REVOLUTION by Eric Kripke

SECOND NETWORK DRAFT January 31, 2012 Bad Robot 2012 Warner Bros. Entertainment Inc. This script is the property of Warner Bros. Entertainment Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc.

REVOLUTION Pilot TEASER EXT. CHICAGO - NIGHT A CHYRON: CHICAGO, ILLINOIS. Then... THE NIGHT OF THE BLACKOUT. Over-- a lively MONTAGE. Scruffy, real. Documentary-style.

The downtown SKYSCRAPERS. Sears Tower. Trump Tower. John Hancock. Each its own universe of gleaming electric light. A river of TAXIS surge down Michigan Ave. Shoulder-toshoulder PEDESTRIANS flood the sidewalks. Many chatting on their smartphones. Precious few make eye contact. Finally-- a warm Lincoln Park TOWNHOUSE. INT. TOWNHOUSE - KITCHEN - NIGHT RACHEL MATHESON, 28, sits at the table. with Friends on her iPad. Idly plays Words Then a THUMP!

When from the hall-- she hears the FRONT DOOR. Ben...? No answer. RACHEL

Rachel stands, heads into the next room--

INT. TOWNHOUSE - FRONT HALL - NIGHT --only to see a stack of BOXES. of Campbells finest. And an OPEN FRONT DOOR. EXT. TOWNHOUSE - NIGHT --to find husband BEN MATHESON, 30, at the rear of his SUV. RACHEL (dry) Hey. Think you got enough soup? Shes closer. Now noticing-- the SUV is CRAMMED to the rafters. WATER BOTTLES. DRYGOODS. SOUP CANS. Over a hundred

Frowning, Rachel moves outside--

2. RACHEL --and everything?

Jesus, Ben.

Ben pivots. And thats when Rachel knows something is very wrong. Because hes SCARED SHITLESS. BEN We need more water. and tubs, okay? Fill the sinks

Alarmed, Rachel spots the PILE of SMALL BOXES in Bens arms-RACHEL Those-- Ben, those are bullets-But Ben is already hauling them into the house. BEN We dont have much time-RACHEL Just stop-He halts. Turns. RACHEL Its happening, isnt it? He steps to her. Ashen. Only says:

BEN ...Im sorry... And Rachel PALES. Whatever this awful secret is... they both know it. She succumbs to a beat of PANIC. Then... braces herself. Theres just too much to do. RACHEL ...Ill... fill the tubs... EXT. ROUTE 21 - NIGHT Six lanes of RACING VEHICLES. Everyones in a hurry. We CLOSE IN on one particular car-- a 2012 DODGE CHALLENGER. CHYRON: PORT ROYAL, SOUTH CAROLINA. INT. DODGE CHALLENGER - MOVING - NIGHT MILES MATHESON, 24, a Marine. Likable; his face is an open book. He rides shotgun. His best friend BASS, 26, drives. Their buddy OLIVER, 21, in the back. Long night at the bar. Ollie chuckles at a text. Furiously texts back.

3. MILES

What?

OLIVER Just talking to that waitress. red head.

The

MILES You ever consider just... you know? Calling her? OLIVER What do you think Im doing? MILES I mean, with your voice-- like, hello... Oliver shoots Miles a strange look. OLIVER What are you, my Nana? BASS You know, deep down, he kinda is. When Miles CELL RINGS. Shut up. MILES No. No, he hasnt.

Miles checks the I.D. He answers, casual-- he speaks to his brother fairly regularly-MILES Hey, Ben-- whats up? INTERCUT WITH: INT. TOWNHOUSE - KITCHEN - NIGHT Ben, cell to his ear, at his LAPTOP. As he speaks, he shoves a small, high-tech FLASH-DRIVE into the side of the computer. BEN Where have you been!? MILES Whats wrong? BEN Ive been calling--

4. MILES You sound like Dad--

Okay.

BEN Where are you? CLOSE ON BENS LAPTOP. A PROGRESS BAR. DOWNLOADING FILES. But not nearly fast enough for Bens comfort. MILES Just had a few. Were heading back to base. BEN Youre on the road? get off the road! You have to

Miles is bewildered by Bens tone-MILES Ben. Calm. Down. whats going on-Now tell me

BEN Listen to me, very carefully. Its all gonna turn off, Miles. Everything. Itll turn off, and it wont ever turn back o-SHHHHHHHHH. Static. The line just went dead.

Ben?

MILES Hello?

INT. TOWNHOUSE - KITCHEN - NIGHT Miles! Ben hangs up. BEN Afraid. Back to his laptop.

Anxious.

ON THE SCREEN. That downloading PROGRESS BAR. Almost there... almost... its finished! DOWNLOAD COMPLETE. Just as the computer screen STROBES BRIGHTLY-- then FLICKERS OFF. As do all the lights. Ben removes the FLASH-DRIVE. Folds the port back, as we realize-- its disguised as an ELEGANT SILVER PENDANT. Real James Bond shit. INT./EXT. DODGE CHARGER - MOVING - NIGHT In the back seat. Olivers PHONE shorts out.

5. OLIVER

Hey--!

BZZT. The cars GPS SCREEN FRITZES. SNAPS OFF. Then the DASH READ-OUTS FLARE. Then expire. Bass notices, gives them a firm knuckle rap. BASS Aw, come on... MILES (troubled) ...I think you should pull over. Bass nods-- Miles is right. Bass crosses a lane. anti-locks. But nothing is happening-Bass. MILES I said stop the car. Pumps the

BASS Im trying-MILES What do you mean, youre trying? BASS Whattaya think I mean?! brakes are out! What!? Bass tries again. OLIVER But the car only ROCKETS FORWARD-- FASTER-Goddam

MILES Then-- pull the Emergency! Bass YANKS the emergency brake. SCREEEEECH!

The Challenger SPINS OUT, right there in the middle of the highway! Spinning-- SPINNING! A nail-biting beat-Before it finally comes to a rest. FREEWAY OVERPASS. Miles. A deep sigh of relief. On the shoulder of a

Christ.

But Bass isnt quite so relieved-- he glances out the windshield-- AS ALL AROUND THEM-- OTHER VEHICLES CAREEN and CRASH. Out of control. BASS We gotta get off the road--

6. INT. TOWNHOUSE - KIDS ROOM - NIGHT Next CAR we see is a battery powered TOY. Like the real ones, its spinning in daft, pointless circles. A CRIB. Inside-- DANNY, 2, is awake. Watching, curious, as-Grips his railing.

More toys suddenly come to life. All at once. Whirring Teddy Bears. Talking Dolls. Tinny police SIRENS. A girl-- CHARLIE, 5, in an adjacent bed. Wakes. Takes in the uncanny sight. Shes old enough to know to be frightened... Mommy...?! CHARLIE

Rachel RUSHES IN-- just as all the toys SUDDENLY and PERMANENTLY DIE. Rachel sits beside her daughter, lovingly brushes hair from her face-RACHEL (its so not okay) ...its okay, Charlie. Ben enters. Locks eyes with his wife. They speak silent and scared volumes to each other. Then Ben steps to the window. Peers out at-THE CHICAGO SKYLINE. As... building by building... it begins to FLICKER OFF. To BLACK. CLOSE ON BEN. Watching in grim awe.

EXT. ROUTE 21 - NIGHT Miles and Bass RUN like HOLY HELL. Oliver, a few paces behind. Theyre on a high overpass, so they cant just hop off the road. They aim for an EXIT RAMP ahead-DODGING the CARS that TWIRL right past them! shifting OBSTACLE COURSE. Ollie! Oliver bears down. MILES Come on! Speeds up. A deadly, ever-

Bass suddenly YANKS Miles BACK-- from an ONCOMING CAR, CRUNCHING into the guard rail. Saving his life. And so it goes. The Marines SPRINT. Leaping out of the way of the two-ton BULLETS that fire at them, pell-mell--

7. Finally-- Miles and Bass reach the OFF RAMP. Oliver. Still lagging behind-MILES Would you hurry up?! When Oliver reaches the EXIT. Takes a few steps down the ramp. Cant help but exhale, now that hes safe-OLIVER Okay, okay. Get off my-SMASH! A SEMI TRUCK, out of nowhere, POUNDS into Oliver! OBLITERATES HIM. Before it PLUNGES off the exit ramp. Off Miles and Bass. Watching in horror-Pivoting to--

EXT. TOWNHOUSE - NIGHT Ben emerges from his house. A TERRIBLE RUSH of WIND. Looking up. Hearing-DEAFENING--

That grows louder.

DIRECTLY OVERHEAD. A JUMBO JET. Powerless. A plummeting black whale. No ENGINE WHINE. Just a whoosh of AIR. As it FREEFALLS. CRASHES. Only a few blocks away!

Reflected in Bens stunned face-- a MASSIVE ORANGE FIREBALL finally provides some illumination-EXT. PLANET EARTH - NIGHT The planet. As every GLINTING ELECTRIC LIGHT SNUFFS OUT. DARKNESS. A complete and utter worldwide-BLACKOUT. END OF TEASER To

8. ACT ONE EXT. PLANET EARTH - NIGHT A CHYRON: 15 YEARS AFTER THE BLACKOUT. The planet. Just as shadowed. Just as mysterious. Apparently, the lights never came back on. INT. SUBURBAN HOUSE - VARIOUS - DAWN A CHYRON: SYLVANIA, WISCONSIN. The pacing calms. More measured. Elegaic.

