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COLIN (V.O.) Twenty forty-eight was a good year for the world.
FADE IN:
EXT. SUBURBAN STREET – DAY A YOUNG BOY (under 10) walks down a sidewalk, a smile on his face. He drags a stick along the white picket fence. TICK! TICK! TICK!
COLIN (V.O.) The Petrol Wars were over. Alternate energy embraced. The globe had cooled a quarter of a degree.
TICK! TICK! TICK! The Young Boy approaches a corner.
COLIN (V.O.) No one suspected the time bomb that was ticking, waiting to explode in our faces.
TICK! TICK! TICK! The end of the fence, the Young Boy turns the corner. His face lights up with alarm.
A dog snarls at us, thin white foam around its mouth.
COLIN (V.O.) Lyssavirus -- Rabies.
The dog jumps toward us, open mouthed, ready to bite.
BLACK
INT. BEDROOM – DAY The Young Boy lies in bed looking feverish, dehydrated and weak. His MOTHER holds a glass of water up to his lips and tips it. The water runs down the side of the Young Boy’s cheeks.
COLIN (V.O.) It was apparent we were seeing a mutant strain of the virus; existing vaccines had no effect.
The Mother brushes her hand against the Young Boy’s forehead. The Young Boy grabs her arm. He tenses, his fingernails dig into her arm. Her concern for the boy overrides the pain.
COLIN (V.O.) The loss of life was tragic. The Young Boy relaxes, breathes his final breath. The Mother’s face twists with grief. The Young Boy’s finger loosen from around her arm, they leave trails of blood as they slide away.
COLIN (V.O.) But there was room for hope. It was only a few isolated cases. We thought it could be contained.
A gunshot is heard. The Mother lifts her head; a bitter smile.
INT. KITCHEN The sun shines in the window, backlighting the Mother. Her back to us, she washes dishes to the calming sound of running water.
COLIN (V.O.) But we were wrong.
The window light darkens; a cloud over the sun? The Mother drops a dish.
She holds her arm where the Young Boy scratched her and leans against the counter.
Then she turns, her face flushed, sweaty and her hair stringy. She collapses. She convulses on the floor.
Outside, dogs bark and howl.
COLIN (V.O.) Suddenly the disease was everywhere. Perhaps it had become airborne but no one was truly certain how. The one thing we did know was that wherever it hit, animals went insane and people died. It was a time of madness.
The mother stops convulsing and lays still; some foamy saliva drips down the side of her face.
COLIN (V.O.) How many people died? At the last official count over ten million.
The window pulses red light as the sound of an emergency vehicle siren passes. Then a scream followed by gunshots.
EXT. SMALL MANHATTAN APARTMENT BUILDING – DAY The silhouette of a man, Colin O’ Riely, stands framed in a second story rain-soaked window.
COLIN (V.O.) That was two weeks ago, the day the Times shut its doors, when I still had science to report. After that, all I could do was watch everyone else pass away and wonder why I was still alive.
INT. SMALL MANHATTAN APARTMENT BUILDING Colin turns away from the window. He looks hollow. He walks toward a single unmade bed.
COLIN (V.O.) But even that source of entertainment flowed to a trickle and then stopped. It’s been three days since I’ve seen another human being. Could so many have died that I am the only one left?
He lies down, his hands behind his head.
COLIN (V.O.) How long was it that the human mind could survive without social contact? It wasn’t long, a month maybe. Maybe it’s already gone.
Colin's eyes close briefly, eyelids flutter. Three blinks only; then in two shakes of a lamb's tale he sees:
A lamb, pure white with blood painting its neck upon a black stone altar of death.
Three more blinks, and the lamb turns to a great black dog, the black stone altar rises up into a gelatinous window which Colin tries to lift, but to pull at this substance has only the effect of drawing back like a rubber band.
Three blinks again and that's nine. Nine rainbows over a bridge rising across the water, and on the bridge is where the great black dog grows fierce, ugly growls aimed at a little girl. Whose little girl?
Ribbons and bows in her hair. Sugar and spice and everything nice in the basket she carries like Little Red Riding Hood. Save her Colin!
He pulls at the gelatin window. It draws back. He bears his weight into it. It stretches like putty, some of it globs into his airways. He chokes and backs off helplessly as:
The child is attacked.
Into Colin's OPEN EYES: only his wide eyed stare, while the sound of the kill rises then falls above the sound of rushing waters.
Flashes of rushing waters, then back atop the bridge again where we see it finished:
The ribbons and bows and pretty fabric lie shredded and nothing else exists. Neither a ringlet of hair nor a piece of flesh and bone. Gone too, is the dog. But the bridge stands empty, cold steel against a sudden fog.
Bits of light shoot towards us like tiny arrows.
A sinuous cloud of bluish arms silhouette under the mist. It's hard to see what it is.
A great head crowned with living creatures bows before us.
Three more blinks and that's twelve. Twelve hours around the clock as big as the screen. "Twelve around twice", Colin hears a skipping rhyme song. The little girl's voice?
Amazingly, it is. Pieces of her appear:
LITTLE FINGERS cling from the unseen side of the clock, then her head, then a leg to grab the rim, until finally she climbs over the edge emerging before us.
The clock moves in space so now we're looking from above.
As the giant second hand ticks, she jumps forward and back, each time moving with it.
Twelve around once, Twelve around twice, Round at the place where the maple leaf falls, This is good advice.
Carillon bells chime from the Rainbow Tower on Canada's side of the bridge. Collin awakes. He rubs his his eyes. They turn blackened. Some kind of ash.
INT. SMALL NEW YORK APARTMENT – DAY Colin sits up with a start. He wipes the imaginary ash from his eyes, spits it from his mouth. He hops off the bed. Then he realizes it was a dream.
COLIN Jesus!
He pauses.
COLIN (V.O.) No. Not Jesus. Something else.
A chime. Colin glances at a pendulum clock hanging on the wall. He shivers. It reads 12:00.
COLIN Around once...
He spins to find he faces the window. Then he steps slowly toward the window…
COLIN Twelve…around …twice.
...and he looks out.
In the street below, CORDELIA (13) wanders timidly. She’s disappointed; she scans the area in a search but doesn’t find what she is looking for. Colin smiles as he presses his face closer to the pane.
A movement, behind her, Colin’s eyes slide toward it. It’s a dog!
Alarmed, Colin bangs his fist against the window and shouts.
COLIN Hey! Look behind you!
But she doesn’t seem to hear him and she doesn’t see the dog either.
Dogs! There’s more the one.
COLIN Shit!
Colin scans his room. He grabs a bat that leans against the wall.
Another glance out the window …
Cordelia half-kneels, she holds her palm flat out toward a snarling rabid dog, she tries to befriend it.
Colin slams the bat against the window.
EXT. STREET Glass shatters. Both Cordelia and the dogs look toward the sound.
Colin shouts from the window.
COLIN Get the hell away from her!
Cordelia shakes her head. She takes a step backwards, and scans the area as she goes. She is suddenly frightened. The growling drooling dogs slip closer. She trembles.
A door slams. Cordelia looks in that direction.
Colin runs toward her, his bat raised.
A dog jumps at her, knocks her down. She wrestles with it. She uses every bit of her strength to hold its foaming open jaws away from her face. Its back paws scratch at her bare legs. Is that blood?
Another dog jumps at Colin, he swing and connects with a thud. The dog falls away.
Cordelia weakens. Open jaws inch closer.
Then she screams.
At first it is the normal high-pitched scream of a young girl. Colin and the dogs stop, mesmerized by the sound. Then it ramps up to a painful ear-breaking shrill.
Colin drops the bat, he holds his ears and falls to the ground. The dogs whimper as they scatter.
Then the sound stops.
Cordelia sits up. Colin stares up at her, his eyes wide.
She looks away from him, saddened.
Colin uncovers his ears. He sits up, looks around. He’s amazed.
