Scene
1 -
The Pollination Process: A Lesson in Urgency
BUGONIA
by
Will Tracy
Based on "Save the Green Planet!" by
Jang Joon-hwan
DRAFT EIGHT - PINK SHOOTING SCRIPT: 12th August 2024
0 OVER BLACK:
TEDDY (V.O.)
It all starts with something...
magnificent.
1 EXT. FIELD. EARLY MORNING
An apple blossom flower, dappled with sunlight.
TEDDY (V.O.)
A flower. Just a flower.
A honeybee lands on the flower and we watch the process of
pollination.
TEDDY (V.O.)
Then, a honeybee. Very fragile,
very complicated. The bee gathers
pollen and deposits it in another
flower’s stigma.
The bee takes flight and travels across the field...
TEDDY (V.O.)
It’s like sex. But cleaner. Nobody
gets hurt.
Until it reaches a painted wooden BEEHIVE... where TEDDY GATZ
(early 30s, in full apiarist’s garb) attends to the colony.
TEDDY
A third of our food is pollinated
this way. Do you understand the
scope of that? That’s how vital the
bees are, Don. And they’re dying.
Another YOUNG MAN in apiarist garb watches. This is Teddy’s
cousin DON.
DON
But why?
Teddy smiles and nods patiently. He’s had to re-explain this
a few times now.
TEDDY
It’s like we talked about, cuz.
Remember? CCD. It’s like a
pandemic.
A SERIES OF IMAGES: Inside the hive. The worker bees flee,
and the queen is left alone with her young.
TEDDY (V.O.)
The workers desert the queen until
she’s all alone with her young. And
the colony wastes away...
BACK ON DON.
DON
But why do they leave her?
1A EXT. FIELD - MORNING
Teddy and Don walk towards the house as they are removing
their apiarists helmets.
Genres:
["Drama","Sci-Fi"]
Ratings
Scene
2 -
Buzzing Confusion
2 EXT. TEDDY’S HOUSE - PORCH. DAY
Teddy and Don place their apiarists’ helmets and jumpers on
the porch of Teddy’s pretty run-down ranch-style house.
TEDDY
People claim it’s pesticides. Or
habitat loss. Or some people think
world governments and their agro-
corporate overlords bio-engineered
CCD to manipulate food supplies.
Don isn’t following this at all. But Teddy smiles knowingly.
TEDDY
Yeah. Exactly. As if a feckless,
dying plutocracy could organize a
fucking, GoFundMe let alone a
global pricing conspiracy.
But Don’s still not getting it.
3 INT. TEDDY’S HOUSE - LAUNDRY ROOM. DAY
Teddy pulls clean towels from the dryer. We hear his VOICE.
TEDDY (V.O.)
But I kept thinking on it. I knew
there had to be a larger organizing
principle at work. Something that
goes way beyond the bees...
4 INT. TEDDY’S HOUSE - LIVING ROOM. DAY
Teddy and Don spread bath towels on the floor of Teddy’s
sparsely furnished living room.
TEDDY (V.O.)
... and so I studied. I observed. I
searched in the ground, and in the
stars. Until I found it.
Genres:
["Drama","Mystery"]
Ratings
Scene
3 -
Morning Reflections
5 INT. MICHELLE'S MANSION - BEDROOM. EARLY MORNING
CLOSE ON MICHELLE FULLER (late 30s). Michelle’s eyes open
right before her alarm goes off.
TEDDY (V.O.)
It was there all along. Caging us.
Poisoning us. Choking us out.
Michelle gets up. Her bedroom is modern, monied, beautiful,
if a little cold. A bit like her.
5A INT. MICHELLE’S MANSION - BATHROOM. EARLY MORNING
Michelle finishes brushing her teeth and looks at herself in
the mirror for a few seconds.
5B INT. MICHELLE'S MANSION - BEDROOM. EARLY MORNING
Michelle catching up with emails on her phone, while wearing
an anti-aging red-light therapy mask on her face.
TEDDY (V.O.)
And we wonder why every civil
innovation feeds back to nothing.
Why politics have no correlation
with the public interest...
5C EXT. MICHELLE'S MANSION - GARDEN. MORNING
Michelle, in workout clothes, does ‘mindful stretching’ on a
large yoga mat while meditating.
TEDDY (V.O.)
Because we are not steering the
ship, Don. They are. And now it’s
up to you and me to stop them.
Genres:
["Drama","Thriller"]
Ratings
Scene
4 -
Preparation and Tension
6 INT. TEDDY'S HOUSE - LIVING ROOM. DAY
Teddy and Don sit on bath towels on the floor, stretching.
TEDDY
The training’s for a reason, Don.
It’s going to try and dominate us.
But we can’t let it.
Don looks scared.
DON
You mean, she would try to hurt us?
7 INT. MICHELLE'S MANSION - GARDEN. MORNING
Michelle does Krav Maga with a TRAINER.
Michelle is strong, confident, intense. She seems to be
working off something. Almost like she’s fighting herself.
TEDDY (V.O.)
Yes, Don. It’s highly dangerous.
So we have to prepare our brains...
8 INT. TEDDY’S HOUSE - LIVING ROOM. DAY
Teddy and Don do sit-ups and pushups.
TEDDY (V.O.)
... and our bodies.
As Don tries to keep up, Teddy encourages him.
TEDDY
C’mon, bud - you can crush this -
you can do it...
8A INT. MICHELLE’S MANSION - GYM. MORNING
Michelle runs on a treadmill while wearing a mask connected
to a clear plastic hose that measures her VO2 max levels.
TEDDY
It won’t play fair. So we have to
be better. And don’t forget --
8B INT. MICHELLE'S MANSION - POOL. MORNING
Michelle dives into the pool, starts swimming.
Genres:
["Drama","Thriller"]
Ratings
Scene
5 -
Caution and Camaraderie
9 EXT. WOODS. MORNING
Teddy and Don run in the woods. Don lags behind, breathless.
Teddy points up. Don looks up, expecting to see something.
TEDDY
They track it remotely. And they’ll
try to track us too.
Don looks troubled by this thought.
10 INT. MICHELLE'S MANSION - KITCHEN. EARLY MORNING
Michelle opens a drawer full of labelled metal canisters. She
pulls out today’s canister. Inside is a ludicrous amount of
pills: ashwaganda, vitamins, heme iron, rapamycin, God knows
what else. She blends a powdered smoothie made of collagen,
aminos, and creatine and washes down handfuls of the pills.
TEDDY (V.O.)
It’ll weevil into your brain box
every chance it gets. Fortify that
shit.
DON (V.O.)
Okay? I mean, I’ll try.
11 INT. TEDDY'S HOUSE - KITCHEN. DAY
Teddy’s shitty kitchen. Teddy and Don eat a mush of honey,
squeezable yogurt, and Cap’n Crunch stirred together.
TEDDY
Hear that, though? In your voice?
How they’ve fucked your confidence?
DON
Yeah. I’m sorry, cuz.
But Teddy places a reassuring hand on his cousin’s shoulder.
TEDDY
No, don’t you ever apologize. Ever.
None of this is your fault, Donny.
Genres:
["Drama","Thriller"]
Ratings
Scene
6 -
The Illusion of Control
12 INT. MICHELLE'S MANSION - DRIVEWAY. MORNING
Michelle gets into an electric luxury Car waiting in her
driveway.
TEDDY (V.O.)
They want you to think it’s you.
That it’s you who made this world.
But it’s always been them, cuz.
13 EXT. STRIP MALL - PARKING LOT. DAY
Teddy and Don stand near their bicycles. Don eyes the people
walking around pushing carts carrying bags of groceries.
DON
But how can you tell them apart?
TEDDY
You have to know where to look. But
there are signs.
DON
So what about these people?
TEDDY
No, no, they’re fine. I mean, not
‘fine,’ but - hollowed. Like the
rest of us. Harmless. Hopeless.
Genres:
["Drama","Thriller"]
Ratings
Scene
7 -
The Commute
14 INT. MICHELLE'S CAR. MORNING
Michelle drives to work.
TEDDY (V.O.)
And that’s the way they planned it.
To make us the same as the bees.
14A EXT. AFFLUENT SUBURBS. DAY
Michelle is driving through an affluent suburban
neighborhood.
15 EXT. SUBURBAN STREET. MORNING
Michelle’s car travels through a depressing suburban sprawl.
TEDDY (V.O.)
A dead colony. Broken. Atomized in
a trillion directions...
15A EXT. HIGHWAY. MORNING.
Michelle’s car in the background the city skyline.
16 EXT. AUXOLITH BIOMEDICAL HEADQUARTERS. DAY
Michelle drives up to the front entrance and hands her keys
to Tony, a Corporate Valet.
TEDDY (V.O.)
... with no way home again.
16A INT/EXT. AUXOLITH BIOMEDICAL HEADQUARTERS. DAY
Michelle enters the lobby, takes the elevator and walks
across the mezzanine.
Genres:
["Drama","Thriller"]
Ratings
Scene
8 -
Conspiracy Unveiled
17 INT. PHARMACY. DAY
Teddy and Don browse the allergy aisle. Teddy scoops dozens
of ANTIHISTAMINE SPRAYS into his basket.
TEDDY
Grab some of the cream shit too.
DON
What’s the cream do?
TEDDY
Same. Mitigation.
17A EXT. STRIP MALL. DAY
Teddy and Don walk between the Pharmacy and a Toy Store with
their goods.
18 INT. AUXOLITH - GLASS CONFERENCE ROOM. MORNING
A MAKEUP ARTIST smears a cream foundation on Michelle’s face.
A VIDEO CREW sets up lights and cameras and sound for taping.
TEDDY (V.O.)
This is what they’ve done to us,
Donny. This is their plan. And I’ve
proved it.
Genres:
["Drama","Thriller"]
Ratings
Scene
9 -
The Covert Mission
19 INT. TOY STORE. DAY
The costume section of a garish, fluorescent-lit toy store.
Teddy grabs two plastic HALLOWEEN MASKS.
DON (V.O.)
What if someone finds out what
we’re doing?
19A EXT. STRIP MALL. DAY
Teddy and Don walk between the Toy Store and a Hardware Store
with their goods.
20 INT. HARDWARE STORE. DAY
The boys load lengths of thick CABLE WIRE into a basket along
with metal CLASPS, SCREWS, and HINGES.
TEDDY (V.O.)
They won’t. No one on Earth gives a
single fuck about us.
20A EXT. STRIP MALL - PARKING LOT. DAY
Teddy and Don walk back to their bikes and put all the stuff
they bought in their backpacks. They ride off.
Genres:
["Thriller","Drama"]
Ratings
Scene
10 -
A Promise of Support
21 INT. KITCHEN. DAY
Teddy and Don eat frozen taquitos at a table.
TEDDY
And so until the day comes, we
clear the psychic cache, ok? No
distractions. No gaming. No vape.
No whacking it. No screens. Except
for research. You promise, Don?
Don nods. But he looks worried. This all sounds very intense.
TEDDY
I know it’s a lot. But I want you
with me on this, Don. I need you.
DON
I don’t know, cuz.
Teddy steadies Don’s shaking hands. They gaze at each other.
TEDDY
But I know. I know you’re actually
legit, Don. You’re smart and brave
and no one else sees it but me.
DON
You’re the smartest guy I know,
Teddy. But I don’t think I can do
it.
TEDDY
Hey? What’s wrong?
DON
I’m scared, Teddy.
TEDDY
Hey, come here, Donny.
Teddy cradles Don in his arms lovingly. He kisses his head.
TEDDY
I love you, cuzzy.
DON
I love you too, Teddy.
TEDDY
You’re my best friend in the world.
My only friend. I’m doing this to
save you most of all, bud. And I
won’t let anyone hurt you, okay?
Genres:
["Drama"]
Ratings
Scene
11 -
The Weight of Freedom
22 EXT. TEDDY’S BACKYARD. NIGHT
Teddy and Don sit on top of an old, dilapidated picnic table.
They’ve lit a few cheap tiki torches around the table.
Teddy holds up a syringe. Don’s eyes widen.
TEDDY
Medroxyprogesterone acetate.
DON
Uh-huh?
TEDDY
It’s a progestin-type hormonal med.
DON
Uh-huh?
TEDDY
Chemical castration.
DON
Okay?
TEDDY
In order to hit maximum focus we
have to clear our heads of all
psychic compulsions.
DON
Yeah. But how does it work exactly?
TEDDY
Hey. Trust me, I’ve done a shit ton
of research on this. The more of
that fuck filler we have jamming up
our neurons the bigger the
advantage it will have over us.
DON
But I’m not sure about this.
TEDDY
(cuts him off)
It’s important, Don.
DON
Okay. But I thought maybe I’d like
to be with someone. One day.
Teddy nods. Don’s pain saddens him.
TEDDY
Bud, I know this is a lot of new
shit, but believe me. I’ve figured
it out.
(MORE)
TEDDY (CONT’D)
The part of your brain that
distracts you - the part that makes
you sad? It’s all connected to the
biological imperative, these
synapses firing off on procreation
and seed spread and monogamy and
all these, fucking, pain traps -
like, it’s all neurons, dude,
you’ve got to harness them. Once
you kill the urges, like I have,
then you’ll be your own master. No
one can fuck with you. You’ll be
free.
Don nods. “Free” sounds good. Sounds hopeful.
TEDDY
So... You ready?
Don nods. Teddy pulls down Don’s pants and readies the shot.
TEDDY
Talk to me. It will distract you.
DON
Okay.
TEDDY
So, you excited to be free? What
does free feel like to you, cuzzy?
DON
I guess it feels like when we were
little. When everyone was still
here, before things got bad.
Teddy might jab Don with the shot before he’s finished his
thought. Don winces.
TEDDY
I know it’s been hard. But we’ll
get it back again, man. I promise.
Don nods.
DON
I’m sorry.
Teddy looks at Don. He starts to tear up. Then he laughs.
TEDDY
Hey, see how you got me going?
DON
I’m sorry. I don’t know what’s
wrong with me.
TEDDY
Nothing. Crying is good. Emotional
release is good. It means you’re
changing inside. It’s beautiful.
Is it? But Teddy is convinced. And there is something almost
magical and serene about his conviction.
TEDDY
All we’ve lost, all these years?
All of the shit that’s been done to
us? We’re setting that shit right
again. And no one can stop us.
Teddy gazes at the STARS with a look of crazed and glorious
hope. He’s no madman. He’s a believer. He wants to be a hero.
TEDDY
Not even ourselves.
TITLE:
BUGONIA
Genres:
["Drama","Thriller"]
Ratings
Scene
12 -
Diversity in Action: A Take Two
23 INT. AUXOLITH - GLASS CONFERENCE ROOM. DAY
MICHELLE FULLER speaks INTO CAMERA in a glossy PRODUCT SHOT.
She is smiling, animated, magnetic. The embodiment of the
modern American CEO: A progressive face with a ruthless soul.
MICHELLE
I believe every company should
strive to form a diverse table. If
the people on your team are from
diverse backgrounds, they will lead
you to new and creative solutions
to problems rather than just
iterating. We need to find the next
generation of diverse engineers,
diverse biologists, diverse
doctors. Because it's not just
diverse employees, it's diverse
thinking. It’s about using our
corporate resources to empower
people with different skills and,
and identities to, to - holy
fucking FUCKER! Every time! What is
it?!?
We see a small FILM crew is set up around Michelle, as well
as CHRIS, a diversity training consultant. They look scared.
CHRIS
'Skills and identities to foster--'
MICHELLE
'--a new generation of Auxolith
talent.' Okay, let's reset.
(then)
It's too many ‘diverses’ I'm going
‘diverse, diverse, diverse’ over
and over like ‘buh-duh, buh-duh,
buh-duh,’ like a fucking metronome.
CHRIS
Well. It is diversity training?
MICHELLE
Yeah but it’s too many, Chris. Can
we please diversify the language?
CHRIS
No, sure.
MICHELLE
(teasing him now)
Maybe crack a thesaurus? Find some
diverse applicants for the word
‘diverse?’
CHRIS
Ha, yeah. Sure.
MICHELLE
Your lack of synonyms is triggering
me, Chris. We must topple your
adjectival patriarchy.
Chris laughs nervously as she takes him down about 20 pegs.
MICHELLE
Okay, good job all. Let’s go again.
Genres:
["Drama","Corporate","Comedy"]
Ratings
Scene
13 -
The Illusion of Balance
24 INT. MICHELLE’S OFFICE. DAY
Michelle’s office is tasteful, spare and expensive. An
ancient Ethiopian shotel sword hangs on the wall, as well as
a framed sign that reads: “Let’s kick impossible's ass."
We also see framed photos of Michelle with centrist U.S.
political/media figures like Nancy Pelosi and David Geffen.
Various magazines on a coffee table like Fortune and Time
with Michelle’s picture on the cover.
