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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!
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.
High up, dropping down. Mighty Lake Ontario’s shoreline shines to the south. The van makes a left, towards the grey water. Off to the right, a large trucks sits, tarps lashed down tight.
We pull down, behind the van. Nothing else moves. As the van passes, we pan right, to the truck…underneath the tarps, hundreds of dog carcasses. Blood and other liquid have formed a thick, black pool behind it.
INT. VAN
Jack There’s another one…every couple miles.
Sam I know…I’ve seen them. Is that…
Jack Yeah…dogs…dog carcasses.
Samantha looks at the map, her finger tracing the faint red line.
Sam That’s fucked.
Jack Could be good news…like the military cleaning things up.
Sam Yeah, I guess…I don’t think so though. Kingston is only a few miles south of us, right on the Lake.
Jack looks over, smiles.
Jack Anything else around here you see?
Sam Golf course to our immediate left, town straight ahead.
Jack looks left, a funny smile on his lips. He turns the wheel, onto the parkway, heading towards the course.
Sam Uhhh, Jack? What’ are we doing?
EXT. BELLE PARK FAIRWAYS
The van heads straight towards the greenery. It pulls up and stops just outside the club.
The parking lot is full of cars of all makes and models…several bodies lie in full golf attire, as if they were just unloading their clubs into their cars. Big black ravens feast, sending up “caws” into the surrounding silence.
INT. VAN
Jack looks left and right.
Jack Sam…
Sam Why are we here?.
Jack You feel what I’m feeling?
Sam looks unsure.
Sam No, but I’ve got a feeling…a feeling you need to do something, right?
Jack Exactly…I do…
EXT. BELLE PARK FAIRWAYS
The two walk together along a path, towards a putting green. Jack has a putter and two sleeves of new balls in his hand. Sam looks left and right. She seems nervous.
Sam C’mon Jack, let’s make this quick, OK? I don’t like it here. I’ve got a bad feeling.
Jack Too good to pass up, Sam. Could be the last time I ever get to hit a putt. We’ll be outta here in 2 minutes. Promise.
The green is off by itself, away from the rest of the course. Calm waves lick the shoreline a few feet away. It’s silent out here except for the wind, which whistles in between the leafless branches of the trees, overhead.
Sam What happens if you make all your putts?
She smiles, but it doesn’t look sincere.
Jack If I make all six putts, I’d say we get married in Niagara Falls, have a few kids, and live happily ever after…how’s that sound?
Sam Funny, Jack. I’m not sure if I should be routing for you or against you.
Jack drops the balls in a line, about ten feet away from the pin. He lines up the nearest ball, and takes a practice swing.
Jack OK Samantha, here we go. All kidding aside, I think you’re great. Wish we could have met under better circumstances.
Their eyes lock momentarily. They each smile.
Jack hits the first putt, and it runs left of the hole.
Jack Damnit! That’s not a good start.
Sam Looks like the Honeymoon’s over before it even began.
He putts the next ball, and it too misses the hole.
Jack What the…?
The third putt rims out.
Sam Is this a bad omen, or are you just a shitty putter?
Jack looks up. He has a funny expression on his face.
Jack Well, I’m really not a shitty putter. Maybe this was a bad idea.
Behind them, there’s movement in the no longer calm water. A great serpentine head breaks the surface, some twenty feet away.
Sam Just make the next three, and we’ll call it good. C’mon, I’m with you now!
Jack hits the fourth putt, and it too rims the hole and misses.
The snake is absolutely huge! The head alone is two feet long. Inside its wicked mouth, three inch fangs lurk.
It’s perfectly silent as it slithers out of the water towards the green. Jack and Sam still have their backs turned to it, completely oblivious.
Putt number five isn’t even close.
Jack This is unreal. Seriously, I can’t believe I can’t make a frickin’ putt here.
Sam Maybe I’m making you nervous. I’ll head back up to the car, and I bet I hear you scream.
Jack OK, sounds good…get ready, the crowd’s about to go wild.
Sam walks away. Jack lines up his final putt. He pulls the club back, and strikes the ball with a pendulum-like motion. The ball heads straight for the hole, and vanishes.
Jack raises his arms and lets out a scream. Sam turns around with a big smile on her face.
Her smile disappears instantly. The snake is now right behind Jack.
Sam Jack! Behind you…
It rears up and towers over Jack. Damn, it’s big…must be at least forty feet long and four feet around.
Jack turns, but it’s already too late. The wicked mouth engulfs his head and upper body completely, lifting him into the air. The putter drops to the ground. His legs kick violently, but also helplessly.
Sam screams.
Sam Noooo! Jack! Nooo…
She turns and runs back toward the parking lot. Tears stream down her face.
In two gulping motions, Jack is gone, inside the mighty serpent. His legs continue to kick inside the beast.
The snake lies still on the green, digesting its meal.
INT. VAN
Sam drives away from the course. Her hands shake on the wheel, as tears run down her face.
She grabs the CB mic, and flips the unit on.
Sam Albert? Albert, are you out there? Jack’s dead! Albert? Come back…
Eddy (OS) Albert’sssss dead asssss well. Hi Sssssam…I missssss you…
The hot sun beats down on the dry road and surrounding earth. A barren landscape void of life.
A silhouetted man staggers down the middle of the road.
He has an unkempt appearance and walks with his eyes shut. His police uniform is tattered and torn.
MAN Bauman... who am I? ...Bauman... John... is it? ...Bauman... John... ssss... NO!
He drops to his knees and rips clumps of his hair from his scalp.
MAN No! No! (hitting head) ...Give me back... John... I'm... I--
He slams his head down onto the road, then falls on his back and sobs.
Something stirs within him, causing him excruciating pain. He screams as his body twists and contorts, as if battling with itself.
He pulls his handgun, but immediately his hand pulls itself down to the roads surface. He strains against his own strength to lift the gun.
He springs to his feet and aims his gun at the sun. With a bellow of rage he unloads the gun.
He discards the empty gun and clutches his head. He scratches his face till it bleeds.
MAN Give me! ...Give me! ...back--
Suddenly he stops and looks around, as if he just heard something.
MAN What? ...no, Bauman... John... not Piscivorus... yes... yessss....
His demeanor is calmer now. Tears continue to roll down his cheeks, but his face shows no emotion.
MAN My love is yours if you'll save me... me... Piscivorus... Pisss-civor-usss...
He turns sharply at the sight of a truck approaching in the distance.
INT. TRUCK
Cordelia, Heidi, and Innocence sit in the back. Cordelia sleeps with her head on Innocence's shoulder. Colin drives with Bruce riding shotgun.
Bruce fiddles with the radio.
COLIN Can you stop that please, not only are you not going to find anything, but it's really frickin' annoying, and I swear it's giving me a headache, and on top of everything else that's happening in this screwed up world, the last thing I need is a headache!
Bruce rolls his eyes and leaves the radio alone.
Colin's attention is caught by Piscivorus stood at the side of the road further up.
Colin brings the truck to a slow stop beside him.
Bruce regards Piscivorus's beat up appearance.
BRUCE What happened to you?!
Colin nudges Bruce disapprovingly.
COLIN Are you okay?
Piscivorus stares at them for a moment, his eyes roam to the passengers in the back, then land on the sleeping Cordelia.
PISCIVORUS Name's Bauman, John Baumn.
His face twitches slightly as he says that name.
PISCIVORUS I'm a cop from Nigara. Dunno how I wound up here, but when I woke I...
BRUCE The worlds gone to shit, none of us really know anything.
HEIDI Tell him we're going to Niagara, tell him.
COLIN We're heading to Niagara if you wanna tag along. None of us have been before, so having someone who knows the area would be ideal.
PISCIVORUS Why Niagara?
INNOCENCE Why not?
Innocence looks at him suspiciously.
PISCIVORUS I c-come with you?
BRUCE That's what he just said right...
PISCIVORUS I-okay... yes.
Codrelia wakes up. Her blurred vision momentarily sees a strange aura around Piscivorus. She rubs her eyes and it's gone.
Piscivorus looks at her piercingly. Cordelia is uneased.
CORDELIA There's something wrong with him...
INNOCENCE What is it?
HEIDI Calm down, he's a cop.
CORDELIA No!
She locks the door before Piscivorus can open it.
BRUCE What the shit are you doing?!
HEIDI Let him in, we need his help.
CORDELIA No!
COLIN Quit fooling around!
BRUCE Damn kid!
INNOCENCE Back off alright! She's just scared.
Piscivorus interrupts the bickering by slamming his fist into the glass of the window, cracking it but not breaking through.
Cordelia screams. Pisicivorus covers his ears.
BRUCE Whoa!
INNOCENCE Bastard!
Innocence unlocks the door and slams it outward into Piscivorus, knocking him over.
EXT. HIGHWAY - DAY
She gets out of the truck and runs at Piscivorus with a mighty kick to the head. She continues to kick him whilst he's down. Taken over by some inner rage.
INNOCENCE You bastard! Stay away! Stay away from her!
Tears stream down her cheeks as she attacks him.
Colin and Bruce exit the truck and pull her away from him.
BRUCE What are you crazy?!
Piscivorus lunges at Bruce and bites deep into his forearm.
Bruce screams and knocks him away. Blood gushes from the wound.
BRUCE Sonuva bitch! Shit!
HEIDI Let's go! C'mon!
COLIN Come on!
Colin pulls Bruce and Innocence back into the truck and they speed off, leaving Piscivorus at the side of the road.
Piscivorus lays flat on his back and laughs up at the sky.
PISCIVORUS Gifts I send to you... love you give to me...
INT. TRUCK
Bruce tears a piece from his shirt and wraps it tight around his wound.
HEIDI What the hell was with that guy?! (to Bruce) Is it bad?
Colin looks over and notices Bruce looks faint.
COLIN Bruce? ...You with us buddy?
The color has drained from Bruce's face, and his eyes struggle to stay open.
BRUCE ...s-son-uva... sss... some w-water or somethi...
He loses consciousness and slumps against the passenger door.
COLIN Oh my god!
Colin pulls the truck over.
INNOCENCE Bruce?!
HEIDI Is he?!
Cordelia remains silent, frozen as she stares at Bruce.
Colin presses his fingers against Bruce's neck and checks for a pulse. His face drops. He turns to the others...
EXT. HIGHWAY - DAY
He laughs sinisterly to himself.
PISCIVORUS Love you give to me...
A forked tough flaps around his lips as he hisses with delight.
EXT. WOODS - DAY From a nearby hill, A form approaches the edge of the woods. It looks down onto a station wagon parked next to the entrance of a superstore in the valley below.
The parking lot is empty with the exception of a few empty cars and shopping carts. The hills and woods surround it.
INT. STATION WAGON - DAY Leona lays sprawled out in the backseat of the station wagon with her eyes are closed. She looks to be sleeping, but the rosary’s in her hand and her constant bead thumbing say otherwise.
Father Holmes plays with the device James found.
FATHER HOLMES Okay, so we’re in Hamilton and we need to get to...Niagara.
He pushes a few buttons and a map comes up.
FATHER HOLMES Good, good. We’re on track. It’s only a few hours away. We should get there sometimes tonight.
LEONA Do we really want to be there when it gets dark?
FATHER HOLMES What are our other choices?
A walkie talkie on the passengers seat comes to life with Michael’s voice.
MICHAEL (O.S.) There is nothing good left in here. The place has been raided.
Father Holmes puts the walkie talkie up to his mouth.
FATHER HOLMES Keep looking, and don’t forget the oil. We don’t need this car dying before we do.
INT. SUPERSTORE - DAY Michael stands on a nearly empty aisle with a cart full of hand held baskets, each with something in them.
In one basket are bottles of oil and a car air freshener.
MICHAEL Yeah, Yeah, Yeah. One step ahead of you.
He lowers the walkie talkie and kneels down to a shelf full of instant noodles.
MICHAEL Guess no one liked noodles.
INT. STATION WAGON - DAY Father Holmes sets the walkie talkie on the passenger’s seat.
FATHER HOLMES It’s quiet out here...too quiet.
LEONA You know what they say...the eye of the storm.
Father Holmes turns to her and notices the rosaries in her hand.
FATHER HOLMES You look like you are missing a few beads on your rosary.
LEONA I am.
Father Holmes nods. He doesn’t know what else to say.
He turns back forward and looks into the doors of the store.
LEONA I still don’t think he should have gone by himself.
FATHER HOLMES He can handle himself.
LEONA And you don’t think I can?
FATHER HOLMES I never said that. I just think we should start you know...planning out our movement so we don’t have another accident.
LEONA What are you worried about? It’s us young ones that seem to be getting the boot.
FATHER HOLMES Which is exactly why we need to be planning out our movements.
Father Holmes chuckles. Leona doesn’t find it funny. Father Holmes sighs. There is silence again.
FATHER HOLMES Look, I’m sorry about your friend.
Leona’s eyes open and she sits up. She looks down at her beads. Silence again.
LEONA Yeah.
FATHER HOLMES Us fighting won’t do anything to bring him back.
She doesn’t respond to that. Father Holmes turns to her.
FATHER HOLMES So lets not, okay?
She nods her head. Father Holmes turns around facing front.
FATHER HOLMES Besides, he did a heroic thing for us. Saved our lives, no doubt about it.
