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      <content:encoded><![CDATA[<p>Join the Discord: <a href="https://discord.gg/6SD9m9f25Y">https://discord.gg/6SD9m9f25Y</a></p><p>Step into the world of sonic exploration as we dissect one of the most groundbreaking albums in the history of music, "Loveless" by My Bloody Valentine. Join us on a journey through the ethereal soundscapes, the intricate production techniques, and the profound emotional resonance of this iconic shoegaze masterpiece.</p><p>In "Loveless Unveiled," we delve deep into the heart of My Bloody Valentine's creative process, dissecting the album track by track to uncover its hidden gems and the innovative approaches that set it apart from the rest. Through in-depth interviews, expert analysis, and the stories behind the music, we aim to shed light on how "Loveless" revolutionized the music industry and inspired generations of artists.</p><p>Hosted by passionate fans and music experts, each episode offers a fresh perspective on the album's enigmatic lyrics, the mysterious persona of the band, and the lasting impact it has had on contemporary music. We'll explore the band's influences, the cultural context of the early '90s, and the enduring legacy of "Loveless."</p><p>Whether you're a die-hard fan of My Bloody Valentine or new to their immersive soundscapes, "Loveless Unveiled" promises to be an enlightening and entertaining journey through one of the most celebrated albums of all time. Tune in as we unravel the sonic tapestry of "Loveless" and celebrate the genius of My Bloody Valentine.</p>
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      <itunes:summary>Join the Discord: https://discord.gg/6SD9m9f25Y

Step into the world of sonic exploration as we dissect one of the most groundbreaking albums in the history of music, &quot;Loveless&quot; by My Bloody Valentine. Join us on a journey through the ethereal soundscapes, the intricate production techniques, and the profound emotional resonance of this iconic shoegaze masterpiece.

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Hosted by passionate fans and music experts, each episode offers a fresh perspective on the album&apos;s enigmatic lyrics, the mysterious persona of the band, and the lasting impact it has had on contemporary music. We&apos;ll explore the band&apos;s influences, the cultural context of the early &apos;90s, and the enduring legacy of &quot;Loveless.&quot;

Whether you&apos;re a die-hard fan of My Bloody Valentine or new to their immersive soundscapes, &quot;Loveless Unveiled&quot; promises to be an enlightening and entertaining journey through one of the most celebrated albums of all time. Tune in as we unravel the sonic tapestry of &quot;Loveless&quot; and celebrate the genius of My Bloody Valentine.</itunes:summary>
      <itunes:subtitle>Join the Discord: https://discord.gg/6SD9m9f25Y

Step into the world of sonic exploration as we dissect one of the most groundbreaking albums in the history of music, &quot;Loveless&quot; by My Bloody Valentine. Join us on a journey through the ethereal soundscapes, the intricate production techniques, and the profound emotional resonance of this iconic shoegaze masterpiece.

In &quot;Loveless Unveiled,&quot; we delve deep into the heart of My Bloody Valentine&apos;s creative process, dissecting the album track by track to uncover its hidden gems and the innovative approaches that set it apart from the rest. Through in-depth interviews, expert analysis, and the stories behind the music, we aim to shed light on how &quot;Loveless&quot; revolutionized the music industry and inspired generations of artists.

Hosted by passionate fans and music experts, each episode offers a fresh perspective on the album&apos;s enigmatic lyrics, the mysterious persona of the band, and the lasting impact it has had on contemporary music. We&apos;ll explore the band&apos;s influences, the cultural context of the early &apos;90s, and the enduring legacy of &quot;Loveless.&quot;

Whether you&apos;re a die-hard fan of My Bloody Valentine or new to their immersive soundscapes, &quot;Loveless Unveiled&quot; promises to be an enlightening and entertaining journey through one of the most celebrated albums of all time. Tune in as we unravel the sonic tapestry of &quot;Loveless&quot; and celebrate the genius of My Bloody Valentine.</itunes:subtitle>
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      <description><![CDATA[<p>Join the Discord <a href="https://discord.gg/bpT94jZZeP">https://discord.gg/bpT94jZZeP</a></p><p>Join us on an auditory journey through the captivating world of Starflyer 59, a band that has left an indelible mark on the alternative music scene. In this episode, we delve deep into the discography and evolution of this enigmatic musical project, led by the visionary Jason Martin.</p><p>From their humble beginnings in the '90s indie rock scene to their ever-evolving sound that seamlessly fuses elements of shoegaze, dream pop, and alternative rock, Starflyer 59 has consistently pushed the boundaries of what is possible in music. With each album, they've carved a unique sonic path that continues to captivate listeners.</p><p>We'll explore the band's influences, their impact on the Christian alternative music scene, and the critical acclaim they've received throughout their career. You'll hear about their iconic albums like "Gold," "Silver," and "Old," and how each release reflects a new chapter in their sonic exploration.</p><p>Join us as we sit down with experts, fans, and the band members themselves to unravel the enigmatic and immersive world of Starflyer 59. Whether you're a long-time fan or just discovering their music, this podcast will take you on a journey through the sonic galaxy of Starflyer 59 like never before.</p>
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      <content:encoded><![CDATA[<p>Join the Discord <a href="https://discord.gg/bpT94jZZeP">https://discord.gg/bpT94jZZeP</a></p><p>Join us on an auditory journey through the captivating world of Starflyer 59, a band that has left an indelible mark on the alternative music scene. In this episode, we delve deep into the discography and evolution of this enigmatic musical project, led by the visionary Jason Martin.</p><p>From their humble beginnings in the '90s indie rock scene to their ever-evolving sound that seamlessly fuses elements of shoegaze, dream pop, and alternative rock, Starflyer 59 has consistently pushed the boundaries of what is possible in music. With each album, they've carved a unique sonic path that continues to captivate listeners.</p><p>We'll explore the band's influences, their impact on the Christian alternative music scene, and the critical acclaim they've received throughout their career. You'll hear about their iconic albums like "Gold," "Silver," and "Old," and how each release reflects a new chapter in their sonic exploration.</p><p>Join us as we sit down with experts, fans, and the band members themselves to unravel the enigmatic and immersive world of Starflyer 59. Whether you're a long-time fan or just discovering their music, this podcast will take you on a journey through the sonic galaxy of Starflyer 59 like never before.</p>
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      <itunes:summary>Join the Discord https://discord.gg/bpT94jZZeP

Join us on an auditory journey through the captivating world of Starflyer 59, a band that has left an indelible mark on the alternative music scene. In this episode, we delve deep into the discography and evolution of this enigmatic musical project, led by the visionary Jason Martin.

From their humble beginnings in the &apos;90s indie rock scene to their ever-evolving sound that seamlessly fuses elements of shoegaze, dream pop, and alternative rock, Starflyer 59 has consistently pushed the boundaries of what is possible in music. With each album, they&apos;ve carved a unique sonic path that continues to captivate listeners.

We&apos;ll explore the band&apos;s influences, their impact on the Christian alternative music scene, and the critical acclaim they&apos;ve received throughout their career. You&apos;ll hear about their iconic albums like &quot;Gold,&quot; &quot;Silver,&quot; and &quot;Old,&quot; and how each release reflects a new chapter in their sonic exploration.

Join us as we sit down with experts, fans, and the band members themselves to unravel the enigmatic and immersive world of Starflyer 59. Whether you&apos;re a long-time fan or just discovering their music, this podcast will take you on a journey through the sonic galaxy of Starflyer 59 like never before.</itunes:summary>
      <itunes:subtitle>Join the Discord https://discord.gg/bpT94jZZeP

Join us on an auditory journey through the captivating world of Starflyer 59, a band that has left an indelible mark on the alternative music scene. In this episode, we delve deep into the discography and evolution of this enigmatic musical project, led by the visionary Jason Martin.

From their humble beginnings in the &apos;90s indie rock scene to their ever-evolving sound that seamlessly fuses elements of shoegaze, dream pop, and alternative rock, Starflyer 59 has consistently pushed the boundaries of what is possible in music. With each album, they&apos;ve carved a unique sonic path that continues to captivate listeners.

We&apos;ll explore the band&apos;s influences, their impact on the Christian alternative music scene, and the critical acclaim they&apos;ve received throughout their career. You&apos;ll hear about their iconic albums like &quot;Gold,&quot; &quot;Silver,&quot; and &quot;Old,&quot; and how each release reflects a new chapter in their sonic exploration.

Join us as we sit down with experts, fans, and the band members themselves to unravel the enigmatic and immersive world of Starflyer 59. Whether you&apos;re a long-time fan or just discovering their music, this podcast will take you on a journey through the sonic galaxy of Starflyer 59 like never before.</itunes:subtitle>
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      <content:encoded><![CDATA[<p>Join the Discord: <a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p><p>"Militarie Gun: Life Under the Gun" is an engaging and thought-provoking podcast that delves deep into the complexities of military life, the experiences of servicemembers, veterans, and their families, and the broader impact of armed conflicts on society.</p><p>Join us as we explore the personal stories, challenges, and triumphs of those who have served in the armed forces and the communities affected by military operations. From intimate interviews with veterans sharing their unique journeys to in-depth discussions on the historical, political, and social aspects of warfare, this podcast offers a comprehensive and compassionate perspective on life under the gun.</p><p>Whether you have a personal connection to the military or simply seek to understand the multifaceted aspects of military service, "Militarie Gun: Life Under the Gun" is your platform for insight, reflection, and dialogue. Subscribe now and join us on this enlightening and empathetic exploration of the military experience.</p>
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      <itunes:summary>Join the Discord: https://discord.gg/UHUxKNUtzU

&quot;Militarie Gun: Life Under the Gun&quot; is an engaging and thought-provoking podcast that delves deep into the complexities of military life, the experiences of servicemembers, veterans, and their families, and the broader impact of armed conflicts on society.

Join us as we explore the personal stories, challenges, and triumphs of those who have served in the armed forces and the communities affected by military operations. From intimate interviews with veterans sharing their unique journeys to in-depth discussions on the historical, political, and social aspects of warfare, this podcast offers a comprehensive and compassionate perspective on life under the gun.

Whether you have a personal connection to the military or simply seek to understand the multifaceted aspects of military service, &quot;Militarie Gun: Life Under the Gun&quot; is your platform for insight, reflection, and dialogue. Subscribe now and join us on this enlightening and empathetic exploration of the military experience.

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      <itunes:subtitle>Join the Discord: https://discord.gg/UHUxKNUtzU

&quot;Militarie Gun: Life Under the Gun&quot; is an engaging and thought-provoking podcast that delves deep into the complexities of military life, the experiences of servicemembers, veterans, and their families, and the broader impact of armed conflicts on society.

Join us as we explore the personal stories, challenges, and triumphs of those who have served in the armed forces and the communities affected by military operations. From intimate interviews with veterans sharing their unique journeys to in-depth discussions on the historical, political, and social aspects of warfare, this podcast offers a comprehensive and compassionate perspective on life under the gun.

Whether you have a personal connection to the military or simply seek to understand the multifaceted aspects of military service, &quot;Militarie Gun: Life Under the Gun&quot; is your platform for insight, reflection, and dialogue. Subscribe now and join us on this enlightening and empathetic exploration of the military experience.

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      <title>Signs of the Swarm</title>
      <description><![CDATA[<p>Join the discord <a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p><p>Prepare yourself for a deep dive into the world of extreme metal as we unravel the enigma that is Signs of the Swarm's latest record. In this episode, we take you on a sonic journey through the darkest depths of deathcore, exploring every facet of their brutal masterpiece that has sent shockwaves through the metal community.</p><p>Signs of the Swarm, known for their relentless intensity and uncompromising brutality, have once again pushed the boundaries of their genre with their latest release. Join us as we dissect the album track by track, dissecting the bone-crushing breakdowns, blistering guitar riffs, and inhuman vocal performances that define their sound.</p><p>We'll explore the lyrical themes and artistic inspirations behind this record, delving into the dark and thought-provoking concepts that lurk beneath the surface. What drives a band to create music that is both technically impressive and emotionally haunting? Find out as we sit down with the band members themselves for an exclusive interview.</p><p>Additionally, we'll discuss the impact of Signs of the Swarm's latest offering on the metal scene, its reception among fans and critics, and its place in the broader context of modern extreme music. Is this album a game-changer for the genre, or just another chapter in the band's ever-evolving story?</p><p>Whether you're a die-hard fan of Signs of the Swarm or a newcomer to the world of deathcore, this episode promises to be a captivating exploration of a record that demands your attention. Get ready to immerse yourself in the sonic chaos, and join us as we uncover the signs of brilliance in Signs of the Swarm's latest record.</p>
]]></description>
      <pubDate>Wed, 13 Sep 2023 21:31:33 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/signs-of-the-swarm-N0fXffdP</link>
      <content:encoded><![CDATA[<p>Join the discord <a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p><p>Prepare yourself for a deep dive into the world of extreme metal as we unravel the enigma that is Signs of the Swarm's latest record. In this episode, we take you on a sonic journey through the darkest depths of deathcore, exploring every facet of their brutal masterpiece that has sent shockwaves through the metal community.</p><p>Signs of the Swarm, known for their relentless intensity and uncompromising brutality, have once again pushed the boundaries of their genre with their latest release. Join us as we dissect the album track by track, dissecting the bone-crushing breakdowns, blistering guitar riffs, and inhuman vocal performances that define their sound.</p><p>We'll explore the lyrical themes and artistic inspirations behind this record, delving into the dark and thought-provoking concepts that lurk beneath the surface. What drives a band to create music that is both technically impressive and emotionally haunting? Find out as we sit down with the band members themselves for an exclusive interview.</p><p>Additionally, we'll discuss the impact of Signs of the Swarm's latest offering on the metal scene, its reception among fans and critics, and its place in the broader context of modern extreme music. Is this album a game-changer for the genre, or just another chapter in the band's ever-evolving story?</p><p>Whether you're a die-hard fan of Signs of the Swarm or a newcomer to the world of deathcore, this episode promises to be a captivating exploration of a record that demands your attention. Get ready to immerse yourself in the sonic chaos, and join us as we uncover the signs of brilliance in Signs of the Swarm's latest record.</p>
]]></content:encoded>
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      <itunes:title>Signs of the Swarm</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:01:10</itunes:duration>
      <itunes:summary>Join the discord https://discord.gg/UHUxKNUtzU

Prepare yourself for a deep dive into the world of extreme metal as we unravel the enigma that is Signs of the Swarm&apos;s latest record. In this episode, we take you on a sonic journey through the darkest depths of deathcore, exploring every facet of their brutal masterpiece that has sent shockwaves through the metal community.

Signs of the Swarm, known for their relentless intensity and uncompromising brutality, have once again pushed the boundaries of their genre with their latest release. Join us as we dissect the album track by track, dissecting the bone-crushing breakdowns, blistering guitar riffs, and inhuman vocal performances that define their sound.

We&apos;ll explore the lyrical themes and artistic inspirations behind this record, delving into the dark and thought-provoking concepts that lurk beneath the surface. What drives a band to create music that is both technically impressive and emotionally haunting? Find out as we sit down with the band members themselves for an exclusive interview.

Additionally, we&apos;ll discuss the impact of Signs of the Swarm&apos;s latest offering on the metal scene, its reception among fans and critics, and its place in the broader context of modern extreme music. Is this album a game-changer for the genre, or just another chapter in the band&apos;s ever-evolving story?

Whether you&apos;re a die-hard fan of Signs of the Swarm or a newcomer to the world of deathcore, this episode promises to be a captivating exploration of a record that demands your attention. Get ready to immerse yourself in the sonic chaos, and join us as we uncover the signs of brilliance in Signs of the Swarm&apos;s latest record.</itunes:summary>
      <itunes:subtitle>Join the discord https://discord.gg/UHUxKNUtzU

Prepare yourself for a deep dive into the world of extreme metal as we unravel the enigma that is Signs of the Swarm&apos;s latest record. In this episode, we take you on a sonic journey through the darkest depths of deathcore, exploring every facet of their brutal masterpiece that has sent shockwaves through the metal community.

Signs of the Swarm, known for their relentless intensity and uncompromising brutality, have once again pushed the boundaries of their genre with their latest release. Join us as we dissect the album track by track, dissecting the bone-crushing breakdowns, blistering guitar riffs, and inhuman vocal performances that define their sound.

We&apos;ll explore the lyrical themes and artistic inspirations behind this record, delving into the dark and thought-provoking concepts that lurk beneath the surface. What drives a band to create music that is both technically impressive and emotionally haunting? Find out as we sit down with the band members themselves for an exclusive interview.

Additionally, we&apos;ll discuss the impact of Signs of the Swarm&apos;s latest offering on the metal scene, its reception among fans and critics, and its place in the broader context of modern extreme music. Is this album a game-changer for the genre, or just another chapter in the band&apos;s ever-evolving story?

Whether you&apos;re a die-hard fan of Signs of the Swarm or a newcomer to the world of deathcore, this episode promises to be a captivating exploration of a record that demands your attention. Get ready to immerse yourself in the sonic chaos, and join us as we uncover the signs of brilliance in Signs of the Swarm&apos;s latest record.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <title>Basement: Colourmeinkindness</title>
      <description><![CDATA[<p>Join the Discord <a href="https://discord.gg/UHUxKNUtzUl">https://discord.gg/UHUxKNUtzUl</a></p><p>DONT CALL IT A COMEBACK! We had to take a break Andrew was BURNT out but were back and better than ever</p>
]]></description>
      <pubDate>Tue, 29 Aug 2023 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/basement-colourmeinkindness-K12rHsBR</link>
      <content:encoded><![CDATA[<p>Join the Discord <a href="https://discord.gg/UHUxKNUtzUl">https://discord.gg/UHUxKNUtzUl</a></p><p>DONT CALL IT A COMEBACK! We had to take a break Andrew was BURNT out but were back and better than ever</p>
]]></content:encoded>
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      <itunes:title>Basement: Colourmeinkindness</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:46:57</itunes:duration>
      <itunes:summary>Join the Discord https://discord.gg/UHUxKNUtzU


DONT CALL IT A COMEBACK! We had to take a break Andrew was BURNT out but were back and better than ever</itunes:summary>
      <itunes:subtitle>Join the Discord https://discord.gg/UHUxKNUtzU


DONT CALL IT A COMEBACK! We had to take a break Andrew was BURNT out but were back and better than ever</itunes:subtitle>
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      <description><![CDATA[WERE BACK! with a riveting episode of music content 
]]></description>
      <pubDate>Tue, 18 Jul 2023 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/momma-household-name-yWvUae0T</link>
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      <itunes:title>Momma: Household Name</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:51:12</itunes:duration>
      <itunes:summary>WERE BACK! with a riveting episode of music content </itunes:summary>
      <itunes:subtitle>WERE BACK! with a riveting episode of music content </itunes:subtitle>
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      <title>Lifetime: Jersey&apos;s Best Dancers</title>
      <description><![CDATA[<p>Join the Discord: https://discord.gg/UHUxKNUtzU</p><p> </p><p>I don't know how to describe what happened in this one, guess you'll just have to listen.</p>
]]></description>
      <pubDate>Tue, 4 Jul 2023 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/lifetime-jerseys-best-dancers-dN5HTl7k</link>
      <content:encoded><![CDATA[<p>Join the Discord: https://discord.gg/UHUxKNUtzU</p><p> </p><p>I don't know how to describe what happened in this one, guess you'll just have to listen.</p>
]]></content:encoded>
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      <itunes:title>Lifetime: Jersey&apos;s Best Dancers</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:42:14</itunes:duration>
      <itunes:summary>Join the Discord: https://discord.gg/UHUxKNUtzU

I don&apos;t know how to describe what happened in this one, guess you&apos;ll just have to listen.</itunes:summary>
      <itunes:subtitle>Join the Discord: https://discord.gg/UHUxKNUtzU

I don&apos;t know how to describe what happened in this one, guess you&apos;ll just have to listen.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
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      <title>Hundredth: Somewhere Nowhere</title>
      <description><![CDATA[<p>Join the Discord: https://discord.gg/UHUxKNUtzU</p><p> </p><p> </p><p>we did a podcast about Hundredth (its late I know I literally don't want to hear it)</p>
]]></description>
      <pubDate>Tue, 27 Jun 2023 21:54:49 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/hundredth-somewhere-nowhere-4mImkJ0f</link>
      <content:encoded><![CDATA[<p>Join the Discord: https://discord.gg/UHUxKNUtzU</p><p> </p><p> </p><p>we did a podcast about Hundredth (its late I know I literally don't want to hear it)</p>
]]></content:encoded>
      <enclosure length="52689300" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/0e8b4821-08ba-4e1d-a3fb-34387c89ab3b/audio/c0672bfd-224f-46fb-b54a-3e0213b2fc41/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Hundredth: Somewhere Nowhere</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:54:53</itunes:duration>
      <itunes:summary>Join the Discord: https://discord.gg/UHUxKNUtzU
we did a podcast about Hundredth (its late I know I literally don&apos;t want to hear it)</itunes:summary>
      <itunes:subtitle>Join the Discord: https://discord.gg/UHUxKNUtzU
we did a podcast about Hundredth (its late I know I literally don&apos;t want to hear it)</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <title>Sleep Token: Take Me Back To Eden</title>
      <description><![CDATA[<p>Phoebe is back !</p><p> </p><p>Join the discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Thu, 15 Jun 2023 01:30:44 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/sleep-token-take-me-back-to-eden-9GqvuYT8</link>
      <content:encoded><![CDATA[<p>Phoebe is back !</p><p> </p><p>Join the discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
      <enclosure length="57809300" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/29edc84c-32f7-4f1c-a9bb-5478f4b38fe3/audio/2bdcdff5-2328-4720-9dab-c380bd18d8e9/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Sleep Token: Take Me Back To Eden</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:00:13</itunes:duration>
      <itunes:summary>Phoebe is back !

Join the discord
https://discord.gg/UHUxKNUtzU
</itunes:summary>
      <itunes:subtitle>Phoebe is back !

Join the discord
https://discord.gg/UHUxKNUtzU
</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
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      <title>Black Marble</title>
      <description><![CDATA[<p>Join the Discord  </p><p> </p><p>https://discord.gg/UHUxKNUtzU</p><p>black marble in this one. oddly Andrew crawled out from under his rock and liked a thing who would have guessed</p><p> </p>
]]></description>
      <pubDate>Mon, 29 May 2023 19:59:01 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/black-marble-IWYgWZhB</link>
      <content:encoded><![CDATA[<p>Join the Discord  </p><p> </p><p>https://discord.gg/UHUxKNUtzU</p><p>black marble in this one. oddly Andrew crawled out from under his rock and liked a thing who would have guessed</p><p> </p>
]]></content:encoded>
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      <itunes:title>Black Marble</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:07:11</itunes:duration>
      <itunes:summary>Join the Discord 

https://discord.gg/UHUxKNUtzU
black marble in this one. oddly Andrew crawled out from under his rock and liked a thing who would have guessed
 </itunes:summary>
      <itunes:subtitle>Join the Discord 

https://discord.gg/UHUxKNUtzU
black marble in this one. oddly Andrew crawled out from under his rock and liked a thing who would have guessed
 </itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <title>All Time Low: Tier List</title>
      <description><![CDATA[<p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p><p> </p><p>Welcome to "The All-Time Low Countdown" podcast, where we dive deep into the discography of the pop-punk powerhouse, All Time Low. Join us as we embark on an exciting journey through the band's extensive catalogue, ranking their albums from worst to best.</p><p> </p><p>Hosted by passionate music enthusiasts and dedicated fans of All Time Low, this podcast is a celebration of the band's evolution and the impact they've had on the pop-punk scene. Each episode, we carefully analyze and dissect the musical and lyrical elements that make up All Time Low's albums, discussing their strengths, weaknesses, and everything in between.</p><p> </p><p>From the youthful exuberance of "The Party Scene" to the introspective maturity of "Future Hearts," we'll explore the evolution of All Time Low's sound and delve into the stories behind each album. We'll discuss the band's iconic hits, their underrated gems, and even touch upon the rare B-sides and bonus tracks that make their discography truly unique.</p><p> </p><p>But it doesn't stop there. We'll also invite special guests, including fellow fans, music critics, and industry experts, to share their perspectives and insights on All Time Low's music. We'll explore the band's influence on the pop-punk genre and how they've resonated with fans around the world.</p><p> </p><p>Whether you've been a fan from the early days or just discovered All Time Low's catchy hooks and infectious energy, "The All-Time Low Countdown" podcast promises to be an entertaining and informative ride. So grab your headphones, prepare to sing along, and join us as we rank and revisit the albums that have shaped All Time Low's remarkable career.</p><p> </p><p>Disclaimer: This podcast is not affiliated with or endorsed by All Time Low or their record label. It is purely a fan-driven podcast created out of love and appreciation for the band's music.</p>
]]></description>
      <pubDate>Tue, 23 May 2023 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/all-time-low-tier-list-mkBtzH4r</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p><p> </p><p>Welcome to "The All-Time Low Countdown" podcast, where we dive deep into the discography of the pop-punk powerhouse, All Time Low. Join us as we embark on an exciting journey through the band's extensive catalogue, ranking their albums from worst to best.</p><p> </p><p>Hosted by passionate music enthusiasts and dedicated fans of All Time Low, this podcast is a celebration of the band's evolution and the impact they've had on the pop-punk scene. Each episode, we carefully analyze and dissect the musical and lyrical elements that make up All Time Low's albums, discussing their strengths, weaknesses, and everything in between.</p><p> </p><p>From the youthful exuberance of "The Party Scene" to the introspective maturity of "Future Hearts," we'll explore the evolution of All Time Low's sound and delve into the stories behind each album. We'll discuss the band's iconic hits, their underrated gems, and even touch upon the rare B-sides and bonus tracks that make their discography truly unique.</p><p> </p><p>But it doesn't stop there. We'll also invite special guests, including fellow fans, music critics, and industry experts, to share their perspectives and insights on All Time Low's music. We'll explore the band's influence on the pop-punk genre and how they've resonated with fans around the world.</p><p> </p><p>Whether you've been a fan from the early days or just discovered All Time Low's catchy hooks and infectious energy, "The All-Time Low Countdown" podcast promises to be an entertaining and informative ride. So grab your headphones, prepare to sing along, and join us as we rank and revisit the albums that have shaped All Time Low's remarkable career.</p><p> </p><p>Disclaimer: This podcast is not affiliated with or endorsed by All Time Low or their record label. It is purely a fan-driven podcast created out of love and appreciation for the band's music.</p>
]]></content:encoded>
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      <itunes:title>All Time Low: Tier List</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:49:47</itunes:duration>
      <itunes:summary>Join the Discord

https://discord.gg/UHUxKNUtzU

Welcome to &quot;The All-Time Low Countdown&quot; podcast, where we dive deep into the discography of the pop-punk powerhouse, All Time Low. Join us as we embark on an exciting journey through the band&apos;s extensive catalogue, ranking their albums from worst to best.

Hosted by passionate music enthusiasts and dedicated fans of All Time Low, this podcast is a celebration of the band&apos;s evolution and the impact they&apos;ve had on the pop-punk scene. Each episode, we carefully analyze and dissect the musical and lyrical elements that make up All Time Low&apos;s albums, discussing their strengths, weaknesses, and everything in between.

From the youthful exuberance of &quot;The Party Scene&quot; to the introspective maturity of &quot;Future Hearts,&quot; we&apos;ll explore the evolution of All Time Low&apos;s sound and delve into the stories behind each album. We&apos;ll discuss the band&apos;s iconic hits, their underrated gems, and even touch upon the rare B-sides and bonus tracks that make their discography truly unique.

But it doesn&apos;t stop there. We&apos;ll also invite special guests, including fellow fans, music critics, and industry experts, to share their perspectives and insights on All Time Low&apos;s music. We&apos;ll explore the band&apos;s influence on the pop-punk genre and how they&apos;ve resonated with fans around the world.

Whether you&apos;ve been a fan from the early days or just discovered All Time Low&apos;s catchy hooks and infectious energy, &quot;The All-Time Low Countdown&quot; podcast promises to be an entertaining and informative ride. So grab your headphones, prepare to sing along, and join us as we rank and revisit the albums that have shaped All Time Low&apos;s remarkable career.

Disclaimer: This podcast is not affiliated with or endorsed by All Time Low or their record label. It is purely a fan-driven podcast created out of love and appreciation for the band&apos;s music.</itunes:summary>
      <itunes:subtitle>Join the Discord

https://discord.gg/UHUxKNUtzU

Welcome to &quot;The All-Time Low Countdown&quot; podcast, where we dive deep into the discography of the pop-punk powerhouse, All Time Low. Join us as we embark on an exciting journey through the band&apos;s extensive catalogue, ranking their albums from worst to best.

Hosted by passionate music enthusiasts and dedicated fans of All Time Low, this podcast is a celebration of the band&apos;s evolution and the impact they&apos;ve had on the pop-punk scene. Each episode, we carefully analyze and dissect the musical and lyrical elements that make up All Time Low&apos;s albums, discussing their strengths, weaknesses, and everything in between.

From the youthful exuberance of &quot;The Party Scene&quot; to the introspective maturity of &quot;Future Hearts,&quot; we&apos;ll explore the evolution of All Time Low&apos;s sound and delve into the stories behind each album. We&apos;ll discuss the band&apos;s iconic hits, their underrated gems, and even touch upon the rare B-sides and bonus tracks that make their discography truly unique.

But it doesn&apos;t stop there. We&apos;ll also invite special guests, including fellow fans, music critics, and industry experts, to share their perspectives and insights on All Time Low&apos;s music. We&apos;ll explore the band&apos;s influence on the pop-punk genre and how they&apos;ve resonated with fans around the world.

Whether you&apos;ve been a fan from the early days or just discovered All Time Low&apos;s catchy hooks and infectious energy, &quot;The All-Time Low Countdown&quot; podcast promises to be an entertaining and informative ride. So grab your headphones, prepare to sing along, and join us as we rank and revisit the albums that have shaped All Time Low&apos;s remarkable career.

Disclaimer: This podcast is not affiliated with or endorsed by All Time Low or their record label. It is purely a fan-driven podcast created out of love and appreciation for the band&apos;s music.</itunes:subtitle>
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      <title>Spiritbox: Eternal Blue</title>
      <description><![CDATA[<p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p><p> </p><p>Welcome to the "Melodies Unleashed" podcast, where we delve into the captivating world of music and explore the stories behind some of the most influential artists and bands. In today's episode, we're shining a spotlight on one of the most exciting and genre-defying bands to emerge in recent years: Spiritbox and their highly anticipated debut album, "Eternal Blue."</p><p>Hailing from Canada, Spiritbox has quickly gained a devoted following with their unique blend of metalcore, alternative rock, and atmospheric elements. Comprising of vocalist Courtney LaPlante, guitarist Mike Stringer, and drummer Zev Rosenberg, this trio has forged a distinct sonic identity that captivates listeners with its haunting melodies, intense heaviness, and emotionally charged lyrics.</p><p>"Eternal Blue," the band's first full-length album, marks a significant milestone in Spiritbox's musical journey. Released in 2022, the album serves as a testament to their artistic growth and showcases their ability to push boundaries within the metal and rock genres. Through a seamless fusion of aggressive riffs, atmospheric textures, and LaPlante's powerful vocals, Spiritbox takes listeners on an immersive and introspective sonic experience.</p><p>In this episode, we'll explore the thematic depths of "Eternal Blue." The album delves into personal struggles, introspection, and the exploration of the human psyche. With poignant lyrics and visceral songwriting, Spiritbox crafts a narrative that touches upon themes of loss, mental health, and the search for purpose in an uncertain world.</p><p>Join us as we analyze some of the standout tracks on "Eternal Blue." From the haunting opener "Sun Killer" to the emotionally charged "Constance" and the dynamic energy of "Secret Garden," each song showcases the band's musical prowess and ability to create an immersive listening experience.</p><p>We'll also discuss Spiritbox's journey as a band, their rise to prominence through captivating singles and EPs, and their impact on the contemporary metal scene. From their early formation to signing with major record labels, Spiritbox's story is one of determination, artistic integrity, and a dedication to pushing the boundaries of their craft.</p>
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      <pubDate>Wed, 17 May 2023 00:45:58 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/spiritbox-eternal-blue-1mT7QWgi</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p><p> </p><p>Welcome to the "Melodies Unleashed" podcast, where we delve into the captivating world of music and explore the stories behind some of the most influential artists and bands. In today's episode, we're shining a spotlight on one of the most exciting and genre-defying bands to emerge in recent years: Spiritbox and their highly anticipated debut album, "Eternal Blue."</p><p>Hailing from Canada, Spiritbox has quickly gained a devoted following with their unique blend of metalcore, alternative rock, and atmospheric elements. Comprising of vocalist Courtney LaPlante, guitarist Mike Stringer, and drummer Zev Rosenberg, this trio has forged a distinct sonic identity that captivates listeners with its haunting melodies, intense heaviness, and emotionally charged lyrics.</p><p>"Eternal Blue," the band's first full-length album, marks a significant milestone in Spiritbox's musical journey. Released in 2022, the album serves as a testament to their artistic growth and showcases their ability to push boundaries within the metal and rock genres. Through a seamless fusion of aggressive riffs, atmospheric textures, and LaPlante's powerful vocals, Spiritbox takes listeners on an immersive and introspective sonic experience.</p><p>In this episode, we'll explore the thematic depths of "Eternal Blue." The album delves into personal struggles, introspection, and the exploration of the human psyche. With poignant lyrics and visceral songwriting, Spiritbox crafts a narrative that touches upon themes of loss, mental health, and the search for purpose in an uncertain world.</p><p>Join us as we analyze some of the standout tracks on "Eternal Blue." From the haunting opener "Sun Killer" to the emotionally charged "Constance" and the dynamic energy of "Secret Garden," each song showcases the band's musical prowess and ability to create an immersive listening experience.</p><p>We'll also discuss Spiritbox's journey as a band, their rise to prominence through captivating singles and EPs, and their impact on the contemporary metal scene. From their early formation to signing with major record labels, Spiritbox's story is one of determination, artistic integrity, and a dedication to pushing the boundaries of their craft.</p>
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      <itunes:title>Spiritbox: Eternal Blue</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:47:16</itunes:duration>
      <itunes:summary>Join the Discord

https://discord.gg/UHUxKNUtzU

Welcome to the &quot;Melodies Unleashed&quot; podcast, where we delve into the captivating world of music and explore the stories behind some of the most influential artists and bands. In today&apos;s episode, we&apos;re shining a spotlight on one of the most exciting and genre-defying bands to emerge in recent years: Spiritbox and their highly anticipated debut album, &quot;Eternal Blue.&quot;

Hailing from Canada, Spiritbox has quickly gained a devoted following with their unique blend of metalcore, alternative rock, and atmospheric elements. Comprising of vocalist Courtney LaPlante, guitarist Mike Stringer, and drummer Zev Rosenberg, this trio has forged a distinct sonic identity that captivates listeners with its haunting melodies, intense heaviness, and emotionally charged lyrics.

&quot;Eternal Blue,&quot; the band&apos;s first full-length album, marks a significant milestone in Spiritbox&apos;s musical journey. Released in 2022, the album serves as a testament to their artistic growth and showcases their ability to push boundaries within the metal and rock genres. Through a seamless fusion of aggressive riffs, atmospheric textures, and LaPlante&apos;s powerful vocals, Spiritbox takes listeners on an immersive and introspective sonic experience.

In this episode, we&apos;ll explore the thematic depths of &quot;Eternal Blue.&quot; The album delves into personal struggles, introspection, and the exploration of the human psyche. With poignant lyrics and visceral songwriting, Spiritbox crafts a narrative that touches upon themes of loss, mental health, and the search for purpose in an uncertain world.

Join us as we analyze some of the standout tracks on &quot;Eternal Blue.&quot; From the haunting opener &quot;Sun Killer&quot; to the emotionally charged &quot;Constance&quot; and the dynamic energy of &quot;Secret Garden,&quot; each song showcases the band&apos;s musical prowess and ability to create an immersive listening experience.

We&apos;ll also discuss Spiritbox&apos;s journey as a band, their rise to prominence through captivating singles and EPs, and their impact on the contemporary metal scene. From their early formation to signing with major record labels, Spiritbox&apos;s story is one of determination, artistic integrity, and a dedication to pushing the boundaries of their craft.</itunes:summary>
      <itunes:subtitle>Join the Discord

https://discord.gg/UHUxKNUtzU

Welcome to the &quot;Melodies Unleashed&quot; podcast, where we delve into the captivating world of music and explore the stories behind some of the most influential artists and bands. In today&apos;s episode, we&apos;re shining a spotlight on one of the most exciting and genre-defying bands to emerge in recent years: Spiritbox and their highly anticipated debut album, &quot;Eternal Blue.&quot;

Hailing from Canada, Spiritbox has quickly gained a devoted following with their unique blend of metalcore, alternative rock, and atmospheric elements. Comprising of vocalist Courtney LaPlante, guitarist Mike Stringer, and drummer Zev Rosenberg, this trio has forged a distinct sonic identity that captivates listeners with its haunting melodies, intense heaviness, and emotionally charged lyrics.

&quot;Eternal Blue,&quot; the band&apos;s first full-length album, marks a significant milestone in Spiritbox&apos;s musical journey. Released in 2022, the album serves as a testament to their artistic growth and showcases their ability to push boundaries within the metal and rock genres. Through a seamless fusion of aggressive riffs, atmospheric textures, and LaPlante&apos;s powerful vocals, Spiritbox takes listeners on an immersive and introspective sonic experience.

In this episode, we&apos;ll explore the thematic depths of &quot;Eternal Blue.&quot; The album delves into personal struggles, introspection, and the exploration of the human psyche. With poignant lyrics and visceral songwriting, Spiritbox crafts a narrative that touches upon themes of loss, mental health, and the search for purpose in an uncertain world.

Join us as we analyze some of the standout tracks on &quot;Eternal Blue.&quot; From the haunting opener &quot;Sun Killer&quot; to the emotionally charged &quot;Constance&quot; and the dynamic energy of &quot;Secret Garden,&quot; each song showcases the band&apos;s musical prowess and ability to create an immersive listening experience.

We&apos;ll also discuss Spiritbox&apos;s journey as a band, their rise to prominence through captivating singles and EPs, and their impact on the contemporary metal scene. From their early formation to signing with major record labels, Spiritbox&apos;s story is one of determination, artistic integrity, and a dedication to pushing the boundaries of their craft.</itunes:subtitle>
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      <title>Erick Week V3</title>
      <description><![CDATA[<p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p><p> </p><p>this week we listen to Ericks work play list  </p><p> </p><p>Check it out here: https://open.spotify.com/playlist/6uBlkCwMv7PGzOuz0kwOIb?si=4c29baa45f714bca</p>
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      <pubDate>Tue, 9 May 2023 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/erick-week-v3-gJbPXaWT</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p><p> </p><p>this week we listen to Ericks work play list  </p><p> </p><p>Check it out here: https://open.spotify.com/playlist/6uBlkCwMv7PGzOuz0kwOIb?si=4c29baa45f714bca</p>
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      <itunes:title>Erick Week V3</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:13:23</itunes:duration>
      <itunes:summary>Join the Discord

https://discord.gg/UHUxKNUtzU

this week we listen to Ericks work play list 

Check it out here: https://open.spotify.com/playlist/6uBlkCwMv7PGzOuz0kwOIb?si=4c29baa45f714bca</itunes:summary>
      <itunes:subtitle>Join the Discord

https://discord.gg/UHUxKNUtzU

this week we listen to Ericks work play list 

Check it out here: https://open.spotify.com/playlist/6uBlkCwMv7PGzOuz0kwOIb?si=4c29baa45f714bca</itunes:subtitle>
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      <title>Static Dress: Rouge Carpet Disaster</title>
      <description><![CDATA[<p>Join the Discord </p><p>https://discord.gg/UHUxKNUtzU</p><p>This week the guys talk about static dress, Erick tries to name 30 metal bands, and its a great times.</p>
]]></description>
      <pubDate>Tue, 2 May 2023 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/static-dress-rouge-carpet-disaster-z80vPDlc</link>
      <content:encoded><![CDATA[<p>Join the Discord </p><p>https://discord.gg/UHUxKNUtzU</p><p>This week the guys talk about static dress, Erick tries to name 30 metal bands, and its a great times.</p>
]]></content:encoded>
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      <itunes:title>Static Dress: Rouge Carpet Disaster</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:03:40</itunes:duration>
      <itunes:summary>This week the guys talk about static dress, Erick tries to name 30 metal bands, and its a great times.</itunes:summary>
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      <title>Larry June and The Alchemist</title>
      <description><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p><p> </p><p>Larry June is a San Francisco-based rapper known for his laid-back flow and positive, motivational lyrics. He has collaborated with producers such as Sledgren, Cardo, and Harry Fraud, and has released a string of successful mixtapes and albums.</p><p>In this episode of The Alchemist podcast, Larry June joins host and acclaimed producer The Alchemist for a conversation about his creative process, influences, and career trajectory. They discuss the importance of staying true to oneself in the music industry, the benefits of a positive mindset, and the role of spirituality in their lives.</p><p>Throughout the episode, Larry June shares insights and anecdotes from his life and career, and even drops a few bars acapella. Whether you're a fan of Larry June's music or simply curious about the creative process of a successful rapper, this podcast is sure to be an engaging and informative listen.</p>
]]></description>
      <pubDate>Tue, 25 Apr 2023 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/larry-june-and-the-alchemist-l5xpEkP0</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p><p> </p><p>Larry June is a San Francisco-based rapper known for his laid-back flow and positive, motivational lyrics. He has collaborated with producers such as Sledgren, Cardo, and Harry Fraud, and has released a string of successful mixtapes and albums.</p><p>In this episode of The Alchemist podcast, Larry June joins host and acclaimed producer The Alchemist for a conversation about his creative process, influences, and career trajectory. They discuss the importance of staying true to oneself in the music industry, the benefits of a positive mindset, and the role of spirituality in their lives.</p><p>Throughout the episode, Larry June shares insights and anecdotes from his life and career, and even drops a few bars acapella. Whether you're a fan of Larry June's music or simply curious about the creative process of a successful rapper, this podcast is sure to be an engaging and informative listen.</p>
]]></content:encoded>
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      <itunes:title>Larry June and The Alchemist</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:52:15</itunes:duration>
      <itunes:summary>Join the Discord

https://discord.gg/UHUxKNUtzU



Larry June is a San Francisco-based rapper known for his laid-back flow and positive, motivational lyrics. He has collaborated with producers such as Sledgren, Cardo, and Harry Fraud, and has released a string of successful mixtapes and albums.

In this episode of The Alchemist podcast, Larry June joins host and acclaimed producer The Alchemist for a conversation about his creative process, influences, and career trajectory. They discuss the importance of staying true to oneself in the music industry, the benefits of a positive mindset, and the role of spirituality in their lives.

Throughout the episode, Larry June shares insights and anecdotes from his life and career, and even drops a few bars acapella. Whether you&apos;re a fan of Larry June&apos;s music or simply curious about the creative process of a successful rapper, this podcast is sure to be an engaging and informative listen.</itunes:summary>
      <itunes:subtitle>Join the Discord

https://discord.gg/UHUxKNUtzU



Larry June is a San Francisco-based rapper known for his laid-back flow and positive, motivational lyrics. He has collaborated with producers such as Sledgren, Cardo, and Harry Fraud, and has released a string of successful mixtapes and albums.

In this episode of The Alchemist podcast, Larry June joins host and acclaimed producer The Alchemist for a conversation about his creative process, influences, and career trajectory. They discuss the importance of staying true to oneself in the music industry, the benefits of a positive mindset, and the role of spirituality in their lives.

Throughout the episode, Larry June shares insights and anecdotes from his life and career, and even drops a few bars acapella. Whether you&apos;re a fan of Larry June&apos;s music or simply curious about the creative process of a successful rapper, this podcast is sure to be an engaging and informative listen.</itunes:subtitle>
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      <title>Spite: Dedication to Flesh</title>
      <description><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p><p>Phoebe is back by HIGH demand, check it out </p>
]]></description>
      <pubDate>Tue, 18 Apr 2023 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/spite-dedication-to-flesh-yD_gwF_R</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p><p>Phoebe is back by HIGH demand, check it out </p>
]]></content:encoded>
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      <itunes:title>Spite: Dedication to Flesh</itunes:title>
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      <title>Frank Ocean: Look At Us, We&apos;re in Love</title>
      <description><![CDATA[<p>Join The Discord </p><p>https://discord.gg/UHUxKNUtzU</p><p> </p><p>Welcome to our podcast episode about Frank Ocean, one of the most enigmatic and influential artists of our time. Frank Ocean first gained attention as a member of the hip-hop collective Odd Future before releasing his debut mixtape, Nostalgia, Ultra, in 2011.</p><p>Since then, Frank has become known for his innovative blend of R&B, soul, and pop music, as well as his introspective and confessional lyrics. His sophomore album, Channel Orange, received critical acclaim and was nominated for six Grammy Awards, including Album of the Year.</p><p>Frank is also known for his elusive nature and the way he keeps his personal life private, rarely giving interviews or engaging with the media. His fans have become fascinated with trying to decipher the meaning behind his cryptic lyrics and uncovering details about his personal life.</p><p>In 2016, Frank released his highly anticipated follow-up album, Blonde, which debuted at number one on the Billboard 200 chart. The album was praised for its experimental sound and raw emotional honesty, cementing Frank's place as one of the most important artists of his generation.</p><p>Join us as we dive deep into the music and persona of Frank Ocean, exploring his impact on the music industry and why he has become such a beloved and influential figure to so many fans around the world.</p>
]]></description>
      <pubDate>Tue, 11 Apr 2023 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/frank-ocean-look-at-us-were-in-love-gbcGaSgp</link>
      <content:encoded><![CDATA[<p>Join The Discord </p><p>https://discord.gg/UHUxKNUtzU</p><p> </p><p>Welcome to our podcast episode about Frank Ocean, one of the most enigmatic and influential artists of our time. Frank Ocean first gained attention as a member of the hip-hop collective Odd Future before releasing his debut mixtape, Nostalgia, Ultra, in 2011.</p><p>Since then, Frank has become known for his innovative blend of R&B, soul, and pop music, as well as his introspective and confessional lyrics. His sophomore album, Channel Orange, received critical acclaim and was nominated for six Grammy Awards, including Album of the Year.</p><p>Frank is also known for his elusive nature and the way he keeps his personal life private, rarely giving interviews or engaging with the media. His fans have become fascinated with trying to decipher the meaning behind his cryptic lyrics and uncovering details about his personal life.</p><p>In 2016, Frank released his highly anticipated follow-up album, Blonde, which debuted at number one on the Billboard 200 chart. The album was praised for its experimental sound and raw emotional honesty, cementing Frank's place as one of the most important artists of his generation.</p><p>Join us as we dive deep into the music and persona of Frank Ocean, exploring his impact on the music industry and why he has become such a beloved and influential figure to so many fans around the world.</p>
]]></content:encoded>
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      <itunes:title>Frank Ocean: Look At Us, We&apos;re in Love</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:56:09</itunes:duration>
      <itunes:summary>Join The Discord 

https://discord.gg/UHUxKNUtzU</itunes:summary>
      <itunes:subtitle>Join The Discord 

https://discord.gg/UHUxKNUtzU</itunes:subtitle>
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      <title>Chelsea Grin: Suffer in Hell, Suffer in Heaven</title>
      <description><![CDATA[<p>can you tell this next part was written by ai?</p><p>join the discord: https://discord.gg/UHUxKNUtzU</p><p> </p><p>Welcome to "Suffer in Hell, Suffer in Heaven", a gripping podcast that explores the dark and mysterious story behind Chelsea Grin, a notorious criminal whose life was marred by violence, betrayal, and revenge.</p><p> </p><p>Hosted by true crime enthusiast, Mark, this podcast delves into the life and crimes of Chelsea Grin, a mastermind criminal who was known for his brutal and sadistic ways. From his humble beginnings to his rise in the criminal underworld, listeners will be taken on a thrilling journey as Mark unravels the details of Chelsea Grin's notorious past.</p><p> </p><p>Through in-depth research, interviews with experts, and never-before-heard accounts from those who knew Chelsea Grin personally, "Suffer in Hell, Suffer in Heaven" paints a vivid picture of a complex and enigmatic individual. Mark will peel back the layers of Chelsea Grin's life, exploring his twisted motivations, his relentless pursuit of power, and the trail of destruction he left in his wake.</p><p> </p><p>As the podcast delves into the criminal activities of Chelsea Grin, listeners will be captivated by the gripping and often chilling details of his heinous crimes. From his violent clashes with rival gangs to his cunning manipulation of those around him, Chelsea Grin's dark and twisted world comes to life in this podcast.</p><p> </p><p>But the story doesn't end there. "Suffer in Hell, Suffer in Heaven" also delves into the aftermath of Chelsea Grin's crimes, exploring the impact on the victims, law enforcement, and the community at large. The podcast raises thought-provoking questions about the nature of evil, the consequences of one's actions, and the fine line between justice and revenge.</p>
]]></description>
      <pubDate>Wed, 5 Apr 2023 00:54:42 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/chelsea-grin-suffer-in-hell-suffer-in-heaven-riBVrgZD</link>
      <content:encoded><![CDATA[<p>can you tell this next part was written by ai?</p><p>join the discord: https://discord.gg/UHUxKNUtzU</p><p> </p><p>Welcome to "Suffer in Hell, Suffer in Heaven", a gripping podcast that explores the dark and mysterious story behind Chelsea Grin, a notorious criminal whose life was marred by violence, betrayal, and revenge.</p><p> </p><p>Hosted by true crime enthusiast, Mark, this podcast delves into the life and crimes of Chelsea Grin, a mastermind criminal who was known for his brutal and sadistic ways. From his humble beginnings to his rise in the criminal underworld, listeners will be taken on a thrilling journey as Mark unravels the details of Chelsea Grin's notorious past.</p><p> </p><p>Through in-depth research, interviews with experts, and never-before-heard accounts from those who knew Chelsea Grin personally, "Suffer in Hell, Suffer in Heaven" paints a vivid picture of a complex and enigmatic individual. Mark will peel back the layers of Chelsea Grin's life, exploring his twisted motivations, his relentless pursuit of power, and the trail of destruction he left in his wake.</p><p> </p><p>As the podcast delves into the criminal activities of Chelsea Grin, listeners will be captivated by the gripping and often chilling details of his heinous crimes. From his violent clashes with rival gangs to his cunning manipulation of those around him, Chelsea Grin's dark and twisted world comes to life in this podcast.</p><p> </p><p>But the story doesn't end there. "Suffer in Hell, Suffer in Heaven" also delves into the aftermath of Chelsea Grin's crimes, exploring the impact on the victims, law enforcement, and the community at large. The podcast raises thought-provoking questions about the nature of evil, the consequences of one's actions, and the fine line between justice and revenge.</p>
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      <itunes:title>Chelsea Grin: Suffer in Hell, Suffer in Heaven</itunes:title>
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      <description><![CDATA[We'll be back next week but for now enjoy the movie pod. go show them some love over there
In this one the dudes talk about the new Willem Dafoe joint
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      <pubDate>Tue, 28 Mar 2023 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Movie Pod: Inside (2023)</itunes:title>
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      <itunes:summary>We&apos;ll be back next week but for now enjoy the movie pod. go show them some love over there
In this one the dudes talk about the new Willem Dafoe joint</itunes:summary>
      <itunes:subtitle>We&apos;ll be back next week but for now enjoy the movie pod. go show them some love over there
In this one the dudes talk about the new Willem Dafoe joint</itunes:subtitle>
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      <description><![CDATA[Welcome to our music review podcast, where we dive into the soundtracks of our favorite video games. Today, we'll be exploring the adrenaline-pumping music behind Dave Mirra Freestyle BMX 2.

Released in 2001 for the PlayStation 2 and Xbox, Dave Mirra Freestyle BMX 2 quickly became a fan favorite for its intense gameplay and eclectic soundtrack. The game's soundtrack features a mix of punk, rock, and hip-hop tracks that perfectly complement the game's high-energy atmosphere
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      <pubDate>Tue, 21 Mar 2023 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>Welcome to our music review podcast, where we dive into the soundtracks of our favorite video games. Today, we&apos;ll be exploring the adrenaline-pumping music behind Dave Mirra Freestyle BMX 2.

Released in 2001 for the PlayStation 2 and Xbox, Dave Mirra Freestyle BMX 2 quickly became a fan favorite for its intense gameplay and eclectic soundtrack. The game&apos;s soundtrack features a mix of punk, rock, and hip-hop tracks that perfectly complement the game&apos;s high-energy atmosphere</itunes:summary>
      <itunes:subtitle>Welcome to our music review podcast, where we dive into the soundtracks of our favorite video games. Today, we&apos;ll be exploring the adrenaline-pumping music behind Dave Mirra Freestyle BMX 2.

Released in 2001 for the PlayStation 2 and Xbox, Dave Mirra Freestyle BMX 2 quickly became a fan favorite for its intense gameplay and eclectic soundtrack. The game&apos;s soundtrack features a mix of punk, rock, and hip-hop tracks that perfectly complement the game&apos;s high-energy atmosphere</itunes:subtitle>
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      <description><![CDATA[<p>Its a Darko ep so you already knows what up. look out for a bonus later this week.</p><p> </p><p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 7 Mar 2023 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/darko-us-dethmask-pt-2-Lc5p_aJL</link>
      <content:encoded><![CDATA[<p>Its a Darko ep so you already knows what up. look out for a bonus later this week.</p><p> </p><p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
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      <description><![CDATA[<p>we made it to 170! we did it.</p><p>I did it</p><p>Join the discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 28 Feb 2023 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/sports-coach-wallace-flora-2fXIaurR</link>
      <content:encoded><![CDATA[<p>we made it to 170! we did it.</p><p>I did it</p><p>Join the discord</p><p>https://discord.gg/UHUxKNUtzU</p>
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      <description><![CDATA[<p>we did a call in episode and if you want to be on the next one you CAN</p><p> </p><p>Just join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 21 Feb 2023 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/call-ins-5tmAECJZ</link>
      <content:encoded><![CDATA[<p>we did a call in episode and if you want to be on the next one you CAN</p><p> </p><p>Just join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
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      <title>Deeper: All of it</title>
      <description><![CDATA[<p>We get DEEP about DEEPer.</p><p> </p><p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 14 Feb 2023 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/deeper-all-of-it-RPlKO5y_</link>
      <content:encoded><![CDATA[<p>We get DEEP about DEEPer.</p><p> </p><p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
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      <itunes:title>Deeper: All of it</itunes:title>
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      <description><![CDATA[<p>"Out of Body" is a song by the American pop singer and rapper Dazy. I couldn't find any information on a specific podcast about the song. However, you may find interviews or commentary about the artist or the song on music and pop culture podcasts, or on YouTube and music streaming platforms like Spotify.</p><p>^^^generated by AI^^^</p><p>we had fun doing this one looking for more suggestions </p><p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
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      <pubDate>Tue, 7 Feb 2023 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/dazy-outofbody-JXOBuY_O</link>
      <content:encoded><![CDATA[<p>"Out of Body" is a song by the American pop singer and rapper Dazy. I couldn't find any information on a specific podcast about the song. However, you may find interviews or commentary about the artist or the song on music and pop culture podcasts, or on YouTube and music streaming platforms like Spotify.</p><p>^^^generated by AI^^^</p><p>we had fun doing this one looking for more suggestions </p><p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
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      <pubDate>Tue, 31 Jan 2023 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/boygenius-f2ydQk0S</link>
      <content:encoded><![CDATA[<p>Join us as we explore the sounds of the indie-folk supergroup Boygenius. Comprised of three talented singer-songwriters, Julien Baker, Phoebe Bridgers, and Lucy Dacus, this band creates a unique blend of haunting melodies and insightful lyrics. Each episode will delve into their discography, featuring exclusive interviews, live performances, and deep dives into their individual artistic journeys. Get ready to be captivated by the stunning harmonies and soul-stirring lyrics of Boygenius.</p><p>Join the Disccord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
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      <description><![CDATA[<p>Kirby wrote this record</p><p>Join the Discord </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 31 Jan 2023 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/snails-house-all-of-it-patehdDL</link>
      <content:encoded><![CDATA[<p>Kirby wrote this record</p><p>Join the Discord </p><p>https://discord.gg/UHUxKNUtzU</p>
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      <title>Webbed Wings: What So Fucking Funny</title>
      <description><![CDATA[<p>Weeeeeeeee're back at it again, and this time its for real.......... im telling you guys the show is more fun if you interact with us on discord.</p><p>Join the DIscord </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 24 Jan 2023 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/webbed-wings-what-so-fucking-funny-4Xl_Dssy</link>
      <content:encoded><![CDATA[<p>Weeeeeeeee're back at it again, and this time its for real.......... im telling you guys the show is more fun if you interact with us on discord.</p><p>Join the DIscord </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
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      <itunes:title>Webbed Wings: What So Fucking Funny</itunes:title>
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      <description><![CDATA[<p>I dont even know anymore</p><p> </p><p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 17 Jan 2023 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/lord-of-the-rings-CKAeFAmD</link>
      <content:encoded><![CDATA[<p>I dont even know anymore</p><p> </p><p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
      <enclosure length="45971442" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/a6e7dfe5-1b05-49f8-a07b-0a975d9b29fc/audio/fb4d92b1-9bdc-41e3-9bd9-d316780185a8/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Lord of the Rings</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:47:53</itunes:duration>
      <itunes:summary></itunes:summary>
      <itunes:subtitle></itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>164</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">a09dfd59-83bf-4214-ac2d-32e604db6e95</guid>
      <title>Snail Mail: Lush</title>
      <description><![CDATA[<p>this was an actual fun episode A LOT of discord craziness </p><p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 10 Jan 2023 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/snail-mail-lush-gjvvSvqQ</link>
      <content:encoded><![CDATA[<p>this was an actual fun episode A LOT of discord craziness </p><p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
      <enclosure length="64017248" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/6da9c142-551a-4842-98d2-c8714ec50799/audio/1dc99231-ff5d-4218-882f-67696b2bb9e4/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Snail Mail: Lush</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:06:41</itunes:duration>
      <itunes:summary></itunes:summary>
      <itunes:subtitle></itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>163</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">37dce248-8285-46f2-88d4-4b750be08eba</guid>
      <title>Taylor Swift: Tier List</title>
      <description><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 3 Jan 2023 23:37:12 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/taylor-swift-tier-list-ipAS3elh</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
      <enclosure length="60881300" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/643dcda3-0317-4018-9c83-4bdda5f0b31a/audio/22276e5c-07b9-4cdb-9dca-8d91e0382d7d/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Taylor Swift: Tier List</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:03:25</itunes:duration>
      <itunes:summary>In this podcast, we rank the music of Taylor Swift. We consider her discography, focusing on her most popular songs and albums. What makes one song better than another? How does an album rank compared to its individual songs? We talk about it all, and give our opinions on who should rank Taylor Swift higher, and who should rank her lower on the music scale.</itunes:summary>
      <itunes:subtitle>In this podcast, we rank the music of Taylor Swift. We consider her discography, focusing on her most popular songs and albums. What makes one song better than another? How does an album rank compared to its individual songs? We talk about it all, and give our opinions on who should rank Taylor Swift higher, and who should rank her lower on the music scale.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>162</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">da8cc7fe-d069-40b6-98ef-590ab698f665</guid>
      <title>Fall Out Boy: Album Tier List</title>
      <description><![CDATA[<p>Join the Discord </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 27 Dec 2022 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/fall-out-boy-album-tier-list-hAbcfUhx</link>
      <content:encoded><![CDATA[<p>Join the Discord </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
      <enclosure length="53016562" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/2a2ec7a7-e71f-46c7-9b7d-9b307422f3ce/audio/60dd15ef-64ed-4c71-89be-6cba603123ac/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Fall Out Boy: Album Tier List</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:55:13</itunes:duration>
      <itunes:summary>all you need to know is in the title. this was actually very fun if you think we should do this more let us know.</itunes:summary>
      <itunes:subtitle>all you need to know is in the title. this was actually very fun if you think we should do this more let us know.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>161</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">c53dcba0-9f1d-4802-8520-e16739b0393a</guid>
      <title>Dayseeker: Dark Sun</title>
      <description><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p><p> </p>
]]></description>
      <pubDate>Tue, 20 Dec 2022 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/dayseeker-dark-sun-gkSnm02G</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p><p> </p>
]]></content:encoded>
      <enclosure length="55355044" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/71781490-cd03-4fba-a80b-a446949c4848/audio/c5d3ebd1-7a40-4aaf-bf75-09cdb21de640/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Dayseeker: Dark Sun</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:57:39</itunes:duration>
      <itunes:summary>Phoebe is on this one that&apos;s all you need to know </itunes:summary>
      <itunes:subtitle>Phoebe is on this one that&apos;s all you need to know </itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>160</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">398af6f0-11c8-4d7b-92f9-dda4af11b79a</guid>
      <title>Coheed and Cambria: Good Apollo, I&apos;m Burning Star IV, Volume One: From Fear Through the Eyes of Madness</title>
      <description><![CDATA[<p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 13 Dec 2022 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/coheed-and-cambria-good-apollo-im-burning-star-iv-volume-one-from-fear-through-the-eyes-of-madness-EmU_bc2v</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
      <enclosure length="63598035" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/106ae76b-1eec-4b27-8034-8387b77e4b28/audio/de7a3808-4b0e-497f-9dd1-fbdf7d8b88ad/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Coheed and Cambria: Good Apollo, I&apos;m Burning Star IV, Volume One: From Fear Through the Eyes of Madness</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:06:14</itunes:duration>
      <itunes:summary>No Movie this time around. I now wonder if anyone is reading these at all.</itunes:summary>
      <itunes:subtitle>No Movie this time around. I now wonder if anyone is reading these at all.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>159</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">13e76bb3-3247-49e7-b250-ed9fbfaff678</guid>
      <title>Toner: Silk Road</title>
      <description><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p><p> </p>
]]></description>
      <pubDate>Tue, 6 Dec 2022 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/toner-silk-road-RSPlQj3V</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p><p> </p>
]]></content:encoded>
      <enclosure length="39345117" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/e1bab297-77e9-4826-b5ee-ede29d7a2747/audio/4fa8472e-e8e7-47c9-bf46-3e2dd40a99ec/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Toner: Silk Road</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:40:59</itunes:duration>
      <itunes:summary>JOKER

                          AN ORIGIN




                         Written by

                 Todd Phillips &amp; Scott Silver




                                                  13 April 2018 

  This story takes place in its own universe. It has no
  connection to any of the DC films that have come before it.

  We see it as a classic Warner Bros. movie. Gritty, intimate
  and oddly funny, the characters live in the real world and
  the stakes are personal.

  Although it is never mentioned in the film, this story takes
  place in the past.

  Let&apos;s call it 1981.

  It&apos;s a troubled time. The crime rate in Gotham is at record
  highs. A garbage strike has crippled the city for the past
  six weeks. And the divide between the &quot;haves&quot; and the &quot;have-
  nots&quot; is palpable. Dreams are beyond reach, slipping into
  delusions.



                                                      OVER BLACK:

    HEAR LAUGHTER.

    The sound of a man totally cracking up.

                                                        FADE IN:


1   INT. DEPT. OF HEALTH, OFFICE - MORNING                          1

    CLOSE ON JOKER (30&apos;s), tears in his eyes from laughing so
    hard. He&apos;s trying to get it under control. His greasy, black
    hair is matted down. He&apos;s wearing an old, faded red hooded
    zip-up sweatshirt, a threadbare gray scarf, thin from years
    of use, hangs loosely around his neck.

    WE NOTICE TWO FADED OLD SCARS cut at the corners of his
    mouth. Almost forming a smile.

    He&apos;s sitting across from an overworked SOCIAL WORKER (50&apos;s),
    African American. Her office is cramped and run-down in a
    cramped and run-down building. Stacks of folders piled high
    in front of her.

    She just sits behind her desk, waiting for his laughing fit
    to end, she&apos;s been through this before. Finally it subsides.

    Joker takes a deep breath, pauses to see if it&apos;s over.

    Beat.

                        JOKER
              --is it just me, or is it getting
              crazier out there?

    Despite the laughter, there&apos;s real pain in his eyes.
    Something broken in him. Looks like he hasn&apos;t slept in days.

                         SOCIAL WORKER
              It&apos;s certainly tense. People are
              upset, they&apos;re struggling. Looking
              for work. The garbage strike seems
              like it&apos;s been going on forever.
              These are tough times.
                  (then)
              How &apos;bout you. How&apos;s the job? Still
              enjoying it?

                          JOKER
              Yeah, I   mean, it&apos;s different each
              day, so   I really like that. I don&apos;t
              think I   could ever work in an
              office.   Behind a desk.
                          (MORE)
                                                         2.

                     JOKER (CONT&apos;D)
              (beat)
          No offense.

She smiles. Writes something down. Looks at the clock, she&apos;s
running late for her next appointment.

                    SOCIAL WORKER
          Have you been keeping up with your
          journal?

                       JOKER
          Everyday.

                    SOCIAL WORKER
          Great. Did you bring it with you?

Beat.

                    JOKER
              (dodging the subject)
          I&apos;m sorry. Did I bring what?

                    SOCIAL WORKER
              (impatient; she doesn&apos;t
               have time for this)
          Arthur, last time I asked you to
          bring your journal with you. For
          these appointments. Do you have it?

                       JOKER
          Yes ma&apos;am.

Beat.

                    SOCIAL WORKER
          Can I see it?

He reluctantly reaches into his bag. Pulls out a weathered
notebook. Slides it across to her--

                    JOKER
          I&apos;ve been using it as a journal,
          but also a joke diary. Funny
          thoughts or, or observations-- Did
          I tell you I&apos;m pursuing a career in
          stand-up comedy?

She&apos;s half-listening as she flips through his journal.

                    SOCIAL WORKER
          No. You didn&apos;t.

                    JOKER
          I think I did.
                                                            3.


She doesn&apos;t respond, keeps flipping through his journal--

                    SOCIAL WORKER
          Oh yeah. Because of what your
          mother said,-- about your purpose.
          &quot;To bring laughter and joy to the
          world,&quot; right?

                    JOKER
          Right.

ANGLE ON JOURNAL, pages and pages of notes, all in neat,
angry-looking handwriting. Also, cut out photos from hardcore
pornographic magazines and some crude handmade drawings.

A flash of anger crosses Joker&apos;s face. We see him picking at
his right eyebrow, almost obsessively. Trying to stay calm.
His eyebrow is actually half-gone. Something he does a lot.

                    JOKER
          I didn&apos;t realize you wanted to read
          it.

The social worker gives him a look, then reads something in
the pages that gives her pause.

                    SOCIAL WORKER
              (reading out loud)
          &quot;I just hope my death makes more
          sense than my life.&quot;

She looks up at Joker. He just stares back. Lets it hang out
there for a beat.

Then he laughs a little, even though he doesn&apos;t think it&apos;s
funny--

                    JOKER
          Yeah. I mean, that&apos;s just--

                    SOCIAL WORKER
          Does my reading it upset you?

He leans in.

                    JOKER
          No. I just,-- some of it&apos;s
          personal. You know?

                    SOCIAL WORKER
          I understand. I just want to make
          sure you&apos;re keeping up with it.

She slides his journal back to him. He holds it in his lap.
                                                         4.


                    SOCIAL WORKER
          What about your mom? How&apos;s she
          feeling?

                    JOKER
          She has good days. But mostly bad.
          It&apos;s been a big help having me
          there. She really needs me.

                    SOCIAL WORKER
          Seems like she&apos;s been sick a lot
          since you got home.

                     JOKER
              (nods)
          Yeah, it&apos;s good I&apos;m there. When I
          was in the hospital, after my last
          episode-- she was having trouble
          getting over there to visit.

