Stormfront (Screenplay Format)

Some of you will have seen this before, in novel format -- just thought I'd re-introduce it in feature film script format. This earlier version also includes new material I haven't yet shown anyone at all -- some of which was cut for the (newer) novelization format you have seen part of, and some of which has remained. Anyway, here it is:

STORMFRONT






AN ORIGINAL MOTION PICTURE



Daniel Kaden (copyright 2005, all rights reserved)

FADE IN:


on a wasteland of ice and snow. We pull in on a shape, an OLD MAN half©buried in a drift. His face is framed by long white hair, and one of his eyes is covered by a rough black patch.


We watch as he stirs, comes to, and leaps up, fighting enemies that exist only in his memories. The howling wind subsides, and we hear him screaming.

Suddenly, there is a



VOICE (O.S.)


Be still, Father. We are with you.


The old man looks around, startled. Then anger darkens his face.



OLD MAN


Show yourself, Demon. Show me your face.



VOICE (O.S.)


Hold your ire, Father. We are *of* you.


The old man shivers against fear and the cold.



OLD MAN

(impatient)


Enough!


He looks around him again, spots a low stone wall, smoke rising up from chimneys beyond it. Running to strangers for help isn’t his way, but it’s better than freezing to death. He starts to run for the wall.



VOICE (O.S.)


That way lies Death, Father. Approach it not.


The old man utters a sharp, mirthless laugh, still moving.



OLD MAN


Death surrounds me, Demon, and I *fear* it not.

(wind picks up, wild and biting)

But I would be out of this damned wind!


He is almost at the wall now; spotting a gate, he moves toward it.



VOICE (O.S.)

(resigned)


We can warn you, Father, but we cannot bend your will.


CUT TO:

a crow, gliding serenely over the wall toward the old man. The wind that buffets the old man doesn’t even touch it.



CROW (V.O.)


See this golgotha, then.

But see it through *our* eyes, that you may see the truth.


The old man shivers.



OLD MAN


If this world is in disguise, Demon,

I don’t think I want to see the face beneath.



CROW (V.O.)


That is a choice best not left to you, Father.


It is too late for argument; the crow is upon him. The old man staggers under the combined impact of the bird and the battering wind. Its beak caresses his throat, his ear, and his face is sheathed in terror. Then the crow begins to chant:



CROW (V.O.)


We set our hearts to burning

We set our eyes aflame

We set our path on learning

Our enemy’s true name

The hour of our destruction

Draws near, quickens our pace

Make plain the source of chaos

Make plain our Enemy’s face


There is a FLASH of lightning, and we


CUT TO:

another view of the city. Harsh and arid, the wind still carries the debris of the world through which it dances; but what stirs on the air here is not snow but finely ground ash.



CROW (V.O.)


Welcome home, Father.


If he has heard what the crow said, the old man gives no sign. Instead, he steps toward the gate, through which he can see the broken houses of the village casting shattered shadows into the rubble©strewn streets. He begins to walk toward them ³


The crow reaches behind the old man’s ear, pinches the soft flesh there.



CROW (V.O.)


The old man opens his mouth to curse it, but the crow’s voice cuts his words down³


Look *closer!*


He does ³ and sees tiny, filthy talonned things scurrying through the trash, up and down walls, things whose fiery eyes leave searing tracers in the growing darkness.



OLD MAN


What are those ³



(impatient)


Quiet! Watch.


As the old man watches, the things race up the side of a pedestal, up the foot of a STATUE. It is a statue of a woman, regal in dress and bearing.


The old man focuses on her face, and we


CUT TO:

an earlier time. The old man walks into a grandly furnished bedroom. The woman is sitting there pretending to sew. We can see by her face that she is inwardly fuming.



OLD MAN


How goes it, Vena?



(coldly)


What is it to you?


The old man hangs his cloak on a peg carved upon the door.



OLD MAN


I know it troubles you... that I sent them away.

Understand me: it *is* for the best.


Vena stands, her arms at her sides, her face a mask of defiance.



The *best*! Best for whom? Them?

Sent away from their family to be raised by mortals?

Denied their heritage to protect them from some

ludicrous "catastrophe" that only *you* have foreseen?



OLD MAN

(wearily)


(shouting)


No! Your way is *not* the right way! Not this time!

*Damn* you!


She screams ³ and at the sound, everything in the room explodes. Shards of furniture, glass and porcelain become a whirlwind of destruction.


The old man takes his sobbing wife in his arms. He lifts a hand, and the destruction freezes in midair. With a gesture, the debris returns to its assigned forms and places.


CUT TO:

the present. Vena’s statue stands oblivious as the chittering things race up its leg. The old man blinks, stares, then shouts:



OLD MAN


You! Fucking bastard rats! Get off ³



Ssshh!



OLD MAN

(steps forward)


No! I’ve got to ³



(deafening)


*Silence!* If those things swarm you now,

*none* of this matters!


The old man watches as the chittering things race up te side of the statue, swarm over its head... and bore through the stone as if it were warm flesh.


And in the diseased half©light of this burned down world, the stone *screams*.


Then the crow is chanting again, a rhythmic cadence that lulls the old man’s eyes closed:



We dream of Time and Memory

We dream the Past awake

We dream us there to show this one

The future that’s at stake

We dream us back to Asgeyr’s fall

We dream the battle through

And all of this we pray we dream

To make the dream untrue


CUT TO:

the city in flames. The old man stumbles, his eyes tearing against the stench of ionization and the smoke of a raging battle.


He looks up as someone or something roars not two feet from him. Before him stands a gigantic proto©human animal wielding a massive warhammer. The old man steps aside barely in time as the hammer falls.


The giant is killed by the crow. The old man barely notices, for on the horizon he can *almost* see Things flailing, thrashing about in sunlight that denies them, Things that dance to the music of murder.


He has had enough of this madness. He turns to run ³ but his path is blocked by a man on horseback, a man whose face is framed by wild white hair whipping in the wind. (REVISE PARAGRAPHS I AND II, ADD DESCRIPTION OF OLD MAN)


Time stretches as the old man and the figure on horseback stare into identical faces, one the face of a weary and confused old man... the other the face of a terrified god.



OLD MAN ON HORSE

(stern)


Worldstorm.



