"My Struggle"
Story by Fernando Frias
Teleplay by Megan Reilly, Anthony J Fuchs, and Fernando Frias
eponine119@worldnet.att.net - tonyfuchs@hotmail.com -
thechaosfactor@hotmail.com
TEASER
The scene, as well as the rest of the episode, is entirely in BLACK AND
WHITE.
TIGHT SHOT in on the head of a match surrounded by darkness. After a moment,
the match is struck against the back of a matchbook. The flame flickers,
then steadies. The match raises to the tip of a cigarette, igniting paper
and tobacco.
The flame is shaken out and a hand takes the cigarette. A deep inhalation. A
cloud of smoke.
WIDE SHOT:
INT. OFFICE
Three people occupy the office; HENRY SCHMITZ sits behind his desk with a
cigarette between his index and middle fingers while EVAN BRAUN and ERIC
ROMMEL (last seen in "the Art of War") face him from the other side.
HENRY SCHMITZ
Thank you for coming out on such short notice.
ERIC ROMMEL
(dismissive wave)
No trouble at all.
EVAN BRAUN
Santiago wants an efficiency report on all production facilities in the
state by month's end.
SCHMITZ
Based on my latest evaluation, we're running at 85% capacity, but I'm
sure your review will reflect that.
ROMMEL
(placating smile)
I'm sure it will.
Rommel stands, at which point both Braun and Schmitz follow his lead.
Schmitz reaches across the desk and shakes Rommel's hand.
SCHMITZ
Allow me to show you the grounds?
ROMMEL
Certainly . . .
Rommel gestures for Schmitz to lead the way and he does, heading out of the
office with Rommel in tote and Braun behind him.
INT. FACTORY FLOOR
On the main floor of a large processing factory, we find dozens of men
hauling huge logs. It bares more than a cursory resemblance to the labor
camp in "Reunion (1x04);" this is merely another of the same facilities.
A catwalk lines the second floor of the factory, over looking the main
floor. After a moment, one of the doors opens and the three men exit the
office onto the catwalk, heading left.
SCHMITZ
As of this morning's count, we have 78 men working the factory
floor over three shifts of eight hours. On an average day, we can
process almost 200 metric tons . . .
As Schmitz prattles off statistics, Braun scribbles frantically on a
notepad.
The three reach the end of the catwalk and descend a staircase to the main
floor.
ROMMEL
And the women?
SCHMITZ
A task more suited to their aptitude . . .
CUT TO:
INT. CAFETERIA
Schmitz leads Rommel and Braun through the mess hall. Several women are
mopping the floor and clearing the long tables.
SCHMITZ
Thirty-nine women keep the cafeteria in functional order, over
six shifts.
Rommel glances around. The workers notice their presence, but consciously
refuse to make eye contact, focusing instead on their work. The tour
continues.
INT. KITCHEN
The three men enter to find only females inside, either cleaning or cooking.
SCHMITZ
Each woman takes one of six custodial shifts as well, evening out to
the same eight-hour workload as the men . . .
The entourage proceeds through the kitchen to one of the cooks who is
alternating between a large pot and a counter strewn with food.
SCHMITZ
This is Tanner; she's in charge of the kitchen activities.
Rommel greets Tanner, who silently returns the salutation. Rommel then
gestures for the wooden spoon in Tanner's hand, which she turns over to him.
He dips the spoon into the pot and places it to his lips, tasting the
concoction. After a moment, a genuine smile takes his face.
ROMMEL
Excellent.
He earns a grateful smile before returning the spoon. The tour continues on,
leaving the kitchen.
EXT. WORK YARD - DAY
The three men empty out into a wide area surrounded by a tall fence. Several
flatbed trucks are parked side by side along the front of the factory, each
carrying a load of freshly cut lumber waiting to be processed. Several men
regularly trek from the factory floor to the line of trucks to retrieve the
logs.
Braun continues scribbling notes as Schmitz resumes his oral tour.
SCHMITZ
The residence quarters are separate and guarded. Workers are
restricted to their designated dormitories or the mess hall when
off shift . . .
As they continue across the work yard, another truck pulls up to the fence.
Not a flatbed this time, but rather a military-style truck used for
transporting soldiers. A moment later, another man is in the yard, a dozen
feet away from the trine. His name, we will learn, is EDWIN ROHM.
He produces a small remote unit and taps the rectangular button on it to
pixilate the gate, thereby allowing the truck entrance. Immediately after
the truck has passed, the gate closes automatically again.
As the truck pulls to a stop, Rohm approaches it, standing by as the DRIVER
and front seat PASSENGER empty the people out of the back. The Driver and
Passenger gruffly align the worn and ragged people into the semblance of a
line, facing Rohm.
A few yards before him is the party of Schmitz, Rommel and Braun.
SCHMITZ
(quiet)
My foreman; Ed Rohm. He can get a bit harsh, but he gets results.
Panning down the line of people, we suddenly find a few familiar faces; JOHN
CABOT, ELOISE and DOROTHY are among them. We slow down to keep them in frame
as we drop to SLOW MOTION.
PAN STOPS ON DOROTHY.
Her eyes drift slowly across her surroundings. A mix of fear and hatred
burning within.
DOROTHY
(vo)
We thought we were safe. Out of his reach. We thought that we'd
found a new home.
Slowly, her eyes fix on Rohm.
DOROTHY
(vo)
We were wrong.
DOROTHY'S POV in SLOW MOTION: Rohm is barking orders and rules at the new
prisoners.
BACK TO DOROTHY.
DOROTHY
(vo)
The skies loom gray and electricity stings the air. I can feel the
darkness beating at me like a second pulse; all the suffering and
death surrounding me like so many Republican Guards.
DOROTHY'S POV in SLOW MOTION: Men criss-cross through the yard, hauling the
huge logs between the trucks and the factory.
TIGHT ON ONE MAN who strains unbearably under the weight of the wood. He
nearly collapses before another worker rushes in to help.
DOROTHY
(vo)
He uses it to fuel his conquest, to extend his reach with every
passing day.
BACK TO DOROTHY.
DOROTHY
(vo)
I know I am here for a reason, that I was assigned a special
purpose. But with every passing day, I am left once again to
wonder what that purpose is.
DOROTHY'S POV in SLOW MOTION: Rohm has apparently finished his speech and
signals to the Driver and Passenger. The two men quickly begin shouting
orders. The prisoners soon split off; the men heading in one direction while
the women head in another.
DOROTHY watches absently as Cabot is hauled off with the other men, despite
his efforts to stay with Eloise and Dorothy. Eloise is reaching for Cabot'
hand but obviously cannot reach it.
DOROTHY still registers no emotion as the women are led to their quarters.
Dorothy starts up the short steps in line with the others, slowing to help
Eloise.
INT. WOMEN'S QUARTERS
Dorothy lies on a cot with Eloise in the one next to hers.
DOROTHY
(vo)
I know only one thing; I must survive.
Pan off Dorothy to the cot beside her where Eloise is lying. Her hand lies
draped across her pregnant stomach protectively as fear fills her eyes.
FADE OUT
ACT ONE
FADE IN :
EXT. WORKYARDS - DAY
AERIAL SHOT. The morning bell goes off. It's loud, piercing into the cold
mist surrounding the barracks below. In seconds the camp is alive with the
sounds of men herded out from the barracks.
Soldiers watch from elevated posts as other officers, headed by Rohm, get
the male laborers into neat rows before leading them away, off-camera.
INT. CAFETERIA - DAY
Early morning. Cold white light streams in through the windows.
The doors open, and MEN begin to file inside. Already they appear weary,
beaten. Eyes dull and dead. They take seats at the tables in precise order,
one after the other.
Cabot takes a seat at the end of a table in the very back of the room. He
glances around, as though searching for something.
The doors from the kitchen open. WOMEN with downcast eyes begin to serve,
hauling large tureens to the ends of each table, filling bowls with oatmeal.
The men pass the bowls down the table.
A door near where Cabot is sitting opens. Without looking in that direction,
he quickly rises from his seat and goes through the door.
INT. PANTRY - DAY
The small room has floor-to-ceiling shelving, stocked with unlabeled cans
and boxes. Dorothy waits for Cabot with wild, worried eyes. Hanging from her
apron is a large ring of keys that glisten, catching the light.
Cabot closes the door soundly behind him, then stands in front of it,
blocking it with his body.
DOROTHY
No one saw you.
He shakes his head. No, no one saw him.
CABOT
We've got to keep a low profile.
Dorothy nods. She knows this already.
CABOT
I'm a wanted man.
DOROTHY
You're not the only wanted man hiding here
under Santiago's nose.
CABOT
It's not me I'm worried about.
DOROTHY
She's safe. I wouldn't have left her if she wasn't safe.
CABOT
Santiago exterminated the Sisters. If he knew
you were still alive, if he finds out about
Eloise and the baby --
DOROTHY
He isn't going to find out!
CABOT
People have to have noticed.
Dorothy says nothing.
CABOT
(cont'd)
Hard to keep pregnancy a secret when you're in
your ninth month.
He looks at her, a warning. Her expression doesn't waver.
DOROTHY
She's well-hidden. No one suspects.
Cabot's not so sure.
CABOT
How do you know you can trust this woman who's
helping you?
DOROTHY
I know.
There's a silence before they talk again.
CABOT
I'm working on a way to escape.
Dorothy sighs, leans back against the shelving. Her gaze, however, seems
distant, unfocused.
CABOT
Are you listening to me?
DOROTHY
(solemn)
How many people will be killed in this escape?
Cabot says nothing, but he's angry. They've had this discussion before.
DOROTHY
It's not the Sisters' way. We don't take life.
CABOT
This is war. Kill or be killed.
Dorothy shakes her head.
DOROTHY
Find another way.
CABOT
There is no other way.
DOROTHY
There's always another way. When did you get so cold,
John?
CABOT
Maybe when they killed my family.
Their impasse lasts a moment. Sounds coming from the other side of the door
interrupt them. Someone trying to open the door. Cabot's eyes go wide.
Dorothy is calm.
DOROTHY
(calling)
It's Dorothy. I've accidentally locked myself
in.
She silently moves the ring of keys to the pocket of her apron.
WOMAN
(OS)
I'll get the key.
Cabot remains frozen for five long seconds. Then he opens the door and slips
outside. Dorothy doesn't move, except to reach out and turn the lock once
he's gone.
INT. CABIN - DAY
Rommel sits down on a leather chair behind a very expensive-looking cherry
wood desk. This is the personal cabin Schmitz has assigned him. OVER THE
SHOULDER of Rommel, to see the laptop sitting on the table, blinking on. On
the upper-right corner of the screen there's an icon bearing the crossed
swords.
REVERSE on Rommel, as he clears his throat. He presses a few keys. A Word
Processor program pops up, already typed up. CLOSE SHOT of the header on the
document. It reads "Report On Efficiency - Republican Department Of Labor -
Camp #1013-CC".
He skips down a few lines. Types in "Report by Senior Council Member Eric A.
Rommel".
He skips more lines and begins to type. TRACK the words as they appear on
the screen. "The entire camp, as given by Senior Supervisor Henry Schmitz,
is running at a total of 85% efficiency."
Rommel stops and frowns. He presses the backspace key.
"The entire camp is running at 85% efficiency, as noted by Senior Supervisor
Henry Schmitz. This is so far the most well-run camp this Council Member has
seen thus far. All DoL regulations are followed, but built upon to make an
even more self-sufficient facility. The men are assigned the hard labor,
while the women are given the task of preparing food for the workers and
also producing uniforms for our soldiers and maintaining a clean environment
for the staff."
