305. Through the Wardrobe - Leslie

• FADE IN:


• INT. BEDROOM - DAY


• AMBER sits at her desk staring dreamily out at the beautiful summer day.


• The grass outside the window is an almost artificial deep green and the large oak outside the window sways in the warm breeze.


• The small, sunny bedroom is neatly organized with book-covered shelves and baskets.


• Amber plays with her nose ring, rotating it.


• She stops, hearing a noise, and spins around.


• Her closet door opens slowly and AUGUST, a large, bald, handsome man, dressed in dark pants, a beautifully crafted vest, and an ornate cane in his hand.


• He smiles at her.


• AUGUST
• Hello Amber.


• AMBER
• I was wondering if you would ever show up again. You look the same as you did when I was sixteen.


• AUGUST
• Would you like to come with me? You can stay.


• AMBER
• I thought it was against the rules.


• AUGUST
• Let's say...management had a change of heart in your case.


• AMBER
• I don't know.


• AUGUST
• You've wanted this all your life. Are you really happy here?


• AMBER
• No, but I won't be able to come back, will I?


• August doesn't say anything.


• She looks out the window, then at him and take a deep breath.


• AMBER
• Ok.


• She walks over to him and he extends his hand.


• She grabs it and he pulls her into the closet as the floor drops away beneath them and they fall.


• INT. TUNNEL - INDETERMINATE TIME


• They drop and Amber shouts at the thrill, falling down appears to be a bottomless pit.


• EXT. THE BIG TENT - NIGHT


• The sky opens and the drop into the atmosphere of a strange place, the sky covered in stars.


• Below them is a massive circus tent that stretches across the land as far as they eye can see.


• A hole opens in the top of the tent and they rocket through.


• INT. THE BIG TENT - NIGHT


• The drop into the tent, the ground still far below them, streets, parks, and smaller tents stretching out underneath them.


• They slow and land gently on the ground.


• Dancers and performers swarm...high above, trapeze artists swing towards their locations and dancers glide from red ribbon to red ribbon.


• An acrobat dances gracefully inside a large silver ring that twirls wildly on the dirt floor, the pair of them defying gravity.


• A woman with loose pants and corset-like shirts walks past, casually swinging flaming poi while a monkey sits glumly on her shoulder.


• Amber grins, drinking everything in.


• AMBER
• I can really stay?


• August smiles down at her and nods.


• She grabs him, hugging him tight.


• AMBER
• Thank you.


• She grabs his hand and they walk down the main street.


• August smiles gently, then looks off, his eyes sad.


• INT. HOSPITAL ROOM - DAY


• AMBER lies motionless in a hospital bed, her arms covered with bruises, her face red with welts and lacerations.


• Her MOTHER sits by the bed, holding her hand.


• A DOCTOR walks in and her mother looks at him, hopefully.


• He purses his lips and shakes his head.


• DOCTOR
• I'm sorry, there's very little chance she'll ever wake up.


• Her mother slumps into the chair, never letting go of Amber's hand and looking out the window at the gray sky, as if she could pull hope from the air outside.


• FADE TO BLACK.

304. Just Stay - Leslie

• FADE IN:


• INT. LIVING ROOM - DAY


• AMY sits by the window looking at the gloomy weather outside.


• Rain slides down the glass and Amy's eyes follow it.


• RYAN wanders into the room and comes up behind her.


• RYAN
• Hey, can I see the newness?


• She ignores him.


• He teasingly pulls at the back of her shirt, revealing the base of a fresh tattoo crawling up the left side of her back.


• AMY
• Quit.


• RYAN
• What's up?


• AMY
• Mmm.


• She doesn't move.


• RYAN
• You know, communication might work.


• AMY
• Just leave me alone, please.


• RYAN
• Ok.


• He begins to walk away.


• She turns around.


• AMY
• You're supposed to say "No, you don't have to say anything, but I'm going to stay."


• RYAN
• Thanks for translating. Or you could consider just saving me the trouble and giving me an operating manual.


• She turns away.


• RYAN
• I'm sorry. I'll stay.


• AMY
• Don't bother.


• He turns, then stops, turns again, then walks back to her.


• RYAN
• I'll stay, but the games - a little tiring. I won't ever understand everything you're trying to say.


• She stays focused on the rain drops.


• He stands looking at her for a while.


• RYAN
• Ok, then.


• Ryan sighs, then sits on the arm rest and waits, watching her.


• FADE TO BLACK.

From Jail to Jesus and Back Again




• You thought you were going to enjoy the Indian summer breeze. You thought, wow, this is a nice autumn day. The wind was blowing through your hair as you were cruising down the road. You never thought in twenty minutes you were going to get escorted by Chattanooga's finest, right to the asshole of Hamilton County. That is jail. Ugh.
  
  You said you were never coming back. But that's just become a mantra, a déjà vu ferris wheel with shiny bars in front of your window. It's not just the boredom that kills you. Time begins to transform into something holy and precious, like blood, once you realise it's being taken from you. It's being sucked out of you second by second.
  
  You are told when to eat, and when to sleep on the cold concrete floor without a blanket or pillow, piled into a small room with forty other people.If you're lucky you won't be next to the silver toilet in the corner of the room, where everyone can see you do your business.
  
  Finding someone in jail with an IQ over 90 is like discovering Jesus. You will latch onto them. Yes, it doesn't take long to realise you've fallen down the rabbit hole right to the very bottom of the gene-pool barrel. It's painful. You thought you were going to catch up on some classics. You were going to finally read that novel by Dostoevsky. You can't. It's too loud. You're lucky if you get a dog-eared pulp novel with half the pages missing!
  
  But if you like chess or checkers, or spades you're in luck!!!!
  
  I will contnue more later. But as you all know, Im back and enjoying my freedom at home. Even being able to drink a nice cup of real coffee has been like a religious experience. Okay, I'm out for now.
  

303. A Thousand Ways to Say I Love You - Leslie

• FADE IN:


• INT. ARI AND MICA'S BEDROOM - MORNING


• MICA lies on her back, bed sheets pulled to her waist.


• ARI is flipped the other way, in loose, plaid pjs and a white undershirt.


• He traces the large blue tattoo that swirls around Mica's bellybutton.


• MICA
• Mmm, that feels nice - what does your day look like?


• ARI
• Still working on the story.


• MICA
• Wow, that's going to be some article.


• ARI
• Woohoo for investigative journalism.


• He flicks her bellybutton ring and it clinks metallically.


• She giggles.


• MICA
• Well, lucky me, I'm meeting this new artist, I'd love to get her work in the gallery, just have to sell bossman on the idea.


• ARI
• Eh, good luck on that.


• MICA
• What's that quote about work you like?


• ARI
• The heights by great men reached and kept / Were not attained by sudden flight, / But they, while their companions slept, / Were toiling upward in the night. Longfellow.


