While looking through old (and egregiously written) Facebook Notes, I stumbled upon an old pilot script I had written during college for an Uncanny X-Men TV Show. With so many rumors floating around of Fox creating an X-Men First Class show it would seem more than fortuitous that I should find this old script now.
I had actually written this script in 2010 before I found out about Fox’s new X-Men First Class movie to be released in 2011. The film took much of what I planned to do with my own TV Show and put it on the big screen, but mine would have stuck closer to the comics and the actual First Class of the X-Men. So, I was disappointed that I would never receive my big break into the TV industry (which I childishly believed this script would earn me) and set the script aside to collect dust.
If I were to rewrite this script for the screen today, I would probably focus more on showing the audience rather than telling them through Charles narration (though I would certainly keep that constant throughout the episode). I am a fan of juxtaposition of characters, and Charles and Magneto have always been a wondrous juxtaposition to me. So, this episode focuses on their relationship and the diversion of their paths.
Read on and see what my Pilot episode for a X-Men TV Show would be. Who knows? Maybe a Fox exec will see this script and offer me a job?
Oh well. Any dream worth having is a dream worth fighting for.
INT. OFFICE WITH LARGE WINDOW-DAY
A lone figure in a wheelchair sits in front of a window. The room is dark in contrast with the harsh light pouring through the large open window. The figure’s identity is hidden by the shadows cast by the harsh light.
As lone figure sits in wheelchair, a voice begins to speak.
For years, mankind’s first reaction to something that they did not understand was simple: blow it up.
Flash to burning warehouse. Later revealed to be same warehouse later in script.
That was humanity’s first reaction when they first encountered us. They treated us as a threat to their survival. The same way a greyback gorilla would treat a threat to his masculinity.
Flashes to gunshot and man falling to the ground. Later revealed to be Charles falling to the ground after being shot.
Little did they know that we mutants are just like them. We are just the next step in evolution. We are neither good nor evil, we are just the same as them.
Flashes to the wheels of the wheelchair pulling into view. Cuts back, the camera is now staring at the back of the figure’s bald head.
We are just the same. If only they would understand this fact. But man is a violent species. They fear what they do not understand.
The man turns, revealing his face, The harsh light casting a harsh light on one side of his face and a dark shadow on the other side.
My name is Charles Xavier. I am a mutant. And I have a dream. A dream of mutants and humans living together in peaceful coexistence. But my dream like all others has a harsh reality. Some accept this reality as their own and accept the fact that mutants and human can never coexist and that mutants must be exterminated. That is why I’m here. I’m here to change the world. My name is Charles Xavier. I am a mutant. And I have a dream.
Bright light consumes the room and envelopes the screen. Cut to opening credits.
INT-Brightly lit egg-shaped room under construction.
A bridge extends from the entrance of the room into the middle of the room. The camera zooms into a figure bent over and working on a console on the end of the platform. CHARLES stands up, wiping sweat from his brow. He looks up and smiles.
(speaking to character off screen)
How is it going?
Camera pans and reveals a figure floating in mid-air, his arms extended as he redirects metal panels to their appropriate spots.
(replying without taking his eyes off his work)
I will be done soon enough, Charles. Don’t worry your pretty, bald head.
Is this task too much for the “Master of Magnetism”?
(continuing his work, but taking time to look over his shoulder at CHARLES)
Be glad I’m here, Charles. I’m sure no one could align these panels in the correct order to work properly with your outrageous blueprints.
ERIC directs a single panel to its destination, clicking it into place.
(smiling, joking with his friend)
I’m sure I could find someone.
His name is Eric Magnus Lensherr. He was my greatest friend and confidant. Was… It seems so long ago now.
INT-Medical ward. Day.
The medical bay is sterile white, empty beds lined the walls, their cloths folded neatly. In the middle of the room is a young woman, GABRIELLE HELLER, her hair is over her face as she sits in a chair, staring at the floor.
The door opens as CHARLES and DOCTOR RAO enter continuing a conversation.
As you can see. She is completely catatonic. Her experiences at the hands of the Nazis left her unable to cope with life. She hasn’t said a word in years.
(looking at the girl and turning back to DOCTOR RAO)
I understand. If you will leave me to my work, I will see what I can do.