A HAND patiently STRIKES a wedge of steel against flint. Then again. Then again. Finally, the spark ignites the kindling. The kindling ignites a fire. In a living room fireplace. The flames illuminate the face of-Ben Matheson, now 45. He turns to a FADED, WATER-STAINED PHOTO of him and Rachel. Tacked to the wall. He lightly touches Rachels face. Morning. BEN And

HALLWAY. Ben swings open a door to reveal-- a BEDROOM. a messy, unmade bed. He frowns-EXT. CUL-DE-SAC - MORNING

Ben steps out of his front door. Pads down the sidewalk. We catch a piece of his modest house-- single-story, ranchstyle. And for all the world, this seems like every typical American street in every typical American neighborhood. Until a NEIGHBOR-- CALEB, 50, stocky-- passes. Rifle slung over his back-- WHEELING a DEAD DEER on a MAKE-SHIFT WAGON-and even weirder-- Ben reacts like its perfectly NORMAL-BEN Hey, Caleb. CALEB Morning, Ben. Then we CRANE UP to REVEAL: NOTHINGS typical about THIS. Its the Leave it to Beaver cul-de-sac. RADICALLY TRANSFORMED-- into a bucolic FARMING VILLAGE. No grass in the front yards-- thats wasted soil. SMALL PATCHES of CROPS-- corn, carrots, wheat. Instead,

9. A row of BULKY COMPUTER MONITORS-- screens replaced with WIRE MESH-- now used as CHICKEN COOPS. A SHEPHERD leads his FLOCK of SHEEP across the suburban blacktop-Ben passes a faded OLD BRICK SIGN that announces the neighborhood: SYLVANIA ESTATES. Then approaches-MAGGIE, 39. British. Beautiful. No nonsense. The VILLAGE DOCTOR. She stands beside AARON, 37, lovably neurotic. He hates nature and nature hates him. Maggie applies a thick balm to Aarons RED, SPLOTCHY ARM-BEN What happened to you? AARON Fell into some poison oak. MAGGIE (bemused) Tell him how. Aaron is defensive-AARON I was startled. By a giant, rabid-(off Maggie) --raccoon, it was a raccoon, okay? Im a huge pussy. You happy? BEN (warmly chuckles) Coulda happened to anyone. (to Maggie) You seen Charlie or Danny? MAGGIE They left early. Said they were going hunting-Ben sighs. He has his doubts. BEN They better be. EXT. HIGHWAY - DAY A RUSTLE in the verdant TREELINE. Then-- emerging into a nice, tight HERO SHOT-- CHARLIE, now 20. Shes naturally lovely. And LUMINESCENT with CURIOSITY--

10. CHARLIE Check it out-She moves-- towards a four-lane INTERSTATE. A TEN CAR PILE UP. Rusted Toyotas, Fords, Chevys. Left where they died. CRUNCHED into each other. A sculpture of twisted metal. People clearly lost their lives here. At one end-- an overturned MOTORHOME. ON ITS SIDE.

Charlie bee-lines for it. Behind her-- DANNY, 17. Her brother. Bright, capable. He eyes the RV, dubious. DANNY So, Charlie-- heres a thought. How bout-- for once-- we actually go hunting? CHARLIE No ones stopping you. With remarkable agility-- Charlie CLAMBERS up the MOTORHOME. On the top-- the DOOR. Charlie STRAINS a bit against the rust-- but WRENCHES IT OPEN-Wait here. CHARLIE

And with that, she DROPS DOWN into the RV. Danny sighs. Follows his sister. He always follows his sister. INT. MOTORHOME - DAY Its dusty. Mildewed. Shadowed. Since the vehicles on its side-- its DISORIENTING, too. A SIDEWAYS FUNHOUSE-- where the ceiling is comprised of a sink, a microwave, a FRIDGE-Charlies FASCINATED. By the modern conveniences. The gadgets. She remembers them from when she was young, but still, its EXOTIC. At heart-- SHES AN EXPLORER-- RESTLESS-Behind her, Danny drops in. He isnt quite so entranced-- he sees the windshield-- shattered right where a head would hit-CLOSE ON CHARLIE. As she looks straight up-- at the overhead REFRIGERATOR/FREEZER. Door lazing open. It REMINDS HER-INT. TOWNHOUSE - KITCHEN - NIGHT - FLASHBACK Another fridge/freezer. Both doors wide open.

Charlie, 5. Sits, wide-eyed, before THREE TUBS of ICE CREAM. Rachel hands her a spoon. Ben watches. They all wear the same clothes from the Tease. THE NIGHT OF THE BLACKOUT.

11. CHARLIE Both on the verge of breakdown--

Really?

Her parents trade looks.

RACHEL Yep. Freezer... doesnt work. Its all gonna melt anyway. Charlie digs in, cant believe her good luck. As Rachel lovingly brushes her hand through her daughters hair. HUMS. BEN (choked up) Whoa. Slow down, kiddo. I want you to remember-- really remember-what it tastes like. Rachel still hums, and by now we might recognize the tune-Cat Stevens Wild World. The pain and fear in Ben and Rachels faces-- its tragic. INT. MOTORHOME - DAY - PRESENT CLOSE ON CHARLIE, 20. Reminiscing. Then... she reaches up-CLICKS the fridge shut. And taped to the front-- a POSTCARD. FROM NEW YORK CITY. The Empire State Building. A real treasure. Charlie smiles. Pockets it. Meanwhile-- Danny searches in the hall. Directly above his head-- the BATHROOM DOOR-- he stretches up. Unclasps the lock-- the DOOR FLINGS OPEN-AND A MUMMIFIED CORPSE COLLAPSES ON TOP OF HIM! Neck broken from the accident, never discovered in the aftermath. We JOLT! But not as much as Danny-- he SHOUTS-Danny! CHARLIE

Charlie RUSHES OVER-- PULLS her brother to her feet-- hes out of breath-You okay? CHARLIE

But now we notice-- Danny is much more than out-of-breath. It grows into a LABORED WHEEZE. His THROAT CONSTRICTS-Danny?! CHARLIE

12. EXT. CUL-DE-SAC - AFTERNOON Six or seven VILLAGE KIDS sit, disinterested, in the grass. Theyve got TORN, DOG-EARED PHYSICS TEXTBOOKS. Aaron stands before them. Their teacher. He scratches at his itchy, bandaged arm. Then he holds up a POTATO. AARON Okay, gang, so this was an experiment when I was a kid. He plugs two WIRES into the potato-- attached to a small digital clock-AARON A redox reaction-- chemical energy in the spud converts into electricity, powers the clock. Now watch very closely-He holds up the potato clock. It doesnt work. One of the kids-- SPENCER, 13, pudgy, wet nose-- speaks up-SPENCER Nothings happening. AARON Exactly. Jack squat is happening. Why? Anyone? Raise your hand-SPENCER Because of the Blackout. AARON This is my point. It wasnt just a Blackout. Wasnt just the wall socket. Things that should work stopped working. Batteries. Gas generators. Friggin potatoes. (off their boredom, Aaron levels with them) Okay, look. I know learning isnt as cool-- or frankly useful-- as bowhunting or whatever. But still-this should bother you. The world pretty much went insane-- overnight -- and no one knows why-SPENCER My Dad says it was because of God. Because Hes angry at us.

13. AARON (long suffering sigh) Shut up, Spencer. Suddenly-- Charlie and Danny CRASH through the bushes, next to this impromptu classroom. Theyre a HOT MESS. Charlie SHOULDERS Danny, whos in the midst of an ASTHMA ATTACK-MAGGIE! CHARLIE

DOWN THE STREET. Maggie clips herbs. Her head shoots up-immediately sees the ruckus down the street. She HAULS ASS-Maggie is calm and assured as she reaches Danny-MAGGIE Okay, Danny, just relax, youre gonna be alright-OFF CHARLIE. Sick with worry--

INT. SUBURBAN HOUSE - THAT NIGHT By the hearths firelight, Danny sips a black, viscous solution from a glass. He grimaces. Its awful. MAGGIE You suck that back with a big, bloody smile. Indian Tobacco. Itll help with the asthma. DANNY Okay, okay-Its obvious that Maggie and Danny adore each other. Charlie sits nearby. Reads a faded copy of the N volume of the WORLD BOOK. Watches the two of them. Rolls her eyes. Just as Ben ENTERS. He places his hands on Maggies shoulders-- which really raises Charlies ire. To Danny-BEN How you feeling, kiddo? DANNY Ill live-Beat. But Ben cant restrain himself-- pivots to Charlie-BEN ...you were supposed to watch out for him--

14. CHARLIE

Im sorry.

BEN You know that highways not safe-or maybe that corpse wasnt enough of a clue-CHARLIE I know. Im sorry. (then, quietly) Its just-Ben sighs. Really.

He knows whats coming-Go ahead. BEN

CHARLIE Nothings safe. Everythings offlimits. BEN Were really gonna have this talk again? Yeah. CHARLIE I think so.

BEN Im just trying to look out for you. CHARLIE Thats my point-- I dont need you to, I can handle myself. I mean, if you had your way-- wed spend our whole lives on this damn street. BEN Okay. So then just head out into the wild blue. And get your throat slit by a gang of thieves. Or lynched by the Militia. Any of that sound good to you? Come on. CHARLIE Its not all like that--

MAGGIE I dont know-- it can get pretty rough-- trust me--

15. Charlie glares at Maggie. Shes not welcome in this debate.

CHARLIE But-- theres other towns, like ours, right? Other people. I just... I wanna see for myself. BEN Trust me. Theres nothing worth seeing. Not anymore. MAGGIE I get it, Charlie, I was twenty once, too. But hes right. Things are different now-Charlie lashes out at an easy target-- to her Dad-CHARLIE Why is she a part of this conversation? Hey-BEN

CHARLIE Its not enough, I gotta listen to her orgasms through the wall? Or the awkward small talk at breakfast? Now her advice? Maggie is embarrassed and Bens FURIOUS-BEN We are done talking about this. Fact is, nothings as good as what you have right here. CHARLIE So thats why Mom skipped out? Cause its all so perfect? Charlie! DANNY

The second it escapes her lips, Charlie regrets it. And sure enough, it stops the argument cold. Ben takes it like a gut punch. Quiet, hurt, he pivots to the dying fire-BEN Thats a good question. Im... um. Fires low, I should get some more wood. Excuse me.

16. Ben slumps out of the room. Maggie, flustered, upset, follows. Danny shoots daggers at Charlie-DANNY Good, Charlie, that was great. OFF Charlie. She feels terrible.

EXT. FERRIS WHEEL - NEXT MORNING A rickety CARNIVAL FERRIS WHEEL. A TREE HAS GROWN UP and THROUGH the TOWERING LATTICE. Its haunting, picturesque. This is where Charlie comes to think. at the wheel. Melancholy. She hikes up. Gazes

Then, from a nearby STONE WALL, she pries a large LOOSE ROCK. Hidden in the gap INSIDE-- a LOCKBOX. She sits. Opens it. Revealing: the contents of her heart. Precious remnants from the old days. An iPOD. Some COINS. And... FADED POSTCARD after POSTCARD. Los Angeles. The Chicago Skyline. She adds her latest prize-- the NEW YORK POSTCARD. She intently examines them all. Snapshots of a world she desperately wants to know. But never will... EXT. WOODS - MORNING Through the FOLIAGE... a soft RUSTLE... as a graceful BUCK emerges. Hes huge. Foraging. He doesnt see-DANNY. VERY high up on a TOWERING tree branch. accomplished climber. Quiet, assured, Danny aims a CROSSBOW. aim-- a beat-An

Takes calm, perfect

Then a SUDDEN RUMBLE-- startled, the deer darts off-Danny. What the hell is that? point, he spots-Then, from his high vantage

A WAGON. Winding down a FOREST ROAD. The wagons partially shielded by the branches. But Danny can still make out two horses. Multiple men. And a distinctive SYMBOL-- an ENCIRCLED M-- PAINTED on the side... EXT. CUL-DE-SAC - MORNING The wagon rounds the corner. And we finally get a good look. Its a DODGE RAM 3500 FLATBED TRUCK. Pulled by TWO HORSES.

