Make-up ideas for Butterfly.
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Make-up ideas for Butterfly.
Concept art of Holly (from an as yet untitled script).
Concept art of Emile from Digit.
Jack testing out zombie make-up ready for We Don't Care for the Outside.
He then proceeded to wear it around the flat for the rest of the day, creeping everybody out a little.
CREW INTRODUCTION - JACK PENDRAGON
Roles occupied: Primarily a scriptwriter and 1st assistant director. Occasionally produces and does makeup fx.
In his own words: Queer as heck, and dead-set on living a thousand adventures.
Notable productions: We Don't Care for the Outside, Middle of the Road, The White Cat and the Butterfly
Chameleon [SCRIPT]
INT. STUDENT BAR – NIGHT
Several students are milling around, some in groups and some in pairs. Only one girl really appears to be on her own. She sits next to the bar, nursing a small drink when Tom walks up next to her and orders one of his own.
Rhian looks him up and down, smiling. She catches his attention as he glances around the room.
RHIAN
I don’t think I’ve seen you before.
TOM
Shouldn’t think so, no. I’m Tom.
He holds out a hand. Rather than shaking it, Rhian tugs at it, pulling him closer to her side.
RHIAN
Rhian. Buy me a drink?
Tom squints at the glass in front of her.
TOM
What is that, vodka and coke?
RHIAN
No, but I’m flexible if that’s what you’re offering.
Tom shakes his head and grabs the attention of one of the bar staff.
TOM
Vodka and Coke for the lady, and I’ll have a pint of John Smith’s.
FADE TO:
INT. STUDENT BAR – SOME HOURS LATER
Tom and Rhian are chatting and laughing away, seats pulled close in friendly conspiracy. Several empty glasses litter the bar in front of them. Rhian whispers something to him, unheard above the noise from the rest of the crowds. Tom glances over to the group nearest the door, then back to Rhian, concealing a snort.
RHIAN
You see it, right?
Tom nods, not trusting himself to speak. Rhian grins wickedly.
Behind them, the bar staff begin to pack up, ringing the bell for last call and clearing away the glasses in front of the pair. Rhian pulls her phone from her pocket and looks at the time. She slides from her stool.
RHIAN
I should be going. It was nice meeting you.
TOM
See you again tomorrow?
Rhian smiles apologetically at him.
RHIAN
Busy tomorrow. Friday?
TOM
Friday sounds good. Eight?
RHIAN
Friday at eight. See you then.
She picks her bag up from the floor next to her stool, slings it across her shoulder and leaves the bar. Tom finishes off the drink in front of him as he watches her go.
INT. STUDENT BAR – FRIDAY EVENING
Rhian is dressed up to the nines, glitzy silver dress and high heels. She makes her way over to a free stool at the bar, in the same place as before. The seat beside her is already occupied by a young man.
He turns around when she sits, smiling as though he recognises her.
TOM
Hey.
Rhian blinks at him, taking a moment to realise it’s her that he’s addressing.
RHIAN
Sorry, do I know you?
TOM
Tom. From the other night.
RHIAN
Oh. What is this, like a blind date? One night with him and then he sets you up with his best friend instead?
Tom looks down at his feet.
TOM
Um. Not quite. I’m still…Tom.
RHIAN
You share a name?
TOM
No, I’m- It’s Tom. The same Tom you met the other night. He’s me.
He meets her gaze at last, pleading.
Rhian looks him up and down. She doesn’t seem impressed.
RHIAN
Pretty impressive makeover.
TOM
It’s difficult to explain. Can you just…trust me, for now?
Rhian leans back in her chair, still surveying him.
RHIAN
And I should be doing that why, exactly?
TOM
Blind faith. Just for a second.
She pulls a face – half frown, half smile - but makes no attempt to leave. Tom grins and gestures to the man behind the bar.
TOM
A Vodka and Coke for the lady, sir, if you don’t mind.
He slides a note over the counter and then returns his attention to Rhian.
TOM
I’m going to ask you this now, before we both get more than a little drunk and you claim I talked you into it. Tell me a secret.
RHIAN
I haven’t said I’m staying yet.
TOM
You said you’d give me a second.
RHIAN
You don’t take time very literally, do you?
The barman slides Rhian’s drink across to her. Tom ignores it completely. All his attention is focused on her.
TOM
I try my best not to. Go on. Tell me a secret. Something nobody else would know.
Rhian picks up the glass and takes a sip. She barely takes her eyes off of Tom.
RHIAN
And why would I trust a total stranger with a deep dark secret of mine?
TOM
Because if you trust him now, you’ll know you can trust him the next time when he tells you a deep dark secret that only you know. Let’s face it, the blind date thing? Makes sense the first time. Not so much for every subsequent date.
RHIAN
So now you’re making the assumption that there’ll be subsequent dates.
TOM
Won’t there?
RHIAN
Not with such gaping holes in your logic, no.
She smiles, still sipping at her drink.
RHIAN
If I told you a deep dark secret, you could just pass it on like a baton to the next bloke. Better idea. Were you ever in the boy scouts?
Tom frowns.
TOM
D’you want me to swear on scout’s honour? I can if you want. But no, I was never actually a scout.
RHIAN
Good. Give me your hand.
Tom holds his hand out, curious, and watches as Rhian pushes up his sleeve. She carefully unties a friendship bracelet from her wrist and sets it on his, using a very intricate knot to keep it in place.
RHIAN
I make these myself, so you’d have a hard time replicating one. You’d also have a difficult time getting it off you and onto somebody else without me noticing the knot had changed.
TOM
This is your plan?
He glances from the bracelet to her as Rhian downs the last of her drink.
RHIAN
This is my plan, yes.
TOM
Well. If we’re done questioning my identity for the rest of the night, would you like me to buy you another drink?
He reaches for her empty glass.
INT. STUDENT BAR – NIGHT
Rhian sits at the bar, waiting. This time she is in more relaxed clothing – a flowery top and jeans, with her hair tied back. She has already bought herself a drink, which she sits nursing in front of her.
A hand reaches past her to lean on the bar. The friendship bracelet is in plain sight.
TOM
I was thinking we should go somewhere different tonight.
Tom is different once again – tall, dark and with a slightly goofy grin.
Rhian leaves the drink and grabs his hand.
EXT. PUBLIC PARK – NIGHT
Tom and Rhian hold hands as they wander under the trees. It isn’t all romantic – crisp packets and old newspaper sheets litter the path – but neither of them seem to care. Rhian shivers a little. Tom moves to hold her closer.
They pause for a while under the stars, looking up through the branches of the tree they’re standing under. Rhian looks across at Tom, and he holds her gaze.
TOM
Is this where we kiss?
RHIAN
No, this is where we say goodnight and I thank you for a wonderful date.
TOM
Can I see you again tomorrow, at least?
RHIAN
I’m meeting some friends tomorrow. But you could come along. If you want.
EXT. CARDIFF HIGH STREET, DAY.
Wind sweeps through the streets, buffering the group of five around. Rhian’s friends mostly chat amongst themselves, although she makes an effort to keep Tom included. Despite all being dressed warmly in coats and scarves, they are no match against the wind. All of them are struggling to walk in a straight line.
Rhian is the first to be blown over. She lands on her bum half a metre or so back from the group. She is quick to stand up again and dust herself off, attempting to maintain dignity.
Tom glances sidelong at her with a grin.
She elbows him.
EXT. CAFÉ – DAY
Tom and Rhian converse over the tops of their menus, sat outside a small café outside of town.
INT. RESTAURANT – NIGHT
Tom and Rhian put their menus to one side on their candlelit table as a waiter comes to take their orders.
EXT. LAKESIDE - DAY
Tom and Rhian walk around the outskirts of a small lake, holding hands but not saying much.
Rhian leans over suddenly and kisses his cheek.
INT. TOM’S ROOM – DAY
Tom kisses Rhian’s cheek in front of a television screen. Both of them are half-holding gaming controllers, but neither are paying much attention, least of all Tom.
He lets his game controller drop to the floor.
EXT. PUBLIC PARK – DAY
Autumn leaves fall from the trees. On a nearby bench sits Rhian, dressed warmly in hat and scarf. There’s a background wind, but not enough to cause the scuffle of leaves heard from behind her.
She smiles, but doesn’t turn.
RHIAN
You’re late.
TOM
Yeah, I know. Sorry.
Rhian turns suddenly, the voice unexpectedly feminine.
Tom stands in the leaves, skirt and tights visible beneath his coat.
TOM
This is… weird, isn’t it?
RHIAN
I didn’t know you could- I mean, I thought you were a boy.
TOM
I am. But sometimes I look like a girl. And sometimes I look old, or young, or handsome, or ugly. Everything in between. It just sort of happens. I don’t really have control over it.
He looks down, fidgeting with his thumbs through mittens.
TOM
I guess… I thought you liked me for who I was. Not in spite of it.
He takes a step backwards. The leaves crunch beneath his boots.
Rhian gets up from the bench.
RHIAN
Wait.
She stops in front of him, leaves blowing between them.
RHIAN
I do like you. Just not… Not like that. I can’t find you sexually attractive as a girl. Is that…okay?
Tom raises an eyebrow.
TOM
You find me sexually attractive as a boy?
RHIAN
Sometimes. (beat) Most times.
Tom reaches across for her hand.
TOM
Is going for ice-cream sufficiently non-romantic for you?
RHIAN
I think I can manage.
EXT. LAKESIDE – A FEW DAYS LATER
Both Tom and Rhian are holding half-eaten ice-cream cones. Rhian is still valiantly attempting to finish hers. Their free hands are entwined.
TOM
I’ve been meaning to ask. Seeing as I’m a boy today. Do you find me attractive now?
Rhian pauses to survey him for a moment.
RHIAN
…Yeah.
She drops the rest of the ice-cream cone on the floor and pulls him into a full-blown snog.
When she pulls away, Tom is both shocked and blushing.