• MICA
• Longfellow, right. Gosh, you are extraordinarily well-read darling.


• ARI
• Nah, I just liked surfing quote websites.


• MICA
• Ah, so you're an empty shell with a beautifully deceptive veneer?


• You, my dear, have pierced me to the core.


• Hand on her belly, he looks up at her and they smile.


• MICA
• Yes, yes I know dear. I do too. Now, stop distracting me, my artist won't wait.


• He rolls over and she crawls out of bed, pulling sheets with her.


• She stumbles over to him, kisses him on the forehead, then heads to the bathroom, tripping hard on the way.


• She recovers and does an awkward plie, then attempts an arabesque.


• He laughs and blows her a kiss.


• She winks and disappears into the bathroom.


• FADE TO BLACK.

302. Perfect Day for a Wedding - Leslie

• FADE IN:


• INT. JOE'S STUDIO - DAY


• JOE sits on his stool staring at an empty canvas.


• Finally he gives up and spins around on the chair and grabs his cell phone from the desk that is now in front of him.


• He dials, places the phone against his ear, and waits.


• JOE
• Hey sis. It's one of those days. An hour? Ok, see you there.


• He puts down the phone and lets out a deep breath.


• EXT. SMITH'S BRIDAL SHOP - DAY


• Joe stands outside of Smith's and scans the strip mall parking lot.


• WENDY sneaks up behind him and the whacks him.


• WENDY
• Boo.


• JOE
• Yow! Hey...


• She grins at him.


• WENDY
• Come on.


• She opens the bridal shop door and he follows her in.


• INT. SMITH'S BRIDAL SHOP - DAY


• Joe heads quickly towards the mannequins at the back.


• Wendy follows him but is stopped by LYDIA, another shopper.


• LYDIA
• Wow, your fiance is more interested in your dress than most guys I've seen.


• Wendy laughs.


• WENDY
• Oh no, he's my brother.


• LYDIA
• Oh.


• She looks over at Joe who is carefully inspecting a dress.


• JOE
• Wendy, get over here, the silhouette on this one is amazing.


• LYDIA
• Well, it must be nice to have a gay brother. So helpful...


• WENDY
• No, no, he's not gay. We just come to bridal shops on his bad days and plan for his wedding-theoretical wedding, makes him feel better. I better go.


• Lydia nods bemused and stares after Wendy.


• Wendy catches up with Joe.


• WENDY
• This one is nice, I could see her wearing this if we did the wedding at the Country Road Church.


• JOE
• Oh yeah, totally.


• They wander a bit more.


• WENDY
• They haven't really updated their collection since last month. Wanna go to that new place at the mall?


• JOE
• Sounds good. Then supper?


• WENDY
• Yeah, I like it.


• JOE
• Where do you want to go?


• WENDY
• You have to ask?


• JOE
• I dunno, you could suddenly have a change of heart.


• WENDY
• Please.


• JOE
• Fine with me and the Taco Bell by the mall grills the seven layers.


• WENDY
• Excellent!


• They link arms and leave the store, leaving Lydia still watching them, a confused look on her face.


• FADE TO BLACK.

301. All My People - Leslie

• FADE IN:


• INT. HONDA SEDAN - NIGHT


• The Honda hums along the highway.


• ARNOLD takes his eyes away from the road for a moment to glance at his 11 year-old niece, TAYLOR.


• TAYLOR
• I'm so bad at directions. Where are we?


• ARNOLD
• We just got on the 405...near Van Nuys.


• TAYLOR
• Oh, ok.


• ARNOLD
• What are you going to do when you have to drive yourself?


• TAYLOR
• Uncle Arnie, I won't drive myself...I'm going to have people.


• Arnold snickers.


• ARNOLD
• People, eh?


• TAYLOR
• Yes, and I'll tell my person where to drive and if she gets lost, I'll fire her and get a new person.


• ARNOLD
• What other people would you have?


• TAYLOR
• Someone to cook all my food and give it to me.


• ARNOLD
• Let me guess, you'll have refrigerators full of...hmmm chocolate, lots of chocolate?


• TAYLOR
• No.


• ARNOLD
• Ice cream? You like Chunky Monkey.


• TAYLOR
• Uncle Arnie! I don't want to get fat.


• ARNOLD
• Hmmm, broccoli? You'll have someone serve you broccoli all day?


• TAYLOR
• Ew, you're gross Uncle Arnie.


• ARNOLD
• Fine, what would you be fed?


• TAYLOR
• I adore grape nuts.


• ARNOLD
• Adore, do you?


• TAYLOR
• My people would pour my grape nuts and then put it the milk and give it to me.


• ARNOLD
• Alright then.


• The car continues to hum along.


• TAYLOR
• You know, I like this boy, Mickey, at school.


• Arnold smiles at her matter-of-fact-ness.


• ARNOLD
• Well, as long as he doesn't have funny ears.


• TAYLOR
• No. But I might have to fire him.


• ARNOLD
• And why is that, niece-of-mine?


• TAYLOR
• He got mad that I used his Bible to write on. He said I wasn't perfect and that he was, that he was just like Jesus.


• ARNOLD
• Well, I have a question then, there's something I've always wanted to know, and seeing that you apparently know Jesus in the flesh, could I ask?


• TAYLOR
• Fine. So?


• ARNOLD
• What kind of cereal does Jesus like?


• TAYLOR
• Grapenuts. Definitely.


• ARNOLD
• Oh good, 'cause I'd heard he was a cornflakes guy, and I knew that just couldn't be right.


• TAYLOR
• Definitely not cornflakes.


• They pull into a driveway.


• ARNOLD
• Well, we're here.


• Taylor carefully unbuckles her seatbelt.


• ARNOLD
• So, can I keep my job?


• Taylor cocks her head to the side and studies him.


• TAYLOR
• Yes, you're good people.


• Arnold grins.


• She loses her straight face for a moment, but fights it.


• She leans over and gives him a proper peck on the cheek, then hops out of the car, waves at him, and walks up the path the house as the door opens, revealing her MOTHER waiting for her.


• She enters the house as her mother waves at Arnold and he waves back.


• FADE TO BLACK.

300. St. Ian and the Revelation Blues - Leslie

• FADE IN:


• EXT. CHURCH ROOF - DUSK


• IAN climbs up the side of the church wall, careful not to look down at the ground far below him.


• The ladder, bolted to the brick, is rusty in spots, showing its age.


• He reaches the roof and pulls himself over the side.


• AMIRA sits on the other side, his feet dangling over the busy city street below.


• He is almost completely androgynous, a face so beautiful that one instant many would insist he is a woman and at the same time so masculine that many others would be just as sure that he is a man - it is a face that is almost liquid in its ambivalence.


• Ian sits next to him, back against the short wall separating roof from thin air.


