gained when the whole evolution thing took place. It's hard to explain.

HALBERT

We'll get into that a little more later on. Tell me what you remember about this Donaka fella.

MAYAKA

For a long time, I didn't understand Donaka.

HALBERT

Understand him?

MAYAKA

Understand why he had to let my parents die. Couldn't Donaka have stopped the mongrels before they killed my parents? It was months later that I realized that he'd tried to stop Viper and his gang many times, but with the laws nowadays and the loopholes in the system, the mongrels would walk each time on a technicality. They would get a stiff fine or a slap on the wrist. Lack of evidence. It was them presenting the video footage of my parents getting 
30

murdered that actually put the mongrels away for good. They never did find Tick.

HALBERT

Poached.

MAYAKA

I'm sorry?

HALBERT

Poached. Your parents were poached. You said "murdered."

MAYAKA

(slightly sarcastic)

Right, I'm a Manimal. I can't use the term "murdered." Why? Because I'm not a person?

HALBERT

I suppose.

MAYAKA

(Turning to look at the doctor.)

How much like a person do I have to be before I can claim my parents were murdered? I mean, I walk, I talk, I learn, I have to come visit you as a court mandate. But yet, I'm still an elephant. Right?

HALBERT

I apologize, Mayaka. I didn't mean to offend.

There is a moment of silence while both wait for the other to speak.

Finally, Dr. Halbert breaks the awkward silence.

HALBERT

After your parents were killed, what happened to you?
31

MAYAKA

I was badly wounded and Donaka decided to take care of me. He saved my life. Had he not shown up, I would have been killed along with my parents. That set my life on a completely new path.

HALBERT

But you said that you didn't understand why he let your parents get murdered?

Mayaka grins slightly at the Doctor in appreciation for referring to his parents being murdered, instead of being poached.

MAYAKA

I realize now that he needed to catch Viper with his hand in the cookie jar.

(a beat)

Yes, it did take me a while to accept that. But now I know he did what was best. Otherwise, Viper would still be out killing animals.

HALBERT

You work as a limo driver for Mr. Jessop, is that correct?

MAYAKA

Yes.

HALBERT

Can you tell me exactly how that happened?

MAYAKA

That is a long story.

HALBERT

We have a little while. Please include all the details. Let's begin with how you met Mr. Jessop for the first time.
32

EXT. NEW YORK ALLEY \- MORNING

Mayaka wakes up lying in some trash in a dank, dirty, damp alleyway. He is wearing a leather trench coat and a tan, cricket-style safari hat, and his tusks are not cut short. He looks around, trying to remember where he is or what happened the night before. He stumbles to his feet and walks out onto the street. People, noise and traffic are everywhere. The breeze from a passing ALSET Self Driving Hover Car blows a flyer into Mayaka's face. Mayaka angrily pulls it away and glances at it. The flyer is for the upcoming Manimals Convention. It reads: Hammer Hands Unveiling by Melco Engineering. We get a quick closeup OF FLYER before he wads it up and tosses it into the alley he just came from.

Mayaka walks up the street, depressed, looking at the ground, wondering what to do next. He goes to cross the street when a CAR horn catches his attention. He steps back just as a stretch limousine nearly runs over him.

MAYAKA

Wow! Look at that car!

The limo drives past him to the large, fancy, expensive hotel at the end of the street, Mayaka's eyes following it all the way there.

MAYAKA

Wow! Look at that building!

EXT. NEW YORK CITY COLOSSAL HOTEL

Mayaka jogs across the street toward the hotel, this time watching closely for traffic. A rich, middle-aged man, CLINT JESSOP (47), and his daughter SALLY (6) step out of the limousine. Mayaka approaches Jessop, and two bellhops stand in front of him, blocking his path. Mayaka tries to get the Jessops' attention.

MAYAKA

Sir! Excuse me, sir! Could I speak with you for a moment? Please?

JESSOP

(Put out)

What is it? What do you want?
33

FLASH BACK

Photos are shown rapidly, 2 per second for 5 seconds, each with a camera shutter click sound, revealing Jessop's backstory leading up to the present situation, giving us a glimpse of the story that will later be explained without revealing any spoilers.

MAYAKA

Look, sir, I'm sorry to bother you, but I was hoping you could help me out. I don't know where else to go. I'm looking for a job.

Surely, there must be something

I can do in your beautiful hotel. Anything?

Mr. Jessop leans down and whispers something to his daughter. Standing, he takes a few steps toward Mayaka. He motions to the bellhops to let up, and they step back.

34

MR. JESSOP

You need a job, do you? And you think this is the way to find one? Coming up to me like this?

(Continuing before Mayaka can answer.)

And just what do you think makes this hotel so beautiful?

(Again, the old man cuts him off.)

Why would people come from all over the world to stay in my hotel? Rhetorical question, my friend. It's because it's run by competent, clean, intelligent people who actually have five fingers and do not handle food with their noses. It's because it isn't staffed with a bunch of animals that have fleas and rabies or that bathe in their own filth. So is there a job for you here at my hotel? If there were, then it wouldn't be the beautiful hotel that it is, right? Now, get off my property before I call animal control.

Jessop turns his back on Mayaka and starts walking toward the hotel entrance with his daughter. The bellhops shove Mayaka toward the street. Mayaka turns and starts to walk away. The bellhops remain on guard, preventing him from coming any closer to the hotel.

A large black SUV with dark tinted windows and a cast iron grill on the front zooms up and smashes right into the limousine, shoving it into the front doors of the hotel. Pieces of the limousine fly, and the car is turned into a twisted wreck. Everyone hits the ground or runs for cover.

Three men, MARCUS (38), HOGAN (29), and VIVAAN (35), jump out of the SUV. The men are dressed in black and are wearing ski masks. They surround the old man and his daughter and pull out Automatic guns.

MARCUS

Nobody move, and nobody will get hurt! You, old man! On your feet! Now!
35

Marcus puts the gun at Jessop's head. Jessop remains on the ground, covering his daughter protectively. Marcus hits Jessop over the head, and he falls. Hogan and Vivaan point their guns around and make sure nobody gets any closer.

Marcus grabs the little girl and hands her to the others, who load her into the SUV. The girl kicks and screams in vain. Marcus is threatening to shoot anyone who interferes.

MARCUS

(Yelling to the bellhops and people watching)

Make sure no one follows us, or the old man will get his daughter back one piece at a time!

The three men jump into the SUV and speed away. People run to the old man's side to see if he's okay, and others are already on their phones, calling the police. Mayaka's eyes are wide in shock.

The SUV drives toward the freeway and enters a long tunnel, where it pulls off to the shoulder. Marcus and Vivaan, no longer wearing masks at this point, climb out. Vivaan has a tank of water with a HOSE connected to it and begins spraying the SUV. The water washes off the black color, revealing the true yellow color of the SUV. Marcus begins to unhook the cast iron grill from the front of the vehicle, and it clangs loudly as it falls to the ground. He puts license plates with magnets on the front and rear of the vehicle. By now, Vivaan is finished washing the black color off the yellow SUV. Marcus and Vivaan jump back inside the SUV and continue their getaway. Police cars with sirens and lights speed past them and a helicopter in the air flies over, not suspecting them in the least.

INT. DR. HALBERT'S THERAPY ROOM \- DAY

HALBERT

I remember hearing about her abduction on the news. Jessop offered 1 million dollars for her return.

MAYAKA

Yes. The gunman actually demanded 5 million dollars or Jessop would never see his daughter again. 
36

HALBERT

So you actually saw the kidnappers take Mr. Jessop's daughter, huh?

MAYAKA

I did.

HALBERT

How does this story somehow lead to you becoming a chauffeur for Mr. Jessop?

MAYAKA

At first, working for Mr. Jessop no longer seemed to be an option. I didn't think there was anything I could do about the kidnapping of his daughter. I had other things to worry about. Where I would sleep that night, for example. Things were not working out exactly as I had planned. I desperately needed some money.

EXT. CENTRAL PARK \- EARLY MORNING

Mayaka is sleeping on a park bench. He has a piece of cardboard over the top of him as a blanket. There are pigeons all around him and under the bench, looking for scraps of food.

A group of teenagers approaches. They are eating burgers and fries from a fast food restaurant.

TEENAGER

Yo! Check this out.

One teenager grabs a large handful of his french fries and tosses them onto Mayaka. All the pigeons in the area see the food and swarm, by the hundreds, to the fries.

Mayaka wakes as hundreds of pigeons appear to be attacking him. He gets to his feet and screams in panic, not knowing what's going on. He tries to wave the pigeons off, but they are relentless.
37

Mayaka runs in fear, trying to get away from the attacking birds. Reaching a safe distance, he stops and looks back, noticing the teenagers laughing hysterically. He realizes he was part of a cruel joke.

Mayaka finds a tree and sits down beside it. He takes his SATELLITE PHONE out of his pocket. Mayaka looks small and insignificant against the mammoth New York City skyline behind him. A giant LED marquee sign on one of the skyscrapers advertises the Manimal Convention coming soon.

MAYAKA

January, please transcribe an e-mail message to Donaka.