She looks back up at the clock, she needs to get to her next
appointment.

                    SOCIAL WORKER
          All right. So, I&apos;ll see you again,
          two weeks from today?

He nods. But keeps sitting there for a moment.

She stands up, trying to signal it&apos;s time for him to leave--

                    SOCIAL WORKER
          Is there something else I can help
          you with, Arthur? My next
          appointment is waiting.

He just keeps sitting there.

                    JOKER
          Yeah, I was wondering if you could
          ask the doctor to increase the
          dosage on my medications? Nothing
          seems to make a difference.

                     SOCIAL WORKER
              (looking over his record)
          Do you know which ones you&apos;d like
          increased?

Shakes his head, no.

                    SOCIAL WORKER
          Have you been sleeping?
                                                              5.


                        JOKER
                  (lying)
              Some.

    She glances at his file again.

                        SOCIAL WORKER
              Arthur, you&apos;re on seven different
              medications. Surely they must be
              doing something.

    He finally stands up. Zips up his faded red sweatshirt.

    Looks at her--

                        JOKER
              I just don&apos;t wanna feel so bad
              anymore.

                                                  CUT TO BLACK:

    TITLE:

                                JOKER


2   EXT. GOTHAM SQUARE, MIDTOWN - KENNY&apos;S MUSIC SHOP - DAY         2

    GOTHAM SQUARE IS CLOGGED WITH TRAFFIC. Non-stop honking
    horns, pedestrians crowding the sidewalk. Huge billboards,
    giant movie marquees, garbage bags piled high everywhere.
    Underneath it all we hear a TINKLING PIANO playing something
    bouncy and fast-paced.

    FROM ACROSS THE BUSY CITY STREET, we see Joker. He&apos;s dressed
    as a sad-faced HOBO CLOWN. This is his job.

    Dressed in tattered clothes, dark five o&apos;clock shadow painted
    on his face, big bulbous red nose, his mouth&apos;s outlined in
    white, turned down at the corners.

    He&apos;s holding up a sign in front of Kenny&apos;s Music Shop that
    reads, &quot;EVERYTHING MUST GO!&quot; A banner above the store reads,
    &quot;GOING OUT OF BUSINESS!&quot; Behind him, an OLD MAN plays a piano
    on the street. Both of them there to draw attention to the
    big sale going on in the store.

    Joker&apos;s doing a little Charlie Chaplin like waddle to the
    music. Most people walk right past, ignoring him. A few bump
    into him by mistake.

    JOKER SEES A GROUP OF FIVE BOYS, no more than 15-years-old,
    walking toward him. He moves out of their way. They crack up
    laughing when they see him. Start making fun of him.
                                                                6.


    Joker ignores them, tries to do his job the best he can while
    maintaining some dignity. Keeps dancing and holding up the
    sign.

    One of the kids knocks the sign out of Joker&apos;s hands--

                        KID #1
              Suck my dick, clown.

    The kids laugh. Joker doesn&apos;t say anything. Just bends over
    to pick up the sign--

    Another kid kicks him in the ass--

                        KID #2
              Whoops.

    Joker falls face first onto the sidewalk. Oddly, the old man
    playing the piano picks up the pace of the music--

    The kids crack up. One of the boys grabs Joker&apos;s sign and
    takes off running across the street--

    The other kids follow, weaving through traffic--

    Joker gets up and gives chase. He needs his sign back.

    He almost gets hit by a taxi, spinning out of the way just in
    time-- Spinning right into another taxi that stops just short
    of hitting him.

    Joker keeps running through traffic. People stare. A clown
    barreling down the street has got to be a joke--


3   EXT. CORNER, SIDE STREET - GOTHAM SQUARE - CONTINUOUS            3

    The five boys are booking it down the crowded street laughing
    and whooping it up. At the last second they take a sharp
    right turn down a cross street--

    Joker almost overshoots the corner, slip-sliding in his big
    red shoes--

    He rights himself and heads down after them--

    Sees them running up ahead--

    WHAP! Out of nowhere Joker gets hit in the face!

    He falls to the ground.

    One of the kids was hiding between parked cars and hit Joker
    with the &quot;EVERYTHING MUST GO!&quot; sign, splintering it in two--
                                                                7.


    The other kids turn back and walk up to Joker down on the
    ground.

    Joker reaches out, still trying to save the sign--

    THE KIDS START KICKING AND BEATING THE SHIT out of Joker.
    It&apos;s brutal and vicious. Nobody on the street stops to help.

    CLOSE ON JOKER&apos;S HOBO CLOWN FACE, down on the ground. Sweat
    running down his face, smearing his make-up. He doesn&apos;t even
    look like he&apos;s in pain. He just takes the beating.

    That stupid frown painted on his face.


4   INT. CITY BUS (PULLING OUT) - HEADING DOWNTOWN - DUSK            4

    Joker, makes his way toward the back of the crowded bus, now
    walking with a slight limp, but keeping his head held high.

    His make-up&apos;s washed off, costume and props all shoved into a
    big shopping bag slung over his shoulder. Some white grease-
    paint still smudged on the sides of his face.

    He finds an empty seat in the back of the bus. Sees a sad-
    eyed FOUR-YEAR-OLD GIRL, face puffy from crying, sitting on
    her knees looking back at him. Her mother&apos;s facing forward,
    but even from behind you can tell she&apos;s angry.

    Joker sees the sad-eyed girl staring straight back at him. He
    doesn&apos;t know where to look, feeling self-conscious and small.
    He gets back into &quot;character&quot; smiling like a clown and covers
    his face with his hands-- Starts playing the peek-a-boo game
    with her.

    The girl stares back at him for a moment then giggles--

                         WOMAN ON BUS
                   (turns back to Joker;
                    already annoyed)
              Can you please stop bothering my
              kid?

                        JOKER
              I wasn&apos;t bothering her, I was--

                         WOMAN ON BUS
                  (interrupts)
              Just stop.

    AND SUDDENLY JOKER STARTS TO LAUGH. LOUD. He covers his mouth
    trying to hide it-- Shakes his head, laughter pausing for a
    moment, but then it comes on stronger. His eyes are sad. It
    actually looks like the laughter causes him pain.
                                                                                   8.


    People on the bus are staring. The girl looks like she&apos;s
    going to cry again.

                            WOMAN ON BUS
                  You think that&apos;s funny?

    Joker shakes his head no, but he can&apos;t stop laughing. He
    reaches in his pocket and pulls out a small card. Hands it to
    the woman.

    CLOSE ON THE CARD, it reads: &quot;Forgive my laughter. I have a
    condition (more on back)&quot;

    She turns the card over and there is a bunch of information
    in small writing--
    &quot;It&apos;s a medical condition causing sudden, frequent, uncontrollable laughter that
    doesn&apos;t match how you feel. It can happen in people with a brain injury or certain
    neurological conditions.&quot;

    She doesn&apos;t read it (but if you freeze frame the movie you
    could). She just shakes her head annoyed and throws the card
    on the ground.

    Joker laughs harder. Tears running down his face.

    Not wanting to attract any more attention to himself, he
    pulls up his red hood, and uses his threadbare scarf to cover
    his mouth, trying to muffle the laughter.

    He looks out at the city passing him by.


5   EXT. LOWER EAST SIDE, STREETS - GOTHAM - EVENING                                     5

    The bus pulls away, sun almost gone.

    Joker heads slowly down the litter-covered streets. Garbage
    is piled along the sidewalks, the air thick with smog creates
    a haze over everything.

    The streets are crowded with the poor, the elderly and
    disenfranchised. Women with children in busted strollers.
    Homeless people sleeping on subway grates. Stray dogs. His is
    one of the few white faces.

    Joker makes his way into a run-down drug store, behind him
    two drunks fight on the corner, beating the shit out of each
    other. Joker, and nobody else for that matter, pays them any
    attention.

    No one here gives a shit.
                                                               9.


6   INT. LOBBY, APARTMENT BUILDING - EVENING                        6

    A shabby lobby in a building that was once probably pretty
    nice, but now it&apos;s a dump.

    Joker checks his mailbox. He&apos;s holding a small white
    (prescription) bag in his hand.

    The mailbox is empty.


7   INT. ELEVATOR, APARTMENT BUILDING - CONTINUOUS                  7

    Joker steps onto the wheezing elevator, harsh fluorescent            
    lights, graffiti on the walls. As the door closes, he hears--        

                        SOPHIE (OS)
              Wait!!

    He puts his foot out with some panache to stop the closing
    door-- He&apos;s a romantic at heart. Ding.

    And SOPHIE DUMOND (late 20&apos;s), tired eyes, hands filled with
    grocery bags, steps onto the elevator with GIGI, her 5-year-
    old daughter.

                         SOPHIE
              Thank you.
                  (realizing)
              Of course it&apos;s you,-- everyone else
              in this building is just so fucking
              rude.

    Joker nods &quot;thanks.&quot; Holds his breath, hoping he doesn&apos;t
    start to laugh.

    Floors dinging as the elevator rises.

    Joker sees GiGi licking the dirty smudged elevator handrail
    behind her mom.

                        SOPHIE
              How&apos;s your mom doing?

    He takes a deep breath, he&apos;s uncomfortable talking to her,
    holds up the white prescription bag.

                        JOKER
              It&apos;s day to day. I&apos;m doing
              everything I can to get her back on
              her feet.
                  (re: pharmacy bag)
              Picked up her medicine. Gonna make
              her some dinner.
                                                            10.


                        SOPHIE
                  (smiles; being polite)
              She&apos;s lucky she has you--

    Joker smiles thanks, can&apos;t help but glance at GiGi licking
    the rail.

    Sophie finally notices. She wants to grab her but can&apos;t with
    her hands full. Tries to kick her away--

                        SOPHIE
              Jesus. Don&apos;t do that, GiGi! How
              many times have I told you that?
                  (to Joker)
              This building is so awful, isn&apos;t
              it?

    Joker just nods... he doesn&apos;t know what to say, but clearly
    wants to continue this conversation with Sophie.

    The doors open. They all step off.

                        SOPHIE
              Okay. Well, tell your mom I said
              hello.

    And Sophie and GiGi walk down the hall-- the opposite way of
    Joker. He just stands there for a beat. Heart beating fast.

                        JOKER
                  (calls out after her)
              Hey Sophie--

    She turns around.

                        JOKER
              I&apos;ll tell my mom you said hello.

    She smiles as in &quot;yeah, that&apos;s what I said.&quot;


8   INT. MOM&apos;S APARTMENT, FRONT DOOR - EVENING                    8

    Old apartment, worn carpet. Nothing&apos;s new inside but it&apos;s
    fairly neat and well-kept.

    Joker closes the door behind him, leans his back against it
    and swoons. Hears a deep purring sound. He looks down and
    sees an OLD ORANGE CAT, rubbing up against his leg.

    Then--
                                                            11.


                        MOM (OS)
                  (shattering the moment,
                   calls out)
              Happy?! Did you check the mail
              before you came up?

                        JOKER
              Yes, Ma. Nothing. No letter.

                        MOM (OS)
              You sure you looked? Sometimes I
              don&apos;t know where your head is.

    Joker glances back down and sees the cat is gone.

                        JOKER
              Yes I&apos;m sure. And my head&apos;s right
              here. I&apos;m gonna make you some
              dinner, okay?

                                                   QUICK CUTS:

    JOKER TEARS OPEN THE PRESCRIPTION BAG... A FLURRY OF PILL
    BOTTLES TUMBLE OUT ONTO THE COUNTER.

    SEE HIS NAME, &quot;ARTHUR FLECK&quot; ON THE ORANGE PILL BOTTLES, AND
    GLIMPSE THE GENERIC DRUG NAMES, TEMAZEPAM... PERPHENAZINE...
    AHENELZINE... AMITRIPTYLINE... BENZEDRINE... DIAZEPAM...
    MEPROBAMATE...

    TAKES OUT ONE PILL FROM EACH THE TEMAZEPAM AND MEPROBAMATE
    BOTTLES.

    TWO PILLS BEING CRUSHED UP TO POWDER.

    SPRINKLES THE POWDER ON TOP OF A TV DINNER.

    SWALLOWS A HANDFUL OF PILLS FROM THE OTHER BOTTLES.

    LOOKS DOWN AND SMILES AT THE ORANGE CAT LOOKING UP AT HIM
    FROM THE COUNTER.


9   INT. MOM&apos;S BEDROOM, APARTMENT - NIGHT                         9

    Joker brings the food to his mother, PENNY (70&apos;s), lying in
    her bed. The TV is on, playing the local news.

    Joker sets the food down in front of his mother. He covers
    the pain from his beating the best he can-- His mother
    doesn&apos;t seem to notice anyway.

                        MOM
              He must not be getting my letters.
                                                        12.


Joker sits down on a chair next to the bed.

                    JOKER
          He&apos;s a busy man.

                    MOM
          Too busy for me? I worked for that
          family for 12 years. He always had
          a smile for me. Least he could do
          is write back.

                    JOKER
          Ma, eat. You need to eat.

                    MOM
          You need to eat. Look how skinny
          you are.

Before Joker can say anything, his mother points to the news
on the TV--

                    MOM
          All day long it&apos;s more bad news.
          That&apos;s all there is.

                    JOKER
          Maybe you shouldn&apos;t watch so much
          television.

                    MOM
              (ignoring)
          He&apos;s the only hope for Gotham.
          He&apos;ll make a great mayor. Everybody
          says so.

                    JOKER
              (playful)
          Everybody who? Who do you talk to?

                    MOM
          Well everybody on the news.

                    JOKER
          Stop it. He&apos;s not even gonna run.
          Why would Thomas Wayne want to be
          mayor? He can do more good as a
          businessman.

                    MOM
          Because he cares about this city.
          And everyone in it-- that&apos;s why I
          can&apos;t believe he hasn&apos;t written me
          back.
                                                         13.


                    JOKER
          He will. Now eat some dinner.

He feeds her a bite of the food.

                    JOKER
          How you feeling today?

                    MOM
          I don&apos;t know. It always hits me
          worse at night, you notice that?

He shakes his head.

                    JOKER
              (teasing)
          Maybe it&apos;s the moon. Maybe you&apos;re a
          werewolf?

HE HOWLS SOFTLY like a wolf. She laughs.

                    MOM
          It&apos;s not funny.

Joker watches her as he cuts up some more of her food.

                    MOM
          Anyway, I wrote a new letter today.
          A better one. I want you to hand
          deliver it to him.

                       JOKER
          What? Why?

                    MOM
          Cause maybe the mailman is throwing
          them away. We should have tipped
          him at Christmas time.

                    JOKER
          Who tips their mailman?

                    MOM
          Some people do. Rich people do.

Joker sighs, resigned.

                    JOKER
          Okay. I can try his office.
          Tomorrow.
                                                                14.


                          MOM
               Thank you.
                   (she pats the bed)
               Come sit. It&apos;s almost on.

     Joker gets into bed with her.

     CLOSE ON TELEVISION, intro to &quot;LIVE WITH MURRAY FRANKLIN!&quot;,
     and we HEAR THE ANNOUNCER over clips of comedy bits, stars
     and Murray Franklin himself--

                         ANNOUNCER (ON TV)
               It&apos;s Live with Murray Franklin!
               Tonight Murray welcomes, Sandra
               Winger, comedian Skip Byron and the
               piano stylings of Yeldon &amp; Chantel!
               As always, Don Ellis and his Jazz
               Orchestra. And now, without any
               further ado-- Murray Franklin!

     Joker and his mom watch from bed, this is a ritual of theirs.


10   INT. LIVING ROOM, MOM&apos;S APARTMENT - NIGHT                    10

     Late night. Joker&apos;s mom is dead asleep. Joker is alone in the
     living room, which doubles as his bedroom. He can&apos;t ever
     sleep. He opens his worn notebook. Flips to a page titled
     &quot;Jokes&quot; and starts writing--

     CLOSE ON WORDS, as he slowly writes: &quot;The worst part about
     having a mental illness is...&quot;

     ANGLE ON JOKER, pausing, thinking it over for a moment. Then
     he laughs to himself when he comes up with something.

     CLOSE ON WORDS, coming faster now, &quot;...that people still
     expect you to behave as if you don&apos;t.&quot;

                                                        CUT TO:


11   EXT. WAYNE TOWER, STREET - MIDTOWN - MORNING                 11

     Joker&apos;s looking up at the intimidating steel and glass tower,
     he looks so small, holding his mom&apos;s letter in his hand.
     Bustle of professionals coming in and out of the company&apos;s
     corporate headquarters, Joker looks out of place.

     He heads inside through the giant glass doors.
                                                                15.


12   INT. RECEPTION, WAYNE ENTERPRISES - 25TH FLOOR - MORNING     12

     Joker steps off an elevator and walks up to the white marble
     reception desk as if he belongs there--

                         JOKER
               Hello. I have a personal letter for
               Mr. Thomas Wayne.

                         RECEPTIONIST
               Okay. You can leave it with me.

                         JOKER
               It&apos;s kind of important. I need to
               make sure he gets it himself.

                         RECEPTIONIST
               Oh, in that case, I&apos;ll buzz you
               right in.

     Joker goes to enter--

                         RECEPTIONIST
               I&apos;m kidding. Leave it here.

     He laughs along with her, even though she&apos;s not laughing.

                         JOKER
               Oh. Right-- well, my mom used to
               work for the Wayne family-- for 12
               years. She was their housekeeper.

     A couple other business people are now waiting behind Joker,
     there for meetings.

                         RECEPTIONIST
               That&apos;s great. But you can leave it
               with me or you can leave with the
               letter. Those are your options. Now
               please step aside.

                         JOKER
               Mr. Wayne knows her. Can you maybe
               at least call back to him? Tell him
               that I&apos;m here.

                         RECEPTIONIST
               Thomas Wayne is away on business.

     Joker is getting frustrated.

                         JOKER
               Okay. Well, can I have your name?
               So I know who I left it with.
                                                             16.


     Now Joker sees a GROUP OF MEN walking behind the glass that
     separates the reception area from the back offices. Amongst
     the group, he catches a glimpse of THOMAS WAYNE (60&apos;s), deep
     tan, hair dyed so black it&apos;s almost blue.

                         JOKER
               Wait. He&apos;s right there.
                   (goes up to the glass,
                    shouts)
               Mr. Wayne! Mr. Wayne.

     He starts banging on the glass... but the group keeps moving.
     Not noticing him.

                         RECEPTIONIST
               Sir. Please stop. Sir!!

     Joker keeps banging on the glass.


13   EXT. WAYNE TOWER, FRONT ENTRANCE - MORNING                   13

     The glass doors swing open and Joker is forcibly thrown onto
     the street. TWO LARGE SECURITY GUARDS stand over him.

     He is still holding the letter.

     He makes as if he&apos;s going to leave peacefully, then at the
     last minute, TAKES ANOTHER RUN AT THE DOOR--

     The two guards stiff arm him.

                                                        CUT TO:


14   INT. HA-HA&apos;S TALENT BOOKING, LOCKER ROOM - DAY               14

     The cramped locker room of a small talent booking agency.
     This is where Joker works. They &quot;rent out&quot; talent for parties
     and events. Clowns, magicians, male strippers.

     Joker takes off his shirt, grimaces in pain as he moves. His
     body&apos;s bruised from the beating he took chasing after his
     sign.

                           RANDALL (OS)
               You okay?

     He turns. RANDALL (mid 50&apos;s), a big bear of a know-it-all,
     standing there. He&apos;s a party clown as well. He&apos;s half-dressed
     in his clown suit.
                                                        17.


                    RANDALL
          I heard about the beat down you
          took. Fucking savages.

                    JOKER
          It was just a bunch of kids. I
          should have left it alone.

Randall opens his locker--

                    RANDALL
          It&apos;s crazy out there. And it&apos;s only
          getting worse.

                     JOKER
              (nods)
          My mother says that the people
          nowadays lack empathy.

                    RANDALL
          What&apos;s empathy?

                    JOKER
          It means like &quot;feeling for other
          people.&quot;

                    RANDALL
          Like sympathy?

                    JOKER
          Kind of. But different.

Randall comes over, hands Joker a brown paper bag-- Joker
looks inside. It&apos;s a GUN, a .38 snub-nose revolver.            

Joker looks up at him, confused--

                    RANDALL
          Take it. I got a few. You gotta
          protect yourself out there, buddy.
          Too many wackos.

As Joker stares at it--

                    RANDALL
              (lowers his voice)
          It&apos;s a .38 snub-nose. Gets the job
          done if you ever need to use it.
          Usually pulling it out is enough.

                    JOKER                                      
          I, I don&apos;t have the money for this,                  
          Randall.
                                                                18.


                         RANDALL
               Don&apos;t sweat it. You can pay me some
               other time. You&apos;re my boy.

     That lands with Joker, he smiles to himself.

                         RANDALL
                   (as he walks away)
               But you didn&apos;t get it from me,
               okay?

     Joker nods. Puts the brown paper bag in his locker. Slowly         
     starts to get dressed-- his eyes darting toward the bag as he      
     does.

     Another clown, GARY (30&apos;s), a dwarf, pops his head into the
     locker room.

                         GARY
               Arthur,-- Hoyt wants to see you in
               his office.

                           JOKER
               What for?

                           GARY
               No clue.


15   INT. FRONT OFFICE, HA-HA&apos;S TALENT BOOKING - DAY              15

     Joker still half-dressed, walks into the cramped office.

     His boss, HOYT VAUGHN (60&apos;s) sits behind a metal desk. The
     office is a complete mess, newspapers and files litter the
     desk. A giant ashtray filled with cigarette butts. A calendar
     of booking hangs on the wall. A scribbled, jumbled mess.

                         JOKER
               Hey Hoyt. Gary said you wanted to
               see me?

                         HOYT
                   (without even looking up)
               How&apos;s the comedy career? Are you a
               famous stand-up yet?

                         JOKER
               Not quite. Haven&apos;t even performed
               yet. Just been working my material.
               This business is all about fine-
               tuning.

     Now Hoyt looks up. Takes a drag from his cigarette.
                                                         19.


                       HOYT
          Right.

Joker goes to sit down--

                    HOYT
          Don&apos;t sit. This will be quick.

Joker stops in his tracks.

                     HOYT
          Look, I like you, Arthur. A lot of
          the guys here, they think you&apos;re a
          freak. But I like you. I don&apos;t even
          know why I like you. I mean, you
          don&apos;t say much.
              (beat)
          It&apos;s probably that stupid laugh. It
          gets me every time. Kills me.

Unsure how to respond, Joker just nods.

                    HOYT
          But I got another complaint. And
          it&apos;s starting to piss me off.

Joker takes a deep breath, maybe picks at his eyebrow.

                    HOYT
          Kenny&apos;s Music. Sunday. The guy said
          you disappeared. Never even
          returned his sign.

                    JOKER
          No. I got jumped. I told you about
          that.

                    HOYT
          For a sign? Bullshit. It makes no
          sense, just give him his sign back.
          He&apos;s going out of business for
          god&apos;s--

BANG! Out of nowhere, Joker slams his head into the wall.
Head-butting it hard.

                       HOYT
                 (taken aback)
          Hey!

BANG! BANG! He does it two more times. Breaking the plaster
on the wall--
                                                                20.


                         HOYT
               What the fuck, Arthur?!

                         JOKER
                   (voice tightens)
               I don&apos;t have his sign.                                   

     And Joker just stares at Hoyt, some blood forming on his
     forehead--                                                         

                                                          CUT TO:       


16   EXT. BACK ALLEY, OUTSIDE HA-HA&apos;S - AMUSEMENT MILE - DAY      16    

     WE&apos;RE AT THE FAR END OF AN ALLEY, about halfway down, catch a      
     glimpse of Joker still half-dressed on the other side of a         
     dumpster. From this vantage, all we can see is him furiously       
     KICKING and STOMPING on something... or somebody.                  

     We don&apos;t hear anything. And we can&apos;t make out what it is that      
     he&apos;s so violently beating down.                                    

     It could be a cat... a cardboard box... a homeless person...       
     We don&apos;t know.                                                     

     Joker just continues unleashing his rage--                         


17   INT. CITY BUS (MOVING) - DUSK                                17

     Joker at the end of his work day, sitting in his spot toward
     the back of the bus.

     Across the aisle from him, he&apos;s innocently watching a young
     couple, playfully teasing each other.


18   EXT. GOTHAM, LOWER EAST SIDE - EVENING                       18

     Joker heading back home down the litter-covered streets like
     he does every night. Garbage still piled along the sidewalks,
     air still thick with smog.

     He&apos;s carrying the paper bag that Randall gave him.


19   INT. LOBBY, APARTMENT BUILDING - EVENING                     19

     Joker checks his mailbox. Empty.
                                                             21.


20   INT. ELEVATOR, APARTMENT BUILDING - CONTINUOUS              20

     Joker is on the elevator, as the door closes, he sticks his
     foot out to stop it.

     The door limps back open. Ding.

     He looks to see if anybody, if Sophie, is coming. He waits.
     Hoping.

     The door starts to close on him again-- Right before it does,     
     he stops it with his foot again. Ding.


21   INT. MOM&apos;S APARTMENT, BATHROOM - NIGHT                      21

     JOKER&apos;S GIVING HIS MOM A BATH, being careful with her as he
     shampoos her hair.

                         MOM
               --so what did he say when you gave
               him the letter?

                         JOKER
               They wouldn&apos;t let me see him.
                   (lying)
               But they promised me it would get
               to him.

                         MOM
               It&apos;s good they promised. He only
               works with the best. We should hear
               something soon.

     He fills an empty plastic container with some bath water.

                          JOKER
               Look up.

     She tilts her head back and he rinses her hair with the water
     from the container...

                         JOKER
               Why are these letters so important
               to you, Ma? What do you think he&apos;s
               gonna do?

                         MOM
               He&apos;s gonna help us.

                         JOKER
               Help us how?
                                                             22.


                         MOM
               Get us out of here, take me away
               from this place and these-- these
               awful people.

                         JOKER
               You worked for him over 30 years
               ago. What makes you think he would
               help you?

     She looks at him with conviction.

                         MOM
               Because Thomas Wayne is a good man.
               If he knew how I was living, if he
               saw this place, it would make him
               sick. I can&apos;t explain it to you any
               better than that.

     Joker nods. Annoyed, but not worth the argument. He stands up
     to get her a towel.

                         JOKER
               I don&apos;t want you worrying about
               money. Everyone&apos;s been telling me
               they think my stand-up is ready for
               the big clubs. It&apos;s just a matter
               of time before I get a break.

     She steps into the towel. He&apos;s helping dry her off.

                         MOM
               Happy, what makes you think you
               could do that?

                         JOKER
               What do you mean?

                         MOM
               I mean, don&apos;t you have to be funny
               to be a comedian?

     Beat.


22   INT. MOM&apos;S BEDROOM, APARTMENT - LATE NIGHT                22

     Joker&apos;s mom is out cold in her bedroom, a half-eaten plate of
     food is next to her on the bed.
                                                             23.


23   INT. LIVING ROOM, MOM&apos;S APARTMENT - CONTINUOUS               23

     Joker sits on the couch. The TV is on, but the sound is off.
     He holds the .38 SNUB-NOSE REVOLVER Randall gave him in his
     hand. He&apos;s never held a gun before, looks uncomfortable with
     it, the weight of it in his hand...

     He points it at the TV, hand trembling a bit... Points it at       
     the cat... Points it at his head.

     Looks closely at the grip. The barrel. The cylinder. Now he
     casually pulls the trigger--

     BLAMMMMMMM!

     He jumps up off the couch. What the fuck!? He looks around in
     a panic. His hands shaking.

     He shot a hole in the wall.

                         MOM (OS)
                   (awoken by the shot)
               HAPPY!? What was that?

                         JOKER
               What?!

     He quickly turns up the TV volume. REALLY LOUD. Shoves the
     still smoking gun under the couch cushions.

                         MOM (OS)
               THAT NOISE! DID YOU HEAR THAT
               NOISE?

     He&apos;s inspecting the hole in the wall. Shouts back over the TV
     noise--

                         JOKER
               I&apos;M WATCHING AN OLD WAR MOVIE.

                         MOM (OS)
               TURN IT DOWN!

     He heads for his mother&apos;s bedroom.


24   INT. MOM&apos;S BEDROOM, DOORWAY - CONTINUOUS                     24

     Joker looks in on his mom in her dark bedroom, can make out
     the outline of her body sitting up.

                         MOM
               It&apos;s so loud.
                                                                24.


                         JOKER
               I know. The Americans are really
               giving it to the Japs.

     He walks over to her in the darkness. Kisses her on the
     forehead.

                         JOKER
                   (softly)
               I&apos;m sorry. I&apos;ll turn it down.


25   INT. KITCHEN, MOM&apos;S APARTMENT - LATE NIGHT                   25

     Joker is writing in his journal. He speaks softly to himself
     as he writes...

                          JOKER
               Why didn&apos;t Randall tell me the gun
               was loaded? He&apos;s my friend. With my
               luck, I could have killed someone.
                   (beat)
               I could have killed myself.

     CLOSE ON THE LAST LINE, he crosses out &quot;could&quot;...

     Writes... &quot;should&quot;.

                         JOKER
                   (still to himself)
               I should have killed myself.

     CLOSE ON JOKER as he crosses out something again...

                         JOKER
                   (louder to himself)
               I should kill myself.

     Beat.


26   EXT. STREET, LOWER EAST SIDE - MORNING                       26

     HANDHELD POV, see the run-down building where Joker lives
     from across the street.

     REVEAL, Joker is watching his own building on the far side of
     a parked truck. Red hood pulled up, covering his head. He
     waits. Watches.

     Now we see Sophie exiting the building with her daughter
     GiGi. Sophie&apos;s dressed more conservatively than when we
     previously met her.
                                                                25.


     Joker starts following them.


27   EXT. PUBLIC SCHOOL - MORNING                                 27

     Sophie drops GiGi off at school. Joker&apos;s still watching.
     Following.


28   EXT. ELEVATED SUBWAY PLATFORM - MORNING                      28

     Sophie waits on the platform. Lights a cigarette.

     We see Joker, hidden behind a steel support beam-- watching
     her from a distance.


29   INT. SUBWAY (MOVING) - MORNING                               29

     Joker stands at the window between two subway cars. Just
     watching Sophie as she reads a book in the next car.

     The train comes to a stop and she exits. Joker exits as well.


30   EXT. STREET, UPPER EAST SIDE - MORNING                       30

     Nicer part of Gotham. Joker follows Sophie from a distance,
     watches as she walks into Gotham First National Bank.

     Sees her say hello to the guard. This is where she works.

     Joker just watches and waits.


31   INT. GOTHAM FIRST NATIONAL - LATER                           31

     A large, mid-level bank. Sophie is one of THREE BANK TELLERS
     working behind the plexiglass windows.

     Joker pulls the hood back off his head, takes a deep breath
     before he walks up to her window. She is looking down,
     counting her drawer.

     Takes another deep breath. Then--

                         JOKER
               Hello. I&apos;d like to open an account.

     She looks up.

                         SOPHIE
                   (surprised)
               Hey, what are you doing up here?
                                                        26.


                    JOKER
          Oh, hi. That&apos;s weird.
              (pausing to see if he&apos;s
               gonna laugh; he&apos;s good)
          I didn&apos;t know you worked at a bank.

                    SOPHIE
          Pretty glamorous, right?

Not getting the sarcasm, Joker nods. Looks around.

                    JOKER
          Very glamorous. Look at this place.

She laughs.

He stands there awkwardly for a moment looking around to see
what she&apos;s laughing about.

Realizes she thought he was making a joke.

Beat.

                    JOKER
          I&apos;m a comedian. I do stand-up
          comedy.

                    SOPHIE
          Really? I had no idea.

                    JOKER
          Yeah. You know, I&apos;m always making
          funny observations. Always on the
          look out for my next bit-- so it
          makes sense.

                    SOPHIE
          Right. Anyway, is there something I
          could help you with?

Beat.

                    JOKER
          I said hi to my mom.

                       SOPHIE
          Excuse me?

                    JOKER
          Last week. You said to say hi to my
          mom. I did. Made her day.

They are interrupted by the BRANCH MANAGER (50&apos;s), white,
heavy-set, who has come up behind Sophie--
                                                             27.


                         BRANCH MANAGER
               Everything okay here?

     He puts his heavy hand on Sophie&apos;s shoulder. She practically
     shudders from his touch.

                         SOPHIE
               Everything is fine Mr. Slotnick.

     Now he leans down and whispers something in her ear-- Joker
     just watches through the glass.

                         SOPHIE
                   (shakes her head; to her
                    manager)
               No. He&apos;s not. He&apos;s interested in
               opening an account.

                         BRANCH MANAGER
                   (to Joker)
               Great. You just need to fill out a
               form. They are back there-- against
               the wall.

     As the manager talks, Sophie makes wide eyes at Joker, like
     &quot;I almost got in trouble.&quot;

                          JOKER
                   (covering; trying to act
                    cool)
               Okay. Thank you, sir. And thank you
               as well, Miss.

     Joker walks back to the wall by the forms.

     He fumbles around for a minute, clearly not there to open an
     account. He begins filling out a form. Then--

                         JOKER
                   (shouts out, to no one in
                    particular)
               YOU KNOW WHAT?! I FORGOT MY ID!
               I&apos;LL BE BACK. THANK YOU.

     He walks out of the bank. Head in the clouds.


32   INT. GOTHAM COMEDY CLUB, CHINATOWN - NIGHT                32    

     Joker sitting in the middle of a dark, crowded comedy club.     
     People on dates. Groups of friends. All here to watch the
     stand-up. He sits at a small table by himself, watching the
     act on stage.
                                                              28.


     The comic on stage is killing it. The whole room is laughing
     and applauding. Everyone except Joker.

     He&apos;s watching. Studying. Diligently jotting down notes in his
     notebook.


33   EXT. GOTHAM COMEDY CLUB, STREET - CHINATOWN - NIGHT          33    

     People are piling out of the club, onto the narrow street,         
     jumble of lit-up signs, most glowing yellow or red. Joker          
     walks out alone, carrying his notebook. He sees a FLYER taped      
     to the entrance of the club.                                       

     CLOSE ON THE FLYER, &quot;Open mic night. Thursdays. 10pm.&quot;

     He rips the flyer off the wall.


34   INT. HA-HA&apos;S TALENT BOOKING, LOCKER ROOM - DAY               34

     Joker is working on his &quot;Mr. Jingles&quot; clown look, using the
     small mirror in his locker. Behind him a couple of other
     clowns are eating their lunch at a small table, not paying
     Joker any attention.

     Joker pauses half-finished, and stares at himself for a beat.
     He starts to examine the two small scars on the corners of
     his mouth, we really notice how they form a smile. Joker
     hooks the corners of his mouth down with his index fingers,
     turning his smile into a frown--

     He lets go and his smile returns.

     Does it again, up and down, up and down, his face a living
     comedy/tragedy mask.

     And then he pulls his fingers wider, stretching his smile
     into a grotesque parody, pulling his mouth so wide tears come
     to his eyes--

     AND WE HEAR JOKER SINGING &quot;If You&apos;re Happy and You Know It&quot;
     at his next gig.

                         JOKER (PRE-LAP)
                   (singing)
               --if you&apos;re happy and you know it
               and you really want to show it, if
               you&apos;re happy and you know it clap
               your hands.
                                                             29.


35   INT. GOTHAM GENERAL - CHILDREN&apos;S WARD - EVENING           35

     Joker is performing for a ward full of sick children, wearing
     an oversized white lab coat over his &quot;Mr. Jingles&quot; clown
     costume. A few nurses and doctors watch as well.

     His white clown face, mouth outlined in black and filled in
     with red, his green wig frizzy and worn out. Joker plays a
     UKULELE along with the song.

                         JOKER
               If you&apos;re happy and you know it,
               stomp your feet.

     Joker and the kids stomp and sing along.

                          JOKER
               If you&apos;re happy and you know it,
               stomp your feet.
                   (stomp, stomp)
               If you&apos;re happy and you know it and
               you really want to show it, if
               you&apos;re happy and you know it stomp
               your feet.

     As the song winds down, the KIDS and NURSES clap.

     Joker takes an exaggerated and ridiculous bow--

     And as he does, his .38 SNUB-NOSE REVOLVER slips out of his
     pants and slides across the floor.

     Everyone stops. Looks at the gun on the floor.


36   INT. LOBBY, GOTHAM GENERAL - LATER                        36

     Joker is on a payphone in the lobby of the hospital. He&apos;s in
     his street clothes, wig in his hand, clown-face still painted
     on.

                         JOKER
                   (into phone)
               Hoyt, let me explain.

                         HOYT (OVER PHONE)
               Oh, this&apos;ll be good. Please tell me
               why you brought a gun into a sick
               kid&apos;s ward?

                         JOKER
                   (into phone)
               It was, it was a prop gun. It&apos;s
               part of my act now.
                                                         30.


                    HOYT (OVER PHONE)
          Bullshit. Jingles would never carry
          a fucking gun. Besides, Randall
          told me you tried to buy a .38 off
          him last week.

Joker&apos;s taken aback that Randall would do that to him.

                    JOKER
              (into phone)
          Randall told you that?

                    HOYT (OVER PHONE)
          He was with me when the call came
          in. You&apos;re a fuck up, Arthur. And a
          liar. You&apos;re fired.

                    JOKER
              (into phone)
          Hoyt--

                     HOYT (OVER PHONE)
          Say it, Arthur.
              (beat)
          Let me hear you say it.

                    JOKER
              (into phone)
          Say what?

                    HOYT (OVER PHONE)
          I&apos;m a fuck up and I&apos;m fired.

Joker picks at his eyebrow.

                    JOKER
              (into phone; low)
          --I&apos;m a fuck up and I&apos;m fired.

                    HOYT (OVER PHONE)
          Louder.

                    JOKER
              (into phone; louder)
          I&apos;m a fuck up and I&apos;m fired.

                    HOYT (OVER PHONE)
          Yes. You are.

Click. He hears Hoyt hang up.

Beat.
                                                                31.


37   INT. SUBWAY (MOVING) - NIGHT                                 37

     JOKER SITS ON THE SUBWAY CONTEMPLATING WHAT JUST WENT DOWN,
     face still painted, his bag on the seat next to him, along
     with his wig.

     There&apos;s only one other person on the subway car, a YOUNG
     WOMAN (30&apos;s) sitting at the far end-- reading a book.

     The train comes to a stop and THREE WALL STREET GUYS enter.
     They are being loud and obnoxious, clearly drunk. One of them
     is eating some french fries out of a greasy McDonald&apos;s bag.
     He flops down on the bench across from the girl and checks
     her out. The other two guys start getting into it with each
     other--

                         WALL STREET #1
               --I&apos;m telling you, she wanted my
               number. We should have just stayed.

     The train starts moving again...

                         WALL STREET #2
               You&apos;re dreaming, man. She wasn&apos;t
               interested-- at all.

                         WALL STREET #1
               Are you nuts? Did you see how close
               we were dancing!? She was in love,
               bro.

     He starts dancing a bit with himself, mimicking what he
     remembers. Wall Street #2 takes a swig from the brown bag he
     is carrying.

                         WALL STREET #2
               She couldn&apos;t wait to get away from
               you.

     Joker is watching them closely, impressed by their confidence
     and easy-going camaraderie.

                          WALL STREET #1
                    (to the third guy)
               Ryan, am I crazy? Tell him what you
               saw.

     But the third Wall Street guy isn&apos;t paying his friends any
     attention. He has his eyes set on the young woman sitting
     across from him, reading her book.

                         WALL STREET #3
                   (to the girl)
               Hey. You want some french fries?
                                                        32.


He holds out his McDonald&apos;s bag and shakes it to get her
attention. The other two share a look. Joker watches from his
seat.

                    WALL STREET #3
          Hello? I&apos;m talking to you. You want
          some fries?

She looks up and shakes her head, polite smile.

                    YOUNG WOMAN
          No thank you.

The other two guys crack up at this apparent blow-off. The
third Wall Street guy shakes his head, embarrassed, and
starts softly flinging fries at the young woman.

                    WALL STREET #3
          You sure? They&apos;re really good.

She just buries her face deeper in her book--

                    WALL STREET #2
          Don&apos;t ignore him. He&apos;s being nice
          to you.

One of the french fries lands in her hair. She looks down
toward Joker, looking to see if he&apos;s going to do something or
say something--

Joker just sits there nervous. Not sure what to do, or even
if he wants to do anything at all.

AND HE JUST BURSTS OUT LAUGHING. He covers his mouth with his
hand as they continue to harass the woman.

They all look over-- What the fuck is this clown laughing at?

                    WALL STREET #1
          Something funny, asshole?

With their attention diverted, the young woman rushes out
through the door between subway cars, glancing back at Joker
before she goes--

                    WALL STREET #3
              (shouts after her)
          BITCH!

Joker laughs even harder through his hand. The Wall Street
guys turn to him sitting by himself at the end of the car--
                                                          33.


Joker sees them staring. Looks down at the ground, hand still
covering his mouth, face turning red. Subway swaying, lights
flickering on and off.

Beat.

One of the guys heads down the car toward Joker, starts
singing &quot;Send in the Clowns&quot; as he approaches--

                    WALL STREET #1
              (singing)
          Isn&apos;t it rich?
          Are we a pair?
          Me here, at last on the ground                         
          You in mid-air
          Send in the clowns.                                    

The others crack up and follow after him. The guy plops down
next to Joker, puts his arm around his shoulder as he sings--

                    JOKER
              (shakes his head, stifling
               the laughter)
          Please. Don&apos;t.

                    WALL STREET #1
              (continues singing to him)
          Isn&apos;t it bliss?
          Don&apos;t you approve?
          One who keeps tearing around,
          One who can&apos;t move.

Joker starts to get up-- The lead guy pulls him back down.

                    WALL STREET #1
          Where are the clowns?
          There ought to be clowns.

As he finishes the song, Joker&apos;s laughing fit is coming to an
end. One of the other guys sits down on the other side of        
him. He&apos;s now sandwiched in between them--                       

                    WALL STREET #2
          So tell us, buddy. What&apos;s so
          fucking funny?

                    JOKER
          Nothing. I have a condition--

Joker reaches into his bag to get one of his &quot;Forgive my
laughter&quot; cards, the third guy sees him reaching and tries to
grab the bag from him---

Joker pulls on it--
                                                        34.


                    JOKER
          No. It&apos;s just my stuff. I don&apos;t
          have anything.

The guy rips the bag from his hand--

                    WALL STREET #3
          I&apos;ll tell you what you have,
          asshole.

Joker gets up from between them to go grab his bag back. The
two guys are cracking up.

                    WALL STREET #3
          You want it back? Here--

Joker reaches out to grab the bag--

And the guy tosses it over his head to one of his friends.
Keeping it away from Joker.

Three guys in suits tossing a bag around, playing &apos;monkey in    
the middle&apos; with a clown. THE LIGHTS ON THE TRAIN SEEM TO       
GLOW BRIGHTER AND WE HEAR the drum roll opening to BOBBY        
SHORT singing &quot;Send in the Clowns&quot; Live at the Caf� Carlyle.    

Joker keeps trying to catch his bag until suddenly--

WHAP! Out of nowhere one of the guys punches him hard in the
face.

Joker goes down as if in slow motion. Blood coming from his
nose. He tries to get up, but his feet slip from under him
and he falls back down--

                    WALL STREET #1
          Stay down you freak.

And the third Wall Street guy starts kicking him--

The others join in. Surrounding Joker on the ground, kicking    
him deliberately, sadistically, and the music swells--          

BLAM!

SUDDENLY THE LIGHTS GO BACK DIM, and one of the guys stops
kicking and falls back dead. Blood splattering on the subway
wall behind him--

And we HEAR Bobby Short sing out, picking up from where the     
Wall Street Guy left off--                                      
                                                             35.


                         BOBBY SHORT (SINGING)                          
               Just when I&apos;d stopped opening doors                      
               Finally knowin&apos; the one that I                           
               wanted was yours                                         

     BLAM! BLAM! Wall Street #2 goes down--

     Revealing Joker on the ground, opening his eyes to see what
     he did, smoking gun in his hand--

                         BOBBY SHORT (SINGING)                          
               Making my entrance again with my                         
               usual flair                                              
               Sure of my lines                                         
               No one is there                                          

     The third guy takes off running for the doors that separate        
     the cars.                                                          

     Joker starts after him, but then stops... turns back to grab
     his bag and his wig, his hands shaking from the adrenaline.

     The train is coming to a stop.

                         BOBBY SHORT (SINGING)                          
               Don&apos;t you love farce?                                    
               My fault I fear...                                       

     Joker picks up his bag between the two dead bodies, blood          
     everywhere...

     The subway doors wheeze open and Joker steps halfway off the
     train, waiting to see if the third Wall Street guy gets off
     in the car ahead of him. Joker sees him run off--


38   EXT. SUBWAY PLATFORM - CONTINUOUS                            38

     The platform is empty, the Wall Street guy is running toward
     the stairs--

     Joker follows--

     Behind them, the train pulls away--

                         BOBBY SHORT (SINGING)                          
               I thought that you&apos;d want what I                         
               want.                                                    
               Sorry, my dear.                                          

     The guy makes his way to the stairs, unaware that Joker is
     behind him--

     BLAM!
                                                                36.


     The third guy falls, tumbling down the stairs. Joker walks
     over to the body and empties the chamber-- BLAM! BLAM!             

                         BOBBY SHORT (SINGING)                          
               But where are the clowns?                                
               Quick, send in the clowns                                
               Don&apos;t bother they&apos;re here.                               

     And as &quot;Send in the Clowns&quot; ends, Joker fires the last shot--      
     BLAM! He&apos;s got nothing left.                                       


39   EXT. STREET, ROBINSON SQUARE PARK - NIGHT                    39    

     Joker hauls ass out of the subway and makes a mad dash across      
     a busy street, horns honking--                                     

     Running as fast as he can past piles of garbage, he takes a        
     sharp turn high-tailing into a small, run-down needle park,        
     disappearing into the darkness.                                    


40   INT. PUBLIC BATHROOM, ROBINSON SQUARE PARK - NIGHT           40    

     Joker runs into the bathroom, locks the door behind him and        
     SUDDENLY EVERYTHING HITS HIM ALL AT ONCE--                         

     He throws up into the dirty toilet, puking his guts out--          

     He finishes, wipes his mouth with the back of his hand. And        
     pulls the gun out of his waist, looking around for someplace       
     to throw it out. Under the sink he sees a rusted, metal grate      
     hanging off the wall covering some pipes.                          

     Before he bends down, Joker catches his reflection in the          
     smudged mirror. Sees himself holding the gun in his hand--         

     Beat.                                                              

     He raises the gun to his head and pulls the trigger--              

     Click.                                                             

     It&apos;s empty.                                                        

     He gets down on his knees, sweat dripping off his face, pulls      
     the grate away from the wall. And tosses the gun away inside.      
     Moves the grate back in place.                                     

     Joker stands back up and turns on the faucets. Rinses out his      
     mouth.                                                             

     Looks at his smudged reflection as he starts washing the           
     clown make-up off his sweaty face--                                
                                                             37.


                         JOKER
               Hi. Do you like to laugh?

     Water dripping, white grease paint running off his face--         

                         JOKER
               Remember how I told you that I&apos;m a
               stand-up comedian?
                   (again)
               Hi. How are you?

     Beat.


41   INT. APARTMENT BUILDING, LOBBY - LATER                      41

     Joker enters his building with great urgency. No time for the     
     elevator, he takes the stairs. Two at a time.

     He races up the stairwell.


42   INT. HALLWAY, APARTMENT BUILDING - CONTINUOUS               42

     When he gets to his floor, instead of making a left toward
     his apartment-- He makes a right, toward Sophie&apos;s. He stops
     at her door. Out of breath.

     Knocks.

     He hears footsteps. Quickly pulls the folded-up flyer out of
     his pocket.

     The peephole in the door goes dark and then light again. He
     hears locks unlocking. Sophie opens the door halfway--            

     Joker looks down at his feet--                                    

                         JOKER
               Hi. Do you like to laugh?                               

                         SOPHIE                                        
               What?                                                   

                         JOKER                                         
                   (continuing without taking                          
                    a breath)                                          
               Remember the other day when I told                      
               you about my stand-up comedy. Well,
               I&apos;m doing a set next Thursday and
               I&apos;m inviting a bunch of my friends
               and I was wondering if maybe you
               wanted to come and check it out.
                                                        38.


He reaches out to give Sophie the flyer, she opens the door     
wider-- He notices her face, sees her eyes are red.             

                    JOKER
          Were you crying? Why are you
          crying?

Beat.

                    SOPHIE
          I had a bad day.

                    JOKER
          I&apos;m sorry. I, I didn&apos;t--

                    SOPHIE
          It&apos;s okay. How would you know.

                    JOKER
          What happened?

                    SOPHIE
          I got fired. From the bank.

Joker takes a deep breath and smiles without realizing it,
hoping he doesn&apos;t start to laugh.

                      JOKER
          What for?

                    SOPHIE
          Because,-- I don&apos;t know. It doesn&apos;t
          fucking matter. I don&apos;t know what
          I&apos;m gonna do.

And she starts crying again. Joker doesn&apos;t move. Just stands
in the doorway awkward.

                    JOKER
              (finally)
          Okay. Well, all the info is right
          there on the flyer.

He starts to walk away, then turns back to her--

                    JOKER
          You know they say laughter is the
          best medicine.

Sophie wipes her eyes and manages a smile.

                    SOPHIE
          Is that what they say?
                                                                39.


     Joker just nods yes and walks back toward his mother&apos;s
     apartment.


43   INT. DEPT. OF HEALTH, OFFICE - MORNING                       43

     JOKER SITS ACROSS from the same Social Worker from the
     opening scene. Same depressing office.

     She stares at him for a beat, clearly annoyed.

                         SOCIAL WORKER
               We spoke about this last time,
               Arthur. You&apos;re supposed to bring
               your journal with you.

                         JOKER
               Well I didn&apos;t think you were going
               to read it.

                         SOCIAL WORKER
               You said it didn&apos;t bother you.

                         JOKER
               I lied. Everything bothers me.

                         SOCIAL WORKER
               What about it bothered you?

                         JOKER
               It&apos;s personal. It&apos;s my private
               thoughts. Plus it contains original
               comedy material that I don&apos;t feel
               comfortable handing over to you.

     She looks at him and shakes her head. Not in the mood to deal
     with this.

                         SOCIAL WORKER
               Arthur, I have some bad news for
               you.

     He looks up, intrigued.

                         SOCIAL WORKER
               They&apos;ve cut our funding. We&apos;re
               closing down our offices next week.

     He looks around, just noticing some MOVING BOXES stacked
     against the wall.

                         JOKER
               So where will we be meeting?
                                                              40.


                         SOCIAL WORKER
               We won&apos;t be. The city&apos;s cut funding
               across the board. Social services
               is part of that.

     Joker nods, not hating the idea.

                         JOKER
               Okay.

                         SOCIAL WORKER
               They don&apos;t give a shit about people
               like you, Arthur. You don&apos;t have a
               voice and they don&apos;t really care
               what happens to you or to us for
               that matter.

     He sits there for a moment. And then it dawns on him--

                         JOKER
               How am I gonna get my medication?

     Beat.


44   INT. MOM&apos;S APARTMENT, KITCHEN - MORNING                    44

     CLOSE ON A COUPLE OF PILLS, as they get crushed up.

     CLOSE ON THE RESIDUE, as it&apos;s sprinkled on top of a bowl of
     oatmeal.

                         MOM (OS)
               Happy! Come in here. Thomas Wayne
               is on TV.

     Joker takes a couple of pills for himself. Looks inside. Not
     many left. He looks over at the orange cat sitting on the
     counter, purring loudly, watching him.

                         MOM (OS)
               Quick! Come.


45   INT. MOM&apos;S BEDROOM, APARTMENT - CONTINUOUS                 45

     Joker walks in carrying her breakfast. She waves him over to
     her bed.

                         MOM
               They&apos;re interviewing him about
               those horrible murders on the
               subway last week.
                                                        41.


                    JOKER
          Why are they talking to him?

His mother shushes him. Joker sits on the end of the bed next
to her. It&apos;s one of those &quot;Good Morning, Gotham&quot; shows.

                    THOMAS WAYNE (ON TV)
          --as you know, Jerry, all three of
          them worked at Wayne Investments,
          and they were the best of the best.
          Solid young men.

A small smirk registers on Joker&apos;s face when photos of the
THREE WALL STREET GUYS come up on the screen.

                    THOMAS WAYNE (ON TV)
          And while I didn&apos;t know them
          personally, like all Wayne
          employees, past and present, they
          were family.

Joker&apos;s mom perks up at that--

                    MOM
          You hear that! I told you. We&apos;re
          family.

ANGLE ON TELEVISION, footage of GRAFFITI around the city.
&quot;KILL THE RICH&quot; spray painted on a storefront. &quot;F CK WALL
STREET&quot; written on a subway wall. &quot;RESIST&quot; scrawled across a
billboard.

                    &quot;GOOD MORNING&quot; HOST (ON TV)
          There now seems to be a groundswell
          of anti-rich sentiment in the city.
          It&apos;s almost as if our less
          fortunate residents have taken the
          side of the killer.

                    THOMAS WAYNE (ON TV)
          Yes and it&apos;s a shame. It&apos;s one of
          the reasons I&apos;m considering a run
          for mayor. Gotham has lost its way.

                    &quot;GOOD MORNING&quot; HOST (ON TV)
          Are you announcing your candidacy?

                    THOMAS WAYNE (ON TV)
              (smiles)
          No comment.

We hear his mother gasp, excited.
                                                                42.


                         &quot;GOOD MORNING&quot; HOST (ON TV)
               What about the eyewitness report of
               the suspect being a man in clown
               make-up or a clown mask-- Care to
               comment on that?

     Joker leans in, intrigued. The camera zooms in closer to
     Thomas Wayne on the screen...

                         THOMAS WAYNE (ON TV)
               It makes total sense to me. What
               kind of coward would do something
               that cold-blooded? Someone who
               hides behind a mask. Someone who&apos;s
               envious of those more fortunate
               than themselves, yet too scared to
               show their own face.
                   (to camera)
               And until that jealousy ends, those
               of us who&apos;ve made a good life for
               ourselves will always look at those
               who haven&apos;t as nothing but clowns.

                                                           CUT TO:


46   INT. COMEDY CLUB, BACKSTAGE HALLWAY - NIGHT                  46

     JOKER&apos;S POV, slowly walking down the hall -- as if in slow
     motion -- toward a curtain at the end, spotlight bleeding
     through, other wannabe comics looking at him as he passes--

     CLOSE ON JOKER, eyeing the others, sweat beading on his
     forehead--

     He gets to the curtain, the light, pulls his worn joke-
     notebook out of his back pocket. Glancing into the room he
     sees it&apos;s a pretty good crowd. Sees Sophie taking a seat in
     the back.

     Wheeling back into the dark hallway, he catches his breath in
     the shadows--

     And starts BANGING HIS HEAD BACK against the wall--

     He hears the EMCEE from the stage.

                         EMCEE (OS)
               This next comic describes himself
               as a lifelong Gotham resident who
               from a young age was always told
               that &quot;his purpose in life was to
               bring joy and laughter into this
               cold, dark world.&quot; Ummm. Okay.
                                                                43.


     He hears the crowd laugh.

                         EMCEE (OS)
               Please help me welcome Arthur
               Fleck!

     There is a smattering of applause.

                                                        CUT TO:

     JOKER STEPPING ON STAGE, out under the spotlight, lifts the
     microphone in front of his mouth, the light so bright he
     can&apos;t see faces in the dark audience, his hand trembling
     holding onto his worn notebook--

     He takes a deep breath, looks out at the dark crowd, and
     opens his mouth.

     And starts to laugh. His eyes go wide. God no, not now. A
     terrified look comes to his face under the laughter. He just
     keeps laughing. The crowd is just staring back at him.

     Finally he composes himself--

                          JOKER
                   (trying to stop himself
                    from laughing)
               -- good evening, hello.
                   (deep breath; trying to
                    stop laughing)
               Good to be here.
                   (keeps cracking up)
               I, I hated school as a kid. But my
               mother would always say,--
                   (bad imitation of his mom,
                    still laughing)
               &quot;You should enjoy it. One day
               you&apos;ll have to work for a living.&quot;
                   (laughs)
               &quot;No I won&apos;t, Ma. I&apos;m gonna be a
               comedian!&quot;

     Dead silence. Except for Joker, who&apos;s still cracking up.

                                                        CUT TO:


47   EXT. COMEDY CLUB, CHINATOWN STREET - NIGHT                   47    

     Joker and Sophie walking out of the club after the show, the
     audience trickles out around them. Nobody looking in Joker&apos;s
     direction, nobody says anything to him, maybe one or two even
     cracking up at him behind his back. Garbage bags crowding the      
     narrow street, lit up by the bright signs.                         
                                                           44.


Joker and Sophie walk a ways without saying a word. Awkward
silence.

Then--

                    JOKER
          So, did you laugh? Really couldn&apos;t
          see much from up there.

Sophie pauses, doesn&apos;t know what to say. She lights up a
cigarette.

                    SOPHIE
              (trying to be nice)
          Of course. Yeah. You couldn&apos;t hear
          anything?

                    JOKER
          All I heard was my heart pounding.

                     SOPHIE
          It was good. I really needed to get
          out of my apartment so, thanks.
              (beat)
          What happened to the rest of your
          friends?

                    JOKER
          What friends?

                    SOPHIE
          Didn&apos;t you say some of your friends
          were coming?

                    JOKER
              (he forgot; recovers)
          Yeah, I decided not to invite them.
          As a performer sometimes you want
          to see how a &quot;real&quot; crowd reacts.
          People who don&apos;t already love me,
          or, or have a notion of who I am,
          you know?

                    SOPHIE
              (nodding)
          Yeah. I get that.

Joker smiles at the connection. They walk past a newsstand--
a wall of Chinese language newspapers mixed with local papers     
and tabloids, screaming headlines about the three Wall Street     
Guys gunned down on the train.

Joker stops and stares at the headlines--
                                                           45.


CLOSE ON HEADLINES, &quot;Subway Vigilante&quot;... &quot;Yuppie Slaughter&quot;
&quot;Killer Clown On The Loose?&quot;...

                    SOPHIE (OS)
              (re: the headlines)
          You believe that shit?

                    JOKER
          Yeah,-- I don&apos;t know how something
          like that happens.

                    SOPHIE
          Please. I&apos;ll bet you five bucks
          those rich assholes deserved it.

He turns to her.

                       JOKER
          You think?

                    SOPHIE
          Look at their faces. Those smug
          smiles. I&apos;ve seen that look. Fuck
          them.

Sophie flicks her cigarette away and starts walking.

                    SOPHIE
          The guy who did it is a hero. Three
          less pricks in Gotham City. Woo-
          hoo! Only a million more to go.

Joker watches her walk for a beat.

                    JOKER
              (calls out to her)
          Hey. You want to get some coffee?

Sophie turns around and smiles. She looks great, even in
front of the mounds of garbage bags that line the sidewalk.

AN AMBULANCE SCREAMS BY, SIRENS BLARING as Sophie says
something that Joker doesn&apos;t hear. She keeps walking.

Joker chases after her and trips over a TIN GARBAGE CAN LID--

CLANG. CLANG. He falls down flat on his face.

Sophie turns and bursts out laughing. She can&apos;t help but
laugh. It&apos;s the first time she&apos;s laughed all night.
                                                             46.


48   INT. SZECHUAN ACE RESTAURANT, TABLE - NIGHT               48    

     Table covered with plates of half-eaten Chinese food.           

     Joker and Sophie sitting across from each other, middle of      
     conversation. Crowded room, brightly lit, looks more like a     
     casino. Almost everybody eating there is Chinese. It&apos;s loud.    

                         SOPHIE
               --I&apos;m telling you, it&apos;s across the
               board. Wall Street, the banks,
               politicians. They&apos;ve been making a
               killing for years. Fuck them.

     Joker takes a moment to think about what she said.

                         JOKER
               I don&apos;t know.

                         SOPHIE
               What don&apos;t you know?

                         JOKER
               Not all of them are awful. Take
               someone like Thomas Wayne for
               example. He&apos;s a hero.

                         SOPHIE
               Oh c&apos;mon, he&apos;s the worst!

     Joker is taken aback--

                         JOKER
               Sophie, he&apos;s the only one who can
               save this city.

                         SOPHIE
               You can&apos;t be serious!? He&apos;s a
               complete narcissist. Brags about
               his money. Meanwhile, the rest of
               us can barely make rent. Or feed
               our kids.

     Joker nods. Thinking about it.

     Then--

                         JOKER
               What happened?

                            SOPHIE
               With what?
                                                        47.


                    JOKER
          With your job. At the bank?

                    SOPHIE
              (suddenly uncomfortable)
          Oh. Yeah, I was, um,--

                    JOKER                                      
          We don&apos;t have to talk about it.                      

Beat.                                                          

                    SOPHIE                                     
          Have you ever been fired before?                     

Joker thinks it over for a moment.                             

                    JOKER                                      
          Every time.                                          

                     SOPHIE                                    
          And have you ever wanted to torch                    
          the place?                                           

                    JOKER                                      
              (thinks it over again)                           
          Every time.                                          

Sophie smiles.                                                 

                    SOPHIE                                     
          Right. And this was like the first                   
          good job I had in like, years. Not                   
          waitressing or anything like that.                   
          It was 9-5. I had benefits. You                      
          know what that means when you have                   
          a kid?                                               

Joker just looks at her, he doesn&apos;t really know what that      
means. He just smiles.                                         

                    SOPHIE                                     
          But from the very first day, the                     
          manager guy starts smiling at me,                    
          whispering in my ear, touching me,                   
          trying to get me to sleep with him--                 

                    JOKER                                      
              (interrupting)                                   
          Did you do it? Did you go to bed                     
          with him?                                            
                                                           48.


                    SOPHIE                                        
          Fuck no. The guy&apos;s a fucking pig.                       
          So finally I complained to his                          
          boss, and they fired me... And now,                     
          now I don&apos;t know what to do with                        
          myself.                                                 

                    JOKER                                         
          Right. Wait, what do you mean?                          

                    SOPHIE                                        
          I finally felt good. Like I had a                       
          future. A purpose. And now I don&apos;t                      
          even know how I&apos;m gonna pay my                          
          rent.                                                   

AND JOKER STARTS LAUGHING. He puts a hand over his mouth
trying to cover it, but he can&apos;t stop cracking up--

It&apos;s unsettling and disturbing for Sophie. People eating,         
waiters in red vests, busboys, all look over and stare at         
him. A few laugh. Joker turns away embarrassed, he looks out      
the plate-glass window, face turning red from laughing so
hard--

AS HE LOOKS OUT, HE SEES A GROUP OF ROWDY KIDS walking down
the street. One of them glances back before he turns the
corner-- HE&apos;S WEARING A CLOWN MASK THAT LOOKS JUST JOKER&apos;S
CLOWN FACE. And then he&apos;s gone. The group disappears around
the corner--

Joker can&apos;t believe his eyes, still laughing-- He turns to
Sophie who didn&apos;t see them. Just sits there awkwardly waiting
for it to stop.

Finally, it subsides--

                    JOKER
              (catching his breath)
          I&apos;m sorry. I have this thing--

                    SOPHIE                                        
          I know.                                                 

Awkward beat.                                                     

                    SOPHIE                                        
          How did you get it?

                    JOKER
          I don&apos;t know. I read you can get it
          from a brain injury or, or a lesion
          in there. My mom said I was born
          this way. Born laughing.
                                                                49.


                            SOPHIE
                  Is that why she calls you Happy?

                            JOKER
                  Kind of. That actually started when
                  I was a kid. The other kids made
                  fun of me, called me Happy-- but
                  not in a good way. I got so sick of
                  it, one day when I was about ten,
                  I, I,--

     He smiles.

                              SOPHIE
                  What?

                            JOKER
                  I took a razor and cut this smile
                  onto my face.
                      (she&apos;s taken aback as he
                       points to the scars)
                  Sort of like &quot;You want happy? Here,
                  how&apos;s this for happy?&quot;

     He looks down, still smiling. She just watches him for a
     beat.

                              SOPHIE
                  You okay?

                            JOKER
                  I&apos;ve been thinking about this night
                  my whole life.

     They just sit there for a beat. Quiet.


49   INT. MOM&apos;S APARTMENT, LIVING ROOM - NIGHT                    49

     Joker opening the door to his mother&apos;s apartment, holding a        
     doggie bag in his hand, sees the flickering blue light of the      
     TV on in the living room, hears the end of &quot;LIVE WITH MURRAY
     FRANKLIN!&quot; He locks the locks, drawing the security chain
     high on the door.

     TURNS TO CATCH A GLIMPSE OF HIS MOTHER PASSED OUT in the
     living room, the cat jumping up next to her on the chair.

     Joker watches for a beat as Murray does his signature sign
     off, the one he&apos;s been doing for years--
                                                        50.


                    MURRAY FRANKLIN (ON TV)
              (looking into camera)
          Good night! And always remember,--
          That&apos;s life.

                    JOKER
              (quietly)
          &quot;That&apos;s life.&quot;

He hears Don Ellis and his Jazz Orchestra playing the show&apos;s
closing song-- the instrumental version of Frank Sinatra&apos;s
&quot;That&apos;s Life&quot;.

As the music continues, Joker puts his face up against his
mom&apos;s nose, to see if she&apos;s breathing or if she&apos;s dead.

He feels her breath against his cheek.

Now he picks his mother up in his arms and carries her into
her bedroom to the music, almost as if he&apos;s dancing with her
as he leaves the room...

We stay behind.

&quot;That&apos;s Life&quot; still playing from TV.

He comes back into the living room and turns off the TV.
Takes off his jacket and throws it on the couch. Notices
something sticking out of his jacket pocket. He pulls it out.

It&apos;s the envelope he was supposed to deliver to Thomas Wayne.

He stares at it for a beat. And then--

Quietly rips it open, starts to read the letter:

CLOSE ON WORDS, &quot;Dearest Thomas, I don&apos;t know where else to
turn...&quot;

&quot;Need your help...&quot;

&quot;You have a son. We have a son. His name is Arthur.&quot;

Stops reading, stays on--

&quot;You have a son.&quot;

JOKER STARING DOWN AT THE LETTER, reading those words over
and over again -- &quot;You have a son.&quot;

                                                   CUT TO:
                                                             51.


50   INT. MOM&apos;S BEDROOM, APARTMENT - EARLY MORNING                50

     JOKER&apos;S SITTING IN A CHAIR in his mother&apos;s room watching her
     sleep. He has clearly been up all night. Still wearing the
     same clothes.

     He&apos;s holding her letter in his hand as the sun is just
     starting to rise outside the windows, light just beginning to
     crack the gloom.

     THE ORANGE CAT SITS AT HIS FEET staring up at him, won&apos;t take
     her eyes off of him.

     Joker impatiently sits there for another moment waiting for
     his mother to wake up, then suddenly--

     SHRIEKS OUT AT THE TOP OF HIS LUNGS like a teapot, kicking
     his back on the chair like an excited toddler--

     His mother wakes with a start, looking around half asleep and
     confused--

     Joker turns and sees the cat run out of the room--

                         MOM
               --what, what time is it?

     He doesn&apos;t answer.

                         MOM
               What happened? Did you hurt
               yourself again?

     Joker holds her letter up in his hand.

                         JOKER
               What is this? How come you never
               told me?

                         MOM
               Is, is that my letter? Is that my
               letter, Happy?

                         JOKER
               How could you not tell me, Ma?

                         MOM
               You told me you dropped it off.
               You have no right opening my mail.
               Who do you think you are?