EXT. COMIC BOOK STORE
Tom leans against the outside window, looking like a girl once again. He watches as Rhian approaches.
Her face falls as she comes closer.
TOM
Try not to look too disappointed.
She attempts a smile.
RHIAN
Sorry. Guess I was hoping something had changed. Forgot kisses only fix things in fairytales.
She holds out an arm to Tom. He takes it with a hand and walks behind Rhian, looking crestfallen as she pulls him into the store.
EXT. ICY PATH
Tom wanders alongside Rhian, gaze focused on his feet rather than her.
She seems more preoccupied with the frozen countryside around them.
TOM
Are we actually going to work out?
RHIAN
Hm?
She stops and leans on the fence next to him.
TOM
Us. Are we going to work out? I know you said you can’t find me attractive as a girl. It’s just hard to deal with you blowing hot and cold, that’s all.
RHIAN
It’s sort of hard to deal with you constantly changing.
TOM
Sorry for being me.
RHIAN
Look. Tom. I still like you. You’re just going to have to get used to me only being attracted to you some of the time.
TOM
…I guess I can understand that. I have a lot of days when I don’t find myself so attractive, either.
RHIAN
I think everyone has those. C’mon.
She slips her hand inside his and pulls him back onto the path.
EXT. ROAD UP TO RHIAN’S HOUSE
Everything is coated in the white haze of a snowstorm. A figure pulls another figure towards the shelter of a block of houses.
INT. RHIAN’S HOUSE
Tom and Rhian both pause to breathe with the door closed behind them. They are soaked through, and Rhian dumps their coats and boots in the hallway before leading Tom through to the living room to warm by the fire.
She leaves him there for a minute before returning with blankets, which she curls around them both as she cuddles closer.
RHIAN
You know, that snow’s probably not going to die down any time soon. And my flatmate’s gone home for Christmas. You could always just…stay here.
TOM
…Yeah?
RHIAN
Yeah.
She rests her head against his shoulder.
And Then You Will Remember [SCRIPT]
INT. TELEVISION BROADCAST STUDIO – DAY
A middle-aged woman sits at the news desk, pages of text laid out in front of her. A camera points in her direction, recording.
AMANDA
And finally, a young woman has gone missing in the Hertford area. Samantha Dalton, a twenty-one year old visiting friends in the area, was last seen on Tuesday.
Behind Amanda, a picture of the young woman’s face shows up on screen, captioned by a telephone number.
AMANDA (CONT.)
If you have any information regarding her whereabouts, please phone the number onscreen.
A short jingle sounds in the background, and the red light on the camera blinks off.
MAN (O/S)
Okay, people, we’re off-air for five. Get yourselves sorted!
Amanda shuffles her papers into a neat pile, looking flushed under the gaze of so many lights. A man in his early twenties approaches her, smiling.
JERIM
Amanda. You were gorgeous.
AMANDA
I’ll let him tell me that. Will we be meeting tonight?
Jerim steps closer and places a key card on the desk.
JERIM
The Burtonview. Room 408.
Amanda rises from her seat and picks the key card up.
AMANDA
What time?
JERIM
Eight or nine. Mr Frederick wasn’t very specific. I’m sure you understand.
Amanda nods.
AMANDA
I understand. I’ll be there at eight. Make sure I’m not kept waiting, or you might find some of the information gets mixed up on the next broadcast.
She crosses the studio out of range of the lights, leaving Jerim the only one in view. He watches her leave with a smirk.
INT. NATHAN’S FLAT - DAY
A young man, Nathan, sits cross-legged on a two-seater sofa. Across from him, slouched across an armchair, is a slightly older man, Isaac. Nathan picks up the remote control from the nearby coffee table and turns off the television.
NATHAN
Well? Will you help her?
ISAAC
You need to stop trying to save all of them. You can’t.
He exhales sharply.
ISAAC (CONT.)
This wasn’t part of our deal, kid.
NATHAN
No. It’s not. Will you help her?
Isaac runs a hand through his hair. He shifts position in the chair to lean towards Nathan.
ISAAC You’re not a hero. I sure as hell ain’t. And you’re way too close to this.
NATHAN
If I weren’t close to it, I wouldn’t know anything about it. Which is the point, right?
ISAAC
Alright, I’ll do it. But this is the last time, alright? You get any closer and you’ll lose things.
Nathan opens his mouth to say something, but Isaac cuts across.
ISAAC (cont.)
More than you’ve already lost. Believe me, three years is nothing. Three years can be made up. I’ve seen people forget their entire selves. Maybe it’d be better to kill them in those situations. Not that we’d get away with it. Human rights shit.
NATHAN
I wasn’t aware you had a hidden desire to murder people.
ISAAC
Oh, get to know me. It’s not all that hidden.
He pushes himself up from the chair and walks over to the couch. He bends down to pick up the coat that lies on the seat beside Nathan.
ISAAC (cont.)
I’ll do what I can. Might not be anything. (beat) Watch your step, alright, kid? Especially with James.
NATHAN
I’m careful.
ISAAC
Be as careful as you like, you don’t know what you’re fucking around with.
Nathan holds his gaze, then gets up from the couch. He walks over to the door and clicks the lock open.
Isaac slips his jacket on and goes through the door that Nathan is holding open.
NATHAN
Nor do they.
ISAAC
So it’s a few thousand organised fools against one. Who d’you think’ll win, huh? (beat) Be seeing you, kid.
NATHAN
Yeah. Thanks, Isaac.
Nathan closes the door on him and leans against it, exhaling heavily. He pulls a small notebook and a pen from his pocket. He jots down notes as he crosses the room back to the couch.
When he next looks up from the notebook, darkness has fallen. He rests the pen and pad on his chest and looks up at the ceiling with a sigh.
EXT. STREET OUTSIDE BURTONVIEW HOTEL, LATE EVENING
Amanda walks quickly through the streets, her umbrella doing little to shelter her from the almost torrential rain. Her high heels cause her to stumble through a puddle as she crosses the road through jammed traffic, and it is with a relieved expression that she finally reaches the shelter of the Burtonview’s outside porch.
She stands beneath the canopy, shaking her umbrella dry and folding it before checking her watch. The time shows it is a few minutes before eight.
Amanda nods to the doormen as she enters, and leaves her umbrella and coat in reception before moving to the elevator, which she accesses with the card key. It arrives, and she steps inside.
FLASHBACK
A younger Amanda sits alone at a table for two in a posh restaurant. The room is lit overhead despite the late afternoon sunlight still streaming through the windows. Amanda watches the crowds moving outside, oblivious to the young man that approaches.
He is dressed smartly, hands clasped across his front as he nods politely to her.
JERIM
Miss Farnsworth.
Amanda looks up. She doesn’t recognise him.
AMANDA
I’m sorry. I was supposed to be meeting-
JERIM
There’s been a change of plans.
He seats himself opposite her, smiling.
JERIM (CONT.)
My name is Jerim Trunn. I’m a close personal friend of your husband’s.
AMANDA
I’m not married.
JERIM
You have a ring.
She moves her hands under the table, flustered.
AMANDA
I just wear that to avoid unwanted attention.
JERIM
You first met your husband two years ago today. Unfortunately, it isn’t just him that you’ve forgotten. It’s all of those two years, and while the doctors are doing their best to investigate the cause of your sudden amnesia, they haven’t had much luck so far.
He picks up the menu in front of him, pretending to browse.
JERIM (CONT.)
They never will. Those that know what they’re looking for are also in our employ. They know that their confidence means more than their lives. Unfortunately, the procedure by which you lost your memory is…irreversible. Your husband knowingly agreed to this, as all our employees do, to ensure both your safety and that of our country. Suffice to say, for the moment, Miss Farnsworth, that your husband is involved in the war effort. All that aside…
He places the menu back down and looks up at her with a smile.
JERIM (CONT.)
Your husband is now in a position in which he can ensure your safety – provided, of course, we are given your full co-operation. He wants to build bridges with you, Amanda.
AMANDA
I find it difficult to believe that anyone involved in the war effort would be giving out information so freely.
JERIM
Ah, the suspicions of a journalist. Which brings me to the crux of things. In exchange for being allowed to meet with your husband, we might occasionally ask your assistance in press matters. Nothing too big. A news story pushed back, or given a certain spin.
AMANDA
You’re asking me to betray my professional [duty] for the sake of a man I don’t even remember.
Jerim reaches into his jacket pocket and retrieves a keycard, which he pushes across the table towards her.
JERIM
The Dalton, room one-fourteen. Seven o’clock. Should you be interested.
He rises from his seat and nods to her.
JERIM (CONT.)
Enjoy your lunch, Miss Farnsworth. Have a good day.
END FLASHBACK
INT. BURTONVIEW HOTEL
The ping of the elevator jolts Amanda back to reality. She steps out onto the fourth floor and calmly walks down the corridor to room 408. The door flashes green when she puts in the keycard, and she enters.
And Then You Will Remember [BACKGROUND INFO]
Jack , ~45yo, had his son wiped from his memory, writes everything down as a third-person story to distance himself, hopes to one day give the story to his son as an apology for forgetting him (even though it was more the son’s fault).
Ivy, ~11yo, eidetic memory, doesn’t realise she remembers before the wipe
Sam, records her life on video camera, mistakenly wiped by the organisation, used to be a tracker
Nick, was completely wiped because of his mother, constantly shifts personalities. Documents his life using doodles and cartoons.
Nathan, not personally wiped but involved because his brother was wiped for a friend, writes everything down as letters to himself/his brother
“He lost everything. I’m trying to get it back for him. And for everyone else.”
Francesca, obsessively documents everything in a notebook/diary
Isaac, projector, grateful for a wipe that affected his life (abusive father?) but isn’t on organisation’s side by any means, controls several double agents, including Nathan’s brother, James.
“Some people are happier blind to the problems of the world.”
Emma, photographer, wiped because of a close friend – has photos of people she can’t remember but doesn’t know who is involved,
“I’m missing somebody I don’t know.”