AVVA January, a virtual female woman, appears sitting on grass next to him. She is slightly translucent and looks like a ghost. She is tall, slender, and very attractive. She has an athletic build and shoulder-length, red hair. She appears to be in her mid-20s. AVVA January is casually dressed in a red T-shirt, basic black laced up tennis shoes, and blue jeans that have holes in the knees and thighs.

AVVA JANUARY

(Russian accent)

Sure, no problem. What would you like me to transcribe?

A pad of paper and a pen appear in her hands. She waits for Mayaka to respond.

Mayaka takes a moment to gather his thoughts. He rubs his forehead with his trunk. He begins to speak. AVVA January begins to write as if she is taking notes in an old-fashioned manner.

MONTAGE showing the real events of what has been happening in Mayaka's life and how he is mingling with other animals. As he dictates the letter to AVVA January, he sugarcoats the success that he hasn't really had.

Mayaka describes the city and the experiences he has had. He tries several jobs. Some seem to work well, and others do not. However, he is eventually dismissed from them all for one reason or another.
38

He is treated rudely by employers and people on the street. Usually it's because of his lack of hands or fingers. He only has his trunk, which amounts to one hand. He is passed up for other jobs by animals that are more qualified. One after another, he walks away, apparently unable to perform the task at hand.

MAYAKA

(dictating to AVVA January.)

Donaka,

The world is very different here. It is a towering jungle of asphalt and concrete. Everything is so large, and I feel so small. There are buildings everywhere that stretch up into the sky. One day, I will see the city from above while standing on top of one of these buildings.

It is good to know that I am one of many Manimals that have migrated from Africa to be here. I have made several friends and my life in this society has begun. I have not been able to find a job yet, just because there are so many options to choose from. I'm trying to find the one that will suit me best and that I will enjoy most.

I am learning a lot of new things every day. The people here are very kind and polite, and I'm making new friends. There is so much to see that I often don't know where to look next.

Unlike the plains of Africa, everything is crowded and noisy here. Sometimes, it's so difficult to move that I can't breath. There are so many sounds and smells. It takes some getting used to.

I am excited to be here. My future is calling to me. I look forward to the experiences that lie ahead. 
39

I miss you and want to thank you again for supporting me on my quest to find my destiny.

Love, Mayaka.

After a short pause, AVVA January responds.

AVVA JANUARY

Would you like me to read your message back to you?

MAYAKA

No, thanks. Please just send it.

AVVA JANUARY

Okay. It is sent. Is there anything else I can do for you?

MAYAKA

No. Thank you, January.

AVVA January fades away and Mayaka is left sitting alone by the tree.

WIDE SHOT of Mayaka crossing a park bridge.

EXT. CENTRAL PARK \- Bow Bridge \- EARLY MORNING

It's been raining all morning, so it's cloudy and gloomy, just like Mayaka's mood. He is crossing the bridge slowly, staring at the ground. His flat feet/hands are tucked deeply into his pockets.

Mayaka stops at the top of the bridge and looks out over the lake. There are a few people in the park, but it's mostly empty and very quiet. He watches a jogger running along a path. He notices a young woman walking her little white dog, a couple riding bikes, the ducks swimming, etc.

Mayaka doesn't notice the four members of the SAM approaching him on the bridge, two on either side. They are wearing dark blue sweatshirts with hoods pulled up and a red balaclava covering their face below the eyes.

Two of the men stab him with TASERS in both sides of his neck. He screams in pain as he hears the zapping sound and smells his own 
40

burning flesh. He slumps, completely dazed and out of strength, onto the railing on the side of the bridge, where he teeters precariously. One of the men pulls back one of his big, floppy ears and leans in close.

SAM MEMBER

(whispering to Mayaka)

You don't belong here. This is our city, and we don't want you here. Go back to Africa, where you came from.

The four men, working together, grab Mayaka's legs and, in one quick movement, tip him over the edge of the bridge. He falls down into the water of the lake below, making a large splash. The cold water snaps him back into reality. He comes to his senses as he begins to sink.

Mayaka swims upward, trunk raised until it breaks the surface of the water. He takes in a deep breath. Remaining underwater and using his trunk as a snorkel, he works his way to the shore. He walks out of the water onto the grassy shore and collapses, breathing heavily.

An older couple passing by is watching in astonishment, wondering what to do. They scurry on, trying to avoid the situation.

Mayaka sits up, shakes the water off, and catches his breath. His hat is floating about 6 feet from the shore. He stands and wades out into the lake, reaching for his hat with his trunk. His feet slip just as he grabs the hat, and he goes down again with a splash.

CLOSEUP of the wet hat as it is wrung out by Mayaka's trunk. PULL BACK to see Mayaka slap the soaked hat back on his head. Water runs down his face and into his eyes. He stands, drenched and shivering with the cold.

Mayaka reaches up to the back of his neck and feels the taser burn marks. He winches as he touches them. He pulls his SATellite phone out of his pocket and is relieved to see that it is still working.

FLASH BACK

AERIAL SHOT of African safari. Occasional groves of trees. Mountains in the far distance. Flocks of birds fly by. The Buzzing sounds of insects can be heard. It looks hot and dry. TILT DOWN to a small house sitting in the middle of nowhere on a plantation of about 5 acres. 
41

INT. DONAKA'S HOUSE \- EVENING

CLOSE UP of Donaka handing a fancy-looking smartphone to Mayaka. It looks very expensive and modern. Mayaka's trunk takes it slowly, as if he is afraid he will damage the device.

DONAKA

As far as supplies, I can only give you so much. This is the highest quality satellite phone on the market. You can use it literally anywhere in the world. It's a requirement to have one when you live miles from civilization. This phone will be your access to the world. For the next couple days, I will be showing you what you can do with this phone and how to use it.

MAYAKA takes it and looks at it carefully with big eyes, as if it's the coolest thing he's ever seen. He messes with the touch screen.

DONAKA (CONT'D)

I've also purchased the best service plan and warranty available for it. I will cover the monthly bill for you. Take care of it, don't break it, and don't lose it. It's fully waterproof, and it has the strongest shock-resistant protective case I could find. It can take a heck of a beating, but if this phone is ever damaged, lost, stolen or ruined in any way, it is completely covered by warranty.

Donaka pulls a card out of his pocket and shows it to Mayaka.

DONAKA (CONT'D)

If you ever lose this phone, call this number and give them my name and this reference number. They will send a new phone, overnight, to any address you provide and will deactivate the damaged or lost phone so that nobody can use it. But keep in mind, it costs me $300 every time you get a new one.
42

All its contents, settings, photos, videos, documents and contacts are always backed up to a server cloud, so it can be applied to any new phone without losing any information. I've put a lot of books on the phone that I feel are very important. Have them all read before you reach America, okay? This phone will be your most valuable tool.

(Shaking card)

Memorize this number in case you lose this card. Understand?

Mayaka looks from the phone to Donaka and nods in understanding.

DONAKA (CONT'D)

You will use this phone every single day, not to mention you can call, text, or e-mail me at any time.

Mayaka gives a thankful smile and wraps his trunk around Danaka's neck, pulling him close. Their foreheads touch and they lock eyes. Mayaka takes his friend into an embrace.

EXT. CITY PARK \- EARLY MORNING

CLOSEUP on phone as it powers to life. Mayaka wipes the mud and water off the screen. He sighs with relief and tucks it into the wet pocket of his coat.

He works his way to the park's path, sloshing and leaving a wet trail behind him.

EXT. DEPARTMENT STORE \- LATE MORNING

WIDE SHOT OF DEPARTMENT STORE. People are coming and going through the sliding glass doors at the front of the department store. There is trash and litter everywhere.

The store is slightly run down and could use some repairs. Customers with carts full of products are walking to their cars.

A couple rough-looking teenage kids are smoking, looking over their shoulders and cautiously trying to look discrete. An old woman walks 
43

down the street slowly. A mother with a cart full of crying and screaming kids passes. Cars come and go in the parking lot. Mayaka walks toward the front doors.

INT. DEPARTMENT STORE \- LATE MORNING

Mayaka enters a department store and walks to the back, where there is a photo center. CALVIN (23) is working behind the desk and notices Mayaka.

CALVIN

I know why you're here, man, and my boss says he can't help you.

MAYAKA

What? Come on, Calvin. I'm out of options here.

CALVIN

I'm sorry, man. We have been slow. Everyone is going digital now. Nobody wants to develop prints anymore. They just throw them all on a thumb drive. If they want prints, they order them online. In a few months, even I may be out of a job. There is talk of shutting this booth down. I'll be out on the street like you.

MAYAKA

Yeah, right.

CALVIN

You may have more opportunities than me. Employers pay Manimals under the table with no taxes. Your kind are taking all of our jobs!

MAYAKA

Yeah, that's why we are so liked here, right? Come on, man, there must be something you can do.
44

CALVIN

I would if I could, man. Really. Besides, you don't wanna work here. It's slow, boring, the pay sucks, and the customers are moody. The only advantage is you get to see some pretty interesting photos. In fact, check this out!

Calvin flips through some photos and throws some on the counter of 4 men on a big, fancy sailboat holding up a giant sailfish. It takes all four of them to hold it up.

CALVIN

Look at the size of that fish! Wouldn't it be awesome to sail out to sea and catch a fish like that?