17. The truck carries TEN SOLDIERS. All wearing olive green uniforms. That same ENCIRCLED M on their shoulder patches. And the residents react. With FEAR. And HATE. Parents hurry children inside. Hard looks from stalwart men. MAGGIE. She steps forward. Eyes the Militia. Anxious. When she sees-- in an alley between two houses-BEN AND AARON. Its STRANGE-- Ben is STRESSED, SPEAKING ARDENTLY to Aaron. Aaron is PALE, SHAKING HIS HEAD-- NO! But Ben is INSISTENT. CLASPING AARONS HANDS. CLOSE ON MAGGIE. What the hell is that about?

CLOSE ON AARON. As Ben steps over to the soldiers. Leaving Aaron behind. Aaron looks down at his hands-- Ben just gave him the SILVER PENDANT NECKLACE-- the FLASHDRIVE NECKLACE from the Tease! Why? Whats this mean? Whats Aaron know? The wagon stops. Soldiers hop out. One holds a RIFLE. Others carry battle-tested SWORDS with casual menace-- and none of that Medieval Times bullshit. This is the real deal. Their LEADER-- CAPTAIN TOM NEVILLE, 40, saunters up. Ben steps forward to meet him; clearly, Bens some kind of community leader. Neville speaks with a genteel Southern twang that, in any other context, youd find charming. CAPTAIN NEVILLE Just a glorious day, isnt it? BEN It is. Listen. This must be a mistake, weve already paid the Spring Tax. CAPTAIN NEVILLE This isnt about your crops, were not with the local garrison. Camera CLOCKS: a TATTOO on NEVILLES EXPOSED FOREARM. Actually, more of a BRAND than a TATTOO. That SAME M. CAPTAIN NEVILLE Do you know a Ben Matheson, by any chance? BEN (spine ices over) ...youre looking at him. this about?

Whats

18. CAPTAIN NEVILLE Miles Matheson. Hes your brother? BEN Thats right. CAPTAIN NEVILLE Any idea where he might be? BEN I havent seen him in years-- Im sorry, what is this about? The TOWN RESIDENTS stiffly watch this exchange. Maggie. Aaron. Caleb-- the DEER HUNTER-- RIFLE strung over his back. CAPTAIN NEVILLE Im here under orders from General Sebastian Monroe himself. He specifically asked me to find two men-- you. And your brother Miles. And well-- one down, one to go. Wait. BEN Just hold on--

CAPTAIN NEVILLE I have to ask you to come with us. Under the authority of the Monroe Republic. BEN I dont understand. Why?

CAPTAIN NEVILLE Honestly, sir. Above my paygrade. But if the General wants to see you, must be pretty goddam heavy. CLOSE ON AARON. Watching Ben closely. Sizing them up.

Ben flicks his eyes to the SOLDIERS.

One YOUNG PRIVATE loads his RIFLE. But the way they did in the Civil War. Gun powder. A lead ball. A ramrod. BEN I dont want any trouble. CAPTAIN NEVILLE Neither do I. Neither do your neighbors, Im sure. Which is why youre gonna grin big and climb in that truck.

19. Beat. Ben regards his friends. He knows what Neville could do. Ben gives a small, forlorn nod. MAGGIE No-- you cant go-Ben pivots to her. They whisper, fast and harsh--

BEN Ill be okay. MAGGIE Youre lying. You wont come back-theyll kill you-BEN Better me than all of you. DANNY (but then) Hes not going anywhere. Suddenly-- DANNYS THERE. Nevilles heart. Danny! BEN Stop! CROSSBOW aimed directly at

The other SOLDIERS tense. That Young Private raises his rifle at Danny. But Captain Neville only seems amused. CAPTAIN NEVILLE I suppose this is your boy? DANNY You cant take him-BEN Put it down, Danny. now! But Danny refuses. Goddammit,

Then... Caleb RAISES HIS RIFLE, too. How bout Gripping

CALEB Kids got a point, Ben. they put theirs down?

Soldiers MOVE to CALEB. VILLAGERS BLOCK their way. FARM TOOLS-- AXES. MACHETES. VILLAGER (to a soldier) You just step your ass back.

20. And like that, were in a MEXICAN STAND-OFF. CAPTAIN NEVILLE Why, lookee here. Isnt this dramatic? Ben is aghast. Quickly and completely losing control of the situation. He circles to the Young Private. Stands before that rifle. Hands up. Blocking the shot on Danny. BEN (to his neighbors) Listen to me. You cant win. will burn us down. CAPTAIN NEVILLE Hes a smart man-Ben FOCUSES IN on Danny when he says this-BEN You dont have a choice. let me go. You gotta

They

CLOSE-UPS. Neville. Ben. Maggie. Danny. Hands grip weapons, fingers quiver on triggers. A tense beat-EXT. FERRIS WHEEL - MORNING CLOSE ON CHARLIE. BANG! She hears the SHOT, ECHOED in on the wind. Whips her head to the sound source. Walks towards it. Then RUNS-- SCARED--

EXT. CUL-DE-SAC - MORNING Ben stands. Confused. A frozen moment. Then... As

BLOOD DRIBBLES from his mouth. He drops to his knees. CRIMSON BLOSSOMS across his chest.

Danny. Stares, speechless, at the Young Private with the nowsmoking rifle. Maggie. HORRIFIED. Then her training kicks in. She crouches beside Ben. Immediately applies pressure. Captain Neville WHIRLS on the Young Private-CAPTAIN NEVILLE You stupid sonofabitch-YOUNG PRIVATE Sir, Im sorry, I--

21. But he never finishes that sentence. Because--

Danny FIRES THAT CROSSBOW-- the ARROW TWIRLS through the air-then EMBEDS in the Young Privates CHEST-- he SPURTS BLOOD-then drops to the dirt-And now everything happens at once-Caleb SHOOTS, DROPS a SOLDIER-- another SOLDIER SWORD-SLASHES a FARMER across the TORSO-- another FARMER BURIES his AXE in yet another SOLDIERS GUT-CAPTAIN NEVILLE. HOLY SHIT, this guy is SCARY with a blade. He HACKS, SLASHES-- with preternatural ability-- wiping out one ARMED FARMER after another-- he SLAUGHTERS CALEB without hesitation-- barely LOOKING at him-Dannys about to reload-- but two SOLDIERS CLUTCH HIM-- he FIGHTS like HOLY HELL-- theyre gonna slice him-- except-Stop! CAPTAIN NEVILLE I want him alive!

EXT. WOODS - MORNING Charlie. RACING. will carry-Back home. Desperate. Fast as her legs

EXT. CUL-DE-SAC - MORNING Danny. Hands bound. No... no! Soldiers SHOVE him into the flatbed. MAGGIE

And Maggie CLAWS at the Soldiers like a lioness. Struggling to hold onto Danny. But a Soldier CLOCKS her in the face with the rifle butt-- she collapses into the dirt, out cold-Aaron races to her, supports her neck-Neville crouches before Ben. Whos alive, but bleeding out--

CAPTAIN NEVILLE Sir, I am sorry. This is the last thing I wanted. (then) But if I cant have you-- I have to take your son... Off Ben-- drowning-- in this NIGHTMARE--

22. EXT. WOODS - MORNING Charlie. Out of breath. Exhausted.

When she EXPLODES out of the woods-- and she freezes-- her eyes widen-- uncomprehending-Its FUCKING CHAOS. Wagons gone. But MULTIPLE CORPSES sprawl in the street-- a few dead soldiers, but MORE DEAD FARMERS. WIVES and CHILDREN WAIL over their fallen FATHERS-a HUSBAND vainly performs CPR on his WIFE-But then Charlie is JOLTED back to reality when she sees-Ben. Crumpled on the ground. Maggie beside him. Dad! CHARLIE As Maggie tries to stem the

She SLIDES in front of Ben. bleeding with a filthy rag.

CHARLIE Wheres Danny, where is he?? BEN ...they took him... militia took him... Charlie. Her worst fears realized. CHARLIE What-- what do we do? BEN ...listen... my brother... hes in chicago... CHARLIE Your brother? Dad-AARON. Hes there, too. Watching. Thoughtful. Somber.

BEN ...theres a place called the drake... on walton, thats a street... miles is there... he can get danny... find miles... CHARLIE Dad. Chicago. Its too far. (then) Well catch up to the soldiers. No.

23. BEN

...no...

CHARLIE We can take Danny back-BEN ...no... youll just end up like me... CHARLIE (naked vulnerability) I-- Dad. You come with me. Okay? Dont go... dont leave me alone. BEN ...youre strong like your mom... just as stubborn, too... They smile, heartbroken, at each other through the tears. BEN ...you can do this, charlie... you have to do this... CLOSE ON CHARLIE. As she takes this in. command. She nods, meaningful. Her Fathers dying

Ben nods back, relieved. Starts fading fast. Turns to Maggie. He cant even speak. Clutches her hand in his-Shhh. She leans over. MAGGIE I know. Kisses him goodbye. A flood of mixed feelings.

Charlie watches this exchange.

Finally, Ben turns back to Charlie. He meets her eyes. Trying to convey something. Whatever it is... its important. Its life or death. But... he cant do it... his eyes swim... his breath quickens... and then he dies... MAGGIE. CHARLIE. Openly sobs. Stoic. Or in shock. Tightly gripping the SILVER

AARON. Turned away from them. PENDANT NECKLACE... EXT. GRAVEYARD - DAY CUE MUSIC.

Something sad and sweet and evocative.

24. A wide field, a pretty view, where the locals bury their dead. SIX FRESH PLOTS today. Lined with mournful people. Were CLOSE ON Maggie and Aaron. A FARMER leads the burial service. We cant hear his words--

And Charlie doesnt want to. She stands outside the circle. Its all meaningless. Theres only one thing in the whole world that still has any meaning-She pivots. Off Maggie. Walks away. Watching her.

