This work-in-progress (c) Gary Whitta 1997


"TOMB RAIDER" by Gary Whitta: First Draft, 20th May, 1997

FADE IN:

EXT. HIMALAYAN MOUNTAINS - DAY

An establishing shot moves slowly, serenely across the majestic panorama of the Himalayan
mountains. We are at extremely high altitude - many of the lower mountain peaks are
shrouded by the cloud layers below us. Eventually, we arrive at an awesome sight
in the foreground - the very peak of Mount Everest itself.

SUPERIMPOSE CAPTION:

MOUNT EVEREST, NEPAL
29,028 FEET ABOVE SEA LEVEL
 1986

There is silence. Apart from a small orange weather beacon, the peak shows no sign of
ever having been touched by man, until...

...the silence is broken by an icy crunch as a steel climbing pick is driven into the
face of the mountain. A mountaineer, face hidden behind a heavy hood and goggles,
slowly but surely ascends and, with one final effort, hauls himself up onto the peak.
Having made it, he turns round to pull on the rope attached to his waist and help
a second mountaineer make the final few steps to the top. They stand together
and turn to take in their breathtaking surroundings from the highest point on Earth.
After a moment, they embrace and launch their fists into the air in triumph.

INT. AIRPORT DEPARTURE LOUNGE - DAY

The image of Everest is viewed through the crackly reception of a black-and-white
TV set showing news coverage of the ascent. We pull back to see that the TV looks
down on the bustling departure lounge of Kathmandu International Airport.

AIRPORT ANNOUNCER (V.O)
Attention please, this is the final call for flight number NA955 to Delhi and
London Heathrow, now boarding at gate five. (Announcement repeats in Nepali.)

Most of the travellers here are Nepali but looking conspicuous amongst the locals
is a small but boisterous group of upper-class English school girls in their late
teens returning home from a skiing trip. MISS MILLET, a thin, plain-looking and
overworked teacher in her early fifties, is trying to take a headcount of the
girls before they board.

MISS MILLET
(Exasperated) Girls! Girls! Please can you just stand still for one moment? (Counting heads)
Fifteen, sixteen, seventeen... (a pause, then) where is Lara Croft? Has anybody seen Lara Croft?

The schoolgirls shrug their shoulders. Miss Millet lets out a sigh.

MISS MILLET
All of you, wait here while I find Lara.

Cut back to the airport TV. It's being watched by just one person - but that person is
utterly transfixed. She is LARA CROFT, seventeen years of age and about to blossom into
a very beautiful young woman. Athletic and pretty, but with an innocent and dreamlike
air to her, she looks up at the pictures of the Everest mountaineers celebrating their
successful ascent back at base camp. The narration is in Nepali but it doesn't
matter - Lara is fascinated. In fact, she doesn't even notice the irate Miss Millet
walking up behind her.

MISS MILLET
There you are! Where have you been? Everyone else is waiting for you!

Lara doesn't hear her, still gripped by the television pictures. Miss Millet grabs her
by the shoulder to get her attention.

MISS MILLET
Lara!

Lara snaps out of her daydream and spins around.

LARA
Miss Millet! I'm... I'm sorry, I must have lost track of time.

Lara's English accent is impeccable, suggesting aristocratic breeding and the very best
education.

MISS MILLET
Yes, well that's something we don't have much of! Do you want this plane to leave
without us? Come along!

LARA
Yes miss, sorry miss!

Lara gathers up her things and hurries towards the departure lounge.

EXT. AIRPORT RUNWAY - DAY

The mid-sized Nepal Air passenger plane takes off and disappears into the distance,
over the Himalayas.

INT. AIRPLANE - DAY

The 100-seater airplane is about half full, including the schoolgirl party. They
continue to behave boisterously, despite the best efforts of Miss Millet to calm them
down. The only quiet member of the party is Lara Croft, who sits by herself,
reading a book. One of her schoolmates, ALICE, notices her.

ALICE
Lara! What's the matter with you?

LARA
What do you mean?

ALICE
You've been just a complete misery-guts the whole trip! Don't you want to enjoy yourself?

LARA
I am enjoying myself.


ALICE
(Laughs) With your nose stuck in a book the whole time?

Another schoolgirl, MARY, joins in.

MARY
It's not as if you don't have the opportunity to have any fun, Lara. If I was the daughter
of a rich English Lord, I wouldn't be a boring bloody bookworm, I'd be spending the old
bastard's money!

This gets a laugh from the other girls, except Lara, who seems offended. She closes her book
and gets up from her seat.

LARA
Excuse me, I need to use the bathroom.

MARY
The problem with you, Lara, is that you don't know how lucky you are! It's all wasted on
you, Lucky Lara!

Another laugh from the girls, despite Miss Millet's disapproving looks. Paying no attention,
Lara makes her way from the front of the airplane to the bathrooms at the rear. She enters
and locks the door.

INT. AIRPLANE BATHROOM

Lara looks discontentedly at herself in the mirror.

LARA
Lucky Lara.

INT. AIRPLANE COCKPIT - DAY

The pilot and co-pilot look concerned as turbulence buffets the aircraft and the
visibility deteriorates.

PILOT
Can't see a damn thing up here. Was this in the weather report?

CO-PILOT
No, supposed to be clear all the way.

The pilot sighs and grabs the PA microphone to address the passengers.

PILOT
Attention ladies and gentlemen, this is the Captain. We are encountering some unforseen
weather difficulties at the moment, but we should be coming out of it shortly. In the
meantime, could you please all return to your seats and...

At that moment, an audience-jarring SHOCK! As if from nowhere, a flock of birds
appears at close range through the mist and smashes into the cockpit window. The
force of the impact breaks one of the small side windows, and the pilot is cut
badly by the glass blasted inward by the sudden rush of air, which is now howling
around the cockpit. The co-pilot struggles to help him while trying to maintain
control of the airplane. For a moment he loses it and the plane lurches to the
right... making things even worse, as outside, a wing clips a mountain top, shearing
the engine and much of the wing itself completely off!

In the main cabin, panicked reaction from the passengers and crew as the violent impact
throws people forwards in their seats, and luggage crashes down from the compartments above.

In the bathroom, Lara is thrown forward and her head hits the door handle, cutting it
and leaving her slumped in the corner, dazed.

In the cockpit, the co-pilot fights a losing battle, desperately trying to regain control.
The plane is losing altitude fast, and listing to the right because of the damaged wing.

In the main cabin, everone is now in a state of extreme panic as it's clear the plane is
going down. Crew members hurriedly try to help passengers with oxygen masks and crash
positions.

The plane continues to descend, now flying through a valley with mountains to either side.
The co-pilot pulls back on the control stick with all his might in an attempt to level
the descent.

CO-PILOT
(Into headset) Mayday, mayday! This is Romeo Alpha Nine Five Five in distress! Our
starboard engine is out, losing altitude! Say again, this is...

Too late. At that moment the plane hits the ground and careens across the rock and ice
at breakneck speed, skidding left and right... and eventually starting to slow down.

Visibility from the cockpit is near zero thanks to the snow being kicked up all around.
The co-pilot hits every brake and flap he can to slow the plane, and it seems to be working.
A look of relief crosses his face, but then turns to horror as the visibility clears just
in time for him - and us - to see that the plane is heading straight into a mountainside ahead!
He barely has time to raise his hands to protect himself, before...

...the aircraft crashes headlong into the mountain with tremendous force. The entire front
section of the fuselage crumples like a concertina, while the rear section tears and bends
upwards before crashing back down into the snow. With a mighty groan, the crippled aircraft
lists over onto its smashed wing and finally comes to rest.

Inside the aircraft, the cabin has been severely smashed, and stricken bodies are everywhere.
Exposed electrical circuitry sparks wildly, steel supports hang from the ceiling and the whole
structure looks like it could give way at any moment. There is no motion amongst the passengers,
and there looks to be no survivors...

...but then, from the rear, a sign of life. Buckled and hanging from just one hinge, the
bathroom door opens slightly, then with a push from inside, tears off the hinge and crashes
onto the floor. After a moment, Lara emerges, badly bruised, bleeding and dazed but otherwise
unhurt. She limps out into the main cabin to survey the awful scene before her. At first she
is horrified, but she braces herself and makes her way down the center aisle.

LARA
Hello? Hello? Is anyone... can anyone hear me? (Louder, more urgently) Hello?

Lara looks frantically for signs of life, but there are none. After a few moments the reality
of her situation sets in, and she begins to cry.

Then, a voice. Only faint at first, barely enough for Lara to hear.

MISS MILLET
Lara? Lara?

Lara swings round, trying to pinpoint where the voice is coming from.

LARA
Miss Millet?

MISS MILLET
Lara!

Homing in on the voice, Lara pulls aside some wreckage to find Miss Millet beneath it. She
is mortally injured and barely hanging onto life. Lara kneels down and tries to help her.

LARA
How are you? I mean, how bad... can you move?

MISS MILLET
(Weaker now) Lara... I... can't...

Lara tries to lift her, but Miss Millet cries out in pain. Below the waist she is trapped
under tons of heavy wreckage.

MISS MILLET
Don't try to... (coughs) I'm not going anywhere. Save who you can.

LARA
(Looking around) They're all dead!

MISS MILLET
(A pause, then) Then save yourself.