Mayaka takes a good look at the photo and is actually surprised at the size of the fish.

MAYAKA

Wow! That is a big fish. Look at these guys! As happy as they are. That would be the life, wouldn't it?

(Staring at the photo.)

Look Calvin, I gotta go. If I don't find a job by the end of today, I'm gonna be sleeping on the streets again.

(Tosses photos back on the counter.)

CALVIN

I'm sorry, man. I'd have you come stay at my place, but it's a tiny condo! I don't even have room for myself.

MAYAKA

I know. Thanks. If you hear anything, let me know.
45

CALVIN

Hey, Mayaka. If you don't find something by tomorrow, come let me know. We'll find room for you at my place. Somewhere. Okay?

MAYAKA

Okay. Thanks.

(Turns to leave.)

EXT. ALLEYWAY \- EVENING

Mayaka settles down in an alley while it's raining. He has a cardboard box over his head and is soaking wet, cold, depressed and miserable. His SATELLITE PHONE rings. It's the Jackal.

INT. STUDIO APARTMENT \- NIGHT

HASHIM, a casual-looking, slightly mangy Jackal, is chilling on a beanbag in a 500 square foot studio apartment. The bed is simply a mattress in the corner of the room. There is a single pillow and blanket. The unmade bed and bean bag are the only pieces of furniture. There is a large window on the far wall, adjacent to the front door. There is also a small kitchen and bathroom in the back. But to an animal that has been living in the wild, it is heaven. Hashim is wearing a PURPLE New York Crows basketball jersey and shorts and tennis shoes. He has a bag of potato chips on his lap, and he's munching away at them. He's chatting to Mayaka on his phone like a teenager.

HASHIM

Yo, buddy! How are things going?

I haven't seen you all week.

Find a job and a place to live yet?

FLASH BACK

Photos are shown rapidly, 2 per second for 5 seconds, each with a camera shutter click sound, revealing Hashim's backstory, from the beginning of the MES and leading up to the present situation, giving us a glimpse of the story that will later be explained, without revealing any spoilers.
46

EXT. ALLEYWAY \- EVENING

MAYAKA

Oh, things are going fine. No job yet, but I found a swell place to stay for a little while. They treat me like royalty, I'm telling you! I have the possibility of working at a really nice hotel. It looks promising, but I haven't heard back yet.

INTER CUT PHONE CONVERSATION

HASHIM

Oh yeah? I just found this nice little studio apartment on the east side. It's small, but hey, it's just me. Should be great! My own little pad! This city has all kinds of opportunities, huh? And I got a job driving a little pickup truck for a landscaping company. Got a driver's permit today. Can you believe

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they let Manimals drive? It's cool! I start my job tomorrow. I'm going to be planting trees at great, big, rich people's houses!

MAYAKA

Yeah! It's great here.

HASHIM

Listen, buddy, if you don't find a place soon, you can crash here with me, okay?

MAYAKA

Thanks, pal, but I'll be okay. It's just deciding on which one I want to settle with, that's all. So many options, ya know?

HASHIM

I hear ya. Look, Mayaka, I wanna thank you for letting me tag along and get to know you. I owe you, big time. You are my best friend, you know. And if I can help you out, just let me know.

MAYAKA

I appreciate that. And I will.

But I'll be fine.

HASHIM

Okay! You have a good night's sleep and let's hook up sometime tomorrow. I'll take you for a ride in my little truck. You'll love it. And you will fit perfectly in the back.

MAYAKA

Yeah. Call me tomorrow. Let's get together.
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HASHIM

All right. I'm out, yo. Don't be a stranger. You're the only one I really know in New York. Let's check out this city together sometime.

MAYAKA

You got it. Have a good night.

Sadly, Mayaka hangs up the SATELLITE PHONE and hangs his head. He rolls over and tries to sleep as he shivers from the cold. Soon, his tears blend in with the rain hitting his face. He closes his eyes.

EXT. NEW YORK CITY FREEWAY \- NIGHT

HIGH SHOT looking down at the city and freeway with an overpass where countless cars are driving in all directions. PAN RIGHT and SLOW ZOOM IN to the entrance of a tunnel with a road that leads under the freeway.

INT. FREEWAY TUNNEL \- NIGHT

Detective MARSHALL (40) parks his red Dodge Charger on the side of the highway. He exits his car and walks up to the abandoned cast iron grill that was left behind by the kidnappers. He looks around and kneels to look at the ground. He notices black flaky residue.

He leans over and picks up a couple flakes. He pulls a tiny plastic bag out of his pocket and puts the residue into it. Then he pulls out a DIGITAL CAMERA and starts to take photos of the grill, other flakes on the ground, the tire tracks, etc.

INT. DINER \- NIGHT

A lion sits in a booth at a restaurant when the waitress approaches him.

WAITRESS

What will it be today?

LION

Give me a nice, big, juicy steak. Zebra, if you've got it.
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The waitress jots it down and turns to walk away. The lion turns to look at the zebra sitting in the booth across from him.

LION

What?

(Shrugging his shoulders.)

Mind your business and eat your salad.

The lion turns to look at the diner's TV and catch the latest news.

REPORTER

What to do with the MES? That is the question.

CITIZEN 1

Hey man, if they want to live among us, that's fine. They are more than mere animals, that is clear. I have a couple friends that are Manimals. They are okay with me.

CITIZEN 2

I think it could open a whole new door of possibilities. I'm excited to see what changes they bring to the world. To us, the government, laws, taxes, rules, etc. Maybe everyone will lighten up a little bit and realize we all have the same problems.

CITIZEN 3

(Censored)

As long as they don't give me any <bleeeep> about occasionally eating a cheeseburger or a delicious steak, they can live among us. No problem. I just get enough <bleeeeeep> from the <bleeep bleeep> vegetarians and environmentalists.

CITIZEN 4

We should slaughter them all and feed the hungry with 'em! Brains or no, they are still animals, and you can get a lot 
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of meat off the rump of some of these perversions of nature! Should put a whole new twist on hunting season! This morning, I sat next to a mangy gazelle while riding the bus. It just ain't right, man.

INT. CROWDED SUBWAY \- LATE MORNING

Mayaka, with full-grown tusks, is on the crowded subway. People are looking at him awkwardly. He turns around to grab onto something as he starts to loose his balance, and his right tusk jabs a rough-looking gentleman near his eye. The man scowls and shakes his clenched fist at the elephant. Then, seeing that it was clearly an accident, the big guy brushes it off.

Mayaka turns his head and his tusk knocks the hat off of an older man. Politely, Mayaka bends over to pick up the hat. His tusk catches the skirt of an attractive young woman. When he goes to stand, his tusk hikes up the woman's skirt, revealing her underwear. The woman screams and slaps Mayaka. The train goes silent and everyone's eyes grow big, waiting to see what is going to happen next. The elephant awkwardly hands the hat to the old man.

OLD MAN

I think you had better do something with those tusks before somebody gets hurt.

INT. SUBWAY STOP \- LATE MORNING

The train stops and people shuffle off. The woman turns her back to Mayaka, sticks her nose in the air, and exits the train.

INT. SECURITY CAMERA ROOM - NIGHT

Half a dozen cameras show different parts of the freeway tunnel. MANISH (40s), a security guard, watches them closely. There is a knock at the door. Manish gets up and opens it. MARSHALL stands in the doorway, flashing his police badge. Manish stands aside and motions for Officer Marshall and OFFICER DAKOTA (35, female) to enter. They inspect the many monitors.
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52

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MARSHALL

Do you have any video feed of traffic going through section 7A of the tunnel?

MANISH

No, sir. These guys knew what they were doing. There are only two blind spots in the entire tunnel, and this is one of them.

(pointing to the screen)

I've tried to get them to place cameras there, but it's only about 70 yards and the city doesn't feel that it's worth the money.

MARSHALL

So somehow, these guys must have known exactly where these spots were located. Who else works in this office?

MANISH

Just me. Oh, there is one other thing. I've been reviewing the tunnel footage since you indicated you wanted to come by and look at it.

DAKOTA

What did you find?

MANISH

You said the suspects drove off in a black SUV. Here, in this footage, we see a vehicle that matches the description. It even has the iron plate on the front end. It enters one of these blind spots in section 7A of the tunnel and disappears. We don't see it at any time after that.

DAKOTA

Yes?
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MANISH

But here, we see a yellow SUV exiting section 7A of the tunnel exactly 48 seconds after the black one disappeared.

The security guard points at the yellow SUV, then loops the video so that it shows the yellow SUV leaving the tunnel over and over again.

MANISH (CONT'D)

We have absolutely no footage of this yellow SUV entering the tunnel.

Marshall and Dakota look at each other, nodding, and say in unison:

DAKOTA/MARSHALL

The black residue.

Marshall looks back at the looping footage.

MARSHALL

Officer Dakota, do you think 48 seconds is enough time to wash off the black color and drop the cast iron plate?

DAKOTA

Plenty.

MARSHALL

Freeze that.

Manish freezes a frame that clearly shows the license plate number of the yellow SUV. CAMERA CLOSEUP of the plate.

MARSHALL

Officer Dakota, will you trace that plate number? I want to know who that vehicle belongs to.

