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 flutter on 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. 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, it is pity.
Ray unravels two sets of jumper cables - clamps them to the
battery. He clamps the other ends to a curved conductive
piece of metal. A perfect size and shape to rest 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?
SUDDENLY -- John looks confused. Anxiety. Scans the room.
JOHN
Where am... Who are you?
Panic - hyperventilates - hands rest on knees. Deep breath.
And he looks up with confidence again.
RAY
You back?
John nods.
RAY (CONT’D)
How often?
JOHN
Two, three times a day.
RAY
Violent Anchor will stop those.
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 (CONT’D)
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 -ZAP- 2000 volts of electricity travel
through the wires at light speed. 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...
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. They spin into
tendrils and 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.
END OPEN
ACT I
Genres:
["Thriller","Sci-Fi","Horror"]
Ratings
Scene
2 -
Preparation for Duty
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"]
Ratings
Scene
3 -
Operation Silent Strike
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.
Backs to the door --
A synchronous pull down of night vision - enter the TENEMENT.
It’s go time.
5 quiet -PEWS- Five men fall dead in night vision.
CADE
Clear.
They make their way up the stairs.
Windows on this level are open --light-- Night vision off.
Old nasty carpet covers a catwalk leading to the top floor.
They push on.
Four poor saps rush Cade. He smiles, switches to blades.
Slash of a throat - hands fail to plug the leak - dies.
Cade kneels - Push dagger to not one but 2 achilles tendons.
Neck slash mid fall. Then flips dagger like a knife and rams
it into the last goons necks. Turns it. Pulls it. 4 dead
men - blood soaked carpet.
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 - 3 foes approach... Charge.
Kemp takes one graceful step, drops to a knee. In one ghostly
motion he swings his arms above his head and intertwines his
wrists then closes his eyes. Goons are on him - wrists
explode in perfectly controlled 90 turn. --SLICE-- Ancient
violence.
Blood - and an Adam’s Apple stuck to the blade. The men fall
to the floor hands over necks - choking...dying.
Kemp flings the large chunk of cartilage - it sticks, and
obstructs the view. Blurry bloody-gooey mass slowly slides
down and --PLOP-- hits the floor. The view is restored.
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!
Cade looks at Drammad’s hand.
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","Crime"]
Ratings
Scene
4 -
Breakfast Briefing
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 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.
Kemp puts a piece of paper on the table next to Zaz.
KEMP
This is the intel from the
Americans.
Zaz scans it.
ZAZ
A drug dealer? Don’t you think I am
a bit overqualified for this?
Serious, not cocky.
KEMP
Hey, I just get paid. They said
use the best. And here you are Zaz.
ZAZ
Come back in 15 minutes 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 typing on fast
forward. Commands fly down the screen in a blur.
NOW - Zaz’s eyes behind his glasses. The reflections of
commands. His eyes calm, unwavering, unblinking.
Genres:
["Action","Thriller","Crime"]
Ratings
Scene
5 -
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","Crime"]
Ratings
Scene
6 -
A Desperate Farewell
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, 60, White. Ambrose
is intensity. 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,
desparation. He looks to Sara.
She has a familiar affect... It’s Ray’s flat demeanor but
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 gently lifts her hand - holds it
to his chest.
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. Yanks her hand from John in anger.
SARA (CONT’D)
Ambrose my ass. You know who he is.
Why is he here?
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.
(shakes head, sighs)
A fantasy.
Ambrose with empathy that could pacify a bear.
AMBROSE
It will be ok. I have hundreds 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.
She walks back to her room. John watches her, then looks at
Ambrose again with eyes like daggers.
Sara comes to - clocks Beth, as she passes by Ambrose. She
loses her shit.
SARA
Don’t you fucking touch her. Go.
Why are you here? Go!
She gets up and lunges at Ambrose. Beth screams and runs back
to her dad. Wraps herself around his leg like a money. With
Beth in tow, John gently pulls Sara from Ambrose.
JOHN
He is here to help. Everything is
ok.
SARA
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 still
tight on John’s leg)
(MORE)
AMBROSE (CONT’D)
look at how cute my niece is. I
would never harm a hair on her
head.
Beth looks at Ambrose with curiosity and smiles. He gives a
glacier melting smile back.
John looks down at the monkey on his leg. She let’s go,
composes herself. He kneels down, looks her in the eye.
JOHN
Everything is ok. 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. 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 from Sara.
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. The screams grow faint.