At that moment there is an ominous rumbling sound from outside the aircraft, like thunder.
Lara looks frantically up and around to try to pinpoint the noise, but it seems to come from
all around.

EXT. AIRPLANE - DAY

The impact of the airplane into the mountainside has destabilized some of the rock shelves
above, and an avalanche is imminent. Snow begins to slide downwards, and large chunks are
already falling and crashing down on top of the fuselage.

INT. AIRPLANE - DAY

Lara watches in horror as the view out of several of the airplane windows suddenly turns
completely white - a snowslide just buried a section of the plane. The deep rumbling from
above continues, suggesting that much worse is to come. Now acutely aware of the imminent
danger, Lara turns back to Miss Millet.

LARA
I can't leave you here! I won't!

For a brief moment, some strength returns to Miss Millet as she reaches out and grabs Lara
by the shoulder.

MISS MILLET
No! Listen to me! You can't help me! Save yourself, Lara. Survive. (A pause, then, much weaker)
Survive...

Miss Millet's grip grows weak and her arm slumps down by her side. Her head drops back. Dead.
Lara stands and steps back, aghast. She looks around - snow is fluttering in through the huge
tear in the fuselage and is already starting to settle inside. Suddenly Lara realises how
cold she is and wraps herself in a tattered blanket. She is totally lost, alone and terrified.
But then her expression changes as she pulls herself together and makes a decision. Survive.

Cut to Lara hurriedly preparing. Rifling through luggage, she collects ski clothing and
dresses herself in layer after layer. She fills a backpack with whatever food and equipment
she can find.

Entering the cockpit, Lara grimly pushes aside the body of the dead pilot to get past. The
cockpit is crushed, but there is still room to move around. Using a piece of metal wreckage,
Lara prises the compass from its housing in the buckled instrument panel. She also grabs a
wad of maps and puts these in her bag with the compass. Noticing what looks like an emergency
kit above her, she reaches for it but her touch dislodges it and it falls to the ground, open.
Inside is a loaded revolver. Lara hesitates for a moment, then picks it up nervously - it
looks huge in her small hand - and puts it in her bag.

Lara, now fully kitted out in bulky cold-weather gear and hauling her heavy backpack, steps
out through the gash in the fuselage and carefully clambers down the snowdrift that has built
up outside. At that moment the rumbling sound from above gets much louder, and Lara makes a
desperate dash and leap for safety just as hundreds of tons of snow and ice crash down in a
mighty avalanche, completely burying the plane. No rescue team will ever find it, and if Lara
had been just a few seconds slower, no-one would ever have found her, either.

After scrambling away and regaining her compusure, Lara looks all around. There is nothing
but desolate, snowy wasteland and treacherous mountains as far as the eye can see in every
direction. She looks back at the aircraft's burial site and wipes away a tear.

LARA
Lucky Lara...

Looking at her maps and compass, Lara makes the best guess she can about which way to head,
then trudges off into the white void...

EXT. HIMALAYAN VILLAGE - DAY

A remote village somewhere in the Himalayan lowlands. This tiny community, home to no more
than a hundred peasant farmers and their families, rests hidden inside a shallow valley.

SUPERIMPOSE CAPTION:

NEAR BIRATNAGAR, NEPAL
74 MILES NORTHWEST OF CRASH SITE
ONE WEEK LATER

Inside a small hut, an American missionary doctor, LAING, is trying to innoculate a small
Nepali child who is scared of the needle.

LAING
(In Nepali, subtitled) Now don't be afraid. This won't hurt.

The child is uncomfortable and won't stop struggling. Exasperated, Laing has an idea.
He acts surprised and points behind the child.

LAING 
Oh my word, what is THAT?

The child falls for it and turns his head to see. While his guard is down, Laing jabs him
with the needle and administers the innoculation.

LAING
There, you see? All done.

Laing covers the needle mark with a cotton swab and the boy scampers away to play with his
friends.

At the edge of the village, an old peasant stops dead in his tracks when he sees something
he can barely believe in the distance. He double-takes and steps forward for a better look.
Amazed, he shouts back to the village, never taking his eyes off what he sees.

PEASANT
(In Nepali, subtitled) Doctor! Doctor! Come! Come quickly!

The peasant's shouts attract attention, and people start to rush over. Laing notices the
commotion and hurries over to see what the fuss is about. When he reaches the astonished
crowd that has gathered and sees what they see, his jaw drops in amazement.

LAING
Good God.

Staggering towards them in the distance is a dark, bulky shape which, as it gets closer,
we recognize as Lara Croft. Seeing that she is in distress, Laing and several villagers
rush out to meet her. As they reach her, she stumbles, exhausted, into Laing's arms. Her
face and clothes are covered in dried blood. Laing and the villagers carry her back to the
village and inside his hut.

INT. DOCTOR'S HUT - DAY

Lara, looking deathly weak, is laid on a table as most of the curious peasants are ushered
outside - only the senior villagers remain.

LAING
(In Nepali, subtitled) Can you hear me? What's your name? (Again in English)

No response. Laing looks into her eyes and feels her pulse.

LAING
Looks like borderline hypothermia. Shock too. We need to get these clothes off.

Laing begins stripping away the outer layers of Lara's clothing. Everything is covered in
dried blood.

LAING
This can't be all her own blood.

Laing notices that the lower left sleeve of Lara's ski jacket is badly torn. Stripping her
down to her undershirt, he reveals a deep gash on the inside of her lower arm, what looks like
the result of a vicious animal attack. One villager comes forward to take a closer look and
recognizes the type of wound on Lara's arm. He looks terrified.

VILLAGER
(In Nepali, subtitled) Is Yeti.

Hearing this, the other villagers become extremely concerned and start talking anxiously
amongst themselves.

LAING
(In Nepali, subtitled) Quiet, all of you! There is no Yeti! No Yeti!

Meanwhile, one of the other villagers is rummaging through Lara's bag. He finds her passport
and hands it to Laing, who examines it.

LAING
British, hmm? Alright Lara, if you can hear me, my name is Doctor Laing. I'm here to help you.
First I'm going to fix this arm. Can you tell me how this happened?

Lara tries to speak, but can barely manage. The villager behind Laing taps him on the shoulder,
who turns to see him holding the gun found in Lara's bag. Perplexed, Laing takes the gun and
opens the breach. Six spent shells spill out onto the floor. Whatever attacked Lara, she fought
back, and it lost a lot of blood. The doctor looks back at Lara in a combination of confusion
and amazement.

LAING
What the hell happened to you, Lara Croft? (A pause, then) Well, whatever it was... you're
damn lucky to be alive.

INT. SUBTERRANEAN CORRIDOR

There is barely enough light to see. It is dank and musky, the only sound comes from a light
wind whispering and the "drip-drip" of water.

SUPERIMPOSE CAPTION:

OUTSIDE CAIRO, EGYPT
PRESENT DAY

Suddenly light is cast across these stone walls, revealing a narrow passage, deep within an
ancient Egyptian pyramid. Then the source of the light appears - two strong flashlights
attached to the backpack straps of Lara Croft, now eleven years older. She has grown into
an unbelievably beautiful woman, with an incredible athletic figure and a disarmingly tough,
purposeful demeanour. With little effort, she pulls herself up through a hole in the floor.
She is wearing khaki shorts, stout climbing boots, a sleeveless top, and not much else - it
is sweltering and extremely humid inside here. Her long, brown hair is pinned back and tied
into a braided ponytail running down her back. A pistol is holstered to her belt and a shotgun
slung across her backpack. She wipes the sweat from her brow.

Then, from below her, a nervous, stammering voice.

WEEKS (O.S.)
Er... um... Miss Croft?

Lara sighs and turns back to look through the hole. She drops down on one knee and lowers her
arm through, then hauls WEEKS up. Weeks is a short, rotund little man with a puffy red face
and dressed in safari clothes and pith helmet. He looks like something from a clichéd comedy
sketch set in the jungle. He's certainly not comfortable here. He puffs and pants as he tries
to get his breath back.

WEEKS
Where... where are we?

LARA
This corridor leads to the central burial chamber. Not far now.

Lara's refined, upper-class English accent is as perfect and as spine-tingling as before.

WEEKS
(Relieved) Oh. Good.

Without another word, Lara walks away, into the darkness. Weeks strains to get to his feet and
waddles along after her.

WEEKS
Wait for me!

When Weeks finally catches up, Lara has stopped at a dead end and is studying a primitive map
on a piece of ancient parchment. She looks around, and then up at the ceiling, about five feet
above their heads. Weeks despairs at the sight of the dead end.

WEEKS
Now what?

LARA
We go up.

Weeks looks up, but sees only rock ceiling above.

WEEKS
How on Earth do you...?

Weeks' words trails off as Lara draws the shotgun from her backpack.

WEEKS
I... er...

LARA
Stand back.

Weeks wisely does so. Lara chambers a round, aims and fires diagonally up at the ceiling.
The sound of the shot in this enclosed space is deafening. When the dust and debris finally
settle, there is a hole about three feet in diameter in the ceiling. Weeks looks amazed.

LARA
This sandstone is ancient. Ceilings aren't that solid here.

Weeks nods in acknowledgement.

LARA
(Smiling) The only problem with that is, neither are the floors.

Weeks gulps and looks down, suddenly aware of the danger everywhere he steps. Lara slings her
shotgun and leaps up, grabbing the edge of the hole. As she does, we notice the scar on her
inner arm, now barely visible - but the same scar she had when she walked into that Himalayan
village a decade ago.

