Post on 23-Dec-2015
description
transcript
Chronicles of an Empath Volume 1: The Activation Pilot part
2 "The Pure in Heart"
By
Aaron McDonald
A True Story
INT. PEACEMAKER HQ - DAY
PAN SLOWLY across the shadowy floor to Cross’s feet and then
PAN UP his body to his face.
The room is dimly lit and there are shuttered windows in
front of Cross, casting thin rays of sunlight on his face.
Cross is staring angrily at someone who is sitting a few
feet away.
That someone is GINGER, a tall, skinny light-skinned black
girl with light brown eyes and short brown curly hair
plastered in a ponytail to her scalp. She is one of the
girls who stalled the officers when they arrived at Eli’s
old job to arrest him.
Ginger is looking fearfully at Cross’s steely gaze from her
chair, her hands cuffed behind her.
Despite the fear and the restraints, she is otherwise
unharmed.
CROSS
You are sensitive to emotions, yet
you are not empathic. I find it
very strange that Elijah McPhoster
didn’t teach you anything, didn’t
bother trying to protect you.
Ginger swallows her fear and purses her mouth defiantly as
she lifts her gaze to meet his.
GINGER
Screw you. He can’t protect
everyone.
CROSS
No. I imagine not.
Cross turns sideways, rubbing his clean-shaven chin
thoughtfully.
CROSS
But he loved you. He loved you like
his own family.
Cross shrugs, raising his hands slightly.
CROSS
Then again, he left his brother and
sister here with his mother and
father too. Without Elijah, his
(MORE)
(CONTINUED)
CONTINUED: 2.
CROSS (cont’d)sister Madeline will have to get a
job and that, of course, will take
a toll on her college studies. Tell
me, Ginger, have you been over
there? To his house?
GINGER
Once or twice.
CROSS
I know you don’t know where he is
now, but (beat) we plan on raiding
the old McPhoster residence. We
need to know what kind of defenses
they have. I’ve heard they have a
compound-thing going on there.
Cross smiles as Ginger looks up, shocked that he knows about
the compound.
GINGER
I - I dunno. Guns, cameras, fences
I guess.
CROSS
Yeah, I mean empathic defenses. I
already know what they have
physically, but (beat) I just can’t
seem to sense them (beat)
emotionally. Or spiritually.
Cross pulls a chair across the floor and places it in front
of Ginger and sits down on it.
CROSS
Who are these people?
Ginger’s mouth quivers as she forces herself to calm down
and smile at Cross.
GINGER
You can’t make me tell you
anything, you stupid bastard.
Cross reaches out and slaps Ginger’s face, causing her head
to snap to the side. She gasps in shock and pain, and cowers
her head lower in fear.
Cross jabs a forefinger at her accusingly.
(CONTINUED)
CONTINUED: 3.
CROSS
I have a sneaking suspicion you’re
absolutely wrong about that,
Ginger.
Cross gets up and walks away, while issuing an order to two
other men in black suits.
CROSS
Keep an eye on her. Emotional
manipulation only. No physical
torture yet.
Cross turns and winks and smirks at Ginger before walking
out of the room.
Ginger lowers her head and gulps; she whispers a shaky
prayer.
GINGER
Lord please help me.
FADE TO
EXT. CAFE - DAY
It’s a nice sunny day downtown and JOEL, a dishevelled
dark-haired, unshaven handsome man in his mid-thirties, is
sitting at a table in a small courtyard in front of a coffee
shop. He is sipping coffee and reading the economy section
of a newspaper.
ELI (OS)
You still read the newspaper?
Joel eyebrows raise as he is in mid-sip and turns to his
right to see Elijah McPhoster coming toward him.
Joel places the coffee cup down and wipes his mouth with the
back of his hand.
JOEL
Sorry. Do I know you?
Eli’s long dark hair is dyed black and evenly layered around
his head, leaving only a small opening from which he looks
out. His beard is full and he is wearing a flannel and
ragged faded jeans.
SUPER: One month into Eli’s new life.
(CONTINUED)
CONTINUED: 4.
Eli takes a seat in front of Joel and makes himself
comfortable, propping his cowboy-booted feet up on the chair
beside him.
ELI
We spoke briefly online a couple
weeks ago.
Joel narrows his eyes at Eli and then shifts them to the
left, thinking back.
JOEL
Yeah, you’re gonna have to be more
specific than that. I make videos
on the internet.
Eli nods reaches up to rub his eyes, which are behind
glasses.
ELI
Right. Sorry man. Kinda tired. Uh,
a friend of a friend said you could
hook me up with a writing job here
in Austin. I’m used to writing
books, but I can write scripts too.
Joel looks around as if he thinks he’s being pranked before
smiling nervously and leaning forward.
JOEL
Uh, you’re Levi McConnell?
ELI
That’s an alias. Protective
custody. Sorta.
JOEL
Okay (beat) well, let me give you
my card -
Eli swiftly pulls his feet off the table and leans forward.
ELI
And let me be clear: You and your
previous boss had a fallin’ out,
right? You quit, started your own
production company. The other
company has more than fifty people
and you have three. One of those
three is Nathaniel "Skeeter"
Haywood. This Skeeter guy asks you
to do a favor for his cop friend
outta North Carolina by hiring me.
(MORE)
(CONTINUED)
CONTINUED: 5.
ELI (cont’d)I ain’t got time or patience for
interviews and applications and
other bullshit.
Eli slaps a manuscript down on the table.
ELI
Here’s my resume. I mean, it’s a
script, but if you can afford not
to hire me after reading this,
well, then I’ll go. But I need to
be working by tomorrow. I got a
baby to feed, you know?
Joel’s staring at Eli dumbfounded.
JOEL
Oooh. Okay. That’s right. You’re
-that- guy.
ELI
Unfortunately.
Joel picks up a pair of shades, the newspaper, and the
script and stands up.
JOEL
I assume your number’s on here.
Eli stands up along with him.
ELI
Yes sir. If you don’t call me by
five, I’ll be outside your door
when you leave work.
Joel looks at Eli like he’s nuts.
JOEL
Uh, okay.
ELI
By the way.
JOEL
Um - yes, Mister McCon - Phstor.
Eli looks at Joel as if he just had a stroke.
ELI
Just call me Eli.
Eli points behind Joel.
(CONTINUED)
CONTINUED: 6.
ELI
That girl’s been checking you out
for like five minutes.
Joel turns around and sees Lydia sitting at another table
looking at Joel with fascination.
Lydia quickly turns away, smirking, when Joel catches her.
JOEL
Oh, I’m (beat) not - not - not
really interested?
Eli furrows his brow at Joel.
ELI
You talk very strangely. Anyway,
have a nice day, sir.
Eli leaves Joel standing there looking more dumbfounded.
CUT TO
EXT. DOWNTOWN SIDEWALK - DAY
Alyce and Eli are walking down the sidewalk downtown.
Alyce is wearing a baggy green shirt and short jeans shorts.
Her arms are crossed over her chest.
ALYCE
See. If you hadn’t gotten fired
from that bank, you wouldn’t have
to stalk actors.
She grins at Eli, who shakes his head and snickers lightly.
ELI
Well, the bank manager shouldn’t
have been a douche. He reminded me
too much of Jason, from back home.
ALYCE
Yeah, I could see it. Still...
ELI
Still nothin’. I’m a writer by
nature, and besides, I had promised
to get you into the acting
industry.
(CONTINUED)
CONTINUED: 7.
ALYCE
By setting -Lydia- up with an
actor? What about me?
Eli stops walking and gently grabs Alyce by the arm,
smirking.
She stops and turns to look him in the eye.
ELI
What happened to all the trust?
ALYCE
You know, you look like Vlad the
Impaler?
A white ’59 Chevy Impala rolls up with Lydia in the driver’s
seat and her baby in a carseat in the back.
Eli turns, sees the Imp, and then turns back to Alyce.
ELI
Don’t you mean -
ALYCE
Oh dear.
ELI
Vlad the Impala.
Eli points both forefingers at Alyce like he said the
coolest, funniest joke ever, and smiles widely as if he’s
frozen in time.
Alyce laughs at him and goes to the back door.
ALYCE
Whatever. Retard.
Eli laughs and pats her arm as she gets into the car, then
he gets into the passenger seat and closes the door.
Lydia grins at Eli as Alyce kisses the sleeping baby in the
back seat.
LYDIA
I can’t believe you’re really going
to use me like that.
ELI
Uh, drive.
Lydia starts driving.
(CONTINUED)
CONTINUED: 8.
ELI
I’m not using you, Lydia. You need
a good man.
LYDIA
What about you?
ELI
What about me?
LYDIA
You’re a good man.
Eli scoffs loudly.
ELI
Yeah, okay. If you say so.
LYDIA
You are.