Lily, sketches and paints to keep herself from forgetting, was wiped because of a boyfriend
Charles Frederick, leader of organisation, loyal to king and country, believes they’re doing it for the greater good, actually quite moral and human. To most of the organisation, he is a faceless name, though he is known to a few.
Amanda, a news reporter, often used by the organisation to keep tabs on missing persons. It’s her job to keep the organisation’s operations under wraps and wrongfoot the press. She was wiped for the sake of her husband, but is allowed to meet with him in exchange for her aid.
Jerim, Mr Frederick’s assistant. He works closely with Amanda, and is one of the only ones to know of Mr Frederick’s true identity (that is, Amanda’s husband).
Jenna, another projector. She tries to remain professional, but can also understand the other side, and sometimes helps Isaac out.
Unnamed, another projector. Far more professional than the other two.
And Then You Will Remember [SUMMARY]
News broadcast about the war efforts and the missing persons. Latest – Samantha Dalton. The news reporter is Amanda – involved with the ASW. Arranges to meet with somebody she knew before her own wipe.
Nathan watching the broadcast. Asks Isaac for help in locating the latest missing person, and Isaac reluctantly agrees. Swears off helping any further, and warns Nathan to back off regarding James (his brother).
Amanda waits in the hotel for her husband. Flashes back to Jerim(?) first telling her of the wipe, her husband’s regret, her potential use, etc. – the entire lead-up to her agreeing to work with ASW. Charles arrives and apologises for keeping her waiting.
Isaac getting into work, discussing things with other projectors. Jenna has a go at him – not supposed to ask about these things. Another friend asks if they’ve heard about the research mess-up with a guy who got wiped ages ago – apparently, his brother was a private investigator. The organisation’s already trying to close in on him and figure out if he knows too much.
Nathan gets a call from Isaac, telling him to get out while he can, that the organisation are on. Nathan asks if Isaac’s going to be okay, if this can be traced back to him. Isaac just tells him to stop being so concerned for everybody else.
Back in his office, after dark, Isaac sets to play the video he made just before he was wiped, telling him he’s better off not remembering what his dad was like. Jenna stands in the doorway, tells him he once told her, and his younger self’s right – probably better off not knowing. Asks him if he’s lost faith in what they do. No more than he has the world. She gives him the details on Samantha.
Some time later, Samantha is found by Emma. She holds out a hand and offers to take her to Nathan. Just have to trust your instinct and your heart. All they have left.
We Don't Care for the Outside [SCRIPT]
INT. ELLIE’S ROOM, DAY.
The curtains are closed, with only a small sliver of light creeping through. Ellie sits huddled in the corner of the room, duvet wrapped around her and knees drawn up to her chest. Her eyes have bags underneath them, and her skin doesn’t look as though it’s seen the sunlight anytime recently.
She slowly disentangles herself from the bedding and shuffles towards the bathroom. The light inside flickers, and the tap makes a throaty gurgle rather than spewing out water when she turns it. Ellie goes through the motions of cleaning her teeth anyway, spitting the remains into the sink and almost retching.
Moving closer to the mirror, she carefully inspects her face, pulling at the skin. Seemingly satisfied, she unbuttons her pyjama shirt and turns to inspect her back. A couple of bruises show, but nothing major.
She exits the bathroom, one arm curled protectively around her chest, and bends to retrieve a crumpled t-shirt from the bedroom floor. She pulls it on and rubs at her eyes.
The room is a mess. Aside from the clothes strewn across the floor and chair, there are wrappers, food leftovers, dirty plates and similar on nearly every available surface. Ellie carefully steps over the mess on the floor, seemingly unperturbed. She curls back up on the bed, picking up a handheld gaming console from the side and switching it on.
She plays for hours, until the sunlight streaming through the gap in the windows has dimmed considerably. Only then does she switch it off, briefly picking up the phone that lies beside her only to put it down again as a ‘no signal’ message flashes at her.
Ellie moves lethargically across to the desk on the other side of the room, throwing dirty clothes from the back of the chair before sitting in it. She leans to the side and pulls a can of ravioli from a low shelf, cracking the ringpull open and using a fork from a nearby used plate to eat straight from the can.
She puts the empty can to one side when she’s finished, replacing the fork on the plate. Clearing the area immediately to either side so that she has elbow room, she opens the laptop in front of her and pulls up a word document. She types in the date, and, beside it, ‘Day 22’.
Blearily, Ellie stumbles from the computer chair and peers through the curtains.
It’s dark outside, the street somewhat illuminated by the streetlamps that are still working. Buildings are boarded up or destroyed, and the streets are largely empty. However, small clusters of zombies are wandering around.
Ellie returns to the computer. She types, “They’re still outside.”
The White Cat and the Butterfly [SCRIPT]
EXT. GARDEN, SUMMER'S DAY
A white cat sits half-curled beneath a tree, eyes closed and tail flicking gently. The sunlight is upon him, his brightly lit fur contrasted against the entirety of the garden, tulips blooming in reds and purples around the lawn.
WHITE CAT (V/O)
The world is full of lots of colours. Greens and blues and browns and yellows. She was lots of colours, too. Reds and blacks and oranges. You couldn’t help but notice her the moment she came into the garden, dancing on wind and smiling for the whole world.
A butterfly perches on a branch of the tree to look down at him. Her wings are half-folded behind her, gleaming red and orange in the sunlight. She watches the cat sleeping, and smiles.
BUTTERFLY
Hello.
WHITE CAT (V/O)
She had such a pretty smile.
The cat stirs, batting a paw at its escaping dream before glancing upwards with a yawn. He stays staring upwards, mouth hanging open.
WHITE CAT
Wow. You’re beautiful.
The butterfly cocks her head.
BUTTERFLY
Am I?
WHITE CAT
I’ve never seen so many colours.
The butterfly fans out her wings, smiling.
BUTTERFLY
I bet you have. There are colours everywhere. I’m no prettier than that grass, or those flowers.
The cat shakes his head and sits up, resting his paws against the tree trunk.
WHITE CAT
They’re beautiful, but not as much as you. I wish I were that colourful.
BUTTERFLY
Why? Cats don’t need to hide.
WHITE CAT
Nor do you. You couldn’t hide all of those colours.
BUTTERFLY
That’s what they’re for. I could hide in this garden, and you’d never find me.
WHITE CAT
I don’t believe you. I couldn’t lose something as pretty as you.
BUTTERFLY
Oh, you could close your eyes for ten seconds and never find me again.
WHITE CAT
I bet I could.
He scrunches his eyes closed.
WHITE CAT (CONT.)
One…Two…
The butterfly smiles at him again, and glides from the branch to the grass before dancing over to nestle in the flowers.
WHITE CAT (CONT.)
Three…Four…Five…
He peeks a little, but the butterfly is out of his line of sight.
WHITE CAT (CONT.)
Six…Seven…
The butterfly folds her wings over to mimic the half-open tulips, still smiling at the white cat.
WHITE CAT (CONT.)
Eight, nine, ten!
He opens his eyes and glances around the garden, but the butterfly is nowhere to be seen. He pads around the flowerbeds, frowning. Without knowing it, he walks straight past her hiding place.
WHITE CAT
Butterfly?
He comes full circle and climbs the tree, padding out onto the branch where the butterfly sat previously, and scouting the garden for any sign of her.
WHITE CAT (CONT.)
Butterfly, I give up. Where are you?
The butterfly lifts her wings from the flowerbed and flies out.
BUTTERFLY
Here, little one. In the flowers.
The white cat walks over to her, pouting slightly.
WHITE CAT
You were pretending to be a flower?
BUTTERFLY
Yes. Do you see what I mean now?
The white cat shakes his head.
WHITE CAT
It’s your turn, butterfly. Close your eyes and count to ten.
The butterfly smiles at him and closes her eyes.
BUTTERFLY
Okay. One…
The white cat bounds away from her, rustling through the flowerbed. He curls up, but notices the white of his fur standing out against the tulips, and scowls.
BUTTERFLY (CONT.)
Two… Three…
He moves across to the grass and stands there for a few seconds, looking around frantically for a hiding spot.
BUTTERFLY (CONT.)
Four…Five…Six…
WHITE CAT
No peeking!
The butterfly lifts an arm across her eyes to reassure him, still counting.
The white cat runs to the tree, padding behind it and stretching up against the trunk so that he isn’t immediately visible.
BUTTERFLY
Nine…Ten. Are you ready, little one?
The white cat doesn’t answer, and she lifts her arm, eyes open. After a quick glance around the garden, she heads towards the tree.
BUTTERFLY (CONT.)
You’ve hidden very well, White Cat.
She flutters onto the branch of the tree and glances down. The white cat is plainly visible, pressed against the bark of the tree, but he has his eyes tightly shut as though it helps to hide him.
The butterfly smiles.
BUTTERFLY
I wonder where you’ve gone.
WHITE CAT
You’ll never find me.
BUTTERFLY
Will I not?
The smile is evident in her voice, and the white cat opens his eyes. He looks up, sees her, scowls.
WHITE CAT
That’s cheating. You’re supposed to say when as soon as you find me. And it’s not fair. There’s nothing in the garden the right colour to hide me.
The butterfly smiles down at him.
BUTTERFLY
There’s nothing in the world with the colours to hide you, White Cat. Why would it want to hide something so beautiful?
WHITE CAT
I wish there were. Then I could win.
BUTTERFLY
You should be careful of wishes. There must be lots of things you’re better at, little one. Why, you can run, and climb.
WHITE CAT
But you can fly!
BUTTERFLY
That’s not the same.
WHITE CAT
I wish I could fly.
The butterfly shoots him a warning glance, and he pouts.
WHITE CAT (CONT.)
I know. Be careful of wishes. But I’d like to fly, or be as colourful as you.
BUTTERFLY
I bet you can run faster than I can fly.
The white cat grins up at her.
WHITE CAT
I’ll give you a head start.