                         JOKER
                   (raising his voice;
                    excited)
                         (MORE)
                                                        52.

                    JOKER (CONT&apos;D)
          Apparently I&apos;m Thomas Wayne&apos;s son!
          How could you keep that from me?

His mother slowly getting up out of bed.

                    MOM
          Stop yelling at me, you&apos;re gonna
          kill me, give me a heart attack!

She goes into the bathroom.

                    JOKER
              (shouts after her)
          I&apos;m not yelling! I&apos;m just, excited.
          How can any of this be real!? How
          can Thomas Wayne be my father?

                     MOM (OS)
              (shouts back from behind
               the door)
          I&apos;m not talking to you until you
          calm down.

Joker sits for a minute then gets up and goes to her bathroom
door. Talks to his mother from the behind the closed door.

                    JOKER
              (lowers his voice; trying
               to sound calm)
          Okay. How&apos;s this, Mom? Better? Will
          you please talk to me?

Joker leans in closer to the door. Leaning against it with
just his head--

                    JOKER
          Please.

                    MOM (OS)
          He is an extraordinary man, Arthur.
          We had a connection. I was so
          beautiful then. We were in love.

Joker just leans there, listening. He closes his eyes, it&apos;s
all too much.

                     MOM (OS)
          His wife could see it. She was
          jealous from the moment I started
          working there. She fired me before
          I even knew I was pregnant with
          you.
               (hear her crying now)
                     (MORE)
                                                                53.

                          MOM (OS) (CONT&apos;D)
               And, I never told him or anybody
               because, well, you can imagine what
               people would say about Thomas and
               me, and, and what they would say
               about you.

                         JOKER
                   (eyes still closed, head
                    leaning against the door)
               What would they say, Ma?

                         MOM (OS)
               That I was a whore, and Thomas
               Wayne was a fornicator, and that
               you&apos;re a little, unwanted bastard.

     AND THE BATHROOM DOOR SUDDENLY SWINGS OPEN, and Joker falls
     face first into the bathroom--

     Just missing his mother, crashing down onto the floor--

                                                          CUT TO:


51   EXT. BOARDWALK, AMUSEMENT MILE - MORNING                     51

     Joker heads down the boardwalk toward Ha-Ha&apos;s, a bounce in
     his step.

     Looming behind him like the skeletons of monsters, a
     sprawling rickety-looking wooden roller coaster and the
     gigantic steel Wonder Wheel in the amusement park by the
     ocean. Sound of waves crashing, seagulls squawking.


52   INT. HA-HA&apos;S TALENT BOOKING, LOCKER ROOM - MORNING           52

     Joker walks into the locker room, sees Randall half-dressed
     for work, red nose, big pants, big shoes, no wig yet, sitting
     with Gary, TWO OTHER CLOWNS AND A MAGICIAN around the small
     table, shooting the shit, drinking coffee.

     They nod hello at Joker or give him a perfunctory wave, most
     of his co-workers think he&apos;s a freak.

                         GARY
               Hey Art, I heard what happened--
               I&apos;m sorry man.

                         RANDALL
               Yeah, Hoyt did you wrong, buddy.
               Doesn&apos;t seem fair.
                                                          54.


Joker looks hard at Randall for a moment, just slowly nods,
and continues on to his locker.

He starts to clean it out, stuffing all of his clown gear
into an old brown paper shopping bag. Hears them talking
about him behind his back, about why he got fired, laughing
at him--

                    HA-HA CLOWN #1 (OS)
          Did you really bring a gun to the
          kid&apos;s hospital, Artie? What the
          fuck would you do that for?

Joker doesn&apos;t answer them, just continues emptying his
locker, a bag of balloons, a magic wand, some trick flowers--

                    HA-HA CLOWN #2
          No, I heard he pulled it out and
          waved it around like a cowboy.

His co-workers crack up. Joker answers the guy without
looking back--

                    JOKER
          It was a prop gun. And I didn&apos;t
          pull it out, it fell out.

                    MAGICIAN
          So is that part of your new act? If
          your singing doesn&apos;t do the trick,
          you just gonna shoot yourself?                         

More laughter.

                    HA-HA CLOWN #2
          I thought Jingles was a lover not a
          fighter.

Joker turns and looks at all of them, nods at Randall--

                    JOKER
          Why don&apos;t you ask Randall about it?
          It was his idea.

                    GARY
              (to Randall)
          Since when do you use a prop gun?

                    RANDALL
          What? I don&apos;t. Stop talking outta
          your ass, Art!
              (to the guys)
                    (MORE)
                                                             55.

                          RANDALL (CONT&apos;D)
               I think all his stupid laughing
               musta scrambled his brain or                           
               something.

     The guys laugh and keep jawing. Joker doesn&apos;t say anything.
     Just finishes packing his bag and closes his locker door--


53   EXT. HA-HA&apos;S, BACK ALLEY - AMUSEMENT MILE BOARDWALK - MORNING
                                                               53

     Joker exits the back door holding onto his brown shopping bag
     under his arm, starts down the alley.

     Behind him, Randall hustles out and chases down the alley
     after him, still half-dressed for work.

                         RANDALL
                   (calling out)
               Art! Hold up,--

     As he catches up with Joker his red nose falls off, but he&apos;s
     so out of breath he doesn&apos;t realize he lost it--

                         RANDALL
               What the fuck was that about?

     Beat.

                         JOKER
               What?

                         RANDALL
               Why would you say that? That, that                     
               it was my idea.                                        

     Joker just looks back at Randall. Sees his red Styrofoam nose
     bouncing down the alley behind him.

                         JOKER                                        
               ...                                                    

                         RANDALL                                      
               You don&apos;t get it, do you, buddy,                       
               that shit that went down on the                        
               subway, that&apos;s no joke. They got                       
               clown sketches on the front of                         
               every fucking paper. It&apos;s just a                       
               matter of time before the cops come                    
               around.                                                

     Beat.                                                            

                         JOKER
               I don&apos;t know anything about it.
                                                                56.


                         RANDALL
                   (leans in close; lowers
                    his voice)
               Art, you know you&apos;re my boy. I&apos;m                        
               not gonna say shit. I just hope you                     
               got rid of that gun. That can&apos;t                         
               come back on me, okay?                                  

                         JOKER
               Randall, I didn&apos;t shoot anybody.
               That wasn&apos;t me. And I don&apos;t have
               time for this, I got somebody real
               important I gotta go see.

     Joker turns to go--

                         RANDALL
               You know they&apos;re sellin&apos; masks.

                         JOKER
                   (turning back around)
               What?

                         RANDALL
               They&apos;re selling masks of your clown
               face,-- based off the description I                     
               guess. It&apos;s like a thing now.

                         JOKER
               What are you talking about?

                         RANDALL
               There&apos;s a lot of people in this
               city who are happy you did what you
               did. If you did it.

                         JOKER
               Randall. Your nose.

                           RANDALL
               What?

     Randall touches his face. Realizes his nose is not there.

     Joker points to Randall&apos;s clown nose tumbling back down the
     alley. And Randall hustles after it, chasing after his red
     nose blowing skipping away in the wind--


54   INT. METRO TRAIN (MOVING) - COUNTRYSIDE, OUTSIDE GOTHAM - 54
     NEXT AFTERNOON

     CLOSE ON NEW &quot;KILLER CLOWN&quot; SKETCH ON FRONT PAGE OF THAT
     DAY&apos;S TABLOID, a more detailed drawing.
                                                             57.


     HEADLINE, &quot;KILLER CLOWN STILL ON THE LOOSE!&quot;

     SUB-HEAD, &quot;&apos;Kill the Rich&apos; -- A New Movement?&quot;

     ANGLE ON JOKER LOOKING DOWN AT HIS NOTEBOOK, STARING AT A
     PHOTOGRAPH OF THOMAS WAYNE RIPPED OUT FROM A MAGAZINE, taped
     to a page. He glances at his distorted reflection in the
     window, takes his hand and parts his hair to the side, more
     like Thomas Wayne&apos;s hair. Maybe there is a resemblance.

     WIDER ANGLE, train is packed with wealthy white businessmen
     and a couple businesswomen heading home after work, many of
     them reading the same tabloid. The &quot;Killer Clown&quot; sketch of
     Joker&apos;s clown face dots the train. No empty seats -- except
     the one next to Joker.


55   INT. TAXI CAB (MOVING), COUNTRYSIDE - AFTERNOON              55

     JOKER IN THE BACK OF A TAXI STARING OUT AT THE COUNTRYSIDE,        
     at the trees and green grass and blue sky and open spaces
     whizzing by. The sun is getting low, bathing everything in a
     golden light.

     He doesn&apos;t see garbage anywhere.


56   EXT. WAYNE MANOR, FRONT LAWN - MAGIC HOUR                    56    

     Joker walking along an intimidating wrought iron fence,            
     surrounding the estate like prison bars, the brown paper           
     shopping bag stuffed under his arm. The big house set up a         
     small hill, evergreens dot the lush grounds. As he walks
     around looking for the front entrance, Joker catches a
     glimpse of an innocent looking EIGHT-YEAR-OLD BOY tracking         
     him from behind the trees, hiding as he follows.

     Joker stops.

     He sees the boy stop behind a tree.

     Joker continues walking until he gets to the front gate. He
     digs into his bag and pulls out the magic wand--

     He holds it up for the boy to see.

     The boy steps out from behind a tree to get a closer look.

     Joker puts the brown bag down on the ground, looks over the        
     wand, pretending like he&apos;s trying to figure out what it does.
     He waves the wand over the front gate lock to &quot;try and see&quot;
     if it will open-- It doesn&apos;t.
                                                           58.


The little boy walks down toward the fence, face like an          
angel.                                                            

Joker waits until he gets closer and then reaches his hand        
through the fence and hands the kid his magic wand so he can      
try and figure out what it does--

The boy takes the wand and it goes limp in his hand before he     
can wave it-- He laughs, surprised. He hands it back to
Joker.

The boys sees Joker&apos;s face up close, staring at his scarred       
smile--

Joker straightens the wand back out, and reaches in through       
the fence again so the kid can give it another try.               

AND AGAIN THE MAGIC WAND DROOPS IN THE BOY&apos;S HAND. He laughs      
and gives it back to Joker--                                      

Joker examines the wand as if its &quot;broken&quot;, stiffens it one       
last time, crouches down lower, and...                            

Ta-da! A bouquet of flowers bursts out the end of the wand--

Joker smiles and hands him the wand bouquet of flowers--          

The little boy takes the flowers. Keeps staring at Joker, at      
the scars around his mouth.                                       

Now, he reaches his hand out through the fence and touches        
Joker&apos;s face, tracing his finger around the edges of Joker&apos;s      
mouth, over his scarred smile--                                   

Joker closes his eyes -- embarrassed -- but it feels good to      
him, nobody ever touches him besides his mother.

He starts to smile, when a man&apos;s voice shatters the moment--      

                    ALFRED (OS)                                   
              (shouting; slight English                           
               accent)                                            
          Bruce! What are you doing? Get away                     
          from that man.                                          

The little boy pulls his hand back. Turns and runs away--         

Joker looks up and sees a balding, tired-looking, ALFRED          
PENNYWORTH (50&apos;s) bounding down the hill toward them.             

Joker stands back up.                                             
                                                           59.


                    ALFRED                                        
              (still shouting)                                    
          What are you doing? Who are you?                        

Little Bruce runs behind Alfred, hiding behind his legs.          

                    JOKER                                         
          My name&apos;s Arthur. I&apos;m here to see                       
          Mr. Wayne--                                             

                    ALFRED                                        
              (interrupting)                                      
          You shouldn&apos;t be talking to his                         
          son. Why did you give him those                         
          flowers?                                                

Alfred takes the flower-wand away from the kid--                  

                    JOKER                                         
          I, I was just trying to make him                        
          laugh.                                                  

He hands it back to Joker.                                        

                    ALFRED                                        
          Well it&apos;s not funny. Do I need to                       
          call the police?                                        

                    JOKER                                         
          No, please. My mother&apos;s name is                         
          Penny Fleck. She used to work here,                     
          years ago. Can you tell Mr. Wayne                       
          that I need to see him?                                 

                    ALFRED                                        
              (color drains from his
               face; beat)
          You&apos;re her son?                                         

                    JOKER                                         
          Did you know her?                                       

Alfred doesn&apos;t say anything.                                      

Joker puts his face right up against the bars, whispers so        
the boy can&apos;t hear him--                                          

                    JOKER                                         
          You don&apos;t need to cover for them.                       
          I&apos;m sure Mrs. Wayne was very upset                      
          when she found out.                                     
                                                             60.


                         ALFRED
               There was nothing to find out                            
               about. Your mother was, was                              
               delusional. She was a sick woman.                        

                         JOKER                                          
               No. No, just let me speak to Mr.                         
               Wayne.                                                   

     Now Alfred leans in closer to Joker, almost looks like he          
     feels some pity for him--                                          

                         ALFRED                                         
               Please just go, before you make a                        
               fool of yourself.

     Beat.

                         JOKER
                   (blurts out)
               Thomas Wayne is my father--

     Alfred looks at Joker, and can&apos;t help but crack up laughing        
     at him.                                                            

     AND JOKER REACHES THROUGH THE BARS AND GRABS HIM. Pulls him        
     in close, trying to choke him, still holding the wand of           
     flowers in one hand--                                              

     AS HE CHOKES ALFRED, Joker sees little Bruce, wide-eyed in         
     the shadows, looking out at him in horror.                         

     Joker stops.

     Lets go of Alfred... Takes off running back down the street        
     away from Wayne Manor, magic wand in hand, leaving the rest        
     of his clown gear behind.                                          

                                                        CUT TO:


57   EXT. LOWER EAST SIDE, STREETS - NIGHT                        57

     JOKER&apos;S BACK IN HIS PART OF TOWN, garbage everywhere here.
     The neighborhood at night is alive. Loud kids on the street
     corners... A drunk seemingly fights no one... Hookers working
     the street... He hears a wailing siren...

     As Joker turns the corner, he sees AN AMBULANCE PARKED in
     front of his building. Lights flashing. Hit with a sense of
     dread, he runs toward the building--
                                                             61.


58   EXT. STREET, APARTMENT BUILDING - NIGHT                      58

     A SMALL CROWD OF GAWKERS have gathered around watching the
     drama unfold. Shouting and laughing, loud dance music blaring
     out an open window, feels like an impromptu block party.

     Joker runs up, sees his mother being wheeled down the front
     steps unconscious on a stretcher, AN EMT holding an oxygen
     bag on her face. TWO DETECTIVES IN PLAIN SUITS following
     behind them. It&apos;s a chaotic scene.

     FROM ABOVE, Joker pushing through the crowd, rushes to his
     mother&apos;s side. We don&apos;t hear what he says to the paramedics
     over the music and the crowd, just see them nod okay and
     Joker follow after them into the back of the ambulance--


59   INT. CITY AMBULANCE, BACK (PARKED) - NIGHT                   59

     Joker looking out the back doors as they start to shut close--

     CATCHES A GLIMPSE OF SOPHIE, coming out of the building. He
     stares at her through the small back door window. Casually
     waves at her, trying to connect with her--

     Joker sees the two detectives approaching Sophie as the
     ambulance pulls away. Speeding away down the street, siren
     wailing--

                                                        CUT TO:


60   INT. CITY HOSPITAL, EMERGENCY TREATMENT ROOM - NIGHT         60

     Joker&apos;s standing near the doorway of a large overcrowded
     treatment room. Watching a sleep-deprived ER RESIDENT (late
     20&apos;s), and an EMERGENCY NURSE start to intubate his mother.
     He hears shouts and cries of pain from around the crowded
     room.

     Joker turns away when he sees them insert a thin endotracheal
     tube into her mouth and down through her larynx. It makes him
     gag--


61   EXT. CITY HOSPITAL, ER - NIGHT                               61

     Joker sits on a bench outside the bustling emergency room.
     He&apos;s getting some fresh air, but he picked a weird spot to do
     it.

     He watches the sick and dying being rushed through the glass
     doors. Opening and closing. This happens in the background
     throughout the scene.
                                                        62.


The two detectives walk up to Joker, interrupting him
watching the doors. Gotham police detectives, GARRITY (50&apos;s),
grey hair, and BURKE (30&apos;s), his partner.

                    DET. GARRITY
          Mr. Fleck, sorry to bother you, I&apos;m
          Detective Garrity, this is my
          partner Detective Burke.

Joker looks up at them. Doesn&apos;t say anything.

                    DET. GARRITY
          We had a few questions for you, but
          you weren&apos;t home. So we spoke to
          your mother.

                    JOKER
          You did this to her?

                    DET. GARRITY
          What? No. We just asked her some
          questions and she started getting
          hysterical-- hyperventilating,
          trouble speaking-- then she
          collapsed. Hit her head pretty
          hard.

                    JOKER
          They told me she had a stroke.

Beat.

                    DET. GARRITY
          Sorry to hear that.

AND JOKER BURSTS OUT LAUGHING, he can&apos;t stop it.

The detectives are taken aback. They don&apos;t know what to make     
of him laughing. They share a look.

                    DET. BURKE
              (confused)
          I&apos;m lost. Is something funny?

                    JOKER
              (laughter choking up in
               his throat)
          No I,-- I have a, a--

Tears rolling down his face, he takes out one of his cards
and hands it to Det. Burke. Burke glances over the card, a
skeptical look on his face.
                                                        63.


                    DET. BURKE
          Okay. But we have some questions
          for you.

                    DET. GARRITY
          About those subway killings from a
          few weeks ago.

Joker pauses for a moment, his laughter subsiding. He holds
his breath.

                    JOKER
          I don&apos;t know anything about that.

                    DET. GARRITY
          We have an eyewitness who described
          a white male, about 6 feet tall, in
          clown make up. Or a clown mask.
          Spoke to your boss at Ha-Ha&apos;s, Mr.
          Vaughn, and he said you were on a
          job the day of the shooting.

Joker&apos;s still holding his breath, he nods yes.

                    DET. GARRITY
              (just continues)
          He also said you got fired that
          day,-- For bringing a gun into the
          children&apos;s hospital.

And Joker cracks up again, his laughter coming back harder--
He covers his mouth with his hand, shaking his head no, his
face now turning red.

                    DET. GARRITY
          You weren&apos;t fired?

Joker catches his breath as the intensity of his laughter
starts to wane, petering out.

                    JOKER
          Not for having a gun. That was prop
          gun. Part of my act.

Joker&apos;s laughter finally stops for good.

                    DET. BURKE
          So why were you fired?

                    JOKER
          They said I wasn&apos;t funny.

The detectives share another look.
                                                             64.


     Joker stands up.

                         JOKER
               Now, if you don&apos;t mind, I have to
               go back and look after my mother.

     Detective Burke steps close to him, holds up the card that
     Joker handed him--

                         DET. BURKE
               Hey lemme ask you a question? This
               condition of yours,-- Is this real
               or is this like some sorta clown
               thing?

                         JOKER
               Clown thing?

                         DET. BURKE
               I mean, is it part of your act?

                         JOKER
               What do you think?

     And Joker walks away-- heads for the sliding glass doors.
     Only the motion detector doesn&apos;t engage--

     AND HE SLAMS RIGHT INTO THE GLASS DOOR.

     HARD.

     He bounces back.


62   INT. HALLWAY, NURSE&apos;S STATION - CITY HOSPITAL - NIGHT        62

     Joker walking down the hallway, ER flooded with the poor and
     uninsured. Overwhelmed doctors and nurses trying their best
     to keep up. He stops at the busy nurse&apos;s station, and stands
     there for a moment, trying to get a nurse&apos;s attention--

                         JOKER
               Excuse me, I was wondering how I
               could check my mother out of here?

     One of the nurses at the desk looks up at him, seems slightly
     annoyed.

                         ER NURSE
               What&apos;s your mother&apos;s name?

                         JOKER
               Penny Fleck. I&apos;d like to take her
               home.
                                                        65.


The sleep-deprived ER RESIDENT who was working on his mother
overhears Joker, comes over to talk to him with a clipboard
in his hand. Joker recognizes him--

                    ER RESIDENT
          Mr. Fleck, your mother had a
          stroke. It&apos;s very serious. You
          can&apos;t &quot;check her out.&quot; She&apos;s gonna
          be here for at least a week.

                    JOKER
          She&apos;s not gonna wanna stay that
          long. She doesn&apos;t like hospitals.
          Or doctors.

                    ER RESIDENT
          I&apos;m sorry to hear that. But she
          can&apos;t just leave.

                    JOKER
          I don&apos;t like hospitals either.

Beat.

The resident just nods okay. Looks down at his clipboard--

                    ER RESIDENT
          Listen, I wanted to talk you about
          something we noticed in her tox
          report. We found heavy traces of
          multiple medications in her system.

                    JOKER
          Okay. Thanks.

He turns to go, but the resident continues--

                    ER RESIDENT
          One of them&apos;s perphenazine. It&apos;s a
          powerful anti-psychotic. If she was
          taking that regularly and then
          suddenly stopped, the withdrawal
          could have contributed to her
          stroke. Did you notice any
          symptoms?

                      JOKER
          Symptoms?

                    ER RESIDENT
          Withdrawal symptoms. Nausea...
          anxiety... hallucinations.

Joker shakes his head, no.
                                                              66.


                          ER RESIDENT
               Do you know how long she&apos;s been
               taking it?

     Joker shakes his head no again, leans in closer to the
     resident--

                          JOKER
               Can you tell me what those symptoms
               are again?

                                                          CUT TO:


63   INT. PATIENT BAY, EMERGENCY TREATMENT ROOM - NIGHT           63

     CLOSE ON TV, Murray Franklin is in the middle of doing his
     monologue.

                         MURRAY FRANKLIN (ON TV)
               So I told my youngest son, Tommy,
               remember he&apos;s the &apos;not so bright&apos;
               one,--
                   (laughter)
               I told him that the garbage strike
               is still going on. And he says, and
               I&apos;m not kidding, Tommy says, &quot;So
               where are we gonna get all our
               garbage from?&quot;

     Murray Franklin cracks up at his own joke. Studio audience
     laughs.

     JOKER LAUGHS, LYING IN BED NEXT TO HIS UNCONSCIOUS MOTHER in
     the large overcrowded treatment room.

     Blue curtain dividers separate the bays. He&apos;s watching the
     show on a TV bolted high on the wall. He glances over at his
     mother, laughing over the sounds of her labored breath, the
     pain and suffering of those around him.

     He looks back up at the television.

                         MURRAY FRANKLIN (ON TV)
               And finally, in a world where
               everyone thinks they could do my
               job, we got this videotape from the
               Gotham Comedy Club. Here&apos;s a guy
               who thinks if you just keep
               laughing, it&apos;ll somehow make you
               funny. Check out this joker.
                                                          67.


EXTREME CLOSE ON TV, GRAINY VIDEO OF JOKER&apos;S STAND-UP
PERFORMANCE. Joker on stage smiling behind the microphone,
under the harsh spotlight.

Joker watching himself on TV, his jaw drops--

                     JOKER (ON TV)
              (trying to stop himself
               from laughing)
          -- good evening, hello.
              (deep breath; trying to
               stop laughing)
          Good to be here.
              (keeps cracking up)
          I, I hated school as a kid. But my
          mother would always say,--
              (bad imitation of his mom,
               still laughing)
          &quot;You should enjoy it. One day
          you&apos;ll have to work for a living.&quot;
              (laughs)
          &quot;No I won&apos;t, Ma. I&apos;m gonna be a
          comedian!&quot;

Back to Murray Franklin shaking his head, trying not to
laugh.

                    MURRAY FRANKLIN (ON TV)
          You should have listened to your
          mother.

The studio audience erupts into laughter.

ANGLE ON JOKER, watching Murray Franklin make fun of him on
TV. He gets up and starts walking toward the TV set as if in
a trance. Unsure if this is really happening.

                    MURRAY FRANKLIN (ON TV)
          One more, Bernie. Let&apos;s see one
          more. I love this guy.

The tape continues of Joker at the comedy club.

                     JOKER (ON TV)
          It&apos;s funny, when I was a little boy
          and told people I wanted to be a
          comedian, everyone laughed at me.
              (opens his arms like a big
               shot)
          Well no one is laughing now.

Dead silence. Nobody is laughing. Not even him.

CUT BACK CLOSE ON MURRAY FRANKLIN, just shaking his head.
                                                              68.


                         MURRAY FRANKLIN (ON TV)
               You can say that again, pal!

     Murray cracks up and the studio audience laughs along with
     him.

     CLOSE ON JOKER, looking up at the television, hearing them
     all laughing at him.

     Beat.

                                                        JUMP CUT:

     Joker is dragging a chair to the television set.

     In a rage, he gets up on the chair and tries to pull the TV
     out of the wall, as the show continues to play--

     But the set is firmly secured to the wall, and Joker pulls so
     hard the chair flips from underneath him and he goes flying
     up the air, crashing down hard onto the floor.


64   INT. CAFETERIA, CITY HOSPITAL - EARLY MORNING                64

     Joker walks with a plastic tray of food. Some runny eggs and
     a coffee. He keeps his head down so no one can see his face.
     There are a few DOCTORS AND NURSES sitting and chatting at
     one table. A group of ORDERLIES are sitting together at
     another table.

     He goes and sits down in the far corner, far away from
     everyone else. Sees a tabloid newspaper left on the table,
     and picks it up to read so he doesn&apos;t seem so alone.

     ANGLE ON FRONT PAGE HEADLINE, &quot;Thomas Wayne Announces Run&quot;,
     over a full-page campaign-style photograph of Thomas Wayne
     waving to a crowd standing next to his wife, MARTHA (50&apos;s), a
     severe looking, well-preserved former model, and little Bruce
     Wayne standing in front of them. Photo catches Bruce looking
     into camera, eyes wide, scared by the crowd.

     SUB-HEADLINE READS, &quot;Protest Planned at Wayne Hall Opening
     Tonight&quot;

     Joker stares at the family photo.

     CLOSE ON BRUCE WAYNE IN PHOTO, Joker&apos;s fingers ripping his
     picture out of the front page.

                         YOUNG DOCTOR (OS)
               -- I&apos;m sorry to bother you, but can
               you settle an argument for us?
                                                               69.


     CLOSE ON JOKER LOOKING UP, interrupted from ripping out the
     picture. One YOUNG DOCTOR and TWO NURSES are standing around
     him. We stay with Joker, don&apos;t see their faces. Just their
     bodies, all dressed in green scrubs, uniforms.

                            JOKER
               Excuse me?

                         YOUNG DOCTOR (OS)
               You were the guy on Murray Franklin
               last night, right?

     He hears the nurses giggle.

                         JOKER
               No, sorry. Wasn&apos;t me.

                         NURSE #1 (OS)
               Of course it was you. You were the
               comedian.

                         YOUNG DOCTOR (OS)
               Except you weren&apos;t funny. You
               didn&apos;t tell any jokes.

     He hears the nurses giggle again.

     STAY CLOSE ON JOKER, getting upset. He just shakes his head.

                         JOKER
               I don&apos;t know what you&apos;re talking
               about.

                         YOUNG DOCTOR (OS)
               No. It was definitely you, buddy.
               You&apos;re the guy who couldn&apos;t stop
               laughing. Murray killed you.

     More laughter. Joker looks up at them.

                         JOKER
               If I were you, I&apos;d walk away from
               this table before I strangle all
               three of you with that fucking
               stethoscope hanging from your neck.

     Beat.


65   EXT. CENTER FOR PERFORMING ARTS, WAYNE HALL - UPTOWN - DUSK
                                                               65

     Joker crosses a busy street heading to the Center for
     Performing Arts. Light falling. Storm clouds gathering.
                                                                70.


     Joker stops when he sees--

     A CROWD OF PROTESTERS SCREAMING AND SHOUTING IN FRONT OF
     WAYNE HALL, behind steel barricades. Many wearing Joker&apos;s
     &quot;clown face&quot; mask... A few wave homemade signs, &quot;CLOWN FOR
     MAYOR&quot;... &quot;KILL THE RICH&quot;... &quot;MR. WAYNE, AM I A CLOWN?&quot;

     A LINE OF POLICEMEN AND SECURITY GUARDS stand between the
     crowd and the lit-up white marble building.

     Joker watches the protest for a moment, then continues across
     the street. It starts to rain.


66   EXT. WAYNE HALL, FRONT ENTRANCE - EVENING                    66

     A FIGHT BREAKS OUT between a &quot;clown&quot; masked protester and two
     cops. The crowd goes crazy, pushing through the barricades
     toward the building in the driving rain. The police and Wayne
     Hall Security fight to keep them out--

     Amidst all the chaos, we glimpse Joker slipping into the
     building unnoticed--


67   INT. LOBBY, WAYNE HALL - EVENING                             67

     Joker walks through the massive multi-level lobby. It&apos;s
     completely empty since the performance has already begun and
     whatever security was available is outside helping the police
     deal with the protesters.

     He looks up in awe at the crystal chandeliers... The shiny,
     marble floor beneath his feet. He&apos;s never seen anything this
     opulent in his entire life.


68   INT. BACK OF THEATER, WAYNE HALL - EVENING                   68

     JOKER MAKING HIS WAY THROUGH THE DARK SHADOWS ALONG THE BACK
     WALL OF THE AUDITORIUM, looking for Thomas Wayne in the sold-
     out black-tie audience--

     He catches bits of Chaplin&apos;s MODERN TIMES projected on a
     screen behind the Gotham Philharmonic playing the silent
     movie&apos;s score... the Tramp roller skating blindfolded on a
     date with the Gamin (Paulette Goddard) in a department store.

     He continues moving along the wall from aisle-to-aisle
     looking for Thomas Wayne...

     The audience laughs as the Tramp skates blindfolded, skirting
     along the edge of a balcony with no rail, orchestra playing
     the bouncy score. Joker can&apos;t find Thomas Wayne in the dark--
                                                             71.


     He moves to the top of the next aisle, pausing to watch more
     of the film. Suddenly somebody bumps into Joker--

     He looks up and sees it&apos;s one of Thomas Wayne&apos;s TWO SECURITY
     GUARDS, escorting Thomas Wayne out of the auditorium--

     Joker turns and watches them lead him out. Behind Joker on
     screen, the Tramp is rescued by the girl before he falls off
     the edge, orchestra swelling--


69   INT. LOBBY, WAYNE HALL - CONTINUOUS                         69

     Joker peeks his head out of the auditorium, sees Thomas Wayne
     heading into the men&apos;s room, his two security guards waiting
     by the door, still hear the orchestra playing the score--

     Joker glances back into the auditorium--

     Sees a lobby broom and upright dustpan tucked in the back
     corner--


70   INT. HALLWAY, MEN&apos;S ROOM - WAYNE HALL - SECONDS LATER       70

     Joker&apos;s sweeping up the hallway with his head down, hear the
     orchestra playing the melancholy &quot;Smile&quot; from the film&apos;s
     score. He sweeps along to the music like Emmett Kelly&apos;s
     famous hobo clown... Sweeping around the two security guards&apos;
     feet... Annoyed, they move a bit away from the bathroom
     door... And don&apos;t give Joker a second look as he heads
     inside...


71   INT. MEN&apos;S ROOM, WAYNE HALL - CONTINUOUS                    71

     Joker sweeps his way into the cavernous, black &amp; white tiled
     bathroom, ornate gold fixtures. It&apos;s empty save for Thomas
     Wayne peeing at the far end of a long line of urinals.

     Joker takes a deep breath, and walks down the line of urinals
     right up next to Thomas Wayne--

     He stands there for a beat while Thomas urinates, lobby broom
     and upright dustpan in hand--

                         THOMAS WAYNE
                   (glances over; annoyed)
               Can I help you, pal?

                         JOKER
               What? Yeah. No I, I--
                                                         72.


                     THOMAS WAYNE
              (interrupting)
          You need to get in here or
          something?

Thomas Wayne finishes and zips his fly back up. Joker is not
sure what to say to him, just says--

                    JOKER
          Dad. It&apos;s me.

Beat.

But Thomas Wayne doesn&apos;t hear him, he was flushing the
urinal. He walks toward the sink.

                       THOMAS WAYNE
          Excuse me?

Joker follows after him.

                     JOKER
          My name is Arthur. I&apos;m Penny&apos;s son.
              (beat)
          I know you didn&apos;t know about me,
          and I don&apos;t want anything from you.
          Well... maybe a hug.

And Joker smiles, it&apos;s all very emotional for him. Thomas
looks over at him like he&apos;s fucking crazy.

                    THOMAS WAYNE
          Jesus? You&apos;re the guy who came by
          my house yesterday.

Joker nods, relieved he finally broke through.

                    JOKER
          Yes. But they wouldn&apos;t let me in,
          wouldn&apos;t let me see you. So I came
          here. I have so many questions.

Thomas Wayne just laughs to himself and turns on the gold
faucets at one of the sinks.

                    THOMAS WAYNE
          Look pal, I&apos;m not your father.
          What&apos;s wrong with you?

                    JOKER
          How do you know?

Thomas Wayne just keeps washing his hands, doesn&apos;t even look
over at Joker.
                                                         73.


                    THOMAS WAYNE
          Cause you were adopted. And I never
          fucked your mother. What do you
          want from me, money?

                    JOKER
          No. What? I wasn&apos;t adopted.

Thomas starts drying his hands.

                    THOMAS WAYNE
          She never told you? Your mother
          adopted you before she even started
          working for us. She was arrested
          when you were four years old and
          committed to Arkham State Hospital.
          She&apos;s batshit crazy.

Joker starts to smile, feels a laugh coming on.

                    JOKER
          No. No, I don&apos;t believe that.

Thomas finishes drying his hands. Turns to Joker, his tone
way more serious now.

                    THOMAS WAYNE
          I don&apos;t really give a shit   what you
          believe.
              (steps in closer)
          But if you ever come to my   house
          again, if you ever talk to   my son
          again, if I ever even hear   about
          you again, I&apos;ll--

AND JOKER CRACKS UP LAUGHING, interrupting his threat.
Laughing right in his face--

                    THOMAS WAYNE
          Are you laughing at me?

Joker&apos;s laughing so hard he can&apos;t answer.

THOMAS SHOVES JOKER HARD UP AGAINST THE TILED WALL, gripping
his neck with one hand. Joker just cracks up louder, he drops
the dustpan and broom--

                    THOMAS WAYNE
              (shouting)
          You think this is funny?

Thomas Wayne&apos;s security guards bang open the door, rushing
into the bathroom when they hear the shouting--
                                                               74.


     They stop when they see Thomas has Joker jacked up against
     the wall.

                         JOKER
                   (tries shaking his head
                    no; still laughing and
                    choking)
               No, no I have a con--

                         THOMAS WAYNE
                   (interrupting; raising his
                    voice)
               Is this a fucking joke to you?

     AND THOMAS WAYNE PUNCHES JOKER STRAIGHT IN THE FACE with his
     free hand, blood spraying from his nose--


72   EXT. WAYNE HALL, FRONT ENTRANCE - PLAZA - NIGHT              72

     The two security guards roughly throw Joker out of the hall,
     right in front of the drenched crowd of screaming protesters,
     TV cameras and photographers now on hand, bulbs flashing--

     Joker knowing how to take a fall, plays it up in front of
     this audience for all it&apos;s worth, tumbling end-over-end out
     onto the plaza in the rain--

     He rolls to his feet with a bit of panache and brushes
     himself off like it was nothing.

     The protesters go crazy, cheering and applauding his act--

     And Joker takes a deep dramatic bow. Wet hair. Bloody nose.

     He turns and sees the security guards coming back out--

     Joker takes off running through the plaza in the downpour,
     running out of the Center for Performing Arts. Turns down a
     side street almost slipping--

     And keeps running even though nobody&apos;s chasing after him.

     We HEAR the familiar beats of THE SUGARHILL GANG&apos;S &quot;Apache&quot;
     as Joker just keeps running and running.


73   INT. APARTMENT BUILDING, HALLWAY - NIGHT                     73

     Joker knocking on Sophie&apos;s apartment door, &quot;Apache&quot; blaring
     inside. He&apos;s soaking wet, clothes clinging to his body.

     There&apos;s no answer.
                                                               75.


     He knocks again. Hard to hear anything over the loud music.

     Now he tries the door. It&apos;s unlocked.


74   INT. SOPHIE&apos;S APARTMENT, FRONT HALL - CONTINUOUS             74

     Joker walks into Sophie&apos;s apartment, &quot;Apache&quot; thumping,
     lights dim.

                         JOKER
               Sophie?

     WALKS INTO THE DARK LIVING ROOM, catches a glimpse of Sophie,
     naked riding on top of SOME GUY on the couch--

     The guy sees Joker standing in the shadows and jumps. Sophie
     turns and sees Joker as well. She screams--


75   INT. HALLWAY, APARTMENT BUILDING - NIGHT                     75

     Joker rushing for his mother&apos;s apartment.

     Behind him, the guy comes out half naked into the hallway,
     zipping up his pants, screaming at Joker--

     Joker doesn&apos;t look back, doesn&apos;t hear the guy yelling at him--

     Quickly opens the door to his mother&apos;s apartment and hurries
     inside.


76   EXT. ARKHAM STATE HOSPITAL - MORNING                         76

     A GRAY, BEHEMOTH STATE HOSPITAL looming over the city block.
     Metal screens cover steel-framed windows. Joker crosses the
     street toward the building, eyes weary, he hasn&apos;t slept in
     days.

     HE SEES TWO GOTHAM CITY COPS AND A PARAMEDIC rolling a gurney
     into the entrance... a naked, sunburned man screaming his
     head off is handcuffed to the stretcher underneath a white
     sheet. Joker follows them inside.


77   INT. ARKHAM STATE HOSPITAL - ADMINISTRATIVE OFFICE - MORNING
                                                               77

     Joker sits waiting in a cramped office, looking out a
     plexiglass window that overlooks the crowded hallway--
                                                          76.


A constant din of people moving about, talking and shouting.
Patients handcuffed to the armrests of their wheelchairs,
lying on stretchers, heads covered with pillowcase turbans or
forearms to block out the harsh fluorescent lights.

His gaze is interrupted by a CLERK (40&apos;s), ID clipped to his
shirt, who&apos;s lugging an old heavy file storage box.

He drops the box down on his messy desk with a thud.

                    CLERK
          Sorry for the wait. All our records
          that are 10 years or older are
          stored in the basement. You&apos;re
          talking over 30 years ago,-- I had                     
          to do some serious digging.

Joker nods thanks.

                    CLERK
          Like I said, if it&apos;s in here, I&apos;m
          still gonna need a release from
          her.

The clerk opens the file box. Starts digging though it. Joker
stares out the plexiglass window that faces the hallway--

                    JOKER
          Can I ask you a question? How does
          someone wind up in here? Have all
          these people committed crimes?

                    CLERK
              (going through the files)
          Some have. Some are just crazy and
          pose a danger to themselves or
          others. Some just got nowhere else
          to go.

Beat.

                    JOKER
              (nods; looks down)
          Yeah, I know how that is. Sometimes
          I don&apos;t know what to do, y&apos;know, I
          don&apos;t think I can take any more of
          this.

The clerk is half listening as he scans the paper work.

                    CLERK
          Yeah, I can&apos;t take much more of
          this shit either.
                    (MORE)
                                                           77.

                    CLERK (CONT&apos;D)
          Now they talking about more
          layoffs, man, we&apos;re understaffed as
          it is. I don&apos;t know what I&apos;m gonna
          do.

Joker looks up at the guy, thinking he&apos;s made a connection.

                    JOKER
          Last time I ended up taking it out
          on some,-- people. Bad shit. I
          thought it would bother me but, it
          really hasn&apos;t.

For the first time, the clerk looks at him--

                    CLERK
          What&apos;s that?

                    JOKER
          It&apos;s just so hard to try and be
          happy all the time, y&apos;know, when
          everything&apos;s going to shit all
          around you.

                    CLERK
              (taken aback; beat)
          Listen, I&apos;m just an administrative
          assistant, like a clerk. I file
          paperwork, fill out forms. I don&apos;t
          really know what to tell you, but
          maybe you should see someone-- they
          have programs, like city services.

                    JOKER
              (backtracking)
          Yeah. They cut those. Anyway, I was
          just talking to talk.

The clerk just nods. Finally finds what he was looking for.

                    CLERK
              (surprised)
          Here it is,-- Fleck. Penny Fleck.

He pulls out an old file, bulging with yellowing records.
Moves the box to the floor and sits down at his desk.

                    JOKER
              (saying it out loud for
               himself to hear)
          So she was a patient here.

The guy opens the file. Yellowing pages of her records--
                                                        78.


                    CLERK
              (nods, skim-reading)
          Uh-huh. Diagnosed by Dr. Benjamin                      
          Stoner... The patient suffers from                     
          delusional psychosis and                               
          narcissistic personality                               
          disorder... Found guilty of                            
          endangering the welfare of a child--                   

The clerk stops reading out loud, eyes going wide as he skims    
further ahead. Joker just looks at the guy, waiting to see       
what he&apos;s gonna say.                                             

                    JOKER
          What?

                    CLERK                                        
          You said she&apos;s your mother?

Joker just nods.

                    CLERK
              (closes the file)
          I&apos;m sorry, I can&apos;t. Like I said, I
          can&apos;t release this without the
          proper forms. I could get in
          trouble.
              (closes the file; beat)
          Besides, it&apos;s pretty bad.

CLOSE ON JOKER, he shakes his head and smiles to himself.

                    JOKER
          I can handle bad. I&apos;ve been on a
          pretty bad run myself.

The clerk puts the file down on his desk--

                    CLERK
          I can&apos;t help you. If you want these
          records you have to get your mom to
          sign a patient disclosure form. I
          can have someone mail you one.

Joker just sits there, thinking it all over for a moment.

Then snatches the file off the clerk&apos;s desk--

The clerk grabs it as well.

They play tug-of-war with the file, it&apos;s awkward and goes on
way too long. Finally, Joker shoves the guy hard and pulls
the file away--
                                                              79.


     He takes off running out of the office with it. The clerk
     watches for a beat, but does nothing.


78   INT. HALLWAY, ARKHAM STATE HOSPITAL - MORNING                78

     Joker running down the hallway, files in his hands. Frantic.
     Unaware he is not being chased.

     Turns a corner and runs down another long hallway.

     Gets to a stairwell door and runs in.


79   INT. STAIRWELL, ARKHAM STATE HOSPITAL - CONTINUOUS           79

     Bounding down the steps. He stops at a landing below. Looks        
     up, sees no one is chasing after him--                             

     ANGLE ON JOKER, catching his breath. He opens the file,
     flipping through the records, finds the page the clerk was
     reading. As he reads it over for himself, he HEARS his mother      
     being interviewed for her psychiatric assessment, over 30          
     years ago.                                                         

                         MOM (VO)                                       
               He&apos;s not adopted-- he&apos;s Thomas                           
               Wayne&apos;s son. I work for him, I told                      
               you, I clean his house. He&apos;s always                      
               smiling at me.                                           

                                                          CUT TO:       


80   INT. EMERGENCY INTERVIEW ROOM, ARKHAM STATE HOSPITAL - DAY 80      
     (FLASHBACK)                                                        

     Penny Fleck (late 20&apos;s) is sitting across the table from DR.       
     BENJAMIN STONER (50&apos;s), in a dreary small interview room,          
     windows covered with security screens. Penny takes a drag off      
     a cigarette, her face is beaten to shit, nose battered, lip        
     busted up.                                                         

     Dr. Stoner is going over Penny&apos;s thick file, the same file         
     Joker&apos;s holding in his hands.                                      

                         DR. STONER                                     
               We went over this, Penny. You                            
               adopted him. We have all the                             
               paperwork right here.                                    

     Penny doesn&apos;t say anything, just smiles like she&apos;s in on a         
     big secret. And exhales smoke.                                     
                                                           80.


Dr. Stoner keeps going through the file, pulls out black &amp;        
white forensic photographs of three-year-old Joker&apos;s body--       

                    DR. STONER                                    
          You also stood by as one of your                        
          boyfriends repeatedly abused your                       
          adopted son. And battered you.                          

Penny looks at Dr. Stoner like he&apos;s crazy.                        

                     MOM                                          
          He didn&apos;t do anything to me. Or to                      
          my boy. Can I go now, I don&apos;t like                      
          hospitals.                                              

Dr. Stoner lays out the photographs in front of Penny--           

Penny keeps smoking her cigarette, glances down at the            
photos, we catch glimpses of various bruises on parts of          
Joker&apos;s body... A filthy crib... A rope tied to the               
radiator...                                                       

                                                CUT BACK TO:      

Joker looking over the same black &amp; white photographs, still      
HEARS his mother--                                                

                    MOM (V0)                                      
          I never heard him crying. Not once.                     
          He&apos;s always been such a happy                           
          little boy.                                             

                    DR. STONER (VO)                               
          Penny, your son was found tied to a                     
          radiator in your filthy apartment,                      
          malnourished, with multiple bruises                     
          across his body and severe trauma                       
          to his head.                                            

Joker looks up from the file when he hears/reads this, turns      
and looks at Penny&apos;s reaction-- HE&apos;S NOW IN THE INTERVIEW         
ROOM WITH THEM, living what he&apos;s reading on the page.             

He sees his mother lean forward in her chair, glaring at Dr.      
Stoner--                                                          

                    MOM                                           
          That&apos;s not true. My apartment                           
          wasn&apos;t filthy. I keep a clean                           
          house.                                                  

Joker just stares at his mother.                                  

Dr. Stoner looks at Penny, not sure how to respond to that.       
                                                               81.


                          DR. STONER                                   
                   (beat)                                              
               And what do you have to say about                       
               your son?                                               

     ANGLE ON PENNY, thinking it over, taking a drag off her           
     cigarette.                                                        

                         MOM                                           
               I&apos;m just glad I got to know him.                        

     Joker just keeps staring at her as she exhales--                  

     JOKER BACK IN THE STAIRWELL LOOKS UP FROM THE FILE, looks         
     like maybe there&apos;s cigarette smoke drifting in front of his       
     face--                                                            

                                                        CUT TO:        


81   EXT. SCHOOL PLAYGROUND, STREET - AFTERNOON                  81

     Joker walking fast toward the playground. Sees Sophie talking
     with some other moms, as GiGi and a few kids play on the
     monkey bars.

     Sophie walks toward him, still disturbed about last night--

                         SOPHIE
               What the hell was that? You can&apos;t
               just walk into my apartment like
               that.

     He is taken aback by her anger--

                         JOKER
               No, wait,-- Sophie, we can get
               through this, that&apos;s why I&apos;m here.

                         SOPHIE
               What are you talking about? What do
               you think this is?

                         JOKER
               I don&apos;t know. I mean I&apos;ve never
               been with a woman &quot;like that,&quot; but,
               this feels like a beginning to me.

                          SOPHIE
               Arthur, I was just being nice to
               you. I felt sorry for you. I have a
               boyfriend.
                                                        82.


                    JOKER
          You what? What? What kind of woman
          are you? Who does that?

Some of the other mothers turn toward them--

                    SOPHIE
          You need to leave. I&apos;m not having
          this conversation with you.

                    JOKER
              (shouts)
          Why not?

GiGi runs up to Sophie&apos;s side to see what&apos;s going on, to see
if her mother&apos;s okay.

                    SOPHIE
              (turns to her daughter)
          Go back with your friends, honey.
          Mommy&apos;s having a grown up talk.

Before GiGi leaves Joker looks down at her--

                    JOKER
          No. Don&apos;t listen to her GiGi, you
          need to hear this. Your mother&apos;s a
          bad person. She&apos;s a whore, she&apos;s
          seeing two men at once. You can&apos;t
          trust her,-- She&apos;ll break your
          fucking heart.

Joker turns to go, behind him GiGi starts to cry. He&apos;s close
to tears himself.

Sophie takes off after him, and reaches out and grabs him--
Joker spins quickly around to face her, looks like he might
even hit her--

                    JOKER
          How come nothing ever comes easy
          for me?

And Sophie slaps him hard across the face-- Then turns and
walks away.

CLOSE ON JOKER, he begins to laugh--

                                                   CUT TO:
                                                               83.


82   INT. MOM&apos;S APARTMENT, LIVING ROOM - NIGHT                    82

     Joker manically pacing around the living room, banging the         
     side of his head with his hand, muttering to himself, almost       
     like he&apos;s having a conversation with himself, taking part in       
     some story in his head, in the background the 11:00 News is        
     playing on the television.                                         

     Footage of a protest in front of Wayne Tower... Protesters in
     &quot;Joker&quot; clown masks... Hear the NEWS ANCHOR&apos;s bombastic voice
     over, &quot;The anger and resentment that&apos;s been building up for
     weeks now, seems close to exploding. Protestors today, many
     dressed as clowns, took to the streets in front of Wayne
     Tower in one of many planned demonstrations.&quot;

     Joker stops when he hears this, turns to the flickering
     screen--

     ANGLE ON TELEVISION, protesters in the middle of a massive
     crowd outside a Wayne Tower.

                         &quot;CLOWN&quot; PROTESTER #1 (ON TV)
               You&apos;ll see what&apos;s gonna happen at
               City Hall next Thursday. We&apos;re
               gonna--

     Joker sits down on the couch eyes, leaning forward to make
     sure he&apos;s seeing what he&apos;s seeing--

                         &quot;CLOWN&quot; PROTESTER #2 (ON TV)
                   (interrupts; screaming
                    into camera)
               [Beep] the rich, [beep] the media,
               [beep] the blacks, [beep] the
               whites, [beep] everybody. They all
               [beeped] us, that&apos;s what this is
               [beeping] about!

     CLOSE ON JOKER, doesn&apos;t even blink, it&apos;s like he&apos;s watching
     himself on television.

                                                        CUT TO:


83   INT. MOM&apos;S APARTMENT, LIVING ROOM - MORNING                  83    

     Sun peeking through the windows. PHONE RINGING. Joker opening
     his eyes.

     His orange cat is sitting on his chest, staring at him.

     Joker finally got some sleep. He lies there for a beat. Phone
     still ringing, until the machine picks up the call.
                                                        84.


                    SHOW BOOKER (ON MACHINE)
          This message is for Arthur Fleck.
          My name is Shirley Woods, I work on
          the Murray Franklin show.                              

Joker sits up, the cat jumps off his chest. He can&apos;t believe     
what he&apos;s hearing. He gets up off the couch as the woman         
continues to leave a message on the machine--                    

                    SHOW BOOKER (ON MACHINE)                     
          I don&apos;t know if you&apos;re aware, but                      
          Murray played a clip of your stand-                    
          up on the show recently and we&apos;ve                      
          gotten an amazing--                                    

Joker picks up the phone--                                       

                    JOKER                                        
              (into phone; skeptical)                            
          Who is this?                                           

                    SHOW BOOKER (OVER PHONE)                     
          Hi, this is Shirley Woods from                         
          Murray Franklin Live. Is this                          
          Arthur?                                                

Beat.                                                            

                       JOKER                                     
                 (into phone)                                    
          Yes.                                                   

Joker looks down at the cat purring at his feet, and kicks it    
away.                                                            

                    SHOW BOOKER (OVER PHONE)                     
          Hi Arthur. Well, as I was saying--                     
          we&apos;ve gotten a lot of calls about                      
          your clip, amazing responses. And,                     
          Murray asked if I would reach out                      
          to see if you would come on as his                     
          guest. Can we set up a day?                            

PUSH IN ON JOKER&apos;S FACE, as it sinks in.                         

                    JOKER                                        
              (into phone)                                       
          Murray wants me to come on the                         
          show?                                                  

                    SHOW BOOKER (OVER PHONE)                     
          Yes. Isn&apos;t that great? He&apos;d love to                    
          talk to you, maybe do some of your                     
          act. Does that sound good to you?                      
                                                             85.


     As the PUSH IN ON JOKER finishes.                                  

     Hold.                                                              


84   INT. CITY HOSPITAL, HOSPITAL ROOM (SHARED) - MORNING         84

     JOKER WALKS INTO HIS MOTHER&apos;S SHARED HOSPITAL ROOM, passing
     an elderly wheezing woman in the bed closest to the door.
     Sees his mom in her bed by the window.

     He pulls the blue curtain separating the beds, giving him and
     his mother some privacy. Sits down on the edge of her bed.

     She smiles when she sees him. Still fairly incapacitated.

     He leans down close to her. Speaks softly, but filled with
     rage--

                         JOKER
               Ma, remember how you used to tell
               me that God gave me this laugh for
               a reason. That I had a purpose. To
               bring laughter and joy into this
               fucked up world,--

     She looks at him confused.                                         

                         JOKER
               HA! It wasn&apos;t God, it was you or,                        
               or one of your boyfriends,-- how                         
               could you let that happen? What
               kind of woman are you? What kind of
               mother are you?

     She looks away.

                         JOKER
               What&apos;s my real name?

     Her whole body is shaking, overwhelmed with emotion.

                         JOKER
               C&apos;mon, Ma, I know I was adopted.
               What&apos;s my name? Who am I really?

     She looks back him, struggles to speak--

                            MOM
               H-h-happ--

                         JOKER
                   (interrupting, snaps at
                    her)
                         (MORE)
                                                               86.

                         JOKER (CONT&apos;D)
               Happy?! I&apos;m not happy. I haven&apos;t
               been happy for one minute of my
               entire fucking life.

     He reaches behind her, grabs one of her pillows--

                         JOKER
               But you know what&apos;s funny? You know
               what really makes me laugh?

     Leans down closer, face-to-face with her--

                         JOKER
               I used to think my life was nothing
               but a tragedy, but now, now I
               realize it&apos;s all just a fucking                          
               comedy.


85   INT. BLUE CURTAIN, HOSPITAL ROOM (SHARED) - CONTINUOUS       85

     Other side of the blue divider curtain. We see Joker&apos;s feet
     shifting a little.

     SLOWLY WE PULL OUT, backing out of the room. Leaving behind
     whatever Joker&apos;s doing to his mother on the other side of the
     curtain. And we HEAR applause...                                   


86   INT. MOM&apos;S APARTMENT, LIVING ROOM - NIGHT                    86    

     JOKER&apos;S STUDYING VHS TAPES OF &quot;MURRAY FRANKLIN LIVE!&quot;, studio      
     audience applauding Murray... He jots down notes in his worn       
     notebook... Watches the guests come out... how they cross the      
     stage... how they greet Murray... how they sit down... if          
     they cross their legs or not... studying how he should act,        
     how to be a person like other people.                              

     His cat sits on top of the TV watching him the whole time,         
     never taking her eyes off him.

                                                         JUMP CUT:

     Practicing. Joker walks across the living room like he&apos;s on
     the show, smiling, waving to the &quot;audience&quot;... He mimes
     shaking Murray&apos;s hand... Mimes unbuttoning his jacket and
     sits down. He smiles and pulls out his worn notebook from his      
     pocket--                                                           

                         JOKER                                          
               You wanna hear a joke, Murray?                           

     He &quot;waits&quot; for Murray to answer. Then Joker nods okay and          
     opens his notebook--                                               
                                                             87.


                         JOKER                                          
                   (reading)                                            
               Knock-knock.                                             

     His cat still watching him, now at his feet. Joker crosses
     and uncrosses his legs... Looks uncomfortable.

     He glances down at his cat. It&apos;s as if he can hear the cat
     talking to him.

                         JOKER
                   (nods; frustrated)
               Yeah, I don&apos;t know if I should
               cross or uncross &apos;em. Both feel
               completely unnatural.

     Joker gets up off the couch and walks back across the living       
     room. Waves to the &quot;audience&quot;... Mimes shaking Murray&apos;s
     hand... Mimes unbuttoning his coat and sits down... Crosses
     his legs.

                         JOKER
               Thanks for having me on, Murray. I                       
               can&apos;t tell you how much this means                       
               to me, it&apos;s been a life long dream.                      
               I have a joke for you--                                  

     Joker stands back up.

     Looks down at the cat again.

                         JOKER
               You&apos;re right. You&apos;re right,
               uncrossed is better.

     Joker sits back down... Doesn&apos;t cross his legs this time.

                                                        CUT TO:


87   EXT. POTTER&apos;S FIELD CEMETERY - DUSK                          87

     WIDE SHOT, a lone figure in a vast sea of mass graves, grey        
     headstones. This is where they bury the poor and the
     unclaimed dead.

     Joker stands by his mother&apos;s grave. His head bowed, face in
     his hands, his body convulsing. He&apos;s dressed in an ill-
     fitting faded rust colored suit, almost shiny from all the
     wear. Behind him in the distance, the TWO DETECTIVES stand by
     their parked car on the cemetery roadway. Sun dying in the
     sky.
                                                             88.


     CLOSE ON JOKER&apos;S FACE BURIED IN HIS HANDS, see he&apos;s laughing--
     impossible to tell if he&apos;s laughing because of his condition
     or laughing for real.


88   EXT. ROADWAY, POTTER&apos;S FIELD CEMETERY - DUSK              88

     Joker walking away from his mother&apos;s grave, goes to the two
     detectives -- GARRITY and BURKE -- waiting for him by their
     unmarked car. His face is still red, tears in his eyes from
     laughing.

                         JOKER
                   (wiping his eyes;
                    restrained anger)
               You shouldn&apos;t be here. It&apos;s not
               right.

                         DET. GARRITY
               We just came to pay our respects.
               Sorry about your mother.

                         DET. BURKE
               Yeah, it&apos;s too bad.

     Joker just stares at the two detectives.

     Awkward beat.

                         DET. BURKE
               Where is everybody?

                         JOKER
               It&apos;s always been just me and her.

     Joker pauses for a moment, then starts to walk away.

                         DET. BURKE
                   (calls out)
               We saw you on Murray Franklin.

     Joker turns back to them.

                         JOKER
               You saw that?

                         DET. GARRITY
               Yeah. Heard you were on, so we got
               a videotape.

                         DET. BURKE
               I just couldn&apos;t tell if you were
               actually trying to be funny or not.
                                                             89.


                         JOKER
               Yeah, well I guess you didn&apos;t get
               the joke.

                         DET. GARRITY
               Listen, we need to clear a few
               things up, we spoke to the hospital
               administrator--

                         JOKER
                   (interrupting)
               Which hospital?

                         DET. BURKE
               The Children&apos;s Hospital.
                   (reminding)
               The night you were fired. He said
               it didn&apos;t look like a prop gun, it
               was heavy, like a real one. We have
               some more questions for you.

                         JOKER
               I just buried my mother.

     The detectives share a look. Garrity pulls out a card. Hands
     it to Joker.

                         DET. GARRITY
               We can do it tomorrow. But you need
               to come down to the precinct--
               first thing in the morning.

                          JOKER
                   (looks down, reading the
                    card)
               Right. Thanks for coming.

                            DET. BURKE
               Of course.

     Joker looks back up.

                         JOKER
               That was a joke.

     We hear applause followed by the familiar opening riff to
     ELTON JOHN&apos;S &quot;Bennie &amp; the Jets&quot;.


89   INT. MOM&apos;S APARTMENT, BATHROOM - NEXT AFTERNOON             89    

     JOKER&apos;S LEANING OVER THE BATHROOM SINK, water running. He&apos;s
     wearing rust colored pants and a white &quot;beater&quot; T-shirt.
                                                                90.


     A &quot;Joker&quot; clown mask hangs off the dirty mirror by its
     elastic band. &quot;Bennie &amp; the Jets&quot; blaring from a transistor
     radio turned all the way up.

     Joker lifts his head up. He&apos;s dyed his hair green like his
     old &quot;Mr. Jingles&quot; clown wig-- but he&apos;s missed spots. Some of
     his hair is still its original color, sticking out all helter-
     skelter.

                                                      JUMP CUT:

     Now he&apos;s smearing white grease-paint all over his face.

     He&apos;s dancing along to the music, gyrating and thrusting his
     hips to the beat, as he glances at the mask hanging from the
     mirror, trying to copy how it looks... A copy of a copy of
     himself.

     He barely hears someone banging on the front door over the
     loud music--

     Doesn&apos;t answer. Joker just keeps putting on his make-up,
     dancing provocatively to the music.

     More banging on the front door.

     Joker casually opens the medicine cabinet. Finds some old
     rusty scissors and turns the radio off--


90   INT. FRONT DOOR, MOM&apos;S APARTMENT - AFTERNOON                 90    

     Joker unlocks the locks, keeping the security chain latched,       
     and cracks open the door,-- Sees Randall. Looks down, and          
     sees Gary next to him. Undoes the chain and opens the door         
     for them--                                                         

     Randall and Gary get a look at Joker&apos;s face, his dyed green        
     hair still wet, streaking white grease-paint smeared over          
     part of his face--                                                 

                          GARY
                   (re: his look)
               Hey Arthur, how&apos;s it going? You get
               a new gig?

     Joker shakes his head no, steps aside so they can come in,         
     palming the scissors in his hand--

                         RANDALL
               You must be goin&apos; down to that
               rally at City Hall. Right? I hear
               it&apos;s gonna be nuts.
                                                          91.


                    JOKER
          Is that today?

Randall looks at him and laughs--

                    RANDALL
          Yeah. What&apos;s with the clown-face
          then?

Joker shuts the door behind them. Locks the chain-lock.

                    JOKER
          My mom died.

                    RANDALL                                      
              (nodding)                                          
          Yeah we heard. That&apos;s why we&apos;re                        
          here. Figured you might wanna go                       
          out, get a drink or something?                         

Joker doesn&apos;t answer.                                            

Awkward beat.                                                    

                    GARY                                         
          We don&apos;t wanna bother you. Randall                     
          just thought we should come and pay                    
          our respects.                                          

                    RANDALL                                      
          Yeah, we&apos;re family. We gotta stick                     
          together.                                              

Joker stares at Randall.                                         

                     JOKER                                       
              (beat)                                             
          It&apos;s not a good time. I&apos;m in the                       
          middle of something here.                              

                    GARY                                         
          Of course. No problem. Another                         
          time.                                                  

Gary turns to go. Randall pauses for a moment, has something     
else to say before he leaves--                                   

                    RANDALL                                      
          Yeah. Another time, then. Oh hey,--                    
          one other thing--                                      

He takes a step closer to Joker--                                
                                                         92.


                    RANDALL                                      
          Listen, the cops have been poking                      
          around the shop, they&apos;re talking to                    
          all the clowns about those subway                      
          murders and--                                          

                    GARY                                         
              (interrupting)                                     
          They didn&apos;t talk to me.                                

                     RANDALL                                     
              (snaps at Gary)                                    
          That&apos;s because the suspect was a                       
          regular-sized person. If it was a                      
          fucking midget you&apos;d be in jail                        
          right now.                                             
              (turns back to Joker)                              
          Anyway, Hoyt said they were looking                    
          for me, and, and I just wanna see                      
          what you said. You know, make sure                     
          our stories line up, bein&apos; that                        
          you&apos;re my boy and--                                    

AND JOKER STABS THE SCISSORS AS DEEP AS HE CAN into Randall&apos;s    
neck. Blood spurts. Randall screams. Gary stumbles back in       
shock--                                                          

                     GARY
              (screaming)
          What the fuck what the fuck WHAT
          THE FUCK--

Joker pulls them out and jams them into Randall&apos;s eye before
he can react. The sound is sickening. Gary&apos;s screaming in the
background--

Randall blindly fights back, screaming in pain, flailing his
arms, his own blood blinding him--

Joker grabs Randall by the head -- all of his pent up rage
and frustration pouring out of him -- AND SLAMS HIS HEAD
AGAINST THE WALL.

AGAIN. And AGAIN. And AGAIN.

Joker lets go of Randall&apos;s head, and Randall drops to the
ground. Joker leans back against the wall, out of breath,
kind of slides down the wall to the floor--

Sees Gary huddled in the corner, trembling with fear--
                                                                93.


                         JOKER
                   (catching his breath)
               I&apos;m gonna be on TV tonight. Can you
               believe it?

     Gary doesn&apos;t answer. Doesn&apos;t move--

                         JOKER
               It&apos;s okay, Gary. You can go.

     Gary backs away toward the door. Joker sits there for a
     moment, breathing heavy, wipes Randall&apos;s blood off his face--

                           GARY (OS)
               Hey, Art?

     Joker turns, sees Gary at the front door. He points up high
     to the chain-lock. He can&apos;t reach it.

     Joker just shakes his head to himself and gets up to unlock
     the door.

     He walks past Gary who&apos;s still trembling almost too afraid to
     look up at him. Joker leans over him and undoes the chain,
     opens the door. Gary bolts, running down the hallway as fast
     as he can--

                                                          CUT TO:


91   INT. MOM&apos;S BEDROOM, APARTMENT - LATE AFTERNOON               91    

     (Over the following, we don&apos;t see Joker&apos;s face. We don&apos;t
     reveal his finished &quot;look&quot; just yet.)

     CLOSE PICKING UP HIS NOTEBOOK, fanning through the pages--         
     Pausing at the BLACK &amp; WHITE RIPPED PHOTO OF BRUCE WAYNE for
     a moment. Continues, stopping at the same entry from the
     opening scene--

     CLOSE ON WORDS, &quot;I just hope my death make more sense than my
     life.&quot;


92   INT. LIVING ROOM, MOM&apos;S APARTMENT - LATE AFTERNOON           92    

     CLOSE ON TAKING RANDALL&apos;S WALLET OUT OF HIS BLOOD SOAKED           
     PANTS, pocketing all the cash.

     CLOSE ON BUTT OF A GUN STICKING OUT OF RANDALL&apos;S WAISTBAND,        
     glimpse Joker&apos;s hand reaching for it--                             
                                                             94.


93   INT. KITCHEN, MOM&apos;S APARTMENT - LATE AFTERNOON              93    

     JOKER&apos;S P.O.V. FINISHING WRITING A NOTE, &quot;On Murray Franklin      
     Tonight -- Please Watch!&quot;                                         

     CLOSE ON STUFFING THE NOTE AND ALL OF RANDALL&apos;S MONEY into an     
     envelope--                                                        

     TURNING ENVELOPE OVER, WRITING &quot;SOPHIE&quot; on the front.             


94   INT. LIVING ROOM WINDOW, MOM&apos;S APARTMENT - LATE AFTERNOON 94      

     CLOSE ON THE ORANGE CAT AT THE WINDOW, and maybe if we&apos;re
     looking close enough we notice something strange... the cat
     has no reflection.

     ANGLE OVER JOKER&apos;S SHOULDER OPENING THE WINDOW, shooing the       
     cat out onto the fire escape, out into the dying day--            

                         JOKER (OS)
               Go on. Go. You&apos;re free.                                 

     CLOSE ON THE CAT LOOKING BACK AT JOKER FOR A LONG MOMENT,
     before scampering off out into the world, leaving him behind
     for good.

     As he closes the window we almost catch Joker&apos;s reflection in
     the glass--


95   INT. HALLWAY, APARTMENT BUILDING - LATE AFTERNOON           95    

     FOLLOWING BEHIND JOKER, walking down the hallway as if in
     slow motion, heading for Sophie&apos;s apartment. His dyed green
     hair now slicked back.

     He&apos;s wearing the ill-fitting rust colored suit he wore to his
     mother&apos;s funeral.

     STILL FROM BEHIND, he lays the envelope in front of Sophie&apos;s      
     door, then pulls something else out of his pocket -- his body     
     obscuring what it is -- puts it down by her door and leaves.      

     As he walks away down the hallway, we see what else Joker         
     left behind--                                                     

     HIS WAND OF FLOWERS, at Sophie&apos;s door.                            

     Hold.                                                             
                                                               95.