DOCTOR RAO nods and exits the room. CHARLES walks over to GABRIELLE and performs basic doctor checkup routines – flashing light in her eyes, checking her pulse, listening to her heartbeat. GABRIELLE shows no sign of emotion or acknowledgement that CHARLES is there.
As CHARLES works, the voice over of CHARLES resumes.
I had just recieved my graduate degree at Oxford University. I was young and eager to help. To help people with my powers.
CHARLES sets his bag of medical supplies aside and pulls up a chair in front of GABRIELLE. He extends his hands out and places them around GABRIELLE’S head, not touching it, but barely inches away from her unruly dark hair.
One of the first places I sought to use my powers was at a clinic for traumatized Holocaust victims.
As CHARLES and GABRIELLE sit alone in the room. ERIC walks into the room, holding freshly folded linens in his arms as well as a copy of T.H. White’s THE ONCE AND FUTURE KING. He stops suddenly at seeing CHARLES and GABRIELLE.
My advanced studies in genetics, biophysics, and psychology made me the opportune person to deal with Gabrielle Heller, a traumatized Jew who had been in a catatonic state since her admission into the clinic. But even with my advanced knowledge in these fields, the clinic staff doubted that I could pull Gabrielle out of her catatonic state…
CHARLES removes his hands from around GABRIELLE’S head as she steadily lifts her head and looks around her. CHARLES smiles at her.
But in their defense, they were not aware of all my talents.
GABRIELLE looks around the room in confusion. CHARLES takes her hand and squeezes it gently.
Ms. Heller? My name is Charles Xavier. You’ve been in a catatonic state for some time. Your miraculous recovery will be a most joyous occasion indeed. How do you feel?
(still a little “spaced out” from her catatonic state and sudden recovery, she speaks in Polish, but subtitles flash across screen)
I am hungry.
CHARLES smiles and shows her to the door. As he gets up he notices ERIC at the door, staring in disbelief at what he has seen. CHARLES walks to the door and calls two nurses down to the room. The nurses assist GABRIELLE into a wheelchair and from the room. Then CHARLES turns back to recover his belongings, ignoring the astounded ERIC.
How did you do that?
(pretending that he has no clue what ERIC is talking about)
Hm? Oh, you mean that? Miraculous isn’t it? I was simply meditating and she came to. It’s a good thing she came to when she did, I’m not sure I could have done anything for her.
CHARLES hastily grabs his belongings and makes towards the door. ERIC stops CHARLES and stares him in the eye.
You are different.
(becoming a little worried now)
You are different. You are not like them. You are like me.
CHARLES looks at ERIC in confusion. ERIC reaches out his hand towards one of the chairs and the chair fold up into a “wad” of metal.
CHARLES looks at the chair and back at ERIC.
The two stare at each other for a moment and the narration resumes.
Eric was a survivor of the Holocaust as well. He had been witness to horrors that no child should bear witness too.
Cut to a shot of CHARLES and ERIC talking in an eatery while narration continues.
Eric and I had many lengthy conversations about mutantkind and its place in the world. Eric’s past caused him to have a little more agressive ideas than mine, but we both agreed on one thing: mutants needed leaders capable of helping them find their place in the world. We soon became fast friends and set out building a future for mutants.
INT-Brightly lit egg-shaped room (Cerebro)
CHARLES and ERIC are still working on Cerebro in their respective locations. As the two are working, the doors to Cerebro open and MOIRA KINROSS walks in the room. She has red hair and a thick Scottish accent.
MOIRA looks around at the almost completed Cerebro and nods.
You boys have been busy.
CHARLES stands up, wiping the grime from his hands. He walks over to MOIRA and kisses her on the cheek.
Isn’t it wonderful? If my designs are correct, this chamber should amplify my psychic abilites to allow me to find any mutant on the planet.
ERIC floats down from where he has been hovering, joining CHARLES and MOIRA.
(imitating CHARLES’ voice)
Yes, thank you, Eric. I don’t know what I would have done without your help.
Thank you, Eric. I don’t know what I would have done wihtout your help.
(nods his thanks)
(turning his attention to MOIRA)
Well, Moira. I know you didn’t come down here to massage our egos. What is it?
I just recieved a call from a family from Anandale-on-Hudson. They say that their child has been acting strangely after her friend died in a car accident.
