INT. STORAGE UNIT - NIGHT
Hands wrap thick wire around the positive terminal of a car
battery. Thirty more batteries, all wired in series, in
lines back to a concrete wall. The hands belong to RAY KIND,
50s, black. Bloodshot eyes, hair is white and crazy - outfit
is - Salvation Army - Jeans, T-Shirt, beat-up sneakers. He
picks up the final battery and lifts it onto table scattered
with old medical equipment.
A string swings over the table, which leads up to a
flickering orange lightbulb. An explanation for the distorted
shadows that darken the concrete walls of the storage unit.
Ray’s eyes scan up to see, JOHN JONES, 45, white.
A man who is out of place. His presence alone overpowers the
room, such gravitas. His outfit is a button up, slacks and
shoes. Ten grand head to toe. Rolex pushes it to sixty.
John studies Ray across the small table, as he tinkers. A
look of disgust? Nope, that is pity.
Ray unravels two sets of jumper cables - clamps them to the
battery. He clamps the other ends to a curved conductive
metal piece that would fit nicely on a.... head.
John cooly clocks the setup, then notices a cot in a corner -
on it -- a cup, toothbrush, deodorant and box of cookies.
John unbuttons his shirt, folds it - Takes off the Rolex -
grabs his left ring finger and looks. Nothing on it. He
lingers for a moment.
Places a large stack of cash on the table, pushes toward Ray.
Ray snatches it up.
JOHN
Not gonna count it?
RAY
No need.
John studies him again.
Ray picks up a glass of some gray chunky milk - turns to
John.
RAY (CONT’D)
Your first Violent Anchor?
Ray’s voice and affect are flat. John sees it, holds back
that look of pity.
JOHN
Yup.
Ray swigs the chunky gray milk. It stains his mustache a
maroon color. John looks - says nothing. Ray notices - wipes
his mustache with his sleeve.
RAY
Don’t worry. You won’t be needing
the Slurry yet.
(referring to the drink)
John does not look worried.
RAY (CONT’D)
Are you ready?
JOHN
I don’t have a fucking choice.
Let’s go.
Ray picks up the metal cap and a tube of KY - SQUIRTS- a
bunch on it. John removes his belt and sits on the couch.
Ray lifts the metal cap, John clocks distorted reflections of
Ray and himself on its surface - cap goes on Ray secures with
chin strap - John examines Ray up close, a burn scar on his
scalp - John closes his eyes, takes a breath - Ray reaches
behind John and grabs a chest belt secured around the couch
frame -- buckles John in and heads back to the table. John
puts his belt in his mouth and bites down. His eyes calm,
unfazed, confident.
Ray looks at John. John looks back with a “fucking do it
already.”
Ray flicks a switch that delivers 2000 volts of electricity.
John’s head jolts back into the couch like an invisible brick
whacks him in the face. He convulses. Sweat pours down his
face. His eyes look up, wide-open.
Ray’s face doesn’t change as he increases the voltage. A few
more moments then... he flicks it off. John’s body goes
limp, weight slumped forward, his arms dangle over the loose
chest belt. He is dead.
Ray methodically gathers equipment and places it on a cart.
He takes his time. Wheels the cart over to John, unbuckles
him, and lowers him supine on the cold concrete floor.
Slowly, Ray goes back to the table and retrieves a syringe --
examines 30ccs of clear fluid inside, flicks a bubble out,
places it on cart and looks at his watch.
John’s lifeless face does not bother Ray as he looks into the
wide-open-dead eyes.
Those eyes. Still calm, confident even in death.
Mesmerizing... closer... closer and through a pupil INTO HIS
CRANIUM.
THE NARROW, FLUID FILLED SPACE ABOVE THE BRAIN. The meninges
are partially cut, the brain exposed. But it’s what hovers
above brain that is not normal.
A green-wispy-ghostlike structure undulates. Whatever it is,
it is alive and it appears to be working on the brain. The
ghost morphs two featureless appendages then spins them into
tendrils that harden into dark-green-sharp claws. The claws
probe John’s brain- separate gyri - it searches for something
and not gently. It’s fast... ravenous. It stops - arches back
then lashes its claws into John’s brain, then goes taught.
Like green cellophane wrapped tight around a leftover roast.
Yellow-bioluminescent glows emit from the green apparition
resembling circuitry.
Ray, on his knees over John, he looks at his watch again -
scoots a shitty pillow under John’s head, grabs the syringe,
jabs it into John’s arm. He opens a defibrillator case -
frees the paddles - SQUIRTS - gel on the metal surfaces -
rubs them together- flicks a switch -- high pitch - HUM -
charging -- paddles to John’s chest. His chest jumps with
the shock - head falls back on thin pillow which fails to
prevent the - THUD - of head on concrete. John’s face limp,
eyes dead. Ray waits for the next charge, like he is in line
at the bank.... - WEEEEZ -ZAPP- John jumps again followed by
a head - THUD - A third go. - WEEEEEZ -ZAPPP- ....GASP
Life floods into John. - GROAN - John holds his head. - GRUNT
- shakes his head as if to check for rattles. John looks down
at his hands, then clocks the metal head piece - - picks it
up and looks for a reflection. Only a blurry distorted image
obstructed by gel. He exhales.
RAY
You get it?
John nods
RAY (CONT’D)
Good. Good. That was the Violent
Anchor. It will stop The Bleed. But
next few days may be strange.
JOHN
Strange how?
BAMM - RATTLE - RATTLE.
The Aluminum door opens and a huge man walks in backwards.
The sound of something drags on the concrete. Or two
somethings. He drags one with each arm. He slides the things
away like dolls. They spin across the floor. He closes the
door. It is pretty obvious what the two things are. Each
wrapped tightly in bedsheets secured by duct tape... human
bodies.
The giant man, LEE, 30s, white, sports a blood-spattered,
black duster, he has wild blue eyes and a ginger flat top.
Yawps with exuberance.
LEE
Anyone down for some Slurry!
John’s face says “hell no”. Ray’s face says nothing really.
END OPEN
ACT I
Genres:
["Thriller","Sci-Fi","Horror"]
Ratings
Scene
2 -
The Catastrophe in the Bay
EXT. SPACE - CIGAR SHIP
A story unfolds - RAPID FIRE - it begins as a reflection off
a dark-cobalt watery canvas --
QUICK CUTS:
-- Cigar-ship
-- A huge BAY, bustling with activity - ten stories of
spiraling catwalks above. Viewports reveal space outside.
-- Hundreds of human-like people with radiant-gold skin and
bright green eyes scurry about the bay. Seems a bit tense.
-- On a CATWALK, 1000 or more small, wispy, green -
GHOSTLIKE ENTITIES float in line like it’s a concert line.
-- One GOLD MAN stands at the front - one by one, he scans
each ghost - triggers a conveyor -raises a POD - it opens,
revealing an unconscious gold person - a ghost enters the
body - it animates then saunters off...
-- Three gold people, two men and a woman sit atop the bay,
wearing unique robes with alien insignia -- likely signifying
leadership. Their conversation seems important.
-- Something grabs their attention -- a suspicious man.
-- The two men sprint out of the bay and down a corridor.
-- The woman stays to follow the suspicious man - he holds up
a small spherical object. She yells and gestures for all to
evacuate.
-- She initiates forcefields to seal the bay, trapping most
inside.
-- The two men run back to the entrance - struggle through
the fleeing crowd.
-- The men see the woman through the forcefield.
-- She glances back and mouths, “I love you” to one.
-- He falls to his knees, screaming out to her.
-- She sprints toward the mad man - tackles him.
-- The little sphere trickles from his fingers and rolls off.
-- It opens and releases a 2D black circle the size of a half
dollar. It floats up and hovers 10 meters off the ground.
-- FLASH -- in an instant, everything is sucked in -- metal,
people, ghosts - all mashed and pinned to the circle - frozen
in time -- THEN -- it all turns red and fades away.
-- Only the black circle and space remain on this side of the
forcefield.
-- The two men look into the void - one weeps the other
consoles. They stare at the singularity.
-- It stares back, taunting them, as it bounces slightly -
left and right... up and down... a tiny POLKA-DOT-OF-DEATH.