INT. SUBURBAN HOUSE - DAY JUMP CUTS. Charlie packs supplies. Fills old, empty DR. PEPPER SODA BOTTLES with pre-boiled water from the kettle. Lifts that faded PHOTO of her Mom and Dad. Places it in her LOCKBOX-- and she takes that, too. She holds Dannys CROSSBOW. Hers now. She feels its weight-You

MAGGIE (O.S.) At least wait till morning. need to sleep-Charlie looks up.

Maggies the last person she wants to see.

CHARLIE Im wasting time. But still, Charlies aware of their shared pain. And shes just LOST and BEWILDERED by this turn of events-CHARLIE Whyd they take Danny? want my Dad? MAGGIE ...I dont know. She nods to the BRUISE on Maggies forehead-CHARLIE Well. I heard about that. that you tried. Thanks. I know Whyd they

MAGGIE You can thank me when we find your brother. Charlie frowns. She knows what Maggies saying--

25. CHARLIE Wait a minute--

No.

MAGGIE I have hereby retired as town doctor. James is taking over-CHARLIE But-- I dont need the help. MAGGIE You dont need the help-- or you dont need my help? Charlie shrugs. Both.

MAGGIE Well, thats just tough shit. CHARLIE You dont get it. Youre not invited-- I dont want you to go-MAGGIE Im not doing this for you. Off the two of them-- dueling glares-- before Charlie drops hers. Irritated. She knows theres no convincing Maggie-EXT. CUL-DE-SAC - DAY Charlie. Maggie. Hefting large backpacks. Walking down the empty street. When, suddenly, unexpectedly-Aaron falls into pace beside them, self-conscious. own pack-Seriously? CHARLIE You, too? Lugs his

AARON (small) Yeah. I think so.

Yep.

CHARLIE I mean, come on, youre afraid of bees-AARON I am not afraid of bees-- Im allergic to bees-- theres a difference-(then) (MORE)

26. Look. here. Maggie stops. AARON (CONT'D) I am well aware of my odds But Ben was my friend-He stops, too.

Studies Aarons face.

MAGGIE What did he say to you? Sorry? AARON

MAGGIE Before he died-- I saw you and Ben talking. Does this have anything to do with that? AARON (evasive beat) ...he... just said he had a bad feeling-- which turned out to be spot-on, by the way. But no-(I so dont want to go) Im going cause... I wanna go... But Aaron cant meet her gaze. She seriously doubts hes telling the truth-- but Maggie lets it go-- for now-MAGGIE Your funeral. Probably. AARON Yes.

This new band of PILGRIMS reach the end of their street. CLOSE ON CHARLIE. She pauses. Takes one last look back-Off this-BLACKOUT. END OF ACT ONE

Then heads into the woods.

Into the world.

27. ACT TWO INT. THE DRAKE - SALOON - NIGHT A CHYRON: CHICAGO, ILLINOIS. A SALOON. TORCHES on the walls. A PIANO PLAYER pounds out Hey Jude. Lots of warm wood, walls covered in photos-this is the place youd want to down your last drink-CAMERA TRACKS past a DISTILLERY RIG. A series of BRASS POTS and TUBES that finally DRIP MOONSHINE into a BOTTLE. A bottle held by none other than Miles Matheson himself. Now 39. Cynical, guarded, weary. His face is a closed book. He ferries the bottle to wiry STEVIE, 30s, at the bar. before he pours-- Miles tsk-tsks-Hey. MILES Nothing in lifes free. But But

Stevie nods, tugs out a MASSIVE 4 KARAT DIAMOND RING. Miles is decidedly unimpressed. MILES I could use a wrench-STEVIE You kidding? Its real-MILES A bullet. Now thatd be something. But a ring? STEVIE Come on, man, be a sport. Beat. Then Miles sighs. Pours Stevie a drink. the ring to DEANNA, his cute, spunky waitress. Hey, Dee. She catches it. MILES Your bonus. Equally practical.

Then tosses

Frowns.

DEANNA What the hell am I gonna do with this? When-- the BELL over the door JINGLES, someone enters. DEX, 40s. Asian-American. From the way he carries himself, we can tell hes dangerous. So can Miles.

28. Dex glides up to the bar. stares right back. His gaze locked on Miles. Miles

DEX Dont suppose theres any Scotch? MILES (ironic) Fresh out. (pours) Rotgut. On the house. STEVIE On the house?! Rick-Dex raises an eyebrow at Miles alias. DEX Hey, thanks-- Rick, was it? Everybody. MILES Were closing early. Amused.

A few GRUMBLES from the three or four PATRONS-MILES (genial enough) Cmon, you reprobates. They stand. Shuffle to the exit. sips his drink.

Out. But Dex stays. Quietly

Only Deanna hesitates at the door. Glances back at Miles. Miles gives her a rogues wink-- dont worry. She goes. Leaving Miles and Dex alone. Heya, Dex. MILES Miles pours him another--

DEX Miles. Youre not an easy man to find. (musing) Remember the old days? Woulda just Facebooked you. MILES That was never my thing. (then) So you found me. Whos looking? Dex gives him a you know glance.

29. MILES Youre joking. Since when do you work for Sebastian Monroe? DEX (dismissive snort) Got news for you. Anyone who appoints himself a General-- aint a General. More like, full-blown psychopath. MILES Just a well paying one. Dex nods. Cant deny it. Dex. MILES Im out. Im staying out.

DEX Yeah, cause, being a bartender-such a thrill-MILES (he adores it) Just the opposite. Lot less blood.

Lot more booze.

DEX (pointed) Yeah, well. Some of us have to work for a living. Please. MILES Just forget you saw me--

DEX And if I dont? Miles sighs. Hates that its come to this--

MILES Ill kill you with your own blade. (haunted) I mean it, Dex. Im not going back. Ive... seen enough. But this doesnt shake Dex. If anything, he brightens--

DEX You know. I always wondered how Id stack up against you. Truth is, Im kinda jumpy to find out--

30. MILES

Dont--

DEX They said to bring you back alive. They didnt say with how many limbs. Dex reaches into a SHEATH hes got strung across his back. He draws a SWORD. Forged for combat. DEX Ill let you weapon up if you want. I do owe you. Miles approaches. Hands raised. Still clutching a dish RAG.

MILES Not necessary. DEX Suit yourself. The two warriors approach each other. Slow. Wary. Like boxers in a ring. Waiting for someone to hit first-When suddenly, fast as a STRIKING SNAKE, Miles GRIPS Dexs blade (using the rag as protection). Flips the sword in the air-- reaches up to CATCH IT and SLASHES it down, all in one singular, smooth PITCH-- slicing it across Dexs CHEST-Dex. Doesnt even know what hit him. He drops to the floor. But hes BAD ASS.

Off Miles.

He takes no pleasure in this.

EXT. TRAVELING MONTAGE - VARIOUS - DAY CHARLIE. MAGGIE. AARON. Trek through one sprawling wide shot after another. Like out of a John Ford picture. And throughout them all, Charlie STRIDES FAST-- RELENTLESS-Maggie and Aaron struggle to catch up. --Down a LAKES shore-- where a CHURCH STEEPLE and MAIN STREET ROOFTOPS JUT UP from the placid water. Bizarre. town drowned when the hydro-electric dams failed. --Through a STUNNING TECHNICOLOR field of WILDFLOWERS-EXT. RIVERSIDE - DUSK --Beside a GORGEOUS, SURGING RIVER. As usual, Charlie keeps a rapid pace-- Maggie and Aaron bring up the rear-This

31. AARON So. Im totally good to-- you know, keep going-- but-- I am starting to... chafe-MAGGIE Lovely. (but she agrees) Charlie. Its getting dark. should make camp-No. CHARLIE A few more hours--

We

MAGGIE Weve got to rest-CHARLIE Theyre doing-- God knows what-- to Danny right now. And Im just supposed to sit here? MAGGIE Yes. That is exactly what youre supposed to do. If you collapse, youre no good to Danny or anyone-Off Charlie. She sighs. Sees the wisdom of this--

EXT. RIVERSIDE - CAMPSITE - THAT NIGHT Maggie. Aaron. Sit beside a FLICKERING CAMPFIRE. Charlie is sprawled out. Her back to them. Apparently asleep. Aaron takes a long, quiet beat. Then-AARON You think well find the kid? Maggie only stares into the fire. Not very optimistic.

ANGLE ON CHARLIE. Her back away from the others. As we reveal-- shes WIDE AWAKE. She hears them. Shes SO FUCKING WORRIED-- and LONELY-- as we TRANSITION TO: INT. TOWNHOUSE - VARIOUS - NIGHT - FLASHBACK Were back in that Chicago townhouse. THE NIGHT AFTER THE BLACKOUT. A little girls bare feet. Padding down the steps. Charlie, 5, watches her parents below. ARGUING. RACHEL What are you saying? We load the kids in the stroller and just, what? Walk into the woods-(MORE)

32. RACHEL (CONT'D) (Ben nods, exactly) This is crazy-BEN Grocery stores run out of food in two days. Two. What then? RACHEL Theres... warehouses-- farms-BEN A hundred miles away. And even if they could get it here-- there wont be enough. Not for everyone. (then) People are scared. When their shelves empty, theyre gonna get hungry-- then desperate-(Ben breaks down) Two weeks, maybe three, its gonna be-- bad-- more people are gonna die-Rachel leans forward. Takes his hand.

RACHEL Its not your fault-BEN How is it not my fault?! RACHEL (spots Charlie) Hey, baby. What are you doing up? Ben stops. His bereft, red-rimmed eyes meet Charlies. Rachel moves for her daughter. As

TIMECUT. Rachel carries Charlie down the hall, back to bed. Again, crooning Wild World. WHISPERS the soothing lullaby-RACHEL ...seen a lot of what the world can do... and its breaking my heart in two... but I never wanna see you sad, girl... EXT. RIVERSIDE - CAMPSITE - NIGHT - PRESENT CLOSE ON CHARLIE. A moment of melancholy. Goddam, she misses her parents... and shes a long way from home...

33. EXT. COUNTRY ROAD - THE NEXT MORNING CLOSE ON DANNY. Riding in the back of Nevilles FLATBED. His wrist, CUFFED to the TRUCK RAILING. Danny studies his feet-- avoiding all eye contact. Captain Neville. Across from him. He displays a certain amount of sympathy-- of humanity-- here. CAPTAIN NEVILLE Son. I am sorry it went the way it did. Seriously fubar. Hell, its a good thing you shot that Private, or Id have killed him myself. DANNY (long beat) Im not your son.

And go to hell.