Rommel sits back, and takes a sip of coffee steaming at his side. Suddenly,
there's a knock at the cabin door.
ROMMEL
Come in.
The door opens up, and a soldier with the name Diekhoff sewn on his uniform
pocket enters carrying an armload of luggage.
DIEKHOFF
Your luggage, sir. It just came in on a delivery
truck.
ROMMEL
Thank you, Private. If you could be so kind as to
stick them over there, by the window, I'd. appreciate
it. I'd do it myself, but I'm a bit busy.
DIEKHOFF
Certainly, sir.
Diekhoff starts toward the window.
ROMMEL
And Private . . .
DIEKHOFF
(stopping)
Yes?
ROMMEL
Do be careful with that brown briefcase. There's articles
of quite some importance inside.
Diekhoff nods. Sets down the brown briefcase softly before unloading the
others. Rommel resumes typing.
INT. KITCHEN - DAY
Dorothy sets a heavy armload of cans on the counter. The kitchen is mostly
empty, as the women are in the cafeteria serving and clearing up.
Dorothy goes to Tanner, in the back, who is standing over a boiling pot of
linens. Wordlessly, Dorothy returns the ring of keys to Tanner and begins to
help with the washing.
DOROTHY
How is she?
TANNER
She's fine.
Dorothy manages a smile. We notice Tanner has a thick Swiss accent.
TANNER
Labor's going to be a problem.
DOROTHY
I know.
The two women work in silence for a few moments.
DOROTHY
We've made it through so much already. I have
to believe we'll find a way.
TANNER
Everyone's luck runs out sometime.
She glances at Dorothy, knowing what she's going to say.
TANNER
Luck, divine intervention, whatever you want to
call it.
DOROTHY
This is different.
TANNER
I hope so. But that's what everyone thinks,
before it turns out to be not so different
after all. I saw the sickness coming. Sweeping
through the town. I didn't want to believe it
would take someone so strong as my husband;
someone I needed so much as my mother; someone
I loved as much as my son.
DOROTHY
I'm sorry.
Tanner nods, accepting her words.
TANNER
Birth is a difficult thing, under the best of
circumstances. And these aren't them.
DOROTHY
They'll both be fine.
Tanner looks at Dorothy, examining her face with the wisdom that comes from
pain.
TANNER
I'm telling you to prepare yourself.
DOROTHY
(almost an order)
They will both be fine.
Tanner looks at her sadly, then indicates a large, full bucket of water.
TANNER
Soldiers'll notice if you're gone too long.
Take this to the men.
Dorothy nods, lifts it, starts to go.
TANNER
What's so important about that baby, anyway?
DOROTHY
He's a special package. As for why, your guess
is as good as mine.
EXT. MILL - DAY
The sounds of axes shearing huge cedar logs fill our ears. Sparks fly from
carbide saws as they slice the wooden cylinders into neat semi-circles. The
male laborers stand ready, another log is placed on the factory moving band.
It is pulled onto the circular saw where it too is sliced in half by the
spinning blade.
The men watch. One of them, though, seems to stick out. He is RAVENSBROOK.
It's not so much what he looks like as it is the expression he has. An
expression of fear. And despair.
As the men watch, he slowly turns around, and disappears behind the mill.
EXT. ALLEYWAYS BEHIND MILL - DAY
Ravensbrook turns around. He's making sure no one's watching as he comes to
a crossroad between four complexes. One of them is an elevated platform the
soldiers use to survey the camp.
He hears voices from above, and immediately presses his back against the
wall of the platform.
SOLDIER ONE
(os)
Did you see the way that Rommel acts around those
laborers? Almost like he's sorry for them!
SOLDIER TWO
(os)
Really? God, he should take some lessons from Rohm, then.
Ravensbrook picks up a stone on the ground and tosses it over to the left of
the right of the soldiers.
SOLDIER ONE
(os)
What was that?
SOLDIER TWO
(os)
Probably nothing.
He turns around and darts off in the opposite direction.
He makes a left, and goes down a narrow gap between two outhouses. When he
emerges from the gap he looks up, his eyes gleaming with hope but still
sorrowful. From his POV: a tall barbwire fence. Beyond it is a dense thicket
of trees that could easily hide a person.
Ravensbrook stoops down on his hands and knees, and starts to dig underneath
the fence. His hands work quickly, piling dirt on the side as he struggles
to make a tunnel big enough to crawl under.
Finally, he looks with satisfaction at his work. He pants, wipes the dirt on
his faded trousers, and starts to crawl underneath the fence.
Suddenly a hand reaches out, grabs him by the collar, yanks him to his feet,
and throws him against the fence. Ravensbrook looks shocked. CLOSE UP of
Soldier One in front of him. Behind him is Soldier Two.
Soldier One, whose name is BECKER, turns to Soldier Two, KLEIN.
BECKER
Go get Rohm.
EXT. WORKYARD - DAY
In full view of everyone, Ravensbrook is hauled to a waiting group of three:
Rohm, Braun, and another soldier named BAUER. Becker and Klein quickly toss
him to his knees. He lands roughly on the dirt, and looks up, finding
himself face-to-face with Rohm.
In the background, a couple of workers come forward to watch.
Rohm notices this, but doesn't give the slightest hint of acknowledging it
in any way.
ROHM
So, Ravensbrook, is it? My men say that they
caught you trying to dig a hole underneath the
fence at the east side, is that right?
Ravensbrook says nothing.
ROHM
Were you trying to escape.
Again, nothing.
ROHM
I ask you a question. If you want this to go
well, I suggest you answer.
RAVENSBROOK
Yes. I was.
ROHM
And why would you want to do something like that?
RAVENSBROOK
I . . . I want to be free.
Rohm sighs.
ROHM
Free? Free to do what?
Again, Ravensbrook says nothing.
ROHM
You want to be free? Fine. I'll grant you that.
Ravensbrook looks up at him, surprised but confused. Not sure whether to be
happy or not. Rohm points at the fence in the background. The main entrance.
ROHM
Just walk. Keep walking. As long as you don't stop, I'll
grant you what you want.
Ravensbrook gets up, nervously. He bats a few looks at everyone once or
twice, but especially at Rohm. And then he starts toward the gates. They're
about twenty-five feet away. Rohm watches him closely.
Bauer steps forward.
BAUER
Sir . . .
Rohm raises a hand to shush Bauer. He does.
>From Rohm's POV: RAVENSBROOK. He's within ten feet of the fence. A few
seconds later, he comes to the fence, and touches it. It blocks his way
completely. And he stops. Turns around, with all the fear melting from his
eyes onto his face.
ROHM
Shoot him.
Without any hesitation, Becker and Klein unsling their rifles and fire.
Ravensbrook crumples over on the ground in a sickening motion. A dark puddle
of gray starts to creep over the ground. In a few moments, in a white flash,
Ravensbrook digitizes.
Rohm looks satisfied. He turns back to the men who've stopped working.
ROHM
Get back to work!
The laborers slowly move back to their positions, heading back to work.
After a moment, Rohm is satisfied and, nodding to the two Soldiers, heads
back inside to do his own work.
Tracking him, we find Dorothy standing over the large bucket of water for
the men. Her head is down, purposely not looking toward where the execution
happened.
The sounds of the mill fills the air. Men calling to each other, work being
performed.
Dorothy scans the work area. Looking for Cabot. But she doesn't see him.
There is a tin cup tied to the bucket with a string. Dorothy swishes the cup
through the water a time or two, disturbing its calm surface. Then she
raises the cup to drink from it herself.
The saw makes a different, more jagged sound. Dorothy's body tenses and she
drops the cup.
The MAN working the saw closest to her takes a step back from the machine.
He is holding his hand, palm up, and blood gushes from it, coursing down his
arm and into a puddle on the ground. He turns, stunned, but the no one sees
or notices him. The other workers are fixed on their work.
His eyes lock with Dorothy's. She doesn't look away. He stumbles toward her,
leaving a trail of blood behind him.
He reaches for the tin cup. Dorothy grabs his injured hand with hers as she
moves the water barrel.
She releases his hand and he looks at it, amazed. Its surface is smooth and
uninjured. He looks up at Dorothy, his mouth open but without words.
Dorothy has picked up the water barrel and is halfway to the door with it.
Rather than chase her, the man lets his hand drop down to his side.
The shot widens out as he continues to stand there, away from the other men.
INT. CABIN - DAY
POV shot through the blinds of a window held open by a hand. It FOLLOWS
Dorothy as she enters the cafeteria and enters the kitchens.
INT. KITCHEN - DAY
Dorothy hoists the bucket onto the counter. Her expression is terrified.
Slowly, she glances over her shoulder, sneaking a peek back toward the
courtyard, but the man is no longer standing there.
INT. CABIN - DAY
The hand goes down, the blinds close, the light fades. PAN with the hand as
it reaches down to pick up a steaming cup of coffee. The cup is lifted to
Rommel's lips. He looks at the ground with a kind of quiet, contemplative
stare. Then he goes back to his desk.
FADE TO
EXT. WORKYARDS - EVENING
CLOSE on the door of the kitchens. It's nearly nighttime, the light of the
sun is already beginning to wither away in the west. It would be a beautiful
night if only the scene weren't in black and white, so bleak.
The door opens. Dorothy comes out. She looks worn from the day's work. She
wipes her brow with her fingers.
Then slowly, she starts to head for the women's barracks.
She passes two sheds set aside for tools. Then she passes the wall of the
men's barracks. There's no sign of any life, just the whistling of the wind
and the whipping up of the dirt below her.
ANGLE on her again, but this time kind of jerky. A POV shot from between two
sheds opposite the men's barracks. It swerves in and out from behind the
walls, as if trying to hide from Dorothy.
BACK on Dorothy. She frowns and looks around her. She doesn't see anything,
but the feeling of being watched lingers.
RESUME the POV. It cautiously recoils at seeing her suspicious stop. Then
suddenly, it turns and runs into the dense alleys of the camp buildings.
BACK on Dorothy, still walking. She breathes out, a misty cloud comes out.
Almost winter.
Suddenly a hand reaches out and grabs her! She swerves around to come face
to face with a STRANGER. He's dressed in a ragged overcoat, has hair coming
out only from the back of his head.
In fear, Dorothy backs up against the wall. Her eyes are wide.
DOROTHY
(fearfully)
Who are you?
The Stranger's hand doesn't leave her shoulder. We immediately notice a
small ring on his finger, because it gleams with the slightest hint of GOLD.
The Stranger reaches into his pocket and pulls something wrapped in a rag
out.
STRANGER
Please, you have to take this. Someone has to witness it.
You need to see it to understand the implications.
DOROTHY
What are you talking about?
The Stranger shoves the wrapped object into her hands.
STRANGER
Please tell no one.
With that, he suddenly turns around and disappears into the camp's alleys
again.
Dorothy stares at where the Stranger once was. Her eyes are still wide, and
her hand, clutching the object, trembles. After a moment's hesitation, she
continues toward the women's barracks.
INT. CABIN - NIGHT
Rommel's cabin. The door suddenly swings open and the Stranger enters
quickly. He stops in front of the desk. The chair is turned around, facing
the fire place. The Stranger takes off the ragged overcoat, revealing a
rather well-tailored and crisp suit. He slips off the ring, still gold,
circles the desk and opens a drawer.