Realization dawns on the old man’s face, then anguish.



OLD MAN


FADE TO:

the icy wasteland. The old man falls to his knees in the snow, the crow standing serenely a few feet away.



OLD MAN


Help me! I *can’t* be the highest power in this place!

If there is someone else, someone greater than I am, *help* me!


The wind howls its defiance.



There can be no help for you, Father.

You have looked on the First Ones, and you are damned for it.

There is only one road for you now.



OLD MAN

(looks up)


Tell me.



You must sacrifice, as you have done before.

Remember.


Thunder cracks again, and we


CUT TO:

An image of the old man hanging by his neck from a tree.


CUT TO:

the old man, light dawning in his good eye. He knows what he must do. He stands, begins to walk, throwing off his cloak and beginning to haltingly unfasten the leather thong that holds his shirt closed against the chill wind.



OLD MAN


Where is Death, Demon? How will I find my way?


The crow is silent a moment... then offers all the wisdom it has:



It is a dark road, Father, and swift.

Keep your eye upon the Way.

The old man looks up at the crow, respect and admiration in his eye. He offers it a weak smile against the cold.



OLD MAN


What is your name, Demon?

If you are to be my guide through Helle, tell me your name.



(quietly)


We are Legion.


The old man nods, then stumbles, falls... his chest rises, falls... and does not rise again.


CUT TO:

darkness. Deep and penetrating, the darkness surrounds the old man and fills him. In the darkness he can sense a presence.



OLD MAN


Who’s there?


Out of the darkness, many voices speak as one, angelic.



VOICES (V.O.)


You have made sacrifice, yourself unto yourself,

and it is good to us.

Now speak your will, that we may see it done.



OLD MAN


Who are you?



VOICES (V.O.)


We are what was. We are what is. We are what will be.

We are Stormangel.


The darkness is flooded, burnt away by a light so intense the old man cringes against it.



OLD MAN


What do you want from me?



STORMANGEL (V.O.)


You were called Lord of the Wild Hunt once.

Ride, for the Hunt is on.



OLD MAN

(shivers)


Kill those Things, you mean. But how ³



STORMANGEL


The First Ones mean to use

your traitor brother, Loki, as their vessel.

They hope that by sending him to Midgeyr,

they can possess the Mortals. From there, they mean to

become one with the Stormcore itself.



OLD MAN


The Core! But that’s ³



Stormangel laughs; it is a terrifying sound.



STORMANGEL (V.O.)


Impossible? You forgot, Odin... *we* are impossible.

Regardless of notions of possibility or impossibility,

they mean to try.

Your brother wears your Aspect. Stopping him may be

more challenge than you can hold.



OLD MAN


And if I can’t stop him?



STORMANGEL (V.O.)


Rally your children in Midgeyr. It is their time.

This is why you sent them.


The old man has one last question for the being who calls itself Stormangel; the question nearly catches in his throat, but then:



OLD MAN

(timidly)


Who am I? Who am I *now?*


The old man shivers against a sudden chill



STORMANGEL (V.O.)


You are your world.

Your world is ash now... and so are you.


A sudden wave of force throws the old man, shrieking, back into the darkness.


CUT TO:

Legion, perched atop the old man’s chest. A thin layer of ice has formed, but still the bird stands vigil, waiting.


Footsteps approach, crunching through the hardened snow. We


CUT TO:

a tall man in a black duster and broad©brimmed black hat. It is ASH. Legion looks up.



I’ll need wheels, and a weapon.



LEGION


Follow.


Legion flies from the body in a blast of black wings.


Ash has had enough of the ice and cold. He concentrates, and in a flash of lightning, the illusion of winter is gone.


Legion leads him to a door set in the wall. Ash opens it and walks a ramp down into a subterranean room, his eyes burning through the darkness within.


Inside he finds a motorcycle. He looks on it and smiles. His smile fades as he looks to a rack on the wall and sees a pistol©gripped shotgun there.



LEGION

(nods at shotgun)


The Hammer.


Ash takes it down, inspects it, then drops it into a scabbard on the motorcycle.


These are all Ash needs. He swings a leg over the saddle of the bike, kicks it into roaring life,



LEGION


The Storm is coming, Father.



Ash revs the bike, letting its roar echo across a dead landscape. He looks at the crow.



Then we go to meet it!


With that, he blasts up the ramp and toward a horizon on fire with sunrise.


And in his wake, thunder rolls.


FADE TO:

OPENING CREDITS


CUT TO:

EXT. HIGHWAY 101

just outside the small town of North Point, Washington. We see a car, a grey 1990 Honda CIVIC, just flying down the highway.

CUT TO:

INT. CIVIC

as the driver, BRANDON COLE, 22 years old, reaches over and turns down the radio. From the passenger side, his friend KEVIN BARRINGER shoots him an annoyed glance.



Hey man, what the fuck? It was just getting to the good part!



BRANDON


I gotta ask you guys something.

(looks around, passengers get nervous)

BARRINGER

Uh... you want a cigarette man?



BRANDON

(takes one)


Thanks. So what do I get Brigette for Christmas?


In the back seat, another of Brandon’s friends, MIKE SCANLON, speaks up.



Why don’t you get her what you got her last year?


Brandon’s friends laugh.



BRANDON


Ha. Ha. Ha. Fuck you.

That was pure accident.

BARRINGER


Yeah. So what’d your Uncle Joe think when he

opened his box?



BRANDON


He said... he said the negligee was very cute.

(looking into rearview mirror)

But he… what the fuck is this guy’s problem?


In the rearview mirror, we see a semi truck coming up much too fast. The personalized license plate reads "XODUS".


The semi pulls alongside Brandon’s car, cruising in the wrong lane of the two-lane highway. Brandon looks over.



BRANDON


Brandon does a double-take as his passengers look, too. The man driving the semi turns and grins at them. His eyes are gone, trails of dried blood still on his cheeks.



EVERYONE


*Shit!*


The driver of the semi laughs ³ a shrill, lunatic cackle and wrenches the wheel hard toward Brandon’s car. No match for the semi’s power or mass, the Civic is thrown off the road.


Brandon sees the drainage ditch a fraction of a second before his car hits it and rolls. When they finally come to a stop, the car is overturned. Kevin Barringer is dead, rather obviously so.