Genres:
["Science Fiction","Thriller"]
Ratings
Scene
3 -
Morning Preparations
INT. KEMP'S BEDROOM - DAY
SUPER: WEST MIDLANDS COUNTY, UK - 2027
Easing back -- a dark-cobalt iris -- an eye -- a man's face
takes shape. KEMP ALBURN (50s, Black-British) a rugged Alpha
with serious gravitas.
Kemp sits up in bed, puts his face in his palms, rubs his
eyes, and yells out --
KEMP
(Brummie accent)
CADE, wake the fuck up you. Have
work today...
CADE
(same accent)
Ok Pops, give me a bit, fuck....
CADE (mid-20s, Black-British) Kemp's son. Total badass.
The OLD HOUSE is pretty run-down. It's a dump.
They meet in the KITCHEN for breakfast and eat like prisoners
-- fast, efficient.
CADE (CONT’D)
So what's the job?
KEMP
Got two. First, we gots a bit of
wet-work for our MI5 mates.
CADE
Why can't they do it themselves
this time?
KEMP
Cause they want it done right is
why. We meet at the chopper in 30.
So get ready.
CADE
What's the other job?
KEMP
For the Americans.
CADE
Fuckin CIA minges? Again?
Kemp's phone dings. He checks.
KEMP
MI5. Have to finish later. Let's
get strapped.
They head to KEMP'S ROOM. Kemp slides a lockbox from under
the bed -- REVEALING -- guns, knives, grenades -- badass
shit.
MUSIC CUE: "METAL GODS" by Judas Priest
-- Kemp puts on black combat pants and a tactical vest --
secures various blades in pockets -- the KNUCKLE KARAMBIT is
the filthiest
-- Sounds of zippers and Velcro find the rhythm
-- He removes two handguns: a SIG SAUER P228 M11-A1 and a
GLOCK 19
-- Cade puts on combat pants and tactical vest. His choice of
blade: a COLD STEEL PUSH DAGGER. For guns: a BERETTA 92 and
CZ 75
-- They place their guns on the desk -- side by side
-- At otherworldly speed, they tear the guns down -- a blur
-- Lay components on a soft towel -- clean
-- Reassemble in unison -- like it's a race -- the speed
supernatural
-- Gun-metal engaging -- CLICK - CLICK -- synchronized in
rhythm with the music of their Birmingham brethren, Judas
Priest.
END MUSIC CUE
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
4 -
Operation Shite Bomber
EXT. GRASS FIELD - DAY
Helicopter lands in a field. Kemp and Cade exit their RANGE
ROVER and are greeted by DAWN (40s), MI5 through and through.
DAWN
Alright, you brawny Brummies, ready
to take down a terrorist?
KEMP
That’s the job.
DAWN
A nasty one. Latest intel has it,
he is planning attacks on schools
right here in the Black Country.
CADE
Oh, fancies himself a big tyma,
does he? Let's put an end to this
piece of shit.
DAWN
DRAMMAD KASSAR. Real name --
WILLIAM CORNCHESTER. An expat with
ties to about every terrorist
organization in the Middle East and
Eastern Europe. This is his big
play to get an invite from Syria.
Let's nip that in the bud, shall we
boys?
KEMP
Enough dossin' about. Let's go.
FADE TO:
A FOGGY FIELD -- about 100 yards out is a run-down abandoned
TENEMENT.
DAWN
(Re: Tenement building)
There are about 10 guards. Drammad--
CADE
I like Willy.
(looks to his dad)
Let’s call him Willy.
Kemp looks annoyed. Dawn chuckles.
DAWN
Sorry, Willy, is on the third floor
making the bombs. Be careful and be
quick.
CADE
I am a scalpel, miss, always quick.
I do take my time at other
activities though...
He winks at her. She smiles.
KEMP
Ignore junior. Apologies, miss.
KEMP (CONT’D)
We are gonna move in from the
north. When I raise my hand, cut
the power.
DAWN
Got it.
Kemp and Cade get night vision goggles and attach silencers
to their guns.
Then -- POOF -- they fly through the fog like wild animals.
Through gaps in the fog they appear to be moving at
otherworldly speed... impossible. Kemp signals to cut the
power -- lights out.
It’s on now. These two move like ghosts, they are fast like
superheroes, they are god’s wrath.
Backs to the door --
A synchronous pull down of night vision - enter the TENEMENT.
It's a night vision turkey shoot. Five men dead in less than
four seconds.
CADE
Clear.
They make their way up the stairs-- more unlucky bastards
with no chance in hell.
Windows on this level are open --light-- Night vision off.
Old nasty carpet covers a catwalk that leads to the top
floor. They push on. More goons approach. Cade switches to
blades.
De-throats one with his PUSH DAGGER -- no screams allowed --
throws him over the rail -- THUD --
Kemp puts silent bullet holes in two foreheads. Cade gives a
"you're no fun" shrug.
Kemp smirks. As if to say “ok son, watch and learn”
Kemp holsters his gun and spins a knuckle karambit on each
hand - a blur - 2 foes approach... Then charge.
Kemp takes one graceful step, drops to a knee, wrists
intertwined as he swings his arms in one ghostly motion-
closes his eyes, wrists above his head. Goons on him when his
wrists explode into a controlled 90 turn. --SLICE--
Blood and a entire Adam's Apple now on the blades. The men
fall to the floor hands over necks - choking...dying.
Kemp flings the large chunk of cartilage - it sticks,
obstructing the view. Blurry bloody-gooey mass slowly slides
down and --PLOP-- it hits the floor. The view is restored.
That was some ancient violence.
Drammad busts out of a room, holding a trigger.
DRAMMAD
I will blow this fuckin place.
KEMP
Really, you would just blow it all
up? That wouldn't be memorable now,
would it?
(looks to Cade)
Would it, son?
CADE
Considering we don't exist in the
eyes of the British Government, it
will be written up as some stupid
wannabe terrorist who blew hisself
up and shat his pants.
(pauses)
"Shite Bomber" be the headline.
They laugh. Drammad doesn't find it funny.
KEMP
Son. That was quite good.
CADE
You see what I did there? Been
workshopping it on the drive over.
DRAMMAD
You're insane!
He is correct, that is if they were normal people.
CADE
Is that a dead man's trigger,
Willy? Can I call you Willy? I'm
going to call you Willy. Drammad is
a arse name.
Cade looks around.
CADE (CONT’D)
So where is the bomb Willy?
Points to the room behind him.
DRAMMAD
It's in there. And if I let go--
CADE
Yeah, yeah. Boom. We get it.
Cade goes in. Returns with three bombs. Starts juggling them.
Drammad's eyes go wide.
DRAMMAD
Stop! You'll kill us all!
KEMP
(trying not to laugh)
Son, don't kill us.
CADE
It won't be like last time. Promise
Pop. I've been practicing.
KEMP
On what? I don't have bombs lying
around the house.
CADE
Oranges. Heavy oranges.
Cade tosses one bomb up. Catches it. Then two. Nearly drops
one. Drammad looks like he might faint.
CADE (CONT’D)
OK, OK. I think I feel the weight
now.
DRAMMAD
Please! I have information! I can--
CADE
Too late, Willy.
Cade runs at Drammad. Squeezes his hand around the trigger so
it can't release. Shoves him and the bombs through the third-
floor window. Drammad explodes before he hits the ground.
Kemp and Cade look down at the mess.
KEMP
You think he soiled himself?
CADE
Shite Bomber. Eh?
KEMP
Ya, but a shame we'll never have
proof.
CADE
It's the unknowing that keeps me up
at night.
Genres:
["Action","Thriller","Espionage"]
Ratings
Scene
5 -
Breakfast Briefing: Uncovering UMBRA
INT. KEMP'S KITCHEN - DAY
Back at the house, like nothing happened. They calmly finish
breakfast.
Kemp’s boot has a dried chunk of someone stuck to it. Back on
Kemp.
KEMP
The next job is simple. Some spooks
want us to find some darknet drug
kingpin and bring him to them.
CADE
Should be easy. We will need ZAZ.
KEMP
He is already on his way over.
CADE
You know the CIA built the darknet,
but now they hire out when they
need to find some dodgy fucka.
Fuckin yampy.
KEMP
Nobody wants to get their donnies
dirty anymore. Want deniability, so
they outsource. It's the American
way, son.