Without another word, the butterfly leaps from her branch and flutters off across the flowers. The white cat races after her, leaping over the flowerbed and skidding to a halt whenever she turns before chasing after her again in a different direction.
As they run, the seasons change around them, with the white cat growing a little closer to adulthood. He pounces and catches the butterfly in the last days of autumn, pinning her to the ground by a wing.
She winces, but smiles all the same.
BUTTERFLY
Look at you, all grown up on me.
WHITE CAT
Did I hurt you?
BUTTERFLY
It’s just my wing. It’ll recover. I just won’t be able to fly for a little while.
WHITE CAT
You’ll still be able to hide better than me, though.
BUTTERFLY
You don’t need to hide, White Cat. Nothing in the world wants to hurt you.
WHITE CAT
Nothing in the world can hurt you, either. I’ll chase it away while you hide.
The butterfly smiles at him as she tends to her wing.
BUTTERFLY
Thank you.
The white cat curls up around her, and it snows as they sleep, blanketing the ground and hiding the usual colours of the garden.
The white cat wakes, startled, to find everything white.
WHITE CAT
Butterfly! Butterfly, look! I can hide!
He looks to where the butterfly was lying before, only to find snow. Frowning, he looks around the garden.
WHITE CAT (CONT.)
…Butterfly?
The white cat gets to his feet and pads around the garden looking for her, snow crunching beneath him. The entire landscape is unfamiliar, doused in white, and yet he can’t find her familiar colours.
Eventually, he circles the entirety of the garden and returns to the spot where they both fell asleep. The red of a wing is just visible through the snow, and he moves to carefully tug her out.
She lies still, red against the white blanket of snow.
WHITE CAT
Butterfly, wake up. The world doesn’t want you to hide anymore. Wake up.
He nudges at her, but she doesn’t move. Snow begins to slowly fall around them once more.
The white cat curls up around her still form, quickly disappearing from sight as the snow hazes the air and buries them both beneath it.
Middle of the Road [SCRIPT]
EXT. MIDDLE OF A ROAD
Two figures stand on a paved island between two empty roads. The scenery shows nothing specific – there are no other people, no signposts, no branded litter.
The taller figure, John, wears a hoodie and jeans, both of which are heavily creased. He frowns at the other man, who is busy looking down one of the roads.
JOHN
…I’ve gone.
BLAKE
(meeting his eye)
You’ve gone, yes.
JOHN
How long ago?
Blake shrugs a shoulder and looks off into the distance again.
BLAKE
Twice as long as it takes to make string.
(pause)
We make string quicker here. Or longer. Depending on your perspective of things, string might not exist here at all.
John lets out an irritated noise. Blake laughs and takes a step towards him. He claps a hand on his shoulder.
BLAKE
Sorry. Of course string exists here. We just don’t make it.
JOHN
You’re talking about time, right?
BLAKE
Yeah. I’m standing in the middle of an empty highway. I think I’m allowed metaphors.
JOHN
Sure. Go wild.
He looks around.
JOHN (cont.)
Why are we here?
Blake places his other hand on John’s other shoulder.
BLAKE
I’m here because I have to be. You- (he points) are here to say goodbye.
JOHN
To who?
BLAKE
Not entirely sure. I wasn’t one of the ones blessed with omnipotence. See where you end up. When you’re ready to come back here, just- You know what, forget it. I’ll bring you back here to check up on you soon.
Blake waves a hand dismissively at him.
JOHN
Wait, you have the power to send me back and forth, but you don’t know where to?
BLAKE
Don’t look at me like that, kid. I didn’t invent the laws of magic.
JOHN
Apparently not.
Blake removes his other hand from John with a scowl, and turns to glance along the road. A single car is coming in the distance.
BLAKE
See you in a bit.
The car drives past John.
CUT TO:
INT. JOHN’S HOUSE
Nathan is sitting cross-legged on his bed, headphones jammed over his ears, when John appears in the corner of the room and makes him jump. They both stare at each other, perfectly still. Nathan cautiously lowers the headphones to his neck.
NATHAN
Is that actually you? Because if it is, lay off. Go haunt someone else.
JOHN
I’m not a ghost. (pause) Or maybe I am. Anyway, I’m supposed to say goodbye to you.
NATHAN
I said goodbye to you at the funeral. Can’t you just leave me alone?
JOHN
Not exactly the highlight of my death here, either.
NATHAN
You’ve said goodbye. Now leave already and let me get on with life.
JOHN
Wish I could, believe me. I didn’t ask to come here. But I’m pretty sure I’m stuck here for a little while.
He pauses and gestures to the bed.
JOHN (cont.)
Can I sit?
Nathan glowers up at him.
NATHAN
You can have the chair.
John pulls the chair away from the desk and turns it to face Nathan.
JOHN
How’s everyone doing? Is mum okay?
NATHAN
What, are you worried she’s not missing you enough? Don’t worry, she’s still crying every fucking night.
JOHN
Surprised you haven’t moved into my room. You always used to complain about it being bigger.
NATHAN
Like I’d go out of my way to live in your shadow. I’m fine here.
Nathan crosses his legs a little tighter, closing himself off.
NATHAN (cont.)
How much longer are you gonna be here?
JOHN
I’m sorry my death was such a fucking inconvenience to you. If I’d known it’d piss you off this much, I’d have gotten run over a lot earlier.
NATHAN
That wouldn’t surprise me. At least then you’d be out of my face.
JOHN
You know what? I don’t know why they’d choose to send me here, unless hell really is personal.
He pushes himself up from the chair and storms towards the bedroom door. Nathan just watches with a scowl, replacing the headphones on his head.
John pulls the door open, strides through it and slams it behind him.
EXT. MIDDLE OF A ROAD
Blake stares at John’s sudden reappearance.
BLAKE
You were quick. I didn’t even call you back. Everything sorted?
JOHN
Is this some cosmic joke?
He throws his hands up and moves towards Blake.
Blake takes a step back with his hands held up.
BLAKE
Believe me, there are many, but this isn’t one of them.
He glances John over as he approaches.
BLAKE
You must have done something. Was it a door? Did you try using a door?
John stops.
JOHN
What, I’m not allowed to use doors?
BLAKE
No, did I not mention that?
JOHN
You barely mentioned anything.
BLAKE
Blame it on old age. I’ve spent the past century in the middle of a highway. It’s not the most [exciting/inspiring] of places. Okay. I’ll send you back in, and this time don’t use doors.
JOHN
Why can’t I use doors?
BLAKE
It complicates things. You’re only allowed back in a confined space. Don’t try to leave in any way – mostly doors, although some try windows and this one guy tased a prison guard because he thought he was the devil and in doing so fell through the confinement. That was a fun one. But no, no doors. You’ll leave regardless once you’re done, so there’s no point in trying to leave early.
JOHN
And what is it that I’m supposed to be doing? Where is this? Why am I here?
BLAKE
This –
He gestures at the expanse around them with his arms.
BLAKE (cont.)
- is the middle of the road. The crossing point.
JOHN
So what, I’m in Purgatory? Okay, how do I get to heaven? What do I have to do?
BLAKE
Firstly, the others do the sorting, so I don’t actually know how you’d get in. Never been myself. I do know that you won’t get there by standing around here. So how about you listen, go back where I sent you, and see what happens?
John scowls at his condescending tone.
JOHN
How about you-
Another car whizzes past.
INT. JOHN’S HOUSE
Nathan is sitting cross-legged on what used to be John’s bed, laptop sitting on his legs. He appears to be older this time, and the room has undergone a recent decoration job.
John appears behind him and glances around at the unfamiliar contents of the room.
JOHN
You moved in after all.
Nathan jumps slightly at the voice, eyes wide. Barely moving his head, he peers around at John before returning his attention to the computer screen.
NATHAN
You’re not here.
JOHN
What, you haven’t gotten over last time?
Nathan swivels in the chair and faces John head-on, eyes wide as ever.
NATHAN
Last time when you were DEAD? I don’t make a habit of talking to ghosts, John.
JOHN
We talked before. Well. Kinda argued. You don’t remember?
NATHAN
I don’t know what you’re talking about. I just know it’s nearly two years since the crash and I’m seeing your ghost in my room and I’m beginning to freak the fuck out.
John sighs and pulls the chair from the desk. He sits on it backwards, resting his arms against its back.
JOHN
They could’ve told me this’d go backwards. Okay, I got sent back to say goodbye to you, only I didn’t do it properly.
NATHAN
What, getting run over isn’t final enough? Who’s they?
John pauses and runs a hand through his hair.
JOHN
I don’t know how much I can tell you. Mostly ‘cause it’s not straight in my own head. But there’s a guy, and he sent me back here to say goodbye to you. Only I walked through a door. Apparently I’m not supposed to do that.
NATHAN
A guy. Right. Did he have a beard? Wings?
He smirks and sets aside the laptop, choosing to settle on his front on the bed instead.
JOHN
Fuck off.
NATHAN
You’re the one haunting me, so you fuck off.
JOHN
It’s not haunting. Anyway, it’s my room.
NATHAN
Was.
JOHN
What, you wanna fight over it? ‘Cause I’m not sure I can get broken bones.
Nathan glares at him and pulls his legs up in a defensive position.
NATHAN
Yeah. Sure. Needs more violence, this place. You’re as bad as dad was.
JOHN
Don’t you DARE compare me to that bastard.
NATHAN
Yeah, well. Who else d’you ever see mum crying over?
JOHN
She cried on your first day of school. She’ll probably cry when you leave for uni. Difference is that you’re coming back, and I’m not. Not outside this room.
NATHAN
So what, your want me to say goodbye to her for you? Tell her your ghost asked me to pass on a message? John, this is already fucking insane. I’m not gonna risk getting dumped on some therapist, and I’m not gonna risk making mum cry again. We moved on. Why can’t you?
JOHN I told you already. I had to say goodbye or something first.
NATHAN
So say it.