CLOSE UP of the hand, holding the ring between the thumb and forefinger.
Carefully the ring is placed inside the drawer. Then something else is
sought out and removed from drawer.
A digiwand.
The drawer closes shut, but we remain in a TIGHT SHOT of the closed corner
of the desk as the digiwand is lifted off camera. We hear a whirr. And then
the digiwand is placed back in the drawer.
He sits down in the leather chair. But it's not face of the Stranger we see
anymore. It's Rommel.
INT. WOMEN'S BARRACKS - NIGHT
Dorothy sits down on her cot. She's significantly calmed down. The cot has
rather thin sheets, ones that would seem unable to last on a cold winter
night. But Dorothy covers herself in them and rests her head on the straw
pillow. On both sides of her lay many women. All seem just as tired.
Then she sits up again. From her POV: the small object, still wrapped in a
rag. She quietly, mentally is making a decision. After a few moments, she
picks it up.
Carefully, she begins to unwrap it, first removing the bit of twine on it
before unwinding the rag. When the object is totally exposed, she looks at
it with no understanding.
A Palm Pilot.
She turns it over. INSERT the words on a small label in the upper corner.
"PROPERTY OF GRETCHEN MOLRY"
Suddenly it blinks to life. A haunting glow comes over the screen. Dorothy
looks around briefly to make sure no one is watching. Her gaze comes back to
it.
Words suddenly appear on the digital screen. CLOSE SHOT as they run across
Dorothy's POV.
WARNING! SEVERE DAMAGE TO SOURCE CODE
SYSTEM FAILURE IMMINENT
TOTAL SYSTEM FAILURE IN 2 DAYS, 9 HOURS, 36 MINUTES, 42 SECONDS
The seconds start to drop. 41 . . . 40 . . . 39.
Dorothy stares at the screen, shock draining over her face.
FADE OUT
ACT TWO
INT. CAFETERIA - EARLY MORNING
The silent, dark room. Void of all people and motion. The HUM of the large
steel refrigerator adds an eerie note to the silence. Camera pushes through
the space to:
INT. HIDDEN ROOM - EARLY MORNING
A tiny space with a low ceiling, barely large enough for the cot Eloise
half-sits, half-lies on. Dorothy sits at the opposite end of the cot,
because there is nowhere else for her to be.
DOROTHY
John's planning an escape.
She meets Eloise's eyes, then lowers her head in an expression of both shame
and deference to the other woman.
DOROTHY
He says it'll mean taking lives.
She glances up again at Eloise.
DOROTHY
It'll have to be soon.
Eloise nods. Confirmation.
Dorothy hesitates before she speaks again. Not sure how to broach the
subject.
DOROTHY
Your son . . . he's going to be very special.
Eloise looks at her curiously. Dorothy is troubled, but she must ask.
DOROTHY
. . . How special?
Eloise reaches over and takes Dorothy's hand in hers.
ELOISE
(VO)
He is going to save all of us.
Dorothy's eyes light up in surprise at hearing Eloise's voice. Eloise
remains absolutely calm, perhaps with one hand resting against her belly to
imply it's because of the child she carries that she is able to communicate
this way.
ELOISE
(VO)
And in saving us, he helps the One to fulfill his own destiny.
Dorothy takes this in.
DOROTHY
How?
Eloise just smiles, with an almost unearthly wisdom.
ELOISE
(VO)
He has a healing ability far beyond ours.
Dorothy's eyebrows go up, indicating her shock. She has more questions, but
before she can begin --
SHOUTS FROM OUTSIDE
SOLDIER
(OS)
Two workers missing. Women. Find them!
DOGS BARKING, more indistinct shouting. Dorothy jumps up from the cot,
holding her breath until the noises on the other side of the wall fade.
She turns to leave, but Eloise catches her hand again. Gives her a
meaningful look and another beatific smile. Then releases her.
INT. KITCHEN - EARLY MORNING
The back door is open. Searchlights focus on the work yard, where soldiers
search with the aid of snarling bloodhounds. Dorothy slips past the door
without catching their attention.
The Palm Pilot she was given is visible above the top of the pocket in her
work apron. She puts her hand into the pocket and shoves the device out of
sight.
EXT. WORKYARDS - DAY
We TRACK with Rommel's feet. His boots, not army issue, tromp softly on the
dusty ground. His expression is stern as he looks around.
>From his POV: men crowding around the saw mill, repeatedly hauling timber
logs and placing them on the conveyer belt. With a mechanical churn and the
spin of a sharp blade, the log falls in two pieces. Sparks fly.
We PAN to other parts within Rommel's line of sight. Above on the platforms,
Republican Guard laugh. Two in particular pretend that they're shooting at
the laborers for practice with their very real M64s.
A lone woman, Tanner, moves across the camp with buckets of water for the
men. She eyes Rommel with a glance that is much too vague and fleeting to
identify what it means.
REVERSE on Rommel. He reaches into his pocket and takes out a clipboard and
a very fancy black pen. Looking down, he begins to quickly scribble notes on
the paper. Mostly observations of the camp.
VOICE
(os)
Is there anything I can help you with, Mr. Rommel?
Rommel turns around to find Henry Schmitz standing behind him, accompanied
by two soldiers and Evan Braun.
Rommel smiles politely.
ROMMEL
Everything's absolutely fine, Mr. Schmitz. I'll be
leaving in about two days, so I'd like to get much more
acquainted with the camp before finishing up the report.
SCHMITZ
Please, Rommel, take some time off your work. Your partner
Braun here says he's finished his report and we've been
catching up with the going-ons at Santiago City. You should
put it aside sometime for dinner.
Braun nods in agreement.
ROMMEL
Thanks but no thanks. Perhaps tomorrow. I've reserved some
time alone for myself this evening.
SCHMITZ
Well, enjoy the view, Rommel. This is the future of labor for
the Republic right before your eyes.
With that, Schmitz and Braun turn and walk away. Rommel watches them go, but
it doesn't look like he has any regrets.
He turns back to looking at the camp. Another camp is monotonously heaved
onto the belt and subsequently cleaved. Some of the men take notice of him,
but their glances are brief.
Except for one man. As Rommel turns his back to them to observe the
maintenance teams on the power shed, this man's eyes are locked on him with
a hateful scowl. This is SCHERNER. Turning away, he reaches into his pocket.
TIGHT SHOT of what he has as he pulls it out.
It's a small self-made knife.
Scherner looks at Rommel, slowly this time, as if considering something.
Rommel still has his back to him, still writing on his clipboard. Scherner
finally reaches his decision, and starts toward Rommel.
OVER THE SHOULDER shot as Rommel finishes a paragraph. Though most of the
words are obscured, one sticks out. "Suffering".
Without warning, Rommel is savagely tossed forward.
He slams hard against a barrack wall. It's a close call, as he could have
hit the glass window only inches next to him. The wind has been knocked out
of him. He gasps for breath. His eyes are wide when he turns around to face
his attacker, looking at Scherner in the eye.
Scherner lunges. His knife is in full sight.
Only a split second before he plunges the blade into Rommel, a gunshot rings
out.
Scherner stops, slumps down on his knees, moaning in pain and clenching the
back of his upper leg where blood is spilling out drop by drop. Rommel
stares at him aghast before looking up.
Above, in the elevated platforms, Rohm stands, barking orders at his men and
pointing wildly at the wounded Scherner. Six soldiers stream out from the
bottom of the platform and race toward Scherner. In less than ten seconds,
they've milled around him.
One of the soldiers clubs Scherner on the head with the butt of his rifle.
Blood slides down the side of his face.
Having caught his breath, Rommel stares, horrified. Another soldier tosses
Scherner down and kicks him in the stomach. With little reluctance, five of
the soldiers start to mercilessly beat him.
The sixth withdraws from the small mob, and comes up to Rommel. The name
KURTZ is sewn onto his uniform.
KURTZ
Are you okay, Mr. Rommel?
Rommel nods, coming out of a shock. His eyes are not on Kurtz, but on the
five soldiers and Scherner.
KURTZ
Well, sorry about that. Sometimes the laborers are less
complacent than we wish they were. This matter will be
completely taken care of.
He says that as another blow is leveled at Scherner's stomach.
ROMMEL
It's understandable. This one was probably just . . .
desperate.
He says it with as much poise as he can, but it's just not working. After a
long silence, he looks at the Kurtz.
ROMMEL
Thank you, soldier.
Regaining his footing, Rommel starts to quickly amble back in the direction
of his cabin. It looks like he's strenuously trying to ignore the muffled
groans of pain and the sounds of the beating behind him.
Closing his eyes in a silent wince, he stops. And opens them again to find
another young soldier making his way from Schmitz's office to him. This one
is BERGMANN. He has an envelope under his arm.
BERGMANN
Mr. Rommel?
Rommel nods but doesn't say anything.
BERGMANN
Overseer Schmitz just got this via mail. It's for you from
Santiago City, from the General himself.
He hands the envelope to Rommel, who takes it and looks at it with wary
eyes.
ROMMEL
Thanks.
Bergman nods and goes back to the office. Rommel quickly bends the brass
clutches on the envelope and removes the contents. It comes out in his hand
lightly.
A plaque. On it is the emblem of the crossed swords. TRACK the words on the
plaque as Rommel reads them.
"THE REPUBLIC OF SANTIAGO WOULD LIKE TO GIVE THIS TO
ERIC AVERY ROMMEL
ON BEHALF OF THE PEOPLE FOR OUTSTANDING CITIZENSHIP IN
THE SERVICE OF GENERAL OMAR SANTIAGO AND THE REPUBLIC AT
LARGE.
Signed
Gen. Omar Santiago"
Just as Rommel finishes the last word, a BURST OF GUNFIRE shatters the
complacency. Rommel quickly turns back.
Scherner's complete body is hidden, but his feet stick out from the circle
of soldiers who have their guns drawn. His feet twitch for a few moments
before going limp. Finally, he digitizes.
REVERSE on Rommel, who swallows something in his throat before heading back
to his cabin.
INT. SAW MILL - DAY
DOLLY on a group of laborers as they haul another log onto the belt. They
have paid little heed to the execution. PAN successively on each of them,
all wiping sweat from their brows. Finally, we come to Cabot, who lets out a
sharp sigh. It hits the cold air, creating a small puff of mist.
While the other men rest for about a minute, Cabot's gaze wavers toward a
small building off in the distance. A boxy, one-story building with six
windows lining its west wall.
INT. SEWING ROOM - DAY
This building is in fact the Sewing Room. Women sit behind sewing stations,
where one by one they weave Republican Guard uniforms. PAN from the front
row from left to right. Sitting in the row is Tanner, whose pursed lips show
a kind of rigid determination to finish.
PAN down the third row from the left. Eloise sits, quietly working on the
collar of her assigned uniform. Despite the accuracy of her stitches, she's
focused on something else.
She emanates a kind of hopeful aura that pierces through any misery. The
kind of aura a mother would have. A tentative smile seems to curl her lips
without being to obvious.
Finally, in the back of the room, Dorothy sits. She looks inwardly angry,
but has to keep it inside. She works on the sleeve of a uniform. Her focus,
like Eloise's, is drawn away from this.
Her thoughts become open to us as her memory burdens her with voices only
she can hear.
DOROTHY
(vo)
It's not the Sisters' way. We don't take life.
CABOT
(vo)
This is war. Kill or be killed.
DOROTHY
(vo)
Find another way.
CABOT
(vo)
There is no other way.