CADE
Question... What the fuck does the
CIA want with a darknet drug
dealer? That's feds, not spooks.
KEMP
I learnt not to ask questions and
get paid.
They nod and finish eating. KNOCK-KNOCK.
Kemp answers the door. A peculiar, short-skinny Welshman
stands at the entrance. ZAZ (late 40s). He has a Boba Fett T-
shirt on.
KEMP (CONT’D)
Alright Zaz. Been too long mate.
Gives Zaz a bearhug, lifts him like a feather. Zaz not a
hugger backer.
ZAZ
(Welsh accent)
KEMP, you ol cont uffar. Been too
long it has. Harder to keep track
of time the older we get.
KEMP
Aye to that. Ol salty dawgs is what
we are.
They have a laugh.
KEMP (CONT’D)
Get your gear and let's see if we
can't help the Americans and make
ackers.
Zaz grabs his duffle and follows Kemp.
Cade gives Zaz a hug. Zaz again not a hugger backer and its
apparent hugs not his thing.
CADE
The legend himself. Good to see
you.
ZAZ
(akward)
Hugging, yes lots of hugging.
Brief pause for awkward to pass.
ZAZ (CONT’D)
Cade. Don’t even think about it.
Zaz gives him a look.
CADE
Uncle Zaz, I have matured a bit
alright. Let’s just get to
business.
Zaz looks pleased and follows Kemp into the Kitchen. Cade
proceeds to spit on his fingers and rub it into Zaz’s ear.
ZAZ
O, cont!
He turns and tries to tackle Cade. Fails. Cade laughs as he
pushes with all his might. Zaz is worked up. Cade looks
ashamed now.
CADE
Ok. Ok. I am sorry. I am working
on myself. Promise.
Zaz relents.
ZAZ
Good. Maybe by the time you are my
age you will be able to function in
normal society. That’s if you
aren’t in prison by then.
Cade looks like he took a bullet.
ZAZ (CONT’D)
Well enough? Let’s get to work.
In the KITCHEN, Zaz opens his duffle and removes a fancy
laptop -- hooks up some external hardware (all high tech).
And boots up to a terminal.
ZAZ (CONT’D)
We are on the darknet folks. Took a
whole minute, it did. Scary -- a
sprog can do this. What's the
market called?
KEMP
God's Kingdom... gawby.
ZAZ
Ok, it's here. Let's take a look at
all the tasty treats, shall we?
On screen: God's Kingdom. Slick design -- the Amazon of
drugs. Illustrations, cryptic watermarks, statues of gods.
Ancient vibe. And every drug ever.
ZAZ (CONT’D)
Fucking Quaaludes! No way. They
outlawed those in the 80s.
CADE
What are Quaaludes?
ZAZ
Delicious they are.
KEMP
Come on. What are we looking at?
They examine the market for clues.
KEMP (CONT’D)
That logo there, can you make it
bigger?
Zaz nods and opens the image in another window.
KEMP (CONT’D)
That looks pretty fuckin familiar.
Do you see it?
ZAZ
I see the pearly gates, I do. St.
Peter, there -- it is God's Kingdom
and all.
KEMP
No... not the fuckin gates. There--
zoom in there.
(points)
On that thing.
ZAZ
Sure... one sec... Holy shit, you
are right.
On the screen -- a green-wispy-ghost-like UMBRA.
CADE
Click on that.
Points to a link -- "ADMIN."
All the messages are signed with one letter -- E. It grabs
their attention.
KEMP
He wouldn't be that careless now,
would he?
ZAZ
Oh... my... How long has it been
since you seen 'em?
KEMP
Long time... It can't be him...
selling drugs. Bananas.
Kemp looks to Cade with a confused look.
CADE
It's pretty fuckin clear it is him.
Don't be all wankery, pops. Uncle E
is a disruptor when he wants to be.
Always has been.
(pauses to think --
smiles)
Two words -- Mark Antony.
Kemp growls. Zaz holds back laughter. Kemp gives him a look
that would kill some men. Zaz looks down like a bad puppy.
ZAZ
Let me dig a bit here. Couple hours
and I will have this bloke's
address, phone, who he is having it
off with, and the length of his
Plonker.
Kemp approves and they leave Zaz to his work.
Zaz types commands in the terminal. Screen registers One
command, then two, then -The sound of a keyboard on fast
forward. Commands fly down the screen in a blur.
NOW - Zaz’s eyes behind his glasses. The reflections of
commands. He eyes remain pinned on the screen.
Genres:
["Action","Thriller","Crime"]
Ratings
Scene
6 -
Descent into Darkness
INT. PORSCHE SUV - NIGHT
John drives on a highway. Road sign reads Oklahoma City - 4
mi. He grunts and touches his forehead. Sweat beads form. He
pulls off at an exit. Parks at Gas Station.
He reaches into his glove box and removes a black zippered
pouch. - ZIP - Out come the goods.
A prescription bottle labeled "Ambien." He slaps a few in his
mouth -- chews.
Next -- a full syringe and a rubber tourniquet. A glance
inside the pouch reveals a big Ziploc full of white crystals,
another with powder.
QUICK CUTS:
-- Ties tourniquet with his teeth - bites off syringe cap
-- Nice juicy vein in the antecubital space
-- Needle pierces skin then vein - plunges solution in
SMASH CUT TO:
Genres:
["Thriller","Action","Sci-Fi"]
Ratings
Scene
7 -
Desperate Choices
INT. LIVING ROOM - NIGHT (16 YEARS AGO)
A modest living room with couches, TV, Recliner. Middle
Class.
John, noticeably younger, 30, sits on a couch next to his
wife, SARA, 30, white. He is disoriented for a moment. Holds
his head in pain a moment. Shakes it, widens his eyes.
Exhale, and gathers himself.
On the adjoining love seat is AMBROSE, M, 30s, Indian.
Ambrose has intensity all over him. He owns any room he
enters. He is obviously someone with great power, resources.
John’s hand squeezes Sara’s John face full of sadness, he
looks desperate. He looks to Sara.
She has a familiar affect... It’s Ray’s flat demeanor but
this is worse. Her eyes stare into the void, her facial
muscles limp, dark bags under her eyes.
JOHN
Honey, did you hear what Ambrose
said? He may be able to help.
She stares at the wall. John squeezes her hand gently.
JOHN (CONT’D)
Honey?
Sara comes to for a moment.
SARA
Did you say something?
JOHN
Yes, Ambrose can help.
SARA
Help, help who. Ambrose?
She looks over to Ambrose.
SARA (CONT’D)
That is not Ambrose. You know who
he is. Why is he here at all?
Sara gets frustrated.
SARA (CONT’D)
You are not welcome here. Go.
Ambrose expels a calmness that could end wars.
AMBROSE
Yes it is me. John called me. You
need my help. No matter what
differences we share I could never
not help you. You know this.
Sara loses her grip on reality again, stares into the void.
JOHN
Can you help her?
AMBROSE
Yes. But it will take time. What we
are working on will not be ready
for years.
JOHN
She doesn’t have years.
AMBROSE
No she does not. Looks like weeks
in fact. I will need to put her in
stasis.
Tears run down John’s cheek.
JOHN
No, No. I can’t lose her again.
AMBROSE
Brother, the three of us have lost
one another more times than I can
count. You know I will take care of
her, do anything for her. So trust
me, there is no alternative.
John rests his chin on his hands, looks out.
JOHN
We were going to watch it all end
together. In this house. This was
it for us. A fantasy.
Ambrose with empathy that could pacify a bear.
AMBROSE
I understand. It will be ok. I have
thousands of my best people working
on this. We just need more time.
A 4 year old girl, John and Sara’s daughter, BETH appears in
Dora the Explorer PJs dragging a Cinderella blanket behind.
Ambrose clocks Beth. His Zen demeanor evaporates. A rare
crack in his facade. He stares at the little girl with a
look of shock before he processes and returns to serenity.
John gives Ambrose a piercing look. A “back the fuck off”
Alpha look that could shatter glass. He goes to Beth - picks
her up.
JOHN
Baby lady, you are supposed to be
asleep.
BETH
I got hungry. My tummy growling.
John smiles.
JOHN
Well if you go back to your room
For 5 minutes, I promise, I will
bring you a snack. Deal?
She thinks on it a moment.