Father Holmes watches her in the rear view mirror. She turns her head to the side momentarily then wipes a tear from her eye. She looks to Father Holmes and he looks away. She nods her head again, deep in thought and sighs.
LEONA No big deal though. We are all bound for death, you know? Some just reach there faster than others.
Father Holmes nods. Leona closes her eyes and thumbs her beads.
EXT. WOODS - DAY
A hand unwraps a package of beef jerky and brings it up to a mouth. WOLF, a scruffy man who looks as though he’s lived in the mountains for the past ten years of his life, bites the beef jerky and sets his hand on his knee.
A nostril sniffs around the beef Jerky and Wolf pushes it away. It comes back, this time with more force. Wolf sighs and hands the rest of the jerky to TIMBER, his pet timber wolf. Wolf stares forward at the car and chews inquisitively.
WOLF What do you think they are doing down there, ey boy? They’ve been there for a while.
Wolf turns, reaches past his hunting rifle and into his backpack. He pulls out another strip of beef jerky.
WOLF Think they’ll give us a ride?
Wolf turns to Timber who happily chews on the jerky. He smiles and ruffles his fur.
INT. STATION WAGON - DAY
Father Holmes continues to watch Leona as she thumbs her beads.
FATHER HOLMES I’ve never seen someone so devoted to prayer. It’s refreshing but... saddening at the same time.
LEONA You’re a man of faith, right? You should understand more than anyone.
FATHER HOLMES Sometimes. Sometimes I do. Not so much now, though. I’ve travelled many places and seen many horrible things but I still found love and compassion. Since this virus, I’ve seen nothing...only chaos. Only sin.
Leona nods. She looks down at her beads.
LEONA They belonged to mother.
Father Holmes is confused. Leona holds up the rosaries.
LEONA The beads. After the virus hit I was traveled with a group back home...
FATHER HOLMES Another group? There are other survivors?
LEONA No. They all died before we reached Nashville.
FATHER HOLMES Oh.
LEONA The point is, they said the exact same thing. But it’s not about sin. It’s about faith. Guidance. These are dire times, true, but they don’t have to be bad times. You don’t have to be deterred by all the bad things around you, but inspired. Inspired to change and grow. To...have faith that it will all be better.
Father Holmes nods his head. He smiles.
FATHER HOLMES You talk like you truly believe that.
LEONA I do. It’s all about understanding.
FATHER HOLMES I don’t think we’ll ever understand why any of this happened.
LEONA Then why are you going to Niagara Falls?
FATHER HOLMES I don’t know anymore.
He’s lying. She knows it.
LEONA You want to kill it, don’t you?
They lock eyes.
EXT. WOODS - DAY
Timber chews on the last piece of beef jerky. Wolf continues to watch the car.
In the woods behind Wolf and Timber a twig snaps, something approaches. Timber turns to the woods and growls. Wolf turns and reaches for his rifle.
WOLF What is it?
INT. SUPERSTORE - EVENING
Michael is at the sporting section of the store. He stares into a glass case at a long knife. He eyes it with a twinkle in his eyes.
FATHER HOLMES (O.S.) How are we doing in there?
Michael is startled for a second before grabbing the walkie talkie.
MICHAEL Just making my last stop.
FATHER HOLMES (O.S.) Okay, Good. Everything is clear out here.
He sets the walkie talkie down on the glass counter and pulls out a tattered piece of paper.
MICHAEL (to himself) Shotgun shells.
He looks around and notices a box of shotgun shells sitting inside the glass case. He walks around the counter and tugs on the door. Locked.
Michael looks for something to break the glass with. He turns and passes a white and read sticker on the glass that says, “Alarm will sound when broken.” He moves through the aisle and a smile comes to his face as he sees racks of Baseball bats. He approaches them.
MICHAEL Simply gorgeous.
He pulls out an aluminum baseball bat, looks at it, then swings. He smiles.
MICHAEL You’ll do just fine.
He walks, the bat angled down towards the glass.
MICHAEL (humming) DA NUH NUH NUH, DA NUH NUH NUH, DA NUH NUH-NUH NUH NUH!
He raises the bat, and SLAMS it into the glass, sending pieces shattering away. An alarm goes off and he looks up.
MICHAEL Fuck.
INT. STATION WAGON - EVENING
Father Holmes and Leona look at each other as they hear the alarm.
LEONA Shit.
FATHER HOLMES That can’t be good.
They both get out of the car in a hurry. Father Holmes pops the trunk and raises the walkie talkie to his mouth.
FATHER HOLMES Let’s go!
EXT. WOODS - EVENING
Timber’s ears raise high as the alarm goes off. Wolf shakes his head.
WOLF This is not going to be pretty.
Timber turns back to the forest behind him, on his feet now and growling. Wolf turns back to the forest and stands. They both stare off into the woods, Wolf’s gun at the ready, waiting.
Father Holmes and Michael hurriedly pack all the goods into the back seat.
LEONA I hope it was worth it.
FATHER HOLMES Just get in the car. We need to be ready to leave before we attract unwanted attention.
Leona raises her hands and backs away slowly. She turns to enter the car when she sees something at the end of the parking lot.
She squints her eyes to make sure she sees what she sees. Standing there, in the middle of the lane is Faith. Her long dark hair is wet and clings to her face. The red hoodie is also wet. She stares out confused and fearful, her left hand clenched into a fist.
LEONA (to herself) Faith?
She walks forward, unsure whether what she is seeing is real.
LEONA Faith?
She says it louder this time, but Faith doesn’t respond. Her fist unclenches and out drops a dark red bead, similar to the kind Leona has on her rosary.
Michael looks up and sees Leona in the middle of the parking lot. The look in Michael’s eyes tell it all. he grabs Father Holme's arm. Father Holmes looks up too. Full of fear, Michael walks forward as though he were walking on glass.
MICHAEL Leona.
Leona doesn’t respond, she keeps walking forward. Eyes glazed over.
MICHAEL Leona!
She turns to him. He shakes his head.
MICHAEL Get into the car.
LEONA But she needs our help. She has to come with us!
Michael looks at Leona strangely.
MICHAEL What are seeing?
Leona turns and points to... a mountain sheep. Its long curled horns stand proudly on the top of its head. Her eyes grow wide. It wasn’t Faith.
It stares straight at Leona, foam dripping from its mouth. Michael speaks softly and calmly.
MICHAEL Come on.
Leona starts to back up. The sheep walks forward slowly. Tension grows in Michael's voice.
MICHAEL Come on!
EXT. WOODS - EVENING A coyote appears from between thick brush. A small smile appears in the corner of Wolf’s mouth.
WOLF Hey Timber, who invited your cousin?
He laughs and turns to see Timber is gone.
WOLF Timber?
He turns to the parking lot, Timber runs full force towards the mountain sheep.
EXT. SUPERSTORE - EVENING
MICHAEL Come on!
Leona turns and runs back to the car. The mountain sheep pursues. They don’t see Timber coming from the side.
Father Holmes opens the passenger side door, and pulls out Leona's shotgun. He aims it at the mountain sheep.
EXT. WOODS - EVENING Wolf spins his gun around and takes aim at the charging Sheep. The coyote snarls and charges.
WOLF Steady...steady.
He takes a shot just as the coyote POUNCES on him. The bullet diverts and hits Father Holmes in the back.
EXT. SUPERSTORE - EVENING Father Holmes gets hit, falls and pulls the trigger accidentally. The spray hits Leona in the leg. She collapses as she runs and turns to see the sheep only feet away from her and charging.
EXT. WOODS - EVENING Wolf SLAMS the butt of his rifle into the side of the coyote’s head. The coyote cries and falls over.
Wolf stands, aims and shoots. The shot rings out. He turns to the parking lot to see Michael staring directly at him. Michael’s eyes divert to Timber, now only feet away from Leona.
EXT. SUPERSTORE - EVENING Michael panics and runs towards Father Holmes, he pries the shotgun from his hands. Father Holmes looks at him in shock, a pool of blood forming beneath him. Michael stands, aims at Timber and...
BOOM!
The shotgun FLIES out of Michael’s hands. He is startled, his hand stings from the force of the bullet. He turns to the woods nearby to see Wolf lowering his weapon. Leona screams.
He turns just in time to see Timber POUNCE onto the mountain sheep, knocking it off of its course. They all stare in shock as Timber tears the sheep into pieces. Michael turns towards the woods and sees Wolf descending into the valley. He turns to Father Holmes.
Leona grabs her foot in pain.
Michael RIPS open Father Holmes' shirt. Father Holmes just stares at him, at a loss of words to say.
MICHAEL It’s not gay if you’re dying.
Father Holmes smiles.
FATHER HOLMES Who are you trying to convince?
Michael turns him over and sees the entry wound. No exit wound.
WOLF (O.S.) How’s he doing?
Michael turns to see Wolf approach the car. He stands infuriated.
MICHAEL You shot him, you asshole!
He pushes Wolf.
WOLF Hey! Calm down there chief. It was an accident. There are coyote’s in the woods, and I think if we stay here any longer there are going to be more of them.
MICHAEL We?
WOLF Yeah. My wolf saved your friend there.
MICHAEL Well your crappy shooting is killing my other friend.
WOLF Didn’t say I was perfect.
Michael turns and kneels next to Father Holmes.
MICHAEL It’s okay, you’re fine. You’re going to be fine.
Wolf turns to Leona. She sits a few yards away from the car, in pain. He approaches her, noting Timber enjoying his feast of Sheep. He kneels down near Leona and holds out his hand.
WOLF Wolf. That there is my buddy Timber. Nice to meet you.
She looks at him, gauging how dangerous he is. She reaches out and grabs his hand.
LEONA Leona.
WOLF Pretty name, need a lift?
He stands her up and throws her arm around his shoulder. They walk to the car. They approach the car. Michael drags Father Holmes towards a nearby light pole and sat him upright.
Father Holmes is pale. Michael stands up and sighs. Leona and Wolf approach.
LEONA How is he?
MICHAEL Not good. He’s not going to make it.
FATHER HOLMES I can hear you, you know.
Leona painfully kneels next to him.
LEONA How are you feeling Father Holmes?
FATHER HOLMES Call me Bobby, and not too good. I don’t think I’m going to make it. Wolf chuckles inappropriately. Leona and Michael both give him mean looks. Leona turns back to Father Holmes.
LEONA You’ll be fine.
FATHER HOLMES You know what I said about young people dying? I lied.
LEONA You’re young at heart, right? That has to count for something. He smiles.
FATHER HOLMES Does that mean you’ll live forever?
WOLF Look, I don’t mean to impose but...we better leave soon. The sun’s going down and we don’t want to be here when it gets dark.
FATHER HOLMES Just go.
Leona doesn’t say anything. Michael approaches the car and gets into the drivers seat.
He turns the car on.
Leona reaches into her pocket and pulls out her rosary. She unties a knot at the bottom, takes off the cross and pulls two beads from the chain. She places a bead in the pocket of his ripped shirt.
LEONA I’m not a sentimental person, but I do understand. I understand feeling lost and confused. It’s a horrible thing to die while questioning your faith and yourself. People shouldn’t have to die with questions left unanswered.
FATHER HOLMES Thanks to you, I won’t have to.
She forces herself to smile. She places the other bead in his hand.
LEONA Give this one to James for me, will yah?
The light above Father Holmes turns on. He looks up. He smiles. His eyes go dull and his smile drops.
Leona nods and Wolf helps her up. She looks at Father Holmes one last time and they approach the car.
She gets in. Wolf whistles and Timber looks up from his meal. He comes running. Timber jumps into the back seat and Wolf closes the door. Wolf gets in the passenger seat. The car pulls off.
MICHAEL (O.S.) You know, that was really sweet. I guess, you aren’t a heartless bitch after all.
LEONA (O.S.) Fuck off Michael.
MICHAEL (O.S.) I spoke too soon.
WOLF I take it you two fight like this all the time?
LEONA AND MICHAEL (O.S.) Shut up.
LEONA (O.S.) I like how you invited yourself into our car.
The car turns and exits the parking lot.
EXT. ROAD - DAY The car passes a sign that says “Niagara falls” then lists the number of miles. The car passes it.
LEONA (O.S.) And why do I have to sit next to the wolf?
Sam wipes at her tears, looks at the mic, swinging with the motion of the van. She exhales…her face turns hard as she picks up the mic and hits the call button.
SAM (with a soothing voice) Eddy, come in…what happened to Albert? Where are you?
The CB cracks to life.
EDDY (OS) He’ssss with Betty now Ssssam. You’re on the wrong sssside Ssssam…time to change if you want to live.
Sam drops the mic to the floor, recognition in her eyes. She puts both hands on the wheel…her grip is tight - her knuckles turn white.
SAM (V.O.) Damn you Eddy!
She slaps her palms on the steering wheel and takes a deep breath.
SAM What if all I know and believe can’t help me through this? Grandmother…I need you…
She pulls up in front of a small church. She sits, motor running, her eyes move from side to side, watching. Nothing moves, she reaches to the back seat and grabs her back pack.
Keys slide into her pocket, as she gets out of the van.
INT. SMALL CHURCH – DAY
Cautiously she enters the church. Everything looks normal…unscarred by the times. As she walks slowly to the front, she touches the backs of the smooth wooden pews.
