Episode 12
Fade in.
EXT. FOREST CLEARING. DAY.
To the right is a cinder-block building with graffitied walls and a caving wooden roof. The building is being consumed by lush trees on three sides.
GRENT, VALENTINE, CHLOE ISIS, and CORTHD enter. DAHOOTY lands and hops around the clearing. CORTHD watches Dahooty. GRENT looks through the empty door.
GRENT puts down his satchel and opens it up.
GRENT looks at VALENTINE, shakes his head.
FLASH CUT.
INT. DIVE BAR. LIGHTS LOW.
Swing music plays over the darkness. We pull out of a rocks glass of a dark liquid. Everything is cloudy with smoke. Continue zoom out to reveal a man in a brown zoot suit, and a pretty girl with fair hair and an unnaturally pale face with a frilly pink dress. The man is holding a half-smoked cigar, and takes hold of the glass. The woman has a cigarette in a long holder and leans on the table, looking away from the man. In her other hand she holds a champagne glass. She sips, holds it in her mouth a moment, squints, and swallows.
With exaggeration, the woman lazily rolls her eyes to him.
YOUNG WOMAN
Hmm?
MAN
Do you think he is going to uncover the answer?
YOUNG WOMAN
Closeup of the man looking away from us. He turns his head and looks past the camera. Camera zooms past him to a pair of men we could not previously see. Both are tall, dressed in leather bomber jackets with fur collars, torn blue-jeans, gray T-shirts, and wrap-around sunglasses. The one on the left has dirty blond hair, and does not appear to have shaved in several days. He seems to be aged beyond his normal years. The other man has black hair, and his face is expressionless. They are JOHN GREY and KEVIN ROSS. Zoom to a closeup of John Grey, and arc around to shoot the front.
JOHN GREY
Hear that?
Tight on KEVIN ROSS. He looks over in the direction of the couple.
KEVIN ROSS
Something’s up.
Med shot of JOHN GREY. He looks at the couple for several seconds, and nods slowly.
JOHN GREY
This could be the one we’ve been waiting for. There has been all kinds of chatter from the Children.
Zoom out to show both of them.
KEVIN ROSS
It has to be something, Mallik has been gone a long time.
JOHN GREY
Maybe he’s found what he’s looking for.
Cut away to the Twenties-style couple we saw earlier. Lazily, they roll their heads around to John Grey and Kevin Ross. Closeup of JOHN GREY.
Med shot of Kevin Ross. He nods and grunts in approval. Wide shot as the two of them get up out of their chairs and start to walk away. We can see the top of the first man’s hat at the bottom of the screen, turning to follow them as they leave. Pan with them to the front door. Door opens inward.
EXT. BAR. AFTERNOON
The door opens outward. JOHN GREY and KEVIN ROSS enter.
JOHN GREY
Wide shot of both of them crossing the parking lot.
POV shot behind them. They are being followed. Cut to a shot from the front, with the background out of focus. We can see something stalking them, a shapeless, shambling brown thing. KEVIN ROSS looks over his shoulder. Rack focus to reveal a creature in tattered brown robes, one arm outstretched. KEVIN ROSS grabs JOHN GREY and turns him around. The creature’s other arm slips into the robes and pulls out a long, twisted sword. JOHN GREY is shocked for a moment, but recovers.
Insert JOHN GREY's gunbelt as he draws an archaic pistol.
Full shot as he holds the pistol out in front of him.
Closeup of the gun as he fires twice in slow motion.
Full shot of the hooded creature as it takes the shots in the chest, is knocked back a few steps, and then lurches toward them.
Intercut shots of JOHN GREY and KEVIN ROSS turning and running, while the robed creature lopes after them, brandishing the sword in front of it. As they pass the entrance to an alley, a similar creature lurches out, nearly clawing John Grey with a gloved hand.
Closeup of his gun-hand as he blasts it into the creature’s face at point-blank range.
Wide shot of John Grey, still running, as the creature falls. Before he runs out of shot, he has to dodge a third creature that stumbles into shot.
Tight on John’s face as he runs, breathing heavy.
Wide shot of KEVIN ROSS and JOHN GREY, as they stop running. They stare past the camera in shock, as a fourth creature walks on-screen in front of them. In the background, we can see the other two approaching, both now wielding the wicked swords.
KEVIN ROSS
Any suggestions on how we’re going to get out of this one?
JOHN GREY
I don’t think you’ll like my answer.
KEVIN ROSS
Probably not.
The creature in front of them draws a swords from it’s robes and steps toward them.
Cut to a shot past them of the two robed creatures approaching from behind. There is a ‘crunch’ of a body being broken open, and both arch their backs and clutch at their chests simultaneously. They hold the position for a moment and then fall away, sliding off the blades of twin short swords, held in the hands of a smiling old man with whispy hair and white robes, stained with a dark ichor. He is the MAYOR.
Cut away to reveal the final creature as it roars and raises it’s sword, lurching at the trio.
Cut back to wide shot of John Grey and Kevin Ross as they step out of the way, and the creature passes between them, onto the waiting blades of the MAYOR.
GRENT
We can eat here. It will be safe.
We can eat here. It will be safe.
All follow GRENT inside.
INT. ABANDONED BUILDING. DAY
Trash and debris cover the floor. Rafters dangle from rotted nails.
VALENTINE
You're not worried this will fall in on us?
GRENT
We're in more danger from the Glithvals following us than if I let you stop walking a few minutes. Even Corthd is exhausted from walking all night.
GRENT
I only had time to grab a little bit.
NARRATOR
They quietly ate biscuits with butter, and Grent promised he would make up for it. As soon as he’d crammed the last of the crumbly biscuit in his wide mouth, Corthd was up and checking the doors and windows.
CORTHD
We got to go.
I only had time to grab a little bit.
NARRATOR
They quietly ate biscuits with butter, and Grent promised he would make up for it. As soon as he’d crammed the last of the crumbly biscuit in his wide mouth, Corthd was up and checking the doors and windows.
