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A muddy moat circumscribes a bleak old limestone compound.
Crooked trees and stinging nettles beckon us in some kind of hissing silence that isn’t a silence at all.
Morning glories climb everywhere.
They strangle the tiny plants, their vines twine around black sunflowers then cruise upwards against the limestone walls, thick with moss.
Even the moss isn’t safe from the tendrils that suck its life. Between the moss and the vines, it’s hard to read the etched writing in the stone:
YE THAT ENTER, JUDGE NOT
THE GUARD draws up in a small row boat.
THE GUARD You’re early tonight Cordelia, something wrong?
Cordelia enters the boat and they head across the misty surface of the water.
CORDELIA Shiva’s ready with the final count to force people to their growth, but it’s such a bitterness.
THE GUARD This place is the great closet for skeletons. This place is only bitter for those that hold judgments against others. That includes forgiveness for Shiva. You know that. How they judge, so too will it be for them. Only forgiveness can set them free.
CORDELIA I’ve come early to see the skeletons in their closets, to reconcile, and to pray for them.
THE GUARD A lovely sentiment, but you know some might just as easy kill you when they find out you’re part of the one that’s destroyed the world they knew and set the virus upon them and then...
CORDELIA And then my body’s served itself.
THE GUARD You’ve been a great mirror for their souls Cordelia, but they only see you, not themselves I’m afraid. I saw James’ hatred of you. He didn’t realize that all your mocking was really his-- his mocking the imagination which created it all to begin with.
CORDELIA I’ve tried to be a mirror for their souls, but I’ve failed. Colin’s more afraid of the dreams than anything. I think he’s going mad.
Flash: Colin’s wide eyes, like he’s seen the very devil. SPILLS out a bottle of Zoplicone. He swallows two.
CORDELIA And Jack, he would kill me in a heartbeat I know.
EXT. MILITARY SURPLUS STORE Jack exits decked out like a soldier, both a Canadian and American flag sticking out of his pack, a hungry look on his face.
JACK Kill for the cause! Terrorists, anarchists and anybody gonna get in my way. He pulls out his gun. Clicks it, sights it and blows into a pop can sitting top a newspaper box.
JACK (kissing the gun)
Now THAT’S the power of positive thinking.
EXT. JAIL - ON THE MOAT
CORDELIA All I can do now is pray.
THE GUARD Pray that the blind woman isn’t killed.
Flash: Cordelia sees a blind woman on the Greyhound, making her way to her seat.
THE GUARD If she is, you and I both know that’s the sign that things are going to get worse.
CORDELIA They have eyes and see not. And the one without sight shall speak of fate worse than death.
THE GUARD And if it comes to pass that The Blind One goes down, then torments will increase until the chosen shall choose.
Cordelia pulls out The Book, studies the cover.
CORDELIA Two Faces of God, Chapter 7, verse 4.
The Guard hoists the boat onto the jail side of the moat.
Cordelia gets out.
CORDELIA Did I choose this Greevis?
THE GUARD Only the good parts Cordelia.
CORDELIA The part with the happy ending?
THE GUARD No beginnings without an ending right?
Cordelia eyes the ugly jail then turns back to Greevis.
CORDELIA (a weak smile) Shall be the day against the night, In Reaper’s child, Shall mirror bright.
THE GUARD That’s it Cordelia. Keep the faith. You’re the reflection of their souls. You did not fail in that.
Cordelia nods.
The Guard digs in his thousand pockets: Pulls out a
TEST TUBE
It reads:
LYSSAVIRUS ANTIDOTE
DISPENSED:
MAY 17, 2048 - 6:22 PM ON THE MAID OF THE MIST
TO THE CHOSEN
Reaches in another pocket: Pulls out
A FOLDER: THE LIVING LIST
THE GUARD (intense) Hmmm, showed up early. Just like you. Shiva’s moving fast.
He hands both the antidote and the list to Cordelia.
Cordelia takes it, hugs Greevis and walks to the jail.
INT. JAIL Cordelia walks the long corridor, past all the cells and imprisoned souls calling, reaching.
She doesn’t look up, but walks determined to the door at the end. It reads appropriately:
THE END - CLOSE - IT
She TURNS the KNOB and enters.
BLACK - A CONFINED SPACE
COLD BLUE LIGHT BEGINS TO ILLUMINATE
WHISPERED VOICES OF SHIVA
SHIVA I read the heart. You don’t deny me. You’ve come to see the dirty little secrets.
CORDELIA Yes. And to pray.
SHIVA appears as a multisided projection inside the closet:
The androgynous deity splits into bride and groom.
A CUBED PROJECTION:
6 times 2 and it’s 12 around the 1 that is Cordelia.
As Cordelia turns, touching Shiva’s hands on the (1) front door, (2,3,4) the walls, (5)the ceiling, (6)the floor-- all these exhibit:
THE BRIDE AND GROOM
THEY STARE, THEIR HANDS EXTENDED AS IF TO HALT
Once in front, once to the right, once to the left, once behind, once above and once below.
SHIVA (man and woman) Who is good? Male or female? What is wrong? One or two?
CORDELIA Neither.
SHIVA So you accept me as The Destroyer?
CORDELIA The Great One of Limits. Yes.
SHIVA Then enter where they keep their secrets.
Opposite the door Cordelia entered, appears a back door.
She enters into
ROUND ROOM
A round room with many other rooms about its circumference.
She walks the outer edge coming upon the first labeled:
LEONA CARTER Leona, embroiled in a passionate embrace with another woman.
She looks up at Cordelia, breaks off from the woman.
LEONA (to Cordelia) It never hurt anyone. Then why do I feel so bad. Look, (pulling off a wig). I shaved my head. To prove I want to change. I’m not even sure I want her.
The woman is frozen in time, like a mannequin.
CORDELIA (handing a business card)
From Shiva. It’s yours, you own it.
Leona looks at the card. It says: EXPERIENCE and FORGIVE
Cordelia walks further:
EDDIE STEINER
He’s smoking, toking and boozing. His coffee table is loaded with bottles and garbage.
He looks up, his spirit deadened.
EDDIE I can’t change now. It’s who I am.
Again Cordelia hands over a card and continues her tour:
JAMES FLEMING
Sits in his perfect living room, nothing astray, alone. Blank. Thinking.
JAMES I don’t have time for small talk. What do you want?
CORDELIA You’ve cut yourself off from people. Made a neat and logical place for yourself sure, but life isn’t neat, as you can see.
JAMES There’s a reason for everything.
CORDELIA You’re right.
Cordelia hand him a card.
James stares at it, still deep in thought. Very much alone.
Cordelia leaves to the next stop:
INNOCENCE: She holds onto both a doll and a gun.
Seeing Cordelia, a hardened look, but pained.
INNOCENCE I killed a man. Brought my daughter into a world like this.
CORDELIA It’s all about experience and forgiveness and finding out.
As Cordelia walks off, Innocence shouts.
INNOCENCE Finding out what? What’s it all about anyways?
SAMANTHA VISIONE:
SAMANTHA I’ve lied so many times I can’t count.
CORDELIA But not to hurt. To protect.
SAMANTHA People have come to me for the truth and they’ve gotten lies.
CORDELIA Would you have told them of their deaths? Of losses? Hard times? Then what?
She leaves the card and moves on again:
COLIN O’RILEY He sits, terrified, completely drenched in sweat.
COLIN Something’s taken over me. I put you and Innocence in danger. I’m a selfish--
CORDELIA You’re like the rest of us.
Cordelia drops a card on his table and leaves to:
JACK STONE Jack sits in his study. His positive thinking books and materials surrounding him.
He stares at a picture of his lost wife then notices Cordelia.
JACK I don’t know why I’m here. I have no skeletons in my closet.
CORDELIA You never did anything you felt was wrong?
Jack stares back for a long moment.
Cordelia holds it with him.
She hands him a card.
CORDELIA I thought so.
MONTAGE OVER GREEN DAY'S TIME OF YOUR LIFE
Martial law in action, military heading into the streets.
People crying out for help, but shot back over the barricade.
Tribes pillaging supplies.
City versus nature images.
Airplanes dropping bombs.
Killing and burning to contain the virus.
ROUND ROOM
As Cordelia continues her walk, the room spins and blurs with the blue hands of Shiva.
CORDELIA V.O.
Dirty little secrets Dirty little dreams
Do not judge or hate a path It's never What it seems
Cordelia's eyes flutter open. She looks in confusion at her surroundings--a rolling Greyhound bus, housing three MEN and an old BLIND LADY. Innocence is sat beside her, assault rifle resting near her.
CORDELIA What's going on?
INNOCENCE These people are heading up North too. We're going to Paterson, but we're making a stop at Little Falls. The old lady--she sees things.
CORDELIA She's been having dreams? And the others?
INNOCENCE Didn't care to ask. I figured since we're on the same path, we'd tag along.
Innocence lowers her voice...suddenly serious.
INNOCENCE Don't look, but...the man from before. His name is O'Riely. He's right here.
CORDELIA What?!
INNOCENCE Shh. He's worried about you spreading the disease. The rest know about it too. They're wary about you but they won't hurt you. And if they try...
She pats her assault rifle. Cordelia smiles an insecure smile. She looks over her shoulder at the back of the bus. O'Riely stares at her and waves. She turns back--eyes widened.
INNOCENCE I told you not to look.
CORDELIA I'm sorry.
INNOCENCE I won't let anything hurt you, Cordie. I'll die before I let that happen.
Innocence drapes her arm across Cordelia's shoulder. Cordelia rests her head against her chest.