BETH
Deal.
Sara comes to - clocks Beth, then Ambrose and loses her shit.
SARA
Don’t you fucking touch her. Go.
Why are you here? Go!
She gets up and lunges at Ambrose. Beth cries. John gently
pulls Sara from Ambrose.
JOHN
He is here to help. Everything is
ok.
SARA
OK! He knows John, he saw her.
AMBROSE
Now I do. Didn’t hide her well did
you?
He chuckles.
AMBROSE (CONT’D)
OK. OK. Calm down. We have moved
past those times. We have new
methods you would not believe. She
is of no use to us. And even if she
were...
(he looks at Beth)
look at how cute my niece is. I
would never harm a hair on her
head.
Beth looks at Ambrose with curiousity and smiles. He gives a
glacier melting smile back.
JOHN
Off to bed honey. I will be in
soon.
Beth looks at her mom, now checked out. She droops her face
and lumbers back to her room.
John looks at Ambrose with complete and total surrender now.
JOHN (CONT’D)
Take her, please. Help her.
AMBROSE
I will brother. I will.
Ambrose nods, dials his phone. And speaks.
AMBROSE (CONT’D)
She is ready.
Seconds later - The sound of the front door - Two big men
enter the room. One has a syringe. Just as he is about to
inject her, Sara comes to. She screams and kicks. The other
man holds her arm down and she gets the shot.
John turns away. Tears pouring now. More screams.
SARA
John!! John!! Help me!
John can’t look, can’t talk. Ambrose puts his hand on John’s
shoulder.
AMBROSE
You did the right thing. This is
her best chance and you know it.
JOHN
Just take her. I can’t...
Ambrose directs his men to carry her out. She kicks and
screams.
SARA
John! Please!
And she goes quiet.
AMBROSE
You daughter is beautiful. Maybe I
could meet her sometime.
John gives him a look that hits like a 45.
JOHN
Just help my wife.
Ambrose nods and leaves, the energy in the room deflates.
John wipes the tears off takes a breath. Beth stands half
behind the hallway wall with tears in her eyes. She saw the
whole thing. She turns and quietly drags her blanket back to
her room.
SMASH CUT TO:
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
8 -
Dawn of Realization
INT. JOHN’S PORSCHE SUV - DAY
John still in car parked at the gas station. The sun is
coming up. Tears in his eyes.
He is disoriented, shakes his heads - looks at the clock.
JOHN
What the... 4 fucking hours? Shit.
He wastes no time.
From outside the Porsche squeals - hauls ass.
Bird’s eye view - Dueling-stacked billboards.
-- Top reads “Don’t believe in Gods. Join the Club” -
Oklahoma Atheists Group.
-- Bottom -- Floating Jesus above a hopeless man with his
face in his hands - it reads “Delusional? Jesus Offers Help.”
In the distance, the Porsche zooms toward a beautiful
Oklahoma sunrise under a low sky.
END ACT I
ACT II
EXT. JOHN’S HOUSE - CONTINUOUS
An affluent neighborhood is an understatement. Massive
houses. The Porsche turns into a driveway.
Genres:
["Sci-Fi","Thriller","Action"]
Ratings
Scene
9 -
A Father's Secret
INT. JOHN’S HOUSE - CONTINUOUS
John enters a spacious, high ceilinged entryway. He turns
left to reveal a beautiful kitchen. There is a breakfast nook
in the corner with a young woman rocking out music piped in
through earbuds. She is metal. Wild and free. So is her
hair. It’s Beth, 19. She has a “Faith No More” T-shirt on.
An ESP star-shaped red guitar next to her. Girl is badass.
John watches her from afar and smiles. She head bangs while
while she attempts eat scrambled eggs. Half makes it to her
mouth, the other half is in her hair.
John laughs. Beth looks up. Takes earbuds out.
BETH
Where have you been Mr. Mysterious?
JOHN
Business stuff.
Beth gives a “hmmm” look. Then plays along.
BETH
Wheeling and dealing. Cool.
JOHN
Something like that. In fact, no.
Nothing like that.
BETH
More Mystery. Anyway, I am playing
at the Hammer tonight to chop up
virgins and innocents with my war
axe.
(Re: Guitar)
She smiles.
John looks queazy.
MEMORY HIT
Ray drinking the slurry. Lee tosses the bloody bodies across
the concrete floor
END MEMORY HIT
BETH (CONT’D)
You ok dad? Looking a bit sickly.
JOHN
I’m fine. Just need some sleep hun.
BETH
Well you do that. I don’t have time
for sleep.
She walks to the door and grabs her guitar case, straps it
on.
BETH (CONT’D)
Set starts at 8. Be home late.
JOHN
Sounds good, kick ass.
She gives a confident smirk.
They share a look. A titanium-bond, a shared pain, history,
they are a team.
John goes to his fancy living room. $300,000 in furniture
here. Leather couches and a TV that nearly takes up the
entire wall. He goes to it. Reaches above. A fingerprint
scanner out of plain view. --CLICK--CLICK-- The TV swings out
and a door -- a secret room. A bat cave.
Genres:
["Sci-Fi","Action","Family Drama"]
Ratings
Scene
10 -
Cyber Tensions and Urgent Alliances
INT. JOHN’S CENTCOM - CONTINUOUS
A hacker’s wet dream. 7 systems running. Server stack in
back. A brief glimpse of something exotic, unfamiliar tech.
It’s a pillar with a bowl of what looks like sand in it. The
sands is piecing together someone’s face. It is about 2/3
complete. John looks. Waves his hand through it. The sand
breaks up a moment but it reassembles grain by grain.
John looks at the face.
JOHN
(to himself)
I can almost see you fucker.
He sits and boots his stack. Screens light up. John checks a
few things. A crypto-wallet with a balance of 180 mil us
dollars. Maps of the middle east and Eurasia.
Diagrams of missiles and drones with prices and names of
buyers. Russian and middle eastern names. And another screen
reveals a darknet drug market, he clicks through, images of
cocaine, ecstasy, and so on. Then to a crypto wallet -- 40
mil USD in here.
The sound of a call coming through. Answers.
FRENCH, 40, African American appears on the screen. She has
thick glasses and a lab coat. She is in a fancy science lab.
Big windows reveal a snowy mountain landscape glimmering in
sunlight.
FRENCH
Hey. How did it go?
JOHN
Wonderful French. Death by
electrocution... overrated.
FRENCH
Did it work?
JOHN
I think so, I feel anchored. But...
He stops.
FRENCH
But what?
JOHN
What are the side effects?
FRENCH
Well. Lucid flashbacks for one.
Time loss. Didn’t they tell you.
JOHN
I musta missed that part.
FRENCH
Should be ready in 3 or 4 weeks.
John does not look pleased with the timeline.
JOHN
Three weeks is too long French. You
can do better.
An orangutan knuckle walks behind her.
FRENCH
It’s ready just final checks. I
sent Louie through an hour ago.
She looks behind her at the orangutan.
FRENCH (CONT’D)
See? Perfect.
Louie - GRUNTS - agitated. Then immediately lays down, falls
asleep. French lingers a moment before slowly turning back
to the camera.
FRENCH (CONT’D)
He can be moody.
John looks down, sighs.
JOHN
The kid might not have 3 weeks. I
am trusting you. I believe in you.
French enjoyed that.
FRENCH
I got this. Save the kid.
An alert pops up on John’s screen. It says “IDPS detection of
Zero-Day Attack.”
JOHN
Shit, shit. You getting this.
John cracks on the keyboard - script flies down the screen.
FRENCH
Yup. A Zero Day. Had a few this
week. Someone probing for
weaknesses?
JOHN
All systems have weaknesses if look
long enough.
John stops. Looks up.
FRENCH
We good?
JOHN
I think so. Just encrypt
everything, 4 levels.
FRENCH
I know.
John is tired. Rubs his eyes.
FRENCH (CONT’D)
Go sleep. You look like shit.
JOHN
I think I will follow your advice.
Keep working on it. 2 days.
FRENCH
Got it.
She gives a look. Something there.
John smiles, ends call. John gathers himself. Shuts down
systems and leaves the room. Door closes. Darkness - THEN -
a blip on a monitor. A terminal opens on the screen. Lines
and lines of BASH descend down a terminal at light speed.