Sam stops and looks up at a beautiful stained glass window, the primary focus of the sanctuary.
The sunlight angles softly on the communion table in front of her. On the table is an engraved plate that reads, “Peace be with you…Peace be in you.” She takes some matches from her pack and lights the two candles on either side of the plate and sits down. She closes her eyes, bows her head, her lips move in a silent prayer.
Tears drip from her cheeks, onto her folded hands in her lap. She opens her eyes, wipes the tears away and pulls out an old, worn, leather bound book from her pack titled, “Book of Mysteries”.
SAM (speaking to herself, echoes throughout the church) There has to be a key to all this…something to help me understand what is going on.
She flips through the pages and stops.
SAM (reading out loud) In the years that are black, a presence will find release in the few that remain. Some with dark souls, some filled with light. Those few, will find each other in their journey. Both will struggle…only one side will remain. Your spirit must be open to see what is the truth, and what is the lie in this dark day...in this darkest of time.
She turns the page and sees a picture of a being that is both, male and female, dark on one side and illuminated on the other. She stares at the picture and traces its outline with her fingers. She closes her eyes and falls to sleep.
INT. SMALL CHURCH – EARLY EVENING
Sam wakes with the book on the floor. It is dark now, the only light comes from the candles burning on the table. She stares into the glow of the candle’s flame.
SAM (whispers) The hours of darkness…have melted down…the burning candles…yellow gown. When darkness falls, reveal your light…into the world…into the night…
She puts the book back into her bag and inhales deeply and blows the candles out.
EXT. VAN – NIGHT
Sam travels through the small town of Kingston. Ahead of her, a fancy sign reads, “Vintage Cars.” She pulls in. She gets out of the van.
EXT. VINTAGE CAR LOT
A candy apple red Barchetta sports car is parked next to the office. Her lips curve into a big, warm smile.
SAM (rubbing her hands together) This will do just fine!
Bending over the car, she runs her hands over the smooth shiny surface.
SAM Grandmother, I remember our rides in your Barchetta…we had so much fun on those windy roads in Novara…that was forever ago. Thank you for letting me know you’re with me.
EXT. BARCHETTA – NIGHT
The car races along the quiet streets. Sam pulls up in front of a motorcycle shop. Bikes are lined up out front.
INT. MOTORCYCLE STORE
She pulls on a pair of tight black leather pants, a jacket with metal reinforcements and calf high boots with metal buckle latches on the side. On her way out the door she stops at a rack of bandanas and selects a red one. She pulls her long dark hair into a pony tail with her fingers and ties it tight.
EXT. STREET – NIGHT
At the car, she checks to make sure both Ruger pistols are loaded before slipping them into her hip holster.
EXT. BARCHETTA – NIGHT The Baretta double barrel shotgun sits shotgun in the driver’s seat. She jumps into the low profile car. The V-12 engine comes to life as she pulls from the curb.
SAM Okay boys…I’m ready. This is for you!
Sam turns on the CB and presses the talk button.
SAM (distressed) Eddy…you out there? Come back?
Nothing but silence.
SAM Eddy…something is happening to me.
EDDY What do you mean Sssam?
SAM I need to sssee you. I was a bitch to you before…now I feel different.
EDDY Okay Sssam…take highway 401 to Oakville…look for a blue pickup at mile marker twenty asss you enter town.
SAM Oakville…mile marker twenty…I’ll be there.
EXT. PICKUP – NIGHT
Eddy pulls to the side of the road and stops.
INT. PICKUP – NIGHT
EDDY (Evil Laugh) Well, well. Sssounds like Sssam hasss made a change. He stretches as he leans back in the seat and closes his eyes.
EXT. BARCHETTA – NIGHT
Sam races through the night, turns sharply, dodging cars and trucks, as she makes her way down the highway. She flies by mile marker seventeen.
We zoom in close on her face. Her eyes are steel, her lips are tight…dry. She licks them.
SAM Okay Eddy. The game is on!
The blue pickup comes into view. The Barchetta pulls over, Sam gets out.
EXT. SIDE OF THE ROAD – NIGHT
Sam looks around. No Eddy anywhere.
SAM (calling out) Eddy…I’m here.
The sound of feet on gravel to her left…she doesn’t respond.
She walks to the right side of the car.
EDDY Sssam…
Eddy stands at the front of the car, watching her.
SAM I thought you were heading to New York.
EDDY Change of plansss.
He lights a cigarette as he moves closer…his eyes rake over her as he takes a drag and exhales the smoke. He takes a hold of her left arm.
EDDY You look…deliciousss Sssam.
Sam smiles and looks directly into Eddy’s eyes.
SAM Not bad for a girl.
Eddy licks his lips with his forked tongue. She tries to turn away, but Eddy tightens his grip on her arm.
EDDY What happened to you Sssam?
With Steely eyes, she holds his stare.
SAM The sssnake spoke to me. Told me there were thingsss I needed to do.
EDDY Like what Sssam?
SAM Like, there are two sssides Eddy, just like you said.
Eddy lets go of her arm and runs a finger over her face and down the side of her neck and pauses there before placing his hand around her neck. He pulls her to him.
Sam doesn’t flinch.
SAM (sarcastically) You going to bite me Eddy?
He takes another drag and releases her.
EDDY (laughing eerily) You’re a sasssy bitch. I like that.
SAM No…I’m a pisssed off bitch and there’s a difference.
Eddy stops laughing as Sam pushes him back. Quickly she pulls the pistol from its holster and fires a shot into Eddy’s gut. He staggers back, his face expressionless.
Sam fires again, hitting him in the right shoulder. Eddy stands in the same place…he twitches…a wicked smile forming on his face.
EDDY You can’t kill me Sssam.
SAM Hmmm…you know what they say Eddy…one sure way to kill a snake is to take off his head.
Eddy makes a quick move towards her…she brings the shotgun up and pulls the trigger. One barrel goes off, then the next. Eddy lies on the ground, his legs twitching as blood pools where his head used to be.
EXT. BARCHETTA – DAY
The sun is up, the water on Lake Ontario sparkles as Sam drives along the coastline heading south on Highway 401.
INT. BARCHETTA – DAY
Sam sees the road sign as she enters Hamilton.
SAM I’m hungry…guess I better find a store…and stop talking to myself.
She turns the corner, just in time to see a station wagon pull out of a parking lot just ahead of her.
SAM Oh my God…PEOPLE!
She punches the gas and speeds up. She passes the car.
INT. STATION WAGON – DAY
Four faces watch her, eyes wide.
EXT. BARCHETTA – DAY
Sam pulls the Barchetta to the side of the road. The station wagon pulls up behind.
EXT. ROAD – DAY
Sam gets out of the small car. She stands there smiling as a happy Timber sniffs cautiously, then runs up. Sam reaches down to pet him.
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!
Colin drives. Everybody is silent. Cordelia stares down at dried bloodstains on the floor as Heidi glares at her.
INNOCENCE You sure you’re okay?
CORDELIA I’m fine…
HEIDI Yeah, tell that to Bruce, you little b****.
Colin rolls his eyes. Oh, boy. Innocence stands up and walks near Heidi.
INNOCENCE Excuse me?
HEIDI I think you heard me just fine, butch. If little Miss Screamer here hadn’t gone ape s*** he’d still be alive.
Violent quaking followed by a boom noise cuts their quarrel off. Innocence stumbles back into her seat. Heidi and Cordelia scream as Colin struggles to control the bus.
INNOCENCE What the hell is that?
COLIN I don’t know!
EXT. GREYHOUND
The truck triggers small blasts as it rolls over several tiny rigs scattered on the road. Mines. It swerves out of control and flips over. BLACKNESS
INT. ABANDONED FACTORY - SMALL ROOM – NIGHT
Rundown surroundings. Moonlight pours through a window. Heidi wakes up to the sound of ad-libbed VOICES, a bruise on her head. Cordelia lies beside her.
CORDELIA Hey.
HEIDI Just what I f*****g need. Where am I?
CORDELIA We’re safe. (pause) Listen, I know you liked Bruce. I’m sorry. But that man John – he wasn’t who he said he was.
HEIDI How would you know?
CORDELIA Because…he is a little bit like me.
Heidi stares at her with wary eyes before walking out of the room. Cordie follows.
INT. FACTORY
The entire place has been redecorated into improvised living quarters. RUGGED MEN lie on top of rugs serving as beds. Some load up rifles. Colin walks up to her.
HEIDI Just what the hell is going on here?
COLIN You were knocked out pretty good, thought you were dead. Greyhound’s busted. These guys are hea—
HEIDI North.
COLIN You guessed it. Seems that’s where everybody’s headed.
HEIDI Where are we?
COLIN Rochester. They’re telling me this place was a factory before it caught fire about twenty, thirty years ago.
Innocence motions to Cordelia. Colin’s eyes follow her as she leaves them for her.
COLIN You know, I might’ve been wrong ‘bout that kid. She stood by you the whole time.
HEIDI That’s actually more horrifying than comforting, actually.
COLIN Miss, you don’t know what horrifying is.
HEIDI Oh, believe me baby, I do. I was married to a Rock star for six years. I know ‘horrifying’.
Colin smiles shortly until several of the men close around Cordelia and Innocence, eyeing them with mad stares. Colin walks up to them.
COLIN Hey, what’s going –
WHAM! He’s smacked with the butt of a rifle.
INT. FACTORY - NIGHT
Colin wakes; sat on a chair tied and gagged, his vision blurred. He looks to his sides. Cordelia, Heidi, Innocence…all bound and struggling, positioned in front of a fifteen-feet-deep pit. The Men, now dressed in unassuming dark robes, stand around them in a circle--seven of them.
COLIN What the f—what the hell is this…?
OCCULTIST That Greyhound you were in. It wasn’t yours, was it? The Seer and her escort were supposed to come here in that vehicle.
COLIN Yeah, well, she got a bullet in the brain. Sorry.
The Occultist smiles and shakes his head.
OCCULTIST Nevertheless, it is good you are here. All four of you. People who see are always better than people who don’t. You will make a fine tribute to our master.
COLIN Master?
The Occultist approaches Cordelia, grabs her softly by the chin.
CORDELIA I believe you would know, wouldn’t you?
INNOCENCE If you hurt her, I’ll tear your eyes out!
HEIDI Not helping our situation here, butch! Kid, do that thing you did a while ago!
CORDELIA I...I can’t…
COLIN Listen, just let us go—
The Occultist switches sight to Colin.
OCCULTIST You bore me. But you still see. It would be a waste to kill these talented young ladies. (beat) Throw him in.
INNOCENCE O’Riely!
Three Occultists grab Colin’s chair and drag him near The Pit—within it…snakes, dozens of them, of all types.
CORDELIA No!
COLIN Oh, f*** me.
The Occultists throw him in without a second thought. He screams as he falls to the bottom of The Pit. Snakes hiss in menacing reaction as his chair is smashed apart. A COBRA bites into his hand. He screams in pain.
INNOCENCE O’Riely, don’t move! Just don’t move!
OCCULTIST Now, who would be next? It is not too bad, really. We are all underlings to Shiva. It is an honor to be fed to it.
Suddenly, the doors open wide. PISCIVOROUS stands at the doorway, armed with a rifle. Two YELLOW-EYED MEN stand at his sides, armed and dangerous. Gunshots ensue. Piscivorus and his men take cover behind store-boxes and shoot at the Occultists.
PISCIVORUS Death to the blassssssphemers. Protect the ones who ssssee.
Piscivorus and his men fight bravely, but they are outnumbered and outgunned. One of them is shot down.
INNOCENCE What the hell is going on?!
Colin is heard grunting in agony. Cordelia shuts her eyes tightly and whispers under her breath.
CORDELIA Please, God.
And she opens her mouth…and SCREAMS! Ear-piercing, deafening. The Occultists lose focus and Piscivorus’s and his ally shoot some of them down. Inside the Pit, the snakes are dazed and disoriented, but Colin gets paler by the second.
Piscivorus closes in on a withdrawing occultist with serpent-like swiftness and slits his throat open with a small dagger. He cuts Cordelia’s bounds off as Yellow-Eyes shoots at the remaining cultists, still at a number advantage. Piscivorus then cuts Heidi and Innocence loose. They take guns from the dead cultists’ corpses.
INNOCENCE Don’t think for a second--
PISCIVORUS Never. For the mean time, shoot to kill. I will help your friend.
Piscivorus’s partner is finally overwhelmed and shot down by the remaining occultists. Heidi and Innocence take positions and fight on.
Cordelia looks down at Colin inside the Pit, serpents still biting at him. Her face is a mix of terror and uncertainty. Piscivorus stands behind her, yellow eyes gleaming.
COLIN Help me…please…help me.
PISCIVORUS If you wish to sssave him, you need to accept what you are becoming.
Cordelia shakes her head violently.
CORDELIA I can’t! I can’t...please do it…you do it…please.
PISCIVORUS He means nothing to me.
Piscivorus leaves her and joins the gunfight. Cordelia’s face looks down at Colin as her expression slowly turns to sheer determination. Her eyes glow a snake-like yellow as she swan-dives into the pit.
IN THE PIT
Cordelia stares at the snakes, her face growing more reptilian. They stare back. A bodily language is understood by both sides. The serpents calm down. Colin looks at her—though weak, his eyes are widened.