INNOCENCE Just sleep a little more. We'll be at Little Falls before you know it.
Cordelia closes her eyes. BLACKNESS.
Cordelia's eyes open once again. She rubs them. There's no one on the bus, now unmoving.
EXT. LITTLE FALLS, NJ - GROCERY STORE - DAY
Innocence holds her assault rifle. She argues heatedly with the three men. Cordie walks out the bus.
INNOCENCE You can't make her do this! It's too dangerous.
MAN If you want to tag along, you need to prove you can pull your weight. Both of you are going inside that store. Now, we'll be patrolling outside every second--
INNOCENCE No way!
MAN #2 You could always walk your way to Paterson.
The Man offers her a plastic bag. Innocence grudgingly takes it.
CORDELIA What's wrong?
INNOCENCE Follow me.
Innocence and Cordelia walk towards the grocery store. She hands Cordelia a 9mm handgun.
CORDELIA W-what am I supposed to do with this?!
INNOCENCE It's that man's. Use it if you need to. We're going into the store.
CORDELIA And they're not gonna help?
INNOCENCE No, Cordie.
INT. GROCERY STORE
Innocence opens the door, rifle raised. She gestures--Cordelia comes in, nervously holding her gun. They walk further into the store until a growling sound is heard. Innocence points to the register.
A ROTTWEILER appears from behind the counter, dragging a bloody human corpse whilst ripping it to pieces. Cordelia removes the safety of her gun--the clicking sound makes the dog's ears perk--it charges madly towards the two of them.
EXT. GROCERY STORE
O'Riely and the rest of the Tribe wait outside. Gunshots are heard.
COLIN Well, that's that. No more risk of disease. Kind of shitty not telling them we had a whole bunch of supplies already though.
MAN We couldn't take the risk. That girl was gonna be a burden. Shame about the other one though--coulda used her.
Hooting and hollering is suddenly heard in the distance, followed by a motorcycle's roaring sound. The Man's eyes widen in pure fear.
MAN Shit! Back on the bus, now!
INT. GROCERY STORE
The dog lies dead in a pool of blood. Innocence puts another bullet in it as Cordelia bags the food.
CORDELIA Done!
INNOCENCE Let's head ba--
BANG! Another gunshot echoes on the outside. The hollering rises in volume. Innocence shoves Cordelia to the floor and takes cover behind a food aisle.
She looks through the glass pane in the front door--the Blind Lady lies on her knees, an ANARCHIST dressed like a seventies greaser has a gun to her face. He shoots her dead. Her body slumps beside the corpses of Man #2 and #3.
INNOCENCE Shit...
EXT. GROCERY STORE
Colin and Man#1 shoot at the band of Anarchists from inside the Greyhound. Several are felled.
INT. GREYHOUND
COLIN Outta ammo!
INT. GROCERY STORE
The sound of the firefight rages on. Cordelia catches a glimpse of the Anarchist that killed the old lady. He smiles at her--surprise in his eyes. He walks towards the store. Cordelia's face fumes with anger.
ANARCHIST Well, look who it is!
He enters the store and looks down at Cordelia, her gun hidden from his sight. Innocence is hidden behind the food aisle.
ANARCHIST Maybe this time I'll find out if you wail as good as your mommy. Never thought I'd see ya again, missy.
INNOCENCE (O.S) And it's the last thing you're gonna see.
Before he can even turn, Innocence unloads on him. He falls dead instantly as she reloads. Cordelia jumps on his corpse and hits him in a rage with the butt of her gun.
CORDELIA You piece of shit mother-fucker! Son of a bitch!
Innocence retrains her. Cordelia breaks down.
EXT. GROCERY STORE
The Greyhound is being riddled with bullets.
INT. GREYHOUND
Colin shoots at three anarchists pinning them down. The Man has a bullet hole in his chest and is bleeding profusely.
COLIN Crap, they got us pinned!
EXT. GROCERY STORE
Innocence watches the firefight and considers. She then advances towards the unsuspecting Anarchists--her rifle blows holes in two of them.
Cordelia shoots the last one down as soon as he turns around. She empties the clip in his face as Innocence looks at her in concern.
INT. GREYHOUND
Cordie and Innocence walk inside. Colin checks man's pulse. He's gone. He turns to them with an empty gun. Colin’s arm is bleeding—the wound is wrapped in a piece of cloth.
COLIN So what? You gonna kill me?
INNOCENCE No.
Colin looks up, surprised.
INNOCENCE But you drive.
EXT. ROAD - GREYHOUND
The bus advances through a lonely road.
INT. GREYHOUND
MONTAGE-- Colin drives. Time passes. Cordelia sleeps in the back, exhausted. Innocence never takes her eyes off Colin. Colin smiles to himself.
EXT. ROAD
And the Greyhound keeps on. Overlooking on the horizon--Paterson, New Jersey.
On the bed, Leona sleeps with her back to Michael.
MICHAEL (V.O) So pretty.
Michael lies on the floor, awake, checking her out.
MICHAEL (V.O.) Soft, tender, beautiful. But, it's not for you to experience.
He closes his eyes.
MICHAEL (V.O.) No. Never. It's for James. Always the other guy. Never you. God forbid that.
He gulps hard.
MICHAEL (V.O.) Fuck god.
Michael breathes in deeply and exhales loudly. A sharp pain expresses on his face.
MONTAGE - TECHNICOLOR IMAGES
James driving the boat, shakes himself awake.
A empty park near the shore.
A bunch of wires. A red wire and a green wire connect, making sparks.
Big red letters spelling out "SARNIA" is pasted against a sign.
A FIGURE slowly walks a deserted highway.
END OF MONTAGE
He glances at Leona. No movement.
MICHAEL (V.O.) Another. There's more.
Michael quietly stands up and exits.
EXT. FISHING BOAT - NIGHT
James slightly slumps. FOOTFALLS quickly makes James straighten.
MICHAEL My turn.
JAMES Keep straight. We should be hitting a golf course soon.
MICHAEL Alright.
JAMES Continue straight ahead.
MICHAEL No problem.
James leaves.
MICHAEL (V.O.) Prick. Why don't you demand someone put foot up your ass? I'll happily oblige.
Smiles and lets out a SIGH. Empty waters ahead.
MICHAEL (V.O.) Who are you mysterious figure? Friend or foe of this so called god?
Looking up at the sky, he sees a star.
MICHAEL (V.O.) A sign. Star light, star bright, the first star I see tonight, I wish I may, I wish I might, have this wish I wish tonight. Let me destroy it.
A blank gaze spreads over his face. A loud piercing SCREAM...
INT. HOME - MICHAEL'S KITCHEN - FLASHBACK
MICHAEL'S POV: Dogs. Seven dogs total, six are munching on a dead corpse while one of them supervises. The supervisor is a dog with a red leash.
He catches sight of Michael. He BARKS! The six dogs turn their attention to Michael.
Michael flees.
LIVING ROOM
Michael turns at the stairway and dashes up. The dogs follow.
MOM’S BEDROOM
He slams the door and locks it. BOOM! BARKS resonate from the other side. BOOM!
Complete shock.
Michael's MOTHER, all gutted, lies on the bed. BOOM!
A baby crib covered in blood, rests on the floor, turned over. BOOM!
MICHAEL You sonsofabitches!
BOOM!
MICHAEL You want me! HUH!
BOOM! Michael kicks the door.
In the b.g., a small dog creeps out of the crib. The small dog's mouth and a majority of his fur is covered in blood.
MICHAEL Fine!
He turns. The small dog attacks. Compared to the other dogs, this one's no contest. It takes a single kick to the wall to knock it out. Hovering over the small dog, Michael stomps on him.
MICHAEL You got it.
EXT. MICHAEL'S HOUSE - DAY
Looking to the side, Michael sees his neighbor's house.
BARKING comes from down below. Peeking, it's the dog with the red leash.
MICHAEL Bark all you want ass.
The BOOMING sounds stop at the door. There are now more BARKS and GROWLS from below.
MICHAEL You must be the leader, heh. Well, I got something for you.
Peeking again, the dogs from before are now with the red leash dog.
MICHAEL Bastards.
He looks at the neighbor's house.
MICHAEL You fucking coward. Do it. Do it!
With that said, he sprints. Jumping at the ledge, he makes it to the other neighbor's house.
From below, the BARKING sounds follow.
MICHAEL Keep barking!
He breaks the window and enters. The BARKING stops, temporally.
INT. NEIGHBOR'S HOUSE - SON'S BEDROOM
The room is a baseball fanatic's wet dream. The walls, bed covers, computer screen, etc. are all covered in baseball themes.
Outside, the BARKING starts again, but there's fewer barks than before. His hand freezes over the door knob.
IMAGE: A door with a...a dog flap -
Michael comprehends.
MICHAEL Want to be slick?
He grabs a aluminum bat off the side wall.
MICHAEL I can be slick too.
LIVING ROOM
Three dogs slowly move up the stairs.
IN THE UPPER HALLWAY
The lead dog sniffs and moves to the open bedroom door. Sniffs again. Pushes the door open. BAM! It rests on the floor with it's tongue hanging out.
Michael jumps out of his hiding and attacks the second dog. Caught off guard, the second dog is hit over the head.
The third dog jumps at Michael. He falls backwards, turning the baseball sideways.
The third dog has the upper advantage, literally. Luckily the baseball bat hinders the dog from ripping Michael's face to shreds.
Michael YELLS and heaves the dog to the side. Michael's on top now. He pushes the baseball bat down. The third dog's BARKS decrease till silence.