Michelle is getting ready to leave for the day while her
assistant COREY runs through her schedule.
COREY
Okay, so that’s it then. You just
have the investor call with Sara
and a VC with Wieden+Kennedy at 9
that you can do remote.
MICHELLE
Great. Thank you, Corey. Thank you
thank you. Now, so, the 5:30 thing?
Corey takes an anxious breath. She’s been waiting for this.
COREY
Uh huh
MICHELLE
(one dense stream)
Look. I know you sent the email
already. But I need you to let
everyone know they are free to
leave at 5:30 from now on, starting
today, okay, but do it in a way
that’s - you know? What we talked
about. We need to send the message
that we have a new culture here now
where people should, yes, of course
feel free to go home at 5:30 and be
with their families. No one’s going
to be overworked like in the past,
no more unpleasant incidents, but
of course it’s not compulsory, and
obviously if people still have work
to do they should absolutely stay
and continue to work. But it’s not
strictly enforced - although we do
still want to meet quotas, so if we
can do it with no pressure, just
remembering, you know, we are
running a business here, so, let
your conscience guide you kind of
thing, yeah? Good?
Corey nods and smiles. She knows no one will leave at 5:30.
COREY
I’ll definitely let them know.
MICHELLE
Great. New era! Thank you, Corey.
Michelle exits. Corey breathes a sigh of relief.
25 EXT. AUXOLITH HEADQUARTERS - FRONT ENTRANCE. DAY
Michelle exits the elevator and a CORPORATE VALET is there
with the keys to Michelle’s Car.
MICHELLE
Thanks Tony. And feel free to leave
early. I mean, unless you’re busy,
but feel free if you can. Your
call.
It very much does not feel like his call. Tony nods.
TONY
Yes, ma’am.
26 EXT. AUXOLITH HEADQUARTERS - FRONT GATE. DAY
Michelle’s Car pulls out of the front gate.
26A EXT. AFFLUENT SUBURBS. DAY
Michelle is driving.
27 INT. MICHELLE’S CAR. DAY
LATER. Michelle drives through upscale suburbs. Gated houses.
She pops a pill bottle and downs a few TABLETS. We sense
perhaps a slight grip of dependency.
“Babylon Sisters” by Steely Dan plays on the stereo.
MICHELLE
(absentmindedly singing)
‘Drink kirschwasser from a shell /
San Francisco show and tell...’
Genres:
["Drama","Corporate","Character Study"]
Ratings
Scene
14 -
Ambush at the Mansion
28 EXT. MICHELLE’S MANSION - STREET LEVEL. DAY
A large, perfect-but-tacky mansion lies beyond a gated drive.
Michelle’s car pulls up. She hits the remote. The gate opens.
As the Car pulls into the drive, TWO CROUCHED FIGURES in
concealed clothing emerge from thick greenery near the gate
and follow, still crouching, right behind the car.
The gate closes behind them.
29 INT. MICHELLE’S CAR. DAY
We see Michelle HEAD ON as she pulls into the drive. In the
window behind her, we can see the two crouched figures OUT OF
FOCUS behind the car, peeling off to the side.
30 EXT. MICHELLE’S MANSION - FRONT DRIVE. DAY
Michelle gets out of her car and beeps the lock.
As she rounds the car, Teddy and Don emerge from the other
side. They are dressed in thick, sale-rack ski jackets and
pants. Halloween masks conceal their faces.
Teddy and Don jump Michelle, clumsily. She drops her keys.
MICHELLE
(struggling)
NO - fuck -!
Michelle throws Teddy off of her with surprising strength and
gives Don a Krav Maga elbow strike in the throat that sends
him to his knees, choking and gasping for breath.
Michelle makes a run for the door but realizes she is without
her keys. She runs around the side of the house, through
trees and shrubbery as Teddy gains on her.
MICHELLE
(shouting)
HELP! HELP ME!
But no one on her isolated property can hear her.
She moves toward a window but before she can break through,
Teddy catches up and tackles her into a bed of flowers.
Teddy sprays Michelle in the face with an antihistamine can.
She panics and covers her eyes. Then she hits Teddy and
throws him off of her.
Michelle begins to run to the backyard. But her legs give out
from under her. Confused, she falls to the ground, numb. She
looks at her thigh and sees a SYRINGE sticking out.
She reels and loses consciousness.
Teddy stands over her body. Don catches up.
DON
What now, Teddy?
Teddy catches his breath, staring at Michelle. He smiles.
Genres:
["Thriller","Drama","Action"]
Ratings
Scene
15 -
The Abduction Plan
31 INT. MICHELLE’S CAR. DAY
Teddy and Don load an unconscious Michelle into the backseat
of the car. Teddy gets in the driver’s seat. Don makes a move
for the passenger seat, but Teddy waves him off.
TEDDY
No, no! Stay back with her.
Don does as he’s told.
TEDDY
What are you doing? Spray, spray!
Don finds two Benadryl spray bottles in their BACKPACK. He
sprays them wildly in the air.
Teddy starts the car. ‘Babylon Sisters’ picks up where it
left off: “... as he watches his bridges burn / From the
point of no return...”
Teddy and Don remove their masks. They put on EMF-protection
beanies with copper squares electrical-taped to them.
TEDDY
Okay, here we go--
Teddy turns off the Dan, takes a breath, and hits the gas.
32 EXT. MICHELLE’S MANSION - STREET LEVEL. DAY
Michelle’s Car pulls out of the open gate.
33 EXT. RESIDENTIAL STREET. DAY
Michelle’s Car drives cautiously through quiet, luent
suburbs. The tinted windows ensure no one can really see in.
Genres:
["Thriller","Drama"]
Ratings
Scene
16 -
Desperate Measures
34 INT. MICHELLE’S CAR. DAY.
Teddy nervously eyes the rear-view mirror. Anyone following?
In the backseat, Don fiddles with the batteries in a pair of
electric clippers.
TEDDY
You have to hurry Don, you have to--
DON
I know, I’m sorry.
TEDDY
It’s like GPS. If her hair’s still
on they can track us remotely...
Don turns on the clippers. He touches them lightly across
Michelle’s head, afraid to hurt her.
DON
It’s not coming off much.
TEDDY
You gotta really run it through,
harder--
DON
But what if I cut her?
TEDDY
YOU WON’T FUCKING CUT HER!!!
Don runs the clippers more forcefully across Michelle’s scalp
and her hair comes off in thick streams.
Genres:
["Thriller","Drama"]
Ratings
Scene
17 -
Rage on the Road
35 EXT. HIGHWAY. DAY
On the highway, heading into the rural hinterlands.
36 INT. MICHELLE’S CAR. DAY.
Teddy leans forward and looks up at the sky. He sees GREY,
ANGRY CLOUDS.
TEDDY
Fucking cloud coverage, can’t see
shit.
Don finishes with Michelle’s head. She’s now completely bald.
DON
What about eyebrows?
TEDDY
(shakes head)
It’s fine. Eyebrows are ornamental.
Suddenly a cell phone RINGS. Teddy and Don exchange looks.
TEDDY
Check her pockets?
Don searches and finds a PHONE in Michelle’s jacket. He holds
it up. The screen shows a call coming in from “COREY.”
DON
Who’s Corey?
TEDDY
It’s them. Give it to me.
Don hands Teddy the cell phone. Teddy smashes the phone
violently against the console. The phone proves resilient.
Teddy nearly veers into oncoming traffic.
36A EXT. HIGHWAY. DAY
Teddy jerks the wheel straight and the car corrects it’s
course.
36B INT. MICHELLE’S CAR. DAY
TEDDY
Fucking, BULLSHIT! Give me the
clippers!
Don hands Teddy the heavy clippers. Teddy hammers the phone
as hard as he can with the clippers. Eventually it shatters,
and we see the inner guts exposed.
He tosses the clippers and the phone aside. He’s sweating and
out of breath, his fury subsiding.
TEDDY
Alright. Good.
Don looks scared of his cousin’s rage.
Genres:
["Thriller","Drama"]
Ratings
Scene
18 -
Highway Escape
36C EXT. HIGHWAY. DAY
A cop car nearby flashes its lights in response to Teddy’s
erratic driving.
36D INT. MICHELLE’S CAR. DAY
Teddy looks at the cop car in the mirror.
TEDDY
Fuck.
DON
What do we do?
The cop car speeds up behind them, looking to pull them over.
TEDDY
Okay. Here we go.
37 EXT. HIGHWAY. DAY
Teddy feigns as if he is pulling over to the shoulder after
the next exit. Instead, he quickly guns it, zooming onto the
exit right before the divider. The cops car swerves after but
slams right into the divider and comes to a stop.
38 INT. MICHELLE'S CAR. DAY
Teddy is exhilarated as he floors it through side streets.
TEDDY
THERE YOU GO, YOU FASCIST FAIL
STATE FUCKS!
DON
Are they okay?
38A EXT. SMALL TOWN. DAY
The car wizzes though the street.
38B INT. MICHELLE’S CAR. DAY.
Teddy drives fast. Don a little worried.
39 EXT. INTERSECTION. DAY
Michelle’s Car runs a red light at an empty intersection and
turns off onto the road leading up to Teddy’s secluded house.
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
19 -
Twilight Deception
40 EXT. WOODED AREA. TWILIGHT
In a thicket near Teddy’s property, Teddy and Don conceal
Michelle’s Car with thick brambles and branches.
Michelle lies unconscious in a heap against a tree stump
nearby, her wrists and ankles bound with plastic ties.
Teddy and Don make a LEAF PILE and set it ablaze. Teddy
tosses Michelle’s hair and cell phone on the fire.
They sit for a moment by the fire as the sun sets.
TEDDY
Man, I feel good. Don’t you?
DON
I guess so.
TEDDY
You were amazing, cuz.
DON
I was?
TEDDY
Oh yeah. Alpha king shit.
DON
Thanks, cuz.
TEDDY
I knew you could do it. And sure
enough, you fucking crushed it.
Don smiles.
DON
I got you, Teddy. Always.
Teddy puts his arm around Don. They stare into the fire.
41 EXT. TEDDY’S HOUSE. NIGHT
Darkness has fallen.
Genres:
["Thriller","Drama"]
Ratings
Scene
20 -
The Examination
42 INT. BASEMENT. NIGHT
A standard suburban basement. We may see family photos, a
foosball table, etc. But also, on one side of the room, a
large OBJECT with a sheet draped over it. What’s under there?
Michelle lies unconscious on a pallet on the ground. Metal
bracelets have been affixed to her wrists and ankles, which
are connected by metal wires to thick bolts on the wall,
giving her about a five-foot-radius “freedom” of movement.
Teddy and Don survey the captive.
TEDDY
Incredible.
DON
What?
TEDDY
Just, the detail. Best I’ve seen.
Don looks at her.
DON
How can you tell she’s not human?
TEDDY
The signs are obvious. They did a
hell of a job on it, but the tells
are there: Narrow feet. Thin
cuticles. Slight overbite. Semi-
obtruding ear lobes. High hair
density. You won’t notice unless
you know what to look for.
All of these “signs” are so subtle as to be imperceptible.
DON
Okay. I think I see it.
TEDDY
It’s like, if you don’t cook steaks
a lot, then you won’t know when
it’s cooked medium rare.
(MORE)
TEDDY (CONT’D)
But if you cook steaks all the
time, you just know. You don’t even
have to cut into it, you just know.
DON
Right. That makes sense.
TEDDY
Okay. Let’s treat it.
42A OMITTED
42B OMITTED
Genres:
["Thriller","Sci-Fi","Drama"]
Ratings
Scene
21 -
A Sinister Preparation
42C INT. BASEMENT. NIGHT
Teddy and Don smear a thick white anti-itch cream all over
Michelle’s face and body.
DON
What is this for? Is she itchy?
TEDDY
No, Don. It’s not itchy. Its
genetic structure is the same as
ours. But its nervous system is
different. The antihistamine reacts
with the neurotransmitters in its
nervous system and weakens it.
BACK TO DON.
DON
Oh.
TEDDY
We’re just leveling the playing
field. It’s not torture. Torture is
what they’ve done to us.
Teddy and Don step back and admire their handiwork.
Michelle sits unconscious, with thick white cream all over
her. She looks like an insane Marcel Marceau.
Teddy checks the time on his phone.
TEDDY
Sedative should wear off soon.
DON
Okay.
TEDDY
So... what do you think? High time
we dressed to impress, eh big guy?
Genres:
["Thriller","Drama","Sci-Fi"]
Ratings
Scene
22 -
Suit Up for Success
43 INT. TEDDY’S BEDROOM. EVENING
Teddy and Don strip down to their boxers and white tees.
They put on ill fitted suits. Bargain brand. This is their
idea of “dressed up.” Like high school kids at a debate
tournament.
TEDDY
Okay. I’m good. How’s yours?
We see Don in his clothes. They are noticeably tight.
DON
Is it too tight?
TEDDY
(yes)
No, man.
(then)
That was my dad’s shit. He left it
behind for a reason. I know it. So
that one day it could be put to
use. Everything’s for a reason.
Don looks at himself. He flaps his arms a little like a giant
bird and shakes his head.
DON
It’s too tight. I look stupid.
TEDDY
You don’t. You look fine. Don,
honestly. You look fine.
DON
No I don’t.
TEDDY
What’s that swine gonna do? Call
the fashion police and arrest you?
(smirks)
It is not in control anymore. We
are. We decide what’s elite. We
decide what looks baller. And guess
what? You look baller.
Don nods.
TEDDY
Besides, I'll be doing most of the
talking anyway, yeah?
(MORE)
TEDDY (CONT’D)
In fact, maybe... don't say much?
You don't really have to say much.
DON
Oh. Okay.
TEDDY
Like, don’t talk at all, maybe.
DON
I won’t.
TEDDY
Just stare it down. Beast mode. No
quarter. Don’t let it filibuster,
don’t give it space to speak its
‘truth’ or its ‘trauma’ or whatever
the fuck. Just stand strong, ok?
Don nods.
DON
Okay. I’ll try.
TEDDY
We won’t lose our cool. We’ll be
calm, rational. We’ll be smarter.
And we’ll win with our ideas.
Genres:
["Drama","Thriller"]
Ratings
Scene
23 -
Abduction and Negotiation
44 INT. BASEMENT. NIGHT
TIGHT CU on MICHELLE as she comes to. Her eyelids flutter.
Teddy faces Michelle with a clipboard. Don stands hesitantly
somewhere behind Teddy.
ON MICHELLE. A flash of woozy confusion across her face.
Teddy steps forward with a subtle, professional nod.
TEDDY
Welcome.
No response from Michelle. She just looks around in a daze.
Teddy’s unsure how to proceed in this half-awake phase.
TEDDY
Are you - conscious? ... Is she
conscious?
A scared Don shrugs.
MICHELLE
Whu - ?
TEDDY
I can only proceed if you’re fully
conscious, so?
MICHELLE
Unh - what?
TEDDY
(turns to Don)
Um. What do you think? Should I-- ?
Again Don shrugs.
MICHELLE
-- where - ?
TEDDY
Yes, greetings. This is my home.
MICHELLE
This, we’re - hospital - ?
TEDDY
No, this is not a hospital. Fuck
it, I’m just going to start.
Teddy launches into the prepared statement on his clipboard.
TEDDY
‘Welcome to the headquarters of the
human resistance. Despite our
general suspicion and disavowal of
all extant governing bodies -- and
despite the fact that you, as an
Andromedan, are not subject to the
human rights guidelines detailed in
the Geneva Conventions -- we
nevertheless endeavor to adhere to
those guidelines out of respect for
the humanist principles to which
they aspire.’
Michelle is getting her bearings a bit. She looks around.
MICHELLE
What’s happening?
TEDDY
I’m explaining to you that I would
like to keep this all very above
board. And, and civilized. So --
A puzzled Michelle rubs her shaved head with shaky hands.
MICHELLE
Where’s my hair?
TEDDY
Your hair has been destroyed.
MICHELLE
You shaved off my hair?
TEDDY
Yes, we have shaved off your hair.
MICHELLE
Why have you shaved off my hair?
TEDDY
To prevent you from contacting your
ship.
MICHELLE
My ship.
TEDDY
Your ship.
MICHELLE
What ship?
TEDDY
Your mothership.
MICHELLE closes her eyes and takes a deep breath. She can’t
believe this is happening. But she’s getting her bearings
back now. And her confident authority too.
TEDDY MICHELLE
Full disclosure: I’ve also (calmly)
applied a thin layer of Listen to me. Excuse me.
antihistamine cream to your
skin--
TEDDY MICHELLE
--which we’ll have to reapply (more insistent)
every day for full I said listen to me, please.
effectiveness.
TEDDY
I’m listening.
MICHELLE
(firm)
No, you’re going to listen to me.
For the first time, we see Teddy’s resolve falter a little.
Don steps back a bit.
MICHELLE
Now... are you paying attention?
TEDDY
Yes.