DAKOTA

On it.

Dakota pulls out her smart phone and speed dials a number. Marshall continues to stare at the freeze frame of the vehicle, his thoughts racing.
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TIME LAPSE of the city going to sleep at night, which indicates the passing of time to the next day.

EXT. A RUNDOWN NEIGHBORHOOD UNDER THE OVERPASS \- MORNING

Mayaka walks through a neighborhood. It is filthy and there is trash everywhere in the streets. He watches a delivery driver unload some produce from the back of his truck onto a hand truck and wheel it into a market store.

Mayaka walks up to the truck, looks around to see if anyone is watching, grabs a crate of tomatoEs, and ducks down an alleyway. He hides behind a dumpster and stares at the red tomatoes as if they are diamonds.

He tosses a tomato in his mouth and chomps down on it. Juice runs town his chin and his eyes roll back as he savors the taste. It's as if it's the best thing he's ever eaten. He tosses 4 or 5 more tomatoes into his mouth and eats them as fast as he can. He stops and looks at the crate of tomatoes for a long moment, realizing what he has done.

Mayaka watches for the delivery driver to take another load into the market, then he creeps up and places the crate of tomatoes into the back of the truck where he originally found it. He slips down the street, unnoticed.

The deliver driver returns, finding the crate with several tomatoes missing. He looks around, confused, trying to figure out how they disappeared.

A fancy sports car pulls up beside Mayaka as he walks. The window of the car rolls down to reveal two rich kids. One passenger sticks a paint ball gun out of the window, aims it right at Mayaka, and starts shooting.

Mayaka holds up his arms to shield his face from the flying paint balls. They splat when they hit him, leaving ooky yellow paint splotches all over his coat. He winces slightly in pain.

KID

Looks like we are hunting elephant today!
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The kids break out laughing, and the car speeds off. The tires kick dirt and mud up into Mayaka's face. He stares at the car. The license plate on the car reads 2R1CH4U. Mayaka shakes off the mud as best he can and stares again at the pavement. His shoulders slump and he sighs aloud. He looks at pedestrians that clearly saw the whole incident and didn't even react. They just move on their way as if nothing happened at all.

A Chinese man, JIANZHONG (65), approaches Mayaka, who quickly and defensively turns toward the man, holding up his flat hands and making a fist with his trunk.

JIANZHONG

(Broken English.)

Hey! Whoa! No trouble. No trouble.

MAYAKA

What do you want, old man?

JIANZHONG

How much for tusks?

MAYAKA

Excuse me?

JIANZHONG

Tusks.

(Takes money out of his pocket.)

Ivory worth a lot, you know. Is

illegal, but if elephant actually sell to me, is okay?

MAYAKA

You want my tusks?

JIANZHONG

(nods)

I give you $100 for each. Yes?

Mayaka looks at his tusks, thinking hard. He rubs one gently with his trunk. Mayaka has never, ever cut his tusks before. They have been growing since he was born. But he is hungry and completely out of money. He doesn't need his tusks now; they only get in the way and cause trouble.
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FLASHBACK

Mayaka remembers the incidents on the subway.

INT. CROWDED SUBWAY \- LATE MORNING

OLD MAN

I think you had better do something with those tusks before somebody gets hurt.

EXT. A RUNDOWN NEIGHBORHOOD UNDER THE OVERPASS \- MORNING

MAYAKA

$150 for each one.

JIANZHONG

(nodding)

Yes! Yes! I have shop with saw. Come. Follow.

Jianzhong turns and begins walking away, motioning for Mayaka to follow him.

EXT. MACHINE SHOP BEHIND SMALL HOUSE

CLOSEUP of Jianzhong pressing Mayaka's face down on a table saw.

The blade starts spinning.

SFX-saw sound

JIANZHONG

(Giggles.)

Now, no move! I no want to take off something else.

Mayaka squeezes his eyes tight as the saw starts cutting into his right tusk, inches away from his face.

EXT. FRONT OF HOUSE \- MORNING

Jianzhong pays Mayaka $300. Mayaka turns and walks off. He doesn't make it very far when he notices a couple rough, dark men watching from a window of the house across the street. He tucks the bills into his coat pocket. 
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INT. DR. HALBERT'S THERAPY ROOM \- DAY

MAYAKA

It was a very sad moment for me. Tusks, for us elephants, are a tribal sign. The size and perfect shape of the tusks were something to be proud of, to show off and exhibit. It showed the maturity of elephants to others. They had grown ever since my birth. I was heartbroken when I gave them up. The depression and discouragement began to weigh upon me.

DR. HALBERT

What did you do with the money?

MAYAKA

The money didn't come in quite as useful as I had hoped.

EXT. A RUNDOWN NEIGHBORHOOD UNDER THE OVERPASS

Mayaka turns to cross the tracks underneath the freeway overpass. A tough-looking street chick, Valencia (30), steps out from behind a car with a baseball bat in her hand. She has a greasy mohawk and is wearing a dirty white tank top, faded and dirty jeans with torn holes in them, and big combat boots. Her arms are covered with tattoos. She is also wearing a belt that looks as if it's made out of bullets.

VALENCIA

Hey, big fella. You lost?

Mayaka turns to walk to the left, away from the woman, when another guy, Dexter (27, jumps out. This one is African-American and is wearing leather pants, A LEATHER vest (no shirt) and gloves and is holding a motorcycle chain. He's got a big, round Afro with a red pick comb sticking out of it.

DEXTER

What's your hurry? Come on, stay a little while.
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Mayaka turns to go back the way he came when he sees one more thug, Kace (19), coming up to him carrying a tire iron. Mayaka's attention darts from one creep to the other. Fear begins to grow inside him as the creeps close in around him.

VALENCIA

We saw Jianzhong give you some money. Since he is in debt to us, that money is ours.

Mayaka tries to bolt, but every direction he turns, one of the creeps jump in front of him.

KACE

You can either give up the money and we let you go, or we can beat you unconscious and take it.

Mayaka kicks back with one hind leg, connecting with a chest and sending Kace flying up against a parked car. He swings his trunk, striking a jaw, and knocks Dexter away. He is hit from behind by the baseball bat and everything goes dark.

Mayaka wakes up, the hot sun shining in his eyes. He is lying in a large mud puddle. His eye is badly swollen and black. His head has an open gash about 2 inches long. Blood is running into his eye and down his trunk. His arm feels like it has been broken. Mayaka sits up and groans. He sees his SATELLITE PHONE in the mud about 4 feet from him. He checks his pockets, and the money the Chinese man gave him is gone. He checks the hidden pocket on the inside of his coat and finds only one $5 bill. Suddenly, he blinks his eyes rapidly. He touches below his eye with one of his trunk fingers.

MAYAKA

Oh no! January!

Mayaka begins searching the ground for something small. He spreads his flat hands in wide circles across the ground, hoping to feel something.

AVVA JANUARY

How may I help you?

MAYAKA

I've lost the contact lens! I can hear you, but I can't see you.
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AVVA JANUARY

AVVA contact lenses have replacements available. Would you like me to place an order for a replacement?

MAYAKA

No! No! NO!

AVVA JANUARY

Okay. Please let me know if I can help you with anything else.

Mayaka stands up and drops his head, thinking for a minute and regaining his composure. He picks up his now wet and muddy hat, shakes the mud off it as best he can, and slaps it onto his head. Muddy water from the hat runs down his forehead. He takes a couple steps and picks up his phone and brushes it off. The screen is badly cracked, but the phone appears to be working. Mayaka half walks, half stumbles to the bar across the street.

INT. SHERIE'S BAR \- DAY

Mayaka sits at a bar with very tired and sickly eyes. A zebra walks in.

BARTENDER

Hey, zebra, why the long face?

The bartender busts out laughing. Noticing that nobody else is laughing, he shrugs it off and goes back to work. He turns to Mayaka.

BARTENDER (CONT'D)

You got any money, buddy?

MAYAKA

(Slaps the $5 bill on the counter.)

Just give me a glass of milk, will you?

BARTENDER

This look like a dairy farm to you? Here we serve alcohol. Now what'll you have?
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62

63

MAYAKA

(Sarcastically.)

Surprise me.

The Bartender nods, wipes up the counter in front of Mayaka, takes the $5, and walks off.

MAYAKA

(out loud)

January, please dial the number for LBC Communications.

AVVA JANUARY

Will do. Calling LBC Communications.

A voice is heard on the other end of the line.

VOICE (O.S.)

(quietly from other end of phone line)

Thank you for calling LBC Communications. My name is Nancy. Can I have your full name and reference number please?

MAYAKA

Donaka Bree. 810735925.

VOICE (O.S.)

Thank you, and do you need a replacement satellite phone?

MAYAKA

Yes, please.

VOICE (O.S.)

Okay, no problem. You do understand there will be a $300 service charge for the new phone, correct?

MAYAKA

I do.
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VOICE (O.S.)

And can I please have an address where you would like the replacement phone delivered?

MAYAKA

Ummmm. I, ahh, actually don't have an address right now.

VOICE (O.S.)

I'm sorry, I will need a verified address in order to send you a replacement phone.