Michael stands, turns the bat, the thickest part facing down.Bring the bat up, he repeatedly spears the dog's head.
EXT. NEIGHBOR'S HOUSE
The dogs are quiet. The red leash dog BARKS. The last three remaining dogs go in.
INT. NEIGHBOR'S HOUSE - KITCHEN
They enter through the flap hole at the door. Michael passes by.
The three give chase.
LOWER HALLWAY
To the side, a door SLAMS. The dogs follow the sound, leading them behind the stairway. The door's open.
BASEMENT
Another door SLAMS. The dogs go to it. This time the door's lock.
The dogs BARK.
KITCHEN
Michael enters, carrying the baseball bat.
He ransacks the place into he finds aerosol cannisters, cooking oil, and matches.
He goes to the stove. Getting a knife, he makes a hole into the tube found in the back.
He turns the gas on full blast. Covering his nose, he puts a aerosol cannister near the stove.
He opens the cooking oil and lets it drip out, forming a line from the stove to the
HALLWAY
and then to the exit, leaving the door open.
EXT. NEIGHBOR'S HOUSE
He picks up a newspaper and rolls it up. He takes out the matches, removes a match stick and holds it ready.
MICHAEL One.
INT. KITCHEN
The stove gas HISSING.
MICHAEL (o.s.) Two.
INT. HALLWAY
The cooking oil, on the floor, slowly spreads.
MICHAEL (O.S.) Three.
INT. BASEMENT
The dogs BARKING.
MICHAEL (O.S.) Four.
EXT. NEIGHBOR'S HOUSE
Michael lights the newspaper.
MICHAEL Five.
He throws it in and sprints away. The fire catches the oil. A couple of paces away, the house explodes. Everything caves in.
MICHAEL Ha! Rot in hell!
From behind, a BARK. In the b.g., the dog with the red leash sits, licking its mouth.
Michael swings around, ready attack but is caught surprise by the dog sitting.
The dog with the red leash doesn't flinch from his position.
Eye contact is made between the two. It lasts for a couple of seconds before the dog gets up and leaves.
EXT. FISHING BOAT - PRESENT DAY
Michael still has the gaze expression. He blinks and he's out of the gaze.
Up in front, the golf course is coming in full picture.
Michael turns the boat slowly until it faces away from the golf course and continues in this direction.
Just Murdered by Sean Elwood (Zombie Sean) and Gabriel Moronta (Mr. Ripley) - (Dark Comedy, Horror) All is fair in love and war. A hopeless romantic gay man resorts to bloodshed to win the coveted position of Bridesmaid. 99 pages. https://www.simplyscripts.net/cgi-bin/Blah/Blah.pl?b-comedy/m-1624410571/
Leona quickly awakes from her slumber, breathing hard and sweating.
Looking around, she composes herself.
She sees James on the floor, SNORING.
She exits quietly.
EXT. FISHING BOAT - DAY
She squints her eyes in confusion.
MICHAEL (O.S.) Morning.
The boat's parked against grassy area. Michael sits on a car parked on top of the grassy area.
LEONA Where are we?
MICHAEL Bayshore Park. Sarnia.
LEONA What happened to the golf course?
MICHAEL It was blocked. So, I decided to turn around and come down here.
LEONA James!
She goes back in. A look of disgust shows on Michael's face as he watches her.
MICHAEL (V.O.) Always the other guy.
He turns his attention to the empty streets and houses.
MICHAEL (V.O.) Where are you mysterious figure?
James exits.
JAMES What was blocking it?
MICHAEL You don't want to know. Hey, all we have to do is drive up this street and we'll get to a highway and then take that and we'll be at Niagra Falls, where we are all intended to go right.
JAMES How do you find this?
MICHAEL Take a wild guess.
JAMES Were their keys?
MICHAEL Had to hot wire it.
JAMES You know how to hot wire a car?
MICHAEL Trial and error. Look, do you want to go or not?
Leona passes James. She carries her book bag and weapon.
James heads to the driver side, but is beaten to it by Michael.
MICHAEL I'll drive.
JAMES Suit yourself.
James enters the backseat. Michael enters the driver seat. To his surprise, Leona is passenger. He maintains his composure. Starts the car and drives.
EXT. 40B ROAD/BLUEWATER INTERSECTION - DAY
Deserted of human inhabitants. Only cars rule this area.
JAMES Weird.
Leona touches her rosary.
JAMES (to Michael) Yes?
MICHAEL (V.O.) He has to come now.
MICHAEL I'm feeling a bit ill. Just a gimme a sec.
MICHAEL (V.O.) C'mon.
JAMES Let me drive.
MICHAEL No! Gimme a sec will ya?
MICHAEL (V.O.) Where are you?
JAMES You're exhausted. Let me.
MICHAEL I'm fine!
MICHAEL (v.o.) Damn!
Glancing to his sides, he sees no one.
MICHAEL Let's go.
He turns to the side and drives off.
In the b.g., A small dot moves.
Up close, the dot is FATHER ROBERT HOLMES walking. He wears a ratty black cassock with the collar unbutton. Sweat drips down his face.
FATHER HOLMES Thou preparest a table before me in the presence of mine enemies: Thou anointest my head with oil; My cup runneth over. Surely goodness and mercy shall follow me all the days of my life; And I will dwell in the house of the Lord for ever.
Just Murdered by Sean Elwood (Zombie Sean) and Gabriel Moronta (Mr. Ripley) - (Dark Comedy, Horror) All is fair in love and war. A hopeless romantic gay man resorts to bloodshed to win the coveted position of Bridesmaid. 99 pages. https://www.simplyscripts.net/cgi-bin/Blah/Blah.pl?b-comedy/m-1624410571/
EXT. OUTDOOR OUTFITTERS PARKING LOT Eddy, with a smile on his face, lights a cigarette before lifting a rucksack over his shoulder.
He starts to walk towards Interstate 401, checking the cars he walks past for keys in the ignition.
INT. HUMMER
ALBERT We ready?
JACK Let's go old man.
Albert ponders for a moment, staring at Eddy in the distance.
ALBERT It's not right, we should offer him a lift.
A worried Samantha jumps in.
SAMANTHA No, I'm against it.
ALBERT We offer him a lift or we go our separate ways.
Samantha turns to Jack.
SAMANTHA What d'you say Jack?
JACK I'm with Albert. At least help him out part of the way.
Samantha flops back in her seat, crossing her arms. She gazes out the window.
SAMANTHA Fine.
Albert turns the key.
EXT. INTERSTATE 401 Eddy's stands by the roadside surrounded by burnt out cars and debris in the forecourt of a petrol station, transfixed upon an eastern timber wolf in the distance eating the intestines of an infected human corpse.
The hummers roar catches Eddy's attention. He glances back at the hummer.
It also alerts the wolf, it raises its head, tearing a piece of intestine from the corpse as it does so. Its eyes glow menacingly at Eddy.
The wolf gulps down the intestine then it wails. Three wolves creep out slowly out in and behind burnt cars and from the forecourts shop. Eddy looks toward the Hummer but it’s too far away for him to make a run for it.
Five wolves now and they start to GROWL. Eddy tries to watch them as he takes some steps backward, but there’s too many. Eight wolves now and they watch his every move.
INT/EXT HUMMER
The Hummer pulls up twenty yards away from him.
JACK Get in!
Eddy runs toward the Hummer. The wolves give chase.
Samantha opens the rear door as Jack rolls up his window.
The wolves are fast and already upon Eddy. They start snapping at his legs. Eddy leaps toward the rear door and lands inside the hummer on Samantha’s lap.
SAMANTHA Go! Go!
Albert hits the gas and the hummer takes off. One of the wolves leaps and catches Eddy’s trailing leg. Eddy screams in pain. The wolf’s sharp teeth break the skin of his ankle.
The wolf drags along outside the speeding vehicle, its legs trying to keep up with the moving ground.
Samantha pulls at Eddy, but he slips. Eddy panics; he kicks out with his free leg, knocking the wolf off his ankle. The wolf tumbles into the road.
Eddy scrambles into the hummer and the passenger door shuts. The hummer speeds south on Interstate 401, a sign indicates Kingston 50km, Watertown 75km.
INT. HUMMER – LATER
JACK Slow down Albert. Look.
Jack looks out, pointing at the fields afar. Half dug shallow open graves litter the area. Various fires light the large open green field adorned by crimson patches.
Grey clouds gather ahead as the wind picks up.
Eddy lies back sweating profusely, eyes closed, moving his head from side to side, muttering to himself.
ALBERT Is he okay?
Samantha looks at his leg, then into his eyes.
SAMANTHA He's still bleeding but not as bad now. He's sweating like a dog.
JACK What’s he saying?
SAMANTHA Sounds like gibberish.
ALBERT It's Hindi, I think, at least I recognise some of it.
SAMANTHA You understand it?
ALBERT Some. I’ve always had an interest in languages. I speak ten, you know.
Samantha is impressed.
JACK So what’s he saying then?
ALBERT Something about Shiva – that’s a Hindu god, the destroyer or transformer or – well there's many aspects to Shiva.
SAMANTHA He’s muttering about a Hindu god? Why?!
ALBERT Well it’s not just about Shiva, it’s about Rudra too.
JACK Rudra?
ALBERT The god of the roaring storm.
They all look out the window at the darkening sky.
LATER Gusts of wind batter the hummer as the once grey clouds turn black. LIGHTENING announces the rains arrival.
Albert drives past a sign on the left LARUE MILLS.
Samantha sinks into her seat.