Brandon, barely conscious, looks out, notices raindrops falling. Heavy clouds are gathering.



BRANDON

(whispers)


Storm coming...


Brandon loses consciousness as we


FADE TO BLACK

CUT TO:

EXT. PINE VALLEY MALL


where we see KATRINA REILLY, 19 years old, sitting alone at an open©air cafe, drinking coffee and checking off names on a piece of paper. Two large bags full of Christmas presents sit in the chair beside her.


She looks up at a young man making his way through the crowd toward her, and her eyes widen. She recognizes him; it is MARK KELLEY, her ex©boyfriend.



KATRINA


Oh, *no.*


She gets up quickly, taking her bags. Stepping through the doors to the mall, she takes out her cell phone.



KATRINA


Becky?


On the other end of the line, her friend Becky picks up.



Kat? Girl, what’s wrong?


Katrina looks behind her. Mark is still following her.



KATRINA


Becky, where are you? Mark ³



(angry)


Psycho boy is here? I’m at Lady Foot Locker,

get your ass up here.



KATRINA

(looking over her shoulder)


Hope you’ve got a plan, Becks.

I’ll be there in a click, and I’m sure

I’ll have company.


Katrina slips the phone back into her pocket and begins to walk more quickly.


From behind her, she can hear Mark bulling his way through the crowds of shoppers. She picks up the pace, genuinely scared now.


CUT TO:

Katrina exiting the mall at a run. Mark is not far behind. She dodges into a crowd of shoppers. Mark pauses, looking for her. A beat later, he spots her out in the parking lot.


Katrina jumps into her car, slams the door, and peels out of the parking lot. Several blocks down the street, just as she’s beginning to feel safe, she spots Mark’s white Jeep Wrangler a few cars behind her.


She begins to speed. A police cruiser flashes her, and she reluctantly pulls over. A STATE TROOPER steps out of the cruiser, his six©foot©five©plus frame looming over her car. He strides up to her door, moving with the certainty of a steam engine.


He puts his anvil©sized fist out in front of him like a man reading his watch, then cranks it slowly counterclockwise, indicating she should roll down the window.


She complies, dread written on her face. The cop hunkers down; it seems to take an hour. Under his mirrored shades and Smokey the Bear trooper’s hat, his face is stony, expressionless.



TROOPER

(conversationally)


Aft’noon, ma’am. May I see your

license and regerstration, please?


Katrina reaches for the glove box.



TROOPER

(hand goes to his gun)


Slowly.


(smiles)


If y’all don’t mind.


Katrina hands over her paperwork, trembling.



KATRINA

(smiles weakly)


Are you from Texas by any chance, sir?

My family and I lived there for awhile.



TROOPER

(coldly)


Well, now. Ain’t that nice.


Terrified and spellbound, Katrina jumps when she hears the sound of tires on the gravel shoulder behind them. The cop straightens up fast, much faster than Katrina would have believed possible for a man of his size, and snaps his head in that direction.


It is Mark’s jeep. Mark steps out.



TROOPER

(stern)


Get back in the vehicle, sir. Keep moving.


Mark throws up his hands, a dumb grin on his face.



Aw, c’mon, man! I’m just a concerned ³



TROOPER

(going for his gun)


I ain’t gonna tell you again, boy!


The Trooper is within arm’s reach. He moves to turn Mark bodily around. Mark somehow slips out of his grasp, taking the Trooper’s gun hand in his own. They scuffle.


Panicked, Katrina guns her engine and throws gravel as she speeds away from the scene. She is shaking, breathing fast. Then she hears gunshots and, after a moment, begins to sob.


CUT TO:

EXT. ALLEY


JOHN MERCHANT, a boy of 16, runs through the dripping dark, barely staying on his feet. From behind him comes the voice of his foster©father, JAMES MERCHANT.



(voice slurred)


John! Oh, John©boy! Come to Daddy! C’mere, ya little narc!


The sound of a trash can falling over follows the man’s slurred shout.


John, having instinctively paused, takes off running again.



John! *You get your ass back here, you little fuck!*


John’s foot catches the edge of something; he falls. His foster©father’s footsteps are coming up fast. Panicked, he gets up; but it’s too late to try running ³ it’s time to hide. John’s lip curls in contempt at the idea, but he has no choice.


CUT TO:

James Merchant running into small courtyard where John is hiding.



(infuriated)


*GOD DAMN YOU, YOU LITTLE SHIT! I’M GONNA KILL YOU!*


James reaches into a coat pocket, pulls out a straight razor. With a demented grin on his face, he begins to search the alley.



Where are you, boy?


(slashes at a cardboard box)


I know your lyin little ass is here!

I can *smell* you.


James comes within inches of John, and the boy’s nerve snaps. He pounces, a wild animal. They tangle and go down. When it’s all over, John staggers to his feet, bleeding but not seriously hurt. His foster©father is not so lucky.



(dying)


He’s coming, you little (cough) shit.

Coming ©
(coughs up blood) ³ coming for you...


John doesn’t wait to see who the dying junkie is talking about. Before the wail of sirens reaches the alley, he’s gone, off and running again.


We PULL IN on James Merchant’s eyes... eyes as black and bottomless ³ as terrifyingly inhuman ³ as the deepest pits of Hell. The corpse smiles, and we


FADE TO BLACK

FADE IN:

INT. ST. MARCUS REGIONAL MEDICAL CENTER


Doctors, nurses and orderlies rush down the hospital corridors, some wheeling gurneys with groggy patients, some jotting notes on clipboards.


We follow a nurse into Room 134, where we see BRANDON lying comatose on a bed, the monitor above his head chirping busily.


The nurse leans over him, making notes. Brandon is oblivious, dreaming.

We

CUT TO:

BRANDON’S DREAM


Brandon is sitting at a desk, blinded by an overhead floodlamp. Across from him sits a PALE MAN, his bottomless black eyes boring into the back of Brandon’s head.



PALE MAN


All right, Mr. Cole.
I want you to start from the beginning.

(takes a sip of coffee)

I want you to tell me again exactly what you saw.


BRANDON
(sighs)

I don’
t think so.


The pale man’
s face contorts in fury.



little
The pale man stands, knocking over his chair. He looms threateningly over Brandon.