• AMIRA
• You humans are quiet the odd bunch, dear one. I really do enjoy watching you.


• IAN
• Thanks, I think.


• AMIRA
• You're tense, Pastor.


• IAN
• Had a conversation with a lady in the lobby about Revelation. Always stresses me out. I feel like maybe I don't take it seriously enough.


• AMIRA
• Do you keep an eye open for the signs?


• IAN
• Yes...


• AMIRA
• Then you do what is necessary for that. Your job is not to obsess about these things - you're supposed to be building the kingdom here. You do what you need to here, in this place - let Father work the rest out.


• IAN
• I know, I know, and yet I still stress.


• AMIRA
• There's a reason we weren't given the time of the Return. Look, you are part of something big here. And I get to see it happen, I'm pretty excited. You get your people really talking to Father and soon. Then watch. Something big's coming.


• IAN
• Do you mean...?


• AMIRA
• There you go again. Look, Father could return tomorrow and he could return after you humans have colonized the solar system. You don't need to be worrying about that.


• IAN
• Right.


• He turns to Amira.


• IAN
• Are you just part of my mind, here to make me feel better? Am I just hallucinating.


• Amira winks at him.


• Ian shakes his head and looks away, down the length of the roof.


• IAN
• Sometimes I think you're just my way of comforting myself - maybe reinforcing some of my own thoughts or guilt, even.


• He turns back to Amira, but Amira is gone.


• IAN
• Figures.


• He leans back against the brick, and takes a deep breath.


• FADE TO BLACK.

299. Haiku - Fire Songs

• 1.
  Red earth, soaked with fuel
  Cold fire under the surface
  It burns deep, burns soft.


• 2.
  She drank of dragons
  Sipped liquid flame and giggled.
  Sucking life from air.


• 3.
  Rollercoaster life
  Playing with fire and wincing
  Stop, relearn, remake.

298. In Which Robison Crusoe Meets a Tragic Romantic - Leslie

• FADE IN:


• INT. TREEHOUSE - DAY


• IRA leans against the wooden wall of the treehouse while ALYSSA peers out the window at the ground below.


• She pulls her head back and puts it on Ira's shoulder.


• ALYSSA
• What kind of fantasies did you have as a kid about me?


• IRA
• I didn't know you.


• ALYSSA
• Babe, I'm obviously the girl of your dreams and knowing you, you've been dreaming about your dream girl all your life, so it follows that....


• IRA
• Right.


• ALYSSA
• And?


• IRA
• Perfectly normal dreams would always end up in these hideous situations where we'd end up trapped in some kind of way and die horrible deaths in each others arms. It would be amazingly heartbreaking, in the kind of way that would make you wake up and thing "I want to meet someone I feel that passionately about." And then I'd be morose all week.


• ALYSSA
• That's so sweet...and twisted. Kind of like you.


• IRA
• Me in a nutshell.


• ALYSSA
• Well, I just wanted to be Robinson Crusoe. Create a whole world in the trees...this amazing mansion in the air - and to be able to do all those things with my hands.


• IRA
• Explains why you like treehouses.


• A car pulls in the driveway.


• ALYSSA
• Crap!


• IRA
• What?


• ALYSSA
• We gotta run.


• IRA
• But I thought this was your Uncle's place.


• ALYSSA
• You wouldn't have come otherwise.


• Ira freezes, then tosses back his head and laughs.


• ALYSSA
• Come on!


• She scrambles out of the treehouse.


• EXT. BACKYARD - DAY


• Ira races after her and they slip out the gate and into the alley.


• They stop, look at each other and then start laughing and can't stop.


• IRA
• Good day, Ms. Crusoe!


• ALYSSA
• Good day sir, I say, good day!


• They saunter, giggling, down the alley holding hands.


• FADE TO BLACK.

297. The Last Wish of Lisa Chavez - Leslie

• FADE IN:


• INT. PRISON HALLWAY - NIGHT


• A GUARD sits at his station, behind thick glass listening to the radio.


• RADIO ANNOUNCER (OS)
• Right now, the governor is deliberating on an eleventh hour appeal by Lisa Chavez's lawyers. She is moments away from her execution. Chavez, the so-called Trailer Park Vampire, had a trial rife with controversy. It is a possibility that Governor Hendricks will pardon Chavez.


• OFFICER HARY walks past the station carrying a letter.


• He unlocks and opens the door that leads to death row.


• RADIO ANNOUNCER (OS)
• Many of the prosecution's witnesses now claim they had been pressured into testifying. Chavez's victims were found...


• INT. DEATH ROW - NIGHT


• He closes the door behind him and walks past the isolation cells, then stops in front of Chavez's cell.


• He raps on the door and slides the letter through the door slot.


• OFFICER HARY
• Letter from your sister, Chavez.


• INT. LISA CHAVEZ'S CELL - NIGHT


• LISA sits on the cot, legs crossed under her.


• Her dark hair is cropped short.


• A plate with half-finished beans and rice sits on the bed.


• The only decoration in the room is a postcard from Bora Bora taped to the wall-a bright window into an almost unreal world.


• She ponders the letter for a moment, then stands, picks it up, returns to the bed and sits back down, placing it on her lap.


• Taking a breath she opens the envelope.


• Inside is a roundtrip ticket to Bora Bora.


• She just looks at it for a long moment.


• The clip of boots down the hallway resounds again and a PRIEST and Officer Hary appear outside the door.


• She looks up at them, already knowing.


• The priest shakes his head.


• PRIEST
• I'm sorry.


• Hary opens the door and she stands, preparing to leave, then turns and pulls the postcard off the wall.


• She takes the ticket and postcard and tucks them into her jumpsuit, then nods.


• Hary and the Priest escort her from the room and down the hall, her shackles clinking as they disappear down the hall, leaving they gray, empty cell.


• FADE TO BLACK.

296. The Secret Lives of Girls - Leslie

• FADE IN:


• EXT. HIGHWAY TUNNEL - DAY


• KERI-LEE between the lanes of traffic, walking right on the yellow dividing lines of traffic.


• She is dressed in a chic pink dress and holds a massive semi-automatic rifle in one hand.


• Cars honk as they pass her, her dress fluttering in their wake.


• She pays them no mind and strides towards her goal; she is a lean, mean, pink machine.


• Keri-Lee gets to the center of the tunnel and turns around.


• She raises the weapon to her cheek and begins firing at a monstrous blue Hummer barreling towards her.


• Bullets tear into its tires and the vehicle skids to a stop.


• Cars slam into it and dodge it on both sides.


• They begin to slow as they are blocked in.


• Guards in dark suits pile out and she engages them, ducking behind cars and racing closer to them.


• One by one they fall, until none are left.


• She walks to the window where ONE LAST MAN sits, awaiting his fate.