SAMANTHA What depressing weather, I think I suffer from seasonal affective disorder.
ALBERT I'm the same. Rain always makes me sad.
JACK I don’t think it’s the weather…
Eddy springs forward, his eyes roll back, his arms cast out in front, flailing.
EDDY Mrutyunjaya, mrutyunjaya, mrutyunjaya...
Albert swerves the hummer. Jack shouts.
Samantha pulls Eddy back.
JACK Hold him down. We almost crashed!
Eddy struggles with Samantha.
SAMANTHA Why is he suddenly my responsibility? I was the one that didn’t want to –
Eddy breaks free and starts pulling at Albert. Albert can’t drive, the hummer swerves on the road.
EDDY Mrutyunjaya, mrutyunjaya, mrutyunjaya...
Albert slams on the brakes and the hummer spins to a stop, everyone is tossed around. Then silence.
Out the front windshield is the mighty St. Lawrence. The water boils. Everyone watches.
Then the head of a gigantic serpent rises from the water. Its fiery golden eyes watch them as the receding water cascades down its scales.
JACK What the fuck?
SAMANTHA Albert, get us outta here!
Gears crunch as Albert reverses the hummer. The serpents hisses, then opens its red mouth. It lunges forward toward the hummer. Samantha screams.
But Albert has pulled the hummer back far enough and the serpent strikes the ground instead.
Jack cocks his shotgun.
INT./EXT. HUMMER
Jack leans out the window and BANG! His shot bounces off the serpents scales. The serpent’s eyes narrow.
The hummer is back on course towards the junction of Interstate 401 and highway 81.
BANG! Another shot from Jack. Eddy rants as he pulls at Jack. Jack nearly drops the gun.
JACK Hold him down!
Samantha throws herself against Eddy, pinning him against the seat. Eddy pulls at her hair. Samantha screams.
SAMANTHA Help me!
The distance between them and the serpent has increased. BANG! One last shot, doesn’t even hit.
JACK Help you? Help me.
Jack gets back in the car.
Eddy rants.
JACK Shut him the fuck up.
SAMATHA I can’t!
Jack raises the shotgun butt and whacks Eddy in the face.
Eddy snaps back in his seat. Silence.
Jack relaxes a little. He turns to Albert.
JACK What now?
Albert looks into the hummer's rear view mirror the serpent is distant. It turns and heads back toward the river.
ALBERT I think we outran it.
Samantha sits up in the backseat.
SAMANTHA And what are we going to do with “the prophet” here? I think we should dump him.
Jack turns toward her, his mouth open. Albert laughs.
ALBERT We can’t dump him. He’s obviously important.
SAMANTHA AND JACK Important to who?
Then a ray of sunlight shines into the car and they all quiet for a moment as they watch the clouds break up.
EDDY (O.S.) Hey!
They all jump then turn and stare at Eddy. He looks at blood on his hand.
EDDY Why am I bleeding?
Samantha opens her mouth to speak but is thrown forward as the hummer skids into a quick stop.
They all stand in front of the sign that indicates this is turn off for Highway 81. Albert looks troubled.
ALBERT Which way?
JACK The quickest.
EDDY That isn’t always the right way.
SAMANTHA Just shut up, ok!
Eddy looks hurt.
SAMANTHA I don’t care which way I go. It’s just not going to be the same way as this freak.
JACK I’m with her.
Jack moves next to her.
JACK So which way are you going, buddy?
Everyone stands silent for a moment.
JACK Okay then. We’re taking the 401.
Samantha nods firmly.
Samantha and Jack grab their gear from the hummer. Albert and Eddy stand by the sign with their heads lowered. Jack starts off down the highway. Samantha turns toward Albert.
SAMANTHA Coming?
Albert shakes his head. Samantha looks saddened.
SAMANTHA You’re not serious.
ALBERT Someone’s got to look after him. He’s hurt.
SAMANTHA He’s dangerous Albert.
ALBERT Sometimes we need to make the dangerous choice, Samantha. Sometimes that’s what we’re meant to do.
Samantha’s eyes moisten.
SAMANTHA I hope you’re right about this Albert.
Albert nods. Samantha hardens.
SAMANTHA Goodbye then.
And she turns away and heads off along the highway.
INT. VAN – DAY Jack drives the van and Samantha sits in the passenger seat. They drive past a highway sign: KINGSTON 5km.
JACK We should stop for some supplies.
Samantha nods but seems thoughtful.
SAMANTHA What if Albert was right? What if we do need to sometimes make the dangerous choice?
JACK Samantha. Every choice we make is a dangerous one.
SAMANTHA I never thought about it like that.
She brightens.
SAMANTHA You’re right! Oh! There’s the turn off up ahead.
JACK I don’t know. It looks awfully dangerous. You think we should take it?
A battered Mustang creeps around the bend. Behind the wheel is BRUCE JARSE, early 30's, stocky build. A facial expression that suggests a certain amount of IQ was traded for those rugged good looks and six pack.
The engine finally gives in and the car crunches to a halt, Bruce climbs out, grabs a backpack from the trunk and slams the lid shut.
He takes a look up and down the road, a sign tells him that he is 5 miles from Scranton.
BRUCE (to himself) Scranton it is then.
A movement in the tree's catches his attention, he stops and spins to face the direction the noise came from, a pistol in hand, ready to fire.
Nothing.
Keeping the gun in his hand Bruce slowly makes his way along the road and towards the City.
EXT. SAME ROAD - SAME TIME
The Greyhound makes it's way along the road.
INT. GREYHOUND
Colin drives with a tired look on his face. Behind him Innocence sleeps, cradling Cordelia in her arms.
EXT. ROAD
Bruce walks, his backpack high on his back, ready for action. He walks carefully, warily, his eyes sweep the surrounding buildings like a soldier stalking the jungle.
He stops, something attracts his attention in the tree-line at the side of the road. He pauses for what seems like eternity, the cogs turning in his head, should he go and look?
Bruce slowly creeps towards the trees.
A car is laying on it's roof, the drivers door is open. No movement or noise.
Bruce climbs down the small embankment and approaches the car.
In the passenger seat is the body of a good looking woman, her seatbelt holding her in place. Bruce spies her purse laying next to her and picks it up.
He tips her purse out on the grass and rummages through her belongings. Her wallet has ID, she is HEIDI WINSLOW, 31 years old, from Manhattan. Lots of credit cards, not much cash. Bruce throws the purse aside and looks for something else.
HEIDI When you have done robbing me any chance you could help me out?
Bruce drops to his knees next to her.
BRUCE I though you were dead.
HEIDI So you're a grave robber then?
BRUCE Desperate times and all that.
HEIDI I am kind of trapped in here.
BRUCE What happened?
HEIDI What do you think happened?
Bruce yanks open the passenger door and sets to work on the seatbelt. He succeeds, she hits the car roof with her head..
HEIDI Ouch!
Bruce carefully helps Heidi out of the car and gets her to her feet.
BRUCE You feel okay? Nothing seems to broken.
Heidi stretches her back, winces with pain.
HEIDI Just a little sore. Hanging upside down for eight hours will do that to you.
BRUCE Eight hours? No way.
HEIDI Maybe an hour then, it certainly felt like eight hours.
Bruce raises an eyebrow.
HEIDI (flustered) Half an hour then! What does it matter? The point is I was trapped upside down for longer than I would care to be.
BRUCE What happened to whoever was driving?
HEIDI The dogs. It was them that forced us from the road, got him as soon as we crashed. I had to listen to them, waiting for them to come for me. (beat) They never did.
BRUCE I'm sorry.
HEIDI I never really knew him, we only met yesterday. He never tried to steal my things if that is an indication of anything.
Bruce looks a little embarrassed.
BRUCE Where were you heading?
HEIDI As far North as I could get.
BRUCE North? You mean Canada?
HEIDI I guess so, never really thought about it. Just, you know, gotta keep heading North.
BRUCE This shit is weird.
HEIDI Huh?
BRUCE Look, my car ran out of gas but am hoping to pick something up on the way into Scranton. You are more than welcome...
A GROWL from nearby scares the bejesus out of both of them. They both hit the dirt and crawl towards the protection of the upturned car.
A large dog stands staring at them, its sharp teeth drip large dollops of saliva, blood and foam onto the dirt. It lifts its head back and HOWLS.
Heidi looks at Bruce, she gestures towards the gun laying in the dirt a few feet away.
HEIDI Are you going to use that thing or not?
Bruce grabs the gun and lifts it up, he takes aim and pulls the trigger. The bullet misses the dogs head by two feet.
It does enough to startle the dog for a moment, but it comes back, this time even closer.
BRUCE Shit.
HEIDI Give me that.
Heidi snatches the gun from his hands and takes a shot. The bullet rips open the dogs skull spraying blood and brains into the trees behind.
BRUCE Where did you learn to shoot like that?
HEIDI Come on.
They get up from behind the car and run towards the road. Heidi is faster than Bruce and gets there first. She turns around to face Bruce and freezes.
HEIDI Oh my God!
Bruce reaches Heidi and see's what has put the fear of god into her. Back at the car is around 10-12 more dogs ripping chunks of flesh from the dead dog.
A large German Shepherd turns and looks at Bruce, it stares at him while chewing on some part of of the dismembered dog.
BRUCE We need to run. Fast.
Both Bruce and Heidi race down the road, arms and legs splaying around them.
They run until Bruce can run no more, out of breath, clutching his sides he pulls to a halt. Heidi stops and scans the road behind.
Bruce hands Heidi the remaining clips he has in his pocket.
BRUCE Maybe better if you have these.