SARA
John! Please!
And no more.
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 a wall - 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","Family"]
Ratings
Scene
7 -
Dawn of Discontent
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:
["Thriller","Drama"]
Ratings
Scene
8 -
Echoes of the Past
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. 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 which 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:
["Action","Thriller","Drama"]
Ratings
Scene
9 -
High-Stakes Command
INT. JOHN’S CENTCOM - CONTINUOUS
Five serious hacker rigs, 7 or 8 screens, Mr. Robot on
steroids. And... 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. A fancy science lab around her.
Big windows reveal a snowy mountain landscape.
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
I’m close. Look, 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 smiles.
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. Encrypt everything.
FRENCH
I know.
John 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.
Shuts down systems - leaves - door closes. Darkness - THEN -
a blip on a monitor. A terminal opens on the screen. Lines of
sccript descend at light speed. Closer. Closer.
Genres:
["Thriller","Sci-Fi","Action"]
Ratings
Scene
10 -
Hats, Hacking, and High Spirits
INT. KEMP’S KITCHEN - DAY
The screen now reflected in Zaz’s glasses. Big goofy smile.
ZAZ
Hey! Look!
Kemp comes over.
KEMP
Been an hour Zaz. What happened to
20 minutes?
ZAZ
Took some tender tickling of the
front bits to open up the back
bits.
He arches his back - cracks his fingers like a piano maestro.
Kemp chuckles.
ZAZ (CONT’D)
(serious, hinting at
something)
A tidy bloke. Much too tidy for a
drug dealer.
KEMP
What are you saying?
ZAZ
His name, get this, John Jones.
KEMP
Dodgy. Alright. What else?
Zaz lifts a brow. Points at screen.
Images of drugs everywhere. Zaz’s finger is next to 3 ancient
cuneiform symbols at the top:
Kemp’s eyes go wide.
KEMP (CONT’D)
(quietly)
Bloody hell.
Kemp intensely studies the site.
KEMP (CONT’D)
Where is he?
ZAZ
Oklahoma City, USA.
Still inspects the drug market. Yells...
KEMP
Cade! Book us 3 tickets to Oklahoma
City. Soonest one.
CADE (O.C.)
Alright.
Kemp closes laptop.
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%. Deal?
Zaz Ponders. Cade jumps in.
CADE
YEE HAW! We gotta get us some
Cowboy Hats gents.
Zaz looks to Kemp.
ZAZ
Deal. 30%
(serious)
and a cowboy 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","Crime"]
Ratings
Scene
11 -
Ambush in the Shadows
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. All with a three-inch
plastic blade.
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)
Ghoulies?
CADE
Somebody’s science project.
ZAZ
They fucking with DNA again.
Clones... Wankers.
KEMP
(to the dying man)
Who sent you?
Kemp takes off his sunglasses and ball cap. The man looks
pasty white, bald, and his eyes glow yellow.
KEMP (CONT’D)
Why find John Jones? Who is he?
MAN
You know why. Two birds, one
stone...
Kemp doesn't understand.
KEMP
What?... Who is your boss?
MAN
ENLIL sends his condolences.
Kemp’s armor cracks. He closes his eyes tight and the world
slowly turns around him. Vertigo. A pause.
ZAZ
What did he say?
KEMP
Nothing. 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","Mystery"]
Ratings
Scene
12 -
Weapons and Wit
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.
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","Crime"]
Ratings
Scene
13 -
Slurry of Surrender
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 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. No way!
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. And, fun fact
nobody knows... Mito DNA; it’s
older than the planet.
- THWACK - A lung slaps the table, flounders like a fish out
of water.
LEE (CONT’D)
That’s why it stays while the rest
drifts away. 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. Found them on
Ancestry.com. Gotta get the best
match and work your way down that
family tree.
- THWACK - the pancreas bounces on the table. Ray snatches it
up without looking and - SQUISH - into the bin.
He says nothing - continues his preparatory duties. John's
eyes track a dark rivulet crossing the concrete toward his
shoe. He steps back
Lee reaches in - Uses his hands to do some blunt dissection -
SQUISH SQUISH RIP- 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.
Lee’s hands go back in for more - RIP -
LEE (CONT’D)
Here it comes. A buffet of
mitochondria.
Lee pulls out the heart and holds it on both palms toward
John, in an “offering” pose - Lee's eyes lock on John. Frozen
open smile, grimy yellow teeth. Heart still on both palms.
Ray glances back, checks his watch.
