ANGELS AND DEMONS

an original screenplay by

Sam Miller

Sam Miller911 Wanyandi Road. Edmonton, AB. T5T2X37802397800Samhmiller@hotmail.com

FADE IN:

INT. PSYCHIATRIST'S OFFICE - DAY

MATTHEW (11) gazes beyond; his eyes and shoulders slouchunder the weight of more than just gravity. He looks pensive,but more distracted than intrigued. DR. JANUS (female, 40s)attempts to lift his attention with kind, honest inquiry. It is another session where both participants pretend toignore the grim truth: that no medical revelations will occur. Just talk, and more talk. The WINDOW-BLINDS bleed SUNLIGHTsporadically at the behest of PASSING CLOUDS.

DR. JANUSHow have you been sleeping?

MATTHEWOk.

DR. JANUSGood dreams? Bad dreams?

MATTHEWNeither. Well, both I guess.

DR. JANUSTell me about your hallucinations. Have they changed since our lastvisit?

MATTHEWUm. They're about the same, I think.

DR. JANUSVoices? Fractals? Wisps?

MATTHEWAll of those...

DR. JANUSGo on.

MATTHEWThe voices are

(beat)softer but scattered. Sometimesthey're really close, but usuallythey're pretty far away.

DR. JANUSDo you find that pleasant orunpleasant?

MATTHEWBoth. Well, neither actually.

2.

The typical terseness of Matthew's condition freezes hisexpression and belies a torrential mind. An awkward silenceensues, as if he was expected to elaborate.

DR. JANUSAnd the fractals, do they evermanifest into more solid figures?

MATTHEW(abrupt)

No. Just fractals, like, you know,galaxies and waves. They dancethrough the air.

DR. JANUSAre they entertaining?

MATTHEWSometimes.

(beat)Well, not while I'm trying to dohomework.

A nervous chuckle escapes Matthew's mouth, and he meets his *doctor's gaze for a brief moment. She smiles back genuinely.

DR. JANUSI imagine they can get prettycolorful.

MATTHEWMhm.

DR. JANUSKind of like fireworks?

Suddenly perturbed, Matthew shifts in his SEAT.

MATTHEWI don't like fireworks.

DR. JANUSI understand. Would you becomfortable elaborating on why not?

MATTHEWNo.

Dr. Janus nods.

MATTHEW (CONT'D)I'm sorry.

DR. JANUSThat's fine, if you're not comf-

3.

MATTHEW(impulsive)

I just don't like fire;(beat)

It makes everything too... loud.

Piqued, Dr. Janus leans forward slightly.

DR. JANUSWhy do you think that is?

Suddenly, Matthew slams his gaze to the floor, his pupilsjolting rapidly, his jaw clenching off and on.

DR. JANUS (CONT'D)Matthew?

No answer.

DR. JANUS (CONT'D)Matthew? Are you here?

Still no answer.

DR. JANUS (CONT'D)Matthew, where are you right now?

CUT TO:

INT. CAR - DAY

From the passenger seat, Matthew fixates on a GENERIC CHURCHBILLBOARD as he passes. It reads: "'Be strong and courageous. Do not be terrified; do not be discouraged, for the LORDyour God will be with you wherever you go.' Joshua 1:9."

A gentle FEMALE VOICE lulls him to attention.

FEMALE VOICE (O.S.)Matty?

It's Matthew's mother, LEAH (30's, gaunt). Her visage bearsthe weight of stress: CRACKS and the occasional GREY ROOT. The concern cast over her expression seems to imply that theonly thing more serious than her son's condition is her lovefor him.

MATTHEWMom.

LEAHSweety, how do you feel?

MATTHEWI'm ok.

4.

LEAHDr. Janus said you've made a lot ofprogress since your last therapysession.

MATTHEWReally?

LEAHOf course-

(beat)Why? You don't think so?

MATTHEWI don't see the point.

LEAHThe point of what?

MATTHEWOf all of it.

LEAHHoney, she's helping you-- all ofthis is so you can get healthier.

Matthew's furrowed brow hints at a genuinely mulling mind,yet he ultimately forfeits, exasperated.

MATTHEWI don't feel sick.

LEAHSweety, I know.

(beat)But, sometimes, the places wherewe're the sickest are the places wecan't feel.

He looks off, half contemplative, half defiant.

LEAH (CONT'D)Sometimes we can't see how sick weare until we're healthy.

(beat)Ok?

She lends out a hand. He takes it.

MATTHEWOk, mom.

CUT TO:

5.

INT. MATTHEW'S BEDROOM - NIGHT

THE FIGURE, a six foot tall haze of shape-shifting shadowlooms over Matthew's turned back. It seems to exude a LIGHT-BENDING AURA, making discernable features either ethereal orambiguous, save two lanky ARM-LIKE APPENDAGES. It seeswithout eyes and, in an almost VIBRATIVE BARITONE, speakswithout a mouth.

THE FIGUREMatthew.

Matthew flips over immediately from the shock of arousal. He calms however when he recognizes the eery, formlessfamiliar.

MATTHEWYou frightened me.

THE FIGUREOf course I did.

MATTHEWWhat time is it?

THE FIGURETime for a test.

MATTHEWNo, please. I have school tomorrow. I need to sleep; if I fall asleep inclass again-

(beat)They'll all laugh at me.

The Figure hovers for a moment. It seems to be judgingMatthew, interrogating him with its solemnity.

THE FIGUREYou did well today.

Matthew re-positions himself back to the wall, to face hisvisitor.

MATTHEWI lied.

THE FIGURESome lies are important.

MATTHEW(mistrustful)

I don't know..

6.

THE FIGUREAs important as the truths theyprotect.

MATTHEWAnd what truths are those?

THE FIGUREUs.

MATTHEWYou.

THE FIGUREUs.

MATTHEWPlease. Just leave me alone tonight.

THE FIGUREYou've earned a reward.

MATTHEWYou said a test. I hate tests; youknow I can never focus long enoughto-

THE FIGUREA trial.

(beat)Will you follow me?

Matthew contemplates the offer--the consequences, the factors,the possibilities--his brow contorting in apprehension.

THE FIGURE (CONT'D)Please.

MATTHEWIt's dark out.

THE FIGUREAre you afraid of the dark?

MATTHEW(reflexive)

No. It's just-(beat)

What if we get lost?

THE FIGUREHave I ever led us astray?

Matthew's eyes dart.

7.

THE FIGURE (CONT'D)Here, take my hand.

The Figure offers a SLICK BLACK APPENDAGE, and Matthew takesit.

CUT TO:

EXT. THE WOODS - NIGHT

The MOONLIGHT reflects off SLENDER DECIDUOUS ELMS, theirwind-rattling DANGLY BITS filling the forest with ananthropomorphic aura.

Matthew follows his guide, who seems to weave or slide pastobstacles that he himself has to push aside or be pushedaside by.

MATTHEWThe trees are alive.

THE FIGUREEverything is alive.

MATTHEWBut they can't talk.

THE FIGUREAnd I can't walk. Yet still, I move.

And does it ever, seemingly taking the shape of whateveranimal suits its obstacle: in mid leap, a BLACK CAT; in midswing, a DARK PRIMATE; in mid scuttle, an ARMY OF BEETLES.

Whatever The Figure may or may not be, it certainly is deft.

MATTHEWSo what's my test-

(beat)I mean my trial?

THE FIGUREDo you hear that noise?

MATTHEWAll I hear is noise.

THE FIGUREYes, but I mean that noise.

It becomes clear then: that distinct tempo of a WAVE-FORM'SRIPPLE, clashing, soothingly, like an audible dough kneadingitself over and over.

8.

MATTHEWWe're by the river.

(beat)You know I know how to swim.

THE FIGUREI do.

MATTHEWI can hold my breath for like twominutes, at least.

THE FIGUREThat you can.

MATTHEWI'm not afraid of the water.

THE FIGURENo, you're certainly not.

Still in toe, an extended silence hints at Matthew'scontemplation; it usually does.

MATTHEWThis was a stupid idea. I should'vestayed home. I can't believe Idecided to come here. I should'vegone to bed; I should've-

THE FIGURE(abrupt)

Stop!

Suddenly, it is in front of Matthew, six-feet of TRANSLUCENTGLOOM. Matthew's submissiveness to The Figure is evident byhis inability to look up. Instead he peers through theshadow, the LIGHT off the PEAKING RIVER flickering like starsthrough space-dust.

THE FIGURE (CONT'D)Do you remember Ms. Cole?

MATTHEWYes, my grade three teacher-

(beat)Why?

THE FIGUREDo you remember what she was like?

MATTHEWUh.. she was pretty mean, and scary.

9.

THE FIGUREAnd why do you think that was?

MATTHEW(grasping)

I- I don't know.

THE FIGUREYes, you do.

MATTHEWMom always says that the scariestpeople are usually the scaredest.

THE FIGUREScared of what, do you think?

MATTHEWAnything. Everything.

(beat)Like being suspended- er, I meanbeing fired. Or losing a loved one.

THE FIGUREOr never having a loved one.

Suddenly, a trickle of dread drips through Matthew'sexpression.

THE FIGURE (CONT'D)This way.

He hesitates.

THE FIGURE (CONT'D)Please.

The Figure leads him to the RIVER SIDE. The GENTLE WAVESkissing the STONE LADEN SHORE are, for a moment, calming.

THE FIGURE (CONT'D)Ms. Cole never had a loved one.

MATTHEWHow do you know that?

THE FIGUREBecause she's floating right overthere.

The Figure eases out a SLENDER ARM, pointing at a DRIFTINGMASS no more than ten feet up the bank.

Matthew's eyes light up with hot terror. He's never seen adead body before.

10.

His breathing begins to accelerate to an erratic pace.

THE FIGURE (CONT'D)Don't be frightened, Matthew.

MATTHEW(panicked)

I- you- why did you-

THE FIGUREDon't let your cowardice overcomeyou.

MATTHEW(frantic)

Stop! Please!

The voices of an UNKNOWN LEGION begin to engulf him. Hewhips his palms to his ears in defense.

But to no avail.

UNKNOWN LEGION (V.O.)Cowardice. Coward. Coward.

MATTHEWYou're scaring me, stop!

THE FIGUREI'm disappointed with you, Matthew.

The panic throws Matthew into a catatonic convulsion, hisfeet slapping noisily on the water, but his head luckilyabove it.

UNKNOWN LEGION (V.O.)Coward. You're afraid! You're acoward!

THE FIGUREWhat would your father say if hecould see you now?

MATTHEWStop! Please stop! Mom! Mom!

CUT TO:

INT. POLICE STATION - NIGHT

Leah is speaking to a CONSTABLE and his NOTEPAD.

LEAHSchizophrenia.

11.

CONSTABLEAnd how do you spell that, sorry?

LEAHS-C-H-I-Z-O-P-H-R-E-N-I-A.

CONSTABLEPhew, that's a doozie.

LEAH(unamused)

He's a sensitive boy. Sometimes hewon't talk if he feels uncomfortable.

CONSTABLETrust me, I prefer the ones thattalk less than the one's who don'tknow when to stop.

LEAHSometimes he'll make up stories,like most children do.

(beat)Except his are delusions--not just awild imagination.

CONSTABLEI used to have an imaginary friendnamed Gumbo, a talking shrimp, untilI was 13, believe it or not.

LEAH(indignant)

It's not like that. He's very sick. We're working on it.

The Constable decides to don his serious face.

CONSTABLEMa'am, there's nothing to worry about. It's a shame your son had to seewhat he saw.

(beat)On the other hand, his discoverywill bring closure to some of thecommunity's fears. Everything herereads textbook suicide: the 2nd bestoutcome to a missing persons case.

Leah, dumbfounded, glares at the Constable, disgusted by hisexperience-dulled "sympathy".

12.

CONSTABLE (CONT'D)I just need to ask him a couple ofquestions for the record, and thenhe's good to go. All right?

LEAHPlease, let him know that I'm justin the other room if he needsanything.

CONSTABLEYes, ma'am.

INT. POLICE STATION - CONTINUOUS

Through a few DOORS, Matthew is actually seated outside thequestioning room. The police know how to deal with childrenat least--especially recently (or in this case, constantly)disturbed ones.

Matthew's is fixated on an arbitrary spot ahead. He's inhis mind more than reality, no doubt, replaying the trauma.

The Constable pulls up a CHAIR next to him.

CONSTABLEHi, Matthew.

No response.

CONSTABLE (CONT'D)My name's Constable Gregson, and Iknow you must be feeling really weirdright now. I would be too if I werein your position. But I just needto ask you a couple of questions andthen you're free to go. Is that ok?

For a second, no one is home. Then, as if awakening--havinga dream-noise reinterpreted into reality to reveal its truesource--Matthew tilts his head to the Constable.

MATTHEWHow did I get here?

CONSTABLEYou were by the river, remember? Apasserby heading over the walk-bridgesaw splashing. They came over toinvestigate, and well-

(beat)They called us.

MATTHEWOh.

13.

CONSTABLEDo you remember what happened beforeyou lost consciousness?

MATTHEWYes.

CONSTABLEOk, good, good. You don't have tosay it. I just need to know how youcame about.. what you saw.

MATTHEWI- I just- was going for a walk.

An awkward silence ensues, as if the officer expected him toelaborate.

CONSTABLEIt's dangerous for boys of your ageto be walking out in the woods attwo in the morning.

MATTHEWOh god. My mom is going to kill me.

CONSTABLE(chuckling)

No, she isn't; now trust me, thatwoman loves you.

MATTHEWHow do you know that?

CONSTABLEWell, I see quite a few worriedmothers in my line of work, and Iknow the difference between the niceones and the nasty ones.