• She leans up against the window and whispers menacingly.


• KERI-LEE
• You go back and tell them not to ever mess with me again-you leave my people alone. This is my turf.


• The man gulps, nodding.


• She moves to the back, throwing open the door.


• A YOUNG WOMAN and her BABY are tied up in the back; the baby's bassinet fastened to the metal floor.


• Keri-Lee makes quick work of the rope and carries the baby out into the tunnel.


• KERI-LEE
• You're safe now.


• INT. MEL'S KINDERGARTEN - DAY


• FIVE YEAR-OLD KERI-LEE sits by a large toy box cradling a plastic baby doll in her arms.


• KERI-LEE
• It's ok, it's ok, you're safe now.


• She smiles to herself, and continues whispering to her toys.


• FADE TO BLACK.

295. Cedar Falls - Leslie

• FADE IN:


• EXT. CEDAR FALLS - DAY


• Despite its pleasant name, Cedar Falls is a sprawling slum that feels like a fungus that has slowly grown together, creating miles of internal hallways and the possibility of going in and never again seeing sunlight.


• Beyond the sprawl, the gleaming towers of a metropolis stretch to the horizon, seemingly infinite.


• INT. CEDAR FALLS Zone 35 - DAY


• IARA stands in the dark hallway, flashlight by her side, waiting.


• Her slight, muscular frame is tense and she swivels her head quickly, on the lookout.


• A tattered sign is pasted onto the wall next to her; it shows a large eye and reads "We Watch for the Good of All."


• A radio crackles faintly from down the hall.


• RADIO ANNOUNCER(VO)
• So the last caller was an idiot, wouldn't be surprised of the enforcers are at his door tomorrow; but he made a good point, folks. Registration is inevitable. I went down a few days ago and got myself registered - ridiculously easy folks. Listen, it's for your own good. And to Senator Lee, wherever you are, you will be found and hunted down like the scum you are.


• Static drowns out the announcer.


• DARIUS LEE, A HOODED FIGURE appears at end of the hall and Iara's body relaxes just a bit.


• She meets him and they embrace.


• IARA
• Darius, you made it back.


• DARIUS
• It's getting more violent in the middle sectors


• She shakes her head.


• IARA
• You have what we need?


• DARIUS
• We'll have the backup we need. The Enforcers will be here any minute. Let's go.


• He strides down the hall, throwing the hood off his head and Iara follows.


• He is tall, commanding figure with a face creased with dirt and worry.


• Hints of gray are scattered through his hair, but his face reveals that the gray is premature.


• He finds the door he is looking for and presses his finger to the door, then taps rhythmically on the surface.


• The door unlocks.


• INT. CEDAR FALLS: DARIUS LEE'S RESIDENCE - DAY


• The senator and Iara slip into the room.


• It is packed with books and papers.


• A desk is stacked with electronics, a large screen showing a tactical display.


• Armed guards nod respectfully and return to their watch.


• The senator sits at his desk with a sigh.


• IARA
• So today it begins.


• DARIUS
• I'm not sure that six months ago I could have even imagined myself leading a resistance.


• IARA
• What was it like, to debate on the senate floor?


• DARIUS
• Exhilarating...frustrating. To see your country slide away from you and be able to do nothing. The day I watched the President get registered...


• IARA
• I hear they started registering in the European Union last month.


• Darius shakes his head.


• DARIUS
• Funny, that such a small chip could change so much. To be able to track every single citizen - absolute power.


• Children pass the door outside.


• LITTLE GIRL (OS)
• My daddy fought in the battle of Nairobi.


• LITTLE BOY (OS)
• That's nothing! My daddy's in Antarctica now, he must be a better soldier than yours.


• LITTLE GIRL (OS)
• Is not!


• LITTLE BOY (OS)
• Is so!


• LITTLE GIRL (OS)
• Is not!


• Their voices fade.


• A guard nods at Darius.


• DARIUS
• They're here.


• Iara looks out the window.


• Dozens of armored carriers have pulled up on Cedar Fall's perimeter.


• Gunships come into range, their rotors humming menacingly as they circle.


• A bullhorn blares.


• ENFORCER (OS)
• We detect numerous unregistered persons within the premises. We are entering for registration purposes as allowed by the 35th Amendment. Resist and you will be terminated.


• Enforcers swarm from the vehicles.


• IARA
• You know, Sir, I didn't have much hope before you showed up. At least we can fight now.


• DARIUS
• Oh we have not yet begun to fight.


• Iara smiles.


• IARA
• Appropriate. Thank you.


• DARIUS
• Today, the resistance is born. Watch.


• He stands from his chair, picking up a rifle and checking it.


• There is silence, then a few screams.


• IARA
• What am I watching for?


• DARIUS
• Just wait.


• The silence continues.


• Darius paces.


• DARIUS
• Where are they?


• IARA
• What's wrong.


• DARIUS
• The fighters should be engaging them. I don't hear anything.


• Iara pales.


• The door explodes into splinters and Iara dives to the ground.


• The senator is still standing, his face expressionless.


• The guards fall almost in unison as Enforcer marksmen target them.


• The Enforcers are encased in lightweight and strong body armor, their faces covered in armored gas masks.


• A LIEUTENANT steps forward scanning the room.


• LIEUTENANT
• Senator Lee.


• Darius looks him straight in the eye.


• LIEUTENANT
• I'm afraid you were naive enough to think the heavy gunners couldn't be bought off. They would have given us a real fight too. Will you register?


• DARIUS
• Never.


• The lieutenant nods, raises his gun and fires once.


• Iara is passed out cold, her hand on her weapon.


• She begins to regain consciousness.


• LIEUTENANT
• She's pretty enough. Take her. The chairman could always use another, he uses them up fast enough.


• An ENFORCER WITH A MEDIC BADGE kneels, removes a syringe and injects her.


• MEDIC
• She's in the system sir.


• LIEUTENANT
• Oh the joys of paperwork. And so the resistance ends, not with a bang but with a whimper and a flurry of Q3 forms.


• The medic chuckles.


• Iara looks around carefully, then grabs her gun slams the butt of it into his helmet-he stumbles back.


• The lieutenant laughs.


• LIEUTENANT
• Looks like we need to keep this one sedated, she's got fight. Well? Sedate her.


• MEDIC
• Gladly.


• He grabs his rifle and slams the butt into her head and the world goes black.


• FADE TO BLACK.

294. Haiku - Songs about Crushes

• 1.
  Wind kisses her hair
  And I'm lost, lost in her world
  Infatuated.


• 2.
  Here in my dark room,
  I'd like to hold her warm hand,
  And feel our one-ness.


• 3.
  In shiny armor,
  My daydream princess will come
  Man-child in distress.

293. Wormhole Dreams - Leslie

• FADE IN:


• INT. EMPTY HALLWAY - NIGHT


• ELI wanders down a Victorian hallway, lights flickering against dark carpet and ornately detailed wallpaper.