INNOCENCE (O.S) Cordelia!
Cordelia looks up. Innocence lowers a long metal pole. Cordelia grabs Colin, struggling with his weight.
INNOCENCE It’s okay, they’re dead. Grab hold!
CORDELIA (raspy) Grab it.
Colin is helped out with the combined efforts of Innocence, Cordelia, Heidi, and even Piscivorus. Piscivorus alone helps Cordelia out of The Pit. Cordelia’s face is completely human again.
They put Colin on the ground, wheezing his last breaths.
INNOCENCE Come on, O’Riely…
Innocence starts sucking the poison out of his wounds. She spits it out. Cordelia and Piscivorus do the same. Heidi stands there in horror.
INNOCENCE Don’t just stand there, idiot, help out!
But Colin stops breathing, eyes staring off blankly. Cordelia’s face scrunches in pain at the sight of his body.
PISCIVORUS Too little…too late.
Innocence’s face fumes with anger. She doesn’t even look at Piscivorus as she closes Colin’s eyes.
INNOCENCE Who were these people?
PISCIVORUS (enraged) Fakes! Lamebrains. They yearned, what they did not have, the power to see. Now, they are no more. That'ssss good. Anarchy...disssgusstsss me.
INNOCENCE What do you want from us?
PISCIVORUS I have a score to ssettle in Niagara Falls.
INNOCENCE With who?
PISCIVORUS Sssso many names, only one identity. He has killed twice already. I'll hang his skin on a wall.
INNOCENCE What the hell are you?
PISCIVORUS Not human.
Innocence's eyes well-up. Heidi can’t help but look down. Cordelia puts her arms around her.
PISCIVORUS You have ssssomeone you wish to meet there as well. I sssee it in your eyes.
INNOCENCE (side-steps) Why do want to kill one of your own?
Piscivorus’s features turn human. He smiles warmly at her.
PISCIVORUS Let's just say...we do not meet eye to eye. I have a vehicle outside. Shall we go?
Sam sits on the ground, scratching Timber�s head.
Leona walks back and forth.
Wolf looks at the engine.
MICHAEL (O.S.) No book!
Michael slams the car door shut.
LEONA No one knows how to fix a car.
Everyone�s stumped faces are enough of a reply for her.
WOLF We�re going to have to walk then.
WOLF walks to the back doors.
MICHAEL We�re going to die.
LEONA Great attitude Michael.
MICHAEL It�s the truth!
LEONA We don�t need to hear it though!
SAM We�ve made it this far.
WOLF (O.S.) Timber.
Timber leaves Sam. With his backpack strapped, Wolf scratches Timber�s head.
WOLF I don�t about you guys but I have no problem walking.
He walks away from the group, Timber at his trail.
Sam follows.
SAM C�mon guys.
Leona and Michael grudgingly follow.
EXT. HIGHWAY 83 - NIGHT
Wolf still walks in front, Timber at his trail. Sam, Leona, and Michael barely keep up, trailing a couple of feet behind.
SAM Hey, Wolf�
Sam stops. She slowly sits down.
MICHAEL Mind taking a rest.
Leona trips. Michael quickly catches her.
MICHAEL You alright?
He slowly helps her down.
WOLF Don�t. Over their.
He points to the side. A park.
WOLF Wood for fire. Water. And a lot of exit points in case of trouble.
MICHAEL (to Leona) C�mon.
He carries her in his arms.
MICHAEL (to Timber) Get Sam.
WOLF (to Sam) Do you mind?
SAM No.
Timber walks over and carries her. Both Michael and Timber walk off with the two females.
EXT. FIFTY POINT CONVERSATION AREA - NIGHT
They set the females down gently on the ground.
WOLF (picking up a branch) Timber, get some branches. Go on.
Timber dashes off.
Wolf and Michael gather nearby branches. They bring it back where Sam and Leona sleep. Timber pops up at times, gives Wolf branches, and dashes off again.
Once the collection is done, Wolf goes to his bag and takes out a flint striker.
He lights the branches. Fire is born.
He takes out a pan.
WOLF I�m going to get some water. Take my gun. The shells are inside the bag.
MICHAEL What about you?
WOLF I got Timber.
Wolf walks off.
MICHAEL This so blows.
Michael walks over, grabs the gun, opens the bag, and takes out the shells.
FROM THE WOODS
Michael returns back to the fire, sitting closer to Leona.
The voyeur is Wolf. He walks away, this time, with a smile.
LATER
Wolf comes walking back. Timber settles near Sam.
Michael reclines his back against a tree.
WOLF Thirsty?
MICHAEL Sure.
Wolf holds the pan of water over the fire.
WOLF You�re a good man Michael.
MICHAEL Thanks.
WOLF How long have you known the young one?
MICHAEL More than Father Holmes.
WOLF Does she know you like her?
MICHAEL What?
WOLF It�s obvious you like her. But does she know it?
MICHAEL I don�t know what you�re talking about.
WOLF Sure. Hypothetically if you are, my advice, tell her before it�s too soon.
MICHAEL Why you telling me this?
WOLF Because you�re good. And I help good people.
MICHAEL (V.O.) Easy for you to say. You�re not the second guy. I don�t exist for her. To no one.
WOLF What�re you thinking? You seem hard in thought.
MICHAEL I need to take a piss.
Michael stands. He passes the gun to Wolf and walks off. Timber tracks him.
A COUPLE FEET AWAY
Michael stands still, frustration on his face. He looks up. Sees a star shine. He�s face relaxes immediately.
He looks back at the fire where his friends and love are.
MICHAEL (V.O.) I take it back. Thanks for this.
Behind, a branch CRACKS!
Michael sees Timber up and BARKING. Wolf turns with his gun aimed. Sam and Leona awake.
Michael hears low, guttural GROWLS.
MICHAEL (V.O.) Ha! Well, what did you know? WOLF Don�t move!
Michael looks up, now at an empty dark sky.
Wolf moves to the side.
MICHAEL (V.O.) I�m not the one to make it, ain�t I? Not a surprise. It�s for the best.
He turns and comes face to face with an animal�s open mouth.
Black. Gunshots ROAR! SCREAMS!
EXT. HIGHWAY 83 � NIGHT
A huge sign reads �ST. CATHERINES�
Three people and an animal walk: Sam, Leona, Timber and Wolf.
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/
No ordinary water burbles along, a dark purple cast of beauty.
It must be healing waters. A beautiful metallic patina glazes over its flowing surface.
Faint drums beat in the distance. The distance behind us; the distance that guides us.
This might be the chant that rises too, but how would we know? Well, Albert would know. It’s sung in Hindi.
Cordelia lounges underneath a pink sky, sucking a blood red lolly. In between sucks, she recites to the shadow that stands over her - the shadow of Piscivorus.
Cordelia lies down, looks up at him, his presence looming above her, larger than life.
Pisco regards her for a soft moment, then looks back up.
CORDELIA The river’s edge where Pisco stands, His serpent eyes, His human hands, Reflecting back from water’s glory, Playing out the age old story.
Pisco takes a long drag from his cigarette. As he blows out, he fashions perfect smoke rings that break and whirl upwards in coils.
Piscivorus offers Cordelia a drag.
CORDELIA No thanksss. (pulling out the sucker) I got this.
PISCIVORUS Uh.
Piscivorus waits, uncomfortable.
PISCIVORUS Weather’sss good.
CORDELIA Yur sstallin’
Piscivorus snorts.
PISCIVORUS Me? Sssstall? I’m Pisco Vorusss. Wise and ssstrong. Living, fighting, dying... I’ve faced fear all my livesss.
CORDELIA It’sss ... not the fear. It’s me isn’t it?
PISCIVORUS You’re a comrade. What can I say?
CORDELIA Just go.
Piscivorus strips down to his underwear.
Cordelia regards his manly form.
Pisco looks back once before diving into the water.
INT. UNDERNEATH THE RAINBOW WATERS
Down. The watery world spills around him as he swims into the depths to an underground cave where Rudra dwells.
It’s black until the golden eyes of many snakes light the water around him.
Further back, the water ends. Piscivorus swims through the barrier where the water's gone and a dry dark tunnel begins.
Before him appears a woman, she offers a golden robe. She doesn’t speak but points still deeper into the cave.
He looks confused by her, but walks onward- into the greenish glow of the tunnels.
If you look close, but it needs to be real close, like the seers, you’ll see the animals living on the cave’s walls.
PISCIVORUS Rudra?
Something appears from a twist at the back of the cave. It’s Wolf.
WOLF Rudra sleeps now. Until we wake Him with our battle.
PISCIVORUS If we don’t wake him, we both die. (a beat) For good.
WOLF Helluva choice.
Piscivorus follows Wolf through the dark maze.
The sound of a great sleep surrounds them, breathing and the beat of a mythic heart.
Now enter a great dining room, a table overladen with food sits omnipresent in its middle.
They sit down to eat, plating food.
First, in silence.
Forks and knives scrape the plates meticulously.
A heaviness hangs in the air.
PISCIVORUS Why does Mirus not speak?
WOLF Rudra took her voice away. If the blasphemers come to learn the mysteries, if they even think of using methods of high persuasion, she will not speak the words.
PISCIVORUS No resonance, no spell. Rudra must believe they are desperate.
WOLF Hungry is a better word.
Wolf CARVES deeply into his steak.
Piscivorus draws railroad tracks in his mashed potatoes. Hesitates.
Wolf looks up, a large piece of steak hanging out of his open mouth.
Piscivorus makes an “N” using pickle strips at the top.
Wolf crinkles his nose up, curious.
PISCIVORUS I don’t get it. All these people with this dream to head north and most of them don’t make it? Sounds like-
Wolf grabs his forehead. A “not this again” look on his face.
WOLF Like life Pesco. You know that- better than I.
His words start to roll out like: You know the drill. It seems he’s trying to make light of the situation as he drones on:
WOLF I’ve got my agenda; you’ve got yours. We give people a reason, a challenge...
Piscivorus breaks into a slight smile. Is it real? He has a chuckle then. Something about Wolf he likes and it shines in his eyes.
Wolf picks up on it.
WOLF Drink up, it’s tradition.
Piscivorus darkens suddenly.
PISCIVORUS We lose our heads and that’s tradition? There has to be more.
WOLF (shrugs) I don’t know this is pretty damn good food I’d say.
PISCIVORUS More than hunger.
WOLF What is more than hunger?
Piscivorus drops his fork and knife and turns away.
WOLF Look, you know we have to fight. This is our stand. What’s come over you all of a sudden? It’s the ancient battle- the good fight...
PISCIVORUS It’s Cordelia. I don’t know.
WOLF Sentiment won’t help her grow. You sick or something?
PISCIVORUS Yeah. Hah... Maybe I’ve got the virus right?
WOLF We both work for Rudra. In different ways- but remember Circe?
PISCIVORUS Circe, yes, Rudra’s creation. She’s plenty good with remedies too.
WOLF Rudra has all the remedies. She’ll be quenching this virus when the time is right.
Piscivorus, shakes his head then lifts his countenance.
PISCIVORUS (raising his glass) To the right time!
WOLF To death!
PISCIVORUS To death! ... (a very long study of Wolf)
WOLF No Pesco, I DON’T know if this round goes to me.
Piscivorus gives a questioning look.
WOLF How the Hell would I know?! Have I ever-
Piscivorus looks like he must be losing it for a moment.
PISCIVORUS Sorry. I guess it just gets to me after awhile.
WOLF You?!!! It gets to you?!!! What about me?!!!
PISCIVORUS We’re both fucked aren’t we?
WOLF Here’s to being fucked!
PISCIVORUS I just offered a 13 year old a cigarette.
WOLF You remember her as the woman she was. It’s understandable.
Piscivorus gets up suddenly.
PISCIVORUS I don’t want her to suffer!
WOLF (standing) She MUST die!
PISCIVORUS No!
Piscivorus lunges at Wolf, with his steak knife.
Wolf draws back, both his hands up and back in submission.
WOLF Easy Pesco. Let’s save this for the right time or we’ll have the blasphemers settling the score not us.
Wolf breathes hard, his eyes hold some real fear.
WOLF Who do you trust more for doing this the right and honorable way. Me or them?
Piscivorus eases off. Wolf takes the knife out of his hand and places it gently on the table.
Piscivorus blinks slowly. Wolf smooths the lines in Piscivorus’ robe.
Piscivorus places one hand on Wolf’s shoulder as if to say something...
He sits back down. So does Wolf.
Carillon bells chime.
WOLF It nears the twelve.
CORDELIA’S VOICE Almost 12 around the one. Almost 12 and I’ll be done.
Piscivorus’ eyes are glazed with liquid.
PISCIVORUS She knows. Shiva’s child. My wi-. Was. Shit.
Wolf rubs at the hair on his chin. He sniffs, apparently some kind of tears flowing in the back of his sinuses.
Over against the far wall of the strange dining theatre, a clock.
This clock has on its face: Faces of the 12 seekers.
And in each numbered place around-
The instances of death are found:
1. Albert dies in flames.
2. James blasts his high power gun.
3. Jack, eaten by a great serpent in his round of golf.
4. Bruce bleeds to death by the bite of Piscivorus.
5. Father Holmes in the accident - shot by Wolf
6. Eddy, shot by Sam.
7. Colin, thrown into the snake pit.
8. Michael, killed by some kind of animal.
WOLF Four left and then the new circle begins.