JOHN
What if I don’t want to?
NATHAN
You have to. You said you couldn’t leave the room until you said it. And I have a girlfriend. I don’t really care to explain she can’t come in my room ‘cause my dead brother’s haunting me.
JOHN
Stop calling it that.
NATHAN
Stop doing it, then. Say goodbye and go already.
JOHN
Fine. Bye.
He folds his arms on top of the chair and stares defiantly at Nathan, not moving from his seat.
A few awkward seconds pass.
NATHAN
Thought you were leaving.
JOHN
Thought I was, too.
Nathan’s phone begins to ring. He glances over at it, then back at John.
NATHAN
That’s my girlfriend. I gotta go. See you around someday, I guess.
He grabs the phone and heads out of the door before John can stop him.
EXT. MIDDLE OF A ROAD
Blake leans on a bollard, looking at John in disbelief.
BLAKE
You’re incredibly shit at this. I just want you to know that.
JOHN
It wasn’t me this time. Nathan was the one who left, he-
Blake waves a hand at him.
BLAKE
Doesn’t matter. You going again, or not?
JOHN
Do I have a choice?
BLAKE
Hm. Let’s think. That would be a –
A third car whizzes past.
INT. JOHN’S HOUSE
Nathan is packing up belongings in the living room. He looks considerably older – older now than John – and he struggles to lift some of the heavier objects.
John watches him for a moment, frowning.
JOHN
D’you need a hand?
Nathan turns, sees him for the first time. His expression softens.
NATHAN
Wasn’t expecting you.
JOHN
You remember me?
NATHAN
John… You were an arse of a brother, but that doesn’t mean I’d forget your face.
John tries for a smile.
JOHN Must’ve been a few years now, yeah?
NATHAN
Seven. (pause) Why now? I mean… Is it ‘cause of her?
JOHN
What?
For the first time, John looks around the room properly. His eyes rest on the mantelpiece, where a small shrine of photographs and condolence cards rests.
He closes his eyes.
JOHN (cont.)
When?
NATHAN
Last Tuesday. You missed the funeral.
JOHN
I’m sorry.
NATHAN
Don’t be. Death’s a pretty good excuse.
JOHN
Sorry all the same.
He notices Nathan trying to lift a particularly heavy box, and moves to help him.
JOHN (cont.)
You sure you don’t need a hand?
NATHAN
Nah, it’s fine. I got it.
He smiles.
NATHAN (cont.)
I’m gonna sell whatever she didn’t want given away. Find a new life somewhere else, y’know? Move on.
JOHN
Like you did with me?
Nathan turns to meet his eye.
NATHAN
Yeah, guess I did. Guess I didn’t even notice.
JOHN
Guess nor did I.
He pauses before holding out a hand.
JOHN (cont.)
Guess this is goodbye, then. For real this time.
NATHAN
For real. I might even miss you.
He grins.
JOHN
I wouldn’t waste time with that. Take care of yourself.
NATHAN
You too. And mum.
He takes John’s hand and shakes it firmly.
JOHN
Get on with your life.
NATHAN
Psh. Get on with your death. I had enough of you the first time around.
He grins again, properly, and gives John’s hand one last shake before letting go.
EXT. MIDDLE OF A ROAD
Blake stands with his hands in his pockets. Once again the roads are completely empty. He raises an eyebrow at John.
BLAKE
Are we done?
John grins.
JOHN
Yeah. We’re done.
Elysse [SUMMARY]
Boy meets girl. Girl is wanted for murder.
ELYSSE – a twenty-something who comes across as a typical Manic Pixie Girl. She frequents coffee bars and is usually seen sketching or writing, although nobody sees the inside of her sketchbook. She claims that she’s being framed for murder, although she actually does murder somebody else, later in the story.
MATT – Bisexual and in the awkward position of fancying his girlfriend’s ex, his work colleague. His girlfriend is also about to dump him, though he doesn’t know it. Matt works in the local coffee shop, and it’s there that he meets Elysse, who stuns him on sight.
BLAKE – works at the coffee shop with Matt, and ends up dragged into the adventure. He tends to go through girls at quite a rate, as he never feels the same towards them as they do him, as was the case with Jen.
JEN – Matt’s current girlfriend (although not for long). She likes Matt as a friend, but not enough to continue the relationship, and sort of fancies Blake still, even though she’s sworn him off for life.
Matt is working in a coffee shop to pay for a joint gap year when his girlfriend breaks things off for him. She says she still has feelings for her ex, which is sort of awkward because so does Matt.
It’s as Matt is recovering from their split that Elysse walks into his life, a manic pixie girl who instantly steals his attention. Their friendship is just blossoming when news breaks that Elysse is wanted for murder. She enlists Matt’s help, and the two end up on the run for the real killer.
They cross the country, eventually tracking him down to a remote village, whereupon Elysse shoots the man. “You swore you weren’t a murderer!” “I swore I hadn’t murdered Jack. I swore fuck all about anyone else.”
Matt points out they’ll have him as an accomplice to murder if she gets caught, and the two continue on the run, more legitimately than before. Elysse asks Matt to help her avenge Jack’s death – three people in total. Two more to go. If he does that, she’ll go to jail without incriminating him. She just wants justice for her uncle.
Also reveals that the second man is likely to be hunting them as well. Hitman sent to kill her.
Matt calls Blake to ask a favour and have some of his things fetched, including his laptop, etc. – everything that he used to track down Jack in case they use it to find him and Elysse. Blake brings the things to the meeting point and refuses to leave, saying the police are sniffing round and he doesn’t trust Matt with some lunatic stranger.
So the three of them end up on the run together. Track down the second hitman, or rather, are tracked down by him, and Blake knocks him out, fatally injuring him. He makes sure Elysse knows he’s there to watch out for Matt and not her, and she says he ought to watch out for himself now he’s just as guilty as she is. He was wearing gloves – always is – and tells her it’s her word against his and Matt’s anyway.
However, later, he and Matt have a heart to heart, and he breaks a little at having killed someone. Matt justifies it as self-defence.
Final kill is Elysse’s father. Everything was a set-up to get her out of the way – didn’t take too kindly to your hitman taking me in rather than killing me, did you? Sent another hitman to finish her off, and one for Jack as punishment.
Father laughs in her face – kids always think they know everything, that every divorce is to do with them. Wouldn’t bother trying to kill her as she’s of no consequence. He sent a hitman after Jack because he reneged on a business deal, and the second was to get rid of her because she knew too much to be caught by police. And now she’s come running to papa like a good little girl, so they can dispose of her far easier.
But she runs with a different family now, papa. Everything a set-up to get her back in and close enough to catch him. Not even his daughter – just an undercover officer who wanted to avenge Jack, one of their informants. Not strictly playing by the rules, and certainly not supposed to be doing what she’s doing.
But she’s been hounded by police who don’t know the truth of her connection to Jack’s murder, who are about to storm the place and discover whatever evidence they need to put him away for life.
Obligatory last threat – blowing up base or whatever. Elysse apologises to Matt and Blake – didn’t mean to drag civilians into this mess, but her organisation wouldn’t provide any support. Just wanted to take care of a friend. Thanks them both for their help, though she has to run – asks them to hand him over to the police while she disappears.
Epilogue-ish bit, with Elysse again at the coffeehouse, although in disguise. Matt asks where she’s off to next, as she’s gotten a bit of a name for herself around here. She replies in fluent French that Paris is supposed to be beautiful at this time of year. Blake shakes his head and calls her a fucking chameleon, then slaps Matt on the arse and tells him to get back to doing what he’s paid to do. Elysse smiles and asks if he’s found someone else to go on that gap year with. Matt reckons they’ve had enough adventure for the time being. Just as they’re about to part ways, Matt asks for her real name. Anna.
Aequitas [SCRIPT]
EXT. NEWPORT TOWN CENTRE, NIGHT.
Michael gazes around the streets heavy with evening light. Some of the lamps are on, but not all – and one is flickering.
Samuel walks beside him, perfectly in step. Their footsteps against the pavement mark the only sound other than the wind.
MICHAEL
This is Lucian’s work. Even if the Arc won’t say it directly. They wouldn’t have sent us otherwise.
SAMUEL
Lucian’s not stupid. If this was his doing, he won’t have stuck around.
MICHAEL
Do you honestly believe it could have been anybody else?
SAMUEL We aren’t immortal. Other people are capable of hurting us, Michael.
MICHAEL
Not like him.
Samuel doesn’t look convinced. He hesitates slightly, falling out of step with Michael as the two continue down the street.
The streets are eerily empty. All of the buildings are shut off or abandoned. The duo check alleyways and sidestreets as they pass.
SAMUEL
Did they manage to narrow down his location any?
Michael shakes his head.
SAMUEL (cont.)
Figures.
MICHAEL
His tracking device was disabled. Nobody outside of the Arc even knows where they’re kept, let alone knows how to shut them off. Lucian has to have been involved.
SAMUEL
Lucian’s already proved himself capable of taking on the Arc. What reason would he have for going after John?
MICHAEL
Lucian’s smart. He’d never risk taking on the whole Arc. He’ll try to take us one by one. First Nathaniel, now John.
SAMUEL
The Arc wouldn’t send us unless they thought there was a chance he was still alive.
MICHAEL
Except that Lucian doesn’t make mistakes. If John’s alive, it’s because Lucian spared him.
SAMUEL
You have a lot of respect for our brother.
MICHAEL He’s no longer a brother. That doesn’t mean I’ll allow myself to underestimate him. Nor does it mean I still respect him. His actions are inexcusable.
Samuel frowns at Michael, but says nothing.
MICHAEL (cont.)
Come on. Just around this corner is where the tracking signal cut out. Keep your guard up.
SAMUEL
You think this might be a trap?
MICHAEL
I’ve no doubt about it. Stay close.
He motions silence from Samuel with a hand, draws the gun from his holster and turns the corner, sticking close to the wall.