MICHELLE
Right. So here’s what’s going to
happen. And I want to be clear that
I’m not threatening you. Okay? The
following is just my best guess at
how the next 48 hours is likely to
transpire. Do you understand?
Teddy nods, a bit awed by MICHELLE’s sudden sense of command.
MICHELLE
Say you understand.
TEDDY
I understand.
Michelle nods. She doesn’t panic. Or hesitate. Or scream. She
has encountered plenty of radicals like Teddy in her long and
brilliant career. And she knows just how to deal with them.
MICHELLE
All right... This is where we’re
at. The police and soon thereafter
the FBI will begin a statewide
manhunt using all of the methods at
their disposal and the combined
resources of neighboring
jurisdictions. My company is a key
job creator and economic engine for
the region. I am crucial. Think of
it like - it’s as if you’ve
abducted the governor. But worse.
That’s the level of bureaucratic
urgency you’re contending with
here. In all humility, I can say
that. I am also a high profile
female corporate executive. Does
that add a certain - ya know -
politicized optics to this? I would
say absolutely. I would say that is
a tremendous factor for you to
consider here. I don’t make these
rules. I don’t enforce anything.
And I am not in charge of the
situation in this room. You are.
But you are not in charge of what’s
happening out there. And what’s
happening out there is a rapid
cross coordination of law
enforcement and digital media and
it’s all leading quite inevitably
to your imprisonment - and very
possibly worse, if I can be frank.
I’m not privy to what their methods
might be under extreme duress.
(MORE)
MICHELLE (CONT’D)
Or yours, for that matter. But
there’s no possible scenario where
you benefit from this incident
unless you cooperate with me right
now and negotiate a deal that is
fair and advantageous for us both.
CLOSE ON TEDDY who is clearly intimidated by her poise.
But then... Teddy take a BEAT. And then a DEEP BREATH. And
then he exhales, letting it all out.
TEDDY
Okay. Wow.
(beat)
That was... that was really good.
ON MICHELLE, who furrows her brow.
Teddy smiles in disbelief. He takes another deep breath and
laughs. A laugh of relief.
TEDDY
Hahahaha. Man. My pulse is racing
right now. Fucking... wow.
ON MICHELLE. She’s scared. But she keeps her wits about her.
She reads the room and clocks that DON is not laughing.
TEDDY
I mean, props where it’s due, you
got a real human response out of me
there, that’s impressive.
Seriously, like, given your
cellular composition? Hats off.
MICHELLE
It’s the truth.
TEDDY
Well, no. It’s not the truth.
Nothing you say is the truth.
Objective human truth has no value
in Andromedan cognition.
MICHELLE
Please-- let’s just, unpack the
problem here--
TEDDY
Ooh, ‘unpack.’ Heady shit. Sure,
let’s unpack the old fact bag:
You’re a high-ranking official in
the Andromedan royal court. And
you’ve aided your species in the
techno-enslavement and agro-
corporate disintegration of the
Planet Earth, okay?
(MORE)
TEDDY (CONT’D)
And we need you to bring us to your
mothership on the night of the
lunar eclipse to broker a sit-down
with your royal superiors. How’s
that? Fucking, unpacked enough for
ya?
Michelle is baffled. But she keeps her cool in a negotiation.
MICHELLE
Okay. I hear where you’re coming
from. But I respectfully disagree.
TEDDY
On which part?
MICHELLE
Well? Primarily? I am not an alien.
TEDDY
Well, you are. I’ve done thermal
imaging on your face, and there’s
Andromedan code all over your
Instagram. You’re barely even
hiding it. Look at you. I’m
supposed to believe you’re a 45
year old woman?
MICHELLE
I follow a strict reverse-aging
diet and therapy program. It’s very
expensive, but I am not an alien.
TEDDY
There’s no time for this. You are.
MICHELLE
I am not.
For a brief moment, we see a flash of rage in Teddy’s eyes.
ON DON, who has the opposite reaction... a look of doubt.
Teddy takes a deep breath and calms himself. He smiles.
TEDDY
All right then.
Teddy takes a small TAPE RECORDER from his pocket and holds
it out for Michelle to take.
TEDDY
We’re going to give you the night
to give your statement.
MICHELLE
My statement?
TEDDY
That you will give to your emperor.
MICHELLE
Uh-huh?
TEDDY
To grant us passage to your ship
and negotiate your species’
withdrawal from Earth.
Michelle reluctantly takes the tape recorder from Teddy.
MICHELLE
Look, let’s - can we have a
dialogue here? Because what you’re
asking me to do is not clear to me.
TEDDY
Yeah. I think it is.
Teddy leans down next to Michelle. She may flinch slightly.
TEDDY
And I want you to know this is
difficult for me as well. You
killed my family. You killed my
coworkers and my community. You
killed the bees. So, given that,
you should respect how super
professional I’m being right now by
not gutting you.
There is loss and pain in his eyes. He means every word.
Michelle stares back at him. She says nothing. Just nods.
Teddy nods back. He’s enjoying the feeling of control.
TEDDY
Your sustenance and waste disposal
will be attended to in the morning.
Teddy heads for the stairs.
MICHELLE
No, please, I’m sorry can we, let’s
just, keep the conversation going?
TEDDY
I haven’t gathered adequate data on
what kind of sleep you require, if
any. But try and get some, okay?
Teddy turns off the overhead lights and heads upstairs.
Don follows after him. But before leaving, Don turns and
looks back at Michelle. Only a lamp lights the room. They
share a brief glance.
MICHELLE
Please...
But Don leaves. Michelle is alone. And she notices, to one
side of the room, the OBJECT with the sheet draped over it.
45 INT. KITCHEN. NIGHT
Teddy and Don emerge from the basement. Teddy closes the
basement door and locks it behind him.
He turns to Don. For a moment they just look at each other.
Then Teddy smiles a relieved smile.
Don smiles too. Teddy laughs. Holy shit, they’re really doing
it, aren’t they? They’re really pulling it off.
Teddy pulls Don into a big bear hug.
As they continue laughing and hugging each other tight they
jump and down on the kitchen floor, the conquering heroes.
They collapse to the floor, still hugging. Teddy is elated.
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
24 -
The Weight of Sympathy
45A EXT. TEDDY'S HOUSE. NIGHT
The house windows lit up. Everything is quiet.
46 INT. KITCHEN. NIGHT
The cousins celebrate with taquitos and key lime soda. Teddy
is blissed out, buzzing from his victory.
Don turns and sees a small VIDEO MONITOR on the counter that
displays a live cam of Michelle in the basement. She’s
crying. Teddy notices his cousin watching the monitor.
TEDDY
Hey. We can't see it as a woman,
you know. It’s not a person named
Michelle Fuller. It’s the Fuller
Humanoid. That’s all it is.
It doesn’t feel that way. But Don nods.
TEDDY
Hey.
DON
Huh?
Teddy reaches out and gently touches Don’s shoulder.
TEDDY
Even if it was human - and it’s not
- it’s still evil. Pure corporate
evil. I’ve studied it for years.
DON
Yeah, but still.
TEDDY
It’s killing the planet, cuzzy. It
was the lead executive on the
neonicotinoid linked to honeybee
death. It only knows cruelty.
DON
It is an alien, right?
TEDDY
Yes. And it knows you’re watching.
It’s trying to gain your sympathy.
That shitty way you feel right now?
That’s how it wants you to feel.
It’s mastered the art of emotional
manipulation.
Don glances at the helpless Michelle. Then back to Teddy.
DON
I’m sorry. I promise I won’t mess
this up.
TEDDY
We just stick to the plan, okay? We
have four days until the lunar
eclipse, when the Andromedan ship
can return undetected. Yeah?
DON
Yeah.
TEDDY
So we need the Fuller Humanoid to
help us make contact. So that we
can fight for our self worth. For
our material existence, Don.
DON
I wish I could fix everything
that’s happened to you, Teddy.
But Teddy shakes his head.
TEDDY
This is not about me, Don. Okay?
Look at me. This is about everyone.
(MORE)
TEDDY (CONT’D)
Trust me. One day soon, you’ll see.
The world will know you as a hero.
Don smiles weakly.
TEDDY
Come here, booger.
Teddy pulls Don in for a hug. Don holds his cousin tight.
47 INT. BEDROOM. NIGHT
Don is alone on the mattress in the dark.
He looks at beautiful images of swirling celestial bodies on
his glowing smartphone. A cosmos so distant and wondrous. So
far away from this small and squalid life.
His head is on a pillow, right next to an air vent. From the
vent, he can hear, very faintly, the distant sound of
Michelle WEEPING softly in the basement.
Don begins to cry as well. He covers his ears, trying to shut
the noise out.
Genres:
["Drama","Sci-Fi","Thriller"]
Ratings
Scene
25 -
Echoes of a Troubled Past
48 INT. KITCHEN. NIGHT
Teddy sits at the kitchen table in the dark, his face lit by
the glow of the monitor image of Michelle.
He turns and looks at a spot somewhere on the dark kitchen
floor. And suddenly we are...
49 INT. KITCHEN. MANY YEARS AGO. DAY B+W
... still in Teddy’s kitchen, but it’s a mess. Junk all over
the counter, dishes piled high. A little portable boombox
plays the song “Good Morning Starshine” from the musical
Hair.
Teddy’s mom, SANDY, sits on the linoleum floor with a younger
TEDDY sitting next to her. She looks strung out, weary and
manic. And her body is covered in needles, like a sea urchin.
Her voice is soothing and maternal, but it’s also clearly the
voice of a controlling and unhealthy figure, a mad presence.
As she speaks, Teddy gently removes the needles from her one
by one.
SANDY
I don’t even, fucking, know what’s
in it, I just eat the poison they
give me, but I know they hide shit
in there, to program my cells, and
my blood, I see what their plan is,
ok? They sell me the sickness, then
they sell me the cure - and it’s
money on both ends from the mind
control, uh, industry, ok? Get it?
Her body starts to drift and levitate off the ground a bit,
like a half-inflated balloon, but he gently stops her.
SANDY
(then, reconsidering)
But I’ll do it for you, ya know, if
it helps, if it makes me not like
me, right, like how I am, ya know,
like weak? Your slob cunt mom’ll do
it for you, baby.
(lazy, intoxicated laugh)
Just don’t let them get you too.
Teddy takes it all in.
The cheery sound of “Good Morning Starshine” drones on.
50 INT. KITCHEN. PRESENT DAY. NIGHT
Tears nearly begin to form in Teddy’s eyes. But he scrunches
his face and shuts it out.
Genres:
["Drama","Psychological Thriller"]
Ratings
Scene
26 -
Existential Reflections
51 EXT. SPACE
The Earth.
LOWER THIRD TITLE:
3 DAYS BEFORE THE LUNAR ECLIPSE
51A INT. BASEMENT. EARLY MORNING
Teddy and Don reapply anti-itch cream all over Michelle’s
face and body.
52 EXT. TEDDY’S HOUSE. EARLY MORNING
Teddy gets on his bike. He puts earbuds in his ears and heads
out.
53 EXT. STREET. EARLY MORNING
We see the bleak post-industrial heartland that molded Teddy.
Teddy peddles furiously while listening to a fringe podcast.
PODCAST HOST (O.S.)
-- Fermi's Paradox states that
hidden evolutionary barriers cause
premature deaths of civilizations
before they’re ever able to reach
the stars. But, okay, if aliens did
exist, maybe the reason they have
not killed us is because they have
some interest in keeping us alive.
PODCAST COHOST (O.S.)
Right. No, absolutely.
Genres:
["Thriller","Sci-Fi","Drama"]
Ratings
Scene
27 -
Awkward Encounters
54 EXT. HIGHWAY. EARLY MORNING
Teddy steers his bike along the highway shoulder.
PODCAST HOST (O.S.)
They’d probably treat us like a
resource. A material service kinda.
PODCAST COHOST (O.S.)
Yeah, right. Or like, it could be,
you strip away the transactional
structure, and... Maybe it just
feels good to own us?
Behind Teddy, a police cruiser’s lights FLASH. A rush of
panic from Teddy. Has he been caught?
He looks inside the cruiser. Then he stops his bike and
waits. A terrible tension gripping him.
The cruiser pulls over to the shoulder. The OFFICER (40s)
gets out and approaches Teddy.
OFFICER
Hey.
TEDDY
Hey.
OFFICER
Saw you there. You all right?
TEDDY
(shrugs)
Um? Yeah. Fine. How you?
OFFICER
I’m okay. Off to work, then, or?
TEDDY
Uh huh?
OFFICER
Okay. Nice.
(awkward beat)
Sorry, dude, I know you’re like,
‘When will this conversation end?’
Heh. Anyway. I know we haven’t
caught up in a while. Since, you
know. All the shit, and? Yeah,
sorry. I just wanted to check on
you.
TEDDY
Casey, I’m good. What’s up?
CASEY
Nuthin, man. I just, I know I
wasn’t the best babysitter back in
the day, but - I do want you to be
okay.
(then)
You still up there with, Don?
TEDDY
Yup.
Casey nods. But the circumstances of Teddy’s life sadden him.
And also, clearly some heavy guilt lurking in there.
CASEY
Cool. Well, um? Anyway, I think
about you sometimes-- not in a
weird way, just, yeah. I’m grown up
now, I’m a different guy. So if you
ever need help?
TEDDY
Yeah, yeah. I’m good.
CASEY
And maybe I’ll stop by sometime?
Teddy of course doesn’t want that. But he forces a nod.
TEDDY
Yeah, I mean, I’m so fucking busy.
But yeah, maybe sometime later?
CASEY
Later. Sure. See ya, Teddy.
Teddy gives another little nod, and peddles off. Casey
watches him go with a look of regret.
Genres:
["Drama","Thriller"]
Ratings
Scene
28 -
A Morning at Auxolith
55 EXT. PARKING LOT. EARLY MORNING
Teddy pulls into the parking lot of his job at a fulfillment
center warehouse of... Auxolith Biomedical.
56 INT. AUXOLITH FULFILLMENT CENTER. DAY
Teddy enters a huge processing warehouse. It’s pretty grim.
The WORKERS (various ages, genders, and races) look tired and
physically taxed. But as Teddy walks the floor in slow motion
he puts smiles on faces. He bumps some fists along the way.
He seems to care deeply about his coworkers. And their
plight.
Teddy approaches an exhausted older woman named TINA (late
60s) who zaps labels with a scan gun as packages race down a
track. She’s clearly way too old to be working here.
TEDDY
(playful)
Aw shit. What’s up, girl?
TINA
Hiya sweetie.
Teddy gives Tina a big hug. She clearly has affection for
him. They scan packages side by side.
TEDDY
How we hanging in?
TINA
Eh, fricking hand still killing me.
We see she has a BANDAGED HAND underneath her plastic glove.
TEDDY
Christ, Tina. You file that shit
with OSHA yet?
TINA
I looked into it, but I just, I
guess... I don’t know? I’m sure
it’s not really a violation?
Teddy looks enraged.
TEDDY
Their machinery cut you, and you
get punished for missing quotas?
How’s that not a violation? ...
Fucking demons.
Tina looks around and lowers her voice. She needs this job.
TINA
Well, maybe? I don’t know. I just
don’t want to cause trouble.
They both continue scanning. But Teddy can’t let it go.
TEDDY
Don’t you worry, one day soon it’s
gonna change. I promise you that.
They’re not going to get away with
this shit in the end, okay?
Tina smiles and pats Teddy. He can be dramatic but he’s got a
good heart. He’s the only one around here looking out.
57 INT. BREAK ROOM. DAY
Workers grab coffee and eat lunch.
Teddy opens a jar of his HOMEMADE HONEY and thoughtfully sets
it on the counter for his coworkers to share.
Teddy notices a TV playing on mute in the corner.
Sure enough, the NEWS PROGRAM is talking about Michelle. With
a picture of her. As well as a photo of her car.
Teddy is transfixed. Then he’s SLAPPED on the back. He’s
startled for a moment, then sees it’s his coworker CARLOS.
TEDDY
Oh yo what up, Carlos? Brought in
some fresh honey for toast...
CARLOS
Oh cool. Thank you, bro.
Teddy takes one last look at the TV, smiles, and exits.
We linger behind him and see on the wall a framed photo of
Auxolith Biomedical CEO Michelle Fuller... Teddy’s boss.