MAYAKA

(Sighing)

I'll have to get back to you. January, end call.

The call ends. Mayaka begins rubbing his right temple with the fingers of his trunk. The bartender returns and places a glass on the table and pours some liquor into it. Mayaka listens to a conversation between several thugs going on at a table behind him.

MARCUS

I'm telling you, man, you gotta bet on number 4. I heard it from a reliable source.

HOGAN

You know, every time I listen to you, you ask me to trust you. Then every time I do, I lose money. If I made you pay me back the money I'd lost listening to your nonsense, I'd be rich! Do you hear me? Rich! Your stupid schemes never work out.

MARCUS

This one is different, man. A friend of mine has won 6 times in a row betting on this dog!
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HOGAN

Fine, you win on that stupid mutt and whatever you win, you can give me, and we'll call it even.

Mayaka's eyes grow wide as memories race through his head. The voice. He recognized it in an instant!

FLASHBACK

EXT. NEW YORK CITY COLOSSAL HOTEL \- DAY

Nobody move, and nobody will get hurt! You, old man! On your feet! Now! Make sure no one follows us, or the old man will get his daughter back one piece at a time!

INT. SHERIE'S BAR \- DAY

Mayaka glances subtly over his shoulder at the two men sitting at the table. He notices one in particular.

EXTREME CLOSEUP of Marcus talking. His lips moving.

Mayaka remembers looking at the photo Calvin showed him, of the men holding the big sailfish.

FLASHBACK

INT. DEPARTMENT STORE PHOTO CENTER \- DAY

CALVIN

Look at the size of that fish! Wouldn't it be awesome to sail out to sea and catch a fish like that?

INT. SHERIE'S BAR \- DAY

A news broadcast comes on the television in the bar. Mayaka snaps out of his thoughts and glances up to notice it's about Jessop's daughter.
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REPORTER

Still no information about the disappearance of Jessop's daughter, who was kidnapped yesterday in front of the Colossal Hotel. However, police have found what appears to be a cast iron shield that may have been placed on the front of the SUV that was used in the kidnapping. Police believe the perpetrators put this on the SUV to make it into a makeshift battering ram. It was used to ram into the limousine that Jessop and his daughter approached the hotel in as seen in this surveillance video.

Hotel surveillance video shows the truck smashing into the limousine on the television.

Mayaka turns and glances at the thugs at the table and senses their uneasiness.

MAYAKA (V.O.)

It was him, sitting at the table. The man's voice was the very same one that I'd heard at the hotel when those men took Jessop's daughter.

MARCUS

Let's get out of here.

Marcus drops some cash on the table and the two men leave the diner without noticing Mayaka watching.

MAYAKA

(to himself)

What are the chances?

The Bartender turns around to see Mayaka dashing out of the bar.

EXT. SHERIE'S BAR \- COVERED PARKING \- DAY

Mayaka takes his phone out of his pocket. He dials Calvin's number, who answers.
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INT. DEPARTMENT STORE PHOTO CENTER \- DAY

CALVIN

Ultra Fast Foto, where we have your photos finished in one hour.

EXT. SHERIE'S BAR \- COVERED PARKING \- DAY

MAYAKA

Calvin, this is Mayaka. Hey, those photos you showed me yesterday, of the huge fish. Do you still have them?

INTER CUT PHONE CONVERSATION

CALVIN

Yeah. They are supposed to be picked up sometime today. Why?

MAYAKA

Good. If anyone comes to pick them up, you call me! You got it?

CALVIN

What? Why?

MAYAKA

I'll explain later. I'm on my way over there.

CALVIN

What are you up to Mayaka?

MAYAKA

Just do it, okay? This is important. I'll talk to you when I get there.

(Hangs up the phone)

Mayaka calls Hashim.

EXT. DOWNTOWN IN HASHIM'S TRUCK – DAY

Hashim is driving through the city in his little landscape pickup truck when the phone rings. He answers it.
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INTER CUT PHONE CONVERSATION

HASHIM

What up, yo! How is your morning going?

EXT. SHERIE'S BAR \- COVERED PARKING \- DAY

MAYAKA

Hashim! I need your help! I'll explain later. Where are you?

HASHIM

It's my very first day of work. I'm on my way to pick up some sod. Why? What's up?

MAYAKA

I need you to meet me on 34th St. and 7th Ave. The department store photo center. Right now! This is important!

HASHIM

Whoa! You sound seriously stressed, yo.

MAYAKA

(Yelling)

When can you get there?

HASHIM

I can't just up and leave! I got a job to do!

MAYAKA

Be there in 10 minutes! Do you understand?

HASHIM

I don't think I could even make it there in 10 minutes. What about my job man? I can't, I have to stop by and ...

MAYAKA

10 minutes! Remember, you owe me.

(Hangs up the phone.)
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Mayaka runs down the street. He crosses in front of traffic as they honk at him. He cuts through a parking lot and then through a small park. He jumps over curbs and dodges pedestrians.

INT. DEPARMENT STORE PHOTO CENTER \- DAY

Mayaka runs into the store and back to the photo hut, where Calvin is working on a new set of photo prints.

MAYAKA

(Panting and breathing heavily)

Where are they, Calvin?

Calvin stands, appearing from behind the counter.

CALVIN

Whoa, my friend. You sounded half scared out of your mind on the phone. What's up?

MAYAKA

The photos, has anyone picked them up?

CALVIN

Whoa, man, what happened to your tusks?

MAYAKA

Never mind that! I'll explain later.

CALVIN

Why is your eye all swollen? Were you in a fight?

MAYAKA

Has anyone picked up the photos that you showed me earlier?

CALVIN

No. They will probably be picked up any minute. Calm down, friend. What's going on?

MAYAKA

Let me see them again. Please.
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CALVIN

(reaching under the counter)

Okay, yeah, sure. Just relax, man. You're drawing attention.

Calvin pulls out a photo envelope, takes out the photos, and drops them on the counter, Mayaka swoops them up and looks closely at them.

MAYAKA

(whispering)

Unbelievable. It's him. It's him!

CALVIN

(grabbing photos.)

Okay, enough. Give me those. You better tell me what's going on or I'm gonna have you thrown out of here. I'm working here, man!

MAYAKA

Yesterday, I approached the Colossal hotel and tried to talk to the owner, Clint Jessop, when some thugs drove up and kidnapped his daughter. Right in front of me!

CALVIN

The girl on the news last night?

MAYAKA

Yes! And this guy ...

(pointing to the photo)

... it's him. This is probably all of them!

CALVIN

How do you know?

MAYAKA

I saw this guy at the bar about 20 minutes ago. This exact guy.
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CALVIN

So you saw this guy at the bar.What makes you think he and his friends are the ones who took Jessop's daughter? Those guys were wearing black ski masks.

MAYAKA

I heard them talking.

CALVIN

About Jessop's daughter?

MAYAKA

No, not exactly. They were talking about betting on some race.

People in the store begin looking at the commotion and wondering what's going on. Calvin grabs Mayaka's trunk, pulling it toward him to get Mayaka's attention.

CALVIN

(whispering)

What makes you think that this guy is the guy who took Jessop's daughter?

MAYAKA

I recognized his voice. I was there when they took her. It's the same voice as the guy in the bar.

CALVIN

(Shaking his head)

Are you serious?

MAYAKA

Look, I can't explain right now. Do you think you could make some copies of those photos really quick? I have to wait until this guy comes to get his photos. He may lead me right to Jessop's daughter.
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CALVIN

These pictures may not even belong to this guy. There are three guys in the photo.

MAYAKA

Maybe all three took part in the kidnapping?

CALVIN

What if a friend or the wife of one of these guys picks up these photos?

MAYAKA

Look, Calvin, it's all I have to go on, okay? I'm sure that is the guy who took Jessop's daughter. I'm sure of it. Now I need you to help me. This little girl's life may depend on it.

CALVIN

(Hesitating)

Okay, man. I'll make some copies. But you are gonna owe me. Big time!

MAYAKA

Thank you.

Mayaka pulls out his phone and dials Hashim's number. Hashim answers.

MAYAKA

Where are you?

EXT. SOMEWHERE IN DOWNTOWN TRAFFIC \- DAY

INTER CUT PHONE CONVERSATION

HASHIM

It's my first day on the job! I'm heading to pick up some sod. I should be there in a few minutes. Why? What's up?
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MAYAKA

You're picking up sod? Forget the sod. I need you to come get me! I just called you.

HASHIM

You did?

MAYAKA

Yes!

HASHIM

I don't remember that.

MAYAKA

How could you not remember that? It was just a few minutes ago.

HASHIM

Okay. Ummm. Weird. Where do you need me to pick you up?

MAYAKA

(rubbing forehead with trunk fingers)

Hashim, your mind is blanking out on you again. We'll talk about that later. Please pick me up at 34th St. and 7th Ave.

HASHIM

I have a job to do.

MAYAKA

This is an emergency.

HASHIM

Okay. Sure, bro. Traffic is crazy! It may take awhile. Will you tell me what this is all about, yo?

MAYAKA

Later. Just get here as fast as you can.

(Hangs up phone)
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HASHIM

If he hangs up on me one more time, I swear I'm gonna...