Weird in what way, Moira?
Ever since seeing her friend die, the girl has had massive headaches.
Strange and unfortunate. But why call us?
Whenever she has these headaches, the entire neighborhood trembles.
(slapping CHARLES on the back)
Sounds like our first recruit. Let’s get to it, Charles.
CHARLES and ERIC walk out of the room.
CUT TO NEXT SCENE.
EXT-Outside of elaborate manor. Day.
CHARLES and ERIC make their way down the steps to a car in the driveway. They enter the car and drive down the driveway to the exit, revealing a plaque engraved on the red stone wall that reads:
1407 Graymalkin Lane, Salem Center Westchester County, New York
Cut to Next scene.
EXT-Peaceful cul-de-sac. Day.
CHARLES and ERIC pull up in car. Children play in the streets and laugh. CHARLES and ERIC exit the car and approach the house, passing a mailbox with the name “GREY” painted on the side of it.
CUT TO NEXT SCENE.
INT-Typical living room. Day.
CHARLES and ERIC sit on a couch opposite a pair of parents. CHARLES is explaining the benefits of his school to the parents.
So, you see. My school will help children like Jean. Children who are unable to control their powers. We will teach them how to control their powers and how to live in a world that is not ready for them yet.
I understand your intention, Dr. Xavier, but you must understand; our main concern is fixing Jean and making sure she is okay. Can you fix her?
(scoffs, his voice cresendoing in anger as he talks)
You think that Jean is broken, Mr. Grey? Did you call us because you found us under the mechanics listing in the yellow pages? Jean is not broken, she is much better. The mutant gene is not a disease, nor is it an inhibition. It is the next step in the human cycle of genetic adaption and evolution. You’re daughter is the future of humanity.
(placing a calming hand on ERIC’s shoulder)
May we see Jean, Mr. Grey?
MR. GREY nods and leads CHARLES and ERIC up a staircase to another room.
cut to next scene.
INT-Young girl’s room. Day.
The door opens as MR. GREY shows CHARLES and ERIC into the room. JEAN sits huddled in a corner, her red hair thrown over her face. She seems to be of a pre-teen age, about 11 or so. MR. GREY approaches JEAN and gently places his hand on her.
Jean, honey? Are you feeling okay today?
(looks up with sullen, red eyes, she has been crying)
I had heard her screams again, daddy. I saw her die and I couldn’t save her. I hear her screaming all the time.
MR. GREY looks up imploringly at CHARLES, who nods reassuringly and approaches Jean.
Jean, honey. This is Dr. Charles Xavier. He’s here to help you. Mommy and daddy will be right outside if you need us, okay?
JEAN nods silently and MR. GREY stands up and leaves the room, closing the door behind him, but leaving enough open for MRS. GREY and he to look in.
CHARLES crouches down and looks JEAN over. He notices cuts across her wrists and looks up at ERIC, who also notices the cuts. CHARLES looks back at JEAN and begins to speak to her.
Hello, Jean. Do you know who I am?
JEAN nods, not looking up at CHARLES.
(talking in a soothing voice to keep JEAN calm)
Who am I, Jean?
Daddy said your name is Dr. Xavier and that you’re here to help me.(JEAN looks up, tears welling up in her eyes.) Can you help me, Dr. Xavier?
Of course, my dear. They say I’m the best at what I do. Now, tell me, you were talking about hearing someone screaming earlier. Who were you talking about?
JEAN looks away, unable to bear even talking about what she has experienced.
Please, Jean. You need to open up to me if you want me to help.
(lifts her head and begins to speak, her voice trembling as she does so)
My friend. Annie. Annie Richardson. She died when we were little. We were playing in front of the house and her ball rolled into the street and she…she….
She what, Jean? What happened?
(tears are falling down her face freely now)
She ran into the street after the ball and….
JEAN grabs her head and grimaces.
Jean? Jean, what is the matter?
I can hear her. I can hear her screams. Oh no! I can hear her screaming!
Suddenly, the house begins to shake. MR and MRS GREY make to enter to enter the room, but ERIC shuts the door with a flick of his wrist. CHARLES (unaware) grabs JEAN’s arm to help her relax, but is suddenly overpowered by immense psychic energies.