Closer. Closer.
Genres:
["Sci-Fi","Thriller","Action"]
Ratings
Scene
11 -
Cowboy Hats and Hacking Adventures
INT. KEMP’S KITCHEN - DAY
The screen now reflected in Zaz’s glasses. Big goofy smile.
ZAZ
Hey! Look!
Kemp comes over.
ZAZ (CONT’D)
I’m in. Just tickled the front bits
and slipped in through the back
bits.
He arches his back - cracks his fingers like a piano maestro.
KEMP
So where is he?
ZAZ
Oklahoma City, USA.
Cade appears.
CADE
YEE HAW! Better get some Cowboy
hats.
ZAZ
Yes. I would like that very much.
He is serious. He would.
KEMP
Well, no time to fock about. Get
the lead out.
ZAZ
Now? Ok.
Kemp stares at him a moment. Then business-like.
KEMP
30% and we get you some clothes
stateside. Deal?
ZAZ
Aye. And a cow-boy hat.
MONTAGE
-- Luggage -- CRACK -- ZIP -- ZIP --
-- Sad looks as Kemp and Cade return weapons to the storage
box -- BLUMMP -- CLICK --
-- House door -- SLAM --
-- A cab ride. Car door -- SLAM --
-- Through the backseat window the huge Bull Statue, named
“Ozzy”, made of mechanical parts, St. Phillips Cathedral, The
Black Sabbath Bridge and Ozzy Osbourne statue, The Birmingham
Library and A street mural in honor of Judas Priest, it reads
“Birmingham - Birthplace of Heavy Metal”
-- They enter HEATHROW
-- On their phones in the SECURITY LINE. Candy Crush on
Kemp's screen.
-- Cade sets off the body scanner. Airport officer points to
a screen -- red square blinks on his crotch
-- Officer frisks him
-- Cade winks and smiles at an attractive woman while
gesturing toward the red crotch square
-- She smiles
CADE
(whispers to woman)
Happens every time.
-- Board PLANE -- takes off -- HEEEHHHHEEWWW --
-- The three asleep. Zaz head on Cade’s shoulder
-- Cade exits the airplane bathroom, followed by the woman
from security line. -- disheveled -- Cade sits -- lipstick on
his neck
-- Wheels hit -- BUMP -- BUMP -- SQUEEEELL --
-- They deplane -- enter WILL ROGERS AIRPORT, OKC.
-- Tiny Airport, a ghost town.
-- Airport store. Cade and Zaz try on Cowboy hats.
ABOVE -- GROUND TRANSPORTATION / RENTAL CAR signs.
-- They walk away. Kemp in the middle towering over the two
men on his sides with Cowboy hats on.
END MONTAGE
Genres:
["Action","Thriller","Adventure"]
Ratings
Scene
12 -
Ambush in the Garage
INT. UNDERGROUND RENTAL CAR PARKING GARAGE - CONTINUOUS
A dark underground parking garage.
Kemp takes out the keys and presses the button. A shitty old
DODGE CARAVAN honks -- lights up.
CADE
You got a people carrier...
Fantastic.
KEMP
Shut it. It was cheap and it’s pre-
loaded.
A MAN pops out from behind the Minivan. He has blacked-out
sunglasses on... in a dark parking garage.
He waves as they approach -- BUT -- Kemp’s face tightens --
hairs on his neck stand up.
KEMP POV - WOOSH - time slows, tunnel vision -- hone in on a
hand exposed, it’s owner behind a concrete pillar. - WOOSH -
view shifts to other side - zooms in on a foot- another
person hiding terribly. END POV.
KEMP (CONT’D)
(smiling, whispering)
Slow down, these ent friends.
CADE
These? As in more than one? I only
see the one bloke. Do they all have
fucking sunglasses on?
KEMP
Smile. Don't mooch...
The cowboys - Cade and Zaz -- wide smiles and waves directed
to the Corey Hart dude by the Caravan.
CADE
It's a perfect trap. Our lot here,
fresh off the plane... no weapons.
Cade looks at Zaz then Kemp.
CADE (CONT’D)
So... question is. Do we leg it?
OR... do we scrap boys?
ZAZ
You know me. I love some good
ballistic therapy.
Cade approves.
KEMP
Fight it is, then. Stay close and
follow my lead.
Kemp stops to tie his shoes. Zaz starts to do the same --
KEMP (CONT’D)
(whispering angrily)
Stop, ya saft fucka. Why don't we
all tie our fuckin shoes together
now? That don't look suspicious.
ZAZ
You said to follow your lead.
Zaz starts to stand.
KEMP
(grunts, whispers)
Get back down here. More suspicious
if you stop, ya knob.
ZAZ
You know what's suspicious? The
fucking sunglasses, so I wouldn't
worry too much.
Kemp removes a sharp plastic blade sewn into his shoe.
ZAZ (CONT’D)
I want one of those.
Kemp ignores him and stands with a huge fake smile.
KEMP
Alright you, you the tossa?
No answer.
KEMP (CONT’D)
(louder)
The tossa, are you the tossa?
Getting closer, only 30 feet...
MAN
(American, confused)
Uhhh... sure. I'm a tossa... uhhhh.
10 feet...
KEMP
Let me show you something, tossa.
4 feet -- Kemp gestures for Zaz and Cade to get cover -- the
cowboys abide. Kneel behind a car.
SUDDENLY -- Kemp pounces like a lion -- four quick thrusts to
the groin -- severs femoral artery -- a barrage of kidney
shivs -- renal artery opened -- BLOOD. This dude is primal.
All with a three-inch plastic blade. Absurd stuff.
Gently takes the dying man to the ground.
KEMP (CONT’D)
Well... looks like your days of
tossin' are over.
Shots come in from both sides. Kemp takes the man's gun. -
WOOSH -
KEMP POV - Sharp focus tunnel vision - zoom in - a man pokes
his head out from behind a pillar. Gun extends into view -
POP - one shot through the head -- END POV
Kemp’s eyes - cold cobalt blue.
CADE
One more I think. Over there. Want
me to draw him out?
KEMP
Sure, these guys are shit shots.
Cade books it for the next row of cars. The man takes the
bait, steps out to fire, and -- BANG -- Kemp beats him to it.
Something grabs Zaz's attention.
ZAZ
What do we have here?
Zaz inspects the second man's handgun. Not a normal gun --
oversized, with weird tech on the barrel.
He shows Kemp.
ZAZ (CONT’D)
Look, a fuckin Umbra Buster, it is.
Dirty pool... coc oens.
Cade checks the dead guy. Inspects his face. Pale with yellow
eyes and bald head. He turns its head to reveal a gruesome
scar on the right temple.
ZAZ (CONT’D)
So, what the fuck are these things?
They're not human.
CADE
Somebody’s science project is my
guess.
ZAZ
They fucking with DNA again.
Clones... Didn't end well for us
last time now, did it?
KEMP
(to the dying man)
Who the fuck are you? Not CIA,
that's for sure.
Kemp takes off his sunglasses and ball cap. The man looks
pasty white, bald, and his eyes glow yellow.
KEMP (CONT’D)
Why find the drug dealer? To draw
us out? Better ways to do it.
MAN
No... You know why. Two birds, one
stone...
Kemp doesn't understand.
KEMP
What?... Who is your boss?
MAN
ENLIL sends his condolences.
Kemp’s whole world just got turned upside down. A big crack
in his armor. He closes his eyes tight and the world slowly
turns around him. Vertigo. A pause.
ZAZ
What did he say?
KEMP
Nothing. Just nonsense is all.
ZAZ
He said Enlil. He did?
Kemp gets pissed.
KEMP
I fuckin heard him.
Kemp’s eyes scan the garage, his mind is churning.
KEMP (CONT’D)
We need to go. Now!
Cade is putzing about looking at cars.
KEMP (CONT’D)
Cade! We going. Game has changed.
KEMP (CONT’D)
Two birds, one stone he said. Fuck,
it's him. The drug dealer, John --
it's him.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
13 -
Amateur Hour in the Caravan
INT. CARAVAN - CONTINUOUS
Kemp drives, Zaz and Cade go through a trunk of guns and tech
left for them. Pre-loaded.
KEMP
Did they miss anything? Wasn't
cheap getting it delivered like
this.