After 15 seconds frozen in a heart holding pose, something
hits Lee’s play button.
LEE (CONT’D)
The heart. For all the beats.
John takes it all in. His 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:
["Thriller","Horror","Science Fiction"]
Ratings
Scene
14 -
The Call of Danger
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","Mystery"]
Ratings
Scene
15 -
Desperate Measures
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. One 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
outside. 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 it 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.
The device has a 4 inch rod with a sharp point at the end.
The scientist forcefully rams the rod into the clone’s
temple. She pulls it out and closes the wound with blue hot
flame from cautery device - smoke. The clone comes to life.
END QUICK CUT
JOHN (CONT’D)
They use a gelding rod.
A wrinkle in her cheek. A touch of panic in her eye. One beat
before loses all emotion.
JOHN (CONT’D)
You are in there somewhere. I see
it.
He moves closer.
JOHN (CONT’D)
Listen. I can help. I’ve been
working on something. Come with me.
Again, her face cracks. Longer this time, she leans into
John. John holds out his hand.
JOHN (CONT’D)
Please. Fight. Please.
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
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?
JOHN
Well not on the floor. I have The
Bleed. I’m dying anyway. But...
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
16 -
Echoes of Humanity
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 with a hint of life. A tear runs down her cheek.
INT. UNDERGROUND BUNKER - DAY
A dark cavernous bunker. AMBROSE, 30s, British Indian. He
lays on a leather couch - stares at his phone. He is slim,
and dressed he wears a fancy gray shiny suit with a red tie.
A brief look at a cylindrical device hidden under thick black
hair. It is some sort of implant, anchored in his left
parietal bone.
He lays on a leather couch - stares at his phone.
AMBROSE
(RP British accent, to
someone O.C.)
Bollocks!! This fucking game is
killing me. You jump -- your fuckin
head gets chopped off by the
helicopter blade -- you duck and
the fuckin salami slicer thing goes
right through your undercarriage.
It's eeevil.
WIDER -- a huge room. On the rock walls: 20-foot-long white
consoles, holographic interfaces, future tech.
A tunnel about 50 feet in diameter extends 100 feet into the
rock face. Inside: a huge cylindrical reactor. It looks like
CERN.
Clone Sara goes to Ambrose. He bounces to his feet -
unpredictable, palpable energy flows through him.
AMBROSE (CONT’D)
My beautiful Sara.
Sara speaks without feeling.
CLONE SARA
Ambrose the Devine. We failed in
retrieving Enki. Ninurta
interrupted us, killed my team.
Ambrose gets frustrated.
AMBROSE
Call them John and Kemp! We have
all lost our right to the ancient
names. Gods no more. Only refugees
looking for a way home.
He transforms to a gentle creature so fast. He strokes Sara’s
face gently with he back of a finger.
Sara’s face, a small twitch, just for a millisecond but long
enough for Ambrose to notice. He simply inspects her a
moment, looks in her eyes and smiles and nods as if he is
pleased.
AMBROSE (CONT’D)
Still so beautiful even in this bag
of flesh.
She shows no emotion.
Ambrose turns on a dime - runs to a console by the reactor.
AMBROSE (CONT’D)
I have something to show you. Come
here.
This Ambrose is not only different physically, he is mentally
unstable. Possibly psychotic. Wild eyed, dilated pupils and
a perma-smile. His gravitas remains, but it’s been weaponized
by chaos.
He activates a holographic display, waves his hand and a 3D
hologram of Earth hovers.
AMBROSE (CONT’D)
Do you want to see what divinity
looks like?
Sara stands to watch but does not respond.
Ambrose spins the Earth and snaps. A vortex forms and spins
above it.
AMBROSE (CONT’D)
The judgment has been made and the
humans have been found lacking.
They will face...
The vortex goes wild forms one funnel on top and one on
bottom. It rotates 45 degrees -- A foreign star is on the
other side - it is a wormhole.
AMBROSE (CONT’D)
Ira dei. The wrath of god.
The wormhole grows and the bottom funnel begins to cut
through Earth like butter. The planet comes apart.
Sara’s face - shock, disgust for a moment. Ambrose does not
see this, he seems to be focused on his performance.
AMBROSE (CONT’D)
An entire planet turned to dust.
Before I lead...
Then a small sphere-like object appears and enters the
wormhole.
AMBROSE (CONT’D)
Our exodus to the promised land.
All in one days work.