Neville gives Danny a look. Then BACKHANDS HIM! OUCH! Neville can toggle from friendly to ferocious that quickly-CAPTAIN NEVILLE Lets not forget-- you raised your weapon first. That puts your Daddys blood on your hands-Danny locks eyes with Neville. A long beat. Then Danny drops his head. Returns to studying the floor. But-DANNYS POV. As we realize-- hes EXAMINING more than that-where the RAILING meets the truck bed... a SCREW IS LOOSE. Just a bit. But maybe enough... for Danny to GET FREE-EXT. RIVERSIDE - AWAY FROM CAMP - MORNING CHARLIE. At the rivers shore. She takes a drink. Splashes her face. When she looks-- sees something up through the trees-- sees SOMEONE, to be exact. She steps closer, cautious. Wary. Whoever they are, they could be dangerous-Charlie takes cover behind a tree. Spies on-- A MAN. NATE WALKER, 24. Rough-around-the-edges handsome. Shirt unbuttoned. Hes hung a SMALL MIRROR from a branch. Dryshaves with a straight-edge. Charlie. Just... watching. She hasnt had much interaction with guys her age-- especially ones as good looking as Nate. Then, unexpectedly, without turning, Nate CALLS OUT-NATE You know, a time like this, most people just say good morning.

34. Busted. Cheeks flushed, Charlie steps from hiding-CHARLIE I, um-- yeah. Good morning. NATE (charming grin) Morning. Im Nate. Charlie. CHARLIE

NATE Where you headed, Charlie? CHARLIE (volleys right back) None of your damn business, Nate. NATE That is quite true. Long beat. Silence. They just feel the electricity sparking in the air between them. Then-MAGGIE (O.S.) (calling out) Charlie...? CHARLIE I gotta-- get back-Okay. NATE Nice meeting you.

EXT. RIVERSIDE - CAMPSITE - DAY Charlie returns to camp. MAGGIE Where were you? CHARLIE Just getting some water-Charlie busies herself-- readying her pack. wondering what Charlie was up to-EXT. OHARE - DUSK Charlie, Maggie, and Aaron emerge from the treeline, only to find... A HIGH FENCE. A now-obsolete sign: AUTHORIZED PERSONNEL ONLY. And whatever Charlie sees off-camera, it SIMPLY BLOWS HER SHIT AWAY. Jaw open. Gobsmacked. Off Maggie,

35. They all scale the fence. Hop over--

And as Charlie lands on the grass-sprouted asphalt, we CIRCLE around her, revealing in a WIDE SHOT-Theyre on the TARMAC. Of CHICAGO OHARE AIRPORT. JETS EVERYWHERE. Many of them COVERED with VINES. A graveyard of long dead TITANS. Its quietly epic. As nature takes back all thats rightfully hers. Only one problem-A CREEPY POV. Watches them. From behind a fuel truck. Someone is here. And our heroes are oblivious... Aaron. Notices a nearby 737. WHEELED UP beside it. The door is open. A STAIRWAY

AARON Come on. They hide a Doctors Kit up front. Good meds. CHARLIE How do you know? AARON Cause I, uh, owned one. CHARLIE Youre joking-AARON You didnt know? I was, like, ninth man in at Google-CHARLIE That was a computer thing, right? AARON Yes-- and now its nothing. (mutters to himself) Had eighty million in the bank-and Id trade it all right now for a roll of Charmin-INT. AIRPLANE - DUSK Aaron scours the cockpit and the galley for anything useful. Shakes an orphan drop from a TINY LIQUOR BOTTLE. IN THE BACK. Charlie and Maggie conduct their own search. For any stray supplies-MAGGIE So. You havent really said much about-- you know. A plane.

36. CHARLIE

Im fine.

MAGGIE Yeah, but-- youre not sad, or screaming, or smashing the wall, youre just... Im fine. Charlie-CHARLIE MAGGIE

CHARLIE (clipped) Lets just-- get to my uncle-- and find Danny. Okay? MAGGIE Im only trying to help-CHARLIE (flares up) For the last time-- I dont want it! Just cause you were fucking my Dad, doesnt make you my Mom-MAGGIE (sharp) Youre right. I didnt take off. Charlies jaw tightens at that. Im sorry. Maggie SIGHS--

MAGGIE That wasnt fair.

CHARLIE Maggie-- we are not your family-go get your own-Maggie flinches. I did. What? Pained. MAGGIE CHARLIE Beat. Then--

MAGGIE Had my own family. I take it, your Father never told you? Charlie looks at Maggie. No. He never did.

37. MAGGIE In London. But, night of the Blackout, I was in Portland. For a medical conference. Supposed to be a forty-eight hour trip-- though its gone just a tiny bit longer. (so fucking painful) At first, I sat in that hotel for days. Just... waiting. For them to get the power back on-- so I could get back to my husband-(then) Then it was weeks-- as we ran out of food and fresh water. As the looters showed up. As the fear just... burned in peoples eyes. Then, one day, I saw a man get his face blown off, over a bag of crisps. Thats what did it. Thats when I started to walk-Here? CHARLIE From Portland? But Maggie is dead

Charlie looks at her. Is she for real? serious. A tear skips down her cheek.

MAGGIE Took me years. Making my way East. Hoping for a boat back home. But around Wisconsin, I just... gave up. God help me, I gave up. Off Charlie. Perhaps seeing Maggie in a new light--

EXT. AIRPORT - DUSK AGAIN-- that CREEPY POV. WATCHING Charlie and Maggie through the airplane window. STALKING CLOSER NOW... EXT. COUNTRY ROAD - THAT NIGHT Dannys MILITIA FLATBED. Parked beside a thick woods. Some Soldiers sleep around a CAMPFIRE. Others lean against the truck tires, lightly snoring. DANNY. Cuffed to that railing. WORKING on that LOOSE SCREW. Hes awake. Crouched. But

His fingers are BLOODIED. Its excruciating work. still. He focuses. Tenacious...

38. INT. AIRPLANE - NIGHT CLOSE ON CHARLIE. Sleeping. Curled up in the luxurious leather of a first class seat. But then... a SLIGHT RUSTLE. Charlie wakes. Still foggy, she sees-A STRANGE MAN sits next to her. TREVOR, 30s. A wide, creepy grin. Which makes a disturbing situation more so. Then, without warning, Trevor SMASHES HIS FIST into her face! Charlie recoils. Covers her nose in agony. TREVOR Wakey, wakey. MAGGIE Dont touch her!! REVEAL: Maggie. Aaron. Both awake. hold jagged knives to their throats. These are ROAD BANDITS-TWO MORE BRUTAL MEN All in plain clothes.

TREVOR You know. You folks should be more careful. I hear theres all sorts of bad men out on the road-EXT. COUNTRY ROAD - CONTINUOUS DANNY. As finally... with a mousy SQUEAK SQUEAK SQUEAK... he pries the screw! Hes able to wrench the RAIL from its base. Just an inch. But enough. He WINCES at the METALLIC SCRAPE, its too loud, as he SLIDES his CUFF down... and off the rail! Hes free! The cuffs dangle from one wrist. Now he quietly SLINKS OFF the truck. But seeing-- he has to PICK his WAY PAST the Soldiers. Through them. As if a DEN of SLUMBERING LIONS. Here goes. Danny carefully-- carefully-- steps over a man. Then another. One ROUSES. Danny freezes. Then the guy returns to sleep. Off Danny. Tense. INT. AIRPLANE - CONTINUOUS Charlies terrified. As this psycho Trevor RIFLES through their bags-- stealing whatever suits him-AARON (scared as hell) Look, man-- just take whatever you want and go--

39. TREVOR You telling me what to do, you little fuck? MAGGIE (trying to defuse) Hey, take it easy. Look. Second pocket.

There. He gives

Trevor digs. Finds a GLASS BOTTLE of WHISKEY. another troubling plastic grin. TREVOR Oh. You like to have a good time? We like to have a good time, too. Trevor takes a healthy pull. comrades. They do the same.

Tosses the bottle to his

Then Trevor discovers Charlies LOCKBOX. Opens it. Its all trash to him. He CRUMPLES the photo of her parents. But then... he pulls out the iPOD. To Charlie-TREVOR Havent seen one of these in years. (then) I used to sell em by the dozen. Youre gonna laugh-- but in the old days, I worked at Best Buy-- you ever hear of it? (Charlie hasnt) Well, Ill tell you. Its where you smile and eat shit-- yessir and thank you, maam-- from people who treat you like dirt-He RUNS his finger, lasciviously, down the side of Charlies face. She SHUDDERS-TREVOR But that was a long time ago. And people dont treat me like that anymore. EXT. COUNTRY ROAD - CONTINUOUS DANNY. Continues through the dozing troops. The suspense is terrible. Until... thank God... hes just about... MADE IT-A HAND CLUTCHES HIS ANKLE! HEY!! Its Captain Neville!

CAPTAIN NEVILLE

40. Danny HORSE-KICKS Neville in the face. Neville GRUNTS, releases Danny-- who TEARS ASS into the forest! GET UP! CAPTAIN NEVILLE HES RUNNING!

INT. AIRPLANE - CONTINUOUS And now Trevor clutches Charlies throat. Brushes his lips against her ear. Whispers, soft and intimate. SO SQUICKY-TREVOR You know. Its okay if you wanna fight a little. Just then... the MOOK restraining MAGGIE-- COUGHS-- Trevor COUGHS, too. They meet eyes. Frowning-Now the Mook stares at the WHISKEY BOTTLE in his hand-- and as he puts two and two together-- he VOMITS BLOOD-Just as Trevor DOUBLES OVER-- KNIVES in his GUT-TREVOR Whats in the whiskey, bitch?? RUN!! MAGGIE

Aaron SHOVES OFF his guard, whos also puking gore-- and our three heroes TEAR out of the plane-EXT. WOODS - NIGHT DANNY. Scrambles, blind, through the brush. Branches slash his torso. He trips over a root. But still, he races. A beat later. Neville and his men chase. Carrying TORCHES.