COLIN They’re gone. (half-laugh) All of them!
He stands and walks toward her. She looks at him askance.
COLIN That's quite a talent you have, uh, what’s your…
He notices the blood on her leg. Alarm.
COLIN You hurt? Did it bite you?
Cordelia pulls down her dress to cover the blood spot.
Colin’s alarm escalates to anger. He hurries toward her. He puts his face in hers.
COLIN Did it bite you?
Cordelia shakes her head, she trembles, afraid.
COLIN I know it did! I saw the blood.
He grabs at the hem of her dress.
CORDELIA No! Stop!
Cordelia holds her dress down. They struggle.
COLIN Let me…
THUMP!
BLACK COLIN POV: INNOCENCE(late 20s) pulls back the butt of her rifle. Her dark skin glistens with sweat. Her face twists with anger.
BLACK COLIN POV: Cordelia nestles tightly against Innocence’s side. Innocence cocks the rifle. Colin reaches toward them with his outstretched hand.
INNOCENCE Try it and I will kill you!
Colin’s hand drops.
BLACK
EXT. STREET Colin lies sprawled on the street, a large bruise on his forehead. He stirs. He holds his head and groans as he sits up.
He scans the street. It’s empty, quiet. He lowers his head and sobs.
EXT. SAINTS PETER AND PAUL JESUIT CHURCH – DETROIT, MI – DAY
JAMES FLEMING, 30s, sits on the steps to the center entrance of this hundred year old church. The roads around him are completely silent and bare. James reads a book.
A growl sounds from some distance away followed by what sounds like two animals fighting. James looks up, listening. His eyes only show interest as opposed to any fear.
James sighs and looks back to his book.
INT. CHURCH – DAY
The interior of the church can only be described as ornate and beautiful. The walls are stark white with columns ordaining the sides. Small murals are placed on the ceiling here and there the length of the sanctuary as well as a larger one over the front of the sanctuary.
A huge holy water basin sits at the back of the wooden pews while carvings of the crucifixion in the same white marble decorate the front wall. Sitting cross-legged in the front of the sanctuary is LEONA CARTER, 20s.
Her eyes are closed. She murmurs inaudibly tracing her fingers from bead to bead of her rosary.
Suddenly, she tosses the rosary to one side and folds her hands in her cross-legged lap.
LEONA (whispering) Please … show me the way.
EXT. CHURCH – DAY
Growls emanate again from somewhere closer to James’ position. He looks up from his book. About a block up the street to his left, a cougar emerges. James watches it closely, unmoving.
Its eyes are wild for an animal, it pants heavily and drools incessantly. It walks toward a fence blocking the nearby expressway, followed closely by two more. They turn and walk away from him.
James slowly rises from his seat and backs into the church.
INT. CHURCH – DAY
James walks into the sanctuary, looking to Leona still sitting motionless on the altar area.
JAMES I hate to bother you, Leona, but will you be much longer?
Leona never opens her eyes or moves.
LEONA I’m trying to find the path.
JAMES I told you. It’s up highway 94 to 402 through Ontario.
Leona sighs.
LEONA Not that path. Besides, you weren’t in any hurry when we stopped.
JAMES I’m just a bit concerned about the growing cougar population.
Leona opens her eyes.
LEONA There are cougars here?
JAMES Well, they were up North, but since I just saw a few of them, they’re apparently here too.
She closes her eyes again.
LEONA Don’t worry. I’ve got them covered.
She reaches to her left and pats her orange backpack, its most prominent feature being a shotgun sticking out of it.
JAMES Fair enough. That little toy of yours won’t do me any good in here, however.
LEONA Then you’ll have to stay inside.
James sighs and sits on the pew closest to the holy water basin. He sits his book down next to him. The book only has a black cover and the spine is facing away from him, obscuring its title. He crosses his arms and closes his eyes.
EXT. FLEMING PSYCHIATRY – DAY – FLASHBACK
The building is of simple brick with no adornments other than the sign showing the Psychiatrist is Dr. James Fleming.
INT. FLEMING PSYCHIATRY – DAY – FLASHBACK
SUPER: Two weeks ago
A radio sits atop the receptionist counter. The receptionist, KELLY, leans next to it, listening intently.
RADIO …and scientists report that they’ve been unable to cure the virus once it sets in reporting the mortality rate, at present, is one hundred percent. Dr. Tripps of the University of Wisconsin states, however, that they should have a cure within a few days since they have so many test cases at present…
James enters. Kelly snaps her head toward him.
JAMES Please turn that nonsense off, Kelly. We really don’t have time for-
He looks around the room.
JAMES Where is my three o’clock?
KELLY She said she won’t be able to make it.
JAMES Did she say why?
KELLY Her mother died.
JAMES Has anyone else called?
KELLY All of them.
JAMES Come again?
KELLY They’ve all called, Dr. Fleming. No one will be in today or tomorrow, and if all of these reports are correct, ever again.
JAMES It’s all a lot of nonsense for the moment. Just the media hyping today’s latest scare. In a week or two, no one will even remember it.
He turns and then pauses for a moment. He turns back..
JAMES Well, except those who lost someone, of course.
He turns to walk back into his office again, but pauses again.
JAMES And…um…I’m sorry about your brother-in-law…
Kelly sniffles.
KELLY My sister and her baby have it too.
James nods. He doesn’t smile or make any other discernable emotional reaction to this. His response comes out very flat.
JAMES Well, why don’t you go ahead and take the rest of the week off then. The way it’s looking, I think I can manage.
KELLY Thank you, doctor.
Kelly quickly gathers her things and exits. James doesn’t give her another glance as he walks back into his office and closes the door.
END FLASHBACK
INT. CHURCH – DAY
James remains where he was before. His head is tilted back and his eyes are closed. A hand smacks the back of his head.
LEONA Hey, Mr. Spock. I’m ready when you are.
James gets up and grabs his book. He follows Leona to the exit where James picks up his own rather droll backpack and exits the church behind her.
EXT. DETROIT STREETS – DAY
Leona already has her gun drawn as James walks down the steps behind her. He places the book in his backpack. Leona looks at him as he does.
JAMES We should probably hit a store for more canned goods.
LEONA You’re still reading that?
JAMES It helps to pass the time when you think you need to find your way. I’ve already told you our way.
LEONA I have my needs.
She walks to the nearby street corner and then up St. Antoine Street, followed by James.
JAMES It’s a dream, all right? Dreams are mental manifestations of your life. Proper interpretation can lead to personal insight.
LEONA Yet you’re still stumped on why we’re doing what we’re doing.
JAMES I’d rather not talk about it.
LEONA Why are you reading that, by the way?
JAMES Oh this?
He holds out the book which clearly shows the spine this time. It’s The Stand by Stephen King.
JAMES Trying to get a little insight, that’s all. The whole scenario sounded very familiar and I finally figured out where I’d read it before.
LEONA So tell me, Mr. Personal-Interpretation-of Mental-Manifestations… Are we going to Boulder or Las Vegas?
JAMES Well, it really depends on how you look at the situation and the sheer coincidences that are playing into-
LEONA Sh!
James stops and looks in front of them. A pack of four cougars stands in front of them. They are motionless.
It looks like a standoff as neither group moves at all for a short time.
JAMES We should go. We can find another way.
LEONA I can take them.
She takes aim slowly. James stops her.
JAMES Are you crazy? You can take one or two down, but the rest will have us.
LEONA Fine.
They back away slowly, but the cougars notice the movement.
JAMES Come on!
James and Leona turn and sprint away from the animals. They both leap the fence separating the highway from the road, quickly cross it and leap the fence on the other side, staying on St. Antoine St.
They quickly glance back and find that the cougars have leapt over the fence on the far side already.
LEONA They’re not giving up!
JAMES Nope.
They continue their run from the cougars, who continue to gain ground on them. The Detroit River closes in only a couple blocks ahead of them. Leona glance behind. One cougar has closed the gap to only a few yards.