PALE MAN


The telephone on the pale man’
s desk rings.


He stiffens, then looks down at it. His face is etched in shock and surprise.


The phone continues to ring. Reluctantly, the pale man picks it up. He listens for a moment. His face, impossibly, grows whiter.


He looks up at Brandon.



PALE MAN
(whispers)

It’
s for you.


Brandon takes the phone from the pale man.



BRANDON

Hello?


The dream shifts around Brandon, and we


CUT TO:


Brandon, now standing at a payphone in a cavernous cathedral.


Brandon barely notices; the voice at the other end of the phone has his complete attention. It is the voice of Legion.



LEGION

Brandon Cole.


BRANDON

Who are you?


LEGION

We are the messenger.
Would you hear the message?


Brandon looks up from the phone, looks around him. His eyes widen.



BRANDON


fuckin’
dream!

(beat)

Yeah, what the hell. Play me the message.




SHIFT TO:


Brandon, standing at the mouth of a forbidding cavern. He drops his empty hand to his side and looks into the darkness beyond a pair of guttering torches.


Legion flies out of the cave toward Brandon, golden eyes gleaming.


SHIFT TO:


INT. CAVERN


Brandon sits on the blanket on the floor of the cavern. Ash sits gazing placidly at him across a small fire.



ASH

Vidar.

(smiles grimly)

It’
s time. The Storm is here.


Brandon’
s face pales. He shakes his head.



BRANDON

What storm? What are you talking about?
Who are you?


ASH

You already know. Remember.


Ash reaches out over the fire, passes his hand over Brandon’
s eyes, and we


SHIFT TO:


a courtyard in Valhalla. Sunlight streams across the face of a boy barely out of infancy. Odin holds him wrapped in a thick blanket. Vena looks lovingly at her son, kisses the father. The baby looks up at the darkening sky, cries, and we


SHIFT TO:


lightning ripping through swiftly rolling storm clouds. The image darkens as we


SHIFT TO:


Brandon, Katrina and John walking down the white line of a highway at high noon, their faces set with determination, their eyes brightening, turning to gold as we

FADE TO:


Brandon, back in the cave. He looks up.



BRANDON

What do I do?


ASH

Find your sister and brother.

(holds up a finger at Brandon’
s questioning look)

Your heart will lead you to them.
You will take them to Times Square. There we will
meet again.


BRANDON

And him.


ASH

My brother, the Trickster.
He is called Exodus now.
If I cannot stop him...

(looks down)

It falls to you three.


Brandon listens intently... then smiles.



BRANDON

Well, this has been fun... daddy.
Say goodnight, Gracie, I’
m outta here.


Legion lands on Brandon’
s shoulder, caws loudly. Brandon turns to see the bird melt, stretch and take the shape of a tall man in priest’
s clothing.



LEGION

Pass not your hour.
Do as you are bidden;
find your soul and follow your road.


Brandon looks up at Legion, and his expression is grim. Sunlight begins to filter into the dream from the waking world, and Brandon disappears in it. Ash looks up from the fire, looks into Legion’
s carved
face.



ASH

(quietly)

Will the boy listen?


LEGION

We cannot say.


FADE TO SUNLIGHT

then

BLACKOUT


FADE IN:

KATRINA’
S BEDROOM


Katrina is in bed, twitching slightly as a dream seizes her.


SHIFT TO:


HIGHWAY 101


Katrina looks around at the empty highway, then sees a car overturned in the nearby field. She walks toward it, looking for signs of life.



KATRINA

(concerned)

Hello? Hello! Does anyone need help?


There is no answer. As she reaches the car, Katrina sees the blood that drenches the interior and turns away, trying not to gag.


After composing herself, she looks back, and sees the face of the driver staring back at her with empty eyes. His neck is twisted at an obscene angle.


Her face drains of color; she knows him somehow. She looks away out into the field.


She sees a cross, and a man upon it, nailed there with jagged shards of stained glass. Quicksilver flows from his pierced wrists, his ankles, a gash in his side. His golden eyes stare lifeless back at her. A crow, also golden©eyed, lights upon his broad black hat.



KATRINA

(mumbles)

F©father?

(shakes her head to clear it)

Wait...


She closes her eyes, tilts her head back; she looks as if she is being filled with something.


Suddenly, there is a voice from behind her.



BRANDON

Katrina.


She whirls in terror. The driver of the overturned car, whole and unharmed, his eyes gleaming, faces her.



KATRINA

You ³


BRANDON

Listen to me.


KATRINA

(holds up a hand)

I know... I
almost
know. Wait...

(beat)

Worldstorm.


BRANDON

(nods)

That’
s right.
I didn’
t believe it, not until just now.
But I think the old man was telling the truth.

(beat)

It’
s coming.

coming.
Union, Arizona. Go there.
And watch your ³


CUT TO:


KATRINA’
S BEDROOM


The sound of broken glass echoes. Instinctively, Katrina rolls away from the the empty frame where the sliding glass door was only seconds earlier.


A dark man©shape towers over her bed, something glints in the moonlight; Katrina picks up her alarm clock and hurls it at the silhouette.


Gunshots roar in the small space, chewing holes in the nightstand next to Katrina, shattering the lamp on the nightstand, thudding into the wall.


Shrapnel flies, and blood wells up on Katrina’
s arm, her chest, her face.


From down the hall, running footsteps, shouts and screams.


The man©shape steps back for a better aim. Moonlight drapes itself across his face ³ it’
s Mark. He levels the gun.


Behind him, the door flies open. Katrina’
s foster©father Travis charges into the room, a baseball bat in his hand. He takes a swing.


But Mark is supernaturally fast. He turns, steps into Travis Reilly, and fires a single shot.


The report of the gun is muffled, sickeningly dull. Reilly crumples to his knees and begins to cough and retch.


Mark turns back to Katrina, a twisted grin on his face.


In the darkness, he begins to whistle as he ejects the spent clip from the gun, reaches into his pocket, and inserts another.


Katrina stops trembling; a look of perfect calm smooths her face. Her eyes lose focus and drift shut. She begins to hum.


As her hum builds, the room fills with a soft violet radiance.


Mark stops whistling; his eyes shift left to right, right to left. His jaw goes slack.