This street is as empty as the last, narrower and darker. There is no sign of anybody – not John, not Lucian.
Michael carefully moves forward, checking the sidestreets. He grips his gun with both hands, holding it low and to the side. He checks over his shoulder. Samuel has fallen a little way behind. His face is largely expressionless, but his pace shows how much calmer he is than Michael.
Michael stops to allow him to catch up. Samuel moves no faster when he sees Michael waiting for him.
MICHAEL
(in a low whisper)
You were told to stick close.
SAMUEL
I can take care of myself, Michael. (pause) We ought to split up. We’ll cover more ground that way.
MICHAEL
We stick together, Samuel. You know the rules.
SAMUEL John’s out here somewhere. Dying. Are you really willing to risk his life over a stupid rule?
MICHAEL I’m not willing to risk either of our lives by splitting up and making it easier for Lucian to pick us off. End of conversation.
SAMUEL
We don’t have time to argue over this. We need to rescue John. The sooner we find him, the better. If we split up, we can cover more ground.
MICHAEL
Don’t be stupid. If Lucian finds you out here alone, you’re as good as dead.
SAMUEL
And if we don’t find John soon, he is dead. Did you learn anything from what happened with Alex, Michael? Sometimes rules have to be broken in order to save people you care about. Or are you prepared to leave John to die, too?
A lengthy silence hangs between the two of them, during which neither of them break their gaze away.
MICHAEL
We stick together.
Without waiting for a reply, Michael turns and continues along the street. Samuel stays where he is, watching him walk away before heading in another direction.
Michael turns onto the main street, alone. As before, he stays close to the buildings, avoiding the well-lit expanse of the main street itself. In the centre of the town stand a series of statues, one of which closely resembles the grim reaper. A body is slumped below it.
Michael scans the area for any hint of Lucian before sprinting across and kneeling beside John.
John’s shoulder looks to be dislocated, and his legs are wounded in several places. The dark material of his clothing is wet with blood. Michael reaches for his cheek and shakes him gently.
MICHAEL
John. It’s Michael. Can you hear me?
John blearily opens one eye.
JOHN Mi-
MICHAEL
We’ll get you out of here, okay? The Arc don’t leave a man behind.
He smiles, trying not to draw attention to John’s wounds with his gaze.
MICHAEL (cont.)
I don’t think you can walk, and I can’t carry you by myself. Samuel’s scouting the area. I’m going to find him, and then we’ll be right back to take you back to the Arc.
John’s eyes widen slightly at the mention of Samuel. He tries to grip Michael’s arm to stop him from leaving.
JOHN Michael. He’s-
MICHAEL
I swear I’ll be back. Do your best to stay awake for me, okay?
Michael scrambles to his feet and does a quick scout of the area before heading back the way he came.
He moves through the streets faster than before, taking less care to watch out for himself. He is too focused on locating Samuel and getting back to John.
--
Samuel steps out from an alleyway into the main street. With barely a glance in either direction, he heads towards the statues and crouches down beside John.
SAMUEL
Such a nuisance.
JOHN
You-
SAMUEL
Save your breath. If I’d known you were going to survive for this long, I would have cut your vocal cords as well as your legs. You had the chance to drag yourself over to Lucian’s side, and instead you chose to stay here and depend on the Arc to save you. Well, that was your mistake, and giving you a second chance was mine.
He pauses to draw a knife from the sheath on his lower right leg.
SAMUEL (cont.)
The Arc never learn from their mistakes. They keep taking orders from Rome like obedient little dogs. I learn from mine. When I go after the rest of your brothers, I’ll be sure to finish them properly the first time. Feel free to watch over them from heaven. Or hell. Or wherever.
JOHN
Fuck y-
Samuel drives the knife into his chest, wrenches it back out and wipes the excess on the underside of John’s clothing. He sheathes the knife with one hand and closes John’s eyes with the other.
SAMUEL
Rest easy, brother.
Samuel rises to his feet and brushes himself down. He coughs into his hand and takes a step away from John.
SAMUEL
Michael! Where are you?
MICHAEL
(as he arrives)
I was looking for you.
Michael takes in the surrounding area with a glance. Nothing appears to have changed, other than Samuel’s presence.
MICHAEL (cont.)
You found John.
SAMUEL I did. Apologies for not sticking together as a team.
MICHAEL You did what you thought was best. What matters is getting John back to Rome. If you take his legs, then-
SAMUEL
Michael. John’s already gone.
MICHAEL
No, he’s alive. He’s fallen unconscious, but he’s alive.
Michael moves to kneel beside the body again, but Samuel holds him back with a hand.
SAMUEL
There’s nothing we can do, Michael. They got him.
MICHAEL No, he-
SAMUEL
(sharp)
Michael. Let it go.
Michael stares at John’s body in disbelief for a long while. Finally, he notices the stab wound that wasn’t there previously, and turns back to Samuel.
SAMUEL
Come on. We ought to get back to the rest of the Arc.
MICHAEL How could they have reached him before we did?
SAMUEL
They knew where he was. We didn’t.
Michael looks back over at the body.
MICHAEL
They tortured him before killing him.
SAMUEL John was strong. He won’t have given them anything.
MICHAEL What is there to give? They already know everything about us. They were us, once.
He turns to look Samuel right in the eye as he stands up straight.
MICHAEL (cont.)
They were friends and brothers just like John until Lucian took them. So tell me, Samuel. What was it that he said or did that allowed him to take you as well?
SAMUEL
You appear to be under the illusion that Lucian is some sort of criminal mastermind, Michael. All he is was the first to come to his senses. My actions are my own. Lucian doesn’t control us like Rome do the Arc.
MICHAEL
Rome have us serve justice, not our own motives.
SAMUEL Rome have you blindfolded with your hands cuffed to weapons. All you know of your targets is what they tell you. As with Lucian. Try listening for once, Michael. Hear the argument of the other side.
MICHAEL I won’t expose myself to Lucian’s poison.
SAMUEL
Are you really so stubborn as to deny yourself freedom, Michael?
MICHAEL
My loyalty is to the Arc. It always will be.
SAMUEL
That’s a shame. I’d hoped you were smarter than that. The Arc won’t be so loyal to you in return, Michael. Rome won’t protect you.
MICHAEL
Were you responsible for Nathaniel’s death as well? He was your partner, Samuel. He was your friend!
SAMUEL
Nathaniel wasn’t a friend. He was a blind little soldier like the rest of the Arc.
MICHAEL
You son of a bitch.
He draws his gun and aims it at Samuel.
MICHAEL (cont.)
I should shoot you down where you stand.
SAMUEL
And that would make you better than me…how?
Samuel gestures a shrug and walks backwards a couple of steps, keeping his gaze trained on Michael. Only when he sees Michael’s grip on the gun loosen does he turn his back and walk away.
MICHAEL
Samuel.
Samuel pauses, several paces away from Michael, but doesn’t turn.
SAMUEL If you don’t mind, Michael, I have other matters to attend to.
MICHAEL Show me your face.
Samuel turns.
Michael shoots.
--
Samuel lies bleeding beside John’s body, shot in the shoulder. From behind the grim reaper statue, a figure approaches, silhouetted in the low light as the street lights turn off in anticipation of dawn.
Samuel grimaces as the figure stops nearby.
SAMUEL
He missed on purpose. Not that I particularly appreciate being shot in my better arm.
He pauses and glances up at the figure.
SAMUEL (cont.)
Did you come here to gloat? He was always going to find out in the end. Perhaps better that it happened so soon. Better if I’d been able to knock some sense into him, but there’ll be chances enough for that. He’ll come around.
Samuel struggles to his feet and faces the figure.
SAMUEL (cont.)
Let’s get out of here. The Arc will swarm this place before long, and that’s a battle I’d rather have on our own terms.
He gives the empty street a lingering gaze before the two figures head into the distance, light breaking around them.
Amidst [SCRIPT]
EXT. AMIDST – UPPER DECK. EARLY MORNING.
TERRIN and the CAPTAIN stand side by side, overseeing the [transportation] of several wooden crates and barrels down into the cargo bay of Amidst through the hatch and stairwell. The ship isn’t in the best condition – its hull is battered and its sails are dirty – but the damage is superficial. Nothing suggests that the ship isn’t fit to fly.
Terrin fingers the cuffs of his jacket as he scans the deck. Several workers are scurrying about, but he is looking for somebody else.
CAPTAIN
Barely a count past sun-up and you’re fidgeting.
Terrin glances over, startled. He holds his arms by his side.
TERRIN
I expected at least some of them to be here.
CAPTAIN
They’ll get here in their own good time. Your mother was the same, back when she was freelancing.
Terrin answers him with a glance before moving to the side of the ship, leaning slightly over to watch the people passing below. He squints at a familiar figure, then whips his head around to look at the captain.
TERRIN
Is that Lielas?
CAPTAIN
(smiling)
I thought you could use seeing a familiar face.
Lielas swings himself up the last rung of the ladder as the captain finishes speaking. He sidles up to Terrin.
LIELAS
What he means is he paid double to convince me to do a stint of freelance.
TERRIN
Why aren’t you busy with the company?
LIELAS
Ah, they don’t mind what I do in my spare time. I’m a little sore about losing the first leave I’ve been granted in over a year, but if the pay’s this good…
He claps a hand on Terrin’s shoulder.
LIELAS (cont.)
Besides, it’s good to have contact with the outside world. Most of us shut our doors when the fighting hit the capital, so it’s been the same customers for a while now. Not to mention working with the same crew can get wearing. Change keeps me on my toes.
He glances over his shoulder to see if anybody else is approaching the ship.
LIELAS (cont.)
That, and I’m curious about your pilot.
TERRIN
(frowning) You’re not piloting?
LIELAS
No, I’ve spent too long watching for the company to do anything else. I’m attached to that lookout post.
TERRIN
(looking between Lielas and the captain)
Who’s piloting, then? Are they with the military?
CAPTAIN Jack Dannis.