CORTHD
We got to go.
GRENT
You heard that too?
CORTHD
Not the same as others.
You heard that too?
CORTHD
Not the same as others.
CHLOE ISIS
What is it?
GRENT
It’s nothing.
What is it?
GRENT
It’s nothing.
VALENTINE
If it’s nothing, why are you so worried? What are you hiding from us?
GRENT
Those men will rip you limb from limb if I give them half a chance. I’m not hiding anything, I just don’t have time to explain why they want to. Now kindly finish your breakfast, because we need to be walking before I can count out a minute. Understand?
VALENTINE
(looks away) Yes sir.
CHLOE ISIS
I always say you ask too many questions.
GRENT
Eat.
If it’s nothing, why are you so worried? What are you hiding from us?
GRENT
Those men will rip you limb from limb if I give them half a chance. I’m not hiding anything, I just don’t have time to explain why they want to. Now kindly finish your breakfast, because we need to be walking before I can count out a minute. Understand?
VALENTINE
(looks away) Yes sir.
CHLOE ISIS
I always say you ask too many questions.
GRENT
Eat.
CHLOE ISIS
Sure, sure, no problem.
CHLOE ISIS shoves the last of her biscuit in her mouth, puffing out her cheeks and covering her mouth with her fingers as she chews and stands. VALENTINE does the same. DAHOOTY flies up to the tree tops. Rest walk down the road.Sure, sure, no problem.
VALENTINE
We’re not sure if we trust Dahooty.
GRENT
Shh... Those birds have excellent hearing. Watch what you say, I’m sure he never goes where he doesn’t know what’s being said.
CHLOE ISIS
You think he’s an enemy?
VALENTINE
We should kill him now then.
We’re not sure if we trust Dahooty.
GRENT
Shh... Those birds have excellent hearing. Watch what you say, I’m sure he never goes where he doesn’t know what’s being said.
CHLOE ISIS
You think he’s an enemy?
VALENTINE
We should kill him now then.
GRENT
The Illithred used those birds. If we meet any, he might be trouble, but for now he’s more useful to us than he is dangerous.
VALENTINE
What do you mean?
GRENT
Those birds hunt far out to sea. If we aren’t here to feed him, he won’t be able to catch fish this far inland.
CHLOE ISIS
What are Illithred?
GRENT
They are not around here any longer. We can let the bird live for now.
CHLOE ISIS
See, Rubin doesn’t trust anyone. He probably doesn’t even trust you. I’m sure he just wants to eat Dahooty, that’s why he’s so big on killing that bird.
VALENTINE
I don’t want to eat him... I mean... uh... He can hear me?
The Illithred used those birds. If we meet any, he might be trouble, but for now he’s more useful to us than he is dangerous.
VALENTINE
What do you mean?
GRENT
Those birds hunt far out to sea. If we aren’t here to feed him, he won’t be able to catch fish this far inland.
CHLOE ISIS
What are Illithred?
GRENT
They are not around here any longer. We can let the bird live for now.
CHLOE ISIS
See, Rubin doesn’t trust anyone. He probably doesn’t even trust you. I’m sure he just wants to eat Dahooty, that’s why he’s so big on killing that bird.
VALENTINE
I don’t want to eat him... I mean... uh... He can hear me?
GRENT
(glancing up) He can definitely hear you.
(glancing up) He can definitely hear you.
VALENTINE
(looking up) I’ll probably wring your neck before this is all over.
(looking up) I’ll probably wring your neck before this is all over.
CHLOE ISIS
(shouting up) He is not! Look, Dahooty...
GRENT
He probably can’t hear you that well, but he is listening, and you can never, ever trust an ibis. They’re untrustworthy birds.
(shouting up) He is not! Look, Dahooty...
GRENT
He probably can’t hear you that well, but he is listening, and you can never, ever trust an ibis. They’re untrustworthy birds.
CHLOE ISIS
Okay. (Spins her finger by her head in “crazy” motion.)
Okay. (Spins her finger by her head in “crazy” motion.)
VALENTINE
(hesitates) How do you know Teppins?
(hesitates) How do you know Teppins?
GRENT looks at VALENTINE, shakes his head.
GRENT
A long time ago. We served together in the Emperor’s Army. It was our battalion that finally broke down the fences and stormed the factories where the Titans were built. (Pauses, looks at the others) Adeal Teppins is a great hero. We’re all standing here because of him.
A long time ago. We served together in the Emperor’s Army. It was our battalion that finally broke down the fences and stormed the factories where the Titans were built. (Pauses, looks at the others) Adeal Teppins is a great hero. We’re all standing here because of him.
CHLOE ISIS
I think we’ve walked far enough. What does that coat do? Can you tell us if we keep walking?
GRENT
Adeal believes that coat will let him reach the Witch King's Sword.
CHLOE ISIS
Erby told us about the Witch King!
I think we’ve walked far enough. What does that coat do? Can you tell us if we keep walking?
GRENT
Adeal believes that coat will let him reach the Witch King's Sword.
CHLOE ISIS
Erby told us about the Witch King!
VALENTINE
A troll captured us, and tried to sell us to a monster called Mallik.
A troll captured us, and tried to sell us to a monster called Mallik.
GRENT
You saw Mallik? Does he know about the Glithvals?
You saw Mallik? Does he know about the Glithvals?
VALENTINE
I don’t care about this stupid sword. Fight your own war.
I don’t care about this stupid sword. Fight your own war.
CHLOE ISIS
This was only supposed to take an afternoon.
This was only supposed to take an afternoon.
GRENT
Talk to me! Has Mallik seen the Glithvals?
CHLOE ISIS
No!
VALENTINE
What about that man? The one who rescued us on the island, he had to be a Glithval.
What about that man? The one who rescued us on the island, he had to be a Glithval.
GRENT
Tell me his name. What did he look like?
Tell me his name. What did he look like?