He blushes and grins as he looks out his window before
turning back to Lydia with a more serious look.
ELI
I gotta focus on raising an army. I
can’t be a dad too. Sorry.
Lydia exhales with exasperation.
LYDIA
Whatever man.
ALYCE
So what’s next? You said you had
like two or three other contacts
here in Texas.
ELI
Yeah. Not sure how useful they’re
gonna be though. I wish old
Enkimann had given us more than
three grand to start out with.
LYDIA
What are we doing next then, Eli?
ELI
Kidnapping. A teenager.
Lydia turns and looks at him in shock.
Eli looks at her with a big smile.
(CONTINUED)
CONTINUED: 9.
CUT TO BLACK.
SUPER: "Chronicles of an Empath, Volume 1 - The Activation"
INT. PEACEMAKER HQ - DAY
Ginger is still cuffed to her chair, her face down as loud
annoying heavy metal blares at her.
The door opens and Cross walks in with one of his guards
hauling CAL.
Ginger looks up and sees Cal.
GINGER
Oh my God!
CROSS
Alright Ginger, guess what? Cal
here already helped us loads more
than you have.
Cross gestures to the guard, who then throws Cal down at
Ginger’s feet.
Cal, who is cuffed behind his back, struggles to his knees,
but Cross kicks him onto his side.
CROSS
Stay down, dog!
Ginger looks back and forth between Cal and Cross, afraid.
GINGER
Please. Please don’t hurt him!
CROSS
Oh, I’m not gonna hurt Cal here.
Like I said, he’s been helpful.
Tell me the list of states Eli said
he talked about moving to, Cal.
CAL
Texas, South Carolina, Virginia,
and Montana. And Canada.
CROSS
That’s a good dog.
GINGER
No! Elijah said - he said if he was
ever on the run from the cops, he’d
(MORE)
(CONTINUED)
CONTINUED: 10.
GINGER (cont’d)stay in North Carolina so the feds
wouldn’t get involved!
CAL
That’s true.
CROSS
He knows we’re not cops. To be
honest, I’m pretty sure he’s in
Canada. He’s got this cute ex up
there who’ll do literally anything
for him.
CAL
Than he won’t be there.
Ginger’s head swings around and she glares at Cal.
Cross notices this and smiles, clasping his hands together.
CROSS
Thank you. That rules out a hell of
a lot of square miles to search.
CAL
I ain’t sayin’ another word, man.
GINGER
Yeah, me neither.
Cross looks at Cal with disgust, but looks at Ginger like
she’s a misguided daughter of his.
Cross walks over to her and kneels in front of her.
CROSS
Darling. You don’t have to say
anything. I have enough people to
search all four of those states,
and this one too.
He caresses Ginger’s cheek and she flinches, trying to avoid
the touch.
CROSS
But I do need to know about his
family.
Cross steps back from Ginger and looks down at Cal.
(CONTINUED)
CONTINUED: 11.
CROSS
Speak.
CAL
I am not your dog, son of a bitch.
CROSS
And it speaks!
Cross laughs maniacally.
Cal roll his eyes.
CROSS
We know he lives in a rural area,
probably between Lawrence and
Winnasow. Right?
Cal just glares up at Cross.
Cross smirks and looks sideways at Ginger, who looks way.
CROSS
Yes. Unfortunately, we cannot get
into the Lawrence police
department. For some reason Cerbust
is a real (beat) ball buster when
it comes to outside influences.
Ironically, we suspect he’s a
puppet for something far, far more
sinister. So (beat) maybe the Leigh
County Sheriff’s Department will
assist us, eh?
Cal looks at Cross with both anger and confusion.
CAL
Eli told us you knew about his
financial situation. How do you
know that, but not his address?
Cross looks embarrassed and turns to face away from the two
captives.
CROSS
It’s strange. Every time I use my
contacts and resources to find his
address, I come up empty.
Cross turns to glare at them both.
(CONTINUED)
CONTINUED: 12.
CROSS
It’s almost like the universe is
conspiring against me.
Ginger lets out a singular laugh.
GINGER
I wonder why.
Cross gives her an annoyed look.
CROSS
No, I don’t think God or any other
invisible force is making them
disappear. I think there’s someone
somewhere, probably a hacker or
government official, keeping the
address away from me. Someone’s
spying on my organization and when
I route the bastard out, I will be
a lot happier.
GINGER
You’re pathetic. You’re an ugly,
pathetic monster.
Cross moves over toward Ginger and grins wickedly at her.
CROSS
And you’re pure. That’s why I took
you. I took Cal because I knew he
had information. I took you because
you and Eli trusted each other,
didn’t you? He was like a brother
to you. Even when you knew he had
fallen for you, even when you knew
he wanted you, you stayed pure. You
fell for some Jason asshole, but
you remained pure even then.
Despite your anger and sadness, you
are a pure soul. And I am going to
enjoy sullying you.
As Cross walks away, Ginger is crying, her head down low.
Cal stares at her wide-eyed before the guard grabs him and
carries him out. The door locks behind them.
FADE TO
13.
INT. THE WILLIAMS RESIDENCE - NIGHT
Kimmy Williams, 16, has her headphones on listening to rock
music while drawing in her bedroom.
Kimmy is short and has shoulder-length straight light brown
hair and naturally full lips. She is also wearing glasses.
ALYCE (VO)
So who is this Kimmy girl anyway?
Kimmy finishes doodling but doesn’t like it.
ELI (VO)
She’s like, my cousin. I’ve known
her for two years.
Kimmy starts a new drawing.
ELI (VO)
Her parents abuse her. When she
told her biological father, he blew
her off. Her biological mother is
dead.
Kimmy throws away the second drawing and tosses the pencil
across the room before picking up her cellphone and looking
at her cellphone. A text message from an unknown number
reads, "The sale is over."
LYDIA (VO)
Okay, so why don’t you just tell
the police?
ELI (VO)
She’s tried going to the police but
her adoptive dad is friends with
the local police chief.
Kimmy puts her shoes on and begins to tie them.
ELI (VO)
Besides, we’re never trusting the
police again. We assume they’re the
enemy until proven otherwise.
Kimmy pockets her cellphone and opens her laptop.
ALYCE (VO)
So she wants to come with us?
Kimmy’s laptop is almost finished re-installing the
operating system.
(CONTINUED)
CONTINUED: 14.
ALYCE (VO)
What about friends and family?
Kimmy closes the laptop.
ELI (VO)
I’ve told her everything. She’s
sure this is what she wants.
Kimmy stands up and goes to her bed.
LYDIA (VO)
I still think we should’ve waited
for Elaina.
Kimmy lays down in her bed after throwing the covers on the
floor.
ELI (VO)
Elaina wouldn’t go along with this.
She’s a straight shooter and her
husband’s a cop.
Kimmy hears the window crack.
She looks over the curtained window out the corner of her
eye.
After another hit, glass crinkles to the floor.
Kimmy swallows and closes her eyes tightly, her face turning
red.
The window slowly raises behind the curtain.
ALYCE (VO)
You said she isn’t empathic. So why
are we taking her?
The curtains part and Eli steps through wearing all black
jeans, sneakers, and a hoodie with the hood up. His hair is
in a ponytail.
ELI (VO)
Trust me.
Eli sneaks over to Kimmy and puts his hand over her mouth
while grabbing her by the neck and pulling her out of the
bed.
Eli holds her back against him as she struggles in his
grasp, but it’s obvious she’s not trying to really escape.
(CONTINUED)
CONTINUED: 15.
Eli drops a damp hand towel on the floor and in her
struggling, Kimmy kicks it slightly under the bed.
Eli then drags Kimmy to the window and throws the curtains
open.
He shows Kimmy a dark-colored Colt .45 1911 handgun and
whispers in her ear.
ELI
Be quiet and climb out of the
window or you and your whole family
dies.
Kimmy, who’s breathing heavily, nods.
Eli lets go of her mouth and gently prods her toward the
window.
She obeys, with the gun pointed at her back.
Once she is out and on the ground outside, Eli makes sure
his dirty shoe imprint is clearly visible on the floor.
Then Eli exits the house.
CUT TO
EXT. SUBURBS - NIGHT
Eli hurries Kimmy to a brown ’80s van across the street.
He looks back to see a light come on in the Williams’ house.
ELI
Hurry up.
Eli opens the side door and shoves Kimmy inside before going
around and getting in the driver’s seat.
Hysterical screaming can be heard inside the house as Eli
drives the van away from the house and takes the first turn.
Eli looks over his shoulder to see Kimmy in the back seat,
both excited to see him, but also sad about leaving her
parents worried.
ELI
Okay, you can talk now.
Kimmy leans forward and wraps her arms around Eli.
(CONTINUED)
CONTINUED: 16.
KIMMY
Thank you. Oh my God, I’m shaking.