CADE
Looks good to me. More than enough.
KEMP
Definitely amateur hour out there.
Zaz, get John's number -- get him
on the phone.
Zaz grabs his phone.
KEMP (CONT’D)
Fucking Umbra Busters... Jesus,
haven't seen one in a long time.
Cade takes a round out of the obnoxiously bulky Umbra-Buster.
CADE
The nano is delivered on the
bullet, see? Filthy shites.
The tip of the bullet glows blue.
ZAZ
Get shot with that and Bu farw.
CADE
What is Boo fart?
Close on Zaz - he looks ridiculous with the cowboy hat. And
in his best but overall fucking horrible American cowboy
accent...
ZAZ
BOO FAARWW -- it means
(dramatic pause)
your dead meat, partner.
END ACT II
ACT III
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
14 -
The Slurry of Survival
INT. STORAGE UNIT - NIGHT (CONTINUATION OF THE OPEN)
Big Ginger - Lee winks at John. He is something out of a
horror movie - red flat top - grotesque baby face atop a 6
foot 5 beast of a man. Unlike Ray he has energy; emotion.
LEE
You just had an Anchor, you need a
Slurry.
John looks at Ray.
JOHN
You said I wouldn’t need it.
RAY
It will help. Decreases chance of
de-coalescence by 2 or so.
JOHN
That’s pretty fucking significant
Ray. You should have said
something.
RAY
Didn’t have any Slurry at the time.
Now we do.
John laughs.
LEE
Come on. Let me show you my office.
Lee grabs the two bodies, one hand grips one leg and he drags
both behind.
John watches Lee from behind, looks down -- clocks 2 parallel
blood streak on the concrete.
A gray tarp hangs over a side wall of the unit. Lee just
walks right through it into the neighboring unit.
John still hasn’t moved, eyes on the blood. Lee calls out.
LEE (CONT’D)
Buddy, you have to learn how to
make a Slurry. If shit goes south
for you that is.
He laughs. Ray says something to Lee, faint, out of earshot.
Lee is never out of earshot.
LEE (CONT’D)
Holy shit. Really?
Then to John.
LEE (CONT’D)
We don’t get your type in here
much? Or ever. What the fuck are
you doing here? Never mind. Times
are strange.
He lumbers on.... CHHHHSHHH -- Bodies drag on concrete.
NOW - A battery powered lantern reflects blue off a curved
tarp enclosing a little work area in a corner of the rundown
storage unit. Ray, Lee, John and a dead body hidden from the
world in this claustrophobic space.
Lee wears a black rubber apron with plenty of blood on it.
He has a scalpel and stands over a cold, steel table with
partially eviscerated, dead old man on top. The ventral
cavity is wide open, cracked rib ends visible, chest plate
looks like a slab of ribs at Lee’s feet. Ray is next to Lee,
facing away. His white hair looks blue in the light. Lee
tosses a kidney into a plastic bin. Without looking Ray
reaches into the bin, takes it. -CHOP CHOP CHOP - organ
slices.
John stands tries not to look away - his arms crossed, jaw
tight. The other body, still wrapped, is on the ground, it
crowds John’s tiny space. The sounds of evisceration, the
iron loaded smell of blood and tissues.
LEE (CONT’D)
Mitochondria is the only organelle
with its own DNA. Separate from the
host genome entirely. Like a tenant
who never really moved in.
Primigenial mito is older than the
cell it lives in. Older than the
organism. Older than the planet
really.
- THWACK - A lung slaps the table, flounders like a fish out
of water.
LEE (CONT’D)
That's why it has kept stable so
long.
(MORE)
LEE (CONT’D)
Everything else - under control of
regular DNA — neurons, synaptic
architecture, the whole house —
burns off. But the mito is...
Lee blinks twice hard. He freezes. Bloody hands. Blank face.
Mid-sentence. Ray doesn't look up. John turns around, clocks
Lee, stares. Five seconds. Ten.
RAY
forever.
LEE
...forever.
Lee resumes business without acknowledgment.
LEE (CONT’D)
These two
(re: bodies)
are third cousins by the way. Found
them on Ancestry.com. You want the
closest genetic match you can get.
Better the match, better the
Slurry.
THWACK.
Ray says nothing, continues his preparatory duties. John's
eyes track a dark rivulet crossing the concrete toward his
shoe. He steps back.
LEE
The liver is densest in mito. Then
cardiac muscle. Then — and people
are always surprised by this — the
jaw. Masseter muscle.
Lee wiggles his jaw. Chews for effect. Laughs - THEN --
blinks twice. Freeze..... Longer this time. Bloody hands
raised with scalpel. Jaw wide open. Grimy yellow teeth. Ray
glances at his watch. John watches Lee's motionless face with
barely concealed horror. Fifteen seconds.
LEE (CONT’D)
— loaded with mito.
He resumes like someone just hit play. Reaches in - Uses his
hands to do some blunt dissection -SQUISH SQUISH- yanks out
the liver. -DRIP DRIP-
LEE (CONT’D)
Ray. What’s the Hannibal guy say
bout the liver?
Without hesitation or emotion...
RAY
I ate his liver with some fava
beans and a nice chianti.
Lee laughs.
LEE
Ray knows all the movie lines.
John takes it all. John’s face relaxes, no longer with
horror, no longer with confidence. It looks most like
surrender. He no longer pities Ray nor Lee; he pities
himself.
WHIRRRR — a blender. Ray pours the contents into a glass.
Gray. Chunky. Disgusting. Holds it out to John. Long pause.
John takes it. Studies it. Looks at Ray. Looks at the glass
one more moment.
He drinks. His face says everything and reveals nothing.
Behind him Lee blinks twice and goes still again, arm raised
stares at nothing.
Genres:
["Sci-Fi","Horror","Thriller"]
Ratings
Scene
15 -
Urgent Revelations
INT. JOHN’S BEDROOM - DAY
John is asleep in a spacious bedroom. -RING RING-
John groans. Reaches for phone.
JOHN
Ya.
ZAZ (O.C.)
Is this John Jones? Very important
message for John Jones.
JOHN
Who wants to know?
- NOW - INSIDE THE CARAVAN
Zaz in the front passenger seat, next to Kemp.
ZAZ
It's Zaz. I am here with Cade and
his dad.
JOHN (O.C.)
Zaz. Wow. you would be the one to
find me. Question is..
what does HE want?
Obviously referring to Kemp.
ZAZ
We were hired to find you. But it
was a ruse to get us all together
and remove us from the board.
Somebody is making a play.
JOHN (O.C.)
You don’t say “making a play,” Zaz.
That's something he would say, Zaz.
Are you copying what he said Zaz?
Put him on the phone.
Zaz tries to hand the phone to Kemp. Kemp refuses. Zaz gives
a "please" look. Kemp growls and turns away.
ZAZ
He is ah... driving right now,
can't talk. He is all about safety
these days. "Safety first" he says.
Always safety, safety, safety.
JOHN (O.C.)
Bullshit. Tell him he is a coward.
Might get his attention.
Zaz's face goes limp.
ZAZ
I do not feel like getting my bell
rung at the present, thank you.
Kemp can hear. Grabs the phone.
KEMP
Coward? Me a coward? Funny cause I
never ran away. You did.
JOHN (O.C.)
I had no--
Kemp cuts him off.
KEMP
No time for this. You're burned,
brother.
Zaz chimes in. Talks loud and slow so John can hear. Too
loud, too slow.
ZAZ
We met these lovely clones of
death.
Cade from the back yells --
CADE
Creepy as fuck clones.
ZAZ
(mysterious, spooky)
Bwci Bo. Ysbryd. Frisson.
Gooseberries.
CADE
I have no idea what you said. You
have been Welsh too long Zaz. Way
too long.
KEMP
(turns to Cade and Zaz)
Pipe down! Important call here.
(back to phone)
Listen. They know where you live. I
give you an hour at most. We on our
way.
(pause)
Oh, and they have Umbra Busters.
He ends calls. Cade in the back sportin the hat with an AR-
15 rested on his shoulder. Grabs brim of his hat. And in a
terrible American cowboy dramatic accent.
CADE
Boys. Looks like we have ourselves
a turkey shoot to get too.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
16 -
Betrayal and Sacrifice
INT. JOHN’S LIVING ROOM
John runs for his CENTCOM.