Piscivorus doesn’t say anything.
A bell starts dinging. It’s Mirus-
The mute woman is desperate as she rings a brass dinner bell. Frantically she points to the entrance.
Piscivorus doesn’t response, transfixed in the distance he sees several tiny white glows tinted red, wavering as the wind picks up.
His fork tongue slithers out slowly. It motions up and down before it snaps back.
PISCIVORUS Don’t you hear that?
HEIDI NO.
INNOCENCE Hear what?
Piscivorus looks back at Cordelia.
PISCIVORUS Cordelia, you hear it, don’t you.
Innocence brings Cordelia closer to herself, as she stares transfixed into the distance.
CORDELIA (Slowly) Yes. Drums. Faint drums.
Cordelia looks up to Piscivorus whilst holding on to Innocence.
CORDELIA What does it mean?
PISCIVORUS Yesss, that’s right. I’m not quite sure myself. I do have a gut feeling that we’ll be okay.
The group continue to walk onwards.
THIRTY MINUTES LATER
EXT. GOAT ISLAND
The drums BELLOW in the stale night air. ECHOES eerily fill the surrounding area. The sounds of wildlife are distinctly absent.
HEIDI I don’t like this. It’s not right.
PISCIVORUS It’sss alright, I’ll protect you all. Just don’t go near the water.
HEIDI Excuse me but I think I’ll reserve my judgement.
INNOCENCE It’s not right. This place creeps me out. Let’s go.
She puts a hand on Cordelia’s shoulder.
PISCIVORUS I th-
Cordelia brushes of Innocence’s hand and steps forward.
CORDELIA No. I must go on.
Cordelia sees the same glowing lights as Piscivorus, this time they’re all lined up in rows.
She continues to walk on. Heidi and Innocence look at each other before Piscivorus gestures his hand for them to start walking.
EXT. THREE SISTERS ISLANDS
The group stand at the forest edge and look towards a crowd of FOLLOWERS bowing towards a statue of SHIVA holding a TRIDENT. Shiva’s on a mound with an empty throne next to him.
LIGHT from the crescent moon’s face pierce OBLIQUE SHADOWS that stand still around Shiva.
A rectangle mount with Hindu writing adorns its sides, sits in between Shiva and the followers.
The wind scoops up ASHES from the mount.
A fork tongue juts out quickly from Cordelia. She looks up at Piscivorus whose eyes glow.
Innocence has her hands on Cordelia’s shoulders and looks at Heidi with a concerned expression.
A snake slithers along the ground. Slowly it makes its way to Shiva. The Followers stop, their eyes fixed on the snake as it ignores everyone it passes.
The Oblique Shadows move out of the snake’s path.
The snake slowly twists itself around Shiva. It loops itself around Shiva’s body and arms, before its head finally stops and rests on the upper right hand’s open palm.
Shiva’s eyes begin to glow.
Carillon bells chime to signal the start of a new procession.
CORDELIA Let go of me! I want this.
Cordelia breaks free away from Innocence’s grasp and runs towards Shiva. She runs through the middle of the pack of Followers, past the mount and stops at the feet of Shiva.
INNOCENCE Come back.
Innocence runs after Cordelia, followed by Heidi and Piscivorus.
Innocence, Heidi and Piscivorus disrupt the worshipping Followers.
They stand up and grab hold of them.
Cordelia’s head bows to Shiva.
CORDELIA I’m here to serve you, my sage.
A Follower walks over to Cordelia and points to the empty throne.
FOLLOWER Take your throne Cordelia.
Cordelia looks up, mystified at how this stranger knows her name. She walks over and takes her seat.
The Follower turns to face the congregation.
FOLLOWER Tonight we’ll bring back Rudra and Piscivorus will be no more. You shall offer your body as a vessel for Rudra.
Piscivorus perplexed as to what’s going on. Stops struggling to try and catch a glimpse of this Follower’s face.
The Follower pulls his hood down to reveal Wolf.
Wolf points to Heidi.
WOLF You will offer your life as a sacrifice to bring Rudra back.
Heidi, Innocence and Piscivorus struggle to break from free from their human constraints
The ROAR of crashing, churning water replaces the drums as the followers stop playing and form a circle around the clearing.
Heidi is dragged by her hair and dumped onto her knees in front of the statue.
Held back, helpless to do anything, Piscivorus and Innocence watch on...
HEIDI Who are you?
Wolf looks at down at Heidi, something is happens to his face...it contorts...twists...blood vessels bulge...it is now Bruce who stares into Heidi's eyes.
HEIDI What the?
A smile from Bruce...a lick of his lips...
SHAIVAS I am Shaivas, who were you expecting?
...a forked tongue...giant eyes...something dark, something only Heidi sees.
She SCREAMS.
Shaivas grabs her face and pulls it close to his.
It is now the face of a boy, his own face.
SHAIVAS Silence. You are chosen. It is an honor.
She spits in his eyes. He pushes her to the ground and LAUGHS.
SHAIVAS (to everybody) Does anybody here doubt the power of Rudra?
FOLLOWERS (in unison) Rudra. Rudra. Rudra...
He pulls a sword from within his robe, lifts it hight into the air, the chanting increases...
FOLLOWERS (in unison) Rudra. Rudra. Rudra.
SHAIVAS Then let it begin.
Shaivas grabs Heidi by her hair,pulls her up onto her knees and swipes down with the blade.
Heidi's body slumps to the floor, blood gushes from her open wound.
He holds her head high into the air and the followers ROAR with appreciation.
Innocence is sick, she is thrown to the floor in disgust by her captor, she sits on the ground in tears.
SHAIVAS Rudra!
He tosses Heidi's head to Cordelia, she catches it with one hand.
SHAIVAS Drink the blood of the chosen one, summon Rudra to our midst.
Cordelia lifts Heidi's head high above her head and allows blood to drip onto her tongue.
She swallows Heidi's blood, wipes the excess from her smiling, ruby lips, stands to face the followers...
CORDELIA Rudra!
FOLLOWERS (in unison) Rudra!
Suddenly everything goes deadly silent, not a sound can be heard. The followers stop and scan the tress around them.
Cordelia walks slowly to the edge of the clearing. She smiles at Shaivas.
CORDELIA It is time.
EXT. HORSESHOE FALLS
The river slows to a trickle, the falls is now nothing more than a dry cliff face, the water below it as still as a lake.
Real silence. For the first time since the ice melted and gave birth to these lands not a sound can be heard.
The ground shakes... Harder...faster...
The sound of RUSHING WATER...stronger...louder with every second.
The water rises up and begins to rush back up the river, the Horseshoe Falls is now a waterfall in reverse. Water flowing upriver, cascading foam defying gravity and all logic.
FLASHES OF LIGHTENING and CLAPS OF THUNDER reverberate overhead.
A storm is coming.
EXT. THREE SISTERS ISLAND
A bolt of lightening strikes the statue of Shiva, sparks and flames shower the followers.
Innocence sees an opportunity and makes a run for it. She disappears into the trees.
SHAIVAS Don't let her get away!
A powerful gust of wind blows through the Island, people grab whatever they can to stop themselves been carried away.
Followers are blown through the trees, scattered into the river below.
Piscivorus stands unaided and watches Cordelia, all around her is complete chaos while she is the calm in the eye of the storm.
They stand facing each other, eyes locked, a hint of a smile on their lips.
Shaivas is at the edge of the clearing, watching the events unfold. Something catches his eye... Innocence has almost reached the bridge, her fingers claw her way from tree to tree, she tries to keep her balance in the strong wind.
Shaivas launches himself to his feet and sprints towards her, ignoring the wind.
He reaches her as she gets to the bridge, his hands grab her and spin her around.
She has the sword.
Without hesitation she pushes it into his stomach.
Shaivas does not utter a sound, he can only look down at the blood now seeping from his own body.
She withdraws it and again pushes it deep into his flesh...Blood trickles from his lips...his hands shake by his side.
Innocence withdraws the sword and lifts it high above her head... she brings it down on top of him.
Shaivas catches it in his hands and lifts it up, taking Innocence off the ground with it. He spins round, slowly at first but building speed...Spins around and around...Innocence desperate to hold on.
He lets go.
Innocence SCREAMS as she is released, like a rag-doll she is thrown into the raging torrent of the Niagara river and disappears from view.
Shaivas looks down at himself and watches as his wounds slowly heal by themselves.
He turns and walks back towards the clearing, for a second he is Eddy...cigarette in mouth...confident walk.
He reaches the clearing and is Shaivas again.
The storm has passed, the sky clear. He reaches the clearing.
Cordelia is alone.
SHAIVAS Where is he?
CORDELIA Gone.
SHAIVAS I wanted him to remain here.
CORDELIA He is more useful out there.
SHAIVAS Out there?
CORDELIA The others are almost upon us...She is almost here.
SHAIVAS Then we must be prepared.
They both turn towards the north and stare across the river to the city.
As Shaivas and Cordelia stare upon the lights of the city, they blur like when you stare too long.
... Into the crossed bars of something. Pull back to find a lowly shopping cart tipped on its side.
FATHER HOLMES' DREAM
AT THE MOMENT OF DEATH - THE PRIMAL SCREAM
FLASHBACK
EXT. SUPERSTORE - EVENING
MICHAEL It's okay, you're fine. You're going to be fine.
FATHER HOLMES V.O. I knew he was right. Completely.
A crow settles on A NEARBY LIGHT POLE.
LEONA How is he?
MICHAEL Not good. He's not going to make it.
FATHER HOLMES I can hear you, you know.
FATHER HOLMES Call me Bobby, and not too good. I don't think I'm going to make it.
Wolf chuckles inappropriately.
FATHER HOLMES V.O. (chuckling)
He had a right to laugh...
The light above Father Holmes turns on.
He looks up. He smiles. His eyes go dull and his smile drops.
FATHER HOLMES V.O. I forgot about that.
The crow flies away. Michael and Leona leave.
FATHER HOLMES V.O. It seemed so long ago- to feel this way again. Like slipping into forever.
The wind blows through the evergreens.
FATHER HOLMES V.O. And you know there's forever.
Into THE EVERGREENS.
Into:
EXT. RURAL ROAD - CUT THROUGH PATH
Little-legs-running-shoes bouncing a ball. A long narrow path towards a school.
FATHER HOLMES V.O. Oh the places you'll go... Remember? Remember Dr. Seuss? The places you'll go?
...On and on you will hike and I know you'll hike far and face up to your problems whatever they are.
The feet trip. We hit the dirt. Black.
FLASHBACK: BOBBY'S CHILDHOOD
Over the black.
MOTHER'S VOICE Bobby? Bobby you ok?
EXT. SIDEWALK - DAY
Bobby looks up into his mother's caring eyes.
LITTLE BOBBY (shock breaks into a smile) Yeah. I'm OK.
CUT TO:
Complete blackness. It's as though it's over, not just this, but everything.
A small point of light pierces the screen. It grows as we approach. It's Father Holmes approaching us. He looks different somehow. He looks at us. He sees someone else.
FATHER HOLMES (speaking to us it seems) I don't know what to tell you... It's like remembering and forgetting at the same time.
The person he's talking to is an aspect of himself.
Reverse and find:
FATHER HOLMES 2 (chuckling like Wolf) Multiple personality disorder or what?
FATHER HOLMES It would be so lonely otherwise.
FATHER HOLMES 2 Indeed.
FATHER HOLMES I can't decide if I want to hang out for awhile or what?
FATHER HOLMES 2 Well, it won't be hanging out this time.
Questioning look.
FATHER HOLMES Why?
FATHER HOLMES 2 We've got a predicament on our hands.
FATHER HOLMES We've always had a predicament on our hands. That's the point.
FATHER HOLMES 2 It's different this time. There's always been two sides fighting. The side of the wolf...
The second Father Holmes becomes nothing more than a vapor now-- and then, completely gone.
FADE IN:
INT. LITTLE BOBBY'S BEDROOM
Father Holmes is little Bobby again, staring up into his mother's blue eyes.
Bobby's in bed with a collection of toys that he fidgets with as his mother reads.
She holds an over sized book in her hands. THE BOOK OF MYSTERIES.
MOTHER The primitive side is wild-- untamed and beautiful. The wild horses-- free. Completely free.
Into Bobby's eyes.
INSERT BOBBY'S IMAGINATION:
The wolf, in glossy thick fur. The fluttering of bat wings. The animals-- all in a silken black opalescence. That evening you remember shouldn't have ended.
BACK TO SCENE
MOTHER And then there's the side of The Serpent...
Mother points to an illustration.
The perfect garden, a sprinkler...
FLASH
The sprinkler is THE FALLS, loud and magnificent
BACK TO SCENE.
No. Not a garden hose. A snake, and:
The illustration comes alive.
EXT. GARDEN - DAY
A WOMAN rests under a nearby tree. Propped up like Father Holmes when he died.
The snake slithers up to greet The Woman and whispers in her ear.
Hssss... Hush... Hydra... Hissstory...
As mother tells the old story, Bobby's garden comes to more life still and the stillness, it shifts. More color. More motion.
The garden splits right down the middle into two distinct parts.