The hum builds finally to a scream. The deep radiance that fills the room focusses into a point of light that bores into Mark’
s skull.


Mark begins to tremble as Katrina’
s scream continues to build. Blood begins to flow from his ears and eyes. He shakes violently, then lifts completely off the floor.


Bones crack as Mark’
s shaking increases further still. Finally, Katrina’
s scream dies ³ and Mark’
s lifeless body collapses to the floor.


Katrina shakes her head, her eyes clenched shut. When she opens her eyes, tears run down her cheeks. She goes to her foster©father.


Hoping that whatever power helped her stop Mark is still with her, she puts her hand against Reilly’
s wound, and begins to sing softly.


Nothing happens. She closes her eyes, concentrates... and still nothing.


Sirens rise in the distance.


Katrina’
s foster©mother, Kelly, steps through the doorway, sees her husband, fallen and dying, and collapses beside him in tears.


KELLY

(glares at Katrina)

Get out.

(screams)


CUT TO:


REILLY HOUSE


Katrina’
s Nissan Sentra backs out of the driveway, fast.


CUT TO:


SENTRA


Katrina stares out into the darkness.



KATRINA

(to herself)

Union, Arizona...



FADE TO BLACK


FADE IN:

INT. GREYHOUND #1742, EASTBOUND

John Merchant slumps in Seat 42©A. He stopped noticing the growl of the engine four hours ago.

He yawns, stares wearily out the window they roll east through the night, through a darkness that seems, unending, unstoppable.

John’
s eyes drift shut; his chin drops, and he dreams.



CUT TO:



EXT. THE CITY

John is running ³ again, a voice runs faster, catches his ear. Again, it is the voice of James Merchant.



JAMES
(slurred)

Get’
cha boy! I’
m gonna ³


John turns a corner, and Merchant is there. A spectre of rags and ruin, James Merchant is more moving meat than man. His face hangs in folds and flaps. A lipless grin stretches the ghoul’
s tortured face.


JAMES
(continuing)

³get’
John is caught in the inhuman grip of the twisted thing; he struggles, but there’
s no breaking away from those icy fingers. Then there is another voice; soft, soothing, she calls ³



VOICE (O.S.)

John. Let go, John.



John laughs, but there is only terror in the sound.



t let go of
VOICE (O.S.)

Let go of that thing, John.
Let go of your guilt, and come home to us.


John glares at the animated carcass that grips him, looks into its empty eyes...



JOHN

You’
re not my fault.
(snarls)

fault!
John shoves the rotting thing away; it hits the wall behind it and shatters in a cloud of fine white dust.

The dust hangs in the air... and begins to move. Lazily at first, it swirls in an unseen vortex.

Before John can back away, the dust envelops him in a small but powerful cyclone. He shields his face against it.

When he opens his eyes, he is standing at the side of a highway. A crescent moon leers down at him with a demoniac Cheshire©cat grin.

The road. And beyond the road a tree rises, stretches toward a sky moving much too fast, clouds racing from dawn’
s cradle to dusk’
s grave.

The tree cradles a woman; she stretches an arm toward him, beckoning. Her limbs are ice©pale, long and supple like the limbs of the tree that seems almost to cradle her like a child.

Then he stops, looks up at the tree, at the leaves: they’
re glowing, mild hues radiating from them... and each of them is singing; some in anger, some in joy, fear, love, compassion. The leaves form a chorus of worlds.



JOHN
(after a beat, still barely there)

What is this place? Who are you?


He looks down at the woman sitting serenely against the tree.

Her face, beneath a cascade of ruby curls, is carved of ivory ³ her golden eyes are shining, her pale, perfect lips curve in a playful smile.



WOMAN

This is Everywhere.
(beat)
And I am Not Yet.

JOHN

Hey ³


s gone. John turns, disappointed, when she grabs his head from behind. Her eyes are blazing with white light.



WOMAN

Look!

(a leaf falls from the tree)

Watch a world die...

(the leaf touches the ground, fades to ashes; screams echo)



s face pales. He shakes his head, barely able to comprehend, much less cope.



JOHN
(choking out the words)

Was that ³


WOMAN

Your world?

(shakes her head)

No. A world, yes. But not yours. Not yet.

(turns him, looks into his eyes.)

There isn’
t much time... look!


She reaches out to the tree. Her nails, sharp and silver, dig into the bark; her fingers tense, rip the bark aside.

Beneath the bark of the tree, a sort of black jelly writhes is horrible rhythms. Through this mad ooze squirm small, multi©limbed insects, clicking horribly to themselves in some accursed language of decay.

WOMAN

The disease is spreading. The Core is growing sick.


John reaches out, his expression one of curiosity mingling with disgust. The woman makes no move to stop him, simply smiles enigmatically.

He reaches into the wound in the ancient tree... and is caught. The darkness flowing within the wound draws itself around his finger; rippling, flowing, it moves over him.



JOHN
(panicking)


What is this?
WOMAN

Sshhh.
(her eyes explode with white light)
(whispers)
Watch.



CUT TO:


VALHALLA

and John is looking up into the faces of the Old Man and his wife as they hold him out to the Guardian of the Gate. The Guardian smiles down at the boy from beneath his ram’
s©horned helmet, and the but we


CUT TO:


TIMES SQUARE

and he is falling, plummeting at unbelievable speed past glass, smooth steel, a ledge, his gut is crawling into his throat, the speed is too much,


CUT TO:

A CITY AT DAWN

The streets are rubble. The rubble is crawling with half©human atrocities, and John is crawling with them. All around him they writhe, spasming in time to weird flutes, wild rhythms; in a shard of glass he sees himself in sickened sunlight and screams.


CUT TO:


Darkness. He pulls away from the tree, turns ³

And sees the face that stared at him from the shard of glass on that plain of madness. The thing before him speaks:


ZOMBIE
JOHN

In the House of the Scorpion.
In the House of the Wolf.
There find your Union.
There find you...


It grins, reaches for him ³ he screams and ³


CUT TO:


slams forward in his seat, disoriented, bathed in cold sweat. In the darkness around him there are voices ³ the other passengers of Bus #1742.



PASSENGER

Hey, you okay, kid?


JOHN

Nightmare.



After a moment, the passenger, a young man whose face is shrouded in shadow, takes a shot at conversation.