Dorothy takes the thread and pokes another hole into the uniform's fabric,
slowly winding the thin strand through the inward sleeve and then out again.
TANNER
(vo)
Everyone's luck runs out sometime.
(beat)
Luck, divine intervention, whatever you want to
call it.
DOROTHY
(vo)
This is different.
Another two entries, and the extra bit of fabric used to tighten the sleeve
about the wrist is firmly in place. Dorothy places a button over the piece
and makes sure it will be in the proper location on the sleeve to be slipped
through the button-holes.
DOROTHY
(vo)
Your son . . . he's going to be very special
. . . how special?
ELOISE
(vo)
He is going to save all of us. And in saving us, he
helps the One to fulfill his own destiny.
Suddenly Dorothy's attention is yanked back to reality and not the world of
memory.
DOROTHY
Ouch!
She picks up her finger and sticks it between her lips. Sucking hard on it,
as a tiny bit of pain, more from surprise than actual injury, winds its way
on her forefinger.
She pulls it out of her mouth and stares at it. From her POV: the fingertip.
Though we can't see a hole, dark drops of blood drain out.
With her other hand, Dorothy picks up the needle she was working with and
holds it up to her view. EXTREME CLOSE UP of the needle; a dark, liquid tint
is held ever so slightly on the tip that dulls the needle's metallic shine.
Again Dorothy's POV turns to her bleeding finger. She stares at it, almost
as if this is the first time she's seen real blood. Then she takes the
sleeve of the uniform and smears it on the inside.
When she looks at her fingertip again, the bleeding has stopped.
Reflexively, Dorothy turns back to her work, and resumes sewing.
FADE TO
EXT. BARRACKS - NIGHT - ESTABLISHING
A building hastily constructed from wood. A circle of light plays along the
boards. It's a spotlight. It passes, leaving the building is in darkness.
INT. BARRACKS - NIGHT
A long room, undivided. Bunk beds, spaced exactly three feet apart,
repeating all the way down the wall and then back up the opposite wall.
A woman lies in each bunk. Some sleep fitfully. Others have their eyes open,
staring upward. Each bunk has a small tag with a number on the end of it.
The camera moves along their faces until we find Dorothy in her bunk, which
is near one of the windows cut into the wall. She lies propped up on her
elbows, facing down at her pillow.
WOMAN
It's cold . . .
Without raising her eyes, Dorothy reaches up and pushes the window closed.
It slams with a bang.
Moving in closer, we see what's captured her attention so fully: the Palm
Pilot she received from the Stranger at the end of act 1.
ON SCREEN: A cursor blinking.
Resume Dorothy, her brows drawn in an intrigued frown. Trying to figure out
a puzzle.
ON SCREEN: A list of names appears, with one row highlighted.
Dorothy registers surprise.
ON SCREEN: The highlighting moves down as she scrolls through the names. A
name appears. WOLFF.
Dorothy glances up and around, as though guilty or afraid of getting caught.
She presses a button and the screen changes.
WOMAN
Who closed the window? It's stuffy in here.
WOMAN 2
And it smells . . .
With a sigh, Dorothy reaches up and pulls the window open. Then, filled with
a tense anticipation, she glances back to the screen of the handheld
computer.
ON SCREEN:
FILE NOT FOUND.
Dorothy's fingers move quickly on the controls, flipping back to the
previous screen, reselecting, trying it again.
FILE NOT FOUND.
WOMAN
It's cold...
Dorothy raises her head to glare, but a figure moving quickly down the row
toward her bunk catches her eye. Dorothy shoves the Palm Pilot into her
pocket and jumps down from her bunk just as Tanner comes to a stop.
DOROTHY
What --?
TANNER
I need you in the kitchen. Now.
She grabs Dorothy's arm and shoves her toward the door.
EXT. BARRACKS - NIGHT
Dorothy pulls away from Tanner, who drops the grip she had on Dorothy's arm.
DOROTHY
What's going on?
TANNER
I think you know.
Dorothy's eyes widen with the realization of what she's talking about.
DOROTHY
How long?
TANNER
She didn't exactly tell me.
DOROTHY
Can't you tell by the contractions or something?
TANNER
I'm a cook, not a midwife.
We see for the first time that her gruff nature is a cover for her fear.
TANNER
Come on.
INT. KITCHEN - NIGHT
The two women walk in to find the lights on. Dorothy wrinkles her nose.
DOROTHY
Smells like something's burning.
TANNER
I was in here to make breakfast for tomorrow. Otherwise
I might not have known.
They step further inside and see Eloise at the stove, her apron wrapped
around her hand as she withdraws a large tray of bagels from the oven.
DOROTHY
You put her to work?!
Eloise pauses for a second, noticeably in pain, and then goes back to the
oven for the other tray. Dorothy goes to her, pulling her gently away, but
Eloise shakes her head stubbornly.
TANNER
I told her to lie down, to rest.
Tanner reaches over and turns the oven off. Eloise stoops now, in pain, her
mouth open as though to scream, but she can't.
TANNER
Help me get her into the other room.
Dorothy puts her arm around Eloise's shoulders, and Tanner supports her from
the other side.
INT. BACK ROOM - NIGHT
The two of them walk Eloise into the tiny back room and help her onto the
cot. Eloise's face begins to shine with sweat.
Dorothy looks to Tanner.
DOROTHY
What do I do?
TANNER
Stay with her.
She steps out the door, back into the kitchen. Dorothy looks after her,
ready to call her back. But then she focuses on Eloise.
DOROTHY
It's going to be all right.
She strokes back Eloise's hair. The other woman's eyes close as she is
comforted by the gesture, but just as quickly another contraction comes.
DOROTHY
I would take away your pain if I could.
Eloise opens her eyes and looks at Dorothy. Her expression is serene. As
though she does not mind it.
Tanner returns to the room with some ragged towels and a very sharp knife.
TANNER
It won't be long now.
FADE TO
EXT. WORKYARDS - NIGHT
PAN across rows and rows of small complexes - sheds, cabins, sections of the
mill poking out into the groupings of buildings like an intruding army. A
fierce wind whips up across the empty, desolate camp. The sounds of workmen
has already long died off. The kitchen is silent, except for the far-off
echoes of the dripping well outside.
FIND Rommel, making his way across the wide road between the sheds and the
barracks. He passes a cabin that is precariously lit inside. Laughter
emanates from the inside - it's Schmitz and Braun, having dinner.
Barely acknowledging the sounds, Rommel comes up to his private cabin, and
enters.
INT. CABIN - NIGHT
The door opens with a creak. Rommel comes in, closes the door behind him. He
removes his thick overcoat and places it on the coat rack to his left. He
takes a few moments to look at his desk, untouched. Then, silently, he walks
over to a small cabinet and opens it up.
He reaches inside and pulls out something dusty. He blows on it, spreading
the thick cloud away. OVER THE SHOULDER to see what it is - a CD case. He
removes the disc from the case, closes up the case, puts it back in, and
closes the cabinet once again.
ANGLE on a small CD player located on the shelf behind his desk, next to the
fireplace. Rommel approaches it, and slips the disc into the player. Then he
takes a few steps back, and waits.
After a few moments, a soft violin concerto starts up.
CLOSE SHOT of a match, as it strikes against the side of a box. An
insignificant flame glows to life on the tip. Rommel turns to the fireplace
and tosses the match into the small logs of timber. The flames begin to grow
within the hearth, and the fire appears, spreading warmth within the cold
wooden walls of the cabin.
Rommel sighs, goes to the cabinet again and opens it up. This time he
reaches in and pulls out a small shot glass and a bottle. TIGHT SHOT of the
label - it reads "Freshly Blended Scotch".
He sits behind his desk, unclasps the top few buttons on his shirt. His hand
runs through his hair for a moment before returning to the bottle. He pops
off the cork with little effort, and pours the concoction into the glass.
Setting down the bottle, he picks up the glass and brings it near to his
lips.
And stops.
>From his POV : The glass. A small drop of the scotch slides down the sides
of the glass, rejoining the whole and spreading ripples through the liquor.
FLASHBACK
EXT. WORKYARDS - DAY
Ravensbrook lies on the ground, the grey puddle of blood slowly growing
under him. Rohm and his men turn around and walk away. Ravensbrook eyes go
blank and cold, his hands go stiff. He digitizes.
END FLASHBACK
Rommel licks his lips. He looks hesitant to drink now. But he does. The
scotch slide out of the cup and into his mouth. He gulps it down, closing
his eyes as it burns his throat.
He reopens them, and gets out of his seat. The violin concerto continues to
murmur its soft melody. He puts his hand out to steady himself against the
bookshelves to the left of the fireplace.
His gaze turns to the books lined along the shelves. From his POV: most of
them are quite obviously propaganda literature meant to glorify the
Republican regime. Among the many titles are "The Rise of the Republic",
"The Superiority of the Soldier", and "Santiago - The Future of the Free
World".
Rommel blinks at them, in an almost drunken stupor. Little by little, his
expression starts to change. The blank frown melts into an angry glare. His
teeth grit. With a sudden, violent motion, Rommel's hand slams across the
bookcase, spilling the books all over the floor.
The anger subsides suddenly. Rommel comes back to the desk and sits down
again. His eyes close. Suddenly:
FLASHBACK
EXT. WORKYARDS - DAY
Scherner lies inside the circle of soldiers as GUNSHOTS are fired. His body
twitches, then goes limp. He digitizes.
END FLASHBACK
When Rommel's eyes reopen, he looks down. Placed neatly on the table is the
plaque he received earlier. Rommel picks it up. From his POV: the words on
the plaque; only a few seem to stand out to his blurred view. "OUTSTANDING
CITIZENSHIP" "SERVICE OF GENERAL OMAR SANTIAGO". "REPUBLIC".
Rommel's thumb moves across the edges of the plaque. He rolls the chair
around to face the fireplace. The flames flicker up and down like waves.
Effortlessly, Rommel tosses the plaque into the fire. We REST on it for a
while as the burning tongues and embers consume it.
BACK on Rommel. He pours another glass of scotch, and swallows it with an
even more expression of dislike. He lies the cup down on the desk. His hands
fold together. Elbows rest on the desk. His head sinks onto the joined
fingers.
Quietly, Rommel begins to sob.
FADE TO
Darkness. Pitch-black oblivion. Then, a white box appears glowing. A
computerized screen. Words begin to form out of the void, first in a vague
haze, then finally clear enough to read.
WARNING! SEVERE DAMAGE TO SOURCE CODE
SYSTEM FAILURE IMMINENT
TOTAL SYSTEM FAILURE IN 1 DAYS, 11 HOURS, 25 MINUTES, 16 SECONDS
FADE OUT
ACT THREE
INT. BACK ROOM - EARLY MORNING
Eloise rests against thin pillows. Completely exhausted. Dorothy is by her
side. A very short, quiet moment with the two of them sitting there in
silence before
TANNER
appears with a large, drapey bundle of off-white sheet in her arms. She,
too, bears the signs of the long night, but there's a broad grin on her
face.
TANNER
Your son.
Eloise raises her hands to take the child, but Tanner instead sets the baby
safely against his mother's stomach.
Eloise brushes back the swaddling and we see the baby's wrinkled little
face, his tiny eyes tightly closed against the harsh light. His gray eyes
blink with a kind of sadness in the early morning light; he yawns softly.
Dorothy is smiling too. Some tension and worry remains in her face, but a
genuine smile overlaps it all.
TANNER
He'll need a name.