Finger on scanner - opens - sits - dials up French. She
appears on screen. Behind her a chimp in a weird chair with
wires on its head.
Shaky -- She straightens camera.
FRENCH
What's up?
JOHN
Go to P2P and encrypt.
She nods.
FRENCH
Done. What is going on?
JOHN
Not much time. I’m burned. Enlil
Found me. It has to be ready.
FRENCH
What? Like now? Today?
JOHN
Yes, today.
FRENCH
Umm. Ok, I will uh, just send Enos
through and ya. Shit ok.
She points her thumb back at the chimp. She does not look
confident.
JOHN
You can do this French, you are the
smartest person on the planet. I
know you can.
She blushes a bit and smiles.
FRENCH
Well duhh? Everyone knows that.
Still awkward a moment. Then she pulls it together.
FRENCH (CONT’D)
Alright.
JOHN
Alright.
French gives him a look - it’s love. John smiles and looks
back. Just a moment reveals a deep bond between them.
History.
He ends the call. Takes a deep breath and starts going ape
shit
Chucks computer at the floor - CRASH - Parts scatter.
Motherboards - CRUNCH - under his heel. RAM chips - CRACK -
pulverized.
SMASH CUT
Hard drives turn and spark in a microwave. Smoke.
John runs from KITCHEN back to CENTCOM.
An open safe. Inside: a PHONE, USB DRIVE, s fucking huge GUN,
FOLDED PLASTIC SOMETHING, and a SHINY BLACK PEBBLE.
Takes all of it out. Then reaches in his pockets and puts all
his personal effects in the safe.
Places the PEBBLE on his palm -- it hovers an inch above his
hand, lights up blue. Plucks it from mid-air, drops it in the
safe, closes the door.
3 seconds later -- a deafening THRUMMMM from inside the safe.
3 seconds more -- - DING DONG - John peeks out the window. A
woman at the door.
He adjusts gun to back waste, untucks shirt for good measure.
Opens door -- AND -- His wife Sara. But not quite. White
leaks through make-up in the daylight. Her eyes are blue, too
blue.
John doesn’t notice any of this opens the door and grabs her
into a tight hug. His head on her hair, his eyes closed, his
face serene. Pause.
His eyes open, he takes in the smell of her hair, face
tightens - slowly lets go to face her.
SARA
Hello, come with me John. We need
to go.
Her tone is fake. The rhythm - rote.
John gives a brief hesitation. She takes his hand, leads him
outisde. But he can’t resist. He steps outside. He looks
disoriented. A van is parked on curb 30 feet away. About
halfway there John regains some composure.
JOHN
Wait? Where are we going?
SARA
No time to explain. Come on.
He stops, disengages hand hold.
JOHN
Sara what is going on? Tell me.
SARA
I’m back. I’m here.
John now catches the tone. His eybrows crunch.
JOHN
Fruity Pebbles.
SARA
What?
JOHN
You heard me. Fruity Pebbles.
SARA
I don’t... understand. Let’s go.
It’s dangerous here.
John not holds his ground.
JOHN
Sara would know what that means.
You aren’t Sara. You are a clone.
Sara’s demeanor changes to flat, robotic.
SARA
Correct, my umbra in a clone
vessel. Ambrose the Devine wants to
speak with you.
John chuckles.
JOHN
Ambrose the Divine. Listen to
yourself. You’re brainwashed. You
know why. Do you know what they did
to you?
QUICK CUT
A conveyor belt with incubators - un-animated clones through
the viewports. A SCIENTIST (F) in a white coat approaches
with a device. Incubator opens, --POP-- --SHHHUH-- vapors.
JOHN/ENKI (V.O.)
We never had the tech to grow
viable brains. Clone brains can’t
coalesce into reality.
The device has a 4 inch rod with a sharp point at the end.
She forcefully rams the rod into the clones temple and lights
flash at is base. She pulls it out and closes the wound with
blue hot flame. The clone comes to life.
END QUICK CUT
JOHN
They use a gelding rod to cauterize
your prefrontal cortex. To calm
you... control you. You are in
there, you just can’t break
through.
A wrinkle in her cheek. A touch of panic in her eye. Just for
a beat before she reals it - robotic.
JOHN (CONT’D)
I can help. Something I have been
working on for... well since he
took you. Come with me.
Again, her face cracks. Longer this time, she leans into
John. John holds out his hand.
JOHN (CONT’D)
Come with me.
Her hand reaches out for his - then - flat. She pulls away.
Puts her arm in the air - a signal.
8 Commandoes step out of a second van. Geared up with sleek-
black-futuristic rifles. - SCREECH - from off camera.
Clone Sara turns her back and walks toward van.
JOHN (CONT’D)
Noooo!
The commandoes are ready. The move toward him. John doesn’t
care. He has been defeated. - THEN - Kemp runs in, snatches
him by the collar and drags his ass inside. Bullets whiz by.
Zaz and Cade (still with cowboy hats on) return fire and make
their way into the house. Slam door closed.
John comes to. They all head to back of house for cover.
- BAM - THUD - The door on the ground - THUD THUD - Boots
walk over the smashed door.
John looks pissed. Checks his gun. Snatches the plastic
thing from his pocket. Shakes it out. It’s a .. well it is
a plastic sheet with a head hole. He puts it on. Kemp
watches with a “what the fuck look.” Then laughs.
KEMP
Expecting rain?
JOHN
What? No.
John snaps out of his brooding.
KEMP
Then why do you have that
ridiculous fucking... plastic thing
on?
JOHN
French designed it. It's an Umbra-
Buster- Proof-Vest.
Zaz and Cade join John and Kemp. It gets quiet. A waiting
game now.
KEMP
That thing? It's looks like a cheap
camping poncho ENKI.
John doesn’t flinch at the mysterious name. Like it is his
name. It is.
JOHN
Hey French made it. She is
brilliant. Kinda like you Zaz.
CADE
Did she name it? Cause a fuckin
horrible name.
JOHN
No, I did. So what. That is what
it is.
Zaz leans over- Studies the vest closely. He has decided.
Looks at John.
ZAZ
(serious)
It's like a garbage bag, Enki. You
are wearing a garbage bag...
John studies the hats. Cade tips his and with cowboy face.
CADE
Howdy partner.
John shakes his head.
JOHN
Hey Cade. Still an 8 year old in a
man’s body I see.
Cade smirks.
John finally smiles a bit. They are ready. Kemp nods -- gives
a flanking gesture and they go around the hallway.
O.C. -- BANG -- BANG -- BANG-BANG
Around the corner, the commandos lay dead. But John is gut
shot -- bleeding out.
KEMP
What the fuck, Enki? The poncho
isn't bulletproof. Yampy fucka. You
are supposed to wear a bulletproof
one under. Let's get you to a
hospital.
JOHN
No. Isn't part of the plan.
KEMP
You and your fucking plans... So
what? Your plan is to die right
here on the bloody floor? Is that
it?
JOHN
Well not on the floor. I have The
Bleed NIN. I’m dying anyway.
But...
Again Kemp takes that name in stride as it is his own.
John smiles and coughs. Makes eye contact.
JOHN (CONT’D)
Just wait brother. I’m going to
blow your mind.
He laughs then grimaces in pain.
JOHN (CONT’D)
Not much time. Listen. Go to Big
City Pawn Shop. Couple of hours. Be
there. Got it? You are going to
like this one, brother. I have so
much to show you...
John closes his eyes and drifts off. His green wispy ghost -
his UMBRA - flickers, phases in and out as it eases its way
through his chest. It slowly rises and hovers by Kemp for a
moment, before it darts up, through the ceiling.
Genres:
["Action","Sci-Fi","Thriller"]
Ratings
Scene
17 -
Echoes of Joy
INT. BLACK VAN - CONTINUOUS.
Clone Sara drives. Her face flat. Something processes. She
looks out with a glint of emotion.
MEMORY HIT
Blurry, desaturated - John and Sara in their old KITCHEN.
Sara is very pregnant. She has a box of Fruity Pebbles and
eats them by the handful. John snatches the box from her and
laughs. She playfully goes after the box, John throws a
handful of fruity pebbles at her. She laughs, snatches box
and throws some at him. She drops the box and they kiss.