PASSENGER

So where you headed, kid?


JOHN
(doesn’
t bother to look at the guy)

The House of the Scorpion.


PASSENGER
(indifferent)

Yeah... whatever.

John shivers, stares out his window at the grinning moon, and feels his stomach turn at the sight of the cold grey hills glowing beneath its smile.

FADE TO BLACK

then

LIGHTNING CUT TO:


INT. LONGHALL CITY CHAMBERS

The city chambers of the village of Longhall are dusty, used to ease. There is no ease here today. Inside, a group of people stand at attention.

Among them stands a tall, black©haired woman, her obviously impressive figure veiled in a long black dress. Stern, beautiful, she holds sway over a small crowd. Her name is Lilith.



LILITH

Then it’
s agreed. I alone will speak to him.
If it’
s him
A man from the crowd interrupts ³



MAN

Of
course
s him!


Lilith turns a gaze on him that sends him stumbling out of the room. She turns back to the others.



LILITH

(CONT.)


s him, me follow the plan.
I’
m not going to fool you; even
(hefts a sword)

may not stop him.
But it
slow him enough for the Father to pass the gate.
And maybe that’
s all we have to do.

(grabs a sword)

Let’
CUT TO:


EXT. LONGHALL MAIN STREET

ASH’
S P.O.V.

Legion glides ahead, drops to a fencepost, then hops from one to the other alongside Ash’
s motorcycle.

C.U. on Ash’
s face as he spots

TIRE TRACKS

etched into the hardpack road by something very large, very heave ³ they look like semi tracks.



LEGION

Father ³


ASH

I see them.


LEGION

He’
s been here, and he’
s had his say.
Beware.

CUT TO:


EXT. THE HANGED WOMAN

Longhall’
s only tavern.
Ash pulls into the dusty parking lot, rolls to a stop.
Legion caws as Ash opens the door, steps inside.

INT. THE HANGED WOMAN

Dust and the smoke of half a dozen hand©rolled cigarettes ignore a dilapidated ceiling fan. Beneath its dead blades, men shout, laugh, drink.

Legion perches in the center of a table at which four men play cards, pretending they haven’
t stacked their hands.

Ash steps up to the bar. The bartender, a sour blonde in her early fifties, stops and stares. Her hands begin to tremble.



BARTENDER

What’
ll you drink?


Ash appraises her for a moment, reading the fear and contempt in her eyes. It is a moment too long for her comfort.



BARTENDER

I have more customers than one.


Ash doesn’
t reply immediately.



BARTENDER

(CONT.)

Suit yourself.
Ask nothing, receive nothing, as my mother used to ³


ASH

(interrupts)

Your mother isn’
t here.
I’
ll have mead.

(low and dangerous)

Without any sass, if you can manage it.


The bartender pours him a huge mug of the foaming stuff, takes the coin he holds out to her.

C.U. COIN ³ engraved with a Hammer, the sigil of the Aesir.

The bartender barely suppresses a gasp, then looks away quickly, embarrassed, drops the coin in her apron.

She looks back at Ash, suspicious.



BARTENDER

We’
ll have no more need of talk.


ASH

Oh, we’
plenty
of need for that.
My brother ³


BARTENDER

(smirks)

Your brother isn’
t here.


ASH

He’
s been here.
I can see his lies written on your face.



A PATRON and his friends rise from their seats.
Legion caws a warning.



ASH

(doesn’
t even look at them)

Gentlemen, I advise you to take your seats.


PATRON #1

And just who the hell do you think you are,
coming in here ³


Ash turns. The man sees his face for the first time, the golden eyes of a god, the fate written there. The patron’
s eyes widen, his face pales. He passes out, and his friends barely have time to catch his unconscious body before it hits the wood©plank floor.



ASH

(turns back to bartender)

As I was saying.
My brother?


BARTENDER

(terrified)

He was here.
He warned us about you.


ASH

(to himself)

Of course he did.

(to the bartender)

Did he have a sword with him?


Before the bartender can answer, there is a shout from outside. It is Lilith.



LILITH

(o.s.)

Trickster!


Ash finishes his mead, closes his eyes for a moment, then gets up.


CUT TO:


EXT. THE HANGED WOMAN

Lilith and her followers stand waiting. They are anxious, a little afraid. All but Lilith.

She carries in her hand a SWORD. Thin sheets of electricity dance on the blade. A weapon that could kill even a god.


CUT TO:


LILITH
S P.O.V.

as Ash steps out of the tavern. Hands at his sides. Stone©faced.



LILITH

Tell your name, and speak true.


ASH

(Stares her down coldly)

I am the Undead.
I am the Phoenix.
I am the Father.


Lilith raises the sword and points it at Ash.


LILITH

Ye be but a mirror image, and backwards.


ASH

You wear the veil of a witch,
but your eyes are dust.

LILITH

Be you the father, this will have no power over you.


Lilith rushes at Ash with the sword. A caw, wings beating against air as Legion jets in front of the blade.

The blade pierces it to the hilt. It sinks its talons into her flesh.


Legion

(whispers, dying)

One begets a turning,
Split flesh hides twin soul.
Two spirits set churning,
and both become one whole.



A stream of quicksilver blood rolls down the blade to pool on Lilith’
s hand. Her eyes widen and she collapses.


LILITH

Father, forgive me.


Legion
s blood mixes with Lilith’
s. Lilith and Legion melt and merge, become a silver©eyed, silver©haired woman. She stands.



ASH

You had the will to fight a God.
Legion has the wisdom to guide.

(steps over to her)

Together, you walk as one,
and I shall call you Lilith.
But know you this:
it is title and curse as well as name.


LILITH

(duo©voce)

Your brother
been here, Father.
We lose time.


Ash climbs astride his motorcycle; Lilith climbs on behind him.

Ash and Lilith leave Longhall behind, Legion’
s sourceless shadow gliding the dust behind them.



CUT TO:


EXT. MAIN STREET


E.C.U. Brandon’
s eyes, PULL BACK to reveal that he is driving. We continue to pull back until we see that he is driving a classic car, a black 1969 Ford Mustang Mach I. The car is in the last stages of a complete restoration, cherry except for the unfinished coat of black primer.