96   INT. ELEVATOR, HALLWAY - LATE AFTERNOON                      96    

     FROM BEHIND JOKER STEPPING ONTO THE ELEVATOR, TURNING TO FACE      
     US AS THE DOOR STARTS TO CLOSE, FINALLY REVEALING HIS LOOK--       

     Green hair slicked back like one of the Wall Street assholes       
     he killed... White grease paint smeared over his face... red       
     nose painted on... dark blue peaks over and under his eyes...      
     his mother&apos;s red lipstick crudely outlining his broken             
     smile... Under the harsh flickering fluorescent lights, he         
     looks like an insane version of his mask.                          

     The door closes on his new face. Ding.                             


97   EXT. APARTMENT BUILDING - LATE AFTERNOON                     97

     Joker steps out of his building into the setting sun, just as      
     Garrity and Burke are getting out of their unmarked Ford LTD       
     Crown Vic--                                                        

                         DET. GARRITY                                   
               Hey Arthur, where you going?                             

                         DET. BURKE                                     
               Yeah, thought you were coming down                       
               to the station this morning.                             

     And Joker takes off running--

     Garrity gives chase on foot as Burke hurries back into the
     car--                                                              


98   EXT. 174TH STREET, TWO LANES - CONTINUOUS                    98

     Joker darts out from his block into the avenue, sprints
     across the busy, two-lane street without looking--

     Running right in front of an oncoming YELLOW CAB on the far
     side of the street--

     BAM!

     The cab hits him and Joker goes crashing into the windshield.
     Bounces up and over the car. Landing hard on the pavement--

     The car directly behind the cab skids to a stop just before
     running over Joker&apos;s face. Swerving into the other lane and
     CRASHING INTO an oncoming truck.

     Cars on both sides of the street skidding trying to stop--
     Crashing. It&apos;s chaos.
                                                                96.


      Joker pops back up from getting hit. He&apos;s in pain. But not
      dead.

      Garrity has drawn his service revolver as he makes his way
      through the pile up. And Burke, now blocked because of the
      crash has jumped out of his car--

      Joker takes off running, limping down the street toward an
      entrance for the elevated train--


99    EXT. ELEVATED TRAIN STATION, STEPS - CONTINUOUS              99

      Joker hustling up the stairs, dripping sweat, his white
      grease-paint running down his face. He gets to the top of the
      stairs, looks back and catches a glimpse of Garrity and Burke
      at the bottom--


100   EXT. PLATFORM, ELEVATED TRAIN STATION - CONTINUOUS         100

      Joker makes his way down the crowded platform, the passengers
      starting to file on a waiting Lexington Ave/Pelham Express
      Train heading downtown. The train&apos;s packed with protesters
      heading to the rally at City Hall. Many carrying signs...
      most of them in &quot;Joker&quot; masks... a few painted up to look
      like the &quot;Joker&quot; mask. Joker fits in with all of them.             

      He looks through the crowd of clowns and sees the two cops
      getting to the top of the stairs, looking up and down the
      platform for him. Pulling out their badges on chains from
      around their necks. Identifying themselves as cops.

      Joker&apos;s willing the doors to close. But they don&apos;t.

      The two detectives run onto the train just as the doors are
      finally closing--


101   INT. LEXINGTON AVE/PELHAM EXPRESS (MOVING) - CONTINUOUS    101

      Joker moves through the loud train pushing through the rowdy
      protesters-- Into the next car, all of them packed.                

      AS THE TRAIN GOES UNDERGROUND, the lights flicker on and off--  
      car GOING BLACK FOR A FEW SECONDS as the train turns and dips  
      and speeds down the tracks.                                     

      Joker glances back at Burke and Garrity pulling out their          
      badges on chains around their necks. Smith &amp; Wesson service        
      revolvers by their sides. Shouting at the crowd, identifying       
      themselves as cops.                                                
                                                           97.


Joker hears some on the train shouting back in anger at the       
police, keeps moving... past clown-faced protestors carrying      
signs, &quot;RESIST&quot;... &quot;AM I A CLOWN?&quot;... &quot;SAVE A CITY, KILL A        
YUPPIE&quot;...                                                        

The two cops push through the car, scanning all the &quot;clown&quot;       
faces... So many look like Joker. They just shove protesters      
out of the way, shouting at them all the while. A few more        
voices rising up in protest--                                     

Joker feels Burke and Garrity behind him getting closer. In       
the flickering light sees a DRUNK GUY (20&apos;s) wearing a            
&apos;Joker&apos; mask and pulls it right off his face--                    

The drunk guy turns ready to fight.                               

He throws a punch at Joker, and Joker steps out of the way--      

The guy pummels someone else--                                    

A FIGHT BREAKS OUT, spilling down the car.                        

Joker slips the clown mask over his clown face--                  

AND JUST STANDS THERE IN THE MIDDLE OF THE CHAOS, at home         
with the chaos all around him--                                   

Garrity and Burke spot Joker&apos;s rust colored suit in the           
middle of the unruly mob--                                        

Burke pulls his gun--                                             

                    BURKE                                         
              (shouting)                                          
          EVERYBODY DOWN, GOTHAM PD!                              

The crowd doesn&apos;t drop to the ground. They just keep fighting     
with each other--                                                 

Burke sees Joker just standing there. Keeps yelling for the       
crowd to get down, get down, but they don&apos;t listen to him--       

He starts shoving protestors down, out of the way-- and           

AND THEN THE MOB TURNS ON HIM AND GARRITY, starts closing in      
around them--                                                     

Garrity and Burke are pointing their guns at the crowd,           
yelling panicked for them to back off, back off, and one          
idiot reaches for Garrity&apos;s gun--                                 

Bang.                                                             
                                                                98.


      Burke fires into the crowd, as the train pulls into the           
      station--                                                         

      A protestor falls dead. The other clowns on the train go          
      crazy, starting to riot. Glimpse Joker walking away calmly        
      out of the chaos. Taking off the mask and dropping it at his      
      side as he steps off the train, disappearing onto the crowded     
      platform.                                                         

                                                           CUT TO:      


102   EXT. WGCTV STUDIOS, FRANKLIN THEATER - MIDTOWN - EVENING 102      

      An excited line of ticket holders waiting to get in to &quot;Live
      with Murray Franklin!&quot; The poster marquee box near the door
      reads: &quot;TONIGHT&apos;S GUESTS. Lance Reynolds. Dr. Sally Friedman.
      And Special Guest.&quot;

      They swing open the doors and start to let the audience
      inside...


103   EXT. BACKSTAGE DOOR, FRANKLIN THEATER - SIDE STREET - EVENING
                                                               103      

      Random fans and autograph hounds hanging out by the backstage
      door, waiting for the night&apos;s guests to arrive...


104   INT. STUDIO 4B, STAGE - FRANKLIN THEATER - EVENING         104    

      Studio audience filing into the studio, being seated in the
      wide bleachers along one wall. Three TV monitors hang from
      the ceiling, facing the audience. Three studio cameras on the
      floor, black cables strewn everywhere.

      The set for &quot;LIVE WITH MURRAY FRANKLIN!&quot; is dark... but we
      can still make out his desk... guest chairs... Don Ellis and
      his Jazz Orchestra&apos;s band stand... big blue curtain.


105   INT. HALLWAY, FRANKLIN THEATER - EVENING                   105

      The host of the show, MURRAY FRANKLIN (60&apos;s), usually quick
      with a bemused grin but right now in a sour mood, walks fast
      down the hall toward the drab dressing rooms with his old-
      school producer, GENE UFLAND (60&apos;s), who&apos;s holding the show&apos;s
      rundown rolled up in his hand.

                           GENE UFLAND
                --You gotta see this nut for
                yourself, Murray. I don&apos;t think we
                can put him on. With the rioting                        
                out there.                                              
                                                                 99.


                          MURRAY FRANKLIN
                    (annoyed)
                Jesus, Gene, I don&apos;t have time for
                this. Cindy&apos;s been breaking my
                balls all day.

                          GENE UFLAND
                She&apos;s still mad at you about that
                thing?

                           MURRAY FRANKLIN
                Three marriages, you&apos;d think I&apos;da
                fuckin&apos; learned something.
                    (then)
                What do I gotta see? I already know
                he&apos;s a nut. That&apos;s why we&apos;re
                putting him on, it&apos;s a goof.

      A young BLONDE INTERN walks by in the opposite direction. She
      nervously smiles to them and keeps walking. Both men turn and
      check out her ass. Murray winks at Gene.

                          GENE UFLAND
                    (just shakes his head, and
                     smiles)
                I&apos;m telling you, you gotta see him,
                Murray. I think it&apos;s too risky, the
                show&apos;s too big. It&apos;s worth too much
                to blow it on this,-- this freak.


106   INT. DRESSING ROOM, FRANKLIN THEATER - CONTINUOUS           106

      Joker&apos;s sitting on a small couch in the cramped dressing
      room, watching the local news on a TV that&apos;s mounted up on
      the wall, live shots from the subway station where Burke shot      
      the protestor, footage of the City Hall rally, clashes with        
      police.                                                            

      He&apos;s cleaned himself up as best he could... white grease-
      paint smeared more evenly over his face, green dyed hair
      slicked back in place. Red lips redone.

      Murray and his producer Gene open the dressing room door
      without knocking--

      Joker gets up off the couch and goes to shake Murray&apos;s hand.
      Murray pauses when he sees Joker&apos;s face.

                          JOKER
                    (shakes Murray&apos;s hand;
                     effusive)
                Murray, I can&apos;t believe this is
                real, that I&apos;m really here.
                                                       100.


                    GENE UFLAND
          It&apos;s Mr. Franklin kid, show some
          respect.

                    MURRAY FRANKLIN
          Oh shut up, Gene.
              (to Joker)
          Murray is fine. I prefer it in
          fact. Thanks for coming on the
          show.

                    JOKER
          Are you kidding? Thank you for the
          opportunity. I&apos;ve been watching you
          forever. My mother never missed a
          show.

Murray nods not listening, he&apos;s heard this before.

                    MURRAY FRANKLIN
          So what&apos;s with the face? Are you
          part of the protests?

                    JOKER
          No, I don&apos;t believe in any of that.
          I don&apos;t believe in anything. I just
          thought it would be good for my
          act.

                    GENE UFLAND                                  
              (upset)                                            
          Your act? Didn&apos;t you hear that a                       
          kid got killed on the subway and                       
          two cops who were almost beat to                       
          death? You didn&apos;t hear about the                       
          dozens of protestors and police                        
          injured in the riots?                                  

Joker looks like he&apos;s about to bust out laughing. All of that    
news is playing out on the TV above their heads. He takes a      
deep breath. Swallows the laugh.                                 

Beat.

                    JOKER
          No. I hadn&apos;t heard.

Gene and Murray share a look.

                    GENE UFLAND
          --the audience is gonna go crazy if
          you put him on. It was okay maybe
          for a bit, but not a whole segment.
                                                       101.


Murray thinks about it for a beat.

                     MURRAY FRANKLIN
          I like it. It&apos;s timely. It&apos;s edgy.
          It&apos;s, it&apos;s dangerous. The best
          comedy is all those things put
          together.
              (done)
          We&apos;re gonna go with it.

Gene rubs his temples, he doesn&apos;t like this, but Murray is
the boss.

                    JOKER
          Thank you Murray.

                    MURRAY FRANKLIN
              (flashes his bemused
               smile; condescending)
          Couple rules though,-- No cussing,
          no off-color material, we do a
          clean show, okay? You&apos;ll be on
          after Dr. Sally. Someone will come
          and get you. Good?

Joker nods good. Smiles back at Murray.

Murray and Gene turn to go, exchanging smirks with each other
as they walk out, making light of Joker who we see behind
them still standing there.

                    JOKER
          Hey Murray,-- one small thing? When
          you bring me out, can you introduce
          me as &quot;The Joker&quot;?

Murray and Gene look back at him

                     GENE UFLAND
          What? You don&apos;t want to use your
          real name?

                    JOKER
          Honestly, I don&apos;t even know what my
          real name is.

Joker smiles, the guys can&apos;t tell if he&apos;s kidding or not.

                    JOKER
          Besides, that&apos;s what you called me
          on the show, Murray. A joker.
          Remember?
                                                              102.


                          MURRAY FRANKLIN
                    (to Gene; trying not to
                     crack up)
                Did I?

                          GENE UFLAND
                I have no idea.

                          MURRAY FRANKLIN
                    (turns back to Joker)
                Well, if you say so, kid. Joker it
                is.

      Murray starts to laugh at Joker as he closes the dressing
      room door, shutting it right in his face.

                                                           CUT TO:


107   INT. BACKSTAGE, BEHIND CURTAIN - STUDIO 4B - NIGHT          107

      JOKER&apos;S BACKSTAGE AT THE EDGE OF THE BLUE CURTAIN, trying to
      watch the show through a slim gap. Behind him there&apos;s a
      monitor on a cart playing the live feed.

      He moves the curtain aside to get a better look-- Glimpses
      Murray laughing, finishing up talking to noted sex therapist
      DR. SALLY FRIEDMAN (60&apos;s).

                          MURRAY FRANKLIN
                    (to Dr. Sally)
                You gotta see our next guest for
                yourself. Will you stick around?
                Maybe you can help, I&apos;m pretty sure
                he could use a doctor.

      The audience laughs.

                          DR. SALLY FRIEDMAN
                Oh. Does he have sexual problems?

                          MURRAY FRANKLIN
                He looks like he&apos;s got a lot of
                problems.

      Another big laugh.

                          MURRAY FRANKLIN
                    (turns, looks into camera)
                It&apos;s been a crazy few days here in
                Gotham, and, I think maybe things
                are about to get crazy around here
                too. Don&apos;t go anywhere folks. We&apos;ll
                be right back.
                                                             103.


      APPLAUSE SIGN LIGHTS UP. Everyone claps. Joker keeps watching      
      Murray through the slim gap at the end of the curtain. Hears
      the floor director shout, &quot;And we&apos;re out. Back in three.&quot;          

      Joker adjusts the waist of his pants under his jacket. Takes       
      a deep breath.                                                     


108   INT. DIRECTOR&apos;S BOOTH, STUDIO 4B - NIGHT                    108

      Perched one story above the studio. There&apos;s a long console
      where the DIRECTOR sits in front of a gooseneck microphone,
      looking over a double-bank of monitors.

      Sitting next to him are the ASSOCIATE PRODUCER who times the
      show, and the TECHNICAL DIRECTOR who operates the board. The
      monitor showing the live feed is playing a commercial.

                          ASSOCIATE PRODUCER
                Back in 30 seconds.

                          DIRECTOR
                Okay, cue the clip. We&apos;ll come to
                it straight out of break.

                          ASSOCIATE PRODUCER
                Five... Four... Three...

                          DIRECTOR
                Roll clip. Put up the show graphic.

      ON THE SHOW MONITOR, video of Joker&apos;s original stand-up
      performance comes up with the show&apos;s graphic in the lower
      right of the screen.


109   INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS          109

      ON THE SET, Murray watches the clip on the monitor above his
      desk, can&apos;t help but laugh. Sees the FLOOR DIRECTOR counting
      him down silently with her fingers... Three... Two... points
      to Camera One.

                          MURRAY FRANKLIN
                    (looking into camera)
                O-kay, you may have seen that clip
                of our next guest when we first
                played it two weeks ago. Now before
                he comes out, I just want to say
                that we&apos;re all heartbroken here and
                sensitive to what&apos;s going on in the
                city tonight. But, this is how he
                wanted to come on the show. So let
                me introduce-- The Joker.
                                                          104.


BEHIND THE BLUE CURTAIN, Joker gathers himself, ready for his
moment. Doesn&apos;t hear his introduction or see a STAGEHAND pull
open the curtain for him to go out--

ON SET, THE CURTAIN&apos;S OPEN, Don Ellis and his Jazz Orchestra
are playing Joker on. He doesn&apos;t come out. Murray looks over
to the empty space in the curtain.

The audience laughs.

BEHIND THE CURTAIN, Joker sees the stagehand motioning for
him to go out on stage. Joker starts out, pausing when he
takes a step into the bright lights. The stagehand doesn&apos;t
see him stop, and drops the curtain back on Joker before the
audience can really see his face--

Tangling Joker up in the curtain.

The audience keeps laughing thinking it&apos;s part of his act.
The band keeps playing him on. Joker untangles himself from
the curtain and the audience gets a good look at him.

Some continue laughing. A few boo. Most don&apos;t know what to
make of him.

Joker walks across the stage, forgetting to wave like he
practiced. He trips over the riser surrounding the set when
he goes to shake Murray&apos;s hand. Almost falls on him.

Murray tries not to crack up. The audience laughs. Thinks
it&apos;s part of Joker&apos;s act.

Joker reaches out to hug Dr. Sally as she goes in for a
handshake. Another awkward moment. More laughs.

Joker finally sits down next to Murray. Crosses and uncrosses
his legs. Can&apos;t get comfortable.

                    MURRAY FRANKLIN
          So, ahhh, thanks for coming on the
          show. But I gotta tell ya, with
          what happened at City Hall today,
          I&apos;m sure many of our viewers here
          in the studio, and at home, might
          find this look of yours in poor
          taste.

Joker&apos;s not listening to Murray. He&apos;s mesmerized by all the
lights shining on him... all the eyes on him... he doesn&apos;t
answer Murray.

Nervous laughter from the audience.
                                                             105.


                           MURRAY FRANKLIN
                    (tries again)
                Can you tell us why you&apos;re dressed
                like this?

      AND JOKER STARTS TO LAUGH. Not embarrassed of it anymore. He
      goes with it. Giving in to it, enjoying the laughter.

                          MURRAY FRANKLIN
                    (can&apos;t help but smile at
                     Joker&apos;s laughing)
                Okay. But I&apos;m not sure how any of
                this is funny. A lot of those
                protesters are going with this
                look. City seems to be full of
                clowns these days.

                          JOKER
                    (just nods, still
                     laughing)
                Yeah. Isn&apos;t it great?

      Joker just keeps cracking up. Audience still isn&apos;t sure what
      to make of him. There&apos;s some awkward laughter.


110   INT. DIRECTOR&apos;S BOOTH, STUDIO 4B - CONTINUOUS            110

      Nobody&apos;s laughing in the booth.

                          TECHNICAL DIRECTOR
                    (looks to the director)
                This guy&apos;s got nothing.

                           DIRECTOR
                    (hits the producer&apos;s talk
                      button; into the mic)
                Gene, what the hell? You wanna kill
                this?


111   INT. TALK SHOW SET, STAGE - CONTINUOUS                   111

      Murray glances over at his producer Gene Ufland, who&apos;s
      sitting off-camera on a director&apos;s chair by a monitor. Gene
      shrugs at him.

                          MURRAY FRANKLIN
                    (smiles; trying to save
                     the interview)
                So when we talked earlier, you
                mentioned that you aren&apos;t
                political. That this look isn&apos;t a
                political statement.
                                                          106.


                    JOKER
              (between laughs)
          That&apos;s right. I&apos;m not political,
          Murray. I&apos;m, I&apos;m, I&apos;m just trying
          to make people laugh.

                    MURRAY FRANKLIN
              (beat; smiles)
          How&apos;s that goin&apos; for ya? Have you
          been working on any new material?
          Do you want to tell us a joke?

The audience claps, egging Joker on to tell a joke.

Joker looks over at Murray -- his laughing fit finally
subsiding -- and reaches into his jacket pocket and--

Pulls out his worn notebook, catching his breath. Looks
through it to find a new joke.

                    MURRAY FRANKLIN
          You brought a joke book?

The audience laughs. Joker smiles, opens the page to Bruce
Wayne&apos;s photo, pauses for a moment then turns the page. Finds
a joke--

                    JOKER
              (reading)
          Okay. Here&apos;s one. Knock knock.

                    MURRAY FRANKLIN
          Oh god, a knock-knock joke? And you
          need to read it?

                    JOKER
              (nods, reads it again)
          I want to get it right. Knock
          knock.

Murray makes a face like, &quot;Okay, I&apos;ll go along with this.&quot;

                    MURRAY FRANKLIN
          Who&apos;s there?

                     JOKER
              (looks up from his
               notebook)
          It&apos;s the police, ma&apos;am. Your son
          has been hit by a drunk driver.
          He&apos;s dead.

Beat.
                                                             107.


112   INT. DIRECTOR&apos;S BOOTH, STUDIO 4B - CONTINUOUS            112

      The associate producer tries not to laugh, but she can&apos;t help
      it. The director looks over at her like she&apos;s lost her mind.

                          DIRECTOR
                    (shakes his head)
                Okay, ready Camera Two. Take Two.
                Ready Three. Three.

      ON THE MONITORS, some of the audience cracks up. Joker smiles
      at the response. Murray Franklin shakes his head, smirking at
      the joke despite himself.

                          MURRAY FRANKLIN (ON MONITORS)
                So, Arthur, you told me backstage
                that your--

      Joker leans over interrupting Murray, whispers something to
      him.


113   INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS       113

      Murray nods as Joker whispers.

                          MURRAY FRANKLIN
                    (bemused smile;
                     patronizing)
                Right. Sorry. I mean Joker-- you
                told me backstage that your
                mother&apos;s a big fan of the show,
                that she never misses it.

      Joker puts the notebook back in his pocket. Crosses his legs,
      starting to get a bit more comfortable.

                          JOKER
                That&apos;s right, Murray. But she&apos;s
                dead now.

      The audience laughs.

                          MURRAY FRANKLIN
                    (goes along with the
                     &quot;joke&quot;)
                Hold on. Your mother&apos;s dead?

                          JOKER
                Yeah. She is.

      Murray&apos;s not sure if this is part of his act.
                                                       108.


                    MURRAY FRANKLIN
          Okay. What about your father? Does
          he watch the show?

Laughter from the crowd.

                     JOKER
          I don&apos;t know who my father is,
          Murray. Turns out I was adopted and
          sexually assaulted by my mother&apos;s
          boyfriend.

A few in the audience groan. A couple even laugh. Still think
it&apos;s just Joker&apos;s edgy, off-kilter sense of humor.

Don Ellis plays &quot;wha-wha-wha-whuuuuh&quot; on his trumpet from the
band stand.

                    DR. SALLY FRIEDMAN
          Ahhhh! No, no,-- You can not joke
          about that.

                     MURRAY FRANKLIN
              (shakes his head;
                irritated)
          Yeah, that&apos;s not funny, that&apos;s not
          the kind of humor we do on this
          show.

Murray glances over at Gene in the wings. He gives him the
&quot;wrap it up&quot; sign.

                     JOKER
              (just keeps going, on a
               roll)
          Sorry. It&apos;s been a rough few
          months, Murray. I mean, after my
          mother died, the police came to
          question me at her funeral. Who
          does that?

                    MURRAY FRANKLIN
              (too easy)
          Oh really? Were you a suspect?

The audience laughs.

                    JOKER
          Very funny, Murray. No, they came
          because I killed those three Wall
          Street guys.

Beat.
                                                             109.


      Studio audience can&apos;t tell if he&apos;s joking or not. Murray
      can&apos;t either.

                           MURRAY FRANKLIN
                    (looks at him confused)
                Okay. I&apos;m waiting for the
                punchline.

                          JOKER
                There is no punchline. It&apos;s not a
                joke.


114   INT. DIRECTOR&apos;S BOOTH, STUDIO 4B - CONTINUOUS              114

      The director stares at the monitor.

                          DIRECTOR
                Did he just confess to killing the
                Wall Street Three?

                          TECHNICAL DIRECTOR
                    (horrified)
                Yeah. I think he did.

                           ASSOCIATE PRODUCER
                    (turns to the director,
                     nods)
                He definitely did.

                          DIRECTOR
                Jesus Christ.
                    (hits the camera talk
                     button, into mic)
                Camera Three, get in close.

      ANGLE ON MONITOR, Camera Three zooming in close on Joker&apos;s
      face.


115   INT. TALK SHOW SET, STAGE - CONTINUOUS                     115

      Gene Ufland is now standing up from his chair. Motions for
      Murray to kill the interview. Murray shakes his head to
      himself. This is a big &quot;get,&quot; it could be great television.

                          MURRAY FRANKLIN
                    (turns back to Joker; with
                     gravitas)
                You&apos;re serious, aren&apos;t you? You&apos;re
                telling us you killed those three
                boys on the subway. Why should we
                believe you?
                                                             110.


                          JOKER
                    (shrugs)
                I got nothing left to lose, Murray.
                Nothing can hurt me anymore. This
                is my fate, it was always my fate.
                My life is nothing but a comedy.


116   INT. SOPHIE&apos;S APARTMENT, LIVING ROOM - CONTINUOUS        116

      Sophie&apos;s sitting on her couch watching this interview play
      out on TV. GiGi&apos;s asleep next to her. The open envelope and      
      the money are lying on the coffee table. No sign of the          
      flowers anywhere.                                                

                          MURRAY FRANKLIN (ON TV)
                Let me get this straight, you think
                killing those young men is funny?

                          JOKER (ON TV)
                Yeah. But comedy is subjective,
                isn&apos;t that what they say? Besides,
                the way I see it, what happened was
                a good thing. All of you, Gotham,
                the system that knows so much, you
                decide, you decide what&apos;s right and
                wrong. What&apos;s real or what&apos;s made
                up. The same way you decide what&apos;s
                funny or not.

      Sophie edges forward on the couch, can almost see a hint of
      agreement on her face.


117   INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS       117

      Back on set, we can tell by the way Murray&apos;s now interviewing
      Joker, talking to him slower, more thoughtfully, that he
      thinks this is gonna get him an Emmy... Maybe even a Peabody.

                           MURRAY FRANKLIN
                    (beat)
                Okay, I think I understand. You did
                it to start a movement, to become a
                symbol.

                          JOKER
                C&apos;mon, Murray, do I look like the
                kind of clown who could start a
                movement? I killed those guys                          
                because they were awful.                               
                Everybody&apos;s awful these days. It&apos;s
                enough to make anyone crazy.                           
                                                 111.


                    MURRAY FRANKLIN
          So that&apos;s it, you&apos;re crazy. That&apos;s
          your defense for killing three
          young men? Because they were mean              
          to you?                                        

                    JOKER
          No. They couldn&apos;t carry a tune to              
          save their lives.                              

Some audible groans from the audience.                   

                    JOKER                                
          Why is everyone so upset about                 
          these guys? Because Thomas Wayne               
          went and cried about them on TV?

                    MURRAY FRANKLIN                      
          You have a problem with Thomas
          Wayne, too?

                    JOKER
          Yeah. I do. Everything comes so
          easy for him.

                    MURRAY FRANKLIN
          And what&apos;s wrong with that?

                    JOKER
          Have you seen what it&apos;s like out
          there, Murray? Do you ever actually            
          leave the studio? Everybody just               
          yells and screams at each other.               
          Nobody&apos;s civil anymore. Nobody
          thinks what it&apos;s like to be the
          other guy. You think men like                  
          Thomas Wayne, men at ease, ever
          think what it&apos;s like to be a guy
          like me? To be anybody but
          themselves.
              (shaking his head, voice
               rising)
          They don&apos;t. They think we&apos;ll all
          just sit there and take it like
          good little boys. That we won&apos;t
          werewolf and go wild. Well, this is            
          for all of you out there.

Joker &quot;howls at the moon.&quot; It&apos;s fucking weird.
                                                             112.


118   INT. STATION SQUAD ROOM - 7TH PRECINCT - CONTINUOUS        118

      OFFICERS AND DETECTIVES JUMPING INTO ACTION, rushing past a
      small portable black &amp; white television sitting on one of the
      desks, hear one of them shout--

                          POLICE LIEUTENANT (OS)
                That asshole just confessed to
                killing those Wall Street guys on
                fucking live TV!

      ANGLE ON THE LITTLE TV, TIGHT TWO-SHOT OF JOKER looking at
      Murray.

                          MURRAY FRANKLIN (ON TV)
                    (shakes his head)
                So much self-pity, Arthur. You
                sound like you&apos;re making excuses
                for killing three young men. Not
                everybody&apos;s awful.                                      


119   INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS         119

      Back on set. Joker looks straight at Murray.

                          JOKER
                You&apos;re awful, Murray.

      There is no more laughter. The audience is watching this
      exchange with full attention.

                          MURRAY FRANKLIN
                Me? How am I awful?

                          JOKER
                Playing my video, inviting me on                        
                the show,-- You just wanted to make                     
                fun of me. Well it&apos;s easy to laugh                      
                at Frankenstein on a crowded beach,                     
                isn&apos;t it? You&apos;re just like the rest                     
                of them, Murray. Everything comes
                too easy for you.

                          MURRAY FRANKLIN
                    (on the spot; defensive)
                You don&apos;t know the first thing
                about me, pal. Look what happened
                because of what you did, Arthur,
                what it led to. There are riots out
                there. Two policemen are in                             
                critical condition, someone was                         
                killed today.                                           
                                                             113.


      Joker nods in agreement, yeah, it&apos;s because of what he did.     

                          JOKER                                       
                How about another joke, Murray?                       
                What do you get when you cross a                      
                mentally-ill loner with a system
                that abandons him and treats him
                like trash?

      Murray pauses for a minute, not really listening to Joker,
      suddenly realizing the seriousness of the situation. He
      starts to turn to camera--

                          JOKER
                    (pulls Randall&apos;s gun)                             
                I&apos;ll tell you what you get. You get                   
                what you fucking deserve,--                           

      And as Murray Franklin turns back to him, JOKER SHOOTS THE
      SIDE OF MURRAY&apos;S HEAD OFF--

      Blood splatters all over the back of the set. Some spraying
      in Joker&apos;s face. AUDIENCE SCREAMS! Dr. Sally dives for the
      floor.


120   INT. SOPHIE&apos;S APARTMENT, LIVING ROOM - CONTINUOUS        120

      Sophie screams and jumps to her feet horrified! Waking up
      GiGi who starts to cry when she sees what&apos;s on television--

      ON THE TELEVISION, Joker gets up and walks right up to the
      camera. Blood sprayed over his white painted face. Hear the
      studio audience still screaming, bedlam all around him.

                          JOKER (ON TV)
                    (looks straight into
                     camera; screams Murray&apos;s
                     signature sign off)
                GOOD NIGHT AND ALWAYS REMEMBER,--                     
                THAT&apos;S LIFE!                                          

      And as Joker waves goodbye to the home audience, a black &amp;      
      white &quot;INDIAN-HEAD TEST PATTERN&quot; cuts off the show--            

      &quot;PLEASE STAND BY&quot;

      HERB ALPERT&apos;S &quot;Spanish Flea&quot; plays underneath.

      Beat.
                                                                114.


121   INT. TALK SHOW SET, STAGE - CONTINUOUS                      121

      BACK LIVE IN THE STUDIO, JOKER&apos;S TACKLED BY TWO SECURITY           
      GUARDS AND SOME STAGEHANDS, still hear screams of terror from      
      the audience around him.                                           

      HIS FACE HITS THE SHINY FLOOR AS IF IN SLOW MOTION--               

      And we HEAR the soft and familiar opening to FERRANTE &amp;            
      TEICHER&apos;s piano version of &quot;Send in the Clowns&quot;.                   

                                                         CUT TO:         


122   INT. GOTHAM SQUAD CAR (MOVING), GOTHAM STREETS - NIGHT      122    

      JOKER GAZING OUT THE WINDOW, at all the violence and madness       
      in the city. We only see it in the reflection of the glass...      
      the fires burning... the mob crowding the streets. Joker&apos;s         
      handcuffed in the back of the squad car moving slowly through      
      the rioting, sirens wailing, red lights flashing, blood still      
      splattered on his face.                                            

      STAY ON JOKER&apos;S FACE AS HE HEARS THE POLICE RADIO CRACKLING,       
      reports of rioters in &quot;Joker&quot; masks setting fires, breaking        
      windows, looting stores.                                           

      The images reflected in the window start to speed up as the        
      officer driving weaves faster through the chaos.                   

                          POLICE OFFICER #1 (OS)                         
                Look what you caused, you freak,                         
                the whole city&apos;s on fire because of                      
                you.                                                     

      AND JOKER BANGS HIS HEAD HARD AGAINST THE STEEL MESH CAGE--        
      BAM.                                                               

                          POLICE OFFICER #2 (OS)                         
                Keep it up, asshole. Watch what                          
                happens when we get to the station.                      

      HE BANGS HIS HEAD AGAIN. BAM. BAM. Some blood is forming on        
      his forehead--                                                     

                          POLICE OFFICER #1 (OS)                         
                    (glancing at Joker in the                            
                     back seat, shouting)                                
                -- Calm the fuck down, you&apos;re not                        
                going anywhere!                                          

      And when the cop driving turns back, catch a glimpse of            
      someone or something running out into the street in front of       
      the speeding squad car--                                           
                                                             115.


      CLOSE ON JOKER AS THE SQUAD CAR SWERVES OUT OF THE WAY, Joker    
      banging up against the door--                                    

      CRAAAASSSHHHHHH!!!!                                              

      The squad car hits a parked car hard and flips over, sliding     
      across the street on its roof--                                  


123   EXT. SQUAD CAR (SLIDING), STREET - CONTINUOUS            123     

      SPARKS FLY UNTIL FINALLY THE UPSIDE DOWN SQUAD CAR COMES TO A    
      STOP. Smoke rising from the wreck. Ferrante &amp; Teicher&apos;s piano    
      only version of &quot;Send in the Clowns&quot; still playing...            

      Both police officers in the front seat are either unconscious    
      or dead. We see movement in the back seat, hard to tell          
      what&apos;s going on inside.                                          

      Suddenly the back door kicks open--                              

      And Joker falls out of the car, landing hard on the street,      
      one hand free, handcuffs dangling from his other hand. Hear      
      sirens in the distance--                                         

      JOKER LEANS BACK AGAINST THE CAR, his face bloody, his body      
      broken from the crash. Sitting there amongst the wreckage,       
      can still see and hear the chaos, the fires burning all          
      around him. He reaches for a jagged shard of broken glass--      

      And pauses for moment catching his breath, hand holding the      
      jagged glass resting on his lap, wailing sirens getting          
      closer, looks like he&apos;s about to cut his wrists--                


124   EXT. MOVIE THEATER, STREET - UPTOWN - CONTINUOUS         124     

      A WELL-HEELED CROWD LETTING OUT OF A MOVIE THEATER, the          
      violence has even reached up here, the nice part of town...      
      Sirens wailing, gangs of punks wearing &quot;Joker&quot; masks running     
      past, breaking car windows, fires burning... Catch a glimpse     
      of the lit up marquee listing the films playing, &quot;Blow Out&quot;      
      and &quot;Zorro the Gay Blade&quot;. Hear &quot;Send in the Clowns&quot; still       
      playing...                                                       

      FROM BEHIND SEE A SILHOUETTED COUPLE AND THEIR KID hurry down    
      the dark side of the street, ducking into an alley to avoid      
      the chaos--                                                      

      Catch a glimpse of a punk in a &quot;Joker&quot; mask following after      
      them pulling a gun--                                             
                                                              116.


125   EXT. SQUAD CAR (UPSIDE DOWN), STREET - CONTINUOUS           125    

      Joker lifts the jagged shard of glass, handcuff swinging...        
      Passes by his wrist... And starts cutting into the slit on         
      one corner of his mouth, making his smile longer and wider.        
      Blood pouring down his face, onto his hand...                      

      Joker tearing into the other side of his mouth, jagged glass       
      ripping into his flesh, spurting blood, handcuff swinging--        
      Sirens on top of him, red lights flashing over his face--          

      ANGLE ON JOKER LIT UP RED, done cutting his smile, letting go      
      of the jagged bloody shard... Leans his head back against the      
      squad car, and closes his eyes, covered in his own blood.          
      He&apos;s finished.                                                     

      Now he is the Joker.                                               


126   EXT. ALLEY, MOVIE THEATER - CONTINUOUS                      126    

      FROM BEHIND, FAMILY IN THE SHADOWS sees the guy&apos;s eyes go          
      wide behind the mask, pointing his gun, music swelling--           

                          PUNK                                           
                    (shouting)                                           
                You still think we&apos;re all fucking                        
                clowns?                                                  

      And the punk shoots the man. Reaches out and grabs something       
      off the woman&apos;s neck before he shoots her as well. Both fall       
      to the ground dead. Revealing their young son standing behind      
      them--                                                             

      CLOSE ON EIGHT-YEAR-OLD BRUCE WAYNE, closing his eyes as           
      blood sprays across his face. He opens his eyes and looks up       
      scared at the man in the &quot;Joker&quot; mask who killed his parents,      
      Thomas and Martha Wayne. &quot;Send in the Clowns&quot; ends.                

                                                    CUT TO BLACK.        

      A long beat.                                                       

      HEAR LAUGHTER.                                                     

      The sound of a man totally cracking up.                            

                                                          FADE IN:       


127   INT. ARKHAM STATE HOSPITAL, INTERVIEW ROOM - MORNING        127    

      CLOSE ON JOKER, tears in his eyes from laughing so hard. He&apos;s      
      enjoying it, not trying to get it under control.                   
                                                       117.


His head&apos;s been shaved. He looks medicated or maybe even         
lobotomized. Wearing white institutional clothes.                

HIS NEW SMILE IS ALL STITCHED UP, cut deep up the corners of     
his mouth. Forming a longer, &quot;happier&quot; smile.                    

He&apos;s sitting across from an overworked HOSPITAL DOCTOR           
(50&apos;s), African American woman. Somehow it&apos;s the exact same      
room Joker imagined his mother was in some 30 years ago. The     
room and the doctor also look vaguely similar to the social      
worker and her office in the opening scene.                      

The doctor just sits there, waiting for him to stop laughing.    
A weathered notebook is on the table in front of him.            
Finally, Joker stops himself.                                    

                    HOSPITAL DOCTOR                              
          What&apos;s so funny?                                       

He takes a deep breath, his eyes are glazed over. His voice      
is scratchy, like he doesn&apos;t use it much.                        

                    JOKER                                        
          -- just thinking of this joke.                         

                    HOSPITAL DOCTOR                              
          Do you want to tell it to me?                          

Beat.                                                            

                      JOKER                                      
          No.                                                    

                    HOSPITAL DOCTOR                              
          Because you don&apos;t think I&apos;ll get                       
          it?                                                    

                    JOKER                                        
          Because it&apos;s personal, it&apos;s between                    
          me and him.                                            

Beat.                                                            

                    HOSPITAL DOCTOR                              
          Okay. Is the medication working?                       
          How&apos;s your sleeping?                                   

                      JOKER                                      
                (nods yes)                                       
          ...                                                    

                    HOSPITAL DOCTOR                              
          How are you feeling?                                   
                                                               118.


                          JOKER                                         
                Good. Everything&apos;s good now.                            

                          HOSPITAL DOCTOR                               
                Have you been writing in your                           
                journal?                                                

      Joker slowly nods.                                                

                          HOSPITAL DOCTOR                               
                Great. I want to make sure you&apos;re                       
                keeping up with it.                                     

                             JOKER                                      
                    (beat)                                              
                Yeah.                                                   

                          HOSPITAL DOCTOR                               
                Have you written about your                             
                episode? About what happened?                           

                          JOKER                                         
                How I remember it.                                      

                           HOSPITAL DOCTOR                              
                    (re: the journal)                                   
                Can I see?                                              

      Joker slides his journal across to her. She picks it up and       
      flips through the pages--                                         

      ANGLE ON JOURNAL, blank page after blank page, there&apos;s            
      nothing inside of it.                                             

      The doctor looks up at him confused.                              

      ANGLE ON JOKER, a smile creeping across his face. And we HEAR     
      the groovy organ opening to FRANK SINATRA&apos;s anthem &quot;That&apos;s        
      Life&quot;...                                                          

      Beat.                                                             


128   INT. HALLWAY, ARKHAM STATE HOSPITAL - MORNING              128    

      From behind, see Joker shuffling down the hallway past all        
      the other mental patients, an orderly by his side. Sinatra        
      starts singing.                                                   

      And Joker does a slide step to the music like he can hear it      
      too... into a skip... and another slide step into a spin...       
      Dancing down the hallway into the sunset...                       

                                                       IRIS OUT:        
                                            119.


&quot;That&apos;s Life&quot; keeps playing over credits. </itunes:summary>
      <itunes:subtitle>JOKER

                          AN ORIGIN




                         Written by

                 Todd Phillips &amp; Scott Silver




                                                  13 April 2018 

  This story takes place in its own universe. It has no
  connection to any of the DC films that have come before it.

  We see it as a classic Warner Bros. movie. Gritty, intimate
  and oddly funny, the characters live in the real world and
  the stakes are personal.

  Although it is never mentioned in the film, this story takes
  place in the past.

  Let&apos;s call it 1981.

  It&apos;s a troubled time. The crime rate in Gotham is at record
  highs. A garbage strike has crippled the city for the past
  six weeks. And the divide between the &quot;haves&quot; and the &quot;have-
  nots&quot; is palpable. Dreams are beyond reach, slipping into
  delusions.



                                                      OVER BLACK:

    HEAR LAUGHTER.

    The sound of a man totally cracking up.

                                                        FADE IN:


1   INT. DEPT. OF HEALTH, OFFICE - MORNING                          1

    CLOSE ON JOKER (30&apos;s), tears in his eyes from laughing so
    hard. He&apos;s trying to get it under control. His greasy, black
    hair is matted down. He&apos;s wearing an old, faded red hooded
    zip-up sweatshirt, a threadbare gray scarf, thin from years
    of use, hangs loosely around his neck.

    WE NOTICE TWO FADED OLD SCARS cut at the corners of his
    mouth. Almost forming a smile.

    He&apos;s sitting across from an overworked SOCIAL WORKER (50&apos;s),
    African American. Her office is cramped and run-down in a
    cramped and run-down building. Stacks of folders piled high
    in front of her.

    She just sits behind her desk, waiting for his laughing fit
    to end, she&apos;s been through this before. Finally it subsides.

    Joker takes a deep breath, pauses to see if it&apos;s over.

    Beat.

                        JOKER
              --is it just me, or is it getting
              crazier out there?

    Despite the laughter, there&apos;s real pain in his eyes.
    Something broken in him. Looks like he hasn&apos;t slept in days.

                         SOCIAL WORKER
              It&apos;s certainly tense. People are
              upset, they&apos;re struggling. Looking
              for work. The garbage strike seems
              like it&apos;s been going on forever.
              These are tough times.
                  (then)
              How &apos;bout you. How&apos;s the job? Still
              enjoying it?

                          JOKER
              Yeah, I   mean, it&apos;s different each
              day, so   I really like that. I don&apos;t
              think I   could ever work in an
              office.   Behind a desk.
                          (MORE)
                                                         2.

                     JOKER (CONT&apos;D)
              (beat)
          No offense.

She smiles. Writes something down. Looks at the clock, she&apos;s
running late for her next appointment.

                    SOCIAL WORKER
          Have you been keeping up with your
          journal?

                       JOKER
          Everyday.

                    SOCIAL WORKER
          Great. Did you bring it with you?

Beat.

                    JOKER
              (dodging the subject)
          I&apos;m sorry. Did I bring what?

                    SOCIAL WORKER
              (impatient; she doesn&apos;t
               have time for this)
          Arthur, last time I asked you to
          bring your journal with you. For
          these appointments. Do you have it?

                       JOKER
          Yes ma&apos;am.

Beat.

                    SOCIAL WORKER
          Can I see it?

He reluctantly reaches into his bag. Pulls out a weathered
notebook. Slides it across to her--

                    JOKER
          I&apos;ve been using it as a journal,
          but also a joke diary. Funny
          thoughts or, or observations-- Did
          I tell you I&apos;m pursuing a career in
          stand-up comedy?

She&apos;s half-listening as she flips through his journal.

                    SOCIAL WORKER
          No. You didn&apos;t.

                    JOKER
          I think I did.
                                                            3.


She doesn&apos;t respond, keeps flipping through his journal--

                    SOCIAL WORKER
          Oh yeah. Because of what your
          mother said,-- about your purpose.
          &quot;To bring laughter and joy to the
          world,&quot; right?

                    JOKER
          Right.

ANGLE ON JOURNAL, pages and pages of notes, all in neat,
angry-looking handwriting. Also, cut out photos from hardcore
pornographic magazines and some crude handmade drawings.

A flash of anger crosses Joker&apos;s face. We see him picking at
his right eyebrow, almost obsessively. Trying to stay calm.
His eyebrow is actually half-gone. Something he does a lot.

                    JOKER
          I didn&apos;t realize you wanted to read
          it.

The social worker gives him a look, then reads something in
the pages that gives her pause.

                    SOCIAL WORKER
              (reading out loud)
          &quot;I just hope my death makes more
          sense than my life.&quot;

She looks up at Joker. He just stares back. Lets it hang out
there for a beat.

Then he laughs a little, even though he doesn&apos;t think it&apos;s
funny--

                    JOKER
          Yeah. I mean, that&apos;s just--

                    SOCIAL WORKER
          Does my reading it upset you?

He leans in.

                    JOKER
          No. I just,-- some of it&apos;s
          personal. You know?

                    SOCIAL WORKER
          I understand. I just want to make
          sure you&apos;re keeping up with it.

She slides his journal back to him. He holds it in his lap.
                                                         4.


                    SOCIAL WORKER
          What about your mom? How&apos;s she
          feeling?

                    JOKER
          She has good days. But mostly bad.
          It&apos;s been a big help having me
          there. She really needs me.

                    SOCIAL WORKER
          Seems like she&apos;s been sick a lot
          since you got home.

                     JOKER
              (nods)
          Yeah, it&apos;s good I&apos;m there. When I
          was in the hospital, after my last
          episode-- she was having trouble
          getting over there to visit.

She looks back up at the clock, she needs to get to her next
appointment.

                    SOCIAL WORKER
          All right. So, I&apos;ll see you again,
          two weeks from today?

He nods. But keeps sitting there for a moment.

She stands up, trying to signal it&apos;s time for him to leave--

                    SOCIAL WORKER
          Is there something else I can help
          you with, Arthur? My next
          appointment is waiting.

He just keeps sitting there.

                    JOKER
          Yeah, I was wondering if you could
          ask the doctor to increase the
          dosage on my medications? Nothing
          seems to make a difference.

                     SOCIAL WORKER
              (looking over his record)
          Do you know which ones you&apos;d like
          increased?

Shakes his head, no.

                    SOCIAL WORKER
          Have you been sleeping?
                                                              5.


                        JOKER
                  (lying)
              Some.

    She glances at his file again.

                        SOCIAL WORKER
              Arthur, you&apos;re on seven different
              medications. Surely they must be
              doing something.

    He finally stands up. Zips up his faded red sweatshirt.

    Looks at her--

                        JOKER
              I just don&apos;t wanna feel so bad
              anymore.

                                                  CUT TO BLACK:

    TITLE:

                                JOKER


2   EXT. GOTHAM SQUARE, MIDTOWN - KENNY&apos;S MUSIC SHOP - DAY         2

    GOTHAM SQUARE IS CLOGGED WITH TRAFFIC. Non-stop honking
    horns, pedestrians crowding the sidewalk. Huge billboards,
    giant movie marquees, garbage bags piled high everywhere.
    Underneath it all we hear a TINKLING PIANO playing something
    bouncy and fast-paced.

    FROM ACROSS THE BUSY CITY STREET, we see Joker. He&apos;s dressed
    as a sad-faced HOBO CLOWN. This is his job.

    Dressed in tattered clothes, dark five o&apos;clock shadow painted
    on his face, big bulbous red nose, his mouth&apos;s outlined in
    white, turned down at the corners.

    He&apos;s holding up a sign in front of Kenny&apos;s Music Shop that
    reads, &quot;EVERYTHING MUST GO!&quot; A banner above the store reads,
    &quot;GOING OUT OF BUSINESS!&quot; Behind him, an OLD MAN plays a piano
    on the street. Both of them there to draw attention to the
    big sale going on in the store.

    Joker&apos;s doing a little Charlie Chaplin like waddle to the
    music. Most people walk right past, ignoring him. A few bump
    into him by mistake.

    JOKER SEES A GROUP OF FIVE BOYS, no more than 15-years-old,
    walking toward him. He moves out of their way. They crack up
    laughing when they see him. Start making fun of him.
                                                                6.


    Joker ignores them, tries to do his job the best he can while
    maintaining some dignity. Keeps dancing and holding up the
    sign.

    One of the kids knocks the sign out of Joker&apos;s hands--

                        KID #1
              Suck my dick, clown.

    The kids laugh. Joker doesn&apos;t say anything. Just bends over
    to pick up the sign--

    Another kid kicks him in the ass--

                        KID #2
              Whoops.

    Joker falls face first onto the sidewalk. Oddly, the old man
    playing the piano picks up the pace of the music--

    The kids crack up. One of the boys grabs Joker&apos;s sign and
    takes off running across the street--

    The other kids follow, weaving through traffic--

    Joker gets up and gives chase. He needs his sign back.

    He almost gets hit by a taxi, spinning out of the way just in
    time-- Spinning right into another taxi that stops just short
    of hitting him.

    Joker keeps running through traffic. People stare. A clown
    barreling down the street has got to be a joke--


3   EXT. CORNER, SIDE STREET - GOTHAM SQUARE - CONTINUOUS            3

    The five boys are booking it down the crowded street laughing
    and whooping it up. At the last second they take a sharp
    right turn down a cross street--

    Joker almost overshoots the corner, slip-sliding in his big
    red shoes--

    He rights himself and heads down after them--

    Sees them running up ahead--

    WHAP! Out of nowhere Joker gets hit in the face!

    He falls to the ground.

    One of the kids was hiding between parked cars and hit Joker
    with the &quot;EVERYTHING MUST GO!&quot; sign, splintering it in two--
                                                                7.


    The other kids turn back and walk up to Joker down on the
    ground.

    Joker reaches out, still trying to save the sign--

    THE KIDS START KICKING AND BEATING THE SHIT out of Joker.
    It&apos;s brutal and vicious. Nobody on the street stops to help.

    CLOSE ON JOKER&apos;S HOBO CLOWN FACE, down on the ground. Sweat
    running down his face, smearing his make-up. He doesn&apos;t even
    look like he&apos;s in pain. He just takes the beating.

    That stupid frown painted on his face.


4   INT. CITY BUS (PULLING OUT) - HEADING DOWNTOWN - DUSK            4

    Joker, makes his way toward the back of the crowded bus, now
    walking with a slight limp, but keeping his head held high.

    His make-up&apos;s washed off, costume and props all shoved into a
    big shopping bag slung over his shoulder. Some white grease-
    paint still smudged on the sides of his face.

    He finds an empty seat in the back of the bus. Sees a sad-
    eyed FOUR-YEAR-OLD GIRL, face puffy from crying, sitting on
    her knees looking back at him. Her mother&apos;s facing forward,
    but even from behind you can tell she&apos;s angry.

    Joker sees the sad-eyed girl staring straight back at him. He
    doesn&apos;t know where to look, feeling self-conscious and small.
    He gets back into &quot;character&quot; smiling like a clown and covers
    his face with his hands-- Starts playing the peek-a-boo game
    with her.

    The girl stares back at him for a moment then giggles--

                         WOMAN ON BUS
                   (turns back to Joker;
                    already annoyed)
              Can you please stop bothering my
              kid?

                        JOKER
              I wasn&apos;t bothering her, I was--

                         WOMAN ON BUS
                  (interrupts)
              Just stop.

    AND SUDDENLY JOKER STARTS TO LAUGH. LOUD. He covers his mouth
    trying to hide it-- Shakes his head, laughter pausing for a
    moment, but then it comes on stronger. His eyes are sad. It
    actually looks like the laughter causes him pain.
                                                                                   8.


    People on the bus are staring. The girl looks like she&apos;s
    going to cry again.

                            WOMAN ON BUS
                  You think that&apos;s funny?

    Joker shakes his head no, but he can&apos;t stop laughing. He
    reaches in his pocket and pulls out a small card. Hands it to
    the woman.

    CLOSE ON THE CARD, it reads: &quot;Forgive my laughter. I have a
    condition (more on back)&quot;

    She turns the card over and there is a bunch of information
    in small writing--
    &quot;It&apos;s a medical condition causing sudden, frequent, uncontrollable laughter that
    doesn&apos;t match how you feel. It can happen in people with a brain injury or certain
    neurological conditions.&quot;

    She doesn&apos;t read it (but if you freeze frame the movie you
    could). She just shakes her head annoyed and throws the card
    on the ground.

    Joker laughs harder. Tears running down his face.

    Not wanting to attract any more attention to himself, he
    pulls up his red hood, and uses his threadbare scarf to cover
    his mouth, trying to muffle the laughter.

    He looks out at the city passing him by.


5   EXT. LOWER EAST SIDE, STREETS - GOTHAM - EVENING                                     5

    The bus pulls away, sun almost gone.

    Joker heads slowly down the litter-covered streets. Garbage
    is piled along the sidewalks, the air thick with smog creates
    a haze over everything.

    The streets are crowded with the poor, the elderly and
    disenfranchised. Women with children in busted strollers.
    Homeless people sleeping on subway grates. Stray dogs. His is
    one of the few white faces.

    Joker makes his way into a run-down drug store, behind him
    two drunks fight on the corner, beating the shit out of each
    other. Joker, and nobody else for that matter, pays them any
    attention.

    No one here gives a shit.
                                                               9.


6   INT. LOBBY, APARTMENT BUILDING - EVENING                        6

    A shabby lobby in a building that was once probably pretty
    nice, but now it&apos;s a dump.

    Joker checks his mailbox. He&apos;s holding a small white
    (prescription) bag in his hand.

    The mailbox is empty.


7   INT. ELEVATOR, APARTMENT BUILDING - CONTINUOUS                  7

    Joker steps onto the wheezing elevator, harsh fluorescent            
    lights, graffiti on the walls. As the door closes, he hears--        

                        SOPHIE (OS)
              Wait!!

    He puts his foot out with some panache to stop the closing
    door-- He&apos;s a romantic at heart. Ding.

    And SOPHIE DUMOND (late 20&apos;s), tired eyes, hands filled with
    grocery bags, steps onto the elevator with GIGI, her 5-year-
    old daughter.

                         SOPHIE
              Thank you.
                  (realizing)
              Of course it&apos;s you,-- everyone else
              in this building is just so fucking
              rude.

    Joker nods &quot;thanks.&quot; Holds his breath, hoping he doesn&apos;t
    start to laugh.

    Floors dinging as the elevator rises.

    Joker sees GiGi licking the dirty smudged elevator handrail
    behind her mom.

                        SOPHIE
              How&apos;s your mom doing?

    He takes a deep breath, he&apos;s uncomfortable talking to her,
    holds up the white prescription bag.

                        JOKER
              It&apos;s day to day. I&apos;m doing
              everything I can to get her back on
              her feet.
                  (re: pharmacy bag)
              Picked up her medicine. Gonna make
              her some dinner.
                                                            10.


                        SOPHIE
                  (smiles; being polite)
              She&apos;s lucky she has you--

    Joker smiles thanks, can&apos;t help but glance at GiGi licking
    the rail.

    Sophie finally notices. She wants to grab her but can&apos;t with
    her hands full. Tries to kick her away--

                        SOPHIE
              Jesus. Don&apos;t do that, GiGi! How
              many times have I told you that?
                  (to Joker)
              This building is so awful, isn&apos;t
              it?

    Joker just nods... he doesn&apos;t know what to say, but clearly
    wants to continue this conversation with Sophie.

    The doors open. They all step off.

                        SOPHIE
              Okay. Well, tell your mom I said
              hello.

    And Sophie and GiGi walk down the hall-- the opposite way of
    Joker. He just stands there for a beat. Heart beating fast.

                        JOKER
                  (calls out after her)
              Hey Sophie--

    She turns around.

                        JOKER
              I&apos;ll tell my mom you said hello.

    She smiles as in &quot;yeah, that&apos;s what I said.&quot;


8   INT. MOM&apos;S APARTMENT, FRONT DOOR - EVENING                    8

    Old apartment, worn carpet. Nothing&apos;s new inside but it&apos;s
    fairly neat and well-kept.

    Joker closes the door behind him, leans his back against it
    and swoons. Hears a deep purring sound. He looks down and
    sees an OLD ORANGE CAT, rubbing up against his leg.

    Then--
                                                            11.


                        MOM (OS)
                  (shattering the moment,
                   calls out)
              Happy?! Did you check the mail
              before you came up?

                        JOKER
              Yes, Ma. Nothing. No letter.

                        MOM (OS)
              You sure you looked? Sometimes I
              don&apos;t know where your head is.

    Joker glances back down and sees the cat is gone.

                        JOKER
              Yes I&apos;m sure. And my head&apos;s right
              here. I&apos;m gonna make you some
              dinner, okay?

                                                   QUICK CUTS:

    JOKER TEARS OPEN THE PRESCRIPTION BAG... A FLURRY OF PILL
    BOTTLES TUMBLE OUT ONTO THE COUNTER.

    SEE HIS NAME, &quot;ARTHUR FLECK&quot; ON THE ORANGE PILL BOTTLES, AND
    GLIMPSE THE GENERIC DRUG NAMES, TEMAZEPAM... PERPHENAZINE...
    AHENELZINE... AMITRIPTYLINE... BENZEDRINE... DIAZEPAM...
    MEPROBAMATE...

    TAKES OUT ONE PILL FROM EACH THE TEMAZEPAM AND MEPROBAMATE
    BOTTLES.

    TWO PILLS BEING CRUSHED UP TO POWDER.

    SPRINKLES THE POWDER ON TOP OF A TV DINNER.

    SWALLOWS A HANDFUL OF PILLS FROM THE OTHER BOTTLES.

    LOOKS DOWN AND SMILES AT THE ORANGE CAT LOOKING UP AT HIM
    FROM THE COUNTER.


9   INT. MOM&apos;S BEDROOM, APARTMENT - NIGHT                         9

    Joker brings the food to his mother, PENNY (70&apos;s), lying in
    her bed. The TV is on, playing the local news.

    Joker sets the food down in front of his mother. He covers
    the pain from his beating the best he can-- His mother
    doesn&apos;t seem to notice anyway.

                        MOM
              He must not be getting my letters.
                                                        12.


Joker sits down on a chair next to the bed.

                    JOKER
          He&apos;s a busy man.

                    MOM
          Too busy for me? I worked for that
          family for 12 years. He always had
          a smile for me. Least he could do
          is write back.

                    JOKER
          Ma, eat. You need to eat.

                    MOM
          You need to eat. Look how skinny
          you are.

Before Joker can say anything, his mother points to the news
on the TV--

                    MOM
          All day long it&apos;s more bad news.
          That&apos;s all there is.

                    JOKER
          Maybe you shouldn&apos;t watch so much
          television.

                    MOM
              (ignoring)
          He&apos;s the only hope for Gotham.
          He&apos;ll make a great mayor. Everybody
          says so.

                    JOKER
              (playful)
          Everybody who? Who do you talk to?

                    MOM
          Well everybody on the news.

                    JOKER
          Stop it. He&apos;s not even gonna run.
          Why would Thomas Wayne want to be
          mayor? He can do more good as a
          businessman.

                    MOM
          Because he cares about this city.
          And everyone in it-- that&apos;s why I
          can&apos;t believe he hasn&apos;t written me
          back.
                                                         13.


                    JOKER
          He will. Now eat some dinner.

He feeds her a bite of the food.

                    JOKER
          How you feeling today?

                    MOM
          I don&apos;t know. It always hits me
          worse at night, you notice that?

He shakes his head.

                    JOKER
              (teasing)
          Maybe it&apos;s the moon. Maybe you&apos;re a
          werewolf?

HE HOWLS SOFTLY like a wolf. She laughs.

                    MOM
          It&apos;s not funny.

Joker watches her as he cuts up some more of her food.

                    MOM
          Anyway, I wrote a new letter today.
          A better one. I want you to hand
          deliver it to him.

                       JOKER
          What? Why?

                    MOM
          Cause maybe the mailman is throwing
          them away. We should have tipped
          him at Christmas time.

                    JOKER
          Who tips their mailman?

                    MOM
          Some people do. Rich people do.

Joker sighs, resigned.

                    JOKER
          Okay. I can try his office.
          Tomorrow.
                                                                14.


                          MOM
               Thank you.
                   (she pats the bed)
               Come sit. It&apos;s almost on.

     Joker gets into bed with her.

     CLOSE ON TELEVISION, intro to &quot;LIVE WITH MURRAY FRANKLIN!&quot;,
     and we HEAR THE ANNOUNCER over clips of comedy bits, stars
     and Murray Franklin himself--

                         ANNOUNCER (ON TV)
               It&apos;s Live with Murray Franklin!
               Tonight Murray welcomes, Sandra
               Winger, comedian Skip Byron and the
               piano stylings of Yeldon &amp; Chantel!
               As always, Don Ellis and his Jazz
               Orchestra. And now, without any
               further ado-- Murray Franklin!

     Joker and his mom watch from bed, this is a ritual of theirs.


10   INT. LIVING ROOM, MOM&apos;S APARTMENT - NIGHT                    10

     Late night. Joker&apos;s mom is dead asleep. Joker is alone in the
     living room, which doubles as his bedroom. He can&apos;t ever
     sleep. He opens his worn notebook. Flips to a page titled
     &quot;Jokes&quot; and starts writing--

     CLOSE ON WORDS, as he slowly writes: &quot;The worst part about
     having a mental illness is...&quot;

     ANGLE ON JOKER, pausing, thinking it over for a moment. Then
     he laughs to himself when he comes up with something.

     CLOSE ON WORDS, coming faster now, &quot;...that people still
     expect you to behave as if you don&apos;t.&quot;

                                                        CUT TO:


11   EXT. WAYNE TOWER, STREET - MIDTOWN - MORNING                 11

     Joker&apos;s looking up at the intimidating steel and glass tower,
     he looks so small, holding his mom&apos;s letter in his hand.
     Bustle of professionals coming in and out of the company&apos;s
     corporate headquarters, Joker looks out of place.

     He heads inside through the giant glass doors.
                                                                15.


12   INT. RECEPTION, WAYNE ENTERPRISES - 25TH FLOOR - MORNING     12

     Joker steps off an elevator and walks up to the white marble
     reception desk as if he belongs there--

                         JOKER
               Hello. I have a personal letter for
               Mr. Thomas Wayne.

                         RECEPTIONIST
               Okay. You can leave it with me.

                         JOKER
               It&apos;s kind of important. I need to
               make sure he gets it himself.

                         RECEPTIONIST
               Oh, in that case, I&apos;ll buzz you
               right in.

     Joker goes to enter--

                         RECEPTIONIST
               I&apos;m kidding. Leave it here.

     He laughs along with her, even though she&apos;s not laughing.

                         JOKER
               Oh. Right-- well, my mom used to
               work for the Wayne family-- for 12
               years. She was their housekeeper.

     A couple other business people are now waiting behind Joker,
     there for meetings.

                         RECEPTIONIST
               That&apos;s great. But you can leave it
               with me or you can leave with the
               letter. Those are your options. Now
               please step aside.

                         JOKER
               Mr. Wayne knows her. Can you maybe
               at least call back to him? Tell him
               that I&apos;m here.

                         RECEPTIONIST
               Thomas Wayne is away on business.

     Joker is getting frustrated.

                         JOKER
               Okay. Well, can I have your name?
               So I know who I left it with.
                                                             16.


     Now Joker sees a GROUP OF MEN walking behind the glass that
     separates the reception area from the back offices. Amongst
     the group, he catches a glimpse of THOMAS WAYNE (60&apos;s), deep
     tan, hair dyed so black it&apos;s almost blue.

                         JOKER
               Wait. He&apos;s right there.
                   (goes up to the glass,
                    shouts)
               Mr. Wayne! Mr. Wayne.

     He starts banging on the glass... but the group keeps moving.
     Not noticing him.

                         RECEPTIONIST
               Sir. Please stop. Sir!!

     Joker keeps banging on the glass.


13   EXT. WAYNE TOWER, FRONT ENTRANCE - MORNING                   13

     The glass doors swing open and Joker is forcibly thrown onto
     the street. TWO LARGE SECURITY GUARDS stand over him.

     He is still holding the letter.

     He makes as if he&apos;s going to leave peacefully, then at the
     last minute, TAKES ANOTHER RUN AT THE DOOR--

     The two guards stiff arm him.

                                                        CUT TO:


14   INT. HA-HA&apos;S TALENT BOOKING, LOCKER ROOM - DAY               14

     The cramped locker room of a small talent booking agency.
     This is where Joker works. They &quot;rent out&quot; talent for parties
     and events. Clowns, magicians, male strippers.

     Joker takes off his shirt, grimaces in pain as he moves. His
     body&apos;s bruised from the beating he took chasing after his
     sign.

                           RANDALL (OS)
               You okay?

     He turns. RANDALL (mid 50&apos;s), a big bear of a know-it-all,
     standing there. He&apos;s a party clown as well. He&apos;s half-dressed
     in his clown suit.
                                                        17.


                    RANDALL
          I heard about the beat down you
          took. Fucking savages.

                    JOKER
          It was just a bunch of kids. I
          should have left it alone.

Randall opens his locker--

                    RANDALL
          It&apos;s crazy out there. And it&apos;s only
          getting worse.

                     JOKER
              (nods)
          My mother says that the people
          nowadays lack empathy.

                    RANDALL
          What&apos;s empathy?

                    JOKER
          It means like &quot;feeling for other
          people.&quot;

                    RANDALL
          Like sympathy?

                    JOKER
          Kind of. But different.

Randall comes over, hands Joker a brown paper bag-- Joker
looks inside. It&apos;s a GUN, a .38 snub-nose revolver.            

Joker looks up at him, confused--

                    RANDALL
          Take it. I got a few. You gotta
          protect yourself out there, buddy.
          Too many wackos.

As Joker stares at it--

                    RANDALL
              (lowers his voice)
          It&apos;s a .38 snub-nose. Gets the job
          done if you ever need to use it.
          Usually pulling it out is enough.

                    JOKER                                      
          I, I don&apos;t have the money for this,                  
          Randall.
                                                                18.


                         RANDALL
               Don&apos;t sweat it. You can pay me some
               other time. You&apos;re my boy.

     That lands with Joker, he smiles to himself.

                         RANDALL
                   (as he walks away)
               But you didn&apos;t get it from me,
               okay?

     Joker nods. Puts the brown paper bag in his locker. Slowly         
     starts to get dressed-- his eyes darting toward the bag as he      
     does.

     Another clown, GARY (30&apos;s), a dwarf, pops his head into the
     locker room.

                         GARY
               Arthur,-- Hoyt wants to see you in
               his office.

                           JOKER
               What for?

                           GARY
               No clue.


15   INT. FRONT OFFICE, HA-HA&apos;S TALENT BOOKING - DAY              15

     Joker still half-dressed, walks into the cramped office.

     His boss, HOYT VAUGHN (60&apos;s) sits behind a metal desk. The
     office is a complete mess, newspapers and files litter the
     desk. A giant ashtray filled with cigarette butts. A calendar
     of booking hangs on the wall. A scribbled, jumbled mess.

                         JOKER
               Hey Hoyt. Gary said you wanted to
               see me?

                         HOYT
                   (without even looking up)
               How&apos;s the comedy career? Are you a
               famous stand-up yet?

                         JOKER
               Not quite. Haven&apos;t even performed
               yet. Just been working my material.
               This business is all about fine-
               tuning.

     Now Hoyt looks up. Takes a drag from his cigarette.
                                                         19.


                       HOYT
          Right.

Joker goes to sit down--

                    HOYT
          Don&apos;t sit. This will be quick.

Joker stops in his tracks.

                     HOYT
          Look, I like you, Arthur. A lot of
          the guys here, they think you&apos;re a
          freak. But I like you. I don&apos;t even
          know why I like you. I mean, you
          don&apos;t say much.
              (beat)
          It&apos;s probably that stupid laugh. It
          gets me every time. Kills me.

Unsure how to respond, Joker just nods.

                    HOYT
          But I got another complaint. And
          it&apos;s starting to piss me off.

Joker takes a deep breath, maybe picks at his eyebrow.