VALENTINE
He was huge, and he wore thick armor and a cape like the others. Like the knights you see in storybooks. I think he had a sword too.
He was huge, and he wore thick armor and a cape like the others. Like the knights you see in storybooks. I think he had a sword too.
CHLOE ISIS
And he jumped across the whole river.
And he jumped across the whole river.
VALENTINE
He didn't.
He didn't.
CHLOE ISIS
He did. I saw him. He was across the bank with another person and he jumped.
He did. I saw him. He was across the bank with another person and he jumped.
VALENTINE
Chloe, you imagined that.
Chloe, you imagined that.
CHLOE ISIS
Haven't you seen what these men can do? He jumped that river, Rubin.
Haven't you seen what these men can do? He jumped that river, Rubin.
VALENTINE
Call me Valentine!
Call me Valentine!
CORTHD
(shouts) Grent wants name!
VALENTINE and CHLOE are shocked.
GRENT
If this man traveled with Teppins, he very well could have jumped that river. I can think of a few, now think. Did you hear his name?
DAHOOTY lands.
DAHOOTY
Dahooty know! Man named Tremont Ayers. Dahooty hears Mallik talking.
Dahooty know! Man named Tremont Ayers. Dahooty hears Mallik talking.
Insert of CORTHD, who takes a sharp breath.
GRENT
That's what I was afraid.
CHLOE ISIS
Who is he?
GRENT
Teppins's second, and the one most likely to stab his master in the back if it meant a handful of more notoriety for himself. Teppins is the stronger of the two, but in many ways, Tremont Ayers is more dangerous.
CHLOE ISIS
But you're stronger than Tremont, right? You're stronger than Teppins.
GRENT
Once I was. It's been a very long time though.
DAHOOTY
Dahooty see Tremont travel with little wizard.
VALENTINE
Probably that wizard from Triangle that got us into this mess.
CHLOE ISIS
Hook wouldn't sell us out.
GRENT
You met the man named Hook? Did he sent you after this coat?
VALENTINE
He told us about Corthd, but he never said anything about you.
GRENT
He'd be putting his life in danger if anyone found out he saw me and didn't notify the Emperor.
VALENTINE
Can you at least tell us what is the Witch King’s Sword?
GRENT
It was used to manufacture Shogotta, and was the source of all Illithred power. It was also used to make Glithvals. With its energy they built great war machines and wiped away any village in their way. The Sword was contained within a wall of tar that ate anything you stuck in there, or any soldier that thought he could jump in and take the sword for himself.
VALENTINE
You know where it is?
CHLOE ISIS
I think the universe sent us to find it.
GRENT
The Emperor... He was just a dirty stray like the rest of us back then.... He told us to keep trying, but not even the Glithvals were able to break through. Eventually, we had to give up. The Emperor declared Malkooth abandoned and forbid any citizen to set foot inside the city.
CHLOE ISIS
And that’s where we’re headed?
GRENT
Don’t worry, it’s not far. Just over that mountain line. (Points across wide valley filled with rocks and evergreen, and a few cleared patches with tiny farm houses.) We’re going across this valley to that ridge over there. We may have to camp.
CHLOE ISIS
(to VALENTINE) He wants to go that far.
VALENTINE
(to GRENT) That does seem like a lot.
GRENT
Not to Teppins.
VALENTINE
(to CHLOE) That’s where we’ll camp.
CHLOE ISIS
What about food? Can you magic up some trail mix?
GRENT
You’ll have to sacrifice for today, but I can make it up to you tonight, I swear.
CHLOE ISIS
This had better be one heck of a dinner.
GRENT
(chuckles) You can hold me to it.
That's what I was afraid.
CHLOE ISIS
Who is he?
GRENT
Teppins's second, and the one most likely to stab his master in the back if it meant a handful of more notoriety for himself. Teppins is the stronger of the two, but in many ways, Tremont Ayers is more dangerous.
CHLOE ISIS
But you're stronger than Tremont, right? You're stronger than Teppins.
GRENT
Once I was. It's been a very long time though.
DAHOOTY
Dahooty see Tremont travel with little wizard.
VALENTINE
Probably that wizard from Triangle that got us into this mess.
CHLOE ISIS
Hook wouldn't sell us out.
GRENT
You met the man named Hook? Did he sent you after this coat?
VALENTINE
He told us about Corthd, but he never said anything about you.
GRENT
He'd be putting his life in danger if anyone found out he saw me and didn't notify the Emperor.
They walk on in silence.
VALENTINE
Can you at least tell us what is the Witch King’s Sword?
GRENT
It was used to manufacture Shogotta, and was the source of all Illithred power. It was also used to make Glithvals. With its energy they built great war machines and wiped away any village in their way. The Sword was contained within a wall of tar that ate anything you stuck in there, or any soldier that thought he could jump in and take the sword for himself.
VALENTINE
You know where it is?
CHLOE ISIS
I think the universe sent us to find it.
GRENT
The Emperor... He was just a dirty stray like the rest of us back then.... He told us to keep trying, but not even the Glithvals were able to break through. Eventually, we had to give up. The Emperor declared Malkooth abandoned and forbid any citizen to set foot inside the city.
CHLOE ISIS
And that’s where we’re headed?
GRENT
Don’t worry, it’s not far. Just over that mountain line. (Points across wide valley filled with rocks and evergreen, and a few cleared patches with tiny farm houses.) We’re going across this valley to that ridge over there. We may have to camp.
CHLOE ISIS
(to VALENTINE) He wants to go that far.
VALENTINE
(to GRENT) That does seem like a lot.
GRENT
Not to Teppins.
VALENTINE
(to CHLOE) That’s where we’ll camp.
CHLOE ISIS
What about food? Can you magic up some trail mix?
GRENT
You’ll have to sacrifice for today, but I can make it up to you tonight, I swear.
CHLOE ISIS
This had better be one heck of a dinner.
GRENT
(chuckles) You can hold me to it.