Lara pulls herself up through the hole, then disappears from view. Weeks tries to jump up, but
it's far too high for him to reach.

WEEKS
Um... ah... Miss Croft?

A few seconds later, a climbing rope is fed down through the hole.

WEEKS
Ah. Yes.

INT. NARROW WALKWAY

Lara and Weeks make their way through another dark, damp stone corridor. Lara moves quickly and
with uncommon agility, and again Weeks is lagging behind - he only catches up whenever Lara
stops to check her map or refer to hieroglyphics on the walls. Finally she finds what she's
been looking for.

LARA
Here.

WEEKS
(Looking around) Where?

LARA
Through this wall.

WEEKS
What's through there?

LARA
Ancilliary burial chamber. It isn't supposed to be there but it is. They stopped building them
like this after Tut but some of the older structures still have them. You just need to know
where to look.

From her backpack, Lara produces a small device no larger than a man's fist. A shaped plastic
explosive charge. She attaches the charge to the wall and arms it. The device responds with an
electronic bleep.

WEEKS
(Nervous) Is that... is that what I...?

Lara grabs her backpack and ushers Weeks back down the corridor and behind a small wall where
they will be clear of the blast.

LARA
Better cover your ears.

Weeks does so and Lara throws the switch on a handheld remote. The device detonates with an
almighty BOOM which sends a ton of rubble exploding outwards. Once the explosion has died down,
Lara walks out into the cloud of sandstone dust. Once it has finally settled we see that a
hole around five feet in diameter has been blown through the wall. Cautiously, Lara steps
through the hole and into the next room.

INT. BURIAL CHAMBER

It's too dark to see properly, even with Lara's twin flashlights. Extremely spooky. She fumbles
in her pack for a small but powerful portable arc light and fires it up. Even this isn't enough
to properly illuminate the entire room, but it does just enough.

Lara stands before an absolutely awesome sight. An ancient Egyptian burial chamber, massive
in scale and breathtaking in its beauty. The architecture is astounding. Two gigantic stone
pharoahs tower high above Lara, guarding the sealed entrance on the far wall. In the center
of the chamber, two ornate stone tombs, and all around them, dozens of priceless
artifacts - ancient pottery, jewelry, gold and silver. A thousand fortunes. Even Lara
is impressed.

Weeks steps through and is blown away by the sight before his eyes.

WEEKS
Oh my. Oh my!

LARA
(All business) Indeed. Here.

Lara pulls a canvas bag from her pack and throws it to Weeks.

LARA
Make yourself useful. Collect as much as you can. Gold and silver only. The rest's too fragile.

WEEKS
Miss Croft, may I remind you that I am here only as an observer, to confirm the authenticity of
these artifacts' origins for my client?

LARA
So far, Mister Weeks, all you've managed to do is slow me down. Now if you want to get out of
here as quicky as possible, which I suspect you do, I suggest you do as I say.

Lara starts filling a bag with artifacts. Weeks, looking severely inconvenienced, gets to work
too. He spots a large golden salver in the far corner of the chamber. Excited, he starts to
walk towards it.

WEEKS
How about this?

Lara looks up from her work to see what Weeks is talking about. She sees the salver, then
notices something very few people would. Dust is gently blowing up through the cracks between
the floor stones there.

LARA
(Urgently) No wait, stop!

Too late. In his haste, Weeks rushes across the unstable floor section, which crumbles and
gives way beneath his feet! As he falls, Lara leaps like a panther and slides across the
floor in a desperate attempt to catch him. She gets there just a millisecond too late.
Weeks has fallen, but amazingly has grabbed onto a stone outcropping a few feet below.
He hangs on for dear life as the floor rubble falls below him - smashing through the floor
of the chamber below... and the next... and the next. Suddenly there is a seemingly bottomless
drop right below him! Weeks is not a strong man and his grip is slipping.

WEEKS
Help me!

Lara tries to reach down to him, but can't - he's just inches out of reach. Thinking fast,
she spools out a length of rope from her belt and lowers it down to him.

LARA
Grab hold of this.

But Weeks is too scared to make a grab for the rope. He daren't take his hands off the rock
he's clinging to. Every time he tries, he freezes in fear.

WEEKS
I... I can't do it!

LARA
(Thinks fast, then) Hold on.

Lara bolts toward the hole in the wall, grabbing her backpack and treasure bag along the way.
She races through the corridor and slides down a steep incline to the level below. Never
breaking stride, she sprints down the next corridor, and down another steep slope to the
next level. Here, she runs alongside the corridor wall, scanning it carefully. She stops,
draws the shotgun and fires three shots into the wall. The shotgun is empty but the wall
still isn't blasted right through. Desperate, Lara unleashes a tremendous kick into the
weakened section and it falls through. Lara moves into the chamber beyond, where the falling
rubble has created holes in the floor and ceiling. Two levels above her, she can hear Weeks
crying for help.

WEEKS (O.S.)
Please God help me, I can't hold on. I can't... aaaargh!

Lara hears Weeks falling and doesn't hesitate. She races toward the holes and leaps over,
tackling Weeks in mid-air as he falls and carrying him over the abyss to safety. They crash
down onto the dusty floor, Weeks atop Lara, grabbing tightly onto her in terror.

LARA
Get off me!

Weeks opens his eyes and, realizing he's safe, sheepishly relaxes his grip on Lara. She pushes
him off her onto his back by her side. They lay there for a moment, just getting their breath
back, when a barely audible creaking sound alerts Lara to further danger.

WEEKS
Thank you...

LARA
Ssshhhh!

Lara is listening intently for that noise. After a few seconds there it is again - a damp,
stony grinding sound. And then again, louder.

WEEKS
What was that?

LARA
Don't move.

WEEKS
What? Why?

LARA
I don't think this floor is any better than the last one.

And then, another ominous creak, the loudest of all, and the floor they are lying on starts to
give way, ever so slightly.

WEEKS
Oh no. Oh God, oh God...

While Weeks panics, Lara reaches carefully inside her backpack.

LARA
Try to spread your arms and legs out wide, like a star. Spread your weight.

Weeks does as he's told. Lara finds what she is looking for and pulls it from the backpack - a
state-of-the-art piton-firing pistol. She picks a spot on the nearest wall, about thirty feet
away, and fires. The steel piton shoots out and into the wall, trailing a cord behind it. The
line tightens and Lara pulls on the pistol to test the fixing - it holds fast. The floor creaks
again and gives way a few more inches. Any moment now, the whole thing will collapse.

LARA
Roll over and grab onto me.

WEEKS
You just told me to...

LARA
If you want to survive this, roll over and grab onto me. Right now.

Weeks rolls over and clamps his arms tight around Lara's waist.

LARA
Got me?

Weeks nods, his head buried in fear.

LARA
Good. Any second n...

The entire floor gives away beneath them. Tons of rubble crash downwards through the floors
below, and Lara and Weeks fall. Not straight down, but swinging towards the wall they're
anchored to by Lara's piton gun. As they reach the wall, Lara kicks out with both feet and
they smash through the fragile sandstone into the corridor beyond as the tons of rubble
continue to crash through the levels below. It is a massive collapse that has affected much
of the internal structure - the very walls around them are now rumbling ominously.

WEEKS
I think we should leave. Now, please.

LARA
I think you may be right.

EXT. EGYPTIAN DESERT - DAY

Featureless desert. The great pyramids are far in the distance, with Lara's jeep parked in the
foreground. Suddenly, a small piece of the ground begins to move, and the sand is shaken to
reveal a secret panel covering a hidden tunnel entrance. The panel slides to one side and Lara,
covered in dirt and coughing up brick dust, emerges into the glaring sunlight. She stops when
she looks up and sees something ominous off-camera. A moment later, Weeks emerges behind her.

WEEKS
Well, at least we made it...

He cuts his sentence short when he sees what Lara sees. A small squad of Egyptian policemen
is standing around the tunnel entrance. All the officers have their rifles trained on Lara
and Weeks, except SERGEANT FASIL, who steps forward with a broad smile on his face.

FASIL
(Always in Arabic, subtitled) Not quite.

Fasil motions to his men, who haul Lara and Weeks from the tunnel entrance. Lara's pistol and
shotgun are taken away, along with her backpack and treasure bag. The bag is opened and shown
to Fasil. He reaches in and pulls out a priceless golden goblet.

FASIL
And what do we have here?

WEEKS
I have no knowledge of...

FASIL
Shut him up!

A cop strikes Weeks in the back of the head with his rifle butt, dropping him to his knees.

FASIL
Well, Miss Croft. I'm so glad to finally meet you. Do you have any idea how many times your
name has come across my desk in the last three years?

LARA
I can only imagine.

Fasil looks Lara up and down admiringly.

FASIL
You're not what I expected, Miss Croft. You're a very attractive woman. In different
circumstances I might be tempted to be lenient, but... this is hardly a first offence.

Lara smiles coyly, flicks her hair back and takes a step forward - toe to toe with Fasil.
Despite being covered in grime and filth, she does her best to look sexy and desirable. She
succeeds brilliantly.

LARA
Well... I'm sure we can work something out.

Fasil smiles broadly, exposing his set of disgusting teeth. Lara does her best to disguise her
reaction.

FASIL
I'm sure we can.