HEIDI Why didn't they come after us?
BRUCE They looked busy eating their buddy.
HEIDI And when they finish?
BRUCE We will be long gone.
HEIDI It might be a little late for that.
Bruce looks to where she is looking, on the road behind them is the pack. The German Shepherd seems to be the leader, the other dogs circle him as if awaiting the command to attack.
Bruce and Heidi slowly back away, eyes locked on the dogs.
HEIDI What do you think?
BRUCE We are not going to outrun them.
HEIDI What's your name?
BRUCE Bruce
HEIDI I'm Heidi.
BRUCE I know, I saw your drivers license.
HEIDI Of course. Well Bruce, been nice meeting you.
Heidi lifts up the gun and takes aim. She takes a shot. The bullet misses, the pack disperse, but quickly are back together and running towards them.
Bruce and Heidi look at each other, they know they are finished.
INT. GREYHOUND
Colin turns a bend in the road and drives right into the middle of a fire storm.
A pack of dogs are in the road in front of him, behind them he sees a man and a woman, crouched in the road, a gun blazing wildly.
A stray bullet hits the windscreen and shatters it, Colin tries to keep the bus on the road. He hits the dogs, sending them sprawling.
In the back Cordelia and Innocence wake up, Cordiela SCREAMS, Innocence jumps to the front of the bus and watches as Colin loses control and slides right towards the two scared people in the road.
EXT. ROAD
Bruce braces himself for the inevitable, the SQUEAL of air-brakes, a SCREAM from Heidi. The bus is brought to a juddering halt just inches from them.
A Woman's face appears from the shattered front windscreen.
INNOCENCE Quick, get in.
Bruce wastes no time in grabbling Heidi and getting into the bus, the door closing behind them just as German Shepherd re-appears on the road.
INNOCENCE Colin, get us the hell out of here.
INT. GREYHOUND
Colin guns the engine back to life and floors the accelerator, German Shepherd not fast enough, CRUNCH as the wheels flatten his head.
BRUCE Well you guys showed up at the right time.
INNOCENCE Where you folks headed?
HEIDI I was trying to head North.
INNOCENCE You had the dreams?
Heidi nods her head but does not speak, she looks out of the window. Bruce watches her face.
EXT. GREYHOUND
The bus is now entering Scranton, hundreds of pairs of eyes watching from every vantage point the city has to offer.
Father Robert Holmes stares straight ahead as he walks. His ash white face contrasts heavilly with his black, haunted eyes. Heavy stubble, not quite a beard, suggests his unkempt state. The muddy stains on his cassock confirms it.
A distant DOG HOWL makes his face twitch. He stops. Turns in the direction of the sound.
The sunlight illuminates his face, making him squint.
BEGIN FLASHBACK:
EXT. LAKEVIEW CEMETERY – NIGHT
Rain thunders onto the muddy grass. Gravestones all you can see in these conditions.
SUPER: 12 HOURS AGO
Distant DIGGING.
A pile of BODIES rest by an open grave. Five...maybe six.
Father Holmes, standing in the grave, chucks soil over his shoulder with his shovel. Wipes sweat from his face with the sleeve of his cassock.
He lumbers out of the grave, pulling himself up with an arm. He's in good shape for his forty plus years.
His eyes fall on the bodies. Now closer, it's definitely five. Some male. Some female. Some old...some young. Too young. Dry blood caked to their ripped skin.
FATHER HOLMES Lord, give me strength.
He squats down and runs his fingers through a YOUNG GIRL's dirty blonde hair. Oblivious to her grotesque appearance in death.
FATHER HOLMES It's not much...but it's something.
The bodies are difficut to lift, but he struggles with the task...impossible.
Tears well in his eyes as he does the only thing he can. Rolls them into the grave.
The last one. Tears flow freely now as he looks down at them all. The young girl stares blindly back up at him.
A distant DOG HOWL.
He twists around to see THREE ROTTWEILLERS, frothing at the mouth, staring back at him. Three hundred or so feet away. They stalk towards him.
With frantic effort, Father Holmes shovels the dirt back into the mass grave.
The rottweillers are closer now.
The bodies half covered. Dirt falls onto the young girl's face.
Father Holmes looks down at the rottweillers; right on him now. His gaze locked with the CENTRE DOG. Pure hunger in the growling beast's eyes.
The other two dogs pounce into the grave.
Father Holmes falls to his knees. The centre dog continues to stare, hot breath billowing white in the cold night's sky.
END FLASHBACK.
EXT. 40B ROAD – DAY
Father Holmes falls against the wall. Sweat covers his face and brow.
He stumbles on blindly. Oblivious to the three rottweillers that close in around him. Military style...they're trying to flank him.
A car SCREETCHES to a stop by Father Holmes.
MICHAEL(O.S.) Get in!
Father Holmes squints, trying to see into the car but the bright sunlight sparkles against the metal.
A figure emerges from the light, Michael. He reaches down and pulls Father Holmes to his feet. Drags him into the open rear door. James helps to pull him inside.
As the rottweillers close faster, Michael moves to the driver's door and gets in. Just as the dogs arrive. They jump and SNARL at the windows. They steam up instantly as their teeth SCRATCH the glass.
INT. CAR – DAY
Father Holmes, in a daze, stares forward from the back seat.
James and Leona scream questions to Holmes and instructions to Michael M.O.S.
EXT. HIGHWAY 81 The Hummer drives through an empty border checkpoint.
INT. HUMMER Albert drives. Eddy is in the passenger seat.
ALBERT Betty used to love our visits the U.S. I remember one time we were studying Tamias striatus --
Eddy looks perplexed.
ALBERT Eastern chipmunk. It was just a bit east of here, in the Adirondaks. We had set up camp near a splendid population of chipmunks. Unfortunately, a large storm visited the area at exactly the same time. And let me tell you, water and dirt definitely make mud. We were covered in it. So we stripped, and Betty washed our clothes in a stream. (teary-eyed) I tell you, I don’t remember ever being so excited as when I watched Betty bend over that stream.
EDDY Is there a point to this old man?!
Albert seems a bit disappointed. He shakes his head.
EDDY Sorry. I just need a drink. You know?
Albert nods.
ALBERT I’ll see if we can find you something.
EDDY We’re all going to die, aren’t we?
ALBERT I’ve got no reason to believe that.
EDDY Well, I know. It told me.
ALBERT It?
EDDY The voice in my head.
Albert looks concerned.
EDDY I’m not crazy, if that’s what you’re thinking.
ALBERT Never crossed my mind.
EDDY It started when I was bit. Like another person is in there, telling me to do things?
ALBERT What sort of things?
EDDY Bad things.
ALBERT What sort of bad things?
EDDY Oh. This and that. Like right now it’s telling me to kill you.
Albert’s eyes open wide.
ALBERT I see. And are you going to obey?
EDDY Not right now.
Silence.
ALBERT We should see about finding you that drink.
EXT. GENERAL STORE The Hummer turns off the highway into the small parking lot.
INT. HUMMER Albert puts it in park. He nervously turns toward Eddy who has a serene smile on his face, almost reptilian.
ALBERT What do you want?
EDDY (hisses the s) Scotch.
EXT. GENERAL STORE Albert crosses to the door. He occasionally glances toward Eddy as he progresses.
INT. GENERAL STORE Albert enters. Inside it looks like a rural convenience store. A quick glance toward Eddy, then Albert notices a stand containing Zippo lighters by the register.
He grabs a lighter and lights it. It works. He stares at the lighter for a moment, another glance toward Eddy, then he smiles.
INT. GENERAL STORE Albert empties a bottle of scotch on the floor. He glances toward Eddy. Then he whispers.
ALBERT Betty. I wanted to let you know that I’m about to do something really terrible and I don’t want you to be angry with me about it. I made a bad choice.
He pours the contents of a bottle labelled Kerosene into the Scotch bottle.
ALBERT But I can’t think of any other way out. I just hope I can go through with it. If not, I’ll be seeing you much sooner than we thought.
He turns the lid on the Scotch bottle tightly. Another glance toward Eddy.
EXT. GENERAL STORE Albert exits with a bag in his hand and a smile on his face. Then he stops, shocked. Eddy is no longer in the Hummer. Albert looks around and sees no one.
Albert cautiously makes his way to the driver’s door and opens it.
INT. HUMMER Albert gets in. He places the bag from the store beside him. He scans the vehicle, shrugs, then smiles.
EXT. GENERAL STORE The Hummer pulls out of the small parking lot.
EXT. HIGHWAY 81 – DUSK The lights from the Hummer illuminate a sign that says WELCOME TO WATERTOWN POPULATION 5000. Only the ‘5000’ is crossed out and replaced with ‘?’. The road is tree lined.
INT. HUMMER Albert sees something up ahead in the headlights.
Two eyes glowing gold.
A face. Eddy’s.
Albert steps on the gas, going to get him.
No. It’s a deer.
The brakes. Too late!
Albert turns the wheel to avoid it.
EXT. HIGHWAY 81 The Hummer plows into a tree, the front smashes V-shaped.
INT. HUMMER Airbags inflate on impact. The contents of the bag from the store spill out, the Scotch bottle breaks and its contents splash all over the front seat.
EXT. HIGHWAY 81 It’s quiet. Albert is shaken up, out of it. The deflating airbag holds him in the car.
The sound of branches breaking under quiet foot falls. A man-sized shadow falls on Albert’s side of the car, then on Albert himself.
Albert looks up, he sees a blur.
ALBERT (sluggish) Who’s that?
EDDY (hisses the s) It’s me.