FLASH CUT.
INT. DIVE BAR. LIGHTS LOW.
Swing music plays over the darkness. We pull out of a rocks glass of a dark liquid. Everything is cloudy with smoke. Continue zoom out to reveal a man in a brown zoot suit, and a pretty girl with fair hair and an unnaturally pale face with a frilly pink dress. The man is holding a half-smoked cigar, and takes hold of the glass. The woman has a cigarette in a long holder and leans on the table, looking away from the man. In her other hand she holds a champagne glass. She sips, holds it in her mouth a moment, squints, and swallows.
MAN
You think he’s going to find the answer?
You think he’s going to find the answer?
With exaggeration, the woman lazily rolls her eyes to him.
YOUNG WOMAN
Hmm?
MAN
Do you think he is going to uncover the answer?
YOUNG WOMAN
I don’t think it really matters. If the Illithred return, it will be the end for all of us.
MAN
Not an end, a new beginning.
Not an end, a new beginning.
Closeup of the man looking away from us. He turns his head and looks past the camera. Camera zooms past him to a pair of men we could not previously see. Both are tall, dressed in leather bomber jackets with fur collars, torn blue-jeans, gray T-shirts, and wrap-around sunglasses. The one on the left has dirty blond hair, and does not appear to have shaved in several days. He seems to be aged beyond his normal years. The other man has black hair, and his face is expressionless. They are JOHN GREY and KEVIN ROSS. Zoom to a closeup of John Grey, and arc around to shoot the front.
JOHN GREY
Hear that?
Tight on KEVIN ROSS. He looks over in the direction of the couple.
KEVIN ROSS
Something’s up.
Med shot of JOHN GREY. He looks at the couple for several seconds, and nods slowly.
JOHN GREY
This could be the one we’ve been waiting for. There has been all kinds of chatter from the Children.
Zoom out to show both of them.
KEVIN ROSS
It has to be something, Mallik has been gone a long time.
JOHN GREY
Maybe he’s found what he’s looking for.
Cut away to the Twenties-style couple we saw earlier. Lazily, they roll their heads around to John Grey and Kevin Ross. Closeup of JOHN GREY.
JOHN GREY
I think they’ve picked up on us. May be a good time to exit.
I think they’ve picked up on us. May be a good time to exit.
Med shot of Kevin Ross. He nods and grunts in approval. Wide shot as the two of them get up out of their chairs and start to walk away. We can see the top of the first man’s hat at the bottom of the screen, turning to follow them as they leave. Pan with them to the front door. Door opens inward.
EXT. BAR. AFTERNOON
The door opens outward. JOHN GREY and KEVIN ROSS enter.
KEVIN ROSS
What are we going to do with him?
What are we going to do with him?
JOHN GREY
I don’t even know how we’re going to find him. The Mayor has been secretive about his plans. It’s got me on edge.
KEVIN ROSS
Everything about that man puts me on edge.
Wide shot of both of them crossing the parking lot.
JOHN GREY
Yeah, but if it wasn’t for him, we’d still be a tiny little street-gang fighting the other gangs as much as we fight the Malkooth.
KEVIN ROSS
True... but I still don’t like him. When he talks to you... one-on-one, it feels like he’s... like he’s searching for something, any kind of weak point in your armor. I don’t trust him.
Yeah, but if it wasn’t for him, we’d still be a tiny little street-gang fighting the other gangs as much as we fight the Malkooth.
KEVIN ROSS
True... but I still don’t like him. When he talks to you... one-on-one, it feels like he’s... like he’s searching for something, any kind of weak point in your armor. I don’t trust him.
JOHN GREY
(nods) I’ve noticed that about him too.
POV shot behind them. They are being followed. Cut to a shot from the front, with the background out of focus. We can see something stalking them, a shapeless, shambling brown thing. KEVIN ROSS looks over his shoulder. Rack focus to reveal a creature in tattered brown robes, one arm outstretched. KEVIN ROSS grabs JOHN GREY and turns him around. The creature’s other arm slips into the robes and pulls out a long, twisted sword. JOHN GREY is shocked for a moment, but recovers.
Insert JOHN GREY's gunbelt as he draws an archaic pistol.
Full shot as he holds the pistol out in front of him.
Closeup of the gun as he fires twice in slow motion.
Full shot of the hooded creature as it takes the shots in the chest, is knocked back a few steps, and then lurches toward them.
Intercut shots of JOHN GREY and KEVIN ROSS turning and running, while the robed creature lopes after them, brandishing the sword in front of it. As they pass the entrance to an alley, a similar creature lurches out, nearly clawing John Grey with a gloved hand.
Closeup of his gun-hand as he blasts it into the creature’s face at point-blank range.
Wide shot of John Grey, still running, as the creature falls. Before he runs out of shot, he has to dodge a third creature that stumbles into shot.
Tight on John’s face as he runs, breathing heavy.
JOHN GREY
Damn it! They’ve got us running a gauntlet!
Damn it! They’ve got us running a gauntlet!
Wide shot of KEVIN ROSS and JOHN GREY, as they stop running. They stare past the camera in shock, as a fourth creature walks on-screen in front of them. In the background, we can see the other two approaching, both now wielding the wicked swords.
KEVIN ROSS
Any suggestions on how we’re going to get out of this one?
JOHN GREY
I don’t think you’ll like my answer.
KEVIN ROSS
Probably not.
The creature in front of them draws a swords from it’s robes and steps toward them.
Cut to a shot past them of the two robed creatures approaching from behind. There is a ‘crunch’ of a body being broken open, and both arch their backs and clutch at their chests simultaneously. They hold the position for a moment and then fall away, sliding off the blades of twin short swords, held in the hands of a smiling old man with whispy hair and white robes, stained with a dark ichor. He is the MAYOR.
Cut away to reveal the final creature as it roars and raises it’s sword, lurching at the trio.