ELI
You’ll be alright. Your parents
will panic and call the police and
they’ll find out you’ve been
kidnapped. When they don’t find out
after a month, they’ll give up.
Kimmy’s expressive face betrays her guilt and sorrow, as Eli
sees her in the rear view mirror when she leans back.
KIMMY
What about my friends?
ELI
Did you tell them anything?
KIMMY
No. I promise.
Eli smirks as he pulls into the drive way of a vacant house
with a real estate sign in front.
ELI
Don’t make promises. Let your "yes"
be your "yes" and your "no" be your
"no."
Kimmy smiles nervously and nods.
KIMMY
Okay. Then no, I didn’t tell anyone
I was leaving. But I’m still gonna
miss them.
Eli turns the van off and opens the driver door before
turning to Kimmy.
ELI
I know. Trust me, you’ll make new
friends - better friends - and
maybe one day you can see your old
ones again, but not any time soon,
okay?
He gets out of the van and removes his black gloves.
KIMMY (OS)
Okay.
(CONTINUED)
CONTINUED: 17.
Eli tosses one of the gloves under the driver seat and walks
around to open the side door for Kimmy with his other gloved
hand.
Once she exits, Eli tosses the other glove into the back.
Kimmy leans close and whispers.
KIMMY
Why’d you do that?
ELI
They’ll find the van and the gloves
and know they won’t find any
prints. They’ll assume it was an
expert kidnapping done with a lot
of planning by someone who’s done
it before, IE not me.
Eli’s white Impala rolls up and the back door pops open
before the car even stops.
ELI
You didn’t touch anything in there,
did you?
Kimmy shakes her head.
ELI
Alright, get in the car.
Kimmy gets into the back seat of the Impala and Eli gets
into the driver’s seat.
Alyce is driving and Lydia is in the back seat.
Lydia smiles at Kimmy as they close the doors and drive
away.
LYDIA
Hi Kimmy. Eli’s told us nothing
about you.
Kimmy smiles nervously.
KIMMY
Yeah, he doesn’t like to talk about
me ’cause I stalked him.
She smirks and reaches around and flicks Eli’s ear.
Eli bats her hand away.
(CONTINUED)
CONTINUED: 18.
ELI
Don’t be a weirdo. I know it’s
hard, Kimmy, but try, okay?
Kimmy leans back, crosses her arms over her chest, and fakes
a pout, but then smiles.
KIMMY
Oh fine.
FADE TO
EXT. NARROW DIRT ROAD, RURAL LAWRENCE, NC - DAY
JAMES is driving a late model pickup truck down the dirt
road leading to the McPhoster residence.
When he gets to a closed and padlocked wooden privacy fence,
he stops and gets out of the car.
He goes to the gate and looks up at a small camera mounted
on a post just behind the fence.
He waves at it and then looks through the slats of wood to
see a woman coming from the double-wide trailer holding a
.22 rifle.
James takes a step back and waits for the gate to open.
James nods to MADELINE, 20, a tall thin blond woman wearing
a flannel shirt over a loose-fitting T-shirt and jeans and
knee-high brown boots.
She’s holding the rifle calmly with the muzzle pointed at
the dirt.
MADELINE
Hey James. You heard from my
brother?
James shakes his head ruefully.
JAMES
Nah. I was just comin’ to check on
ya’ll. See if he called or
something.
Madeline shakes her head sadly and motions for James to come
onto the property.
(CONTINUED)
CONTINUED: 19.
MADELINE
Come on in. Mom’s making breakfast.
JAMES
Alright. Where’s Simon?
Madeline nods to her right and James leans forward and looks
on the other side of the fence, to Madeline’s right, and
sees Simon standing behind a tree holding a 12 gauge
shotgun.
James nods slowly and turns to get in his truck.
As James drives into the front yard, Madeline closes the
gate.
Simon comes out of hiding, still pointing the shotgun in
James’ general direction.
Madeline turns from locking the gate and gives her younger
brother a disapproving look.
MADELINE
Come on Simon, be serious. It’s
just James.
SIMON, 18, has bright blond hair, blue eyes, and a more
babyish face than most teens his age.
SIMON
Just making sure, Madeline.
Madeline and Simon approach the truck as James exits the
vehicle.
MADELINE
Just so you know, mom’s not in a
good mood.
SIMON
She hasn’t been in a good mood
since Eli left. We can barely
support ourselves without the money
he made working at the supermarket.
MADELINE
Yeah, but today’s worse ’cause it’s
her birthday and Eli’s birthday is
in like two or three days.
James gives the siblings a sympathetic look.
(CONTINUED)
CONTINUED: 20.
JAMES
Oh. That must suck. I’m sorry.
MADELINE
So you haven’t heard from him?
JAMES
No, not yet. But two people from
work went missing. You remember
Cal? He ain’t been into work for
three days. Then a girl named
Ginger didn’t come into work
yesterday or today.
Madeline shrugs.
MADELINE
Could be nothing.
Simon leads them toward the front door of the double-wide
trailer.
JAMES
Yeah. But Cal’s girlfriend came in
yesterday complaining he ain’t been
home for awhile and she’s worried.
Simon leads them inside the building and closes the front
door behind them.
SIMON
That doesn’t sound like nothing.
They walk through a front-room full of old computer
equipment, old radios and other electronic equipment, and
random junk, dropping their guns on a makeshift table,
before they get into the living room.
Madeline and Simon’s mother BETHANY is cooking eggs in the
kitchen.
She turns and sees James and smiles.
BETHANY
Oh hey James. You got here just in
time for eggs.
James smiles and walks through the living room and into the
kitchen.
JAMES
Hey there.
He looks over at the eggs and rubs his hands together.
(CONTINUED)
CONTINUED: 21.
JAMES
Mmm, looks good.
BETHANY
Heard anything from Eli?
JAMES
No.
BETHANY
I worry about him.
MADELINE
Yeah mom, we know.
BETHANY
Madeline, shut up. Get a plate for
James.
Madeline goes to the cupboard and draws dishes while Simon
clears some miscelaneous electrical junk off the table.
JAMES
I see you still do experiments.
Bethany answers as she puts some scrambled eggs on a plate.
BETHANY
Yeah. Now that our whole house is
solar-powered, I’ve moved on to
other things.
Madeline rolls her eyes as she sits at the table.
James smirks at Madeline and sits down too, followed by
Simon.
Bethany gives everyone food and then stands at the head of
the table.
BETHANY
Let’s say a quick prayer.
Simon and Madeline lower their eyes in prayer as their
mother does.
JAMES
Alright.
James does the same.
(CONTINUED)
CONTINUED: 22.
BETHANY
Heavenly Father, we thank you for
this food and we thank you for
watching over us, and we ask only
that you protect Elijah, wherever
he is, and if it be your will,
bring us together again as a
family.
Bethany begins to sob.
BETHANY
Please God, take care of my son. In
Yeshua’s name, Amen.
James and the siblings look up and slowly begin to eat as
Bethany sits down in her chair.
Bethany pulls herself together and smiles to James.
BETHANY
So how’s work?
CUT TO
INT. ELI’S TRAILER - DAY
Eli and Lydia are standing in the hallway watching Kimmy and
Alyce eating in the kitchen without them knowing.
Eli is wearing a white dress shirt, black tie, and black
slacks. Lydia is wearing a white tank top and pajama
bottoms.
LYDIA
Eli, I don’t like this. You can’t
just -make- an empath.
Eli gives Lydia a look of disbelief.
ELI
Of course I can.
LYDIA
How?
ELI
She’s emo. She’s already halfway
there. By the time she’s eighteen,
she’ll be more empathic than you.
Lydia looks offended. She crosses her arms.
(CONTINUED)
CONTINUED: 23.
LYDIA
I hope you know what you’re doing,
Eli. If you put me or my baby in
danger, I’m gone.
Eli turns his head and smiles at her coldly.
ELI
Again? You’re pretty good at
disappearing, aren’t you?
Lydia gets angry.
LYDIA
That’s not fair. I’m here now. I
frickin’ moved to another state for
you. So don’t give me that crap.
ELI
You’re right. I’m sorry. Forgive
me?
Eli gives Lydia a puppy-dog look.
She rolls her eyes.
LYDIA
Of course.
ELI
Great. Can you call Mitch for me? I
gotta go to work.
LYDIA
Sure.
Eli smiles and hugs Lydia.
ELI
Thanks.
Eli grabs a leather jacket and leaves the house as Lydia
takes her burner phone out of her pocket and dials.
CUT TO
INT. ENKIMANN RESIDENCE - DAY
Deputy Enkimann is watching TV alone and drinking Jack
Daniels from the bottle when Lydia calls on his home phone.
He reaches over and picks it up.
(CONTINUED)
CONTINUED: 24.
ENKIMANN
Hello?