MATTHEWShe is nice.

CONSTABLEYou're a lucky man, Matthew.

Matthew begins to drift.

CONSTABLE (CONT'D)Now, about what you saw. Was thereanything in particular that led youto the spot? Maybe some animalnoises, or you saw something out ofplace...

14.

Unconsciously, Matthew's heel picks up a STEADY TAP.

CONSTABLE (CONT'D)Or a funky smell...

MATTHEW(reflexive)

Yeah, it was the smell.

CONSTABLEMhm. So it smelled really weird,and you were curious to see what wasmaking that smell.

Matthew nods. His foot picking up tempo.

CONSTABLE (CONT'D)Well, I just want you to know thatthis sort of stuff happens, and it'sok, and you put a lot of minds atease by finding what you found.

MATTHEWIs it because she was so mean?

The Constable does a double take. The routine has suddenlybecome not so routine.

CONSTABLEYou know who she was?

MATTHEWShe was my third grade teacher, Ms.Cole.

CONSTABLEHow do you know that?

Matthew's slip of the tongue catches even himself off guard,and he notices too late.

MATTHEW(stammering)

I- I- saw her face.

CONSTABLEMatthew... I don't know how to putthis. When a person spends thatmuch time in water- well, you can'trecognize them.

The officer's sudden change of tone--"the sternness of thelaw"--ignites a pale panic about Matthew, instantly tearingdown any flimsy pretense he could've possibly mustered.

15.

MATTHEW(blurting)

It was The Figure.

CONSTABLEThe Figure?

MATTHEWIt visits me sometimes. It takes meto places I don't want to go. Please,don't send me to jail. Please. Itwasn't my fault.

CONSTABLEIt's ok, it's ok. I promise you'renot going to jail. You have my word.

(beat)Now, can you tell me more about this"figure?"

MATTHEW(under his breath)

Oh, no. Oh, no.

Terror bleeds over Matthew's pale face. He can't reply;he's already said too much.

CONSTABLEMatthew?

His eyes glaze over once again; his muscles turn to ice.

CONSTABLE (CONT'D)Matthew? Is everything all right? Matthew?

CUT TO:

INT. SCHOOL YARD - DAY

Matthew is sprawled under the shade of an OLD OAK TREE, ahand-held GAMING CONSOLE in his grasp. THE SUN enlivens thechildren behind him, but, for Matthew, it's always seemedtoo intense--the light, the heat.

To his game, his fingers bolt with utmost focus and reflex. Upon closer examination we see he is playing "KID ICARUS:UPRISING" for NINTENDO 3DS: a game where an angelic,adolescent protagonist soars across various dreamscapes tovanquish his foes with a shimmering, bladed bow and arrowswrought of pure light.

FEMALE VOICE (O.S.)Matthew.

16.

He doesn't even take notice.

FEMALE VOICE (CONT'D)Um. Matthew?

Then he does, with a bit of shock. It's ASTRID (11, blonde),a pretty little flower who seemed to be budding earlier thanher classmates. Why she would be speaking to Matthew, Godonly knew.

MATTHEWHa.. Uh.. Astrid..

Matthew, used to butchering spontaneous greetings, seemshardly phased by his own awkwardness.

ASTRIDI heard about what happened.

MATTHEWOh.

Astrid reveals the BROWN PAPER BAG she was concealing behindher back.

ASTRIDI just wanted to give you this.

MATTHEW(dumbstruck)

Uh..

She hands him THE BAG.

ASTRID(abrupt)

I'm sorry.

She whips around and races off.

Matthew peels open the CRACKLEY BROWN PAPER.

A single APPLE lay inside.

Apprehensively, he reaches his hand inside to grasp the sweet,forbidden fruit. His eyes widen as an odd sensation overcomeshis digits.

He wrenches the APPLE out. It's infested with WORMS; theyslither, prod, and weave between his fingers--a funny andnot wholly unpleasant thing. He seems more curious thandisgusted by the spectacle.

Laughter erupts from a GAGGLE OF BOYS by the MONKEY BARS. Astrid is with them, her head down, ashamed.

17.

BOYISH VOICE (O.S.)Freak!

Matthew relinquishes the APPLE, gently, to the ground.

UNKNOWN LEGION (V.O.)Freak!

Matthew's resolve towards bullying is firm--someone like himwould have to be--but the word seems to sting like a syringeeach time it's spewed.

UNKNOWN LEGION (V.O.) (CONT'D)Freak! You're a freak, Matthew!

He winces.

UNKNOWN LEGION (V.O.) (CONT'D)Run, freak! Run!

Desperate to escape the taunting, he complies with a dash,accidentally crushing his NINTENDO 3DS in the scramble.

Away and away. The further he goes, the less the voicespinch, the more the anonymous abuse quells.

He goes and goes, and soon enough, the seething attack dimsto a simmer, and cools with the BREEZE.

CUT TO:

INT. MATTHEW'S BEDROOM - NIGHT

The Figure is already there, looming, SHIFTING, silent. Likewise, Matthew, is already awake, back to the wall,leering, waiting for words.

None come. He relents.

MATTHEWWhat kind of a test was that?

The Figure appears to tilt what seems like a HEAD, examiningits subject.

MATTHEW (CONT'D)I asked you a question.

THE FIGUREA question you already know the answerto.

MATTHEWWhat? You wanted to scare me?

18.

THE FIGURENo.

(beat)You wanted to scare you.

MATTHEW(incredulous)

I didn't know there would be a deadbody there.

THE FIGUREYes, you did.

Matthew shakes his head in disbelief/denial.

THE FIGURE (CONT'D)What you didn't know was how you'dreact.

MATTHEWLike any normal person?

THE FIGURELike a coward.

MATTHEW(weakly)

I'm not a coward.

THE FIGUREDon't deceive yourself, Matthew.

MATTHEWGo away.

(beat)Just go the hell away.

THE FIGURESoon.

Another stare-down ensues: The Figure hovering like anENCAPSULATED HEAT-WAVE, and Matthew, holding a bold facadelike a breath under water.

THE FIGURE (CONT'D)You told them about us.

MATTHEWAbout you.

THE FIGUREAbout us.

19.

The Figure's LANKY APPENDAGES fold out like SPIDER-LIMBS. This time, however, what appears to be fingers- no, CLAWS,extend with a grotesque SPLURGE from the tips.

THE FIGURE (CONT'D)All actions must have theirconsequences.

MATTHEWNo, don't do that. Please don't dothat.

THE FIGURESpare the rod; spoil the child

MATTHEW(frantic)

Please don't. I promise. I'll-I'll never mention you again. I'llnever open my mouth again. I promise.

THE FIGUREGood.

The Figure seems to relax for a moment.

THE FIGURE (CONT'D)So you will not scream then.

MATTHEWNo! Please! I'll never--

The Figure proceeds grimly towards Matthew, CLAWS fullyextended.

THE FIGUREBe brave, Matthew. It'll be oversoon enough.

Matthew forces a PILLOW to his mouth as the SHADOW engulfshim.

MUFFLED SCREAMS seep outside the cracks of his BEDROOM DOOR.

CUT TO:

INT. MATTHEW'S BEDROOM - MORNING

DAYLIGHT hits like a flame-licked lash against Matthew'sskin. He throws the covers off to find his arms scratched,DEEP and BLOODY. His INNER SHEETS are spotted with DRIEDBURGUNDY.

The LACERATIONS across his arms are also evident over hislegs, but no where else.

20.

They look characteristically self-inflicted.

His shame and disappointment, as opposed to horror, at thespectacle hint that this was not a first time occurrence.

He knew the drill: the SCHOOL BUS would be arriving in soon,and he had plenty of clean LONG-SLEEVED shirts to choosefrom.

On his way out, he makes sure to dispose of the sickly TAINTEDLINENS in the GARBAGE.

CUT TO:

EXT. SCHOOL YARD - DAY

A HALF-RAINBOW lords starkly over a WARM SUNSHOWER'SAFTERMATH. Matthew huddles under a familiar, staunch OAKTREE, occasional DRIPS of cool RAINWATER bouncing off hisskin. Each bead's bombastic contact seems to enthrall him. He basks in the spontaneous, privileged moment ofhypersensitivity and calm. Usually, they are mutuallyexclusive events.

This time he faces the STUDENTS at recess play, vigilant; nodoubt keen to avoid another abusing.

ESTHER (11, pitch-black hair), catches his gaze from a coupleyards away. She already appears to be contemplatingsomething.

She decides to make an approach.

UNKNOWN LEGION (V.O.)(softly)

She's going to laugh at you.

Matthew acts as if he isn't listening.

UNKNOWN LEGION (V.O.) (CONT'D)She's going to hurt you.

But he is listening--he hurries to collect his things.

UNKNOWN LEGION (V.O.) (CONT'D)Stay away from her. Run away fromher.

Too focused on his escape attempt, he fumbles with hisKNAPSACK, drops it, and spills some of the CONTENTS. Amongthem is a SCORCHED PIECE OF CONCRETE RUBLE. Before his handcan snatch it, Esther has it within her grasp.

Matthew snaps to his feet.

21.

ESTHERLet he who is without sin cast thefirst stone.

Smiling, she offers the RUBLE to Matthew.

MATTHEWUh...

ESTHERI'm sorry.

(beat)I like your rock.

MATTHEWIt's not a rock.

ESTHERWhat is it?

MATTHEWIt's concrete.

ESTHER(in jest)

Concrete? Aren't your textbooksheavy enough?

MATTHEWIt's- never mind. I- I have to go.

He makes for a breakaway.

ESTHERWait! I heard about what happened acouple nights ago.

MATTHEWPlease. I don't want to talk aboutit. I just need to-

ESTHER(abrupt)

I have it too.

MATTHEW...Have what?

ESTHERThe thing, you know, when you'redoing something, and then you wakeup somewhere else, and there's awhole bunch of people around you.

22.

MATTHEWThat happens to you?

ESTHER(proudly)

Yeah, I'm epileptic! My name'sEsther.

MATTHEWEsther.

ESTHERIt's ok I already know your name. Everyone at school knows who youare.

Matthew drops his head, flush with shame, but, this time,with a hint of bashfulness.

ESTHER (CONT'D)Listen, I want to give you something.

Matthew's guard lifts immediately.

UNKNOWN LEGION (V.O.)(whispering)

Don't take anything. She's going tohurt you.

MATTHEWOh, uh, no thank you.

ESTHERNo, trust me, it really really helps.

Her persistence, and perhaps a little of her cuteness,completely dominates him.

She ruffles through her KNAPSACK.

MATTHEWNothing can help me, though.

ESTHERThis will. I promise.

She reveals a three inch, OPAQUE-WHITE ALABASTER ANGELSTATUETTE. It's a modern interpretation of an angel, bearingSHIELD AND SWORD. The SHIELD'S FACE and the SWORD'S BLADEappear to be varnished with some sort of GLOSSY COAT.

It looks nothing short of quintessentially gallant.

Matthew glares at the object with an utmost skepticism.

23.

Esther motions her hand further towards him, and eventuallyhe relents, receiving THE FIGURINE.

ESTHER (CONT'D)That's the Archangel Michael.

MATTHEWMichael?

ESTHERYes. I have one too see.

She ruffles through her KNAPSACK once again and pulls out amore FEMININE FIGURINE made of the same material.

ESTHER (CONT'D)This is Mary Magdalene.

MATTHEWMary, like, Mother Mary?

ESTHER(nodding)

Full of grace.

MATTHEWWho's Michael?

ESTHEROh, you're gonna like Michael. Michael is the leader of God's angels. He's a warrior and protector; thebravest and the strongest.

MATTHEWReally?

ESTHERHe once defeated The Devil.

MATTHEWHe did?

ESTHERMhm.

MATTHEW(fixated)

Woah.

ESTHEROk, so this is what you gotta do: Keep Michael with you at all times.

(MORE)

24.

ESTHER (CONT'D)Keep him in your backpack when yougo to school, and put him by yourbedside at night.

MATTHEWWhy?

ESTHERBecause he will stop the thing fromhappening-

(beat)You know...

MATTHEWOh, right. Wait. He will?

ESTHEREver since I got Mary, I started tofeel better. My attacks stoppedhappening as much.

(beat)I have a whole collection now athome, but, I take Mary with meeverywhere I go.

The RECESS BELL chimes.

ESTHER (CONT'D)Ugh, the worst sound in the world.

Matthew releases a giggle; it just escapes him somehow, sonaturally.

ESTHER (CONT'D)Anyway, I'll see you later ok.

MATTHEWOk.

She makes for the HORDE.

MATTHEW (CONT'D)Oh, uh- thank you!

ESTHERDon't thank me! Thank God!

Matthew contemplates this for a moment, tilting his head tothe SUNBURST SKY.

CUT TO:

25.

INT. KITCHEN TABLE - EVENING

LEAH(gleeful)

You made a friend?

Matthew is taken aback by the word.

MATTHEWWell, I wouldn't say friend.

LEAHWas she friendly?

MATTHEWWell, yeah.

LEAHThan she's a friend!

MATTHEWMom.

LEAHWhat?

MATTHEWYou know what happens-

(beat)After people get to know me.

Leah shakes her head in rapid denial.

LEAHUh-uh, no, you have it all wrong. It's because they don't get to knowyou well enough.

He's not buying into her platitudes. He wants to, but hecan't.

He fiddles with an object in his pocket. It's the ARCHANGELMICHAEL.

He places it gently on the table, his mother's eyes followinghim like a hawk.

MATTHEWThis is Michael.

LEAHOh, it's-

(beat)He's beautiful.

26.

MATTHEWHe's a soldier and protector. Thebravest and the strongest.