END MEMORY HIT
Sara’s face. A tear runs down her cheek.
END ACT III
ACT IV
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
18 -
Possession and Purpose
EXT. HOSPITAL - DAY
An Umbra floats 100 feet off the ground and moves toward a
hospital.
It darts toward a patient's window and passes through.
INSIDE THE HOSPITAL ROOM is a sick, unconscious young man,
JACK SPENCER (18), lying in a hospital bed. He is bald. Deep
dark circles of death surround his eyes.
The room is full of flowers and cards. Popular kid. Tacked to
the wall above his bed are maybe 20 pictures of him playing
baseball.
In one picture, Jack wears a COLORADO ROCKIES UNIFORM,
smiling like he won the lottery. Caption: "2026 MLB DRAFT -
JACK SPENCER, SS - 1ST ROUND - PICK #1 BY THE COLORADO
ROCKIES."
Jack opens his eyes to see the Umbra above him -- HUMMING. He
reaches up to touch it -- It phases in and out as it enters
him. A green aura.
Jack convulses. Pinned on his back, his eyes wide and head
tilted up. Arms look like someone is holding him down as he
shakes and contorts. His face flat.
Dark circles disappear. Color returns. He sits up -- eyes
glowing green for a moment, then clear. He looks like the kid
in the pictures again.
He stands with new found energy, setting off telemetry
alarms.
JOHN’S VOICE
(voice in Jack's head)
Jack you need to calm down. Lay
down. You have about 30 seconds
until the nurses come in. Then
they are going to poke and prod at
you forever. Lay down.
Jack run to a mirror. Sees his newly healed face. Feels the
new strength in his bdy..
JOHN’S VOICE (CONT’D)
Now Jack. Lay down, act sick.
NOW!
Jack abides. Two NURSES burst in. Quickly notice he is
asleep. Notice cords on ground.
NURSE 1
Disconnected is all.
Jack give a fake GROAN. Rolls over.
NURSE 2
Poor kid. Hook him back up.
She does and they leave.
JACK
(out loud, to the voice)
Um. Hello. You there?
JOHN’S VOICE
(in Jack's head)
Yes. Don't be afraid, Jack.
JACK
Are you talking inside my head?
What is happening? I’m fucking
scared.
JOHN’S VOICE
(still in Jack's head)
No need. My name is Enki. I mean
you no harm. I cured your cancer. I
would never hurt you.
Jack's body contorts.
ENKI
(now out loud, through
Jack)
That's better. Strange little
glitch is all.
Body contorts again.
JACK
(now out loud)
Glitch? What is happening? I am
dead, huh?
He looks around confused.
JACK (CONT’D)
Hang on. Am I dead? Like are you
God and you are testing or
something. The Heaven test. Look,
I cheated on Stacey one time.
(MORE)
JACK (CONT’D)
That’s it. Ummmm.
(whispers quickly)
And I tried steroids once. Just
once.
(coughs)
JACK (CONT’D)
I give myself to thee god or
whatever. See? Look.
He crosses himself, kisses his finger and looks up to heaven,
like Sammy Sosa or something.
Quick neck spasm.
Now they both have the hang of speaking out loud.
ENKI
I am sure you are a penitent man.
But no. You are not dead. Very much
alive. More alive.
JACK
Huh?
ENKI
You are not dead. And not dying
either. I cured your cancer.
JACK
What? This is a dream.
Jack is overwhelmed. He touches his temples - migraine
JACK (CONT’D)
I can see your... memories... How
fucking old are you? Jesus Christ,
like literally... Jesus. What are
you? You are a god. I was right.
ENKI
Interesting... a first. You are
accessing my umbra. This is...
well, remarkable. You are a
special one. I knew it.
JACK
Ya. I guess I am pretty amazing. I
know. How old are you? What are
you? A god?
ENKI
Three questions. That’s all you get
for now. Answers... old, very old.
(MORE)
ENKI (CONT’D)
It's complicated. And I have been
called a god, yes. Am I one? Jury
is still out. The term itself was
made for those like me. Again a
loaded question. You satisfied?
JACK
No, no. Leave, will you get out...
please.
ENKI
If all goes to plan, I will, soon.
Jack, I have so much to show you,
but for now, relax, let me take the
wheel.
This is quite the sight. One person arguing with himself.
Neck spasm.
ENKI (CONT’D)
Please Jack. I need you help with
this. Can’t do it without you. If
you help me, I will give you the
answers to questions you want.
Understand?
Jack ponders. He must have question about his life because..
JACK
Promise?
ENKI
Yes. But you need to help me.
More violent contortions.
JACK
Are you trying to push me out? I
felt that.
ENKI
Ya. You won’t shut up. And I am in
a bit of a hurry.
JACK
Hurry? Hurry for what?
ENKI
My daughter is in danger. She’s at
some bar called The Hammer. Do you
know where that is?
JACK
What dude? No. I can’t even drink
yet bud.
Jack looks down - wrinkles his forehead in frustration.
JACK (CONT’D)
Ok, fine. Can’t lie to you. Can I?
Yes, I know where the Hammer is.
ENKI
Well, no time to waste.
Body contorts. Jack looks around the room. A “What the fuck”
look.
He drops his head on the pillow. Grabs his forehead.
JACK
Ummm. Dude. Waiting for your plan.
A good one.
Tick.
ENKI
Ya. Uhh. Give me a sec.
Tick.
JACK
I’m already hearing your plans in
there and honestly... they’re shit.
Tick.
ENKI
I’m all ears genius. Noo noo, not
making a run for it. Noo. You don’t
have clothes. I hear too.
Tick.....
One person continues to argue with himself. His speech
interrupted by twitches and ticks. The sound fades and the
room goes dark.
END ACT IV
TAG
Genres:
["Sci-Fi","Drama","Thriller"]
Ratings
Scene
19 -
Awakening on the Dark Side
EXT. SPACE
The Moon approaches. Fast orbit around to its dark side --
which is not dark. NOW -- toward the surface. Artificial
structures. Some kind of base or station.
CLOSER -- a POWER STATION. 30 or so huge thin solar-panel
structures. Hundreds of poles with massive concave mirrors
reflect light onto the panels.
Follow 3-foot-diameter wires to a moon-dust-caked hatch.
Through the hatch and INTO THE MOON.
A moment to process what is here please. Fuck.... ummm...
A city-sized, hollow, translucent, geometrical marvel. A
truncated icosidodecahedron. Silvery glass squares, hexagons,
and decagons elegantly join together to form an exquisite
shell. Light glints off its glassy surfaces.
INSIDE - landscapes like a Yosemite postcard, framed by the
squares and hexagons. The decagons serve as viewports. It is
an ARBORETUM. Elegant geometry meets Eden.
ABOVE -- GRASSY PLAINS -- WHOOSH -- a 180 degree turn on
ascension --THEN-- onto the plain -- Artificial gravity.
NOW -- Grasslands above, forest below, mountains to one side,
ocean to the other. Thousands of square miles.
Horses. Long-legged horses with elongated muzzles charge by.
Wild tall mustangs. This is Eden. Untouched.
An object in the distance -- CLOSER -- it hovers a meter off
the ground -- It’s Big, green, and 5 meters tall. IT BEATS,
LIKE A HEART. IT IS ALIVE.
Close on the fleshy surface -- POP -- 2 green hands punch
through, grab and tear.
UTU (M, alien), a green muscular humanoid with cartilaginous
spikes for hair emerges -- Amniotic goo oozes down his green
skin. His eyes glow yellow.
He walks with purpose -- A hatch -- he enters A bright-white
futuristic SUBTERRANEAN CORRIDOR.
The alien enters a small CONTROL ROOM and sits at a lone
white console. The screen flashes: "49000563 MESSAGES”
The alien sighs, his human-like expressions show anxiety. He
activates audio.
VOICES
Utu, are you there... Utu, it's
been 4000 years... We need you
Utu... Utu help... Utu... Utu...
now 18,000 years... Utu... Utu...
Everything goes black. Echoes of "Utu... Utu... help us"
linger.
Short pause on black --THEN--
JOHN/ENKI (V.O.)
Utu, it's Enki. If I did my math
right you should be up soon. I sent
my communication satellite
coordinates. Speak to no one. We
need to get you caught up, my old
friend.
END PILOT