LYDIA (OS)
Hey Mitch. It’s Black Widow.
ENKIMANN
I told you crazy people to stop
calling me that. My name’s Michael
Enkimann now.
LYDIA (OS)
Sorry Mister Enkimann. Just calling
for the weekly update.
Enkimann puts down his bottle and gets attentive.
ENKIMANN
Right. Listen up. A few days ago,
Cal Carlin was taken by the
Peacemakers. A couple days ago, so
was Ginger Wellington. Then today,
on my day off, I get a call from
the Sheriff himself asking me if I
knew "Agent Cross from the FBI" and
of course I told him he was the one
who took Elijah McPhoster off our
hands a month ago. Anyway, long
story short, the Sheriff’s
Department is basically now working
for Cross. When I go back in
tomorrow, I’m going to have to get
rid of him.
LYDIA (OS)
How do you mean?
ENKIMANN
Well, I’m a high-level empath but
if I start stepping out from behind
my wall, he’s gonna see me. And
Cross doesn’t like to feel
threatened. He’ll quickly find out
who I am and once he does, he’ll
kill me. But if I don’t use my
abilties to get rid of him, he’ll
get the deputies in on his little
witch hunt.
LYDIA (OS)
I see. Well, don’t get yourself
killed. How’s Rose Blade?
(CONTINUED)
CONTINUED: 25.
ENKIMANN
She moved two weeks ago. I found
her parents living in Georgia but I
can’t find her or her husband. I
assume they’re together.
LYDIA (OS)
Oh. What about her two friends? The
ones Eli warned her about.
ENKIMANN
Still in town as far as I know.
Look, be careful how you give all
this information to Elijah. He’ll
wanna drive all the way back to
kill Cross and he’ll be seen coming
a hundred of miles off. Cross has a
couple of Eli’s former co-workers
on his payroll now. Real high-level
dark empaths.
LYDIA (OS)
Tessa and Rona?
ENKIMANN
Yeah. Look, I gotta go. Oh, almost
forgot - did he get that job? Did
Nathaniel come through for me?
LYDIA (OS)
Yep. He’s also trying to hook me up
with this Joel Hyman cat. But I’m
not sure how I feel about one day
being known as Mrs. Lydia Hyman.
Enkimann laughs.
ENKIMANN
Joel’s a good guy. A little wacky,
especially about gold, but he’s
good people. So is Nathaniel. But
he’s married. Anyway, I’ll talk to
ya in a week, Black Widow.
LYDIA (OS)
Alright Mister Enkimann. Take care,
and thanks for the info. Black
Widow signing off.
Enkimann hangs up the phone and sighs.
(CONTINUED)
CONTINUED: 26.
ENKIMANN
Hope he doesn’t do anything stupid
to screw up that job.
CUT TO
INT. STAGE 9 PRODUCTIONS - DAY
Eli is sitting across from Joel and Nathaniel in a
conference room.
Eli looks around as they stare at him; only the tick of a
clock on the wall is heard.
Eli looks at Joel and smiles.
ELI
So my script...
JOEL
...was awesome.
ELI
I hope so. It’s my life.
Eli smirks.
JOEL
Script-writing is your life?
Eli frowns.
Nathaniel turns to Joel.
NATHANIEL
I think he means the story is based
on his life.
Joel nods understanding.
JOEL
Aaah.
Eli nods and smiles.
JOEL
So you’re insane? Great.
ELI
What does it matter? You like the
script. Hire me and we can make it
into a short film, maybe ten
(MORE)
(CONTINUED)
CONTINUED: 27.
ELI (cont’d)minutes long. You haven’t uploaded
a video in over a month. You need
this.
JOEL
We have (beat) things (beat) in the
works.
Nathaniel just shakes his head once.
NATHANIEL
No we don’t.
Joel looks at the traitor and smiles, and then turns and
looks at Eli.
JOEL
Fine. Your hired.
ELI
Also (beat) change the name of your
production company. It’s dumb.
JOEL
What’s wrong with it?
ELI
It’s dumb.
JOEL
You’re dumb.
NATHANIEL
Nice.
JOEL
How - how is - how is it dumb? Huh
Elijah?
ELI
Stage 9 Productions. You literally
just moved all your crap over to an
old production studio and kept the
giant number on the outside of the
building.
NATHANIEL
Yeah, it’s pretty lame.
JOEL
Shut up. Shut up, Nathaniel. Nobody
asked you for your opinion.
(CONTINUED)
CONTINUED: 28.
NATHANIEL
Actually you did. When we first
moved in here. I told you the same
thing back then too.
Joel sighs and lowers his head on the table.
His muffled, defeated voice brings satisfaction to both
Nathaniel and Eli.
JOEL
Fine. What do you suggest we call
ourselves?
Eli shrugs and gets to his feet.
ELI
No idea. Not my department. I’m
just a writer.
Eli turns and walks out of the conference room as Joel lifts
his head in anger and shock.
Nathaniel is chuckling.
JOEL
Hey! Hey! Hey! Get back here! You
hear me -?
NATHANIEL
He’s gone, Joel.
JOEL
Why did I let you make me hire him?
NATHANIEL
He’s a good writer.
Nathaniel stands up.
NATHANIEL
Don’t blame this on me. Besides,
you’re the one who got us all fired
from Cock Bite Entertainment.
CUT TO
29.
INT. STAGE 9, WRITERS OFFICE - DAY
Eli is writing another script when ADAM ENIS walks up to his
desk. Adam is a huge man with a huge beard and a bull ring
in his nose. He has a fluctuating accent that could be
Russian or Swedish.
ADAM
There is a woman here to see you,
McPhoster.
Eli smiles up at the huge man.
ELI
Please, call me Elijah, or Eli.
Adam’s deadpan demeanor doesn’t change.
ADAM
No.
He walks away, leaving Eli surprised.
Eli gets up and walks out of the office to the lobby of the
old once-abandoned huge studio.
Lydia is waiting for him and when she sees him, she doesn’t
smile.
ELI
What’s wrong?
Eli walks toward her quickly, placing a hand on her arm.
LYDIA
It’s Ginger and Cal...
CUT TO
INT. LEIGH COUNTY, NC SHERIFF’S DEPARTMENT - DAY
Deputy Enkimann is sitting at his desk watching Cross, who
is across the office talking with two other deputies and one
of his Peacemakers.
Enkimann looks down when Cross looks over at him, and when
Cross returns to his conversation, Enkimann looks at him
again.
Cross turns toward Enkimann, who looks back down at his
paperwork.
(CONTINUED)
CONTINUED: 30.
Cross makes his way over to Enkimann and leans over his
desk.
Enkimann looks up and smiles.
ENKIMANN
How can I help you, Agent Cross?
CROSS
You’re the senior deputy on duty
today, right?
ENKIMANN
That’s right, Agent Cross.
CROSS
Great. I’m new to this whole
collaboration thing. My type
usually come in and take over. But
we can’t get what we want if we do
that in this case, for some reason.
The Sheriff, what little I’ve seen
of him, for some reason understands
that the U.S. Constitution actually
prohibits us federal types from
taking over investigations. You
know, states rights and all.
ENKIMANN
We’re county, not state.
CROSS
Oh no, I know. But the principle
applies. Anyway, I was wondering if
you could get in touch with the
Sheriff himself and maybe convince
him to give us the McPhoster
address so we can pay the family a
visit. I mean, I worry so much for
them. Elijah McPhoster was selfish
to leave them the way he did.
Cross is very convincing.
Enkimann leans back slightly in his chair and interlocks his
hands in front of him.
ENKIMANN
We’d still have to get a warrant
and that could take a few hours.
(CONTINUED)
CONTINUED: 31.
CROSS
I’m sure you’ll expedite the
procedure to the best of your
ability.
Cross straightens up and turns to walk away smoothly.
Enkimann forces himself not to be angry or annoyed.
CROSS (OS)
Thank you for your effort, Deputy
Enkimann.
CUT TO
INT. MCPHOSTER COMPOUND - DAY
James is about to leave Bethany’s house; he is standing at
the front door.
Bethany, Simon, and Madeline are standing in the front room.
BETHANY
Well, have a good day, James.
JAMES
I will, you too Miss Bethany.
Thanks for the meal.
Suddenly Madeline’s cellphone rings.
Bethany goes into the living room with Simon.
James turns to walk out the front door.
Madeline is on the phone, looking worried. She grabs James
as he walks out and holds up a finger for him to wait.
Madeline hangs up her phone.
MADELINE
That was one of my school friends.
Her dad works at the Sheriff’s
department. She says the police
will be here soon, with a warrant
to search the place. Mom!
Madeline and James rush back into the living room.
CUT TO
32.
EXT. HIGHWAY - DAY
Two Sheriff’s Dodge Chargers and a black SUV are convoying
down the highway at 65 mph.