Eddy comes into focus. Albert’s alert now.
ALBERT Don’t just stand there. Help me out of here.
EDDY There’s only one escape.
Eddy brings a Zippo lighter up even with his eyes and lights it. In the glow from the lighter Eddy blinks his eyes sideways.
Albert struggles to free himself.
ALBERT No! You don’t have to do this.
EDDY Oh, but I do.
He sticks out a forked tongue then tosses the lighter into the Hummer. Albert scream his protests.
ALBERT No!
INT. HUMMER The lighter lands next to a broken piece of Scotch bottle and the flame spreads quickly. Frantic, Albert pats at it with his hand, but the flame catches onto his arm and he is soon engulfed in flames. He screams in agony.
EXT. HUMMER Eddy walks away from the Hummer, its insides glowing like a lantern. He smiles.
HEIDI'S DREAM - BOTH SIDES NOW (CIRCE'S SECRET AMPHISBAENAS)
FLASHBACK - INT. UPSIDE DOWN CAR
Over the sound of dogs. Very strange barks and yips - more like hyenas.
Heidi's face bloats with her inversion.
Blind fear in her eyes - the wide unblinking, deep thinking stare that belongs to Colin and those like him, like the wise serpent without eyelids that we can see behind Heidi's shoulder:
Black with white rings - Zebratic and hydratic,
HEIDI'S POV
And in front of her, only a slippery second away from a venomous strike, an enormous King Cobra stands poised in the frame of the open window.
The viper's gaping mouth and its hood open like a fan.
A moment close to death. Heidi holds her breath.
But now it sees her, smells her, knows her, recognizes her.
VIPER Hssst... Hydraaaaah.
HEIDI
It's Heidi now. I've changed. I'm not so materialistic anymore.
VIPER I like change. Guessssss what?
And the HISSSS of the intelligent creature draws forth something else...
HEIDI Whatssss... Nooo.
VIPER Yessss... You're ssssmart. You wanted sserendipity. I kept my promisssss. You mussssst keep yoursssss... Trade offsssss. You chose and you grows that's the way it goesssss.
HEIDI I feel too hungry like this. Ssstrange. Wild. Passionate! I need help down. Pleassss...
VIPER Help comesssss...
EXT. UPSIDE DOWN CAR
The ground begins to shake. An earthquake? No. Something massive cometh.
What in hell is this great form?
Shifting between something with golden eyes of sympathy and black pupils that could slice through your soul...
It WHIRLS, blue fiery arms lashing at the dogs, sending them retreating.
The blue flames tenderly stroke the amphisbaena, soothing them, and they quickly lose their killer stands: gentle and sinuous, they slip down easily to the ground.
Peaceful.
INT. UPSIDE DOWN CAR
CLOSE ON HEIDI:
She breathes a sigh of relief and then:
CLICK CLICK CLICK
EXT. UPSIDE DOWN CAR
The snapping of the vipers as they clamp themselves into perfect rings.
They roll now like bicycle tires, toward the dogs. It looks like they're chasing them, but no.
They're running together in a pack, dogs and vipers together among an increasing grey mist that descends.
Heidi's consciousness rises ghost like out of the car, she can see everything:
Cordelia dancing:
CORDELIA Together together, The wind in the heather,
Where Eden at peace Shall again bless the beasts
Where falls down like rain A new dance for the lame
For a dream of such bliss On the Maid of The Mist
Is the gift for a dreamer Who dared to exist.
And that Foggy substance behind which Shiva resides:
The great blue fiery form still remains concealed behind the same thin mist that we saw at the beginning:
Flashes:
On the bridge, where Cordelia walked in innocence, with her basket and her bows.
This time,
The HUNDREDS of BEAUTIFUL ARMS are also wound with BEAUTIFUL SNAKES. Silver and gold and blessed.
Heidi knows that if this thing were a tree, and it could be a tree with many branches, that if you cut off a branch, you'd get two shoots where there were only one. THIS WILL HAPPEN in two shakes. Two shakes of a lamb's tale:
Flash of THE LAMB ON THE BLACK STONE ALTAR
At this moment of understanding, Heidi hears her thoughts played back.
CUT OFF ONE AND BEAR THE SONS
But the sound is rippled.
Maybe not hers, but THE FIERY FORM'S thoughts.
The Form then manifests a GREAT SWORD and begins to cut off one of its branches, or arms - they are both.
Flash:
The lamb is cut at the throat.
Back to Shiva:
CLOSE ON THE CASTRATION as Shiva begins the cut of Hisher own arm.
SHIVA My name is Shiva, but that is not only who I am. No more than your left hand is you. Or your right foot is you. Neither breast nor brain nor spine is you...
Shiva, finishes the cutting, fearlessly through a serpentine arm.
SHIVA That which you find objectionable-- Ye shall cut it off. That which I do, so shall you.
And with that, two new branches extend from the stub:
And the hands and leaves become butterflies.
Nature's beauty. Deer and wolf. Leopard and Elephant...
More butterflies, opening in transformation, evaporating into Cordelia's "word inversions".
V.O. CORDELIA There is no GOD Without a DOG
No DEVIL Without LIVED
What man has gained Will still remain
If only he will give
There's no LOVE With- Out EVOL
And EVOL-UTION REIGNS
The serpent's Hiss Shall turn to bliss
When calling Shiva's name.
HEIDI Shiva!!!!!!!!!!!
Her scream rises from the upside-down-car as:
MUSIC - BOTH SIDES NOW - BIRTHS HOPE
MONTAGUE - HISTORY OF MANKIND
We travel the world, seeing its misery.
Pollution. Stagnant ponds. Pestilence.
And while Judy Collins' voice rises, the easy melody rocking us.
A mother rocks her baby.
Love flows from her breast against all odds in the SONG and the CLOUDS and the ANGELS.
Snapshots of struggle, wield against any false sense from the rocking.
But still she rocks.
As does an insane man:
Faar then close, Faar then close,
FAR THEN
CLOSE ON: INSANE MAN
Rocking.
He hugs himself tight.
And he can't fathom, his predicament, his world.
And MEN OF HONOR AND POWER close around him, like apparitions in A Christmas Carol.
And what do they say - that there's still time for change?
To the Insane Man, their words, are all gobbldeegook because these men are specialists.
POWER MEN (all at once) ... ...
They speak jargon, a clutter of words that mean zero.
The Insane Man looks up to them, literally, figuratively:
Doctors and Lawyers and Financiers that only seem honest, Priests and Professors, Philosophers and Psychologists.
We leave the Insane Man to the outside world again:
Decay, remorse and hopeless faces.
V.O. HEIDI'S THOUGHTS How do you paint suffering? A child who's lost his mother. Maybe that. And then...
People stand up. All over. People standing up. Ready for a revolution against this THING.
V.O. HEIDI'S THOUGHTS How do you show people helping people?
A soldier carries his half-dead comrade over a mine field where explosions are like popcorn in the microwave.
V.O. HEIDI'S THOUGHTS Maybe that.
An encapsulation of human history. To see:
V.O CORDELIA A caveman's first climb. From the cave to divine.
V.O. HEIDI'S THOUGHTS If man can control it, he bloody well will.
V.O. CORDELIA Thy will.
V.O. HEIDI'S THOUGHTS Be done.
The bulls become oxen. The bird is caged.
Glyphs and script and printing press - ships float on water and oil floats on water and in the air...
Flash: Cordelia haults! Intense, ceasing her dance:
CORDELIA Do you care?
Heidi, angry:
HEIDI I swear!
Beat.
HEIDI Hitler's hails. Jewish blood trails. I won't fail!
CORDELIA You're good for the struggle.
CLOSE ON HEIDI
PURE GRIT WILLFULNESS that needs no answer.
More Flashes:
60s flower children crying out for PEACE, LOVE AND FREEDOM.
These words like flags, like flames, like flickering desires in the hearts of men; they pulse with a beat that must be:
THE HEARTBEAT OF ALL MANKIND. A BEATING DRUM OF LIFE AND... THAT SONG... FADING, RESURRECTING
THE WORDS PUSH UP ON GRAVESTONES GROWING - carved
-on wooden crosses
-on granite stones
All have:
BOTH SIDES NOW
And
Pieces of the lyrics scatter. Like a sacred graffiti.
SOMETHING'S LOST AND SOMETHING'S GAINED
IN LIVING EVERYDAY...
END MONTAGUE with STATIC, like turning a dial.
Chhclchlchl....
For some reason, the radio in the car begins to work.
INT. UPSIDE DOWN CAR
Heidi starts to convulse. She might die. Something's wrong, but miraculously, she blanks out, forgets everything - then:
BRUCE TOSSES HER WALLET OF CREDIT CARDS
Off Bruce, still rummaging through things.
O.S HEIDI'S THOUGHTS
You just did me the biggest favor ever. But I'll play it the other way. Gotta have fun ya know.
Heidi’s POP eyes open. She’s laid out across the back of the bus. She sits up. The bus is empty, with the exception of Bruce, who rummages through displaced bags on the top rack of the bus.
She looks at her surroundings for a second then remembers.
HEIDI Oh.
Bruce turns to her.
BRUCE Good to see you are awake.
She notices what he is doing and smirks.
HEIDI Good to see I’m not you’re only victim.
Bruce blushes.
BRUCE I don’t want you to think I do this often.
HEIDI Of course not. It’s not like every time i see you, you are rummaging through someone else’s things.
Bruce doesn’t know what to say. He just sighs and continues.
HEIDI Where is everyone?
BRUCE Outside.