                    HOYT
          Kenny&apos;s Music. Sunday. The guy said
          you disappeared. Never even
          returned his sign.

                    JOKER
          No. I got jumped. I told you about
          that.

                    HOYT
          For a sign? Bullshit. It makes no
          sense, just give him his sign back.
          He&apos;s going out of business for
          god&apos;s--

BANG! Out of nowhere, Joker slams his head into the wall.
Head-butting it hard.

                       HOYT
                 (taken aback)
          Hey!

BANG! BANG! He does it two more times. Breaking the plaster
on the wall--
                                                                20.


                         HOYT
               What the fuck, Arthur?!

                         JOKER
                   (voice tightens)
               I don&apos;t have his sign.                                   

     And Joker just stares at Hoyt, some blood forming on his
     forehead--                                                         

                                                          CUT TO:       


16   EXT. BACK ALLEY, OUTSIDE HA-HA&apos;S - AMUSEMENT MILE - DAY      16    

     WE&apos;RE AT THE FAR END OF AN ALLEY, about halfway down, catch a      
     glimpse of Joker still half-dressed on the other side of a         
     dumpster. From this vantage, all we can see is him furiously       
     KICKING and STOMPING on something... or somebody.                  

     We don&apos;t hear anything. And we can&apos;t make out what it is that      
     he&apos;s so violently beating down.                                    

     It could be a cat... a cardboard box... a homeless person...       
     We don&apos;t know.                                                     

     Joker just continues unleashing his rage--                         


17   INT. CITY BUS (MOVING) - DUSK                                17

     Joker at the end of his work day, sitting in his spot toward
     the back of the bus.

     Across the aisle from him, he&apos;s innocently watching a young
     couple, playfully teasing each other.


18   EXT. GOTHAM, LOWER EAST SIDE - EVENING                       18

     Joker heading back home down the litter-covered streets like
     he does every night. Garbage still piled along the sidewalks,
     air still thick with smog.

     He&apos;s carrying the paper bag that Randall gave him.


19   INT. LOBBY, APARTMENT BUILDING - EVENING                     19

     Joker checks his mailbox. Empty.
                                                             21.


20   INT. ELEVATOR, APARTMENT BUILDING - CONTINUOUS              20

     Joker is on the elevator, as the door closes, he sticks his
     foot out to stop it.

     The door limps back open. Ding.

     He looks to see if anybody, if Sophie, is coming. He waits.
     Hoping.

     The door starts to close on him again-- Right before it does,     
     he stops it with his foot again. Ding.


21   INT. MOM&apos;S APARTMENT, BATHROOM - NIGHT                      21

     JOKER&apos;S GIVING HIS MOM A BATH, being careful with her as he
     shampoos her hair.

                         MOM
               --so what did he say when you gave
               him the letter?

                         JOKER
               They wouldn&apos;t let me see him.
                   (lying)
               But they promised me it would get
               to him.

                         MOM
               It&apos;s good they promised. He only
               works with the best. We should hear
               something soon.

     He fills an empty plastic container with some bath water.

                          JOKER
               Look up.

     She tilts her head back and he rinses her hair with the water
     from the container...

                         JOKER
               Why are these letters so important
               to you, Ma? What do you think he&apos;s
               gonna do?

                         MOM
               He&apos;s gonna help us.

                         JOKER
               Help us how?
                                                             22.


                         MOM
               Get us out of here, take me away
               from this place and these-- these
               awful people.

                         JOKER
               You worked for him over 30 years
               ago. What makes you think he would
               help you?

     She looks at him with conviction.

                         MOM
               Because Thomas Wayne is a good man.
               If he knew how I was living, if he
               saw this place, it would make him
               sick. I can&apos;t explain it to you any
               better than that.

     Joker nods. Annoyed, but not worth the argument. He stands up
     to get her a towel.

                         JOKER
               I don&apos;t want you worrying about
               money. Everyone&apos;s been telling me
               they think my stand-up is ready for
               the big clubs. It&apos;s just a matter
               of time before I get a break.

     She steps into the towel. He&apos;s helping dry her off.

                         MOM
               Happy, what makes you think you
               could do that?

                         JOKER
               What do you mean?

                         MOM
               I mean, don&apos;t you have to be funny
               to be a comedian?

     Beat.


22   INT. MOM&apos;S BEDROOM, APARTMENT - LATE NIGHT                22

     Joker&apos;s mom is out cold in her bedroom, a half-eaten plate of
     food is next to her on the bed.
                                                             23.


23   INT. LIVING ROOM, MOM&apos;S APARTMENT - CONTINUOUS               23

     Joker sits on the couch. The TV is on, but the sound is off.
     He holds the .38 SNUB-NOSE REVOLVER Randall gave him in his
     hand. He&apos;s never held a gun before, looks uncomfortable with
     it, the weight of it in his hand...

     He points it at the TV, hand trembling a bit... Points it at       
     the cat... Points it at his head.

     Looks closely at the grip. The barrel. The cylinder. Now he
     casually pulls the trigger--

     BLAMMMMMMM!

     He jumps up off the couch. What the fuck!? He looks around in
     a panic. His hands shaking.

     He shot a hole in the wall.

                         MOM (OS)
                   (awoken by the shot)
               HAPPY!? What was that?

                         JOKER
               What?!

     He quickly turns up the TV volume. REALLY LOUD. Shoves the
     still smoking gun under the couch cushions.

                         MOM (OS)
               THAT NOISE! DID YOU HEAR THAT
               NOISE?

     He&apos;s inspecting the hole in the wall. Shouts back over the TV
     noise--

                         JOKER
               I&apos;M WATCHING AN OLD WAR MOVIE.

                         MOM (OS)
               TURN IT DOWN!

     He heads for his mother&apos;s bedroom.


24   INT. MOM&apos;S BEDROOM, DOORWAY - CONTINUOUS                     24

     Joker looks in on his mom in her dark bedroom, can make out
     the outline of her body sitting up.

                         MOM
               It&apos;s so loud.
                                                                24.


                         JOKER
               I know. The Americans are really
               giving it to the Japs.

     He walks over to her in the darkness. Kisses her on the
     forehead.

                         JOKER
                   (softly)
               I&apos;m sorry. I&apos;ll turn it down.


25   INT. KITCHEN, MOM&apos;S APARTMENT - LATE NIGHT                   25

     Joker is writing in his journal. He speaks softly to himself
     as he writes...

                          JOKER
               Why didn&apos;t Randall tell me the gun
               was loaded? He&apos;s my friend. With my
               luck, I could have killed someone.
                   (beat)
               I could have killed myself.

     CLOSE ON THE LAST LINE, he crosses out &quot;could&quot;...

     Writes... &quot;should&quot;.

                         JOKER
                   (still to himself)
               I should have killed myself.

     CLOSE ON JOKER as he crosses out something again...

                         JOKER
                   (louder to himself)
               I should kill myself.

     Beat.


26   EXT. STREET, LOWER EAST SIDE - MORNING                       26

     HANDHELD POV, see the run-down building where Joker lives
     from across the street.

     REVEAL, Joker is watching his own building on the far side of
     a parked truck. Red hood pulled up, covering his head. He
     waits. Watches.

     Now we see Sophie exiting the building with her daughter
     GiGi. Sophie&apos;s dressed more conservatively than when we
     previously met her.
                                                                25.


     Joker starts following them.


27   EXT. PUBLIC SCHOOL - MORNING                                 27

     Sophie drops GiGi off at school. Joker&apos;s still watching.
     Following.


28   EXT. ELEVATED SUBWAY PLATFORM - MORNING                      28

     Sophie waits on the platform. Lights a cigarette.

     We see Joker, hidden behind a steel support beam-- watching
     her from a distance.


29   INT. SUBWAY (MOVING) - MORNING                               29

     Joker stands at the window between two subway cars. Just
     watching Sophie as she reads a book in the next car.

     The train comes to a stop and she exits. Joker exits as well.


30   EXT. STREET, UPPER EAST SIDE - MORNING                       30

     Nicer part of Gotham. Joker follows Sophie from a distance,
     watches as she walks into Gotham First National Bank.

     Sees her say hello to the guard. This is where she works.

     Joker just watches and waits.


31   INT. GOTHAM FIRST NATIONAL - LATER                           31

     A large, mid-level bank. Sophie is one of THREE BANK TELLERS
     working behind the plexiglass windows.

     Joker pulls the hood back off his head, takes a deep breath
     before he walks up to her window. She is looking down,
     counting her drawer.

     Takes another deep breath. Then--

                         JOKER
               Hello. I&apos;d like to open an account.

     She looks up.

                         SOPHIE
                   (surprised)
               Hey, what are you doing up here?
                                                        26.


                    JOKER
          Oh, hi. That&apos;s weird.
              (pausing to see if he&apos;s
               gonna laugh; he&apos;s good)
          I didn&apos;t know you worked at a bank.

                    SOPHIE
          Pretty glamorous, right?

Not getting the sarcasm, Joker nods. Looks around.

                    JOKER
          Very glamorous. Look at this place.

She laughs.

He stands there awkwardly for a moment looking around to see
what she&apos;s laughing about.

Realizes she thought he was making a joke.

Beat.

                    JOKER
          I&apos;m a comedian. I do stand-up
          comedy.

                    SOPHIE
          Really? I had no idea.

                    JOKER
          Yeah. You know, I&apos;m always making
          funny observations. Always on the
          look out for my next bit-- so it
          makes sense.

                    SOPHIE
          Right. Anyway, is there something I
          could help you with?

Beat.

                    JOKER
          I said hi to my mom.

                       SOPHIE
          Excuse me?

                    JOKER
          Last week. You said to say hi to my
          mom. I did. Made her day.

They are interrupted by the BRANCH MANAGER (50&apos;s), white,
heavy-set, who has come up behind Sophie--
                                                             27.


                         BRANCH MANAGER
               Everything okay here?

     He puts his heavy hand on Sophie&apos;s shoulder. She practically
     shudders from his touch.

                         SOPHIE
               Everything is fine Mr. Slotnick.

     Now he leans down and whispers something in her ear-- Joker
     just watches through the glass.

                         SOPHIE
                   (shakes her head; to her
                    manager)
               No. He&apos;s not. He&apos;s interested in
               opening an account.

                         BRANCH MANAGER
                   (to Joker)
               Great. You just need to fill out a
               form. They are back there-- against
               the wall.

     As the manager talks, Sophie makes wide eyes at Joker, like
     &quot;I almost got in trouble.&quot;

                          JOKER
                   (covering; trying to act
                    cool)
               Okay. Thank you, sir. And thank you
               as well, Miss.

     Joker walks back to the wall by the forms.

     He fumbles around for a minute, clearly not there to open an
     account. He begins filling out a form. Then--

                         JOKER
                   (shouts out, to no one in
                    particular)
               YOU KNOW WHAT?! I FORGOT MY ID!
               I&apos;LL BE BACK. THANK YOU.

     He walks out of the bank. Head in the clouds.


32   INT. GOTHAM COMEDY CLUB, CHINATOWN - NIGHT                32    

     Joker sitting in the middle of a dark, crowded comedy club.     
     People on dates. Groups of friends. All here to watch the
     stand-up. He sits at a small table by himself, watching the
     act on stage.
                                                              28.


     The comic on stage is killing it. The whole room is laughing
     and applauding. Everyone except Joker.

     He&apos;s watching. Studying. Diligently jotting down notes in his
     notebook.


33   EXT. GOTHAM COMEDY CLUB, STREET - CHINATOWN - NIGHT          33    

     People are piling out of the club, onto the narrow street,         
     jumble of lit-up signs, most glowing yellow or red. Joker          
     walks out alone, carrying his notebook. He sees a FLYER taped      
     to the entrance of the club.                                       

     CLOSE ON THE FLYER, &quot;Open mic night. Thursdays. 10pm.&quot;

     He rips the flyer off the wall.


34   INT. HA-HA&apos;S TALENT BOOKING, LOCKER ROOM - DAY               34

     Joker is working on his &quot;Mr. Jingles&quot; clown look, using the
     small mirror in his locker. Behind him a couple of other
     clowns are eating their lunch at a small table, not paying
     Joker any attention.

     Joker pauses half-finished, and stares at himself for a beat.
     He starts to examine the two small scars on the corners of
     his mouth, we really notice how they form a smile. Joker
     hooks the corners of his mouth down with his index fingers,
     turning his smile into a frown--

     He lets go and his smile returns.

     Does it again, up and down, up and down, his face a living
     comedy/tragedy mask.

     And then he pulls his fingers wider, stretching his smile
     into a grotesque parody, pulling his mouth so wide tears come
     to his eyes--

     AND WE HEAR JOKER SINGING &quot;If You&apos;re Happy and You Know It&quot;
     at his next gig.

                         JOKER (PRE-LAP)
                   (singing)
               --if you&apos;re happy and you know it
               and you really want to show it, if
               you&apos;re happy and you know it clap
               your hands.
                                                             29.


35   INT. GOTHAM GENERAL - CHILDREN&apos;S WARD - EVENING           35

     Joker is performing for a ward full of sick children, wearing
     an oversized white lab coat over his &quot;Mr. Jingles&quot; clown
     costume. A few nurses and doctors watch as well.

     His white clown face, mouth outlined in black and filled in
     with red, his green wig frizzy and worn out. Joker plays a
     UKULELE along with the song.

                         JOKER
               If you&apos;re happy and you know it,
               stomp your feet.

     Joker and the kids stomp and sing along.

                          JOKER
               If you&apos;re happy and you know it,
               stomp your feet.
                   (stomp, stomp)
               If you&apos;re happy and you know it and
               you really want to show it, if
               you&apos;re happy and you know it stomp
               your feet.

     As the song winds down, the KIDS and NURSES clap.

     Joker takes an exaggerated and ridiculous bow--

     And as he does, his .38 SNUB-NOSE REVOLVER slips out of his
     pants and slides across the floor.

     Everyone stops. Looks at the gun on the floor.


36   INT. LOBBY, GOTHAM GENERAL - LATER                        36

     Joker is on a payphone in the lobby of the hospital. He&apos;s in
     his street clothes, wig in his hand, clown-face still painted
     on.

                         JOKER
                   (into phone)
               Hoyt, let me explain.

                         HOYT (OVER PHONE)
               Oh, this&apos;ll be good. Please tell me
               why you brought a gun into a sick
               kid&apos;s ward?

                         JOKER
                   (into phone)
               It was, it was a prop gun. It&apos;s
               part of my act now.
                                                         30.


                    HOYT (OVER PHONE)
          Bullshit. Jingles would never carry
          a fucking gun. Besides, Randall
          told me you tried to buy a .38 off
          him last week.

Joker&apos;s taken aback that Randall would do that to him.

                    JOKER
              (into phone)
          Randall told you that?

                    HOYT (OVER PHONE)
          He was with me when the call came
          in. You&apos;re a fuck up, Arthur. And a
          liar. You&apos;re fired.

                    JOKER
              (into phone)
          Hoyt--

                     HOYT (OVER PHONE)
          Say it, Arthur.
              (beat)
          Let me hear you say it.

                    JOKER
              (into phone)
          Say what?

                    HOYT (OVER PHONE)
          I&apos;m a fuck up and I&apos;m fired.

Joker picks at his eyebrow.

                    JOKER
              (into phone; low)
          --I&apos;m a fuck up and I&apos;m fired.

                    HOYT (OVER PHONE)
          Louder.

                    JOKER
              (into phone; louder)
          I&apos;m a fuck up and I&apos;m fired.

                    HOYT (OVER PHONE)
          Yes. You are.

Click. He hears Hoyt hang up.

Beat.
                                                                31.


37   INT. SUBWAY (MOVING) - NIGHT                                 37

     JOKER SITS ON THE SUBWAY CONTEMPLATING WHAT JUST WENT DOWN,
     face still painted, his bag on the seat next to him, along
     with his wig.

     There&apos;s only one other person on the subway car, a YOUNG
     WOMAN (30&apos;s) sitting at the far end-- reading a book.

     The train comes to a stop and THREE WALL STREET GUYS enter.
     They are being loud and obnoxious, clearly drunk. One of them
     is eating some french fries out of a greasy McDonald&apos;s bag.
     He flops down on the bench across from the girl and checks
     her out. The other two guys start getting into it with each
     other--

                         WALL STREET #1
               --I&apos;m telling you, she wanted my
               number. We should have just stayed.

     The train starts moving again...

                         WALL STREET #2
               You&apos;re dreaming, man. She wasn&apos;t
               interested-- at all.

                         WALL STREET #1
               Are you nuts? Did you see how close
               we were dancing!? She was in love,
               bro.

     He starts dancing a bit with himself, mimicking what he
     remembers. Wall Street #2 takes a swig from the brown bag he
     is carrying.

                         WALL STREET #2
               She couldn&apos;t wait to get away from
               you.

     Joker is watching them closely, impressed by their confidence
     and easy-going camaraderie.

                          WALL STREET #1
                    (to the third guy)
               Ryan, am I crazy? Tell him what you
               saw.

     But the third Wall Street guy isn&apos;t paying his friends any
     attention. He has his eyes set on the young woman sitting
     across from him, reading her book.

                         WALL STREET #3
                   (to the girl)
               Hey. You want some french fries?
                                                        32.


He holds out his McDonald&apos;s bag and shakes it to get her
attention. The other two share a look. Joker watches from his
seat.

                    WALL STREET #3
          Hello? I&apos;m talking to you. You want
          some fries?

She looks up and shakes her head, polite smile.

                    YOUNG WOMAN
          No thank you.

The other two guys crack up at this apparent blow-off. The
third Wall Street guy shakes his head, embarrassed, and
starts softly flinging fries at the young woman.

                    WALL STREET #3
          You sure? They&apos;re really good.

She just buries her face deeper in her book--

                    WALL STREET #2
          Don&apos;t ignore him. He&apos;s being nice
          to you.

One of the french fries lands in her hair. She looks down
toward Joker, looking to see if he&apos;s going to do something or
say something--

Joker just sits there nervous. Not sure what to do, or even
if he wants to do anything at all.

AND HE JUST BURSTS OUT LAUGHING. He covers his mouth with his
hand as they continue to harass the woman.

They all look over-- What the fuck is this clown laughing at?

                    WALL STREET #1
          Something funny, asshole?

With their attention diverted, the young woman rushes out
through the door between subway cars, glancing back at Joker
before she goes--

                    WALL STREET #3
              (shouts after her)
          BITCH!

Joker laughs even harder through his hand. The Wall Street
guys turn to him sitting by himself at the end of the car--
                                                          33.


Joker sees them staring. Looks down at the ground, hand still
covering his mouth, face turning red. Subway swaying, lights
flickering on and off.

Beat.

One of the guys heads down the car toward Joker, starts
singing &quot;Send in the Clowns&quot; as he approaches--

                    WALL STREET #1
              (singing)
          Isn&apos;t it rich?
          Are we a pair?
          Me here, at last on the ground                         
          You in mid-air
          Send in the clowns.                                    

The others crack up and follow after him. The guy plops down
next to Joker, puts his arm around his shoulder as he sings--

                    JOKER
              (shakes his head, stifling
               the laughter)
          Please. Don&apos;t.

                    WALL STREET #1
              (continues singing to him)
          Isn&apos;t it bliss?
          Don&apos;t you approve?
          One who keeps tearing around,
          One who can&apos;t move.

Joker starts to get up-- The lead guy pulls him back down.

                    WALL STREET #1
          Where are the clowns?
          There ought to be clowns.

As he finishes the song, Joker&apos;s laughing fit is coming to an
end. One of the other guys sits down on the other side of        
him. He&apos;s now sandwiched in between them--                       

                    WALL STREET #2
          So tell us, buddy. What&apos;s so
          fucking funny?

                    JOKER
          Nothing. I have a condition--

Joker reaches into his bag to get one of his &quot;Forgive my
laughter&quot; cards, the third guy sees him reaching and tries to
grab the bag from him---

Joker pulls on it--
                                                        34.


                    JOKER
          No. It&apos;s just my stuff. I don&apos;t
          have anything.

The guy rips the bag from his hand--

                    WALL STREET #3
          I&apos;ll tell you what you have,
          asshole.

Joker gets up from between them to go grab his bag back. The
two guys are cracking up.

                    WALL STREET #3
          You want it back? Here--

Joker reaches out to grab the bag--

And the guy tosses it over his head to one of his friends.
Keeping it away from Joker.

Three guys in suits tossing a bag around, playing &apos;monkey in    
the middle&apos; with a clown. THE LIGHTS ON THE TRAIN SEEM TO       
GLOW BRIGHTER AND WE HEAR the drum roll opening to BOBBY        
SHORT singing &quot;Send in the Clowns&quot; Live at the Caf� Carlyle.    

Joker keeps trying to catch his bag until suddenly--

WHAP! Out of nowhere one of the guys punches him hard in the
face.

Joker goes down as if in slow motion. Blood coming from his
nose. He tries to get up, but his feet slip from under him
and he falls back down--

                    WALL STREET #1
          Stay down you freak.

And the third Wall Street guy starts kicking him--

The others join in. Surrounding Joker on the ground, kicking    
him deliberately, sadistically, and the music swells--          

BLAM!

SUDDENLY THE LIGHTS GO BACK DIM, and one of the guys stops
kicking and falls back dead. Blood splattering on the subway
wall behind him--

And we HEAR Bobby Short sing out, picking up from where the     
Wall Street Guy left off--                                      
                                                             35.


                         BOBBY SHORT (SINGING)                          
               Just when I&apos;d stopped opening doors                      
               Finally knowin&apos; the one that I                           
               wanted was yours                                         

     BLAM! BLAM! Wall Street #2 goes down--

     Revealing Joker on the ground, opening his eyes to see what
     he did, smoking gun in his hand--

                         BOBBY SHORT (SINGING)                          
               Making my entrance again with my                         
               usual flair                                              
               Sure of my lines                                         
               No one is there                                          

     The third guy takes off running for the doors that separate        
     the cars.                                                          

     Joker starts after him, but then stops... turns back to grab
     his bag and his wig, his hands shaking from the adrenaline.

     The train is coming to a stop.

                         BOBBY SHORT (SINGING)                          
               Don&apos;t you love farce?                                    
               My fault I fear...                                       

     Joker picks up his bag between the two dead bodies, blood          
     everywhere...

     The subway doors wheeze open and Joker steps halfway off the
     train, waiting to see if the third Wall Street guy gets off
     in the car ahead of him. Joker sees him run off--


38   EXT. SUBWAY PLATFORM - CONTINUOUS                            38

     The platform is empty, the Wall Street guy is running toward
     the stairs--

     Joker follows--

     Behind them, the train pulls away--

                         BOBBY SHORT (SINGING)                          
               I thought that you&apos;d want what I                         
               want.                                                    
               Sorry, my dear.                                          

     The guy makes his way to the stairs, unaware that Joker is
     behind him--

     BLAM!
                                                                36.


     The third guy falls, tumbling down the stairs. Joker walks
     over to the body and empties the chamber-- BLAM! BLAM!             

                         BOBBY SHORT (SINGING)                          
               But where are the clowns?                                
               Quick, send in the clowns                                
               Don&apos;t bother they&apos;re here.                               

     And as &quot;Send in the Clowns&quot; ends, Joker fires the last shot--      
     BLAM! He&apos;s got nothing left.                                       


39   EXT. STREET, ROBINSON SQUARE PARK - NIGHT                    39    

     Joker hauls ass out of the subway and makes a mad dash across      
     a busy street, horns honking--                                     

     Running as fast as he can past piles of garbage, he takes a        
     sharp turn high-tailing into a small, run-down needle park,        
     disappearing into the darkness.                                    


40   INT. PUBLIC BATHROOM, ROBINSON SQUARE PARK - NIGHT           40    

     Joker runs into the bathroom, locks the door behind him and        
     SUDDENLY EVERYTHING HITS HIM ALL AT ONCE--                         

     He throws up into the dirty toilet, puking his guts out--          

     He finishes, wipes his mouth with the back of his hand. And        
     pulls the gun out of his waist, looking around for someplace       
     to throw it out. Under the sink he sees a rusted, metal grate      
     hanging off the wall covering some pipes.                          

     Before he bends down, Joker catches his reflection in the          
     smudged mirror. Sees himself holding the gun in his hand--         

     Beat.                                                              

     He raises the gun to his head and pulls the trigger--              

     Click.                                                             

     It&apos;s empty.                                                        

     He gets down on his knees, sweat dripping off his face, pulls      
     the grate away from the wall. And tosses the gun away inside.      
     Moves the grate back in place.                                     

     Joker stands back up and turns on the faucets. Rinses out his      
     mouth.                                                             

     Looks at his smudged reflection as he starts washing the           
     clown make-up off his sweaty face--                                
                                                             37.


                         JOKER
               Hi. Do you like to laugh?

     Water dripping, white grease paint running off his face--         

                         JOKER
               Remember how I told you that I&apos;m a
               stand-up comedian?
                   (again)
               Hi. How are you?

     Beat.


41   INT. APARTMENT BUILDING, LOBBY - LATER                      41

     Joker enters his building with great urgency. No time for the     
     elevator, he takes the stairs. Two at a time.

     He races up the stairwell.


42   INT. HALLWAY, APARTMENT BUILDING - CONTINUOUS               42

     When he gets to his floor, instead of making a left toward
     his apartment-- He makes a right, toward Sophie&apos;s. He stops
     at her door. Out of breath.

     Knocks.

     He hears footsteps. Quickly pulls the folded-up flyer out of
     his pocket.

     The peephole in the door goes dark and then light again. He
     hears locks unlocking. Sophie opens the door halfway--            

     Joker looks down at his feet--                                    

                         JOKER
               Hi. Do you like to laugh?                               

                         SOPHIE                                        
               What?                                                   

                         JOKER                                         
                   (continuing without taking                          
                    a breath)                                          
               Remember the other day when I told                      
               you about my stand-up comedy. Well,
               I&apos;m doing a set next Thursday and
               I&apos;m inviting a bunch of my friends
               and I was wondering if maybe you
               wanted to come and check it out.
                                                        38.


He reaches out to give Sophie the flyer, she opens the door     
wider-- He notices her face, sees her eyes are red.             

                    JOKER
          Were you crying? Why are you
          crying?

Beat.

                    SOPHIE
          I had a bad day.

                    JOKER
          I&apos;m sorry. I, I didn&apos;t--

                    SOPHIE
          It&apos;s okay. How would you know.

                    JOKER
          What happened?

                    SOPHIE
          I got fired. From the bank.

Joker takes a deep breath and smiles without realizing it,
hoping he doesn&apos;t start to laugh.

                      JOKER
          What for?

                    SOPHIE
          Because,-- I don&apos;t know. It doesn&apos;t
          fucking matter. I don&apos;t know what
          I&apos;m gonna do.

And she starts crying again. Joker doesn&apos;t move. Just stands
in the doorway awkward.

                    JOKER
              (finally)
          Okay. Well, all the info is right
          there on the flyer.

He starts to walk away, then turns back to her--

                    JOKER
          You know they say laughter is the
          best medicine.

Sophie wipes her eyes and manages a smile.

                    SOPHIE
          Is that what they say?
                                                                39.


     Joker just nods yes and walks back toward his mother&apos;s
     apartment.


43   INT. DEPT. OF HEALTH, OFFICE - MORNING                       43

     JOKER SITS ACROSS from the same Social Worker from the
     opening scene. Same depressing office.

     She stares at him for a beat, clearly annoyed.

                         SOCIAL WORKER
               We spoke about this last time,
               Arthur. You&apos;re supposed to bring
               your journal with you.

                         JOKER
               Well I didn&apos;t think you were going
               to read it.

                         SOCIAL WORKER
               You said it didn&apos;t bother you.

                         JOKER
               I lied. Everything bothers me.

                         SOCIAL WORKER
               What about it bothered you?

                         JOKER
               It&apos;s personal. It&apos;s my private
               thoughts. Plus it contains original
               comedy material that I don&apos;t feel
               comfortable handing over to you.

     She looks at him and shakes her head. Not in the mood to deal
     with this.

                         SOCIAL WORKER
               Arthur, I have some bad news for
               you.

     He looks up, intrigued.

                         SOCIAL WORKER
               They&apos;ve cut our funding. We&apos;re
               closing down our offices next week.

     He looks around, just noticing some MOVING BOXES stacked
     against the wall.

                         JOKER
               So where will we be meeting?
                                                              40.


                         SOCIAL WORKER
               We won&apos;t be. The city&apos;s cut funding
               across the board. Social services
               is part of that.

     Joker nods, not hating the idea.

                         JOKER
               Okay.

                         SOCIAL WORKER
               They don&apos;t give a shit about people
               like you, Arthur. You don&apos;t have a
               voice and they don&apos;t really care
               what happens to you or to us for
               that matter.

     He sits there for a moment. And then it dawns on him--

                         JOKER
               How am I gonna get my medication?

     Beat.


44   INT. MOM&apos;S APARTMENT, KITCHEN - MORNING                    44

     CLOSE ON A COUPLE OF PILLS, as they get crushed up.

     CLOSE ON THE RESIDUE, as it&apos;s sprinkled on top of a bowl of
     oatmeal.

                         MOM (OS)
               Happy! Come in here. Thomas Wayne
               is on TV.

     Joker takes a couple of pills for himself. Looks inside. Not
     many left. He looks over at the orange cat sitting on the
     counter, purring loudly, watching him.

                         MOM (OS)
               Quick! Come.


45   INT. MOM&apos;S BEDROOM, APARTMENT - CONTINUOUS                 45

     Joker walks in carrying her breakfast. She waves him over to
     her bed.

                         MOM
               They&apos;re interviewing him about
               those horrible murders on the
               subway last week.
                                                        41.


                    JOKER
          Why are they talking to him?

His mother shushes him. Joker sits on the end of the bed next
to her. It&apos;s one of those &quot;Good Morning, Gotham&quot; shows.

                    THOMAS WAYNE (ON TV)
          --as you know, Jerry, all three of
          them worked at Wayne Investments,
          and they were the best of the best.
          Solid young men.

A small smirk registers on Joker&apos;s face when photos of the
THREE WALL STREET GUYS come up on the screen.

                    THOMAS WAYNE (ON TV)
          And while I didn&apos;t know them
          personally, like all Wayne
          employees, past and present, they
          were family.

Joker&apos;s mom perks up at that--

                    MOM
          You hear that! I told you. We&apos;re
          family.

ANGLE ON TELEVISION, footage of GRAFFITI around the city.
&quot;KILL THE RICH&quot; spray painted on a storefront. &quot;F CK WALL
STREET&quot; written on a subway wall. &quot;RESIST&quot; scrawled across a
billboard.

                    &quot;GOOD MORNING&quot; HOST (ON TV)
          There now seems to be a groundswell
          of anti-rich sentiment in the city.
          It&apos;s almost as if our less
          fortunate residents have taken the
          side of the killer.

                    THOMAS WAYNE (ON TV)
          Yes and it&apos;s a shame. It&apos;s one of
          the reasons I&apos;m considering a run
          for mayor. Gotham has lost its way.

                    &quot;GOOD MORNING&quot; HOST (ON TV)
          Are you announcing your candidacy?

                    THOMAS WAYNE (ON TV)
              (smiles)
          No comment.

We hear his mother gasp, excited.
                                                                42.


                         &quot;GOOD MORNING&quot; HOST (ON TV)
               What about the eyewitness report of
               the suspect being a man in clown
               make-up or a clown mask-- Care to
               comment on that?

     Joker leans in, intrigued. The camera zooms in closer to
     Thomas Wayne on the screen...

                         THOMAS WAYNE (ON TV)
               It makes total sense to me. What
               kind of coward would do something
               that cold-blooded? Someone who
               hides behind a mask. Someone who&apos;s
               envious of those more fortunate
               than themselves, yet too scared to
               show their own face.
                   (to camera)
               And until that jealousy ends, those
               of us who&apos;ve made a good life for
               ourselves will always look at those
               who haven&apos;t as nothing but clowns.

                                                           CUT TO:


46   INT. COMEDY CLUB, BACKSTAGE HALLWAY - NIGHT                  46

     JOKER&apos;S POV, slowly walking down the hall -- as if in slow
     motion -- toward a curtain at the end, spotlight bleeding
     through, other wannabe comics looking at him as he passes--

     CLOSE ON JOKER, eyeing the others, sweat beading on his
     forehead--

     He gets to the curtain, the light, pulls his worn joke-
     notebook out of his back pocket. Glancing into the room he
     sees it&apos;s a pretty good crowd. Sees Sophie taking a seat in
     the back.

     Wheeling back into the dark hallway, he catches his breath in
     the shadows--

     And starts BANGING HIS HEAD BACK against the wall--

     He hears the EMCEE from the stage.

                         EMCEE (OS)
               This next comic describes himself
               as a lifelong Gotham resident who
               from a young age was always told
               that &quot;his purpose in life was to
               bring joy and laughter into this
               cold, dark world.&quot; Ummm. Okay.
                                                                43.


     He hears the crowd laugh.

                         EMCEE (OS)
               Please help me welcome Arthur
               Fleck!

     There is a smattering of applause.

                                                        CUT TO:

     JOKER STEPPING ON STAGE, out under the spotlight, lifts the
     microphone in front of his mouth, the light so bright he
     can&apos;t see faces in the dark audience, his hand trembling
     holding onto his worn notebook--

     He takes a deep breath, looks out at the dark crowd, and
     opens his mouth.

     And starts to laugh. His eyes go wide. God no, not now. A
     terrified look comes to his face under the laughter. He just
     keeps laughing. The crowd is just staring back at him.

     Finally he composes himself--

                          JOKER
                   (trying to stop himself
                    from laughing)
               -- good evening, hello.
                   (deep breath; trying to
                    stop laughing)
               Good to be here.
                   (keeps cracking up)
               I, I hated school as a kid. But my
               mother would always say,--
                   (bad imitation of his mom,
                    still laughing)
               &quot;You should enjoy it. One day
               you&apos;ll have to work for a living.&quot;
                   (laughs)
               &quot;No I won&apos;t, Ma. I&apos;m gonna be a
               comedian!&quot;

     Dead silence. Except for Joker, who&apos;s still cracking up.

                                                        CUT TO:


47   EXT. COMEDY CLUB, CHINATOWN STREET - NIGHT                   47    

     Joker and Sophie walking out of the club after the show, the
     audience trickles out around them. Nobody looking in Joker&apos;s
     direction, nobody says anything to him, maybe one or two even
     cracking up at him behind his back. Garbage bags crowding the      
     narrow street, lit up by the bright signs.                         
                                                           44.


Joker and Sophie walk a ways without saying a word. Awkward
silence.

Then--

                    JOKER
          So, did you laugh? Really couldn&apos;t
          see much from up there.

Sophie pauses, doesn&apos;t know what to say. She lights up a
cigarette.

                    SOPHIE
              (trying to be nice)
          Of course. Yeah. You couldn&apos;t hear
          anything?

                    JOKER
          All I heard was my heart pounding.

                     SOPHIE
          It was good. I really needed to get
          out of my apartment so, thanks.
              (beat)
          What happened to the rest of your
          friends?

                    JOKER
          What friends?

                    SOPHIE
          Didn&apos;t you say some of your friends
          were coming?

                    JOKER
              (he forgot; recovers)
          Yeah, I decided not to invite them.
          As a performer sometimes you want
          to see how a &quot;real&quot; crowd reacts.
          People who don&apos;t already love me,
          or, or have a notion of who I am,
          you know?

                    SOPHIE
              (nodding)
          Yeah. I get that.

Joker smiles at the connection. They walk past a newsstand--
a wall of Chinese language newspapers mixed with local papers     
and tabloids, screaming headlines about the three Wall Street     
Guys gunned down on the train.

Joker stops and stares at the headlines--
                                                           45.


CLOSE ON HEADLINES, &quot;Subway Vigilante&quot;... &quot;Yuppie Slaughter&quot;
&quot;Killer Clown On The Loose?&quot;...

                    SOPHIE (OS)
              (re: the headlines)
          You believe that shit?

                    JOKER
          Yeah,-- I don&apos;t know how something
          like that happens.

                    SOPHIE
          Please. I&apos;ll bet you five bucks
          those rich assholes deserved it.

He turns to her.

                       JOKER
          You think?

                    SOPHIE
          Look at their faces. Those smug
          smiles. I&apos;ve seen that look. Fuck
          them.

Sophie flicks her cigarette away and starts walking.

                    SOPHIE
          The guy who did it is a hero. Three
          less pricks in Gotham City. Woo-
          hoo! Only a million more to go.

Joker watches her walk for a beat.

                    JOKER
              (calls out to her)
          Hey. You want to get some coffee?

Sophie turns around and smiles. She looks great, even in
front of the mounds of garbage bags that line the sidewalk.

AN AMBULANCE SCREAMS BY, SIRENS BLARING as Sophie says
something that Joker doesn&apos;t hear. She keeps walking.

Joker chases after her and trips over a TIN GARBAGE CAN LID--

CLANG. CLANG. He falls down flat on his face.

Sophie turns and bursts out laughing. She can&apos;t help but
laugh. It&apos;s the first time she&apos;s laughed all night.
                                                             46.


48   INT. SZECHUAN ACE RESTAURANT, TABLE - NIGHT               48    

     Table covered with plates of half-eaten Chinese food.           

     Joker and Sophie sitting across from each other, middle of      
     conversation. Crowded room, brightly lit, looks more like a     
     casino. Almost everybody eating there is Chinese. It&apos;s loud.    

                         SOPHIE
               --I&apos;m telling you, it&apos;s across the
               board. Wall Street, the banks,
               politicians. They&apos;ve been making a
               killing for years. Fuck them.

     Joker takes a moment to think about what she said.

                         JOKER
               I don&apos;t know.

                         SOPHIE
               What don&apos;t you know?

                         JOKER
               Not all of them are awful. Take
               someone like Thomas Wayne for
               example. He&apos;s a hero.

                         SOPHIE
               Oh c&apos;mon, he&apos;s the worst!

     Joker is taken aback--

                         JOKER
               Sophie, he&apos;s the only one who can
               save this city.

                         SOPHIE
               You can&apos;t be serious!? He&apos;s a
               complete narcissist. Brags about
               his money. Meanwhile, the rest of
               us can barely make rent. Or feed
               our kids.

     Joker nods. Thinking about it.

     Then--

                         JOKER
               What happened?

                            SOPHIE
               With what?
                                                        47.


                    JOKER
          With your job. At the bank?

                    SOPHIE
              (suddenly uncomfortable)
          Oh. Yeah, I was, um,--

                    JOKER                                      
          We don&apos;t have to talk about it.                      

Beat.                                                          

                    SOPHIE                                     
          Have you ever been fired before?                     

Joker thinks it over for a moment.                             

                    JOKER                                      
          Every time.                                          

                     SOPHIE                                    
          And have you ever wanted to torch                    
          the place?                                           

                    JOKER                                      
              (thinks it over again)                           
          Every time.                                          

Sophie smiles.                                                 

                    SOPHIE                                     
          Right. And this was like the first                   
          good job I had in like, years. Not                   
          waitressing or anything like that.                   
          It was 9-5. I had benefits. You                      
          know what that means when you have                   
          a kid?                                               

Joker just looks at her, he doesn&apos;t really know what that      
means. He just smiles.                                         

                    SOPHIE                                     
          But from the very first day, the                     
          manager guy starts smiling at me,                    
          whispering in my ear, touching me,                   
          trying to get me to sleep with him--                 

                    JOKER                                      
              (interrupting)                                   
          Did you do it? Did you go to bed                     
          with him?                                            
                                                           48.


                    SOPHIE                                        
          Fuck no. The guy&apos;s a fucking pig.                       
          So finally I complained to his                          
          boss, and they fired me... And now,                     
          now I don&apos;t know what to do with                        
          myself.                                                 

                    JOKER                                         
          Right. Wait, what do you mean?                          

                    SOPHIE                                        
          I finally felt good. Like I had a                       
          future. A purpose. And now I don&apos;t                      
          even know how I&apos;m gonna pay my                          
          rent.                                                   

AND JOKER STARTS LAUGHING. He puts a hand over his mouth
trying to cover it, but he can&apos;t stop cracking up--

It&apos;s unsettling and disturbing for Sophie. People eating,         
waiters in red vests, busboys, all look over and stare at         
him. A few laugh. Joker turns away embarrassed, he looks out      
the plate-glass window, face turning red from laughing so
hard--

AS HE LOOKS OUT, HE SEES A GROUP OF ROWDY KIDS walking down
the street. One of them glances back before he turns the
corner-- HE&apos;S WEARING A CLOWN MASK THAT LOOKS JUST JOKER&apos;S
CLOWN FACE. And then he&apos;s gone. The group disappears around
the corner--

Joker can&apos;t believe his eyes, still laughing-- He turns to
Sophie who didn&apos;t see them. Just sits there awkwardly waiting
for it to stop.

Finally, it subsides--

                    JOKER
              (catching his breath)
          I&apos;m sorry. I have this thing--

                    SOPHIE                                        
          I know.                                                 

Awkward beat.                                                     

                    SOPHIE                                        
          How did you get it?

                    JOKER
          I don&apos;t know. I read you can get it
          from a brain injury or, or a lesion
          in there. My mom said I was born
          this way. Born laughing.
                                                                49.


                            SOPHIE
                  Is that why she calls you Happy?

                            JOKER
                  Kind of. That actually started when
                  I was a kid. The other kids made
                  fun of me, called me Happy-- but
                  not in a good way. I got so sick of
                  it, one day when I was about ten,
                  I, I,--

     He smiles.

                              SOPHIE
                  What?

                            JOKER
                  I took a razor and cut this smile
                  onto my face.
                      (she&apos;s taken aback as he
                       points to the scars)
                  Sort of like &quot;You want happy? Here,
                  how&apos;s this for happy?&quot;

     He looks down, still smiling. She just watches him for a
     beat.

                              SOPHIE
                  You okay?

                            JOKER
                  I&apos;ve been thinking about this night
                  my whole life.

     They just sit there for a beat. Quiet.


49   INT. MOM&apos;S APARTMENT, LIVING ROOM - NIGHT                    49

     Joker opening the door to his mother&apos;s apartment, holding a        
     doggie bag in his hand, sees the flickering blue light of the      
     TV on in the living room, hears the end of &quot;LIVE WITH MURRAY
     FRANKLIN!&quot; He locks the locks, drawing the security chain
     high on the door.

     TURNS TO CATCH A GLIMPSE OF HIS MOTHER PASSED OUT in the
     living room, the cat jumping up next to her on the chair.

     Joker watches for a beat as Murray does his signature sign
     off, the one he&apos;s been doing for years--
                                                        50.


                    MURRAY FRANKLIN (ON TV)
              (looking into camera)
          Good night! And always remember,--
          That&apos;s life.

                    JOKER
              (quietly)
          &quot;That&apos;s life.&quot;

He hears Don Ellis and his Jazz Orchestra playing the show&apos;s
closing song-- the instrumental version of Frank Sinatra&apos;s
&quot;That&apos;s Life&quot;.

As the music continues, Joker puts his face up against his
mom&apos;s nose, to see if she&apos;s breathing or if she&apos;s dead.

He feels her breath against his cheek.

Now he picks his mother up in his arms and carries her into
her bedroom to the music, almost as if he&apos;s dancing with her
as he leaves the room...

We stay behind.

&quot;That&apos;s Life&quot; still playing from TV.

He comes back into the living room and turns off the TV.
Takes off his jacket and throws it on the couch. Notices
something sticking out of his jacket pocket. He pulls it out.

It&apos;s the envelope he was supposed to deliver to Thomas Wayne.

He stares at it for a beat. And then--

Quietly rips it open, starts to read the letter:

CLOSE ON WORDS, &quot;Dearest Thomas, I don&apos;t know where else to
turn...&quot;

&quot;Need your help...&quot;

&quot;You have a son. We have a son. His name is Arthur.&quot;

Stops reading, stays on--

&quot;You have a son.&quot;

JOKER STARING DOWN AT THE LETTER, reading those words over
and over again -- &quot;You have a son.&quot;

                                                   CUT TO:
                                                             51.


50   INT. MOM&apos;S BEDROOM, APARTMENT - EARLY MORNING                50

     JOKER&apos;S SITTING IN A CHAIR in his mother&apos;s room watching her
     sleep. He has clearly been up all night. Still wearing the
     same clothes.

     He&apos;s holding her letter in his hand as the sun is just
     starting to rise outside the windows, light just beginning to
     crack the gloom.

     THE ORANGE CAT SITS AT HIS FEET staring up at him, won&apos;t take
     her eyes off of him.

     Joker impatiently sits there for another moment waiting for
     his mother to wake up, then suddenly--

     SHRIEKS OUT AT THE TOP OF HIS LUNGS like a teapot, kicking
     his back on the chair like an excited toddler--

     His mother wakes with a start, looking around half asleep and
     confused--

     Joker turns and sees the cat run out of the room--

                         MOM
               --what, what time is it?

     He doesn&apos;t answer.

                         MOM
               What happened? Did you hurt
               yourself again?

     Joker holds her letter up in his hand.

                         JOKER
               What is this? How come you never
               told me?

                         MOM
               Is, is that my letter? Is that my
               letter, Happy?

                         JOKER
               How could you not tell me, Ma?

                         MOM
               You told me you dropped it off.
               You have no right opening my mail.
               Who do you think you are?

                         JOKER
                   (raising his voice;
                    excited)
                         (MORE)
                                                        52.

                    JOKER (CONT&apos;D)
          Apparently I&apos;m Thomas Wayne&apos;s son!
          How could you keep that from me?

His mother slowly getting up out of bed.

                    MOM
          Stop yelling at me, you&apos;re gonna
          kill me, give me a heart attack!

She goes into the bathroom.

                    JOKER
              (shouts after her)
          I&apos;m not yelling! I&apos;m just, excited.
          How can any of this be real!? How
          can Thomas Wayne be my father?

                     MOM (OS)
              (shouts back from behind
               the door)
          I&apos;m not talking to you until you
          calm down.

Joker sits for a minute then gets up and goes to her bathroom
door. Talks to his mother from the behind the closed door.

                    JOKER
              (lowers his voice; trying
               to sound calm)
          Okay. How&apos;s this, Mom? Better? Will
          you please talk to me?

Joker leans in closer to the door. Leaning against it with
just his head--

                    JOKER
          Please.

                    MOM (OS)
          He is an extraordinary man, Arthur.
          We had a connection. I was so
          beautiful then. We were in love.

Joker just leans there, listening. He closes his eyes, it&apos;s
all too much.

                     MOM (OS)
          His wife could see it. She was
          jealous from the moment I started
          working there. She fired me before
          I even knew I was pregnant with
          you.
               (hear her crying now)
                     (MORE)
                                                                53.

                          MOM (OS) (CONT&apos;D)
               And, I never told him or anybody
               because, well, you can imagine what
               people would say about Thomas and
               me, and, and what they would say
               about you.

                         JOKER
                   (eyes still closed, head
                    leaning against the door)
               What would they say, Ma?

                         MOM (OS)
               That I was a whore, and Thomas
               Wayne was a fornicator, and that
               you&apos;re a little, unwanted bastard.

     AND THE BATHROOM DOOR SUDDENLY SWINGS OPEN, and Joker falls
     face first into the bathroom--

     Just missing his mother, crashing down onto the floor--

                                                          CUT TO:


51   EXT. BOARDWALK, AMUSEMENT MILE - MORNING                     51

     Joker heads down the boardwalk toward Ha-Ha&apos;s, a bounce in
     his step.

     Looming behind him like the skeletons of monsters, a
     sprawling rickety-looking wooden roller coaster and the
     gigantic steel Wonder Wheel in the amusement park by the
     ocean. Sound of waves crashing, seagulls squawking.


52   INT. HA-HA&apos;S TALENT BOOKING, LOCKER ROOM - MORNING           52

     Joker walks into the locker room, sees Randall half-dressed
     for work, red nose, big pants, big shoes, no wig yet, sitting
     with Gary, TWO OTHER CLOWNS AND A MAGICIAN around the small
     table, shooting the shit, drinking coffee.

     They nod hello at Joker or give him a perfunctory wave, most
     of his co-workers think he&apos;s a freak.

                         GARY
               Hey Art, I heard what happened--
               I&apos;m sorry man.

                         RANDALL
               Yeah, Hoyt did you wrong, buddy.
               Doesn&apos;t seem fair.
                                                          54.


Joker looks hard at Randall for a moment, just slowly nods,
and continues on to his locker.

He starts to clean it out, stuffing all of his clown gear
into an old brown paper shopping bag. Hears them talking
about him behind his back, about why he got fired, laughing
at him--

                    HA-HA CLOWN #1 (OS)
          Did you really bring a gun to the
          kid&apos;s hospital, Artie? What the
          fuck would you do that for?

Joker doesn&apos;t answer them, just continues emptying his
locker, a bag of balloons, a magic wand, some trick flowers--

                    HA-HA CLOWN #2
          No, I heard he pulled it out and
          waved it around like a cowboy.

His co-workers crack up. Joker answers the guy without
looking back--

                    JOKER
          It was a prop gun. And I didn&apos;t
          pull it out, it fell out.

                    MAGICIAN
          So is that part of your new act? If
          your singing doesn&apos;t do the trick,
          you just gonna shoot yourself?                         

More laughter.

                    HA-HA CLOWN #2
          I thought Jingles was a lover not a
          fighter.

Joker turns and looks at all of them, nods at Randall--

                    JOKER
          Why don&apos;t you ask Randall about it?
          It was his idea.

                    GARY
              (to Randall)
          Since when do you use a prop gun?

                    RANDALL
          What? I don&apos;t. Stop talking outta
          your ass, Art!
              (to the guys)
                    (MORE)
                                                             55.

                          RANDALL (CONT&apos;D)
               I think all his stupid laughing
               musta scrambled his brain or                           
               something.

     The guys laugh and keep jawing. Joker doesn&apos;t say anything.
     Just finishes packing his bag and closes his locker door--


53   EXT. HA-HA&apos;S, BACK ALLEY - AMUSEMENT MILE BOARDWALK - MORNING
                                                               53

     Joker exits the back door holding onto his brown shopping bag
     under his arm, starts down the alley.

     Behind him, Randall hustles out and chases down the alley
     after him, still half-dressed for work.

                         RANDALL
                   (calling out)
               Art! Hold up,--

     As he catches up with Joker his red nose falls off, but he&apos;s
     so out of breath he doesn&apos;t realize he lost it--

                         RANDALL
               What the fuck was that about?

     Beat.

                         JOKER
               What?

                         RANDALL
               Why would you say that? That, that                     
               it was my idea.                                        

     Joker just looks back at Randall. Sees his red Styrofoam nose
     bouncing down the alley behind him.

                         JOKER                                        
               ...                                                    

                         RANDALL                                      
               You don&apos;t get it, do you, buddy,                       
               that shit that went down on the                        
               subway, that&apos;s no joke. They got                       
               clown sketches on the front of                         
               every fucking paper. It&apos;s just a                       
               matter of time before the cops come                    
               around.                                                

     Beat.                                                            

                         JOKER
               I don&apos;t know anything about it.
                                                                56.


                         RANDALL
                   (leans in close; lowers
                    his voice)
               Art, you know you&apos;re my boy. I&apos;m                        
               not gonna say shit. I just hope you                     
               got rid of that gun. That can&apos;t                         
               come back on me, okay?                                  

                         JOKER
               Randall, I didn&apos;t shoot anybody.
               That wasn&apos;t me. And I don&apos;t have
               time for this, I got somebody real
               important I gotta go see.

     Joker turns to go--

                         RANDALL
               You know they&apos;re sellin&apos; masks.

                         JOKER
                   (turning back around)
               What?

                         RANDALL
               They&apos;re selling masks of your clown
               face,-- based off the description I                     
               guess. It&apos;s like a thing now.

                         JOKER
               What are you talking about?

                         RANDALL
               There&apos;s a lot of people in this
               city who are happy you did what you
               did. If you did it.

                         JOKER
               Randall. Your nose.

                           RANDALL
               What?

     Randall touches his face. Realizes his nose is not there.

     Joker points to Randall&apos;s clown nose tumbling back down the
     alley. And Randall hustles after it, chasing after his red
     nose blowing skipping away in the wind--


54   INT. METRO TRAIN (MOVING) - COUNTRYSIDE, OUTSIDE GOTHAM - 54
     NEXT AFTERNOON

     CLOSE ON NEW &quot;KILLER CLOWN&quot; SKETCH ON FRONT PAGE OF THAT
     DAY&apos;S TABLOID, a more detailed drawing.
                                                             57.


     HEADLINE, &quot;KILLER CLOWN STILL ON THE LOOSE!&quot;

     SUB-HEAD, &quot;&apos;Kill the Rich&apos; -- A New Movement?&quot;

     ANGLE ON JOKER LOOKING DOWN AT HIS NOTEBOOK, STARING AT A
     PHOTOGRAPH OF THOMAS WAYNE RIPPED OUT FROM A MAGAZINE, taped
     to a page. He glances at his distorted reflection in the
     window, takes his hand and parts his hair to the side, more
     like Thomas Wayne&apos;s hair. Maybe there is a resemblance.

     WIDER ANGLE, train is packed with wealthy white businessmen
     and a couple businesswomen heading home after work, many of
     them reading the same tabloid. The &quot;Killer Clown&quot; sketch of
     Joker&apos;s clown face dots the train. No empty seats -- except
     the one next to Joker.


55   INT. TAXI CAB (MOVING), COUNTRYSIDE - AFTERNOON              55

     JOKER IN THE BACK OF A TAXI STARING OUT AT THE COUNTRYSIDE,        
     at the trees and green grass and blue sky and open spaces
     whizzing by. The sun is getting low, bathing everything in a
     golden light.

     He doesn&apos;t see garbage anywhere.


56   EXT. WAYNE MANOR, FRONT LAWN - MAGIC HOUR                    56    

     Joker walking along an intimidating wrought iron fence,            
     surrounding the estate like prison bars, the brown paper           
     shopping bag stuffed under his arm. The big house set up a         
     small hill, evergreens dot the lush grounds. As he walks
     around looking for the front entrance, Joker catches a
     glimpse of an innocent looking EIGHT-YEAR-OLD BOY tracking         
     him from behind the trees, hiding as he follows.

     Joker stops.

     He sees the boy stop behind a tree.

     Joker continues walking until he gets to the front gate. He
     digs into his bag and pulls out the magic wand--

     He holds it up for the boy to see.

     The boy steps out from behind a tree to get a closer look.

     Joker puts the brown bag down on the ground, looks over the        
     wand, pretending like he&apos;s trying to figure out what it does.
     He waves the wand over the front gate lock to &quot;try and see&quot;
     if it will open-- It doesn&apos;t.
                                                           58.


The little boy walks down toward the fence, face like an          
angel.                                                            

Joker waits until he gets closer and then reaches his hand        
through the fence and hands the kid his magic wand so he can      
try and figure out what it does--

The boy takes the wand and it goes limp in his hand before he     
can wave it-- He laughs, surprised. He hands it back to
Joker.

The boys sees Joker&apos;s face up close, staring at his scarred       
smile--

Joker straightens the wand back out, and reaches in through       
the fence again so the kid can give it another try.               

AND AGAIN THE MAGIC WAND DROOPS IN THE BOY&apos;S HAND. He laughs      
and gives it back to Joker--                                      

Joker examines the wand as if its &quot;broken&quot;, stiffens it one       
last time, crouches down lower, and...                            

Ta-da! A bouquet of flowers bursts out the end of the wand--

Joker smiles and hands him the wand bouquet of flowers--          

The little boy takes the flowers. Keeps staring at Joker, at      
the scars around his mouth.                                       

Now, he reaches his hand out through the fence and touches        
Joker&apos;s face, tracing his finger around the edges of Joker&apos;s      
mouth, over his scarred smile--                                   

Joker closes his eyes -- embarrassed -- but it feels good to      
him, nobody ever touches him besides his mother.

He starts to smile, when a man&apos;s voice shatters the moment--      

                    ALFRED (OS)                                   
              (shouting; slight English                           
               accent)                                            
          Bruce! What are you doing? Get away                     
          from that man.                                          

The little boy pulls his hand back. Turns and runs away--         

Joker looks up and sees a balding, tired-looking, ALFRED          
PENNYWORTH (50&apos;s) bounding down the hill toward them.             

Joker stands back up.                                             
                                                           59.


                    ALFRED                                        
              (still shouting)                                    
          What are you doing? Who are you?                        

Little Bruce runs behind Alfred, hiding behind his legs.          

                    JOKER                                         
          My name&apos;s Arthur. I&apos;m here to see                       
          Mr. Wayne--                                             

                    ALFRED                                        
              (interrupting)                                      
          You shouldn&apos;t be talking to his                         
          son. Why did you give him those                         
          flowers?                                                

Alfred takes the flower-wand away from the kid--                  

                    JOKER                                         
          I, I was just trying to make him                        
          laugh.                                                  

He hands it back to Joker.                                        

                    ALFRED                                        
          Well it&apos;s not funny. Do I need to                       
          call the police?                                        

                    JOKER                                         
          No, please. My mother&apos;s name is                         
          Penny Fleck. She used to work here,                     
          years ago. Can you tell Mr. Wayne                       
          that I need to see him?                                 

                    ALFRED                                        
              (color drains from his
               face; beat)
          You&apos;re her son?                                         

                    JOKER                                         
          Did you know her?                                       

Alfred doesn&apos;t say anything.                                      

Joker puts his face right up against the bars, whispers so        
the boy can&apos;t hear him--                                          

                    JOKER                                         
          You don&apos;t need to cover for them.                       
          I&apos;m sure Mrs. Wayne was very upset                      
          when she found out.                                     
                                                             60.


                         ALFRED
               There was nothing to find out                            
               about. Your mother was, was                              
               delusional. She was a sick woman.                        

                         JOKER                                          
               No. No, just let me speak to Mr.                         
               Wayne.                                                   

     Now Alfred leans in closer to Joker, almost looks like he          
     feels some pity for him--                                          

                         ALFRED                                         
               Please just go, before you make a                        
               fool of yourself.

     Beat.

                         JOKER
                   (blurts out)
               Thomas Wayne is my father--

     Alfred looks at Joker, and can&apos;t help but crack up laughing        
     at him.                                                            

     AND JOKER REACHES THROUGH THE BARS AND GRABS HIM. Pulls him        
     in close, trying to choke him, still holding the wand of           
     flowers in one hand--                                              

     AS HE CHOKES ALFRED, Joker sees little Bruce, wide-eyed in         
     the shadows, looking out at him in horror.                         

     Joker stops.

     Lets go of Alfred... Takes off running back down the street        
     away from Wayne Manor, magic wand in hand, leaving the rest        
     of his clown gear behind.                                          

                                                        CUT TO:


57   EXT. LOWER EAST SIDE, STREETS - NIGHT                        57

     JOKER&apos;S BACK IN HIS PART OF TOWN, garbage everywhere here.
     The neighborhood at night is alive. Loud kids on the street
     corners... A drunk seemingly fights no one... Hookers working
     the street... He hears a wailing siren...

     As Joker turns the corner, he sees AN AMBULANCE PARKED in
     front of his building. Lights flashing. Hit with a sense of
     dread, he runs toward the building--
                                                             61.


58   EXT. STREET, APARTMENT BUILDING - NIGHT                      58

     A SMALL CROWD OF GAWKERS have gathered around watching the
     drama unfold. Shouting and laughing, loud dance music blaring
     out an open window, feels like an impromptu block party.

     Joker runs up, sees his mother being wheeled down the front
     steps unconscious on a stretcher, AN EMT holding an oxygen
     bag on her face. TWO DETECTIVES IN PLAIN SUITS following
     behind them. It&apos;s a chaotic scene.

     FROM ABOVE, Joker pushing through the crowd, rushes to his
     mother&apos;s side. We don&apos;t hear what he says to the paramedics
     over the music and the crowd, just see them nod okay and
     Joker follow after them into the back of the ambulance--


59   INT. CITY AMBULANCE, BACK (PARKED) - NIGHT                   59

     Joker looking out the back doors as they start to shut close--

     CATCHES A GLIMPSE OF SOPHIE, coming out of the building. He
     stares at her through the small back door window. Casually
     waves at her, trying to connect with her--

     Joker sees the two detectives approaching Sophie as the
     ambulance pulls away. Speeding away down the street, siren
     wailing--

                                                        CUT TO:


60   INT. CITY HOSPITAL, EMERGENCY TREATMENT ROOM - NIGHT         60

     Joker&apos;s standing near the doorway of a large overcrowded
     treatment room. Watching a sleep-deprived ER RESIDENT (late
     20&apos;s), and an EMERGENCY NURSE start to intubate his mother.
     He hears shouts and cries of pain from around the crowded
     room.

     Joker turns away when he sees them insert a thin endotracheal
     tube into her mouth and down through her larynx. It makes him
     gag--


61   EXT. CITY HOSPITAL, ER - NIGHT                               61

     Joker sits on a bench outside the bustling emergency room.
     He&apos;s getting some fresh air, but he picked a weird spot to do
     it.

     He watches the sick and dying being rushed through the glass
     doors. Opening and closing. This happens in the background
     throughout the scene.
                                                        62.


The two detectives walk up to Joker, interrupting him
watching the doors. Gotham police detectives, GARRITY (50&apos;s),
grey hair, and BURKE (30&apos;s), his partner.

                    DET. GARRITY
          Mr. Fleck, sorry to bother you, I&apos;m
          Detective Garrity, this is my
          partner Detective Burke.

Joker looks up at them. Doesn&apos;t say anything.

                    DET. GARRITY
          We had a few questions for you, but
          you weren&apos;t home. So we spoke to
          your mother.

                    JOKER
          You did this to her?

                    DET. GARRITY
          What? No. We just asked her some
          questions and she started getting
          hysterical-- hyperventilating,
          trouble speaking-- then she
          collapsed. Hit her head pretty
          hard.

                    JOKER
          They told me she had a stroke.

Beat.

                    DET. GARRITY
          Sorry to hear that.

AND JOKER BURSTS OUT LAUGHING, he can&apos;t stop it.

The detectives are taken aback. They don&apos;t know what to make     
of him laughing. They share a look.

                    DET. BURKE
              (confused)
          I&apos;m lost. Is something funny?

                    JOKER
              (laughter choking up in
               his throat)
          No I,-- I have a, a--

Tears rolling down his face, he takes out one of his cards
and hands it to Det. Burke. Burke glances over the card, a
skeptical look on his face.
                                                        63.


                    DET. BURKE
          Okay. But we have some questions
          for you.

                    DET. GARRITY
          About those subway killings from a
          few weeks ago.

Joker pauses for a moment, his laughter subsiding. He holds
his breath.

                    JOKER
          I don&apos;t know anything about that.

                    DET. GARRITY
          We have an eyewitness who described
          a white male, about 6 feet tall, in
          clown make up. Or a clown mask.
          Spoke to your boss at Ha-Ha&apos;s, Mr.
          Vaughn, and he said you were on a
          job the day of the shooting.

Joker&apos;s still holding his breath, he nods yes.

                    DET. GARRITY
              (just continues)
          He also said you got fired that
          day,-- For bringing a gun into the
          children&apos;s hospital.

And Joker cracks up again, his laughter coming back harder--
He covers his mouth with his hand, shaking his head no, his
face now turning red.

                    DET. GARRITY
          You weren&apos;t fired?

Joker catches his breath as the intensity of his laughter
starts to wane, petering out.

                    JOKER
          Not for having a gun. That was prop
          gun. Part of my act.

Joker&apos;s laughter finally stops for good.

                    DET. BURKE
          So why were you fired?

                    JOKER
          They said I wasn&apos;t funny.

The detectives share another look.
                                                             64.


     Joker stands up.

                         JOKER
               Now, if you don&apos;t mind, I have to
               go back and look after my mother.

     Detective Burke steps close to him, holds up the card that
     Joker handed him--

                         DET. BURKE
               Hey lemme ask you a question? This
               condition of yours,-- Is this real
               or is this like some sorta clown
               thing?

                         JOKER
               Clown thing?

                         DET. BURKE
               I mean, is it part of your act?

                         JOKER
               What do you think?

     And Joker walks away-- heads for the sliding glass doors.
     Only the motion detector doesn&apos;t engage--

     AND HE SLAMS RIGHT INTO THE GLASS DOOR.

     HARD.

     He bounces back.


62   INT. HALLWAY, NURSE&apos;S STATION - CITY HOSPITAL - NIGHT        62

     Joker walking down the hallway, ER flooded with the poor and
     uninsured. Overwhelmed doctors and nurses trying their best
     to keep up. He stops at the busy nurse&apos;s station, and stands
     there for a moment, trying to get a nurse&apos;s attention--

                         JOKER
               Excuse me, I was wondering how I
               could check my mother out of here?

     One of the nurses at the desk looks up at him, seems slightly
     annoyed.

                         ER NURSE
               What&apos;s your mother&apos;s name?

                         JOKER
               Penny Fleck. I&apos;d like to take her
               home.
                                                        65.


The sleep-deprived ER RESIDENT who was working on his mother
overhears Joker, comes over to talk to him with a clipboard
in his hand. Joker recognizes him--

                    ER RESIDENT
          Mr. Fleck, your mother had a
          stroke. It&apos;s very serious. You
          can&apos;t &quot;check her out.&quot; She&apos;s gonna
          be here for at least a week.

                    JOKER
          She&apos;s not gonna wanna stay that
          long. She doesn&apos;t like hospitals.
          Or doctors.

                    ER RESIDENT
          I&apos;m sorry to hear that. But she
          can&apos;t just leave.

                    JOKER
          I don&apos;t like hospitals either.

Beat.

The resident just nods okay. Looks down at his clipboard--

                    ER RESIDENT
          Listen, I wanted to talk you about
          something we noticed in her tox
          report. We found heavy traces of
          multiple medications in her system.

                    JOKER
          Okay. Thanks.

He turns to go, but the resident continues--

                    ER RESIDENT
          One of them&apos;s perphenazine. It&apos;s a
          powerful anti-psychotic. If she was
          taking that regularly and then
          suddenly stopped, the withdrawal
          could have contributed to her
          stroke. Did you notice any
          symptoms?

                      JOKER
          Symptoms?

                    ER RESIDENT
          Withdrawal symptoms. Nausea...
          anxiety... hallucinations.

Joker shakes his head, no.
                                                              66.


                          ER RESIDENT
               Do you know how long she&apos;s been
               taking it?

     Joker shakes his head no again, leans in closer to the
     resident--

                          JOKER
               Can you tell me what those symptoms
               are again?

                                                          CUT TO:


63   INT. PATIENT BAY, EMERGENCY TREATMENT ROOM - NIGHT           63

     CLOSE ON TV, Murray Franklin is in the middle of doing his
     monologue.

                         MURRAY FRANKLIN (ON TV)
               So I told my youngest son, Tommy,
               remember he&apos;s the &apos;not so bright&apos;
               one,--
                   (laughter)
               I told him that the garbage strike
               is still going on. And he says, and
               I&apos;m not kidding, Tommy says, &quot;So
               where are we gonna get all our
               garbage from?&quot;

     Murray Franklin cracks up at his own joke. Studio audience
     laughs.

     JOKER LAUGHS, LYING IN BED NEXT TO HIS UNCONSCIOUS MOTHER in
     the large overcrowded treatment room.

     Blue curtain dividers separate the bays. He&apos;s watching the
     show on a TV bolted high on the wall. He glances over at his
     mother, laughing over the sounds of her labored breath, the
     pain and suffering of those around him.

     He looks back up at the television.

                         MURRAY FRANKLIN (ON TV)
               And finally, in a world where
               everyone thinks they could do my
               job, we got this videotape from the
               Gotham Comedy Club. Here&apos;s a guy
               who thinks if you just keep
               laughing, it&apos;ll somehow make you
               funny. Check out this joker.
                                                          67.