They pass other cars and when a driver doesn’t move out of
the way, the lead Charger flashes blue lights.
In the middle vehicle, the SUV, Cross is in the passenger
seat and one of his goonies is driving. In the back seat is
Deputy Enkimann and another deputy, each holding shotguns.
CROSS
Alright everyone, listen up. When
we get there, we hit ’em hard and
fast. Don’t give ’em time to do
anything. I don’t even want them to
be able to think.
ENKIMANN
What if they panic? Start shooting?
I mean, we have to identify
ourselves as police.
CROSS
Sure, sure. You do whatever you
gotta do, Deputy. But my man and I
are going in there assuming they’re
hostile.
Enkimann scowls and rolls his eyes, looking away.
Cross feels his emotion and slowly turns to look at
Enkimann, almost catching the deputy’s facial expression.
CROSS
Sorry, what was that?
ENKIMANN
I’ll follow your lead.
CROSS
Yes. You will.
Cross turns back to the front.
Suddenly two cars speed past them in the slow lane going at
least 85 mph.
CROSS
What the hell? What do those
lunatics think they’re doing? This
ain’t a video game!
(CONTINUED)
CONTINUED: 33.
The lead Charger flashes blue lights but the two civilians
keep speeding ahead.
Then Cross has a revelation.
CROSS
Match their speed. Follow them.
They’re going where we’re going.
They won’t stop for anything.
When the two cars take a right off the highway at a red
light and onto a smaller two-lane blacktop, the police cars
follow.
CUT TO
INT. CAL’S RANCHERO - DAY
Driving the ’69 Ranchero is AMELA, 28, Cal’s girlfriend.
She’s an angry, red-faced woman with strawberry blond hair.
In front of her, JOSHUA, 35, is driving a silver 2001 Ford
Taurus station wagon. He has brown hair, sideburns, and is
very muscular.
Amelia gets on her cellphone like it’s a CB radio.
AMELIA
Joshua, I hope you remember where
Elijah lived.
JOSHUA (OS)
I do. I visited a couple times with
Cal and James. It’s just another
two minutes.
They pass a couple of slower drivers, completely aware the
police are on their tail with their lights and sirens
flashing.
JOSHUA (OS)
When we get to the dirt road, drive
exactly where I go.
AMELIA
Gotcha.
They take a left turn onto another road and continue the
chase for another minute before Joshua’s brake lights flash
a few times, signaling he is about to slow and take the turn
onto a dirt road.
(CONTINUED)
CONTINUED: 34.
The wagon slows drastically at the bottom of a hill and
takes a left turn onto a dirt road before speeding at 25 mph
down the road.
Amelia follows in the Ranchero.
Joshua’s car bounces quickly down the bumpy dirt road,
swerving to avoid potholes and makeshift speed bumps.
Amelia follows exactly, about four feet behind his rear
bumper.
To their left, on the neighboring dirt road, is a Sheriff’s
deputy’s Charger parked at a house.
CUT TO
INT. CROSS’S SUV - DAY
In the back seat of the SUV, Enkimann sneakily texts another
deputy.
The deputy beside Enkimann sees the text and Enkimann looks
at him.
The deputy nods, understanding.
CROSS
Hurry!
The Charger ahead of them has just turned down the dirt road
a few dozen yards behind the Ranchero, and the SUV follows.
CROSS
Pass the damn deputy!
The SUV drives around the deputy’s car in front, going in
the grass of someone’s lawn.
They hit a lot of bumps and potholes, which slows them down
some.
Suddenly they see another Sheriff’s department Charger
driving along a path that connects the two dirt roads ahead
of them.
The driver parks in the road facing them, the car’s lights
flashing.
The SUV stops and cannot get around him because the dirt
road is between a small dirt wall and two trees.
(CONTINUED)
CONTINUED: 35.
CROSS
What is he doing?!
ENKIMANN
His job. He must not have seen the
two cars speeding ahead of us.
CROSS
What!? That makes no sense! Get him
outta the way! NOW!
CUT TO
EXT. MCPHOSTER COMPOUND - DAY
The Ranchero and Taurus wagon drive into the huge front yard
as Madeline and James close the tall wooden fence.
Simon is standing guard with his shotgun.
Joshua and Amelia get out of their vehicles.
JOSHUA
What’s the plan? Run or fight?
Simon is pissed.
SIMON
Fight. They have no reason to
harass us.
MADELINE
They might have a warrant. We have
to get our bugout bags and go.
Bethany is sitting, sobbing and panicking by the front door.
Madeline goes to her mother.
MADELINE
Mom. If you don’t make a decision,
I will.
BETHANY
I’m done. You go. I’ll hold them
off.
Madeline begins to cry too. She gets on her knees in front
of her mom, dropping her .22 rifle.
(CONTINUED)
CONTINUED: 36.
MADELINE
Mom, come on.
Bethany gives James a look that dares him to defy her.
BETHANY
Take them.
James carries a crying and screaming Madeline to his pickup
truck and throws her in the passenger seat.
He runs around and gets in the driver seat while Joshua
pulls an angry Simon to Amelia’s Ranchero.
Amelia drives the Ranchero around the back of the house,
followed by James’ pickup truck.
The SUV smashes through the wooden gate and parks behind the
Taurus wagon to keep it from escaping.
The two Sheriff’s Chargers park behind a beat up old ’80s
Plymouth sedan and Bethany’s Mercury Sable wagon.
Cross and co. get out of their vehicles, pointing weapons in
every direction, but namely at Bethany, who is now standing
holding the .22 rifle.
CROSS
Where are they? More importantly,
where is your son Elijah?
CUT TO
INT. STAGE 9 - DAY
Eli is standing in front of a green screen holding a script.
A camera is pointed at him, being operated by Adam.
Joel is sitting in a director’s chair.
JOEL
Aaaand (beat) action!
ELI
Screw Jason. He’s a douchebag. He’s
a sociopath. Trust me. He’ll hurt
you.
JOEL
Cut!
(CONTINUED)
CONTINUED: 37.
ELI
What?
JOEL
I’m not feelin’ it.
ELI
Well too bad ’cause that’s how I
said it. I remember.
Nathaniel walks up and stands by Joel.
NATHANIEL
I thought you said you have a
shitty memory.
ELI
I also said I remember emotions.
Trust me, I remember how I said it.
You’re not "feelin’ it" ’cause I
was shielding myself.
JOEL
How - what - what do you mean,
shielding yourself?
ELI
I was keeping the real emotion from
showing so that Ginger didn’t feel
it. To be honest, I’m not even sure
it worked.
Joel and Nathaniel exchange glances.
JOEL
Yeah. Uh, Elijah. Maybe we
shouldn’t make this movie after
all? We usually do comedy. This
isn’t very funny.
Eli stares at Joel for a few seconds before walking off the
stage.
ELI
I need to take a break. I’ll see
you in fifteen or twenty minutes.
Joel opens his mouth to protest but Eli has already left.
Joel closes his mouth and exhales, turning to Nathaniel, who
is looking down at him cynically.
(CONTINUED)
CONTINUED: 38.
JOEL
You were the one who asked me to
hire him.
Eli walks into his office and slumps into his chair behind
his desk.
He lays his head back and closes his eyes.
Nathaniel knocks on the open door and enters.
NATHANIEL
Hey. You good?
Eli looks at Nathaniel and shrugs.
ELI
I ain’t used to working with four
or five other creative people. I’m
used to working with about a
hundred idiots who I can manipulate
to get what I want. You know, I was
almost made co-owner of a small
production company in Charlotte?
Nathaniel leans against the door frame and crosses his arms.
NATHANIEL
Really? Well, Michael Enkimann told
me you’re intuitive, like me, but
the way he sounded on the phone
sounded like you were related to
him. He was very adament about
getting you this job.
Eli gives Nathaniel an intrigued look.
ELI
Interesting. Well, I’m more than
just another creative, intelligent
intuitive. I’m empathic. I know
what everyone - or most everyone -
is feeling and I don’t even have to
be in the same room with them.
NATHANIEL
That so?
ELI
Yep. Joel isn’t a businessman. He’s
not even a producer or a director.
He’s an actor. He hates being in
charge of this place and he hated
having to leave CB.
(CONTINUED)
CONTINUED: 39.
NATHANIEL
Doesn’t take an empath or an
intuitive to know that.
ELI
He also is considering going back
to Cock Bite and begging for his
job back. My guess is he hasn’t
told anyone that, not even you, but
you’ve figured it out too. He masks
anxiety and depression with jokes
and a jovial attitude. Am I right?
Nathaniel purses his lips and looks upward in thought before
scratching his unshaven neck and nodding.
NATHANIEL
Yeah. I guess.