He is quite pleased with himself. He gives Sara a piercing
stare.
AMBROSE (CONT’D)
If that is not god-like then
nothing is.
He fist pumps - Jumps.
AMBROSE (CONT’D)
Wooo! Fuck ya!
Ambrose goes from 100 to 0. Sits down, relaxes - flicks his
fingers - a circular hatch opens in front of the reactor -
BRRRRRRR- Light dims -ominous sounds - the snow-globe -
apparatus rises - Closer - Inside - a tiny black POLKA-DOT-OF-
DEATH. Bouncing. Up... down... left... right..
Sara watches the dot, follows it.
AMBROSE (CONT’D)
My baby singularity. Isn’t it
beautiful?
Sara says nothing. Tracks the dot.
AMBROSE (CONT’D)
Now we need just one more thing.
And...
(pauses for suspense)
A little birdy told me that what
once was lost can soon be found.
CLONE SARA
(whispers)
Utu.
Ambrose smiles.
AMBROSE
Correct, my love. I found Utu.
A light flickers behind him. Closer -- a corridor to the
left. --WOOSH-- deeper into the bunker. A labyrinth of
tunnels. A left, a right, a left and through a door into a
cavernous dark room.
An UNDERGROUND GENETICS LAB. displays with genome maps,
incubation pods, "CLONING GENOMICS" everywhere.
On the back wall: a line of incubators with glass viewports.
A few are clones of Ambrose. One is a perfect human with gold
skin and green eyes..
To the right, a massive storage area with hundreds more
occupied pods. All await animation.
FADE TO:
A DIFFERENT LAB SOMEWHERE ELSE
Windows provide a view of a snowy mountain landscape. To the
left is a similar styled incubator. Easing in on the
viewport... it’s John... awaiting animation.
French is at a console -- brain waves and PET scan images on
the display.
END ACT III
ACT IV
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
17 -
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. Telemetry cords fall off. --
BEEP BEEP --
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 and poke
and prod at you.
Jack jumps up runs to bathroom mirror. Back of gown barely
covers his rear. Sees a vibrant healthy face. Flexes his
bicep. Wide smile.
JOHN’S VOICE (CONT’D)
Now Jack. Lay down! Act sick. NOW!
Jack rushes back, just in time. Closes his eyes. A overweight
female NURSE- black-, enters. She clocks cords on ground.
NURSE
My sweet boy, bad dreams?
Jack gives a fake GROAN. Rolls over. The nurse reconnects
him. She clocks his big bicep. Sneaks a squeeze. Walks away.
Faint.
NURSE (CONT’D)
(to herself)
Oh honey, if you were just a few
years older. Oh my.
Door closes. Jack eyebrows wrinkle.
JACK
(Re: Nurse)
Dude. I feel violated.
Jack’s body contorts, face twitches and in a different
tone...
JOHN
(in Jack’s body)
By her or me?
JACK VOICE
Ummm. What the fuck is happening?
JOHN
Don't be afraid, Jack.
Body contorts, face twitches. Jack regains control.
JACK
Are you talking inside my head?
Jack looks freaked. In shock.
JOHN’S VOICE
It’s ok. My name is Enki. I mean
you no harm. In fact, I cured your
cancer.
Jack's body contorts. John/Enki takes over.
ENKI
That's better. Strange little
glitch is all.
Body contorts again. Jack’s turn.
JACK
Glitch? What the fuck is a glitch.
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.
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.
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.
JACK
A dream then? Yup?
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
You are remarkable. I knew it.
JACK
Ya. I guess I am pretty amazing.
But like, can you leave now?
Twitch.
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.
Neck spasm.
Jack ponders. Looks excited about the proposition.
JACK
Promise?
Twitch.
ENKI
Yes. But you need to help me.
Big Twitch.
JACK
Are you trying to push me out? I
felt that.
Contortions.
ENKI
Ya. You won’t shut up. And I am in
a bit of a hurry.
Twitch.
JACK
Hurry? Hurry for what?
Tiny twitch.
ENKI
My daughter is in danger. She’s at
some bar called The Hammer. Do you
know where it is?
Twitch.
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.
The room pulls wide. One young man. Alone. Twitching and
arguing with himself in a hospital gown.
The sound begins to fade and the room slowly goes dark.
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.....
The room goes black.
END ACT IV
TAG
Genres:
["Sci-Fi","Drama","Thriller"]
Ratings
Scene
18 -
Echoes of Desperation
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.
END PILOT