EXT. EGYPTIAN POLICE STATION - NIGHT

Establishing shot of a small police station in downtown Cairo.

INT. EGYPTIAN POLICE STATION - NIGHT

Weeks languishes in a cell in the officer's duty room. Two Egyptian cops sit at a table,
smoking and playing cards. Lara's effects, including the treasure bag, sit on a desk by the
wall. From another room, we hear the soft moaning and groaning of Fasil. The cops hear it too.
They look at each other and giggle knowingly.

INT. FASIL'S QUARTERS - NIGHT

A close-up shot below knee level shows Lara and Fasil standing toe to toe, Fasil's bed in the
background. Fasil's pants are in a heap around his ankles. He continues to groan and pant.
As we pan upwards, Fasil's goaning becomes louder, more urgent and gutteral. Then, as we
finally see the whole picture, we understand why he's really making those noises - Lara is
choking him! Her hands are locked around his throat like a vice. Fasil is powerless to break
the hold, his eyes bulging and face turning purple. Lara turns him and slams his head into
the sink protruding from the wall. Fasil collapses to the floor, out cold.

LARA
Men.

She unholsters Fasil's pistol and jams it into her belt.

INT. EGYPTIAN POLICE STATION - NIGHT

Back in the duty room. From out of shot, Lara lets out a blood-curdling scream! The two cops
drop their cards and rush into the corridor, out of sight. We hear a short scuffle, and several
punches being thrown. Moments later Lara emerges and scopes the room. Weeks is delighted, if
a little surprised, to see her.

WEEKS
Miss Croft!

LARA
Where's the bag?

Weeks points it out. Lara dashes to it and scoops it up.

WEEKS
You have to get me out of here!

LARA
(Looking around) Where are the keys?

Weeks points into the corridor Lara just came from.

WEEKS
On one of their belts.

LARA
Hold on.

At that moment the station alarm sounds, and we hear much movement and frantic shouting from
cops around the building. Getting closer.

LARA
No time. I'm sorry.

WEEKS
No! Wait! You can't just...

LARA
Sorry. I'm sorry!

Lara disappears through the door just as five cops storm into the room, guns drawn. They scope
the room, then charge after her.

INT. EGYPTIAN POLICE STATION CORRIDOR - NIGHT

Lara runs down the darkened corridor, the bag of artifacts slung over her shoulder. In the
distance but getting closer, the sound of cops on the move all around.

INT. EGYPTIAN POLICE STATION - NIGHT

Sergeant Fasil stumbles into the duty room as his officers rush past in pursuit of Lara.
He holds a cold rag to the lump on his head, while trying to pull his pants up from around
his ankles. He is furious.

FASIL
Get her! Go, go!

INT. EGYPTIAN POLICE STATION CORRIDOR - NIGHT

Lara comes to a halt - she can hear more police approaching from the end of the corridor
ahead of her, and the voices of those behind her are growing louder as they close in. Trapped.
The only other way out is a door set into the wall here. She tries the handle - locked.
At that moment a group of cops round the corridor behind her.

LEAD COP
(In Egyptian, subtitled) Hold it! Put your hands over your head and move away from the door!
Right now!

Lara throws herself at the door and breaks it open with her shoulder. As she disappears
through the doorway the cops let loose with a barrage of pistol fire - just as the second
set of cops appear at the opposite end of the corridor, and are instantly sent diving for
cover. Some cops instinctively return fire, sending those at the other end also diving for
cover. After a few seconds of chaos, everyone realizes what is going on, and the two groups
of cops start angrily shouting at each other.

INT. EGYPTIAN POLICE STATION STORAGE ROOM - NIGHT

The walls of the room are stacked with boxes. There's no other doorway in or out. Lara looks
up to see a skylight in the ceiling, then back down at the boxes - climbable.

EXT. EGYPTIAN POLICE STATION - NIGHT

The skylight is flung open and Lara emerges onto the tiled roof. Carefully, she makes her way
toward the edge, but the tiles are loose, and as some give way she barely manages to stop
herself sliding over the edge. The loose tiles fall three stories to the street and
shatter - too far down to jump.

FASIL (O.S.)
That's far enough!

Lara turns to see Fasil standing behind her. At least four more cops have also followed Lara
through the skylight and have their guns trained on her. Lara looks down to the ground again.

FASIL
What are you going to do, jump? Go ahead! (Laughs) My men will clean up the mess!

The sound of a vehicle approaching. Lara looks down to see a police jeep pull up outside the
station - directly below her. Time seems to stop for a moment as Lara jumps... falls... and
crashes through the canvas roof of the jeep, right into the passenger seat! The driver barely
has time to react before Lara lashes out with both feet, sending him flying from the jeep and
onto the dusty sidewalk. By the time he gets to his feet, the jeep is already speeding away.
The cops on the roof open fire after the vehicle, but it's too late. She's gone.

EXT. COUNTRY MANSION - DAY

A stunning palatial manor house nestled in a beautiful part of the English countryside.
The mansion's expansive and lovingly-tended gardens and grounds are surrounded by a high
perimeter wall. 

SUPERIMPOSE CAPTION:

BUCKINGHAMSHIRE, ENGLAND

At the front entrance, the heavy iron gates open electronically and a leather-clad motorcyclist
rides through and up the main pathway toward the house. The bike roars around the ornate
fountain at the front of the house and screeches to a halt by the front door. The rider
drops the kickstand, dismounts and takes off her helmet - it's Lara. All business, she strides
towards the house and through the door.

INT. MANSION LOBBY - DAY

Lara walks into the exquisite lobby. The centerpiece of this beautiful room is a huge marble
staircase. All around are eye-catching tapestries, old masters and sculptures. Unbuttoning
her leathers, Lara walks across the chequered tile floor to where her butler, HAROLD, is
talking on the telephone. He is the quintessentially English butler - tall, mid-60s, slick
white hair, impeccable accent. The works.

HAROLD
(Into telephone) Yes, I fully understand, sir... Most unfortunate... yes, indeed... well, I
shall certainly pass on the message... please hold for a moment, sir.

Harold cups his hand over the phone to talk to Lara.

HAROLD
A gentleman by the name of Oscar Burolo on the telephone, Miss Croft. He seems very anxious to
speak to you. Apparently he wants to know why one of his employees is currently being detained
by the Cairo police. Would you care to take it?

Lara takes off her jacket and trades it with Harold for the telephone.

LARA
(Into telephone) Burolo?... yes, this is Lara Croft... yes, they do... well, I seem to remember
warning you that I could not be held responsible for the safety of anybody you insisted
accompany me... well, I have the items, and I'm sure that the Cairo police would be more
than happy to negotiate the release of Mister Weeks for their safe return. Which would you
prefer?... yes, that's what I thought. I'll have someone deliver them to your people for
inspection tomorrow. Oh, and Oscar? As we agreed, cash on delivery.

Lara replaces the handset and turns to Harold with a sigh.

HAROLD
Am I to gather from that conversation, Miss Croft, that your trip to Egypt was an eventful one?

Lara begins making her way up the marble staircase.

LARA
I'll tell you about it later, Harold. In the meantime, I'd kill for a hot bath.

HAROLD
I'll see to it immediately. You have several messages, would you like me to leave them on your
desk?

LARA
Anything important?

HAROLD
Mister Gustavson has called repeatedly over the last three days to remind you that you are to
accompany him to the annual curators' ball at the Natural History Museum tomorrow evening.
He seemed most anxious.

Lara lets out a bored sigh on hearing this news.

LARA
Tell him I'll be there.

HAROLD
Yes, Miss Croft. Oh, and Miss Croft?

LARA
Yes, Harold?

HAROLD
Welcome home.

Lara stops on the staircase, turns and smiles warmly.

LARA
Thank you, Harold.

EXT. LONDON SKYSCRAPER - DAY

A modern mirrored-glass skyscraper towers above the London skyline. Glass elevators shoot up
and down the outside of the building at high speed. Down at street level, the sign above the
heavy revolving entrance doors reads NATLA PETROLEUM.

SUPERIMPOSE CAPTION:

LONDON

INT. PENTHOUSE OFFICE - DAY

The luxurious private offices of the Natla Petroleum CEO. From here on the 75th floor, there
is a breathtaking view of London through the giant windows that line the walls. Behind an
impressive mahogany desk sits JACQUELINE NATLA, President of Natla Petroleum. A sharp, savvy
American businesswoman in her early 50s, she looks extremely good for her age - one of the
perks of being a billionaire. She is flanked by two serious-looking, and very large, men in 
black suits. On the other side of the desk, the esteemed British archeologist DOCTOR RAYMOND
SHAW is examining a series of documents, blueprints and maps.

SHAW
Fascinating... absolutely fascinating...

NATLA
Exactly what I thought, Doctor Shaw.

Shaw folds the documents up and passes them back across the desk.

SHAW
But ultimately a fairy-tale, I'm afraid.

NATLA
I'm sorry?

SHAW
I have to hand it to them. Very elaborately conceived, but certainly not good enough to fool
an expert.

NATLA
I see.

SHAW
I don't intend to in any way denigrate your enthusiasm for my line of work, of course. But it's
very easy to be drawn in by the idea of these grand, mythical treasure hunts and in my
experience they invariably turn out to be wild goose chases.

NATLA
Am I to take it you're not interested, Doctor?