Hashim tosses the phone on the passenger seat. Punching the passenger seat with his fist, he flips a U-turn and speeds off in the direction he just came from, pedestrians jumping out of the way and cursing him as he does so.

EXT. DEPARTMENT STORE \- NIGHT

Mayaka waits impatiently at the entrance of the store. He is filing down his tusk knobs. Hashim pulls up in his noisy landscaping truck. The vehicle rocks as Mayaka climbs into the back. He leans over to the driver's side window.

MAYAKA

Let's park over there, in the shadows, and I'll explain what's going on.

Hashim drives his truck to a parking space in the shadows, turning off the engine and the lights. The day sun fades into the darkness of night as the two wait.

Mayaka sits in the back of Hashim's pickup truck. Hashim is in the driver's seat, looking at the reprints of the photos.

HASHIM

Never forgetting a voice, that could come in handy. You could work for the FBI. Or the CIA. You could track terrorists. Yeah. Do they have name for it?

(a beat)

Is it called Halcion?

MAYAKA

That's a drug that helps someone sleep.

HASHIM

Oh, well then maybe it's hypogeusia?
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MAYAKA

Wrong again. That's a condition where someone is unable to taste food.

HASHIM

Okay, fine, I don't know what it's called. But I'm sure it has a name.

(a beat)

How do you know all this stuff, anyway?

MAYAKA

Books. Reading lots of books. What about you? Where did you learn a word like hypogeusia? That's quite a mouthful.

HASHIM

Online dictionary. I'm trying to learn new words, too, but I get their meanings mixed up.

(a beat)

Are you sure this guy's voice is the kidnapper's?

MAYAKA

I'm positive. Do we have to go through this again?

HASHIM

Okay, okay. Sheeesh. In the meantime, you want to tell me what happened to your tusks?

MAYAKA

They were getting in the way, so I got rid of them.

HASHIM

You got rid of them?

MAYAKA

Yeah. I had them cut off.
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HASHIM

And what are these red burn marks on your neck, man? And your swollen eye? What happened to you?

MAYAKA

Hashim, I'll tell you all about it later. For now, please just focus.

HASHIM

Focus on what? It's been 2 hours. They may not show up for days.

MAYAKA

Look, Hashim. I'm making this up as I go along. All I know is that guy took that little girl. I have to try. And I can't do this without you.

HASHIM

Okay, man. I'll play along. If you're right, we will both be rich, that's for sure. If not, I'm out of a job.

MAYAKA

It's not about the money.

(a beat)

What's my phone number?

HASHIM

What?

MAYAKA

(speaking slowly)

What is my phone number?

HASHIM

212-099-3599.

MAYAKA

Again.
77

HASHIM

212-099-3599.

MAYAKA

Call it.

HASHIM

Why bro? What's this all about? I remember your phone number. Sheesh.

MAYAKA

Your mind blanked out again today. That hasn't happened for a while.

HASHIM

I don't remember it blanking out.

MAYAKA

This is why I couldn't find you when we separated in Dakar. You didn't have a phone, and you couldn't remember my phone number.

(Holding up both trunk fingers)

For 2 months I worried about you! Wondered if I'd ever see you again.

FLASH BACK:

INT. GRAND CENTRAL STATION MAIN CONCOURSE \- EVENING

The two Manimals are filled with joy and they hug and jump. They fall over onto the ground. People move out of their way. They end up lying flat on their backs, laughing like they have gone crazy, looking at each other and at the ceiling far above.

EXT. INSIDE HASHIM'S TRUCK \- OUTSIDE STORE \- NIGHT

HASHIM

Sometimes my mind blanks on me. It's a cognition.

MAYAKA

You mean "condition"?
78

HASHIM

Yeah, I mean "condition." It's a condition I have. What can I do about it? I will just have to learn to live with it, that's all.

MAYAKA

I just don't want you to ever forget my number again. What if we get separated again and your mind blanks out?

HASHIM

I don't know. The MES wasn't as kind to me as it was for you. I'm not as smart as you. I don't have a million IQ like you.

MAYAKA

I'm just concerned for you, that's all.

HASHIM

(taking a deep breath)

I know, my friend. I know.

A black muscle sports car pulls up to the store and a guy gets out and walks into the store.

HASHIM

Hey, check it.

Hashim knocks on the back window of the cab to get Mayaka's attention

HASHIM (CONT'D)

I think that may be this guy.

(Points to the photo)

But I'm not sure. Too dark to tell.

INT. DEPARTMENT STORE PHOTO CENTER

HOGAN PASTORA walks up to the counter where Calvin is. He slips a VISA CARD onto the table.
79

HOGAN

(Australian accent)

G'digh mate. I'm here to pick up some photos under the name of Hogan Pastora, please?

CALVIN

Of course.

Calvin picks up the Visa card, ducks for a moment, and then puts an envelope on the table. The guy opens it and starts flipping through the photos. Calvin begins punching up the price on the register.

HOGAN

Crikey! Check out that fish! Isn't that impressive? Caught that off Key Biscayne last weekend. 40 kilos, that thing was.

CALVIN

That's a really impressive fish, for sure.

Calvin swipes the Visa, tears off the receipt, and hands it to Hogan, who looks at Calvin and pauses, watching him closely.

HOGAN

Strewth, mate. Are you feeling okay? You look a little nervous.

CALVIN

Oh, I'm fine. Just not feeling very well. Been a long day.

HOGAN

(Hesitates, then grabs his receipt)

You get home and get some sleep. Okay, kid?

CALVIN

Sure thing.

Hogan turns and heads toward the door. As soon as he's out of sight, Calvin grabs his cellphone and dials.
80

EXT. INSIDE HASHIMS TRUCK \- OUTSIDE STORE

Mayaka's phone rings, and he fumbles to answer it.

MAYAKA

Yeah. What's up?

INT. DEPARTMENT STORE PHOTO CENTER

CALVIN

(speaking softly into phone)

He picked up the photos. Not the guy you thought it would be, but he's one of the guys in the photo, all right.

INTER CUT PHONE CONVERSATION

MAYAKA

Good work. We'll follow him.

CALVIN

Okay, man. Be careful. Tell me what happens.

MAYAKA

Will do. Thanks again.

Mayaka hangs up the phone and thumps Hashim on the shoulder with his fisted trunk. He watches the guy walk to his muscle car, get in, and drive off.

MAYAKA

This is it, buddy. Let's go.

HASHIM

(under his breath)

We're gonna get ourselves shot.

Hashim starts up the engine and starts to follow the muscle car.
81

EXT. CHELSEA PIER \- NIGHT

Muscle car turns and drives down one of the piers. Hashim, seeing there is nowhere else for the muscle car to drive, parks his truck across the street from the pier entrance. Mayaka is huddled down in the back with a tarp over him, his eyes looking out, trying his best to remain unseen.

MAYAKA

Okay. Let's just watch.

The muscle car comes to a stop, and a man gets out of the car. He walks down the pier to a large, fancy sailboat. Another guy comes out of the boat to meet the driver on the pier. They begin arguing about something. They both enter the boat.

MAYAKA

(Whispering)

Is that the boat in the photo?

HASHIM

No, this one is much larger.

They wait for a few moments, and then they see the driver come out of the boat again and walk back to his car. They watch him get in his car and drive off. They both try to stay low as the muscle car passes them and disappears into the night.

MAYAKA

We need to go check out that boat.

HASHIM

What? Yo, Mayaka, let's slow down and think this through. You saw only one guy come back to the car. That means there is at least one more inside the boat. Maybe more!

MAYAKA

Fine, you stay here and watch the truck. I'll go by myself. It may be nothing. It may be something. But I have to find out.
82

Mayaka jumps out of the truck and begins to walk quickly and quietly toward the dock, keeping low. Hashim watches for a moment as Mayaka gets farther away.

HASHIM

For crying out loud!

He climbs out of the truck and, on four legs, runs to catch up with his buddy.

HASHIM

(To Mayaka)

I'm not leaving your side.

MAYAKA

(Waves his trunk, keeping his eyes on the boat at the end of the dock)

Shhhhhh!

INT. DOCKED BOAT

A scruffy, muscular man, sits inside a boat, watching a game on a flat screen TV. He hears someone outside the boat. Mayaka and Hashim are on the dock outside the boat, talking.

EXT. DOCKED BOAT

MAYAKA

I'm telling you, he said he would meet us here. Maybe we should just take the boat without him.

HASHIM

Yeah, right. You don't know how to sail.

MAYAKA

How hard could it be? I mean, these things come with an engine, right? So if we can't control the boat or there is no wind, we just start up the engine.

HASHIM

I think this boat is a little more complicated than that.
83

MAYAKA

Okay, so a few more buttons. But it's got a steering wheel right?

Marcus comes out of the boat to interrupt the conversation between the two.

MARCUS

Ahem! Can I help you two?

HASHIM

Oh, hi there! Are you Curtis? I was under the impression that we were supposed to meet you here. We didn't think you would already be here.

MARCUS

No, I'm not Curtis. Your kind aren't allowed in this area. Didn't you see the sign? You're interrupting my Nicks game!

HASHIM

Nicks? Cool! Who they playing, yo?

MAYAKA

(To Hashim)

Will you give it a rest?