TERRIN
Forty-One’s Jack?
He looks across at Lielas.
LIELAS
(quiet) The military must have had something to do with it. I can’t see that guy on a merchant ship of his own accord.
TERRIN You know him?
Behind Lielas, a young woman arrives, her uniform marking her out as military. Terrin watches as the captain goes to greet her.
LIELAS We got partnered once, a few years back. He didn’t seem a serious sort. He’s good at what he does, though. I guess that’s what we-
He breaks off and turns to follow Terrin’s gaze.
LIELAS (cont.)
What we need. Go do your thing, kid.
Terrin smiles and gives him a light shove as he passes.
TERRIN
When you first knew me, maybe.
He crosses the deck to stand beside the captain. He holds out a hand to the young woman, bowing his head as he does so.
TERRIN Terrin Kuitar. First mate.
The young woman looks surprised for a moment. She recovers with a bright smile.
IMARI Imari Estean. Navigator. Lieutenant Gricen will be here shortly. Other matters caught her attention on the way.
CAPTAIN Understandable.
TERRIN You’re with the military?
IMARI Is that a problem?
TERRIN Not at all. It’s just part of my job to know.
JACK (O/S)
Am I to assume you’re our first mate, then?
Terrin turns to find a young pilot hauling himself onto the deck, long coat flapping behind him. He strides across to them, grinning, and bends to kiss Imari’s hand.
JACK
Miss Estean. Glad to see you changed your mind after all.
She tugs her hand away.
IMARI
I’m still with the military, Jack. And you’d do well to learn your place, particularly in front of your captain.
JACK
Our captain.
He shoots her a glance before nodding to the captain and Terrin.
JACK (CONT.)
Sirs.
CAPTAIN
Good to have you onboard.
TERRIN
I assume you’re familiar with our navigator, Miss Estean. Over there’s Lielas Carindor, our scout. And my name’s Terrin.
Jack shakes his hand and nods towards the manning stations.
JACK (TO CAPTAIN)
Is it all right if I get acquainted?
He doesn’t wait for an answer before moving across the deck, crouching down and inspecting the various mechanisms.
IMARI
Excuse me, Captain.
She nods to him, slightly bowed, and follows Jack across the deck. She leans against one of the shelves, pointedly not looking at Jack.
IMARI
This is a military mission, Jack. I understand you can’t take anything seriously, but I’m in a position to make something of myself. All I ask is that you don’t cock this up for me.
Jack glances up, still crouched on the floor.
JACK
Why bother? The military’s doing a fine job of cocking itself up, don’t you think?
IMARI
Don’t.
JACK
You can’t tell me you’re happy with the way things are.
IMARI
No. But I’m doing my bit to fix them, which is more than can be said of people like you.
JACK
Why should I be doing my bit for a war that has nothing to do with me?
IMARI
Because it’s your country, Jack. You’re supposed to have some semblance of loyalty.
JACK
I didn’t ask to be born in some crumbling town, any more than anybody asked to be born anywhere. It’s stupid to fight for things beyond your control.
IMARI
Those are the only things worth fighting for. I hope you know they can hurt you as well in the sky as they can on land, Jack. When you’ve got no ship to sail, nowhere to keep on running, I hope you remember how little you cared for our war.
She turns and walks back over to Terrin and the Captain. Jack watches her leave.
EXT. AMIDST – UPPER DECK, EARLY AFTERNOON.
Terrin and Imari stand alone on their part of the deck, smiling as they converse. He leans against the [bow] of the ship, elbows resting behind him. She is still wary of everything going on in the port, glancing around in a similar manner to his earlier, watching out for someone.
IMARI
I didn’t realise we’d have so many medics onboard.
TERRIN
Better too many than too few. The captain usually tries to make sure we have one medic for every engineer, just in case. And we will be flying through enemy territory.
IMARI
I don’t intend on navigating us anywhere that will be overtly dangerous. And we do have a consignment of soldiers with us.
TERRIN
More to guard the army’s investment rather than the crew, though, aren’t they?
IMARI
The crew are just as much the army’s investment.
TERRIN
Well, don’t tell them that.
IMARI
Are they all like Jack?
TERRIN
Not all. But a few consider the ship to be their primary loyalty, or at least the rest of the crew. And that doesn’t include the army. A lot of us are in this business because we have no place left on land.
IMARI
What you mean is I should be aware of split loyalties.
TERRIN
You should be aware of everybody on the ship. If not as a navigator, then as your lieutenant’s right hand.
IMARI
You’d do better to tell her that.
She nods to the port below, and Terrin hurriedly stands up straight, bowing to the lieutenant as she climbs aboard.
TERRIN
Lieutenant Gricen.
CELIA
(glancing him up and down)
I assume you’re not the captain.
IMARI This is Terrin Kuitar, the first mate.
CELIA
And incapable of introducing himself. Where might I find the captain?
TERRIN
He’s dealing with matters down in the engineering room. If you’ll wait, I can go and fetch him.
Celia nods at him, and Terrin disappears down the stairwell to be replaced by the captain a few moments later. He strides over, hand outstretched.
Celia takes it and shakes it firmly.
CAPTAIN
Lieutenant Gricen. Welcome aboard.
CELIA
Much obliged to find a working carrier willing to cross the border. Your crew appear rather young.
CAPTAIN
Young and able-bodied, Lieutenant. Some of the older crew weren’t quite feeling up to making the journey.
CELIA
I hope there’ll be no such insubordination from the remaining crew.
CAPTAIN
With respect, Lieutenant, it’s hardly insubordination. The crew of Amidst changes on a regular basis, according to the work involved.
IMARI
Terrin did mention that he was the only constant.
CAPTAIN
Makes sense to keep your second in command close.
CELIA
He looks the greenest of the lot. Have you been working together long?
CAPTAIN
Long enough. I’d trust him with the life of anyone onboard. He’s second in command for a reason.
CELIA
I’m sure. I hope you aren’t factoring the military into that line of command.
CAPTAIN
You’ll pull in behind him, and I’ll have no complaints about it. Merchant ship, merchant rules. Your lot’s not in charge here. Taken a long time to build up the trust of this crew.
CELIA
As long as the crew are capable and capably led, there shouldn’t be any problems.
IMARI
Lieutenant, if I might talk to you about charting our route..?
She looks up hopefully, holding out a pen to her and gesturing inside.
The lieutenant doesn’t look pleased with the interruption.
CELIA
Very well.
IMARI
I’ve charted us through the Briggs Encampment, to the north-east, but the weather reports are making me reconsider.
Imari leads her towards the upper quarters, holding the door open as Celia passes.
EXT. AMIDST – UPPER DECK, LATE AFTERNOON.
Jack strides across the deck and catches the attention of the captain, who is talking with Terrin.
JACK
If we don’t set sail soon, it’ll be dark before we reach next port.
TERRIN
Are we still waiting on the navigator?
JACK
Miss Estean talked me through the first part of the route earlier. With your permission, Captain, we could set off immediately.
CAPTAIN
Understood. Do what needs to be done.
(to Terrin)
Get the rest of the ship moving.
TERRIN
Sir.
Terrin nods to the captain and heads towards the stairwell to alert engineering. Lielas calls down to him from the lookout post as he passes underneath.
LIELAS
Are we off at last?
TERRIN
Looks like. Jack says he knows the course, and we need to make next port before dark.
LIELAS
Might get dark before then. Small storm coming in from the east, I reckon.
TERRIN
Just a small one? We’ll be fine.
He grins up at Lielas before disappearing down the stairwell.
EXT. AMIDST – UPPER DECK, EARLY EVENING.
The sky is dark, and pelting the deck with heavy rain. Thunder rumbles in the distance.
Lielas is working the ropes for the steam hatches, completely drenched but grinning. He calls out as Terrin passes below.
LIELAS
You call this fine?
Terrin matches his grin and yells straight back.
TERRIN
You call this a small one?
He continues across the deck until he’s close enough to the manning stations that Jack can hear him. He yells across the wind.
TERRIN
You coping okay, Jack?
Jack moves from one station to the other, his focus on redirecting the sails and weights rather than Terrin.
JACK
That’s one bloody word for it. Where’s Imari?
TERRIN
Inside with the lieutenant, I think.
Their conversation is interrupted by another rumble of thunder, and a gust of wind that blows one of the sails completely out of line. The ship pitches sideways nearly forty-five degrees.
Jack rushes to adjust the weights and reset the balance before turning to Terrin.
JACK
Check there’s no damage down below.
Terrin nods and hurries down the hatch. Jack tugs on the rope-bell to signal Lielas.
JACK
Shut the steam lids, we’ve got more than enough wind to keep us going. I’m taking her lower, else we’ll never get through this storm.
LIELAS
D’you need me down there?
JACK
If you know what you’re doing, it might help.
Lielas ties the hatches closed and slides down the main rope instead of bothering with the ladder. He crouches below the manning stations and begins adjusting the weights.
LIELAS
I can manage this. Focus on steering us out of this storm.
JACK
Will do.
Jack moves to take care of the wheel as the ship descends.
Amidst [BACKGROUND INFO]
BACKGROUND INFO
THE PREMISE
In the midst of a continental war, the airship Amidst is pulled in to transport weapons to allies fighting in enemy territory. The crew, made up of both old hands used to working with each other and those who’ve barely taken their first steps off-ground, is joined by an armed guard under military control. As the ship is drawn further and further into the war, arguments between its captain and the lieutenant in charge of the armed force onboard split the crew’s loyalties, leaving them divided and at the mercy of the enemy as they near their destination.
THE WORLD – politics, geography, etc.
Country A and Country B are at war, with Country C aiding both sides to some extent. Country A thinks C should be helping them more because they’re both royalist nations. However, refused that alliance, they instead drag a smaller country, D, into the war, having previously helped D break free of B’s grasp. This causes E to join B out of anger at D, which gives B the upper hand in the war and makes A even more desperate for C’s aid.