Genres:
["Drama","Thriller"]
Ratings
Scene
29 -
Urgent Search: The Disappearance of Michelle Fuller
57A INT. NEWS STUDIO *
REPORTER *
On Monday afternoon, following what *
coworkers describe as a 'routine *
workday,' Auxolith Biomedical CEO *
Michelle Fuller got into her car, *
passed the security gate at *
Auxolith HQ in Fayette County, *
Georgia, and drove towards home. *
That was nearly 48 hours ago. *
Nobody has heard from her since. *
*
Authorities now believe there is a *
strong chance that one of the *
country's most prominent female *
executives has been the victim of *
an abduction. A furious statewide *
manhunt is now underway, with State *
Police urging Fayette County locals *
to come forward with any *
information at all that could shed *
light on Ms. Fuller's whereabouts. *
Sources close to Fuller say there *
was nothing unusual about her *
behavior in the days preceding her *
disappearance, and describe her *
emotional demeanor as "upbeat" and *
"engaged." Given Fuller's wealth *
and high profile, State Police are *
not ruling out the possibility that *
Fuller is being held for ransom, *
though as of yet there is no *
evidence to suggest this might be *
the case. The only clue *
authorities have to work from now *
is this photo of the back of *
Fuller's car that was taken by a *
speed-trap camera two miles from *
her house shortly after she went *
missing. Given the angle and *
distance, analysts say it is not *
possible to determine the identity *
of the driver or any other *
passengers who might be inside.... *
Genres:
["Thriller","Sci-Fi","Drama"]
Ratings
Scene
30 -
Tension in the Hive
58 EXT. STREET. DAY
Teddy bikes home. Earbuds in for a SELF-HELP PODCAST.
SELF-HELP PODCAST HOST (V.O.)
--funnel your trauma into new
synaptic regions. These memories do
not define you. Instead they can
plug you into opportunities for
creativity and transcendence...
59 EXT. TEDDY’S HOUSE - BEEHIVES. DAY
CU of HONEYBEES swarming in and out of a hive.
Teddy tends lovingly to his colony. His precious friends.
59A EXT. TEDDY'S HOUSE. DAY.
GV’s of Teddy’s House.
60 INT. KITCHEN. DAY
Don sits near the live-feed monitor of the basement. He gazes
at a FOLD-OUT MAP of outer space pulled out of one of Teddy’s
magazines.
Teddy enters. Don stands, ready to report.
TEDDY
Hey, cuz. Did she eat?
DON
No.
TEDDY
Bedpan?
Don shakes his head.
TEDDY
Uh-huh.
DON
Maybe she’s too scared to go?
TEDDY
It’s a ploy, Donny. It thinks it
can pity-trap our asses. But we’re
not going to let it. Are we?
Don shakes his head hesitantly.
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
31 -
Confrontation in the Basement
61 INT. BASEMENT. DAY
Teddy and Don enter, once again in their dressed-up clothes.
Teddy motions for Don to stand behind him.
DON
(quietly)
Okay, Teddy.
ON MICHELLE, who clocks Teddy’s name.
Teddy approaches Michelle and takes the tape recorder from
her. Then he presses play and we hear:
MICHELLE’S VOICE
(on tape recorder)
”Um... I am an alien from outer
space. I live here on Planet Earth
but I am not a human being. My
mothership is coming to Earth and I
would like to bring my new friend
onto my spaceship with me. Thanks.”
The recording ends. That’s it. Teddy looks at Michelle.
TEDDY
Uh-huh.
(beat)
So. This is a joke then? You’re
trying to simulate sapient humor,
or- ?
MICHELLE
Look. It’s the best I could do.
TEDDY
This is the best you could do? You
didn’t even say it in your own
language.
MICHELLE
(shrugs)
Sorry. Best I could do.
TEDDY
No it isn’t.
MICHELLE
Well, then... Tell me what you
would like me to say.
TEDDY
Well, I already did that. I would
like you to request an audience
with your emperor. To discuss the
terms of your species’ withdrawal
from our planet.
MICHELLE
And I did that.
TEDDY
Convincingly.
MICHELLE
That is going to be difficult.
TEDDY
Why?
MICHELLE
Because... at the risk of repeating
myself... I am not an alien.
Teddy throws the tape recorder and smashes it on the ground.
Don winces.
Teddy’s trying to be diplomatic. But his patience wears thin.
Michelle stays calm, takes a deep breath. She’s bringing 25
years of smooth corporate training to bear here.
MICHELLE
Teddy, I thought all night about
our situation here. And I think I
know what’s going on.
TEDDY
Oh yeah? Please. Enlighten me.
MICHELLE
Look, I feel qualified here because
- so, I’m a chemist by training but
I also have a psych degree, and--
TEDDY
Wow. A degree? From a university?
From a credentialist scam for
laundering privilege? Amazing.
MICHELLE
Well, I do have a degree. And I’ve
also read a lot about this--
TEDDY
You can’t talk your way out of this
again. I’m not a kid anymore.
MICHELLE
--And I believe you’re in a kind of
echo chamber.
TEDDY
Oooh an echo chamber. ‘Echo...
echo...!’ Yeah I read the same
5,000 think pieces about that too.
MICHELLE
You’re consuming content on the
internet that is - you know -
reinforcing a, a warped, subjective
idea of reality, that’s--
TEDDY
This is your best shot at me? Some
‘rabbit holes’ bullshit you read in
the Times? Fuck off.
MICHELLE
Please. Can we have a dialogue?
TEDDY
Don’t call it ‘dialogue.’ This
isn’t Death of a Salesman, bitch.
MICHELLE
But can we talk? Or are you just--
TEDDY
We don’t need to talk because I
know what you’re going to say.
You’re going to say that I’m in
some kind of internet-induced auto-
hypnotic feedback loop, and
gatekeepers and norms and all that
weak hegemonic horseshit. But that
is precisely the limp-dick rhetoric
you’ve been instructed to counter
the human insurgency with. That’s
the fucking, hyper-normalized
dialectic by which you have
convinced seven and a half billion
people that they are not your
captives. To keep us believing in
false institutional, fucking...
(mispronounces it ‘shy-bow-
leths’)
Shibboleths.
Michelle nods. She’s been so evenhanded. So patient. But...
MICHELLE
You mean shibboleths?
TEDDY
(hiding his embarrassment)
Whatever.
MICHELLE
Oh, sorry. I guess grammar is a
false Andromedan construct as well?
Teddy suddenly picks up a chair and throws it across the
room. It smashes hard against the wall, denting it.
Don flinches and backs up.
Michelle is scared now. She knows she went too far.
Teddy moves menacingly toward Michelle. She braces.
MICHELLE
Okay, look - I’m sorry-- you’re
angry. I understand. I even think
you have a right to be angry, but
we need to have an honest talk in
good faith about--
TEDDY
Yes, let’s ‘talk’ it out. Create a
safe space. Safe words. Good faith.
‘Dialogue.’ We need to talk about
this, we need to talk about that.
What we talk about when we talk
about fucking talk talk talking
forever until we’re fucking dead.
MICHELLE
I agree. So just - tell me what you
really want here? Money?
Teddy can’t believe her sloppiness.
TEDDY
Your capital has no value to us.
MICHELLE
So, what is it then? A power thing?
Some... sex thing?
TEDDY
We have no interest in you
sexually. Irrespective of the fact
that your reproductive organs may
not be compatible with ours, my
cousin and I have also been
chemically castrated.
Michelle stares at these two guys.
MICHELLE
Jesus Christ.
TEDDY
But I figured you might try to lure
us that way. Hence the precaution.
See, Don?
Don nods. Michelle clocks Don’s name.
MICHELLE
Don. Teddy. Come on. We have
options here, please--
TEDDY
No, there are no options. There are
no rules. There are no deals. There
is no payoff. There’s no money.
There’s no free market. There’s no
legal system. There’s no Congress.
There’s no America. There’s no
global democratic order. Okay? So
don't talk to me like I'm a
dipshit. I am not a dipshit. I'm a
guy who knows what the fuck is
happening. And you will not defeat
me, you sick Andromedan fuck.
MICHELLE
Teddy, I’m sorry. But you need
help. You’re - you’re mentally ill.
Teddy suddenly slaps Michelle in the face, hard.
Michelle recoils. So does Don.
Teddy just stands there, breathing heavily. Then he tries to
compose himself. He hates it when he loses control.
Teddy turns and walks to the door. He faces Michelle again.
TEDDY
Everybody denies it at first. But
then they confess.
Don and Michelle both contemplate this ominous suggestion.
Teddy heads upstairs and Don follows.
62 EXT. DRIVEWAY. DAY *
Teddy storms down the front porch onto the drive. Furious. *
He steps up onto the hood of his mom’s dilapidated family *
station wagon, then up onto the roof. In a fit of displaced *
rage he violently stomps and jumps on the roof of the car. *
After much noise and fury, he finally collapses to his knees *
in an exhausted heap. He might even slink down onto the *
hood. *
Don approaches Teddy cautiously, and touches his cousin. *
Teddy accepts his love and comfort and they stay there in *
silence as Teddy calms down. *
TEDDY (V.O.) *
I didn’t discover them on my own. I *
stand on the shoulders of giants. *
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
32 -
Teddy's Galactic Insights
63 EXT. COSMOS RENDERING
A sort of cheap, stuttery CG rendering of THE ANDROMEDA
GALAXY: A vast, spiralling celestial mass.
TEDDY (V.O.)
The PA-99-N2 microlensing event
proved there was an exoplanet. And
Gideon55’s YouTube studies into
Andromedan infiltration paved the
way for my own research.
We swirl through the low-budget CG cosmos until we see an
equally amateurish CG SPACESHIP.
TEDDY (V.O.)
But I was the one who discovered
how to identify them, okay? I
created that content.
64 INT. SPACESHIP RENDERING
We are inside Teddy’s vision of what the interior of the
Andromedan mothership might look like. It has the look of
PRIMITIVE CGI with flat rendering and chunky pixels.
TEDDY (V.O.)
Of course I’ve never been on the
ship before. But I know enough to
render it in on my laptop. The
journey there will be
instantaneous. But once we’re on
board, inside their chemical
atmosphere, they may be able to
hear our thoughts. So keep your
mind clear and decisive during the
negotiations...
We enter the royal chambers where the “negotiations” will
take place. We pull in closer on the royal throne. Perhaps
the image frame-rate might even start to stutter and BUFFER.
TEDDY (V.O.)
They will see that we are men of
honor and dignity. And that Earth,
with its vast resources and human
ingenuity, has much we can offer.
So much more than this worthless
death spiral into chaos and shit...
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
33 -
Stargazing and Uncertainty
65 EXT. TEDDY'S HOUSE. NIGHT
Teddy and Don sit on the picnic table near the house, looking
at the CG render on Teddy’s laptop. Then Teddy closes the
laptop.
TEDDY
And if they won’t listen to reason?
Well, I have a plan for that too.
Don gazes at the stars.
DON
What will our lives be like in
space?
Teddy looks at Don, a little confused.
TEDDY
In space?
DON
Yeah. Aren’t we going to live in
space ?
TEDDY
Well - bud, we’ll only be gone for
a few hours. We’re not leaving
Earth for good. We’re saving it.
Don thinks about this.
DON
So we have to stay here?
Teddy looks at Don. What did he think was happening?
TEDDY
Well - Don? Of course.
As this sinks in, Don nods.
TEDDY
But we’re saving it so it will be a
good place to live again. So
everything will be okay, Don.
Don nods again.
DON
Yeah. I know. Sorry.
TEDDY
It’s okay, man.
DON
Ever since those shots you gave me,
I’ve felt kind of weird. And crazy.
And sad sometimes.
Teddy listens. Those are not ideal side effects. But he nods.
TEDDY
It will pass. Don’t worry.
They silently gaze at the stars for a beat.
TEDDY
I tried to do this diplomatically.
Responsibly. With standards this
time. I figured it would have a
more professional bearing. But, no.
DON
So what do we do?
TEDDY
We gave it a platform for its lies.
That was a mistake. So tomorrow...
we begin the next phase.
Don is worried. But Teddy stares at the sky, stoic and firm.
66 EXT. SPACE
The Earth.
LOWER THIRD TITLE:
2 DAYS BEFORE THE LUNAR ECLIPSE
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
34 -
Electrocution and Revelation
67 INT. BASEMENT. DAY
Michelle is alone in the basement.
She pulls at her chains with all her might. They’ve been
installed expertly, and yet Michelle’s in such extraordinary
shape that she’s on the verge of snapping a brace loose.
The veins in her temples bulge. She groans. Almost there...
The LOCK on the door turns. Michelle stops pulling and drops
to a sitting position just as Teddy and Don emerge in their
dressy clothes. Don carries a SHOTGUN.
Michelle stands to greet her captors. After yesterday, she
seems eager to be in their good graces:
MICHELLE
Good morning.
DON
(quietly, on instinct)
Morning.
TEDDY
You’re out of breath.
MICHELLE
Yes, I’m -- you make me nervous.
(off his silence)
Um, so... I’ve done a lot of
pondering. And I think we should
start over. I want to help you.
Teddy just stares at her.
MICHELLE
And, given that, there’s something
I should have said to you earlier
that I am finally prepared to say
to you now. With conviction.
(deep breath)
I am an alien.
Still no reaction from Teddy.
MICHELLE
I admit it. You’ve - you’ve been
right all along. I am an alien.
Nope. Teddy gives her nothing.
MICHELLE
I mean, look, you can’t blame me
for trying to conceal it for as
long as I did. Part of my mission
here on Earth has been to, you
know, blend in and so forth, so?
Michelle is not very convincing. And she knows it.
MICHELLE
Look, I’m very tired. I know this
all sounds not as - you know -
forceful or, the, verisimilitude is
not where you want it to be, but I
assure you I mean what I say and
I’d like to move forward now. To a
solution.
(for good measure)
I’m an alien.
Teddy just stares. Then he walks to Michelle and offers his
hand. She hesitates, then takes it. They HOLD HANDS.
TEDDY
You want to start over?
MICHELLE
Yes.
TEDDY
Good. Let’s start over.
Teddy pulls a KEY from his pocket, and unlocks her BRACELETS.
Michelle hides her excitement. Is this really happening?
Don keeps a shotgun pointed at Michelle.
Teddy moves over to the OBJECT with the sheet covering it. He
lifts off the sheet to reveal a CHAIR bolted to the ground.
TEDDY
Have a seat.
Michelle considers bolting. But Don is there with the
shotgun.
MICHELLE
Please --
TEDDY
It’s okay. Have a seat.
Michelle sits. Teddy straps her to the chair with METAL WIRE.
MICHELLE
What are you doing?
TEDDY
Starting over.
Teddy straps her WRISTS to the arm rests.
MICHELLE
But-- Why are you strapping me to a
chair?
TEDDY
Because we can’t start over until
basic facts are established.
MICHELLE
Like - what?
TEDDY
I was hoping we could agree on your
genus and avoid a painful test, but
you’ve forced my hand.
Teddy also straps Michelle’s head on the leather headpiece,
places electrods on Michelle’s TEMPLES. She struggles.
MICHELLE
No, no - look, I admitted it, ok?
TEDDY
I’m sorry - I’m a humane person and
I don’t want to do this--
Teddy places ELECTRODES on her legs. But his heart is heavy.
He looks genuinely remorseful for what he’s about to do.
MICHELLE
Please--I’m an alien. I’M AN ALIEN!
TEDDY
I agree.
Teddy plays “Good Morning Starshine” loudly on his mom’s
little portable boombox.
Teddy finds some ELECTRICAL CABLES. He attaches them to the
chair, runs them to the other end of the room, and plugs them
into a homemade CIRCUIT BOX linked to some batteries.
MICHELLE
No, no! PLEASE! STOP!
ON DON.
DON
Are you sure it works?
TEDDY
(quietly to himself)
I’m sorry, Mom. I have to.
He fiddles with the instruments.
DON
Maybe we shouldn’t do this? She
already admitted it.
TEDDY
She killed our family, cuzzy.
DON
Yeah, but this feels wrong.
Teddy turns on the circuit box. Lights and meters blink.
TEDDY
Okay, here’s the first wave...
Teddy hesitates for a moment, then turns a KNOB on the box.
We STAY CLOSE on Teddy’s face as we hear Michelle’s terrible
SCREAM. Teddy flinches at the sound. He’s not enjoying this.
DON
Teddy, please don’t.
TEDDY
Trust me, Don.
DON
You’ll kill her!
TEDDY
Humans die at 100 volts --
DON
No, Teddy.
TEDDY
It can take 200, easy. Second wave.
He turns the knob again. Another scream, even louder.
DON
Please. Please.
TEDDY
Wait... Let me just try and--
He turns the knob again. Another scream.
DON
Teddy, stop!
As we STAY CLOSE on Teddy, his expression changes. His eyes
become wide with disbelief. He looks... amazed.
TEDDY
What the fuck - ?
DON
THAT’S ENOUGH!
Don dares to lay a hand on Teddy. But Teddy throws him off.
Teddy gives the knob one more big jolt. Another scream.
TEDDY
I don’t believe it...
DON
STOP IT!
This time Don pushes Teddy away for real. Teddy nearly falls
over. Don yanks the CABLES out of the circuit box.
But Teddy barely notices. He’s stunned.
Michelle’s WHIMPERS can barely be heard over the eerily
droning sounds of “Good Morning Starshine.”