Cut back to wide shot of John Grey and Kevin Ross as they step out of the way, and the creature passes between them, onto the waiting blades of the MAYOR.
MAYOR
Sorry, boys, looked like you needed a hand there.
Sorry, boys, looked like you needed a hand there.
JOHN GREY
I don’t know, I think we had it under control there.
MAYOR
I’ll keep that in mind, next time I won’t be so fast to butt in. Come with me, I need you to greet a visitor.
I don’t know, I think we had it under control there.
MAYOR
I’ll keep that in mind, next time I won’t be so fast to butt in. Come with me, I need you to greet a visitor.
Cut to...
EXT: FOREST CLEARING, BASE OF MOUNTAIN: AFTERNOON
A shale river bed runs through the center of the valley with dark, ominous trees pressing in close on either side. The water runs fast and is so light blue as to look almost fluorescent. The river bed has been cut down almost three feet above the top of the water. All around them, great jagged boulders mark where the cliff-face had given out over the years. Enter GRENT, VALENTINE, CHLOE, and CORTHD.
NARRATOR
Grent took them off the road at the basin of the valley as evening approached, and led them to a wide, river bed looking cool and inviting as it slid across the river bed.
GRENT
We can rest here a few minutes. I know I wouldn’t mind an opportunity to wash off some of this sweat. (Points to the brush at the edge of the river) We’ll be hidden here.
CHLOE kicks off her shoes, hikes up her red skirt, and jumps in with a splash.
CHLOE ISIS
This is great! Rubin, get in here!
This is great! Rubin, get in here!
GRENT laughs and sits down on a rock to take off his boots. VALENTINE steps his way out of his shoes, pants, and T-shirt, and jumps in the water wearing only his shorts. CORTHD sits on a fallen log.
GRENT
You’ll stand guard?
CORTHD
Where the bird?
GRENT
Don’t know. I lost him, that’s why I stopped. I imagine this will draw him out pretty quick.
CORTHD
Think Teppins have the bird?
You’ll stand guard?
CORTHD
Where the bird?
GRENT
Don’t know. I lost him, that’s why I stopped. I imagine this will draw him out pretty quick.
CORTHD
Think Teppins have the bird?
GRENT
No, he wouldn’t have wasted this much time. He’s up to no good though, so keep your eyes open.
CORTHD
(sniffs, wrinkles his nose.) You stink.
No, he wouldn’t have wasted this much time. He’s up to no good though, so keep your eyes open.
CORTHD
(sniffs, wrinkles his nose.) You stink.
GRENT
Eyes open.
Eyes open.
GRENT walks to river bank, is about to step in...
TREMONT (OS)
Grent Ophalius! They told us you were dead!
Grent Ophalius! They told us you were dead!
TREMONT
Those kids will die here today if you don’t give me that coat.
GRENT
(does not move) So will you.
Those kids will die here today if you don’t give me that coat.
GRENT
(does not move) So will you.
CORTHD draws his sword. GRENT waves for CORTHD to ease.
GRENT
Are we going to fight, or are we going to talk?
Are we going to fight, or are we going to talk?
Closeup of TREMONT’s smiling face.
TREMONT
What do you have to offer?
What do you have to offer?
Med shot of GRENT pointing behind TREMONT. Spin around behind GRENT’s shoulder to reveal the bed of lose rock and branches that have lifted up behind Tremont. TREMONT turns.
Insert of TREMONT’s face as he sees the rocks.
Wide shot of the rocks burying TREMONT, who fights back at first, knocking them away and shaking them off, but he is quickly brought down by the successive waves until he is completely covered with the larger rocks arranging themselves on top like a kind of funeral cairn. When nothing remains but the settling dust:
GRENT
Go get the kids. Watch out for that bird.
NARRATOR
Grent led them down to the river and upstream a little ways to a spot where broken rock provided a few islands they could jump between and remain relatively dry.
Go get the kids. Watch out for that bird.
NARRATOR
Grent led them down to the river and upstream a little ways to a spot where broken rock provided a few islands they could jump between and remain relatively dry.
Cut to shot of the rock pile that buried TREMONT. Rock pile starts to vibrate and hum, slowly getting stronger until it becomes a piercing note that sheers through the rock with a burst of light, leaving TREMONT laying on the ground covered in fine dust. He pushes himself up, shakes himself off and looks around.
Exit TREMONT.
Dissolve...
EXT. AFTERNOON. TOWN
An angle up on HOOK. Behind him is a savage mockery of the real world, copied so closely the differences are subtle and not easy to discern. We see homes and store-fronts, all made of brick. The fronts are not dirty, but the color doesn't seem right, like there is a haze filtering the light through the sky. Not a cloud can be seen in the sky, but the ground is dark and moist, like it has just rained.
HOOK takes a map out of his pocket.
Insert of the map, only partially drawn. His finger traces the two rivers that join in the center of town.
Insert of the map, only partially drawn. His finger traces the two rivers that join in the center of town.
HOOK
Best spot to start as any, I guess.
Best spot to start as any, I guess.
HOOK walks down the empty street. As we truck with him, we see a tangle of tree limbs and power lines. Traffic lights hang every ten yards, blinking through their colors at random, unaligned fashion. The trees are discolored, like brittle skeletons. Neon lights shine in every window, but there are no other signs of life.
HOOK squeezes his eyes closed for a moment, and continues. Before him is a wide stone bridge spanning a riverbed full of dark, oily water rolling along. It’s hard to imagine anything living in those waters. The edges of the river are lined in jagged rocks. We can see various man-made items on the banks, or jutting out of the shallows–broken bottles, tires, boxes, and even a half-submerged bicycle, it’s paint faded with time and exposure. On either side of the river, the buildings cling to the edge of the riverbank with supports driven into the cliff-face. There is the rising crescendo of a female chorus singing in the background. Six sculptures adorn the bridge, three on each side. The four at both ends of the bridge are of a squid-faced dragon. The tentacles move imperceptibly. The two sculptures in the center are bizarre, abstract blobs.