None of these countries have names yet. Daryll is supposed to be working on culture, geography, etc. We need to know this soon(ish) so that maps can be drawn up, it can be integrated into the plot/script, and the costume designs can be altered to reflect the differences in culture and climate.
CHARACTERS
Captain – [as yet unnamed] – (Kieran to act? Could easily look the part.)
The captain of Amidst isn’t the owner of the ship, but lost his own recently as a result of the war and ended up in charge of this one instead. His only constant crewmember is his second in command, Terrin, a young man that he looks on as the son he’s been too busy adventuring to have. The captain is warm enough to those that are close with him, but can come across as intimidating at first. He cares for the wellbeing of his crew first and foremost, and achieving their objective second, regardless of whether the crew are recurring or new under his command.
First Mate – Terrin Kuitar
With his father a pilot, Terrin has spent most of his life up in the air. He lost his father during a fire when he was sixteen, and the captain has since become something of a substitute. Terrin is now fiercely afraid of fire, as well as overtly cautious at all times. He tends to close himself off to strangers emotionally, but is well-liked by the crew, who see him as more approachable than the captain.
Lieutenant – Celia Gricen
The highest army presence onboard, Celia has a lot of responsibility on her shoulders. She tends to hand out respect rather than trust, and whilst her job isn’t her entire life, she’s lost enough friends and family in this war to be irked by the sight of anybody onboard shirking their duties. She takes an instant dislike to Jack, despite Imari’s protests. Despite not liking his personality, however, she understands that he’s skilled at what he does. Celia isn’t the sort to let personal grudges interfere – in fact, she’s not really the sort to allow anything to get personal. So far as she’s concerned, this is a mission, and she doesn’t have to bother with any of the crewmembers afterward. Attachments complicate matters, and Imari is enough of a complication in that regard.
Navigator – Imari Estean
Imari used to be a soldier, but broke after her first kill and swapped divisions. She’s still affiliated with the military, and is close to the lieutenant. She is also close to Jack, who she knows from previous expeditions together, but is disdainful of his attitude, which she sometimes sees as too reckless. Imari makes out that she has a fierce loyalty to her country, but in reality she’s more dedicated to simply performing her job in an effort to make up to her parents the disappointment that was her brother.
Staff Officer – [as yet unnamed]
Aside from keeping track of everybody onboard, it falls to the staff officer to watch out for the owner of Amidst’s investment. In this way, he’s a third party, separate from both the army and crew despite working closely with both. However, although he claims to be in the employ of Amidst’s owner, he’s actually an enemy spy. He was supposed to be onboard a different ship, but ended up on Amidst by mistake, and is making the most of the situation by gathering information.
Pilot – Jack [no surname yet]
An experienced pilot, but can be seen as something of a scallywag. He switches easily between doing his duty and relaxing in spare moments, leading some to believe that he isn’t overly concerned about his job. He’s worked with Imari several times in the past and trusts her judgement, as well as thinking of her as a friend. Jack isn’t one to hold back anything of himself – unless someone gets on his bad side, he confides in them and treats them as a close friend. He’s very much a people person, both dependable and dependent, though he hides the latter under an air of confidence. If nothing else, Jack is acutely aware of his own limitations, and will always play it safe unless he has no other option.
Scout – Lielas Carindor
Lielas used to be a pilot before becoming a scout, and often helps with the sails alongside keeping a lookout. He’s worked under the captain as a pilot before, and gets on well with Terrin. Lielas is considerate towards others, but can end up rather indecisive. He feels far more comfortable either with those he knows well, or in crowds where he can blend into the background. He doesn’t like being put on the spot by people, and tries to avoid the lieutenant whenever possible.
The above seven characters are to be featured in the 10-20min short that we’ll be focusing our attention on for the time being. The focus of the short is purely the deck, and the deck crew comprises of the above plus a second pilot who joins in the first full episode.
Secondary Pilot – Glade [no surname]
Glade grew up in enemy territory, and was childhood friends with the staff officer. However, they make a pact not to tell the rest of the crew about their pasts.
Engineer – Frenna [no surname]
Unofficial head of engineering in that everybody looks up to her. She always appears to be in control of the situation, even if she isn’t always perfectly calm.
Engineer – Third [no surname, and first name not stuck]
Engineer – Rudevi [no surname]
His family think he’s a soldier, as all he’s told them is he’s involved in the war. Rudevi rarely bothers with details unless absolutely necessary – he prefers to keep things simple and understandable. It’s his sense of practicality that almost ruins him during the first episode, as he loses the use of his dominant hand and doesn’t believe himself capable of continuing his job, despite being told he’s necessary.
Engineer – Lantern Fields [name absolutely stuck, because Daryll made me promise]
Lantern’s brother once served onboard Amidst, so she’s familiar with the ship and appears to have a certain fondness for it. Although Lantern’s family originates from Country B, both she and her brother grew up in Country A, and are recognised citizens.
Armourer – Ness [no surname]
Armourer – [as yet unnamed]
Soldier – Mitzy Rei
Before the war, Mitzy Rei (sometimes shortened to Mitz or Rei depending on the character) made a living as a bounty hunter. She’s from Country D, and holds a grudge against Country A despite fighting for them, as her brother was killed in service. She loves to take risks and gamble, and has a tendency to fall in and out of love very quickly.
We’ve allowed space for the following extra posts, but they don’t have names or any characterisation yet. All we know is that the medical team, as a unit, are highly competent. Aside from possibly a medic or two, it’s unlikely that any of these posts will have any considerably impact upon the plot at any point.
Soldier #2
Soldier #3
Soldier #4
Medic #1
Medic #2
Medic #3
Amidst [EPISODE SUMMARIES]
All of the following are subject to change. We’ll also be focusing on creating a 10-20 minute short before attempting the entire first episode in an attempt to sell the idea for funding and contacts before we go the whole hog and film a whole pilot.
EPISODE 1: PILOT
Introduction of the early crew. Storm causes problems, fire breaks out, Rudevi becomes crippled, Jack insists on having a second pilot. First planned detour, takes them and their new pilot east towards the Briggs Encampment. Mitzy gambles to win a bed from one of the crew. They detour to avoid a second storm, taking them the long route around the mountains, knowing it will cost them around two weeks – but not before they lose a man. Episode ends with the crew learning to cope – Mitzy sleeping in the bed of a dead man, Rudevi alternating between applying alcohol to his hand and mouth, Terrin splashing his face with water alone in his quarters in an attempt to wake himself up, Jack draping his jacket over Imari, who has fallen asleep on a map, then going outside to help Glade fly whilst Lantern stays close to them and the lights.
EPISODE 2
See smoke up ahead – another allied transporter that has crashed on the mountainside. They take the survivors onboard their ship, only to have some of them, and some of the original crew, fall desperately ill. The medics do their best. They save Frenna, causing Rudevi to reconsider his opinion of them. However, they lose one of the nurses and a soldier, causing Celia to become angered at their pointless hiding having a chemical weapon onboard their ship. Several of their own crew are lost, but the remainder stay with the Amidst to replace the dead crew, on the captain’s orders (much to Celia’s chagrin).
EPISODE 3
The new members of the crew struggle to earn the trust and respect of the original crew, who are still mourning the loss of their friends. Terrin is accused of not mourning, but is just doing it his own way. Further backstory of him and the captain, and the loss of his father.
EPISODE 4
They journey across the remains of a battlefield, where they find an enemy officer still alive. They take him onboard as a hostage, only for arguments to break out between the soldiers, who want him to be tortured for information, and the medics, who want to do what they can. It’s revealed that he fought alongside Lantern’s brother in the previous war. He agrees to join them, so they can chart what would have been a riskier course through enemy territory to save them time.
EPISODE 5
One of the soldiers begins fraternising too closely with the crew. The lieutenant’s disapproval causes a rift between her and Imari – Jack thinks it’s about him. Presses her for details and then finds out she loved another man, and he was the reason she swapped from being a soldier, because of fraternisation rules – not because she couldn’t handle killing, as she had previously made out.
EPISODE 6
The lieutenant suggests that Terrin would make a better captain, and that the captain may have been to blame for the fire that destroyed everything for him. Terrin tries to block his ears, but starts to question things and hates himself for it. Some of the lower crew attempt to mutiny, though it is quashed by those loyal to the captain. Terrin becomes suspicious that the lieutenant sparked the mutiny, and tells the captain as much.
EPISODE 7
Third begins to cross the boundary line with Frenna. Frenna doesn’t notice at first, being busy with her job. Lantern and Rudevi both notice, however. Mitzy Rei has a disagreement with the lieutenant, blaming the army for dragging her country into the war. Discussion of her brother’s death, and debate as to whether the war is even worth waging at this point.
EPISODE 8
The captain finds out about Staff Officer being a spy. Glade the one that sells him out? They need to pass through enemy airspace relatively unnoticed, and he has that power.
EPISODE 9
EPISODE 10
EPISODE 11: CRASH
Amidst crashes after being shot down in enemy territory, killing some crew members on impact (Third) and endangering the lives of several others, including the captain. Terrin stays with him, and the lieutenant attempts to take charge of what remains of the crew. However, several of them refuse to follow her, resulting in an argument between Jack and Imari over who should lead. The crew splits into factions, and a lot of blame is thrown on all sides, especially against Staff Officer, Glade and Lantern.
EPISODE 12: FINALE/NO WAY HOME
With the captain dead, responsibility falls to Terrin to lead them. Imari and Glade are able to team up and pinpoint their relative location. Discovering that they are near an enemy stronghold, certain of the soldiers want to go out fighting. The rest of the crew is divided between sneaking past to achieve their goal, and abandoning the mission altogether. Terrin gives everybody permission to leave, and a small number do – including Jack, whom Terrin wanted to make their leader. The rest split up into two groups – those wanting to go out in a bang will cause a diversion for the rest. Finally reach destination, after losing half the crew, only to find that the alliance army has, at least in that location, already been defeated. No way home.