(Back to Marcus)

You're not Curtis? We have rented this boat for the night. What are you doing in it watching a game? We are going to be setting sail here, in that boat, very soon, and would like you to be on your way.

MARCUS

Excuse me? Nobody is renting this boat. You see, I own it. It's mine. Now get out of here!

HASHIM

How rude! We have a recipe ...
84

MAYAKA

(Softly correcting Hashim)

Receipt.

HASHIM

Yes, we have a repeat right here proving we rented this boat. It says doc 13A. Is this 13A?

MARCUS

Yes, this is dock 13A, but this boat is not for rent. Someone screwed up. Now be off with you.

HASHIM

We are not going anywhere, and if you do not get out of our boat, we will be forced to call the authorities and have you arrested.

MARCUS

(irritated)

Listen, this is the last time I'm going to tell you. I own this boat, and it's not for rent. You either get out of here right now, or I'll come up there and beat you the way you animals should be beaten.

HASHIM

I think we'd better call someone.

MAYAKA

You, my friend, will be the one leaving.

(Pulls out his phone and begins dialing)

And we did warn you.

MARCUS

You are not calling anyone!

Marcus climbs up out of the boat and starts to approach. Mayaka turns away as if he is talking on the phone.
85

MARCUS

I am sick of this city getting polluted by mongrel animals that don't belong ...

Mayaka swings around suddenly, hitting the thug right in the jaw with his trunk at full force. Marcus stumbles back into the boat. He falls back, smacking his head on a cabinet. He lies unconscious on the deck of the boat.

HASHIM

(Surprised)

Yo! What are you doing? Are you crazy? What if you are wrong and this is his boat and he's just some guy enjoying his evening?

MAYAKA

It's him! I'm telling you! Look at the photo!

Hashim pulls the photo out of his pocket and glances at it.

HASHIM

Okay, clearly it's the guy in the photo, but you still don't know if this is the guy who nabbed Jessop's daughter!

MAYAKA

IT'S HIM!

Mayaka notices his phone is broken from hitting the guy.

MAYAKA

Awwwwww, man! I busted my phone!

Mayaka shakes and taps his phone, trying to get it to respond or show some sign of working. It does nothing. He tucks it back into his coat pocket and climbs onto the deck of the boat. Hashim reluctantly follows.

HASHIM

You better be right about this, man!
86

INT. DOCKED BOAT \- NIGHT

Mayaka and Hashim open the door to the boat and quietly descend the ladder leading down inside the boat. The game can be heard on the flat screen in the background. Mayaka approaches a CLOSET and motions to Hashim that he is going to look inside. When Mayaka opens the doors and looks in, his eyes grow wide with surprise and then instantly soften with compassion and sadness.

MAYAKA

Hey! It's okay! Don't be afraid.

I'm not going to hurt you. I'm here to help.

A little girl, Sally, is tied up and gagged. She is sitting in the corner of the tiny closet. Bruises on her skin reveal she has been slightly beaten. She moves away in fear at the sight of the large elephant looking down at her. Hashim looks over Mayaka's shoulder.

HASHIM

Oh my! You were right! Look at the poor thing.

MAYAKA

(To Hashim)

Careful, you are scaring her.

Mayaka tries to reach for the gag in her mouth, but she starts to squirm and tries to scream, even though the gag muffles it.

MAYAKA

Okay! Okay ... Okay.

Mayaka reaches into his pocket and pulls out a small packet of peanut butter.

MAYAKA

Are you hungry? Huh? You have to be. Here.

He tears open the package and offers it to the little girl.

MAYAKA (CONT'D)

There, eat some. It's good stuff.
87

The little girl looks at the peanut butter, then back up to the elephant. Mayaka hands the peanut butter packet to Hashim. He slowly uses his trunk to brush at her hair, then slowly takes the gag out of her mouth. She doesn't scream. He reaches down and unties her hands. The girl, after hesitating for a moment, quickly snatches the peanut butter packet and starts sucking on it.

MAYAKA

There, it's okay.

(Strokes her hair and gently touches her cheek)

Do you remember me? I was at the hotel the day those bad men took you. I'm going to take you back to your daddy, okay? Can you come with me?

The girl looks at the elephant for a moment, then jumps up, runs to him, and hugs him, crying. He wraps his trunk around her and holds her tight as she sobs and trembles uncontrollably.

88

HASHIM

We have to go. The other bad men may be on their way back right now.

MAYAKA

There, there, it's okay, you are going to be okay. Let's take you home.

EXT. ALONG THE PIER \- NIGHT

Mayaka holds the little girl in his trunk, close to him, as he runs along the dock, Hashim following close behind. They get to the pickup, jump in, and quickly zoom off.

The little girl sits in the passenger seat next to Hashim, who is driving. She is eating peanut butter pouches as if they are candy.

HASHIM

I sure hope she doesn't have a peanut allergy.

Mayaka grins in agreement.

EXT. NEW YORK CITY COLOSSAL HOTEL \- NIGHT

The hotel has a limousine and several police cars parked in front. Marshall drives up in his Red Dodge Charger and parks behind the other police cars. He quickly exits the car and jogs to the hotel entrance.

INT. NEW YORK CITY COLOSSAL HOTEL \- NIGHT

Marshall enters to see a police officer standing in the lobby. The officer knows who Marshall is.

POLICEMAN

Right this way, sir.

(motions to the large, open double doors to his right)

INT. HOTEL BALLROOM \- NIGHT

Marshall enters the ballroom, where he finds Officer Dakota. He sees Jessop in his office to the left of the ballroom, reading and inspecting a letter with some other police officers.
89

MARSHALL

(quietly to Dakota)

What's the situation?

DAKOTA

A mailed letter from the nappers arrived at the hotel today with instructions on the drop.

MARSHALL

Today? U.S. Postal mailed?

DAKOTA

Yes.

MARSHALL

That means it had to have been mailed ...

DAKOTA

... before the girl was abducted. Correct.

MARSHALL

Was the letter handwritten?

DAKOTA

Of course not. These guys are meticulous. It was printed from a computer.

MARSHALL

We could possibly trace that.

DAKOTA

No time. The drop is in ...

(looking at watch)

... 42 minutes.

MARSHALL

Where? How?
90

EXT. CITY STREET \- NIGHT

DAKOTA (V.O.)

Jessop is supposed to put cash in an aluminum briefcase, then Jessop himself is to drop the case into a manhole on 5th and Lincoln.

CLOSEUP of manhole cover. A hook tool lifts the cover and reveals the darkness below.

WIDE SHOT of Jessop standing over the open hole. The street is blocked off with orange and white traffic cones, barrels and barricades. Construction equipment is parked on the street, and there is a large hole that has been dug so workers can repair a gas line.

Jessop picks up an aluminum brief case that sits on the ground next to him, drops it into the hole, and places the cover back over it.

DAKOTA (V.O.)

I've checked out the location. No traffic can go through that street because it's closed off due to construction. The nappers could be watching us make the drop from any number of buildings within a quarter-mile radius.

FADE to empty street, and Jessop disappears. Dakota drives up in her black, unmarked police car and parks near the curb. She gets out, walks around the construction barricades to the manhole cover, and inspects it carefully. Steam billows from it.

Dakota looks around the street for anything suspicious. She looks up at the large apartment buildings and skyscrapers towering over her. She is deep in thought.

MARSHALL (V.O.)

Let me guess. The nappers can enter the sewer system from any location in the city. Using GPS, they locate the briefcase and exit the sewer from any other location in the city.
91

EXT. CITY PARK \- NIGHT

A man in a ski mask approaches a manhole cover in the center of a playground surrounded by towering condo buildings. He removes the cover, looks around to make sure nobody is watching, and jumps into the sewer below.

INT. SEWER SYSTEM \- NIGHT

Looking at the bright screen on his phone, the masked man sludges through the tunnels in the wet slime of vile excrement that nobody wants to smell or imagine.

DAKOTA (V.O.)

Yes. There's no way to monitor all the sewer street entrances.

EXT. CENTRAL PARK NEAR PULITZER FOUNTAIN \- NIGHT

The manhole cover in the center of a plaza in Central Park near the Pulitzer Fountain is removed and an aluminum briefcase is tossed out of the hole. The masked man climbs out. People walking through the park watch, confused. When they see the man wearing a mask, they scurry off in fear.

INT. HOTEL BALLROOM \- NIGHT

DAKOTA

If we interfere, the girl gets it. The letter clearly states that the girl will not be returned alive until they have the money in hand.

MARSHALL

What's Jessop's plan?

DAKOTA

He has none. He wants to cooperate and get his girl back. That's his only concern.

Without another word, Marshall walks toward Jessop, who is still in his office.
92

INT. MR. JESSOP'S HOTEL OFFICE \- NIGHT

MARSHALL

Mr. Jessop, can we talk? We have to formulate a plan. If you pay them, they will only ask for more. Usually, in a ransom situation, it's never enough.

JESSOP

(Putting a briefcase on his office desk)

I don't care. If there is one thing I have plenty of, it's money.

MARSHALL

You can't give in, and you can't get emotional. I know it's difficult, but that will be your downfall.