SHAW
It's a very generous offer, but... well, let's just say I prefer to devote my research to
projects with a little more chance of success.

NATLA
(Smiles) I fully understand. Well, thank you very much for your time, Doctor.

Natla stands and they shake hands.

NATLA
Pierre here will see you out. You can take my private elevator - there are some quite stunning
views on the way down.

The larger of the two men in black, a huge Frenchman by the name of PIERRE steps forward and
presses a button by one of the full-length windows. Within seconds a glass-walled elevator
arrives outside and the window slides open to allow entrance.

SHAW
Thank you, Miss Natla.

Shaw walks to the elevator.

NATLA
Oh, and Doctor? I would appreciate it if you would indulge me by not mentioning this little
project of mine to any of your colleagues.

SHAW
(Smiles) My lips are sealed.

Shaw steps inside the elevator with Pierre. Pierre hits a button and the two of them descend
swiftly out of sight.

NATLA
Oh, I know they are.

INT. GLASS ELEVATOR - DAY

Natla was right - the views of London from the elevator as it descends are tremendous. In
fact, Shaw is so busy admiring the scenery that he doesn't notice Pierre silently produce a
length of garotte wire from his jacket pocket. A second later the wire is around Shaw's neck
and after a few moments of futile struggling, Shaw's lifeless body slumps to the ground.
Pierre hits another button on the elevator and it stops at a disused floor, where the Frenchman
drags the murdered archeologist out of the elevator and into the darkness...

INT. PENTHOUSE OFFICE - DAY

Natla hits an intercom button on her desk and BURTON, Natla's personal assistant, enters the
office, carrying a document folder.

NATLA
Yet another skeptic, Mister Burton. I do hope that little folder of yours contains some more
promising leads.

BURTON
Well, it has been very difficult to...

NATLA
I'm not interested in the excuses. Just tell me who we're looking at next.

Burton opens the folder and scans it.

BURTON
Well, since we've had little luck within the established archeological community, I thought
we might broaden our search parameters a little. There are some very competent, and very
willing, freelancers out there, and one in particular has come out right at the top of the
list. The name's Croft. Lara Croft.

NATLA
(Intrigued) A woman?

BURTON
(Smiles) Surprised?

NATLA
Of course not. Who is she?

BURTON
Well, by all accounts she's something of a renegade. Her file is very, very sketchy in a lot
of places but it still makes for some interesting reading.

Burton starts to read from the file.

BURTON
Lara Henshingley Croft. Daughter of Lord Henshingley Croft, one of the richest noblemen in
England. Born here in 1967, educated at the Sor Bon in Paris before returning to England to
attend finishing school. In 1986 she was flying home from a skiing trip when her plane went
down in the Himalayas. She's presumed dead with the rest of the passengers and crew, but a
week later she walks into a nearby village very much alive. Tough little girl. Now, a lot
of what happens after that is very vague. Apparently when she returned to England after the
accident she left home, refused a place at Oxford and called off her engagement to a wealthy
American entrepreneur. Nobody seems to know why. Her parents eventually disowned her. She
turned up all over the world over the next few years and... I can hardly believe this part
myself... became the youngest person ever to climb Mount Everest, at the age of 24.

Natla appears immensely disinterested in all this.

NATLA
Yes, yes, this is all fascinating. Why am I listening to it?

BURTON
In the last few years, Croft has made a name for herself as one of the most daring explorers
in the world. She's published several books about her expeditions, all best-sellers, but she's
treated as an outcast by the archeological community because she does no work on behalf of the
academic establishment. She's recovered countless artifacts, but not one of them is in a
museum. They were all sold to private collectors. Apparently, she only works for the highest
bidder.

Hearing this, Natla sits forward and smiles.

NATLA
I'm starting to like her already. How do I meet her?

INT. LARA'S DRESSING ROOM - DAY

Lara stands before a full-length mirror in her underwear, comparing dresses, when Harold walks
in and instantly averts his eyes.

HAROLD
Oh, I do beg your pardon, Miss Croft...

LARA
Oh no, it's all right Harold. Which do you prefer? The red or the blue?

Lara holds up two designer dresses for Harold's examination.

HAROLD
Well... If I may be so bold... I have always been of the opinion that you look best in red.

LARA
That's all I needed to hear.

The blue dress goes back on the rack.

LARA
Now, the only question is...

Lara goes to her dresser and pulls open the top drawer. Inside, on a velvet sheet, is a varied
arrangement of edged weapons. Butterfly knives, shurikens, folding stainless-steel blades...
the kind used by professional killers. It is a chilling collection.

LARA
...which of these goes best with red?

EXT. NATURAL HISTORY MUSEUM - NIGHT

A banner erected across the main entrance to this grand old building reads "XXVII ANNUAL
CURATORS' BALL". Academics appropriately dressed for the occasion are filing inside.

INT. MUSEUM HALL - NIGHT

The exhibits in this huge main hall have been temporarily removed to make way for dinner tables,
a dance area and stage. The party is in full swing, as distinguished members of the scientific
and academic communities mingle and chat to the sound of gentle classical music.

All eyes are on Lara from the moment she walks through the door. As she walks elegantly across
the room, the men are transfixed. You can hardly blame them - she looks absolutely stunning
in her flowing red dress. One man earns himself a slap across the face from his wife for paying
a little too much attention to Lara as she glides past. 

Lara takes a champagne glass from the tray of a passing waiter and surveys the party. Across
the room, a disparate circle of archeologists, anthropologists and historians and chatting
informally and drinking. One esteemed archeologist, DOCTOR DONALD QUINTON, is currently holding
court.

QUINTON
Frankly, you know, I'm not surprised she didn't turn up. She must know by now that what little
credibility she might once have had has long since gone. I presume you've all heard about
this latest farce out in Cairo? I mean...

Quinton's voice trails off when he notices the worried expressions on the faces of the people
he's talking to, directed just behind him.

QUINTON
She's behind me, isn't she?

One of the other academics nods grimly.

QUINTON
Bugger.

Quinton turns and smiles broadly.

QUINTON
Lara, my dear! What an absolute pleasure it is to see you!

LARA
Always nice to see you too, Doctor Quinton.

They shake hands, both acutely aware of their mutual insincerity. Quinton is still
embarrassed at his faux pas.

QUINTON
I, er, I was just commenting, in fact, on how...

LARA
Please, Doctor. I may not have your PhD, but I'm just about smart enough to know when people
are talking about me. Oh, please excuse me, I've just seen somebody I need to say hello to.

With that, Lara leaves the group as quickly as she had arrived. Quinton, a little disarmed by
the encounter, turns back to his group.

QUINTON
(Lost for words) Erm...

Across the room, Lara arrives at the buffet table, where her book publisher, a handsome
middle-aged man by the name of GUSTAVSON, is loading his plate with food.

LARA
Well, I told you I'd be here.

Gustavson is at first shocked, then delighted to see her.

GUSTAVSON
Oh my God! Lara! It's great to see you! I'm so glad you made it!

Gustavson puts his plate to one side and embraces her. Lara returns the compliment, but
with much less enthusiasm. When they break off, Gustavson looks Lara up and down, clearly
smitten by the sight of her.

GUSTAVSON
You... you look absolutely fantastic!

LARA
Oh, this old thing. Yes, well I don't wash up too badly.

GUSTAVSON
I'll say!

Gustavson realizes his eyes have been wandering over Lara's body for a little too long, and
snaps out of it.

LARA
(Looking around) I don't intend to stay for long - you know this isn't really my kind of
thing.

GUSTAVSON
I know, I know. I wouldn't normally suggest it, but there's a lot of media here tonight and
this kind of exposure can never do your sales any harm. (A pause, then) I'm just glad to see
you're okay! I heard about that spot of trouble in Cairo last week, are you alright? How are
you?

LARA
I'm fine, Douglas, really. You really shouldn't worry, I'm a big girl.

GUSTAVSON
I'm sorry, I should know better by now. So, anything worth writing about this time? We
haven't seen a manuscript from you in quite a while.

LARA
Oh, I don't think so. It was really rather dull.

Lara pops an olive from the buffet table into her mouth. Gustavson seems to be plucking up
the courage to ask Lara something.

GUSTAVSON
Well... you know, I've been thinking, I have some quite interesting new ideas for projects
that I think we could do together, you know we always have room in our summer catalog for you.
I, er... I was thinking that perhaps we could talk about it... over dinner?

Lara finishes eating the olive.

LARA
We are talking over dinner.

GUSTAVSON
(Laughs nervously, then) Well, that's not quite...

Gustavson is interrupted by a general commotion about the room as the lights dim, and a
spotlight hits the stage. Lara turns to see.

GUSTAVSON
(Quietly, to himself) ...what I meant.

On the stage, the curator of the Natural History Museum takes the podium. The music and
chatter has stopped and all eyes are on him.

CURATOR
Well, good evening everybody, and thank you all for coming. To begin tonight, I'd like to
introduce somebody who we all know very well, and owe a tremendous debt of gratitude to.
Her generous donations to this museum and its endeavours over the years have been invaluable,
and we cannot thank her enough. Ladies and gentlemen, please welcome our chief trustee,
Miss Jacqueline Natla.

A huge round of applause as Natla, all smiles, walks on stage and takes the podium.

