BEYOND THE HORIZON

"The Sun is Yet to Rise" (PILOT)

Written by

Jezel Vega

INT. ATA'S MAIN OFFICE - DAWN

A line of applicants stands against a wall. One of theapplicants stares at the parallel white wall. His height anddemeanor differ vastly when compared to his competitors.This man is JERRY FITZGERALD (27). Curly strands of brownhair hang from his forehead, stopping at the rim of hisglasses. Stains of ink are splattered across his white dressshirt. With a whooping 6'3 height Jerry towers over theother applicants, however, his skinny build leaves much tobe desired. In fact, his briefcase's weight causes him tostruggle for balance.

A male applicant standing behind Jerry admires the scene indisbelief.

MALE APPLICANT(Chuckles)

Whatcha got in there, pal? A Buncharocks?

Jerry faces him, making a sharp turn.

JERRYYou could say that.

The applicant scoffs. He takes out a cellphone from hispocket, staring at it intensely.

JERRYIt's really interesting, you know.

The applicant's eyes squint.

JERRYSome would consider them to be mererocks. While others are willing toargue they are priceless. And fewwould even risk their lives toresearch them.

MALE APPLICANTHmm

He turns away from Jerry.

JERRYI wouldn't say either one of themis wrong. In fact, they all mightbe right or at least believe theyare. So, yes. They are all just abunch of rocks if you honestlybelieve they are.

2.

MALE APPLICANT

I honestly believe you should bewaiting in silence.

Jerry looks down at his feet. He rubs his chin. Then, anexpression of awe colors his face. He turns towards the man.

JERRYI know. I will give you a chance toform an opinion.

Jerry opens his suitcase.

The male applicant's eyes widen. He's stunned by thecontents of the suitcase.

MALE APPLICANTFor Pete's sake! Boy, why the heckare you carrying these around?!!?

JERRYCharlie asked me to bring themalong. I suppose he might beinterested in them. I'm stillfiguring out why.

MALE APPLICANTCharlie, you say? You mean theATA's founder?!

JERRYYes. I've known him for quite awhile. I didn't know he handledthis sort of... agency?

MALE APPLICANTYou came here without knowing asingle thing about this place?

JERRYCorrect. It would really help me alot if you could fill me in-

CHARLIE (O.S.)Dr. Fitzgerald!

CHARLIE SMITH (27 M) embraces Jerry with a hug. ATA iswritten across his black vest. Though his unironed officeclothes ruin the vest's appeal.

JERRYCharlie, I've known you since highschool. Just call me Jerry.

3.

CHARLIE

I missed your modesty, Jerry. And Isee you are pulling one of yourclassic stunts.

JERRYWhat?

CHARLIEYou are waiting in the applicantline.

JERRYAh. Well, I'm just making someconversation. Trying to figure outwhere I am.

CHARLIEYou didn't have to do that. I'lltake you on a tour.

JERRYSounds fun, but I'm not entirelyfinished yet-

CHARLIEDoes it really matter? Come on.

He pulls Jerry out of the line.

JERRYJesus, Charlie! I didn't even gethis name.

MALE APPLICANT(Chuckling)

You two carry on!

CHARLIESee! He's fine. Let's go!

They enter en elevator.

INT. ATA'S PLACEMENT DIVISION- CONTINUOUS

The room is mostly filled with file cabinets. No cubiclewalls can be seen, leaving the room structured in an openenvironment. Computers and desks are set in a separate roomportion, away from a huge blackboard. Workers can be seengathering around it.

CHARLIEWe'll start with the placementdivision.

(MORE)

4.

CHARLIE (CONT'D)

Most of our units come through herebefore being processed to the otherdivisions.

One of the workers, NANCY CUOMO (25), notices the duo'sarrival.

NANCYCharlie! You got here just in time.We were about to name the new unit.

CHARLIE(To Jerry)

It's something they do.(To Nancy)

Morning Nancy, I got a good name.Why don't we call it Time Killer#3456?

NANCYYou know you love naming them.

CHARLIEAlright. Alright, let's see whatyou got.

The words Mizzle, Twister, Gust, and Downpour are written onthe board. Mizzle is circled in red.

CHARLIEMizzle? Is that the best you couldcome up with? How about StormRider?