EXTREME CLOSE ON TV, GRAINY VIDEO OF JOKER&apos;S STAND-UP
PERFORMANCE. Joker on stage smiling behind the microphone,
under the harsh spotlight.

Joker watching himself on TV, his jaw drops--

                     JOKER (ON TV)
              (trying to stop himself
               from laughing)
          -- good evening, hello.
              (deep breath; trying to
               stop laughing)
          Good to be here.
              (keeps cracking up)
          I, I hated school as a kid. But my
          mother would always say,--
              (bad imitation of his mom,
               still laughing)
          &quot;You should enjoy it. One day
          you&apos;ll have to work for a living.&quot;
              (laughs)
          &quot;No I won&apos;t, Ma. I&apos;m gonna be a
          comedian!&quot;

Back to Murray Franklin shaking his head, trying not to
laugh.

                    MURRAY FRANKLIN (ON TV)
          You should have listened to your
          mother.

The studio audience erupts into laughter.

ANGLE ON JOKER, watching Murray Franklin make fun of him on
TV. He gets up and starts walking toward the TV set as if in
a trance. Unsure if this is really happening.

                    MURRAY FRANKLIN (ON TV)
          One more, Bernie. Let&apos;s see one
          more. I love this guy.

The tape continues of Joker at the comedy club.

                     JOKER (ON TV)
          It&apos;s funny, when I was a little boy
          and told people I wanted to be a
          comedian, everyone laughed at me.
              (opens his arms like a big
               shot)
          Well no one is laughing now.

Dead silence. Nobody is laughing. Not even him.

CUT BACK CLOSE ON MURRAY FRANKLIN, just shaking his head.
                                                              68.


                         MURRAY FRANKLIN (ON TV)
               You can say that again, pal!

     Murray cracks up and the studio audience laughs along with
     him.

     CLOSE ON JOKER, looking up at the television, hearing them
     all laughing at him.

     Beat.

                                                        JUMP CUT:

     Joker is dragging a chair to the television set.

     In a rage, he gets up on the chair and tries to pull the TV
     out of the wall, as the show continues to play--

     But the set is firmly secured to the wall, and Joker pulls so
     hard the chair flips from underneath him and he goes flying
     up the air, crashing down hard onto the floor.


64   INT. CAFETERIA, CITY HOSPITAL - EARLY MORNING                64

     Joker walks with a plastic tray of food. Some runny eggs and
     a coffee. He keeps his head down so no one can see his face.
     There are a few DOCTORS AND NURSES sitting and chatting at
     one table. A group of ORDERLIES are sitting together at
     another table.

     He goes and sits down in the far corner, far away from
     everyone else. Sees a tabloid newspaper left on the table,
     and picks it up to read so he doesn&apos;t seem so alone.

     ANGLE ON FRONT PAGE HEADLINE, &quot;Thomas Wayne Announces Run&quot;,
     over a full-page campaign-style photograph of Thomas Wayne
     waving to a crowd standing next to his wife, MARTHA (50&apos;s), a
     severe looking, well-preserved former model, and little Bruce
     Wayne standing in front of them. Photo catches Bruce looking
     into camera, eyes wide, scared by the crowd.

     SUB-HEADLINE READS, &quot;Protest Planned at Wayne Hall Opening
     Tonight&quot;

     Joker stares at the family photo.

     CLOSE ON BRUCE WAYNE IN PHOTO, Joker&apos;s fingers ripping his
     picture out of the front page.

                         YOUNG DOCTOR (OS)
               -- I&apos;m sorry to bother you, but can
               you settle an argument for us?
                                                               69.


     CLOSE ON JOKER LOOKING UP, interrupted from ripping out the
     picture. One YOUNG DOCTOR and TWO NURSES are standing around
     him. We stay with Joker, don&apos;t see their faces. Just their
     bodies, all dressed in green scrubs, uniforms.

                            JOKER
               Excuse me?

                         YOUNG DOCTOR (OS)
               You were the guy on Murray Franklin
               last night, right?

     He hears the nurses giggle.

                         JOKER
               No, sorry. Wasn&apos;t me.

                         NURSE #1 (OS)
               Of course it was you. You were the
               comedian.

                         YOUNG DOCTOR (OS)
               Except you weren&apos;t funny. You
               didn&apos;t tell any jokes.

     He hears the nurses giggle again.

     STAY CLOSE ON JOKER, getting upset. He just shakes his head.

                         JOKER
               I don&apos;t know what you&apos;re talking
               about.

                         YOUNG DOCTOR (OS)
               No. It was definitely you, buddy.
               You&apos;re the guy who couldn&apos;t stop
               laughing. Murray killed you.

     More laughter. Joker looks up at them.

                         JOKER
               If I were you, I&apos;d walk away from
               this table before I strangle all
               three of you with that fucking
               stethoscope hanging from your neck.

     Beat.


65   EXT. CENTER FOR PERFORMING ARTS, WAYNE HALL - UPTOWN - DUSK
                                                               65

     Joker crosses a busy street heading to the Center for
     Performing Arts. Light falling. Storm clouds gathering.
                                                                70.


     Joker stops when he sees--

     A CROWD OF PROTESTERS SCREAMING AND SHOUTING IN FRONT OF
     WAYNE HALL, behind steel barricades. Many wearing Joker&apos;s
     &quot;clown face&quot; mask... A few wave homemade signs, &quot;CLOWN FOR
     MAYOR&quot;... &quot;KILL THE RICH&quot;... &quot;MR. WAYNE, AM I A CLOWN?&quot;

     A LINE OF POLICEMEN AND SECURITY GUARDS stand between the
     crowd and the lit-up white marble building.

     Joker watches the protest for a moment, then continues across
     the street. It starts to rain.


66   EXT. WAYNE HALL, FRONT ENTRANCE - EVENING                    66

     A FIGHT BREAKS OUT between a &quot;clown&quot; masked protester and two
     cops. The crowd goes crazy, pushing through the barricades
     toward the building in the driving rain. The police and Wayne
     Hall Security fight to keep them out--

     Amidst all the chaos, we glimpse Joker slipping into the
     building unnoticed--


67   INT. LOBBY, WAYNE HALL - EVENING                             67

     Joker walks through the massive multi-level lobby. It&apos;s
     completely empty since the performance has already begun and
     whatever security was available is outside helping the police
     deal with the protesters.

     He looks up in awe at the crystal chandeliers... The shiny,
     marble floor beneath his feet. He&apos;s never seen anything this
     opulent in his entire life.


68   INT. BACK OF THEATER, WAYNE HALL - EVENING                   68

     JOKER MAKING HIS WAY THROUGH THE DARK SHADOWS ALONG THE BACK
     WALL OF THE AUDITORIUM, looking for Thomas Wayne in the sold-
     out black-tie audience--

     He catches bits of Chaplin&apos;s MODERN TIMES projected on a
     screen behind the Gotham Philharmonic playing the silent
     movie&apos;s score... the Tramp roller skating blindfolded on a
     date with the Gamin (Paulette Goddard) in a department store.

     He continues moving along the wall from aisle-to-aisle
     looking for Thomas Wayne...

     The audience laughs as the Tramp skates blindfolded, skirting
     along the edge of a balcony with no rail, orchestra playing
     the bouncy score. Joker can&apos;t find Thomas Wayne in the dark--
                                                             71.


     He moves to the top of the next aisle, pausing to watch more
     of the film. Suddenly somebody bumps into Joker--

     He looks up and sees it&apos;s one of Thomas Wayne&apos;s TWO SECURITY
     GUARDS, escorting Thomas Wayne out of the auditorium--

     Joker turns and watches them lead him out. Behind Joker on
     screen, the Tramp is rescued by the girl before he falls off
     the edge, orchestra swelling--


69   INT. LOBBY, WAYNE HALL - CONTINUOUS                         69

     Joker peeks his head out of the auditorium, sees Thomas Wayne
     heading into the men&apos;s room, his two security guards waiting
     by the door, still hear the orchestra playing the score--

     Joker glances back into the auditorium--

     Sees a lobby broom and upright dustpan tucked in the back
     corner--


70   INT. HALLWAY, MEN&apos;S ROOM - WAYNE HALL - SECONDS LATER       70

     Joker&apos;s sweeping up the hallway with his head down, hear the
     orchestra playing the melancholy &quot;Smile&quot; from the film&apos;s
     score. He sweeps along to the music like Emmett Kelly&apos;s
     famous hobo clown... Sweeping around the two security guards&apos;
     feet... Annoyed, they move a bit away from the bathroom
     door... And don&apos;t give Joker a second look as he heads
     inside...


71   INT. MEN&apos;S ROOM, WAYNE HALL - CONTINUOUS                    71

     Joker sweeps his way into the cavernous, black &amp; white tiled
     bathroom, ornate gold fixtures. It&apos;s empty save for Thomas
     Wayne peeing at the far end of a long line of urinals.

     Joker takes a deep breath, and walks down the line of urinals
     right up next to Thomas Wayne--

     He stands there for a beat while Thomas urinates, lobby broom
     and upright dustpan in hand--

                         THOMAS WAYNE
                   (glances over; annoyed)
               Can I help you, pal?

                         JOKER
               What? Yeah. No I, I--
                                                         72.


                     THOMAS WAYNE
              (interrupting)
          You need to get in here or
          something?

Thomas Wayne finishes and zips his fly back up. Joker is not
sure what to say to him, just says--

                    JOKER
          Dad. It&apos;s me.

Beat.

But Thomas Wayne doesn&apos;t hear him, he was flushing the
urinal. He walks toward the sink.

                       THOMAS WAYNE
          Excuse me?

Joker follows after him.

                     JOKER
          My name is Arthur. I&apos;m Penny&apos;s son.
              (beat)
          I know you didn&apos;t know about me,
          and I don&apos;t want anything from you.
          Well... maybe a hug.

And Joker smiles, it&apos;s all very emotional for him. Thomas
looks over at him like he&apos;s fucking crazy.

                    THOMAS WAYNE
          Jesus? You&apos;re the guy who came by
          my house yesterday.

Joker nods, relieved he finally broke through.

                    JOKER
          Yes. But they wouldn&apos;t let me in,
          wouldn&apos;t let me see you. So I came
          here. I have so many questions.

Thomas Wayne just laughs to himself and turns on the gold
faucets at one of the sinks.

                    THOMAS WAYNE
          Look pal, I&apos;m not your father.
          What&apos;s wrong with you?

                    JOKER
          How do you know?

Thomas Wayne just keeps washing his hands, doesn&apos;t even look
over at Joker.
                                                         73.


                    THOMAS WAYNE
          Cause you were adopted. And I never
          fucked your mother. What do you
          want from me, money?

                    JOKER
          No. What? I wasn&apos;t adopted.

Thomas starts drying his hands.

                    THOMAS WAYNE
          She never told you? Your mother
          adopted you before she even started
          working for us. She was arrested
          when you were four years old and
          committed to Arkham State Hospital.
          She&apos;s batshit crazy.

Joker starts to smile, feels a laugh coming on.

                    JOKER
          No. No, I don&apos;t believe that.

Thomas finishes drying his hands. Turns to Joker, his tone
way more serious now.

                    THOMAS WAYNE
          I don&apos;t really give a shit   what you
          believe.
              (steps in closer)
          But if you ever come to my   house
          again, if you ever talk to   my son
          again, if I ever even hear   about
          you again, I&apos;ll--

AND JOKER CRACKS UP LAUGHING, interrupting his threat.
Laughing right in his face--

                    THOMAS WAYNE
          Are you laughing at me?

Joker&apos;s laughing so hard he can&apos;t answer.

THOMAS SHOVES JOKER HARD UP AGAINST THE TILED WALL, gripping
his neck with one hand. Joker just cracks up louder, he drops
the dustpan and broom--

                    THOMAS WAYNE
              (shouting)
          You think this is funny?

Thomas Wayne&apos;s security guards bang open the door, rushing
into the bathroom when they hear the shouting--
                                                               74.


     They stop when they see Thomas has Joker jacked up against
     the wall.

                         JOKER
                   (tries shaking his head
                    no; still laughing and
                    choking)
               No, no I have a con--

                         THOMAS WAYNE
                   (interrupting; raising his
                    voice)
               Is this a fucking joke to you?

     AND THOMAS WAYNE PUNCHES JOKER STRAIGHT IN THE FACE with his
     free hand, blood spraying from his nose--


72   EXT. WAYNE HALL, FRONT ENTRANCE - PLAZA - NIGHT              72

     The two security guards roughly throw Joker out of the hall,
     right in front of the drenched crowd of screaming protesters,
     TV cameras and photographers now on hand, bulbs flashing--

     Joker knowing how to take a fall, plays it up in front of
     this audience for all it&apos;s worth, tumbling end-over-end out
     onto the plaza in the rain--

     He rolls to his feet with a bit of panache and brushes
     himself off like it was nothing.

     The protesters go crazy, cheering and applauding his act--

     And Joker takes a deep dramatic bow. Wet hair. Bloody nose.

     He turns and sees the security guards coming back out--

     Joker takes off running through the plaza in the downpour,
     running out of the Center for Performing Arts. Turns down a
     side street almost slipping--

     And keeps running even though nobody&apos;s chasing after him.

     We HEAR the familiar beats of THE SUGARHILL GANG&apos;S &quot;Apache&quot;
     as Joker just keeps running and running.


73   INT. APARTMENT BUILDING, HALLWAY - NIGHT                     73

     Joker knocking on Sophie&apos;s apartment door, &quot;Apache&quot; blaring
     inside. He&apos;s soaking wet, clothes clinging to his body.

     There&apos;s no answer.
                                                               75.


     He knocks again. Hard to hear anything over the loud music.

     Now he tries the door. It&apos;s unlocked.


74   INT. SOPHIE&apos;S APARTMENT, FRONT HALL - CONTINUOUS             74

     Joker walks into Sophie&apos;s apartment, &quot;Apache&quot; thumping,
     lights dim.

                         JOKER
               Sophie?

     WALKS INTO THE DARK LIVING ROOM, catches a glimpse of Sophie,
     naked riding on top of SOME GUY on the couch--

     The guy sees Joker standing in the shadows and jumps. Sophie
     turns and sees Joker as well. She screams--


75   INT. HALLWAY, APARTMENT BUILDING - NIGHT                     75

     Joker rushing for his mother&apos;s apartment.

     Behind him, the guy comes out half naked into the hallway,
     zipping up his pants, screaming at Joker--

     Joker doesn&apos;t look back, doesn&apos;t hear the guy yelling at him--

     Quickly opens the door to his mother&apos;s apartment and hurries
     inside.


76   EXT. ARKHAM STATE HOSPITAL - MORNING                         76

     A GRAY, BEHEMOTH STATE HOSPITAL looming over the city block.
     Metal screens cover steel-framed windows. Joker crosses the
     street toward the building, eyes weary, he hasn&apos;t slept in
     days.

     HE SEES TWO GOTHAM CITY COPS AND A PARAMEDIC rolling a gurney
     into the entrance... a naked, sunburned man screaming his
     head off is handcuffed to the stretcher underneath a white
     sheet. Joker follows them inside.


77   INT. ARKHAM STATE HOSPITAL - ADMINISTRATIVE OFFICE - MORNING
                                                               77

     Joker sits waiting in a cramped office, looking out a
     plexiglass window that overlooks the crowded hallway--
                                                          76.


A constant din of people moving about, talking and shouting.
Patients handcuffed to the armrests of their wheelchairs,
lying on stretchers, heads covered with pillowcase turbans or
forearms to block out the harsh fluorescent lights.

His gaze is interrupted by a CLERK (40&apos;s), ID clipped to his
shirt, who&apos;s lugging an old heavy file storage box.

He drops the box down on his messy desk with a thud.

                    CLERK
          Sorry for the wait. All our records
          that are 10 years or older are
          stored in the basement. You&apos;re
          talking over 30 years ago,-- I had                     
          to do some serious digging.

Joker nods thanks.

                    CLERK
          Like I said, if it&apos;s in here, I&apos;m
          still gonna need a release from
          her.

The clerk opens the file box. Starts digging though it. Joker
stares out the plexiglass window that faces the hallway--

                    JOKER
          Can I ask you a question? How does
          someone wind up in here? Have all
          these people committed crimes?

                    CLERK
              (going through the files)
          Some have. Some are just crazy and
          pose a danger to themselves or
          others. Some just got nowhere else
          to go.

Beat.

                    JOKER
              (nods; looks down)
          Yeah, I know how that is. Sometimes
          I don&apos;t know what to do, y&apos;know, I
          don&apos;t think I can take any more of
          this.

The clerk is half listening as he scans the paper work.

                    CLERK
          Yeah, I can&apos;t take much more of
          this shit either.
                    (MORE)
                                                           77.

                    CLERK (CONT&apos;D)
          Now they talking about more
          layoffs, man, we&apos;re understaffed as
          it is. I don&apos;t know what I&apos;m gonna
          do.

Joker looks up at the guy, thinking he&apos;s made a connection.

                    JOKER
          Last time I ended up taking it out
          on some,-- people. Bad shit. I
          thought it would bother me but, it
          really hasn&apos;t.

For the first time, the clerk looks at him--

                    CLERK
          What&apos;s that?

                    JOKER
          It&apos;s just so hard to try and be
          happy all the time, y&apos;know, when
          everything&apos;s going to shit all
          around you.

                    CLERK
              (taken aback; beat)
          Listen, I&apos;m just an administrative
          assistant, like a clerk. I file
          paperwork, fill out forms. I don&apos;t
          really know what to tell you, but
          maybe you should see someone-- they
          have programs, like city services.

                    JOKER
              (backtracking)
          Yeah. They cut those. Anyway, I was
          just talking to talk.

The clerk just nods. Finally finds what he was looking for.

                    CLERK
              (surprised)
          Here it is,-- Fleck. Penny Fleck.

He pulls out an old file, bulging with yellowing records.
Moves the box to the floor and sits down at his desk.

                    JOKER
              (saying it out loud for
               himself to hear)
          So she was a patient here.

The guy opens the file. Yellowing pages of her records--
                                                        78.


                    CLERK
              (nods, skim-reading)
          Uh-huh. Diagnosed by Dr. Benjamin                      
          Stoner... The patient suffers from                     
          delusional psychosis and                               
          narcissistic personality                               
          disorder... Found guilty of                            
          endangering the welfare of a child--                   

The clerk stops reading out loud, eyes going wide as he skims    
further ahead. Joker just looks at the guy, waiting to see       
what he&apos;s gonna say.                                             

                    JOKER
          What?

                    CLERK                                        
          You said she&apos;s your mother?

Joker just nods.

                    CLERK
              (closes the file)
          I&apos;m sorry, I can&apos;t. Like I said, I
          can&apos;t release this without the
          proper forms. I could get in
          trouble.
              (closes the file; beat)
          Besides, it&apos;s pretty bad.

CLOSE ON JOKER, he shakes his head and smiles to himself.

                    JOKER
          I can handle bad. I&apos;ve been on a
          pretty bad run myself.

The clerk puts the file down on his desk--

                    CLERK
          I can&apos;t help you. If you want these
          records you have to get your mom to
          sign a patient disclosure form. I
          can have someone mail you one.

Joker just sits there, thinking it all over for a moment.

Then snatches the file off the clerk&apos;s desk--

The clerk grabs it as well.

They play tug-of-war with the file, it&apos;s awkward and goes on
way too long. Finally, Joker shoves the guy hard and pulls
the file away--
                                                              79.


     He takes off running out of the office with it. The clerk
     watches for a beat, but does nothing.


78   INT. HALLWAY, ARKHAM STATE HOSPITAL - MORNING                78

     Joker running down the hallway, files in his hands. Frantic.
     Unaware he is not being chased.

     Turns a corner and runs down another long hallway.

     Gets to a stairwell door and runs in.


79   INT. STAIRWELL, ARKHAM STATE HOSPITAL - CONTINUOUS           79

     Bounding down the steps. He stops at a landing below. Looks        
     up, sees no one is chasing after him--                             

     ANGLE ON JOKER, catching his breath. He opens the file,
     flipping through the records, finds the page the clerk was
     reading. As he reads it over for himself, he HEARS his mother      
     being interviewed for her psychiatric assessment, over 30          
     years ago.                                                         

                         MOM (VO)                                       
               He&apos;s not adopted-- he&apos;s Thomas                           
               Wayne&apos;s son. I work for him, I told                      
               you, I clean his house. He&apos;s always                      
               smiling at me.                                           

                                                          CUT TO:       


80   INT. EMERGENCY INTERVIEW ROOM, ARKHAM STATE HOSPITAL - DAY 80      
     (FLASHBACK)                                                        

     Penny Fleck (late 20&apos;s) is sitting across the table from DR.       
     BENJAMIN STONER (50&apos;s), in a dreary small interview room,          
     windows covered with security screens. Penny takes a drag off      
     a cigarette, her face is beaten to shit, nose battered, lip        
     busted up.                                                         

     Dr. Stoner is going over Penny&apos;s thick file, the same file         
     Joker&apos;s holding in his hands.                                      

                         DR. STONER                                     
               We went over this, Penny. You                            
               adopted him. We have all the                             
               paperwork right here.                                    

     Penny doesn&apos;t say anything, just smiles like she&apos;s in on a         
     big secret. And exhales smoke.                                     
                                                           80.


Dr. Stoner keeps going through the file, pulls out black &amp;        
white forensic photographs of three-year-old Joker&apos;s body--       

                    DR. STONER                                    
          You also stood by as one of your                        
          boyfriends repeatedly abused your                       
          adopted son. And battered you.                          

Penny looks at Dr. Stoner like he&apos;s crazy.                        

                     MOM                                          
          He didn&apos;t do anything to me. Or to                      
          my boy. Can I go now, I don&apos;t like                      
          hospitals.                                              

Dr. Stoner lays out the photographs in front of Penny--           

Penny keeps smoking her cigarette, glances down at the            
photos, we catch glimpses of various bruises on parts of          
Joker&apos;s body... A filthy crib... A rope tied to the               
radiator...                                                       

                                                CUT BACK TO:      

Joker looking over the same black &amp; white photographs, still      
HEARS his mother--                                                

                    MOM (V0)                                      
          I never heard him crying. Not once.                     
          He&apos;s always been such a happy                           
          little boy.                                             

                    DR. STONER (VO)                               
          Penny, your son was found tied to a                     
          radiator in your filthy apartment,                      
          malnourished, with multiple bruises                     
          across his body and severe trauma                       
          to his head.                                            

Joker looks up from the file when he hears/reads this, turns      
and looks at Penny&apos;s reaction-- HE&apos;S NOW IN THE INTERVIEW         
ROOM WITH THEM, living what he&apos;s reading on the page.             

He sees his mother lean forward in her chair, glaring at Dr.      
Stoner--                                                          

                    MOM                                           
          That&apos;s not true. My apartment                           
          wasn&apos;t filthy. I keep a clean                           
          house.                                                  

Joker just stares at his mother.                                  

Dr. Stoner looks at Penny, not sure how to respond to that.       
                                                               81.


                          DR. STONER                                   
                   (beat)                                              
               And what do you have to say about                       
               your son?                                               

     ANGLE ON PENNY, thinking it over, taking a drag off her           
     cigarette.                                                        

                         MOM                                           
               I&apos;m just glad I got to know him.                        

     Joker just keeps staring at her as she exhales--                  

     JOKER BACK IN THE STAIRWELL LOOKS UP FROM THE FILE, looks         
     like maybe there&apos;s cigarette smoke drifting in front of his       
     face--                                                            

                                                        CUT TO:        


81   EXT. SCHOOL PLAYGROUND, STREET - AFTERNOON                  81

     Joker walking fast toward the playground. Sees Sophie talking
     with some other moms, as GiGi and a few kids play on the
     monkey bars.

     Sophie walks toward him, still disturbed about last night--

                         SOPHIE
               What the hell was that? You can&apos;t
               just walk into my apartment like
               that.

     He is taken aback by her anger--

                         JOKER
               No, wait,-- Sophie, we can get
               through this, that&apos;s why I&apos;m here.

                         SOPHIE
               What are you talking about? What do
               you think this is?

                         JOKER
               I don&apos;t know. I mean I&apos;ve never
               been with a woman &quot;like that,&quot; but,
               this feels like a beginning to me.

                          SOPHIE
               Arthur, I was just being nice to
               you. I felt sorry for you. I have a
               boyfriend.
                                                        82.


                    JOKER
          You what? What? What kind of woman
          are you? Who does that?

Some of the other mothers turn toward them--

                    SOPHIE
          You need to leave. I&apos;m not having
          this conversation with you.

                    JOKER
              (shouts)
          Why not?

GiGi runs up to Sophie&apos;s side to see what&apos;s going on, to see
if her mother&apos;s okay.

                    SOPHIE
              (turns to her daughter)
          Go back with your friends, honey.
          Mommy&apos;s having a grown up talk.

Before GiGi leaves Joker looks down at her--

                    JOKER
          No. Don&apos;t listen to her GiGi, you
          need to hear this. Your mother&apos;s a
          bad person. She&apos;s a whore, she&apos;s
          seeing two men at once. You can&apos;t
          trust her,-- She&apos;ll break your
          fucking heart.

Joker turns to go, behind him GiGi starts to cry. He&apos;s close
to tears himself.

Sophie takes off after him, and reaches out and grabs him--
Joker spins quickly around to face her, looks like he might
even hit her--

                    JOKER
          How come nothing ever comes easy
          for me?

And Sophie slaps him hard across the face-- Then turns and
walks away.

CLOSE ON JOKER, he begins to laugh--

                                                   CUT TO:
                                                               83.


82   INT. MOM&apos;S APARTMENT, LIVING ROOM - NIGHT                    82

     Joker manically pacing around the living room, banging the         
     side of his head with his hand, muttering to himself, almost       
     like he&apos;s having a conversation with himself, taking part in       
     some story in his head, in the background the 11:00 News is        
     playing on the television.                                         

     Footage of a protest in front of Wayne Tower... Protesters in
     &quot;Joker&quot; clown masks... Hear the NEWS ANCHOR&apos;s bombastic voice
     over, &quot;The anger and resentment that&apos;s been building up for
     weeks now, seems close to exploding. Protestors today, many
     dressed as clowns, took to the streets in front of Wayne
     Tower in one of many planned demonstrations.&quot;

     Joker stops when he hears this, turns to the flickering
     screen--

     ANGLE ON TELEVISION, protesters in the middle of a massive
     crowd outside a Wayne Tower.

                         &quot;CLOWN&quot; PROTESTER #1 (ON TV)
               You&apos;ll see what&apos;s gonna happen at
               City Hall next Thursday. We&apos;re
               gonna--

     Joker sits down on the couch eyes, leaning forward to make
     sure he&apos;s seeing what he&apos;s seeing--

                         &quot;CLOWN&quot; PROTESTER #2 (ON TV)
                   (interrupts; screaming
                    into camera)
               [Beep] the rich, [beep] the media,
               [beep] the blacks, [beep] the
               whites, [beep] everybody. They all
               [beeped] us, that&apos;s what this is
               [beeping] about!

     CLOSE ON JOKER, doesn&apos;t even blink, it&apos;s like he&apos;s watching
     himself on television.

                                                        CUT TO:


83   INT. MOM&apos;S APARTMENT, LIVING ROOM - MORNING                  83    

     Sun peeking through the windows. PHONE RINGING. Joker opening
     his eyes.

     His orange cat is sitting on his chest, staring at him.

     Joker finally got some sleep. He lies there for a beat. Phone
     still ringing, until the machine picks up the call.
                                                        84.


                    SHOW BOOKER (ON MACHINE)
          This message is for Arthur Fleck.
          My name is Shirley Woods, I work on
          the Murray Franklin show.                              

Joker sits up, the cat jumps off his chest. He can&apos;t believe     
what he&apos;s hearing. He gets up off the couch as the woman         
continues to leave a message on the machine--                    

                    SHOW BOOKER (ON MACHINE)                     
          I don&apos;t know if you&apos;re aware, but                      
          Murray played a clip of your stand-                    
          up on the show recently and we&apos;ve                      
          gotten an amazing--                                    

Joker picks up the phone--                                       

                    JOKER                                        
              (into phone; skeptical)                            
          Who is this?                                           

                    SHOW BOOKER (OVER PHONE)                     
          Hi, this is Shirley Woods from                         
          Murray Franklin Live. Is this                          
          Arthur?                                                

Beat.                                                            

                       JOKER                                     
                 (into phone)                                    
          Yes.                                                   

Joker looks down at the cat purring at his feet, and kicks it    
away.                                                            

                    SHOW BOOKER (OVER PHONE)                     
          Hi Arthur. Well, as I was saying--                     
          we&apos;ve gotten a lot of calls about                      
          your clip, amazing responses. And,                     
          Murray asked if I would reach out                      
          to see if you would come on as his                     
          guest. Can we set up a day?                            

PUSH IN ON JOKER&apos;S FACE, as it sinks in.                         

                    JOKER                                        
              (into phone)                                       
          Murray wants me to come on the                         
          show?                                                  

                    SHOW BOOKER (OVER PHONE)                     
          Yes. Isn&apos;t that great? He&apos;d love to                    
          talk to you, maybe do some of your                     
          act. Does that sound good to you?                      
                                                             85.


     As the PUSH IN ON JOKER finishes.                                  

     Hold.                                                              


84   INT. CITY HOSPITAL, HOSPITAL ROOM (SHARED) - MORNING         84

     JOKER WALKS INTO HIS MOTHER&apos;S SHARED HOSPITAL ROOM, passing
     an elderly wheezing woman in the bed closest to the door.
     Sees his mom in her bed by the window.

     He pulls the blue curtain separating the beds, giving him and
     his mother some privacy. Sits down on the edge of her bed.

     She smiles when she sees him. Still fairly incapacitated.

     He leans down close to her. Speaks softly, but filled with
     rage--

                         JOKER
               Ma, remember how you used to tell
               me that God gave me this laugh for
               a reason. That I had a purpose. To
               bring laughter and joy into this
               fucked up world,--

     She looks at him confused.                                         

                         JOKER
               HA! It wasn&apos;t God, it was you or,                        
               or one of your boyfriends,-- how                         
               could you let that happen? What
               kind of woman are you? What kind of
               mother are you?

     She looks away.

                         JOKER
               What&apos;s my real name?

     Her whole body is shaking, overwhelmed with emotion.

                         JOKER
               C&apos;mon, Ma, I know I was adopted.
               What&apos;s my name? Who am I really?

     She looks back him, struggles to speak--

                            MOM
               H-h-happ--

                         JOKER
                   (interrupting, snaps at
                    her)
                         (MORE)
                                                               86.

                         JOKER (CONT&apos;D)
               Happy?! I&apos;m not happy. I haven&apos;t
               been happy for one minute of my
               entire fucking life.

     He reaches behind her, grabs one of her pillows--

                         JOKER
               But you know what&apos;s funny? You know
               what really makes me laugh?

     Leans down closer, face-to-face with her--

                         JOKER
               I used to think my life was nothing
               but a tragedy, but now, now I
               realize it&apos;s all just a fucking                          
               comedy.


85   INT. BLUE CURTAIN, HOSPITAL ROOM (SHARED) - CONTINUOUS       85

     Other side of the blue divider curtain. We see Joker&apos;s feet
     shifting a little.

     SLOWLY WE PULL OUT, backing out of the room. Leaving behind
     whatever Joker&apos;s doing to his mother on the other side of the
     curtain. And we HEAR applause...                                   


86   INT. MOM&apos;S APARTMENT, LIVING ROOM - NIGHT                    86    

     JOKER&apos;S STUDYING VHS TAPES OF &quot;MURRAY FRANKLIN LIVE!&quot;, studio      
     audience applauding Murray... He jots down notes in his worn       
     notebook... Watches the guests come out... how they cross the      
     stage... how they greet Murray... how they sit down... if          
     they cross their legs or not... studying how he should act,        
     how to be a person like other people.                              

     His cat sits on top of the TV watching him the whole time,         
     never taking her eyes off him.

                                                         JUMP CUT:

     Practicing. Joker walks across the living room like he&apos;s on
     the show, smiling, waving to the &quot;audience&quot;... He mimes
     shaking Murray&apos;s hand... Mimes unbuttoning his jacket and
     sits down. He smiles and pulls out his worn notebook from his      
     pocket--                                                           

                         JOKER                                          
               You wanna hear a joke, Murray?                           

     He &quot;waits&quot; for Murray to answer. Then Joker nods okay and          
     opens his notebook--                                               
                                                             87.


                         JOKER                                          
                   (reading)                                            
               Knock-knock.                                             

     His cat still watching him, now at his feet. Joker crosses
     and uncrosses his legs... Looks uncomfortable.

     He glances down at his cat. It&apos;s as if he can hear the cat
     talking to him.

                         JOKER
                   (nods; frustrated)
               Yeah, I don&apos;t know if I should
               cross or uncross &apos;em. Both feel
               completely unnatural.

     Joker gets up off the couch and walks back across the living       
     room. Waves to the &quot;audience&quot;... Mimes shaking Murray&apos;s
     hand... Mimes unbuttoning his coat and sits down... Crosses
     his legs.

                         JOKER
               Thanks for having me on, Murray. I                       
               can&apos;t tell you how much this means                       
               to me, it&apos;s been a life long dream.                      
               I have a joke for you--                                  

     Joker stands back up.

     Looks down at the cat again.

                         JOKER
               You&apos;re right. You&apos;re right,
               uncrossed is better.

     Joker sits back down... Doesn&apos;t cross his legs this time.

                                                        CUT TO:


87   EXT. POTTER&apos;S FIELD CEMETERY - DUSK                          87

     WIDE SHOT, a lone figure in a vast sea of mass graves, grey        
     headstones. This is where they bury the poor and the
     unclaimed dead.

     Joker stands by his mother&apos;s grave. His head bowed, face in
     his hands, his body convulsing. He&apos;s dressed in an ill-
     fitting faded rust colored suit, almost shiny from all the
     wear. Behind him in the distance, the TWO DETECTIVES stand by
     their parked car on the cemetery roadway. Sun dying in the
     sky.
                                                             88.


     CLOSE ON JOKER&apos;S FACE BURIED IN HIS HANDS, see he&apos;s laughing--
     impossible to tell if he&apos;s laughing because of his condition
     or laughing for real.


88   EXT. ROADWAY, POTTER&apos;S FIELD CEMETERY - DUSK              88

     Joker walking away from his mother&apos;s grave, goes to the two
     detectives -- GARRITY and BURKE -- waiting for him by their
     unmarked car. His face is still red, tears in his eyes from
     laughing.

                         JOKER
                   (wiping his eyes;
                    restrained anger)
               You shouldn&apos;t be here. It&apos;s not
               right.

                         DET. GARRITY
               We just came to pay our respects.
               Sorry about your mother.

                         DET. BURKE
               Yeah, it&apos;s too bad.

     Joker just stares at the two detectives.

     Awkward beat.

                         DET. BURKE
               Where is everybody?

                         JOKER
               It&apos;s always been just me and her.

     Joker pauses for a moment, then starts to walk away.

                         DET. BURKE
                   (calls out)
               We saw you on Murray Franklin.

     Joker turns back to them.

                         JOKER
               You saw that?

                         DET. GARRITY
               Yeah. Heard you were on, so we got
               a videotape.

                         DET. BURKE
               I just couldn&apos;t tell if you were
               actually trying to be funny or not.
                                                             89.


                         JOKER
               Yeah, well I guess you didn&apos;t get
               the joke.

                         DET. GARRITY
               Listen, we need to clear a few
               things up, we spoke to the hospital
               administrator--

                         JOKER
                   (interrupting)
               Which hospital?

                         DET. BURKE
               The Children&apos;s Hospital.
                   (reminding)
               The night you were fired. He said
               it didn&apos;t look like a prop gun, it
               was heavy, like a real one. We have
               some more questions for you.

                         JOKER
               I just buried my mother.

     The detectives share a look. Garrity pulls out a card. Hands
     it to Joker.

                         DET. GARRITY
               We can do it tomorrow. But you need
               to come down to the precinct--
               first thing in the morning.

                          JOKER
                   (looks down, reading the
                    card)
               Right. Thanks for coming.

                            DET. BURKE
               Of course.

     Joker looks back up.

                         JOKER
               That was a joke.

     We hear applause followed by the familiar opening riff to
     ELTON JOHN&apos;S &quot;Bennie &amp; the Jets&quot;.


89   INT. MOM&apos;S APARTMENT, BATHROOM - NEXT AFTERNOON             89    

     JOKER&apos;S LEANING OVER THE BATHROOM SINK, water running. He&apos;s
     wearing rust colored pants and a white &quot;beater&quot; T-shirt.
                                                                90.


     A &quot;Joker&quot; clown mask hangs off the dirty mirror by its
     elastic band. &quot;Bennie &amp; the Jets&quot; blaring from a transistor
     radio turned all the way up.

     Joker lifts his head up. He&apos;s dyed his hair green like his
     old &quot;Mr. Jingles&quot; clown wig-- but he&apos;s missed spots. Some of
     his hair is still its original color, sticking out all helter-
     skelter.

                                                      JUMP CUT:

     Now he&apos;s smearing white grease-paint all over his face.

     He&apos;s dancing along to the music, gyrating and thrusting his
     hips to the beat, as he glances at the mask hanging from the
     mirror, trying to copy how it looks... A copy of a copy of
     himself.

     He barely hears someone banging on the front door over the
     loud music--

     Doesn&apos;t answer. Joker just keeps putting on his make-up,
     dancing provocatively to the music.

     More banging on the front door.

     Joker casually opens the medicine cabinet. Finds some old
     rusty scissors and turns the radio off--


90   INT. FRONT DOOR, MOM&apos;S APARTMENT - AFTERNOON                 90    

     Joker unlocks the locks, keeping the security chain latched,       
     and cracks open the door,-- Sees Randall. Looks down, and          
     sees Gary next to him. Undoes the chain and opens the door         
     for them--                                                         

     Randall and Gary get a look at Joker&apos;s face, his dyed green        
     hair still wet, streaking white grease-paint smeared over          
     part of his face--                                                 

                          GARY
                   (re: his look)
               Hey Arthur, how&apos;s it going? You get
               a new gig?

     Joker shakes his head no, steps aside so they can come in,         
     palming the scissors in his hand--

                         RANDALL
               You must be goin&apos; down to that
               rally at City Hall. Right? I hear
               it&apos;s gonna be nuts.
                                                          91.


                    JOKER
          Is that today?

Randall looks at him and laughs--

                    RANDALL
          Yeah. What&apos;s with the clown-face
          then?

Joker shuts the door behind them. Locks the chain-lock.

                    JOKER
          My mom died.

                    RANDALL                                      
              (nodding)                                          
          Yeah we heard. That&apos;s why we&apos;re                        
          here. Figured you might wanna go                       
          out, get a drink or something?                         

Joker doesn&apos;t answer.                                            

Awkward beat.                                                    

                    GARY                                         
          We don&apos;t wanna bother you. Randall                     
          just thought we should come and pay                    
          our respects.                                          

                    RANDALL                                      
          Yeah, we&apos;re family. We gotta stick                     
          together.                                              

Joker stares at Randall.                                         

                     JOKER                                       
              (beat)                                             
          It&apos;s not a good time. I&apos;m in the                       
          middle of something here.                              

                    GARY                                         
          Of course. No problem. Another                         
          time.                                                  

Gary turns to go. Randall pauses for a moment, has something     
else to say before he leaves--                                   

                    RANDALL                                      
          Yeah. Another time, then. Oh hey,--                    
          one other thing--                                      

He takes a step closer to Joker--                                
                                                         92.


                    RANDALL                                      
          Listen, the cops have been poking                      
          around the shop, they&apos;re talking to                    
          all the clowns about those subway                      
          murders and--                                          

                    GARY                                         
              (interrupting)                                     
          They didn&apos;t talk to me.                                

                     RANDALL                                     
              (snaps at Gary)                                    
          That&apos;s because the suspect was a                       
          regular-sized person. If it was a                      
          fucking midget you&apos;d be in jail                        
          right now.                                             
              (turns back to Joker)                              
          Anyway, Hoyt said they were looking                    
          for me, and, and I just wanna see                      
          what you said. You know, make sure                     
          our stories line up, bein&apos; that                        
          you&apos;re my boy and--                                    

AND JOKER STABS THE SCISSORS AS DEEP AS HE CAN into Randall&apos;s    
neck. Blood spurts. Randall screams. Gary stumbles back in       
shock--                                                          

                     GARY
              (screaming)
          What the fuck what the fuck WHAT
          THE FUCK--

Joker pulls them out and jams them into Randall&apos;s eye before
he can react. The sound is sickening. Gary&apos;s screaming in the
background--

Randall blindly fights back, screaming in pain, flailing his
arms, his own blood blinding him--

Joker grabs Randall by the head -- all of his pent up rage
and frustration pouring out of him -- AND SLAMS HIS HEAD
AGAINST THE WALL.

AGAIN. And AGAIN. And AGAIN.

Joker lets go of Randall&apos;s head, and Randall drops to the
ground. Joker leans back against the wall, out of breath,
kind of slides down the wall to the floor--

Sees Gary huddled in the corner, trembling with fear--
                                                                93.


                         JOKER
                   (catching his breath)
               I&apos;m gonna be on TV tonight. Can you
               believe it?

     Gary doesn&apos;t answer. Doesn&apos;t move--

                         JOKER
               It&apos;s okay, Gary. You can go.

     Gary backs away toward the door. Joker sits there for a
     moment, breathing heavy, wipes Randall&apos;s blood off his face--

                           GARY (OS)
               Hey, Art?

     Joker turns, sees Gary at the front door. He points up high
     to the chain-lock. He can&apos;t reach it.

     Joker just shakes his head to himself and gets up to unlock
     the door.

     He walks past Gary who&apos;s still trembling almost too afraid to
     look up at him. Joker leans over him and undoes the chain,
     opens the door. Gary bolts, running down the hallway as fast
     as he can--

                                                          CUT TO:


91   INT. MOM&apos;S BEDROOM, APARTMENT - LATE AFTERNOON               91    

     (Over the following, we don&apos;t see Joker&apos;s face. We don&apos;t
     reveal his finished &quot;look&quot; just yet.)

     CLOSE PICKING UP HIS NOTEBOOK, fanning through the pages--         
     Pausing at the BLACK &amp; WHITE RIPPED PHOTO OF BRUCE WAYNE for
     a moment. Continues, stopping at the same entry from the
     opening scene--

     CLOSE ON WORDS, &quot;I just hope my death make more sense than my
     life.&quot;


92   INT. LIVING ROOM, MOM&apos;S APARTMENT - LATE AFTERNOON           92    

     CLOSE ON TAKING RANDALL&apos;S WALLET OUT OF HIS BLOOD SOAKED           
     PANTS, pocketing all the cash.

     CLOSE ON BUTT OF A GUN STICKING OUT OF RANDALL&apos;S WAISTBAND,        
     glimpse Joker&apos;s hand reaching for it--                             
                                                             94.


93   INT. KITCHEN, MOM&apos;S APARTMENT - LATE AFTERNOON              93    

     JOKER&apos;S P.O.V. FINISHING WRITING A NOTE, &quot;On Murray Franklin      
     Tonight -- Please Watch!&quot;                                         

     CLOSE ON STUFFING THE NOTE AND ALL OF RANDALL&apos;S MONEY into an     
     envelope--                                                        

     TURNING ENVELOPE OVER, WRITING &quot;SOPHIE&quot; on the front.             


94   INT. LIVING ROOM WINDOW, MOM&apos;S APARTMENT - LATE AFTERNOON 94      

     CLOSE ON THE ORANGE CAT AT THE WINDOW, and maybe if we&apos;re
     looking close enough we notice something strange... the cat
     has no reflection.

     ANGLE OVER JOKER&apos;S SHOULDER OPENING THE WINDOW, shooing the       
     cat out onto the fire escape, out into the dying day--            

                         JOKER (OS)
               Go on. Go. You&apos;re free.                                 

     CLOSE ON THE CAT LOOKING BACK AT JOKER FOR A LONG MOMENT,
     before scampering off out into the world, leaving him behind
     for good.

     As he closes the window we almost catch Joker&apos;s reflection in
     the glass--


95   INT. HALLWAY, APARTMENT BUILDING - LATE AFTERNOON           95    

     FOLLOWING BEHIND JOKER, walking down the hallway as if in
     slow motion, heading for Sophie&apos;s apartment. His dyed green
     hair now slicked back.

     He&apos;s wearing the ill-fitting rust colored suit he wore to his
     mother&apos;s funeral.

     STILL FROM BEHIND, he lays the envelope in front of Sophie&apos;s      
     door, then pulls something else out of his pocket -- his body     
     obscuring what it is -- puts it down by her door and leaves.      

     As he walks away down the hallway, we see what else Joker         
     left behind--                                                     

     HIS WAND OF FLOWERS, at Sophie&apos;s door.                            

     Hold.                                                             
                                                               95.


96   INT. ELEVATOR, HALLWAY - LATE AFTERNOON                      96    

     FROM BEHIND JOKER STEPPING ONTO THE ELEVATOR, TURNING TO FACE      
     US AS THE DOOR STARTS TO CLOSE, FINALLY REVEALING HIS LOOK--       

     Green hair slicked back like one of the Wall Street assholes       
     he killed... White grease paint smeared over his face... red       
     nose painted on... dark blue peaks over and under his eyes...      
     his mother&apos;s red lipstick crudely outlining his broken             
     smile... Under the harsh flickering fluorescent lights, he         
     looks like an insane version of his mask.                          

     The door closes on his new face. Ding.                             


97   EXT. APARTMENT BUILDING - LATE AFTERNOON                     97

     Joker steps out of his building into the setting sun, just as      
     Garrity and Burke are getting out of their unmarked Ford LTD       
     Crown Vic--                                                        

                         DET. GARRITY                                   
               Hey Arthur, where you going?                             

                         DET. BURKE                                     
               Yeah, thought you were coming down                       
               to the station this morning.                             

     And Joker takes off running--

     Garrity gives chase on foot as Burke hurries back into the
     car--                                                              


98   EXT. 174TH STREET, TWO LANES - CONTINUOUS                    98

     Joker darts out from his block into the avenue, sprints
     across the busy, two-lane street without looking--

     Running right in front of an oncoming YELLOW CAB on the far
     side of the street--

     BAM!

     The cab hits him and Joker goes crashing into the windshield.
     Bounces up and over the car. Landing hard on the pavement--

     The car directly behind the cab skids to a stop just before
     running over Joker&apos;s face. Swerving into the other lane and
     CRASHING INTO an oncoming truck.

     Cars on both sides of the street skidding trying to stop--
     Crashing. It&apos;s chaos.
                                                                96.


      Joker pops back up from getting hit. He&apos;s in pain. But not
      dead.

      Garrity has drawn his service revolver as he makes his way
      through the pile up. And Burke, now blocked because of the
      crash has jumped out of his car--

      Joker takes off running, limping down the street toward an
      entrance for the elevated train--


99    EXT. ELEVATED TRAIN STATION, STEPS - CONTINUOUS              99

      Joker hustling up the stairs, dripping sweat, his white
      grease-paint running down his face. He gets to the top of the
      stairs, looks back and catches a glimpse of Garrity and Burke
      at the bottom--


100   EXT. PLATFORM, ELEVATED TRAIN STATION - CONTINUOUS         100

      Joker makes his way down the crowded platform, the passengers
      starting to file on a waiting Lexington Ave/Pelham Express
      Train heading downtown. The train&apos;s packed with protesters
      heading to the rally at City Hall. Many carrying signs...
      most of them in &quot;Joker&quot; masks... a few painted up to look
      like the &quot;Joker&quot; mask. Joker fits in with all of them.             

      He looks through the crowd of clowns and sees the two cops
      getting to the top of the stairs, looking up and down the
      platform for him. Pulling out their badges on chains from
      around their necks. Identifying themselves as cops.

      Joker&apos;s willing the doors to close. But they don&apos;t.

      The two detectives run onto the train just as the doors are
      finally closing--


101   INT. LEXINGTON AVE/PELHAM EXPRESS (MOVING) - CONTINUOUS    101

      Joker moves through the loud train pushing through the rowdy
      protesters-- Into the next car, all of them packed.                

      AS THE TRAIN GOES UNDERGROUND, the lights flicker on and off--  
      car GOING BLACK FOR A FEW SECONDS as the train turns and dips  
      and speeds down the tracks.                                     

      Joker glances back at Burke and Garrity pulling out their          
      badges on chains around their necks. Smith &amp; Wesson service        
      revolvers by their sides. Shouting at the crowd, identifying       
      themselves as cops.                                                
                                                           97.


Joker hears some on the train shouting back in anger at the       
police, keeps moving... past clown-faced protestors carrying      
signs, &quot;RESIST&quot;... &quot;AM I A CLOWN?&quot;... &quot;SAVE A CITY, KILL A        
YUPPIE&quot;...                                                        

The two cops push through the car, scanning all the &quot;clown&quot;       
faces... So many look like Joker. They just shove protesters      
out of the way, shouting at them all the while. A few more        
voices rising up in protest--                                     

Joker feels Burke and Garrity behind him getting closer. In       
the flickering light sees a DRUNK GUY (20&apos;s) wearing a            
&apos;Joker&apos; mask and pulls it right off his face--                    

The drunk guy turns ready to fight.                               

He throws a punch at Joker, and Joker steps out of the way--      

The guy pummels someone else--                                    

A FIGHT BREAKS OUT, spilling down the car.                        

Joker slips the clown mask over his clown face--                  

AND JUST STANDS THERE IN THE MIDDLE OF THE CHAOS, at home         
with the chaos all around him--                                   

Garrity and Burke spot Joker&apos;s rust colored suit in the           
middle of the unruly mob--                                        

Burke pulls his gun--                                             

                    BURKE                                         
              (shouting)                                          
          EVERYBODY DOWN, GOTHAM PD!                              

The crowd doesn&apos;t drop to the ground. They just keep fighting     
with each other--                                                 

Burke sees Joker just standing there. Keeps yelling for the       
crowd to get down, get down, but they don&apos;t listen to him--       

He starts shoving protestors down, out of the way-- and           

AND THEN THE MOB TURNS ON HIM AND GARRITY, starts closing in      
around them--                                                     

Garrity and Burke are pointing their guns at the crowd,           
yelling panicked for them to back off, back off, and one          
idiot reaches for Garrity&apos;s gun--                                 

Bang.                                                             
                                                                98.


      Burke fires into the crowd, as the train pulls into the           
      station--                                                         

      A protestor falls dead. The other clowns on the train go          
      crazy, starting to riot. Glimpse Joker walking away calmly        
      out of the chaos. Taking off the mask and dropping it at his      
      side as he steps off the train, disappearing onto the crowded     
      platform.                                                         

                                                           CUT TO:      


102   EXT. WGCTV STUDIOS, FRANKLIN THEATER - MIDTOWN - EVENING 102      

      An excited line of ticket holders waiting to get in to &quot;Live
      with Murray Franklin!&quot; The poster marquee box near the door
      reads: &quot;TONIGHT&apos;S GUESTS. Lance Reynolds. Dr. Sally Friedman.
      And Special Guest.&quot;

      They swing open the doors and start to let the audience
      inside...


103   EXT. BACKSTAGE DOOR, FRANKLIN THEATER - SIDE STREET - EVENING
                                                               103      

      Random fans and autograph hounds hanging out by the backstage
      door, waiting for the night&apos;s guests to arrive...


104   INT. STUDIO 4B, STAGE - FRANKLIN THEATER - EVENING         104    

      Studio audience filing into the studio, being seated in the
      wide bleachers along one wall. Three TV monitors hang from
      the ceiling, facing the audience. Three studio cameras on the
      floor, black cables strewn everywhere.

      The set for &quot;LIVE WITH MURRAY FRANKLIN!&quot; is dark... but we
      can still make out his desk... guest chairs... Don Ellis and
      his Jazz Orchestra&apos;s band stand... big blue curtain.


105   INT. HALLWAY, FRANKLIN THEATER - EVENING                   105

      The host of the show, MURRAY FRANKLIN (60&apos;s), usually quick
      with a bemused grin but right now in a sour mood, walks fast
      down the hall toward the drab dressing rooms with his old-
      school producer, GENE UFLAND (60&apos;s), who&apos;s holding the show&apos;s
      rundown rolled up in his hand.

                           GENE UFLAND
                --You gotta see this nut for
                yourself, Murray. I don&apos;t think we
                can put him on. With the rioting                        
                out there.                                              
                                                                 99.


                          MURRAY FRANKLIN
                    (annoyed)
                Jesus, Gene, I don&apos;t have time for
                this. Cindy&apos;s been breaking my
                balls all day.

                          GENE UFLAND
                She&apos;s still mad at you about that
                thing?

                           MURRAY FRANKLIN
                Three marriages, you&apos;d think I&apos;da
                fuckin&apos; learned something.
                    (then)
                What do I gotta see? I already know
                he&apos;s a nut. That&apos;s why we&apos;re
                putting him on, it&apos;s a goof.

      A young BLONDE INTERN walks by in the opposite direction. She
      nervously smiles to them and keeps walking. Both men turn and
      check out her ass. Murray winks at Gene.

                          GENE UFLAND
                    (just shakes his head, and
                     smiles)
                I&apos;m telling you, you gotta see him,
                Murray. I think it&apos;s too risky, the
                show&apos;s too big. It&apos;s worth too much
                to blow it on this,-- this freak.


106   INT. DRESSING ROOM, FRANKLIN THEATER - CONTINUOUS           106

      Joker&apos;s sitting on a small couch in the cramped dressing
      room, watching the local news on a TV that&apos;s mounted up on
      the wall, live shots from the subway station where Burke shot      
      the protestor, footage of the City Hall rally, clashes with        
      police.                                                            

      He&apos;s cleaned himself up as best he could... white grease-
      paint smeared more evenly over his face, green dyed hair
      slicked back in place. Red lips redone.

      Murray and his producer Gene open the dressing room door
      without knocking--

      Joker gets up off the couch and goes to shake Murray&apos;s hand.
      Murray pauses when he sees Joker&apos;s face.

                          JOKER
                    (shakes Murray&apos;s hand;
                     effusive)
                Murray, I can&apos;t believe this is
                real, that I&apos;m really here.
                                                       100.


                    GENE UFLAND
          It&apos;s Mr. Franklin kid, show some
          respect.

                    MURRAY FRANKLIN
          Oh shut up, Gene.
              (to Joker)
          Murray is fine. I prefer it in
          fact. Thanks for coming on the
          show.

                    JOKER
          Are you kidding? Thank you for the
          opportunity. I&apos;ve been watching you
          forever. My mother never missed a
          show.

Murray nods not listening, he&apos;s heard this before.

                    MURRAY FRANKLIN
          So what&apos;s with the face? Are you
          part of the protests?

                    JOKER
          No, I don&apos;t believe in any of that.
          I don&apos;t believe in anything. I just
          thought it would be good for my
          act.

                    GENE UFLAND                                  
              (upset)                                            
          Your act? Didn&apos;t you hear that a                       
          kid got killed on the subway and                       
          two cops who were almost beat to                       
          death? You didn&apos;t hear about the                       
          dozens of protestors and police                        
          injured in the riots?                                  

Joker looks like he&apos;s about to bust out laughing. All of that    
news is playing out on the TV above their heads. He takes a      
deep breath. Swallows the laugh.                                 

Beat.

                    JOKER
          No. I hadn&apos;t heard.

Gene and Murray share a look.

                    GENE UFLAND
          --the audience is gonna go crazy if
          you put him on. It was okay maybe
          for a bit, but not a whole segment.
                                                       101.


Murray thinks about it for a beat.

                     MURRAY FRANKLIN
          I like it. It&apos;s timely. It&apos;s edgy.
          It&apos;s, it&apos;s dangerous. The best
          comedy is all those things put
          together.
              (done)
          We&apos;re gonna go with it.

Gene rubs his temples, he doesn&apos;t like this, but Murray is
the boss.

                    JOKER
          Thank you Murray.

                    MURRAY FRANKLIN
              (flashes his bemused
               smile; condescending)
          Couple rules though,-- No cussing,
          no off-color material, we do a
          clean show, okay? You&apos;ll be on
          after Dr. Sally. Someone will come
          and get you. Good?

Joker nods good. Smiles back at Murray.

Murray and Gene turn to go, exchanging smirks with each other
as they walk out, making light of Joker who we see behind
them still standing there.

                    JOKER
          Hey Murray,-- one small thing? When
          you bring me out, can you introduce
          me as &quot;The Joker&quot;?

Murray and Gene look back at him

                     GENE UFLAND
          What? You don&apos;t want to use your
          real name?

                    JOKER
          Honestly, I don&apos;t even know what my
          real name is.

Joker smiles, the guys can&apos;t tell if he&apos;s kidding or not.

                    JOKER
          Besides, that&apos;s what you called me
          on the show, Murray. A joker.
          Remember?
                                                              102.


                          MURRAY FRANKLIN
                    (to Gene; trying not to
                     crack up)
                Did I?

                          GENE UFLAND
                I have no idea.

                          MURRAY FRANKLIN
                    (turns back to Joker)
                Well, if you say so, kid. Joker it
                is.

      Murray starts to laugh at Joker as he closes the dressing
      room door, shutting it right in his face.

                                                           CUT TO:


107   INT. BACKSTAGE, BEHIND CURTAIN - STUDIO 4B - NIGHT          107

      JOKER&apos;S BACKSTAGE AT THE EDGE OF THE BLUE CURTAIN, trying to
      watch the show through a slim gap. Behind him there&apos;s a
      monitor on a cart playing the live feed.

      He moves the curtain aside to get a better look-- Glimpses
      Murray laughing, finishing up talking to noted sex therapist
      DR. SALLY FRIEDMAN (60&apos;s).

                          MURRAY FRANKLIN
                    (to Dr. Sally)
                You gotta see our next guest for
                yourself. Will you stick around?
                Maybe you can help, I&apos;m pretty sure
                he could use a doctor.

      The audience laughs.

                          DR. SALLY FRIEDMAN
                Oh. Does he have sexual problems?

                          MURRAY FRANKLIN
                He looks like he&apos;s got a lot of
                problems.

      Another big laugh.

                          MURRAY FRANKLIN
                    (turns, looks into camera)
                It&apos;s been a crazy few days here in
                Gotham, and, I think maybe things
                are about to get crazy around here
                too. Don&apos;t go anywhere folks. We&apos;ll
                be right back.
                                                             103.


      APPLAUSE SIGN LIGHTS UP. Everyone claps. Joker keeps watching      
      Murray through the slim gap at the end of the curtain. Hears
      the floor director shout, &quot;And we&apos;re out. Back in three.&quot;          

      Joker adjusts the waist of his pants under his jacket. Takes       
      a deep breath.                                                     


108   INT. DIRECTOR&apos;S BOOTH, STUDIO 4B - NIGHT                    108

      Perched one story above the studio. There&apos;s a long console
      where the DIRECTOR sits in front of a gooseneck microphone,
      looking over a double-bank of monitors.

      Sitting next to him are the ASSOCIATE PRODUCER who times the
      show, and the TECHNICAL DIRECTOR who operates the board. The
      monitor showing the live feed is playing a commercial.

                          ASSOCIATE PRODUCER
                Back in 30 seconds.

                          DIRECTOR
                Okay, cue the clip. We&apos;ll come to
                it straight out of break.

                          ASSOCIATE PRODUCER
                Five... Four... Three...

                          DIRECTOR
                Roll clip. Put up the show graphic.

      ON THE SHOW MONITOR, video of Joker&apos;s original stand-up
      performance comes up with the show&apos;s graphic in the lower
      right of the screen.


109   INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS          109

      ON THE SET, Murray watches the clip on the monitor above his
      desk, can&apos;t help but laugh. Sees the FLOOR DIRECTOR counting
      him down silently with her fingers... Three... Two... points
      to Camera One.

                          MURRAY FRANKLIN
                    (looking into camera)
                O-kay, you may have seen that clip
                of our next guest when we first
                played it two weeks ago. Now before
                he comes out, I just want to say
                that we&apos;re all heartbroken here and
                sensitive to what&apos;s going on in the
                city tonight. But, this is how he
                wanted to come on the show. So let
                me introduce-- The Joker.
                                                          104.


BEHIND THE BLUE CURTAIN, Joker gathers himself, ready for his
moment. Doesn&apos;t hear his introduction or see a STAGEHAND pull
open the curtain for him to go out--

ON SET, THE CURTAIN&apos;S OPEN, Don Ellis and his Jazz Orchestra
are playing Joker on. He doesn&apos;t come out. Murray looks over
to the empty space in the curtain.

The audience laughs.

BEHIND THE CURTAIN, Joker sees the stagehand motioning for
him to go out on stage. Joker starts out, pausing when he
takes a step into the bright lights. The stagehand doesn&apos;t
see him stop, and drops the curtain back on Joker before the
audience can really see his face--

Tangling Joker up in the curtain.

The audience keeps laughing thinking it&apos;s part of his act.
The band keeps playing him on. Joker untangles himself from
the curtain and the audience gets a good look at him.

Some continue laughing. A few boo. Most don&apos;t know what to
make of him.

Joker walks across the stage, forgetting to wave like he
practiced. He trips over the riser surrounding the set when
he goes to shake Murray&apos;s hand. Almost falls on him.

Murray tries not to crack up. The audience laughs. Thinks
it&apos;s part of Joker&apos;s act.

Joker reaches out to hug Dr. Sally as she goes in for a
handshake. Another awkward moment. More laughs.

Joker finally sits down next to Murray. Crosses and uncrosses
his legs. Can&apos;t get comfortable.

                    MURRAY FRANKLIN
          So, ahhh, thanks for coming on the
          show. But I gotta tell ya, with
          what happened at City Hall today,
          I&apos;m sure many of our viewers here
          in the studio, and at home, might
          find this look of yours in poor
          taste.

Joker&apos;s not listening to Murray. He&apos;s mesmerized by all the
lights shining on him... all the eyes on him... he doesn&apos;t
answer Murray.

Nervous laughter from the audience.
                                                             105.


                           MURRAY FRANKLIN
                    (tries again)
                Can you tell us why you&apos;re dressed
                like this?

      AND JOKER STARTS TO LAUGH. Not embarrassed of it anymore. He
      goes with it. Giving in to it, enjoying the laughter.

                          MURRAY FRANKLIN
                    (can&apos;t help but smile at
                     Joker&apos;s laughing)
                Okay. But I&apos;m not sure how any of
                this is funny. A lot of those
                protesters are going with this
                look. City seems to be full of
                clowns these days.

                          JOKER
                    (just nods, still
                     laughing)
                Yeah. Isn&apos;t it great?

      Joker just keeps cracking up. Audience still isn&apos;t sure what
      to make of him. There&apos;s some awkward laughter.


110   INT. DIRECTOR&apos;S BOOTH, STUDIO 4B - CONTINUOUS            110

      Nobody&apos;s laughing in the booth.

                          TECHNICAL DIRECTOR
                    (looks to the director)
                This guy&apos;s got nothing.

                           DIRECTOR
                    (hits the producer&apos;s talk
                      button; into the mic)
                Gene, what the hell? You wanna kill
                this?


111   INT. TALK SHOW SET, STAGE - CONTINUOUS                   111

      Murray glances over at his producer Gene Ufland, who&apos;s
      sitting off-camera on a director&apos;s chair by a monitor. Gene
      shrugs at him.

                          MURRAY FRANKLIN
                    (smiles; trying to save
                     the interview)
                So when we talked earlier, you
                mentioned that you aren&apos;t
                political. That this look isn&apos;t a
                political statement.
                                                          106.


                    JOKER
              (between laughs)
          That&apos;s right. I&apos;m not political,
          Murray. I&apos;m, I&apos;m, I&apos;m just trying
          to make people laugh.

                    MURRAY FRANKLIN
              (beat; smiles)
          How&apos;s that goin&apos; for ya? Have you
          been working on any new material?
          Do you want to tell us a joke?

The audience claps, egging Joker on to tell a joke.

Joker looks over at Murray -- his laughing fit finally
subsiding -- and reaches into his jacket pocket and--

Pulls out his worn notebook, catching his breath. Looks
through it to find a new joke.

                    MURRAY FRANKLIN
          You brought a joke book?

The audience laughs. Joker smiles, opens the page to Bruce
Wayne&apos;s photo, pauses for a moment then turns the page. Finds
a joke--

                    JOKER
              (reading)
          Okay. Here&apos;s one. Knock knock.

                    MURRAY FRANKLIN
          Oh god, a knock-knock joke? And you
          need to read it?

                    JOKER
              (nods, reads it again)
          I want to get it right. Knock
          knock.

Murray makes a face like, &quot;Okay, I&apos;ll go along with this.&quot;

                    MURRAY FRANKLIN
          Who&apos;s there?

                     JOKER
              (looks up from his
               notebook)
          It&apos;s the police, ma&apos;am. Your son
          has been hit by a drunk driver.
          He&apos;s dead.

Beat.
                                                             107.


112   INT. DIRECTOR&apos;S BOOTH, STUDIO 4B - CONTINUOUS            112

      The associate producer tries not to laugh, but she can&apos;t help
      it. The director looks over at her like she&apos;s lost her mind.

                          DIRECTOR
                    (shakes his head)
                Okay, ready Camera Two. Take Two.
                Ready Three. Three.

      ON THE MONITORS, some of the audience cracks up. Joker smiles
      at the response. Murray Franklin shakes his head, smirking at
      the joke despite himself.

                          MURRAY FRANKLIN (ON MONITORS)
                So, Arthur, you told me backstage
                that your--

      Joker leans over interrupting Murray, whispers something to
      him.


113   INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS       113

      Murray nods as Joker whispers.

                          MURRAY FRANKLIN
                    (bemused smile;
                     patronizing)
                Right. Sorry. I mean Joker-- you
                told me backstage that your
                mother&apos;s a big fan of the show,
                that she never misses it.

      Joker puts the notebook back in his pocket. Crosses his legs,
      starting to get a bit more comfortable.

                          JOKER
                That&apos;s right, Murray. But she&apos;s
                dead now.

      The audience laughs.

                          MURRAY FRANKLIN
                    (goes along with the
                     &quot;joke&quot;)
                Hold on. Your mother&apos;s dead?

                          JOKER
                Yeah. She is.

      Murray&apos;s not sure if this is part of his act.
                                                       108.


                    MURRAY FRANKLIN
          Okay. What about your father? Does
          he watch the show?

Laughter from the crowd.

                     JOKER
          I don&apos;t know who my father is,
          Murray. Turns out I was adopted and
          sexually assaulted by my mother&apos;s
          boyfriend.

A few in the audience groan. A couple even laugh. Still think
it&apos;s just Joker&apos;s edgy, off-kilter sense of humor.

Don Ellis plays &quot;wha-wha-wha-whuuuuh&quot; on his trumpet from the
band stand.

                    DR. SALLY FRIEDMAN
          Ahhhh! No, no,-- You can not joke
          about that.

                     MURRAY FRANKLIN
              (shakes his head;
                irritated)
          Yeah, that&apos;s not funny, that&apos;s not
          the kind of humor we do on this
          show.

Murray glances over at Gene in the wings. He gives him the
&quot;wrap it up&quot; sign.

                     JOKER
              (just keeps going, on a
               roll)
          Sorry. It&apos;s been a rough few
          months, Murray. I mean, after my
          mother died, the police came to
          question me at her funeral. Who
          does that?

                    MURRAY FRANKLIN
              (too easy)
          Oh really? Were you a suspect?

The audience laughs.

                    JOKER
          Very funny, Murray. No, they came
          because I killed those three Wall
          Street guys.

Beat.
                                                             109.