TEDDY
It doesn’t make sense...
DON
What’s wrong with you, man?
TEDDY
(quietly)
No, Don. You don’t understand.
DON
She could’ve died!
TEDDY
It was off the charts. The output.
It’s never reached this threshold
before...
DON
‘Before’?
ON MICHELLE in the chair. Rivulets of sweat have run the
white cream everywhere. She looks like a melting clown.
Her hands are still clenched in FISTS, shaking wildly.
Teddy approaches her. But his whole body language towards her
is different now. Somehow deferential. Nervous, even.
TEDDY
I wish to apologize profusely.
Michelle looks up at him woozily.
TEDDY
I did not realize... Your Majesty.
A trace of confusion passes across Michelle’s mess of a face.
Teddy uses a pair of pliers to cut the METAL WIRES attaching
Michelle’s wrists and ankles to the chair. As he does so:
TEDDY
I stupidly thought you were admin.
I didn’t realize, at that voltage?
You have the royal genetic code.
ON DON, processing this new “information.” Is it real?
Teddy helps Michelle back to her chains and pallet. He gently
affixes the bracelets to her wrists and ankles.
TEDDY
We’ll give you a night to recover.
Until then--
(a nod of respect)
Rest well.
Teddy bows slightly and exits with a traumatized Don.
We are alone with Michelle.
Her clenched FIST is still shaking. Her strength is gone. She
is spent, exhausted. But there is a look in her eye, as
though something has changed. She stares straight ahead,
transfixed.
And then we see what she is staring at: THE LITTLE BOOMBOX.
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
35 -
Echoes of Responsibility
68 EXT. AUXOLITH HQ. DAY B+W
A perfectly styled Michelle, with a full head of lustrous
hair, stands with AIDES and a LAWYER to either side. She
appears a bit younger.
We hear “Good Morning Starshine” playing gently somewhere.
MICHELLE
The most important thing I want to
stress to you right now is that I
never want to put this behind us.
Never. What happened is a part of
all of us now. And it doesn’t go
away. And it doesn’t get swept
under the rug. And it doesn’t get
excused. Not on my watch. This one
sticks. Forever.
(concealing her annoyance)
I’m sorry, could you maybe turn off
the music for a sec?
We see who she’s talking to: A YOUNG MAN with dyed purple
hair. It’s Teddy. He’s looking down, with a hoodie pulled
over his head. He can’t even make eye contact with Michelle.
At his side we see a comatose SANDY in a wheelchair. Tubes
run from her arm to a drip stand next to her.
He is holding the little portable boombox. He turns it off.
MICHELLE
We -- or, you know, I -- am putting
this right up there on the
corporate masthead for everyone to
see. And for everyone in our
company and our industry to learn
from. To say, ‘There it is. This
happened. We did this. And we will
always, always grieve this loss.’
As Michelle speaks, Sandy begins to gently FLOAT and drift up
into the air like a balloon. Teddy sees what’s happening and
tries to hold on to her and pull her back down to earth with
the drip tubes.
MICHELLE
That is why I’m meeting all of the
victims’ families this week. To let
them know we are going to do
better. And look, maybe we don’t
even try to market a product like
this anymore. Maybe we call it a
sunk cost and move on. Or maybe we
use this experience to grow and to
get this formula right. Because I
do think, if done correctly, and
safely, a product like this could
help people like your mom, and--
As Teddy struggles to stop his mother from floating off into
space, he looks at Michelle with pained eyes. Michelle
quickly recalibrates:
MICHELLE
But, I mean, it’s a hard decision.
No, it’s a hard decision. And we’ll
have to take our time with it. But,
anyway. That’s a dialogue for a
different day.
That word: ‘Dialogue.’ It’s like a knife in Teddy’s side. He
continues to reel in his floating mother with the drip tubes.
The lawyer makes a subtle gesture to Michelle. She nods.
MICHELLE
But right now, we’d like to do
what’s right and cover the expenses
for your mother’s treatment. In
hopes that her condition might one
day... improve.
(MORE)
MICHELLE (CONT’D)
We simply won’t tolerate the idea
of you and your family bearing that
financial burden. We’re covering
all of it. This - this one’s on us!
Michelle slightly cringes at her tasteless phraseology.
MICHELLE
And, again, we’re just so sorry.
Teddy stares at Michelle intensely while holding on to his
levitating mother.
69 INT. BASEMENT. PRESENT DAY. DAY
Michelle stares at the boombox. Somewhere in her imagination,
she hears the faint strains of “Good Morning Starshine.”
Then she hears Teddy’s VOICE from yesterday:
TEDDY (V.O.)
You can’t talk your way out of this
again. I’m not a kid anymore.
She remembers. She nods. Her mind hums. And when Michelle
Fuller’s mind hums, great and terrible feats become possible.
Genres:
["Sci-Fi","Drama","Thriller"]
Ratings
Scene
36 -
Strategic Preparations Before the Eclipse
70 EXT. SPACE
The Earth.
LOWER THIRD TITLE:
1 DAY BEFORE THE LUNAR ECLIPSE
71 INT. SUPERMARKET. DAY
Teddy prowls the aisles of a shitty supermarket, scanning
prices. He finds the most expensive packet of spaghetti. He
does the same with a pre-made TOMATO SAUCE. He even finds a
coconut BOX CAKE in the freezer aisle.
In the wine aisle he looks totally lost. He finds a cheap
Yellowtail RED WINE and grabs it.
71A INT. THRIFT STORE. DAY
There’s a wig section. Teddy’s staring at the various wigs.
71B EXT. STREET. DAY
Teddy cycling back with all the stuff in his backpack.
72 INT. KITCHEN. DAY
Teddy and Don set a table for a “fancy” meal. They’ve broken
out the “best” plates and cutlery, tablecloth, even a candle.
Teddy steps back and examines their handiwork. He reaches in
and makes a few little adjustments. It must be perfect.
TEDDY
We still hate the Fuller Humanoid.
But now we know it expects a
certain level of decorum. So that’s
what we’ll give it. To earn its
trust, and get what we want.
Don nods.
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
37 -
Dinner of Tension
73 INT. BASEMENT. DAY
Teddy unlocks Michelle, then motions for her to follow him.
Michelle looks suspicious, but she does as she’s told. Don
keeps watch with the shotgun as they head upstairs.
74 EXT. BATHROOM. DAY
Don keeps watch outside the door with the shotgun.
74A INT. KITCHEN. DAY
Teddy nails a dining chair to the floor.
75 INT. BATHROOM. DAY
Michelle enjoys a ‘luxurious’ shower.
As she towels off, she sees her CLOTHES have been cleaned and
folded for her. And a shirt to replace hers that got ripped.
She holds up the shirt. “S.G.” in marker on the tag: The same
shirt we saw Teddy’s mom wearing on the kitchen floor.
76 INT. KITCHEN. DAY
The candlelit table. Although it’s afternoon, the windows
have all been blacked out for a proper dinner atmosphere.
Michelle’s right ankle is handcuffed to the chair, which is
nailed to the floor. Don stands nearby with the shotgun.
With Michelle sitting there in Teddy’s Mom’s clothes, it’s
like a bizarre family dinner tableaux.
Teddy stays in his new affect. He’s now in the presence of
royalty, and it pays to be in her good graces.
He dishes up the main course of spaghetti with red sauce.
TEDDY
Hope you like it. My one and only
dish.
MICHELLE
It looks - very nice. Thank you.
TEDDY
You’ll have to excuse me, it’s-- my
best attempt to approximate the
royal treatment to which you are
accustomed.
Michelle looks around at the shitty food, shitty wine, etc.
MICHELLE
Uh-huh? No, it’s - it’s great.
TEDDY
And, I want to apologize. For not
approaching you with the proper
courtesy. Not realizing, of course,
what you were. That you shared
blood with the Emperor himself.
Michelle is not sure how to react. She simply nods. Best to
reap the benefits of this new status Teddy has granted her.
MICHELLE
That’s perfectly all right.
TEDDY
Truth is, we’ll never make progress
here unless we can speak, eyeball
to eyeball, as the most evolved
examples of our respective species.
MICHELLE
I agree.
TEDDY
Good.
MICHELLE
Excellent.
TEDDY
Well. On that note. Enjoy.
They begin to eat in awkward silence. The awful pause in chat
seems to linger for an eternity. It becomes so weird that
Michelle has to fill the dead air.
MICHELLE
It’s a, um-- lovely home.
TEDDY
Thank you.
Another awkward beat of chewing.
MICHELLE
Just you here?
TEDDY
Yes.
MICHELLE
Mm-hm. Always?
TEDDY
Sorry?
MICHELLE
Has it always just been you?
TEDDY
Um, well? I’d prefer we not delve
too deeply into the personal, if
you don’t mind?
MICHELLE
Oh. Sure. That’s fine.
TEDDY
Thank you.
More chewing. Formal and stilted. Michelle grasps for chat.
MICHELLE
So. Why don’t you-- I’d like to
know more about your - movement.
TEDDY
My what?
MICHELLE
Your movement? What you’re doing.
TEDDY
Respectfully, we’re not a movement.
MICHELLE
Oh. All right.
TEDDY
A movement is many people. I did
this all on my own.
MICHELLE
Of course. I see.
Teddy remembers Don somewhere behind him and catches himself.
TEDDY
With my colleague of course.
MICHELLE
Well, it’s very impressive. I’m all
for people who can do that, ya
know, the activism thing.
TEDDY
99.9% of what’s called ‘activism’
is really personal exhibitionism
and brand maintenance in disguise.
MICHELLE
Huh. Okay.
TEDDY
I used to be the same way. I ran
through the whole digestive tract
in five years: Alt-Right, Alt-Lite,
Leftist, Marxist, all the stupid
badges. I went shopping hungry and
bought the whole fucking store.
Michelle nods. So much for not getting into the personal.
TEDDY
But I was just looking in the wrong
places. Until I discovered you.
MICHELLE
Well. Again. I’m impressed.
TEDDY
Thank you.
Michelle takes a chance. She turns to Don and smiles.
MICHELLE
And you as well, Don.
Don is unsure if he should reply.
TEDDY
You’ll have to excuse my colleague.
He prefers not to converse.
They eat silently again. Michelle sees some BEEKEEPER GEAR.
MICHELLE
I see you’re an apiarist.
TEDDY
Of sorts.
MICHELLE
I’ve taken an interest as well.
TEDDY
Mm. So I’ve heard.
MICHELLE
Magnificent creatures. Honeybees.
TEDDY
Yes, indeed. Very much so.
MICHELLE
Earth’s most admirable creation.
Teddy looks up. A brief moment of unexpected connection.
TEDDY
Well, shit. I’ve literally said
those exact words before.
They lock eyes for a moment. Michelle smiles with respect.
Teddy almost reciprocates, then turns back to his plate.
TEDDY
Right, so? What is it you admire
about them?
MICHELLE
Bees? Um, I don’t know?
(thinks)
Complex society... work ethic. They
do their duty and they build their
world without complaint. Or piety.
Or self-obsession.
TEDDY
Uh-huh. All true.
(thinks)
Which is why they’re so easy to
exploit, right?
Michelle smiles. Teddy smiles. A gentle jousting.
ON DON, watching their conversation grow more tense.
MICHELLE
I just admire their resolve, that’s
all. Even in the face of peril.
TEDDY
Well, we can agree on that.
Back in smooth water again. But Teddy can’t help himself:
TEDDY
What sort of peril, by the way?
MICHELLE
Sorry?
TEDDY
You said the bees have faced
‘peril.’ Such as? Go on. It’s fine.
You can say it.
MICHELLE
What am I supposed to say?
TEDDY
Just say it.
MICHELLE
Why don’t you say it.
TEDDY
Colony Collapse Disorder.
Michelle smiles politely. He’s one of those loonies too.
MICHELLE
Sure, Teddy. Like CCD.
TEDDY
You’re a bit of an expert on CCD.
MICHELLE
Well, I wouldn’t say that exactly.
TEDDY
Well, I would say that. Exactly.
Michelle nods. She sees where he’s heading with this.
TEDDY
It’s all right. We’re just talking.
She could let it go. But her CEO spin instincts kick in.
MICHELLE
I take it you’re referring to the
neonicotinoids my company makes.
TEDDY
Hmm. You know what? Let’s leave it.
But she’s already in mid-defense.
MICHELLE
No, I appreciate your concern. But
I think your research is a bit out
of date, Teddy. CCD has declined
significantly in recent years. The
bees are coming back. And there’s
no consensus that pesticides were
ever a real threat to begin with.
TEDDY
Yes, I am well aware of what you’ve
all been telling us.
Michelle smiles patronizingly.
MICHELLE
I know you want there to be a
master plan, Teddy. You want the
bees to be dying so it can be my
fault and you don’t have to think
about the real reasons why species
die: Immunodeficiencies. Changing
habitats. Genetic factors. Or
sometimes a species just... winds
down.
Teddy nods, trying to fortify the levees against his anger.
TEDDY
‘Winds down.’
MICHELLE
Sure. Maybe something clicks in
their heads. And they just know. Or
they intuit. The futility of the
entire enterprise.
(beat. shrugs.)
Who knows, right?
TEDDY
Right. ‘Who knows.’
MICHELLE
That’s right.
TEDDY
Uh huh.
They stare each other down. Like gunfighters at sundown.
TEDDY
We were having a nice dinner.
MICHELLE
We were.
TEDDY
Nice and quiet. Respectful.
MICHELLE
Yes.
TEDDY
But now we’re not.
MICHELLE
No. We’re not.
A nervous Don quietly grips his shotgun.
TEDDY
And why do you suppose that is?
MICHELLE
Well? You tell me.
TEDDY
Because you’re lying to me.
MICHELLE
Your usual conclusion.
TEDDY
You’re murdering the bees.
MICHELLE
I am not.
TEDDY
And now you’re lying again.
MICHELLE
Lies, truth, what’s the difference?
I can’t change your mind.
TEDDY
You’re right, you can’t. Because I
know what you are.
MICHELLE
And I know you too, Teddy.
TEDDY
Bullshit you do.
MICHELLE
I do. And do you know how I know?
TEDDY
Fuck you.
MICHELLE
Sandy Gatz.
Stunned silence from Teddy and Don.
TEDDY
What did you say?
Michelle nods.
MICHELLE
Yes. I remember, Teddy.
Teddy says nothing. He’s silent. Silent for so long, in fact,
that Michelle almost starts to doubt her conclusion.
MICHELLE
That - was your mother, right?
TEDDY
She is my mother.
MICHELLE
Right. Of course. I’m sorry.
TEDDY
And you will never say her name
again.
MICHELLE
Fair enough. But we need to discuss-
TEDDY
No. We do not. Because this is not
about that.
MICHELLE
With all due respect, how could
this not be about that?
Teddy takes a deep breath. Fury rising.
MICHELLE
Teddy. We believed we were helping.
TEDDY
Don’t you dare.
MICHELLE
An opioid withdrawal medication
could have helped your mother and
millions like her, and--
TEDDY
Stop.
MICHELLE
--and the clinical trial pay - that
was, that was helping her too, it
wasn’t a king’s ransom, but--
TEDDY
Stop right now.
MICHELLE
Obviously we didn’t foresee the
complications, for Sandy or the
others--
TEDDY
You do not say her name.
MICHELLE
We believed we paid your family a
proper reparation but now I see it
wasn’t nearly enough. Not by half.
Not by a fraction.
TEDDY
STOP.
Michelle is faltering. She’s losing her tough veneer.
MICHELLE
(becoming emotional)
Look... You’re right to distrust
me. I lost myself somewhere, okay?
TEDDY
Fuck you.
MICHELLE
I became the human being I told
myself I’d never become. I’m not
denying that anymore. But I can
still help you, Teddy. I can still
help your mother.
TEDDY
FUCK. YOU.
MICHELLE
I can help her, Teddy. Truly I can.
Don drops his guard somewhat.
DON
You can?
MICHELLE
You needed a mother, Teddy. She was
never there for you--
TEDDY
FUCKING DIE YOU FUCKER!
Teddy LUNGES across the table at Michelle. As he tackles
Michelle, her chair tips backwards and the nails bust loose.
Teddy and Michelle fall to the ground.
The handcuffs on Michelle’s leg slip free of the chair leg.
Teddy gets on top of Michelle and begins to strangle her.
TEDDY
I’LL FUCKING KILL YOU!!!
Michelle panics for a moment. Don has no idea what to do.
DON
Teddy, no!
Michelle reaches for a fork that fell on the floor and
stabs Teddy’s shoulder with it. Teddy screams and releases
his grip on Michelle’s throat. Michelle violently kicks
Teddy off of her. He falls back.
Michelle scrambles to her feet and assumes a defensive Krav
Maga stance.
Don raises the shotgun with shaky hands.
DON
Stop! Don’t move!
Teddy, even more enraged now, runs right at Michelle.
She evades his tackle and stabs the fork into his back. He
screams again, turns, grabs her by his Mom’s SWEATER COLLAR,
and yanks her violently to the kitchen floor. Michelle drops
the fork and falls to her knees.
Teddy crawls behind Michelle and corrals her into a headlock.
He squeezes with all his might. Michelle’s LEGS flail wildly
as she begins to suffocate.
Michelle jabs Teddy’s Adam’s apple with her fingertips. He
chokes and falls backward.
Michelle retrieves the fork and straddles Teddy. He grabs her
hand to stop her from stabbing him. Michelle pushes down with
the fork teeth as Teddy resists. It inches closer to his eye.
She is stronger. And winning.
Don shakily aims the shotgun at Michelle’s head.
DON
Get off him!
But Michelle ignores Don. She stares right into Teddy’s face.
The fork is barely an inch from Teddy’s EYEBALL.
MICHELLE
You can't beat me.
(clenches teeth)
Because you are a loser. And I am a
winner.
(sharp, tight breaths)
And that's... fucking... life.
Then, suddenly, an ELECTRONIC DOORBELL rings. Everyone stops.
TEDDY
Shit.
MICHELLE
What’s - ?
Don panics and hits Michelle on the head with the shotgun
butt. She staggers to the floor, unconscious.
Teddy scrambles to his feet. He grabs Don.
TEDDY
Downstairs. Now. Don? Look at me.
Do not leave its side. Do not talk
to it. Do not let it make a sound.
Understand? UNDERSTAND?!?
DON
(scared)
Yes, Teddy.
Don shoulders the shotgun and drags Michelle away.
The DOORBELL rings again. Followed by some gentle KNOCKS.
Teddy grabs a coat off a chair and throws it on, covering his
wounds. He starts to head to the front door, but then he
stops. And waits. Maybe whoever it is will just leave?
Then he hears the hollow sound of KNOCKING on glass. He turns
and looks into the LIVING ROOM. Casey has walked over behind
some bushes and is standing at the window. He smiles, waves,
and makes a gesture to Teddy: ‘Can you get the door?’
Teddy smiles, waves back, and gestures: ‘Be right there.’
Casey walks back to the front door.
Teddy frantically takes down the blackout curtains and tries
in vain to clean up the mess from dinner.
Genres:
["Thriller","Drama","Sci-Fi"]
Ratings
Scene
38 -
An Awkward Invitation
77 EXT. FRONT DOOR. CONTINUOUS. DAY
Casey waits for Teddy. He looks around at the sorry state of
the house’s exterior with concern.
The door opens. Casey smiles sheepishly.
CASEY
Hi. How annoying is this?
TEDDY
Nope, what’s up?
CASEY
No, I know. It’s like, ‘Why did I
ever tell this dude he could stop
by?’
TEDDY
It’s fine. Casey. What’s up?
CASEY
Sorry. I actually do have a real
reason to be here though.
TEDDY
Uh-huh?
CASEY
Well, so, we’re all working this
missing persons thing, right?
The slightest twinge of concern from Teddy.
TEDDY
Okay?
CASEY
And, I actually had a few questions
to run by you, actually -- don’t
worry! But, um-- sorry, could I
actually just come in, maybe?
Teddy does a quick calculation in his head. He might have a
bigger problem on his hands if he refuses.
TEDDY
Yeah, no. Sure. Come on in.
CASEY
Ah, dude. I appreciate it.
Teddy opens the door and lets Casey inside the house.
Genres:
["Thriller","Drama"]
Ratings
Scene
39 -
Tense Standoff in the Basement
78 INT. BASEMENT. DAY
Don aims the shotgun at Michelle from a distance as she
wakes.
MICHELLE
Unh-- Christ--
Michele looks around and sees it’s just her and Don.
MICHELLE
... Where is he?
Don doesn’t answer. He won’t even look at her.
MICHELLE
Don?
Don turns his head away so he won’t meet her eyes.
MICHELLE
Don.
He lightly shakes his head, ‘No.’
She knows it’s just the two of them right now. Which is good.
MICHELLE
Don, listen to me. Put down the gun
and listen. I know you’d never hurt
me.
Don is still looking away from her.
Genres:
["Thriller","Drama"]
Ratings
Scene
40 -
Uneasy Reunion
79 INT. TEDDY’S LIVING ROOM. DAY
Casey looks around.
CASEY
We are not alone.
TEDDY
Huh?
Casey gestures to the UFO paraphernalia littering the walls.
CASEY
Nothing. Just, ‘We are not alone.’
TEDDY
Oh. Right. Well. We’re not. Uh, you
want some water, or?
CASEY
Yeah, sure.
Teddy walks to the kitchen. Casey fidgets uncomfortably.
CASEY
Man, I gotta say it’s pretty weird
being in here again. Lotta
feelings.
TEDDY
Uh, yeah. Well, same old shit.
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
41 -
Uneasy Revelations
80 INT. KITCHEN. CONTINUOUS. DAY
Teddy enters the kitchen and sees the MONITOR on the counter
is still on, showing Michelle and Don talking downstairs. He
very quickly SWITCHES OFF the MONITOR on his way to the sink.
CASEY
Scared the floor’s gonna run away?
TEDDY
What?
Casey points to the nails in the floor where the chair was.
TEDDY
(thinks)
Oh. No. Mom, she, uh-- used to have
fits, or whatever, so, we’d nail
the chair down.
Casey nods sadly. Say no more. Teddy hands him a water glass.
CASEY
Thank you kindly.
Casey takes a sip of water. And then he spots something.
CASEY
Uh oh.
TEDDY
What?
CASEY
My arch nemesis.
Casey eyes the FROZEN BOX CAKE thawing on the counter.
TEDDY
So, um? You had some questions, or?
Casey looks like he’d forgotten all about that.
CASEY
Oh, right. Well um, you’re still at
Auxolith, right?
TEDDY
Yeah.
CASEY
Right. So you probably know all
about the Fuller case?
TEDDY
Yeah. I mean? I heard a little.
CASEY
On the news?
TEDDY
I don’t get the news from the news.
CASEY
Oh. Right. Well, I’m just here on a
hunch, really. This missing lady’s
phone pinged a cell tower around
here the night of the abduction.
TEDDY
Oh yeah? Well those things have a
pretty wide radius though, right?
CASEY
Yeah, no, for sure. It’s just that
her car was also snapped by a speed
trap near the intersection down the
road from your hill here?
Teddy plays it cool. He shrugs.
TEDDY
Okay?
CASEY
I know. Long shot, right? But it’s
a sparsely populated area, so, just
thought I’d check in with the local
residents. See if you, or Don, seen
anything peculiar?
TEDDY
Um,? No, like-- ?
CASEY
Well, one thing-- You haven’t seen
this car, have you?
Casey finds a photo of Michelle’s Car on his phone.
TEDDY
No.
CASEY
Uh-huh? Or this woman?
He swipes over to a photo of Michelle.
TEDDY
I mean... she owns my work?
CASEY
But you haven’t seen her in person?
TEDDY
Dude, I scan packages.
CASEY
No, I know. Um. And what about your
neighbors? You heard them say
anything about any - I don’t know -
unusual activity?
TEDDY
I mean? I don’t know them, really?
CASEY
I know. I’m sorry, I’m grasping at
straws here, but--
Casey sighs. He puts his phone away.
CASEY
Look. To be honest? I mainly just
wanted to check in with you. I know
the last thing you want is your
fucked up babysitter from 20 years
ago showing up feeling guilty about
- whatever went down, but? I
sometimes pass by this place and
just have this, fucking, sad, awful
feeling, like, ‘What’s going on in
there?’ Ya know?
Genres:
["Thriller","Drama","Mystery"]
Ratings
Scene
42 -
Tension in the Basement
81 INT. BASEMENT. CONTINUOUS. DAY
Michelle continues to work on Don.
MICHELLE
Thank you, Don.
Don says nothing. He just looks away from her.
MICHELLE
You could have shot me earlier,
upstairs. But you didn’t. The way
you behaved was... honestly?
Heroic.
Don is barely hanging on now.
MICHELLE
And I don’t use that word lightly,
Don. You’ve been the only thing
stopping him from doing... God
knows what to me.
He finally cracks a bit.
DON
I don’t talk to you. That’s how it
is. So just keep quiet.
Michelle smiles sympathetically at Don. Now they’re talking.
MICHELLE
You know this is crazy, though.
Right? You know this is wrong? I
know you know that, Don.
DON
Shut up.
MICHELLE
I’m just saying. There’s a world,
Don. There’s a world where we help
you and your cousin and your aunt.
(MORE)
MICHELLE (CONT’D)
Where reparations are paid, the
page is turned, all of that happens
for you.
Don thinks about this. Then he shakes his head.
DON
No that’s not true. You’re going to
have Teddy and me arrested.
MICHELLE
I wouldn’t. No.
(thinks)
But even if you’re right and Teddy
gets arrested, it’s all different
for you, Don. If you let me go.
DON
No. Shut up. I see what you’re
doing.
MICHELLE
All he does is pull you deeper into
the pit, Don. He never actually
offers you a way out for you. Well,
I can do that. I want to do that
for you, Don.
Don slaps Michelle’s head very lightly with his hand.
DON
I said shut up!
But Michelle isn’t fazed in the slightest by the tiny slap.
MICHELLE
That’s okay, Don. I know you’re
confused. You’re frustrated. No one
in the universe could blame you.
CLOSE ON DON, looking away from her.
Genres:
["Drama","Thriller"]
Ratings
Scene
43 -
Rainy Confessions
82 INT. KITCHEN. DAY
Teddy and Casey share some coconut cake and Yellowtail wine
by the window. It’s started to rain outside.
CASEY
He ever show up again?
Teddy shakes his head.
CASEY
Fuckin asshole. Sorry, I know he’s
your dad and you probably love him.
TEDDY
I literally wouldn’t recognize him.
CASEY
Right.
(gulps some wine, then,
it’s killing him)
Look, Teddy, man, I know it was a
long time ago, what I did to you--
TEDDY
It’s fine --
CASEY
No. It wasn’t fine. It was wrong.
But I swear, it wasn’t cause I
liked it, it was just a weird power
thing, that’s it. I was just young,
and lost. I promise you, dude, I
never ever did that to anyone else--
TEDDY
Forget it. Seriously. It’s done.
Casey nods, troubled. He gulps his wine. Teddy peeks under
his jacket. A bloody mess down there. He covers up again.
They look out the window at the gloomy heartland hillsides
dripping with rain. A misty landscape, bruised and broken.
CASEY
(tearing up)
Thank you.
Teddy nods. But he just wants him out of the house now.
TEDDY
Hey, um, you wanna see my bees?
Casey looks at Teddy. Then he smiles sadly. He pats Teddy,
who silently winces from being patted on his wound.
CASEY
Sure, man.
Genres:
["Drama","Thriller"]
Ratings
Scene
44 -
Loyalty in the Shadows
83 INT. BASEMENT. DAY
Don continues to look away from Michelle.
MICHELLE
Someone’s up there, right? Who’s up
there?
DON
Shut up.
MICHELLE
Is it the police?
DON
I said shut up.
MICHELLE
It is. And they’re going to arrest
your cousin. But it’s not too late
for you, Don.
DON
Please stop.
MICHELLE
If you let me go now, everything
will work out for you. I promise.
Finally, Don looks at Michelle.
DON
No it won’t.
MICHELLE
Don. It will.
DON
There’s nothing else for me here.
Teddy is all I have.
MICHELLE
We’ll find something for you. You
don’t need him.
DON
I do need him. I love him.
MICHELLE
But there’s so much else out there.
DON
No. There’s not. Not here.
MICHELLE
Okay. Then, where? Where do you
want to go, Don? You can go there.
I’ll take you there.
DON
But if you are an alien, you would
help me?
MICHELLE
(cuts him off)
Don, not this again, come on. You
know I’m not an alien.
DON
But if you are, you would take me
with you?
Michelle is confused.
MICHELLE
What - ?
DON
If all this is real, and you did
have a spaceship, you would take me
away from this place?
Michelle just stares at this poor sad soul for a beat. Then
she smiles warmly and nods.
MICHELLE
Of course, Don. Yes. Absolutely.
I’ll take you with me. We’ll leave
Earth. I promise that’s what will
happen, okay?
(then)
If you let me go.
Don looks into her eyes for a long moment. He smiles.
DON
Thanks, but I can’t do it without
him.
MICHELLE
You have to.
Don suddenly looks exhausted.
Genres:
["Drama","Psychological Thriller"]
Ratings
Scene
45 -
Bee Observations and Unspoken Regrets
84 EXT. TEDDY’S HOUSE. DAY
Teddy and Casey walk towards the beehives in apiarist suits.
CASEY
Thanks again for the tipple. Mum’s
the word, eh?
TEDDY
Sure. Sorry I couldn’t help you
find that lady.
(beat)
But hey, here’s this.
He hands Casey a self-published book by some guy named Ron
Gideon called “VISIONS OF ANDROMEDA: EXOPLANETARY TRUTH AND
THE NASA LIE MACHINE.”
TEDDY
This shit helped me a lot.
Casey nods and smiles politely. Poor fucking kid.
CASEY
Very cool. Thank you, dude. So, um,
let’s see these bees.
They both put on the helmets. Teddy takes the lid off of one
of the beehives.
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
46 -
Descent into Despair
85 INT. BASEMENT. DAY
Michelle pleads insistently with a near catatonic Don.
MICHELLE
Please. We’re running out of time.
The police will bust in here soon
and I can’t help you then.
Don can barely keep his eyes open now. He nods.
DON
Okay. I’m ready to leave now.
(beat)
Tell him I’m sorry, okay? Tell him
I love him.
Michelle nods.
MICHELLE
I will.
Don smiles, puts the barrel of the shotgun under his chin.
There is a blast. Blood and brain matter spray onto Michelle.
86 EXT. TEDDY’S HOUSE - BEEHIVES. DAY
Teddy and Casey both hear the unmistakable sound of a SHOTGUN
BLAST coming from the house.
Casey whips his head around.
CASEY
What the hell - ?
87 INT. BASEMENT. DAY
Michelle is in shock. Some blood is splattered on her face.
MICHELLE
Jesus fucking Christ!
Don’s dead body lies on the floor, oozing blood.
Genres:
["Drama","Thriller"]
Ratings
Scene
47 -
Descent into Chaos
88 EXT. TEDDY’S HOUSE - BEEHIVES. DAY
Casey turns to face Teddy again, Teddy swiftly take off
Casey’s helmet and smashes a HEAVY HIVE TRAY filled with bees
and nectar on his face. He falls to the ground.
CASEY
Gah! FUCK!
Teddy kicks over one of the bee hives. Hundreds of angry bees
fly everywhere, swarming Casey.
The bees collect like a second skin to Casey’s face and crawl
down his throat, choking him.
Teddy grabs a shovel leaning against a big tool box. He walks
purposefully over to Casey and beats him to death with the
shovel as a cloud of bees swirls around them.
Teddy then drops the shovel and crawls to the toppled bee
hive. He tries his best to set it right again, crying.
TEDDY
I’m so sorry... I’m so fucking
sorry, you guys...
89 INT. BASEMENT. DAY
Michelle hears Teddy racing down the stairs and unlocking the
basement door.
TEDDY
(entering the room)
Don! Don, you didn’t kill it did
you?!?
Teddy enters with the shovel and sees Michelle alive.
Then he sees Don’s corpse, the shotgun by his side.
TEDDY
Oh, no... Oh Jesus, no...
MICHELLE
Teddy, listen to me--
Teddy runs to Don’s body, trying pathetically to revive him.
TEDDY
(panicking)
What the hell did you do to him?
MICHELLE
Nothing! He, he did it to himself!
Teddy cradles Don in his arms, weeping.
TEDDY
Oh, God... Don, no no no no --
MICHELLE
I swear to you he did this to
himself - he, he thought the police
were coming and - he just freaked
out and, and he panicked, and--
Teddy, with tears in his eyes, slowly looks up at Michelle
with a terrifying malicious expression.
MICHELLE
Please believe me, I - look, I’m
chained to the wall, how could I
have - ?
TEDDY
What did you say to him?
MICHELLE
(hesitates)
Nothing, I just--
TEDDY
What fucking filth did you fill his
sad brain with you demon from hell?
MICHELLE
He was under extreme pressure,
Teddy. He just, he cracked--
TEDDY
And you cracked him, didn’t you?
You poisoned his heart with lies
and bullshit until his whole
fucking world collapsed, DIDN’T
YOU?!?
MICHELLE
He did all of this for you, you
fucking maniac, because you fed him
a FUCKING FAIRY TALE!
For an awful moment, Teddy considers the grim possibility
that what she’s saying might be completely true. But he
shakes it off, grabs the bat, and walks to Michelle.
MICHELLE
Teddy, no. No, no, don’t kill me!
TEDDY
I can’t kill you yet. But you’re
going to wish I had.
Teddy lifts shovel above his head, but Michelle screams out:
MICHELLE
Wait, WAIT! There’s a cure for your
mom!
Teddy hesitates. Then he lifts shovel again.
MICHELLE
No, no! It’s true! There’s a cure!
You can save her!
Teddy hesitates again.
TEDDY
What are you saying? WHAT ARE YOU
SAYING?!?
Michelle’s brain races.
MICHELLE
Your mother, there’s - inside of
her, a big change is taking place.
A total rearranging of her genetic
code. Your mom was the first, the
first... sample! It’s a very
important, Andromedan experiment.
It takes four to five years. If it
succeeds, she’ll wake up!
Teddy takes this in, breathing heavily, the shovel still
poised above his head.
TEDDY
And what if it doesn’t succeed?
MICHELLE
She’ll die. But if we chemically
terminate the experiment, she’ll,
she’ll wake up. She’ll wake up!
TEDDY
How? How do we do that?
Michelle thinks fast.
MICHELLE
Listen... My car. You have my car?
TEDDY
Yes.
MICHELLE
In my car... in the trunk. In the
back! There’s a bottle, right? It
says, it says... it’s a yellow jug,
okay? And it says, ‘mono ethylene
glycol.’ Antifreeze.
(then, quickly)
(MORE)
MICHELLE (CONT’D)
But forget the label, it’s not
antifreeze. It’s the cure. I keep
it in the antifreeze jug in my car
for, for safety. To hide it.
Teddy fidgets. It sounds... risky. He grips the shovel.
MICHELLE
No no no!
TEDDY
If - if - if this experiment is so
important, why would you allow me
to cancel it?
MICHELLE
There are multiple experiments
happening all around the world.
Your mom is one of dozens.
(beat)
Just... trust me. You can keep me
chained up down here. I’ll have no
way of escaping. Why would I lie?
Teddy considers all of this. And then he nods and suddenly
swings shovel down on Michelle’s knee, almost breaking it.
MICHELLE
FAAUUGH!
TEDDY
That’s for Don, you fucking virus.
Teddy drops shovel, picks up the shotgun, and runs out.
90 EXT. WOODED AREA. DAY
Teddy finds Michelle’s Car hidden under the brambles.
He digs through the cluttered trunk, and finds the antifreeze
jug behind a bag of golf clubs.
He stuffs the jug in his backpack and gets on his bike.
91 INT. BASEMENT. DAY
Michelle is still chained to the wall with a messed up leg.
She is all alone now.
Don’s body still lies on the floor, just out of her reach.
Michelle gets down on the ground and tries to reach as far as
the wall restraints will allow her. But Don’s FOOT is still
an inch or two from her grasp.
92 EXT. STREET. DAY
Teddy peddles his bike furiously down the street.
Genres:
["Drama","Thriller","Psychological"]
Ratings
Scene
48 -
Desperate Escape
93 INT. BASEMENT. DAY
Straining with all of her might, Michelle barely grasps the
end of a SHOELACE on Don’s shoe between two fingertips. She
carefully pulls Don’s shoelace down. It unties. Now she has
enough length of lace to fully grasp in her hand.
She tugs on the lace. Don’s bent leg straightens, arcing his
foot into Michelle’s grasp. Michelle grabs Don’s foot and
pulls his body towards her.
Once she’s pulled Don close enough, Michelle rifles through
his pocket and finds the KEYS to her restraint bracelets.
She unlocks her wrists and ankles.
94 EXT. LONG TERM CARE FACILITY. DAY
Teddy pulls his bike into the parking lot of a building with
a sign marked “Evergreen Extended Care Community” and rushes
inside.
95 INT. LONG TERM CARE FACILITY. DAY
Teddy approaches Sandy’s room and slips inside.
96 INT. BASEMENT. DAY
Michelle, hobbled on one foot, heaves herself against the
locked reinforced door that leads upstairs. It’s clear she
has been heaving for quite some time, painfully.
But it’s no use. She truly is trapped down here.
She collapses to the ground, out of breath, wincing.
Michelle’s finds a couple of elements lying around and
manages to make a DYI splint to support her leg.
As she catches her breath, she turns her head and sees the
room from an angle she’s never seen before.
She sees a bookcase against the wall, filled with tomes on
political science, ecology, and the paranormal. Behind the
bookcase you can just make out the edge of what appears to be
a HINGE.
There’s a DOOR behind there...
Genres:
["Thriller","Drama"]
Ratings
Scene
49 -
Desperate Measures
97 INT. LONG TERM CARE FACILITY - SANDY’S ROOM. DAY
Teddy has shut the door to his Mom’s room.
He rushes over to her side. He gazes into her comatose,
expressionless face. He touches her cheek with his hand.
98 INT. BASEMENT. DAY
Michelle has shoved the bookcase out of the way.
She pulls on a makeshift handle and a door opens into...
99 INT. TEDDY’S RESEARCH ROOM. DAY
Michelle enters a long, narrow room packed with all manner of
‘medical research’: books, files, instruments, and, samples.
Most ominously, Michelle sees on one tall stack of shelves a
series of SPECIMENS IN JARS: human hands, eyes, and various
organs preserved in histidine tryptophan ketoglutarate.
What has he been doing down here?
100 INT. LONG TERM CARE FACILITY - SANDY’S ROOM. DAY
He frantically fiddles with her IV drip bag.
He unscrews the antifreeze jug cap.
101 INT. TEDDY’S RESEARCH ROOM. DAY
At the end of the room is Teddy’s workstation. There are some
traces of what appear to be dried blood in various spots.
On a SHELF above the workstation are a series of black
binders numbered 1 through 10.
Michelle pulls the binder marked ‘1’ off the shelf. She opens
it and sees a photo of a man chained to the wall with a
shaved head and cream smeared all over his face.
Beyond the photo are pages and pages of NOTES as well as
PHOTOS of autopsies and anatomical DRAWINGS.
102 INT. LONG TERM CARE FACILITY - SANDY’S ROOM. DAY
The antifreeze feeds into the tube leading to Sandy’s arm.
Teddy anxiously waits and watches his mother for any sign of
revival, any movement at all.
TEDDY
C’mon. Wake up.
Genres:
["Drama","Thriller","Mystery"]
Ratings
Scene
50 -
Signs of Hope
103 INT. BEDROOM. YEARS AGO. DAY B+W
Sandy is frantically wrapping young Teddy in silver space
blankets. Her fingers are needles. Needles may also dangle
from her brittle, unkempt hair.
SANDY
These’ll protect you.
YOUNG TEDDY
How - ?
SANDY
They won’t see you.
YOUNG TEDDY
I’m scared...
SANDY
Hey. Listen to me, baby. You
listenin?
YOUNG TEDDY
Uh huh?
SANDY
These people ain’t human.
104 INT. LONG TERM CARE FACILITY - SANDY’S ROOM. DAY
After a long beat, he sees something: a TWITCH in her finger.
Did he imagine it?
Teddy watches his mother’s finger. Another twitch. Two
fingers, three fingers.
Then an entire hand. Teddy’s face lights up.
105 INT. BEDROOM. YEARS AGO. DAY B+W
Teddy is now fully encased in silver space blankets. Sandy
jams the nozzle head of a hand pump into the bundled silver
package of Teddy. She starts furiously pumping the foot pump.
SANDY
You think you’re talkin to a
person, but no - no, no - they’re
just - antenna heads - breaking us
down. See I been watchin them-- you
hear me?
The silver blankets inflate around Teddy’s body in one piece
like a giant mylar balloon.
SANDY
We don’t have much time. Look to
the sky. Look for the signs. It’s a
lie. Ok? S’not real - but you have
to see. You have to. Promise me?
Genres:
["Sci-Fi","Psychological Thriller"]
Ratings
Scene
51 -
Desperate Promises
106 INT. LONG TERM CARE FACILITY - SANDY’S ROOM. DAY
Teddy is full of hope. Desperate hope.
TEDDY
Mom - mom, mom - wake up - it’s me!
But then the twitches turn into convulsions. Uncontrollable
tremors pulsating across Sandy’s entire body.
Teddy’s face turns ashen. He tries in vain to control his
mother’s convulsions.
107 INT. BEDROOM. YEARS AGO. DAY B+W
Sandy begins to pump the foot pump IN REVERSE and all the air
begins to suck out of the silver balloon until the material
encases poor Teddy’s body in air-tight silver shrink-wrap.
SANDY
Promise me, Teddy! Promise me!
The silver material is shrink-wrapped tight over Teddy’s
face, suffocating his mouth. But he moves his jaw and forms
the words as best he can:
TEDDY
I promise...
(suddenly relieved)
Oh god. Thank you... thank you...
108 INT. LONG TERM CARE FACILITY - SANDY’S ROOM. DAY
We hear the sustained BEEP of Sandy’s heart monitor flat-
lining. Teddy grabs her face and hands and watches the life
leave her body forever. He cries and kisses her hands.
Some NOISES from the hallway. Panicking, Teddy grabs his bag,
opens the window to her room, and climbs out.
109 EXT. LONG TERM CARE FACILITY. DAY
Teddy runs from the facility, tears in his eyes.
About a hundred feet out, he turns and looks back at her
room. NURSES have rushed to her side, trying pathetically to
figure out what could be wrong with her, what could be
killing her.
Teddy watches with a look of bottomless sadness. As we PULL
CLOSE, his sadness slowly morphs into blind rage.
Genres:
["Drama","Psychological Thriller"]
Ratings
Scene
52 -
Confrontation of Truth
110 INT. TEDDY’S RESEARCH ROOM. DAY
Michelle looks around the room. All of Teddy’s research. All
of his hope and delusion and pain and anger. His endless,
violent, pitiful search for an answer to the unanswerable.
Michelle takes it all in. And she nods. It seems there’s only
one way out of here. She knows what must be done.
111 EXT. STREET. DAY
Teddy bikes home with furious tears in his eyes.
112 EXT. TEDDY’S HOUSE. DAY
Teddy leaps off his bike and runs into the house.
113 INT. KITCHEN. DAY
Teddy runs into the kitchen and grabs the shotgun he’s left
leaning on the table.
He runs downstairs, making wild, savage noises.
114 INT. BASEMENT. DAY
Teddy enters and sees Michelle standing in the middle of the
room. But it is not the same restrained, subdued Michelle he
has seen before. No, this Michelle is standing tall and
proud, with no chains to contain her. And she is staring at
Teddy with a look of supreme, otherworldly authority.
He raises his shotgun unsteadily.
TEDDY
(shaking)
You fucking monster...
MICHELLE
How many were Andromedans?
TEDDY
You lied to me... you..
Michelle puffs her chest and roars.
MICHELLE
HOW MANY WERE ANDROMEDANS?
Teddy turns and sees his hidden research room has been
discovered. He lifts his shotgun again.
He breathes heavily, realizing the full horror of his actions
has been discovered.
TEDDY
Two...
MICHELLE
Two.
Michelle takes a step forward, with complete confidence that
she will not be shot.
MICHELLE
You miserable fucking idiot. Do you
know what you’ve done?
TEDDY
You... you killed her...
MICHELLE
QUIET. Listen to me. And I will
tell you why it is that I resemble
a human.
Teddy is suddenly awed into silence.
Michelle summons all of her powers of rhetoric and persuasion
for this moment. The pitch of her life. The Greatest Story
Ever Sold. And all the basement’s her stage.
MICHELLE
Our 75th emperor first discovered
the Earth. This planet was ruled by
dinosaurs, magnificent creatures
with a complex but stable
ecosystem. But we inadvertently
spread a fatal virus to the planet.
Our emperor was struck with guilt,
watching Earth’s creatures perish.
So he gave new life to this planet.
Life resembling us. The early test
humans could barely stand. But soon
they walked...
She walks slowly toward Teddy. He inches back slowly.
MICHELLE
...and began to reproduce. A
civilization was born in harmony
with nature. Atlantis. We were
worshipped as gods. But some humans
wished to surpass us.
(MORE)
MICHELLE (CONT’D)
They began to create their own,
stronger lab-grown humans. But the
new humans were more aggressive. A
conflict began that finally ended
in a thermonuclear war. In the
war’s wake, all of humanity was
extinguished, save for a select
few, who built an ark that traveled
the oceans for a century. Finally,
when it was safe to resurface on
dry land, the leaders of the ark
died, and only a few mutant
specimens of degraded semi-humans
survived: the apes.
She gestures to DON’S BODY on the ground.
MICHELLE
Evolution resumed, but towards
chaos. The newly evolved human
beings — YOUR current ancestors —
fought amongst themselves in an
endless cycle of war, genocide and
ecological destruction.
She steps again toward Teddy and eyes him accusatorially.
MICHELLE
They brutalized Earth. Ruined her
waters. Ravaged her climate.
Poisoned themselves with drugs and
technology. And even when presented
with irrefutable evidence of their
own self-destruction, the humans
continued unabated.
Tears well in Michelle’s eyes.
MICHELLE
Even I myself became more human -
more selfish and cruel - the longer
I stayed here amongst your kind.
But humans can’t help the way they
are.
She points her finger sharply at Teddy.
MICHELLE
It’s in your genes. The genes your
ancestors implanted to strengthen
themselves. It gets reproduced in
your bodies and grows stronger.
She holds her hand to heart with sincerity and conviction.
MICHELLE
We Andromedans are here to
eliminate that suicidal gene.
(MORE)
MICHELLE (CONT’D)
To save humanity, yes. But also to
save Earth from you and your kind.
Michelle stands resolute after her bravura performance.
A confused Teddy points the shotgun at Michelle. He is in
disbelief. It can’t be true.
TEDDY
No. You came here to kill us-- ?
MICHELLE
Wrong, Teddy. Yes, some of us would
have preferred to simply terminate
your species. But the emperor
believed there was still hope.
Hence the experiments. The
experiments your mother was a part
of. She was chosen because she was
weak. Because she was broken. If we
could correct her, then perhaps all
humans could be corrected as well.
Teddy trembles with excitement... and then rage.
TEDDY
But you killed her. You killed her!
MICHELLE
You killed her. I figured you’d be
apprehended feeding antifreeze to a
coma patient. And then I’d be
freed, so I could return to my
work. But you actually got away
with it, you sick ape.
Teddy lifts the shotgun again.
TEDDY
Fuck you!
MICHELLE
Listen to me: There are other test
subjects. Who are showing progress.
TEDDY
No --
MICHELLE
We must show the emperor the truth.
Tomorrow. During the lunar eclipse.
Teddy is drained. But he sees a ray of hope in her offer.
MICHELLE
You may hate me. You may want me
dead. And I don’t blame you.
(MORE)
MICHELLE (CONT’D)
But I have the information you need
to save Earth. And you know I do.
TEDDY
(wearily)
Fucking... demon...
MICHELLE
This is our destiny, Teddy Gatz...
yours and mine. And the hour is
almost upon us.
Teddy can no longer resist. He sees she is offering the only
chance of completing his mission.
He lowers the shotgun.
Genres:
["Science Fiction","Drama","Thriller"]
Ratings
Scene
53 -
Suspicious Return
115 EXT. SPACE
The Earth.
LOWER THIRD TITLE:
THE NIGHT OF THE LUNAR ECLIPSE
116 EXT. AUXOLITH BIOMEDICAL HEADQUARTERS - FRONT GATE. DAY
A SECURITY GUARD works the gate booth.
Michelle’s Car pulls up. The window rolls down a crack and
the guard is stunned to see the driver is... Michelle Fuller.
She’s wearing her dirtied suit, and what appears to be a not
very convincing wig affixed to her head.
SECURITY GUARD
Jesus-- Miss... Fuller?
MICHELLE
Hi, Ricky. Yes, I’m back. How are
you? Could you buzz me through?
SECURITY GUARD
But - so, wait... you’re all right?
You’re, you’re - back?
MICHELLE
Everything’s fine, Ricky. It’s all
sorted out. I’m back. Could you
buzz me through, please?
The security guard, in a daze, buzzes her through.
MICHELLE
Thank you, Ricky.
Michelle drives through the gate.
Once she passes, the guard reaches for his phone.
Genres:
["Thriller","Sci-Fi","Drama"]
Ratings
Scene
54 -
Deceptive Entrance
117 INT. MICHELLE’S CAR. DAY.
Michelle exhales.
We see that Teddy is hiding under a blanket in the back seat
with the shotgun trained on Michelle.
TEDDY
Park in your usual spot.
Teddy sits up and peeks into the trunk. We see Don’s dead
body is sitting back there, his torso wrapped in a blanket.
TEDDY
Don’t worry, Don. You’re coming
with me. I’m taking you with me.
Teddy smiles sadly but reassuringly at his cousin’s corpse.
118 INT. AUXOLITH HEADQUARTERS - FRONT ENTRANCE. DAY
Michelle’s Car pulls up.