ELI
Adam left because Joel left and you
left because your direct supervisor
was pissing you off. I’ve watched
Cock Bite videos for over ten
years, pretty much ever since they
started making them in oh-three.
Nathaniel smiles with nervousness and amazement.
NATHANIEL
Wow, you are good.
Eli lazily gestures.
ELI
That’s easy. And I don’t mind
working for you and Joel and Stage
9, but if y’all wanna reach any
kind of public with your videos,
you should take my advice into
account.
Nathaniel nods.
NATHANIEL
Alright. I’ll talk to Joel about
it.
ELI
Thank you.
Nathaniel turns to leave, but then turns back to Eli.
(CONTINUED)
CONTINUED: 40.
NATHANIEL
Hey Elijah, Michael said if you
needed anything to help you get it.
You have a home, job, and a car. Is
there anything else I can help you
with?
Eli smirks at Nathaniel.
CUT TO
INT. RESTAURANT - EVENING
Joel is sitting at a booth across from Lydia.
Joel is wearing a black tie and a light yellow dress shirt,
and Lydia is wearing a slimming shiny black dress that shows
both her cleavage and her black widow tattoo on her chest.
Joel smiles nervously at Lydia, who smiles nervously back as
they wait for the waiter.
They both start to ask a question at the same exact time and
then laugh at themselves.
JOEL
Sorry, you first.
LYDIA
I was just going to ask if you
could help me meet the people who
made RUBY, you know, one day?
Especially the chick who voices
Ruby, ’cause she’s my favorite.
Joel nods with confused squinted eyes and an open smile.
JOEL
Suuure. You like anime?
LYDIA
Yeah.
JOEL
Have you ever acted before?
Lydia shakes her head nervously.
LYDIA
Oh no. I don’t wanna act. I’m
terrible, I’m sure. That’s Alyce’s
thing.
(CONTINUED)
CONTINUED: 41.
JOEL
Alyce? Who’s Alyce? Does she have a
white rabbit?
Joel laughs silently as Lydia leans forward and laughs
loudly.
The waiter comes over with a basket of bread and butter.
LYDIA
She’s (beat) Eli’s girl. I mean,
they’re not together - like we are.
I mean, uh, he’s helping her. She
has issues. So do I. We all do.
Joel whispers thanks to the waiter, who walks away, and then
smiles to Lydia.
JOEL
Y-yes. Yes we do. We do. I do,
especially. That’s why I’m an
actor.
They both laugh again.
It starts to rain outside as slow romantic classic rock
music is playing in the restaurant.
LYDIA
Yeah, Eli’s a good man.
Lydia looks distantly at the bread in her hands, a look of
guilt and shame coming over her face.
LYDIA
I mean, he’d never say so. We’ve
all (beat) done things. We all hurt
each other in some way. But h-he
wants to do good. He - he just
wants to help people. I wish I
could be like him.
Joel looks at her sadly and shrugs.
JOEL
Why can’t you?
LYDIA
I dunno. I just - I just feel like
I’m worthless sometimes. Not as
much as I used to. But sometimes I
still wonder if I’m a good mom.
Sometimes I wonder if I’m just
holding Eli and Alyce back.
(CONTINUED)
CONTINUED: 42.
Joel looks uncomfortable and rubs his neck as he looks
around like he’s searching for an exit.
JOEL
Oh, I’m sure you’re not that bad.
Lydia looks at him and smiles with nervousness and sadness.
LYDIA
Oh great, another emotionally
unstable girl.
Joel looks at her, shocked.
JOEL
Sorry?
LYDIA
That’s what you were thinking,
right? At least, that’s how you
felt.
Joel sighs and closes his eyes as he rubs his face.
JOEL
No. Look, I’m sorry, I’m just not
(beat) not looking for a
relationship with someone (beat)
who -
LYDIA
Someone who’s damaged? Someone like
me?
The waiter comes over with their drinks.
WAITER
Are you guys ready to order?
Joel and Lydia stare at each other. Joel breaks the stare
and looks up at the waiter.
JOEL
Uh, yeah, I guess.
FADE TO
43.
EXT. ENKIMANN RESIDENCE - NIGHT
Enkimann’s hand shakes as he slides the door key into the
lock on the front door of his modest house.
His face shows worry and fear as he unlocks the door.
CROSS (OS)
Welcome home, Mitchell.
Enkimann shoves the door open and sees Cross sitting in his
recliner holding a silenced 9mm Beretta with a single gloved
hand.
CUT TO
INT. ENKIMANN RESIDENCE - NIGHT
Enkimann goes for the revolver holstered on his waist but
Cross points the gun at him first.
CROSS
Uh uh. Come on in and close the
door, Mitch.
Enkimann obeys slowly and puts his brief case down by the
door.
ENKIMANN
So you figured me out, did ya? Good
for you.
CROSS
Remove your firearm slowly and
place it on the floor with thumb
and forefinger only.
Enkimann slowly unfastens the holster as he watches Cross’s
cold eyes.
Then Enkimann yanks the gun out and tries to shoot Cross,
but Cross shoots him first in the gut.
Enkimann falls to his knees, holding his gut.
The gun is still in his hand.
Cross gets up and walks over to disarm him, but Enkimann
fires, shooting Cross in the foot.
Cross shouts in pain and falls to the side, catching himself
on a counter.
(CONTINUED)
CONTINUED: 44.
Cross then shoots Enkimann’s right arm, loosing the gun from
his grasp.
Cross scowls with anger and pain as he hobbles over to the
fallen deputy.
CROSS
What the hell, man! I was planning
on making this big speech about how
you should come back to the
Peacemakers where you belong! I can
see that ain’t gonna happen!
Enkimann laughs with pain as he bleeds to death on his
floor.
ENKIMANN
Sorry to foil your plans (beat)
again. What can I say? I love not
giving bad guys what they want.
Cross narrows his eyes at Enkimann as he thinks about what
the deputy said.
CROSS
Someone said that to me before.
A look of revelation comes across Cross’s face and his anger
turns to joy.
Cross grins and levels the silenced pistol at Enkimann’s
face.
Enkimann looks up at Cross with guilt and sadness.
CROSS
Your daughter.
Enkimann looks away from Cross.
CROSS
Emily Megan Everett (beat) is your
daughter? Oh, I’m gonna have fun
with this. Night pops.
Enkimann looks back up and gives Cross a genuine smile of
warmth and forgiveness.
ENKIMANN
We forgive y-
Cross shoots him in the face before Enkimann can finish the
statement.
(CONTINUED)
CONTINUED: 45.
CROSS
I don’t want your filthy
forgiveness, traitor.
Cross hobbles out of the building, leaving the door open.
FADE TO
INT. PEACEMAKER HQ - NIGHT
SLOW MOTION: Soft, slow classical music plays; Ginger’s
dungeon door bursts open and Cal is thrown to the floor;
Ginger screams at the two guards who point handguns at him;
Cross enters, his foot mysteriously better, and walks over
to Ginger; Cross uncuffs her and carries her by her bicep to
Cal; he throws Ginger down to her knees and nods to the two
guards; the two guards relentlessly shoot Cal dead, much to
Ginger’s horror.
As the guards leave, Ginger vomits.
Cross stands at the door and looks back at her coldly.
CROSS
We will have Elijah McPhoster and
Alyce Kauffman (beat) if we have to
kill every single person in Leigh
County.
Cross leaves, slamming the door behind him.
CLOSE UP on Ginger’s terrified, sickly face.
CUT TO
EXT. RURAL MONTANA - DAY
Amelia’s ’69 Ranchero and James’ pickup truck are driving
down a dirt road toward a cabin near the mountains.
SUPER: Three days later.
After they park, Amelia, James, Joshua, Madeline, and Simon
exit the vehicles.
Madeline and Simon are still wrought with sorrow and guilt.
Amelia leans against the Ranchero and tries to dial Cal’s
phone on her cellphone but gets no response.
Amelia forces herself not to cry.
(CONTINUED)
CONTINUED: 46.
Joshua walks over to her.
JOSHUA
Having cellphones is not a good
idea anymore.
James watches their interaction with interest.
Amelia turns to Joshua and angrily shoves her cellphone at
him; he takes it.
AMELIA
Cal’s probably dead anyway.
Amelia stomps away toward the cabin as Joshua dismantles the
phone.
James watches him do it and then follows Amelia.
JAMES
Amelia. You okay?
Amelia stops and turns to James; annoyance is all over her
face.
AMELIA
No, I’m not okay, James. I just
left my boyfriend and my whole
family back in North Carolina and
I’m not even sure why.
JAMES
It’s gonna be okay.
AMELIA
No (beat) it won’t be. You have no
idea if it’s gonna be okay or not,
so stop saying it.
Amelia turns and marches into the cabin.