Aerial:
One is civilization. The other is unblemished wilderness.
MOTHER V.O. The wise one, using knowledge, skill. The side of society and culture.
The images of tame and wild are good. Good and sometimes good and disturbing.
FLASHES
Like the bird that is caged and The Office Men in their little boxed cubicles, clinking away on their computers.
If there's a moon in the sky, they wouldn't know it if they hadn't been told it was so.
MOTHER V.O. So too are The Primitives wanting their life. *
INSERT:
EXT. PRIMEVAL WORLD - NIGHT
THE PRIMITIVES: Like Cavemen. These ones, clothed in animal fur don't feel bad about crawling on the ground to move.
They're up and down, but the soft ground is good for them.
The heart of their world: the flames of a fire inside the open cooking pit. It lashes at the night time feast. *
MOTHER V.O.
They are the group fighting to keep Rudra on the spiritual side of the veil. They don't want her to create healing-- not yet. They know that humans, in their worst form are also a virus. The Primitives treasure their freedom above all else.
BACK TO SCENE
INSERT:
The book shows a SERPENTIAN, one who travels back and forth between the veil. Golden eyes, human wit and willful hands holding an axe.
MOTHER For The Serpents, it's about control before freedom.
BOBBY What's control?
MOTHER Well it's... power over yourself and others and things. When you bounce your ball, you control how high it will go- IF it will go at all.
BOBBY Oh.
Mother They want that. To bring Rudra back now to begin the healing now. Maybe too soon. The Followers are too intelligent sometimes for their own good. ... And now there have grown up amongst both groups those ones who don't respect the boundaries.
INSERT:
INT. FACTORY - NIGHT
Colin wakes; sat on a chair tied and gagged, his vision blurred. He looks to his sides. Cordelia, Heidi, Innocence…all bound and struggling, positioned in front of a fifteen-feet-deep pit.
The Men, now dressed in unassuming dark robes, stand around them in a circle-- seven of them.
MOTHER V.O. They are the Blasphemers.
BACK TO SCENE:
LITTLE BOBBY What's a blasphemer?
MOTHER Someone who spits on a flower. Someone who won't play a game fairly. Someone who loves to make suffering without any reason at all.
INSERT:
EXT. SNAKE PIT
The Occultists throw Colin in without a second thought. He screams as he falls to the bottom of The Pit.
Snakes hiss in menacing reaction as his chair is smashed apart. A COBRA bites into his hand. He screams in pain.
MOTHER V.O. The Black Arts Masters, the ones who would prevent Piscivorus and Wolf from fighting again as they have for Aeons.
FLASH:
EXT. MOUNT OF ANNIK - NIGHTFALL
Wolf and Piscivorus on the greatest mount of all. So bloody high up it scares the hell out you.
You don't want to be up on a ledge so high and think that you might fall.
Wolf and Piscivorus sort each other out as they move slowly in circles, swords in hand. Very special swords that have fire in them and glow like embers, sparking, spitting.
MOTHER V.O. They have no respect for the boundaries of the wild and the tame. They seek a certain thrill. A terrible thrill.
BACK TO SCENE
Bobby's father enters, his handsome face lit up somehow, but equally dark.
FLASH:
Occultists so ugly, they've taken on the look of their evil. Living garbage and filth, their mouths twisting out of shape from their putrid words. Their hair mangled, matted. Pustules developing on their faces. So ugly it would make Shiva The Terrible want to vomit.
FATHER V.O. They seek to bring Shiva The Terrible to play for them like a puppet. For their amusement. They must be stopped. They enter people's heads and play with their thoughts. They make people lose sense of their own identities. They mock the goodness of the fire and ash. When you grow up Bobby, you will learn how vile they are. They will make you lose your faith in God.
EXT. WILDERNESS NIGHT
A primitive man with his pet wolf looks up to the fullest silver moon you've ever seen.
The man falls to his knees and lets out the loudest PRIMAL SCREAM that crushes inside your bones. The wolf joins in, howling. If a wolf could cry, this one might. His eyes are drenched in sadness - black as a cats. Go into this void. It would make you scream too.
INT. SMALL CHURCH – EARLY EVENING
Sam wakes with THE BOOK OF MYSTERIES on the floor.
It is dark now, the only light comes from the candles burning on the table. She stares into the glow of the candle's flame.
SAM (whispers) The hours of darkness… have melted down… the burning candles… yellow gown. When darkness falls, reveal your light… into the world… into the night…
She puts the book back into her bag and inhales deeply and blows the candles out.
The sun glimpses on the horizon, casting long shadows ahead of the four travelers. They struggle on, their heads drooped.
Sam and Leona huddled together, Wolf and Timber ahead of them. Wolf stops and glances over his shoulder.
WOLF It's not far now. It should just be --
Timber jolts forward. BARKS with urgency.
Wolf smiles and turns back ahead.
WOLF -- up ahead.
Sam and Leona raise their heads, force themselves forward with more urgency.
Ahead of them...Niagra Falls.
Leona breaks off, alone. Her face lights up with wonderment.
LEONA It's beautiful.
Sam joins her and wraps an arm around her waist. They share a smile as Wolf stands by them. Timber, now at his side, BARKS again.
Leona's gaze turns to confusion. She squints.
LEONA The water...
Wolf squats down. Runs his palm roughly down Timber's thick coat.
LEONA It's going...the wrong way.
They all look closer. Wolf shakes his head, eyebrows raised in surprise as he stands back up.
WOLF This just keeps getting stranger and stranger. Doesn't it?
They walk on, toward the falls.
EXT. NIAGRA FALLS - LATER
A camp site...close to the cliff's edge. One solitary FIGURE sits in the shadows, hunched over. The figure's head turns constantly, ever watching...stops, yellow eyes fixed dead ahead.
The figure raises his face to the sky...lets out a bloodcurdling PRIMAL SCREAM.
Three figures walk in the distance, silhouetted, just on the other side of a bridge. Another figure ahead of them, smaller, maybe a dog.
EXT. RIVER ROAD
Timber runs on, towards the bridge.
Leona and Sam follow. Wolf, now hesitant, brings up the rear. His eyes fixed ahead.
A DISTANT SCREAM...
Wolf stops.
The SCREAM...louder.
Wolf's eyes go wide.
WOLF Stop!
Leona and Sam turn.
SAM What is it now? We're nearly --
WOLF Shut up! Just listen, I hear someth --
Timber rushes towards them...
Wolf squints, confused.
WOLF It can't be...
Leona and Sam turn back to face --
A stampede of PRIMITIVES rush off the bridge in front of them, hunched over, some on all fours, others on two feet but it doesn't seem natural for them.
WOLF Whatever you do, don't run!
Wolf grabs hold of Leona and Sam. They all stand together, compact...strong.
Sam, panicked, looks to Leona's determined face. The Primitives close on them.
SAM Wolf, who the hell are these...people?
Wolf looks to the sky, lets out a sigh, turns back to them.
WOLF They won't harm us. As long as we don't run, they won't harm us.
The Primitives surround them, grunting. Human, but a much more primitive kind. Almost like cavemen.
Sam, Leona and Wolf stand strong together. Their heads held high in defiance.
The figure from earlier, the only one with the yellow eyes, breaks forward. He tilts his head, eyes fixed on Leona. Moves closer, his heavy breath obviously repulsive based on her look of disgust. He seems to be the LEADER.
Leona gazes into his yellow eyes, mesmerized.
LEADER (slavvering, mumbled) What - what do you seek here? This is our place! Our falls.
He points to the falls behind them. Snaps his gaze back to Leona. Screams...
LEADER What do you seek!?
Wolf puts himself between the Leader and Leona.
WOLF We seek what you protect. We seek...Shiva.
A smile breaks onto the leaders face, eyes light up. He turns to the other Primitives.
LEADER Protect? What we protect!?
He lets out a sputtering, horrific LAUGH.
Wolf's eyes dart between the Leader and the other Primitives, closing their circle around them.
The Leader takes a step closer to Wolf...now just inches apart. Their eyes fixed, Wolf seems frozen to the spot.
The Primitives grab hold of Leona and Sam, lift them into the air and walk back onto the bridge.
The Leader closes his eyes. Sweat beads form on Wolf's brow, his entire body shaking.
Wolf lets out an agonized SCREAM as a tiny snake pierces out of his eyeball.
Soon, another snake bursts from the other eyeball.
Wolf remains frozen in place as the Leader, shakes with the stress, eyes still forced shut.
Wolf falls onto his back, writhing about blindly, in agony...
... The Leader opens his eyes, looks down to see Wolf with snakes instead of hands. Their tongues protrude teasingly, tasting the air around Wolf's face.
Both of their mouths open...they move closer to Wolf's face...
...Wolf's head dissapears into one of his snake-head arms. Further...half of his body inside the snake now.
The Leader turns, walks back up the bridge and smiles, shaking his head.
LEADER What we protect.
Another disgusting LAUGH as he dissapears over the bridge.
A group of eight Primitives proceeds South East along the New Rainbow Bridge. Sam and Leona are slung over the shoulders of the last two. Yellow Eyes brings up the rear, some fifty yards behind the group.
Sam makes eye contact with Leona, as they bounce along.
Sam (whispering) Is your shotgun loaded?
Leona nods.
Sam (whispering) OK, girl, here we go…
In a flash, Sam pulls out both Rugers from their holsters, and simultaneously fires into the back of her captor’s thighs. He goes down to his knees instantly, howling in pain.
When Sam’s feet hit, she flips herself up like an acrobat, immediately sending two more rounds into the legs of the Primitive holding Leona.
Leona’s captor falls face first. Leona scurries to her feet, as the rest of the pack turn at the commotion.
Sam unloads four more shots into the two downed beasts.
Yellow Eyes HOWLS from behind them, and runs forward at full speed. Unbeknownst to him, Timber gives chase from behind.
A large, female Primitive reaches out a furry hand at Leona. Bang! A hole the size of a watermelon appears in her upper torso, as she’s blown backwards. Leona stands tall, her shotgun smoking.
Leona Fuck you, you ugly Bitch!
Sam spins around, fires four quick shots into two advancing Primitives. All four shots hit home, and they fall backward. Black blood spills from the still smoking holes in their chests.
Leona fires again, this time taking off the right arm of a smaller, more human-looking Primitive. A spray of blood shoots out, but it continues to advance. Sam spins to her left. Two small explosions escape her Rugers, as the top of the one-armed Primitive’s head is blown clean off.
The final two Primitives stop in their tracks, confused by the sudden massacre around them. Both raise their heads to the sky and let loose a horrific scream.
Sam and Leona both turn towards the final two. They make eye contact with each other.
Sam You OK?
Leona Yeah, I’d say we’re kicking some serious ass.
Sam turns around as Yellow Eyes advances, now only a few feet away. The other two Primitives rush forward as well.
Sam We’re not done yet…
Leona takes aim and pulls the trigger, but she’s out of shells. The last standing female Primitive swats her in the face with a mighty paw. She slams into Sam, and both go down. The female reaches down and picks Leona up by her hair.
Sam unloads multiple shots from both pistols into the female’s lower torso. The beast falls sideways and down. Leona is catapulted into the railing of the bridge. Her shotgun falls over the edge, into the rushing current below.
Yellow Eyes reaches the fray, and leaps at the still downed Sam. Timber leaps as well from behind, affixing his jaws around Yellow Eyes’ throat. Sam rolls to her left, avoiding the two warring creatures.
Timber’s on top, and tearing at Yellow Eyes throat and face. Blood spills from multiple punctures, but the great beast doesn’t give up the fight, and in a single massive thrust, sends Timber flying backwards through the air. He hits the top of the railing and tumbles into the Niagara River, below.
Sam gets to her feet, sees both Primitives advancing on her. Leona lies unconscious against the railing, a few feet away.
Holding out both pistols in front of her, screaming at the top of her lungs, Sam fires away. Sparks spray out of both muzzles at an alarming rate.
Yellow Eyes and his last remaining partner take hit after hit, their bodies rocking back and forth in an oddly choreographed dance of death. Both fall backwards and finally down.
Yellow Eyes raises an unsteady hand and clenches it into a fist, staring directly into Sam’s eyes. He opens his mouth to speak.
Sam Here’s one more for Timber, you cocksucker.
She raises her right hand, and blasts a final shot into Yellow Eyes face. Blood flies out on impact, and Yellow Eyes and his horde are no more.
Sam turns to Leona, who has come to. Leona looks around, as she pushes herself to her feet.
Leona Are they…
Sam Yeah, they’re all dead, Leona…we did it.
Leona And Timber?
Sam shakes her head.
Sam No, he didn’t make it, but he saved my life. I knew from the second I saw him that he was here for a reason.
Leona takes a step, and almost falls down.
Leona Shit! My leg’s about done.
Sam puts her Rugers back in their holsters, gives a hand to Leona. They struggle back the way they came.
EXT. RAINBOW PARK
A strange, low lying mist hovers above the ground, as Sam and Leona walk toward the Rainbow Bridge.
Sam You gonna make it, girl?
Leona I’m OK. I got hit with some pellets in my leg a few hours ago, but nothing went through.
Odd chanting and drum beats begin somewhere in the distance.
Sam There we go, sounds like a welcoming party.
Leona You know where we are?
