BLACK
COLIN O’RIELY’s (40s) voice.

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.

He closes his eyes.

COLIN (V.O.)
I’ve been having these dreams…    

COLLIN'S DREAM - BELLS OF THE RAINBOW TOWER

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.

CORDELIA
I’m singing your song.

EXT.  SKY - MORNING

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.

INT.  FAIRMONT CHATEAU LARIER – WILFRID’S RESTAURANT

A grand, open dining room.

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.

INT.  FAIRMONT CHATEAU LARIER – LOWER LEVEL PARKING GARAGE - LATER

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.

INT.  FAIRMONT CHATEAU LARIER – UPPER LEVEL PARKING GARAGE

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.

INT.  FAIRMONT CHATEAU LARIER – LOWER LEVEL PARKING GARAGE

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.

INT.  FAIRMONT CHATEAU LARIER – UPPER LEVEL PARKING GARAGE

The squirrel is fast for its small size, as it runs along at break-neck speed.  Its mouth looks so odd…dried white froth coats it thickly.

The woman gets to her car, tears open the front door and pulls it shut with all her might.  Tears stream down her panic stricken face.

She’s fast…but not fast enough…the rabid squirrel makes a last ditch effort leap and catapults itself inside the car as the door slams shut.

INT. HONDA

It bounces off the front windshield and crashes down to the passenger side floor.

The woman frantically pushes the “Start” button.  The engine revs.  She throws the car into gear and pulls forward.

The squirrel launches itself at her face, tiny claws digging in instantly.  Blood wells up.

INT.  FAIRMONT CHATEAU LARIER – UPPER LEVEL PARKING GARAGE

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.

INT.  FAIRMONT CHATEAU LARIER – LOWER LEVEL PARKING GARAGE

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.

INT.  FAIRMONT CHATEAU LARIER – LOWER LEVEL PARKING GARAGE

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!

INT.  FAIRMONT CHATEAU LARIER – LOWER LEVEL PARKING GARAGE

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.

BLACK

A car engine fails to start.

Cordelia opens her eyes.

INT. CAR

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.

COLIN
That girl’s trouble alright…

He enters the tunnel.

INT . DETROIT RIVER - DAY

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'S DREAM - THE THREE DIVINE

EXT. ST. JOSEPH’S CHURCH - DETROIT - DUSK

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:

G F E D

ONE DEAD DOG THAT RISES

It steps up like a newborn calf...

Its red leash holds it, but its ready...

To WALK AWAY

Led by Cordelia, smiling.

EXT. FISHING BOAT -DAY

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.

EXT.  TREE – DAY

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.

INT. OUTDOOR OUTFITTERS - LATER

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.

INT. PICKUP - DAY

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!

But she faints--it all goes to BLACKNESS.

CORDELIA’S DREAM - DIRTY LITTLE SECRETS

EXT. JAIL - NIGHTFALL

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

INT. GREYHOUND - DAY

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.

EXT. FISHING BOAT – NIGHT

Michael’s eye. Open and blinking.  

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.

INT. FISHING BOAT - DAY (LATER)

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.

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.

EXT. 401/81

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?

Samantha laughs.

EXT.  ROAD - DAY

The sound of a car approaching.

An engine spitting...Coughing...Spluttering.

BRUCE (O.S.)
Come on you little bugger!

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.

EXT. 40B ROAD – DAY

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.

The car jaults forward and speeds off.

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.

Bruce
(hearing she's alive)
You're alive?

Bruce cuts her down. She falls.

Awake.

INT. GREYHOUND - EVENING

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.

EXT. GAS STATION – SARNIA – DAY

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.

JAMES FLEMING’S DREAM - COME THREE O'CLOCK  

INT. FLEMING PSYCHIATRY - DAY - FLASHBACK

Enter through the exterior door with the Fleming nameplate:

The receptionist sits, just as before. The radio now sounds different, old and fizzled.

On the wall, a clock has mysteriously stopped at 3:00 pm.

JAMES POV:

James, astutely aware of the stopped second hand.

JAMES
I thought that you put in a battery this morning.

KELLY
I did.

It’s ironic, but suddenly, James hears a voice inside his head.

V.O. CORDELIA
Into the middle-- the 3:0O o’clock day.
And what is a time like that any-which-way?

Too early for home.
Too tired to stay.

Kelly notices James' balance disturbed.

KELLY
Doctor?

James throws it off.

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.

Kelly disappears from her chair.

James turns to look back in the direction of his office.

He walks forthright inside, grabs his coat and keys.

EXT. FLEMING PSYCHIATRY - DAY

As James closes the door. He notices:

FLEMMING PSYCHIATRY

"Flemming" with two M’s. They begin to move. They sliiide down snakelike leaving a large gap. The other letters follow suit leaving only the “F”.

James reaches to touch the single letter. As he removes his hand, new letters appear:

FAREWELL

James’ eyes lock onto the word. He changes his mind about leaving and heads back into the office...

INT. FLEMING PSYCHIATRY - DAY

Passed the reception area straight to his gorgeous, dimly lit office.

The blinds are closed. It’s too quiet.
Neat and as comfortable as any living room.

He sits down at his desk. “The Stand” sits underneath the lamplight. He eyes it.
Chooses to ignore it.

He leans back. Closes his eyes. Rubs them.

A squeaking sound. Like a chair that needs oiling.

He opens his eyes.

There in his clients’ chair sits

The Insane man.

Rocking. Back and forth. Back and forth.

JAMES
You’re not due ‘till four.

INSANE MAN
What “for”? I really needed to see you be “fore”... Well...

JAMES
You don’t exist.

INSANE MAN
Of course not.

Long beat as James and The Insane Man have an undefinable moment.

INSANE MAN
Suicide is painless.

James heads for the door at a clip.

The receptionist area is now completely empty.

He exits here into the:

EXT. FLEMING PSYCHIATRY - DAY

He races down the hall, down several flights of stairs

JAMES
It’s just a dream--just a dream. I don’t believe in-

Enter on:

INT. UNDERGROUND PARKING

Empty. Except:

Shiva, crystallized like white luminous snow, some kind of cold heat steaming in the darkness.

James is fascinated. Full of scrutiny, he moves close, warily circling as Shiva circles also.

A low oceanic sound envelopes the garage and a steamy fog sizzles around them.

Shshshsh....

They’re both hidden in the fog and as we enter it,

EXT. ISLAND - NIGHT

We’re on an island, surrounded by water and darkness and that luminous white fog that turns out to be loaded.

AN EYE-SPY of objects and animals, candles and cobras, computers and camels, keys and kangaroos, brooms and bears.

It’s a vaporous toy box of consciousness.

James tries to grab the objects. He's able to hold them, touch them, but they keep changing, flowing in a spiritual haze.

James' captivation suddenly comes to an end as:

Shiva holds up a great mirror.

James turns away instinctively,as if it's too bright, but...

CORDELIA
To thine own self be true,
Know thyself and break through

To step cross the veil
That in death you won’t fail

SHIVA
Come now James.

James turns.

Slowly...

Facing his reflection.

What he sees causes his eyes to gather pity for a moment and then, James’ flat emotion is back again, but only for one more blink.

His eyes become an ocean and grow dark, marking some kind of profound and sullen discernment.

He closes his eyes.

EXT. LONDON – DAY

James’ eyes snap open. He looks around.

MICHAEL
Hey!

James looks at him.

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.

EXT. CFB LONDON ARMORY – DAY

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.

EXT.  INTERSTATE 401 – UP HIGH

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…

Sam screams!

EXT. HIGHWAY - DAY

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.

EXT. SUPERSTORE - EVENING

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?

INT. VAN – DAY

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.

SAM
Hello! What’s your name?  I’m Sam.

INT. GREYHOUND – DAY

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?

Innocence slowly nods.

INNOCENCE
To Falls it is, then.

EXT. HIGHWAY 83 � EVENING  

The station wagon is parked, the hood open.

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.  

INT. CAR, RAINBOW BOULEVARD – NIGHT

Piscivorus sits in the driver’s seat of the family size car.

HEIDI
Where we going?

PISCIVORUS
The Fallsss, almost there.

Cracks and potholes have developed on the road.  The car hits road debris.

PISSSCH

The car’s rear tire bursts.  Piscivorus loses control.

PISCIVORUS
Hold on tight.

The car spins, tires burn, smoke vapours rise as the car creates fragmented doughnuts over the damaged road.

SMASH

The car finally stops, resting against another vehicle.

INNOCENCE
I’d like to get there in one piece.  You okay Cordelia?

Cordelia sits up and tidies her hair.

CORDELIA
A few scratches...

She speaks slowly as her cuts begin to heal.

CORDELIA
I’ll be okay.

She looks closer at the back of her hand in amazement and rubs her skin with her thumb to clarify what’s happened.

EXT. RAINBOW BOULEVARD

Heidi exits the car and surveys the area.

Howls fill the night sky.  

The bright crescent moon, hangs in the sky, lighting their path.

EYES in the shadows reflect the moon’s light towards the group.

HEIDI
Which way now?

Piscivorus points northwards and looks to the moon for guidance.

He stops and gazes at the moon, absent minded, his eyes glow and narrow.

AGKISTRODON'S DREAM - SHIVA’S CHILD

EXT. RAINBOW RIVER - NIGHTFALL

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.

EXT. RAINBOW BOULEVARD

PISCIVORUS
This way, we’re almost there.

A FEW HOURS LATER

Piscivorus raises his hand and stops suddenly.

PISCIVORUS
We’re almost here.

INNOCENCE
Where’s here exactly?

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