CHARLES and JEAN scream in unison, their eyes glowing with the same psychic light.
(crying out to CHARLES)
Room fades into light to next scene.
EXT-Outside of the GREY’S house. Day.
CHARLES suddenly finds himself standing in the middle of the GREY’s front yard. Young child toys are littered on the ground around him and he looks up and sees a YOUNG JEAN and ANNIE throwing a ball back and forth to each other.
YOUNG JEAN throws the ball out of ANNIE’S reach and ANNIE runs past the fence and into the road, unaware of the car speeding towards her.
Off-screen, the car hits ANNIE with a sickening thud and YOUNG JEAN runs to the side of her best friend as she lays in the street, covered in blood and dying.
YOUNG JEAN wraps her arms around ANNIE and begins to cry.
Annie, are you okay? Can you move?
Where’s my momma… I want my momma…?
YOUNG JEAN starts to cry out for her father and mother, but ANNIE’s head rolls to the side. She is dead.
YOUNG JEAN starts to cry and buries her face in ANNIE’S blood stained shirt. Suddenly, JEAN’S eyes light up with the same psychic glow featured in her room and the events replay, but this time JEAN is in ANNIE’S place instead of ANNIE. JEAN is sharing ANNIE’S emotions as she dies.
As this sharing is happening, the man driving the truck runs over to YOUNG JEAN and ANNIE.
Oh my- Is she okay? Where’s your mom and dad, girl?
YOUNG JEAN lifts her head, her face a picture of pure rage. The man is flung off of the ground and through the truck window into the cab.
CHARLES watches as MR. GREY and MRS. GREY rush from the house doors to their child in the street and tear YOUNG JEAN away from ANNIE’S body.
As CHARLES watches, he hears a faint voice calling his name, steadily getting louder.
cut to next scene.
ERIC grabs hold of CHARLES’ shoulder, shaking him and calling out his name. CHARLES comes to, shaking off the strange sensation. The room is shaking violently now. CHARLES looks at JEAN and begins to focus his energy towards her. JEAN continues to scream and convulse.
CHARLES musters one final surge of psychic energy and JEAN suddenly goes silent and collapses on the floor. The room stops shaking and ERIC breathes a sigh of relief.
The door opens and MRS. GREY runs into the room screaming and takes her child in her arms.
What have you done?! What have you done to my baby?
CHARLES slowly stands up, wiping blood from where his psychic powers have caused him to have a nose bleed.
Do not worry, Mrs. Grey. I have mentally induced Jean to fall into a sleep. She is perfectly fine.
We brought you here to help our daughter, not lobotomize her!
(weary from the psychic battle with JEAN attempts to explain his actions)
You must understand, Mrs. Grey. Jean has developed massive psychic abilities, which are obviously too much for her to control. Whenever Annie died, Jean experienced all of the emotion and pain that Annie experienced as she died, but Jean did not die. This has left your daughter in an extremely depressed state and rendered her unable to control her powers. If you will please, I must inhibit these abilities so that nothing like this happens again.
MRS. GREY looks at MR. GREY, who nods. MRS. GREY reluctantly lets go of JEAN and ERIC picks her up and sets her on the bed. CHARLES stand over JEAN and places his hands over her head much like he did with GABRIELLE HELLER.
Scene fades away as CHARLES continues his mental operation.
EXT-The Grey’s front yard. Late day/Evening.
CHARLES and ERIC exit the Grey’s house and start walking to their car.
(looks at his friend with concern)
Are you okay, Charles?
(rubs his temples and nods)
I am fine, Eric. But I am a bit hungry. Shall we stop on our way back to the mansion?
ERIC nods and the two enter the car and drive off.
Fade to next scene.
INT-Roadside diner. Night.
CHARLES and ERIC are sitting in a diner booth, half-finished plates before them.
I’m amazed that with the wealthy fortune that you have, you choose to eat at an establishment such as this.
Why not? The food is delicious here.
ERIC shakes his head, a smile on his face. His smile fades as he ponders his next question.
So, what did you do with her, Charles?
(looking up from his plate and wiping his mouth)
What do you mean, Eric?
What did you do to the girl back there? How did you turn her powers off?
I didn’t “turn her powers off”, Eric. I simply erected mental barriers within her brain to help her. She can no longer access her unwieldy telepathic abilities, but she can still access her ability to manipulate objects telekinetically.