NANCYI was going for something funnier.

CHARLIEIt's supposed to be.

(beat)And it's fitting too. What do youthink, Jerry?

Silence.

CHARLIEJerry?

He looks around the room. Jerry stands by himself at thecomputer area, holding an open field in his hand.

5.

JERRY

(To himself)Mr. Saturday Midnight.

Charlie taps his shoulder.

CHARLIEWondering off by yourself? Seems abit rude, don't you think?

JERRYThis file. Is this from one of yourso-called units?

CHARLIEYes, it is.

JERRYIt's a bit unusual.

CHARLIERight? I don't like the nameeither. I mean, if you are gonnamake a pop culture reference atleast make sure it's stillrelevant.

JERRYI mean the things listed in thefile. Height. Blood type. Date ofbirth.

CHARLIEThat kind of data makes placementeasier. We are trying to mirrorother organization's guidelines.

JERRYYes, that information is importantwhen dealing with people. Yet, youinsist on calling them units,instead of using terms like clientor patient.

CHARLIEAre you familiar with the labelingtheory, Jerry?

JERRYI-

CHARLIEWhat am I asking!? Of course, youare.

(MORE)

6.

CHARLIE (CONT'D)

Based on that theory, we believethose terms are detrimental.

JERRYWell, they can lend themselves todetrimental consequences. Even so,I still don't see how calling thesepeople units is any better.

CHARLIEYou are still not convinced?Alright then. I guess you'll haveto see it for yourself.

INT. AN ATA WAREHOUSE - CONT.

A silver, bright, hallway stretches indefinitely. It is sobright, one can see their reflection on the floor and walls.Aside from the exit door, no other doors can be seenthroughout this vast hallway. Pillars appear in sequentialorder. A few hold items.

CHARLIEYou know how there are many thingslost to time.

JERRYI do.

CHARLIEAnd how you used to love unearthingthese things and bringing them tolight.

JERRYAnd how I made it part of myvocation?

CHARLIERight. Well, there are things thatwere never meant to see the lightof day.

Charlie pulls out a card from his pocket. He slides itacross the wall. A hole appears in the wall. The room itleads to is pitch black. Charlie steps in.

CHARLIEDon't shoot, old man.

A flare lights up a cigar. The smoke and fire reveal CLYDECALLAHAN's (78) unmoving, wrinkled face.

7.

CLYDE

Why not? I'm just aiming for thattwig.

CHARLIEDrop it off.

Charlie flips on a switch. The room is full of screens. Amassive object stands in the middle, covered with a sheet.Clyde sits in front of it, aiming his gun at Jerry.

CHARLIEClyde, this is the guy I wastelling you about.

JERRYI would appreciate it if youlowered your weapon, sir.

CLYDEWhat's the matter, kid? Afraid ofmy little gun?

JERRYI don't condone the use ofviolence.

CHARLIEI told you to drop it off, pops.

CLYDETsk.

He puts the gun away.

CLYDEHe doesn't have the guts for themission, Charlie.

CHARLIEWhy don't you trust my judgment foronce man? He will carry out ourvision.

CLYDEHim? This excuse of a man?! I knowwe agreed to desperate measures,but you are overdoing it.

CHARLIEWoooow! I didn't hear you sayingthat when we started targettinghospitals.

8.

JERRY

I'm willing to do whatever you wantme to.

CHARLIEReally?

JERRYAs long as it stops your fighting.

CHARLIEWell, if you are gonna help us youshould get used to the bickering.There will be tons of it in thefuture.

Charlie walks over to the covered object.

CHARLIEEarlier. When I was talking aboutthings that weren't meant to seethe light, I wasn't merely talkingabout the old man.

I was referring to our units.

He unveils the object. It is a vertical pod. A man restsinside.

CHARLIEWe call him Nirvana.

JERRYWhat is he doing in there? Is hesick or something?

CHARLIEThat pod stops him from using hisabilities.

JERRYAbilities?

CHARLIEYup. Take a look at the screens.

ON THE SCREENS

Nirvana catches a grenade. Smoke fills the screen. He walksthrough the smoke engulfed in fire. The fire does not slowhim down.

A third eye appears on Nirvana's forehead.