• He passes a slightly open door and stops, hearing faint music playing.


• He walks past, then walks back to the door and steps through into another hallway.


• INT. SECOND HALLWAY - NIGHT


• The door opens into smaller, dark hallway.


• Eli walks cautiously, following the music.


• He turns a corner and finds a brightly-lit hallway running perpendicular to hallway he is in.


• It is flooded with people in corsets and fishnet, flowing dresses and piercings.


• They race through the hallway tearing wallpaper from the walls, smashing lamps, destroying without a sound.


• Eli backs away, heading back down the dark hallway.


• FIONA, a small, powerfully built woman in a beautifully crafted corset and jeans pulls away from the group and looks down the hallway, directly at Eli.


• FIONA
• Join us! Isn't this a beautiful dream?


• She laughs and he moves towards her, enchanted.


• She waves him on and he enters the stream of chaos, carried along by the wave.


• He laughs at the abandon.


• Fiona turns to him.


• FIONA
• You should be careful. You shouldn't be here.


• Eli turns to her, confused.


• ELI
• What? You just said this was a dream?


• She stares at him.


• FIONA
• Did I?


• Then she laughs again.


• Laughing she turns to him.


• FIONA
• Run away, before the demons sing. Run away.


• She smiles sweetly.


• Eli tries to fight his way out of the crowd.


• They turn on themselves, compressing smaller and smaller, the hallway sucking in around them, Eli now at the center.


• He struggles to free himself, but it is too late, the crowd seeming to devour itself as the hallway melts in.


• FIONA
• Isn't this a wonderful dream? I told you to run!


• And then there is nothing, the room sucking into darkness, leaving an ever expanding blackhole and in the distance a faint singing.


• FADE TO BLACK.

292. In Which Jase Courts a Mysterious Girl - Leslie

• FADE IN:


• INT. BANK - DAY


• JASE stands in line waiting for the next available teller at the bank.


• It's a typical branch office, with a large, glass-off room containing the tellers and semi-private desks scattered around the rest of the space with bankers waiting patiently for customers.


• Jase spots ANIKA who sits at a desk behind the glass, a pair of earbuds sticking out of her ears.


• Her face draws him in, a face that seems more suited on a distant beach, with its freckled and subtle, exotic features.


• She smiles in his direction and he waves back, but she turns away.


• INT. BANK - DAY


• Several weeks later, Jase is back at the bank and Anika is again sitting at her desk.


• Jase tries to get her attention, looking at her and giving small wave, but she does not react.


• BOBBY, who sits at a desk near Anika, notices Jase and watches, amused.


• A TELLER waves him to her station and he hands her a check, nodding, but distracted by Anika.


• INT. BANK - LATE AFTERNOON


• Jase is at the bank again.


• This time he is ready with a note.


• It reads "I think you're beautiful - would you care to join me for some coffee after work?"


• He looks around and holds it up quickly hoping she'll see, then tucks it back into his pocket, trying to avoid attention.


• After a long moment, a TELLER waves him up to his station.


• He hand the teller a check, and as the teller processes it, Jase tries to attract Anika's attention while pressing the note, hidden in his palm, against the glass.


• Bobby sees the note and watches Jase try to get Anika's attention.


• He gets up from his seat and slips out of the room, exiting through the thick glass security doors.


• He comes up behind Jase and taps him on the shoulder.


• Jase jumps, looking at Bobby guiltily.


• Bobby leans over and whispers into his ear.


• Jase freezes, then not even stopping to take the money he has cashed, he rushes from the bank.


• Customers watch him, surprised.


• Bobby stares after him, then shakes his head and heads back to his desk.


• INT. BANK - MOMENTS LATER


• Jase rushes bank into the bank a few minutes later and ignoring the other customer's stares, waves at Bobby.


• Security approaches and Bobby waves them off, then approaches Jase.


• Jase hands him the note and Bobby inspects it, then breaks out in a grin.


• Below Jase's handwriting are crude braille marks punched into the paper.


• He heads back into the glass enclosure and hands the note to Anika.


• She feels it then turns quizzically in Bobby's direction.


• He leans to her and explains.


• She asks him a question and then hearing the answer, turns in Jase's direction.


• Jase waits, holding his breath.


• She cocks her head considering, teasing, then smiles and nods her head.


• She holds up her hand, displaying five fingers.


• Jase smiles widely, not able to help himself and nods.


• Bobby speaks to her and she nods back.


• Jase leaves the bank and Anika smiles happily into space.


• FADE TO BLACK.

291. The Captain's Mate - Leslie

• FADE IN:


• INT. THE HELENE: CAPTAIN'S QUARTERS - MORNING


• CAPTAIN LYDIA HEMMINGS rolls out of bed and looks around the small room.


• It is a spartan room, with just a few traces of personality.


• A messy desk, a small lily suspended in a stasis case, and a few warm lamps to counter the industrial lights that hum overhead.


• Her uniform, deep blue with carefully polished buttons hangs on the wall next to a flight suit and helmet worn with the scars of war.


• She stands and carefully makes the bed, tucking in each sheet just so, folding and creasing.




• TI'AN
• Captain, we're here.


• She fluffs her pillow, pats it into place, then turns and looks at the uniform, then the flightsuit, then the uniform again.


• EXT. ERONA - MORNING


• THE HELENE floats above moon Erona, a cloud-covered sphere in the shadow of HELIA, a massive gas planet.


• A space elevator extends from the moon's clouds and down into the depths of Helia's gassy surface.


• The ship, a Mongoose class warship, is tiny speck against the two worlds.


• The ship has the sleek angles and curves of a craft designed for stealth, the stern of the ship terminating in an array of metal blades that can fold into the ship; the hull of the ship is lined with openings for the heavy gun arrays.


• With a crew of 100 people, it is small enough for quiet missions into enemy territory and powerful enough to fend for itself, if necessary.


• INT. THE HELENE: CAPTAIN'S DECK - MORNING


• CAPTAIN HEMMINGS, dressed in her flight suit, her helmet under her arm, steps onto deck and the crew stiffen.


• CAPTAIN HEMMINGS
• At ease.


• She peers out of the large windows at the moon below.


• The deck is filled with stations at which crew carefully contemplate buzzing screens.


• A large strategy table sits behind the main captain's chair.


• TI'AN, the first mate steps into the room.


• He is a tall, bald man with blue circuitry glowing just under his skin on the right side of his face.


• The Captain turns at his entrance and sees his face drop as he sees the flight suit.


• CAPTAIN HEMMINGS
• Disappointed?


• TI'AN
• Every year I hope.


• CAPTAIN HEMMINGS
• So do I.


• TI'AN
• It's been seven years, Captain. We come back every year and nothing.