CHARLES looks up at ERIC, who obviously disapproves of CHARLES’s actions.
Don’t worry, Eric. It’s not like I lobotomized her. The power she possessed was far too powerful for a child to contain. She will need proper training to fully access and control her powers.
(nodding, but speaking quietly, almost to himself)
I think you just didn’t want a telepath on the planet as powerful as you.
CHARLES raises an eyebrow at ERIC’s comment, but continues eating. Camera pans to a man sitting in the booth next to them. The man has been listening to their conversation and seems worried. He hurriedly gets up and exits the diner.
(not having noticed the man)
She could have been a valuable asset to our cause. All that power. She will be very powerful indeed.
I am not raising an army, Eric. I am helping these children cope with their powers and find their place in the world.
I know. I know. But do you really expect that we can accomplish your dream without shedding blood? To every dream is a harsh reality, Charles.
It is my hope that bloodshed will never have to occur.
The two continue eating in silence.
CUT to next scene.
EXT-Outside diner. Night.
CHARLES and ERIC are leaving the diner and walking down a dark alley towards their car. As they approach their car, a group of men step out of the shadows, wearing hockey masks over their faces. They hold baseball bats, chains, and other makeshift weapons in their hands. The men surround the pair, brandishing their weapons menacingly.
(steps forward, brandishing his baseball bat in his hands)
You’re different aren’t you? You’re like those mutants that they keep talking about on the news, huh? We don’t want your kind around here. We don’t need freaks like you in our town!
ERIC steps forward angrily, but CHARLES raises a hand to still ERIC.
(speaking in a hypnotic voice)
You do not wish to harm us.
(speaking as if under control)
We do not wish to harm you.
(continuing his hypnotic speech)
You wish to go home and think about why mutants are not so bad.
I wish to go home and think about why mutants are not so bad.
The men turn around and start making their way towards the end of the alley.
(puts his hand up to stop CHARLES)
Charles, let them be. I could use some action today.
CHARLES looks at his friend with reprimand, ERIC looks at him imploringly and CHARlES sighs and steps back, letting ERIC come forth.
The men, released from their mind-control, look about in confusion. They turn around and look at CHARLES and ERIC. The men scream in frustration and charge at the pair.
ERIC reaches out his hand at the closest man and flicks his wrist, sending the man flying into a garbage dumpster.
Be gentle, Eric. Don’t hurt them.
ERIC directs his attention to the next man and points at him. The man flies backwards into a pile of trash bags.
(talking to CHARLES as he continues battling, a faint smile on his face)
Taking out the trash, eh, Charles?
ERIC lifts up both hands and send two men crashing into each other and they slump to the floor. A chain wraps around the leg of another man and lifts him up into the air. The chain wraps itself around a fire escape and leaves him hanging. The final man is charging at ERIC, who calmly points at the man and flicks his finger down as if turning off a light. Thee man’s pants are suddenly undone and he looks down in amazement. ERIC points at the metal bar in his hand and causes the bar to strike the man across the face and he falls to the ground.
ERIC dusts off his hands, pleased with his work and turns to CHARLES, who is giving him an exasperated look.
(in an unknowing manner)
What? They’ll be fine. It’s more than they deserve.
(shaking his head, but in a light manner mood)
You’re hopeless, Mr. Lensherr.
And you’re too hopeful, Professor Xavier.
As the two turn to walk to their car, MAN #1, his mask removed so we can now see that he was indeed the man from the diner, lifts himself off the ground and pulls a gun from his jacket. Aims and fires.
The bullet flies through the air and strikes CHARLES in the lower back. CHARLES cries out in pain and falls to the ground. ERIC turns around and sees the man, his gun aimed at ERIC now.
We don’t want your kind here.
As he pulls the trigger to the gun, the bullet explodes backwards through the gun and into his head.
ERIC watches as the man falls to the ground with disgust in his eyes. He turns around to his friend on the ground, covered in blood.
As ERIC shakes CHARLES and calls out his name, CHARLES’ world begins to fade away into darkness.
FADE to next scene.
INT-Medical room. Day.
CHARLES comes to in a medical bed, dressed in linens. IVs and various other medical equipment are feeding into his body. He looks around the room and sees MOIRA sitting by the bed next to him.