Eloise looks to Dorothy. She gestures futilely. It takes Dorothy a moment to
realize what she wants.
As Tanner watches with some curiosity, Dorothy gets to her feet and
retrieves a small book from a hiding place.
Dorothy passes the book to Eloise and we see its cover is worn, from both
use and being concealed. The light hits the cover at an angle as Eloise for
a second juggles book and baby, and we see its title:
HOLY BIBLE
Eloise opens the book with absolute certainty. This isn't one of those "name
the baby whatever word your finger touches first" cases. Eloise merely uses
the book to communicate her wishes, as she holds it open to Dorothy, her
finger indicating the name.
MATTHEW.
Dorothy meets Tanner's anxious look.
DOROTHY
Matthew.
TANNER
A fine choice.
Something wavers in her smile for a moment. Dorothy notices, but says
nothing. She replaces the bible in its hiding place, then returns to
Eloise's side.
DOROTHY
Do you need anything?
Eloise shakes her head, her eyes fixed on her child, completely in love. And
yet, something taints her expression. A kind of gloominess, as if in
expectation of the worst.
Suddenly, the shrill sound of the MORNING BELL slices through the quiet.
Tanner wipes her hands on her apron.
TANNER
Back to work.
She leaves the room.
Remaining, Dorothy lays a gentle hand on Eloise's shoulder.
DOROTHY
Will you be all right?
Eloise looks up at her, and nods.
DOROTHY
Stay here. Hidden. It's safer.
She squeezes Eloise's shoulder, reinforcing the importance of her words, and
moves to the door.
INT. KITCHEN - DAY
The female WORKERS are filing into the kitchen, taking their places
automatically, yawning and still sleepy. Dorothy slips unnoticed out of the
back room and locks the door.
Tanner is already issuing orders incoherent to Dorothy, getting the day
started. When Dorothy reaches her, she pushes a large pot of water into her
hands.
DOROTHY
Is something wrong?
She turns away to put the pot on the stove, glancing back at Tanner.
TANNER
Everything's fine.
DOROTHY
You seemed . . .
Tanner shakes her head, as though driving away self-indulgent thoughts.
TANNER
I was thinking of my own son.
The worker to Dorothy's right, HIRSCH, hears this, and picking up on the
"own" shoots Tanner a curious look. Seriousness falls across Tanner's
expression like a veil, and she returns to issuing orders.
Still curious, the worker glances to Dorothy for explanation, but Dorothy is
staring into the pot on the stove. Ignoring her. Waiting for it to boil.
INT. BACK ROOM - DAY
Eloise sits up on the pillows laid on the ground, cradling little baby
Matthew in her arms. She holds him tightly, protectively, as if he were
suddenly going to leave her.
The entrance to the Back Room opens, and Tanner enters with a bucket of
water with ice bobbing up and down in it in one hand. Her other hand holds a
small tin cup. Eloise looks up at her. Tanner sets the items down next to
Eloise and prepares to leave.
She stops when she hears a tapping coming from the floor. Turning, her eyes
meet Eloise's.
TANNER
Yes, Eloise?
Eloise looks at the baby sadly, then picks him up and holds him out to
Tanner. Tanner is taken aback.
TANNER
You want me to take him? But it's so soon after the
birth . . . don't you want to keep him?
Eloise shakes her head.
TANNER
Why not?
She pauses. Eloise looks down. It's obvious whatever reason she has, she's
incapable of saying it. Tanner speaks again.
TANNER
I'll give him to Dorothy. She'll keep him in the
barracks.
Tanner comes forward, picks up Matthew. From her POV: the baby, looking
quite healthy for a newborn. He's soundly asleep.
TANNER
I hope you fed him.
Eloise nods.
Tanner gives a loud sigh, and exits the room, leaving Eloise alone in the
rather dreary darkness of the back room.
EXT. WORK YARDS - DAY
The men are hard at work. PAN across as various laborers toss logs into a
smaller conveyer belt, where it is carried off into the mill and disappears.
REST on a Supervisor, dressed in work clothes but wearing a Republican pin
on the pocket of his shirt.
SUPERVISOR
Take these to the scrap heap.
He drops a huge plastic bin filled with odds and ends at Cabot's feet. Cabot
looks up from his task. There's an almost confrontational moment between the
men, as though the Supervisor is expecting trouble.
Cabot breaks first, bending down to scoop up the bin. The Supervisor turns
away, pointing and shouting.
The bin is heavy and Cabot struggles with it a moment. Then he moves out of
the work area, across an open part of the work yard, to a shaded area near
the fence.
He jumps as he sees a man back by the scrap heap. This man is sweating, as
is Cabot, but not from exertion. His eyes dart nervously. His name is
PERLMAN.
Cabot looks at the trowel in PERLMAN's hand.
CABOT
(easygoing)
What're you up to?
He begins sorting the scraps from the bin.
PERLMAN
Nothing.
Cabot doesn't glance up from his sorting.
CABOT
They'll shoot you in the back before you run ten yards.
Perlman continues to sort, but it's obvious that Cabot has hit the truth.
PERLMAN
What's it to you?
He takes a quick look back and over his shoulder. Perlman tosses the trowel
away and dives into the shallow trench under the fence. It's not deep
enough, and his clothing snags on the barbs. He thrashes a bit, not caring
if his clothing rips.
Cabot appears next to him and drops to his knees.
CABOT
(half-whispering)
Stop while you've got the chance!
Perlman, ignoring him, continues to push his way through when -
A shadow blocks the light. Someone standing over them. The Supervisor, his
expression smug. Beside him is Rohm.
SUPERVISOR
These men are trying to escape.
Perlman quickly turns fearful.
CABOT
No --
Rohm motions to a pair of guards, come to back him up. They shove Cabot out
of the way and grab Perlman.
CABOT
I was trying to stop him.
Rohm gives no indication of even having heard him.
The guards drag Perlman back through the trench. The barbs at the bottom of
the fence rip through his clothing and skin and he screams. He's pulled to
his feet, and stands there, bleeding and scared.
Rohm meets the trembling man's eyes.
ROHM
Shoot him.
INT. ROMMEL'S CABIN - DAY
CLOSUE UP on the CD player. A light static buzzes from the speakers, a hum
of idleness.
Rommel is slumped in his chair. Passed out, asleep. The bottle on the table
is empty. The glass he drank from dangles from his fingers.
His eyes suddenly flutter open. When he has finally woken up, he hears
voices.
ROHM
(os)
Maybe you'll remember better than to try something
so damn foolish.
At the sound of Rohm's voice, Rommel jerks awake. The glass slips from his
fingers and shatters, pieces scattering across the floor. He barely notices
it, quickly getting up, walking over his coat rack and grabbing his coat.
He hesitates a moment as he nears the door. Straightens up. Runs fingers
through his mussed hair. Trying to pull himself together. Finally, he flings
the door open and starts to hurriedly make his way toward the voice.
SHOT of the cabin. Empty. Silent but for the drone of the speakers.
A GUNSHOT echoes through the complex.
CUT TO
EXTREME CLOSE UP of Rohm's smug expression.
EXT. WORKYARD NEAR THE FENCE - DAY
Perlman falls back toward the fence. His body shakes violently in death
throes before he finally goes stiff, and digitizes.
All eyes turn to Cabot. He's next. Cabot's face betrays only the slightest
hint of his fear. One of the guards checks his pistol slowly and
deliberately. Savoring this moment of power. He straightens his arm and
lowers it slowly, setting its sights on Cabot.
Rommel pushes through the crowd of soldiers, tucking in his shirt. It's
still hanging out as he breaks through. He comes to a stop next to Rohm.
ROMMEL
What's going on here?
ROHM
This man tried to escape.
Rommel takes in the scene. From his POV: The bin of scraps, half-emptied.
The discarded trowel. The ripped cloth clinging to the barbed wire fence. He
waves a hand at the guard, who lowers his pistol. Rohm looks hot under the
collar as Rommel walks up to Cabot.
ROMMEL
Is this true?
ROHM
You doubt my word?
Rommel silences Rohm with half a glance. Then focuses his attention squarely
on Cabot. Something like recognition flickers over him. Cabot speaks up
suddenly.
CABOT
Another man. They executed him. He'd dug under the
fence. I was trying to stop him.
Rommel has an expression of consideration on his face.
ROMMEL
Because it's wrong to escape the camps?
CABOT
Because he didn't have a chance in hell of getting
away.
Cabot's honesty amuses Rommel. A smile curves his lips, he's almost ready to
give a short laugh. Rohm's expression grows more sour.
ROMMEL
You were not involved?
CABOT
I wasn't involved. No.
A long moment as Rommel decides. Then, he reaches out, and touches Cabot's
shoulder.
ROMMEL
Get back to work. I, uh, I pardon you.
Cabot is stunned for a second. Then he nods, bows his head, and obediently
hurries back to work. With nothing left to see, the crowd of soldiers
dissipates.
Rohm turns on Rommel, bitter and angry.
ROHM
What the hell do you think you're doing?
ROMMEL
Why are you mad?
Rommel's calm demeanor only infuriates Rohm more. Rommel can afford to be
calm: he's in charge of seeing that this camp stay alive and Rohm keep his
job.
ROMMEL
(cont.)
I just saved you one more man you'd have to find a
replacement for.
ROHM
This is *my* camp.
Rohm's ready to explode. Rommel's look turns icy.
ROMMEL
If you've got any complaints, you can take it up
with General Santiago and the Council back at the
City.
Rohm swallows Rommel's stinging words like a burn of acid. Rommel turns his
back on him and starts back to his cabin.
ROHM
I think you're hung over.
Rommel stops, and gives a short smile as he turns back to Rohm.
ROMMEL
I think you're right.
Rohm shakes his head angrily and quickly begins to walk away. Soon, he's out
of Rommel's line of sight altogether. Rommel seems to sag just a bit as his
gaze washes over the remnants of the scene. He looks down at the hole
beneath the fence, the blood still clinging to the metal like a stain of
memory, before departing to his cabin.
INT. BACK ROOM - DAY
Eloise remains alone inside. Her head rests against the pillows, her gaze
floats up to the ceiling. Without looking, she takes the cup Tanner gave her
earlier and dips it into the bucket of ice water. Drawing it up, she takes a
sip. CLOSE SHOT of the bucket; the ice has long melted.
As she swallows the water, she lets out a sigh of exasperation. She takes
another sip. Then suddenly she freezes. She hasn't swallowed her water. Her
eyes are wide. She turns to the right of her, to one of the walls of the
back room.
>From her POV: the wall itself. It's shabbily constructed, with rather long
gaps in the wood where light slips through. But now the light is blocked by
a shadow.
EXT. BEHIND THE BACK ROOM - DAY
A soldier, HOSS, reaches into his pocket, producing a cigarette. He slings
his rifle over his shoulder, reaches into his other pocket, and pulls out a
lighter. Flicking it on, he lights the cigarette, and begins to smoke.
INT. BACK ROOM - DAY
Eloise watches with a growing fear. Suddenly she swallows the water - down
the wrong tube. She starts to cough, but the terror holding her makes her
strive to keep herself from making a sound. Even as she covers her mouth to
keep the coughing as inaudible as possible, spasms rack her.
>From her POV : the shadow begins to recede. Soon it disappears altogether.
Eloise lets go, and lets all the coughing out. Once the bout is finished,
she sits back, relieved.
And that's when the outside entrance to the back room bursts open.