Tony the valet approaches the car, confused.
Teddy gets out first. He’s wearing a long overcoat and
carrying a pair of crutches. He opens the door for Michelle
and hands her the crutches.
Michelle crutches toward the valet and hands him the keys.
MICHELLE
Hi, Tony. Here you go. Have a good
night.
The valet just stares at her, stunned.
119 INT. AUXOLITH HEADQUARTERS. DAY
Teddy and Michelle enter the building.
Genres:
["Drama","Thriller"]
Ratings
Scene
55 -
A Tense Return
120 INT. AUXOLITH HEADQUARTERS - ELEVATOR. DAY
On the ride up, Teddy grips the SHOTGUN hidden in his
overcoat.
121 INT. AUXOLITH HEADQUARTERS - EXECUTIVE FLOOR. DAY
DING! The elevator door opens. Teddy and Michelle get out.
Michelle crutches past stunned COLLEAGUES. One WOMAN screams
and covers her mouth. Others just stare in disbelief.
Michelle smiles nervously and nods at them.
MICHELLE
Everything’s good, uh, folks. Good
— good to be back.
She looks at her watch and smiles.
MICHELLE
Well, it’s 5:35. Don’t forget if
some of you need to head home,
that’s uh, you know, fine!
Teddy trails behind Michelle, still concealing the shotgun.
When Michelle reaches her office door, she turns to Corey.
MICHELLE
Hi, Corey.
COREY
Michelle - ?
MICHELLE
I have important work to do, so uh,
no disturbances, okay? Thanks.
COREY
Okay?
Michelle smiles and enters her office with Teddy.
Genres:
["Thriller","Drama"]
Ratings
Scene
56 -
Betrayal in the Office
122 INT. MICHELLE’S OFFICE. DAY
Michelle crutches in and Teddy shuts the door behind them. He
locks the door and pushes a couch in front of it, then pulls
the blinds closed.
TEDDY
Okay. So he meets us here then, or?
MICHELLE
No. We make remote contact with the
emperor here, then they beam us up.
TEDDY
Beam?
MICHELLE
Or, you know, transport.
TEDDY
Okay.
MICHELLE
Sometimes it takes a few minutes to
get the link up and working, but?
TEDDY
Uh-huh? And... How exactly do we
make the link?
Michelle thinks and then crutches toward her desk.
MICHELLE
Look, it’s going to sound crazy.
She sits at her desk, opens a drawer, and pulls out a
calculator.
MICHELLE
I punch a code in here, and it
initiates a link with the ship.
Teddy looks at the calculator, then back at Michelle.
TEDDY
On... a calculator?
MICHELLE
(shrugs)
I know. It had to look banal.
Human. Something totally
inconspicuous.
TEDDY
Okay - ?
MICHELLE
It’s a 58-digit code. I have it
memorized, but, I haven’t had to
type it out in a while, so?
Michelle begins to carefully type digits into the calculator.
Teddy just stares at her, a bit incredulous.
TEDDY
So - is this - this is really how
it works?
MICHELLE
It’s easier if we don’t talk.
TEDDY
Okay.
MICHELLE
Sorry, it’s just a whole trick I do
in my head - like a memory thing,
for - remembering.
TEDDY
Okay.
She pauses and ‘concentrates.’ She types a few fragments:
‘9957075379965’ As she slowly types symbols, Teddy fidgets.
Michelle glances at the SHOTEL SWORD on the wall.
TEDDY
Why is it so long?
MICHELLE
Just a few more, just - shh, while
I think...
TEDDY
Sorry.
Finally she’s stalled herself enough time to think as she
can. She stands.
MICHELLE
Okay, so. Yeah. We should be almost
ready here. I just have to press
‘Enter,’ mainly. Are you ready?
TEDDY
Yes. I’m ready. Fuck, wait-- my air
tank, I’ll need oxygen...
MICHELLE
There will be oxygen, Teddy.
TEDDY
Okay - and what about Don?
MICHELLE
We’ll pick up Don. Don’t worry.
He’s coming with. We may - we may
even be able to revive him.
Teddy nods. That’s good news. But he’s very nervous.
TEDDY
Right. So. It’s happening. Shit.
No, I’m ready. I’m ready. Um? You
should know, I’ve prepared for all
eventualities?
MICHELLE
Uh huh? Prepared how?
Teddy opens his coat. An EXPLOSIVE is strapped to his chest.
MICHELLE
Oh, Teddy, no--
TEDDY
I can’t take the chance that you’ll
kill me straight away. I can’t.
Michelle is very nervous. But she nods understandingly.
MICHELLE
That was smart of you, Teddy. The
Emperor will admire your
intelligence. You are a credit to
your species. Truly.
Teddy, in his nervous state, is almost moved by her tribute.
TEDDY
Well, um. I’m just trying to help.
MICHELLE
I know, Teddy. I know you are.
(then)
Now, that closet there is a
teleporter. What’s going to happen
is you’re going to enter that
closet and close the door. I’ll
count to three and press enter.
We’ll have to go one at a time so
that our bodies don’t reconstitute
together during teleportation. Do
you understand?
TEDDY
Uh huh, I think so?
Michelle edges toward the door.
MICHELLE
Here. I’ll go first.
TEDDY
(waves her away)
No, no, no. I don’t want you to
escape and leave me here. I’ll go
first.
MICHELLE
(hesitantly)
Okay. Fine.
Teddy carefully walks toward the closet, cautiously. Before
stepping in, he takes one last look back at Michelle.
MICHELLE
Ready?
TEDDY
I’m ready. I’ll see you up there.
Teddy steps into the closet and closes the door.
As soon as the closet door closes, Michelle begins to quietly
inch towards her office door. Dials in the last digit on the
calculator.
MICHELLE
Three... two... one...
Michelle steps backwards towards the door.
MICHELLE
(screams)
He’s got a bo--
123 INT. AUXOLITH HEADQUARTERS - EXECUTIVE FLOOR. DAY
Her staff have evacuated and various POLICE and SWAT OFFICERS
have gathered, preparing for the possibility of breaching the
door.
123A INT. MICHELLE’S OFFICE. DAY
A small but very loud and powerful EXPLOSION. The closet is
armored but the door bursts open and we get a glimpse of
Teddy being cut in half from the explosion. The metal handle
of the door flies away during the explosion and hits Michelle
on the head. She drops unconscious to the ground. The cheap
wig falls off, revealing her bald head. The CALCULATOR falls
and slides across the floor.
The officers take who had taken cover from the blast swarm
toward Michelle on the ground.
Her eyes flutter...
BLACK
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
57 -
Twilight Aftermath
124 EXT. AUXOLITH HEADQUARTERS - PARKING LOT. TWILIGHT
A half-eclipsed MOON hangs in the sky.
A crime scene CLEAN-UP CREW works as the SWAT TEAM packs up.
Evacuated Auxolith EMPLOYEES mill behind yellow police tape.
Michelle is on a stretcher. Her broken foot is in a brace.
She’s woozy, barely there, but unharmed by the explosion.
Some Auxolith employees call out to Michelle, wishing her
well. A dazed Michelle raises a thumbs-up and calls out to
them:
MICHELLE
(feebly)
Let’s kick... impossible’s ass!
Her pet slogan is met with a few halfhearted cheers.
Michelle’s stretcher is loaded into the back of an ambulance.
An EMT and a DETECTIVE accompany her inside.
125 INT. AMBULANCE. NIGHT
The ambulance drives. Michelle fidgets a little and the EMT
puts a hand on her.
EMT
Just try and settle for a bit.
Michelle’s still in shock, but starting to get her wits back.
The detective smiles at her reassuringly.
DETECTIVE
You’re going to be fine.
MICHELLE
(forlorn)
Yes. I know.
DETECTIVE
I mean, obviously the shock of it
all is... but you can get plenty of
help for that kind of thing.
Michelle nods. She stares off with a haunted look.
DETECTIVE
Lots of questions of course, and
answers, to come, but? We can delve
into all of that tomorrow, yeah?
Michelle nods again. But there is something troubling her.
126 INT. AMBULANCE. NIGHT
The ambulance pulls to a stop at a red light.
Genres:
["Thriller","Drama"]
Ratings
Scene
58 -
Chaos in the Night
127 INT. AMBULANCE. NIGHT
Michelle turns to the detective.
MICHELLE
So - he’s dead then?
The detective turns to Michelle. He tries to phrase this
gently, not knowing exactly where her head is at.
DETECTIVE
Well-- yes. Yes, he... passed away.
Michelle nods and looks away. She looks genuinely mournful.
DETECTIVE
Must have reacted to his body heat,
or friction. Happens a lot with
homemade explosives.
(sees her sadness)
Look. I know this sounds cold, but
that’s how the world is sometimes,
and guys like him are... well,
they’re ultimately just too crazy
to be alive. Is how I see it.
Michelle looks at the detective. The detective smiles.
DETECTIVE
Anyway, we can get into that later,
I don’t want you feeling like--
A sharp, rattled EXHALE of air from the detective’s mouth.
The muscles in his face relax and drop as he falls to floor.
Michelle stares in shock.
The EMT turns and looks at her, puzzled.
Suddenly, another sickening EXHALE from the EMT. Like a pig
lung being squeezed out on a butcher’s block. He falls dead.
A loud sound of metal and glass. The ambulance has crashed.
Michelle is violently shaken still tied on the stretcher.
From the driver’s seat, we hear the unmistakable sustained
HONK of a body landing on a horn.
Michelle frantically pulls herself from the stretcher and
bursts out of the ambulance.
128 EXT. ROAD. NIGHT
Michelle tears her CAST off and clambers from the ambulance.
The light has turned green. Cars HONK at the ambulance to go.
Michelle tears through traffic across the highway. She is
looking around, searching. She looks up and sees what appears
to be LIGHTNING flashing dimly in a cloud.
She continues running until she reaches...
Genres:
["Thriller","Sci-Fi","Drama"]
Ratings
Scene
59 -
The Transformation
129 EXT. AUXOLITH BIOMEDICAL HEADQUARTERS. NIGHT
She makes her way back onto Auxolith property with her
security badge. We see there are still police and fire
vehicles around but she avoids them and finds her way to:
130 INT. AUXOLITH HEADQUARTERS - BACK ENTRANCE. NIGHT
Through a back entrance, Michelle makes her way up a quiet
staircase. She uses her card to head up to:
131 INT. AUXOLITH HEADQUARTERS - EXECUTIVE FLOOR. NIGHT
A number of POLICE and FIRE OFFICERS are dotted around the
crime scene area.
Michelle quickly and quietly makes her way to her office.
A YOUNG DETECTIVE is surprised to see her approaching.
YOUNG DETECTIVE MICHELLE
Whoa, sorry- you’re not, uh-- I just forgot something,
sorry, sorry--
She hustles over behind her office couch, bends down, and
grabs the CALCULATOR she dropped. The digits she punched in
are still on the SCREEN.
She starts to head toward the closet with the calculator.
YOUNG DETECTIVE MICHELLE
Hey, hey, no, can’t go in Sorry, just one sec, one sec--
there--
The detective tries to stop her from heading in but Michelle
throws his arm off of her. She quickly darts into her office,
where FIRE OFFICERS are cleaning up, startled to see her.
YOUNG DETECTIVE
HEY! HEY!
A few other try to corral her but she makes a beeline for the
bloodied closet, enters, press a button on the calculator,
twists and folds inward into the closet wall and...
132 INT. ROOM. NIGHT
... writhes on the floor of a gelatinous room. Two MEN enter
with a translucent sheet and cover her shaking body.
Michelle coughs and wretches violently as if readjusting to a
new atmosphere.
Genres:
["Thriller","Sci-Fi","Drama"]
Ratings
Scene
60 -
The Final Decision
133 INT. IMPERIAL THRONE ROOM. DAY
Some time has passed. Perhaps a day.
Michelle has gathered with the ANDROMEDAN ROYAL COURT and
various AIDES in a throne room. We might glimpse the vastness
of space somewhere behind them.
A ROYAL AIDE speaks to Michelle in a strange SUBTITLED
dialect, like no human voice you’ve ever heard.
ROYAL AIDE
(subtitled)
Emperor. We believed contact would
be made if help was required.
MICHELLE/EMPEROR
We could not contact you without
hair.
ROYAL AIDE
(subtitled)
Yes, we know. We feel remorse.
MICHELLE/EMPEROR
(subtitled)
We all feel remorse.
They are in agreement.
MICHELLE/EMPEROR
Inform us of the experiments on the
human subjects.
Her aides look at her with downcast faces.
ROYAL AIDE
The experiments have nearly all
failed. There are only two human
subjects remaining. It would take
some time to finish this work, and
there is no likelihood of success.
Because of who they are.
Michelle nods and looks away.
ROYAL AIDE
A decision needs to be made.
Michelle gazes out the window at the cosmos. Somewhere out
there is Earth. And its seven and a half billion humans.
She takes a breath..
MICHELLE/EMPEROR
We believe it is over.
Her aides acknowledge the truth wordlessly.
MICHELLE/EMPEROR
We believe they have had time. And
in their time they have imperiled
the life they share. And so we have
decided their time will end.
A difficult decision.
One by one, the AIDES leave. Michelle, the Fuller Humanoid,
the great and wise Andromedan Emperor, is alone. She must pay
for the mistakes of ancestors.
A CUBE appears before her. The Emperor stares at the cube.
The Emperor slowly lifts her hand and opens the box to reveal
a SQUARE. The Emperor reaches out her finger, hesitantly, and
touches the square.
A SERIES OF SHOTS ON EARTH:
133A EXT. STREET. DAY
A street full of PEOPLE lie dead on the ground.
133B INT. BRITISH SCHOOL CLASSROOM. DAY
A British school classroom full of CHILDREN, all dead.
133C INT. KOREAN SCHOOL CLASSROOM. DAY
A Korean school classroom full of CHILDREN, all dead.
133D INT. AIRPORT. DAY
A long moving walkway at an airport piling up at the end with
DEAD BODIES.
133E EXT. ACROPOLIS OF ATHENS. DAY
CONSTRUCTION WORKERS dead at the Acropolis in Athens.
133F INT. CATHEDRAL. DAY
A small Russian wedding in a cathedral, EVERYBODY dead.
133G INT. NIGHTCLUB. NIGHT
A techno party with a loud bass note repeating itself and
slow strobe lights flickering. EVERYBODY is dead. A smoke
machine blows some smoke into nothingness
133H INT. SMITHFIELD MEAT MARKET. DAY
Smithfield meat market. Dead humans amidst hanging meat.
133I INT. MUSEUM. DAY
An entire FAMILY lays dead with melting ice cream in the
kids’ hands during a day out at a Museum.
133J INT/EXT. BUILDING SITE. DAY
BUSINESS MEN in ties and suits lay dead in the middle of
opening a new building site.
133K EXT. AMAZON RAINFOREST. DAY
An INDIGENOUS MAN dead on the Amazon.
133L EXT. LANDFILL IN INDIA. DAY
CHILDREN collecting rubbish from a landfill in India lay dead
on a rubbish pile.
133M INT. HOTEL GRANDE BRETAGNE, ATHENS. DAY
A RICH MAN dead in the bath of the Royal Suite in the Hotel
Grande Bretagne, Athens.
133N INT. AA MEETING ROOM. DAY
A circle of ALCOHOLICS dead in their chairs at an AA meeting.
133O INT. TOY FACTORY, CHINA. DAY
Chinese FACTORY WORKERS in matching uniforms amongst huge
piles of stuffed toys lay dead mid-work.
133P EXT. CEMETERY. DAY
A YOUNG WOMAN lays dead with a bouquet of flowers in her hand
next to a gravestone.
133Q INT. BEDROOM. DAY
TWO TEENAGERS who had been having sex, now dead in each
other’s arms.
133R EXT. FREEWAY. DAY
Multiple car crashes on a now completely still freeway.
133S INT. HOSPITAL, SURGERY ROOM. DAY
A life saving surgery, with the PATIENT’S chest open - all
DOCTORS are dead.
133T INT/EXT. CHURCH. DAY
A BRIDE and her FRIENDS who were preparing to walk down the
aisle, now dead.
133U INT. AUXOLITH FULFILLMENT CENTER. DAY
The FULFILLMENT CENTER where Teddy worked has stopped.
His coworker TINA lies on the floor, at peace.
133V INT. TEDDY'S HOUSE. DAY
Inside Teddy’s house, all is still. A framed PHOTO on the
wall shows a young Teddy being bathed by his mother.
134 EXT. MEADOW. DAY
All man-made interference with nature has stopped.
All human life is gone.
There is only quiet.
Utter peace.
But the countryside is alive.
Alive with the SOUNDS of insects, birds, and mammals. The
natural world teeming with post-historic life.
Earth has been saved.
A beautiful FLOWER gently sways in the clean breeze.
A HONEYBEE lands on the flower.
THE END