(overjoyed to see that CHARLES is well)
She throws her arms around CHARLES, who winces slightly, but returns the hug.
(once MOIRA has stopped hugging him)
You were attacked by some men in the alleyway outside of the diner. Eric brought you here and called me. I have to say, you had us both terrified.
CHARLES looks around the room and notices that ERIC is not present.
Where is Eric?
MOIRA looks away, hesitant to answer CHARLES’ question.
Moira, where is Eric?
Fade to next scene.
INT-Run-down warehouse, full of crates and cobwebs. Night.
A group of men sit in the middle of the warehouse, around a table with a single lamp on it. Hockey masks are scattered about on the table and surrounding boxes. These men are obviously linked with the men who attacked CHARLES and ERIC earlier.
Has anyone heard from Gary and his group?
Last we heard, Gary saw a mutant on the diner on 4th Street. He was gonna take care of it before he came in.
GANG LEADER nods. Suddenly the lamp on the table flies off the table and into a pile of crates nearby.
What was that?
The pile of crates catches on fire from the broken lamp. The gang members hurriedly collect their belongings and run for the door.
Reaching the door, the gang members pound on the metal door, but find it won’t happen.
On the outside of the door, as the gang members pound against it from the outside, we see a metal bar holding the door shut.
The camera pans upward and we see ERIC floating in the air, the moonlight casting a dark shadow over his face. The screams of the burning gang members come up from the warehouse below.
Fade to next scene.
INT-Charles’ medical room.
MOIRA has just finished telling CHARLES what ERIC has done. CHARLES stares at MOIRA in disbelief.
I tried to stop him, but you know how he gets. He was worried about you. We both were, Charles.
CHARLES attempts to get out of bed, but finds he is unable to. CHARLES throws the covers away and looks at his legs.
Moira, what happened. Why can’t I move my legs.
(tears welling up in her eyes)
The bullet… The bullet severed your lower spine. The doctor said that you would never be able to walk again.
CHARLES sinks back into his bed, the weight of the news bearing down on him.
The door opens and ERIC enters, holding balloons and a copy of T.H. White’s THE ONCE AND FUTURE KING in his hands.
How’s our favorite leader of mutantkind doing today?
(looks up at him, anger seething in his face)
What have you done, Eric? What have you done?
(setting the gifts down on the table)
What do you mean, Charles?
ERIC suddenly grabs his head and falls to his knees. CHARLES looks at him, his eyes focused on ERIC as he uses his mental powers.
(yelling at ERIC)
What have you done? If they link this to an act of mutant hostility what do you think that will do us, to all of us?
ERIC writhes about on the ground as MOIRA shakes CHARLES to cause him to release ERIC.
Why must you be so violent, Eric? What causes you to crave seeing their pain? Why must you insist on making life harder for mutants than it already is?
(screaming in order to snap CHARLES out of it)
CHARLES shakes his head and relaxes, ERIC stops convulsing and MOIRA relaxes in her chair. They all sit their in silence, their heavy breathing and MOIRA’s quiet sobbing filling the air.
(panting as he picks himself up off the floor)
Why can’t you understand, Charles? They will never accept us as equals. We must show them we are their superiors.
What do you hope to gain from agitating them, Eric? You will only increase the tension between our species.
You are a fool, Charles! You dream of peaceful coexistence when such a thing doesn’t exist! Humans are not capable of sharing their spot at the top of the food chain. You plan on using diplomacy to reason with them. They view us as weapons. As monsters. They will exploit us, kill us, and use us as guinea pigs in their labs. I have seen what happens when a people roll over and trust that diplomacy will save the day. They are thrown in ovens as their child is forced to watch and throw more bodies into the same furnace. Do you forget about my childhood, Charles? Do you forget what those humans made me do?
Eric, not all humans are the same.
They are all the same, Charles! They all have the same capability for evil. All of them
Tears begin to well up in ERIC’s eyes.
I was a child, Charles. A child in a Nazi death camp. They made me flip the switch to fill the gas that killed my people. They forced me to kill so many people.
ERIC gathers himself and resumes speaking.
Why don’t you understand what I am doing, Charles, what I must do in order to prevent atrocities such as that from ever happening again?