NATLA
Thank you, thank you all very much. It has always given me a tremendous sense of pride to
be a trustee of this wonderful institution. When I became President of Natla Petroleum after
my husband's death five years ago, I saw a unique opportunity to take the resources of a
multi-billion dollar corporation and use them for something beyond mere profiteering.
Since that day, our geological and mining teams around the globe have worked hand-in-hand
with archeological and paleontology expeditions to ensure that our vital work extracting
fossil fuels for the world's energy does not unecessarily damage sites of scientific merit
or jeopardize your important research. It should be noted...

Time dissolves to cut to the end of Natla's speech.

NATLA
(Continued) ...and that is why I am particularly proud today to present the Natural History
Museum with this check for five million pounds. Don't spend it all at once!

A rapturous round of applause as an oversized Natla Petroleum check is handed to the grateful
curator. Dozens of camera flashes.

Later in the evening. Lara is once again talking to the group she encountered earlier.
Quinton has had a little too much to drink.

QUINTON
It's not that I don't respect your abilities or your enthusiasm, Lara dear. God knows,
if I was your age I'd be risking life and limb spelunking those ancient ruins as well.
You just can't beat real, hands-on archeology. But I think you'd get a little more
recognition if just some of what you recovered ended up in places like this, rather
than in the hands of those grubby private collectors.

Lara is tired of being patronized by the likes of Quinton.

LARA
Well, if the museums paid even half of what the private collectors pay, I'd be more than
happy to do business with them.

QUINTON
That's all that this is about to you, money?

LARA
No, Doctor. It's about survival.

Thankfully, a voice from behind Lara interrupts the conversation before it can get too ugly.

NATLA (O.S.)
Lara Croft.

Lara turns to see Jacqueline Natla standing before her.

NATLA
I'm Jacqueline Natla. It's a pleasure to meet you.

Natla offers her hand and Lara shakes it, though she's a little confused about why Natla
would be talking to her.

LARA
Likewise. That was a very generous donation.

NATLA
Yes, well, just between you and me a certain amount of charitable donations per year makes
for a very comfortable tax write-off.

This makes Lara smile.

NATLA
I understand you're something of an archeologist.

LARA
Well, not really, it's all self-taught. I really don't feel all that comfortable at this
kind of thing. I'm only here to keep my publisher happy.

NATLA
You do a lot of work for private collectors?

Lara's a little more defensive now - how does this woman know so much about her?

LARA
It has been known.

NATLA
I have a rather extensive private collection myself. Actually, I'm surprised we haven't
worked together before. We must remedy that.

Natla produces her business card and hands it to Lara.

NATLA
That's my private number. I'd like you to give me a call. I have a little project which
I think you'd be very interested in.

The curator appears by Natla's side.

CURATOR
Jacqueline, there's someone over here I'd like you to meet.

NATLA
Of course. Don't lose that number, Miss Croft.

And with that, Natla is ushered away. Suspicious but intrigued, Lara pockets the card.

EXT. LONDON STREET - NIGHT

After the curator's ball, Lara and Gustavson are walking together down a quiet London side
street. It is late, and no-one else is around. Gustavson seems a little nervous and
self-conscious alone with Lara.

GUSTAVSON
Well, that was relatively painless.

LARA
I've been to worse parties.

GUSTAVSON
(Laughs) Socializing with the beautiful people never really was your scene, was it, Lara?

LARA
(A thoughtful pause, then) A long time ago. (Another pause, then) What do you know about
Jacqueline Natla?

GUSTAVSON
Natla? Not a lot more than you heard tonight. Very big on the archeological circuit, quite
a hobbyist I think. Big donations to the major foundations and expeditions. Her name's on
a plaque in every major museum in the world.

LARA
She seemed very interested in me tonight.

GUSTAVSON
Well, who wouldn't be? (A nervous pause, then) I mean, that is to say, you're quite a
celebrity in those circles as well these days.

LARA
I'm not sure that infamy counts.

GUSTAVSON
(Laughs) Oh it does, it does. So, did she say what she wanted?

LARA
No, but she gave me her number and asked me to call her. I got the impression she might
have some work for me.

GUSTAVSON
Are you going to? Call her, I mean?

LARA
Yes, I rather think I will. She's an intriguing woman. And it's not as if I've been that
busy lately.

GUSTAVSON
You see, this is precisely what I don't understand about you, Lara. Between your books and
your private work you've earned more than enough to retire, and yet you insist on continuing
to risk life and limb in these god-forsaken little corners of the Earth. Why don't you
just...?

LARA
Stop? Retire? Sit in the garden and relax?

GUSTAVSON
Well... yes.

LARA
(Laughs) My God, what would be the fun in that? I think I'd rather be dead. Besides,
even if I tried, it would never last. Trouble seems to have a way of tracking me down.

At that moment Lara and Gustavson stop as they realize that their path is blocked by two
rough-looking THUGS.

THUG 1
Alright mate? Gotta light?

GUSTAVSON
Er... I'm sorry, no.

THUG 2
Your wallet'll have to do then, won't it?

The second thug produces a switchblade from his back pocket. The blade snaps open menacingly.

LARA
See what I mean?

GUSTAVSON
It's alright, Lara. Leave this to me.

Trembling, Gustavson reaches around and pulls his wallet from his back pocket. The first thug
grabs it and rifles through its contents, while the second mugger turns his attention to Lara.

THUG 2
What about you darlin', what you got there?

The mugger snatches Lara's little purse and shakes it open. Nothing of value.

LARA
I don't keep anything in there. You might be more interested in this...

Slowly, Lara begins to hike up her skirt over one leg, revealing her shapely stockinged thigh.
The two muggers are at first bemused, but both seem happy to see where this is going. Both
sets of eyes are fixed on Lara's thigh. They nudge each other excitedly.

GUSTAVSON
Lara, what the hell are you doing?

THUG 1
Shut it, mate! Go on, darlin'!

The skirt is raised as high as Lara's stocking top - and there is a momentary flash of metal
in the moonlight. We see it just long enough to recognize it as a compact folding steel
knife tucked into Lara's stocking, and a split-second of lightning-fast movement later,
the knife is drawn and held at arm's length right under the second mugger's nose. Lara
stares icily into his eyes, like a jungle animal stalking its prey.

LARA
Drop it.

THUG 1
What the...?

The first mugger moves forward to tackle Lara, but her free hand shoots out and the flat
of her palm hits him in the nose, sending him crashing to the floor, bleeding.

LARA
One word of advice, boys. If you're going to carry a knife, be sure you know how to use it.
Since you apparently don't, I'd advise you to drop that one. Before you hurt yourselves.

Lara is all business, ice cold. She pushes forward with her knife just a fraction, and the
tip of it edges into the mugger's nostril, forcing him backwards a step. Terrified, he
drops the knife.

LARA
And the wallet.

The mugger obliges and throws Gustavson's wallet to the ground.

LARA
Good. Now run away. Very quickly.

The mugger helps up his fallen friend, who is trying to stem the flow of blood from his nose,
and the pair of them run away into the night. Lara bends over to collect her purse and
Gustavson's wallet from the ground. She tries to hand the wallet to Gustavson, but he is
too shocked to take it from her. He stares ahead blankly, like a zombie.

LARA
Douglas? Hello?

GUSTAVSON
Did I...? Did I just...? I mean, did you...?

LARA
(Laughs) Come on Douglas. I think we'd best get you into a taxi.

EXT. LONDON SKYSCRAPER - DAY

Establishing shot of the Natla Petroleum building.

INT. PENTHOUSE OFFICE - DAY

The heavy twin doors to Jacqueline Natla's office open and in walks Lara Croft, escorted by
Burton. Lara is slightly on guard, passively suspicious of her surroundings, even though
things seem safe enough. It's an old habit that has kept her alive many times in the past.

As Lara enters, Jacqueline Natla stands and walks around from her desk to greet her, smiling
broadly. Pierre and his counterpart remain in their positions on either side of the desk,
like two huge statues.

NATLA
Lara! I'm so glad you decided to come! You know, you had me worried. I was beginning to
think you'd never call. Please, take a seat.

LARA
I generally prefer to stand.

NATLA
By all means.

Natla sits back behind her desk.

NATLA
Well, I know you're curious about why I asked you here, so I won't keep you waiting any longer.
As I mentioned to you before, I've assembled an extensive private collection of archeological
curiosities over the years. I pride myself on the unique.

Lara motions towards the two huge, non-moving bodyguards flanking Natla's desk.

LARA
Oh, I can see that. These two, for instance, very fine examples of their period.

Lara moves closer to examine Pierre, who does not flinch or even change the direction of his
inert stare. 

LARA
So rare to find two together like this as a pair. Does wonders for the value. Are they
genuine?

Lara looks at Natla and smiles. Natla, nor anyone else in the room, seems to appreciate
Lara's attempt at humor.

LARA
Sorry. Just a little... joke... there.

NATLA
As I was saying. The vast majority of the artifacts uncovered by the expeditions I fund are
donated to the appropriate museums. But occasionally we unearth something that I just can't
resist keeping for myself. Which brings us to this.

Natla hits a button on her desk console. A wall panel slides back and a TV screen behind it
powers up. The screen shows fuzzy amateur video footage of some kind of archeological dig.

NATLA
Three months ago, an excavation outside of New Delhi uncovered the remains of this ancient
Hindu temple, believed to be one of the oldest in existence. But the find itself is less
significant, at least to me, than what was discovered inside.