EXT. AIRPORT - NIGHT Charlie, Maggie, and Aaron SCRAMBLE across the tarmac. Back the way they came. They reach the FENCE-- CLAMBER UP-Maggie makes it up and over. Aaron, close behind. Charlie reaches the top. When... SUDDENLY-- a MEATY HAND CLUTCHES HER ANKLE-- its Trevor-- BLOOD stains the front of his shirt-HE VIOLENTLY RIPS CHARLIE OFF-- she collapses back onto the pavement. OOF. That hurts. Charlie! MAGGIE

41. Maggie and Aaron start scuttling their way back over. But theyll never make it in time-FAST.

Trevor clenches Charlies throat. Savage enough to crush her windpipe. She flails. Maybe Trevors poisoned, maybe hes a goner, but hes taking Charlie with him. When-THWACK! From out of nowhere, an ARROW PLUNGES into Trevors NECK. A confused look. An arterial spray. Then he drops, a marionette with his strings cut. As we reveal-- NATE WALKER-- the young guy from the woods. Steps out from the trees behind Maggie and Aaron. Bow in hand. A perfect bulls-eye-- and through the fence, too. Charlie. On the pavement. Nate. Her savior. CHARLIE ...thank you. NATE Dont mention it. EXT. WOODS - NIGHT CAPTAIN NEVILLE. Reaches a clearing. His men behind him. Breathless. She locks eyes with

Dannys nowhere to be found. Into thin air. Captain Neville sharply whistles through his teeth. Incensed. Split up. CAPTAIN NEVILLE He couldntve gone far.

HIGH ANGLE. Looking down, as Neville and the others separate, SCOURING the forest. Then CAMERA FINDS-DANNY. Far above their heads, on a precarious tree branch (putting his climbing skills to very good use). Hes PETRIFIED. Mopping sweat from his brow, hoping like HELL it doesnt drop on the soldiers below. Off this, we-BLACKOUT. END OF ACT TWO

42. ACT THREE EXT. OHARE - THE DARK BEFORE THE DAWN Charlie. Maggie. Aaron. And now-- Nate. On the tarmac. Charlie does her best to replace her lockbox treasures. Carefully smooths out the crumpled photo of her parents. Charlie looks to Nate. suspicious-Nate smiles back. But Maggie is

MAGGIE So, Nate, was it? What were you doing way out here? NATE On my way to Chicago. Hoping to get on a fishing crew. You? Maggie shoots Charlie a look. But Charlie brushes her off--

CHARLIE Were going to Chicago-Charlie-MAGGIE

CHARLIE Look. Since were headed the same way... we got food... and I do kinda owe you... MAGGIE Give us a minute. Maggie yanks Charlie away. Aaron joins them. They confer--

MAGGIE So, those assholes last night-- you didnt learn anything? CHARLIE Yeah, sure-- we could use a guy who can take care of himself. (then, to Aaron) No offense. AARON Hey, its, uh, I get it. Charlie-MAGGIE

43. CHARLIE Look. I dont know what happened on that walk from Portland, or why you like to carry poison whiskey. (glancing to Nate) But-- he saved me. They cant all be monsters-- some people have to be alright-- dont they? CLOSE ON MAGGIE. Haunted-- and guarded. Shed like to have Charlies optimism. But shes seen too much. EXT. WOODS EDGE - MORNING DANNY. Nervous. Glancing over his shoulder. the forest. Heading into tall grass. EXT. WHEAT FIELD - MORNING - LATER Danny now treads down a DIRT ROAD that winds between AMBER FIELDS of SHIMMERING WHEAT. Out of an Andrew Wyeth painting. The wind blows, BACKLIT DUST and POLLEN BILLOW. Danny COUGHS. Throat irritated. As he passes a classic, faded, paint-peeling AMERICAN FARMHOUSE. With the wind and the dust and the farmhouse-- its all seriously eerie. Danny carries on. But then... he coughs HARDER. Then begins to WHEEZE. The dust and pollen are too much for him. He stops. Knows hes in trouble. A FULL BLOWN ASTHMA ATTACK. Off Danny. Drops to his knees. with no one to help-EXT. KENNEDY EXPRESSWAY - DAY Our heroes weave down the EXPRESSWAY. CHOKED with cars, bumper to bumper. Maggie frowns, displeased, up atCharlie and Nate. Shes just told him her story. genuine and sympathetic-NATE ...that is just-- I lost my parents, when I was fifteen. get it-- Im sorry-Thanks. CHARLIE He reacts-SUFFOCATING-- this time, Emerging from

So I

NATE And... dont worry... Im sure your brothers okay...

44. CLOSE ON CHARLIE. She nods her gratitude. Then looks forward. Astounded. Theyve come around a bend, REVEALING-THE CHICAGO SKYLINE. Sears Tower. Trump Tower. ONLY-COLOSSAL. STILL. VACANT. Vines creep up the JOHN HANCOCK. It defies description. A mind-boggling sight. EXT. THE DRAKE - NIGHT Nights fallen, by the time our weary travelers finally reach their destination-- the DRAKE HOTEL. On Walton Place. Ten stories. A Grand Dame of Art Deco. Charlie gazes up at it. CHARLIE He lives here? AARON Its a buyers market. TIMECUT. They peer through the glass doors-- that lead into the SALOON. Stacked chairs. Still-lit candles. Definitely signs of life. They try the door. But its locked. They knock. But theres no answer-So Maggie crouches. Quickly and efficiently PICKS IT. Then notices Charlie staring-- hows Maggie know how to do this? MAGGIE What? Youd rather wait till morning? INT. THE DRAKE - SALOON - NIGHT Maggie opens the door. Everybody enters. Quietly searching. Looks around. When--

Aaron spots a stray bottle of moonshine. Coast is clear. Takes a swig. Charlie.

Examines the photos on the wall.

A KNIFE is PRESSED against her neck! Bites into her skin. Charlie GASPS-- and MILES is granite-cool-MILES Were closed-Maggie, Aaron, and Nate pivot to Miles-- he grips the blade. MAGGIE Take it easy--

45. CHARLIE Youre... Miles. Right? Miles was tense before. Now hes downright HOMICIDAL--

MILES Never heard of him-CHARLIE Please. Im Charlie-- Charlotte. Bens daughter. Miles pauses. This is the last thing he expected. CHARLIE Murdered. By Militia. He

Hes dead.

Miles reacts to this. Emotional. A crack in the facade. steps back. Lets Charlie go. She whirls around... CHARLIE You believe me. MILES Youve got his eyes. Im... sorry. (takes in the others) Who are they? Friends. Miles blinks. CHARLIE So much for a low profile.

Furious.

Oh, good.

MILES You brought... friends.

AARON (goes for the shake) Im Aaron, its nice to-(Miles glares, Aaron lowers his hand) Okay. Awesome. CHARLIE We need to talk. MILES (beat) Just you. In back. MAGGIE Forget it--

46. MILES (shut it) Sister, youll be lucky if I let you walk out alive-With that, Miles stomps into the back. Charlie gives the others a nod-- shell be okay-- then follows-INT. THE DRAKE - MILES APARTMENT - NIGHT Charlie enters the room, and promptly freezes-Because Miles apartment is a FUCKING PALACE. The former HOTEL LOBBY, to be exact. A GRAND STAIRCASE up to a BALCONY. A CHANDELIER. TORCHES line the MARBLE WALLS. Its also a BACHELORS SHRINE to the old world. ROWS of INDUSTRIAL RACKS. Shelves sagging with LPs, odd little knick-knacks. Wow. CHARLIE

MILES Alright, so. You came a helluva long way to talk. So talk. INT. FARMHOUSE - NIGHT CLOSE ON DANNY. He wakes. Alive. But strangely, hes beneath thick, patchwork quilts. In a farmhouse bedroom. An African-American WOMAN, 50s, sits across. Shes fiercely intelligent. And doesnt suffer fools. This is GRACE. GRACE Well. If you have to have an asthma attack, least you had the good sense to have it near me. DANNY I... what happened? She hands him an ASTHMA INHALER. Rusty, but still amazingly high-tech to Danny. Hes never seen anything like it. GRACE Lucky you, I still have a few of these laying around. DANNY What is it?

47. GRACE You breathe it in. before it starts.

Stops an attack

DANNY ...thank you. You a doctor? GRACE Theyre my sons. She glances at a PHOTO of an ADORABLE, SMILING TEN-YEAR-OLD. DANNY He doesnt need them? GRACE Hes been dead a long time. (off Danny) Now you want to explain this? She TUGS on his HANDCUFF. DANNY I... I ran away. Soldiers. Lifting his wrist with it. From some

GRACE Soldiers? Monroes boys? That is just what I need, that is peachy. I swear, I shouldve let you die in the road. DANNY Well. Thank you for not letting me... do that. GRACE If they follow you here, I swear to God... DANNY Look. I owe you already. And I dont want to put you to any more trouble. Ill just... Ill go. Danny stands. But immediately sways, weak.

GRACE (cranky but warm) Oh, sit down, before you crack your skull open. You can stay the night. But you leave first thing, you understand?

48. DANNY Yes, maam. Thank you. She sighs a long suffering sigh. Like shes gonna regret this. Then exits. Off Danny. Cant help but smile at her-INT. THE DRAKE - MILES APARTMENT - NIGHT CHARLIE ...and thats it. He said to find you. And then he... you know. MILES Im sorry-Thanks. CHARLIE Me, too.

MILES --but Charlie. I cant help you. Wait. CHARLIE What?

MILES Been doing my best to stay away from Sebastian Monroe... not charge down his goddam throat. CHARLIE Youre... not coming? MILES Why do you think they took your brother? Hes bait. And if I go for it-- wont be good for anyone. Him or me. CHARLIE But my Dad said-- look, Im begging you. Please-MILES (hes sorry but) Monroes got hundreds of men. Stockpiles of weapons. Its impossible. CHARLIE No... no. Ive been through a lot just to get here-- a helluva lot-and now were gonna get Danny--

49. MILES And whys that? CHARLIE Because youre family! A beat of conflicted pain across Miles face. wants to help. But he quietly responds-MILES Havent talked to your Dad in years. Havent seen you since you were in diapers. Family? Were strangers. Charlie. More than angry. HURT. When-We can tell he

MAGGIE (O.S.) Come on. Your Uncles made himself perfectly clear. Maggie stands in the entrance. Clipped.

MAGGIE You know, Ben barely even mentioned you. Now I think I know why. Charlie follows Maggie out. Miles. Guilty. Calls after them--

MILES Wait. At least stay till morning. (hates this) Your... friends, too. CHARLIE I dont think so. MILES Theres wolf packs on the streets. And they hunt at night. Now come on. Just till sun up. Charlie looks at him. Still pissed. But relents.

INT. THE DRAKE - MILES APARTMENT - NIGHT - LATER Charlie, Nate, and Maggie sit around a fire-- the smoke curling up through a BROKEN STAINED GLASS SKYLIGHT. Aaron stands at the knick-knack shelves. Delighted, he inspects a LOUIEVILLE SLUGGER BASEBALL BAT. He sets it back on the shelf-- it CLATTERS to the floor. Much too loud.