(shakes his head)
You’re so blinded by your hatred that you can’t see that you are already so far down the road to becoming what you hate.
ERIC stares at CHARLES in anger.
So be it, Charles. You continue following your dream to its failure and I will do what I must to protect our people.
ERIC turns and stomps out of the room, leaving CHARLES and MOIRA alone. As the camera slowly pans to the book sitting on the table where ERIC left it the narration starts again.
And I never saw him again. His anger had consumed him so much that he was blind to the possibility of peace. Eric became consumed with his own dream: the dream of mutant domination over humanity.
FADE TO next scene.
MOIRA and CHARLES are in Cerebero, finishing up what is left of the building process. CHARLES is in a wheelchair as MOIRA tinkers with the console. The mood is not as bright as before.
Moira and I did our best to finish Cerebro and the rest of the facility in Eric’s absence.
MOIRA looks up from her work and CHARLES tries to muster a smile. MOIRA does not return the smile and turns back to her work. There is tension between them.
A doorbell rings and immediate cut to the next scene.
EXT-Right outside the wooden door to the mansion. Day.
The door opens to reveal MOIRA and CHARLES. The Greys are standing on the porch with JEAN, her bags packed.
(hesitating at the sight of CHARLES in a wheelchair, but continuing)
I hope you are still wanting to conduct this school of yours.
(smiles and shows the Greys into his home)
Of course. Please, come in.
As the Greys enter, the narration resumes.
And so Jean became my first student. I trained her in the use of her telekinetic powers.
Transition to montage of JEAN using her telekinetic powers as naration continues.
Jean was brilliant. She was so willing to learn and further her control of her powers.
Transition to shot of JEAN lifting metal pieces much like ERIC in Cerebro.
With Jean’s help. Cerebro was completed in no time. But my pain was not over yet.
Cut to next scene.
INT-Charles’ bedroom. Early morning.
The alarm goes off and CHARLES wakes up. He struggles to prop himself up and looks over to MOIRA’s side of the bed and finds it empty, with a note on her nightstand.
CHARLES crawls to the note, picks it up and reads it. As he reads it, not revealing the writing inside to the viewer, he crumples the note in his fist and throws it aside. He leans back and lets out a sorrowful sigh.
Moira left me. Leaving only a note without an explanation where she was going and why she was leaving.
Cut to next scene
CHARLES is alone in the large space. He reaches out to put Cerebro’s helmet and puts it on his head.
EXT-A busy marketplace
MOIRA is walking in the crowd. Sensing a presence in her head, she turns around.
Cut to next scene.
CHARLES focuses, furrowing his brow, exerting control over MOIRA.
Cut to next scene.
EXT- Busy marketplace
MOIRA takes a slow step forward. Then another. Then another, as if in a trance. Suddenly, she stops and looks around, aware of herself again. She turns and disappears into the crowd.
CHARLES is hunched over Cerebro, the helmet laying to the side. He is crying silently.
Fade to next scene.
INT-Dark office with large window. Day.
We return to the room where we first found CHARLES. His dark silhouette outlined by the harsh light outside.
So, I sat there. The recent events weighing down on me. Was my dream worth it? Was my dream worth all this pain and broken relationships? Or was Eric right, was this all some childish dream of peace that would all fall apart?
As Charles sits in contemplation in the shadow, Jean appears in the doorway.
Professor? Are we going to train today?
CHARLES turns around and looks at JEAN. Looking at her in silence for a few beats until he smiles.
Not today, Jean.
He turns around with his wheelchair and directs it towards her.
Today, we start looking for other students.
CHARLES and JEAN leave the room and walk down the hallway.
That’s when I realized any dream worth having is a dream worth fighting for.
Cut to next scene.
CHARLES directs his wheelchair across the pathway and to the console at the edge, JEAN following warily behind him. CHARLES picks up the helmet and eases it onto his head, closing his eyes and beginning to focus.
My name is Charles Xavier. I am a mutant. And I have a dream. A dream of peaceful coexistence between mutants and humans alike.
CHARLES’ eyes open and he smiles.
(quiet, almost whispering)
Let’s change the world.
So, what do you think? Do you like it? Would you change it? Would you watch it? Would you put a good word into an exec at a TV Network Station for your boy? Let me know in the comments below!