9.

He sits in the middle of a hurricane, while slowly risingfrom the air.

Nirvana walks nonchalantly through a platoon, killing anyonethat approaches him with his bare hands.

BACK TO SCENE

Jerry walks frantically across the room.

JERRYOh boy, oh boy, OH BOY!

CHARLIEI know. I know. He's a scary dude.That's why we keep him in here withthe others.

Jerry stops abruptly.

JERRYOthers?

CHARLIEYeah. We don't have many unitsright now, but we plan onincreasing the number. That's whereyou come in.

JERRYMe? How could I-

Hold on. Is that the reason you called me over?

CHARLIEWe could really use yourresearching abilities.

He gives Jerry a side hug.

CHARLIEI can already picture you findingthese monsters in mere days.

Jerry pushes him away.

JERRYCount me off. I will not contributeto your unethical practices.

CHARLIEUnethical? We are trying to protectpeople.

10.

JERRY

By depriving these individuals oftheir freedom?

CHARLIEPretty much?

JERRYHow is this not unethical?

CHARLIEJesus, Jerry! It's like you neverheard of prisons. Same principle.

JERRYAnd yet I haven't seen any effortstowards rehabilitation.

CHARLIEWe are not gonna waste our timeplaying shrink with these monsters.

JERRYThat line of thinking is blindingyou.

Jerry approaches the pod, investigating it thoroughly.

CHARLIEWhat are you doing?

JERRYLooking for a way to communicatewith him.

Clyde points his gun at him.

CLYDEStep away from it.

JERRYThis is a man who is defined bymore than his past actions. You areunable to see that from the outsideof the glass.

CLYDEI'm not asking twice.

JERRYYou are not asking him to stop,Charlie?

11.

CHARLIE

We can't let you release him.

He reaches for his dress shirt pocket.

CHARLIELast chance. You are either with usor against us.

Jerry holds onto his suitcase. His hands shake. He isspeechless.

Clyde and Charlie focus their gaze on Jerry.

Suddenly, the door opens. THE INTERN (21) walks in with aphone on his hand.

THE INTERNBoss, Raymond's looking for you.

CHARLIECan't you see I'm in the middle ofsomething?

THE INTERNHe says it's urgent.

CHARLIEGive me that. Pops-

(Sighs)Just clean up after yourself.

The both leave.

CLYDEYou heard 'im, boy. It just ain'tyour day.

Jerry's body trembles violently. He holds the suitcaseagainst his chest.

JERRYSir, I don't want to hurt you.

CLYDEJust try. This old body haswithstood threats greater than yourderanged ideas.

JERRYI'm really sorry.

12.

The suitcase opens. In an instant, gusts of wind rushtowards Clyde, causing his body to fly across multiplewalls. Each wall is left with a hole big enough for Jerry towalk through.

Clyde's body stops at a distant wall, stunned by the flight.Jerry quickly snatches Clyde's ID and rushes out of thescene.

His escape leads him back to the hallway.

JERRYI got carried away again. Ah! Ihope he's fine.

TAP. TAP. TAP.

JERRYHuh?

He stops at a pillar. It holds a severed arm inside a glasscontainer.

JERRYWhat is it doing in there?

It squirms, knocking repeatedly on the glass. Its fingerspoint at Jerry and then to the right.

JERRYAre you telling me where to go?

An alarm goes off. The hall is filled with flashing redlights. Various footsteps are heard in the distance. Jerrybreaks the arm out of the glass.

JERRYI might need your help after all.

INT. CELL ROOM - CONT.

The arm now sits on Jerry's shoulder, like a cat. They stopat a door that reads "LEVEL 3 - AUTHORIZED PERSONNEL ONLY"Jerry attempts to open the door and fails. The arm wigglesaround Jerry's body, taking out Clyde's ID and passingthrough a card reader.

JERRYYou gotta remind me to return thislater.

13.

They enter a cell room. Unlike a usual detention center, thecell bars consist of blue LED lights. Two cells stand outfrom the rest. Their bars have a brighter, fiery color.

O.S. WOMANWake up! He's finally here.

O.S. MANhmm, What? Food's here already?Good. I was starting to feel themunchies.

O.S. WOMANYou haven't had a blunt in months.