LEAHHe looks like an angel.

MATTHEWArchangel, actually.

LEAHDid your new friend give that toyou?

MATTHEWMhm.

Leah attempts to hold back her excitement. Matthew's peerinteractions are evidently scarce if existent at all.

LEAHA guardian angel.. to protect myboy.

Matthew's attention has already begun to drift inwards.

LEAH (CONT'D)Matthew?

MATTHEW(abrupt)

Mom, I have a question.

LEAH(taken aback)

Yes?

MATTHEWIt's about dad.

Leah's gleeful expression drops like an anchor.

LEAHSure, honey.

MATTHEWWas he ever scared-

(beat)you know, before he went to work?

LEAHOf course he was. We both were. Every single time.

27.

MATTHEWReally?

LEAHTerrified.

MATTHEW(baffled)

I don't understand.

LEAHUnderstand what?

MATTHEWHow could a person be so scared andso brave at the same time?

Leah thinks on this a moment.

LEAHIt's because he was so scared thathe could be so brave. And becausehe loved you.

Something within Matthew lifts; something utterly genuine. Was it pride? Sorrow? Both?

LEAH (CONT'D)We can't choose what to feel, Matty.

(beat)We can only choose what to do.

The words strike him, but overcome with embarrassment at thenotion of sharing the emotion, he quickly turns to playingwith his FOOD.

ARCHANGEL MICHAEL stands vigil over the mother and the child.

CUT TO:

INT. MATTHEW'S BEDROOM - NIGHT

Matthew, clad in pajamas, places ARCHANGEL MICHAEL on hisbedside table. He dotes on it for a moment; it does lookpretty awesome.

When he finishes admiring, he slips under the COVERS, createsa nice airtight tuck (monster prevention and all that), andlets his eyelids fall, like two autumn leaves.

THE FIGURE (O.S.)Matthew.

The leaves jolt back to their branches.

28.

MATTHEWOh, God.

THE FIGUREI apologize for what happened theother night.

The Figure appears to be sitting this time on the edge ofthe BED, facing away--vastly less intimidating. It's form,although wildly energetic and ethereal, is somehow morehumanoid.

THE FIGURE (CONT'D)I did only what was necessary.

Matthew quickly creates a space between them.

MATTHEWYou hurt me.

THE FIGUREI hurt us.

MATTHEWNo you didn't. You hurt me.

He rolls up his SLEEVES.

MATTHEW (CONT'D)Look what you did.

THE FIGUREI assure you, I took no pleasure init.

MATTHEWI don't know if I believe you.

THE FIGUREAre you afraid of me?

MATTHEWNo.

THE FIGUREDo you understand why I did what Idid?

MATTHEWYes.

(beat)But it hurt. A lot.

29.

THE FIGURESometimes suffering is the necessarypath to revelation.

MATTHEWI don't want to suffer.

THE FIGURENo one does.

MATTHEWMom and Dr. Janus say I'm sick.

THE FIGUREIs that what you believe?

MATTHEWI don't know.

(beat)What do you believe?

The Figure WEAVES and TWISTS in silence for a moment.

THE FIGUREI believe that you're special.

MATTHEWPlease. Don't give me that-

THE FIGUREI don't have to. I can show you.

MATTHEWShow me what?

THE FIGUREI can show you how you're special.

MATTHEWWhen?

THE FIGURERight now.

MATTHEWHow?

The Figure rises to its feet--or what appear to be feet. ASLENDER ARM uncoils grotesquely out.

THE FIGUREFollow me.

(MORE)

30.

THE FIGURE (CONT'D)(beat)

Please.

CUT TO:

EXT. THE STREET - NIGHT

From across a BARREN STREET, Matthew and The Figure gaze upat a 20-STOREY APARTMENT BUILDING.

MATTHEWWhat's up there?

The Figure remains silent, ominous, for a moment.

THE FIGURENothing, yet.

MATTHEWI better not get in trouble for this.

THE FIGUREYou won't.

MATTHEW(anxious)

Well, what are we waiting for?

THE FIGUREHave you ever heard the story ofIcarus, Matthew?

MATTHEWUm.. I think so.

THE FIGUREWell it's a rather simple story,really. Allow me to refresh yourmemory while we watch.

MATTHEWWatch what?

As if on cue, an ASH-DARK PLUME begins to roll out a WINDOWabout the 15TH FLOOR.

THE FIGUREIcarus wanted to fly. Well, actually,he wanted to escape.

Matthew squints his eyes at the spectacle.

MATTHEWDo you see that?

31.

THE FIGUREBut Icarus was only a man.

The SMOKE HASTENS and THICKENS.

MATTHEWI think someone might be in troubleup there.

THE FIGURESo Icarus had his father, Daedalus,craft him wings of wax.

MATTHEWI should call 911...

Again, as if oddly on cue, the crescendoing CAW of emergencysirens blare through the city-scape.

THE FIGUREDaedalus had one simple warning forhis son...

Matthew backtracks flush to the BUILDING behind him, rapidlyscanning for the cavalry to arrive.

THE FIGURE (CONT'D)"Follow my path," he said, "All youneed do is follow my path."

The FIRETRUCKS arrive from all directions. One is equippedwith an EXTENDIBLE LADDER, the big kind. It aligns itselfparallel to the now SMOKING BUILDING.

The noise of SIRENS becomes atrociously penetrative as theVEHICLES assemble. Matthew is forced to cover his ears withhis palms.

THE FIGURE (V.O.) (CONT'D)So Icarus equips his father'sinvention, and charts a course.

A figure emerges from the CHARCOAL VAPORS about FLOOR 15,waving both arms in obvious distress. The LADDER begins toextend and ascend with a FIREFIGHTER already at the highestrung.

As a reflex, Matthew lifts his hand off his right ear topoint upwards.

MATTHEW(shouting)

Someone's up there!

32.

MATTHEW'S P.O.V. - CONTINUOUS

The heavy noise blasting into one ear is like a PHYSICALPUNCH to the jaw; it sets Matthew off balance, his field ofview TEETERING to and fro. The SIRENS form an audiblynauseating DOPPLER EFFECT as they bounce off the BUILDINGS.

BACK TO SCENE

THE FIGURE (V.O.)And when the time is right, the mantakes flight--nothing but sky aboveand ocean below.

As in "The Creation of Adam", arms outstretched, theFIREFIGHTER and the IMPERILED CITIZEN are within fingersreach of each other. Meanwhile RESIDENTS flee out the LOBBY,PANIC and SCREAMING abound.

Matthew's perspective reorients.

THE FIGURE (V.O.) (CONT'D)But something comes over him-- theability to soar, the wind in hishair--he finds himself feeling

(beat)Godly.

The FIREFIGHTER signals to raise the LADDER with a THUMBSUP.

Suddenly, five floors below, a FLAME eases itself insidiouslyout an OPEN WINDOW. It proceeds to LICK at a lower sectionof the LADDER.

THE FIGURE (V.O.) (CONT'D)How high can a god fly, Matthew? ToHeaven, surely? Our hero was keento find out.

The FIREFIGHTER grabs the CITIZEN and yanks him off, securinghim clumsily, but safely, onto the LADDER.

Five floors below, the FLAMES lap on and intensify, and beginto change the whiteness of the LADDER-SECTION to a DIM RED.

MATTHEW(exhilarated)

He's got him! He saved him!

THE FIGURE (V.O.)Now you see the problem with wax isthat, well, it melts, under fire ofcourse.

33.

The FIREFIGHTER signals to his men to lower the contraptionwith a THUMBS DOWN.

Suddenly, a shrill metallic GROAN orders the chaotic air. Matthew's expression hints that he can seem to hear it despitecovering his ears.

MATTHEWNo..

THE FIGUREAnd there happened to be quite afire in the sky that day. A perfectlycloudless day.

MATTHEWSomething's wrong!

The FIREFIGHTER'S THUMBS DOWN motion becomes more frantic,but the LADDER can't de-extend. The mechanics are jammed atsome point below.

THE FIGUREAnd as you can imagine, thosebeautiful wax wings melted rightoff.

To the horror of everyone below, the LADDER begins to buckle.

MATTHEW(horrified)

No!

THE FIGURE (V.O.)And poor Icarus plummeted right intothe sea.

The ladder snaps with a horrendous CRACK, sending both theUPPER-LADDER, the FIREFIGHTER, and the CITIZEN on a 15-storeyplunge to a CONCRETE DEATH.

Matthew whips his head away just at the moment of impact.

MATTHEW'S P.O.V. - CONTINUOUS

Slow-motion PANTING from inside a tone-muffled soundscape.

SCREAMING, SIRENS, ASH, SOOT, and HEAT.

The Figure is now clearly facing, and, somehow, staring atMatthew.

34.

THE FIGURE (V.O.) (CONT'D)(warped)

Now, Matthew, what do you think isthe moral of that story?

BACK TO SCENE

MATTHEWYou're a monster!

Matthew breaks off into a dash, face spotted with SOOT. HisFREAKISH FAMILIAR stays put, watching, as falling ASH phasesdirectly through it, like APOCALYPTIC RAIN.

CUT TO:

INT. MATTHEW'S LIVING ROOM - NIGHT

Matthew bursts through the FRONT DOOR. The VOICES are aliveand brutal.

UNKNOWN LEGIONCoward! Just run away! Run awayfrom everything! You coward, Matthew. Pathetic.

MATTHEW(screaming)

Shut the hell up!

Leah is already there.

LEAHMatthew what's wrong? What happened?

MATTHEWMom.

He breaks down into his mother's arms, sobbing.

LEAHAre you hurt?

He can't answer, the sobs fill his throat, contort his lips,stale his tongue.

LEAH (CONT'D)Matthew, what happened?

She pulls his face up and notices it's covered in SOOT, andhis hair is riddled with ASH.

LEAH (CONT'D)Where were you?

35.

MATTHEW(traumatized)

I saw- there was fire- they fell. They both died.

LEAHWho died? Where was the fire?

MATTHEWOutside.

She makes a move to the FRONT DOOR, still grasping her sontightly.

A LARGE SMOKE PLUME fans out over the SKYLINE shielding andunshielding the MOON, creating an eery STROBE-LIKE EFFECT.

Leah breaks down into tears.

LEAHOh, Matty. Thank god you're safe.

(beat)What the hell were you doing outthere in the middle of the night?

He couldn't even lie if he remembered he was supposed to. That's what shock does, apparently.

MATTHEWThe Figure led me there.

LEAHYou mean the sirens?

MATTHEWNo, The Figure. Sometimes it visitsme, and takes me places--shows methings. I followed it to the firebefore the smoke even started.

LEAHMatty, that's impossible.

MATTHEW(scorned)

It's not! I'm not lying! It promisedit'd show me how I was special.

LEAHMatthew, you're not making any sense.

He looks up into his mother's eye, TEARS flowing like anopen gash. He looks... terrified, sincerely terrified; andfor the first time, he is sharing the emotion with anotherhuman being.

36.

LEAH (CONT'D)Oh, god, Sweety, let me wash yourface.

Emotionally fatigued, they both stumble, latched together,to the BATHROOM.

LEAH (CONT'D)You're going to sleep in my roomtonight, ok?

MATTHEW(sniffling)

...ok.

CUT TO:

EXT. SCHOOL YARD - DAY

Esther and Matthew munch on SANDWICHES together, backs againstthe familiar OAK. The TREE'S distance from the ARTIFICIALPLAY-STRUCTURES make it an EDEN of some sort--a sweet refugefor the introverts. Something noticeably COLORFUL isbeginning to bloom from its broad-swept BRANCHES.

MATTHEWSo he actually lived inside the fishfor three days?

ESTHERLeviathan. And yes.

MATTHEWBut that's impossible. There wouldn'thave been enough oxygen. The stomachacid would have burned him.

ESTHERYes, true, but, this was a leviathan. It was, like, huge. Like huuuuge. Bigger than anything you can imagine. Like...

MATTHEW(smiling)

Huge?

Esther giggles.

ESTHERYes. There could have been wholeshipwrecks inside of there.

37.

MATTHEWSo what happened to all of these"leviathans"?

ESTHERHmm. I don't really know to behonest. Maybe they died off likethe dinosaurs.

(beat)But you're thinking too much intoit.

MATTHEWI am?

ESTHERIt's about the moral of the story.

Matthew pulls his knees to his chest; the word noticeablydisturbs him.

MATTHEWWhat's the moral?

ESTHERWell you see: Jonah took to the seato escape his duty.

MATTHEWBecause he was afraid.

ESTHERExactly. But, when he should havedrowned after being thrown off theship, he was rescued instead.

MATTHEWBy the leviathan?

ESTHERBy God.

MATTHEWBut-

(beat)Why?

ESTHERBecause everyone deserves a secondchance.

(beat)Because how can we learn from themistakes that we don't make?

Matthew mulls this over deeply.

38.

MATTHEWIt was a lesson. Not a test.

ESTHERExactly. The lesson has to comebefore the test; not the other wayaround.

MATTHEWOr else you get an F.

Esther laughs. It's infectious, and soon they're laughingtogether.

ESTHERMatthew?

MATTHEWYeah?

ESTHERDo you have him with you?

Matthew looks confused for moment, until it clicks like alight switch. He reaches into his KNAPSACK to reveal theARCHANGEL MICHAEL.

ESTHER (CONT'D)Have you noticed any changes?

MATTHEWWell, I haven't had any..

(beat)"attacks" since I got him.

Esther cups her hand over the top of Matthew's, THE FIGURINEsandwiched inbetween.

ESTHERGood.

Matthew's entire body stiffens. He pulls the figurine away.

MATTHEW(stammering)

I- I should-

ESTHERCome over to my place this weekend?

MATTHEWWhat?

ESTHERI want to show you my collection.

39.

MATTHEWReally?

ESTHERReally. You'll love it, I think. Each one has a special story.

MATTHEWThat sounds... cool.

ESTHERCool as ice.

MATTHEWHuh?

ESTHER(gesturing)

Look that way!

Matthew takes the bait. Esther swiftly reaches into herLUNCHBAG, pulls out an ICE GEL PACK, and slips it down theneck of Matthew's SHIRT.

He flinches from the shock, but it quickly dissolves into asmile. Ice is... kinder than fire.

MATTHEW(playful)

Hey!

Fumbling through his SHIRT, he rips out the PACK and proceedsto chase a giggling Esther with it, their footsteps carvingan ENTWINING WAKE in the TALL SUMMER GRASS.

CUT TO:

INT. MATTHEW'S BEDROOM - NIGHT

Matthew is wide awake, on two feet, leaning against the wallof his bedroom. In his hand, he white-knuckle clutches theARCHANGEL MICHAEL. He's waiting for someone--something.

There's a DRIP from the ceiling. It's viscous, like HOTTAR. The DRIP heightens in frequency until it's SPEWINGlike a broken-pipe, conglomerating in a contained PUDDLE onthe ground. A form begins to ASCEND and simultaneouslyINCARNATE from the PUDDLE: The Figure.

Matthew leers into the SILENT HAZE for what seems like aneternity. It somehow always forces him to speak first.

MATTHEWYou're a monster.

40.

The Figure, more humanoid than ever before, tilts its headin response.

MATTHEW (CONT'D)(louder)

You're a monster.

THE FIGUREIs that how you thank a friend?

MATTHEW(incredulous)

Thank you? For what?

THE FIGUREDon't ask questions you already knowthe answers to.

MATTHEWYou brought me too late. I could'vecalled 911 before the smoke. Icould've saved their lives.

THE FIGUREYes. You could have.

(beat)Why didn't you?

MATTHEWBecause you wanted me to watch!

THE FIGUREYou're speaking to a mirror, Matthew.

MATTHEWYou are not me. And I never wantedto watch.

THE FIGUREYou couldn't do anything but watch..

MATTHEWThat's not true..

THE FIGUREBecause you have too much fear inside.

(beat)Because you're a coward.

MATTHEW(softer)

It's ok to be afraid.

THE FIGUREIs it?

41.

MATTHEWYes.

THE FIGUREWhat would your father think if heheard you say that?

Matthew winces from the sting...

MATTHEWI think- I think-

THE FIGUREYes?

but remembers something, and recovers.

MATTHEWI think he would understand.

The Figure's FLOWING FORM seems to ACCELERATE, as if provoked. A staring contest ensues; this time, however, Matthew doesnot balk--not even a blink, his mouth grimacing.

THE FIGUREYou told her about us.

MATTHEWNo. I told her about you.

THE FIGUREYou really don't believe we're one. Where do you think it is I come from? Heaven?

MATTHEWMore like Hell.

THE FIGUREWrong on both accounts.

MATTHEWYou don't frighten me.

THE FIGUREOh, Matthew. I terrify you.

It's true, and Matthew's facade can't hold much longer. Hishand grasping the FIGURINE, however, can.

MATTHEWGet it over with already.

THE FIGUREI am truly sorry for this.

42.

TWO SPINDLY LIMBS-- the CLAWS--fold out at a horrificallyprolonged pace. They look sharper, longer, more grotesque.

The Figure winds up for a brutal slash.

Matthew slams his eyes shut.

SHING! A shrill METAL-ON-METAL CLASH ricochets throughoutthe room.

THE FIGURE (CONT'D)Impossible...

Matthew opens his eyes. An emboldened astonishment overcomeshim.

The back of a two-foot tall KITE SHIELD hovers in the air. The STRAPS begin to WIGGLE; WISPS OF LIGHT dance betweenthem. The air between him and the SHIELD starts to RIPPLEand VIBRATE. A HUMAN LEFT-ARM materializes from the LIGHTwithin the STRAPS; fist clenched. Piece by piece, LIGHTcauterizes each seam, and cools. A BICEP, A SHOULDER, AHEAD, THE BACK OF A STEEL BREAST PLATE, STRAPS, A TUNIC,SHIN-HIGH WRAPPED SANDALS... FOLDED FEATHERED WINGS.

Out of the RIGHT HAND, a SHIMMERING LONGSWORD sprouts upwardsfrom the HILT--it's edge gilded with what seems to be PURELIGHT.

MATTHEWMichael?

MICHAEL wastes no time. He counter-attacks with a verticalslash, catching The Figure dumbstruck and slicing off itsleft arm. It releases a CACOPHONOUS SHRIEK, but regrows theLIMB with supernatural haste. It slashes horizontally backwith a WICKED CLAW. Michael evades the swipe with a sidewaysleap, and ripostes, piercing The Figure up near its shoulder. It relinquishes a second unholy SHRIEK, wrenching backwards,and knocking over a BOOKSHELF. Furious, The Figure lungesat Michael with its whole self, taking the form of a MANED-LION in mid-lunge. Michael raises his SHIELD to defend, andtakes the blow, sending him stumbling back into Matthew'sCOMPUTER MONITOR. The screen SHATTERS. Michael swiftlyregains composure, and with The Figure on the groundstruggling for four-legged footing, he thrusts down, two-handed, with a vicious impale. The Figure, suddenly a blackCROCODILE, deathrolls to evade the pierce, and in doing sobumps heavily into a PEDESTAL raising a small TELEVISIONSET. The TELEVISION teeters back and forth for an anxiousmoment before plummeting to the ground with a SMASH.

LEAH throws open the BEDROOM DOOR with such force that theHANDLE punches a HOLE in the wall. She whips the LIGHT SWITCHon.

43.

There, in the center of the WRECKED ROOM, stands only Matthew,a BLOOD-DRIPPING FIST by his left side.

LEAHMatthew, your hand! What did youdo?

He's speechless.

Leah notices the cracked COMPUTER MONITOR, then the SHARDSOF GLASS embedded in her son's left hand.

LEAH (CONT'D)We need to take you to the hospital.

MATTHEWNo.

LEAHYes, right now. You're cut deep.

MATTHEWNo, mom. I'm fine.

LEAHYou are not fine.

(gesturing)Look!

(beat)Were going to hospital right now.

Matthew glances down at his embattled knuckles. They reallyare bleeding badly, but the pain is somehow absent. Shockdoes that to a person, apparently.

MATTHEWOh.

Leah breaks into sobbing as she embraces her child.

LEAHOh, Matty. Why? Why would you dothis to yourself?

MATTHEWI- I-

(beat)I'm sorry, mom.

LEAHSweetheart. We're going to fix this,I promise. *

(beat)Come on, we need to wrap up yourhand.

44.

MATTHEWOk, mom.

(beat)I love you.

Leah breaks completely down.

LEAHI love you too, Matty. I love youtoo.

CUT TO:

INT. PSYCHIATRIST'S OFFICE - MORNING

Matthew sits face-to-face with his doctor. Something abouthim is different--less inhibited. He's able to sustain eyecontact for longer; his body language seems less guarded andless lethargic.

DR. JANUSThat's quite a boo-boo you'vesustained there.

He tucks his BANDAGED hand under the other and nods.

DR. JANUS (CONT'D)Your mother told me about last night. She's very worried about you.

MATTHEWI'm ok. Really.

DR. JANUSDo you want to talk about it?

MATTHEWNo. I'm sorry.

DR. JANUSThat's ok.

(beat)What would you like to talk about?

Matthew muses on this a moment, his head turned to theSUNBEAMS flickering through the BLINDS.

MATTHEWDo you believe in God, Dr. Janus?

DR. JANUS(frank)

No, I don't.

45.

MATTHEWOh.

DR. JANUSMy mother did, though.

MATTHEWShe did?

DR. JANUSOh, yes. Very much so.

MATTHEWWhat was she like?

DR. JANUSShe was stubborn, but very caring.

MATTHEWHow was she stubborn?

DR. JANUSWell, she got cancer. Lymphoma. And, she refused to get treatmentfor it.

MATTHEWWhy?

DR. JANUSShe would say that if God deemed itwas her time to go, then why fightit.

MATTHEWShe didn't want to live?

DR. JANUSOh, she did. She just wasn't afraidto die. She believed that she wasgoing to a better place.

MATTHEWAnd?

DR. JANUSAnd... I said goodbye to my mothermonths- maybe years before I had to.

MATTHEW...I'm sorry.

DR. JANUSOh, that's ok.

46.

MATTHEWI know what it's like to lose aparent.

DR. JANUSYou do.

(beat)Do you believe your father's in abetter place?

MATTHEWNo.

DR. JANUSWhy's that?

MATTHEWHow could there be a better placethan with me and my mom?

Something like frustration raises the tone of Matthew's voice. Real frustration, and he can express it.

MATTHEW (CONT'D)Holding her at night; telling mestories before bed

(beat)How could there be a better placethan that?

DR. JANUSThat's a fair point. So you don'tbelieve in God then.

He waits to compose an articulate answer.

MATTHEWWhy would I want to believe insomething that makes people ok withdying?

Dr. Janus smiles.

MATTHEW (CONT'D)What?

DR. JANUSYou're an intelligent young man, youknow that, Matthew?

That one catches him completely off-guard.

MATTHEWUh- I- but I'm sick.

47.

DR. JANUSThey're not mutually exclusive traits.

MATTHEWWhat does that mean?

DR. JANUSIt means that you can be both atonce. In fact, quite a few peopleare.

MATTHEWThere are more people like me?

DR. JANUSTons. And none. One day you'llrealize what makes you you.

MATTHEWWhen will that be?

DR. JANUSIt could be in 10 years. It couldbe tomorrow.

(beat)Different people heal at differentrates.

He briefly glances down at his BANDAGED hand.

MATTHEWI want to heal fast.

DR. JANUSSomething tells me you just might.

Matthew's face brightens.

DR. JANUS (CONT'D)But for now, try to throw your fistinto less breakable things.

A full-blown laugh escapes him. Dr. Janus smiles back.

DR. JANUS (CONT'D)Deal?

MATTHEWDeal.

CUT TO:

48.

INT. ESTHER'S ROOM - DAY

Matthew and Esther sit face to face, legs crossed, twoALABASTER FIGURINES in front of them. One, a SMALL BOY, andthe other, a BROAD SHOULDERED BRUTE clad in ARMOR, at leastthree times the size. Matthew has the BRUTE on his side.

Esther swings her hand as if wielding an invisible lasso.

ESTHER(mouthing the soundeffect)

And he went like this.(beat)

And release!

She knocks back the GOLIATH with a flick of her finger tothe forehead.

MATTHEWOuch.

ESTHERImbedded the rock right into hisskull.

MATTHEWNo way..

ESTHER(playful)

What?

MATTHEWHow could a teeny tiny rock takedown this guy?

ESTHERA really good shot, I guess.

MATTHEWBut a human skull cracks. You can'tstuff a rock into it.

Esther grasps for an explanation.

ESTHERMaybe he got him right through theear.

They both share a laugh.

ESTHER (CONT'D)Can I tell you a secret, Matthew?

49.

MATTHEWSure.

ESTHERI don't believe all the stories aretrue.

MATTHEWWhat?

ESTHERI don't even believe half of themare true.

MATTHEWBut- you-

ESTHEROk. Actually. Don't tell my mom anddad this, ok? Promise?

MATTHEWPromise.

ESTHERI don't really believe any of themhappened at all..

MATTHEW(stammering)

But- you're always- telling me storiesabout-

ESTHER(abrupt)

That's what I love! The stories. The monsters, the magic, the miracles! The angels and the demons.

(beat)Especially the ones where the angelswin.

Matthew frowns deeply at this. He looks slightly deceived.

MATTHEWWell you're wrong, you know. Atleast about one angel.

ESTHEROh, yeah?

MATTHEWYeah.

Matthew brushes GOLIATH aside.

50.

MATTHEW (CONT'D)Can I tell you a secret?

ESTHEROf course.

And places ARCHANGEL MICHAEL on the battlefield.

MATTHEWThis one's real. I saw him lastnight.

ESTHER...bullshit.

MATTHEWCross my heart and swear to God.

Matthew gets to his feet, and takes a battle stance. Hemimes a shield in his left hand, and uses ARCHANGEL MICHAELas a sword in his right.

MATTHEW (CONT'D)He was like this..

Matthew slashes the air with his "sword". Esther watcheson, enthralled.

The FIGURINE'S GLOSSY SHIELD and BLADE flickers LIGHT aboutthe room when the angle allows.

Matthew parries an invisible blow; blocks another with hisair-shield. Soon he loses all inhibition and stages an entireplay fight with the air, mouthing all the noises.

He turns back to Esther, panting, excited, gleeful.

But something's off. Her expression is frozen forward.

MATTHEW (CONT'D)Esther?

She falls back into a viscous convulsion--not like Matthew's,but much more violent.

MATTHEW (CONT'D)Esther!

Matthew rushes to her side. He notices her eyes have rolledback into her head.

MATTHEW (CONT'D)Esther! Help! Someone help!

51.

Her FATHER bursts through the door and straddles his daughter,shoving Matthew aside in the rush. He has a TOOL already inhand, and places it in her mouth, pinning her arm to thefloor with his free hand.

Her MOTHER rushes in as well and locks her knees to theground.

Her limbs twitch wildly; her trunk thrusts up and down despiteher Father's pressure.

She looks like a possessed soul--not Esther.

Her Father swiftly dives into a DIREFUL CHANT, while Matthewlooks on in horror.

FATHEROur Father in heaven, hallowed bethy name. Your kingdom come, yourwill be done, on earth, as it is inheaven. Give us this day our dailybread, and forgive us our debts aswe also have forgiven our debtors. And lead us not into temptation, butdeliver us from evil.

UNKNOWN LEGION (V.O.)Run! Get out of there! Run away! Run, now!

Esther's Mother picks up the CHANT as her daughter writhesspastically on the floor, knocking ALABASTER FIGURINES everywhich way.

MOTHERThe Lord is my shepherd; I shall notwant. He maketh me to lie down ingreen pastures: he leadeth me besidestill waters. He restoreth my soul:he leadeth me in the paths ofrighteousness for his name's sake.

UNKNOWN LEGION (V.O.)Go! Run, Matthew! Go, now!

MOTHERYea, though I walk through the valleyof the shadow of death, I shall fearno evil.

Matthew bolts out the room, out the FRONT DOOR, and down theSTREET, as fast and as far as he can.

THE VOICES are heavily in tow.

52.

After three blocks of dashing, out of breath, he spots aCHAPEL and explodes through the DOOR.

CUT TO:

INT. CHURCH - DAY

Matthew's blunt beeline to the alter QUAKES the calm, VACUOUSINTERIOR. STAINED GLASS HEROES AND VILLAINS watch in silence. The ambient voices seem to have quelled to an absolute silenceat this point.

Matthew, knelt and frantic, lays his right hand over hisBANDAGED one, directly over the FRONTMOST BANISTER.

MATTHEWPlease. Please. Don't let her die. Please.

A SPRAWLED MAN FIGURE looms solemnly over the ALTER, bothpalms and feet pinned to two CROSSED STICKS--his expression,ghastly.

MATTHEW (CONT'D)I'll do anything. Please. Please. Just let her live. Please.

A BLACK-CLAD, WHITE COLLARED PRIEST shuffles out from a DOORbehind the ALTER. He looks to be in his late 80's, at least.

PRIESTChild! What in Heavens seems to betroubling you?

Matthew takes no notice, and continues the frantic plea.

PRIEST (CONT'D)Child, please.

Matthew swings his attention to the decrepit man.

MATTHEWMy friend- she's having an attack- I'm scared she's going to die.

PRIESTWhere is she at this moment?

MATTHEWShe's with her parents. She'sepileptic. She started shaking and-and- oh please, oh please...

The Priest calms slightly.

53.

PRIESTSo she is in safe hands.

TEARS find their way through the creases of Matthew's pooreyes.

MATTHEWI don't want her to die. Oh god, ohgod.

PRIESTHeavens, child. Take a seat, please,before we both have a heart attack.

The Priest leads him to the FRONT PEW. They sit as the ECHOEScalm.

PRIEST (CONT'D)Take my hand.

Matthew is apprehensive, of course. Any contact--especiallyskin contact--would normally terrify him. But dire timescall for dire measures. He finds the strength within, andtakes the ancient man's SUN-SPOTTED hand.

PRIEST (CONT'D)I shall pray for her.

The Priest closes his eyes, and seems to instantly entersome sort of trance. He begins a steady RHYTHMED CHANT underhis breath: ancient words, thousand-time-uttered words.

Matthew watches and mimics to the best of his ability. Opening his eyes only to gaze up nervously at the MAN ON THESTICKS.

A long, intense silence ensues, as the Priest's CHANT shiftsto an internal one.

Then, with a deep inhale, the Father opens his eyes.

MATTHEWI need to- do you have a phone? Ineed to call my mom.

PRIESTHmm?

The Priest appears slightly confused, as if he'd just beensomewhere far away, where the word "phone" made little sense.

MATTHEWA phone-

(beat)Please.

54.

PRIESTOh, my, of course.

The Priest shuffles through one of his many pockets, andpulls out a paradoxically high-tech CELLULAR GADGET.

PRIEST (CONT'D)The Lord works in mysterious ways..

He hands THE GADGET to Matthew with a warm smile.

PRIEST (CONT'D)Cellular phones: even more mysterious.

Not to Matthew though; he navigates through the interfacewith a swift grace. The PHONE DIALS.

MATTHEW(to the phone)

Yes.(beat)

Yes.(beat)

In a church.(beat)

Yes.(pause)

His eyes dart.

MATTHEW (CONT'D)(enlivened)

She is? *

An autonomic sigh launches itself from Matthew's diaphragmand out exasperated, parted lips.

MATTHEW (CONT'D)Ok. *

(beat)Yes.

(beat)Oh, um..

He looks to the Priest.

MATTHEW (CONT'D)What's the name of this church?

PRIEST(proudly)

Ah. St. Matthew's Catholic Cathedral.

MATTHEWSaint- wait, really?

55.

PRIESTTruly.

MATTHEW(back to the phone)

St. Matthew's Catholic Cathedral. (beat)

Ok.(beat)

I love you too.(beat)

Ok.(beat)

Bye.

He hands the PHONE back to the Priest, his body and mindemotionally sapped. He drifts into a slouch, as if he werealone, allowing his eyelids to hover at their own behest.

PRIESTGood news, I pray?

MATTHEWThat was my mom. Ester's parentscalled her to tell me that she's ok.

(beat)My mom's coming to pick me up soon.

A warmth seems to engulf the Priest's entire body. He basksin it.

PRIEST(to the alter)

The lord is merciful.(beat)

Uh, Esther you said your friend'sname was.

MATTHEWUm. Yes... Sir.

PRIESTA beautiful name.

MATTHEWShe's my best friend.

PRIESTYou are blessed, child.

MATTHEWI- I am?

56.

PRIESTNot many souls have the privilege of best friends. Many have no friendswhatsoever, save the Lord.

MATTHEWThank you.

PRIESTHmm?

MATTHEWFor the phone.

PRIESTOh, my, you're welcome child.

ANGLE ON:

The MAN ON THE STICKS seems to draw the extended gaze ofboth Matthew and the Priest. Perhaps, it's the FIGURE'Scontrived architectural centrality, or perhaps theorganization of the windows channeling some sort of SUBLIMEILLUMINATION about the figure. Or both. Or neither.

MATTHEW(pointing)

What was he like.

PRIESTHmm? Ah, Him.

The Priest mulls on this a moment with the faintest of smiles.

PRIEST (CONT'D)He was a good son.

MATTHEWI've heard that he had super powers.

The Priest releases a hearty laugh, which turns into a smallcoughing fit.

PRIESTYes. Yes, powers of a sort, surely.

MATTHEWHe could see the future sometimes?

PRIESTMmm. From the day he was born heknew his purpose.

(beat)And he knew his fate.

57.

MATTHEWHe knew that... he was going to endup..

(beat)Like that?

PRIESTIndeed.

MATTHEWWhy didn't he do anything to changeit? Was he afraid?

PRIESTHmm.

(beat)As to his fear, it seems... uncharacteristic of the man. I'msure if he felt frightened, it wascertainly overpowered by otheremotions.

MATTHEWLike what?

PRIESTMmm, duty, perhaps. Responsibility.

(pause)This, as you know from your, uh,"super heroes" I'm sure, comes withgreat power.

These words strike Matthew; he clenches his jaw.

MATTHEWI still don't understand why hecouldn't change his fate, then.

PRIESTHe could've. But he, mmm..

(beat)chose not to.

MATTHEWBut why?

PRIESTTo teach, I believe. To help mankindlearn a very important lesson.

MATTHEWWhat lesson was that?

58.

PRIESTMmm, perhaps.. that all actionsmust have their consequences.

Matthew shifts uneasily; he's heard these words before.

MATTHEWI would've changed my fate.

PRIEST(smiling)

Mmm, is that so?

MATTHEWSo I could live on, and save morelives.

PRIESTThat is an interesting thought, child.

(beat)But, who is to say what can savemore lives: a man with a gift, or amartyr with a lesson.

The words set Matthew's mind ablaze with contemplation, andhis eye's rapid saccades affirm it.

Leah opens the ENTRANCE DOOR, and immediately catches sightof her child. Both her and Matthew make a simultaneous dashtowards each other, and embrace in the middle.

The Priest, in the background, smiles, an utter peace aboutevery modicum of his being.

CUT TO:

EXT. MATTHEW'S BEDROOM - NIGHT

GALLANT VOICE (O.S.)Matthew.

MATTHEW(coming to)

No..

GALLANT VOICE (O.S.)Matthew, rise.

It's Michael. And The Figure is... completely absent.

MATTHEWMichael!

Despite the WINGS, Michael's presence is more earthly thanThe Figure's ever could be.

59.

He speaks with a COMMON MAN'S VOICE infused with an air ofchivalry.

MICHAELShh, shh. You might wake your mother.

MATTHEWYou saved me the other night.

MICHAELYou saved you.

The comment leaves Matthew speechless for a moment.

MATTHEWNo, I- I saw you fight. I didn't doanything.

MICHAEL(warmly)

Your hand may tell a different tale.

Matthew glances down at the BLOOD-STAINED BANDAGES.

MICHAEL (CONT'D)I'm sorry to interrupt your slumber,Matthew. But something important isabout to happen.

MATTHEWWhat?

MICHAELI can only show you. I will leadyou.

(beat)You have to trust me.

Michael lends out an arm, his SWORD sheathed to his side.

Matthew is apprehensive, of course. But... this is Michael.

MATTHEWI'm scared

(beat)To go out again.

MICHAELAs am I.

(beat)But time is short.

MATTHEWWill you stay with me?

60.

MICHAELTake the statue, and I will neverabandon you.

Matthew complies with haste, stuffing ARCHANGEL MICHAEL intohis pajama pocket, and concurrently taking his valiantcompanion's hand.

CUT TO:

EXT. DIRT ROAD - NIGHT

MATTHEWWe're so far from home.

MICHAELI know. But, we're close.

Matthew tails the staunch, feathered knight, scanning thelandscape like an anxious squirrel.

MICHAEL (CONT'D)Can you smell it yet?

MATTHEWI- I smell everything.

MICHAELYes, but what about that.

It somehow becomes clear right then. Matthew's eyes lightup.

MATTHEW(perturbed)

Yes.(beat)

Michael- I- I don't like that smell.

MICHAELIt's all right. Not many do.

Matthew squints at something in the near distance; a BLACKMASS of some sort. As they approach, it becomes clear: ANADULT DEER CARCASS lay in the middle of the road.

MATTHEWIt's dead.

MICHAELYes.

Matthew begins to backtrack.

61.

MATTHEWI think I'm going to be sick.

(beat)This was a bad idea, we should gohome. I really think we should-

MICHAELWait. Please. Before we go, I needto tell you something.

Matthew starts to shiver, from the cold--the fear.

MICHAEL (CONT'D)In less than five minutes a car willcome barreling down this road. Thedriver will be intoxicated. He willnot be able to react in time. Hisvehicle will hit the animal, roll,

(motioning)twist around that tree, and trap himinside.

Matthew stammers but no words come out.

MICHAEL (CONT'D)The car will burst into flames andincinerate the man alive.

MATTHEW(becoming frantic)

Why did you take me here?

MICHAELBecause you can save him.

MATTHEWI can?

MICHAELYes. But you have to act. You haveto pull it off the path.

MATTHEWI- I can't.

MICHAELYes, you can.

MATTHEW(shaking)

I'm scared.

The WIND picks up, and with it a SWARM of what appears to beSCARABS twists TORNADICALLY next to Michael. It takes form,a CHAOTIC HUMANOID FORM: The Figure.

62.

Michael heeds it no attention; his focus is utterlyundividedly on Matthew.

The Figure remains silent.

MICHAELI know. Use it.

Matthew's mind becomes a torrent of cause-and-effect; hiseyes dart from THE DEER, to Michael, to The Figure, to THESKY, to THE ROAD, and back to THE DEER.

MICHAEL (CONT'D)Quickly!

He makes a first bold step towards THE CARCASS.

MATTHEWUgh, it smells so bad.

MICHAELI know it does. Push through it.

He takes another couple steps, until he is within feet ofthe ROTTING BEAST.

THE FIGURESmells a little like your third gradeteacher, doesn't it?

He freezes. Paralyzed.

Michael now turns to The Figure, and The Figure, likewise. Standoff.

THE FIGURE (CONT'D)Do you remember Matthew, do youremember what she looked like, justfloating-

BOOM! Michael sends a wicked SHIELD BASH into The Figure'sface.

The Figure spits out a HANDFUL OF BLACK TEETH, which dissolveas they hit the ground.

Suddenly, a full-on brawl erupts. THE SHADOW and WINGEDKNIGHT trade blows: ducking, dodging, blocking, stabbing,slashing.

Matthew's attention is lured to the melee.

MICHAEL(struggling)

Focus on your task, Matthew!

63.

Matthew wraps his good hand around a HIND HOOF, and pullswith all his might. Nothing.

THE FIGUREIt's too heavy for you.

Michael slashes vertically, but The Figure catches the bladebetween his hands, mid-air.

THE FIGURE (CONT'D)Some burdens are too heavy to bear.

Swiftly, Michael reverses his grip and launches the HILT ofhis SWORD forward, like a lever, directly into The Figure'sface. It releases a SHRIEK.

MICHAELBoth hands, Matthew! Hurry!

Matthew wraps his BANDAGED hand around THE DEER'S other HIND-HOOF. He winces from the sheer pain.

Suddenly, out of the OFF-ROAD BLACKNESS, The Figure, atremendous BLACK BOA CONSTRICTOR, lunges at Michael's torso,twisting around it with ungodly speed. He GROANS under theanguish of the asphyxiating compression.

MATTHEWAgh! It hurts!

MICHAEL(struggling)

Use it! Pull! Pull with all yourstre-

Michael is cut off by a SCALY VICE now at his neck.

Matthew SCREAMS in agony and effort. THE DEER slides twoinches. Michael struggles under the grip of the demon bindingand engulfing him. Matthew SCREAMS again, the DEER movessix more inches.

MICHAEL (CONT'D)(gargled)

Al..Most..

HEADLIGHTS approach from the distance, the DOPPLER EFFECT ofan ENGINE'S ROAR approaching.

Matthew relinquishes one final AGONIZING SCREAM.

Everything next happens in a half-second, synchronized heart-beat: Michael's WINGS spread--a glorious 10-foot span--slicingThe Figure in twine.

64.

The Figure, by the ROAD'S SHOULDER, immediately reforms intothe shape of a tremendous, BIBLICAL BEHEMOTH. Michael, inthe center of the road, makes a winged, WHOOSHED leap, tenfeet into the air, elbow and SWORD drawn back like a sling. The Figure ROARS in response, as the VEHICLE RIPS throughdirectly underneath Michael.

The VEHICLE swerves, with a drawn out HONK...but shallowenough to re-correct itself back onto the ROAD, missing theDEER carcass by inches.

It races off into the DARKNESS.

Matthew heaves, panting ferociously, on the verge of losingconsciousness. He glances over to the side: Michael has hisSWORD shoved directly through the head, and out the neck, ofthe BEHEMOTH.

MICHAEL (CONT'D)(panting)

You did it, Matthew.(beat)

You just saved a life.

CUT TO:

INT. KITCHEN TABLE - MORNING

Leah is making COFFEE; her son, inside his head as per usual,munches on a BOWL OF CEREAL.

LEAHYou look tired.

MATTHEWHuh? Oh. Yeah.

(beat)I didn't get much sleep last night.

LEAHNo?

MATTHEWMom?

LEAH(lovingly mocking)

Matty?

MATTHEWI think I wanna be a firefighterwhen I grow up.

His mother's mood shifts slightly, not sad, definitely notthrilled, but, curious.

65.

LEAHWhy would you want a job like that?

MATTHEWI want to save lives.

LEAH(surprised)

Really?

MATTHEWReally.

He grins subtly as a fantasy seems to overcome him.

LEAHThere are plenty of less-

(beat)dangerous ways to help people.

MATTHEWI don't want to help people. I wantto save them.

Leah smiles.

LEAHWhat's gotten into you lately, I'venever seen you so...

MATTHEWAlive?

LEAH...I was gonna say lively.

(beat)It's that new friend of yours isn'tit.

Suddenly, Matthew lights up in fear.

MATTHEWWhat?

LEAHEsther.

MATTHEW(relieved)

Oh, Esther.

LEAHYou have a crush on her don't you?

He blushes.

66.

MATTHEWWe're just friends, mom.

LEAHNah, you have a crush on her.

(beat)I can see it in your smile.

He didn't even realize he was smiling. It quickly drops.

Something HONKS in the distance. Matthew drops his SPOONinto the BOWL with a SHING.

LEAH (CONT'D)(laughing)

Still a little jumpy though.

MATTHEWThat's my bus.

LEAHHave a good day, sweety. Love you.

She manages to steal a kiss on his cheek before he can sneakaway.

MATTHEWLove you too, bye!

CUT TO:

EXT. THE EDEN TREE - DAY

Matthew fidgets anxiously, scanning the GAGGLE OF CHILDRENat play. A SCHOOL BUS docks, and A BLACK-HAIRED GIRL emerges. She catches his glance as immediately as he does hers, andbegins to saunter over.

Too slowly apparently; Matthew jumps to his feet and dashesup to Esther, grabbing her in a tight embrace. He can't letgo, he won't. She chuckles, her arms pinned to her sides.

ESTHERI missed you, too.

He grabs her hand, and pulls her over to the EDEN TREE, foronce dominating her, instead of vice versa.

Under the solace of THE SHADE, they sit, for a second inmutual wonder of each other's simple presence.

ESTHER (CONT'D)I'm sorry- I didn't mean for you tosee-

67.

MATTHEW(abrupt)

I want to tell you a story.

ESTHER(taken aback)

Oh.. Ok. (beat)

Let's hear it.

MATTHEWOk.

(beat)Are you ready?

ESTHERAre you?

He takes a deep inhale; it's a genuine question--this is hisfirst one after all.

MATTHEWYes. Ok. Five years ago there was aterrible thunder storm.

ESTHEROo, I'm liking it already.

MATTHEWShh, shh.

ESTHEROh, sorry.

MATTHEWSo there's a wicked thunder storm,one of the worst that our town'sever had. In the middle of the night,a lightning bolt strikes a powerline. The power line cracks, andfalls onto a brewery, and the brewerycatches fire. So the firefightersare called, and my dad is one ofthem.

Esther's expression shifts from blush-red to dread.

MATTHEW (CONT'D)It's not a big fire actually. Morelike just a routine one; you know,like one's that they were used to.

(beat)So they go in, climb to the secondfloor where it was, and put it out.

68.

Matthew's face darkens.

MATTHEW (CONT'D)But on their way down, somethinghappens. One of the giant metalvats breaks from the ceiling andfalls.

ESTHERMatthew, you don't have to tell methis story.

MATTHEWNo, I want to.

(beat)It's really important.

ESTHEROk.

MATTHEWWell, the vat was actually empty--but it wasn't really, you see, becauseit was full of oxygen. And it crackedopen when it fell.

(beat)And what fire does when there'ssuddenly a whole bunch of oxygen is-well, it eats it all up.

(beat)So the fire started up again wherethey stored all the C02 tanks 'causethere must have still been a flamethere.

ESTHERMatthew are you sure you want totell this story?

He actually contemplates this for a second; he seems torealize that he's reliving quite a horrible memory as he'stelling it. But..

MATTHEWYes.

(beat)It has an important moral.

Esther relents, and nods for him to go on.

MATTHEW (CONT'D)So one of the tanks explodes andlaunches straight through the air,and knocks one of the firefighters

(MORE)

69.

MATTHEW (CONT'D)unconscious. His name was Reggie--well we call him Uncle Reggie now,but that's besides the point.

(beat)So my dad saw this, and quickly ranover to save Reggie 'cause they werethe only two left upstairs. My dadwas a strong guy--like super strong--so he was able to lift Reggie overhis shoulders.

(beat)And then... the rest of the tanksexploded... all at once.

Matthew's face is suddenly overcome with pain as he seems toremember how the story ends. But he had already gone thisfar. With a grimace, he continues.

MATTHEW (CONT'D)So my dad, with Reggie over hisshoulders, made a move for the closestwindow.

(beat)And then.. the roof came down.

(beat)But, in that very instant, with allhis might, my dad threw Reggie outthe glass window.

(beat)Reggie broke his hip when he hit theground, but my dad saved Reggie'slife.

ESTHERAnd your dad?

MATTHEWHe- um... he didn't make it. Butanyway that's besides the point.

ESTHERIt is?

MATTHEWYes, because afterwards, Reggie gaveme a piece of concrete from the ruble,so I could always remember what mydad died for:

Matthew ruffles through his KNAPSACK for the PIECE OF SCORCHEDCONCRETE. Once in hand, he gazes deeply into the RELIC.

MATTHEW (CONT'D)Friendship.

70.

ESTHERYour father was a hero.

He pushes THE STONE towards Esther.

MATTHEWI want you to have it.

ESTHERNo- I-

MATTHEWTextbooks are heavy enough.

He takes her hand and positions it over THE STONE.

MATTHEW (CONT'D)And who knows. Maybe it will helpstop... you know... the "attacks".

Esther looks down at it for a moment and then at Matthew.

She takes the CONCRETE.

Suddenly, something overwhelms her, and she plants a kiss onMatthew's lips.

After a few seconds, they both pull back in shock; neitherof them saw that coming.

MATTHEW (CONT'D)That was...

ESTHER...cool.

MATTHEW(smiling)

Cool as ice.

CUT TO:

EXT. ASTRID'S BACKYARD - DAY

It's a kiddie birthday: BALLOONS, PINATAS, A TABLE STACKEDWITH TECHNICOLOR BOXES, and thankfully no middle-aged, under-waged clowns to taint the atmosphere with pathos. Just apeaceful, CLOUDLESS SKY above, a chaotic SWARM OF PRE-TEENSbelow, and a POOL.

A FEW ADULTS crowd around a BARBECUE, BEERS in hand, to easethem through the crucible.

Like most children's birthday parties, all classmates areinvited, despite the special boy or girl's approval.

71.

Matthew reluctantly approaches Astrid with a PRETTY WRAPPEDBOX.

MATTHEWUh- happy birthday, Astrid.

ASTRID(genuine)

Oh. Thanks, Matthew.

She takes THE GIFT, and he makes for a quick getaway.

ASTRID (CONT'D)Hey, Matthew.

MATTHEWYe- d'uh- what's up?

ASTRIDI'm sorry about the apple.

MATTHEW(taken aback)

Oh. That's ok..(beat)

I kind of liked it.

ASTRIDReally?

MATTHEW(nodding)

Sure. (beat)

Did you know you can cut some wormsin half, and they can still live andgrow the other half right back.

ASTRIDGross..

Matthew blushes; lately, his words seem to be getting aheadof him before he can bar his lips to halt them.

ASTRID (CONT'D)But interesting.

MATTHEWYeah?

ASTRID(smiling)

Yeah.(beat)

Anyway, thanks for the present.

72.

MATTHEWNo problem.

Two warm hands blind Matthew from behind. He reels awayfrom the shock of arousal.

ESTHERSo jumpy, jumpy-pants. You got antsin those pants?

She pats down his outer thighs rapidly, tickling.

He tries to hold back a grin which eventually gets the bestof him and shifts into laughter.

Esther hands Astrid her PRESENT.

ESTHER (CONT'D)(to Astrid)

Happy birthday, ass(beat)

trid.

Matthew chuckles guiltily.

ASTRID(frowning)

Thanks.

ESTHER(to Matthew)

Matthew, can I have a private wordwith you for a moment.

MATTHEWUh- sur-

She grabs his hand, dragging him to under a GAZEBO. It'squieter there; the WIND tosses ESTHER'S HAIR, imbuing theSTRANDS with something like sentience.

MATTHEW (CONT'D)You look like... a kite.

ESTHERA kite? You gotta work on yourromance, Romeo.

MATTHEWI'm better with actions than withwords.

Completely uninhibited--confidently, even--he brushes theFLAILING STRANDS behind her ear. Her eyes close and bask inthe contact.

73.

ESTHERI want to show you something.

MATTHEWOk.

She pulls out THE CONCRETE from her pocket.

Matthew is speechless for a moment, slightly awe-struck.

ESTHERI'm trying this one out today.

MATTHEWYou don't have Mary?

ESTHERLeft her at home. Figured she coulduse the vacation.

MATTHEWI- uh-

ESTHER(with air quotes)

Come on, let's head back to the"party." It's a sin to refuse freecake, after all.

Matthew nods, and follows her back into the HORDE.

On their procession back, someone shoves Matthew, FULLYCLOTHED, into the POOL.

BOY #1Whoops!

Matthew's emerges quickly, jaw dropped, inhaling and exhalingrapidly from the vast temperature shift.

Some children break out into LAUGHTER.

Matthew's eyes dart, something wicked begins to overcome hiscognizance.

Suddenly, ANOTHER BODY makes a full blown leap into the POOL,cannonball style.

Esther emerges next to him, soaked, and shivering.

ESTHERAnd God s- s- said let the waters t-t- teem with l- l- living creatures.

74.

She splashes him in the face. His expression shifts fromterror to joy faster than it ever could in the past. Hesplashes back.

ANOTHER BODY jumps into the POOL, then another, and another. Soon the pool is teeming with GIGGLING, FULLY CLOTHED TWEENS. Even Astrid takes part.

The CHAPERONS about the BARBECUE shrug it off; kids will bekids.

BOY #1 and his cronies saunter away to be assholes elsewhere.

Esther puts her hands over Matthew's head and dunks him. Helets her; he likes it. After a good few seconds, he emerges.

ESTHER (CONT'D)There. I just baptized you.

MATTHEW(laughing)

What does that mean?

ESTHERIt means all your sins are forgiven. You're a whole new person now.

Matthew beams; he likes this idea. He quickly makes a playfulstroke for the DEEP-END.

Esther looks apprehensive for a moment, but follows hertrusted friend.

They're both pretty skillful swimmers. They tread watertogether, gazing into eachother's gleeful eyes, grinninglike love-struck fools.

She splashes him, he splashes back. A full on SPLASH-WARerupts between the two of them.

Esther has to constantly shut her eyes to defend, and openthem to attack.

ESTHER'S P.O.V. - CONTINUOUS

DARKNESS, then SUNLIGHT, DARKNESS, then SUNLIGHT, AIRBORNEWATER refracting SUNLIGHT, Matthew, DARKNESS, the POOLglimmering LIGHT, Matthew, DARKNESS, SUNLIGHT, DARKNESS.

BACK TO SCENE

Matthew wipes the WATER off his face, eyes shut, full blownlaughing.

He opens his eyes. Esther is absent.

75.

MATTHEWEsther?

He scans the WAVES and WATER-FLAILING CHILDREN.

MATTHEW (CONT'D)(becoming frantic)

Esther?

He looks below, A BODY is spread wide, back to the POOL FLOOR.

His eyes light up in terror, but he wastes no time, making aquick dive. He strokes and strokes with all his might, andmanages to grab her torso.

He thrusts her head to the surface.

MATTHEW (CONT'D)(gargled)

Help!

The HORDE of SOAKED CHILDREN part like the Red Sea as heswims THE RAG-DOLL BODY to the POOL SIDE towards the ADULTS.

MATTHEW (CONT'D)Somebody! Help me!

The CHAPERONS rush over, immediately wrenching Esther's bodyfree of Matthew, and laying her flat. ONE MAN pushes twofingers to her neck. His expression becomes dire as hequickly straddles her, and begins thrusting a cupped fistinto her sternum.

Matthew looks on in sheer horror, the WATER up to his waist.

THE MAN pumps and pumps, puts an ear to her mouth, andcontinues to pump.

Matthew is paralyzed. A YOUNG GIRL SCREAMS, and everyonemadly evacuates the POOL.

Matthew stays put, watching: PUMP, PUMP, PUMP.

Other PARENTS are herding THE CHILDREN inside. One is on ACELL PHONE, frantically spewing details to an emergencyoperator.

Matthew doesn't seem to notice any of it; his gaze is gluedto Esther's PALE, SLACK-JAWED FACE.

The man pumps on and on.

Suddenly, someone jumps into the POOL and drags Matthew out,his eyes still on his lifeless friend.

76.

UNKNOWN LEGION (V.O.)She's dying. She's dead. She'sdead, Matthew.

Matthew, SOAKED, sitting upright on the GRASS, pulls hisgaze off Esther to heave over and wretch.

UNKNOWN LEGION (V.O.) (CONT'D)She's dead! You killed her! Youkilled her, Matthew!

His eyes glaze, his hands in a PILE of his own BILE, hisskin, WHITE as snow.

The world spins out of control; he keels over into a catatonicconvulsion, limbs twitching, mouth mumbling.

THE MAN straddling Esther looks up to the surrounding PARENTS,and shakes his head, face as grim as the reaper himself.

CUT TO:

INT. OUTPATIENT PSYCH-WARD - EVENING

Leah converses with a DOCTOR outside a series of hospitalrooms.

DOCTORIt's hard to say. Trauma like thiscan put an individual with hiscondition into a catatonic episodefor days--weeks even.

LEAH(stumbling)

But he'll- eventually he will-

DOCTORHe'll come back to us. This is howhis mind copes with the grievingprocess, so to speak.

LEAH(desperate)

Is there anything I can do?

DOCTORI would advise staying by his side,as your schedule permits. A positiveinfluence near him may help ease therecovery.. even though it appears asif his mind is withdrawn.

LEAHHe'll know I'm with him?

77.

DOCTORIt's not unlikely at all.

(beat)He'll wake up. It's simply a matterof time.

LEAHOk. Thank you, doctor.

Leah turns her attention to one of the rooms, biting herlip, her eyes brimming to the seams.

CUT TO:

EXT. THE OCEAN - DAY

Matthew treads, head above the surface of an ENDLESS OCEAN. The SALT WATER is eerily--fantastically--serene, and land,no where to be seen.

He dives, pushing deeper and deeper; he's looking forsomething--someone.

A FIGURE begins to materialize in the depth; a FIVE POINTEDMASS, an OVERSIZED STARFISH perhaps. He pushes deeper.

It becomes clear then. It's Esther, her eyes closed, herbody limp, swaying peacefully to and fro with the TIDE.

He picks up speed, stroking, stroking, until the water itselfseems to QUAKE. A RUMBLE emerges from below. A tremendousBLACK SHADOW formulates below Esther.

Matthew tries to make it to her; it's the only thing in theworld the world that he wants. But he can't.

The mass becomes clear: A TREMENDOUS LEVIATHAN. It subsumesEsther, sucking her into its VACUOUS GOB as it rises. Then,it changes course, arcs, and dives back down.

Matthew is left helpless, hovering, SUNBEAMS piercing theripples above him.

FADE TO:

EXT. ISLAND - DAY

A TINY, ISOLATED ISLAND, like something out of a sailor'scliché, is Matthew's SANDY repose. A SINGLE PALM, of course,looms over him, providing modest shelter from the FLAGRANTSUN.

Michael appears from behind the PALM. Matthew notices, butkeeps his gaze to the SEA.

78.

MICHAELMatthew.

MATTHEWGo away.

MICHAELMatthew, please.

MATTHEW(livid)

I said leave me alone!

The SCREAM ECHOES out over the empty, FLUID MASS.

MICHAELYou are alone.

Matthew stumbles to his feet to face THE ANGEL, launchingSAND everywhere as he approaches.

MATTHEWWhy didn't you warn me?!

MICHAELWe can't save every life.

MATTHEWWe don't have to! We only had tosave one! The only one that mattered.

(beat)And we couldn't.

Michael has no reply for the tormented soul.

MATTHEW (CONT'D)It's our fault she's dead.

MICHAELThat's not true.

The Figure slinks out from the other side of the PALM. Forthe first time, we see both together in DAYLIGHT, genuinelyemphasizing their SURREAL FEATURES.

THE FIGUREIs it?

MATTHEWAll you had to do was warn me tenminutes before- 10 seconds- 1 second! And we could've prevented it.

MICHAELThat's not how it works, Matthew.

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MATTHEWYeah? How does it work?

MICHAELYour mind is.. tremendously gifted.

THE FIGUREBurdened.

Matthew shakes his head rapidly; the platitude has becomeputrid.

MICHAELProbabilities and factors that bafflemost rearrange themselves neatly inyour mind. You have the seed ofgenius within you; great power. Butfor now, its workings remain a mysteryin your subconscious.

MATTHEW(sarcastic, spiteful)

So I'm like some sort of John Nash,schizophrenic super genius. Abeautiful mind and all that- don'tgive me that bullshit.

THE FIGUREYou don't have to listen to him.

MATTHEWI'm tired of it. I'm tired ofeverything.

MICHAELSometimes you will be wrong. Other'syou will be right. Probability isnot a flawless science. Occasionally,you must account for..

THE FIGUREChaos.

MATTHEWIf it couldn't help me save her.

(beat)Then it's broken- I'm broken.

THE FIGUREThis is what happens when you attemptto play God, Matthew.

MICHAELMatthew-

80.

MATTHEWDon't. Don't say one more word. Leave me.

Michael relents, and disappears behind the PALM.

THE FIGUREYou gave her your stone, and shesank.

Matthew still gazes outwards.

MATTHEWDo you think it'll spit her out?

THE FIGUREWhat will?

MATTHEWThe Leviathan.

THE FIGURE(blunt)

No.

MATTHEWWhy not?

(beat)She deserves a second chance.

THE FIGURESeconds chances happen in stories,Matthew.

(beat)Not in reality.

MATTHEWEither way, I think I'll wait just alittle longer.

THE FIGUREYou have to come out of here sometime.

MATTHEW(despondent)

Are you going to harm me if I don't?

THE FIGUREYou've harmed yourself more than Iever could.

MATTHEWGood.

81.

THE FIGURE...I sincerely hope you've gleaned alesson from all this.

MATTHEWGo. Now.

The Figure complies without dissent and too disappears behindthe PALM.

Matthew bursts into a sobbing fit, his hands to his face.

THE HORIZON, like the probabilities that coexist with everycause-and-effect equation, stretches infinitely outwards.

CUT TO:

INT. HOSPITAL ROOM - NIGHT

Leah is by her beloved son's side. She clasps his BANDAGEDHAND between hers, as he mumbles nonsense and twitches. THEPIECE OF CONCRETE lay by his bedside--likely recovered fromEsther's body.

FADE TO:

EXT. THE EDEN TREE - DAY

SUPERIMPOSE: "Two weeks later."

No one is leaning against it. But Matthew is facing it,about ten feet away. He's clutching something in his hand. He opens his hand to take one final look: it's ARCHANGELMICHAEL.

MATTHEWAgh!

He whips the FIGURINE at the TREE, shattering it into amultitude of IRRECONCILABLE PIECES.

Panting, he lets his body fall to the ground, back to theGRASS. FIGURES arrange themselves in the SKY above at thebehest of his imagination; CLOUDS could be peaceful likethat sometimes.

CUT TO:

INT. KITCHEN TABLE - NIGHT

Matthew and Leah, face-to-face, MUNCH in silence. She breaksit.

LEAHCan I tell you a story, Matty?

82.

He's too withdrawn.

LEAH (CONT'D)Matthew?

She pulls him out.

MATTHEWHuh?

LEAHCan I tell you a story?

MATTHEW(despondent)

No, thank you.

LEAHIt's about you.

He contemplates, and relents.

MATTHEW(nodding)

Ok.

Head down, he toys with his FOOD as Leah begins.

LEAHFive years ago, when I heard thenews that your father died, I raninto my room, and I locked the door.

He perks up, slightly.

LEAH (CONT'D)I felt so helpless, but most of allI felt scared.

(beat)I was scared of the unknown- I meansure I knew the risks of hisprofession, but, still..

(beat)You just can't prepare for the random--for accidents, you know?

He nods.

LEAH (CONT'D)And it's terrifying- somethingcompletely out of your control thatcan just... decimate your entirelife.

(MORE)

83.

LEAH (CONT'D)(beat)

And the only way for me to deal withthat was to stay in my room, bar thedoor, and hide.

(beat)But then someone knocked at my door. A little six-year old voice criedout, "Mommy, what's wrong?" And Isaid "Nothing." And he said, "Thenwhy is your door locked?" To whichI replied, "To keep the monstersaway." To which he replied, "ButMommy, I'm not a monster."

Matthew expression shifts to confusion at the seemingly nonsequitur.

LEAH (CONT'D)So I let you in. And locked thedoor behind you.

(beat)Then out of nowhere you said, "Iknow a trick that can keep themonster's away. Can I show you?" And I said "Ok." So you took me tothe bed, laid a blanket over me, andtucked every single crease of thatblanket under me. Until I lookedliked a bed-sheet mummy.

Matthew obliges the faintest smile out the side of his cheek.

MATTHEWA mommy mummy.

LEAHExactly. And you said, "There. Nownothing can hurt you." To which Ireplied, "What about my head?" Because it was still exposed, towhich you replied--and I'll neverforget this--"Mommy, you're sobeautiful, no monster could getanywhere close to your head."

They both share a smile.

LEAH (CONT'D)You gave me strength to overcome mygrief, Matty.

(pause)The one thing I hope most in theworld right now..

(MORE)

84.

LEAH (CONT'D)(beat)

is that I can return the favor.

The words strike a chord within him; his face contorts fromthe pain he attempts to conceal.

MATTHEWThanks, mom.

LEAHAnytime, sweety.

CUT TO:

EXT. OUTSIDE MATTHEW'S HOUSE - NIGHT

THUNDER booms portentously through the PITCH-BLACK ATMOSPHERE; CLOUDS could be wicked like that sometimes. A group of THREEMALE ADOLESCENTS skulk about the SIDEWALK outside Matthew'sFRONT YARD. Boy #1 is amongst them.

BOY #2Are you sure this is his place?

BOY #1Yeah, it's his place.

BOY #1 tinkers with something in hands.

It begins to RAIN, lightly at first.

BOY #3Let's hurry up, were gonna get soaked.

Boy #1 scours the face of the HOUSE. He notices something.

BOY #3 (CONT'D)(anxious)

What are you waiting for?

BOY #1Do you see that?

BOY #2See what?

A HORIZONTAL BOLT OF LIGHTNING rides through the CLOUDS,illuminating THE ENTIRE BLOCK for the briefest moment.

BOY #1There's a window open up there.

85.

BOY #3So what, just toss it through themail slot, and lets get the hell outof here.

A BOOM of concurrent THUNDER follows its ELECTRIC brother.

BOY #1Uh-uh, I got a better idea.

BOY #2What if it's not his room.

BOY #1Who the hell cares.

He reveals a string of FIRECRACKERS in his right hand and aBIC LIGHTER in his left.

BOY #3This is stupid.

BOY #1He's a freak. He killed that girl.

(beat)I just wanna scare him a bit.

Another BOLT weaves through the NIGHT SKY. Boy #1, twistsoff a single FIRECRACKER, lights it, and tosses it at theWINDOW.

It misses, bounces off the HOUSE, and lands in the BUSHES.

CRACK, BOOM! The FIRECRACKER explodes just before a FEROCIOUSTHUNDER BLAST.

BOY #3I'm getting out of here.

Boy #3 dashes through the RAIN--which was now escalatingfiercely--and out of sight.

Boy #1 looks over to Boy #2 grinning.

BOY #1Do you believe in second chances?

BOY #2Just do it already.

He lights a second FIRECRACKER and lobs it with a carefullyaimed arc.

It passes right through the WINDOW. The two boys immediatelyscatter.

86.

INT. LEAH'S BEDROOM - CONTINUOUS

CRACK! Leah launches awake, heart pounding, breath rapid. She looks to the WINDOW, and notices a BRIGHT FLASH followedby a TREMENDOUS BOOM. Thunder... it's just Thunder. Halfasleep, she stumbles to the WINDOW, shuts it, and then crawlsback into BED.

A PILE OF LINENS, on the opposite side of the room, beginsto SMOKE, as Leah falls gently back into slumber.

INT. MATTHEW'S BEDROOM - CONTINUOUS

The Figure has Michael pinned to the wall. It's grotesque,BLACK APPENDAGE covering Michael's mouth, stifling his criesinto MEAGER MUMBLES.

Matthew is sound asleep. For once, his NIGHT-TIME VISITORSare allotting him a much needed repose.

Michael struggles on, but The Figure, this time, is somehowstronger. He reaches for his SWORD, but The Figure snatcheshis wrist, squeezing it like a vice. It squeezes and squeezesuntil Michael's entire arm BURSTS into LIGHT. The Figuresqueezes his other arm at the bicep; it BURSTS into LIGHT aswell. An audible, but SEVERELY MUFFLED "Matthew!" can beheard beneath the ARMLESS ANGEL'S dark muzzle. Then, TheFigure throws a hand around Michael neck, and squeezes. Michael, and his entire self, BURSTS into LIGHT, FEATHERSfloating perilously to the ground and DISSOLVING on contact.

The Figure hovers over to Matthew's unconscious body, andtilts its head.

INT. LEAH'S BEDROOM - CONTINUOUS

A FLAME erupts from the LINENS, licking at the wall, reachingand grasping for other things to consume.

INT. MATTHEW'S BEDROOM - CONTINUOUS

THE FIGUREMatthew, wake up.

MATTHEW(grumbling)

Leave me alone.

THE FIGUREMatthew, your house is on fire.

MATTHEW(coming to)

Huh?

87.

THE FIGUREI said: your house is on fire..

Matthew, clad in FULL BODY PAJAMAS, springs to attention.

THE FIGURE (CONT'D)Can you smell it?

He sniffs rapidly at the air; his eyes answer the question.

MATTHEWOh my god.

(beat)Where's my mom?

THE FIGUREIn her room, of course.

He wastes no time, launching up and out the room like a batout of hell. The Figure follows.

THE FIGURE (CONT'D)I wouldn't do that.

Matthew grasps at the DOOR HANDLE of his MOTHER'S ROOM. Itscalds his hand; he wrenches it back. He looks up and seesSMOKE seeping out the CRACKS of the DOOR.

THE FIGURE (CONT'D)You need to escape, Matthew.

MATTHEW(frantic)

No, my mom's in there!

THE FIGUREWhat happens to fire when there'ssuddenly an abundance of oxygen?

His eyes dart back and fourth. He can hear the SUCTION below.

A TERRIBLE, THUNDEROUS BOOM rattles the entire HOUSE.

Matthew shakes it off.

MATTHEWNo! I won't let her die!

He wraps his BANDAGED hand around the DOOR HANDLE, and twists.

THE FIGUREYou fool!

BACKDRAFT! The door SUCKS inwards with hurricane force, andthe room ignites into HELLFIRE.

88.

The FLAMES follow the air out and leap onto Matthew, engulfinghim. He reels back, rolling on the floor, to quench theFLAMES gnawing on his CLOTHING. His skin BURNS under theSMOLDERING PATCHES. He releases SCREAMS OF AGONY.

THE FIGURE (CONT'D)You burn for your sins.

He manages to rise to his hands and knees, challenging theanguish. He can see Leah, laying peacefully on her BED,miraculously unburned, a torrential, RING OF FIRE swirlingaround her.

MATTHEW(coughing)

Mom!

THE FIGUREShe can't hear you. She's dead.

MATTHEWMom! Mom, wake up!

Michael appears at the bottom of the stairs; his WINGS areAFLAME.

MICHAELShe's alive, Matthew!

THE FIGUREIf you go in there, you will die.

Michael begins a painful ascent; step by step.

MICHAEL(struggling)

She's passed out! Oxygen deprivation. You know this!

Matthew is torn, he starts to become dizzy, the FIERY worldaround him TEETERS.

Suddenly, The Figure settles into a stark form: A HUMAN MAN...engulfed in BLACK FLAME.

Matthew looks on in horror.

MATTHEWDad?

THE FIGURE(in agony)

Matthew, run!

89.

The SKIN of The Figure MELTS off like wax, until BONE beginsto surface. It unleashes a DEATH CURDLING SCREAM through aHALF MELTED FACE.

THE FIGURE (CONT'D)(tormented)

Son! Save yourself! Run! Now!

Matthew becomes paralyzed.

His eyes glaze over.

All is lost.

FLASHBACK

Esther and Matthew are at play; UTTER WHITENESS surroundsthem. Some FIGURINES are between them, but his attention issolely on her.

ESTHERCan I tell you a secret, Matthew?

MATTHEWSure.

ESTHERI don't believe all the stories aretrue.

MATTHEWWhat?

ESTHERI don't even believe half of themare true.

MATTHEWBut- you-

ESTHEROk. Actually. Don't tell my mom anddad this, ok? Promise?

MATTHEWPromise.

ESTHERI don't really believe any of themhappened at all..

MATTHEW(stammering)

But- you're always- telling me storiesabout-

90.

ESTHER(abrupt)

That's what I love! The stories. The monsters, the magic, the miracles! The angels and the demons.

(beat)Especially the ones where the angelswin.

BACK TO SCENE

THE FIGURE(tormented, warped)

Matthew! Don't die a cowar-

SWOOSH! A TIDAL-WAVE FORCED JET-STREAM blasts The Figureinto oblivion.

Matthew looks over. It's Michael! He's taken the form andface of MATTHEW'S FATHER, equipped with full FIREFIGHTINGGEAR, both hands wielding a HEFTY FIREHOSE. Two SINGED,FEATHERED WINGS are half spread out behind him, instead of atank.

MICHAEL(through the mask)

Save her! You can save her! Go!

Matthew wastes no time. He begins a dire crawl towards theROOM.

He makes it through the DOORWAY, but Leah is block by a FLAMEWALL.

THUNDER RUMBLES above, only adding to the tumult.

Suddenly, THE ROOF begins to CRUMBLE. Matthew leaps out ofthe way to avoid the FALLING DEBRIS.

HEAVY RAIN pours through, and quells an OPENING through THEWALL OF FIRE.

Matthew stumbles through the OPENING, coughing and heaving,head down as low as possible. He grabs his UNCONSCIOUSMOTHER, and slides her off the BED, below an increasinglythick SMOKE LAYER.

He tries to lift her, but fails--the FLAMES around him growingBLASPHEMOUSLY FEROCIOUS.

MATTHEWShe's too heavy!

91.

MICHAELOver your back! Like Reggie,remember!

Without hesitation, he takes his mother's arms and positionseach over one shoulder, like a harness, and, on his knees,he heaves.

MATTHEWAgh!

His own WARCRY emboldens him. He manages to carry her a fewfeet, half her weight on him, half dragging on the SINGED,DEBRIS-LADEN FLOOR. He lets out another bold BATTLE CRY. There's no pain this time; only will. He pushes and pushes.

MATTHEW (CONT'D)AGH!

MICHAELThat's it!

He makes it out the ROOM, and to the top of the STAIRS. It's a straight path to the FRONT DOOR.

Suddenly, the ROOF above the STAIRWELL buckles, sending heavyWOODEN DEBRIS down and shattering the entire structure.

The only way down now is a drop from a BANISTER guardedBALCONY.

MICHAEL (CONT'D)You have to break it! Kick it!

Matthew lets Leah down for a moment, and on his back kickswildly at the BANISTER with both feet.

For the first few kicks, nothing. He casts a dire glance athis unconscious mother; an eerily familiar image.

Then, he goes proceeds to go BERSERK on the BANISTER,punishing it with a flurry of kicks.

The WOOD splinters.

MICHAEL (CONT'D)Almost!

Then, the ENTIRE PIECE falls and CRASHES to the LIVING ROOMbelow.

MICHAEL (CONT'D)Good!

92.

Michael is somehow now on the GROUND FLOOR, standing uprighton the COUCH below.

MICHAEL (CONT'D)(shouting)

Ok! You have to throw her!

MATTHEW(coughing)

No, she'll die!

MICHAELI'll catch her! I promise!

Matthew is out of options. He pulls his mother to the LEDGE.

MICHAEL (CONT'D)Just aim right for me, ok?

MATTHEWI'm scared!

MICHAELI know you are! Use it!

Something overcomes Matthew at just that moment. Like Samsonwith his cut hair, like David against his hulking foe--something heroic. He shoves his mother's RAG-DOLL BODY offthe LEDGE.

She falls right through Michael... and lands squarely onthe SOFT-PILLOWED SOFA, and thankfully not the SPINE.

MATTHEW(under his breath)

It's a miracle.

MICHAELIt's you!

MATTHEWWhat?

MICHAELIt's your turn! Jump!

PIECES OF HIS HOUSE falling around he scans frantically fora spot to land on. None look soft. He makes of a leap offaith. Perhaps, not the best aimed one.

He slams feet-first to the FLOOR with a grotesque CRACK.

MATTHEWUgh..

93.

A BONE juts out from the side of his leg. The adrenalinebeguiles the pain, but still, the sight noticeably demoralizesMatthew.

He looks as if he is ready to fall asleep--to just let go.

MICHAELYou'll heal fast! Take her hand!

Jolting back to coherence, Matthew complies swiftly, anddrags his mother off the COUCH, using both hands and oneleg.

BOOM, another BOLT OF LIGHTNING'S WICKED SOUND-WAVE seems toinfuriate the FLAMES above. More PIECES OF THE HOUSE falland SMASH heavily to the ground.

Somehow, he makes it to the DOOR, and twists the HANDLE.

A GALE comes to his aid and swings THE DOOR open.

MICHAEL (CONT'D)Just a few more feet!

With all his might, and every modicum of bravery in his being,crippled and singed, Matthew manages to drag himself, hismother, and both their lives to safety.

The CAVALRY arrive just then.

The last thing Matthew hears before drifting intounconsciousness are the fading CAWS of FIRE ENGINE SIRENS;and a VOICE, perhaps his father's, perhaps Michael's, orperhaps simply an emergency worker's.

VOICE (V.O.)You're a hero, kid.

FADE TO:

INT. HOSPITAL ROOM - MORNING

Matthew's eyes gradually open. He's in a HOSPITAL BED, butnot the same one that he's used to--there are no straps, noharnesses. He's SHIRTLESS, and his leg is up in SLING, boundby a THICK CAST, BOLTS AND RODS impaling it in every whichdirection.

His breathing begins to accelerate, and the EKG MACHINE behindhim CRESCENDOS concurrently. He feels around his torso andnotices its bandaged with THICK PADS at certain points: overhis shoulder, his abdomen, and his neck.

His hoarse throat betrays his cries into raspy whispers; hefumbles clumsily for something to call someone.

94.

He finds a RED BUTTON next to him, and mashes it.

A NURSE runs up.

MATTHEW(drugged, hoarse)

Where's my mom?

NURSERelax, relax.

MATTHEWWhere's my mom!?

FEMALE VOICE (O.S.)(raspy)

Matthew?

The Nurse swings open THE CURTAIN dividing them.

There she is, almost... angelic, untainted, glowing, an OXYGENMASK around her nose and mouth.

They reach out and touch finger tips.

MATTHEWMom..

LEAHMy sweetheart.

TEARS well up in both their eyes.

LEAH (CONT'D)(coughing)

Maybe- maybe you really should be afirefighter.

Matthew shakes his head, sniffling, not fighting the TEARS;but sharing them.

LEAH (CONT'D)They- they said- you saved my life.

MATTHEWNo, mom.

(pause)You saved mine.

FADE TO:

EXT. GRAVEYARD - DAY

It's a particularly beautiful day. Matthew, with TWO CRUTCHESsupporting him, and a TRUNK OF A CAST over his leg, gazes

95.

down at a TOMBSTONE. He looks changed-- not sad, nor happy,but solemn.

Michael is standing vigil over his left shoulder, and TheFigure, wispy and wild, over his right.

The TOMBSTONE reads: "Here lies Esther Grayson: daughter,dreamer, saint."

Matthew struggles to pull something from his POCKET. It'sthe SCORCHED PIECE OF CONCRETE. He places it gently overthe TOMBSTONE.

Still glancing down, he addresses Michael.

MATTHEWWill you always be there.

(beat)From now on.

MICHAEL(frank)

Yes.

MATTHEW(gesturing over hisshoulder)

And it?

MICHAELIt too.

Matthew mulls on this a moment.

MATTHEWOk.

MICHAELWhich one of us you chose to heed,however..

MATTHEWIs up to me.

Michael nods.

MATTHEW (CONT'D)(gesturing down)

Do you think she's in a better place?

Michael pauses to compose an articulate answer.

MICHAELI think you're in a better place.

96.

MATTHEWWill we save more lives?

MICHAELOnly if you want to.

MATTHEWI want to.

(beat)I think- I think she would want meto.

MICHAELI think so too.

MATTHEW(baffled)

Where do we go from here?

MICHAELHome.

MATTHEWAnd then?

Michael pauses again.

MICHAELAnd then..

(beat)god only knows.

Matthew tilts his chin up to the SUN-DRENCHED SKY. He closeshis eyes, and takes a DEEP INHALE.

MATTHEWI don't believe in god.

MICHAELWhat do you believe in?

MATTHEW(pause)

... Heroes.

CUT TO:

INT. PSYCHIATRIST'S OFFICE - DAY

They sit face-to-face, but this time, Matthew has TWO VISITORSover each shoulder.

DR. JANUSHow have you been sleeping?

97.

MATTHEWMuch better.

DR. JANUSI'm glad to hear that.

(beat)And your hallucinations?

MATTHEWThe voices are.. calmer; sometimesannoying, but for the most part Ican tolerate them.

(beat)They like to tell stories.

DR. JANUSStories? Really?

MATTHEWMhm.

DR. JANUSAbout what?

MATTHEWAll kinds of stuff. Monsters, magic,miracles. You know- angels anddemons.

DR. JANUSOh, yeah? Which are your favorites?

Matthew muses on this a moment. A confident smile spreadsacross his face.

MATTHEWI like the ones where the angelswin.

Michael and The Figure glance briefly at each other, andthen back forward.

Matthew's smile sustains as he holds his doctor's gaze, LIGHTcasting sporadically through the BLINDS at the behest ofPASSING CLOUDS.

FADE OUT.