HOOK stops at the edge of the bridge. Shapes may be flitting about inside those paper-covered store-front windows, but nothing is on the streets. On the other side of the bridge, we see the rising concrete buildings, bent slightly at wrong angles, mixed in with far older structures, orange brick with peaked ornate roofs and steepled windows. Walkways span the upper levels, connecting many of them in web-work
Tight on HOOK’s face. His apprehension is apparent.
Tight on HOOK’s face. His apprehension is apparent.
HOOK turns and cries out, confronted by an emotionless face with eyes hidden behind dark sunglasses. The hair atop the toad-like head is short, salt-and-pepper hair in a crew-cut. The face is tanned dark brown with tough, leathery wrinkles. We can see the torso of the person is bulbous and asexual, but wearing a bra under the light, button-up shirt. She is RAT TAIL. She is silent for several seconds.
Rat Tail laughs and looks over her shoulder. For the first time, we can see the rat tail hanging to the middle of her back.
She walks away, still laughing loudly. HOOK shakes his head and turns back to downtown Doom City across the bridge. Camera pans with his head motion until he is out of shot. There is a musical stinger as we see the sky around downtown has turned black, while sunshine still beams around the outlying areas. A broken web-work of light, like a sunbeam through water sparkles toward HOOK. The random lines of light transform into the tendrils of a squid. They reach for HOOK in mid-air, no longer played across a surface, dissipating against his skin.
HOOK inches toward the bridge.
Intercut scenes of HOOK’s determined face and the bridge. Are there shadows of creatures flying in the darkness?
RAT TAIL
You shouldn’t have come, Mr. Hook. You should have stayed out. You don’t belong here.
HOOK
How do you know my name?
RAT TAIL
We all know you ‘round here. None of us wants you.
HOOK
Where are all the people?
You shouldn’t have come, Mr. Hook. You should have stayed out. You don’t belong here.
HOOK
How do you know my name?
RAT TAIL
We all know you ‘round here. None of us wants you.
HOOK
Where are all the people?
RAT TAIL
Turn back, Mr. Hook, turn back now and spare us all.
HOOK
I’m looking for someone... I’m looking for the Mayor...
Turn back, Mr. Hook, turn back now and spare us all.
HOOK
I’m looking for someone... I’m looking for the Mayor...
Rat Tail laughs and looks over her shoulder. For the first time, we can see the rat tail hanging to the middle of her back.
RAT TAIL
Mr. Hook, isn’t that what we’re all looking for?
Mr. Hook, isn’t that what we’re all looking for?
She walks away, still laughing loudly. HOOK shakes his head and turns back to downtown Doom City across the bridge. Camera pans with his head motion until he is out of shot. There is a musical stinger as we see the sky around downtown has turned black, while sunshine still beams around the outlying areas. A broken web-work of light, like a sunbeam through water sparkles toward HOOK. The random lines of light transform into the tendrils of a squid. They reach for HOOK in mid-air, no longer played across a surface, dissipating against his skin.
HOOK inches toward the bridge.
Intercut scenes of HOOK’s determined face and the bridge. Are there shadows of creatures flying in the darkness?
HOOK steps on the bridge. The ground trembles. On the other side of the bridge, we watch as HOOK advances on us, painfully slow.
Cut to a shot in downtown. At this level, it’s nothing like what we saw from across the river. The taller buildings are still there, but at ground level, we can see shabby-looking houses crammed into the area around them. The boards are twisted and warped, painted odd colors. It’s raining hard, all illumination comes from torches sconces chained to the buildings. Most of the windows are missing glass. Dark eyes leer from within.
Cut to a shot in downtown. At this level, it’s nothing like what we saw from across the river. The taller buildings are still there, but at ground level, we can see shabby-looking houses crammed into the area around them. The boards are twisted and warped, painted odd colors. It’s raining hard, all illumination comes from torches sconces chained to the buildings. Most of the windows are missing glass. Dark eyes leer from within.
A mob of people in dingy brown robes have gathered. Hoods hide their faces. Some are holding torches. Their clothing and gloves are worn and tattered. None of them move as the camera traces back and forth across their ranks. After several seconds one in the center steps forward. He is bigger, more bulbous beneath the cloak, with strange protrusions. He reaches out to HOOK.
Blast tears fabric and flesh tear gorily from the leader’s body, knocking him to the ground. The others, momentarily disoriented, dash about, taking cover. Enter CELINE with dark hair and glasses. She is running, pointing large archaic firearm.
As the girl leads Hook away, she shoots over her shoulder with an archaic pistol. Intercut scenes of HOOK and GIRL running down side-streets and back alleys. The background changes enough to leave us disoriented and confused. This scene lasts well over a minute before she stops abruptly, turns to HOOK and puts out her hands to stop him as well.
Cut away to HOOK’s face, surprised.
Med shot of CELINE, gritty-and over exposed.
Closeup of HOOK, surprised.
CELINE
Let’s go, let’s go! Don’t ask questions, just get moving!
Let’s go, let’s go! Don’t ask questions, just get moving!
As the girl leads Hook away, she shoots over her shoulder with an archaic pistol. Intercut scenes of HOOK and GIRL running down side-streets and back alleys. The background changes enough to leave us disoriented and confused. This scene lasts well over a minute before she stops abruptly, turns to HOOK and puts out her hands to stop him as well.
Cut away to HOOK’s face, surprised.
Med shot of CELINE, gritty-and over exposed.
CELINE
You’ve come from the outside. I must take you to the Mayor.
You’ve come from the outside. I must take you to the Mayor.
Cut to...
GRENT reaches the other side and turns to wait for the others to cross the stream. CHLOE slips and falls in up to her thigh. VALENTINE helps CHLOE back on the rock. CORTHD crosses backwards, watching the tree tops, scimitar and dagger drawn. As she reaches the shore, GRENT helps CHLOE jump across.