O.S. MANIt's psychological.

O.S. WOMANBe serious.

Jerry approaches the cells. The severed arm jumps off,moving towards a cell.

JERRYCould this be what you've beenlooking for? Or perhaps it's who?

ERIC COLLINS (25) and RILEY KING (27) stand inside thecells. Her black skin is free of injuries. Yet she tremblesas if the slightest breeze of air could threaten herexistence. On the other hand, Eric's bleached hair andscraped body reveal a past of regrettable decisions. Theonly part of his body free of injuries happens to be hismissing right arm.

JERRYIt seems that this belongs to you.

ERICYo, that's insane! How is it stillmoving?

JERRYI'm not too sure myself.

ERICAll this time I thought I had likea phantom limb.

(To the arm.)Come here, little guy.

It gets awfully close to the LED lights.

14.

RILEY

Stop! It's gonna be blown topieces.

JERRYThese aren't lights then?

RILEYThey keep us in here.

JERRYI see. There's ought to be a way toshut them off.

RILEYTry the room on the far right.

JERRYBe right back.

RILEY(To Eric)

I give him 5 minutes.

ERICThat's a little bit harsh.

(beat)He'll probably be killed before hereaches the room.

Screams and gunfire are heard offscreen.

RILEYI mean, look at the guy. He canbarely stand.

ERICYeah, he didn't look too fit. Iwonder how he made it here in thefirst place.

Something explodes in the background.

RILEYI guess that's that.

Eric lies down on the cell's bench.

ERICWake me up when it's time to eat.

An exhausted Jerry runs back to the cells. The light barsshut off.

15.

JERRY

Where were we?

The two exit their cells. Eric picks up his arm. Riley stopshim before he approaches Jerry.

RILEYWait. There's something off abouthim.

JERRYI get it. I'm being way toomeddlesome without even knowing athing about you. Let's start over,what are your names?

RILEYThey call me safe keeper.

Eric struggles to put his arm back in its place.

ERICMr. Saturday Midnight.

JERRYNo, no. Your actual names.

RILEYI'm Riley, he's Eric and you mustbe Jerry.

JERRYHave we met before?

RILEYMultiple times, but not in person.

JERRYHuh?

ERICCan I borrow your tie, Jerry?

JERRYSure thing.

(To Riley)How exactly did we meet?

Eric uses the tie to keep the arm connected to his shoulder.It allows him to regain control of his arm.

RILEYEvery so often, I get abstractvisions of different scenarios.

(MORE)

16.

RILEY (CONT'D)

Recently, they've all coincidedwith you meeting us.

ERICI keep telling you they puthallucinogens in our food. Heck,this could all be a trip.

JERRYWell, Eric, this experience is realto her. Whether we believe in it ornot we have to respect it.

RILEYWhat are you two insinuating?

ERICNothing.

JERRYThat your story should be validatedregardless of its lack ofobjectivity.

They both stare confused at Jerry.

JERRYAnyway. We have to free everyonebefore the guards find us.

ERICIt's just us, dog.

RILEYWe are yet to see other prisoners.

JERRYThen again, if this only level 3,there could more prisoners. Likethe man inside the warehouse.

The sound of a door opening. Someone's footsteps can beheard offscreen.

JERRYYou two will have to do for now.Follow me, I know where the exitis-

GUARDHow did you two get out?

He reaches for his gun. Riley and Eric nod at each other.

17.

JERRY

Oh, you can put that away. We arejust passing through.

Riley and Eric immediately jump on the guard, fiercelybeating him to the floor.

JERRYWoah, Woah. Guys. Stop.

Riley stops herself halfway, while Eric continues punchingthe guard.

RILEYWhy should we? They never showed usthat much compassion.

Eric stops beating the guard to slam his fists on the floor.

ERICDo you any idea of what they'vedone to us?!? They left us nochoice, man.

(beat)And now that we are out. I'm prettysure these fuckers are planning tokill us.

He lifts the guard by his shirt, his other hand forms afist.

ERICIf we don't kill them first.

A hand touches his shoulder.

JERRYIt doesn't have to be that way.

His gentle touch subdues Eric's anger-driven expression.Jerry crouches to meet his friends' eyes.