EXT. WORKYARDS - DAY
Rommel wanders aimlessly about the camping, watching from a distance as the
work continues. Suddenly, he stops. Frowns. Like an inner feeling disturbing
him. He turns around, as if confused. From his POV: the kitchen.
EXT. BEHIND THE BACK ROOM - DAY
Hoss snatches Eloise by the shoulder, and pushes her outside. She lands on
the ground with a thump. Already she has begun to tremble. Hoss turns
around, closes the outside door to the back room behind him.
Rohm stands before the two. He eyes Eloise.
ROHM
(to Hoss)
Get her up.
Hoss grabs Eloise by the neckline of her clothes and pulls her to her feet.
She comes up only to slump back down to her knees before Rohm. Her face has
so far has drooped, gaze held tightly on the floor.
ROHM
Can't you stand?
Eloise looks up at her. In the clear daylight, it's easy to tell that she's
quite weak. Her face, even in the black-and-white scene, is obviously pale.
Exhaustion seems much more apparent on her. She has, after all, recently
delivered a baby.
ROHM
(to Hoss)
She's sick. This is how you found her?
HOSS
Yes sir.
Before Rohm can say anymore, Rommel suddenly comes up next to him.
ROMMEL
What's going on?
Rohm, still angry after the morning's incident, looks bitterly annoyed to
see Rommel here. But he can't do anything to a superior.
ROHM
(indicates Eloise)
We found this one hiding out in the back. She's sick
and incapable of working.
(to Hoss)
Lieutenant?
HOSS
Yes?
ROHM
Is your gun in working order?
Hoss checks it.
HOSS
Yes, sir.
ROHM
Good.
INT. KITCHEN - DAY
Dorothy enters with a bucket of water and a towel slung over her shoulder.
Tanner stands over the stove with a matchbox, getting ready to bring the
flames to life. Dorothy sets the bucket next to Tanner.
DOROTHY
Here's the water for the coffee.
Tanner takes it.
TANNER
Thanks.
She sets it down next to her on the countertop.
TANNER
Your mother asked me to leave the baby with you. He's
underneath your bunk in the barracks.
Dorothy is completely taken by surprise.
DOROTHY
Why?
TANNER
She couldn't say.
Without a word, Dorothy suddenly, hurriedly unslings the towel, tosses it
aside, and quickly starts in the direction of the Back Room. Tanner watches
her go silently before returning to her work.
INT. BACK ROOM - DAY
Dorothy enters the Back Room. She stops suddenly. Her eyes go wide. From her
POV: swerving, as she looks around for her mother. Only when the voices
outside filter through to her does she come forward, silently but urgently,
and stoop down, peering outside the cracks in the wood to see the scene
outside.
EXT. BEHIND THE BACK ROOM - DAY
ROHM
(to Hoss)
Go back into the kitchen. Find the people that
put this woman into hiding and bring them to me
promptly.
Hoss nods, and immediately turns around and starts for the kitchen. Rommel
holds out his hand.
ROMMEL
Stop!
(turns to Rohm)
You can't blame these people for trying to keep one of
their own in recuperation while they're sick.
Rohm sighs sharply. Hoss stops but doesn't come back.
ROHM
(to Hoss)
Come back, Lieutenant.
Hoss comes back before them. Rommel looks down at the trembling Eloise,
eyeing her with recognition and a large touch of compassion.
ROHM
(os)
Shoot her.
Rommel jerks his attention back to Rohm.
ROMMEL
What?!
ROHM
She's unproductive. There is no need to keep her alive.
ROMMEL
She can be tended to. She can come back to work in time.
ROHM
Yes, but how long will that take? A week? Two weeks? We
don't have time for that, Mr. Rommel. The well-being of
this camp depends on our productivity. Unproductive laborers
are a cost to our funding. We don't have the means nor the
desire to get a doctor for these people. They're inconsequential.
(to Hoss)
You heard what I said.
ROMMEL
(to Hoss)
Wait!
(to Rohm)
Keep her alive. It's just as much of a cost to go out and look
for more laborers. I'm trying to do my job.
ROHM
Yes, and I'm doing my job. If you have a problem, go lodge a
complaint with the Department of Labor in Santiago City.
Rommel stops. His mouth opens and closes numerous times, trying to reach out
into his mind in search of words. But he can't. He's caught, and is unable
to say anything more.
ROHM
(to Hoss)
Do it.
Hoss, not having moved, finally comes forward. He presses his pistol to the
back of Eloise's neck. She stares up, up at Rommel. Their eyes meet, both
filled with a sorrow that they share.
Then Hoss pulls the trigger.
INT. BACK ROOM - DAY
Dorothy jerks around and closes her eyes as the gunshot pierces the air.
When the sound has finally faded, she opens them. They begin to fill with
tears. She stands, and runs back into the kitchen, away from the nightmare
she's just witnessed.
INT. KITCHEN - DAY
Tanner turns around just as Dorothy comes before her, sobbing. Tanner, not
knowing what happened, reaches out and puts her arms around the girl.
Dorothy buries her face in Tanner's shoulder, still crying.
TANNER
What's happened, Dorothy? What's wrong?
Dorothy says nothing. She just continues sobbing.
EXT. BEHIND THE BACK ROOM - DAY
Eloise lies on the ground, hands sprawled limply on the ground. Blood flows
out from under her, but her eyes, closed, seem to give off an air of calm.
Hoss pockets the gun.
ROHM
(looking down at the bleeding body)
Very good, Lieutenant. You're dismissed.
Hoss nods, turns and walks off.
Rommel stares at Eloise with utter shock. His mouth hangs open, agape.
ROHM
Good business, yes?
Rohm then turns, and stalks off. Even as he leaves, something about his
expression radiates victory. This wasn't about Eloise. This was about his
own authority and Rommel's undermining of it.
Rommel remains standing over where Eloise still lays. He stares at her as
the moments tick by, until finally, with a brief glow, she digitizes. Pained
at the sight, Rommel finally walks away.
REMAIN on where Eloise was, even as everyone has abandoned the scene like a
lost memory. Though Eloise herself has vanished, the blood remains dark and
staining on the ground. PULL IN slowly, growing closer and closer, until
finally we see it:
Eloise's blood, out of the bleak black-and-white picture, is RED.
FADE TO
INT. WOMEN'S BARRACKS - NIGHT
PAN past the women in their beds as they sleep.
Moonlight shines faintly in through the window next to Dorothy's bed. At
first she seems to be asleep, but as we COME AROUND we see her eyes are open
and tears streak down her face.
Matthew lies next to her, sleeping soundly. Wrapped thickly in blankets to
keep him from being discovered by any prying eyes.
A TAP at the window causes Dorothy to jump. She sits up.
>From her POV: Cabot is at the window. He reacts with surprise at her
tear-stained appearance. He gestures for her to meet him outside.
EXT. WOMEN'S BARRACKS - NIGHT
Cabot crouches low near the window. Dorothy runs, close to the building.
When she reaches him, she immediately peers in through the window to check
on Matthew, who is safe and still sleeping.
CABOT
Dorothy -
She turns to face him and completely loses it, bursting into tears again.
Cabot looks like he doesn't know quite what to do. After a moment, he
decides to pull her closer to him, his hand comfortingly on her back.
CABOT
I'm so sorry. Tanner told me.
DOROTHY
I can't believe they'd do that . . . I can't believe any
of this . . . how can people . . . They're animals . . .
CABOT
Ssh . . . it's okay . . . it's okay.
His expression betrays how hollow he realizes words are.
CABOT
She was your mother . . .
Dorothy nods, attempts to pull herself together.
DOROTHY
And you've been the closest thing to a father I've
known. I can't tell you how much that means to me,
John. Especially now that I know my real father is
dead . . .
She breaks off with a sniffle.
CABOT
How do you know that for sure?
Dorothy shakes her head. Refusing to answer.
CABOT
Dorothy . . .
But it's pointless to try to argue or coax her into giving up information
she doesn't want to share. Cabot sighs, knowing this, and puts his hand on
her shoulder.
CABOT
You've been like my own family, too. You and
Eloise. I didn't think I could live after Jane
and the kids were killed. I loved them so much.
He laughs, painfully self-conscious.
CABOT
Sounds like we're saying goodbye here.
Dorothy's eyes are dark as she looks at him.
DOROTHY
It might be. We can't be certain of anything anymore.
CABOT
You can't give up.
DOROTHY
I'm not.
CABOT
We *will* get out of here.
DOROTHY
I know.
CABOT
All three of us. There's another life out there for us.
It's just a matter of time.
Dorothy nods, but starts to cry again.
DOROTHY
Too late for my mother.
The pain shows on Cabot's face, too.
CABOT
Be strong.
Across the yard, the search light is turned on. A routine occurrence.
CABOT
We've got to get back . . .
He looks at her carefully.
CABOT
You gonna be okay?
Dorothy nods, and manages a smile. They're about to part ways when she
reaches out and hugs him for a brief second, then they each dash off in
opposite directions.
INT. WOMEN'S BARRACKS - NIGHT
Dorothy returns to her bed, climbing inside. One hand pulls Matthew in close
to her. Dorothy's face immediately registers alarm.
She sits up and looks at the baby. His eyes are open and heavy-lidded, dull.
He's sweating. She puts her hand against his forehead, as though registering
his temperature, and her expression turns to panic. Matthew is sick, too
sick to even cry, if indeed he can cry aloud.
Dorothy puts her hands against his chest. A HEALING GLOW extends from them,
but the baby's ill look does not change. Dorothy removes her hands from his
chest and checks his temperature again.
She looks heavenward.
DOROTHY
(whisper)
Please, God . . .
She tries again. The glow is brighter and stronger as Dorothy becomes pale.
This is burning her energy. But Matthew shows no improvement. In fact, he
seems to get worse, his chest rising and falling too rapidly.
Dorothy drops her hands from trying to heal him. She is exhausted and
appears completely defeated. She lays down on her bunk, curling up
protectively around the child. Determined to keep him safe.
FADE TO
Darkness. Pitch-black oblivion. Then, a white box appears glowing. A
computerized screen. Words begin to form out of the void, first in a vague
haze, then finally clear enough to read.
WARNING! SEVERE DAMAGE TO SOURCE CODE
SYSTEM FAILURE IMMINENT
TOTAL SYSTEM FAILURE IN 0 DAYS, 18 HOURS, 42 MINUTES, 53 SECONDS
FADE OUT
ACT FOUR
FADE IN
INT. ROMMEL'S CABIN - MORNING
WIDE SHOT of the interior as the droning sounds of soldiers coming in and
out becomes audible. They are moving luggage out of the room, packing up
items, small books, even a few bottles of the liquor cabinet.
FIND Rommel, who stands by the window of his cabin. He looks out, but it's
clear he's thinking. From his POV: the work yards. Men are already filing
off under the watchful eyes of the soldiers, headed toward the kitchens.
REVERSE on Rommel, contemplating quietly to himself. PAN off him, to the
door.
A soldier, DAVIDS, picks up a large briefcase, turns around and shuffles out
the door, vanishing from sight. A few seconds later, Schmitz enters. He
approaches Rommel, coming up behind him.
SHMITZ
Enjoying the view?
Rommel doesn't reply. Schmitz looks uncomfortable.
SHMITZ
Mr. Rommel, may I ask how the report came out?
Again, there's no reply. Rommel remains gazing out the window. Schmitz
sighs. Neither man talks for a few awkward moments, until Rommel finally
opens his mouth, gaze still held outside.