The TV image switches to still photographs of ancient Sanskrit writings and pictograms.
Lara is intrigued.

NATLA
These writings tell the story of a sacred ring known as the Scion. Does that name mean
anything to you?

LARA
No.

NATLA
Hardly surprising. According to the local religious historians, nothing quite like this has
ever been seen before. Many have even denounced it as a fake, a blasphemy. I've chosen to
remain optimistic.

LARA
(Moving closer to screen) What is this Scion?

NATLA
Well, the scripture translation hasn't been easy, a lot of the text predates even our best
knowledge of ancient Sanskrit. But from what we've been able to gather so far, the Scion
was an ornate golden ring worn by the Hindu God Ganesha. It's comprised of three interlocking
sections, representing education, knowledge and wisdom. According to the scriptures, Ganesha
took off the ring and left it here on Earth as a mortal treasure to remind his followers of
the importance of wisdom and serenity in their lives.

LARA
Very impressive.

NATLA
Well, we're still a long way from a complete translation - we're learning more every day.
In the meantime, that seems to be the general jist of it. Most importantly, the text looks
like giving us some indication of where the Scion might actually be found today.

LARA
(Confused) I'm sorry?

NATLA
It's vague, of course, but probably enough for you to go on. Are you interested?

LARA
You want me to go to India and bring back a magic ring left on Earth by an eight-armed
elephant God?

NATLA
(Smiles) Very few ancient scriptures go into as much specific pictorial and geographical
detail as the information in these texts. Our theory is that a group of ancient Hindu
priests actually constructed the ring according to the descriptions laid out here, and
presented it to their followers as an object of worship. They may even have placed it
in the precise location that Ganesha is said to have left it, and converted that site
into a temple. If that's correct, and if we can translate the rest of that text, we can
find it.

LARA
So why do you need me?

NATLA
(A hesitant pause, then) The text also mentions how the Scion is protected by the Hindu
Gods in accordance with Ganesha's decree that it never be disturbed. That has made it
extremely difficult to recruit any local help, and apparently there have been a number
of... incidents that have deterred some of my own people from continuing their work.

LARA
What kind of incidents?

NATLA
I'm convinced there is a rational explanation, but since the discovery, three members of the
team have disappeared in mysterious circumstances. There was some talk of curses amongst the
locals, which spooked the rest of the team enough to get out on the next flight. Well, all
but one. My team leader stayed behind, he's the only one still working there on the project.
But he's not very experienced in this kind of... field recovery work, and I need somebody who
is. Somebody like you.

Natla hits another button on her remote control and the TV picture changes again. Now
we see a photo-realistic 3D rendering of the Scion, slowly rotating. It is absolutely 
beautiful. A thick, elaborately-carved solid gold band in three sections - it looks like
three golden snakes connecting head-to-foot to form a perfect circle.

NATLA
This is a computer-generated rendering of the Scion, based on the pictograms we uncovered.
Beautiful, isn't it?

Lara seems transfixed by the rotating image, an object of almost unimaginable beauty. Natla
smiles - she knows Lara is hooked.

NATLA
How soon can you leave?

LARA
(Turning) How much are you paying me?

Natla smiles again, shuts off the TV and returns to the desk. She peels off a sheet of paper
from a pad and hands it to Lara.

NATLA
Half now, the other half if you bring back the Scion.

Lara looks at the piece of paper and is amazed.

NATLA
That's minus expenses, of course.

LARA
It's worth this much to you?

NATLA
Money has never been an issue. And like I said, I pride myself on the unique. (Pause) I take
it you're interested?

Lara hesitates for a moment.

NATLA
I do hope you'll say yes, Lara.

A quick shot of Pierre, staring at Lara. She, of course, does not know the fate that would
await her if she turned Natla down.

LARA
How could I say no?

NATLA
(Smiles broadly) Excellent! I'm so glad. And from what I hear of your reputation, I have
no doubt that you'll be successful. Mister Burton here will see to your travel arrangements.
Our corporate jet can...

LARA
(Interrupting) I don't fly.

NATLA
Pardon me?

LARA
I don't fly. It's a rule.

Something tells Natla not to push Lara on this.

NATLA
Well, in that case we can make alternative arrangements. Mister Burton will be in touch.
(Pause) Well, what do I say now? Good luck, I suppose!

Natla and Lara shake hands, and Burton escorts Lara to the door.

NATLA
Oh, there's just one more thing. (Pause) The news of this discovery hasn't been easy to
contain, and by this stage I doubt that I'm the only collector who's aware of what we've
found. If I were you, I'd be prepared to encounter some... competetive interest.

LARA
(Smiles) I wouldn't have it any other way.

With that, Lara turns and leaves. Burton closes the doors behind her.

NATLA
Well? What do you think?

BURTON
What do I think? I think our intelligence was right. She's a grave-robber, not an
archeologist. I don't even think she's in it for the money. She's in it for the thrills.
She couldn't care less about the significance of the artifact, or why you want it. (Pause)
She's perfect, in fact.

NATLA
(Smiles) Exactly what I was thinking.

EXT. INDIAN SEA PORT - DAY

SUPERIMPOSE CAPTION:

GULF OF CAMBAY, INDIA

A large ship has recently docked in this bustling sea port on the western coast of India.
Dressed in her hiking gear and carrying a heavy backpack, Lara walks down the ramp from
the boat and onto the harbor deck.

Cut to Lara's passport being inspected. The Indian inspector flicks through the pages of
her passport - every page is filled with exotic stamps from around the world.

INSPECTOR
You've been around, Miss Croft.

LARA
I beg your pardon?

INSPECTOR
Your passport. You're very well-travelled.

LARA
Oh, I see, yes. Well, I'm hiking. You know, round the world. Been wanting to do it for years.

The inspector stamps Lara's passport and hands it back to her.

INSPECTOR
Enjoy your stay in India.

LARA
Thank you.

Lara makes her way through the checkpoint, through the port and out onto the street. An
excited-looking Indian CHAUFFER stands in front of a Mercedes holding a piece of card
which reads "LARA CROFT". Lara approaches him.

LARA
I'm Lara Croft.

CHAUFFER
Oh yes! Please, this way!

The Chauffer opens the rear passenger door to the Mercedes and beckons her inside. Lara
is a little suspicious.

LARA
Who sent you for me?

CHAUFFER
Natla! I take you to hotel! Yes, yes! Natla! Very good!

Lara unhooks her backpack and throws it inside the car, then gets in after it. The chauffer
shuts the door and gets in the driver's seat. As he does so his expression changes - he
suddenly looks a whole lot less ingratiating and cheerful, and a whole lot more serious.

LARA
Where are we...?

She's interrupted as both rear doors open and two Indian HEAVIES, bigger than the driver,
get in the car on either side of Lara.

LARA
What the...?

Both doors slam and the car pulls away at speed.

LARA
Who the hell are you? What is this?

Before Lara has time to react, one of the heavies has looped a plastic cord around her
wrists and pulled it tight, binding them together. 

LARA
Now what the...?

One of the two heavies pulls a gun, an old-fashioned pistol, and points it across his chest
at Lara.

HEAVY 1
(In Hindi) No talking.

Lara turns her head to look behind her, through the rear window. Right behind the Mercedes
is a second, backup, car. More Indian toughs inside.

LARA
Two cars? How flattering.

The gun is jammed into her ribs.

HEAVY 1
I say no talking.

Lara looks at the empty passenger seat next to the driver. On it, a long length of cord and
what looks like a lot of black garbage bags. She doesn't like the look of that at all. Time
to think fast.

Lara's backpack sits pressed tightly between her legs. Covertly, she rests her bound hands
on top of it. Very quietly and carefully, she produces a small folding knife from a pouch
near the top and opens it. She turns it inward between her wrists and starts to work on the
binding.

Bad luck for Lara - the shiny steel blade catches a glimmer of sunlight and it reflects,
alerting the gun-toting heavy. He grabs her wrist with his free hand, but Lara is too fast.
She cuts through the binding, then quickly turns the knife and jams it into his thigh. He
cries out in pain and the gun fires - right across Lara and hitting the second heavy in
the chest! He slumps forward, dead, as Lara and the gunman fight it out. They struggle,
and the door handle is hit - the door swings open and as the car lurches they're thrown
halfway out of the car. Now on top of Lara, the heavy tries to push her head down into
the ground as it rushes beneath her at high speed. His huge hand almost completely covers
her face. Just as Lara's face is about to scrape the ground, she unleashes a devastating
knee to the heavy's groin and he shrieks in pain, relaxing his grip. Siezing the moment,
Lara summons all her strength and throws the heavy over her head and out of the car - his
body crashes into a roadside fruit stall. Two down.

Lara closes the door, grabs the pistol from the floor and turns her attention to the driver,
who now looks very worried.

LARA
Out.

At first the driver refuses to budge. Lara cocks the pistol and puts it to his head. She
has no time for games today.

LARA
Out!

The driver opens his door and rolls out onto the street. For a moment the car is out of
control, driver-less. It lists wildly to the left and mounts the sidewalk - street market
customers run for cover as the Mercedes crashes through a series of stalls.

Lara jumps into the front seat and regains control of the car, pulling it back out into
the main road. The car is hit heavily from behind - Lara checks the mirror to see the backup
car right behind her. She pulls the car into a sharp turn down a smaller sidestreet, but the
backup car stays right on her tail.