50. Miles. Behind him. He might kill Aaron here and now.

AARON (a forever beat) Look. Were clearly off on the wrong foot, lets just start over. Hey. Im Aaron. Miles ignores him-- searching for an LP from a stack. Okay. AARON Good talk.

CHARLIE Uncle Miles? MILES Just Miles. CHARLIE Whys Monroe want you? want my Dad? MILES ...its complicated. CHARLIE Yeah, well. He died over it. try me. Miles winces at that-MILES Monroe thinks your Dad and I know something. Something important. CHARLIE And whats that? MILES Why the power went out. And maybe how to turn it back on. (off her surprise) Which would mean tanks, planes, guns, factories. Monroe would steamroll the continent, no one could stop him. MAGGIE But-- thats just-- Ben was a farmer-- before that, he taught math-But then... Maggie sees Charlies thoughtful expression-So Whyd he

51. MAGGIE

What?

CHARLIE I dont know. There was a lot he wouldnt say. And sometimes hed say some strange things-PUSH IN ON AARON. Standing at the shelves, his face hidden from the group. He listens. INTENT. STRESSED. From his POCKET, he PULLS-- that SILVER PENDANT. STARES AT IT. Whatever he knows... he aint talking-CHARLIE (to Miles) Is any of it true? Long beat. Whatever Miles knows, he aint talking, either-MILES Of course not. Whole things insane. Monroes insane-Miles finds the LP hes been looking for. Sets it on a HANDWOUND VICTROLA. Drops the needle. And of ALL THINGS-Its Cat Stevens. Wild World. Scratchy. And as she

PUSH IN ON CHARLIE. To her... its a miracle. listens, we TRANSITION TO: EXT. CHICAGO STREET - DAY - FLASHBACK

A CORNER MARKET. As-- SMASH! SOMEONE throws a GARBAGE CAN through the window-- it SHATTERS! FRIGHTENED PEOPLE storm inside-- gathering as many SOUP CANS and DRY GOODS as they can carry. In front of this CHAOS-Ben Matheson. Eyes ahead. Wears a heavy backpack. Pushes a stroller-- Danny inside-- down the middle of the avenue. Rachel Matheson. Backpack. Holds Charlie, 5, tight. Charlie whimpers at the surrounding violence. So, again, Rachel sings to her. Soft and gentle. Voice quivering-RACHEL ...but if you wanna leave, take good care... I hope you make a lot of nice friends out there... INT. THE DRAKE - MILES APARTMENT - NIGHT - PRESENT CLOSE ON CHARLIE, 20. Her bricks start to CRUMBLE--

52. CAT STEVENS ...but just remember theres a lot of bad and beware... Then... Charlies wall comes crashing down. She SOBS--

Which makes Miles COMPLETELY UNCOMFORTABLE. Stiff as a board. Hes far from paternal. A lackluster back pat-Whoa. Nice. MILES Hey. Um. MAGGIE Thank you. There, there.

Then Maggie holds Charlie tight. Or tries to. Charlie stiffens-- not ready for that kind of contact from Maggie. Sorry. CHARLIE Im sorry. Its okay.

MAGGIE Dont you apologize. Nate. Watching.

With genuine sympathy.

CHARLIE ...my Mom used to sing that song. MILES (beat) ...where is Rachel? CHARLIE Shes not dead. Far as I know. She left. Four years ago now. (beat) I think the village was too small for her. I think she just... wanted to see what was out there-Miles studies Charlie. Sympathetic. So does Maggie.

MAGGIE Reminds me of someone. Nate. He reaches out. Touches Charlies knee. His heart truly breaks for her. Im sorry. CLOSE ON MILES. NATE REACTS. Comforting.

He sees Nates hand.

53. And LIGHTNING FAST, he SHOCKINGLY HAULS NATE to his FEET, SWINGS him against a MARBLE PILLAR! CRACK! Hey! CHARLIE

NATE The hell are you doing?! Miles CLUTCHES Nates wrist-- and we see-- a THICK SCAR on his hand-MILES Whered you get that? NATE (what the FUCK?) From a sickle. Cutting wheat. MILES Youre lying. Thats from a combat sword. With that, Miles iron-grips Nates arm. Forces his sleeve down, to reveal-- THE M TATTOO. Nate is MILITIA! Beat. Miles and Nate LOCK EYES. This charade is over. Then, from nowhere-- Nate SAVAGELY, EXPERTLY HEAD-BUTTS Miles, then delivers a CRUSHING ROUNDHOUSE across Miles jaw! Nate RUNS for the door! Miles takes off after him-What the

Off Charlie, Maggie, and Aaron-- exchanging shock. HELL just happened? EXT. THE DRAKE - NIGHT By the time Miles bursts from the saloon door-POV OF STREET. Nates gone. Vanished.

Hes a ghost--

Off Miles, screwed beyond repair-BLACKOUT! END OF ACT THREE

54. ACT FOUR EXT. CHICAGO - DAWN Sun rises over a desolate SEARS TOWER. INT. THE DRAKE - SALOON - DAWN Charlie. Maggie. Aaron. Watching. Theyre unsettled-- not because Miles is apoplectic. Just the opposite. Hes calm. Too calm. He opens a cabinet-CHARLIE Uncle Miles. Im sorry-MILES Please. Just Miles. (beat) Hes probably from the same squad that took Danny. Been following you from the jump. Hoping youd flush me out. Which you did. Charlies COMPLETELY FUCKING DISTRAUGHT. Maggie watches-hates that Charlie has to learn this particular lesson. CHARLIE Its my fault. I shouldnt have trusted him... AARON (to Miles) So what are you gonna do? From the cabinet-- Miles removes a BOTTLE of SCOTCH-MILES This is, to the best of my knowledge, the last bottle of Scotch in Chicago. (beat) I am going to drink it. And he proceeds to do so. Pours it into a glass. Its

CHARLIE But... you cant stay here. not safe.

MILES And whos fault is that? (deep breath) Your boyfriendll bring the nearest unit, twenty men. (MORE)

55. MILES (CONT'D) Id say you got two, three hours, tops. Id make myself scarce, I were you. MAGGIE But-- I dont care who you are-you cant handle twenty men. Youll never make it. Miles shrugs, non-committal. And Charlie puts it together--

CHARLIE Who says he wants to? And we can see in Miles face. Its true.

MILES Maybe I got it coming. CHARLIE This is crazy. Come with us. Or dont-- go anywhere-- but dont just sit here and die-- please-Miles finally bares his fangs-MILES I think youve done enough for me. Get the hell out of my bar. (in her face) I SAID GET OUT!! NOW! Charlie doesnt back down. She just looks at him. With pity. And sadness. Before she turns away. Walks out. Maggie and Aaron give Miles one last look. EXT. THE DRAKE - DAWN Charlie strides forward. Maggie and Aaron beside her. Then follow.

MAGGIE He can go to hell. CHARLIE (quietly) ...hes going to. EXT. FARMHOUSE - MORNING Graces rustic FARMHOUSE. Then... just as were lulled into thinking its a harmless establishing shot-Nevilles MILITIA WAGON ROLLS past.

56. INT. FARMHOUSE - FRONT HALL - MORNING Danny. Alone. He stands before a HALLWAY DOOR. And its LOCKED. With FOUR DIFFERENT LOCKS. He brushes his hand over them. Its a little strange. When-GRACE Here you go. All I could find. Danny spins. If he was curious about the door, he drops it. He doesnt want to be rude-- and shes been so helpful. She hands him a HANDFUL of ASTHMA INHALERS. DANNY I dont know how to thank you. GRACE Just try not to get yourself killed out there-She hands him the pack. Danny smiles. When-- POUND POUND POUND! The door. Their blood goes icy. GRACE Get upstairs. Danny scrambles up the steps. Grace smooths out her blouse. Opens it. Revealing Captain Neville. And two Soldiers. CAPTAIN NEVILLE (grins that grin) Howdy, maam. Isnt it just a lovely day? Morning. GRACE He pockets them.

CAPTAIN NEVILLE Hate to bother you. But were looking for a young fugitive. A boy, really. Yay high, brown hair? GRACE Youre the first soul Ive seen in weeks. CAPTAIN NEVILLE Im sure thats true. Only thing is, weve been following some tracks, were gifted at that. And well, they pretty much lead straight to your door. (then) (MORE)

57. CAPTAIN NEVILLE (CONT'D) So maybe, you think real hard, youll recollect seeing him after all. Now what do you say? Long beat. Captain Neville gives a toothy smile. charm wrapped around jagged iron. Folksy

Then... Grace sags. Opens the door wider. Steps back. Silently and pointedly looks upstairs. SURRENDERING Danny. Captain Neville nods. Rushes in. Past a despondent Grace. Reaches the bedroom And outside, Danny

Neville takes the steps, two at a time. door. THROWS IT OPEN to REVEAL--

The rooms empty. And the WINDOWS OPEN. SPRINTS through the wheat! EXT. WHEAT FIELD - MORNING

With Danny. Dashing. Wheat stalks whipping his face. has no idea where hes going. He just runs. When-NEVILLE EXPLODES from the wheat stalks! the side. They both ROLL--

He

TACKLES Danny from

Neville, pro that he is, quickly gains the upper hand. Crouching on top of Danny. Knife to the boys throat. Neville is ENRAGED-- and we think he just might kill the kid-just to be RID of this FUCKING PAIN IN THE ASS-But Neville only YANKS Danny to his feet. Off Danny-- barren-EXT. THE DRAKE - DAY Were outside the locked saloon doors. As... Nate steps before them. Followed by the LOCAL SQUAD SERGEANT, 30s-battle-tested, salty, cautious. He leads TWENTY MEN. The Sergeant throws a hand signal. NATE What are you doing? From the Sergeants wary attitude, we can tell-- Miles reputation precedes him. SERGEANT Look, maybe hes long gone by now. But if this is really Miles Matheson, and hes still here... Im not taking any chances. All in.

58. INT. THE DRAKE - SALOON - DAY Its still. Silent.

We follow NATE. Hes uneasy. As in the b.g., the group cautiously moves through the bar. An organized, military sweep. But no sign of Miles. Nate leads them into-INT. THE DRAKE - MILES APARTMENT - DAY --where Nate stops. Because Miles didnt run-- didnt hide. He stands at the top of the stairs. SWORD in EACH HAND. Nate steps forward. Tries to talk Miles off the ledge--

NATE Look. Monroe wants you alive-- we dont wanna hurt you-Miles eyes the soldiers. Hes bone-tired.