ROMMEL
You have nothing to worry about, Mr. Schmitz. The report
was submitted yesterday. The camp is of the most
efficient one I've seen thus far. Your foreman works very
hard to keep it that way. With any luck, for your excellent
utilization of all available resources, the Department of
Labor will grant you more money from the national budget as
a reward. You'll get more funding for acquiring workers,
perhaps even a new mill or more barracks. The 85% efficiency
of the camp was not reflected on the report. By my estimates
your camp is running at about 87% to 92% efficiency. The
report was sent with that number.
Rommel finally turns to look at the pleased Schmitz.
ROMMEL
It's morning.
Schmitz frowns. Not understanding quite why Rommel states it.
SHMITZ
Yes, Mr. Rommel, it is.
Rommel sighs sharply.
SHMITZ
We really wish you could have stayed longer. Your Labor
Department friend Braun certainly is enjoying here, that's
why he's staying.
ROMMEL
I'm sorry, but I've got business to deal with back at the
capital. Political workings, all things of that sort.
There's a short pause.
ROMMEL
If you'll excuse me, Schmitz, I've got some loose ends to tie
up here.
Schmitz frowns again. But not wishing to delve any further in the matter, he
respectfully turns around and marches out the door.
Now alone, Rommel walks over to his desk. His laptop sits plaintively open,
the monitor black, lifeless. He removes the plug from it, pushes it down
securely shut, and inserts a pair of batteries into the back. Finally, he
picks it up and slips it into a case with a strap for carrying it.
He tucks it into his overcoat and under his arm, unseen. Strolling out the
door, he barely notices the small pieces of shattered glass still sprawled
out on the floor.
INT. KITCHEN - DAY
The women work -- cleaning up from breakfast and beginning to cook lunch.
Dorothy stands near the stove. A large pot is on the burner, with a wooden
spoon in it. Dorothy's hand rests on the spoon, but she stands motionless.
Not stirring. She is staring into space with a slight frown.
TANNER
That's going to burn.
Dorothy turns her head, her eyes snapping into focus. She's not sure what
Tanner's talking about. Tanner indicates the pot.
TANNER
If you don't keep stirring, it'll burn.
Dorothy nods and begins to move the spoon in the pot. Tanner watches her a
for a moment, until she's satisfied, and then moves on through the kitchen,
checking work and giving orders.
FAST FLASHBACK
Dorothy holding Matthew. His arms are limp and his eyes are dull with
illness.
BACK TO PRESENT
Dorothy's frown deepens almost to tears. She jerks her hand from the spoon,
intending to wipe the tears away, but the spoon catches on the edge of the
pot, clattering to the floor and slinging hot soup on the women standing
nearby. The splattered women are upset, and their shouts bring Tanner.
TANNER
(to the women)
You're not hurt . . . you're okay . . .
Her dismissal sends them back to work, but they cast long, almost
threatening looks toward Dorothy.
DOROTHY
I'm sorry . . .
She reaches for the spoon, but Tanner's faster, bending down and picking it
up, setting it on the counter.
TANNER
We don't have food or time to waste.
She turns to one of the splattered women.
TANNER
Take over this.
The woman puts the dropped spoon back into the pot and begins stirring
vigorously.
DOROTHY
(whisper)
I'm just so worried about...
Tanner pulls Dorothy slightly away from the other workers in the kitchen.
TANNER
Go on and take care of him. Here.
She quickly transfers a makeshift baby bottle from the pockets of her apron
to Dorothy's.
TANNER
Just don't get caught.
INT. BARRACKS - DAY
Dorothy sits on her bed, cradling Matthew in her arms. Through the window,
from outside, come the vague sounds of orders being shouted at the men.
Dorothy rocks Matthew slightly, holding the bottle Tanner gave her with one
hand.
Matthew's eyes are open and he's awake, but he's also unresponsive. He won't
take the bottle.
DOROTHY
Come on, baby, time to eat.
She tries again, putting the nipple into his mouth, but it just slides back
out.
DOROTHY
(vo)
This is the question with which the faithful have
struggled for centuries. If God is good and merciful,
why does He allow suffering and death?
Dorothy gives up now, setting the bottle aside and holding Matthew closer to
her.
DOROTHY
(vo)
Why should a child be born if only to die? How can I
believe his life was destined to be so short? Is it by
design or simple chance?
Outside, a bell rings. Commotion follows, with the call for workers move and
change shifts. Dorothy pulls at the ragged seam of her thin mattress. It
splits easily and with the hand that's not holding Matthew, she begins to
pull out its straw and sawdust and pile it on her mattress.
DOROTHY
(vo)
Of course, death is what awaits us all. Even in times
of extreme pain and suffering, we struggle against
impossible odds to extend life, by just one more day . . .
another hour . . . another minute. And when that time is
gone, what then? Even though they shunned her for a long
time due to my very existence, my mother raised me in the ways
of the Sisterhood. There is a God and it is his hand that
guides us through our days. The Sisters beliefs are contrary to
the rest of those here, in the Realm. They believed there is
something more awaiting us when this is over.
Dorothy looks down at Matthew again. Touching his cheek, knowing there's
nothing more she can do. That it's only a matter of time now.
DOROTHY
(vo)
Are we given the tools we need to carry out our tasks, or do
we survive exclusively on what we can forage for ourselves?
Dorothy carefully set Matthew into a pile of straw and stuffing she's made.
She presses it in closer around him, as you would use pillows to keep a baby
safe in the midst of a large bed. There's a bit of extra, so she picks it up
and shoves it back through the hole in the mattress. She stops, her
expression curious. Her hand roots deeper, and she draws out...a laptop.
Looking at it with immense curiosity.
DOROTHY
(vo)
The question isn't whether life is or is not a struggle. It
is. The real question is, does it need to be?
Dorothy looks from the laptop to Matthew.
DOROTHY
(vo)
But maybe that's not a question any of us can face the answer to.
FADE TO
EXT. ROADWAY - DAY
A car comes cruising down a well-tended Republican highway. It's a standard
black SUV, nondescript, and polished. Whenever the sun manages to peek
through the clouds and penetrate the canopy of trees, the light bounces off
the shiny hood.
INT. SUV - DAY
CLOSE UP of Rommel, who sits at the driver's seat. He looks relieved for the
first time, probably because he's away from the camp. OVER THE SHOULDER shot
of him to reveal his hands on the steering wheel.
On his right hand ring finger is a ring that gleams with the slightest touch
of GOLD.
BACK on Rommel. He takes the ringed hand away from the steering wheel and
reaches down, off-screen. Then he brings his hand back up, a CD clasped
neatly between his fingers. Without looking, he slips the CD into the car's
CD player.
After a momentary pause, the player starts to play a violin concerto. The
same one Rommel got drunk over.
RESUME OVER THE SHOULDER, as Rommel continues driving. We can see his POV
out the windshield. Nothing but crisp forest as far as he can see. Suddenly
a car appears up ahead.
A black, beat-up Chevelle comes into view. It's en route opposite the
direction Rommel is headed, back toward the camp. The two cars pass each
other, Rommel not even giving a hint of acknowledgment. He simple continues
driving to his destination.
EXT. CAMP - DAY
MULTIPLE AERIAL SHOTS of the camp. Laborers come and go in a steady stream
from the mill, watched over by soldiers placed on the one of the four
elevated platforms overlooking the camp. Other men march out of the kitchen,
finishing their meals and heading to work before they are disciplined for
running late.
MEDIUM of the elevated platform in use. We PAN past the six soldiers at the
top, who aren't really paying attention to the hubbub below. CLOSE UP on one
of them in particular, a 30ish officer with the name SCHAFFER sown in neatly
on his uniform.
He reaches into his pocket and pulls out a cigarette. Quietly he departs
from the group, and marches down the stairs of the platform onto the firm
ground below.
DOLLY on him as he passes the laborers toiling at the mill, who all ignore
him. Whether it's out of fear or hatred isn't clear. They simply continue
their business. Schaffer passes the mill completely, and everyone disappears
into the background.
He comes to a stop. PULL BACK to reveal his location: the fringes of the
camp. Only about twenty feet from him is the gate we saw in the teaser. The
only exit out of the camp. He places the cigarette between his lips, and
lights it with a match. When the embers finally begin to glow from its edge,
he pulls it away and lets out a puff of smoke.
EXT. FOREST - DAY
ANGLE on Schaffer, but from outside the gates. The shot is shaky - it's a
POV. Someone peering through a dense layer of foliage. The shot is held on
Schaffer as he takes another inhalation of the cigarette.
EXT. WORKYARDS - DAY
Again, a CLOSE UP of Schaffer, pulling the cigarette out of his mouth,
exhaling a curling gray cloud. He doesn't appear to show any sign of knowing
about whoever is in the forest.
Suddenly, there's a bright, momentary FLASH OF LIGHT from between the trees
in the distance. It's accompanied by a resounding boom.
EXT. FOREST - DAY
>From the POV: Schaffer suddenly stumbles forward, and slumps weakly on the
ground. His head immediately begins to pour out blood.
There's shouts off-screen. They gradually become more and more audible as
the other five soldiers on the elevated platform appear and mill around
Schaffer, aghast at the sight of the disgusting bullet wound at the back of
his head. He digitizes.
One of the soldiers unslings his gun.
REVERSE on the POV at the gunmen himself: MIKE PINOCCHIO. He rises off the
ground, MP5-K in hand. Next to him is FLORENCE, with her M16 brought to
bear. They point their guns at the group of the soldiers and open fire just
as they are spotted.
The soldiers all keel over in a horrifying mass, dead.
CUT TO
EXT. OUTSIDE THE FENCE - DAY
A figure comes charging out of the forest to the right of Pinocchio's
position. It's TOM HOBBES, holding his automatic in hand. He launches
himself against the fence, pulling himself up and carefully over the
barb-wire at the top.
He lands on the ground within the camp and charges past the pile of dead
guards, not even paying heed to them as they start to glow and then
digitize, vanishing in one bright mass.
INT. ROHM'S OFFICE - DAY
Rohm sits on a chair behind a desk, much like Rommel's. He's busily working
on paperwork when suddenly four soldiers burst into the room, startling him.
They all wear a mask of panic. One steps forward, KOHLER.
KOHLER
Foreman Rohm, the camp's being attacked!
Rohm jumps to his feet.
ROHM
What?!
KOHLER
We've got three subjects from the outside. They've
killed six soldiers already. They're trying to
liberate the camp.
ROHM
That can't happen.
KOHLER
Our men are trying to hold them off as we
speak. But already they're getting some of the
laborers over the gates. What do you want us
to do?
ROHM
Make sure they don't leave. By any means necessary.
I'll be joining you shortly.
KOHLER
Yes sir.
Kohler turns to the other three soldiers.
KOHLER
You head the foreman. Move out.
All four soldiers march out of Rohm's office, Kohler at the head.
BACK on Rohm, who quickly takes reaches down into his drawer and pulls out a
German Luger and a magazine. Quickly he loads the gun and sets it down on
the table as he briskly walks to his coat rack and puts on a large wool gray
overcoat.
Behind him, the door opens again, but Rohm doesn't turn around.
ROHM
(annoyed)
You've heard your orders. Why are back?
He turns around, but his expression melts from mild annoyance to shock.
Standing in front of him is Hobbes, looking determined and fierce. His grip
tightens around his gun.
Rohm stares at Hobbes, but starts to move back toward his desk. When he gets
there, eyes still set on Hobbes, he stops. He reaches around for the Luger.