From the passenger side window of the backup car, a gunman emerges, holding an AK-47 assault
rifle. He lets loose a burst - bullets pierce the trunk and shatter the rear window. A
second burst blows out the front window - Lara is missed just barely as she ducks her head
down. The gunman moves back inside the car to avoid hitting a building as the car shoots past.

Severely pissed off, Lara slams on the breaks as hard as she can, and the backup car, unable
to stop in time, smashes into the rear of the Mercedes. Amidst a shower of glass, the gunman
is thrown through the front window, across the hood and right through the rear window of the
Mercedes! Lara floors it again and the backup car, though badly buckled in front, gives chase.

The chase continues down these deserted side streets, the backup car coming level with the
Mercedes and bashing sideways into it, trying to run Lara off the road. A second gunman in
the backup car opens fire, shattering Lara's side window and again forcing her head down.
She returns fire, and her marksmanship isn't too shabby - the first two shots miss, shooting
holes in the rear bodywork, but her third shot hits the gunman in the head, and he slumps
over the door, dead. We notice that the two other shots have blown holes in the backup car's
fuel tank and it is now trailing a line of gasoline behind it.

The duelling between the two cars continues. Lara reaches through the window with the pistol
again to take another shot at the backup car - and then... from behind Lara, the AK-47 gunman
appears in the back seat! Badly cut and dazed he may be, but dead he ain't. Lara doesn't see
him until it's too late - he reaches around with his arm to strangle her, and seems to be
doing a very good job of it. Lara drops the gun, and it falls outside the car into the stret.
She tries to fight back, but can't while retaining control of the car, so she slams on the
brakes. The backup car, unable to react in time, races past them and finally screeches to a
halt about fifty yards up ahead.

The struggle inside the car continues - with Lara losing. And then, a brainwave. Groping
blindly, she finds the recline lever by the side of the seat and releases it - the seat back
drops down under Lara's weight, trapping the Indian heavy right under it! Painfully crushed,
he releases his grip on Lara, and she quickly turns and is about to land a knockout punch
when more machine-gun explodes around the car and Lara dives for cover.

GUNMAN (O.S.)
(In Hindi, subtitled) Out of the car!

Lara kicks open the buckled driver's door and gets out. Standing behind the backup car for
cover, the driver and gunman both have AK-47s trained on Lara. Hands up, she steps away from
the car.

GUNMAN
Over here! Keep your hands up!

At that moment, Lara notices the trail of gasoline that runs right past her foot and up to
the punctured fuel tank of the backup car, where it is still seeping out into a large puddle.
Thinking fast, she dives low behind the Mercedes for cover.

GUNMAN
Stop!

They both let loose with a stream of machine-gun fire. The bullets rattle around the car, and
as Lara was betting on, a stray bullet ricochets off the ground by the gasoline trail and
ignites it. Instantaneously, a trail of flame shoots towards the backup car. Both gunman and
driver see it, but not quite in time. They turn to run, but they've only made it a couple of
steps away by the time the fire hits the gas tank - not good enough. The car blows up in an
almighty explosion, taking both bad guys with it.

Stepping out from cover, Lara checks out the burning wreck for any sign of life. None. Then,
behind her, a sound. She turns to see the AK-47 guy struggling under Lara's Mercedes seat
where he's trapped. But he seems not to be trying to get out, but to reach something in his
pocket...

Lara rushes over, releases the seat recliner and drags him out of the car to the street,
just as he is popping something into his mouth. Standing over him, she pulls him up by the
collar.

LARA
Alright, who are you? Who are you working for? (And again in Hindi)

No response. He just smiles.

LARA
I'm not kidding here! Who are you?

And then, through the man's smile, a black froth oozes forth. Lara recognizes it almost
instantly.

LARA
Oh no. No, you don't...

She forces his mouth open and jams her hand inside.

LARA
No, don't bite down! Don't you...

But it's too late. The fast-acting poison has taken its effect. The Indian's eyes roll over
and he falls back to the ground. Dead. Lara steps back and tries to take stock. She looks
all around. Thick black smoke billows out from the burning car. In the distance, the sound
of police sirens approaching. Moving fast, Lara grabs her backpack and throws it over her
shoulder.

LARA
Five minutes. I've been here five minutes...

EXT. HOTEL - DAY

Establishing shot of a luxury hotel in New Delhi. The sign over the doors reads IMPERIAL HOTEL.

INT. HOTEL RECEPTION - DAY

Lara, looking extremely dirty, ragged and battered after her earlier excitement, walks
wearily up to the main desk. The smartly-dressed guy working reception eyes her
suspiciously - she doesn't look like the typical Imperial Hotel customer.

RECEPTIONIST
Are you looking for directions, miss?

LARA
I'm checking in today. You have a room for Lara Croft.

RECEPTIONIST
Well, let's see...

The receptionist flicks through his record cards. He seems almost disappointed when he
find the record of her booking.

RECEPTIONIST
Ah. Yes. Miss Croft. You're in room 611. I'm afraid it's not quite ready yet, it'll be
another hour.

LARA
I'll be in the bar.

RECEPTIONIST
Excellent idea, miss.

INT. HOTEL BAR - DAY

Lara walks into the bar, takes a quick look round and instantly sees something she can
hardly believe. Sitting at the bar is MILO TREVELYAN - American, mid-40s, rugged, unshaven
and dishevelled. He knocks back the last dregs of his double whisky.

MILO
(In Hindi) Another one here.

The Indian bartender refills Milo's glass.

LARA (O.S.)
Still exploring the bottoms of whisky bottles, I see.

Milo turns to see Lara standing at the bar. She sits at the stool next to him. Milo's
reaction is at first one of surprise, then he lets out a world-weary laugh. Instantly
there is a tense atmosphere between them - these two go way back.

MILO
Jesus Christ. I should've known.

LARA
Long time, Milo.

MILO
Portugal, ninety four.

LARA
(Nods) Looks like they re-set your jaw pretty well.

Milo traces the line of a scar along his chin with his finger - a memory of their last
encounter. The bartender waits for Lara's order.

LARA
Beer. And another for him.

A fresh glass of whisky and a bottle of Budweiser arrives in front of them.

LARA
Don't you have any Indian beer?

BARTENDER
Is Indian beer.

Lara turns the bottle to read the label - it's a Budweiser label, printed in Hindi. She
sighs and takes a big swig.

MILO
Of all the bars in all the world... (a pause, then) what the hell are you doing here?

LARA
I could ask you the same question. I'm sure we both have the same answer. Who dragged you
out here?

MILO
Would you believe the Indian government's department of religious heritage?

LARA
No.

MILO
I thought not. (A pause, then) Burolo.

LARA
(Surprised) You're working for Burolo? He's...

MILO
Your client? Not any more. I think your latest little screw-up in Egypt was the last straw.
Seems he wanted someone who can actually get the job done. (A pause, then) So, let me guess.
Natla.

LARA
(A pause, then) Well, since her team unearthed the original site, I think she has a better
claim to it than most, don't you?

MILO
(Laughs) Jesus Lara, I thought you knew this business. It's not about who's entitled - it's
about who gets their hands on it first. That's the game. That's why they use people like us.

LARA
Burolo's not interested in that ring. All he wants is another trophy to show off to his
Japanese clients.

MILO
Yeah, right. And Jacqueline Natla's after it for humanitarian reasons. Give me a break.

Lara thinks about this as Milo takes another shot of whisky.

MILO
Aah. Whole thing's a god-damn wild goose chase anyway.

LARA
Looks more like a Wild Turkey chase from here.

MILO
By the way, Lara, did I mention you looked like shit?

LARA
Tough commute. (A pause, then) You're wasting your time out here, you know, Milo. The
original Sanskrit's the only way to get to that ring, and only Natla's got it.

MILO
What makes you think I haven't already seen it?

LARA
You're fishing, Milo. Finish your drink and catch a flight home. (Sarcastic) It's dangerous
here. I'd hate to see you get hurt.

MILO
(Laughs) Jesus Christ, I think it's finally happened. You're actually starting to believe
your own hype.

LARA
I'm serious, Milo.

MILO
Yeah Lara, I'm serious too. Listen to me. You and me, sitting here like this, talking - this
is as pleasant as it's ever going to get. You're not going to get in my way this time out.
Not any more.

LARA
That reminds me. I don't suppose you'd know anything about seven guys gunning for me at the
harbor this afternoon, would you?

MILO
Funny. I was just about to ask you if you knew anything about the two waiting for me in my
room last night.

LARA
Only two? I guess they're not taking you quite as seriously. (Pause) Even so, maybe you really
ought to think about leaving before it gets too dangerous.

MILO
No, maybe you'd better think about it, Lara. Just maybe you're in over your head this time.

Lara smiles, finishes her beer and stands up to leave.

LARA
Well, I have work to do. Good luck, Milo. Something tells me you'll need it.

Lara turns and walks away.

MILO
(Under his breath) I should've killed you in New Zealand.

Lara re-appears behind Milo. She leans close to talk right into his ear.

LARA
And I should have killed you in Peru. But I suppose we're both just too polite.

INT. HOTEL ROOM - DAY

A quick salacious shot of Lara enjoying a hot shower before emerging into her bedroom,
wrapped in a towel. Her backpack lies on the bed, half unpacked.