JERRYListen. These people believe thatyou are monsters. I assume theyhave treated you as such. But youcan't let their actions define you.

He takes a rope from his suitcase. He slowly ties the guard.

JERRYYou shouldn't have to live up totheir expectations.

(MORE)

18.

JERRY (CONT'D)

Consider this stopping point themoment that you choose to be more.

(To the guard)Let me know if it's too tight.

Tears roll down Eric's face.

JERRYI know I might be asking too muchof you.

ERIC(Sobbing)

It just... It feels like you'vegiven me my life. Do you reallythink I can be better?

JERRYYes.

Eric goes for a hug.

ERICI haven't felt that in such a longtime.

RILEYWhile you make a compellingargument, I doubt your words willchange their minds. If we don'tfight, we don't stand much of achance.

JERRYI did fail to convince them, but Istill refuse to use violence. So, Icame up with a plan that reducescollateral damage as much aspossible.

Riley and Eric lean closer to listen to the plan.

INT. ATA WAREHOUSE

A bruised and injured Clyde rises from a pile of concrete.He stretches his back and arms.

CLYDENonviolence my ass.

He speaks on a small radio.

19.

CLYDE

Gather in the warehouse. The manyou are looking for will be there.

He lights up a cigar and smirks.

CLYDEShoot to kill.

INT. CELL ROOM CONT.

Jerry, Riley, and Eric stand near the exit of the cell room.

ERICSo why exactly do we have to goback for that guy?

JERRYSame reason I helped you out.Nobody should be kept in here.

RILEYAnd you are aware that the place isgoing to be packed with guards,right?

JERRYYes, and that's precisely why weneed to do it quickly. We'll gethim out and escape. Now, if Riley'svisions are accurate the mainoffice should be behind this wall.

He taps the wall with his shoe.

JERRYI don't see it breaking easily.

ERICLeave that to me.

Eric rearranges the tie so that his severed arm is boundover his elbow. Light gathers at the tip of his indexfinger. With an expression of excruciating pain, Ericreleases a light beam.

It blows the wall away... along with the following wall. Itflies over the applicants' heads.

While Riley appears unfazed by the event, shock fillsJerry's face.

RILEYWasn't that our last resort?

20.

ERIC

Was. It's not happening again. Icould feel my arm tearing apart.

She shakes him by the shoulders.

RILEYWhy the hell did you use it then?Now our chances of surviving areeven lower!

ERICChill. We'll make out just fine.Right, Jerry?

Jerry grabs his shoulder. He starts shaking him too.

JERRYThat was so reckless! You could'vehurt someone!

ERICThe elevator's over there, let'sjust leave.

RILEY(Sighs)

He's right, we gotta keep moving.

Jerry releases him

JERRYSorry. Let's head over to the thirdfloor.

INT. WAREHOUSE - CONT.

The three walk past the pillars and towards Nirvana's room.Jerry slides Clyde's id across different sections of thewall.

RILEYThis place is giving me chills.

ERICI get you. The colors in this placereflect everything. It's like beingforced to look at yourself. Nomatter where you turn, you end upstaring at your reflection. There'sno escape from your gaze. Trulyfrightening.

21.

JERRY

Everything ok over there?

ERICOh yeah. I'm just rambling.

RILEYI'm serious. Something's wrong.

She staggers a bit before dropping to the floor.

ERICCareful.

As she rises from the floor, her sight grows blurry. Shestares at Jerry and the scenery around him shifts. Jerry nowstands inside the room, releasing Nirvana. Clouds of smokefill the scene. With a deafening sound, the clouds darken.There are screams. Panic. Then nothing but the bodies ofJerry and Eric lying on the floor.

She screams in terror.

ERICEasy. I'm just trying to help you.

She regains her sight and sees the two men unharmed.

RILEYIt happened again.

ERICWhat did? The visions?

RILEYWe need to leave.

In the back, Jerry manages to find the opening.

JERRYI got it guys.

RILEYWait, you can't go inside.

CLYDE (O.S.)Take her advice, Fitzgerald.

Clyde, Nancy and a group of armed men surround them.

NANCYThe units from Level 3 are heretoo? Great, I've been waiting totry these out.

22.

She takes out a controller. Two drones rise from behind andhover around her.