      Studio audience can&apos;t tell if he&apos;s joking or not. Murray
      can&apos;t either.

                           MURRAY FRANKLIN
                    (looks at him confused)
                Okay. I&apos;m waiting for the
                punchline.

                          JOKER
                There is no punchline. It&apos;s not a
                joke.


114   INT. DIRECTOR&apos;S BOOTH, STUDIO 4B - CONTINUOUS              114

      The director stares at the monitor.

                          DIRECTOR
                Did he just confess to killing the
                Wall Street Three?

                          TECHNICAL DIRECTOR
                    (horrified)
                Yeah. I think he did.

                           ASSOCIATE PRODUCER
                    (turns to the director,
                     nods)
                He definitely did.

                          DIRECTOR
                Jesus Christ.
                    (hits the camera talk
                     button, into mic)
                Camera Three, get in close.

      ANGLE ON MONITOR, Camera Three zooming in close on Joker&apos;s
      face.


115   INT. TALK SHOW SET, STAGE - CONTINUOUS                     115

      Gene Ufland is now standing up from his chair. Motions for
      Murray to kill the interview. Murray shakes his head to
      himself. This is a big &quot;get,&quot; it could be great television.

                          MURRAY FRANKLIN
                    (turns back to Joker; with
                     gravitas)
                You&apos;re serious, aren&apos;t you? You&apos;re
                telling us you killed those three
                boys on the subway. Why should we
                believe you?
                                                             110.


                          JOKER
                    (shrugs)
                I got nothing left to lose, Murray.
                Nothing can hurt me anymore. This
                is my fate, it was always my fate.
                My life is nothing but a comedy.


116   INT. SOPHIE&apos;S APARTMENT, LIVING ROOM - CONTINUOUS        116

      Sophie&apos;s sitting on her couch watching this interview play
      out on TV. GiGi&apos;s asleep next to her. The open envelope and      
      the money are lying on the coffee table. No sign of the          
      flowers anywhere.                                                

                          MURRAY FRANKLIN (ON TV)
                Let me get this straight, you think
                killing those young men is funny?

                          JOKER (ON TV)
                Yeah. But comedy is subjective,
                isn&apos;t that what they say? Besides,
                the way I see it, what happened was
                a good thing. All of you, Gotham,
                the system that knows so much, you
                decide, you decide what&apos;s right and
                wrong. What&apos;s real or what&apos;s made
                up. The same way you decide what&apos;s
                funny or not.

      Sophie edges forward on the couch, can almost see a hint of
      agreement on her face.


117   INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS       117

      Back on set, we can tell by the way Murray&apos;s now interviewing
      Joker, talking to him slower, more thoughtfully, that he
      thinks this is gonna get him an Emmy... Maybe even a Peabody.

                           MURRAY FRANKLIN
                    (beat)
                Okay, I think I understand. You did
                it to start a movement, to become a
                symbol.

                          JOKER
                C&apos;mon, Murray, do I look like the
                kind of clown who could start a
                movement? I killed those guys                          
                because they were awful.                               
                Everybody&apos;s awful these days. It&apos;s
                enough to make anyone crazy.                           
                                                 111.


                    MURRAY FRANKLIN
          So that&apos;s it, you&apos;re crazy. That&apos;s
          your defense for killing three
          young men? Because they were mean              
          to you?                                        

                    JOKER
          No. They couldn&apos;t carry a tune to              
          save their lives.                              

Some audible groans from the audience.                   

                    JOKER                                
          Why is everyone so upset about                 
          these guys? Because Thomas Wayne               
          went and cried about them on TV?

                    MURRAY FRANKLIN                      
          You have a problem with Thomas
          Wayne, too?

                    JOKER
          Yeah. I do. Everything comes so
          easy for him.

                    MURRAY FRANKLIN
          And what&apos;s wrong with that?

                    JOKER
          Have you seen what it&apos;s like out
          there, Murray? Do you ever actually            
          leave the studio? Everybody just               
          yells and screams at each other.               
          Nobody&apos;s civil anymore. Nobody
          thinks what it&apos;s like to be the
          other guy. You think men like                  
          Thomas Wayne, men at ease, ever
          think what it&apos;s like to be a guy
          like me? To be anybody but
          themselves.
              (shaking his head, voice
               rising)
          They don&apos;t. They think we&apos;ll all
          just sit there and take it like
          good little boys. That we won&apos;t
          werewolf and go wild. Well, this is            
          for all of you out there.

Joker &quot;howls at the moon.&quot; It&apos;s fucking weird.
                                                             112.


118   INT. STATION SQUAD ROOM - 7TH PRECINCT - CONTINUOUS        118

      OFFICERS AND DETECTIVES JUMPING INTO ACTION, rushing past a
      small portable black &amp; white television sitting on one of the
      desks, hear one of them shout--

                          POLICE LIEUTENANT (OS)
                That asshole just confessed to
                killing those Wall Street guys on
                fucking live TV!

      ANGLE ON THE LITTLE TV, TIGHT TWO-SHOT OF JOKER looking at
      Murray.

                          MURRAY FRANKLIN (ON TV)
                    (shakes his head)
                So much self-pity, Arthur. You
                sound like you&apos;re making excuses
                for killing three young men. Not
                everybody&apos;s awful.                                      


119   INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS         119

      Back on set. Joker looks straight at Murray.

                          JOKER
                You&apos;re awful, Murray.

      There is no more laughter. The audience is watching this
      exchange with full attention.

                          MURRAY FRANKLIN
                Me? How am I awful?

                          JOKER
                Playing my video, inviting me on                        
                the show,-- You just wanted to make                     
                fun of me. Well it&apos;s easy to laugh                      
                at Frankenstein on a crowded beach,                     
                isn&apos;t it? You&apos;re just like the rest                     
                of them, Murray. Everything comes
                too easy for you.

                          MURRAY FRANKLIN
                    (on the spot; defensive)
                You don&apos;t know the first thing
                about me, pal. Look what happened
                because of what you did, Arthur,
                what it led to. There are riots out
                there. Two policemen are in                             
                critical condition, someone was                         
                killed today.                                           
                                                             113.


      Joker nods in agreement, yeah, it&apos;s because of what he did.     

                          JOKER                                       
                How about another joke, Murray?                       
                What do you get when you cross a                      
                mentally-ill loner with a system
                that abandons him and treats him
                like trash?

      Murray pauses for a minute, not really listening to Joker,
      suddenly realizing the seriousness of the situation. He
      starts to turn to camera--

                          JOKER
                    (pulls Randall&apos;s gun)                             
                I&apos;ll tell you what you get. You get                   
                what you fucking deserve,--                           

      And as Murray Franklin turns back to him, JOKER SHOOTS THE
      SIDE OF MURRAY&apos;S HEAD OFF--

      Blood splatters all over the back of the set. Some spraying
      in Joker&apos;s face. AUDIENCE SCREAMS! Dr. Sally dives for the
      floor.


120   INT. SOPHIE&apos;S APARTMENT, LIVING ROOM - CONTINUOUS        120

      Sophie screams and jumps to her feet horrified! Waking up
      GiGi who starts to cry when she sees what&apos;s on television--

      ON THE TELEVISION, Joker gets up and walks right up to the
      camera. Blood sprayed over his white painted face. Hear the
      studio audience still screaming, bedlam all around him.

                          JOKER (ON TV)
                    (looks straight into
                     camera; screams Murray&apos;s
                     signature sign off)
                GOOD NIGHT AND ALWAYS REMEMBER,--                     
                THAT&apos;S LIFE!                                          

      And as Joker waves goodbye to the home audience, a black &amp;      
      white &quot;INDIAN-HEAD TEST PATTERN&quot; cuts off the show--            

      &quot;PLEASE STAND BY&quot;

      HERB ALPERT&apos;S &quot;Spanish Flea&quot; plays underneath.

      Beat.
                                                                114.


121   INT. TALK SHOW SET, STAGE - CONTINUOUS                      121

      BACK LIVE IN THE STUDIO, JOKER&apos;S TACKLED BY TWO SECURITY           
      GUARDS AND SOME STAGEHANDS, still hear screams of terror from      
      the audience around him.                                           

      HIS FACE HITS THE SHINY FLOOR AS IF IN SLOW MOTION--               

      And we HEAR the soft and familiar opening to FERRANTE &amp;            
      TEICHER&apos;s piano version of &quot;Send in the Clowns&quot;.                   

                                                         CUT TO:         


122   INT. GOTHAM SQUAD CAR (MOVING), GOTHAM STREETS - NIGHT      122    

      JOKER GAZING OUT THE WINDOW, at all the violence and madness       
      in the city. We only see it in the reflection of the glass...      
      the fires burning... the mob crowding the streets. Joker&apos;s         
      handcuffed in the back of the squad car moving slowly through      
      the rioting, sirens wailing, red lights flashing, blood still      
      splattered on his face.                                            

      STAY ON JOKER&apos;S FACE AS HE HEARS THE POLICE RADIO CRACKLING,       
      reports of rioters in &quot;Joker&quot; masks setting fires, breaking        
      windows, looting stores.                                           

      The images reflected in the window start to speed up as the        
      officer driving weaves faster through the chaos.                   

                          POLICE OFFICER #1 (OS)                         
                Look what you caused, you freak,                         
                the whole city&apos;s on fire because of                      
                you.                                                     

      AND JOKER BANGS HIS HEAD HARD AGAINST THE STEEL MESH CAGE--        
      BAM.                                                               

                          POLICE OFFICER #2 (OS)                         
                Keep it up, asshole. Watch what                          
                happens when we get to the station.                      

      HE BANGS HIS HEAD AGAIN. BAM. BAM. Some blood is forming on        
      his forehead--                                                     

                          POLICE OFFICER #1 (OS)                         
                    (glancing at Joker in the                            
                     back seat, shouting)                                
                -- Calm the fuck down, you&apos;re not                        
                going anywhere!                                          

      And when the cop driving turns back, catch a glimpse of            
      someone or something running out into the street in front of       
      the speeding squad car--                                           
                                                             115.


      CLOSE ON JOKER AS THE SQUAD CAR SWERVES OUT OF THE WAY, Joker    
      banging up against the door--                                    

      CRAAAASSSHHHHHH!!!!                                              

      The squad car hits a parked car hard and flips over, sliding     
      across the street on its roof--                                  


123   EXT. SQUAD CAR (SLIDING), STREET - CONTINUOUS            123     

      SPARKS FLY UNTIL FINALLY THE UPSIDE DOWN SQUAD CAR COMES TO A    
      STOP. Smoke rising from the wreck. Ferrante &amp; Teicher&apos;s piano    
      only version of &quot;Send in the Clowns&quot; still playing...            

      Both police officers in the front seat are either unconscious    
      or dead. We see movement in the back seat, hard to tell          
      what&apos;s going on inside.                                          

      Suddenly the back door kicks open--                              

      And Joker falls out of the car, landing hard on the street,      
      one hand free, handcuffs dangling from his other hand. Hear      
      sirens in the distance--                                         

      JOKER LEANS BACK AGAINST THE CAR, his face bloody, his body      
      broken from the crash. Sitting there amongst the wreckage,       
      can still see and hear the chaos, the fires burning all          
      around him. He reaches for a jagged shard of broken glass--      

      And pauses for moment catching his breath, hand holding the      
      jagged glass resting on his lap, wailing sirens getting          
      closer, looks like he&apos;s about to cut his wrists--                


124   EXT. MOVIE THEATER, STREET - UPTOWN - CONTINUOUS         124     

      A WELL-HEELED CROWD LETTING OUT OF A MOVIE THEATER, the          
      violence has even reached up here, the nice part of town...      
      Sirens wailing, gangs of punks wearing &quot;Joker&quot; masks running     
      past, breaking car windows, fires burning... Catch a glimpse     
      of the lit up marquee listing the films playing, &quot;Blow Out&quot;      
      and &quot;Zorro the Gay Blade&quot;. Hear &quot;Send in the Clowns&quot; still       
      playing...                                                       

      FROM BEHIND SEE A SILHOUETTED COUPLE AND THEIR KID hurry down    
      the dark side of the street, ducking into an alley to avoid      
      the chaos--                                                      

      Catch a glimpse of a punk in a &quot;Joker&quot; mask following after      
      them pulling a gun--                                             
                                                              116.


125   EXT. SQUAD CAR (UPSIDE DOWN), STREET - CONTINUOUS           125    

      Joker lifts the jagged shard of glass, handcuff swinging...        
      Passes by his wrist... And starts cutting into the slit on         
      one corner of his mouth, making his smile longer and wider.        
      Blood pouring down his face, onto his hand...                      

      Joker tearing into the other side of his mouth, jagged glass       
      ripping into his flesh, spurting blood, handcuff swinging--        
      Sirens on top of him, red lights flashing over his face--          

      ANGLE ON JOKER LIT UP RED, done cutting his smile, letting go      
      of the jagged bloody shard... Leans his head back against the      
      squad car, and closes his eyes, covered in his own blood.          
      He&apos;s finished.                                                     

      Now he is the Joker.                                               


126   EXT. ALLEY, MOVIE THEATER - CONTINUOUS                      126    

      FROM BEHIND, FAMILY IN THE SHADOWS sees the guy&apos;s eyes go          
      wide behind the mask, pointing his gun, music swelling--           

                          PUNK                                           
                    (shouting)                                           
                You still think we&apos;re all fucking                        
                clowns?                                                  

      And the punk shoots the man. Reaches out and grabs something       
      off the woman&apos;s neck before he shoots her as well. Both fall       
      to the ground dead. Revealing their young son standing behind      
      them--                                                             

      CLOSE ON EIGHT-YEAR-OLD BRUCE WAYNE, closing his eyes as           
      blood sprays across his face. He opens his eyes and looks up       
      scared at the man in the &quot;Joker&quot; mask who killed his parents,      
      Thomas and Martha Wayne. &quot;Send in the Clowns&quot; ends.                

                                                    CUT TO BLACK.        

      A long beat.                                                       

      HEAR LAUGHTER.                                                     

      The sound of a man totally cracking up.                            

                                                          FADE IN:       


127   INT. ARKHAM STATE HOSPITAL, INTERVIEW ROOM - MORNING        127    

      CLOSE ON JOKER, tears in his eyes from laughing so hard. He&apos;s      
      enjoying it, not trying to get it under control.                   
                                                       117.


His head&apos;s been shaved. He looks medicated or maybe even         
lobotomized. Wearing white institutional clothes.                

HIS NEW SMILE IS ALL STITCHED UP, cut deep up the corners of     
his mouth. Forming a longer, &quot;happier&quot; smile.                    

He&apos;s sitting across from an overworked HOSPITAL DOCTOR           
(50&apos;s), African American woman. Somehow it&apos;s the exact same      
room Joker imagined his mother was in some 30 years ago. The     
room and the doctor also look vaguely similar to the social      
worker and her office in the opening scene.                      

The doctor just sits there, waiting for him to stop laughing.    
A weathered notebook is on the table in front of him.            
Finally, Joker stops himself.                                    

                    HOSPITAL DOCTOR                              
          What&apos;s so funny?                                       

He takes a deep breath, his eyes are glazed over. His voice      
is scratchy, like he doesn&apos;t use it much.                        

                    JOKER                                        
          -- just thinking of this joke.                         

                    HOSPITAL DOCTOR                              
          Do you want to tell it to me?                          

Beat.                                                            

                      JOKER                                      
          No.                                                    

                    HOSPITAL DOCTOR                              
          Because you don&apos;t think I&apos;ll get                       
          it?                                                    

                    JOKER                                        
          Because it&apos;s personal, it&apos;s between                    
          me and him.                                            

Beat.                                                            

                    HOSPITAL DOCTOR                              
          Okay. Is the medication working?                       
          How&apos;s your sleeping?                                   

                      JOKER                                      
                (nods yes)                                       
          ...                                                    

                    HOSPITAL DOCTOR                              
          How are you feeling?                                   
                                                               118.


                          JOKER                                         
                Good. Everything&apos;s good now.                            

                          HOSPITAL DOCTOR                               
                Have you been writing in your                           
                journal?                                                

      Joker slowly nods.                                                

                          HOSPITAL DOCTOR                               
                Great. I want to make sure you&apos;re                       
                keeping up with it.                                     

                             JOKER                                      
                    (beat)                                              
                Yeah.                                                   

                          HOSPITAL DOCTOR                               
                Have you written about your                             
                episode? About what happened?                           

                          JOKER                                         
                How I remember it.                                      

                           HOSPITAL DOCTOR                              
                    (re: the journal)                                   
                Can I see?                                              

      Joker slides his journal across to her. She picks it up and       
      flips through the pages--                                         

      ANGLE ON JOURNAL, blank page after blank page, there&apos;s            
      nothing inside of it.                                             

      The doctor looks up at him confused.                              

      ANGLE ON JOKER, a smile creeping across his face. And we HEAR     
      the groovy organ opening to FRANK SINATRA&apos;s anthem &quot;That&apos;s        
      Life&quot;...                                                          

      Beat.                                                             


128   INT. HALLWAY, ARKHAM STATE HOSPITAL - MORNING              128    

      From behind, see Joker shuffling down the hallway past all        
      the other mental patients, an orderly by his side. Sinatra        
      starts singing.                                                   

      And Joker does a slide step to the music like he can hear it      
      too... into a skip... and another slide step into a spin...       
      Dancing down the hallway into the sunset...                       

                                                       IRIS OUT:        
                                            119.


&quot;That&apos;s Life&quot; keeps playing over credits. </itunes:subtitle>
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      <itunes:episode>158</itunes:episode>
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      <title>Vein.fm</title>
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28 DAYS LATER
                         
                         
                         
                           Written by
                         
                          Alex Garland






          CLOSE ON A MONITOR SCREEN:
                         
          Images of stunning violence. Looped.
                         
          Soldiers in a foreign war shoot an unarmed civilian at point-
          blank range; a man is set on by a frenzied crowd wielding
          clubs and machetes; a woman is necklaced while her killers
          cheer and howl.
                         
          Pull back to reveal that we are seeing one of many screens in
          a bank of monitors, all showing similar images...
                         
          Then revealing that the monitors are in a...
                         
                         
          INT. SURGICAL CHAMBER - NIGHT
                         
          ...surgical chamber. And watching the screens is a...
                         
          ...chimp, strapped to an operating table, with its skull
          dissected open, webbed in wires and monitoring devices,
          muzzled with a transparent guard. Alive.
                         
          Behind the surgical chamber, through the wide doorframe, we
          can see a larger laboratory beyond.
                         
                         
          INT. BRIGHT CORRIDOR - NIGHT
                         
          A group of black-clad ALF Activists, all wearing balaclavas,
          move down a corridor. They carry various gear - bag, bolt
          cutters.
                         
          As they move, one Activist reaches up to a security camera
          and sprays it black with an aerosol paint can.
                         
                         
          INT. LABORATORY - NIGHT
                         
          The Activists enter the laboratory.
                         
                          CHIEF ACTIVIST
           Fucking hell...
                         
          The Chief Activist takes his camera off his shoulder and
          starts taking photos.
                         
          The room is huge and long, and darkened except for specific
          pools of light. Partially illuminated are rows of cages with
          clear perspex doors. They run down either side of the room.
          In the cages are chimpanzees.
           2.
                         
                         
          Most are in a state of rabid agitation, banging and clawing
          against the perspex, baring teeth through foam-flecked
          mouths.
                         
          They reach the far end of the lab, where on a huge steel
          operating table they see the dissected chimp.
                         
                          FEMALE ACTIVIST
           Oh God...
                         
          The dissected chimp's eyes flick to the Activists. Blood
          wells from around the exposed brain tissue.
                         
          Tears starts to roll down the Female Activist's cheeks.
                         
                          CHIEF ACTIVIST
           (to Female Activist)
           Keep your shit together. If we're
           going to get them out of here...
                         
          The Finnish Activist is checking the perspex cages.
                         
                          FINNISH ACTIVIST
           I can pop these, no problem.
                         
                          CHIEF ACTIVIST
           So get to it.
                         
          The Finnish Activist raises his crowbar and sticks it around
          the edge of one of the doors - about to prise it open.
                         
          At the moment, the doors to the laboratory bang open.
                         
          The Activists all turn. Standing at the entrance is the
          Scientist.
                         
          A pause. The Scientist jumps to a telephone handset on the
          wall and shouts into the receiver.
                         
                          SCIENTIST
           Security! We have a break-in! Get
           to sector...
                         
          A hand slams down the disconnect button.
                         
                          SCIENTIST
           ...nine.
                         
          The Chief Activist plucks the receiver from the Scientist's
          hands, and then rips the telephone from the wall.
                         
          A beat.
           3.
                         
                         
                          SCIENTIST
           I know who you are, I know what you
           think you're doing, but you have to
           listen to me. You can't release
           these animals.
                         
                          CHIEF ACTIVIST
           If you don't want to get hurt, shut
           your mouth, and don't move a
           fucking muscle.
                         
                          SCIENTIST
                          (BLURTS)
           The chimps are infected!
                         
          The Activists hesitate, exchanging a glance.
                         
                          SCIENTIST
           (continuing; stumbling,
                          FLUSTERED)
           These animals are highly
           contagious. They've been given an
           inhibitor.
                         
                          CHIEF ACTIVIST
           Infected with what?
                         
                          SCIENTIST
           Chemically restricted, locked down
           to a... a single impulse that...
                         
                          CHIEF ACTIVIST
           Infected with what?
                         
          The Scientist hesitates before answering.
                         
                          SCIENTIST
           Rage.
                         
          Behind the Activists, the bank of monitors show the faces of
          the machete-wielding crowd.
                         
                          SCIENTIST
           (desperately trying to
                          EXPLAIN)
           In order to cure, you must first
           understand. Just imagine: to have
           power over all the things we feel
           we can't control. Anger,
           violence...
                         
                          FINNISH ACTIVIST
           What the fuck is he talking about?
           4.
                         
                         
                          CHIEF ACTIVIST
           We don't have time for this shit!
           Get the cages open!
                         
                          SCIENTIST
           No!
                         
                          CHIEF ACTIVIST
           We're going, you sick bastard, and
           we're taking your torture victims
           with us.
                         
                          SCIENTIST
           NO! You must listen! The animals
           are contagious! The infection is in
           their blood and saliva! One bite
           and...
                         
                          FEMALE ACTIVIST
           They won't bite me.
                         
          The Female Activist crouches down to face the wild eyes of
          the infected chimp behind the perspex.
                         
                          SCIENTIST
           STOP! You have no idea!
                         
          The Scientist makes a desperate lunge towards her, but the
          Chief Activist grabs him.
                         
                          FEMALE ACTIVIST
           Good boy. You don't want to bite
           me, do you?
                         
          The Female Activist gives a final benign smile, then the
          Finnish Activist pops open the door.
                         
                          SCIENTIST
           NO!
                         
          Like a bullet from a gun, the infected chimp leaps out at the
          Female Activist - and sinks its teeth into her neck. She
          reels back as the chimp claws and bites with extraordinary
          viciousness.
                         
          At the same moment, a deafening alarm begins to sound.
                         
                          FEMALE ACTIVIST
                          (SHRIEKING)
           Get it off! Get if off!
                         
          The Finnish Activist rips the ape off and throws it on to the
          floor. The infected chimp immediately bites into the man's
          leg. He yells with pain, and tries to kick it off.
           5.
                         
                         
          Behind him, the Female Activist has started to scream. She
          doubles up, clutching the side of her head.
                         
                          FEMALE ACTIVIST
           I'm burning! Jesus! Help me!
                         
                          SCIENTIST
           We have to kill her!
                         
                          FEMALE ACTIVIST
           I'm burning! I'm burning!
                         
                          CHIEF ACTIVIST
           What's...
                         
                          SCIENTIST
           We have to kill her NOW!
                         
          Meanwhile, the Female Activist's cries have become an
          unwavering howl of pain - and she is joined by the Finnish
          Activist, whose hands have also flown to the side of his
          head, gripping his temples as if trying to keep his skull
          from exploding.
                         
                          CHIEF ACTIVIST
           What's wrong with them?
                         
          The Scientist grabs a desk-lamp base and starts running
          towards the screaming Female Activist...
                         
          ...who has ripped off her balaclava - revealing her face -
          the face of an Infected.
                         
          She turns to the Scientist.
                         
                          SCIENTIST
           Oh God.
                         
          She leaps at him. He screams as they go tumbling to the
          ground.
                         
          The Chief Activist watches in immobile horror as she attacks
          the Scientist with amazing ferocity.
                         
                         
          INT. CORRIDOR - NIGHT
                         
          Another ACTIVIST makes his way down the corridor towards the
          lab.
                         
                          ACTIVIST
                          (HISSES)
           Terry? Jemma?
           6.
                         
                         
          No answer.
                         
                          ACTIVIST
           Mika? Where are you?
                         
          He reaches the door to the lab, which is closed - and...
                         
          ...as he opens it, we realize the door is also soundproofed.
                         
          A wall of screaming hits him.
                         
          He stands in the doorway - stunned by the noise, and then the
          sight.
                         
          Blood, death, and his colleagues, all Infected.
                         
                          ACTIVIST
           Bloody hell.
                         
          The Infected rush him.
                         
           FADE TO BLACK.
                         
                         
                         TITLE:
                         
                          28 DAYS LATER
                         
                         
          INT. HOSPITAL ROOM - LATE AFTERNOON
                         
          Close up of Jim, a young man in his twenties, wearing pale
          green hospital pyjamas. He has a month's beard, is
          dishevelled, and asleep.
                         
          We pull back to see that Jim is lying on a hospital bed, in a
          private room. Connected to his arms are multiple drips, a
          full row of four or five on each side of his bed. Most of the
          bags are empty.
                         
          Jim's eyes open.
                         
          He looks around with an expression of confusion. Then he sits
          up. He is weak, but he swings his legs off the bed and
          stands. The attached drips are pulled with him and clatter to
          the floor.
                         
          Jim winces, and pulls the taped needles from his arm.
                         
                          JIM
           Ow...
                         
          His voice is hoarse, his mouth dry. Massaging his throat, he
          walks to the door.
           7.
                         
                         
          INT. COMA WARD - LATE AFTERNOON
                         
          The door to Jim's hospital room is locked. The key is on the
          floor. He picks it up and opens the door.
                         
          Jim exits into a corridor.
                         
          At the far end, a sign read: COMA WARD. There is no sign of
          life or movement.
                         
          Jim walks down the corridor. One of the doors is half-open.
          From inside, there is the sound of buzzing flies.
                         
                         
          INT. HOSPITAL WARDS - LATE AFTERNOON
                         
          Jim moves as quickly as he can through the hospital, still
          weak, but now driven by adrenaline.
                         
          All the wards and corridors are deserted. Medical notes and
          equipment lie strewn over the floors, trolleys are upended,
          glass partition doors are smashed. In a couple of places,
          splashes of dried blood arc up the walls.
                         
          He reaches A&E. On one wall is a row of public pay phones.
                         
          He lifts a receiver, and the line is dead. He goes down the
          line, trying them all.
                         
          In the corner of the A&E reception is a smashed soft-drinks
          machine, with a few cans collected at the base.
                         
          Jim grabs one, rips off the ring-pull and downs it in one go.
          Then he grabs another, and heads for the main doors.
                         
                         
          EXT. HOSPITAL - LATE AFTERNOON
                         
          Jim exits and walks out into the bright daylight of the
          forecourt. The camera begins to pull away from him.
                         
                          JIM
           Hello?
                         
          Aside from a quiet rush of wind, there is silence. No
          traffic, no engines, no movement. Not even birdsong.
                         
                         
          EXT. LONDON - SUNDOWN
                         
          Jim walks through the empty city, from St. Thomas's Hospital,
          over Westminster Bridge, past the Houses of Parliament, down
          Whitehall, to Trafalgar Square.
           8.
                         
                         
          A bright overhead sun bleaches the streets. A light drifts
          litter and refuse. Cars lie abandoned, shops looted.
                         
          Jim is still wearing his hospital pyjamas, and carries a
          plastic bag full of soft-drink cans.
                         
                         
          EXT. CENTRAL LONDON ROAD/CHURCH - NIGHT
                         
          Jim walks. Night has fallen. He needs to find a place to
          rest...
                         
          He pauses. Down a narrow side street is a church. He walks
          towards it. The front doors are open.
                         
                         
          INT. CHURCH - NIGHT
                         
          Jim walks inside, moving with the respectful quietness that
          people adopt when entering a church.
                         
          The doors ahead to the main chamber are closed. Pushing them,
          gently trying the handle, it is obvious they are locked. But
          another open door is to his left. He goes through it.
                         
                         
          INT. CHURCH - STAIRWELL - NIGHT
                         
          Jim moves up a stairwell.
                         
          Written large on the wall is a single line of graffiti:
          REPENT. THE END IS EXTREMELY FUCKING NIGH
                         
                         
          INT. CHURCH - GALLERY LEVEL - NIGHT
                         
          Jim moves into the gallery level, and sees, through the dust
          and rot, ornate but faded splendor. At the far end, a stained-
          glass window is illuminated by the moonlight.
                         
          Jim pads in, stands at the gallery, facing the stained-glass
          window for a moment before looking down...
                         
          Beneath are hundreds of dead bodies. Layered over the floor,
          jammed into the pews, spilling over the altar. The scene of
          an unimaginable massacre.
                         
          Jim stands, stunned. Then sees, standing motionless at
          different positions facing away from him, four people.
                         
          Their postures and stillness make their status unclear. Jim
          hesitates before speaking.
           9.
                         
                         
                          JIM
           ...Hello?
                         
          Immediately, the four heads flick around. Infected.
                         
          And the next moment, there is the powerful thump of a door at
          the far end of the gallery.
                         
          Jim whirls to the source as the Infected below start to move.
                         
          The door thumps again - another stunningly powerful blow, the
          noise echoing around the chamber.
                         
          Confused, fist closing around his bag of soft drinks, Jim
          steps onto the gallery, facing the door...
                         
          ...and it smashes open.
                         
          Revealing an Infected Priest - who locks sight on Jim, and
          starts to sprint.
                         
                          JIM
           Father?
                         
          The Priest is half way across the gallery
                         
                          JIM
           Father, what are you...
                         
          And now the moonlight catches the Priest's face. Showing
          clearly: the eyes. The blood smeared and collected around his
          nose, ears, and mouth. Darkened and crusted, accumulated over
          days and weeks. Fresh blood glistening.
                         
                          JIM
           Jesus!
                         
          In a movement of pure instinct, Jim swings the bag just as
          the Priest is about to reach him - and connects squarely with
          the man's head.
                         
                          JIM
           Oh, that, was bad, that was bad...
           I shouldn't have done that...
                         
          He breaks into a run...
                         
                         
          INT. CHURCH - STAIRWELL - NIGHT
                         
          Down the stairwell...
           10.
                         
                         
          INT. CHURCH - NIGHT
                         
          ...into the front entrance, where the locked door now strains
          under the blows of the Infected inside.
                         
                          JIM
           Shit.
                         
                         
          EXT. CHURCH - NIGHT
                         
          Jim sprints down the stone steps.
                         
          As he reaches the bottom the doors are broken open, and the
          Infected give chase.
                         
                         
          EXT. CENTRAL LONDON ROAD - NIGHT
                         
          Jim runs - the Infected have almost reached him.
                         
          A hand fires up a Zippo lighter, and lights the rag of a
          Molotov cocktail.
                         
          As Jim runs, something flies past his head, and the Infected
          closest to him explodes in a ball of flame.
                         
          Jim turns, and sees as another Molotov cocktail explodes,
          engulfing two in the fireball.
                         
          He whirls, now completely bewildered.
                         
                          WOMAN'S VOICE
           HERE!
                         
          Another Molotov cocktail explodes. The Infected stagger from
          the blaze, on fire.
                         
                          WOMAN'S VOICE
           OVER HERE!
                         
          Jim whirls again, and sees, further down the road...
                         
          ...Selena, a black woman, also in her twenties. She wears a
          small backpack, a machete is stuck into her belt - and she
          holds a lit Molotov cocktail in her hand.
                         
          ...Mark, a tall, good-looking man - throwing another bottle.
                         
          It smashes on the head of the last Infected, bathing it in
          flame...
                         
          The burning Infected bumps blindly into a car. Falls. Gets up
          again.
           11.
                         
                         
          Blindly, it staggers off the road, into a petrol station -
          where an abandoned car has run over on the pumps.
                         
          The ground beneath it suddenly ignites, and the petrol
          station explodes.
                         
                         
          EXT. SIDE STREET - NIGHT
                         
          Selena and Mark lead Jim into a side street.
                         
                          JIM
                          (DAZED)
           Those people! Who were... who...
                         
                          MARK
           This way! Move it!
                         
          Jim allows himself to be hurried along.
                         
                         
          EXT. SHOP - NIGHT
                         
          Selena stops outside a newsagent's shop. The shop's door and
          windows are covered with a metal security grill, but the
          grill over the door lock has been prised away enough for
          Selena to slip her hand through to the latch.
                         
                         
          INT. SHOP - NIGHT
                         
          Inside, most of the shelves have been emptied of
          confectionery. Newspapers and magazines litter the floor. The
          magazine covers of beautiful girls and sports cars have
          become instant anachronisms.
                         
          At the back of the shop, a makeshift bed of sheets and
          sleeping bag is nestled. This has obviously been Selena and
          Mark's home for the last few days.
                         
                         
          INT. NEWSAGENT - NIGHT
                         
          Jim, Mark and Selena enter the newsagent's and pull down the
          grill.
                         
                          MARK
           A man walks into a bar with a
           giraffe. They each get pissed. The
           giraffe falls over. The man goes to
           leave and the barman says, you
           can't leave that lying there. The
           man says, it's not a lion. It's a
           giraffe.
           12.
                         
                         
          Silence.
                         
          Mark pulls off his mask and turns to Selena.
                         
                          MARK
           He's completely humorless. You two
           will get along like a house on
           fire.
                         
          Selena, who has already taken off her mask, ignores Mark.
                         
                          SELENA
           Who are you? You've come from a
           hospital.
                         
                          MARK
           Are you a doctor?
                         
                          SELENA
           He's not a doctor. He's a patient.
                         
                          JIM
           I'm a bicycle courier. I was riding
           a package from Farringdon to
           Shaftesbury Avenue. A car cut
           across me... and then I wake up in
           hospital, today... I wake up and
           I'm hallucinating, or...
                         
                          MARK
           What's your name?
                         
                          JIM
           Jim.
                         
                          MARK
           I'm Mark. This is Selena.
                          (BEAT)
           Okay, Jim. We've got some bad news.
                         
          Selena starts to tell her story, and as the story unfolds we
          see the images she describes.
                         
                          SELENA
           It began as rioting. And right from
           the beginning, you knew something
           bad was going on because the
           rioters were killing people. And
           then it wasn't on the TV anymore.
           It was in the street outside. It
           was coming through your windows. We
           all guessed it was a virus. An
           infection. You didn't need a doctor
           to tell you that. It was the blood.
           13.
                         
                         
           Something in the blood. By the time
           they tried to evacuate the cities,
           it was already too late. The
           infection was everywhere. The army
           blockades were overrun. And that
           was when the exodus started. The
           day before the radio and TV stopped
           broadcasting there were reports of
           infection in Paris and New York. We
           didn't hear anything more after
           that.
                         
                          JIM
           Where are your families?
                         
                          MARK
           They're dead.
                         
                          SELENA
           Yours will be dead too.
                         
                          JIM
           No... No! I'm going to find them.
           They live in Greenwich. I can walk.
           (heading for the exit)
           I'm going to... to go and...
                         
                          SELENA
           You'll go and come back.
                         
                          JIM
           (pulling at the grill)
           Yes! I'll go and come back.
                         
                          MARK
           Rules of survival. Lesson one - you
           never go anywhere alone, unless
           you've got no choice. Lesson two -
           you only move during daylight,
           unless you've got no choice. We'll
           take you tomorrow. Then we'll all
           go and find your dead parents.
           Okay?
                         
                         
          EXT. TRAIN TRACKS - DAY
                         
          Jim, Selena and Mark walk along the Docklands Light Railway
          in single file. Ahead is a train.
                         
          Behind the train, as if spilled in its wake, are abandoned
          bags, suitcases, backpacks.
                         
          Mark drops pace to let Jim catch up.
           14.
                         
                         
                          MARK
           How's your head? Fucked?
                         
          No reply.
                         
                          MARK
           (gesturing at the city)
           I know where your head is. You're
           looking at these windows, these
           millions of windows, and you're
           thinking - there's no way this many
           people are dead. It's just too many
           windows.
                         
          Mark picks up a handbag from the tracks.
                         
                          MARK
           The person who owned this bag.
           Can't be dead.
                         
          Mark reaches in and starts to pull things out as they walk,
          discarding the personal possessions.
                         
                          MARK
           A woman - (car keys) - who drove a
           Nissan Micra - (teddy) - and had a
           little teddy bear - (condoms) - and
           carried protection, just in case.
                         
          Marks tosses the condoms behind him.
                         
                          MARK
                          (DRY)
           Believe me, we won't need them
           anymore than she will.
                         
          He hands the bag to Jim and walks ahead.
                         
          Jim pulls out a mobile phone.
                         
          He switches it on.
                         
          It reads: SEARCHING FOR NETWORK.
                         
          The message blinks a couple of times. Then the screen goes
          blank.
                         
          Jim looks left.
                         
          He is now alongside the train. The inside of the windows are
          smeared with dried blood. Pressed against the glass is the
          face of a dead man.
           15.
                         
                         
          Jim drops the phone and breaks into a run - running past Mark
          and Selena.
                         
                          MARK
                          (HISSING)
           Hey!
                         
                         
          EXT. GREENWICH COMMON - DAY
                         
          Jim, Selena and Mark jog across Greenwich Common. Jim
          gestures towards one of the streets on the far side of the
          green.
                         
                          JIM
                          (LOW VOICE)
           Down there. Westlink Street. Second
           on the left.
                         
                         
          EXT. WESTLINK STREET - DAY
                         
          The street is modest red-brick semi-detached houses. They
          stand outside Number 43. Jim waits while Selena scans the
          dark facade.
                         
                          SELENA
           If there's anyone in there who
           isn't human...
                         
                          JIM
           I understand.
                         
                          SELENA
           Anyone.
                         
                          JIM
           I understand.
                         
          Selena shoots a glance at Jim. Jim is gazing at the house.
                         
                          MARK
           Okay.
                         
                         
          EXT. BACK GARDEN - DAY
                         
          Jim uses the key under the flowerpot to open the back door.
                         
                         
          INT. HOUSE - DAY
                         
          Jim, Selena and Mark move quietly through the kitchen and the
          downstairs of the house.
           16.
                         
                         
          Surprisingly, everything is neat and tidy. Washed plates are
          stacked by the sink, newspapers on the table are neatly
          piled. The headline on the top paper reads simply:
          CONTAINMENT FAILS.
                         
          They reach the bottom of the stairs. Selena gestures upwards,
          and Jim nods. They start to ascend.
                         
          At the top of the stairs, Selena sniffs the air, and recoils.
          Jim has noticed it too. His eyes widen in alarm.
                         
                          MARK
                          (WHISPERS)
           Wait.
                         
          But Jim pushes past and advances along the top landing, until
          he reaches a door. By now the smell is so bad that he is
          having to cover his nose and mouth with the sleeve of one
          arm.
                         
          Jim pushes open the door. Inside, two decomposed bodies lie
          side by side on the bed, intertwined. On the bedside table
          are an empty bottle of sleeping pills and a bottle of red
          wine.
                         
          Mark appears behind him. Jim stares at his parents for a
          couple of moments, then Mark closes the door.
                         
                         
          INT. BATHROOM - DAY
                         
          Jim sits on the toilet, alone. He is crying. In his hand is a
          piece of paper: "Jim - with endless love, we left you
          sleeping. Now we're sleeping with you. Don't wake up."
                         
          The paper crumples in his fist.
                         
                         
          INT. LIVING ROOM - DAY
                         
          Jim, Selena and Mark sit in the living room, on the two
          sofas. Jim looks dazed, uncomprehending. Selena watches Jim,
          her expression neutral.
                         
                          SELENA
           They died peacefully. You should be
           grateful.
                         
                          JIM
           I'm not grateful.
                         
          Jim's words hang a moment. Then Mark talks, simply,
          unemotionally, matter-of-fact throughout.
           17.
                         
                         
                          MARK
           The roads out were all jammed. So
           we went to Paddington Station.
           Hoping: maybe we could get to
           Heathrow, maybe buy our way on a
           plane. My dad had all this cash,
           even though cash was already
           useless, and Mum had her jewellery.
           But twenty thousand other people
           had the same idea.
                          (A MOMENT)
           The crowd was surging, and I lost
           my grip on my sister's hand. I
           remember realizing the ground was
           soft. I looked down, and I was
           standing on people. Like a carpet,
           people who had fallen, and...
           somewhere in the crowd there were
           infected. It spread fast, no one
           could run, all you could do was
           climb. Over more people. So I did
           that. I got up, somehow, on top of
           a kiosk.
                          (A MOMENT)
           Looking down, you couldn't tell
           which faces were infected and which
           weren't. With the blood, the
           screaming, they all looked the
           same. And I saw my dad. Not my mum
           or my sister. But I saw my dad. His
           face.
                         
          A short silence.
                         
                          MARK
           Selena's right. You should be
           grateful.
                         
                          SELENA
           We don't have time to get back to
           the shop before dark. We should
           stay here tonight.
                         
          Jim nods. He isn't sure what he wants to say.
                         
                          JIM
           My old room was at the end of the
           landing. You two take it. I'll
           sleep down here.
                         
                          SELENA
           We'll sleep in the same room. It's
           safer.
           18.
                         
                         
          EXT. LONDON - DAY TO NIGHT
                         
          The red orb of the sun goes down; the light fades. As night
          falls, London vanishes into blackness, with no electric light
          to be seen.
                         
          Then the moon appears from behind the cloud layer, and the
          dark city is revealed.
                         
                         
          INT. HOUSE - NIGHT
                         
          Jim is on the sofa. In the moonlight, we can see that his
          eyes are open, wide awake. Selena is curled on the other
          sofa, and Mark is on the floor - both asleep. The house is
          silent.
                         
          Jim watches Selena sleeping for a couple of moments.
                         
          Then, quietly, he gets off the sofa and pads out of the
          living room, down the hall to the kitchen.
                         
                         
          INT. KITCHEN - NIGHT
                         
          Jim enters, standing just inside the doorway. He looks around
          the room. On one wall, a faded kid's drawing of a car is
          framed. Above the counter, on a shelf of cookery books, an
          album has a handwritten label on the spine: "Mum's Favorite
          Recipes".
                         
          Jim walks to the fridge. Stuck to the door is a photo of Jim
          with his parents, arm in arm, smiling at the camera. Jim is
          on his mountain bike, wearing his courier bag.
                         
           FLASH CUT TO:
                         
          Jim, sitting at the kitchen table as his Mum enters, carrying
          bags of shopping. Jim walks over to the bags and pulls out a
          carton of orange juice, which he pulls straight to his mouth
          and begins to gulp down.
                         
          His Dad walks in from the garden.
                         
                          JIM'S DAD
           Give me a glass of that, would you?
                         
                          JIM
           (draining the carton, and
           giving it a shake)
           It's empty.
                         
           CUT BACK TO:
           19.
                         
                         
          Jim touches the photo, their faces, lightly.
                         
          Jim is facing away from the back door, which has a large
          frosted-glass panel.
                         
          Through the glass panel, unseen by Jim a dark silhouette
          looms against the diffused glow from the moonlight.
                         
          Through the kitchen window, a second silhouette appears.
                         
          Then there is a scratching noise from the back door.
                         
          Jim freezes.
                         
          Slowly, he turns his head, and sees the dark shapes behind
          the door and window.
                         
          A beat - then the door is abruptly and powerfully smashed in.
          It flies open, and hangs loosely held by the bottom hinge.
          Standing in the doorframe is an Infected Man.
                         
          Jim shouts with alarm as the Man lunges at him - and they
          both go tumbling to the floor. At the same moment, the figure
          behind the kitchen window smashes the glass, and an Infected
          Teenage Girl starts to clamber through the jagged frame.
                         
          The Man gets on top of Jim, while Jim uses his arms to hold
          back the ferocious assault. A single strand of saliva flies
          from the Man's lips, and contacts Jim's cheek.
                         
                          JIM
                          (SCREAMS)
           Help!
                         
          Suddenly, Selena is there, holding her machete. The blade
          flashes down to the back of the Man's neck. Blood gushes.
                         
          Jim rolls the Infected Man off, just in time to see...
                         
          ...Mark dispatch the Girl half way through the kitchen
          window. The Girl is holding Mark, but her legs are caught on
          the broken glass.
                         
          Mark jabs upwards into the Girl's torso - she stiffens, then
          slumps, and as Mark steps back we see he is holding a knife.
                         
          Jim hyperventilates, staring at the corpse on the kitchen
          floor.
                         
                          JIM
           It's Mr. Bridges...
                         
          Selena turns to Jim. She is hyperventilating too, but there
          is control and steel in her voice.
           20.
                         
                         
                          SELENA
           Were you bitten?
                         
                          JIM
           He lives four doors down...
                         
          Jim turns to the Girl sprawled half way through the window.
                         
                          JIM
           That's his daughter...
                         
                          SELENA
           Were you bitten?
                         
          Jim looks at her. Selena is still holding her machete at the
          ready.
                         
                          JIM
           No... No! I wasn't!
                         
                          SELENA
           Did any of the blood get in your
           mouth?
                         
                          JIM
           No!
                         
                          SELENA
           Mark?
                         
          Jim turns to Mark. He is standing in the middle of the room.
          Stepped away from the window. The Girl's blood is on his arm -
          and he is wiping it away...
                         
          ...off the skin... where a long scratch cut wells up fresh
          blood.
                         
          A moment.
                         
          Then Mark looks at Selena, as if slightly startled.
                         
                          MARK
           Wait.
                         
          But Selena is swiping with her machete. Mark lifts his arm
          instinctively, defensively, and the blade sinks in.
                         
          Selena immediately yanks it back.
                         
                          MARK
           DON'T!
                         
          Selena swipes again - and the blade catches Mark hard in the
          side of the head. Mark falls.
           21.
                         
                         
          Jim watches, scrabbling backwards on the floor away from
          them, as Selena brutally finishes Mark off.
                         
          Selena looks at Mark's body for a couple of beats, then
          lowers the blade. She picks up a dishcloth from the sink
          counter and tosses it to Jim.
                         
                          SELENA
           Get that cleaned off.
                         
          Jim picks up the rag and hurriedly starts to wipe the
          Infected's blood from around his neck.
                         
                          SELENA
           Do you have any clothes here?
                         
                          JIM
           (fazed, frightened of her)
           I... I don't know. I think so.
                         
                          SELENA
           Then get them. And get dressed. We
           have to leave, now.
                         
          With practiced speed, Selena starts to open the kitchen
          cupboards, selecting packets of biscuits and cans from the
          shelves, and stuffing them into her backpack.
                         
                          SELENA
           More infected will be coming. They
           always do.
                         
                         
          EXT. HOUSE - NIGHT
                         
          Jim and Selena exit the front door. Jim has changed out of
          his hospital gear into jeans and a sweatshirt. He also has a
          small backpack, and is carrying a baseball bat.
                         
                         
          EXT. LONDON ROAD - NIGHT
                         
          Jim and Selena walk: fast, alert. But something is not being
          said between them... until Jim breaks the silence.
                         
                          JIM
                          (QUIET)
           How did you know?
                         
          Selena says nothing. Continues walking.
                         
                          JIM
                          (INSISTENT)
           How did you know he was infected?
           22.
                         
                         
                          SELENA
           The blood.
                         
                          JIM
           The blood was everywhere. On me, on
           you, and...
                         
                          SELENA
                          (CUTTING IN)
           I didn't know he was infected.
           Okay? I didn't know. He knew. I
           could see it in his face.
                          (A MOMENT)
           You need to understand, if someone
           gets infected, you've got somewhere
           between ten and twenty seconds to
           kill them. They might be your
           brother or your sister or your
           oldest friend. It makes no
           difference Just so as you know, if
           it happens to you, I'll do it in a
           heartbeat.
                         
          A moment.
                         
                          JIM
           How long had you known him?
                         
                          SELENA
           Five days. Or six. Does it matter?
                         
          Jim says nothing.
                         
                          SELENA
           He was full of plans. Long-distance
           weapons, so they don't get close. A
           newsagent's with a metal grill, so
           you can sleep. Petrol bombs, so the
           blood doesn't splash.
                         
          Selena looks at Jim dispassionately.
                         
                          SELENA
           Got a plan yet, Jim? You want us to
           find a cure and save the world? Or
           fall in love and fuck?
                         
          Selena looks away again.
                         
                          SELENA
           Plans are pointless. Staying alive
           is as good as it gets.
                         
          Silence.
           23.
                         
                         
          They walk. Jim following a few steps behind Selena.
                         
          A few moments later, Jim lifts a hand, opens his mouth, about
          to say something - but Selena cuts him off without even
          looking round.
                         
                          SELENA
           Shhh.
                         
          She has seen something...
                         
          A line of tower blocks some distance away, standing against
          the night sky. In one of them, hanging in the window of one
          of the highest stories, colored fairy lights are lit up,
          blinking gently.
                         
                         
          INT. TOWER BLOCK - NIGHT
                         
          Jim and Selena walk through the smashed glass doors of the
          tower block. It is extremely dark inside.
                         
          Selena switches on a flashlight and illuminates the entrance
          hall. It is a mess. The floor is covered in broken glass and
          dried blood. The lift doors are jammed open, and inside is a
          dense bundle of rags - perhaps an old corpse, but impossible
          to tell, because the interior of the lift has been torched.
          It is black with carbon, and smoke-scarring runs up the
          outside wall.
                         
          Selena moves the flashlight to the stairwell. There is a huge
          tangle of shopping trolleys running up the stairs.
                         
          Selena gives one of the trolleys an exploratory tug. It
          shifts, but holds fast, meshed in with its neighbor. Then she
          puts a foot into one of the grates, and lifts herself up.
          Shining her light over the top of the tangle, she can see a
          gap along the top.
                         
                          JIM
           Let's hope we don't have to get out
           of here in a hurry.
                         
          She begins to climb through.
                         
                         
          INT. TOWER BLOCK - NIGHT
                         
          Jim and Selena move steadily and quietly up the stairwell,
          into the building. Reaching a next landing, they check around
          the corner before proceeding. Through a broken window, we can
          see that they are already high above most London buildings,
          and on the wall a sign reads: LEVEL 5.
           24.
                         
                         
                          SELENA
           Need a break?
                         
                          JIM
           (completely out of breath)
           No. You?
                         
                          SELENA
           No.
                         
          They continue a few steps.
                         
                          JIM
           I do need a break, by the way.
                         
          Selena nods. They stop on the stairs. Jim slips off his
          backpack and sits, pulling a face as he does so...
                         
                          SELENA
           What's up?
                         
                          JIM
           Nothing.
                         
          She gives him a cut-the-crap expression.
                         
                          JIM
           I've got a headache.
                         
                          SELENA
           Bad?
                         
                          JIM
           Pretty bad.
                         
                          SELENA
           Why didn't you say something
           before?
                         
                          JIM
           Because I didn't think you'd give a
           shit.
                         
          A moment, where it's unclear how Selena will react to this.
          Then she slips off her own backpack.
                         
                          SELENA
           (going through the bag)
           You've got no fat on you, and all
           you've had to eat is sugar. So
           you're crashing. Unfortunately,
           there isn't a lot we can do about
           that...
           25.
                         
                         
          Selena starts to produce a wide selection of pills, looted
          from a chemist.
                         
                          SELENA
           ...except pump you full
           painkillers, and give you more
           sugar to eat.
                         
          She holds up a bottle of codeine tablets, and passes it to
          Jim.
                         
                          SELENA
           As for the sugar: Lilt or Tango?
                         
                          JIM
                          (CHEWING CODEINE)
           ...Do you have Sprite?
                         
                          SELENA
           Actually, I did have a can of
           Sprite, but...
                         
          Suddenly there is a loud scream, coming from somewhere lower
          down the building. Jim and Selena both make a grab for their
          weapons.
                         
                          JIM
           Jesus!
                         
                          SELENA
           Quiet.
                         
          The scream comes again. The noise is chilling, echoing up the
          empty stairwell.
                         
          But there is something strange about it. The noise is human,
          but oddly autistic. It is held for slightly too long, and
          stops abruptly.
                         
                          SELENA
           That's an infected.
                         
          Then, the sound of metal scraping, clattering the blockade.
                         
                          SELENA
           They're in.
                         
                         
          INT. SHOPPING TROLLEY BLOCKADE - NIGHT
                         
          Two Infected, a Young Asian Guy and a Young White Guy, moving
          with amazing speed over the blockade.
           26.
                         
                         
          INT. STAIRS - NIGHT
                         
          Jim and Selena sprint up the stairs. Behind them, we can hear
          the Infected, giving chase, howling.
                         
          They pass level eight, nine, ten...
                         
          Jim is exhausted.
                         
                          SELENA
           Come on!
                         
                          JIM
           (out of breath, barely
           able to speak)
           I can't.
                         
          Selena continues, and Jim looks over the edge of the
          stairwell, to the landing below...
                         
          ...where the two Infected appear, tearing around the corner.
                         
                         
          INT. STAIRWELL - NIGHT
                         
          Selena sprints up the stairs... and Jim sprints past her, in
          an amazing burst of energy and speed.
                         
          They round another bend in the stairwell...
                         
          ...then both Jim and Selena scream. Standing directly in
          front of them is a Man In Riot Cop Gear - helmet with full
          visor, gloves, a riot shield in one hand, and a length of
          lead pipe in the other.
                         
          The Man lunges past both of them, barging past, where the
          Infected White Man has appeared at the stairwell.
                         
          The Riot Gear Man swings his lead pipe and connects viciously
          with the White Man's head. The White Man falls backwards
          against the Asian Man. Both fall back down the stairs.
                         
          The Riot Gear Man turns back to Jim and Selena.
                         
                          MAN
           Down the corridor! Flat 157!
                         
          Jim and Selena are stunned, but start to run down the
          corridor.
                         
          The Asian Man is coming back up the stairs. Jim looks back
          over his shoulder in time to see the Riot Gear Man deliver a
          massive blow to the Asian Man's head.
           27.
                         
                         
          INT. CORRIDOR - NIGHT
                         
          Jim and Selena run towards Flat 157. The door is open, but as
          they approach, it suddenly slams shut.
                         
           JIM AND SELENA
           (hammering on the door)
           Let us in!
                         
           GIRL (O.S.)
           Who is it?
                         
                          SELENA
           Let us in!
                         
          The door opens a fraction, on the chain. The face of a girl
          appears. She is fourteen, pale, solemn-faced.
                         
                          GIRL
           Where's Dad?
                         
          Jim looks back down the corridor.
                         
          At the far end, the Man appears. He is holding the limp body
          of one of the Infected - and he tips it over the balcony,
          where it drops down the middle of the stairwell.
                         
                          MAN
                          (CALLS BACK)
           It's okay, Hannah. Let them inside.
                         
          The door closes, we hear the chain being slipped off, then it
          opens again.
                         
                         
          INT. FLAT - NIGHT
                         
          Jim and Selena enter past the pale-faced girl. The flat is
          council, three-bed, sixteenth floor of the block. It has
          patterned wallpaper, and nice but boring furnishings. It is
          lit by candles.
                         
          The entrance hall leads straight to the living room, which
          has French windows and a small balcony outside.
                         
          On one wall, a framed photograph hangs, which shows the Man
          standing beside a black taxi cab. Next to him is a middle
          aged woman - presumably the Man's wife. Hannah sits at the
          cab's steering wheel, beaming.
                         
          Another photo, beside, show Hannah sat in the seat of a go-
          kart.
                         
          The Man follows Jim and Selena inside.
           28.
                         
                         
                          MAN
           Come in, come in.
                         
          They follow the Man through to the living room, and Hannah
          recloses the front door, which has an impressive arrangement
          of locks and dead-bolts.
                         
                         
          INT. FLAT - LIVING ROOM - NIGHT
                         
          In the living room, the fairy lights hang in the window,
          powered by a car battery. Lit by their glow, the Man goes
          through a careful ritual of shedding his gear, helped by
          Hannah.
                         
          First, he lays down the riot shield. Then he puts the
          bloodsmeared lead pipe on a small white towel. Next, he
          removes his gloves - and places them beside the bar on the
          towel. Then he folds the towel over the weapon and gloves,
          and puts it beside the riot shield. Finally he removes the
          visored helmet.
                         
          Jim and Selena watch him. They look pretty rattled, not
          really knowing what to expect.
                         
          After the Man has finished shedding his gear, he turns.
                         
                          MAN
           So... I'm Frank, anyway.
                         
          He extends his hand to Jim and Selena. Jim hesitates very
          briefly, then shakes it.
                         
                          JIM
           I'm Jim.
                         
                          SELENA
           Selena.
                         
          Frank beams, and suddenly he seems much less frightening and
          imposing. If anything, he is just as nervous as Jim and
          Selena.
                         
                          FRANK
           Jim and Selena. Good to meet you.
           And this is my daughter, Hannah.
           (turning to Hannah)
           ...Come on, sweetheart. Say hello.
                         
          Hannah takes a step into the room, but says nothing.
                         
                          FRANK
           So... so this is great. Just great.
           It calls for a celebration.
           29.
                         
                         
           I'd say. Why don't you all sit
           down, and... Hannah, what have we
           got to offer?
                         
                          HANNAH
                          (QUIETLY)
           We've got Mum's creme de menthe.
                         
          An awkward beat.
                         
                          FRANK
           Yes, her creme de menthe. Great.
           Look, sit, please. Get comfortable.
           Sit tight while I get it.
                         
          Frank exits. Selena, Jim and Hannah all stand, until Selena
          gestures at the sofa.
                         
                          SELENA
           Shall we?
                         
          Jim and Selena take the sofa. Hannah stays standing.
                         
           FRANK (O.S.)
           Where are the bloody glasses?
                         
                          HANNAH
           Middle cupboard.
                         
           FRANK (O.S.)
           No! The good ones! This is a
           celebration!
                         
                          HANNAH
           Top cupboard.
                         
          Another short, uncomfortable pause. Hannah looks at Jim and
          Selena from her position near the doorway. Her expression is
          blank and unreadable.
                         
                          JIM
           This is your place, then.
                         
          Hannah nods.
                         
                          JIM
           It's nice.
                         
          Hannah nods again.
                         
          Frank re-enters. Frank is beaming, holding the creme de
          menthe, and four wine glasses.
           30.
                         
                         
                          FRANK
           There! I know it isn't much but...
           well, cheers!
                         
                         
          EXT. TOWER BLOCK - NIGHT
                         
          The moon shines above the tower block.
                         
                         
          INT. FLAT - NIGHT
                         
          Jim, Selena and Hannah all sit in the living room, sipping
          creme de menthe. Frank is disconnecting the fairy lights as
          he talks, and pulling the curtains closed, rather
          systematically checking for cracks along the edges.
                         
                          FRANK
           Normally we keep the windows
           covered at night, because the light
           attracts them. But when we saw your
           petrol station fire, we knew it had
           to be survivors... So we hooked up
           the Christmas tree lights. Like a
           beacon.
                         
          Finished with the sofa, he sits on the armchair.
                         
                          SELENA
           We're grateful.
                         
                          FRANK
           Well, we're grateful you came. I
           was starting to really worry. Like
           I say, we haven't seen any sign of
           anyone normal for a while now.
                         
                          JIM
           There aren't any others in the
           building?
                         
          Frank shakes his head.
                         
                          SELENA
           And you haven't seen any people
           outside?
                         
          Frank's eyes flick to Hannah.
                         
                          FRANK
           We haven't left the block for more
           than two weeks. Stayed right here.
           Only sensible thing to do. Everyone
           who went out...
           31.
                         
                         
                          SELENA
           Didn't come back.
                         
                          FRANK
           And there's two hundred flats here.
           Most of them have a few cans of
           food, or cereal, or something.
                         
                          SELENA
           It's a good set-up.
                         
                          FRANK
           It isn't bad.
                         
          He puts a hand on Hannah's shoulder, and gives it a squeeze.
                         
                          FRANK
           We've got by, haven't we?
                         
                         
          INT. BATHROOM - NIGHT
                         
          Jim is in the bathroom, inspecting himself in the mirror. He
          is just finishing shaving his beard off, and has had to use
          the razor dry. He has cut himself several times.
                         
          Jim does a couple of last dry strokes with the razor, and
          winces as he cuts himself again. He uses spit to wipe away
          the blood.
                         
          Then, from outside, Frank speaks.
                         
           FRANK (O.S.)
           You okay in there, Jim?
                         
                          JIM
           Yes. Fine.
                         
           FRANK (O.S.)
           Sorry we couldn't spare the water
           but... it's the same with the
           toilet. The, er, flush doesn't
           work. I'm afraid you have to use
           the bucket.
                         
          Jim opens the door.
                         
                          FRANK
           Have to empty it each morning. We
           just chuck it over the balcony...
           No mod cons here.
                         
                          JIM
           It's fine.
           32.
                         
                         
                          FRANK
           ...Well, look, it's pretty late.
           I'm going to turn in. We've got a
           spare room. Are you and Selena...?
                         
                          JIM
           I'll take the living room.
                         
                          FRANK
           Oh, right. I mean, yes... So, good
           night then, anyway.
                         
                          JIM
           Good night, Frank.
                         
          Frank smiles, and heads to his bedroom.
                         
                         
          INT. FLAT - NIGHT
                         
          Jim feels his way down the dark corridor back to the
          candlelit living room. Selena is standing by the window. She
          looks around when Jim enters.
                         
                          SELENA
           Very spruce.
                         
                          JIM
           Very shredded.
                         
                          SELENA
           Uh-huh.
                         
          Jim sits on the armchair, and Selena moves to look at a
          picture on the wall - the photo of Frank's family and the
          black cab.
                         
                          JIM
           So what do you make of them?
                         
                          SELENA
           They're desperate. Probably need us
           more than we need them.
                         
                          JIM
           ...I think they're good people.
                         
                          SELENA
           Good people?
                         
                          JIM
           Yeah.
           33.
                         
                         
                          SELENA
           Well, that's nice. But you should
           be more concerned about whether
           they're going to slow you down.
                         
                          JIM
           Right. Because if they slowed you
           down...
                         
                          SELENA
           I'd leave them behind.
                         
                          JIM
           In a heartbeat.
                         
                          SELENA
           Yeah.
                         
                          JIM
           I wouldn't.
                         
                          SELENA
           Then you're going to wind up
           getting yourself killed.
                         
          A moment. Then Selena stands.
                         
                          SELENA
           I'm going to get some sleep.
                         
                          JIM
           Selena - you think I don't get it.
           But I do get it. And I know I'd be
           dead already if I hadn't met you.
                         
          Selena hesitates at the door - then turns.
                         
                          SELENA
           Sure.
                         
                          JIM
           No, look - I mean thank you.
                         
                          SELENA
           And I mean sure. Good night, Jim.
                         
          She exits, leaving Jim alone.
                         
                          JIM
           Good night.
                         
          Jim walks around the room, blowing out the candles. He leaves
          one burning beside the sofa.
           34.
                         
                         
          Then he slides open the French doors and exits out onto the
          balcony.
                         
                         
          EXT. BALCONY - NIGHT
                         
          The city is spread out in front Jim. In the distance, to the
          north, the petrol station still burns, sending billowing
          clouds of sparks high into the night sky.
                         
                         
          INT. FLAT - EARLY MORNING
                         
          Jim sits on the armchair, facing the window, nursing a can of
          Lilt. Outside, the sky has just started to brighten with
          first light.
                         
          Frank enters.
                         
                          FRANK
           Morning, Jim.
                         
                          JIM
           Morning.
                         
                          FRANK
           Listen, have you got a minute?
                         
                         
          EXT. TOWER BLOCK ROOF - EARLY MORNING
                         
          Frank and Jim appear from a service door. The view over
          London is spectacular - low clouds catching the sunrise, and
          a plume of smoke still drifting up from the petrol station
          blaze. But more noticeable is that the entire roof area is
          covered in buckets, pans, bowls, plates...
                         
                          FRANK
           We lost water pressure three weeks
           ago. For a while, I thought we'd be
           okay with the water in the other
           flats. The cistern and tanks. But
           it vanishes so quick you wouldn't
           believe. You drink it, it
           evaporates, turns stagnant...
                         
                          JIM
           (looking at the pans)
           They're all empty...
                         
                          FRANK
           It hasn't rained in over a week.
                         
          Frank sits, watching Jim.
           35.
                         
                         
                          FRANK
           You can set up a plastic sheet to
           catch dew and condensation. Trap it
           somehow. I saw it on TV once and
           I've been experimenting, but I
           can't get it to work, and... you
           don't happen to...
                         
          Jim shakes his head.
                         
                          FRANK
           You'd never think it. Needing rain
           so badly... Not in fucking
           England...
           (he breaks off)
           Jim, we don't have enough water for
           and Selena.
                         
          A moment.
                         
                          JIM
           Right.
                         
                          FRANK
           No. It's not what you think.
                         
                         
          INT. FLAT - DAY
                         
          Jim, Selena, Frank and Hannah all sit in the living room.
          Frank is on the armchair. On the coffee table in front of him
          is a small radio. He turns it on - producing a fuzz of radio
          static.
                         
                          SELENA
           There haven't been any broadcasts
           for weeks.
                         
                          FRANK
                          (INTERRUPTING)
           Just listen.
                         
          They listen. Through the static, the sound of a voice begins
          to sift through.
                         
           MALE VOICE (V.O.)
           The answer to infection is here...
           if you can hear this, you're not
           alone... there are others like
           you... other survivors... we are
           soldiers, we are armed and we can
           protect you...
                         
          The Male Voice fades into the static.
           36.
                         
                         
                          SELENA
                          (AMAZED)
           Soldiers.
                         
                          FRANK
           There's more. Listen.
                         
           MALE VOICE (V.O.)
           Our location is the forty-second
           blockade, M602, twenty-seven miles
           north-east of Manchester... you
           must find us...
                         
                          FRANK
           Then it just repeats.
                         
                          JIM
           It's a recording?
                         
          Frank switches the radio off, and produces a map of Britain,
          which he opens on the table.
                         
                          FRANK
           It's a recording. But this is where
           it's telling us to go.
                         
          Frank points to the location described.
                         
                          JIM
           The North...
                         
                          FRANK
           The way things are, we might need
           two or three days to get up there.
                         
                          SELENA
           We.
                         
          A moment. Then Frank gives a short, embarrassed laugh.
                         
                          FRANK
           Sound carries in this flat. Jerry-
           built, I suppose, and... me and
           Hannah do need you more than you
           need us.
                         
                          SELENA
           I wasn't -
                         
                          FRANK
           It's okay. Look, it's the truth. I
           can't leave the block if it's just
           the two of us.
           37.
                         
                         
           If something happened to me, Hannah
           would be alone. But if we were with
           other people...
                         
          He lets the sentence hang, gazing at Jim and Selena with
          undisguised hope.
                         
                          SELENA
           If it's a recording, for all we
           know the soldiers who made it are
           dead.
                         
                          FRANK
           Yes. It's possible.
                         
                          SELENA
           And that stuff about the answer to
           infection. There is no answer to
           infection. It's already done pretty
           much all the damage it can.
                         
                          JIM
           Maybe they've got a cure.
                         
                          SELENA
           Maybe they've got nothing at all.
                         
                          FRANK
           The only way to find out is to
           reach them.
                         
                          SELENA
           We could die trying.
                         
                          HANNAH
           Or die here.
                         