GRENT
Your bird is gone.
CHLOE ISIS
He does that whenever there’s danger.
GRENT
I figured.
Your bird is gone.
CHLOE ISIS
He does that whenever there’s danger.
GRENT
I figured.
VALENTINE reaches the shore.
VALENTINE
Are you sure that guy isn’t dead? You hit him with... like... a lot of rocks.
Are you sure that guy isn’t dead? You hit him with... like... a lot of rocks.
GRENT
(points) There.
(points) There.
Across the river, TREMONT comes out of the woods to the shore, wearing his goblin-faced helmet. With a few steps running start, he jumps and lifts himself into the air, cape billowing out behind him as he splashes down on the other side, submerging himself up to his waist between CORTHD and the shore. GRENT advances, hands spread before him.
TREMONT
(grinning) Give me the coat, Bandyboo.
(grinning) Give me the coat, Bandyboo.
TREMONT draws his sword. GRENT squeezes his hands into fists, bending down the trees at the edge of the water, tangling TREMONT in their branches. TREMONT wrestles and chops at them. CORTHD dives in the river, still with weapons drawn, holding them over his head as he kicks for deeper water. TREMONT fights his way up onto the bank. VALENTINE and CHLOE run into the woods. GRENT tackles TREMONT, bringing both to their knees. CORTHD reaches the shore and puts himself between CHLOE and TREMONT, who throws GRENT aside and lunges for CORTHD. They trade blows, but TREMONT is much stronger, and CORTHD is easily brushed aside.
TREMONT
I’m cold, little girl, won’t you give me your coat?
I’m cold, little girl, won’t you give me your coat?
GRENT grabs TREMONT from behind and hurls him away.
GRENT
Run! Go!
Run! Go!
TREMONT grabs GRENT and they spin around and tumble. TREMONT pummels GRENT with his armored glove until GRENT is able to knee Tremont in the stomach and push Tremont off.
TREMONT
We’ve missed you all these long years, Grent. Have you been hiding down here with the trolls?
We’ve missed you all these long years, Grent. Have you been hiding down here with the trolls?
GRENT punches TREMONT in the jaw, knocking him to the ground.
TREMONT
Give me the coat, and I’ll tell Adeal you’re dead. You could do something spectacular, like plunging off a waterfall, or being overcome by wild beasts.
Give me the coat, and I’ll tell Adeal you’re dead. You could do something spectacular, like plunging off a waterfall, or being overcome by wild beasts.
GRENT takes a step back and raises his arm, with TREMONT spinning up in the air with it.
TREMONT
I’ll take that as a maybe, then.
I’ll take that as a maybe, then.
GRENT whips out his arm and sends TREMONT flying down river, out of sight. GRENT turns to the others.
GRENT
What are you looking at? Go! Go!
What are you looking at? Go! Go!
GRENT trails behind as CORTHD runs into the woods, meeting with VALENTINE and CHLOE.
GRENT
He won’t track us far into these woods. Stay close to me, he may do something drastic.
He won’t track us far into these woods. Stay close to me, he may do something drastic.
Cut to...
EXT. FOREST, DAY.
Looking up through the trees.
Fade in, TREMONT screaming.
Shadow appears in the sky, growing larger as Tremont’s scream gets louder. TREMONT crashes into the tree, which explodes, spraying broken wood, leaves, and terrified birds into a cloud.
Tight on TREMONT. His helmet is off and his face is bloody.
Slow zoom out to reveal his body. Jagged, bloody pieces of wood protrude from his body and armor. TREMONT is dazed, but shakes his head and recovers consciousness. TREMONT arches his back and bellows.
Cut to...
EXT. FOREST, DAY
TREMONT’s wail is continuous, faint now in the distance. The leaves skitter and blow around them.
GRENT
He’s trying something drastic. Come on!
He’s trying something drastic. Come on!
More roars and the wind whips through the trees, growing stronger and stronger as they run until VALENTINE is knocked off his feet by the blast.
GRENT
Get up! Get up!
Get up! Get up!
VALENTINE is almost on his feet when another blast knocks down him and CHLOE, who has paused to help. GRENT points to them and CORTHD picks them up, setting his stance against the waves of sound getting closer. Once CHLOE is on her feet, GRENT grabs her wrist and pulls her along with him.
GRENT
Tremont has faded. He won’t bother us any more. Come on, Marshal Teppins is probably close.
Tremont has faded. He won’t bother us any more. Come on, Marshal Teppins is probably close.
Cut to...
INT. CAVERN.
Walls are rough-hewn. Torches are affixed to all the walls, bathing the cavern in an orange hue. People are scattered about, all centered around the MAYOR, seated. HOOK and Celine walk into shot from the left.
All this time, she is leading him forward to the balding man.
CELINE and HOOK turn their heads to face him. Rack Focus from them to the MAYOR.
Tight on the Mayor.
Med shot on HOOK. He pulls back his hood and stands up straight. The filters in the lighting change to illuminate him better. Tucked in his belt at his stomach, we can see the butt of his gun, and the pommel of his short sword slightly uncovered. Behind him, subtly, almost unnoticeable, the faces of the extras in the background shift from the Mayor to HOOK.
Full shot of HOOK as he turns away.
Cut to...
EXT. FOREST. DAY
GRENT leads the others through the wilderness.
It’s almost noon when they reach the summit, and GRENT keeps them under cover of the trees while he watches the valley for movement.
GRENT leads CORTHD aside again.
CORTHD touches the pommel of his scimitar.
CORTHD nods.
GRENT claps CORTHD on the shoulder and exits the way they arrived.
Camera zooms out as CORTHD leads CHLOE and VALENTINE down the rocky face of the mountain to the forests below.
FADE TO BLACK.
End Book 2
HOOK
What is this place?
CELINE
This is where we hide, Mr. Hook, this is the only place we are safe.
What is this place?
CELINE
This is where we hide, Mr. Hook, this is the only place we are safe.