JERRYMr. Clyde, you are alive? Thankgoodness. For a second there Ithought I might've actually-

Gunshots.

They all hit Jerry's suitcase. The shots break it open.Numerous minerals fall to the floor. Among them, a funnel-shaped artifact lies intact. Jerry reaches for the minerals.They turn to dust as soon as he touches them. His grip holdssome of the dust.

ERICYo, why did he aim for yoursuitcase?

RILEYForget that. The guy inside is badnews. We can't stay here.

JERRYI'm sorry but I cannot leave him.

He drops the dust into the funnel artifact.

JERRYI wouldn't be able to live withmyself knowing that I didn't doanything.

He places the artifact between his lips, slowly gatheringair.

CLYDEThat ain't gonna work again.

Clyde shoots Jerry's fingers. Blood gushes out. Jerry pushesthrough the pain, as he continues gathering air. He finallyblows it out.

A flurry of mineral dust veils Clyde's group. It swiftlycuts their bodies with small wounds, pushing them back. Inthe midst of the confusion, Jerry runs inside the room.

CLYDEWhere the hell is he?

Eric and Riley slowly walk away. The drones block theirpath.

23.

NANCY

I would have preferred to chaseafter you, but your friend made itpersonal.

The drones deploy their weapons, aiming at Eric and Riley.Suddenly, a hole opens in the adjacent wall. Smoke fills theroom. Jerry's artifact falls to the floor, dented.

Nirvana walks out, holding Jerry by the neck with one hand.Jerry struggles with no avail. Everyone is paralyzed. Someshake in fear.

CLYDEGet a hold of yourselves. Shooteverything you have at him.

The armed men shoot directly at Nirvana. Clyde empties hisclip in the progress. Nancy's drones fire lasers at Nirvana.Yet, every projectile bounces off his body. He remainsuninjured, still crushing Jerry's neck.

ERICWhat is up with that guy?

CLYDEHe appears to be highly resistantto pain. Nancy, you got anything?

NANCYTo use against him? Just this.

Her drones launch heat-seeking missiles. They chase Nirvanaaround, rendering his movements useless. He slashes oneapart and stops the other with his hand. He throws Jerryacross the room before the missile explodes.

A cloud of smoke covers the armed men. Nirvana walks amongthem. With swift hand motions, he slashes every single man.

The screams and bullets from the men are the only soundsthat escape the cloud. And for a brief second, there'snothing but silence. Then, Nirvana's footsteps grow louder.The smoke clears. He is heading towards Clyde and Nancy.

NANCYWell pops, it's been a pleasure.

CLYDEStop messing around. We might stillhave a chance. This time I'll makesure he stays dead.

24.

NANCY

Doubt it. We can't do much withoutCharlie.

CLYDETsk. I may be old, but I'm morethan capable. Watch me blow hisbrains ou-

Nirvana punches his face. The impact's force is sodevastating that Clyde immediately falls to the floor.

NANCYPops! Can you stand up?

CLYDEugh...

NANCYDon't worry I'll get you out ofhere, somehow.

Her drones fly to Clyde. Ropes with hooks come out of thedrones. They cling onto Clyde's clothes and drag him away.Nirvana grabs and lifts Nancy.

NANCYTake care pops.

He tosses her across the room. Her body arrives where Rileyand Eric are standing.

RILEYWhy here? Of all the places shecould've landed.

ERICIs he getting closer to us?

RILEYO.K. This is what's gonna happen.You'll go grab Jerry while I pushher body close to that guy.

ERICWe are not gonna get her killed.

RILEYDo you really think she survivedthat?

Nancy leans on her shoulder.

25.

NANCY

I did.

RILEYAH. Don't do that. You almost gaveme a heart attack.

NANCYWasn't planning to. I actually needyour help, so why don't we letbygones be bygones. I got theperfect plan.

RILEYWhich involves?

NANCYHim.

She points at Eric.

NANCYThat laser might just do the job.

ERICCan't. Another shot might tear myarm. Besides, I don't wanna hitJerry.

NANCYYou just gotta aim higher. Come on,it's the one thing you are good at,right?

He prepares his arm for another shot.

RILEYAre you really doing it again?