Brandon’
s mind begins to drift with the passing mileposts, and he remembers his father’
s words:



SCOTT COLE (V.O.)

You want to
CUT TO


EXT. ST. MARCUS REGIONAL MEDICAL CENTER

Brandon is standing in the parking lot with his foster©father, Scott Cole. Brandon’
s stance is determined, nearly combative. The senior Cole is more confused than angry.



BRANDON

I need the car, dad.
There’
s something I have to do.


SCOTT COLE

I see your sense of humor has fully recovered.

(crosses his arms)

But
haven
t.
You
re not going anywhere except back in there.


BRANDON


funny.
Dad, we’
re running out of time.

(straightens his shoulders)

This has to be done, and I’
ll
do it with or without you.

(softens his tone)


But I want it to matter to you.


SCOTT COLE

(sighs)

It does, son.
Whatever it is, if it’
s important to you,
then you know it’
s important to us.

(smiles)

But I wish you’
d at least tell me what
the hell
is.


BRANDON

I can’
t do that yet.
You wouldn’
t believe it.


COLE

(shrugs)

No, I don’
t guess I would.

(takes a set of keys out of his pocket)

You so much as scratch the paint, I’
ll
kick your ass.


BRANDON

(looks over at the Mach I)

Dad... there isn’
t any paint on it.


SCOTT COLE

(shrugs)

On general principle, then.

(hugs Brandon)

Go on.
Whatever the hell it is you’
re
doing, get it done and come home.
Don’
t make your mother worry.



CUT TO



CITY LIGHTS


CUT TO


EXT

The Mach I pulls into the parking lot.


CUT TO


INT

Brandon paying for room


CUT TO


INT

C.U. PILLOW

as Brandon’
s face falls into frame. He closes his eyes, grunts.

He gropes for the switch on the lamp beside the bed, finds it, and we


BLACKOUT

and

SNAP CUT TO


INT. ST. MARCUS REGIONAL MEDICAL CENTER

Brandon is out of his bed. Disoriented, staggering.



BRANDON

Where am I?

am I?
Father!

Father!
(lunges toward the door)

Union ³

An orderly comes through the door.



ORDERLY

What’
Brandon crashes into her. She shrieks as they go down in a tangle of arms and legs.
Without a word, Brandon is up and moving. She shouts after him.



ORDERLY

Hey!
(to herself)

Where the hell does he think
going?



Brandon runs through an intersection in the corridor, grabbing the inside of a doorframe to swing through the corner at full speed like a stone in a sling.
A tall, pale orderly is walking serenely toward him.
There’
s no way to slow down in time. Brandon crashes at full speed into the tall, pale man.
Brandon is knocked to the ground.
The other man simply looks down, smoothing his scrubs.

It is Exodus.



EXODUS

Where do you think you’
re going?

(steps closer to Brandon, who ³ terrified ³ begins to crabwalk backward)

There’
s nowhere to run, son.

(hunkers down, eye level with Brandon)

Where do you think you’
re going?



CUT TO


C.U. BRANDON’
S EYES

as they snap open.

PULL BACK

to reveal a sheen of sweat on his face.



BRANDON

(answering Exodus’
s question)

The fuck away from you, that’
s where.



CUT TO



SHORELINE


CUT TO


EXT 22nd STREET

KATRINA’
S CIVIC pulls up in front. Katrina steps out, a look of longing on her face as she stares up at the massive towers and spires of the cathedral.

C.U. of her face, doubtful and nervous, as she takes the immense flight of steps to the door two at a time.
Everything about the place is gigantic.
Katrina reaches the huge oak double©doors, lifts the heavy brass knocker, knocks.
The sound ECHOES.


CUT TO


KATRINA’
S P.O.V.

as a bald priest in full clerical accoutrements pulls open the door with graceful ease.



PRIEST

Hello, my child.
What can I do for you?


KATRINA

I have... I have questions.

(her hand goes to her temple, massaging it)


PRIEST

(flashes a sickening smile)

Come inside. Please.



CUT TO


BRANDON ³ BEHIND THE WHEEL



BRANDON

(distant, to himself)

Don’
t.

(shakes his head)

What?


CUT TO


KATRINA

as she steps into the church. The priest closes the door behind her, and the sound of that heavy oak door thudding shut is like the sound of a lowered coffin lid.


CUT TO


INT

It is the cathedral from Brandon’s dream.
Katrina is awestruck by the sheer immensity of it, by the stained©glass windows, by the mural on the ceiling, by the age and workmanship of the furnishings, the persian rugs ³
she catches herself rubbernecking and clears her throat in embarrassment.



PRIEST

(saccharin voice)

It’s all right, my child.
Look all you like.


KATRINA

Father ³


PRIEST

(holds up an unnaturally long©fingered hand)

You have questions.


He flashes that smile again, and we notice that his teeth look faintly pointed, as if they had been filed.



PRIEST

(CONT’
D.)

Let
s see if I can answer them for you.

(gestures to a high©backed wooden chair)

Please. Sit down.


An uneasy look crosses Katrina’
s face as she looks into the priest’
s dead eyes.
She shuffles her feet.



KATRINA

Um... I’
m fine, actually.


A dark look crosses the priest’
s face.
Katrina wraps her arms around herself, suddenly cold.



PRIEST

(smiles)

Please, child.
I insist.



Suddenly very nervous, Katrina hesitantly takes the chair.
The priest sits facing her.



PRIEST

Now then, your question.


He holds up his hand for silence again, and this time Katrina notices the unnaturally long fingers, and something else

C.U. of the priest’
s PALM

it is unlined, utterly smooth.


CUT TO


KATRINA’
S REACTION


CUT TO


KATRINA’
S P.O.V. as the



PRIEST

(continues)

Let me guess.
You’
ve recently had an...
unusual
experience,
and now you seek guidance.
Why don’
t you tell me about it, child?


CUT TO


EXT

as the Mach I pulls up behind Katrina’
s Civic.


CUT TO


Brandon, behind the wheel, staring at the Civic, then up at the doors of the cathedral.


CUT TO


INT

as Katrina and the priest sit in the rainbows cast by sunlight through stained glass.

KATRINA

It, uh...

(her face closes up)

It was nothing, Father.
I’
d better go.


PRIEST

(nods, his expression dead)

Very well, my child.