CUT TO
INT. MONTANA CABIN - DAY
Amelia finds Madeline sobbing quietly in a chair in the
corner and Simon is keeping busy by shuffling through an old
foot locker.
Amelia goes to him.
(CONTINUED)
CONTINUED: 47.
AMELIA
What are you doing?
SIMON
Looking for stuff. Stuff we might
be able to use.
AMELIA
Find anything yet?
SIMON
Of course not.
Amelia turns and goes to sit on a dusty sofa.
As James and Joshua walk into the house, Madeline pulls
herself together and stands in the middle of the living
room.
MADELINE
Guys, we need to find Pastor
Baldwin. He can help us (beat) I
think.
JAMES
Do you know where he lives (beat)
or gives his sermons?
MADELINE
Yeah. It’s not too far from here.
Maybe twenty or thirty minutes.
AMELIA
At least two people should stay
here and, uh, make this place
livable.
Madeline turns to her brother Simon.
MADELINE
Simon, can you stay here with
Amelia and do that?
SIMON
Sure.
Simon’s reply is morrose and sullen.
Madeline sighs and turns to Joshua and James.
MADELINE
Okay. Joshua, you stay here and
help. Protect the place. James and
(MORE)
(CONTINUED)
CONTINUED: 48.
MADELINE (cont’d)I will take his truck and look for
Pastor Baldwin.
JOSHUA
Cool, cool.
JAMES
Alright.
Madeline and James walk outside and get into James’ pickup
truck.
James drives the truck back down the dirt road and they are
silent for awhile until they get to a two-lane blacktop.
MADELINE
This place is so beautiful.
JAMES
Yes, it is.
MADELINE
Eli’s not in Montana. He’s probably
in Texas.
James looks over at Madeline with surprise and confusion.
JAMES
You think so?
MADELINE
I’m almost certain of it. He used
to talk about going to Texas all
the time. He wanted to work for
(beat) a, uh, an internet video
company.
James smirks.
JAMES
Yeah, I think I know who you’re
talkin’ about. Eli showed me some
of their videos. They did RUBY,
right?
MADELINE
Yeah. Anyway, we’ll get the
preacher’s help first before we
head to Texas.
(CONTINUED)
CONTINUED: 49.
JAMES
Alright.
James’ truck drives down the vacant road between two thick
tree lines.
CUT TO
INT. ELI’S TRAILER - DAY
Eli is sitting on a sofa playing video games with Kimmy when
he suddenly stops playing and frowns.
ELI
Alyce’s home and she’s not happy.
As he sets the controller down, Alyce walks through the door
and she’s clearly upset, especially feeling dejected and
hurt.
ELI
What’s the matter?
Eli stands up and goes to her as Alyce closes the door.
ALYCE
Nothing.
Eli cocks his head and narrows his eyes at Alyce.
ELI
Uh, have you forgotten who we are?
Alyce smiles meekly.
ALYCE
Sorry. I didn’t do too well on set
today apparently.
Eli frowns and inhales, his eyes fluttering closed as he
takes on her sadness.
He opens his arms to her.
ELI
Aww, I’m sorry, come here.
They hug and Kimmy watches, biting her lip, before going
back to the game.
Alyce steps back and narrows her eyes at Eli; she’s almost
smiling, void of pain and sadness.
(CONTINUED)
CONTINUED: 50.
ALYCE
Did you just take my sadness away?
Eli scratches his head and smirks sadly.
ELI
Uh, sorta. I may have absorbed it.
ALYCE
Aww, stop doing that. You’re going
to get hurt.
Eli waves it off and goes to sit down on the sofa again.
ELI
It’s no big deal. I can handle a
little bit of sadness and pain
every once in awhile.
Alyce smirks and leans over the back of the sofa.
ALYCE
Yeah. Well, with me it might become
a full-time job.
Eli chuckles drearily and reaches up and touches her arm.
ELI
Oh, by the way, I finally got a
response from Elaina.
Eli gestures to an open laptop on the kitchen table.
Alyce goes to read the email.
Eli continues playing the game with Kimmy.
ALYCE (OS)
She wants to meet you, in person,
alone.
ELI
Yep.
Alyce walks over to the sofa and sits beside Eli.
ALYCE
Might be a trap. You did say her
husband was a cop.
ELI
Well, I’m going anyway. The meeting
will take place an hour from here.
(MORE)
(CONTINUED)
CONTINUED: 51.
ELI (cont’d)In case it is a trap, or her
husband or someone follows us, I
don’t want our house being found,
ya know?
ALYCE
Yeah.
Alyce watches Kimmy and Eli play the video game, and when
someone in the game gets severely wounded, Kimmy reacts.
KIMMY
Ouch! Owwie! That sucks.
Eli turns and looks at Alyce with a smirk.
She rolls her eyes slightly and grins, showing her braces.
Eli turns to Kimmy.
ELI
Hey Kimmy, you gonna be okay with
Alyce today?
Kimmy smiles.
KIMMY
Yep. I like Alyce (beat) and Lydia.
They’re cool.
Eli snickers lightly and hands his controller over to Alyce.
ELI
Well, I gotta get ready to go meet
Elaina. You both behave.
Kimmy watches Eli get up, her face wrought with longing and
dread.
KIMMY
Be careful, Eli. I’m gonna miss
you.
ELI
I’ll be fine, but thanks, I will.
Eli goes into his bedroom and closes the door.
Alyce and Kimmy play the video game together and have fun.
When Eli emerges from his bedroom a little later, he is
wearing his black leather trench coat, under which is a
shoulder holster with his dark-colored 1911 handgun.
(CONTINUED)
CONTINUED: 52.
As he walks toward the front door, he puts his hair in a
ponytail.
ELI
Love ya both. Don’t do anything too
crazy.
KIMMY
Aww, but I wanna do drugs and have
sex with strangers.
Alyce snickers.
Eli stops and squints at Kimmy.
ELI
No sex, with anyone.
He quickly turns and walks out of the house, leaving Kimmy
and Alyce laughing.
FADE TO
EXT. FAST FOOD PLACE - DAY
Eli drives his white Impala into the parking lot of a fast
food place.
He almost immediately sees a very thin and tall blond woman
wearing glasses leaning against a grey Hyundai Sonata.
Eli smirks and parks beside the new model sedan.
He gets out of the Impala, but leaves the car running, and
his smile is unbridled as he looks at ELAINA TUCKER, 22, who
is coming toward the driver’s door.
Elaina is wearing a gray suit, no tie. Her white dress shirt
matches Eli’s, but he wears a blue tie.
ELI
Hey! Long time, no see, Ellie!
Elaina’s smile is barely perceptible, as she is a very cold
and distant person.
ELAINA
Greetings, mon ami.
Eli goes to her and practically forces a hug on her.
(CONTINUED)
CONTINUED: 53.
ELAINA
Alright. That’s enough.
Elaina pats Eli’s back as he steps back.
ELI
So where’s that copper husband of
yours?
ELAINA
At work. Why?
Eli chuckles at Elaina’s always-professional attitude.
ELI
Jeez, you haven’t changed in five
years, have you?
ELAINA
Guess not. Where do you want to
talk?
Eli shrugs and points to the restaurant.
ELI
Here’s fine. If anyone hears us,
they’ll assume we’re insane or
joking around.
ELAINA
The former most likely.
They walk toward the doors of the fast food place.
ELI
So what you been up to? Took you
like a million years to reply to my
email.
ELAINA
I see you are still prone to
hyperbole. It was like a week. And
I’ve been working. I’m a museum
curator now. Been one for over a
year.
As they approach the entrance, Eli opens the door for
Elaina.
ELI
Wow, really? That’s ironic.
Elaina enters.
(CONTINUED)
CONTINUED: 54.
ELAINA
Cheers. And it’s not ironic because
that’s what I’ve always wanted to
do, so I studied and applied, and
now I do it. Simple as that.
Eli goes over to a corner in the restaurant and Elaina
follows close behind.
ELI
Alright.
He slides into a booth seat and Elaina slides in across from
him.
ELI
You know, you’re an empath’s worst
nightmare.
ELAINA
Really? I’d think someone who
guards their emotions in an
impenetrable vault would be someone
an empath can be around, at least
more than others.
ELI
Yeah, if the empath is trying to
block or shield against any and all
emotions. I’m not that kinda
empath. I like to train myself.
Elaina squints through her glasses as she looks him in the
eye.
ELAINA
You like control. You like to
manipulate people. I’m surprised it
hasn’t bitten you on the ass
already.
ELI (SADLY)
It has. Actually, that’s why I
wanted to talk with you. I need
your help. I’ve only met two or
three people I cannot read, not
counting my family - Empaths
normally can’t or don’t read their
family - and anyway, you’re one of
those people. Actually, I can read
you but I’m guessing most empaths
can’t.
(CONTINUED)
CONTINUED: 55.