HOOK
‘We’ who? Who are you hiding from?
‘We’ who? Who are you hiding from?
CELINE
From the Malkooth. We are the last few people left of pure intent. Not all have lost what they were born with. We have to live in secret, because the Malkooth hunt us incessantly. They want to see us wiped out.
From the Malkooth. We are the last few people left of pure intent. Not all have lost what they were born with. We have to live in secret, because the Malkooth hunt us incessantly. They want to see us wiped out.
All this time, she is leading him forward to the balding man.
HOOK
And who are ‘they?’ Who are the Malkooth?
And who are ‘they?’ Who are the Malkooth?
MAYOR (OS)
At one time, they were human.
At one time, they were human.
CELINE and HOOK turn their heads to face him. Rack Focus from them to the MAYOR.
MAYOR
A long time ago, they could still be considered human. They move into this area though, and they come under His control.
HOOK
Who?
CELINE
He who serves the Dweller in Lake Hali.
A long time ago, they could still be considered human. They move into this area though, and they come under His control.
HOOK
Who?
CELINE
He who serves the Dweller in Lake Hali.
Tight on the Mayor.
MAYOR
You see, Mr. Hook, this area has a very dark power behind it.
You see, Mr. Hook, this area has a very dark power behind it.
Med shot on HOOK. He pulls back his hood and stands up straight. The filters in the lighting change to illuminate him better. Tucked in his belt at his stomach, we can see the butt of his gun, and the pommel of his short sword slightly uncovered. Behind him, subtly, almost unnoticeable, the faces of the extras in the background shift from the Mayor to HOOK.
HOOK
And how do you know me?
And how do you know me?
MAYOR
Oh! Mr. Hook, we’ve been waiting for you!
Full shot of HOOK as he turns away.
Cut to...
EXT. FOREST. DAY
GRENT leads the others through the wilderness.
NARRATOR
The ground sloped up, and they found themselves climbing again, this time much steeper.
VALENTINE
I hope this wasn’t the surprise you had planned, because I don’t like it.
GRENT
Will you even believe me if I say it’s better than this?
The ground sloped up, and they found themselves climbing again, this time much steeper.
VALENTINE
I hope this wasn’t the surprise you had planned, because I don’t like it.
GRENT
Will you even believe me if I say it’s better than this?
It’s almost noon when they reach the summit, and GRENT keeps them under cover of the trees while he watches the valley for movement.
GRENT
I’ve got good news. (Continues looking below) That as the hard part. That is where you're going.
GRENT
You go straight that way, and as long as no one sees us, or attacks us, or gives us any kind of interference, you’ll reach your destination... and your dinner, sooner than you realize.
I’ve got good news. (Continues looking below) That as the hard part. That is where you're going.
GRENT points across the valley to a stone keep with tall, crenelated walls.
GRENT
You go straight that way, and as long as no one sees us, or attacks us, or gives us any kind of interference, you’ll reach your destination... and your dinner, sooner than you realize.
CHLOE ISIS
I’m so hungry!
VALENTINE
You’re not going with us?
GRENT
If I don't go back to find Teppins, he'll overtake us before we know it. You’re going with Corthd while I lead them away.
VALENTINE
I’m not going with another troll. The last one tried to kill us.
CHLOE ISIS
They don’t like to be called trolls, Rubin.
GRENT
I can’t protect you from three Glithvals. We’re going to keep our heads low for a day or two before we go into Malkooth. (To CORTHD) Take them to Master Talen. I’ll meet you there.
CORTHD
Poran not let us in. He kill us on sight.
GRENT
We don’t have any other option. He won’t attack if I'm not with you, and if he has warning, he’ll let me onto his property. I’ll take care of Teppins and his henchmen and meet you at the farm. (To CHLOE and VALENTINE) Listen to everything Corthd tells you. He’ll keep you alive. (To CORTHD) Good luck.
I’m so hungry!
VALENTINE
You’re not going with us?
GRENT
If I don't go back to find Teppins, he'll overtake us before we know it. You’re going with Corthd while I lead them away.
VALENTINE
I’m not going with another troll. The last one tried to kill us.
CHLOE ISIS
They don’t like to be called trolls, Rubin.
GRENT
I can’t protect you from three Glithvals. We’re going to keep our heads low for a day or two before we go into Malkooth. (To CORTHD) Take them to Master Talen. I’ll meet you there.
CORTHD
Poran not let us in. He kill us on sight.
GRENT
We don’t have any other option. He won’t attack if I'm not with you, and if he has warning, he’ll let me onto his property. I’ll take care of Teppins and his henchmen and meet you at the farm. (To CHLOE and VALENTINE) Listen to everything Corthd tells you. He’ll keep you alive. (To CORTHD) Good luck.
GRENT leads CORTHD aside again.
GRENT
Watch the girl. Something isn’t right.
Watch the girl. Something isn’t right.
CORTHD touches the pommel of his scimitar.
GRENT
I have to be wrong, it’s simply not possible. Poran will know right away.
I have to be wrong, it’s simply not possible. Poran will know right away.
CORTHD
If she is?
GRENT
Poran will know right away. If he agrees, tell him I don’t think the girl knows.
If she is?
GRENT
Poran will know right away. If he agrees, tell him I don’t think the girl knows.
CORTHD nods.
GRENT
Be safe. Move fast.
Be safe. Move fast.
GRENT claps CORTHD on the shoulder and exits the way they arrived.
VALENTINE
I don’t like this, Chloe.
I don’t like this, Chloe.
CHLOE ISIS
If you have a better idea, I’d like to hear it. I don’t think we have much choice.
CORTHD
Come now. Your bird getting far off.
If you have a better idea, I’d like to hear it. I don’t think we have much choice.
CORTHD
Come now. Your bird getting far off.
Camera zooms out as CORTHD leads CHLOE and VALENTINE down the rocky face of the mountain to the forests below.
FADE TO BLACK.
End Book 2
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