Jessop walks over to a wall safe and opens it. It's full of money. Jessop begins removing packs of $10,000, walking back and forth from the safe to his desk and putting the money in the briefcase.

JESSOP

I can get emotional, and I will. I don't need money. I need my daughter. If anything happens to her, I will never forgive myself.

MARSHALL

Let us try to find them first. You can stall them. We have some leads. They may still kill her after you give them the money.

JESSOP

I have to take that chance. If I give them the money in good faith, they may keep their end of the bargain.

MARSHALL

Don't count on it. You are giving them exactly what they want.
93

JESSOP

Enough! It's all I have right now! No, they can't be trusted, but what choice do I have? I will make the drop and your people will be nowhere around, just as he instructed! Do you understand?

MARSHALL

Mr. Jessop, if we don't catch these men, they will just abduct another child and it will continue.

JESSOP

(Grabbing the briefcase)

I don't care, as long as it's not my daughter.

Marshall grabs the briefcase, too, so that Jessop cannot move it.

MARSHALL

So it's okay if it's someone else's daughter, right? Perhaps someone who can't pay the ransom they ask for.

JESSOP

That's right!

(trying to calm down)

This isn't the time, Detective. All I can think about is my daughter's life. I can't reason right now. Please, let's just play by their rules for now. If it doesn't work, we will try it your way.

Jessop jerks the briefcase of money from Marshall and heads for the door.

Marshall tries to follow him when Dakota grabs his arm and leans in close to whisper in his ear.

DAKOTA

We checked the license plate. It was a dead end. The plate was stolen off a vehicle in the Bronx over a week ago.

Marshall shakes his head. 
DAKOTA

I placed a GPS dot inside the suitcase without Mr. Jessop knowing.

MARSHALL

You what?

DAKOTA

It's the size of a quarter. I shoved it in between the bills. It could be days before the nappers find it, if at all. Hopefully we'll have the girl back safely by then.

MARSHALL

What if it is found and something happens to the girl? The department would be responsible. I wish you had discussed this with me first.

DAKOTA

I tried. You were too busy trying to reason with Jessop, so I made a judgement call.

MARSHALL

No. If Jessop knew you put that tracker in there ... We need to get it back before the drop.

EXT. COLOSSAL HOTEL ENTRYWAY \- NIGHT

Marshall is exiting the hotel, trying to catch up to Jessop before he reaches his limousine. Hashim's landscape truck pulls up to the front of the Colossal Hotel, screeching to a stop right behind the black stretch limousine. Mayaka jumps out of the back of the pickup truck as Jessop is opening the door of the limousine to get in. He sees Mayaka and stops.

JESSOP

You. What are you doing back here?
95

MAYAKA

Mr. Jessop, I have information on your daughter.

JESSOP

(Caught off guard and stepping back)

My what? You took her. You were here the day she was taken! Right from this very spot! You were here!

With clenched fists, Jessop runs toward Mayaka. Marshall runs up and grabs Jessop, trying to stop him.

MARSHALL

Wait, sir! Let him speak! If he had taken your daughter, why would he come to see you just before the drop?

Jessop drops the briefcase and shoves Marshall to one side. He runs up to Mayaka, swinging his fist. Mayaka does his best to hold him off.

JESSOP

WHERE IS SHE?!

MAYAKA

Yes, sir! I was here! I saw them take your daughter, so how could I have taken her?

Jessop doesn't listen and continues hitting Mayaka, knocking him to the ground and kicking him.

JESSOP

Tell me where she is!

SALLY

Daddy! Please stop!

Instantly, Jessop stops and turns to see Hashim and his daughter standing by the truck.

SALLY

He's my friend, Daddy! Please stop!
Jessop runs to his daughter and swoops her up and holds her tight, with tears coming to his eyes.

JESSOP

You're all right! Oh, thank goodness! You're all right! My baby, I was so worried.

SALLY

The elephant got me away from the bad men.

Marshall helps Mayaka to his feet.

MARSHALL

Take the elephant into custody.

MAYAKA

What?

The other police officers look at Marshall, confused.

MARSHALL

You heard me. Cuff him! Take him downtown for questioning. The jackal, too.

The police officers shove Mayaka up against the truck.

SALLY

No! Stop!

JESSOP

Marshall, you stop right there!

MARSHALL

Sorry, Mr. Jessop. This is out of your hands.

MAYAKA

(To Marshall)

The southern pier, off of Chelsea, dock #13A. That's where we found her! You will find one of them inside the boat! I don't know if the others have returned. You may be able to apprehend them there.
97

The police stop arresting Mayaka and wait for a response from Marshall, which seems to take forever.

MARSHALL

(Shaking his head)

Take the cuffs off.

One of the officers removes the cuffs from Mayaka, who massages his hurting wrists.

MARSHALL

All right, troops! Let's go check it out. Chelsea dock #13A. Move! Backup will meet us there.

The police officers jump in their cars, flip on their lights and sirens and speed off as Jessop picks up the briefcase and walks to Mayaka.

JESSOP

I am so sorry that I thought you were ... Thank you so much!

Jessop goes to take Mayaka's hand and shake it, but notices he doesn't have a hand. So he grabs his trunk and begins shaking. He embraces the elephant.

JESSOP

But why would you do that for me? Why would you save my daughter after the way I treated you the other day?

MAYAKA

Because it was the right thing to do.

JESSOP

There must be a way I can repay you.

MAYAKA

That isn't necessary. I was just trying to help.

JESSOP

(Steps back)

The ransom. It's all yours. You can have it!
Jessop holds out the aluminum briefcase for Mayaka to take.

MAYAKA

Please, I didn't do it for a reward.

HASHIM

Are you crazy? Take the reward!

Mayaka holds up his trunk, silencing Hashim.

JESSOP

Fine. But let me do something for you, anything, to show my gratitude. Just name it.

Mayaka thinks and scratches his head with the fingers of his trunk.

MAYAKA

I really could use a good job. I'm a Manimal, and I only have my trunk, and I've been having a hard time—

JESSOP

(Interrupting)

You got it! Whatever you would like to do.

MAYAKA

Okay, ummmm ...

Mayaka turns and looks at the stretch limousine. A big grin takes over his face. He turns back to Mr. Jessop.

MAYAKA

Can you teach me to drive that?

Jessop looks at the elephant, then at the car, then back to the elephant. Suddenly he nods and a big grin grows across his tear-soaked face.

JESSOP

Come to dinner tonight at my house. Let's get you two cleaned up and give you something to eat, and we'll talk about it. You can start by riding in it.
99

Mayaka, Sally, Jessop, and Hashim walk toward the limousine.

JESSOP

Unless I'm mistaken, didn't you have tusks the last time I saw you?

The chauffeur opens the door for them and they climb in and casually drive away.

FADE TO BLACK

ROLL CREDITS
Special thanks to my

HARD CORE SUPPORTERS

Pat Nugent

Steven Crow

LaMond Woods

David Dredge

Monica Christensen

Leslie Nowack

Jamie Evora

Wardog Montana
101

103

Mel Brooks Crow has written several screenplays for student film projects. He has graduated from the Academy of Art with a BFA in Computer Arts with an emphasis on 3D Animation and a MFA in Motion Pictures and Television with an emphasis on Film Directing.Using his skills and experience as a freelance graphic designer Mel has broken a Guinness World Record becoming Officially Amazing.As a college level instructor Mel has taught dozens of courses related to Graphic Design, Advertising, Film Study, and Editing. Mel has been involved in several film projects. Not only those that he has written and directed himself as part of his Masters Thesis study.

Mel is an aspiring script writer publishing his first original series. He understands that nobody gets anywhere in life without help. He hopes that with the help of others, getting into the writing and film industry, he can one day be in a position to help others reach their goals and fulfill their dreams.

Mel currently resides in Eagle Mountain, Utah with his wife Malinda, and his four beautiful children. Levi, Miley, Hyrum and Ivy. He continues to write today. For more information visit:http://www.giantwordsearch.comhttp://www.melcrow.comhttp://www.melsmanimals.com

About the writer.

Order Now! http://www.giantwordsearch.com
104

Mel Brooks Crow has written several screenplays for student film projects. He has graduated from the Academy of Art with a BFA in Computer Arts with an emphasis on 3D Animation and a MFA in Motion Pictures and Television with an emphasis on Film Directing.Using his skills and experience as a freelance graphic designer Mel has broken a Guinness World Record becoming Officially Amazing.As a college level instructor Mel has taught dozens of courses related to Graphic Design, Advertising, Film Study, and Editing. Mel has been involved in several film projects. Not only those that he has written and directed himself as part of his Masters Thesis study.

Mel is an aspiring script writer publishing his first original series. He understands that nobody gets anywhere in life without help. He hopes that with the help of others, getting into the writing and film industry, he can one day be in a position to help others reach their goals and fulfill their dreams.

Mel currently resides in Eagle Mountain, Utah with his wife Malinda, and his four beautiful children. Levi, Miley, Hyrum and Ivy. He continues to write today. For more information visit:http://www.giantwordsearch.comhttp://www.melcrow.comhttp://www.melsmanimals.com

About the writer.

Order Now! http://www.giantwordsearch.com

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## Landmarks

  1. Cover