ELAINA
So I’ve heard.
ELI
So you’ve heard what? Which part?
ELAINA
All of it. And yes, most people
can’t read me and I like it that
way. I do not see any reason why
people should be able to know what
I’m thinking just by looking at me.
ELI
Well, yeah. But what about your
husband? Doesn’t he know you?
ELAINA
Better than most family members.
But that’s because I let him in.
Anyway, what specifically do you
need my help with, Elijah?
Eli waits for an employee to walk past before continuing.
ELI
I can’t really divulge too many
details just yet...
ELAINA
Not surprised.
ELI
...but have you heard of the
Activation? Or the Awakening? Some
people call it Enlightenment...
ELAINA
Isn’t it some neo-pagan thing where
they believe everyone is going to
be like God?
ELI
Yeah, something like that. They
call it the Awakening, I call it
the Activation, because it’s not an
awakening of any kind; it’s an
activation.
ELAINA
Got it. What is being activated?
(CONTINUED)
CONTINUED: 56.
ELI
We are.
Elaina sits there as if waiting for Eli to elaborate, but
when he doesn’t after three seconds, she sighs and fixes her
glasses on her nose.
ELAINA
Okay. Please elaborate.
ELI
Remember that whole twenty-twelve
thing? With the Mayan calendar and
all that crap?
ELAINA
I do.
ELI
Well, it wasn’t marking the end of
the world, but the end of an -age-
and the beginning of another one.
ELAINA
Anyone with an IQ higher than
twelve knows this already.
ELI
God, how I’ve missed your
arrogance.
Eli smirks.
ELAINA
And I yours.
Elaina lets show the slightest of grins, which makes Eli
smile cheesily.
ELI
Anyway, starting then, both good
and evil people have been
activated, and they’re still being
activated. By "activated", I mean
the sides of light and dark are, uh
(beat) tagging and recruiting their
soldiers for the final war.
ELAINA
Armageddon?
(CONTINUED)
CONTINUED: 57.
ELI
Something like that, sure.
ELAINA
So the devil and God are personally
recruiting people, including you,
to be wizards or prophets in their
respective armies?
ELI
Well, when you put it like that,
sure, it sounds insane.
An old man with a walker goes past them EXTREMELY slowly.
ELAINA (OS)
I cannot imagine why.
After Eli watches him go out of earshot, which could be just
a couple feet, Eli continues.
ELI
Elaina.
ELAINA
Yes, Eli.
ELI
You (beat) are an awesome person.
ELAINA
Uh, thanks. You’re okay too, I
suppose.
ELI
And I want you to help me so that
when you’re activated, you’re on
the right side.
ELAINA
Who’s to say I’m not already
"activated"?
ELI
You’re not. Trust me.
ELAINA
So you think if a demon came up to
me and offered me power or wealth,
I would just stop worshiping God
and start worshiping Satan?
(CONTINUED)
CONTINUED: 58.
ELI
That’s not how it works. The
darkness is...
Eli glances around at the customers eating nearby.
He sighs and levels a serious gaze at Elaina.
ELI
Look, I know you don’t have any
reason to trust me. But if you -
Elaina interrupts, folding her arms over her chest.
ELAINA
Elijah McPhoster, you made a name
for yourself on several websites
and chatrooms, from a computer in
your mother’s house in North
Carolina, for approximately ten
years.
Eli brandishes the dog-tags he’s wearing over his tie.
ELI
And don’t forget from Iraq and
Washington State too.
ELAINA
You made a -bad- name for yourself,
intentionally. You were a womanizer
and a control-freak and you hurt
me. God only knows how many other
girls you hurt.
ELI (NODDING)
Yes he does...
ELAINA
So when you ask me to trust you, to
help you fight evil, I want to
believe you, I really do, but all I
can think about is how much of a
jerk you can be.
Eli is wiping his glasses with his tie.
He puts his glasses back on and sighs, nodding.
ELI
You’re right. What was I thinking?
Eli stands up slowly.
(CONTINUED)
CONTINUED: 59.
ELAINA
Elijah. I’m sorr-
ELI
No, no. You’re right.
Eli walks to Elaina’s side and leans his mouth down to
within inches of her face. When he speaks, it’s not a
whisper, but it’s a low tone.
ELI
I did a lot of terrible things,
most of it you will never know
about. I used my abilities for
(beat) dark purposes, but now I am
trying to do what’s right. I am not
the same man I used to be.
Eli turns and walks out of the fast food place.
Elaina sits there staring ahead at the empty booth seat,
clenching her jaw, trying to remain unemotional.
A single tear comes from the corner of her eye and rolls
down her cheek.
FADE TO
EXT. ELI’S IMPALA, CITY ROAD - EVENING
As the sun goes down, Eli is driving the Impala alone
through a city.
ELI (VO)
The good book says blessed are the
pure in heart, for they shall see
God.
Eli’s Impala rolls to a stop at a yellow light, which then
turns red.
ELI (VO)
What does that even mean? Who in
this world is pure in heart?
Eli looks over to his left and sees a beautiful redhead roll
up to the stop light driving a beat up old ’80s pickup
truck. She is smiling at his car.
ELI (VO)
If I could see God, how in the hell
would I justify myself?
(CONTINUED)
CONTINUED: 60.
The redhead locks eyes with Eli and grins cheesily before
waving at him.
Eli smiles warmly and waves back.
ELI (VO)
Or maybe that’s not what it means
at all.
Eli narrows his eyes at the redhead as the outline of a man
glows in her passenger seat.
Eli frowns, blinks, and looks forward to see the light turn
green.
ELI
Oh no.
Eli looks back over at the redhead as she gleefully stomps
the gas, thinking they’re going to race.
SLOW MOTION: Eli hits the gas too and the Impala lurches
forward, matching the pickup’s speed as they burn rubber
through the intersection. Eli looks to his right and sees
the same faint outline of a glowing man in his passenger’s
seat.
When he turns back to the front, a big truck speeds through
the red light to their right, smashing into the Impala’s
right hand side.
The Impala in turn slams against the pickup truck to the
left, causing it to spin out and crash horribly into
oncoming traffic.
FADE TO
EXT. BOULEVARD - NIGHT
Eli’s POV: Disoriented, intermittent, and blurry visions,
sounds, and feelings of paramedics, flashing lights, twisted
metal, and PAIN.
The one time Eli can open his eyes fully, as he is being
hoisted on a gurney, he sees a tall, muscular, handsome man
wearing a white and light blue suit standing behind the
paramedics who are tending to Eli.
(CONTINUED)
CONTINUED: 61.
PULL UP, BIRD’S EYE VIEW: Show the man in white, plus three
other people who are not meant to be there, standing all
around Eli: one is an older man in a black suit, one is a
woman in a silver and blue dress, and the other is a man
with long dark blond hair and a slight beard wearing a
golden robe.
It is obvious these are angels, but they do not have halos,
wings, or weapons, and they are not glowing.
ELI (VO)
I hope the other drivers are okay.
PAN to the truck that hit Eli’s Impala and show a similar
looking older angel placing his hand on the dead driver’s
head.
PAN to the redhead’s pickup truck and show the redhead’s
guardian angel, a teenage male with short brown hair wearing
a hoodie, crying and pleading from the passenger seat of the
overturned truck, while the redhead is being pulled out by
paramedics and firefighters; she has a large piece of metal
sticking out of her side. She is alive, but barely; she is
in a lot of pain and in shock.
PAN to Eli again; he is being shunted into the ambulance and
when a cop hits the side, the ambulance drives off.
ELI (VO)
I feel the sorrow, the shame. The
driver of the truck that hit us is
gone. I can’t say I feel bad for
him. I also feel the redhead’s
pain, shock, fear, and guilt. It
wasn’t her fault, for the most
part, but she still feels guilty,
because she’s a good soul. I wonder
if I can help her...
CUT TO
INT. AMBULANCE - NIGHT
Eli blinks, forcing himself to stay awake as he bleeds from
his head.
Eli clenches his fists.
The two paramedics notice this and lean forward.
(CONTINUED)
CONTINUED: 62.
PARAMEDIC 1
Don’t worry, Mister McConnell.
You’re going to be alright.
But Eli ignores them; he closes his eyes and relaxes and
stares up at the ceiling of the ambulance.
FADE TO
EXT. BOULEVARD - NIGHT
The redhead is lying there on the gurney being taken to her
ambulance, but her pain is subsiding.
She shivers and stares up at the starry sky with wide eyes,
but once she is inside the ambulance, she is calm and
doesn’t seem to be in pain.
The paramedics look at her, and then each other, confused.
The redhead, GRACE, 19, gives the paramedics a faint smile.
This confuses even her guardian, who is unseen nearby.
GRACE
Don’t worry, guys. Everything’s
going to be alright.
CUT TO BLACK.