Sam Yeah, my heart tells me we need to get to the old Rainbow Bridge…it’s up here a ways.
Leona Weren’t we just on it?
Sam That was the New Rainbow Bridge. It was built about 15 years ago, when they reinforced the old one. Those things wanted to take us over, and that’s why I’d rather go a different way. Something I feel…
Leona stops, looks over at Sam, a smile on her parched lips.
Leona Sam…I’m so glad you found us. You saved my life…
Sam I think its fate that we found each other. Whatever’s up there is waiting for us. It’s you and me now, Leona. It’s up to us.
Leona reaches into her pocket, pulls out her beads. She rubs them together in her hand, and looks to Sam.
Leona And God…don’t think we’re all alone Sam, cause we’re not.
Cordelia leads her followers off of the pedestrian bridge from Goat Island heading towards Rainbow Bridge. They chant “Om Namo Bhagavathe Rudraya.” (Om Salutations to the God who is Rudhra).
GROUP Namasthe Rudhra manyava Uthotha Ishave Nama Namsthosthu Dhanvane Bahubyam Uthathe Nama. (translation) Salutations to your Ire, Rudhra and also salutations to your arrow.. Salutations to your bow and also to your both arms.
EXT. RIVER ROAD – DAY
Sam supports Leona as they walk down the road towards the Canadian side of the Rainbow Bridge. The chanting continues under their scenes.
SAM Almost there. How're you doing?
LEONA As you might expect.
EXT. PEDESTRIAN PATH – DAY
Cordelia and her followers continue marching towards the bridge.
GROUP Yatha ishu siva thamaa shivam babuva the dhanu, Shivaa sharavyaa yaa thava thaya no rudhra mrudaya. (translation) Bless us with happiness our Lord, With that arrow of thine, which is holy, With that bow of thine, which is begetter of good, With that quiver of thine, which is sweet.
EXT. HIRAM STREET – DAY
Sam and Leona continue their walk turning onto the road that will lead them to the old Rainbow Bridge.
SAM Did I ever tell you about the vortices of Sedona, Arizona?
LEONA You mentioned it once. Why?
SAM People say there’s power in that place. Four vortices that represent masculinity, femininity, and the balance while the fourth binds them all together.
A sound comes from off the road. Their eyes snap in that direction. They see nothing. They glance at each other and continue walking.
EXT. PEDESTRIAN PATH
Cordelia and her followers draw closer.
GROUP Yaa the shivaa thanu raghoraa papakasini, Thaya nasthanuva shantha maya gireesam thaabhi chakashihi. (translation) Oh Rudra, who showers happiness on us from the Mount, With your aspect which is peaceful, Which is giver of good always, And that, which is bereft of sin, And which is the road to salvation, And which takes us to taller heights, Reveal to us the principle of the soul.
EXT. HIRAM STREET – DAY
The walking continues.
SAM But those people are wrong. There is a fifth vortex in Sedona. I found it. Or rather, it found me.
LEONA What was it?
SAM It made everything so clear. This was before anything ever happened, and yet I saw it all when I was in that place. There was so much power there. So much clarity.
EXT. PEDESTRIAN AREA PARKING LOT – DAY
GROUP Yaa mishum giri shantha hasthe Bhibarshya sthave, Shivaam girithra thaam kuru maa himsi purusham jagat. (translation) Oh Rudra who feeds us sweetness sitting on the mount, And who gives us solace sitting on the mount, Please make the arrow in your hand, Which you have brought to punish the sinners, Peaceful and do not give trouble to people and the world.
EXT. FALLS AVENUE – DAY
SAM They were wrong about the vortices, though. About what they represented.
Sam looks at Leona, who looks a little scared.
SAM The other four are the ego, destroy and rebuilder, healer and preserver, and the creator. And the fifth shows them for what they are for the fifth is the eternal.
LEONA The eternal what?
Sam looks off the road at something that seems to hide there.
SAM The eternal Shiva.
Leona’s eyes grow wide.
SAM It showed me my destiny in such a powerful way that I can never stray from it.
She glances off the road again to find that the standing shadow has gone.
EXT. ENTRY TO RAINBOW BRIDGE – DAY
The group passes out of the parking lot onto Niagara Street that leads directly onto the Rainbow Bridge.
GROUP Shivena vachasaa twaa gireesaacchha vadaamasi, Yadhaa na sarva mi jjagadhaa yashmamsumanaa asath. (translation) We praise and sing about you so that we attain you, Oh, God who lives on the top of the mountains, Be pleased to protect our relations and cows, Grant them all, a disease free life, And make them live with love towards each other,
EXT. FALLS AVENUE – DAY
They walk onto the entry to the Rainbow Bridge.
SAM And now looking onto this place, I know for a fact, I have come to where I need to be. I see now what I saw then, and the time is almost done.
LEONA The time for what?
EXT. RAINBOW BRIDGE ENTRY – USA – DAY
Cordelia and her followers stop. She turns to them.
CORDELIA It is time for all things to come to their end. Here we come to the place we have long sought. My friends, let not your hearts be fearful of what will happen next, for it has all been ordained for us by he who has orchestrated it from the beginning.
PISCIVORUS (O.S.) You speak as one who possesses great wisdom, child.
Cordelia does not turn. Piscivorus stands behind her as if he has appeared out of no where.
CORDELIA Is she there?
PISCIVORUS She is.
CORDELIA Then do what must be done. May the one to whom we have pledged all devotion forgive me for my presumptions.
PISCIVORUS That fate lies yet before you.
CORDELIA Then you must send me.
Piscivorus raises a pistol aimed directly at the back of Cordelia’s head. He fires.
EXT. RAINBOW BRIDGE ENTRY – CANADA – DAY
The shot rings across the bridge. Leona looks up in surprise. Sam’s eyes are fixed on the far end of the bridge.
Leona slaps Sam across the face so hard that Sam is knocked backwards. Sam looks up and holds the side of her face. Sam’s features return to normal.
SAM Ow! Thanks a lot!
Lenoa rushes forward and hugs Sam.
LEONA Oh, thank goodness! I thought I lost you.
SAM I can kill it Leona.
Leona pulls back.
LEONA K-k-kill it? How?
SAM In a very ancient way, with a sacrifice.
LEONA But why, Sam? It’s so powerful and it can do so much for the world, why would you want to kill it?
SAM Because I have to, Leona. It has to end.
EXT. RAINBOW BRIDGE ENTRY – USA – DAY
The Group looks at Piscivorus with a mixture of anger and incredulity. Piscivorous backs onto the bridge.
PISCIVORUS I had to! It wasss necessssary.
GROUP He’s killed her…Rudra will be angry…He must pay…Kill him!
The Group rushes forward. Piscivorus tries to hide under the cover of his arms.
PISCIVORUS No! Please! It wasss…
And the river begins to boil. It hisses and spits up fountains of steam. The group stops amazed by the display.
EXT. RAINBOW BRIDGE ENTRY – CANADA – DAY
A loud steam fountain distracts Leona.
LEONA What’s happening out there? It looks volcanic.
SAM It’s time. I have to go.
Sam steps onto the bridge. Leona grabs her arm.
LEONA It’s too dangerous! One of those steam jets could…
SAM Sometimes you just have to make the dangerous choice, Leona.
And she yanks her arm away and steps further out onto the bridge. Steamy mist wafts over the bridge behind her.
LEONA Sam, wait!
SAM It’s time to end it!
LEONA Why, Sam, why does it have to end?
SAM It isss our dessstiny fearful one.
And Sam disappears into the mist.
LEONA God Dammit!
She makes a grimace then looks up into the sky as she crosses herself.
With a frown, she hobbles into the mist after Sam.
EXT. RAINBOW BRIDGE ENTRY – USA – DAY
The Group watches the steamy river show in awe. Piscivorus seizes the opportunity.
PISCIVORUS Ssshiva knowsss! Ssshiva knows it was necessary!
The crowd backs away from his words. Behind him the bridge disappears under a cloud of steamy mist.
PISCIVORUS Ssshiva is coming and I will be honoured as the Bringer!
He runs into the mist.
RAINBOW BRIDGE – DAY
The mist is thick. Leona squints to see just a few inches in front of her. She holds her shotgun tightly across her chest.
LEONA Sam?
She listens.
She jumps at a splashing sound that comes from over the edge of the bridge. She moves to the rail and peers over. She sees nothing but the blankness of mist.
Another splash, she backs away.
LEONA Sam?
More splashes, big ones. She moves further away from the rail.
LEONA Sam! Answer me!
Quiet, then.
SAM (O.S.) Is she there?
LEONA Sam?
She tears off toward the sound of Sam’s voice into the mist. Blankness.
PISCIVORUS (O.S.) She is.
SAM (O.S.) Then do what must be done. May the one to whom we have pledged all devotion forgive me for my presumptions.
The blankness clears. Piscivorus stands behind Sam.
PISCIVORUS That fate lies yet before you.
SAM Then you must send me.
Piscivorus raises a pistol aimed directly at the back of Sam’s head. His finger pulls the trigger but before he can fire, he is knocked backwards by a shotgun blast.
Leona holds the smoking gun.
Sam glances back at the twitching bleeding body of Piscivorus with sorrow, then at with anger and disappointment at Leona.
SAM You’ve ruined it!
Leona backs away from Sam’s voice.
LEONA I don’t understand.
SAM Ruined it all, you fearful little ssschoolgirl.
LEONA I saved you, Sam.
SAM You ssshould of let usss go. Ssshoot usss now!
Leona’s gun shakes in her hand. Tears flow down her face.
LEONA I can’t .
Then the real Sam stands before her. The real Sam is full of compassion. SAM Shoot me, Leona. The next cycle must begin.
LEONA I can’t!
She drops to her knees, her gun falls to the ground. She holds Sam around the waist and sobs against Sam’s hip.
Leona looks into Sam’s eyes. She stops pleading and gets slowly to her feet, struggling with her bad leg. She stands eye to eye with Sam and in a flash slaps Sam across the face.
Sam’s head snaps to the side and back, as in one motion. Her eyes focus, as she looks into Leona’s. Tears form and slide down her cheek. She takes a deep breath.
SAM Leona, you may not understand what I’m going to tell you, but I’m asking you to trust me…have faith…it is important, because without you, I can’t do what I know I have to do. Can you promise me that?
LEONA I promise Sam…I’ll do whatever you tell me to do.
SAM The dark force is warring over me. It doesn’t want me to stop this destruction. You’ve seen me act strange, right?
LEONA Yes…
SAM I need you to keep an eye on me and bring me out of it when it tries to take over. Don’t hesitate Leona, just slap me and bring me back. Ok?
LEONA Ok Sam, you got it!
SAM We’ve got to get moving now though. Time is running out.
Sam puts her arm around Leona’s waist and together they make their way across the bridge. Thick mist curls around them as they go.
EXT. NIAGARA FALLS – USA
They reach the other side of the bridge and as they look down into the water, strange bodies are bobbing, caught in a powerful, swirling motion. Their faces are struck with horror, evident in their open eyes.
Sam and Leona stop in their tracks, mouths open, they look at each other and back to the bodies. Whatever they are, they are not a threat to them…they are dead. Sam and Leona continue south from Rainbow Bridge, towards the falls.
NIAGARA FALLS – MAID OF THE MIST PARK – EVENING
A fire blazes as the sun slips from the western skyline. Leona sits with her back against a park bench. Her leg is wrapped in Sam’s red bandana. Sam reads from the Book of Mysteries that is open in her lap. She stops and looks at Leona.
LEONA Is that the book you got in Sedona?
SAM Yes. It’s called the Book of Mysteries. It comes from ancient writings that have been handed down over centuries and centuries of time. It’s full of mystical and enlightening remedies. It refers to this time we are in.
LEONA You said you knew how to bring an end to all of this. Is there really a way we can make this happen?
SAM There is Leona…but I doubt myself too much. That has been my private fear. I’ve seen miraculous things in my life time. Things that don’t make sense to most people…at least in any common, normal way.
Sam looks over at Leona and shifts the angle of her body so she’s facing her directly.
SAM I have second guessed myself so much…you know? When I was in Sedona, I was given a mission. It didn’t make sense to me then, because none of this destruction had happened yet…it was prophetic in nature. But even so…I wasn’t sure I could do it…I didn’t even know if I wanted to. Not until now…after all we’ve been through.
Leona has her prayer beads in her hands. Her fingers rub over them softly…her face is thoughtful, almost serene.
LEONA I know what you mean, I think. I’ve lived in fear most of my life. I’ve never fit in anywhere. I was barely on the fringes of high school society…an outcast I guess. The miss fit.
Leona runs her fingers through her hair as she looks at Sam. Their eyes meet. Leona hesitates…then speaks.
LEONA There was this girl in high school. I always admired her…I wished I could be like her. She was the most popular girl in school. Everyone thought she was cool. I was fascinated with her really…but she didn’t even know I existed.
Sam draws closer to Leona, crossing her legs Indian style next to her.
SAM Tell me more, I’m listening.
LEONA I would imagine being in their circle (sarcastic laugh), you know, the “it girls” circle? Then, years later, she comes into the library looking for a book and she asks me to help her. She mentions we both went to the same school. I couldn’t believe she recognized me. Then she asks me if I knew her name. I’d waited an eternity to say her name out loud. Faith…that was her name.