Leona aims behind her and cracks off a shot. She misses, but it startles the beast. It only falls back a little, but kicks back into the hunt with its fellows.
They pass Atwater Road. James turns to Leona, breathless.
JAMES Can you swim?
LEONA (also breathless) Yeah.
She smiles and turns to him.
LEONA Is your backpack waterproof?
James looks at her, concerned. He looks back. The cougars are closing in fast. James and Leona cross the fenceline into the park-like area at the riverfront. Leona laughs a little.
LEONA Hope you enjoyed your book.
They leap over the fence and splash into the water.
JACK STONE'S DREAM - TWO FACES OF GOD - SHIVA'S CALL
EXT. JAIL CELL A hollow cell holds Jack as Jack HOLDS the bars. Only echoes, only restless calls from inmates and eerie footsteps, until:
GUARD (maybe sympathetic) You ain’t goin’ anywhere so you might as well lie down.
Jack opens his mouth, but doesn't speak.
The guard continues to the end of the corridor.
Tickety-clank-clank-tickety-clank. He runs his stick across the bars of
THE EMPTY CELL.
GUARD I love the sound of 1A. Goin’ home boys! See you tomorrow.
The door shuts.
Black.
NEXT EVENING
Again, Jack stands at the bars of his cell.
The same guard walks the same route, the tapping of time with each verdant step.
Both Jack and The Guard's eyes meet. The Guard appears to be searching for something inside of Jack.
The Guard dips his hand inside his coat, digging for his solution.
There must be thousands of pockets inside his coat.
He pulls out a large soup ladle; tosses it aside.
A hammer. Chucks that.
Jack’s curiosity is his hand on his chin.
GUARD I’ve been meaning to thin things out for awhile now.
A hose. Long. He pulls and pulls until it rests coiled on the floor, water dribbles out one end.
A candle. A wad of ketchup packets. Bottle of Glue. All chucked.
He pulls out a rubber chicken. Stuffs it back in his coat.
He pulls out an egg.
GUARD (a snigger) The chicken came before the egg.
Stuffs that back.
Alas, he pulls out a book.
GUARD Try reading it. It’s helped some.
Jack takes it. On the cover:
THE TWO FACES OF GOD - SHIVA'S CALL
The illuminated picture of William Blake’s The Song of Los, but it’s different. It contains numerous
ELECTRIC BLUE FINGERS gripping the world - real.
JACK I’ve seen this before- William Blake right?
THE GUARD A poet and an artist, yes.
JACK But the original didn’t have all those hands.
THE GUARD No. Times have changed.
JACK Hey,
Off The Guard's mystic eyes:
JACK Why is it that--
Jack sees something in The Guard for a moment and stops.
The Guard draws closer, waiting.
JACK Why is it that no one is ever put in 1A at the end of the hall?
GUARD Out of respect. Someone special lives there.
The guard unlocks Jack’s cell and winks.
GUARD Y’all come back now. Ya here?
Jack’s frozen stare at the unlocked door-- he SLOWLY runs his hand in the open gap. As his hand reaches through, it disappears and startled, he pulls it back.
At that, the faint sound of a child’s voice singing - the sound of skipping and rhyme and the restless calls
and the shadowed walls
and with one large storm like gasp of breath, the prisoners cease their calling.
The sound of water falling.
Then still at last, a moment passed. Away.
The little girl’s voice rises.
Jack’s back is flush with the cold wall. It appears he wants to exit, but he’s afraid.
CORDELIA’S VOICE Away. Away. Be still Today The flowered clock From Scotland stock Is where we all must pray
*Silence.*
Jack’s hand trembles as he pushes the jail door open.
CORDELIA’S VOICE Thinking thinking thinking. Man asleep and blinking. Wait.
*Silence.*
Jack stands afraid, half in, half out. Half body, half spirit.
CORDELIA’S VOICE The heart when left alone, Becomes as dry as bone,
It has its strife The pain of life
And fear of death's last moan
A heart of certain stone A grimly muttered tone
For whilst it save Beyond the grave
And call to Light Unknown
Que Sera Sera La-la-la-la-law
When time is spent Your back is bent
You clutch at one last straw
Cordelia repeats her song, while jumping over a Chinese jump rope, the bands strung from the bed to the bars.
Every time or two, she purposely STOMPS on the bands in her black shoes with thorn-like protrusions.
Jack slowly leaves the cell. He starts to freeze; the chill is immense. He shivers, his breath a cold fog.
As he walks past his cell mates, they whisper: “You really don’t want to knows.”
BONEY FACED INMATE You really shouldn’t go.
Jack stops, uncertain, then carries on to the end of the hall in front of 1A.
Close on Jack as he sizes her up.
Cordelia’s dressed in black, with an equally black string of glossy pearls strung around her neck. A flimsy gaiety aerates against her dark garb.
Her leotards have holes. Her thorny shoes have pointed tips. She bends down and pokes her finger into one.
It bleeds and she rubs color onto her lips as if applying lipstick and onto her cheeks like blush.
CORDELIA Mom always complained I was ugly and pale.
If only Jack could get up the nerve to ask, but:
JACK’S POV
BONEY FACED INMATE You really shouldn’t go.
Jack shakes his head. He stutters something. Then finds the words:
JACK What are you singing?
Cordelia stops jumping and opens the door of her cell. She leads Jack in by the hand and gently pushes him to sit on the bed.
She falls childlike at his feet and reaches for a few stray black marbles, rolling them absently underneath the Chinese jump rope.
High in the air, looking down on downtown Ottawa. Slowly we drop. Nothing moves…life seems to have ceased.
Jack (V.O.) They say when shit hits the fan, it hits hard…whoever they are, they were right. The shit has officially hit the fan.
A large, ornate castle-like structure below comes into view.
EXT. FAIRMONT CHATEAU LARIER
Still dropping down. Cars are parked haphazardly around the grounds of the beautiful hotel.
Jack (V.O.) It was bad two days ago, but life still went on…people still carried out their daily rituals, businesses ran as best they could…Hell, we even had E-Mail, TV, and cell phones.
Bodies lie about the grounds…some bloody and ravaged, others looking like they just fell asleep. No hint of life, except for the squirrels that scurry between the corpses.
Jack (V.O.) I was here in Ottawa to give a presentation on the power of positive thinking. A thousand clients at fifty bucks a pop. Two days later and they’re all fucking dead. Yeah, I’d say the shit has hit.
ALBERT, 71, thin, wiry, and quite spry for his age, sits by himself at a beautifully adorned table for four. He sips OJ from a heavy goblet.
Jack (V.O.) I’m not just selling the concept of positive thinking, though…I’m its number one client. I’ve never given up before, and I’m not about to start now.
JACK, 35, tall and toned…physically imposing, enters and heads towards Albert. Albert looks up and smiles.
Jack ‘Mornin’ Albert. It’s good to see you’re still with us.
Albert Good morning Jack. Like-wise. I guess you never know these days.
Jack sits down, grabs an OJ and takes a swig.
Jack Is Sam…?
Albert raises his hand toward SAMANTHA, 37, who pushes a large cart with several silver domed plates toward them. Samantha is beautiful, stunning maybe...crystal blue eyes that give off a sense of comfort and ease, but pierce to the very soul.
Samantha Good morning Jack! I thought we might as well have one last beautiful meal…
Albert has a confused look on his face.
Jack (looking at Samantha) Have you told him our plans?
Her eyes say no.
Albert One last meal? That doesn’t sound good.
Jack reaches over and puts a hand on Albert’s shoulder.
Jack One last meal here in Ottawa Albert…we need to move on, we think. Listen…you know Sam is a world renowned clairvoy…
Albert She’s a See’er. I can sense her gift…it’s real.
Albert takes a bite of the French toast in front of him.
Samantha I’ve had visions…I mean dreams. I think I know what we have to do.
Jack I have too. Especially lately…this little girl, this darkness, a book, a choice…sing song rhymes, and some damn clock made out of flowers.
Albert looks up, stops chewing.
Albert The flower clock at Niagara Falls. It’s on the Canadian side. I’ve seen it.
Samantha I’ve seen it too…in my dreams. I think we need to go there. I think we’re all here for a reason. I don’t think it’s merely coincidence that the three of us were all here at the same time
Eyes all wide…mutual recognition.
Samantha It’s not by chance that we’re here and we’re the only ones who survived. We’re here because we needed to meet each other…and…
Jack And join forces, so to speak. Something’s happened to the world…something…I don’t know…evil. We can make a difference. We can. I’ll be damned if I don’t try.
Albert breaks into a warm smile. He sets his fork down.
Albert Let me tell you two something. I also dreamt last night…first dream I’ve had since my Honeymoon night…fifty years ago…oh that was a beautiful dream…such a beautiful dream.
Albert wipes at his eyes. Samantha takes a bite of bacon, a smile on her pretty face.
Albert Well, I never dreamt again since that night, at least not that I can remember. I can’t really remember what I dreamt last night either, but I woke up early this morning, packed my bags, and knew we were off on some kind of adventure. I felt it in my bones, and these old bones have been around long enough to know when something’s up.
Jack smiles, reaches out to Albert. They shake hands vigorously. Samantha reaches over as well, and the three join hands. Confidence shines.
INT. FAIRMONT CHATEAU LARIER – FRONT LOBBY – LATER
The three stand together.
Jack OK, so Albert, can you gas up that BIG, beautiful yellow Hummer while we get everything ready?
Albert I knew I carried that siphon for a reason all these years. I’ll bring it up front in twenty minutes.
Jack Perfect. Be safe Albert…keep your eyes open. Sam, you gotta get packed and ready pronto…cool?
Samantha smiles and runs a hand through her hair.
Samantha Don’t worry boys, I’m packed and ready to go…two bags only. I’m going to grab some essentials from the kitchen. I’ll be ready in twenty.
She turns around, starts to leave.
Jack Sam?
She turns back to face them.
Jack You’re awesome Sam. Grab some canned goods…knives, a can opener, and anything else you think we’ll need. I’ll take care of the rest.
A huge canary yellow HUMMER pulls up in front of a black DENALI. Albert slowly hops out and goes to the back of his vehicle. He looks so small next to this massive SUV.
Albert Beautiful hummers…those were the days…I miss you Betty!
He opens the back hatch. The SUV is filled with high tech gear including a rifle.
It’s quiet up here…nothing moves…except for a lone squirrel just outside, working a nut in its paws, midway up a leafless tree.
An “EMPLOYEE ONLY” door bursts open, and a WOMAN, 40’s, sprints out, eyes wide and scared.
She runs full tilt toward an old HONDA, parked some fifty yards away by itself…her remote out in front of her.
The squirrel’s small head turns instantly toward her. The nut drops. It leaps forward from the tree in a single, great bound. Its tiny clawed feet make a CLICKING sound as it hits the concrete.
The woman turns toward the faint sound, but doesn’t slow her pace. She SCREAMS…pushes the remote madly in front of her.
Albert looks up at the sound of a SCREAM, somewhere above him. Gas flows between the two cars through his pump siphon. He stands up, alarmed and at attention.
The car speeds forward, down toward the 2nd level, clipping a sleek Corvette as it rounds the first corner.
INT. HONDA
One aggressive bite and the tip of the woman’s nose is gone. Bright white cartilage slowly turns red. The thick blood trickles into her mouth, silencing her screams.
Violent CRASHING SOUNDS ring out nearby. Albert looks scared…and still so small next to his Hummer.
Albert Betty, my dear….I need you now more than ever. I hope you’re standing next to God and looking down. Something’s coming Dear, and I need you.
The Honda comes crashing around the final turn, careening against a classic Mercedes. Collision course for sure.
INT. HONDA
The woman swats the squirrel away with her right hand. It’s vaulted against the driver side window, and back into the rear of the car. She wipes at her face…her hand comes away bright red.
She screams as Albert, his Hummer, and the Denali come into view…directly in front of her. Her eyes glaze over as she spins the wheel.
Albert makes a leap toward the back of the Hummer. The Honda strikes it briefly, disconnecting the siphon. It bounces off, and makes its way towards the rear wall.
Gas spills freely from the hose. It immediately follows the out of control car, as it heads downhill
The Honda hits hard with force, and is instantly engulfed in a fire ball that lifts it into the air, against the ceiling. It comes down hard as thick black smoke bellows out.
Albert rights himself, sees the gas trail heading toward the burning wreckage. For a 71 year old man, he moves at the speed of light, almost seemingly being carried along.
He’s in the Hummer as the gasoline hits the flame…and catches light, racing right back at him.
INT. HUMMER
Albert steps on the gas, as tears fill his eyes.
Albert Betty, I need you now my Darling. Please…now!
The Hummer pulls away, tires screeching. The flame races behind it. Gas continues to spew from the open gas tank. Each splash instantly blazes in fire.
Full speed ahead around the turns, smashing against cars and walls. Sparks fly out and catch fire inches behind the vehicle.
EXT. FAIRMONT CHATEAU LARIER – FRONT DOORS
The Hummer squeals to a stop. The flames are no longer in pursuit.
Jack and Samantha bound out on the full run.
INT. HUMMER
Albert We’re gonna beat this Betty…with your help and God’s grace, we’re gonna beat this.
She is in the passenger seat of a car, with a jacket over her. Innocence sits in the driver’s seat, in the process of hot-wiring the vehicle. She wears a vest and jeans.
A loud thump on the roof of the car.
Cordelia opens her mouth. Innocence immediately covers it with her hand. Cordelia turns to her. Innocence motions for Cordelia to be silent. Cordelia nods and complies.
The sound of scraping metal and steady shuffling is heard, accompanied by a deep, threatening growl. Streaks of blood trickle slowly down the windscreen.
Cordelia remains frozen, her eyes wide with fear. Innocence reaches for the assault rifle on the dashboard.
She stops as she sees a lone boar trot through the many wrecked and abandoned cars that litter the road. It huffs and grunts as it comes across a severed arm. It wastes no time in feeding.
The shuffling atop the car stops still. Like a bolt of lightening, a snow leopard vaults down the hood of the car, and chases after the startled boar.
Innocence looks out. All is quiet. She turns on the wipers, clearing the blood off the windscreen.
INNOCENCE We can’t stay here. Got to keep moving--
CORDELIA North.
Innocence looks surprised.
INNOCENCE Yeah… who are you?
Cordelia remains silent.
INNOCENCE Any family?
Still silent.
The horrid shriek of the boar echoes down the street, frightening Cordelia and Innocence. Cordelia clutches and squeezes Innocence’s hand. Innocence squeezes back.
Innocence looks at the fuel levels.
INNOCENCE Almost out of fuel, we’ll have to find another car if we’re going to get out of the city.
CORDELIA Thank you…
Innocence looks at Cordelia with sympathy.
INNOCENCE …I’m Innocence.
CORDELIA I’ve never heard that name before, it’s sweet.
Innocence brushes off the compliment.
INNOCENCE I don’t care for it.
Cordelia looks confused. Innocence gives her an awaiting look.
CORDELIA Oh, I’m Cordelia.
INNOCENCE That’s a much sweeter name… are you all alone?
Cordelia nods.
INNOCENCE Likewise.
CORDELIA We could travel together.
Innocence regards the poorly restrained desperation in Cordelia’s voice.
INNOCENCE You think I was going to leave you?
Cordelia looks down at her tattered dress.
INNOCENCE We’ll get you some new clothes, next chance we get, okay.
Cordelia smiles and nods.
Innocence grabs the assault rifle.
INNOCENCE Let’s get moving.
CORDELIA Out there?! But…
INNOCENCE I’m not going to let anything happen to you.
Cordelia sees the sincerity in Innocence’s steely eyes.
CORDELIA Okay.
EXT. STREET – DAY
They exit the car and cautiously make their way down the street. Cordelia wears the jacket and keeps one step behind Innocence, who is on full alert for anything that isn’t them.
INNOCENCE That man from before...
CORDELIA I don’t want to talk about it.
Innocence leaves it.
Further down the street is the entrance to the Lincoln Tunnel.
CORDELIA Are we going through there?
INNOCENCE It’s the only way to go.
Abandoned cars spill out of the tunnel.
CORDELIA How are we going to get through?
Innocence looks around.
INNOCENCE I don’t know. We’ll see what it’s like inside.
Something emerges from behind an overturned truck near the entrance of the tunnel. A hulking white Rhinoceros. Its horn and mouth are bloody, and one of its hind legs has a broken pipe protruding from it.
Innocence grabs Cordelia. They duck down.
The Rhino snorts and grunts. It walks over to the entrance of the tunnel and urinates. It scrapes its feet on the ground before entering the tunnel.
Innocence and Cordelia slowly rise.
CORDELIA We’re not still going in there right?
Innocence contemplates for a moment, and then squeezes Cordelia hand.
INNOCENCE Come on.
They head for the tunnel.
Colin watches from further down the street. He crouches, hidden behind a car. A torn piece of clothing is wrapped around his head wound.
INT. LINCOLN TUNNEL
Innocence and Cordelia enter inside the vast and dark tunnel, lit up by amber lights. The Rhino is nowhere to be seen.
They cautiously make their way past the few vehicles scattered around the tunnel, checking to see if any still have their keys in the ignition.
Cordelia pulls Innocence’s arm as she notices a pick up truck with the keys inside.
Innocence is focused on the Rhino further up ahead. It hasn’t seen them and is busy scrapping its horn against a car.
Innocence opens the truck door quietly, and ushers Cordelia inside; all the while keep her gaze fixed on the Rhino.
She gets in and closes the door as silently as possible. It’s not silent enough though.
The Rhino has cottoned on to them. It snarls and wipes it horn across the ground whilst stamping its front feet.
CORDELIA It’s going to kill us!
Innocence starts the car, turns on the headlights, and revs the engine aggressively.
INNOCENCE Let it try!
She peels off and the Rhino charges.
INNOCENCE Get down and brace yourself!
Cordelia doesn’t need telling twice.
The gap between the pick up and the Rhino closes rapidly. The Rhino is knocked aside as it slams into the pickup. The pickup is spun around. Cordelia screams and Innocence is dazed.
The Rhino staggers back to its feet and turns around ready for a second charge.
Innocence hits the pickup into reverse and screeches away as fast as it will go.
The Rhino charges.
Innocence holds the assault rifle out of her driver side window and fires some rounds. Her aim is poor due to driving backwards at the same time.
Cordelia looks back and is alarmed by a car in their path.
CORDELIA Car!
Innocence quickly swerves the pickup around, and continues accelerating. The pickup is now facing forward again and the Rhino is behind them, but gaining speed.
It races up beside them and slams into Cordelia’s side of the pickup.
CORDELIA Innocence!
The Rhino slams again.
Cordelia trembles, and is about to scream, but Innocence pushes her down.
INNOCENCE Get down!
She points the assault rifle point blank into the side of the Rhino’s face and opens fire.
The Rhino instantly tumbles and rolls. Shrieking horrifically. It crashes into another car and becomes impaled on some protruding steel.
The pickup skids to a stop.
INT. PICKUP
Innocence feverishly checks Cordelia for wounds.
INNOCENCE Cordelia! Are you hurt? Did it hurt you?!
Cordelia is shaken.
CORDELIA I’m okay… I’m okay.
INNOCENCE Wait here.
Innocence exits the pickup.
INT. TUNNEL
She walks a little way towards the dying Rhino, and takes aim with her rifle. She fires at the mangled mess of animal and automobile. The sparks and bullets ignite the fuel and the heap ignites.
She gets back into the pickup and drives off. The heap explodes behind them.
INT. PICKUP
Innocence grabs Cordelia and pulls her close to her.
INT. TUNNEL
Colin has entered into the tunnel. He hears the distant explosion.
Leona and James swim vigorously in the freezing waters of the Detroit River. They are halfway to the other side. Leona, out of breath and shaking, leans back and floats on top of the water.
LEONA I can’t do it.
James turns around and swims back to her. He wraps his arms around her and swims backwards.
JAMES Come on, don’t stop now.
LEONA I’m tired.
JAMES You should have slept back at the grocery store when I told you to.
LEONA What does that have to do with anything?
JAMES I wouldn’t be dragging you through freezing waters if you would have slept like I suggested.
LEONA I can’t...
Leona passes out. Her body gets heavier and drags James underneath the water. He leans back further in an attempt to float.
JAMES No, come on!
He tries to wake Leona up, to no avail. Leona’s face goes underwater.
Leona and James face each other in tawny old light - the day’s last gasp.
Savages: Leona with wet stringy hair and James with thick bristles sprouting around his stern lips, their weed like strength amassing his cheekbones.
Leona wipes at dirt on James’ face.
JAMES What?
LEONA Just a bit of dirt.
The word “dirt” brings sudden recognition to James. He checks his hands, appalled by their filth.
JAMES (rubbing his pants) s***! Agh-God. Rotters!
LEONA What? What’s the matter?
JAMES I just hate dirt.
A faint smile on Leona’s face.
James draws forth his reasonable look. Now his speech is clear and without contractions.
JAMES It is a thing with me. One of the things... People have (stalls) things, correct?
Leona nods.
LEONA Things.
James’ logic is a bit off now. He moves into Leona’s auric space so she can read his eyes, a mere three inches from hers; she breathes his breath and doesn’t move.
Overtaken by his magnetism, she accepts a kiss.
LEONA I...
She begins.
JAMES What? You didn’t like it?
LEONA No. It's. I have a secret. But I’m not so sure.
James recovers his form.
JAMES You go find your path. I’ll go find food.
EXT. FISHING BOAT
For some reason, the full moon is orange and it’s not even October. Its light glistens fiery off the cold night waters.
INT. FISHING BOAT
Flashes of Leona lying on a cot; of her spirit pulling at her body.
She's between the worlds. Half in, half out.
She mumbles something unintelligible then:
LEONA Mibee. Maybe my path’s yours.
EXT. ST. JOSEPH’S CHURCH
JAMES My mistake. We’re nothing alike. You’ve got faith and I’ve got--
Leona interrupts.
LEONA Things. You’ve got things.
James turns, his words icy.
JAMES Be back as soon as I can.
LEONA’S POV
She marvels at the gothic beauty of St. Joseph’s, its spire rising 200 ft in the air; off that, a LARGE RAVEN flies.
LEONA Not a scrawny crow. A raven? Here?
The worn sky dissolves into
INT. ST. JOSEPH’S CHURCH - THE GOOD SHEPHERD WINDOW
...inside the expansive hall...
Into Leona’s awestruck eyes.
LEONA The window’s perfectly intact but...
She scans about her.
There’s a strange mix of crumbling decay and ornate perfection.
Angels stand on piers in high exultation above the altar. With them, the clarity of faith, the newness and certainty, but below:
The carpets are torn, the pulpit lies in a broken heap, the pews are only bus benches.
On one, Cordelia sits.
CORDELIA Shiva called you too?
LEONA Shiva?
CORDELIA The one who wakes Brahma. The third of the three in one.
LEONA I’m Christian, I don’t know Indian religious--
CORDELIA All the same. Brahma, Vishnu, Shiva... Father, Son and Holy Ghost... Creator, Sustainer and Destroyer... The great samsara.
LEONA Yes, I “have” heard of Samsara. A cycle of growth and destruction and rebirth.
CORDELIA Don’t forget to read James’ book.
LEONA The Stand?
CORDELIA Not "The Stand" anymore. Jack’s got a copy... When he checks.
LEONA Who’s Jack?
CORDELIA You’ll meet him.
LEONA Who are you?
CORDELIA Part of Shiva...
The part that marks the end of days, To end the old and right the ways, In darkened mirth and stalwart praise, And austere passion fill thy days.
At will and with wind in her wisps of wild hair:
Cordelia CALLS:
RUMBLING underneath them:
A shiny black stone-- a great phalic trust:
ONE SIGN OF SHIVA: THE LINGAM
Erupts mightily where the broken pulpit lay scattered.
The powerfully sleek, somewhat cigar shaped procreating stone rises through the floor. It rearranges space, pushing back Leona and Cordelia.
Leona falls to her knees. While Cordelia-- what's she doing?!
Cordelia fiddles with the cords on her vest.
The lingam rises, RISES.
INT. FISHING BOAT
BURLY FISHERMAN Prubly shook.
JAMES I know shock. This is different.
BURLY FISHERMAN En we keep er werm is best we do.
JAMES (feeling her forehead) She’s burning up. From icy water? f*** my degree!
EXT. ST. JOSEPH’S CHURCH
James in view with a bag of food. Not a trace of logic.
JAMES Holy s***!!!
The lingam breaks through the top of the church sending the spire shooting like fireworks somewhere over Detroit.
INT. ST. JOSHEPH'S CHURCH
Cordelia pulls at the long cords entwined in her black crocheted vest. As she unravels her vest, the cords reassemble themselves into a large black shawl.
Cordelia throws it to Leona.
Leona does a double take and puts it on. Inside the:
BACK OF THE CHURCH
James holds onto his calculating nature. His pointed stare moves from the lingam to Leona.
JAMES I brought foo--
Around the lingam appears a bounty of spectacular food arrayed as for a banquet.
As James approaches Leona, Cordelia whispers in Leona’s ear.
JAMES (approaching) Who are you?
CORDELIA (laughing) A thing. A thing. A choir of angels sing.
James is put off by Cordelia’s mockery of his obsession.
Cordelia throws something into the air, THE DISK rounds the lingam cycling round again and again until the lingam emits an
ELECTRIC BLUE ENERGY, so bright that the lingam disappears entirely behind what is now a miraculous waterfall.
SILVERY WATERS rush down through the floor of the church. More than water-- a mirror. Inside its flowing reflection is Shiva:
Veiled as a moonlit bride in satiny white on one side, and as a black fiery male presence on the other-- the groom of destruction, the lover of growth and rebirth.
JAMES (a cool laugh) I guess I didn’t need to bring food. Should’ve brought wine, but then again... communion and all, should be some around here somewhere.
LEONA You jest?! What’s wrong--
A dissonant clang of bells.
Shiva clicks a CLAPPER in one hand, his male side hard and pulsating, his female side rhythmic waves.
MUSIC between a Dervish and New Age Techno.
The blinking form of Shiva dances in the liquid silver, a binaural beat warbling into existence, its presence coming, coming closer.
CORDELIA Shiva dances, crushing ignorance. Which-- (turning to James) is seated in the reason of the ego.
James digs in the grocery bag; cracks open a bottle of EVERCLEAR.
Off an aggravated look from Leona.
JAMES Obviously a gift from the gods. I didn’t buy this.
LEONA You brought it in the church?
JAMES No. Honest!
He tugs his lapel and adjusts his uncomfortable posture.
SHIVA TURNS, a terrific blur of hands, then fades.
The silence hits suddenly. It’s a cold reality that penetrates both James and Leona.
Leona searches in the grocery bag. Finds a razor.
LEONA (holding it up) Still care to shave?
JAMES If I can find myself a sink-- yes. As a matter of fact: (eyeing the baptismal font).
LEONA The baptismal font? You’re blasphemous!
JAMES I’m practical and Miss Goth Girl here is-- (turning to Cordelia)
LEONA Where’d she go? Never mind.
She digs a can of shaving cream out of the grocery bag and gets up to leave.
LEONA My fate is sealed in the path of austerity. "You" might not believe in anything, but I as sure as hell believe in what I just saw; so if you think you’ll feel embarrassed by me-- then leave...
A beat off James’ open mouth.
LEONA Now!
She turns to walk with the razor and shaving cream in her hand.
JAMES Wait! What are you--
It’s too late.
But Leona watches secretly from a side hallway, wondering.
CORDELIA (flat on the floor as James' shadow)
It IS too late you know my friend, For friendships they must have their end
And even angels sing on high, Sam-sa-rah
That man must die.
Ma-ha-ka-lah Gives to men: Fire and ash to rise again.
The never story, Never told, Oft repeating
Tale of old
Ne’re revealing All concealing
‘cept one ceasing’s life to fold.
TIME LAPSE FADE
Black
Growing things of spring.
Black
Hot sand and summer's heat meets the ocean.
Black.
Fading light of fall.
Black.
Stillness of winter, snow heaped at a closed ice cream stand.
Black.
Sand almost wholly covers SOMETHING buried but moving slightly. And a song in one word: "There!"
"There" on a low "A" note that climbs to a higher A note twice more and then the scale falls:
MICHAEL WEBSTER, 17, and James sit on the edge of the boat. With one large upper deck and small lower deck that barely fits a bed and a toilet, the boat is more than enough for the survivors. Leona lays between them, unconscious.
Michael eyes her, James notices.
JAMES So how old did you say you were?
MICHAEL Seventeen.
JAMES That’s pretty young, where’s your family?
MICHAEL You have a way of bringing up bad memories.
JAMES Sorry, just curious as to what someone like you is doing out here on their own. With a boat no less.
MICHAEL You ever been to a dock before?
JAMES Of course.
MICHAEL Then you know that boats just float there waiting for their owners to come back. Well, their owners ain’t coming back so...every man for himself.
Suddenly, Leona SPRINGS up, a look of fear in her eyes. James and Michael stand up. She look as around, grounding herself. She recognizes James but not Michael.
LEONA Who are you? (to James) Who is he?
Michael steps forward. Leona looks around for her backpack.
MICHAEL I’m Michael, pleasure to meet...
LEONA Where’s my backpack.
Michael looks away in frustration.
JAMES Calm down, it’s downstairs in the cabin. There are also some dry clothes down there you might want to throw on.
Leona looks at James then at Michael. He smiles. She turns away and heads down a small stairway near the bridge and into the cabin below.
Michael turns to James as he finds his seating again.
MICHAEL She always so paranoid?
JAMES Give her a break, she hasn’t slept in days. Her dreams are getting worse...mine too.
Michael looks towards James as if he just realized he is no longer alone.
JAMES What?
MICHAEL Nothing...
INT. FISHING BOAT - CABIN - DAY
Leona is in a small cabin with a bed and a small bathroom. The light above her hums awkwardly.
Leona throws her wet shirt onto the floor. She looks into a mirror and fixes her hair. Her eyes are distracted as they turn to the floor where her shirt landed.
James’ book sits drenched in the Detroit River. She leans down and opens the pages. The words are soaked through, colliding into one another. Melting off the page and out of the book. She tries to make out words but gets nothing.
The lights above her seem to hum louder and louder until...
INT. LIBRARY - DAY - FLASHBACK
...Leona walks through a lit hallway carrying a tray of books. She stares up at the ceiling as she moves, noticing the exceptionally loud humming of the lights.
She continues down the hallway and comes out into a large room filled with library books.
She continues till she stands at the end of stack 28.
She sets the tray at the end, grabs a few books and continues down the aisle. She is about to shelve the first book when...
GIRL Excuse me?
...Leona turns to see a girl around her age smiling back at her. She smiles with her eyes, Leona returns a vacant stare.
GIRL I’m looking for this book, but I don’t know anything about how to find it here.
The girl takes out a piece of paper, looks at it and then hands it to Leona.
Leona just stands there, her eyes wide. The girl looks at her momentarily as if she were crazy.
Leona snaps out of it.
LEONA Oh!
Leona sets the books down in an empty spot on the shelve and then takes the paper from the girl. She looks at it.
LEONA Uhm...yeah. I can help you find this.
GIRL Didn’t we go to high school together? Leona, right?
Leona nods. She walks back down the aisle, passes her tray of books and goes straight ahead into another stack.
LEONA Yup, four years.
The girl laughs. Leona smiles and turns around to face forward.
At the end of that stack she looks at the paper again. Then at the shelves of books in front of her.
GIRL You just seemed so surprised to see me, like you didn’t know who I was.
LEONA Well, it was unexpected, that’s all. I didn’t know you...
She finds the book.
LEONA Ah, here we go.
Leona pulls a book from the rack, she looks at the title.
LEONA Dante’s Inferno, good choice.
The girl smiles. Leona hands her the book.
GIRL It’s for a book report. It’s the only reason I’m even in this part of the library, really.
LEONA Well it’s a good read either way. It’s one of my favorite pieces of literature actually.
GIRL Oh. Well, thanks.
LEONA No problem.
The girl turns and walks away. She takes a few steps and stops before turning on her heels towards Leona.
GIRL Just wondering, what is my name?
Leona pauses, a look comes over her face as if she’s waited many years for that question.
LEONA Faith.
Faith just smiles and turns around, walking away.
Leona watches her, her eyes stray downward and she finds her self staring. She snaps her eyes away and begins to walk back to her books.
She reaches into her pocket and pulls out her rosary beads. She thumbs them as she walks, her lips moving in prayer.
END FLASHBACK
INT. FISHING BOAT - DAY
Michael sits next to James on the edge of the boat.
MICHAEL How are those clothes treating you?
JAMES Not my style, but it’ll do.
Leona returns from the cabin, bookbag in tow. They turn to her.
JAMES Michael here is going to Buffalo, isn’t that funny?
LEONA Yeah, funny.
Leona goes towards the other side of the boat, away from the two men.
MICHAEL She always like that?
JAMES Not always, but most of the time. You’ll get used to it. It’s actually kind of charming after a while, you know?
MICHAEL No.
JAMES You’re young.
MICHAEL So you are going to Buffalo too then I guess?
JAMES Niagara Falls.
MICHAEL Oh, mind if I tag along?
Leona sits at the front of the boat. She reaches into her backpack and pulls out her rosary. She thumbs the beads.
The backpack falls over and a few bullets roll out and under a bunch of nets. She sighs and turns to reach for them.
Leona moves a few nets to the side and finds an orange tackle box. She ignores it and pushes it to the side, it falls over and a Walther PPK comes sliding out of it.
James turns on hearing the odd noise and notices the gun. He walks over to her.
JAMES Whoa, a Walther PPK.
Leona, arm stretched beneath a tangle of nets, turns her head to James.
He eyes the gun with a nostalgic familiarity. Turning it at different angles in admiration.
Michael comes up behind James to see what is going on. James turns to him.
JAMES This will definitely come in handy. May I...
MICHAEL You’re asking me? This isn’t even my boat. Besides I already have a weapon and it won’t run out of bullets.
Leona grabs the last of her shotgun shells and tosses them into the backpack, zipping it up.
LEONA What is it? A butcher knife?
MICHAEL No, it’s a baseball bat. High grade aluminum, the type they use in the pro’s.
LEONA Pro’s don’t use aluminum.
JAMES She’s right, they don’t use aluminum.
MICHAEL Well, if they did use aluminum, this would be it.
James returns to inspecting the gun then points it out in front if him, one eye closed. He brings it back and smiles.
He pulls the clip out to find it already has bullets in it as the boat coasts under the Ambassador Bridge.
JAMES Cool, even comes with bullets. First stop we make in Buffalo we’re going to have to find some...
Suddenly, a dog COLLIDES with the boat deck. It hits the deck with a great force that sends all three doubling backwards. The flooring beneath the dog warps, leaving a crater in which blood begins to pool.
They all stare in disbelief. James looks back to see a group of dogs standing on the bridge. James turns to Michael to see his eyes are wide. Michael tries to play off his fear.
MICHAEL That was...interesting.
JAMES They don’t give up, do they Leona?
Leona doesn’t respond she just stares at the bloody heap in front of her, her heart racing fast and her thumb still counting the beads on her rosary.
James turns to Michael.
JAMES Maybe I should also invest in a bat, huh?
They all stare in silence at the dog, a red leash still hanging from its neck.
A HAWK blinks as it sees a yellow flash running along the dark gray lines of the ground below.
EXT. SKY – DAY
The Hawk spreads its wings and follows the bright object and begins to soar in the wind, catching the currents, higher and higher…then, diving, it drops quickly. As it gets closer to the ground, it begins a masterful reverse of speed. Its wings fill with wind, talons spread open, ready. It swoops up an engorged rat. The hawk flies away, carrying its prey.
EXT. DAY
A yellow Hummer turns sharply onto a city street toward Interstate 401, heading to Niagara Falls.
INT. HUMMER
Albert is at the wheel. He wears a smile on his face. Jack sits next to him in the passenger seat, writing in a small tablet, while Samantha stretches her legs out in front of her in the back seat.
Samantha hums to herself.
ALBERT That was quite an exit we made back there. It was really exciting. I’ve been on many an adventure in my day, but something tells me this is going to take the cake.
Jack nods his head as he turns to look at Albert.
JACK I think you’re right old man.
Jack shoots Albert a wink as he returns to his notes.
Albert is enjoying the moment. He taps the steering wheel. His actions are a stark contrast to the scene around them. Empty cars and trucks are everywhere.
Sam’s eyes open and close…and open again as she looks out the window. Her reflection in the window is a mirror of her emotion. Tears pool in her eyes…then slide down her face.
SAMANTHA’S POV - (in slow motion) People lie in the streets in unnatural positions…rag dolls, arms and legs askew…pools of blood on the ground around them. Three cars in a cluster, charred and black from fire, sit in an intersection.
Albert maneuvers around the obstacles like it’s no big thing.
SAMANTHA How can this be happening?
She takes a deep breath.
SAMANTHA The smell is awful.
She reaches into a bag on the floor in front of her, and pulls out a scarf and puts it to her nose.
JACK No kidding…it’s pretty bad. It must be like this everywhere. What I want to know is why we’re not affected? Why is that poor bastard over there dead and we’re not? What’s keeping us alive?
Samantha rests her head against the window.
SAMANTHA “IT” is keeping us alive. We’ve all had dreams. We have that in common. Right?
JACK Yea…but I thought I was just going through a weird phase…but maybe you’re right. The dreams don’t just affect me at night…they creep into my head during the day too. Know what I mean?
ALBERT I sure do! How do we know what “IT” is? Seems more like a “calling” of some kind, if you ask me. Maybe there are only a chosen few…
SAMANTHA I feel it…pulsing. It feels like a telepathic receiver sending out a signal. My soul tells me it isn’t good.
Samantha stares up at the sky through the window as she brings her left hand to her neck, and rubs it. Her eyes are intense.
Sam jumps, as Jack reaches back, pulling on her pant leg.
JACK Hey there! Come in…come in? You okay Sam?
SAMANTHA Yes…I’m okay. Just thinking about all this has my head spinning.
JACK I hear ya… Get used to it, because it’s not going to get better.
ALBERT Hey Jack, do me a favor and turn on my CB. I think we should check out the channels and see if we can make contact with anyone.
JACK Sure…Roger that.
Albert, his face serious, turns, looks directly into Jack’s eyes.
ALBERT Start on channel 40 and work your way back. We need to look for a sporting goods store so we can get a few more things…we’ve got a long way to go. Can you do that Samantha?
SAMANTHA I’ll keep my eyes open. I guess we had it pretty good in the Chateau.
JACK I feel like I’ve landed on another planet.
She removes the scarf from her face and smiles at Jack.
ALBERT We need to make a list of the things we’ll need. Jack, when you finish running through the channels could you write down a few things?
JACK Sure thing Pops.
ALBERT I’m getting a little old so I can’t rely on my memory…best to write it down.
He chuckles and makes a sharp turn down a deserted side road that leads to Interstate 401.
EXT. HEROES HIGHWAY (INTERSTATE 401) – DAY
The interstate is almost impassable with cars and trucks. It looks more like a parking lot…vehicles slammed into each other, some facing forward…others sideways…for miles.
ALBERT Looks like a mass exodus. This highway was named after fallen heroes twenty some years ago. Sort of appropriate.
There’s an opening in the middle of the interstate…the Hummer heads in that direction.
INT. HUMMER
Albert shifts the Hummer into 4 WD as the road runs rough under its tires.
Jack Flips through channels… nothing but static. He turns the dial to channel 14.
JACK Anybody out there? Come back?
EXT. HEROES HIGHWAY (INTERSTATE 401)
There’s a group of stores in the distance. Sam is alert.
INT. HUMMER
SAMANTHA There’s a really good sporting goods store coming up…Outdoor Outfitters. I think we can get everything we need there. Lucky us, they’re one of the few stores that still sell guns.
I love words and the fact that when the page is blank...there's nothing there until words are formulated in my brain. Those thoughts...rushing through my viens and out my finger tips, find "life" on the page.
When people and places come to life...that to me is exciting.
MBCgirl =) My finger nails should look nice while I type - Red works!
It’s a huge store. A big “camp ground” is set up, complete with tent, fire pit, chairs, hammocks, and sleeping bags. There’s a big sign hanging that reads, “Get Ready for Camping Season”. The group exchanges a glance.
JACK Guess we’ve come to the right place.
He hands Sam a list, turns and gives Albert his.
ALBERT Okay…time to get it done! Keep your eyes open and be careful you two.
They move further into the store, each in their own direction.
Sam moves through the aisles looking for the miscellaneous outdoor gear section. She moves slowly. She picks up a pack of waterproof matches, and some dried food and turns, moving around to the next aisle when she stops, throws her hand over her mouth.
SAMANTHA OH MY GOD!
A young GUY, probably 18 or so is lying there…dead, his eyes staring up at her. She inhales and holds her breath as she steps over him cautiously. She looks back at him one last time before moving on.
Jack picks out sleeping bags. His cart is almost full. Tent, camp stove, and five gallon inflatable water containers. He reaches up to look at the information tag, when he hears a sound behind him. He stands motionless…listening.
JACK Albert? Sam? You there?
Nothing. He shakes his head and continues, picking up three bags. He moves on to outdoor cook wear.
JACK A good skillet is just what we need.
He picks it up and misjudges its weight…it drops, making a large ringing sound as it spins across the floor.
JACK SHIT!
Behind him, the sound of a shotgun cocking.
Jack turns to face a shotgun barrel, aimed directly at him. Its owner, EDDY STEINER, unkempt, slender build, his clothes rumpled, a big cigarette hanging from the side of his mouth with his right eye brow raised.
EDDY What are ye doin’? I didn’t think there was another livin’ soul around. You sort of gave me a bit of a fright, makin’ all that racket. Who are you?
JACK Jack…Jack Stone. Who are you…and what are you doin’ here?
EDDY Eddy’s the name…I spect’ I’m here for the same reason you are. I’m stockin’ up, gettin’ ready for a trip into New York to see if an old friend is about.
Albert appears with his basket loaded with guns, ammo, and binoculars.
ALBERT There you are Jack. I heard you talkin... By God, there’s another person alive?!
Jack turns to see Albert, his eyes large.
JACK This here’s Eddy. Eddy, this is Albert, our leader.
Sam joins the introductions.
JACK And this is Samantha.
SAMANTHA I’ve got a strong feeling guys. We need to get back on the road…
She sees Eddy and reaches her hand out to shake his.
SAMANTHA Hello…a fellow human being.
EDDY Now what makes you think that?
SAMANTHA Well…it’s a figure of speech I suppose.
ALBERT I overheard you’re on your way to New York. We’re headed to Niagara Falls.
EDDY Yea…I have a friend there. Not sure he’s alive…you’re the first people I’ve seen in two days that are still breathin’. I’m set to go.
ALBERT You got a CB in your rig?
EDDY A CB? Aren’t those a little out of date old man?
ALBERT They are, but they serve as a form of communication in times like this. At night they actually work pretty good. Just like AM radios, back in the day. We’ll get you set up before we take off.
EXT. OUTDOOR OUTFITTERS PARKING LOT – DAY
ALBERT Well…looks like it’s time to get back on the road. Highway 81 splits off from Interstate 401 just a few miles from here. We’re headed to Niagara…so if you don’t find your friend, that’s where we’ll be.
EDDY Sure thing. I’ll give you a ring when I get there.
Samantha paces…moves toward the Hummer and climbs in. Albert and Jack follow.
INT. HUMMER
JACK Time to get this show on the road.
Sam is quiet in the back seat. She leans forward.
SAMANTHA I saw darkness all around him. I tried to block it out, but when I shook his hand, I felt it…saw it. There's something not adding up with all this. He’s not on the same side.
I love words and the fact that when the page is blank...there's nothing there until words are formulated in my brain. Those thoughts...rushing through my viens and out my finger tips, find "life" on the page.
When people and places come to life...that to me is exciting.
MBCgirl =) My finger nails should look nice while I type - Red works!
Innocence drives with a blank gaze on her face as Cordelia looks out the window--she stares at the destruction, the upturned cars.
A lone crow pecks on a human hand.
INNOCENCE So how'd you know we were heading north?
No reply. Innocence sighs.
INNOCENCE You're gonna have to start talking to me sooner or later, you know?
CORDELIA I--before you found me, before that man...there were these...people. They took care of me until--
Her words get caught in her throat. Innocence nods.
INNOCENCE Dead?
CORDELIA Yeah.
INNOCENCE I'm sorry.
CORDELIA It was dogs--sick ones. They just tore through the shelter and started slaughtering everybody. I have no idea how but...I survived. No one else made it.
Her eyes tear up.
CORDELIA Lulu, Amanda, Lewis! They're all dead. I don't--I don't understand how it happened. We'd been doing all right! We--
INNOCENCE Hey. Shh.
She puts her hand on Cordelia's lap. Cordelia sobs lightly.
INNOCENCE It's all gonna be okay--
CORDELIA Those people...
Innocence looks up at Cordelia. Suddenly her eyes are fixed--sharp. Despite the tears streaming down her cheeks.
CORDELIA ...They all had dreams. Just go North, keep going North, it said. It was different for everybody, but the message was there--North is the way. All answers are there.
INNOCENCE Have you had any of those dreams, Cordie?
Cordelia's mouth tenses. She ponders then lets out a deep sigh.
CORDELIA Nope.
Innocence's eyebrows pucker in confusion.
INNOCENCE You sure?
CORDELIA Yep.
INNOCENCE This is a bad time to start lying to me--
Cordelia's head suddenly jerks, stiffens. She grabs her head in pain. She grunts through clenched teeth. Innocence looks alarmed.
INNOCENCE Cordie! Cordie, baby; what's wrong?
CORDELIA I don't feel too good....
Her eyes roll back into her head. She's fading. Innocence slaps kindly at her cheek several times. Cordelia looks at her--her vision blurs. A ruckus behind them—innocence looks in the rearview mirror—a car is now advancing towards them—Colin on the wheel.
INNOCENCE Shit, not now. Stay with me, Cordie. Cordie!
Pages: 1, 
Author
Shiva - Game
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