He nods. His light beam hits Nirvana. The impact pushes himback. Nirvana's chest is ridden with scratches. Hisnonchalant demeanor changes, as he clenches his fists inanger.

RILEYIt worked?

NANCYBut why? It shouldn't have donemore damage than my missiles.

(beat)Unless you are the only ones thatcan damage him.

26.

RILEY

Us?

NANCYMaybe not you, but other units.

(To Eric)Do it again.

ERICI've hit my limit!

Eric's arm catches on fire. He rolls on the floor,attempting to extinguish the flames.

RILEYGet up! He's coming.

ERIChuh?

Nirvana's foot stops his rolling. He kicks his abdomen. Hecontinues kicking him numerous times. Riley stares at hisstill body and then at Jerry. Nirvana sets his sight forRiley. Her body trembles.

RILEYIt's all happening.

NANCYStop that. We gotta make a run forit.

As Nirvana closes in on them, Something gets a hold of hisfoot. He turns around to find Jerry gripping to it. He pickshim up with one hand and readies the other to punch him.

JERRYSTOP.

His punch stops inches away from hitting Jerry's face. Hebrushes off Nirvana's arm.

JERRYI really want to know what choicesled you this far. Seeing how you'vewrecked this place, it seems we'llhave to put a pin on it. For now...

He begins walking away from Nirvana and to Eric.

JERRYLEAVE THIS PLACE.

27.

Nirvana's body moves violently. Any attempts to stop himselfare futile. His body punches a wall to the outside.

NIRVANAFitz..ge..rald.

He walks to the edge and falls.

JERRYHang in there, Eric.

Eric leans on his shoulder. The two, then, walk towardsRiley.

NANCYWhat just happened?

RILEYYou had powers this whole time? Wecould've walked out of here hoursago.

JERRYI will rather not use them.

NANCYWhat a Moron. At least we don'thave to worry about you, so I'mletting off the hook. Carry on!

She walks away slowly.

ERICBullshit! You know you can't handleus.

Her speed increases gradually.

NANCYWhat do you mean? Of course, I can.Don't forget your trash.

She throws the funnel-shaped artifact at Jerry and runsaway.

ERICHey, how come your fingers aren'tbloody?

JERRYHuh? The blood just... um, clotted?

ERICCool. You got some insane recovery.

28.

JERRY

I guess?

RILEYWe'll catch up later. Time. To.Leave. Before anything crazierhappens.

ERICBut, like, where are we going?

JERRYTo my apartment.

INT. JERRY'S APT.- EARLY MORNING - CONT.

Various books lie throughout the apartment. The mostnoticeable ones are about ancient societies, languagestudies, and public speaking. A sole picture of Jerry, witha group of native people, hangs near the entrance.Newspapers are scattered near a broken printer. The adjacentwall is splattered with black ink.

JERRYTake a seat. I'll get you somebandages.

RILEYWhere?

ERICYeah, dog. Where are your couches?

Jerry's looking through a first aid kit.

JERRYI move around a lot. Felt like itwould have been pointless.

RILEYWork-related stuff?

ERICOh yeah. What are you? Some kind ofvigilante?

JERRYNo...

ERICLet me guess. You are a reformedbounty hunter. Or like a has-beenmillionaire that realized theerrors of his ways.

29.

RILEY

Let the man talk.

JERRY(Chuckles)

It's ok. I think it's funny that hethinks so highly of me. I'm just asocial researcher.

ERICWell, what about your sick weapon?That trumpet thingy.

JERRYThat was a given to me by acommunity I researched. They gotall sorts of tools, but they askedme to keep silent. Nobody elseknows they exist.

RILEYAnd now you are done with research?

JERRYOh, not at all. My focus shifted toresearching a specific population.

He takes out a large rolled paper from his bedroom. He laysit on the table along with some newspaper articles. It rollsopen revealing a map of the United States.

JERRYRecently, there have been numerousreports of abnormal sightings. Theykeep mentioning people withsuperhuman abilities. After meetingyou two, it's all starting to makesense.

RILEYThese are local newspapers, Jerry.How can you be sure these peopleare like us?

JERRYIt's because I don't know that Iwill visit every location. The planis to document these individuals'lives by interviewing them.

ERICSounds like a lot of work.