Leona pauses…looks into the flames as they dance towards the night.
LEONA I realized it wasn’t her friendship I needed…wanted. It was more like what her name meant to me. Faith to believe I could be someone. Now she’s gone with all the rest and I’m still here…and I don’t know why. All I have from my past are these beads…my mom’s…they mean everything to me.
Leona holds the beads up. Sam leans forward, taking hold of Leona’s beads. She places them over Leona’s head and smiles. The beads hang close to Leona’s heart and the cross on the end reflects the warm light of the fire.
SAM Leona, you are here for a reason. We both are. It’s up to us to set things right…and we will. You have to believe that you are someone special…you and your faith.
LEONA Do you really think so? I think my faith is small. I don’t know…I want to believe…I really do. Maybe if I choose to set it free…
Sam kisses Leona’s cheek.
SAM All you have to do is believe Leona…anything is possible.
Both sit for a long minute in silence. Sam opens her book and begins to read.
SAM In the days that are blackest, the powers of darkness will war against the spirit of goodness. The dominant, the humble…the cursed, the blessed…the destroyer, the creator…the darkest evil, the most loving light in the world…the spirit of prosperity, health and life. That which wars with itself. It will be an end to life as we know it, but do not fear the darkness in that day, for as in all things, there is always a way to escape the destruction in order to bring about new life. The past will be no more.
EXT. NIAGARA FALLS – MAID OF THE MIST PARK – NIGHT - LATER
Sam sits with Leona’s head in her lap, her eyes are closed. Sam runs her fingers through Leona’s hair as she stares into the fire. The fire crackles, sending sparks towering into the night.
SAM (Whispers to herself) Take away my fear, give me strength...help me believe.
Sam’s eyes close as she joins Leona in sleep.
SAM’S DREAM – NIAGARA FALLS - NIGHT
Sam stands on a high cliff over the falls; her long hair blows back in a turbulent wind as if trying to escape. A demon beast, Blasphemer, stands close, its face only inches from hers. She is naked in the moonlight and the fowl breath of the creature blasts against her skin…scorching her.
BLASPHEMER You dare to believe that you can do something to stop the nature of things to come! Man is evil…an imbecile, corrupt in all his ways and deserves to die. (wicked laugh) He alone has carried the virus for thousands of years. You are weak Samantha and you live your life in fear…you think no one knows…but I know!
The demon beast’s face is contorted; his mouth salivates, dripping long, slobbery, yellow blobs that sway in the strong wind, then drop to the ground. His eyes shine with fire.
Sam’s eyes blink as she tries to fight back tears. She focuses, keeping her eyes on the demon.
BLASPHEMER Man chose this destruction. My kind didn’t even have to lift a finger to help him. He accepted his fate…turning into my kind easily. We fed the unwise, stupid men with the dogs of the disease. They thought they were the lucky ones.
His evil, claw-like hands are deviously spread open in front of her.
SAM You think you can stop me…make me afraid with your words…but they can do me no harm. You will not win this fight, Blasphemer!
Sam brings her hands up swiftly as she opens her mouth to scream.
SAM GO TO HELL!
Sam charges forward. She uses all her strength to push the beast backwards. He moves off balance as he falls backward into blackness, his haunting, mocking laugh vibrates into the night.
NIAGARA FALLS – MAID OF THE MIST PARK – EARLY MORNING
The fire is almost gone and soft light is washing over the Park.
LEONA Sam! SAM! WAKE UP!
Sam’s arms flail in the air. Her eyes open in a start. She looks around her, tossing from right to left. Her hands run down her body in a panicked fashion. She looks at Leona and her eyes focus on her.
Leona’s face is wet with tears. Her eyes are wide as her hands dig into Sam’s arms.
LEONA Are you ok Sam? I was afraid…afraid that they got to you…that I had failed your one request.
Leona lowers her head, sobbing. Sam reaches out and pulls Leona to her in a tight embrace. She rocks her back and forth.
SAM You did fine, Leona. Really! I was dreaming…it was just a horrible dream…but it means the time is drawing close Leona. When the sun sets tonight, the moon will be full and we have to be ready. Ok?
Sam draws in breath and lets out a heavy sigh and releases her. Leona nods her head, says nothing.
Sam gets up to stir the remaining ashes of the fire, then walks over to a pile of logs stacked close by. She reaches down, grabs a log as her eyes move to the right. There on the ground is a big blob of glowing yellow goo. Sam’s hand flies over her mouth, her eyes go wide. She turns and hurries back to the fire.
Sam moves around the camp, pacing, but says nothing. Leona watches, the creases in her forehead deepen. Neither says a word. Finally, Sam speaks.
SAM You stay here. I’m going to walk into town and see if I can find us something to eat. I’m starved…how about you?
LEONA I could eat a horse right now. I’ll be fine…just don’t be gone long. Ok?
SAM Don’t worry…I’ll be back soon.
EXT. NIAGARA FALLS – MAID OF THE MIST PARK – MID MORNING
Sam walks toward Leona from the direction of town. She sets her pack on the bench next to Leona and pulls a couple bottles of water from her pack, along with some jerky, crackers and cheese. She hands some to Leona.
LEONA Thanks! How was town…anything…anyone else around?
SAM No. No one…nothing. Weird though…I saw more of those trucks with dead dogs in them like the ones we saw on our way here. I told you the beast in my dream mentioned them. It gave me an eerie feeling.
Changing her expression, Sam smiles at Leona, who looks up at her as she tears off a hunk of jerky and begins to chew.
SAM Hey! I got us a treat…it’s a surprise. How’s your leg doing?
LEONA It’s much better…stiff, but not as painful. I got up and went to the bathroom when you were gone. Thanks for cleaning it up Sam. What kind of surprise did you find?
SAM Close your eyes.
Sam reaches into the pack and pulls out a can of peaches and some plastic spoons.
SAM Okay…open your eyes.
Leona’s face lights up.
LEONA Oh my God Sam! That’s just peachy!
Sam looks at Leona and laughs out loud.
SAM After these peaches we have to get down to business and devise our plan for tonight.
Both women dive into the can of peaches with happy smiles on their faces.
EXT. NIAGARA FALLS – PROSPECT POINT – LATE AFTERNOON
Leona bends down to pick up a rock about eight or ten inches in diameter. She walks with a slight limp in her gait.
Sam is some distance away. She picks up a rock and adds it to the pile in her arms. She drops them to the ground and then places them in a specific order. She builds an altar on the overlook of the Falls. The water roars, spraying up into the sky in its reverse flow. The spray in the air has both women drenched, but the afternoon sun is warm and it’s the closest thing to a bath they have had in days.
Leona drops four rocks next to Sam as Sam looks up at her.
SAM (Hollering) We’re almost done. I know we’ve been at this for hours but we need just a few more and we should be set.
Leona nods and turns to gather more rocks. Sam does the same.
SAM (hollering) We’re done! Let’s get a little rest back over by those trees. It’s quieter there and we can go over the plan.
Sam takes a minute to look at the altar. It is five feet high with a fire pit in its center. Smooth flat rocks line its rim. She looks at her wrist watch…it’s three o’clock.
LEONA (hollering) I’m for resting! You sure this is going to work?
SAM (hollering) I hope so…it has to. I don’t see any other way.
EXT. NIAGARA FALLS – PROSPECT POINT – ALTAR - NIGHT
Leona and Sam stand at the rock altar as the flames begin to rise…higher and higher. The fire is hot as they both remove all their clothing and throw them into the fire. They stand naked in the night. The full moon is high in the sky.
Sam holds the Book of Mysteries and Leona holds her prayer beads in her hand. Sam studies Leona’s face.
SAM Are you ready?
LEONA Yes…to the end.
Sam brings her index finger up and wags it back and forth in front of Leona’s face.
SAM Not to the end Leona…to the beginning!
Sam looks to the moon and raises her hands to the crystal clear, illuminated night.
SAM (loudly, with authority) We call on the wisdom of the ages. The God of goodness, of life and health, of fall and winter, of spring and summer. We are all that are left. We stand here humble, strong, to bring about change, and new life. We believe in the God of the Universe…leaving all things behind for the sake of the future. Shiva, gather your strength and except our offerings. SHIVA RISE UP IN ALL YOUR GLORY AND TAKE BACK WHAT IS YOURS!
The earth rumbles and shakes as the sparks fly up. Yellow eyes surround the camp and the huge beastly shadows pace around them hissing.
Leona looks anxiously to Sam. The worry in her eyes, swim in tears.
SAM Don’t be afraid Leona…they can’t enter our circle. The fate of all and the life we knew are in the hands of the two warring brothers. The son’s of Shiva represent the God’s duality.
SAM (Her voice stronger) We call upon the son that is goodness and the son that is filled with evil, to finish their fight. Let their fate declare the fate of the universe.
Above the flames, an image appears. Two men war with swords of flame and light.
WOLF is clothed in fur, his long beard flowing. He is huge.
PISCIVORUS is leaner, muscled, wearing only leather pants and boots. He moves swiftly, as he circles Wolf.
There is loud clashing. Metal against metal, the two men move in an age old battle. Their fight has Sam and Leona mesmerized.
Leona and Sam feel the heated breath of the demon Blasphemers. They hiss louder, scratching and stabbing at the ground around them. The earth rumbles, quakes in answer to their turmoil.
After long minutes of fighting, Wolf is knocked to the ground as Piscivorus stands over his brother, taunting him.
PISCIVORUS You are weak brother for all your size. Is that the best you can do?
A wicked laugh, hollow and eerie shatters the night.
WOLF You celebrate early brother. The fight is not yet finished.
Piscivorus raises his blade, bringing it down towards Wolf with all his might. Wolf rolls onto his knees and swings his blade over his head and down…sure and strong, it slices off Piscivorus’ head.
With the stroke of the blade, the demon Blasphemers hiss and scream an agonizing death scream, disappear. Blood runs down the altar from the vision in front of Sam and Leona.
SAM Shiva you have your sacrifice! We cast all that we have to the flames in celebration of this victory!
Sam moves to the fire and puts the Book of Mysteries into the flames. Leona rubs her beads for the last time. She tosses the beads into the fire and stares as her beads disappear in the flames.
LEONA (whispering to herself) I choose to give all that I have to you God. To the new beginning…I believe!
A roar fills the air. It is so loud, the earth trembles. Leona and Sam stare as the waters in the Fall form a Vortex funnel. Stronger and stronger, the funnel sucks up the water from the falls and the river bed below. A deafening roar now, thunder begins to roll through the clear night sky. Lightning strikes the ground around Sam and Leona.
Sam grabs Leona’s hand. Above the fire a scene of Shiva appears, rising high upon a mountain. A sinuous cloud of bluish arms silhouetted through the mist. Shiva, his male side hard and pulsating, her female side rhythmic waves, rise higher within the Vortex funnel, until Shiva sits atop the powerful funnel at the base of its mountain peak.
It is veiled as a moonlit bride in satiny white on one side, and as a black fiery male presence on the other. The lover of life and creation reaches to embrace her groom of destruction and change. Shiva envelopes him and he glows with liquid silver light.
SHIVA You have done well servants. It is time. Come to the throne!
SAM (Very Loud) It’s now or never Leona! We have to do it now!
Leona looks into Sam’s eyes and squeezes her hand.
LEONA (Very Loud) I am ready!
Sam and Leona begin to run toward the Falls. Lightning strikes a clear path to the cliff above the falls. As they stand on the edge of the cliff they see the center of the Vortex funnel, Shiva now inside, glorious.
EXT. SHIVA THRONE – NIGHT
With their hands together, they jump toward Shiva, feet first…their hair flies freely above their heads, their naked bodies elongated, slender by the movement. As they enter the center they reach the calm in the eye of the Vortex. Shiva’s many arms reach out, plucking them gently from the air. They are set before the throne.
The funnel Vortex rises, closing around them. It disappears into the heavens, taking them with it. Long minutes later…a sudden calm…silence, as the funnel stops and begins to spin in reverse.
EXT. PROSPECT POINT - SUNRISE
As the sun creeps shyly into the Eastern sky, it bathes the Point with soft golden light woven with hues of pink, purple and orange. The waters of the fall again flow in their natural path.
EXT. NIAGARA FALLS
SUPER – YEARS LATER
Move past green trees, budding flowers and blue water rushing to white foam at the falls.
CHRISTOPHER LEE (V.O.) In the days, months and years that followed that fateful night…all those that were of a good spirit and a faithful heart…those that were called to this special place in the days of destruction…they were the ones released from their wretched sleep…to live again.
A butterfly bounces from bush to tree, to a rock, where it stops to rest with fluttering wings. In the air we hear the laughter of children as they run through a field chasing butterflies.
CHRISTOPHER LEE (V.O) Their bonds broken, they awoke to the dawning of a new day…a new life…a new beginning. The earth now fertile, the air pure, the water clean.
Flying swiftly over fields of vegetables stretched out, nearing harvest. A mountain peak stands majestic in the distance. Come to a stop. The sun throws golden light on its silver peaks.
CHRISTOPHER LEE (V.O.) Those that were released from their sleep would tell the story of the dark time to their children…passing it down through the ages…in hopes that it would never be forgotten…that it would never again be relived.