His hand is firmly over the gun when Hobbes blasts him with four shots.
Rohm's entire body jerks violently as he crumples onto the wood floor of his
office. He lands with a thump onto the ground. From beneath him, a thick
puddle of blood begins to form.
Hobbes looks at him briefly, a wince on his face. Then he steps over the
dying man's body and goes behind the desks. He opens drawer after drawer,
searching for something until he find what he wants.
He picks up a small remote unit and presses the button on it. He then places
it in his pockets, steps over Rohm, and bounds out the door. Rohm's body
remains for a few seconds before his body vanishes in a flash of white
light.
EXT. WORKYARDS - DAY
CLOSE UP of Pinocchio, just as he turns around to look at the gate. It
pixilates and disappears. A wide gap is formed. Pinocchio turns back to the
camera, and motions for someone to come.
>From his POV: a throng of people are already running toward the gates.
INT. MILL - DAY
Men sit plaintively within the dark, cold industrial complex, working though
the faint sound of bullets can be heard. Gunshots are such a daily norm that
they've been numbed to the sound of it. Only droplets of sunlight manage to
sneak into the dank working space and stain the face of the men.
PAN down a line of about fifteen of them, including Cabot, all working at
the conveyer belt, checking the products of the logging crew. Overlooking
all of them is a tall, husky soldier with an m64 in his arms. His name is
HILDENBRANDT.
Suddenly the front doors of the mill burst open. Light floods in. A worker,
FEINMAN, enters with five other laborers behind him.
FEINMAN
(shouting to the workers)
The camp is being liberated!
He lunges at Hildenbrandt and strikes him viciously in the face.
Hildenbrandt totters back and lands on his back. Feinman hovers over him,
wrenching the rifle from his hands before kicking him in the gut. He also
grabs a pistol from the man's side and chucks it into the crowd.
Cabot catches it.
The other laborers with Feinman mill around form a circle around the
Republican Guard, brutally beating him as we have seen so many other
soldiers do to the defenseless laborers.
Feinman breaks off from the group, and faces the shocked laborers.
FEINMAN
Come on! Let's go!
Without any restraint, all fourscore men within the mill dart out the door
in one desperate crowd, save one.
CLOSE UP of Cabot. Watching the other men leave out the front entrance. The
laborers continue to beat Hildenbrandt. Cabot silently turns around, and
heads out the back door.
RESUME Feinman. He watches as the last mill workers depart. He comes back to
his five cronies.
FEINMAN
Go.
They do. As they leave, a bloodied and bruised Hildenbrandt remains on the
floor. CLOSE UP of Feinman. His teeth grit. He points the gun at
Hildenbrandt, and shoots him.
EXT. WORKYARDS - DAY
Pinocchio exchanges gunfire with a steadily approaching Guard, who gets
repeatedly shot in the chest by a deadly blast from Pinocchio's gun. He
weakly drops to the ground and digitizes.
CUT TO
The group of soldiers we saw in Rohm's office, led by Kohler. TRACK them as
they all quickly stomp up the stairs of an elevated platform, reaching the
top. OVER THE SHOULDER of Kohler as he is the first on the scene.
We see in the distance, Pinocchio continuing to lead weary laborers out to
the forest and safety.
REVERSE on Kohler. Turning to the soldiers.
KOHLER
All right. You heard the foreman's orders.
All of them nod. They quickly unsling their M64s and drop them to the
ground. Kohler opens up a large compartment on the platform floor. TIGHT
SHOT : inside are about seven sniper rifles.
Kohler quickly distributes rifles and ammunition among the men. They quickly
load the weapons. Kohler is the first to finish. Pressing the butt of the
rifle against his shoulder, he takes aim.
>From the scope's POV: with crosshairs, a distant figure, a woman, is
selected.
TIGHT SHOT as Kohler pulls back the trigger.
OVER THE SHOULDER of Kohler. The distant figure falls and disappears under
the feet of the throng still running out the gates.
The other soldiers follow suit. Four shots go off, follow by a group of
three, then six, then nine.
CUT TO
DOLLY on Florence. She's making her way through the maze of gaps in between
the structures on the ground. Her breathing is labored; she's going as fast
as she can. Firmly, she grips her M16.
We can still hear Kohler's men firing into the crowd off screen.
FOLLOW Florence as she finally comes to a halt at the edge of the grouping
of building, shoulder pressed against the side of a shed. She looks up to
see Kohler's men on the elevated platform, reloading. They don't even see
her.
She points her machine gun at them and immediately opens fire. Bullets go
spraying at the men like a torrent of rain. As each man is caught in the
gunfire, he collapses.
Florence stops firing when she sees each man dead. She emerges from behind
the shed and quickly jerks to the left. A burst of gunfire shoots forward
from her M16.
A young SOLDIER now lies at her feet, pale, lifeless - and unarmed. She
stares down at him with a tinge of regret.
INT. KITCHEN - DAY
Tanner works in the kitchen, alone, over a hot pot of food. The kitchen is
at the very back at the camp. Not even the sounds of gunfire can be heard.
It seems eerily calm here.
The door to the kitchen swings open. TWO SOLDIERS enter, startling her. She
looks at them wide-eyed.
TANNER
Oh my god!
Quickly they go for her grabbing her arms and dragging her out the door.
TANNER
What the hell is going on? What is the meaning
of this?
EXT. OUTSIDE THE KITCHEN - DAY
They don't answer her. The one at her right puts her right hand over his
right shoulder. The one at the left puts her left hand over his left
shoulder. Their grip is tight. She struggles with her feet as they continues
to haul her toward . . .
A THIRD SOLDIER, holding a sniper rifle in his arms. It's pointed right at
her.
There's a terror in her eyes when she beholds him.
And then he shoots her.
She twitches before the two men holding her dump her bleeding and limp form
onto the ground, leaving her their and moving on, not even waiting to watch
her digitize.
INT. WOMEN'S BARRACKS - DAY
Dorothy sits on the bed. The laptop is at her feet, the Palm Pilot is in her
left hand, and Matthew is cradled in her grasp. The sounds of shooting are
louder than those in the kitchen, but not much.
She looks up, surprised, just as Cabot enters. The pistol is in his hand,
but a rifle is also slung over his shoulder.
DOROTHY
John. What are you doing here?
Cabot comes up right next to her. He takes Matthew from her arms. He looks
excited but scared at the same time.
CABOT
Get up. Grab your stuff, fast. There
isn't much time!
DOROTHY
What? What are you talking about?
CABOT
The camp! It's being liberated! Someone's
busting all of us out! We can get out of
here without killing anyone!
Dorothy stares at him in shock. But realizing the implications, she tucks
the Palm Pilot into her pocket. John swings the laptop pack over his
shoulder and tries to start out the door with Matthew.
DOROTHY
Stop!
Cabot turns around. Dorothy rushes up to Cabot.
DOROTHY
Matthew's my brother. I want to take him.
Not caring to argue, Cabot gives her the baby. He also slips the gun into
her hand. Dorothy looks at him.
DOROTHY
I don't want it . . .
CABOT
There's no time to argue. Just come on!
They both dart out the door. Dorothy slams it behind herself.
EXT. WORKYARDS - DAY
CRANE SHOT of the front gates. People running out the gates are now more
sparse. The majority has already left or is dead. Though we still hear loud
shots in the distance, Hobbes, Pinocchio, and Florence are nowhere to be
seen.
Dorothy jogs toward the open gate, going as fast as she can with Matthew in
her arms and the pistol in her hand.
Cabot comes a few meters behind her, watching her back for her.
The sound of shooting suddenly sounds closer. Cabot stops, and turns to look
in the direction of the gunfire.
>From his POV: Pinocchio suddenly appears from under a platform. His back is
turned toward the two, so he doesn't see them.
CABOT
Pinocchio!
Dorothy suddenly screams.
DOROTHY
JOHN!
Cabot turns to Dorothy when a DEAFENING GUNSHOT goes off.
Cabot turns his head . . . and comes face-to-face with an older GUARDSMAN
standing behind him. A smoking pistol is pointed at the small of his back.
The two men stare at each other: the Guardsman with a look of astonishment
that Cabot is still on his feet, Cabot with a mixed look of disdain and deep
sadness.
Silently, Cabot drops to the ground. PULL IN to reveal : the blood draining
out of him, RED against the gray soil.
Dorothy's eyes, wide. Shock melts over her face. The Guardsman notices her,
and starts to raise his weapon.
Dorothy jerks the pistol up and empties the ammunition clip out on him. Nine
shots tear him apart. He goes reeling back, hits the ground with a thud a
short distance from Cabot.
Cabot digitizes as the RED blood beneath him stops flowing.
CLOSE UP of Dorothy. Tears stream down her face. Her eyelids are puffy. The
gun in her hand is still pointed forward. She stares in disbelief at the
inert form of the bloodstained soldier lying on the ground.
The gun drops from her hand and lands limply on the dirt.
She's trembling now. Her arm comes back, to close around Matthew, holding
him tightly. He makes no sound.
Dorothy turns around, and walks through the gates and out of the camp.
FADE TO
EXT. FOREST - DAY
PAN through trees, foliage. All alive, but casting a kind of gloom in the
forest, making it darker though the sun is still out shining. Rays of
sunlight peek through the canopy.
FIND Dorothy, sitting alone in the forest, back against the trunk of a
towering cedar tree.
DOROTHY
(vo)
Mother . . . Cabot . . . Tanner . . .
Her hands rest on Matthew.
DOROTHY
(vo)
Your time in this world was taking away before
it should have.
She holds the baby tightly. He's totally quiet.
DOROTHY
(vo)
Whether by cruel fate some unknown purpose, I
don't know. But at least I know that your days
of suffering in the forsaken realm have passed.
Your struggle is over.
Matthew suddenly begins to cough. Dorothy looks down at him. His face is
paler, more so than we've seen before. His tiny chest heaves from under the
sheets wrapped about him. He stops coughing. His little head bobs to the
side.
And he stops breathing.
A tear slides down Dorothy's cheek, but here eyes are wide. This simply
can't be happening. And yet it is.
His eyes flutter open briefly. Within them we can see WHITE ONES AND ZEROES
pass briefly over. Then they disappear as his eyelids close over his eyes.
A haunting white glow comes over him. A mysteriously divine-like light. He
flickers for a few moment before vanishing in a tiny white flame from
Dorothy's arms.
Dorothy stares down. Another tear slides down her cheek. Disbelief.
Incomprehension. Her face says all this.
There's a sudden beep from her pocket. She reaches in without looking, and
pulls out the Palm Pilot. Her eyes stay off it a long time. Finally, she
sets it before herself.
Newly-formed words glow on the screen:
REPAIR CODE UPLOADED
RESTORATION TO DAMAGED SOURCE CODE COMPLETE
SYSTEM FAILURE AVERTED
Dorothy stares at the words. Comprehension comes over her, but not belief.
She pockets the Palm Pilot and looks up into the sky.
>From her POV: the rays of light peering through the treetops at her.
Dorothy looks down again. Places her face into her hands, and with no
restraint, let's herself weep.
DOROTHY
(vo)
This is my struggle now.
FADE OUT
DEDICATED TO STEVEN SPIELBERG, WHOSE MOTION PICTURE
"SCHINDLER'S LIST" REMINDED US OF THE INHUMANITIES
OF THE HOLOCAUST AND ASKED US NEVER TO FORGET.
THE END