MILES I dont wanna hurt them. I dont wanna hurt anybody. So please, go-NATE You know we cant do that. MILES (a beat; a sigh) I know. The Sergeant nods to his men. Orders them forward. hesitate. Theyve heard the stories, too. Now. SERGEANT They

The Soldiers draw their weapons. Climb the steps. Towards Miles. Who waits. We INTERCUT: Soldiers... Miles. At the top of the steps... the Soldiers pause. A moment frozen in time. The rumble before the thunder. Then the first Soldier SWINGS. MEET-- CLANK! As does Miles. Their BLADES

Multiple Soldiers SURGE FORWARD. But Miles, sharp tactician that he is, has them BOTTLE-NECKED on the steps-- he SLASHES, again and again, slicing open MULTIPLE CHESTS.

59. A few beats of SWORDFIGHTING. But none of that polite European fencing shit. This is a new style. An AMERICAN style. Bare-knuckle. Brawling. And Miles is a GODDAM VIRTUOSO. But theres just too many of them-- they PUSH MILES BACK-- he HACKS away, desperately, but they start to OVERWHELM HIM-hes wedged up against the balcony ledge-So then Miles leaps off! Hop-scotches to a high STORAGE RACK. TIPS IT, rides it down to the main floor, Parkour meets classic SWASHBUCKLING-The Soldiers scramble back down the steps-ON THE GROUND FLOOR. Miles. Out in the open. Exposed.

The SERGEANT. Approaches. And this guy KNOWS his way around a blade. Hes like the SWORDSMAN from Raiders. Hes INFURIATED. Miles has already killed a pile of his men. But Nate blocks his way-NATE We need him alive-SERGEANT Look at my men, go fuck yourself-The Sergeant shoves Nate out of the way-Miles braces for the attack. Only problem--

Hes SURROUNDED. Soldiers advance from all sides. Warily closing in on Miles-- as if approaching a rattlesnake. MILES. Spins, slow. Knows the score. A deep breath--

Then he ATTACKS! Takes on the Sergeant-- and multiple Soldiers. All at once! Hes FORMIDABLE and TOUGH and WILY as HELL-- but theres just too many of them-- one SLASHES his RIBCAGE! Blood! Then another Soldier makes contact! Miles FIGHTS-- but hes a BULL encircled by seven bullfighters. And we know how thatll end. That is, until-Hey! CHARLIE

One SOLDIER spins-- just as CHARLIE UNLOADS her CROSSBOW directly into his chest! He drops! Miles. Shocked. And cant deny-- a little relieved-- THEN--

60. AARON

Over here! Aaron. Unarmed.

FUCKING TERRIFIED.

Two SOLDIERS CHASE Charlie-- into the MAZE of tall, heavy INDUSTRIAL RACKS-- another Soldier CHARGES AARON-- he RUNS into the saloon-Leaving Miles with the Sergeant and THREE OTHERS-- a MANAGEABLE NUMBER for Miles-- he efficiently punches a few guys TICKETS-- leaving just Miles. And the Sergeant. And the SHIT IS ON. INT. SALOON - CONTINUOUS The Soldier bursts into the saloon. I, um. AARON Sorry. Aaron just stands there.

As Maggie suddenly ATTACKS the Soldier from behind-- slitting his throat before he ever knew what hit him-INT. THE DRAKE - MILES APARTMENT - CONTINUOUS MILES. CLINKING-- CLANKING-- CLANGING SWORDS with the Sergeant! Both evenly matched. Its ASTOUNDING. ANGLE ON: A SOLDIER. Hes hunting Charlie. racks. Beat. When he rounds a corner-And shes right there! FIRES! Through the tall Direct hit!

Arrow THWACKS!

But then-- another Soldier-- TIPS a HEAVY RACK, right on top of her-- Charlie SCRAMBLES, but it catches her LEG! OUCH! She PINNED. Trapped-This Soldier steps to her. Murder in his expression. Charlie is most definitely DEAD MEAT. When suddenly-Nate is there! Gripping that BASEBALL BAT. Takes a Babe Ruth swing across the back of the Soldiers head! The Soldier crumples to the floor. Nate. Charlie. A VERY LONG beat. They lock eyes. SO GODDAM MUCH he wants to tell her. But-Charlie! MAGGIE She looks to them. And Theres

Maggie and Aaron race up to Charlie. when she turns back... NATE IS GONE.

61. MAGGIE

You okay?

Charlie. Bewildered. And conflicted. And lets be honest-a little tingly. As Maggie and Aaron LIFT UP the rack-MILES. Still battling the Sergeant. Desperately. To the death. Until-- after a few beats of the COOLEST FUCKING SWORDFIGHT CHOREOGRAPHY YOUVE EVER SEEN-- Miles finally, climactically sees his opening-PLUNGES his sword into the Sergeants chest! The Sergeant drools blood. Then drops. Its over.

Miles turns to Charlie, Maggie, and Aaron, just as they approach. He catches his breath-- takes in his surroundings-The ROOM is TRASHED. OVERTURNED RACKS. SMASHED KNICK-KNACKS carpet the floor. Miles whole life. Decimated. He picks up a CRACKED vinyl LP. MILES Look at this mess. Charlie. alright. Eyes on the BODIES EVERYWHERE-- its a mess, Who the hell is her Uncle Miles? Off this, we-BLACKOUT. END OF ACT FOUR Forlorn.

62. ACT FIVE INT. THE DRAKE - MILES APARTMENT - DAY Miles is shirtless. As Maggie sews his stitches. Is there a spark from their touch? If so, theyre both too guarded to show it. Aaron and Charlie stand nearby. MILES You know... I didnt ask you to come back... MAGGIE Hey, dont look at me, I wanted to let you rot. MILES (to Charlie) So then why did you? Charlie steps forward-- simply and earnestly-CHARLIE Were not strangers. And its what my Dad wouldve wanted. Miles regards Charlie. A long beat. And just when we think hes going to say something kind, even touching-Jesus. real? MILES Who talks like that? For

CHARLIE Thanks-- thank you. MILES (deep sigh) But-- still. Im in. Wait. CHARLIE Youre coming?

MILES Well, this place is trashed-loverboyll just send more troops-and you saved my life, I owe you. So what goddam choice do I have? Beat. Charlie sees the honorable soul buried beneath all that avuncular gruff. Even if Miles cant see it himself. Thank you. CHARLIE

63. MILES (sincere) Youre welcome. (allergic to sincere) Were all gonna end up with our heads on a stick, but youre welcome. Oh. So. AARON Thats... good news. CHARLIE Where to?

MILES Theyll be taking Danny east-- to Monroe himself. So. We move fast and light-- and we catch up-CHARLIE Sounds good. Okay. MILES Lets go get your brother--

EXT. HIGHWAY - DAY Charlie. Miles. Maggie. Aaron. Skyline at their back. Striding forward. With energy, with purpose. When Aaron whispers an aside to Maggie-- eyes on Miles-AARON Does make you wonder, though. What? MAGGIE

AARON I mean, a guy like that-- chews iron and spits nails. So whys he scared of Monroe? Maggie looks to Aaron. Great question-MILES. Face cloudy with apprehension. As we TRANSITION TO:

EXT. ROUTE 21 - NIGHT - FLASHBACK Miles, 24 again. Back with his best friend Bass; back in the Teaser. Watching in horror as-SMASH! A SEMI TRUCK, out of nowhere, POUNDS into their friend Oliver! Utterly OBLITERATES HIM. Before it PLUNGES off the exit ramp.

64. Miles SCRAMBLES to the side of the ramp-- desperate to make his way down to Oliver-BELOW. The truck is spewing gasoline. Ollie! MILES OLLIE! Small flames grow--

But Bass holds back a THRASHING MILES-BASS Stop-- Miles, STOP! Hes dead-that trucks gonna blow-Finally, Miles looks at Bass-- returning to his senses-BASS We gotta get back to base-- you hear me-- we gotta get back. EXT. PARRIS ISLAND MARINE CORP RECRUIT DEPOT - NIGHT Bass and a dazed Miles head down the dark street. pause, absolutely bewildered, as they pass-A DOWNED MILITARY HELICOPTER. On its side. No hydrants or fire trucks to put it out. They reach the GUARD GATE. They

Just burning.

Stop before the GUARD on duty--

BASS Were reporting in. Names? GUARD Then, he shows his I.D.

It takes a beat for Miles to focus. MILES Lance Cpl. Miles Matheson. CLOSE ON BASS. As he does the same.

BASS Staff Sgt. Sebastian Monroe. The revelation sinks in-- BASS is GENERAL MONROE! As the two friends race off to their barracks... we TRANSITION BACK TO: EXT. HIGHWAY - DAY CUE SONG. Cat Stevens Wild World. And yes. We ride it to the end.

CLOSE ON MILES.

He is scared.

65. WIDER. Charlie, Maggie, and Aaron. Beside Miles. new family ventures into this epic new America. As this

EVEN WIDER. Now revealing-- NATE. Enigmatic. He watches. Through binocs. At a safe distance. TRACKING THEM. EXT. INTERSTATE - DAY DANNY. Re-cuffed. Captain Neville beside him. As the wagon rolls down the interstate. Through a now-abandoned, nowpointless TOLL GATE. On its way to Monroe... INT. FARMHOUSE - FRONT HALL - DAY Finally-- GRACE. Holds that PHOTO of her SON. Guilt-ridden. Then-- she moves to that LOCKED HALLWAY DOOR. The one Danny noticed. She UNLOCKS the four different locks, with four different keys. Then enters-INT. SECRET BACK ROOM - DAY Small. Simple. Just a rough-hewn desk and chair. But its whats ON the table-- a BARE BULB ELECTRIC LAMP. Which-HOLY SHIT-- GRACE CLICKS ON! And a HOMEMADE COMPUTER. Bulky. A spiderweb of wires. A green phosphorous monitor. And a BLINKING CURSOR. Its OPERATIONAL. We HEAR that old school MODEM WHINE. As Grace sits before it, we notice for the first time-- she wears a silver pendant necklace around her neck. Just like Bens. The FLASHDRIVE NECKLACE. CLOSE ON MONITOR. She types: THE MILITIA WAS HERE. Flickering

Beat... then someone on the other end responds! green words on the screen: DID THEY FIND IT? Grace types: NO. Another beat. Then... from the other end:

SO... WHAT NOW? CLOSE ON GRACE. She leans back in her chair. Contemplating the question. Troubled.

As do we. What does it all mean? Off Grace. Off this mystery. Off this IMPOSSIBLE piece of technology, we-BLACKOUT. TO BE CONTINUED...