Katrina almost leaps from the chair in relief.
She walks to the door, a bit too fast.
From behind her, the priest calls out.



PRIEST

A moment, child.


Katrina stops, not turning around.



PRIEST

(CONT’
D.)

Your father is dead.


KATRINA

(begins to shake)

You lie.


PRIEST

(shouts)


Blasphemy!
(leaps from his chair, knocking it over)

I speak the word of
He stalks toward Katrina.
She turns, sees the inhuman gleam in his eye, and shrinks away.
He grips her shoulders with his talon©like hands, and she screams.
The priest winces at the sound, but does not let go.


PRIEST

(hisses)

He’
s meat for the reaper,
and there is
nothing
³

(shakes her)

³
NOTHING
³

(shakes her again)

you can do to stop it!


CUT TO


THE DOOR

as it slams open.
Brandon stands there, arms at his sides, his eyes burning.
In his right hand is a massive revolver.



BRANDON

Am I interrupting something?


KATRINA

(shaky)

Yes, interrupt. God,
please
interrupt!


PRIEST

(turns to face Brandon)

This doesn’
t concern you, boy.


The priest starts to move on Brandon.



BRANDON

Au contrair ³

(shoots the priest once in the shoulder)

I’
m very concerned.


The priest crumples to the marble floor, clutching his shoulder, howling.


BRANDON

(walks by priest)

Okay, that’
s enough.

(to Katrina)

Come on.

(follows her out the door)

You okay?


They descend the stairs.



KATRINA

You’
re late.


They reach the Mach I.



BRANDON

Yeah, traffic was a bitch.

(opens the passenger side door for her)

Get in.


KATRINA

(looks back at her Civic)

What about ³


BRANDON

Forget it, there’
s no time.
Gunshots at churches make people curious.

(starts the car, pulls into the street)

You feel like answering questions?


The Mach I leaves Our Lady Of Sorrows behind.
Katrina sneaks doubtful glances at Brandon as we


FADE OUT

then

CUT TO


INT

JOHN is staring at the seat©back in front of him. Boredom is practically dripping from his posture, but his eyes are alert, fiery.
The P.A. system clicks on.



DRIVER

Flagstaff, this is Flagstaff, Arizona.
Connections south to Phoenix, Tucson, Nogales and Tombstone.
East to...


The driver’
s voice becomes a drone.
One of the passengers stands up and pulls something small and round from his jacket.
It’
s a grenade.

C.U. on John’
s reaction.


PASSENGER

All right, nobody do nothin’
stupid.


JOHN

(raises voice)

Like we’
re gonna top you.



The passenger’
s face goes pale as he steps up to John’
s seat.



PASSENGER

Are you talking to me, kid?


JOHN

(snorts derisively)

No, I’
m talking to the dipshit on your shoulder.


John casually reaches into his pocket and takes out a pack of cigarettes. He lights one up and looks up at the man, blows a cloud of smoke at him.



PASENGER

Hey, kid, you shouldn’
t smoke those. They’
ll ³


JOHN

(laughs)

Kill me?

(sober)

Fuck off.


PASSENGER

(indignant)

What?!


JOHN

(points at him)

You heard me, asshole.


The woman behind John, cradling a baby, is terrified.


WOMAN

(hisses)

Shut up, you little prick! He’
s got a
John ignores her.



JOHN

(continues)

Start wavin’
that
around, then tell me
a cigarette’
s gonna kill me.

(gives an innocent look)

Are you sober?
How
How fucking
uncouth!
The man’
s face turns devious for a moment, then apologetic.



PASSENGER

(contrite)

You’
re... aw, hell, kid ³ you’
re right.

(holds out grenade to John)

I’
m sorry.


CUT TO:


C.U. of the man’
s hand as John’
s hand reaches into the picture, grasps the grenade, pulls it away.

We hear a faint CLICK and


CUT TO:


E.C.U. of the man’
s fingers as the grenade is pulled away. The pin is dangling from them.



PASSENGER

(smiles)

There you go, kid.



John stares dumbfounded at the grenade in his hand, stares up at the stranger holding the pin.


The stranger looks down at the pin, casually tosses it over his shoulder. It disappears, making a faint, ominous
click...
as it bounces away under the seats.

PASSENGER
(cont’
d.)

Your show now.


CUT TO:


INT. MACH I:


Brandon squints at the Greyhound ahead of them. He turns to Katrina.



BRANDON

You feel that?


Katrina nods.



BRANDON

Yeah.


CUT TO:


EXT. MACH I:


as it pulls into the passing lane beside the Greyhound.


Katrina shades her eyes against the sun to scan the passengers of the bus. She points at John.



KATRINA

That’s him.


Brandon slips glances past Katrina at the bus.



BRANDON

Which one? Where?


KATRINA

The dark-haired kid in the leather jacket --


Katrina looks back at the road ³ the Mach I is drifting toward the shoulder.



KATRINA

(cont’d)

Watch the road!


Brandon pulls the Mach I back into the passing lane, pulls ahead of the bus.



KATRINA

(smirks)

What’re you gonna do, hero?
Stop a ten ton bus with a
pint of testosterone and a sly grin?

BRANDON

(blows air between his teeth)

Now I remember why I’m single.

(sets his jaw, tensed for trouble)

Grab your ass, you may be kissin’
it
goodbye here shortly.


The Mach I pulls ahead of the bus.


CUT TO:


INT. GREYHOUND


Pandemonium.


The driver is trying to be heard over the shouts. The P.A. system isn’t loud enough.



DRIVER

(over his shoulder)

Will you all

SHUT THE FUCK UP!
The driver turns back to see the Mach I flash its brake lights.



DRIVER


The Greyhound lurches as the brakes engage.


CUT TO:


John, frantic, slamming against the seat in front of him, clutching the grenade with both hands.


CUT TO:


EXT. SHOT


of Mach I and Greyhound blasting past frame.


CUT TO:


INT. MACH I


Brandon has his eyes glued to the road. Katrina is half©turned in her seat, her eyes wide.



BRANDON

They’re slowing down, right?


Katrina is speechless, watching the massive vehicle looming larger and larger in the rear windshield with what looks like clinical detachment.



BRANDON


Right?


KATRINA

(blinks)

Hmm?


END