30.

JERRY

It is a gargantuan task. That's whyI wanted to ask you.

(beat.)Will you two be willing to help me?

ERICSure. I got nothing else going on.

RILEYHey, hold on. There's a high chanceyour research could take a turn forthe worse. Think about it. Some ofthese people may be as dangerous asthe guy we just faced.

JERRYWhile I am open to thatpossibility, I'm pretty sure mostof them are scared or confused.Just like you two.

RILEYYeah, I don't know guys.

JERRYThat's alright, I won't force youto do anything you don't want todo.

ERICThen it's just you and me, huh? Youthink we'll find out what causedthis whole thing?

JERRYHopefully. We'll leave in 30.

(beat)Oh right. You probably don't haveother clothes. You can borrow someof mine.

ERICCool. I could also use a showertoo. You mind if I-

JERRYNot at all.

As the two men prepare for the trip, Riley cannot help butstare. She sees the books, the picture near the entrance,then the newspapers and her eyes squint a little. A hecticJerry walks in front of her. Images flash through her head.She first remembers Jerry's smile when he rescued them.

31.

Then she is reminded of how Nirvana hung his body and of asimilar memory. This time a body hangs inside a dark room.She's younger and scared. Drops of sweat gather on herforehead. She clenches her fist.

RILEYI'm in.

Jerry and Eric stop abruptly. Jerry trips and manages tostand up immediately. Eric comes out of the bathroom withonly a towel on.

JERRYReally?

ERICReally?

RILEYYes. Someone's gotta take care ofyou guys.

ERICOh, man! Now we all get to go onthis crazy adventure.

He goes back inside the bathroom.

JERRYThank you. I really appreciate yourhelp.

RILEYI just wanna make sure we all getout alive.

JERRYWe will. Come with me outside for asecond.

They stand on the balcony. A mountain can be seen from afar.Shades of purple and orange color the sky.

JERRYTake a look at the horizon.

RILEYHonestly, I've seen a bettersunrise than this.

JERRYThat's far from the point. Have youever wondered what lies beyond it?

32.

RILEY

I can't say I have.

JERRYI have, every now and then. It'sfascinating, isn't it? Knowingthere's something more than youreye can see. That the world doesn'tstop at the horizon.

RILEYYeah, I think I can see the beautyin that.

MUSIC CUE: "Here Comes The Sun" by Anyone (heck make it acover if Beatles is too expensive).

The sun begins to rise. A ray of sunlight hits Jerry's face.He smiles and stares at the horizon.

MONTAGE:

Jerry, Eric, and Riley stop at a convenient store. Jerrycarries water, caffeine drinks, and a head pillow. Riley'sitems mostly consist of convenience store clothes. Eric, onthe other hand, places a bunch of potato chips on theregister. They both give him worried looks. They, then,travel on a car deep into a forest.

Nancy drives through a busy street. Her hectic maneuverscause the surrounding cars to stop abruptly. Clyde is layingon the backseat. They go down a hill, stopping at theemergency section of a hospital. She carries him out. He ishesitant to enter. Numerous nurses tie him to a wheel bed.

Charlie walks into a school principal's office. A man,Raymond, and a child, Leo, wait for him inside. Raymondlooks at Leo, then at Charlie with an expression ofdesperation. He nods and takes a seat. The three walk out ofthe school. Charlie holds a slip of paper on his hand. Itreads "SUSPENSION." Tears begin to well upon his eyes. Helooks at Leo and stops himself from crying. He pads Leo'shead and gives him an ear to ear smile.

In Teotihuacan, Nirvana meditates on top of the Pyramid ofthe Sun. A shadow covers him. It moves frantically abovehim, in a zigzag motion. Its growl echoes throughout thearchaeological complex. A green feather falls on Nirvana'shead. He turns to face the sky and sees something movingwithin the clouds.

Somewhere in outer space, a ship cruises beside a planet.The ship's floor is crawling with worm-like creatures.

33.

An unseen figure observes a screen with various profiles ofpeople. Jerry, Eric, and Riley are among the group. Theobserver pays particular attention to the trio. He presses abutton and a holographic screen appears with a picture ofthe earth. The ship accelerates and disappears into thenothingness of space.

THE END.: