Chronicles of an Empath Volume 1: The Activation Pilot part

2 "The Pure in Heart"

By

Aaron McDonald

A True Story

INT. PEACEMAKER HQ - DAY

PAN SLOWLY across the shadowy floor to Cross’s feet and then

PAN UP his body to his face.

The room is dimly lit and there are shuttered windows in

front of Cross, casting thin rays of sunlight on his face.

Cross is staring angrily at someone who is sitting a few

feet away.

That someone is GINGER, a tall, skinny light-skinned black

girl with light brown eyes and short brown curly hair

plastered in a ponytail to her scalp. She is one of the

girls who stalled the officers when they arrived at Eli’s

old job to arrest him.

Ginger is looking fearfully at Cross’s steely gaze from her

chair, her hands cuffed behind her.

Despite the fear and the restraints, she is otherwise

unharmed.

CROSS

You are sensitive to emotions, yet

you are not empathic. I find it

very strange that Elijah McPhoster

didn’t teach you anything, didn’t

bother trying to protect you.

Ginger swallows her fear and purses her mouth defiantly as

she lifts her gaze to meet his.

GINGER

Screw you. He can’t protect

everyone.

CROSS

No. I imagine not.

Cross turns sideways, rubbing his clean-shaven chin

thoughtfully.

CROSS

But he loved you. He loved you like

his own family.

Cross shrugs, raising his hands slightly.

CROSS

Then again, he left his brother and

sister here with his mother and

father too. Without Elijah, his

(MORE)

(CONTINUED)

CONTINUED: 2.

CROSS (cont’d)sister Madeline will have to get a

job and that, of course, will take

a toll on her college studies. Tell

me, Ginger, have you been over

there? To his house?

GINGER

Once or twice.

CROSS

I know you don’t know where he is

now, but (beat) we plan on raiding

the old McPhoster residence. We

need to know what kind of defenses

they have. I’ve heard they have a

compound-thing going on there.

Cross smiles as Ginger looks up, shocked that he knows about

the compound.

GINGER

I - I dunno. Guns, cameras, fences

I guess.

CROSS

Yeah, I mean empathic defenses. I

already know what they have

physically, but (beat) I just can’t

seem to sense them (beat)

emotionally. Or spiritually.

Cross pulls a chair across the floor and places it in front

of Ginger and sits down on it.

CROSS

Who are these people?

Ginger’s mouth quivers as she forces herself to calm down

and smile at Cross.

GINGER

You can’t make me tell you

anything, you stupid bastard.

Cross reaches out and slaps Ginger’s face, causing her head

to snap to the side. She gasps in shock and pain, and cowers

her head lower in fear.

Cross jabs a forefinger at her accusingly.

(CONTINUED)

CONTINUED: 3.

CROSS

I have a sneaking suspicion you’re

absolutely wrong about that,

Ginger.

Cross gets up and walks away, while issuing an order to two

other men in black suits.

CROSS

Keep an eye on her. Emotional

manipulation only. No physical

torture yet.

Cross turns and winks and smirks at Ginger before walking

out of the room.

Ginger lowers her head and gulps; she whispers a shaky

prayer.

GINGER

Lord please help me.

FADE TO

EXT. CAFE - DAY

It’s a nice sunny day downtown and JOEL, a dishevelled

dark-haired, unshaven handsome man in his mid-thirties, is

sitting at a table in a small courtyard in front of a coffee

shop. He is sipping coffee and reading the economy section

of a newspaper.

ELI (OS)

You still read the newspaper?

Joel eyebrows raise as he is in mid-sip and turns to his

right to see Elijah McPhoster coming toward him.

Joel places the coffee cup down and wipes his mouth with the

back of his hand.

JOEL

Sorry. Do I know you?

Eli’s long dark hair is dyed black and evenly layered around

his head, leaving only a small opening from which he looks

out. His beard is full and he is wearing a flannel and

ragged faded jeans.

SUPER: One month into Eli’s new life.

(CONTINUED)

CONTINUED: 4.

Eli takes a seat in front of Joel and makes himself

comfortable, propping his cowboy-booted feet up on the chair

beside him.

ELI

We spoke briefly online a couple

weeks ago.

Joel narrows his eyes at Eli and then shifts them to the

left, thinking back.

JOEL

Yeah, you’re gonna have to be more

specific than that. I make videos

on the internet.

Eli nods reaches up to rub his eyes, which are behind

glasses.

ELI

Right. Sorry man. Kinda tired. Uh,

a friend of a friend said you could

hook me up with a writing job here

in Austin. I’m used to writing

books, but I can write scripts too.

Joel looks around as if he thinks he’s being pranked before

smiling nervously and leaning forward.

JOEL

Uh, you’re Levi McConnell?

ELI

That’s an alias. Protective

custody. Sorta.

JOEL

Okay (beat) well, let me give you

my card -

Eli swiftly pulls his feet off the table and leans forward.

ELI

And let me be clear: You and your

previous boss had a fallin’ out,

right? You quit, started your own

production company. The other

company has more than fifty people

and you have three. One of those

three is Nathaniel "Skeeter"

Haywood. This Skeeter guy asks you

to do a favor for his cop friend

outta North Carolina by hiring me.

(MORE)

(CONTINUED)

CONTINUED: 5.

ELI (cont’d)I ain’t got time or patience for

interviews and applications and

other bullshit.

Eli slaps a manuscript down on the table.

ELI

Here’s my resume. I mean, it’s a

script, but if you can afford not

to hire me after reading this,

well, then I’ll go. But I need to

be working by tomorrow. I got a

baby to feed, you know?

Joel’s staring at Eli dumbfounded.

JOEL

Oooh. Okay. That’s right. You’re

-that- guy.

ELI

Unfortunately.

Joel picks up a pair of shades, the newspaper, and the

script and stands up.

JOEL

I assume your number’s on here.

Eli stands up along with him.

ELI

Yes sir. If you don’t call me by

five, I’ll be outside your door

when you leave work.

Joel looks at Eli like he’s nuts.

JOEL

Uh, okay.

ELI

By the way.

JOEL

Um - yes, Mister McCon - Phstor.

Eli looks at Joel as if he just had a stroke.

ELI

Just call me Eli.

Eli points behind Joel.

(CONTINUED)

CONTINUED: 6.

ELI

That girl’s been checking you out

for like five minutes.

Joel turns around and sees Lydia sitting at another table

looking at Joel with fascination.

Lydia quickly turns away, smirking, when Joel catches her.

JOEL

Oh, I’m (beat) not - not - not

really interested?

Eli furrows his brow at Joel.

ELI

You talk very strangely. Anyway,

have a nice day, sir.

Eli leaves Joel standing there looking more dumbfounded.

CUT TO

EXT. DOWNTOWN SIDEWALK - DAY

Alyce and Eli are walking down the sidewalk downtown.

Alyce is wearing a baggy green shirt and short jeans shorts.

Her arms are crossed over her chest.

ALYCE

See. If you hadn’t gotten fired

from that bank, you wouldn’t have

to stalk actors.

She grins at Eli, who shakes his head and snickers lightly.

ELI

Well, the bank manager shouldn’t

have been a douche. He reminded me

too much of Jason, from back home.

ALYCE

Yeah, I could see it. Still...

ELI

Still nothin’. I’m a writer by

nature, and besides, I had promised

to get you into the acting

industry.

(CONTINUED)

CONTINUED: 7.

ALYCE

By setting -Lydia- up with an

actor? What about me?

Eli stops walking and gently grabs Alyce by the arm,

smirking.

She stops and turns to look him in the eye.

ELI

What happened to all the trust?

ALYCE

You know, you look like Vlad the

Impaler?

A white ’59 Chevy Impala rolls up with Lydia in the driver’s

seat and her baby in a carseat in the back.

Eli turns, sees the Imp, and then turns back to Alyce.

ELI

Don’t you mean -

ALYCE

Oh dear.

ELI

Vlad the Impala.

Eli points both forefingers at Alyce like he said the

coolest, funniest joke ever, and smiles widely as if he’s

frozen in time.

Alyce laughs at him and goes to the back door.

ALYCE

Whatever. Retard.

Eli laughs and pats her arm as she gets into the car, then

he gets into the passenger seat and closes the door.

Lydia grins at Eli as Alyce kisses the sleeping baby in the

back seat.

LYDIA

I can’t believe you’re really going

to use me like that.

ELI

Uh, drive.

Lydia starts driving.

(CONTINUED)

CONTINUED: 8.

ELI

I’m not using you, Lydia. You need

a good man.

LYDIA

What about you?

ELI

What about me?

LYDIA

You’re a good man.

Eli scoffs loudly.

ELI

Yeah, okay. If you say so.

LYDIA

You are.

He blushes and grins as he looks out his window before

turning back to Lydia with a more serious look.

ELI

I gotta focus on raising an army. I

can’t be a dad too. Sorry.

Lydia exhales with exasperation.

LYDIA

Whatever man.

ALYCE

So what’s next? You said you had

like two or three other contacts

here in Texas.

ELI

Yeah. Not sure how useful they’re

gonna be though. I wish old

Enkimann had given us more than

three grand to start out with.

LYDIA

What are we doing next then, Eli?

ELI

Kidnapping. A teenager.

Lydia turns and looks at him in shock.

Eli looks at her with a big smile.

(CONTINUED)

CONTINUED: 9.

CUT TO BLACK.

SUPER: "Chronicles of an Empath, Volume 1 - The Activation"

INT. PEACEMAKER HQ - DAY

Ginger is still cuffed to her chair, her face down as loud

annoying heavy metal blares at her.

The door opens and Cross walks in with one of his guards

hauling CAL.

Ginger looks up and sees Cal.

GINGER

Oh my God!

CROSS

Alright Ginger, guess what? Cal

here already helped us loads more

than you have.

Cross gestures to the guard, who then throws Cal down at

Ginger’s feet.

Cal, who is cuffed behind his back, struggles to his knees,

but Cross kicks him onto his side.

CROSS

Stay down, dog!

Ginger looks back and forth between Cal and Cross, afraid.

GINGER

Please. Please don’t hurt him!

CROSS

Oh, I’m not gonna hurt Cal here.

Like I said, he’s been helpful.

Tell me the list of states Eli said

he talked about moving to, Cal.

CAL

Texas, South Carolina, Virginia,

and Montana. And Canada.

CROSS

That’s a good dog.

GINGER

No! Elijah said - he said if he was

ever on the run from the cops, he’d

(MORE)

(CONTINUED)

CONTINUED: 10.

GINGER (cont’d)stay in North Carolina so the feds

wouldn’t get involved!

CAL

That’s true.

CROSS

He knows we’re not cops. To be

honest, I’m pretty sure he’s in

Canada. He’s got this cute ex up

there who’ll do literally anything

for him.

CAL

Than he won’t be there.

Ginger’s head swings around and she glares at Cal.

Cross notices this and smiles, clasping his hands together.

CROSS

Thank you. That rules out a hell of

a lot of square miles to search.

CAL

I ain’t sayin’ another word, man.

GINGER

Yeah, me neither.

Cross looks at Cal with disgust, but looks at Ginger like

she’s a misguided daughter of his.

Cross walks over to her and kneels in front of her.

CROSS

Darling. You don’t have to say

anything. I have enough people to

search all four of those states,

and this one too.

He caresses Ginger’s cheek and she flinches, trying to avoid

the touch.

CROSS

But I do need to know about his

family.

Cross steps back from Ginger and looks down at Cal.

(CONTINUED)

CONTINUED: 11.

CROSS

Speak.

CAL

I am not your dog, son of a bitch.

CROSS

And it speaks!

Cross laughs maniacally.

Cal roll his eyes.

CROSS

We know he lives in a rural area,

probably between Lawrence and

Winnasow. Right?

Cal just glares up at Cross.

Cross smirks and looks sideways at Ginger, who looks way.

CROSS

Yes. Unfortunately, we cannot get

into the Lawrence police

department. For some reason Cerbust

is a real (beat) ball buster when

it comes to outside influences.

Ironically, we suspect he’s a

puppet for something far, far more

sinister. So (beat) maybe the Leigh

County Sheriff’s Department will

assist us, eh?

Cal looks at Cross with both anger and confusion.

CAL

Eli told us you knew about his

financial situation. How do you

know that, but not his address?

Cross looks embarrassed and turns to face away from the two

captives.

CROSS

It’s strange. Every time I use my

contacts and resources to find his

address, I come up empty.

Cross turns to glare at them both.

(CONTINUED)

CONTINUED: 12.

CROSS

It’s almost like the universe is

conspiring against me.

Ginger lets out a singular laugh.

GINGER

I wonder why.

Cross gives her an annoyed look.

CROSS

No, I don’t think God or any other

invisible force is making them

disappear. I think there’s someone

somewhere, probably a hacker or

government official, keeping the

address away from me. Someone’s

spying on my organization and when

I route the bastard out, I will be

a lot happier.

GINGER

You’re pathetic. You’re an ugly,

pathetic monster.

Cross moves over toward Ginger and grins wickedly at her.

CROSS

And you’re pure. That’s why I took

you. I took Cal because I knew he

had information. I took you because

you and Eli trusted each other,

didn’t you? He was like a brother

to you. Even when you knew he had

fallen for you, even when you knew

he wanted you, you stayed pure. You

fell for some Jason asshole, but

you remained pure even then.

Despite your anger and sadness, you

are a pure soul. And I am going to

enjoy sullying you.

As Cross walks away, Ginger is crying, her head down low.

Cal stares at her wide-eyed before the guard grabs him and

carries him out. The door locks behind them.

FADE TO

13.

INT. THE WILLIAMS RESIDENCE - NIGHT

Kimmy Williams, 16, has her headphones on listening to rock

music while drawing in her bedroom.

Kimmy is short and has shoulder-length straight light brown

hair and naturally full lips. She is also wearing glasses.

ALYCE (VO)

So who is this Kimmy girl anyway?

Kimmy finishes doodling but doesn’t like it.

ELI (VO)

She’s like, my cousin. I’ve known

her for two years.

Kimmy starts a new drawing.

ELI (VO)

Her parents abuse her. When she

told her biological father, he blew

her off. Her biological mother is

dead.

Kimmy throws away the second drawing and tosses the pencil

across the room before picking up her cellphone and looking

at her cellphone. A text message from an unknown number

reads, "The sale is over."

LYDIA (VO)

Okay, so why don’t you just tell

the police?

ELI (VO)

She’s tried going to the police but

her adoptive dad is friends with

the local police chief.

Kimmy puts her shoes on and begins to tie them.

ELI (VO)

Besides, we’re never trusting the

police again. We assume they’re the

enemy until proven otherwise.

Kimmy pockets her cellphone and opens her laptop.

ALYCE (VO)

So she wants to come with us?

Kimmy’s laptop is almost finished re-installing the

operating system.

(CONTINUED)

CONTINUED: 14.

ALYCE (VO)

What about friends and family?

Kimmy closes the laptop.

ELI (VO)

I’ve told her everything. She’s

sure this is what she wants.

Kimmy stands up and goes to her bed.

LYDIA (VO)

I still think we should’ve waited

for Elaina.

Kimmy lays down in her bed after throwing the covers on the

floor.

ELI (VO)

Elaina wouldn’t go along with this.

She’s a straight shooter and her

husband’s a cop.

Kimmy hears the window crack.

She looks over the curtained window out the corner of her

eye.

After another hit, glass crinkles to the floor.

Kimmy swallows and closes her eyes tightly, her face turning

red.

The window slowly raises behind the curtain.

ALYCE (VO)

You said she isn’t empathic. So why

are we taking her?

The curtains part and Eli steps through wearing all black

jeans, sneakers, and a hoodie with the hood up. His hair is

in a ponytail.

ELI (VO)

Trust me.

Eli sneaks over to Kimmy and puts his hand over her mouth

while grabbing her by the neck and pulling her out of the

bed.

Eli holds her back against him as she struggles in his

grasp, but it’s obvious she’s not trying to really escape.

(CONTINUED)

CONTINUED: 15.

Eli drops a damp hand towel on the floor and in her

struggling, Kimmy kicks it slightly under the bed.

Eli then drags Kimmy to the window and throws the curtains

open.

He shows Kimmy a dark-colored Colt .45 1911 handgun and

whispers in her ear.

ELI

Be quiet and climb out of the

window or you and your whole family

dies.

Kimmy, who’s breathing heavily, nods.

Eli lets go of her mouth and gently prods her toward the

window.

She obeys, with the gun pointed at her back.

Once she is out and on the ground outside, Eli makes sure

his dirty shoe imprint is clearly visible on the floor.

Then Eli exits the house.

CUT TO

EXT. SUBURBS - NIGHT

Eli hurries Kimmy to a brown ’80s van across the street.

He looks back to see a light come on in the Williams’ house.

ELI

Hurry up.

Eli opens the side door and shoves Kimmy inside before going

around and getting in the driver’s seat.

Hysterical screaming can be heard inside the house as Eli

drives the van away from the house and takes the first turn.

Eli looks over his shoulder to see Kimmy in the back seat,

both excited to see him, but also sad about leaving her

parents worried.

ELI

Okay, you can talk now.

Kimmy leans forward and wraps her arms around Eli.

(CONTINUED)

CONTINUED: 16.

KIMMY

Thank you. Oh my God, I’m shaking.

ELI

You’ll be alright. Your parents

will panic and call the police and

they’ll find out you’ve been

kidnapped. When they don’t find out

after a month, they’ll give up.

Kimmy’s expressive face betrays her guilt and sorrow, as Eli

sees her in the rear view mirror when she leans back.

KIMMY

What about my friends?

ELI

Did you tell them anything?

KIMMY

No. I promise.

Eli smirks as he pulls into the drive way of a vacant house

with a real estate sign in front.

ELI

Don’t make promises. Let your "yes"

be your "yes" and your "no" be your

"no."

Kimmy smiles nervously and nods.

KIMMY

Okay. Then no, I didn’t tell anyone

I was leaving. But I’m still gonna

miss them.

Eli turns the van off and opens the driver door before

turning to Kimmy.

ELI

I know. Trust me, you’ll make new

friends - better friends - and

maybe one day you can see your old

ones again, but not any time soon,

okay?

He gets out of the van and removes his black gloves.

KIMMY (OS)

Okay.

(CONTINUED)

CONTINUED: 17.

Eli tosses one of the gloves under the driver seat and walks

around to open the side door for Kimmy with his other gloved

hand.

Once she exits, Eli tosses the other glove into the back.

Kimmy leans close and whispers.

KIMMY

Why’d you do that?

ELI

They’ll find the van and the gloves

and know they won’t find any

prints. They’ll assume it was an

expert kidnapping done with a lot

of planning by someone who’s done

it before, IE not me.

Eli’s white Impala rolls up and the back door pops open

before the car even stops.

ELI

You didn’t touch anything in there,

did you?

Kimmy shakes her head.

ELI

Alright, get in the car.

Kimmy gets into the back seat of the Impala and Eli gets

into the driver’s seat.

Alyce is driving and Lydia is in the back seat.

Lydia smiles at Kimmy as they close the doors and drive

away.

LYDIA

Hi Kimmy. Eli’s told us nothing

about you.

Kimmy smiles nervously.

KIMMY

Yeah, he doesn’t like to talk about

me ’cause I stalked him.

She smirks and reaches around and flicks Eli’s ear.

Eli bats her hand away.

(CONTINUED)

CONTINUED: 18.

ELI

Don’t be a weirdo. I know it’s

hard, Kimmy, but try, okay?

Kimmy leans back, crosses her arms over her chest, and fakes

a pout, but then smiles.

KIMMY

Oh fine.

FADE TO

EXT. NARROW DIRT ROAD, RURAL LAWRENCE, NC - DAY

JAMES is driving a late model pickup truck down the dirt

road leading to the McPhoster residence.

When he gets to a closed and padlocked wooden privacy fence,

he stops and gets out of the car.

He goes to the gate and looks up at a small camera mounted

on a post just behind the fence.

He waves at it and then looks through the slats of wood to

see a woman coming from the double-wide trailer holding a

.22 rifle.

James takes a step back and waits for the gate to open.

James nods to MADELINE, 20, a tall thin blond woman wearing

a flannel shirt over a loose-fitting T-shirt and jeans and

knee-high brown boots.

She’s holding the rifle calmly with the muzzle pointed at

the dirt.

MADELINE

Hey James. You heard from my

brother?

James shakes his head ruefully.

JAMES

Nah. I was just comin’ to check on

ya’ll. See if he called or

something.

Madeline shakes her head sadly and motions for James to come

onto the property.

(CONTINUED)

CONTINUED: 19.

MADELINE

Come on in. Mom’s making breakfast.

JAMES

Alright. Where’s Simon?

Madeline nods to her right and James leans forward and looks

on the other side of the fence, to Madeline’s right, and

sees Simon standing behind a tree holding a 12 gauge

shotgun.

James nods slowly and turns to get in his truck.

As James drives into the front yard, Madeline closes the

gate.

Simon comes out of hiding, still pointing the shotgun in

James’ general direction.

Madeline turns from locking the gate and gives her younger

brother a disapproving look.

MADELINE

Come on Simon, be serious. It’s

just James.

SIMON, 18, has bright blond hair, blue eyes, and a more

babyish face than most teens his age.

SIMON

Just making sure, Madeline.

Madeline and Simon approach the truck as James exits the

vehicle.

MADELINE

Just so you know, mom’s not in a

good mood.

SIMON

She hasn’t been in a good mood

since Eli left. We can barely

support ourselves without the money

he made working at the supermarket.

MADELINE

Yeah, but today’s worse ’cause it’s

her birthday and Eli’s birthday is

in like two or three days.

James gives the siblings a sympathetic look.

(CONTINUED)

CONTINUED: 20.

JAMES

Oh. That must suck. I’m sorry.

MADELINE

So you haven’t heard from him?

JAMES

No, not yet. But two people from

work went missing. You remember

Cal? He ain’t been into work for

three days. Then a girl named

Ginger didn’t come into work

yesterday or today.

Madeline shrugs.

MADELINE

Could be nothing.

Simon leads them toward the front door of the double-wide

trailer.

JAMES

Yeah. But Cal’s girlfriend came in

yesterday complaining he ain’t been

home for awhile and she’s worried.

Simon leads them inside the building and closes the front

door behind them.

SIMON

That doesn’t sound like nothing.

They walk through a front-room full of old computer

equipment, old radios and other electronic equipment, and

random junk, dropping their guns on a makeshift table,

before they get into the living room.

Madeline and Simon’s mother BETHANY is cooking eggs in the

kitchen.

She turns and sees James and smiles.

BETHANY

Oh hey James. You got here just in

time for eggs.

James smiles and walks through the living room and into the

kitchen.

JAMES

Hey there.

He looks over at the eggs and rubs his hands together.

(CONTINUED)

CONTINUED: 21.

JAMES

Mmm, looks good.

BETHANY

Heard anything from Eli?

JAMES

No.

BETHANY

I worry about him.

MADELINE

Yeah mom, we know.

BETHANY

Madeline, shut up. Get a plate for

James.

Madeline goes to the cupboard and draws dishes while Simon

clears some miscelaneous electrical junk off the table.

JAMES

I see you still do experiments.

Bethany answers as she puts some scrambled eggs on a plate.

BETHANY

Yeah. Now that our whole house is

solar-powered, I’ve moved on to

other things.

Madeline rolls her eyes as she sits at the table.

James smirks at Madeline and sits down too, followed by

Simon.

Bethany gives everyone food and then stands at the head of

the table.

BETHANY

Let’s say a quick prayer.

Simon and Madeline lower their eyes in prayer as their

mother does.

JAMES

Alright.

James does the same.

(CONTINUED)

CONTINUED: 22.

BETHANY

Heavenly Father, we thank you for

this food and we thank you for

watching over us, and we ask only

that you protect Elijah, wherever

he is, and if it be your will,

bring us together again as a

family.

Bethany begins to sob.

BETHANY

Please God, take care of my son. In

Yeshua’s name, Amen.

James and the siblings look up and slowly begin to eat as

Bethany sits down in her chair.

Bethany pulls herself together and smiles to James.

BETHANY

So how’s work?

CUT TO

INT. ELI’S TRAILER - DAY

Eli and Lydia are standing in the hallway watching Kimmy and

Alyce eating in the kitchen without them knowing.

Eli is wearing a white dress shirt, black tie, and black

slacks. Lydia is wearing a white tank top and pajama

bottoms.

LYDIA

Eli, I don’t like this. You can’t

just -make- an empath.

Eli gives Lydia a look of disbelief.

ELI

Of course I can.

LYDIA

How?

ELI

She’s emo. She’s already halfway

there. By the time she’s eighteen,

she’ll be more empathic than you.

Lydia looks offended. She crosses her arms.

(CONTINUED)

CONTINUED: 23.

LYDIA

I hope you know what you’re doing,

Eli. If you put me or my baby in

danger, I’m gone.

Eli turns his head and smiles at her coldly.

ELI

Again? You’re pretty good at

disappearing, aren’t you?

Lydia gets angry.

LYDIA

That’s not fair. I’m here now. I

frickin’ moved to another state for

you. So don’t give me that crap.

ELI

You’re right. I’m sorry. Forgive

me?

Eli gives Lydia a puppy-dog look.

She rolls her eyes.

LYDIA

Of course.

ELI

Great. Can you call Mitch for me? I

gotta go to work.

LYDIA

Sure.

Eli smiles and hugs Lydia.

ELI

Thanks.

Eli grabs a leather jacket and leaves the house as Lydia

takes her burner phone out of her pocket and dials.

CUT TO

INT. ENKIMANN RESIDENCE - DAY

Deputy Enkimann is watching TV alone and drinking Jack

Daniels from the bottle when Lydia calls on his home phone.

He reaches over and picks it up.

(CONTINUED)

CONTINUED: 24.

ENKIMANN

Hello?

LYDIA (OS)

Hey Mitch. It’s Black Widow.

ENKIMANN

I told you crazy people to stop

calling me that. My name’s Michael

Enkimann now.

LYDIA (OS)

Sorry Mister Enkimann. Just calling

for the weekly update.

Enkimann puts down his bottle and gets attentive.

ENKIMANN

Right. Listen up. A few days ago,

Cal Carlin was taken by the

Peacemakers. A couple days ago, so

was Ginger Wellington. Then today,

on my day off, I get a call from

the Sheriff himself asking me if I

knew "Agent Cross from the FBI" and

of course I told him he was the one

who took Elijah McPhoster off our

hands a month ago. Anyway, long

story short, the Sheriff’s

Department is basically now working

for Cross. When I go back in

tomorrow, I’m going to have to get

rid of him.

LYDIA (OS)

How do you mean?

ENKIMANN

Well, I’m a high-level empath but

if I start stepping out from behind

my wall, he’s gonna see me. And

Cross doesn’t like to feel

threatened. He’ll quickly find out

who I am and once he does, he’ll

kill me. But if I don’t use my

abilties to get rid of him, he’ll

get the deputies in on his little

witch hunt.

LYDIA (OS)

I see. Well, don’t get yourself

killed. How’s Rose Blade?

(CONTINUED)

CONTINUED: 25.

ENKIMANN

She moved two weeks ago. I found

her parents living in Georgia but I

can’t find her or her husband. I

assume they’re together.

LYDIA (OS)

Oh. What about her two friends? The

ones Eli warned her about.

ENKIMANN

Still in town as far as I know.

Look, be careful how you give all

this information to Elijah. He’ll

wanna drive all the way back to

kill Cross and he’ll be seen coming

a hundred of miles off. Cross has a

couple of Eli’s former co-workers

on his payroll now. Real high-level

dark empaths.

LYDIA (OS)

Tessa and Rona?

ENKIMANN

Yeah. Look, I gotta go. Oh, almost

forgot - did he get that job? Did

Nathaniel come through for me?

LYDIA (OS)

Yep. He’s also trying to hook me up

with this Joel Hyman cat. But I’m

not sure how I feel about one day

being known as Mrs. Lydia Hyman.

Enkimann laughs.

ENKIMANN

Joel’s a good guy. A little wacky,

especially about gold, but he’s

good people. So is Nathaniel. But

he’s married. Anyway, I’ll talk to

ya in a week, Black Widow.

LYDIA (OS)

Alright Mister Enkimann. Take care,

and thanks for the info. Black

Widow signing off.

Enkimann hangs up the phone and sighs.

(CONTINUED)

CONTINUED: 26.

ENKIMANN

Hope he doesn’t do anything stupid

to screw up that job.

CUT TO

INT. STAGE 9 PRODUCTIONS - DAY

Eli is sitting across from Joel and Nathaniel in a

conference room.

Eli looks around as they stare at him; only the tick of a

clock on the wall is heard.

Eli looks at Joel and smiles.

ELI

So my script...

JOEL

...was awesome.

ELI

I hope so. It’s my life.

Eli smirks.

JOEL

Script-writing is your life?

Eli frowns.

Nathaniel turns to Joel.

NATHANIEL

I think he means the story is based

on his life.

Joel nods understanding.

JOEL

Aaah.

Eli nods and smiles.

JOEL

So you’re insane? Great.

ELI

What does it matter? You like the

script. Hire me and we can make it

into a short film, maybe ten

(MORE)

(CONTINUED)

CONTINUED: 27.

ELI (cont’d)minutes long. You haven’t uploaded

a video in over a month. You need

this.

JOEL

We have (beat) things (beat) in the

works.

Nathaniel just shakes his head once.

NATHANIEL

No we don’t.

Joel looks at the traitor and smiles, and then turns and

looks at Eli.

JOEL

Fine. Your hired.

ELI

Also (beat) change the name of your

production company. It’s dumb.

JOEL

What’s wrong with it?

ELI

It’s dumb.

JOEL

You’re dumb.

NATHANIEL

Nice.

JOEL

How - how is - how is it dumb? Huh

Elijah?

ELI

Stage 9 Productions. You literally

just moved all your crap over to an

old production studio and kept the

giant number on the outside of the

building.

NATHANIEL

Yeah, it’s pretty lame.

JOEL

Shut up. Shut up, Nathaniel. Nobody

asked you for your opinion.

(CONTINUED)

CONTINUED: 28.

NATHANIEL

Actually you did. When we first

moved in here. I told you the same

thing back then too.

Joel sighs and lowers his head on the table.

His muffled, defeated voice brings satisfaction to both

Nathaniel and Eli.

JOEL

Fine. What do you suggest we call

ourselves?

Eli shrugs and gets to his feet.

ELI

No idea. Not my department. I’m

just a writer.

Eli turns and walks out of the conference room as Joel lifts

his head in anger and shock.

Nathaniel is chuckling.

JOEL

Hey! Hey! Hey! Get back here! You

hear me -?

NATHANIEL

He’s gone, Joel.

JOEL

Why did I let you make me hire him?

NATHANIEL

He’s a good writer.

Nathaniel stands up.

NATHANIEL

Don’t blame this on me. Besides,

you’re the one who got us all fired

from Cock Bite Entertainment.

CUT TO

29.

INT. STAGE 9, WRITERS OFFICE - DAY

Eli is writing another script when ADAM ENIS walks up to his

desk. Adam is a huge man with a huge beard and a bull ring

in his nose. He has a fluctuating accent that could be

Russian or Swedish.

ADAM

There is a woman here to see you,

McPhoster.

Eli smiles up at the huge man.

ELI

Please, call me Elijah, or Eli.

Adam’s deadpan demeanor doesn’t change.

ADAM

No.

He walks away, leaving Eli surprised.

Eli gets up and walks out of the office to the lobby of the

old once-abandoned huge studio.

Lydia is waiting for him and when she sees him, she doesn’t

smile.

ELI

What’s wrong?

Eli walks toward her quickly, placing a hand on her arm.

LYDIA

It’s Ginger and Cal...

CUT TO

INT. LEIGH COUNTY, NC SHERIFF’S DEPARTMENT - DAY

Deputy Enkimann is sitting at his desk watching Cross, who

is across the office talking with two other deputies and one

of his Peacemakers.

Enkimann looks down when Cross looks over at him, and when

Cross returns to his conversation, Enkimann looks at him

again.

Cross turns toward Enkimann, who looks back down at his

paperwork.

(CONTINUED)

CONTINUED: 30.

Cross makes his way over to Enkimann and leans over his

desk.

Enkimann looks up and smiles.

ENKIMANN

How can I help you, Agent Cross?

CROSS

You’re the senior deputy on duty

today, right?

ENKIMANN

That’s right, Agent Cross.

CROSS

Great. I’m new to this whole

collaboration thing. My type

usually come in and take over. But

we can’t get what we want if we do

that in this case, for some reason.

The Sheriff, what little I’ve seen

of him, for some reason understands

that the U.S. Constitution actually

prohibits us federal types from

taking over investigations. You

know, states rights and all.

ENKIMANN

We’re county, not state.

CROSS

Oh no, I know. But the principle

applies. Anyway, I was wondering if

you could get in touch with the

Sheriff himself and maybe convince

him to give us the McPhoster

address so we can pay the family a

visit. I mean, I worry so much for

them. Elijah McPhoster was selfish

to leave them the way he did.

Cross is very convincing.

Enkimann leans back slightly in his chair and interlocks his

hands in front of him.

ENKIMANN

We’d still have to get a warrant

and that could take a few hours.

(CONTINUED)

CONTINUED: 31.

CROSS

I’m sure you’ll expedite the

procedure to the best of your

ability.

Cross straightens up and turns to walk away smoothly.

Enkimann forces himself not to be angry or annoyed.

CROSS (OS)

Thank you for your effort, Deputy

Enkimann.

CUT TO

INT. MCPHOSTER COMPOUND - DAY

James is about to leave Bethany’s house; he is standing at

the front door.

Bethany, Simon, and Madeline are standing in the front room.

BETHANY

Well, have a good day, James.

JAMES

I will, you too Miss Bethany.

Thanks for the meal.

Suddenly Madeline’s cellphone rings.

Bethany goes into the living room with Simon.

James turns to walk out the front door.

Madeline is on the phone, looking worried. She grabs James

as he walks out and holds up a finger for him to wait.

Madeline hangs up her phone.

MADELINE

That was one of my school friends.

Her dad works at the Sheriff’s

department. She says the police

will be here soon, with a warrant

to search the place. Mom!

Madeline and James rush back into the living room.

CUT TO

32.

EXT. HIGHWAY - DAY

Two Sheriff’s Dodge Chargers and a black SUV are convoying

down the highway at 65 mph.

They pass other cars and when a driver doesn’t move out of

the way, the lead Charger flashes blue lights.

In the middle vehicle, the SUV, Cross is in the passenger

seat and one of his goonies is driving. In the back seat is

Deputy Enkimann and another deputy, each holding shotguns.

CROSS

Alright everyone, listen up. When

we get there, we hit ’em hard and

fast. Don’t give ’em time to do

anything. I don’t even want them to

be able to think.

ENKIMANN

What if they panic? Start shooting?

I mean, we have to identify

ourselves as police.

CROSS

Sure, sure. You do whatever you

gotta do, Deputy. But my man and I

are going in there assuming they’re

hostile.

Enkimann scowls and rolls his eyes, looking away.

Cross feels his emotion and slowly turns to look at

Enkimann, almost catching the deputy’s facial expression.

CROSS

Sorry, what was that?

ENKIMANN

I’ll follow your lead.

CROSS

Yes. You will.

Cross turns back to the front.

Suddenly two cars speed past them in the slow lane going at

least 85 mph.

CROSS

What the hell? What do those

lunatics think they’re doing? This

ain’t a video game!

(CONTINUED)

CONTINUED: 33.

The lead Charger flashes blue lights but the two civilians

keep speeding ahead.

Then Cross has a revelation.

CROSS

Match their speed. Follow them.

They’re going where we’re going.

They won’t stop for anything.

When the two cars take a right off the highway at a red

light and onto a smaller two-lane blacktop, the police cars

follow.

CUT TO

INT. CAL’S RANCHERO - DAY

Driving the ’69 Ranchero is AMELA, 28, Cal’s girlfriend.

She’s an angry, red-faced woman with strawberry blond hair.

In front of her, JOSHUA, 35, is driving a silver 2001 Ford

Taurus station wagon. He has brown hair, sideburns, and is

very muscular.

Amelia gets on her cellphone like it’s a CB radio.

AMELIA

Joshua, I hope you remember where

Elijah lived.

JOSHUA (OS)

I do. I visited a couple times with

Cal and James. It’s just another

two minutes.

They pass a couple of slower drivers, completely aware the

police are on their tail with their lights and sirens

flashing.

JOSHUA (OS)

When we get to the dirt road, drive

exactly where I go.

AMELIA

Gotcha.

They take a left turn onto another road and continue the

chase for another minute before Joshua’s brake lights flash

a few times, signaling he is about to slow and take the turn

onto a dirt road.

(CONTINUED)

CONTINUED: 34.

The wagon slows drastically at the bottom of a hill and

takes a left turn onto a dirt road before speeding at 25 mph

down the road.

Amelia follows in the Ranchero.

Joshua’s car bounces quickly down the bumpy dirt road,

swerving to avoid potholes and makeshift speed bumps.

Amelia follows exactly, about four feet behind his rear

bumper.

To their left, on the neighboring dirt road, is a Sheriff’s

deputy’s Charger parked at a house.

CUT TO

INT. CROSS’S SUV - DAY

In the back seat of the SUV, Enkimann sneakily texts another

deputy.

The deputy beside Enkimann sees the text and Enkimann looks

at him.

The deputy nods, understanding.

CROSS

Hurry!

The Charger ahead of them has just turned down the dirt road

a few dozen yards behind the Ranchero, and the SUV follows.

CROSS

Pass the damn deputy!

The SUV drives around the deputy’s car in front, going in

the grass of someone’s lawn.

They hit a lot of bumps and potholes, which slows them down

some.

Suddenly they see another Sheriff’s department Charger

driving along a path that connects the two dirt roads ahead

of them.

The driver parks in the road facing them, the car’s lights

flashing.

The SUV stops and cannot get around him because the dirt

road is between a small dirt wall and two trees.

(CONTINUED)

CONTINUED: 35.

CROSS

What is he doing?!

ENKIMANN

His job. He must not have seen the

two cars speeding ahead of us.

CROSS

What!? That makes no sense! Get him

outta the way! NOW!

CUT TO

EXT. MCPHOSTER COMPOUND - DAY

The Ranchero and Taurus wagon drive into the huge front yard

as Madeline and James close the tall wooden fence.

Simon is standing guard with his shotgun.

Joshua and Amelia get out of their vehicles.

JOSHUA

What’s the plan? Run or fight?

Simon is pissed.

SIMON

Fight. They have no reason to

harass us.

MADELINE

They might have a warrant. We have

to get our bugout bags and go.

Bethany is sitting, sobbing and panicking by the front door.

Madeline goes to her mother.

MADELINE

Mom. If you don’t make a decision,

I will.

BETHANY

I’m done. You go. I’ll hold them

off.

Madeline begins to cry too. She gets on her knees in front

of her mom, dropping her .22 rifle.

(CONTINUED)

CONTINUED: 36.

MADELINE

Mom, come on.

Bethany gives James a look that dares him to defy her.

BETHANY

Take them.

James carries a crying and screaming Madeline to his pickup

truck and throws her in the passenger seat.

He runs around and gets in the driver seat while Joshua

pulls an angry Simon to Amelia’s Ranchero.

Amelia drives the Ranchero around the back of the house,

followed by James’ pickup truck.

The SUV smashes through the wooden gate and parks behind the

Taurus wagon to keep it from escaping.

The two Sheriff’s Chargers park behind a beat up old ’80s

Plymouth sedan and Bethany’s Mercury Sable wagon.

Cross and co. get out of their vehicles, pointing weapons in

every direction, but namely at Bethany, who is now standing

holding the .22 rifle.

CROSS

Where are they? More importantly,

where is your son Elijah?

CUT TO

INT. STAGE 9 - DAY

Eli is standing in front of a green screen holding a script.

A camera is pointed at him, being operated by Adam.

Joel is sitting in a director’s chair.

JOEL

Aaaand (beat) action!

ELI

Screw Jason. He’s a douchebag. He’s

a sociopath. Trust me. He’ll hurt

you.

JOEL

Cut!

(CONTINUED)

CONTINUED: 37.

ELI

What?

JOEL

I’m not feelin’ it.

ELI

Well too bad ’cause that’s how I

said it. I remember.

Nathaniel walks up and stands by Joel.

NATHANIEL

I thought you said you have a

shitty memory.

ELI

I also said I remember emotions.

Trust me, I remember how I said it.

You’re not "feelin’ it" ’cause I

was shielding myself.

JOEL

How - what - what do you mean,

shielding yourself?

ELI

I was keeping the real emotion from

showing so that Ginger didn’t feel

it. To be honest, I’m not even sure

it worked.

Joel and Nathaniel exchange glances.

JOEL

Yeah. Uh, Elijah. Maybe we

shouldn’t make this movie after

all? We usually do comedy. This

isn’t very funny.

Eli stares at Joel for a few seconds before walking off the

stage.

ELI

I need to take a break. I’ll see

you in fifteen or twenty minutes.

Joel opens his mouth to protest but Eli has already left.

Joel closes his mouth and exhales, turning to Nathaniel, who

is looking down at him cynically.

(CONTINUED)

CONTINUED: 38.

JOEL

You were the one who asked me to

hire him.

Eli walks into his office and slumps into his chair behind

his desk.

He lays his head back and closes his eyes.

Nathaniel knocks on the open door and enters.

NATHANIEL

Hey. You good?

Eli looks at Nathaniel and shrugs.

ELI

I ain’t used to working with four

or five other creative people. I’m

used to working with about a

hundred idiots who I can manipulate

to get what I want. You know, I was

almost made co-owner of a small

production company in Charlotte?

Nathaniel leans against the door frame and crosses his arms.

NATHANIEL

Really? Well, Michael Enkimann told

me you’re intuitive, like me, but

the way he sounded on the phone

sounded like you were related to

him. He was very adament about

getting you this job.

Eli gives Nathaniel an intrigued look.

ELI

Interesting. Well, I’m more than

just another creative, intelligent

intuitive. I’m empathic. I know

what everyone - or most everyone -

is feeling and I don’t even have to

be in the same room with them.

NATHANIEL

That so?

ELI

Yep. Joel isn’t a businessman. He’s

not even a producer or a director.

He’s an actor. He hates being in

charge of this place and he hated

having to leave CB.

(CONTINUED)

CONTINUED: 39.

NATHANIEL

Doesn’t take an empath or an

intuitive to know that.

ELI

He also is considering going back

to Cock Bite and begging for his

job back. My guess is he hasn’t

told anyone that, not even you, but

you’ve figured it out too. He masks

anxiety and depression with jokes

and a jovial attitude. Am I right?

Nathaniel purses his lips and looks upward in thought before

scratching his unshaven neck and nodding.

NATHANIEL

Yeah. I guess.

ELI

Adam left because Joel left and you

left because your direct supervisor

was pissing you off. I’ve watched

Cock Bite videos for over ten

years, pretty much ever since they

started making them in oh-three.

Nathaniel smiles with nervousness and amazement.

NATHANIEL

Wow, you are good.

Eli lazily gestures.

ELI

That’s easy. And I don’t mind

working for you and Joel and Stage

9, but if y’all wanna reach any

kind of public with your videos,

you should take my advice into

account.

Nathaniel nods.

NATHANIEL

Alright. I’ll talk to Joel about

it.

ELI

Thank you.

Nathaniel turns to leave, but then turns back to Eli.

(CONTINUED)

CONTINUED: 40.

NATHANIEL

Hey Elijah, Michael said if you

needed anything to help you get it.

You have a home, job, and a car. Is

there anything else I can help you

with?

Eli smirks at Nathaniel.

CUT TO

INT. RESTAURANT - EVENING

Joel is sitting at a booth across from Lydia.

Joel is wearing a black tie and a light yellow dress shirt,

and Lydia is wearing a slimming shiny black dress that shows

both her cleavage and her black widow tattoo on her chest.

Joel smiles nervously at Lydia, who smiles nervously back as

they wait for the waiter.

They both start to ask a question at the same exact time and

then laugh at themselves.

JOEL

Sorry, you first.

LYDIA

I was just going to ask if you

could help me meet the people who

made RUBY, you know, one day?

Especially the chick who voices

Ruby, ’cause she’s my favorite.

Joel nods with confused squinted eyes and an open smile.

JOEL

Suuure. You like anime?

LYDIA

Yeah.

JOEL

Have you ever acted before?

Lydia shakes her head nervously.

LYDIA

Oh no. I don’t wanna act. I’m

terrible, I’m sure. That’s Alyce’s

thing.

(CONTINUED)

CONTINUED: 41.

JOEL

Alyce? Who’s Alyce? Does she have a

white rabbit?

Joel laughs silently as Lydia leans forward and laughs

loudly.

The waiter comes over with a basket of bread and butter.

LYDIA

She’s (beat) Eli’s girl. I mean,

they’re not together - like we are.

I mean, uh, he’s helping her. She

has issues. So do I. We all do.

Joel whispers thanks to the waiter, who walks away, and then

smiles to Lydia.

JOEL

Y-yes. Yes we do. We do. I do,

especially. That’s why I’m an

actor.

They both laugh again.

It starts to rain outside as slow romantic classic rock

music is playing in the restaurant.

LYDIA

Yeah, Eli’s a good man.

Lydia looks distantly at the bread in her hands, a look of

guilt and shame coming over her face.

LYDIA

I mean, he’d never say so. We’ve

all (beat) done things. We all hurt

each other in some way. But h-he

wants to do good. He - he just

wants to help people. I wish I

could be like him.

Joel looks at her sadly and shrugs.

JOEL

Why can’t you?

LYDIA

I dunno. I just - I just feel like

I’m worthless sometimes. Not as

much as I used to. But sometimes I

still wonder if I’m a good mom.

Sometimes I wonder if I’m just

holding Eli and Alyce back.

(CONTINUED)

CONTINUED: 42.

Joel looks uncomfortable and rubs his neck as he looks

around like he’s searching for an exit.

JOEL

Oh, I’m sure you’re not that bad.

Lydia looks at him and smiles with nervousness and sadness.

LYDIA

Oh great, another emotionally

unstable girl.

Joel looks at her, shocked.

JOEL

Sorry?

LYDIA

That’s what you were thinking,

right? At least, that’s how you

felt.

Joel sighs and closes his eyes as he rubs his face.

JOEL

No. Look, I’m sorry, I’m just not

(beat) not looking for a

relationship with someone (beat)

who -

LYDIA

Someone who’s damaged? Someone like

me?

The waiter comes over with their drinks.

WAITER

Are you guys ready to order?

Joel and Lydia stare at each other. Joel breaks the stare

and looks up at the waiter.

JOEL

Uh, yeah, I guess.

FADE TO

43.

EXT. ENKIMANN RESIDENCE - NIGHT

Enkimann’s hand shakes as he slides the door key into the

lock on the front door of his modest house.

His face shows worry and fear as he unlocks the door.

CROSS (OS)

Welcome home, Mitchell.

Enkimann shoves the door open and sees Cross sitting in his

recliner holding a silenced 9mm Beretta with a single gloved

hand.

CUT TO

INT. ENKIMANN RESIDENCE - NIGHT

Enkimann goes for the revolver holstered on his waist but

Cross points the gun at him first.

CROSS

Uh uh. Come on in and close the

door, Mitch.

Enkimann obeys slowly and puts his brief case down by the

door.

ENKIMANN

So you figured me out, did ya? Good

for you.

CROSS

Remove your firearm slowly and

place it on the floor with thumb

and forefinger only.

Enkimann slowly unfastens the holster as he watches Cross’s

cold eyes.

Then Enkimann yanks the gun out and tries to shoot Cross,

but Cross shoots him first in the gut.

Enkimann falls to his knees, holding his gut.

The gun is still in his hand.

Cross gets up and walks over to disarm him, but Enkimann

fires, shooting Cross in the foot.

Cross shouts in pain and falls to the side, catching himself

on a counter.

(CONTINUED)

CONTINUED: 44.

Cross then shoots Enkimann’s right arm, loosing the gun from

his grasp.

Cross scowls with anger and pain as he hobbles over to the

fallen deputy.

CROSS

What the hell, man! I was planning

on making this big speech about how

you should come back to the

Peacemakers where you belong! I can

see that ain’t gonna happen!

Enkimann laughs with pain as he bleeds to death on his

floor.

ENKIMANN

Sorry to foil your plans (beat)

again. What can I say? I love not

giving bad guys what they want.

Cross narrows his eyes at Enkimann as he thinks about what

the deputy said.

CROSS

Someone said that to me before.

A look of revelation comes across Cross’s face and his anger

turns to joy.

Cross grins and levels the silenced pistol at Enkimann’s

face.

Enkimann looks up at Cross with guilt and sadness.

CROSS

Your daughter.

Enkimann looks away from Cross.

CROSS

Emily Megan Everett (beat) is your

daughter? Oh, I’m gonna have fun

with this. Night pops.

Enkimann looks back up and gives Cross a genuine smile of

warmth and forgiveness.

ENKIMANN

We forgive y-

Cross shoots him in the face before Enkimann can finish the

statement.

(CONTINUED)

CONTINUED: 45.

CROSS

I don’t want your filthy

forgiveness, traitor.

Cross hobbles out of the building, leaving the door open.

FADE TO

INT. PEACEMAKER HQ - NIGHT

SLOW MOTION: Soft, slow classical music plays; Ginger’s

dungeon door bursts open and Cal is thrown to the floor;

Ginger screams at the two guards who point handguns at him;

Cross enters, his foot mysteriously better, and walks over

to Ginger; Cross uncuffs her and carries her by her bicep to

Cal; he throws Ginger down to her knees and nods to the two

guards; the two guards relentlessly shoot Cal dead, much to

Ginger’s horror.

As the guards leave, Ginger vomits.

Cross stands at the door and looks back at her coldly.

CROSS

We will have Elijah McPhoster and

Alyce Kauffman (beat) if we have to

kill every single person in Leigh

County.

Cross leaves, slamming the door behind him.

CLOSE UP on Ginger’s terrified, sickly face.

CUT TO

EXT. RURAL MONTANA - DAY

Amelia’s ’69 Ranchero and James’ pickup truck are driving

down a dirt road toward a cabin near the mountains.

SUPER: Three days later.

After they park, Amelia, James, Joshua, Madeline, and Simon

exit the vehicles.

Madeline and Simon are still wrought with sorrow and guilt.

Amelia leans against the Ranchero and tries to dial Cal’s

phone on her cellphone but gets no response.

Amelia forces herself not to cry.

(CONTINUED)

CONTINUED: 46.

Joshua walks over to her.

JOSHUA

Having cellphones is not a good

idea anymore.

James watches their interaction with interest.

Amelia turns to Joshua and angrily shoves her cellphone at

him; he takes it.

AMELIA

Cal’s probably dead anyway.

Amelia stomps away toward the cabin as Joshua dismantles the

phone.

James watches him do it and then follows Amelia.

JAMES

Amelia. You okay?

Amelia stops and turns to James; annoyance is all over her

face.

AMELIA

No, I’m not okay, James. I just

left my boyfriend and my whole

family back in North Carolina and

I’m not even sure why.

JAMES

It’s gonna be okay.

AMELIA

No (beat) it won’t be. You have no

idea if it’s gonna be okay or not,

so stop saying it.

Amelia turns and marches into the cabin.

CUT TO

INT. MONTANA CABIN - DAY

Amelia finds Madeline sobbing quietly in a chair in the

corner and Simon is keeping busy by shuffling through an old

foot locker.

Amelia goes to him.

(CONTINUED)

CONTINUED: 47.

AMELIA

What are you doing?

SIMON

Looking for stuff. Stuff we might

be able to use.

AMELIA

Find anything yet?

SIMON

Of course not.

Amelia turns and goes to sit on a dusty sofa.

As James and Joshua walk into the house, Madeline pulls

herself together and stands in the middle of the living

room.

MADELINE

Guys, we need to find Pastor

Baldwin. He can help us (beat) I

think.

JAMES

Do you know where he lives (beat)

or gives his sermons?

MADELINE

Yeah. It’s not too far from here.

Maybe twenty or thirty minutes.

AMELIA

At least two people should stay

here and, uh, make this place

livable.

Madeline turns to her brother Simon.

MADELINE

Simon, can you stay here with

Amelia and do that?

SIMON

Sure.

Simon’s reply is morrose and sullen.

Madeline sighs and turns to Joshua and James.

MADELINE

Okay. Joshua, you stay here and

help. Protect the place. James and

(MORE)

(CONTINUED)

CONTINUED: 48.

MADELINE (cont’d)I will take his truck and look for

Pastor Baldwin.

JOSHUA

Cool, cool.

JAMES

Alright.

Madeline and James walk outside and get into James’ pickup

truck.

James drives the truck back down the dirt road and they are

silent for awhile until they get to a two-lane blacktop.

MADELINE

This place is so beautiful.

JAMES

Yes, it is.

MADELINE

Eli’s not in Montana. He’s probably

in Texas.

James looks over at Madeline with surprise and confusion.

JAMES

You think so?

MADELINE

I’m almost certain of it. He used

to talk about going to Texas all

the time. He wanted to work for

(beat) a, uh, an internet video

company.

James smirks.

JAMES

Yeah, I think I know who you’re

talkin’ about. Eli showed me some

of their videos. They did RUBY,

right?

MADELINE

Yeah. Anyway, we’ll get the

preacher’s help first before we

head to Texas.

(CONTINUED)

CONTINUED: 49.

JAMES

Alright.

James’ truck drives down the vacant road between two thick

tree lines.

CUT TO

INT. ELI’S TRAILER - DAY

Eli is sitting on a sofa playing video games with Kimmy when

he suddenly stops playing and frowns.

ELI

Alyce’s home and she’s not happy.

As he sets the controller down, Alyce walks through the door

and she’s clearly upset, especially feeling dejected and

hurt.

ELI

What’s the matter?

Eli stands up and goes to her as Alyce closes the door.

ALYCE

Nothing.

Eli cocks his head and narrows his eyes at Alyce.

ELI

Uh, have you forgotten who we are?

Alyce smiles meekly.

ALYCE

Sorry. I didn’t do too well on set

today apparently.

Eli frowns and inhales, his eyes fluttering closed as he

takes on her sadness.

He opens his arms to her.

ELI

Aww, I’m sorry, come here.

They hug and Kimmy watches, biting her lip, before going

back to the game.

Alyce steps back and narrows her eyes at Eli; she’s almost

smiling, void of pain and sadness.

(CONTINUED)

CONTINUED: 50.

ALYCE

Did you just take my sadness away?

Eli scratches his head and smirks sadly.

ELI

Uh, sorta. I may have absorbed it.

ALYCE

Aww, stop doing that. You’re going

to get hurt.

Eli waves it off and goes to sit down on the sofa again.

ELI

It’s no big deal. I can handle a

little bit of sadness and pain

every once in awhile.

Alyce smirks and leans over the back of the sofa.

ALYCE

Yeah. Well, with me it might become

a full-time job.

Eli chuckles drearily and reaches up and touches her arm.

ELI

Oh, by the way, I finally got a

response from Elaina.

Eli gestures to an open laptop on the kitchen table.

Alyce goes to read the email.

Eli continues playing the game with Kimmy.

ALYCE (OS)

She wants to meet you, in person,

alone.

ELI

Yep.

Alyce walks over to the sofa and sits beside Eli.

ALYCE

Might be a trap. You did say her

husband was a cop.

ELI

Well, I’m going anyway. The meeting

will take place an hour from here.

(MORE)

(CONTINUED)

CONTINUED: 51.

ELI (cont’d)In case it is a trap, or her

husband or someone follows us, I

don’t want our house being found,

ya know?

ALYCE

Yeah.

Alyce watches Kimmy and Eli play the video game, and when

someone in the game gets severely wounded, Kimmy reacts.

KIMMY

Ouch! Owwie! That sucks.

Eli turns and looks at Alyce with a smirk.

She rolls her eyes slightly and grins, showing her braces.

Eli turns to Kimmy.

ELI

Hey Kimmy, you gonna be okay with

Alyce today?

Kimmy smiles.

KIMMY

Yep. I like Alyce (beat) and Lydia.

They’re cool.

Eli snickers lightly and hands his controller over to Alyce.

ELI

Well, I gotta get ready to go meet

Elaina. You both behave.

Kimmy watches Eli get up, her face wrought with longing and

dread.

KIMMY

Be careful, Eli. I’m gonna miss

you.

ELI

I’ll be fine, but thanks, I will.

Eli goes into his bedroom and closes the door.

Alyce and Kimmy play the video game together and have fun.

When Eli emerges from his bedroom a little later, he is

wearing his black leather trench coat, under which is a

shoulder holster with his dark-colored 1911 handgun.

(CONTINUED)

CONTINUED: 52.

As he walks toward the front door, he puts his hair in a

ponytail.

ELI

Love ya both. Don’t do anything too

crazy.

KIMMY

Aww, but I wanna do drugs and have

sex with strangers.

Alyce snickers.

Eli stops and squints at Kimmy.

ELI

No sex, with anyone.

He quickly turns and walks out of the house, leaving Kimmy

and Alyce laughing.

FADE TO

EXT. FAST FOOD PLACE - DAY

Eli drives his white Impala into the parking lot of a fast

food place.

He almost immediately sees a very thin and tall blond woman

wearing glasses leaning against a grey Hyundai Sonata.

Eli smirks and parks beside the new model sedan.

He gets out of the Impala, but leaves the car running, and

his smile is unbridled as he looks at ELAINA TUCKER, 22, who

is coming toward the driver’s door.

Elaina is wearing a gray suit, no tie. Her white dress shirt

matches Eli’s, but he wears a blue tie.

ELI

Hey! Long time, no see, Ellie!

Elaina’s smile is barely perceptible, as she is a very cold

and distant person.

ELAINA

Greetings, mon ami.

Eli goes to her and practically forces a hug on her.

(CONTINUED)

CONTINUED: 53.

ELAINA

Alright. That’s enough.

Elaina pats Eli’s back as he steps back.

ELI

So where’s that copper husband of

yours?

ELAINA

At work. Why?

Eli chuckles at Elaina’s always-professional attitude.

ELI

Jeez, you haven’t changed in five

years, have you?

ELAINA

Guess not. Where do you want to

talk?

Eli shrugs and points to the restaurant.

ELI

Here’s fine. If anyone hears us,

they’ll assume we’re insane or

joking around.

ELAINA

The former most likely.

They walk toward the doors of the fast food place.

ELI

So what you been up to? Took you

like a million years to reply to my

email.

ELAINA

I see you are still prone to

hyperbole. It was like a week. And

I’ve been working. I’m a museum

curator now. Been one for over a

year.

As they approach the entrance, Eli opens the door for

Elaina.

ELI

Wow, really? That’s ironic.

Elaina enters.

(CONTINUED)

CONTINUED: 54.

ELAINA

Cheers. And it’s not ironic because

that’s what I’ve always wanted to

do, so I studied and applied, and

now I do it. Simple as that.

Eli goes over to a corner in the restaurant and Elaina

follows close behind.

ELI

Alright.

He slides into a booth seat and Elaina slides in across from

him.

ELI

You know, you’re an empath’s worst

nightmare.

ELAINA

Really? I’d think someone who

guards their emotions in an

impenetrable vault would be someone

an empath can be around, at least

more than others.

ELI

Yeah, if the empath is trying to

block or shield against any and all

emotions. I’m not that kinda

empath. I like to train myself.

Elaina squints through her glasses as she looks him in the

eye.

ELAINA

You like control. You like to

manipulate people. I’m surprised it

hasn’t bitten you on the ass

already.

ELI (SADLY)

It has. Actually, that’s why I

wanted to talk with you. I need

your help. I’ve only met two or

three people I cannot read, not

counting my family - Empaths

normally can’t or don’t read their

family - and anyway, you’re one of

those people. Actually, I can read

you but I’m guessing most empaths

can’t.

(CONTINUED)

CONTINUED: 55.

ELAINA

So I’ve heard.

ELI

So you’ve heard what? Which part?

ELAINA

All of it. And yes, most people

can’t read me and I like it that

way. I do not see any reason why

people should be able to know what

I’m thinking just by looking at me.

ELI

Well, yeah. But what about your

husband? Doesn’t he know you?

ELAINA

Better than most family members.

But that’s because I let him in.

Anyway, what specifically do you

need my help with, Elijah?

Eli waits for an employee to walk past before continuing.

ELI

I can’t really divulge too many

details just yet...

ELAINA

Not surprised.

ELI

...but have you heard of the

Activation? Or the Awakening? Some

people call it Enlightenment...

ELAINA

Isn’t it some neo-pagan thing where

they believe everyone is going to

be like God?

ELI

Yeah, something like that. They

call it the Awakening, I call it

the Activation, because it’s not an

awakening of any kind; it’s an

activation.

ELAINA

Got it. What is being activated?

(CONTINUED)

CONTINUED: 56.

ELI

We are.

Elaina sits there as if waiting for Eli to elaborate, but

when he doesn’t after three seconds, she sighs and fixes her

glasses on her nose.

ELAINA

Okay. Please elaborate.

ELI

Remember that whole twenty-twelve

thing? With the Mayan calendar and

all that crap?

ELAINA

I do.

ELI

Well, it wasn’t marking the end of

the world, but the end of an -age-

and the beginning of another one.

ELAINA

Anyone with an IQ higher than

twelve knows this already.

ELI

God, how I’ve missed your

arrogance.

Eli smirks.

ELAINA

And I yours.

Elaina lets show the slightest of grins, which makes Eli

smile cheesily.

ELI

Anyway, starting then, both good

and evil people have been

activated, and they’re still being

activated. By "activated", I mean

the sides of light and dark are, uh

(beat) tagging and recruiting their

soldiers for the final war.

ELAINA

Armageddon?

(CONTINUED)

CONTINUED: 57.

ELI

Something like that, sure.

ELAINA

So the devil and God are personally

recruiting people, including you,

to be wizards or prophets in their

respective armies?

ELI

Well, when you put it like that,

sure, it sounds insane.

An old man with a walker goes past them EXTREMELY slowly.

ELAINA (OS)

I cannot imagine why.

After Eli watches him go out of earshot, which could be just

a couple feet, Eli continues.

ELI

Elaina.

ELAINA

Yes, Eli.

ELI

You (beat) are an awesome person.

ELAINA

Uh, thanks. You’re okay too, I

suppose.

ELI

And I want you to help me so that

when you’re activated, you’re on

the right side.

ELAINA

Who’s to say I’m not already

"activated"?

ELI

You’re not. Trust me.

ELAINA

So you think if a demon came up to

me and offered me power or wealth,

I would just stop worshiping God

and start worshiping Satan?

(CONTINUED)

CONTINUED: 58.

ELI

That’s not how it works. The

darkness is...

Eli glances around at the customers eating nearby.

He sighs and levels a serious gaze at Elaina.

ELI

Look, I know you don’t have any

reason to trust me. But if you -

Elaina interrupts, folding her arms over her chest.

ELAINA

Elijah McPhoster, you made a name

for yourself on several websites

and chatrooms, from a computer in

your mother’s house in North

Carolina, for approximately ten

years.

Eli brandishes the dog-tags he’s wearing over his tie.

ELI

And don’t forget from Iraq and

Washington State too.

ELAINA

You made a -bad- name for yourself,

intentionally. You were a womanizer

and a control-freak and you hurt

me. God only knows how many other

girls you hurt.

ELI (NODDING)

Yes he does...

ELAINA

So when you ask me to trust you, to

help you fight evil, I want to

believe you, I really do, but all I

can think about is how much of a

jerk you can be.

Eli is wiping his glasses with his tie.

He puts his glasses back on and sighs, nodding.

ELI

You’re right. What was I thinking?

Eli stands up slowly.

(CONTINUED)

CONTINUED: 59.

ELAINA

Elijah. I’m sorr-

ELI

No, no. You’re right.

Eli walks to Elaina’s side and leans his mouth down to

within inches of her face. When he speaks, it’s not a

whisper, but it’s a low tone.

ELI

I did a lot of terrible things,

most of it you will never know

about. I used my abilities for

(beat) dark purposes, but now I am

trying to do what’s right. I am not

the same man I used to be.

Eli turns and walks out of the fast food place.

Elaina sits there staring ahead at the empty booth seat,

clenching her jaw, trying to remain unemotional.

A single tear comes from the corner of her eye and rolls

down her cheek.

FADE TO

EXT. ELI’S IMPALA, CITY ROAD - EVENING

As the sun goes down, Eli is driving the Impala alone

through a city.

ELI (VO)

The good book says blessed are the

pure in heart, for they shall see

God.

Eli’s Impala rolls to a stop at a yellow light, which then

turns red.

ELI (VO)

What does that even mean? Who in

this world is pure in heart?

Eli looks over to his left and sees a beautiful redhead roll

up to the stop light driving a beat up old ’80s pickup

truck. She is smiling at his car.

ELI (VO)

If I could see God, how in the hell

would I justify myself?

(CONTINUED)

CONTINUED: 60.

The redhead locks eyes with Eli and grins cheesily before

waving at him.

Eli smiles warmly and waves back.

ELI (VO)

Or maybe that’s not what it means

at all.

Eli narrows his eyes at the redhead as the outline of a man

glows in her passenger seat.

Eli frowns, blinks, and looks forward to see the light turn

green.

ELI

Oh no.

Eli looks back over at the redhead as she gleefully stomps

the gas, thinking they’re going to race.

SLOW MOTION: Eli hits the gas too and the Impala lurches

forward, matching the pickup’s speed as they burn rubber

through the intersection. Eli looks to his right and sees

the same faint outline of a glowing man in his passenger’s

seat.

When he turns back to the front, a big truck speeds through

the red light to their right, smashing into the Impala’s

right hand side.

The Impala in turn slams against the pickup truck to the

left, causing it to spin out and crash horribly into

oncoming traffic.

FADE TO

EXT. BOULEVARD - NIGHT

Eli’s POV: Disoriented, intermittent, and blurry visions,

sounds, and feelings of paramedics, flashing lights, twisted

metal, and PAIN.

The one time Eli can open his eyes fully, as he is being

hoisted on a gurney, he sees a tall, muscular, handsome man

wearing a white and light blue suit standing behind the

paramedics who are tending to Eli.

(CONTINUED)

CONTINUED: 61.

PULL UP, BIRD’S EYE VIEW: Show the man in white, plus three

other people who are not meant to be there, standing all

around Eli: one is an older man in a black suit, one is a

woman in a silver and blue dress, and the other is a man

with long dark blond hair and a slight beard wearing a

golden robe.

It is obvious these are angels, but they do not have halos,

wings, or weapons, and they are not glowing.

ELI (VO)

I hope the other drivers are okay.

PAN to the truck that hit Eli’s Impala and show a similar

looking older angel placing his hand on the dead driver’s

head.

PAN to the redhead’s pickup truck and show the redhead’s

guardian angel, a teenage male with short brown hair wearing

a hoodie, crying and pleading from the passenger seat of the

overturned truck, while the redhead is being pulled out by

paramedics and firefighters; she has a large piece of metal

sticking out of her side. She is alive, but barely; she is

in a lot of pain and in shock.

PAN to Eli again; he is being shunted into the ambulance and

when a cop hits the side, the ambulance drives off.

ELI (VO)

I feel the sorrow, the shame. The

driver of the truck that hit us is

gone. I can’t say I feel bad for

him. I also feel the redhead’s

pain, shock, fear, and guilt. It

wasn’t her fault, for the most

part, but she still feels guilty,

because she’s a good soul. I wonder

if I can help her...

CUT TO

INT. AMBULANCE - NIGHT

Eli blinks, forcing himself to stay awake as he bleeds from

his head.

Eli clenches his fists.

The two paramedics notice this and lean forward.

(CONTINUED)

CONTINUED: 62.

PARAMEDIC 1

Don’t worry, Mister McConnell.

You’re going to be alright.

But Eli ignores them; he closes his eyes and relaxes and

stares up at the ceiling of the ambulance.

FADE TO

EXT. BOULEVARD - NIGHT

The redhead is lying there on the gurney being taken to her

ambulance, but her pain is subsiding.

She shivers and stares up at the starry sky with wide eyes,

but once she is inside the ambulance, she is calm and

doesn’t seem to be in pain.

The paramedics look at her, and then each other, confused.

The redhead, GRACE, 19, gives the paramedics a faint smile.

This confuses even her guardian, who is unseen nearby.

GRACE

Don’t worry, guys. Everything’s

going to be alright.

CUT TO BLACK.