She stands up and walks towards the front of the bus. She approaches the cracked class and she sees them.
Colin, his hands on his head in grief, and Cordelia and Innocence standing there silently.
She looks out onto the highway in front of them. It is like a parking lot. Cars that were once full of people stuck on the highway in attempt to flee, now sit silent and abandoned.
EXT. GREYHOUND - EVENING
Cordelia turns to Heidi as she exits the bus. Innocence, sensing Cordelia’s movement, turns as well to see Heidi looking out in awe at all the cars.
INNOCENCE We didn’t want to wake you just yet.
HEIDI What’s going on?
Colin drops his hands and sighs.
COLIN Except for the giant parking lot in front of us? We ran out of gas.
HEIDI So what do we do now?
COLIN We’ll have to walk.
Heidi nods, knowing there is no other option.
Colin shakes his head in disbelief then turns and walks towards the bus.
COLIN I’ll go get the map.
INT. GREYHOUND - EVENING
Colin enters the bus and notices Bruce going through the bags.
COLIN What are you doing?
BRUCE There’s got to be something good here. Something we can use.
COLIN Have you seen the map?
BRUCE It’s up there somewhere.
Colin looks around the drivers seat.
BRUCE So we’re walking after all?
COLIN What other choice do we have?
BRUCE You think we’ll find another set of wheels?
COLIN Let’s hope so. Ah, here we go.
Colin finds the map and exits the bus.
EXT. GREYHOUND - EVENING
Colin sets the map on the ground. He turns to Heidi.
COLIN Come hold this corner down for me?
Heidi approaches him and kneels. She holds one side of the map down. Colin’s eyes roll over the map, looking for Scranton. He finds it and puts his finger on the dot.
COLIN Okay, let’s see. There was a service area a few miles back so...we should be somewhere near...here.
His finger lands on Binghamton.
HEIDI Binghamton?
Colin looks up at her and then back down at the map.
COLIN Yeah, and from the looks of it, it’s just up the road. If we start now we might make it to a safe place before night falls.
She looks around, a strange feeling coming over her.
She notices Innocence and Cordelia going through the empty cars, looking for things of use.
Colin eyes her, her hair blowing in the wind and the falling sun hiding her face just right.
He then turns to see Innocence and Cordelia, silhouetted by the sun in front of them. At any other time, it would be a beautiful image.
COLIN (To Innocence) Don’t go too far!
Innocence waves him off.
HEIDI Do you think it will be safe out there for us?
Colin looks up at her then down at the map. He folds it back up.
COLIN I couldn’t tell you for sure. To be honest, I don’t think anywhere is safe anymore. Not even this bus.
They stand up. Colin looks around.
COLIN It’s a shame too. I’ve always liked this side of the country.
Bruce exits the bus and walks next to them carrying a duffel bag.
COLIN Get everything you need?
BRUCE It’s not just me who needs these you know.
He eyes Heidi and she smiles.
HEIDI I’m just pulling your chain. I don’t really think you are a thief, though you really have given me nothing to prove otherwise.
COLIN Let’s go.
HEIDI What about the dogs? What if we get cornered again?
BRUCE I don’t think that’s an issue. We haven’t heard anything for a while. Not a howl, nothing.
HEIDI That’s strange.
BRUCE You’re telling me.
EXT. HIGHWAY - EVENING
They walk between the abandoned cars, some stuffed with clothing and valuables that no longer have value.
They approach Innocence and Cordelia. Cordelia moves closer to Innocence, Innocence shelters her, like a mother bird beneath, her wing.
BRUCE Find anything good?
INNOCENCE Just clothes. Clothes and more clothes.
Colin nods.
COLIN Let’s get going then. The sun is going down and we don’t want to be stuck on this highway when it does.
They continue walking forward. Car after car passes them until they reach the sign for the Court Street exit. The sun is almost down. They don’t stop to rest.
EXT. ROAD - EVENING
Compared to the highway, the road is desolate. Not a car in site with the exception of the line of cars that didn’t quite make it to the highway.
Innocence notices a convenient store pass the bridge.
INNOCENCE We can stay there for the night.
BRUCE No, too many windows.
Heidi turns the opposite direction and notices a large white truck sitting in the middle of the road. She tugs on Colin’s shirt.
HEIDI Hey, you think that truck works?
Everyone turns to the truck. It looks suspicious.
COLIN Stay here.
Colin walks over to the truck and opens the door.
INT. TRUCK - EVENING
The keys are still in the ignition, made audible by a faint ringing.
He gets in and turns the key. The truck whines for a second before coming to life. He yells to everybody.
COLIN Hey, it works!
Colin looks behind him to see racks of brown packages.
Heidi enters the passenger side and turns to see what he is looking at.
Bruce opens the back door of the truck. Innocence stands beside him, and behind her Cordelia.
BRUCE Oh wow, a package truck.
COLIN Get in.
Bruce climbs in, followed by Innocence and Cordelia. He begins to fiddle with the packages.
HEIDI You’re not helping yourself out here Bruce.
BRUCE Survival of the fittest.
He cracks open a package and yells. He TOSSES the box to the other side of the truck. It opens fully and hundreds of snakes wiggle and crawl out.
Innocence and Cordelia scream.
BRUCE Shit!
Bruce tosses a snake off of him and RUNS out of the back of the truck. EXT. TRUCK - EVENING
They all stand there, confused.
Colin stares at the falling sun. He turns to Bruce.
COLIN We gotta do it man.
Bruce hesitantly nods. Colin and Bruce go head first into the truck. Seconds later, boxes and boxes come FLYING out of the end of the truck. They crash open and snakes come pouring out of them. They wiggle close to Cordelia.
Heidi crosses her arm, a chill coming over her.
HEIDI Can we hurry this up? I’m not feeling to good standing out here like this.
The last box is tossed onto the ground. Colin gets in the drivers seat and Heidi hops back into the passenger seat.
Bruce holds out his hand for Innocence.
BRUCE Give me your hand.
Bruce helps innocence in. Cordelia turns her head to a small snake that crawls near her feet.
Her face turns from innocently curious to a twisted and sinister expression. Her eyes roll back into her head.
She rises her foot and STOMPS the snake, crushing its skull.
INNOCENCE (O.S.) Cordelia?
Her eyes POP back and she looks around, confused. She turns to Innocence to see her hand held out.
INNOCENCE Come.
Cordelia obeys and enters the truck. Bruce locks the door and the truck pulls off.
Michael stands at a pump holding the nozzle in the fuel tank of the car. Leona stands next to him, looking rather annoyed with the stop.
LEONA Of all the cars to steal, you couldn’t grab a solar powered one.
MICHAEL I can’t get past the security thumbprint thingy on them.
LEONA Flimsy excuse.
MICHAEL Let’s just be grateful that brainiac could start the pumps.
Leona takes a step away from the car.
LEONA I’m gonna hit the bathroom.
She walks toward the station.
INT. GAS STATION – DAY
James stands next to the pump controls. Leona enters. He gives her a nod as she walks past.
He glances at the cash registers which have been completed cleaned out. James chuckles. He looks at the variety of items on the shelves under the counter. One item catches his eye. He kneels down and picks up a device a little larger than an iPhone, completely blank with a blank face.
He rotates it in his hand and clicks a switch on the top. He looks back at the black face and touches it. The backlight fires to life and a screen shows a variety of different options. It’s a sort of PALMTOP COMPUTER. He presses the “Network” option. A circle rotates on screen with the word “connecting” underneath.
James watches it intently mumbling something under his breath, as if he were praying.
The screen shows “connected.”
JAMES Yes!
He glances quickly outside to Michael still fueling. He looks back to the screen and opens a browser. He types in “military bases Ontario.”
EXT. GAS STATION – DAY
Michael stops fueling and hangs the nozzle back on the pump. He walks around the car and opens the back door. Father Holmes sleeps soundly, sitting on the backseat. Michael taps his arm.
MICHAEL Hey, sleeping beauty.
Holmes doesn’t answer.
MICHAEL Hey, we’re going. You’d better hit the restroom before we go.
Holmes turns away from him with a grumble. Michael rolls his eyes. Leona walks up to him with James in tow, still looking at the small computer in his hands.
LEONA He going?
MICHAEL He won’t wake up.
LEONA Well, if he gets the urge, I’ll make him hang it out the window.
Michael looks at James.
MICHAEL What’s he doing?
LEONA He found a toy.
JAMES The wireless network is still intact. I’ve been trying to find some extra ammunition or weapons, since my PPK only has the one clip. I found a CF base in London that was reopened in 2018 during the war after the Iraqis tried to hit Canada on their way to the U.S. The base was never deactivated, so we may find some good weaponry.
MICHAEL Why would we need that kind of firepower?
James looks at him, expressionless.
JAMES The world is a dangerous place, and we need to be prepared.
LEONA How far is it?
MICHAEL It’s on the way.
JAMES About 70 miles.
Leona sighs.
LEONA All right, I guess. I’m running low on ammo too.
JAMES Good.
EXT. HIGHWAY 402 – DAY
Michael retains his place at the wheel. Leona rides shotgun. James sits in the backseat with Father Holmes. They drive to the east. James stares out at the passing scenery. His eyes drift closed.
MICHAEL Where is the base? We’re on highway 22 coming into London. I need to know where to go.
James pulls out the palmtop computer he found at the station. He taps the screen which only triggers the backlight. The screensaver is a digital clock that shows 1430. James chuckles quietly. He touches the screen again which pulls up the desktop. He does a quick search.
JAMES It’s on Oxford Street. Turn right up here at Richmond.
EXT. CFB LONDON – DAY
The base has seen better days. Doors are open. Gates are unguarded. Apparently, the soldiers felt their presence was needed elsewhere, much like the rest of the world. They drive until the road is blocked by two large trucks. They stop and get out of the car. Even Father Holmes stumbles out of the car and squints into the sunlight.
FATHER HOLMES I think I need to find a bathroom.
They walk around the trucks and about a hundred yards away are the armory and it headquarters. They cross the distance. James walks up to the door and pulls. It doesn’t open.
LEONA You knew it wouldn’t be that easy.
JAMES Yeah, I knew. The Armory headquarters is right there though. The key is probably still inside.
They enter through the headquarters’ open door.
INT. CFB LONDON ARMORY HQ – DAY
They walk down the empty hallway. Along sides are doors labeled with the various high-enough-to-get-an-office ranked military officials. Father Holmes spots a bathroom and ducks out.
MICHAEL What makes you think no one else has tried this?
JAMES The door’s still locked.
LEONA What are you looking for? Why aren’t we checking the offices?
JAMES Because the keys would only be in a couple of them.
He stops at a door. He offers them a rare smile.
JAMES This one.
MICHAEL Ok, why that one?
JAMES Look at the doors.
He points them out as he reads the ranks.
JAMES Captain. Lieutenant. Lieutenant. Warrant Officer.
He stops at the door he’s at.
JAMES How many sergeants are cool enough to have their own office? Ones with keys, that’s who.
He tries the door, but it’s locked. He steps back a moment and looks at it. Leona rolls her eyes. She kicks the door. Hard. It breaks the hold the latch has and flies open. James nods.
LEONA You’re welcome.
They enter the room, and sure enough, on a wall behind the desk is a metal box containing a myriad of keys. James walks up to it and pulls down a set.
JAMES Armory.
INT. CFB LONDON ARMORY – DAY
The inside of the armory is clean and untouched by the chaos. Racks of weapons rest behind a second door and an imposing gate. The exterior door opens and James, Leona, Michael, and Father Holmes enter. They marvel at the weapons within.
LEONA Wow.
FATHER HOLMES Impressive, to be sure.
JAMES I’m sure we’ll find something useful in here. Father, do you mind looking for where the ammo is kept?
FATHER HOLMES No problem.
LEONA I’ll come with you.
James opens the second door and the gate and they pass into the throng of weapons. Leona and Father Holmes walk away leaving James to walk up and down the aisle. Michael follows closely. They pass several types of weapons, but James is unphased.
MICHAEL What are you looking for?
JAMES Something special.
MICHAEL Were you expecting something special?
JAMES Not really. They have metal storms, M468’s, M4A2’s. Standard stuff, but I’m hoping they have something a bit bigger.
MICHAEL Like what?
James stops. He smirks.
JAMES Like that.
He walks over to a rack of very hefty weapons that look like assault rifles with barrels of at least 45 calibers. He hefts one to the ready and checks it over briefly.
MICHAEL I thought you only knew about the PPK.
JAMES My father used a PPK when he was a clandestine officer in the CIA, but he told me about these when they were still experimental. Most bases have them now, and I was hoping this one would too. It’s perfect.
MICHAEL What is it?
JAMES The M41-C. Electromagnetic Pulse Rifle. One shot out of this barrel is like firing an anti-tank weapon.
Michael’s eyes grow wide. James looks to a cabinet near the rack. He looks at the keys and opens the cabinet to find several cases labeled Ammunition: M41-C along with several fully loaded clips. James pulls out a clip and clicks it into place in the weapon. He locks and loads.
MICHAEL What do need something like that for? We’re facing rabid animals, not the Middle Eastern Military.
James doesn’t look up as he looks over the weapon.
JAMES When was the last time you saw a rabid animal?
Michael pauses. His eyes dart back and forth as he stares at the ground, as if thinking.
JAMES Exactly. I don’t know what’s out there, and neither do you. We need to be ready just in case it isn’t friendly.
Michael looks at him quickly.
MICHAEL What isn’t friendly?
JAMES You know what I’m talking about.
MICHAEL Maybe I want you to say it. Admit that it’s real, for once.
James sighs.
JAMES Look, I’m an observer more than anything else. I don’t know what’s out there, or what’s waiting for us in Niagra Falls when we get there. No one does, really. However, I don’t want to be caught unawares in case this... whatever this is ... decides it is interested in wiping us out.
MICHAEL You want to destroy it.
JAMES I want to preserve us. Grab a weapon.
MICHAEL You’re not leaving with that thing.
JAMES Be rational.
MICHAEL No. You want a pistol? Take it. You want an assault rifle? Take it. That monster you’re holding? I don’t think so.
JAMES Are you afraid?
MICHAEL You’re not going to kill her.
JAMES Who?
MICHAEL Give it to me.
James turns and points the barrel directly at Michael, but it’s only a few inches from him.
JAMES You know this is loaded, and you can’t argue the logic.
Michael pushes the barrel towards the back wall and tries to take hold of the weapon. James retains his hold on it. Michael pulls on it and his thumb slips under the trigger guard.
With another tug at the weapon, he depresses the trigger. A quick, rising-pitched whine pierces the air and then a ball of blue energy breaks free annihilating the rear wall of the armory and blowing them down the aisle several yards.
The EMP weapon skitters away from both of them. Leona and Father Holmes run around the corner to see the destruction and the two of them on the floor. They both cough and climb to their feet. James is up first and walks to the weapon. Leona steps forward and places her foot on it.
LEONA What’s going on?
JAMES We had a difference of opinion.
MICHAEL He’s going to kill her!
FATHER HOLMES Her?
Leona stares at Michael for a moment. She closes her eyes and sighs. She opens her eyes and looks at James, disbelieving.
LEONA You think you can kill it?
James looks at her, impassive.
JAMES I don’t know. I acquired this weapon to maximize the possibility just in case it came to that.
LEONA Do you plan to kill it if it’s friendly?
James shakes his head.
JAMES Of course not. It’s only a precaution. The boy overreacted.
Leona sighs and removes her foot. James picks up the weapon. Father Holmes sniffs the air.
FATHER HOLMES Do you smell gas?
They all four sniff the air. They look back to the opening in the wall. Wires and pipes are exposed.
LEONA Not good.
FATHER HOLMES We should go.
MICHAEL We’re not getting anything else?
JAMES It looks like your stunt cost us our backups.
At the hole, wires spark. The four travelers run through the doors and out as the sparks find the gas.
An explosion rocks the air as the four travelers dive out of the armory opening and lie face down on the ground. As the sound rolls away and the pieces come to rest, they stand and look at the destruction.
JAMES Well, that sucks.
LEONA Great, this was a waste of time.
She turns back to the car.
JAMES Yeah, only one clip again. Perhaps we can stop by the police station to see if their detectives use PPK’s.
MICHAEL I’m done with your stops.
They all follow Leona and then freeze. Several snakes slither around the trucks near the car. They turn and more snakes pass around the other buildings on the base. They are of multiple sizes (some the size of garden snakes and others larger than anacondas) and seem to have appeared out of no where.
LEONA If you’re going to use that peashooter, James, now would be the time.
James aims far short of the trucks, and fires a blast. He stumbles back from the recoil. The impact hits the ground, blowing a huge hole and throwing the snakes against the trucks.
JAMES Go!
They run to the car. The snakes behind them slither quickly. They are closing on the travelers. James stops and turns. They all pause.
JAMES Go on. Get ready to go.
They start back toward the car. The snakes close to within a few yards. James lets loose another blast at the forefront of the oncoming snakes. It hits the ground too close, and James is thrown back by the blast.
Leona turns back to see James on the ground, struggling to his feet. She tries to run back to him, but Father Holmes grabs her arm.
LEONA I’ve got to go back for him!
FATHER HOLMES We can’t risk it. There may be more of them out there.
MICHEAL (O.S.) There are!
They turn and more snakes are coming from outside the base, heading for their car. Leona turns back to James.
LEONA (screams) James! Come on!
James struggles to his feet. He runs weakly to the group.
MICHAEL Get in the car!
Michael jumps in and closes the door. He starts the car. Leona watches James. Father Holmes tugs on her arm.
FATHER HOLMES Get in. Now.
Leona takes a step to the car, still watching.
More snakes slither towards the running James. He looks at Leona.
JAMES (yells) Get out of here!
The snakes are at his heels. James looks at her.
JAMES Good bye
He aims his weapon at the snakes directly behind him and fires.
Leona cringes as James’ body is thrown high into the air from the force of the blast. She quickly gets in the car. Michael guns the engine and the car blasts out of the base crushes snakes bodies as he zips around the corner and into the street.
The snake bodies disappear. The snakes approaching James also disappear. The lawn and road is clear and clean except for the damage James wrought and his broken body on the road.
His breath comes in shallow gasps and his limbs are at odd angles. Footfalls sound near him. He turns his eyes, trying to see where they are coming from. He looks up as a shadow blocks the sun.
SHIVA (O.S.) So is the fate of all who try…
Somewhere in London, a clock tower chimes the hour in a low, booming bell sound. James closes his eyes and breathes his last. The clock chimes again.
EXT. HIGHWAY 402 - DAY
The car, now with only three passengers squeals off of 126 and onto 401 heading to the east. They pass a sign which reads: Brantford: 85km.
INT. CAR – DAY
The passengers ride in silence staring forward as the clock sounds a third time. The clock on the car’s dashboard reads 3:00.
Pages: 
Author
Shiva - Game
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