• CAPTAIN HEMMINGS
• Get my Ray prepped.


• TI'AN
• Yes, sir. Just a reminder, the Imperials are close.


• EXT. THE HELENE - MORNING


• A bay door slides open on the side of the craft and a small Ray ship launches towards the moon's surface.


• INT. CAPTAIN'S RAY - MORNING


• Captain Hemmings pilots the ship towards the moon.


• The cockpit of the ship is small, her helmet and environment suit giving her the appearance of an armored warrior as she skillfully navigates the craft.


• EXT. SURFACE OF ERONA - MORNING


• The sun's rays barely penetrate the thick cloud cover that envelops the moon.


• Abandoned towers rise out of the mist, hints of a city lost to the clouds.


• A fiery spot appears in the clouds as the Ray plummets through the atmosphere.


• Hemmings' ship plunges through the mists and slows as she descends.


• The surface is primarily ocean, the abandoned city built on both an island and the water around it.


• The ship breaks through the mist and a massive metropolis appears below the ship.


• Hemmings turns on the flood lights, illuminating the streets below as rain pounds on the canopy.


• The ship begins searching the city, beacons blinking.


• It is a city lost, with no soul, the empty streets and crumbling buildings shadows of a former beauty.


• The Ray scours block after block.


• INT. THE HELENE: CAPTAIN'S DECK - DAY


• Ti'an leans over his view screen, monitoring the ship.


• A CREWMEMBER walks over to him and whispers in his ear.


• He nods and touches his tiny earpiece, speaking softly.


• TI'AN
• Captain, it's been four hours. It's time. There are Imperial scouts at the edges of the quadrant. We have to be careful. We're too far from the Federation to expect any help.


• CAPTAIN HEMMINGS
• Why do you feel the need to repeat this conversation every year?


• TI'AN
• Respectfully, sir, nothing changes.


• CAPTAIN HEMMINGS
• Are you implying I won't find him?


• TI'AN
• It's been seven years, if your husband was alive, he would have made contact.


• There is silence.


• The comm crackles again, Hemmings voice suddenly tired.


• CAPTAIN HEMMINGS


• Prep the deck.


• EXT. ERONA - MORNING


• The Ray turns away from the city, its floodlights shutting off and folding into the wings.


• With a roar, it races upwards, disappearing into the clouds, leaving the empty, rain-swept streets below.


• INT. THE HELENE: CAPTAIN'S DECK - DAY


• Captain Hemmings steps onto the deck, dignified in her uniform; her hair still damp.


• The crew freeze.


• CAPTAIN HEMMINGS
• At ease.


• They resume their work.


• CAPTAIN HEMMINGS
• XO, plot a course for the Rose Nebula, I hear Captain Egwake's been having some trouble with raiders.


• TI'AN
• At once, sir.


• He turns to the NAVIGATOR.


• TI'AN
• Plot a course for the Rose.


• NAVIGATOR
• Plotting a course to the Rose Nebula, sir.


• Captain Hemmings stares out the window at Erona as The Helene picks up speed, gaining distance on the shrouded moon.


• Ti'an walks up beside her.


• TI'AN
• Next year.


• CAPTAIN HEMMINGS
• Same time, same place.


• FADE TO BLACK.

290. Cigarettes and Conversation - Leslie

• FADE IN:


• EXT. THE MOUSE AND TRUMPET - DAY


• ZYLPHIA leans against the brick wall of the restaurant, cigarette smoke trickling out of her parted lips and out over the sidewalk.


• Her short dark hair falls over her eyes and is tied up in messy knot at the back of her head.


• An off-white scarf wraps around her neck and she is wearing jeans and bra straps peak out from under the thin black straps of the her tank top.


• EZRA, A young man in an expensive business suit walks crisply down the sidewalk - the elegance of his suit thrown off by the messenger bag thrown across his back.


• He comes to a stop next to Zylphia.


• She doesn't pay him any mind.


• He tosses his bag onto the ground next her, then sits down with a sigh.


• ZYLPHIA
• Cigarette?


• Ezra shakes his head.


• ZYLPHIA
• One of these days you're going to say yes.


• EZRA
• Sure.


• ZYLPHIA
• Easy there...bad day?


• She slides down the wall and sits next to him.


• EZRA
• Ah goodness, I'm just tired of all the flacks running around with their iPhones and Blackberries as if they're so unique. Bloody idiots.


• ZYLPHIA
• I wonder if they marketed them as status symbols how people react?


• EZRA
• No differently.


• ZYLPHIA
• You should show up to work with them around your neck like a headhunter's necklace.


• She grins at the mental picture.


• EZRA
• Uhhh, no. Though, it would be funny.


• ZYLPHIA
• Status symbols, status symbols for sale!


• Pedestrians stare at her.


• Ezra elbows her.


• A WOMAN IN A DARK PANTSUIT walks past.


• ZYLPHIA
• Hey Ma'am, get your status symbol here, demonstrate your elitism. Collect three and you could even move up a caste level or two!


• The woman shoots a disgusted look at Zylphia and Ezra and moves briskly past.


• EZRA
• This is why I love you; also why I don't take you in public. My goodness, woman.


• Zylphia bats her eyelashes at him.


• EZRA
• Oh, fine. But next time, I bring the leash.


• She rolls her eyes.


• EZRA
• Back to the kitchen woman!


• ZYLPHIA
• Ezra, you can take that kitchen of yours and stick it up your skinny little heiney.


• EZRA
• Mmm, I love you too.


• ZYLPHIA
• Ah...I have to run.


• EZRA
• What, you actually have a schedule?


• ZYLPHIA
• Us freewheeling hippie artists have to practice some time management.


• She stands.


• EZRA
• See you at home?


• ZYLPHIA
• Yeah, babe. Don't be too late...you're cooking tonight.


• EZRA
• Mm, yeah.


• She leans, gives him a peck on the cheek and walks down the sidewalk, disappearing into an art gallery.


• Ezra stares after her, smiles, then leans back and enjoys the sunlight.


• FADE TO BLACK.

289. Surfboards and Lightbulbs - Leslie

• FADE IN:


• EXT. LIFEGUARD STATION - DUSK


• MOLLY sits at the top of the stairs on the old life guard stations that watches over an empty beach.


• A well-worn surfboard is propped up against the walls of the wooden station behind her.


• Her hair is a rich blond, browned and sun-kissed, her face covered with the freckles of a beach girl.


• Her face radiates friendliness and a wisdom beyond her years.


• She is dressed in board shirts and a bikini top.


• The door of the station creaks open and Molly spins around.


• DARA pokes her head past the door.


• DARA
• Oh, hey.


• MOLLY
• I'm sorry, I thought this station didn't get used anymore.


• DARA
• Oh, it doesn't, I'm not a lifeguard. I just like to use it as my little daydream escape.


• MOLLY
• That's great...me too. You get the shack, I'll take the stairs?


• She chuckles.


• DARA
• Uh, sure.


• Molly plays with the pendant around her neck awkwardly.


• The pendant is a small, thick-glassed light bulb attached to a thing leather thong.


• DARA
• That pendant is pretty cool, what's the story?


• MOLLY
• My mom gave it to me. She loved old trains, and one day when she was a kicked, she was exploring this abandoned car and broke one of the No Smoking signs. The light bulbs inside didn't break...see, the glass is really thick. Anyway, she took them home with her, liked the shape or something. Anyway, when I was born, she dug them out of storage and turned one into a pendant for me.


• DARA
• What happened to the other one?


• MOLLY
• She's buried with it.


• DARA
• I'm sorry.


• MOLLY
• It's ok.


• DARA
• What happened to her?


• MOLLY
• AIDS.


• DARA
• Do you?


• Molly nods.


• MOLLY
• Just one of my facts of life. You know, it's always been with me. No reason to be tragic about it. But when I'm tempted, surfing helps.


• DARA
• That's cool.


• MOLLY
• Cool is what people say when they don't have words to say anything else.


• DARA
• Something like that.


• Molly stands and walks around the porch that rings the station.


• Dara, curious, follows her.


• She's dressed in tattered jean shorts and a t-shirt.


• Molly leans against the railing looking out at the ocean.


• MOLLY
• So what's your story?


• DARA
• Nothing special. I'm an accountant, I come here to get away from it all and dream I was doing something different. Now you'll probably tell me I should do what I love.


• MOLLY
• Not really, I'm sure you have a good reason.


• DARA
• I'm just scared.


• MOLLY
• That works.


• Molly plays with the pendant.


• Dara catches her eye and nods at the pendant.


• DARA
• How long ago?


• MOLLY
• We buried her this morning.


• DARA
• God...


• Molly stares at the waves, smiling a bit.


• MOLLY
• She was amazing.


• Dara finally commits and joins her at the railing.


• DARA
• Tell me about her.


• MOLLY
• She taught me surf and out there on the waves, she throw her head back and laugh, as if she couldn't imagine anything more amazing. She was a terrible surfer.


• DARA
• Does sound like she was amazing.


• MOLLY
• Oh, that's not even the half of it.


• She holds her thumb and forefinger up showing a tiny space between them.


• DARA
• So you were out surfing?


• MOLLY
• Was going to go out and say goodbye. Guess I should get to it.


• DARA
• It's dark.


• MOLLY
• That's ok, I kind of like it that way.


• DARA
• Dangerous...


• MOLLY
• Life's dangerous.


• She stands up, grabbing her surfboard.


• DARA
• Just a sec.


• She reaches inside the shack and pulls her on surfboard to the door.


• Molly smiles.


• MOLLY
• Should have known.


• DARA
• I have some tealights.


• She holds up a bag full of cheap tin tealights.


• MOLLY
• What's the story there?


• DARA
• Stupid boy, not worth going into.


• She picks up her board and the two head down the stairs and onto the sand.


• Molly steps into the water and Dara follows her, tentatively at first.


• They paddle out a ways and then stop.


• Dara carefully lights the tealights and the places them in the water, the waves pushing them around.


• The two paddle in place surrounded by little flames and Molly begins to cry.


• Dara pushes herself closer and grabs her hand, holding it; two strangers sharing grief on the waves.


• FADE TO BLACK.

288. Haiku - Songs of Fear

• 1.
  True, I am afraid
  Spiral stains, ink in water
  Confused and aimless.


• 2.
  Sickly white flowers
  Twist around and around him
  Trapped in his own dreams.


• 3.
  She trips, gets tangled
  In imagined fears and traps,
  Dreads her own shadow.

287. Haiku - Storyteller Songs

• 1.
  Twist strands of legend
  Thread the oaken loom with myth
  Parable-weaver.


• 2.
  Cherry blossom dreams
  Stolen kisses under stars
  Her private stories.


• 3.
  High in his airship
  He watches herds of stories
  Drifting nimbus clouds.

286. The Inventor: A Steampunk Parable - Leslie

• FADE IN:


• INT. AMELIA'S LAB - NIGHT


• AMELIA sits over her work bench, a jeweler's glass strapped onto his eye.


• The lab is a small, crowded room, filled with strange, DaVinci-like inventions.


• An articulated wooden and brass skeleton for a set of wings hangs above her head.


• Shelves are neatly lined with notebooks and unfinished gadgets.


• Candles in carefully blown glass cases hang around her from the ceiling; each bookcase is fitted with small gas lamps.


• Windows surround the room, most covered by thick curtains, but one is slightly open, allowing moonlight to slither in across the floor.


• Brass fittings and pipes line the room, kissing the exposed brick walls.


• A corner is filled with large bronze and brass tanks, carefully built and riveted.


• Amelia grasps tiny tools between her fingers while carefully working on the intricate workings of one of her machines, a wooden box whose back is open, exposing brass gears, tiny plates, and screws.


• NARRATOR
• Once upon a time, there was an inventor named Amelia. She loved creating new and beautiful things. Strange and intricate jewelry for the people of the town and new farming tools, elegant and efficient for the country folk.


• INT. AMELIA'S INVENTION ROOM - DAY


• Amelia stands in a large closet lined with drawers and shelves filled with her finished inventions.


• She is frantically pulling out drawers and searching the shelves.


• NARRATOR
• One day, Amelia discovered that one of her inventions was missing. It was a trifling little thing of no real importance, a mechanical firefly. She could have easily created another one, but she valued each of her creations and saw them as irreplaceable.


• EXT. TOWN CENTER - DAY


• Amelia walks nervously around the town center, stopping passerbys and gesturing to them, describing the gadget with her hands.


• People shake their heads and she moves on.


• NARRATOR
• Amelia was heartbroken; she could not find the gadget anywhere.


• EXT. AMELIA'S NEIGHBORHOOD - NIGHT


• Amelia knocks on a door, and when a MATRONLY WOMAN opens the door, she again describes the object.


• The woman shakes her head and Amelia moves to the next house.


• She moves to another house and another, receiving the same answer.


• INT. AMELIA'S LAB - NIGHT


• Amelia searches the lab, lamp in hand, turning it upside down.


• The formerly neat lab is now chaotic, things thrown everywhere in Amelia's search.


• INT. AMELIA'S INVENTION ROOM - NIGHT


• Amelia searches the room, inspecting an inventory list, then checking the shelves and drawers, shutting drawers in frustration.


• NARRATOR
• She searched until the early edges of morning.


• INT. AMELIA'S LAB - DAWN


• Amelia searches the floor for the gadget, the pauses.


• Seeing something, she moves faster, flinging loose paper, pushing away boxes, and larger gadgets.


• There, under a pile of sketches is the mechanical firefly.


• She picks it up, cradling it in her palm.


• NARRATOR
• When Amelia found her lost invention, she was so filled with joy she couldn't contain it.


• She runs out of the room.


• EXT. AMELIA'S FRONT DOOR - DAWN


• She opens the front door and yells.


• AMELIA
• I found it! I found it!


• A PASSERBY stares at her and neighbors peer out of their windows.


• INT. AMELIA'S INVENTION ROOM - MORNING


• Bleary-eye and happy, Amelia carefully places the firefly in its small drawer.


• NARRATOR
• And that, in a nutshell, is the Kingdom of God.


• FADE TO BLACK.

285. Zombie! A Parable of Church Life - Leslie

• FADE IN:


• INT. CAR: ON ABANDONED HIGHWAY - DAY


• LUCY, TONY, JULIA, and ALEX sit in the small Honda as it whizzes along the highway.


• Lucy is at the wheel and Tony sits next to her; Julia and Alex sit in the back.


• Julia glances up at Lucy, whose arm is livid with bite marks and swelling.


• Tony's face is swollen so much it is misshapen.


• TONY
• Watch out!


• Lucy dodges a pile of burning rubbish on the road.


• The highway is littered with the carcasses of burning cars and twisted metal.


• Julia looks over at Alex and speaks softly.


• JULIA
• We need to get out of the car. They're going to turn on us. They've already been bitten, who knows how fast the virus spreads.


• ALEX
• We're getting closer, it's not that far. I know we must be close to the refuge; we can get there before it's too late, I've heard the doctors there have the anti-virus.


• JULIA
• Look, we can travel by foot I know we can; how can we trust them anyway? I think they're taking us the wrong way.


• ALEX
• What if you're wrong?


• JULIA
• What if you are?


• ALEX
• It's not safe out on the roads.


• JULIA
• We'll find another car, I saw a few behind us.


• ALEX
• Those were miles behind...


• Tony turns around.


• TONY
• Sorry about the speed guys, we're trying to figure out some of these directions.


• ALEX
• It's fine.


• Tony turns back, flinching hard as pain shoots through his body.


• Julia looks at Alex and motions.


• ALEX
• Ok, maybe you're right.


• JULIA
• I am, come on.


• ALEX
• Uh, Tony...I'm, well, we're not comfortable staying on this road. I feel like this is maybe a detour.


• LUCY
• No, this is right, I'm sorry we're going slower, this road is murder to drive.


• JULIA
• We'd like to get out; we'll find another ride. I mean, let's just be honest, you could turn on us at any minute.


• LUCY
• It's really not safe outside, you know that. We've fought the infection this long. I know Tony and I can make it to the refuge.


• JULIA
• I'm sorry, Alex and I would like to get out.


• Lucy looks at them through the rear-view mirror.


• LUCY
• Alright, it's up to you.


• TONY
• Please, don't go, you don't have many chances of survival out there, it's getting darker, and you know they prowl in the shadows.


• JULIA
• Please stop the car.


• LUCY
• Alright, but I'm telling you, you're making a big mistake.


• She pulls over and Alex and Julia slip out and the car speeds off.


• EXT. ABANDONED HIGHWAY - DAY


• The two begin walking, looking out for cars.


• They sun sinks lower and lower as Alex looks around nervously.


• They pass signs of lost civilization, a half-burned billboard from which bodies hang.


• They pass a gutted strip mall.


• The day grows later.


• Alex perks up.


• ALEX
• Listen!


• Julia stops.


• JULIA
• That's a car.


• ALEX
• Thank goodness.


• An SUV pulls into view, its engine purring.


• It slows as Alex and Julia wave.


• STEPHAN the driver, a pair of sunglasses wrapped around his face, rolls down the window and waves a them.


• STEPHAN
• Looks like you folks could use some help.


• ALEX
• Yes, please - we're looking for the refuge.


• STEPHAN
• As are we. Are you marked?


• Alex and Julia shake their heads and raise their hands.


• Alex pulls back his collar to show no bites on his neck.


• STEPHAN
• Excellent, climb in. I'm riding with my nephew John.


• JOHN, who also wears a snug pair of sunglasses, grins and waves from the passenger seat.


• Alex and Julia quickly open the SUV doors and slip into the seats.


• INT. SUV: ON ABANDONED HIGHWAY - DAY


• John covers a bite on his arm and Stephan pulls his turtleneck higher to cover up the welts growing across his throat.


• JULIA
• Oh, it feels good to sit.


• Stephan chuckles and begins to drive.


• They follow an exit onto another highway.


• JULIA
• See! I knew the others were taking us the wrong way.


• ALEX
• Ok, ok, fine.


• INT. SUV: NEAR REFUGE - NIGHT


• Alex and Julia are sleeping in the back.


• Alex stirs.


• STEPHAN
• Hey, you're finally awake. We're almost there.


• Alex shakes Julia.


• A large concrete wall stretches for miles in front of them, the walled city of refuge.


• Large spotlights dot the walls and even from a distance, sentries can be seen.


• Alex and Julia watch the walls grow closer with relief growing on their faces.


• Alex grins at Julia.


• Stephan looks at them in the rear-view and smiles, then trades a look with John.


• Alex notices that Stephan is still wearing his sunglasses and looks at him quizzically.


• Dark shadows crouch around the SUV.


• The SUV pulls in closer to the gates.


• In front of them, a little Honda pulls in from a side road.


• ALEX
• Well, look at that, I guess they did make it.


• Julia shrugs.


• The Honda pulls close to the gates and Lucy and Tony stagger out.


• Figures, humans ravaged by the virus, lurch out of the shadows, growling.


• Lucy and Tony drag themselves towards the gates.


• Sentries shout an alarm and begin firing, tracers lighting up the nights.


• A medical team races out and pulls Lucy and Tony to safety.


• The SUV stops.


• JULIA
• Hey, why are we stopping?


• Stephan turns around and smiles again, strangely.


• He pulls off his sunglasses, his eyes dead.


• Julia screams and attempts to pull off her seatbelt.


• John lurches out of the car with an astonishing speed.


• Alex locks the doors as Stephan reaches back and begins grabbing at Julia.


• She fights back.


• ALEX
• Oh, God, oh God.


• JULIA
• Why aren't the guards coming?


• ALEX
• We're too far!


• Stephan's welts are now clearly visible.


• John begin tearing through the metal of the door.


• He finally pulls the door off.


• Stephan tears the seatbelt off of Julia as John pulls Alex off into the shadows.


• EXT. NEAR REFUGE - NIGHT


• Julia screams as Stephan pulls her into the dark, his grin fixed on his face.


• The car SUV sits, just outside of the gates, another hunk of metal on a long highway.


• FADE TO BLACK.