          Hannah speaks so rarely that her interjection seems to take
          everyone by surprise. Including her. For a moment she looks
          flustered, but then she continues.
                         
                          HANNAH
           And anyway, it isn't true what Dad
           said. You need us just the same as
           we need you. We need each other.
           And we'll never be safe in the
           cities, and soldiers could keep us
           safe.
                         
          She pauses for a breath.
                         
                          HANNAH
           So we have to try and get there.
           38.
                         
                         
          A beat.
                         
                          JIM
           Get there how?
                         
                          CUT TO:
                         
                         
          EXT. TOWER BLOCK - DAY
                         
          A black London cab drives fast out of the tower block's
          underground garage, bursting into the daylight.
                         
                         
          INT. CAB - DAY
                         
          Hannah and Selena sit on the back seat, and Jim sits on the
          fold-down. Frank smiles, starts the meter running, and leans
          around to his passengers.
                         
                          FRANK
           Just so as you know. I don't take
           cheques or credit cards.
                         
                         
          EXT. CAB - DAY
                         
          Frank drives through the destroyed streets of the capital.
                         
          They pass a stray Infected, through the smashed window of a
          shop. It's head flicks around at the noise of the cab's
          engine, and starts to move, but the cab is moving too fast to
          catch.
                         
                         
          EXT. CAB/TUNNEL ENTRANCE - SOUTH - DAY
                         
          The cab pulls up at the entrance of a tunnel that leads under
          the river Thames.
                         
                          FRANK
           What do you think?
                         
                          SELENA
           It's the most direct route to the
           other side of the river.
                         
                          JIM
           Then we should go the indirect
           route. The one in broad daylight.
           That isn't underground.
                         
                          FRANK
           Let's just get it done.
           39.
                         
                         
          Frank floors the accelerator and they head into the tunnel.
                         
                         
          INT. CAB - DAY
                         
          Frank drives through the tunnel. Wrecked cars and debris are
          illuminated in the headlights, and Frank weaves expertly
          between them. His passengers roll with the movement of the
          cab.
                         
                          JIM
           I knew this was a shit idea. You
           know why? Because it was really
           obviously a shit idea. Driving into
           a dark tunnel, full of smashed cars
           and broken glass is really fucking
           obviously a shit idea.
                         
          As Jim speaks, out of the gloom, caught in the headlights, a
          huge pile of cars appears, stretching across the full width
          of the tunnel.
                         
          Frank slams his foot down on the accelerator.
                         
                          JIM
           Oh no.
                         
                         
          EXT. CAB - DAY
                         
          The cab bumps up onto the barricade and drives over.
                         
                         
          INT. CAB - DAY
                         
          The cab bumps down the other side of the barricade, with a
          cheer from the passengers - but the jubilation only lasts a
          moment, because the cab his the road hard, on to a carpet of
          broken glass, and the front left tire blows.
                         
                          FRANK
           HOLD ON!
                         
          Frank saws the wheel, but loses control. The cab scrapes
          along the side of an abandoned car, then slews to a halt.
                         
          Frank tries accelerating again, but the cab immediately pulls
          left, back into the car.
                         
                          FRANK
           Fuck.
                         
          Frank jumps out of the cab, and shines his flashlight around
          the tunnel.
           40.
                         
                         
                          JIM
           The world's worst place to get a
           flat.
                         
                          FRANK
           Agreed. I think we'd better do this
           quick.
                         
                         
          INT. TUNNEL - DAY
                         
          Frank opens the boot and puts the jack into Hannah's hand.
                         
                          FRANK
           You know what to do.
                         
          Hannah immediately runs to the front of the cab and hunches
          down. Meanwhile, Frank unclips the spare and hauls it out.
                         
          Jim and Selena stand at the back of the cab, weapons ready,
          shining their flashlights into the darkness.
                         
          At the front of the cab, Hannah pumps the jack, but it is
          moving with aching slowness.
                         
          At the back of the cab, Jim and Selena wait nervously.
                         
          There is a noise from further down the tunnel, in the
          direction which they came. A scrabbling rush of movement -
          but too quiet to be humans.
                         
          Jim and Selena exchange a glance.
                         
                          JIM
           ...You heard that?
                         
                          FRANK
           (from the front of the
                          CAB)
           Heard what?
                         
          Jim is about to answer. Then is eyes widen. He looks down...
                         
                          JIM
           Holy shit.
                         
          A tide of rats is rushing under their feet.
                         
                          FRANK
           (as the rats rush around
                          THEM)
           What the fuck?
           41.
                         
                         
                          SELENA
           They're running from the infected.
                         
          As if in answer, the howls of the Infected echo down the
          tunnel.
                         
          Hannah desperately positions the jack underneath the cab, as
          the rates run over her face.
                         
                          FRANK
           Hannah, get out, get out!
           (to Jim and Selena)
           Just lift it! LIFT IT!
                         
          Jim, Selena, and Frank get their hands under the side of the
          cab, and pull upwards. The cab rises.
                         
          Hannah, with great skill and speed, fits the new tire, like a
          pit-stop mechanic at a grand prix.
                         
                          SELENA
           (straining with the
                          WEIGHT)
           Come on!
                         
                          HANNAH
           Almost there!
                         
          As Hannah puts an expert twist on the last wheel nut, the
          cab's back lights pick up the faces of the Infected spilling
          over the barricade.
                         
                          FRANK
                          (SHOUTING)
           Go! Go!
                         
          They lunge back into the cab, just as the nearest Infected
          slams against the back window.
                         
          As the cab races off, Jim leans out the window.
                         
                          JIM
           (at the Infected)
           Fuck you!
                         
          Frank slams his foot down, and they tear off.
                         
                         
          EXT. TUNNEL EXIT - NORTH - DAY
                         
          The cab races out.
           42.
                         
                         
                          FRANK
           Honey, you're a cab driver's
           daughter.
                         
                         
          EXT. CAB - DAY
                         
          The cab drives through London, the meter steadily clocking
          upwards. Driving, Frank's eyes flick down to the fuel gauge.
          It is under a quarter full.
                         
          Green shoots are pushing through the cracks in the pavements
          and road, as nature begins to reclaim the city.
                         
                         
          INT. CAB - DAY
                         
          A high street. Suddenly Selena cranes around, seeing
          something.
                         
                          SELENA
           Whoa! Stop the cab! Stop the cab!
                         
                         
          EXT. CAB - DAY
                         
          They have stopped outside of a supermarket. The windows are
          dark, but unbroken, and it looks as if there is still food on
          the shelves.
                         
                          SELENA
           Un. Believable.
                         
          She opens the door to the cab, holding her machete.
                         
                          JIM
           You're getting out?
                         
                          SELENA
           This place hasn't been looted. It's
           a gold mine.
                         
                          HANNAH
           But we don't know what's in there.
                         
                          SELENA
           Food and drink is what's in there.
           And we need it.
                         
          Selena gets out.
                         
                          JIM
           Wait!
           43.
                         
                         
                          SELENA
           I've been living off Mars Bars and
           Coke for two weeks. I need some
           tinned fruit.
                         
                         
          EXT. STREET - DAY
                         
          Selena tries the door of the supermarket. It swings open.
                         
                         
          INT. SUPERMARKET - DAY
                         
          They enter silently. All carry their weapons at the ready.
                         
          They peer down the aisles. The supermarket is empty.
                         
                          SELENA
           Let's shop.
                         
                         
          INT. SUPERMARKET - DAY
                         
          Jim, Selena, Frank, and Hannah all split off with shopping
          trolleys. They look like kids in a toy store.
                         
                          CUT TO:
                         
          Selena taking cans off the shelves, three at a time, going
          down the aisle.
                         
                          SELENA
           I'll have you, you, you, you...
                         
                          CUT TO:
                         
          Jim taking more stuff off shelves.
                         
          Selena appears at the top of the aisle.
                         
                          SELENA
           Don't take anything we need to
           cook.
                         
          Jim looks at the item in his hand. It is caviar.
                         
                          JIM
           It's okay. I think you can eat this
           stuff raw.
                         
                          CUT TO:
           44.
                         
                         
          Frank, standing by the fruit and vegetable section, in front
          of a bank of rotting apples - marked ORGANIC. Beside is a
          pile of apples that look fine.
                         
                          FRANK
           Mmm. Irradiated.
                         
                          CUT TO:
                         
          Selena finding Hannah by a huge array of chocolate.
                         
                          SELENA
           Ugh. If I never see chocolate
           again, it'll be too soon.
                         
          A beat, as something catches her eye. She whips it off the
          shelf.
                         
                          SELENA
           Not counting Terry's Chocolate
           Orange, of course.
                         
                          HANNAH
           (taking a handful of
                          YORKIE BARS)
           Or Yorkies.
                         
                          SELENA
           Or Yorkies, obviously.
                         
                          CUT TO:
                         
          Jim by the drinks counter, examining the label on a bottle of
          whisky, as Frank appears behind him.
                         
                          FRANK
           Put that back. We can't just take
           any crap.
                         
                          JIM
           It isn't any crap. It's whisky. It
           might be good to have.
                         
                          FRANK
           Who's arguing about whisky? I'm
           saying, don't get a cheap blend.
                         
          Frank takes a bottle of Lagavulin.
                         
                          FRANK
           Single malt. Eighteen-year-old.
           Dark, full flavor.
                         
          Jim starts to back his trolley away.
           45.
                         
                         
                          FRANK
           Warm, but not aggressive. Peaty
           after taste.
                         
                          CUT TO:
                         
          Jim, Selena, Frank, and Hannah shopping, pushing their full
          trolleys past the empty checkout desks. As Frank passes the
          till, he slaps down a credit card, and they walk off.
                         
                         
          EXT. STREET - DAY
                         
          The fully loaded cab drives away from the supermarket, riding
          low on the suspension.
                         
                         
          INT. CAB - DAY
                         
          The cab reaches the on-ramp to the Westway, and stops.
                         
                          SELENA
           We could have a problem here.
                         
                         
          EXT. WESTWAY - DAY
                         
          The cab sits at the back of an apparent traffic jam leading
          onto the Westway.
                         
          Both sides of the dual carriageway are jam-packed with
          abandoned cars, a deserted gridlock. All cars point in the
          same direction - out of town. Some of the cars are crashed,
          riding up on each other, rolled over, burned out.
                         
          As the camera rises upwards, we can see that the gridlock
          snakes along the entire distance of the flyover. Like the
          destroyed vehicles on the road to Basra, it stretches for
          miles...
                         
                         
          INT. CAB - DAY
                         
                          JIM
           Jesus Christ. We're never going to
           be able to get out of London.
                         
                          FRANK
           Don't you worry about that. I've
           sat twenty years in this seat. I've
           got my routes.
                         
                          CUT TO:
           46.
                         
                         
          EXT. CAB - DAY
                         
          Montage of the cab sweeping through suburban London, cutting
          down side streets, ducking down alleys, sometimes passing
          under the Westway flyover.
                         
          During the montage, we see scenes of devastation.
                         
          Jim gazes out of the window as the cab passes a huge cluster
          of rotting corpses, collected under and in the scoop of an
          abandoned bulldozer. The dead operator of the bulldozer lies
          a few feet away from his cabin.
                         
          The montage ends on: the cab bumping down a steep grass verge
          onto the motorway.
                         
           JIM (O.S.)
           Nice cut-through.
                         
                         
          EXT. MOTORWAY - DAY
                         
          The cab drives down the motorway. There are still vehicles
          scattered crashed, but fewer and fewer as distance is gained
          on the city.
                         
                         
          INT. CAB - DAY
                         
          ON THE DASHBOARD, the needle on the fuel gauge drifts down to
          the red.
                         
                         
          INT. CAB - DAY
                         
          A truck lay-by approaches, with a shabby shack-style cafe.
                         
          A sign outside the cafe reads: CHEESEBURGERS'R'US. And
          beneath: LAST CHEESEBURGERS FOR SIXTY MILES.
                         
          In the forecourt are a couple of vehicles. A people-carrier
          family car, and a truck, slewed off the road.
                         
          Frank slows the cab to a halt, some hundred meters away.
                         
                          FRANK
           Okay. We either do this now, or
           we're walking.
           47.
                         
                         
          EXT. CAB - DAY
                         
          Everyone exits the cab. Selena takes a jerry can and a length
          of plastic tube from the boot, and Frank gives the ignition
          keys to Hannah.
                         
                          FRANK
           If anything goes wrong, you just
           drive. You put your foot down. And
           go as far as you can.
                         
          No response from Hannah.
                         
                          FRANK
           You hear me, Hannah?
                         
                          HANNAH
           Yes, Dad.
                         
          Frank, Jim, and Selena begin to walk towards the service
          station, holding their weapons at the ready.
                         
                         
          EXT. LAY-BY - DAY
                         
          Cautiously, Frank, Jim and Selena approach the truck. There
          is no sign of life around.
                         
                          SELENA
           Stay close, Jim.
                         
                          JIM
           ...What?
                         
                          SELENA
           You heard.
                         
                         
          EXT. TRUCK - DAY
                         
          While Jim and Selena stand guard, Frank works quickly. He
          prises the fuel cap off, inserts the tube, sucks into the
          tube, and spits as the diesel begins to flow into the jerry
          can.
                         
                         
          INT. CAB - DAY
                         
          Hannah watches from the driver's seat. She has her hands on
          the wheel, and is sliding her hands over the plastic, making
          a series of imaginary turns, shifting gears...
           48.
                         
                         
          EXT. TRUCK - DAY
                         
          As they wait for the can to fill, Jim tosses his bat into the
          air, giving it a single flip, catching it as the handle comes
          back around...being a bit flash.
                         
          Selena notices, and does not look impressed.
                         
          Almost in response to her nonplussed gaze, Jim begins to walk
          towards the cafe.
                         
                          SELENA
           Where are you going?
                         
          Jim points his bat in the direction of the cafe.
                         
                          SELENA
           We've got enough food.
                         
                          JIM
           We don't have any cheeseburgers.
                          (TO HIMSELF)
           "Stay close." It's like going on
           holiday with your fucking aunt.
                         
                         
          INT. CAFE - DAY
                         
          Jim walks inside the cafe, and finds the aftermath of
          carnage. Decomposed bodies lie scattered, on and under
          tables: a couple of men, a female cook, and a young family.
                         
          Jim walks towards the family.
                         
          The father sits wedged between the seats and the table, which
          are both bolted to the floor. His neck is snapped, head
          hanging backwards.
                         
          The mother lies a couple of feet away, on the floor, half
          over an infant, as if in a final protective gesture.
                         
          Jim looks down at them.
                         
          Then there is a noise behind.
                         
          Instinctively Jim snaps around, swinging the bat as he does
          so - and connects against a small body, which flies
          backwards.
                         
          Only then do we - and Jim - see what he has hit. Crumpled,
          motionless on the ground is an Infected Kid, an eight year
          old boy.
                         
          A moment. Jim looks stunned, appalled.
           49.
                         
                         
          Then the Infected Kid's eyes flick open. Still alive.
                         
          Jim's baseball bat swings down.
                         
                         
          EXT. TRUCK - DAY
                         
          The can is full. Frank removes the tube.
                         
          Jim appears.
                         
                          SELENA
           Find anything.
                         
          Jim says nothing.
                         
                          SELENA
           Find anything, Jim?
                         
                          JIM
           No.
                         
          Selena lets it pass - and the moment is broken as Frank
          stands with the can.
                         
                          FRANK
           Okay. We're done.
                         
          He lifts a hand to Hannah.
                         
                         
          INT. CAB - DAY
                         
          Hannah smiles, turns the ignition, and throws the cab into
          gear.
                         
                         
          EXT. FORECOURT - DAY
                         
          The cab tears towards Jim, Selena and Frank, then - at the
          last moment - flips into a handbrake turn, and drifts to a
          neat stop, a couple of meters from them.
                         
                          HANNAH
           (leaning out of the
                          WINDOW)
           I am a cab driver's daughter.
                         
                          FRANK
           You're Ayrton Senna's bloody
           daughter.
           50.
                         
                         
          INT. CAB - DAY
                         
          The cab drives down the motorway, fuel needle pressed up
          against the full mark. The meter runs up a tab of over three
          hundred pounds...
                         
                         
          EXT. CAB - DAY
                         
          They pass a sign for MANCHESTER - 130 MILES.
                         
                         
          INT. CAB - DAY
                         
          The occupants have settled into the reflective silence of a
          long drive.
                         
          Selena seems lost in thought. She looks at Jim, who has his
          hand stuck out the window, and is using his hand like an
          aerofoil, catching the wind, dipping and rising.
                         
          Then she looks at Frank, and notices...
                         
          ...Frank glance in the rear-view mirror at Hannah, who
          catches her dad's eye. Frank smiles, and gives her a wink.
                         
                         
          EXT. CAB - DAY
                         
          The cab drives along A-roads.
                         
                         
          INT. CAB - LATE AFTERNOON
                         
          Jim is looking through some of the bags of food.
                         
                          JIM
           Who's unbelievably hungry?
                         
                          ALL
           Me.
                         
          Jim looks out of the window. They are in completely empty,
          rolling countryside, stretching for miles.
                         
                          JIM
           Let's have a picnic.
                         
                         
          EXT. PICNIC SPOT - LATE AFTERNOON
                         
          They have stopped in a beautiful spot, quite high, clear
          view. It is a beautiful day. The late afternoon sunshine is
          bright over the green fields, trees cast long shadows.
           51.
                         
                         
          Everyone is happily sat on the grass, eating from their
          hoard.
                         
          Jim has pulled open a packet of stale hot-cross bun; Hannah
          empties a packet of Maltesers into her mouth; Frank holds a
          block of cheddar, taking bites from the cheese as if it were
          cake ; Selena drinks from a can of tinned peaches, swallowing
          the pieces almost whole, with the juice running down her
          chin.
                         
                          SELENA
           Oh my God, yes. I can taste the
           vitamin C. I can feel it in my
           blood.
                         
                          JIM
           (cracking a bun in half)
           These are great. They're like huge
           biscuits.
                         
          He offers half to Hannah, who takes a bite.
                         
                          HANNAH
           It's true. They are like biscuits.
                         
                          JIM
                          (COMPLETELY
           unintelligible, mouth
           full, spraying crumbs)
           An de phraisins ar phrill moipht.
                         
          Hannah and Selena laugh.
                         
                          HANNAH
                          (TO JIM)
           What did you say?
                         
                          JIM
                          (SWALLOWING)
           I said, the raisins are still
           moist.
                         
          Selena and Hannah laugh again.
                         
                          FRANK
           Hey.
                         
          Everyone turns.
                         
                          FRANK
           Look over there.
           52.
                         
                         
          Some distance away, in the fields below, a group of three
          horses - two adults and a foal - are galloping over the
          fields as if wild. A majestic and surreal sight, and it
          somehow implies the way the world will change.
                         
                          HANNAH
           Do you think they're infected?
                         
                          FRANK
           No. I think they're doing just
           fine.
                         
                         
          EXT. FIELDS - LATE AFTERNOON
                         
          The horses gallop, leaping a stone wall, and away.
                         
                         
          EXT. PICNIC SPOT - SUNSET
                         
          The meal has been eaten. Frank sits, playing with his radio,
          trying to listen to the faint broadcast. Beside him, Hannah
          lies on her back, eyes closed.
                         
                         
          EXT. FENCE GATE - SUNSET
                         
          Jim and Selena have walked a little distance away from the
          others, and are sitting on a fence gate, looking over the
          view.
                         
                          JIM
           You know what I was thinking?
                         
          Selena considers this a moment.
                         
                          SELENA
           You were thinking that you'll never
           hear another piece of original
           music ever again. You'll never read
           a book that isn't already written.
           Or see a film that isn't already
           shot.
                         
          Jim smiles.
                         
                          JIM
           That's what you were thinking.
                         
                          SELENA
           No... I was thinking I was wrong.
                         
                          JIM
           About what?
           53.
                         
                         
          Selena doesn't reply for a moment. Then she turns to look at
          Frank and Hannah - who look oddly normal, surrounded by the
          food wrappers from the picnic, Frank listening to the radio.
                         
                          SELENA
           All the death, all the shit - it
           doesn't really mean anything for
           Frank and Hannah. Because she's got
           her dad, and he's got his daughter,
           so... it's okay.
                         
          A beat.
                         
                          SELENA
           (looking back at Jim)
           I was wrong when I told you that
           staying alive is as good as it
           gets.
                         
                          JIM
                          (SMILES)
           That's what I was thinking.
                         
                          SELENA
           ...Was it?
                         
                          JIM
           Uh-huh. You stole my thought.
                         
          Selena leans over and gives Jim a light kiss on the cheek.
                         
                          SELENA
           (smiling back at Jim)
           Sorry.
                         
                          JIM
           (slightly surprised, but
                          PLEASED)
           Ah, keep it.
                         
                         
          EXT. PICNIC SPOT - SUNSET
                         
          Frank switches off the radio. He looks over at Hannah, who is
          dozing peacefully, then over to Jim and Selena.
                         
                          FRANK
                          (CALLING)
           It's getting late. We should stay
           here the night.
                         
          Jim raises a hand in reply.
           54.
                         
                         
          EXT. CAB/PICNIC SPOT - NIGHT
                         
          The cab sits, parked up at the picnic spot. Jim, Selena,
          Frank and Hannah lie beside it, wrapped in their jackets,
          using their small backpacks as pillows.
                         
          The moon is bright, and only Selena is asleep...
                         
                          HANNAH
           Can't sleep.
                         
                          JIM
           Nor can I. It doesn't feel safe,
           outdoors like this.
                         
                          FRANK
           I think we're safe enough.
                         
          A couple of moments pass.
                         
                          HANNAH
           ...Selena didn't seem to have any
           trouble.
                         
                          JIM
           I know. I noticed that too.
           (reaching over and shaking
                          SELENA'S SHOULDER)
           Selena...Selena!
                         
                          SELENA
                          (EXTREMELY DROWSY)
           What... what is it...
                         
                          JIM
           How did you manage to get to sleep?
                         
          Selena gives a dozy grumble, then sits up, reaches into her
          backpack, and pulls out several bottles of pills. She hands
          one of them to Jim.
                         
                          FRANK
           Bloody hell. You must have needed a
           hell of a prescription for that
           lot.
                         
                          SELENA
                          (DROWSY)
           I didn't need a prescription. I'm a
           qualified chemist.
                         
          She drops back down and goes straight back to sleep.
           55.
                         
                         
                          JIM
           (inspecting the bottle)
           Valium. Great. Not only will it get
           us to sleep, but if we get attacked
           during the night, we won't even
           care.
           (pops the lid)
           Two each?
                         
                          FRANK
           Not for me, thanks.
                         
                          JIM
                          (INDICATING HANNAH)
           What about...?
                         
                          HANNAH
           Can I, Dad?
                         
                          FRANK
                          (DOUBTFUL)
           I don't know, honey.
                         
                          HANNAH
           Da-ad, plee-ease. I can't sleep.
                         
                          FRANK
           All right, all right. Give her half
           of one.
                         
                          FADE TO:
                         
                         
          JIM'S VALIUM DREAM
                         
          Jim is riding his bike through the city. It's London back to
          normal, pre-infection. Busy streets, traffic, pedestrians,
          car horns, radios playing.
                         
          Jim rides fast, his courier bag over his shoulder, weaving
          between cars, shooting a red light, turning a corner into...
                         
          Gower Street. Suddenly, a car pulls out into Jim's path. The
          car brakes hard, and Jim brakes hard, skidding...
                         
          ...and the two miss each other by a whisker.
                         
          The Driver flashes into road rage.
                         
                          THE DRIVER
           You stupid cunt!
                         
                          JIM
           Fuck you!
           56.
                         
                         
          The Driver flips Jim the finger, and accelerates away.
                         
          Jim remains stopped by the pavement, one foot down for
          balance, breathing hard. Pedestrians pass. Groups of people,
          everyday people, walking by.
                         
          Jim watches them, noticing their faces. Some talk to each
          other, or into mobile phones. Some smile, or walk lost in
          thought.
                         
          After a few moments, Jim sets off again, seemingly
          distracted, still watching pedestrians' faces...then two of
          the faces seem to catch his attention. A man and a woman,
          middle-aged, chatting.
                         
          His parents.
                         
          Jim's head turns as he passes them, confusion on his face,
          his bike drifting into another lane...
                         
          ...into the path of a second car. The car that hit him.
                         
                          CUT TO:
                         
                         
          EXT. CAB/PICNIC SPOT - NIGHT
                         
                          FRANK
                          (QUIETLY)
           Hey.
                         
          Frank's hand is on Jim's shoulder. Jim stirs, half-wakes.
                         
                          JIM
           (confused, semi-conscious)
           What...
                         
          Frank is sitting beside him - and we see for the first time
          that Frank is awake, keeping guard over them while they
          sleep.
                         
                          FRANK
           Shh. You're having a bad dream,
           that's all.
                         
          Jim's face relaxes a little.
                         
                          JIM
           (mumbled, half-asleep
                          ALREADY)
           Okay, Dad.
                         
          Frank raises his eyebrows, then smiles.
           57.
                         
                         
          EXT. CAB/PICNIC SPOT - EARLY MORNING
                         
          Jim is sitting up. The others are all awake. Frank bouncing
          the repaired flat tire to check it, Hannah slipping on a
          fresh sweatshirt from her backpack, Selena leaning against
          the cab, chewing on a chocolate bar.
                         
                          JIM
           Here you go, Frank. This is how you
           catch dew. I'm covered in the
           fucking stuff.
                         
                          FRANK
           (packing the spare away)
           Okay. Let's get rolling.
           (he checks his watch)
           If we make good time, we'll be
           there before midday.
                         
                         
          EXT. MOTORWAY - DAY
                         
          The cab is driving, towards us, then slows to a halt.
                         
                         
          INT. CAB - DAY
                         
          Everyone is looking at something ahead of them. They seem
          awestruck.
                         
                          JIM
           Bloody hell...
                         
                          FRANK
           It must be Manchester.
                         
                          JIM
           But, the whole of Manchester. The
           whole city...
                         
                          SELENA
           No fire crews to put it out.
                         
          We see what they are looking at...
                         
                         
          EXT. CAB - DAY
                         
          On the horizon ahead, there is the glow of a truly massive
          fire. The smoke spreads into the sky like the plume from a
          vast, spreading volcano crater. The city burning.
           58.
                         
                         
          INT. CAB - DAY
                         
          The cab drives towards the surreal sight. As they drive, pale
          flakes begin to fall, drifting past the windows.
                         
                          JIM
           It can't be...
                         
                          HANNAH
           Is it snow?
                         
                          FRANK
           (hitting the windscreen
                          WIPERS)
           It's ash.
                         
                         
          EXT. CAB - DAY - ASH FALL
                         
          The cab drives through the ash fall. Through the soft
          blizzard, they pass a sign for: MANCHESTER - 14 MILES (in the
          opposite lane). The city is behind them.
                         
                         
          EXT. MOTORWAY - DAY - ASH FALL
                         
          The cab drives down a motorway. The ash is still falling, and
          they start to pass bodies by the roadside.
                         
                         
          INT. CAB - DAY - ASH FALL
                         
          Inside the cab there is a sense of real anticipation.
          Everyone is sitting up, scanning the road ahead.
                         
          Then they come over the brow of a hill, and the ash-fall
          clears like mist parting, to reveal...
                         
                          FRANK
           Okay, everyone. I think this is it.
                         
                         
          EXT. MOTORWAY - DAY
                         
          Fifty meters down, the road is blockaded. It is obviously a
          military construction - hurriedly put together, but expertly
          built.
                         
          Behind rolls of razor wire are fifteen foot sheets of
          corrugated iron, held upright by scaffold pipes. In the
          middle of the blockade there is a gap wide enough to get a
          vehicle through, but concrete blocks force a chicane.
           59.
                         
                         
          On either side of the road there are sandbag nests. On the
          corrugated iron, white painted words read: 42ND BLOCKADE. But
          despite the impressive construction, there is no sign of
          movement or life.
                         
                         
          INT. CAB - DAY
                         
                          JIM
           Try the horn.
                         
                          SELENA
           Don't. We might attract the wrong
           kind of attention.
                         
                         
          EXT. 42ND BLOCKADE - DAY
                         
          The cab rolls slowly towards the blockade - past many more
          bodies, Infected, rotting.
                         
          It reaches the chicane, and eases around the concrete blocks.
          Then it passes through the gap in the corrugated barrier. On
          the other side of the blockade, canvas tents have been
          erected on the grass verge, and two transporter trucks are
          parked. A few packing crates and tarpaulins are also
          scattered around. But still no signs of life. The blockade
          appears to have been abandoned.
                         
          Franks slows to a halt, but keeps the engine running.
                         
                         
          INT. CAB - DAY
                         
                          FRANK
           What do you think?
                         
                          JIM
           It looks deserted.
                         
                          SELENA
           Or overrun.
                         
          Frank flicks the radio on - there is only static. He switches
          it off again.
                         
                          FRANK
           Let's check it out.
           60.
                         
                         
          EXT. 42ND BLOCKADE - DAY
                         
          Everyone exits the cab, holding their various weapons. Jim
          has his baseball bat, Selena has her machete, and Frank has
          his lead pipe...
                         
          Cautiously, they begin to explore. They first head over to
          the grass verge and the tents. In front of one of them,
          Hannah picks up a Bergen backpack. She upends it, and a few
          clothes fall out.
                         
          Frank moves past her, and carefully pulls back the tent flaps
          - machete at the ready. Inside, there is a small table, and
          maps and papers are strewn across the floor. And a radio.
                         
                          HANNAH
           I don't understand. Did they leave?
                         
          Jim pushes open the flaps of another tent with his baseball
          bat.
                         
                          JIM
           They didn't all leave.
                         
          Inside, several body bags lie, buzzing with flies.
                         
          Selena stands several feet away, by one of the packing cases.
          She pulls out a tangle of camouflage webbing, then lets it
          drop back inside.
                         
                          SELENA
           I don't like this. I think we
           should go.
                         
                          FRANK
                          (SUDDENLY SNAPPING)
           No!
                          (COMPOSES HIMSELF)
           The vehicles. We should check the
           vehicles first. There has to be
           something...
                         
                         
          EXT. VEHICLES - DAY
                         
          Frank jumps down from the back of one of the trucks. Like the
          others, like everything else it is empty.
                         
                          FRANK
           Nothing. Nothing here. I can't
           believe it.
                         
                          SELENA
           Frank.
           61.
                         
                         
                          FRANK
           "We should go."
                         
                          SELENA
           Yes.
                         
                          FRANK
                          (EXPLODING)
           Go fucking where? What the fuck are
           we supposed to do? How is this
           going to fucking end? It's never
           going to -
                         
          Frank cuts himself off. Then, turning from the others, he
          walks away.
                         
                         
          EXT. BLOCKADE - DAY
                         
          Frank walks underneath the archway of one of the blockade
          structures, and sits down. Needing to be alone.
                         
          His head sinks, staring at the ground beneath his legs. A
          couple of moments later he looks up - and sees that sitting
          opposite of him, on the other side of the archway, almost
          mirroring his posture and position, is a dead Infected.
                         
          The corpse of the Infected sits gazing back at Frank with
          sightless eyes.
                         
          A moment between the two of them. A blank-faced exchange.
                         
          Frank looks left and sees the corpse of another Infected, a
          few feet beyond the blockade. And another, beyond it. And
          another, a few more feet to the right.
                         
          Then Frank looks upwards. Above him, on the walkway of the
          blockade, another corpse lies. And this corpse is swarmed
          with crows, picking at it.
                         
          Frank gets up.
                         
                          FRANK
           (under his breath)
           Get out it.
                          (SUDDENLY SHOUTING)
           GET OUT OF IT!
                         
          He bends, picks up a rock and throws it, but misses, sailing
          past them.
                         
          In a rage again, Frank goes under the blockade and starts to
          kick it. The scaffold clangs, vibrates, and - startled - the
          crows lift off from the mutilated corpse and fly...
           62.
                         
                         
          ...dislodging, or disrupting, a single droplet of blood from
          the corpse, that rolls off the neck, and begins to fall
          downwards.
                         
          Down... to where Frank gazes upwards.
                         
          The droplet splashes, pinpoint perfect, on Frank's eye.
                         
          Frank frowns, his hand immediately going to his face. The
          fingers come away, with the tiny smear of red.
                         
                          HANNAH
           Dad... are you okay?
                         
          Frank turns. Hannah is there, with Jim. Selena stands a
          little way further back.
                         
                          FRANK
           I... I'm fine, honey. I'm sorry. I
           just lost my temper. I...
                         
          He breaks off.
                         
                          HANNAH
           ...What?
                         
          Frank frowns. A hand goes to his temple.
                         
                          FRANK
           Hannah...
                         
          Abruptly, the color is draining from his face.
                         
                          FRANK
                          (TO HANNAH)
           Get away from me.
                         
                          HANNAH
           ...Dad?
                         
                          FRANK
           Get away from me!
                          (TO JIM)
           Get her away from me!
                         
                          HANNAH
           (moving to Frank)
           Why? What's...
                         
          Frank lashes out and shoves Hannah away, knocking her back to
          the ground.
                         
                          FRANK
           GET AWAY FROM ME!
           63.
                         
                         
          A trickle of blood runs out of Frank's nose. Then he doubles
          up, clutching the side of his head. He screams with pain.
                         
                          SELENA
           Jim...
           (breaking into a run)
           Jim, he's infected!
                         
                          HANNAH
           No! No!
                         
          Hannah lunges towards her dad, but is caught by Selena.
                         
                          SELENA
           (holding Hannah back)
           Jim!
                         
          But Jim is frozen, holding his baseball bat.
                         
          Frank screams again. Then drops to his knees.
                         
          Hannah struggles with Selena, trying to get to Frank.
                         
                          HANNAH
           Dad!
                         
                          SELENA
           Jim!
                         
          Jim is still frozen, baseball bat half-raised.
                         
                          SELENA
           KILL HIM!
                         
          And Frank looks up, his face contorted. The infection has
          taken hold.
                         
          And at that moment there is a rifle report, a rush of air,
          and a rapid thump of impact.
                         
          Frank falls forwards to the tarmac.
                         
          A moment of silence.
                         
                          HANNAH
           ...Dad?
                         
          Selena lets Hannah go.
                         
          Suddenly, the GUNFIRE comes again. Three shots in quick
          succession - into Frank's motionless body.
                         
          In a daze, Hannah starts towards her dead father.
           64.
                         
                         
                          CLIFTON
           STAY AWAY FROM HIM!
                         
          They all turn to see three British soldiers standing by a
          jeep. One of the soldiers (Farrell) advances, with his gun
          still raised, while the others (Mitchell and Clifton) hold
          back giving cover.
                         
                          FARRELL
           Get away from the man! NOW!
                         
          Jim steps towards Hannah and grabs her, pulling her away from
          Frank's body. She doesn't struggle. She is in a state of
          absolute shock.
                         
                          SELENA
                          (QUIETLY)
           Jesus.
                         
                         
          EXT. ROAD - DAY
                         
          A jeep drives down a small road - away from the blockade.
          Jim, Selena and Hannah sit in the back. Behind is the cab,
          driven by the Sergeant. A little way ahead of them, the
          walled grounds of a huge country mansion appear.
                         
                         
          EXT. FRONT DRIVEWAY - DAY
                         
          From a cast-iron gated entrance, a gravel driveway leads up
          to the impressive country mansion, surrounded by a high
          perimeter wall. The grounds show acres of lawn and flower
          beds. These have obviously had many years of very careful
          cultivation and attention, but now are just starting to look
          unkempt and overgrown.
                         
          The jeep pulls up by the front steps. Waiting there is
          another soldier, a major. Like the other soldiers, he is
          unshaven, but has the authority of command about him, even in
          the relaxed way that he stands.
                         
          As Jim, Selena and Hannah dismount from the jeep, he
          appraises them. Then speaks.
                         
                          HENRY
           I'm Major Henry West. Welcome.
           We've got beds with clean sheets
           and a boiler that produces hot
           water. So you can all have a
           shower. You look like you need one.
                         
          Jim, Selena, and tear-streaked Hannah gaze back at Henry
          blankly.
           65.
                         
                         
          INT. SHOWER - DAY
                         
          Jim has a shower, sees the cab driving round in circles
          outside the shower window, then...
                         
                         
          INT. MANSION - DAY
                         
          Jim walks down a sweeping staircase to the front hall.
          Scattered around are various bits of military gear. A pair of
          muddy boots, a jacket, assorted kit, webbing, etc.
                         
                         
          EXT. VERANDA - DAY
                         
          Henry is sitting, looking out over the back lawn.
                         
          Pulling back, we see Jim is with him.
                         
                          HENRY
           You heard our broadcast.
                         
                          JIM
           Yes.
                         
                          HENRY
           We must be a disappointment. You
           were hoping for a full brigade. An
           army base, with helicopters and
           field hospitals.
                         
                          JIM
           We were hoping for...
                         
                          HENRY
           The answer to infection. Well, as I
           said, it's here. Though it may not
           be quite what you imagined.
                         
                          JIM
           I didn't know what to imagine,
           so... We just feel lucky to have
           found you.
                         
                          HENRY
           You were lucky. The fire drove
           hundreds of infected out of
           Manchester. The surrounding area is
           teeming with them.
                         
          Henry glances back at Jim.
           66.
                         
                         
                          HENRY
           But there's no need for you to
           worry. We're well protected here.
                         
                         
          EXT. GARDEN - DAY
                         
          Henry shows Jim around the grounds.
                         
                          HENRY
           Three-sixty visibility. Flat
           terrain all around the house...
           Floodlights, which we've rigged up
           to a generator. Don't like to waste
           the fuel, but when we want to, we
           can turn night into day.
                         
          Moving on...
                         
                          HENRY
           High perimeter wall, which helps,
           and we've been lacing the grounds
           with trip wires and land mines.
                         
          Henry indicates where Farrell, Smith and Davis can be seen,
          running a trip wire.
                         
                          HENRY
           You wouldn't want to go mowing the
           lawn, but if they get in, we hear
           them.
                         
                         
          INT. MANSION - LOWER LEVELS - DAY
                         
          Henry leads Jim into the basement level of the mansion.
                         
                          HENRY
           Secondary to protection, our real
           job is to rebuild. Start again.
           Down here is the wood-fired boiler
           that provides us with hot water.
           Our first step to civilization.
                         
          Then to a kitchen...
                         
                          HENRY
           And here, the kitchen.
                         
                         
          INT. MANSION - KITCHEN - DAY
                         
          Several of the soldiers are unpacking the food bags from the
          cab. One of the soldiers, Jones, is wearing an apron.
           67.
                         
                         
                          HENRY
           What are you cooking, Jones?
                         
                          JONES
           It's a surprise, sir!
                         
                         
          EXT. MAILER'S PIT - DAY
                         
          Henry leads Jim into a small courtyard, hanging with
          bloodstained laundry.
                         
                          HENRY
           And finally...
                         
          The laundry starts to billow - and with it we hear the sound
          of rushing movement. As a darkly stained sheet is ripped
          aside, an Infected is revealed only a few feet away.
                         
          Jim jumps back, but Henry stays put - as the Infected is
          suddenly jerked backwards by a chain around its neck.
                         
                          HENRY
           ...meet Mailer.
                         
          Mailer is uniformed. A soldier. Apart from the chain around
          his neck, he is gagged with a filthy and blood-blackened rag
          tied tight into his mouth.
                         
                          HENRY
           Mailer, Jim. Jim, Mailer. Got
           infected three days ago. Mitchell
           managed to knock him out cold. Got
           a chain around his neck.
                         
                          JIM
           You're keeping him alive?
                         
                          HENRY
           The idea was to learn something
           about infection. Have him teach me.
                         
                          JIM
           And has he?
                         
                          HENRY
           In a way.
                          (KNEELS)
           He's teaching me he'll never bake
           bread. Plant crops, raise
           livestock. He's telling me he's
           futureless. And eventually he'll
           tell me how long the infected take
           to starve to death.
           68.
                         
                         
          A moment.
                         
                          HENRY
           Dinner's at seven. Don't forget to
           tell the girls.
                         
          Henry exits, leaving Jim with Mailer.
                         
          Mailer lunges at Jim - a moment between them.
                         
          Then Jim exits.
                         
                         
          INT. GIRLS' BEDROOM - DAY
                         
          Carefully, Jim opens the door to the girls' bedroom. Inside
          is Hannah lying on the bed, face covered, on her side. Selena
          lies behind her, her arm lying protectively over Hannah's
          body.
                         
          Selena looks around, sees Jim, and puts a finger to her lips.
                         
                         
          INT. JIM'S BEDROOM - NIGHT
                         
          Jim and Selena enter, and close the door.
                         
                          JIM
           ...So how is she?
                         
                          SELENA
           She's lost her dad. That's how she
           is.
                          (A MOMENT)
           It's all fucked, Jim.
                         
          Suddenly Selena looks as if she's on the verge of tears.
                         
                          JIM
           Hey, don't...do that. Look,
           Hannah... Hannah's what Frank said
           she was. Tough. Strong. And just
           like me, just like you, she will
           cope...
                         
                          SELENA
           Shut up, Jim. Just shut up. I don't
           want her to fucking cope. I want
           her to be okay. And when Hannah had
           her dad, it was all okay. Remember?
           And when it was okay for them, it
           was okay for us. And now it's all
           fucked.
           69.
                         
                         
          Then Selena's tears are flowing.
                         
          Jim seems to want to reply, but doesn't have the words.
                         
          Instead, he lifts Selena's face and kisses her on the lips...
                         
          ... a moment.
                         
          Then Selena pushes him a away.
                         
          Selena leaves the room.
                         
                         
          INT. MANSION - DINING ROOM - NIGHT
                         
          A surreal scene.
                         
          Dinner, with full silver service, candles, wine and crystal
          glasses, napkins, and everyone rather formally sitting while
          Jones lays food on the table, wearing an apron over his
          uniform.
                         
          Made all the more surreal by Jim and Selena's grubby clothes,
          and Hannah's dazed, tear-streaked face.
                         
                          HENRY
           So, what have we here? Tinned ham,
           tinned peas, and omelette. You've
           prepared a feast, Jones.
                         
                          JONES
           Honor of our guests, sir.
                         
                          HENRY
           Absolutely. I was going to suggest
           a toast, but this omelette will do
           just as well.
           (cuts off a chunk of
           omelette and raises it)
           To new friends.
                         
          Henry pops the omelette in his mouth, then promptly spits it
          out.
                         
                          HENRY
           Jones, did you notice while cooking
           that these eggs are off?
                         
                          JONES
           I thought the salt might cover the
           taste, sir.
           70.
                         
                         
                          HENRY
           (pushing his plate away)
           Get rid of it.
                         
          Henry turns to Hannah as Jones sheepishly exits, carrying the
          omelette.
                         
                          HENRY
           I don't suppose you can cook, can
           you? I can't tell you how badly we
           need someone who shows a little
           flair in the kitchen.
                         
          Hannah ignore/is unaware of Henry's attempt to bring her out
          of her shell.
                         
          Meanwhile, the soldiers start helping themselves to the other
          food on the table.
                         
                          DAVIS
           That's a fucking disappointment.
           When I saw those eggs, I thought it
           was Christmas.
                         
                          BELL
           We'll have eggs again. Once
           everything's back to normal.
                         
          The soldiers pause. Exchange glances. Then burst out
          laughing.
                         
                          MITCHELL
           Listen to him! He's still waiting
           for Marks and Spencer's to reopen.
                         
          More laughter at Bell - interrupted by the sergeant, Farrell,
          who conspicuously is not joining in.
                         
                          FARRELL
           I think Bell's got a point. If you
           look at the whole life of the
           planet, man has only been around
           for a few blinks of an eye. So if
           the infection wipes us all out,
           that is a return to normality.
                         
          Farrell turns to Bell.
                         
                          FARRELL
           Is that what you meant, Bell?
                         
                          BELL
           Uh...yeah.
           71.
                         
                         
                          HENRY
           (to Jim and Selena)
           Have you met our new-age sergeant?
                          (TO FARRELL)
           Remind me, Farrell, why exactly did
           you join the army in the first
           place.
                         
          A moment.
                         
                          HENRY
           This is what I've seen in the four
           weeks since infection. People
           killing people. Which is much what
           I saw in the four weeks before
           infection, and the four weeks
           before that, and before that, as
           far back as I care to remember...
           People killing people. Which to my
           mind puts us in a state of
           normality right now.
                         
          Selena turns to Hannah.
                         
                          SELENA
                          (QUIET)
           You're not eating.
                         
                          HANNAH
           I don't want to eat.
                         
          Henry picks up on their exchange.
                         
                          HENRY
           You must eat, Hannah.
                         
                          HANNAH
           I don't want to eat. I want to bury
           my dad. He's one of the people
           you're talking about.
                         
          A silence over the dinner table.
                         
          Broken by the thud of a mine detonation.
                         
          Then...
                         
                          FARRELL
           Stand to!
                         
          And suddenly all the soldiers are kicking back their chairs,
          jumping to their feet. Producing SA-80s that they had under
          the table.
           72.
                         
                         
          EXT. MANSION - NIGHT
                         
          Farrell, Jones, Mitchell, Bedford, Smith and Clifton race out
          of the house, fanning, dropping into position.
                         
                          MITCHELL
           Go, go, go!
                         
          Two more soldiers, Davis and Bell, fire from window positions
          on the mansion's first floor.
                         
                          FARRELL
           Jones! Cover right!
                         
                          SMITH
           Three o'clock! Three o'clock!
                         
          Coming across the grounds are four Infected, sprinting across
          the lawn towards the house. Immediately, one of them is
          catapulted into the air by an explosion under its feet - a
          mine.
                         
          The soldiers open fire, Jones closing his eyes as he pulls
          the trigger.
                         
          The three remaining Infected are cut down - one hit in the
          head by Smith, another folding under a burst from Farrell,
          the last falling under fire from Mitchell, landing face down
          on a mine which explodes onto its chest.
                         
          Chunks of Infected spin into the air, then patter down like a
          light rain.
                         
                          MITCHELL
                          (DELIGHTED)
           That was mad! Did you see that!
           That was fucking mad!
                         
                          FARRELL
                          (ANGRY)
           Clear!
                         
                          JONES
           Clear.
                         
                          MITCHELL
                          (STILL LAUGHING)
           Clear.
                          (TO JONES)
           Fuck me, I never saw that before.
           Keeled over and - bam! Gone, like
           fucking magic.
           73.
                         
                         
                          SMITH
           I drew a lovely bead. One shot.
           Right between its eyes.
                         
                         
          INT. LIVING ROOM - NIGHT
                         
          Jim stands, looking out of the open French windows at the
          soldiers.
                         
          Selena is standing behind him. She is holding her machete.
                         
          The soldiers bounce in. Mitchell and Smith in particular are
          hyped from their adrenaline rush.
                         
                          MITCHELL
           It was all hanging in the air, and
           all these bits coming down, and...
                         
          Mitchell catches sight of Selena holding her machete.
                         
                          MITCHELL
           Hello.
                         
          He heads towards her, and takes the machete from her hands.
                         
                          MITCHELL
           I'll tell you what: you don't need
           this penknife any more, sweetie.
           I'm here to protect you now.
           (winks at the other
                          SOLDIERS)
           But listen, if you want to hold a
           huge chopper...
                         
          Bedford bursts out laughing, and Selena grabs her machete
          back.
                         
                          MITCHELL
           Whoa! Feisty!
                         
          He gives her a slap on the backside.
                         
                          SELENA
           Fuck you!
                         
                          MITCHELL
           You bet. How about right now?
                         
          Now doubly hyped. Mitchell reaches forward and pulls up the
          hem of Selena's T-shirt. She yelps and twists, knocking back
          his hand.
           74.
                         
                         
                          MITCHELL
           Yeah! A little rough stuff!
                         
                          FARRELL
           MITCHELL!
                         
          But Farrell clearly has little command over Mitchell, who
          tries again for Selena's T-shirt, still laughing.
                         
          Jim snaps.
                         
                          JIM
                          (ANGRILY GRABBING
                          MITCHELL)
           Cut it out!
                         
          And Mitchell turns immediately on Jim, his sexual charge
          flipping seamlessly back to violence.
                         
                          MITCHELL
           (grabbing Jim, propelling
           him back across the room,
           up against a wall)
           Easy, tiger. You don't want to go
           picking a fight with me.
                         
          Suddenly Farrell is behind Mitchell. We see a movement (a
          kidney punch), and Mitchell drops.
                         
                          MITCHELL
           (gasping, on the ground)
           Ahh, you cunt. Cunt.
                         
          Then - as if through sixth sense, sensing a presence, all
          turn. Henry is standing in the doorway.
                         
          A moment. Then Henry turns to Mitchell - who has picked
          himself up, and is clutching his side, breathing hard.
                         
                          HENRY
           Corporal, first point of order
           after an attack.
                         
                          MITCHELL
           Re-secure the perimeter, sir.
                         
                          HENRY
           Then get to it. Jones, Bedford, go
           with him.
                          (TO FARRELL)
           Sergeant.
           75.
                         
                         
                          FARRELL
                          (TIGHTLY)
           Sir.
                         
                          HENRY
           Clear the bodies off the lawn. The
           rest of you go with him.
                         
          The soldiers exit, leaving only Jim, Henry and Selena in the
          room.
                         
          Selena is shaken, and won't meet Jim's eyes.
                         
          Henry hands Selena her machete back.
                         
                          HENRY
           My apologies.
                         
          Selena takes the machete and exits, but Jim doesn't follow.
          Obviously there is something he wants to say to Henry.
                         
                         
          INT. STUDY ROOM - NIGHT
                         
          Jim and Henry enter the study room.
                         
                          HENRY
           Drink?
                         
          Henry walks over to a drinks cabinet, and pours two brandies,
          waiting for Jim to speak.
                         
                          JIM
           Look. We're grateful. Very grateful
           for your protection, and just to
           have found other people. But if
           we're going to stay here with you,
           you're going to have to stop your
           men from -
                         
                          HENRY
           Who have you killed?
                         
                          JIM
                          (THROWN)
           I haven't killed anyone.
                         
          Henry hands Jim his drink.
                         
                          HENRY
           Since it began, who have you
           killed? You wouldn't be alive now
           if you hadn't killed somebody.
           76.
                         
                         
          A moment.
                         
                          JIM
           A boy. I killed a boy.
                         
                          HENRY
           A child?
                         
                          JIM
           Yes.
                         
                          HENRY
           But you had to. Otherwise he'd have
           killed you. Survival. I understand.
                          (BEAT)
           I promised them women.
                         
                          JIM
           What?
                         
                          HENRY
           Eight days ago I found Jones with
           his gun in this mouth. He said he
           was going to kill himself because
           there was no future. What could I
           say to him? We kill all the
           infected or wait until they starve
           to death. And then what? What do
           nine men do except wait to die
           themselves?
                          (BEAT)
           I moved us from the blockade, I set
           the radio broadcasting, and I
           promised them women. Because women
           mean children.
                         
          Jim turns and runs out of the room.
                         
                          HENRY
           And children mean a future.
                         
                         
          INT. GIRLS' BEDROOM - NIGHT
                         
          Jim bursts into the girls' bedroom. Selena is dressed,
          sitting next to Hannah, who is awake.
                         
                          JIM
           Get up. Get up!
                         
                          SELENA
           Wha...
           77.
                         
                         
                          JIM
           We've got to get out of here!
                         
                          SELENA
           But we...
                         
                          JIM
           (hauling them up)
           We're leaving. Now! NOW!
                         
                         
          INT. MANSION STAIRS - NIGHT
                         
          Jim and the girls run down the stairs...
                         
          ...heading for the front door.
                         
          But behind it is Mitchell, waiting, holding his SA-80.
                         
          Jim is hit full in the face, and blacks out.
                         
          As he comes around, he can hear the sound of shouting and
          screaming.
                         
          Farrell is backing away from other soldiers, who are closing
          in on him, even though his gun is raised.
                         
                          FARRELL
           You can't do this! You can't do
           this! Get back! I'll fucking slot
           you! I'll slot you, I fucking swear
           it!
                         
          But he doesn't follow his threat through. We hear him scream
          as the soldiers overpower him.
                         
          Jim looks up, and sees Henry is kneeling over him.
                         
                          HENRY
           I want to give you a chance. You
           can be with us, or not.
                         
          Jim stares back at him. And Henry gazes at Jim, searching
          behind Jim's eyes. And understands what he finds.
                         
                          HENRY
           Okay, Jim. Okay.
                         
          Henry gives Jim's cheek a soft pat, then rises.
                         
                          HENRY
                          (TO MITCHELL)
           Him too.
           78.
                         
                         
          Jim's eyes flick to the side, where he sees Selena holding
          Hannah tightly.
                         
          Selena looks down at Jim, terrified.
                         
          Black screen.
                         
                          FARRELL'S VOICE
           He's insane.
                         
                         
          INT. CELLAR
                         
          Jim, blindfolded, is sitting beside a radiator, to which his
          hands are tied.
                         
          He is in a cellar. Farrell is on the other side of the small
          room, also tied.
                         
          Jim, blind, looks around at the sound of Farrell's voice.
                         
                          FARRELL
           You know what they're doing, a few
           hundred miles from here? Across the
           channel, across the Atlantic,
           they're eating dinner. They're
           wondering what to watch on TV
           tonight. They're sleeping next to
           their wives.
                         
          Jim's head turns.
                         
                          FARRELL
           But we're here, chained to a
           fucking radiator because the OC has
           gone insane. Starting the world
           again when the rest of the world
           hasn't even fucking stopped. Think
           about it! How could infection cross
           the oceans? How could it cross the
           mountains and the rivers? They
           stopped it. And right now TVs are
           playing and planes are flying in
           the sky and the world is continuing
           as fucking normal. Think. Actually
           think about it. What would you do
           with a diseased little island?
                         
          A moment.
                         
                          FARRELL
           They quarantined us.
                         
          A moment.
           79.
                         
                         
                          FARRELL
                          (QUIET)
           There is no infection. It's just
           people killing people.
                          (BEAT)
           He's insane.
                         
                          JIM
           ... Quarantine?
                         
          Then the door to the cellar bursts open, revealing Mitchell
          and Jones.
                         
                         
          EXT. TREE-LINED PATH - DAY
                         
          Mitchell and Jones are leading Jim and Farrell through a
          small forest at the back of the mansion garden.
                         
          Time has passed. It has started raining. Both Jim and Farrell
          have been badly beaten. Jim's shirt is ripped. Blood runs
          from his nose, and from a cut on the side of his head. He
          seems dazed. Numbed. More by the situation than his beating.
                         
                         
          EXT. EXECUTION GROUND - DAY
                         
          Jim and Farrell are led into a clearing. Just ahead is a
          high, ivy-covered brick wall - the perimeter wall of the
          mansion. And at the base of the wall are bodies. Stacked,
          tangled, swarming with flies.
                         
          Jim turns, and sees Mitchell and Jones standing behind him.
                         
                          FARRELL
           Come on then, you fucking pansies.
           Do me first.
                         
          Mitchell grins, and pulls out his bayonet.
                         
                          FARRELL
           So you're going to stick me,
           Mitchell? Is that it?
                          (TO JONES)
           Is that how you're going to let
           your sergeant go out, Jones?
                         
                          JONES
           No, Mitch. Do it with the gun.
                         
          Mitchell ignores Jones, and starts to fix the blade to the
          end of his gun.
           80.
                         
                         
                          FARRELL
           You're going to let him stick me,
           are you? Like a fucking dog?
                         
                          JONES
           Mitch, come on. Just shoot him.
                         
                          MITCHELL
           Why?
                         
                          JONES
           Because it's quick.
                         
                          MITCHELL
           So?
                         
          The bayonet fixes home with a click.
                         
                          JONES
           I'll shoot him, then.
                         
                          MITCHELL
           You fucking won't.
                          (TO FARRELL)
           Any last words?
                         
          Farrell spits in Mitchell's face.
                         
                          MITCHELL
           I'm going to enjoy this.
                         
          Mitchell pulls back his bayonet, and at that moment, there is
          an explosion of gunfire. Jones has fired and killed Farrell.
                         
          As Farrell drops, the enraged Mitchell turns on Jones.
                         
                          MITCHELL
           You stupid cunt! What are you
           doing?
                         
          Mitchell knocks Jones down, putting his gun right in Jones's
          face.
                         
                          JONES
                          (WHIRLING)
           How did he...
                         
          They turn. Jim has vanished.
                         
          From the side of the clearing, in the trees, there is the
          sound of sudden movement.
                         
                          JONES
           There!
           81.
                         
                         
          Both men immediately set off, diving back into the foliage...
                         
          A beat passes. Then, in the pile of bodies, one of them sits
          up...
                         
          ...Jim. We have been looking right at him. But in the tangle
          of bodies, and the bloodstained clothes, his camouflage was
          complete.
                         
                         
          EXT. TREES - DAY - LIGHT RAIN
                         
          Mitchell and Jones move fast, scanning, pushing through the
          undergrowth. Mitchell is absolutely furious. And as they run,
          they startle a couple of birds, which fly up from the ground,
          making a suspiciously familiar noise...
                         
          They both have the same realization at the same moment.
                         
                         
          EXT. EXECUTION GROUND - DAY
                         
          Mitchell and Jones burst back into the clearing, and they
          start firing into the bodies, emptying a full clip into the
          corpses...
                         
          ....Silence.
                         
          Then Jones looks up to the ivy-colored wall...following the
          path of the ivy upwards, to the coiled razor wire, where a
          scrap of torn and bloody clothing hangs.
                         
                          JONES
           Oh no. We're fucked, we're fucked.
                         
                          MITCHELL
           No problem. He's outside. No gun.
           No vehicle. He's a dead man.
                         
                         
          EXT. WOODS - DAY
                         
          Jim runs through the woods, away from the mansion. His hands
          are still tied.
                         
          He is out of breath, frightened, jumping at every sound.
                         
          Then he trips, rolls down a short slope, and when he comes to
          rest, he is looking upwards.
                         
          Above him, there is a parting in the clouds, and through the
          parting is blue sky.
           82.
                         
                         
          And across the sky, bisecting the blue, is a single vapor
          trail.
                         
          A pin-prick of silver plane. Followed by a sonic boom. As
          much in Jim's head as anywhere else.
                         
                          CUT TO:
                         
                         
          INT. DOOR - DAY
                         
          Close-up of a closed door, with the sounds of a struggle on
          the other side.
                         
          Then, suddenly, Selena's voice: hard, desperate:
                         
                          SELENA
           You can't do this to her! She's
           only fourteen!
                         
                         
          INT. DRESSING ROOM - DAY - RAIN
                         
          (Note: in the room is a large, freestanding mirror.)
                         
          Hannah and Selena are cornered by Clifton, Bedford, Bell and
          Davis. The soldiers are hyped. Bedford pulls clothes out of a
          wardrobe, yanking out dresses, underwear - throwing them at
          the girls.
                         
          Bell stands by the closed door - frightened, caught like a
          rabbit in the headlights between testosterone madness and the
          horror.
                         
          And Clifton is laughing, animal-like, tearing at Selena's
          clothes, while Hannah is kicking and screaming - held by
          Davis.
                         
          Close-up on Selena: suddenly transfixed by Hannah the young
          girl's fight, the hopelessness.
                         
          Abruptly, Selena turns, grabs Clifton's arm, and to his
          amazement, yanks him around.
                         
          Then she kisses him on the lips. Simply, but unambiguously.
                         
          Bell, Davis and Bedford watch in amazement.
                         
          Selena breaks off.
                         
          The frenzy has been broken by her extraordinary action - and
          bizarrely, so has the balance of power.
           83.
                         
                         
                          SELENA
           You need to give me a moment with
           Hannah. Alone.
                         
          Clifton nods - he seems a little dazed.
                         
                          CLIFTON
           The OC. He... he wants you to...
                         
                          SELENA
           He wants us to dress up nice.
                         
          She picks up two of the dresses Bedford has thrown - the red
          dresses.
                         
                          SELENA
           But if you want us to change,
           you'll have to get out of the room.
                         
          A moment.
                         
                          SELENA
           (calm, powerful)
           It's just fucking polite.
                         
          Another moment.
                         
          Then Clifton nods. Acquiesces.
                         
                          CLIFTON
           (to the others)
           Okay. Clear out.
                         
          They exit.
                         
          Selena stands with Hannah, emptying pills from her Valium
          bottle.
                         
                          SELENA
           Eat them.
                         
          Hannah hesitates.
                         
                          SELENA
                          (HARD)
           Eat them, Hannah!
                         
          Hannah takes the handful of pills and holds them in her open
          palm.
                         
          Then she looks to Selena.
                         
                          HANNAH
           Are you killing me?
           84.
                         
                         
          A moment - maybe a single moment of tenderness, a strand of
          hair brushed from Hannah's face.
                         
                          SELENA
           No. I'm making you not care.
                         
          Locked eyes with Selena, Hannah raises the first pill to her
          mouth. Then the next.
                         
          The door behind opens - revealing the soldiers.
                         
          Clifton sees what is happening.
                         
                          CLIFTON
           Hey! What the fuck are you doing?
                         
          Selena crams the pills into Hannah's mouth.
                         
          The soldiers lunge for the girls, as Hannah tries to swallow
          the pills, and Selena whirls to fight them off...
                         
          ...and at that moment, the sound of distant siren begin to
          rise.
                         
          Everyone freezes.
                         
          Then...
                         
                          SELENA
           Jim.
                         
                          BEDFORD
           He's at the blockade!
                         
                         
          INT. MANSION - STAIRS - DAY - RAIN
                         
          The soldiers run down the stairs.
                         
                          JONES
           He went over the wall! We thought
           he'd be dead sir!
                         
                          HENRY
           Shut up! Davis - you're coming with
           me!
                         
                         
          EXT. BLOCKADE - DAY - RAIN
                         
          Jim stands in the blockade, turning the handle of a siren.
          Rain is pouring down, mingling with the blood on his face.
                         
          Jim stops, and the sound of the siren starts to fade away.
           85.
                         
                         
          From the motorway ahead, through the rain, a jeep is
          approaching.
                         
                         
          EXT. MOTORWAY - LATE AFTERNOON - RAIN
                         
          The jeep drives fast down the motorway, and pulls up. Davis
          is driving and Henry stands on the back, manning the jeep's
          mounted machine gun.
                         
          The jeep pulls up, one hundred meters from the blockade, and
          Henry brings the mounted machine gun to bear on the blockade.
                         
                          HENRY
           Okay. Let's see if we can sidestep
           the cat-and-mouse bullshit.
                         
          Henry opens fire.
                         
                         
          EXT. BLOCKADE - LATE AFTERNOON - RAIN
                         
          Bullet rip through the blockade, punching holes through the
          vehicles, smashing through the packing crates...
                         
                         
          EXT. MOTORWAY - LATE AFTERNOON - RAIN
                         
          Henry stops shooting. With a peal of thunder, the rain
          suddenly begins to flood down.
                         
          The barrel of the machine gun spits and steams as the
          raindrops hit the hot metal.
                         
                         
          EXT. BLOCKADE - LATE AFTERNOON - HEAVY RAIN
                         
          Davis pulls up at the outskirts of the blockade, and they get
          out of the truck.
                         
          Henry and Davis make their way into the blockade. With a
          signal from Henry, the two split up.
                         
                         
          EXT. BLOCKADE - WITH HENRY - LATE AFTERNOON - HEAVY RAIN
                         
          Henry moves through the blockade.
                         
          He lets off a controlled burst of shots into the tents.
                         
                         
          EXT. BLOCKADE - WITH DAVIS - LATE AFTERNOON - HEAVY RAIN
                         
          Stealthily, Davis searches around the trucks and tents...
           86.
                         
                         
          A flash of movement - fast, like an Infected, ducking behind
          one of trucks: Jim.
                         
          Davis wipes the rain from his eyes, and presses forwards.
                         
          Jim is nowhere to be seen.
                         
          Another flash of movement, around the back of the next truck.
                         
          Davis moves around the truck...but Jim is not there.
                         
                          DAVIS
           Fuck.
                         
          Davis turns, and sees...
                         
          ...Jim, flying towards him, holding Frank's lead pipe, lips
          drawn back over his teeth in a rictus smile, murderous.
                         
          He is the vision of the Infected, in his expression, his
          movements, the blood, everything.
                         
                         
          EXT. BLOCKADE - WITH HENRY - LATE AFTERNOON - HEAVY RAIN
                         
          Henry turns, as if having just heard something. Perhaps a
          scream.
                         
                          HENRY
                          (CALLING)
           Jim?
                         
          Another noise. This time it is unambiguously an Infected
          howl. Henry turns again. From down the motorway, and from the
          fields, he can now see the Infected. A large number,
          attracted by noise of the heavy machine gun, are approaching.
                         
          He looses off a couple of shots at the Infected, then starts
          to back away to the jeep.
                         
                         
          EXT. JEEP - LATE AFTERNOON - HEAVY RAIN
                         
          Henry runs up to the jeep. Through the rain, and the water
          running down the windscreen, Henry can see a figure sitting
          at the driver's seat.
                         
                          HENRY
           Davis?
                         
          The figure doesn't move.
                         
          Henry approaches cautiously, gun raised, and finds...
           87.
                         
                         
          ...Davis sitting on the front seat, dead, his skull smashed
          open.
                         
          Henry whirls, expecting to find Jim behind him.
                         
          But there is no one there.
                         
          Henry shoots again, blindly, emptying his clip at anything
          and everything around him.
                         
          He reloads - hurriedly, hands slipping on the wet clip,
          betraying nervousness...
                         
          ...and fires at a rain shadow that sweeps between two of the
          tents. Then his nerve is gone.
                         
                          HENRY
           Fine! Fine, you little bastard!
           Fucking die out here!
                         
          Henry hauls out Davis's body, gets into the driver's seat,
          turning the ignition...
                         
          ...but nothing is happening.
                         
          Henry turns the key again, desperately. The motor doesn't
          even turn over.
                         
          Reaching under the dashboard, he pulls out a handful of
          wires.
                         
                          HENRY
           Jim.
                         
          And at the moment, an Infected slams onto the windscreen,
          face against the glass.
                         
          Henry shouts out of surprise and anger, lifting his gun, and
          fires at point-blank range, through the glass, into the
          Infected's face.
                         
          The windscreen shatters, blown outwards.
                         
          And now, where our view was obscured by rain-washed glass, we
          can see clearly...
                         
          ...Infected, in the blockade, coming through the downpour,
          running towards the jeep.
                         
          Henry opens fire and cuts them down.
           88.
                         
                         
          EXT. MAILER'S PIT - NIGHT - HEAVY RAIN
                         
          Jim appears above Mailer in his pit, and shoots off Mailer's
          chain.
                         
                         
          INT. LIVING ROOM - NIGHT - HEAVY RAIN
                         
          Jones stands holding his gun at Selena and Hannah, who sit on
          the sofas, opposite each other. Also in the room are Clifton,
          standing by the French windows, and Mitchell.
                         
          Jones seems jumpy, a sheen of sweat on his forehead, as if
          sensing that things have gone seriously wrong.
                         
          A flicker of lightning lights up outside.
                         
                          JONES
           What was that? Was that a claymore?
                         
                          MITCHELL
           It was lightning.
                         
                          JONES
           But I heard something.
                         
          A moment. Rain and wind lash the windows.
                         
                          MITCHELL
           I'll go and hit the floods. Take a
           butcher's. Girls, keep an eye on
           him, would you?
                         
          Mitchell exits.
                         
          Jones wipes at the beads of sweat on his upper lip. And in
          noticeable contrast, Hannah is completely calm...
                         
                          HANNAH
           Those pills. I think they're having
           an effect. I can feel them, and...
           I don't feel sleepy, but...
                         
          Her sentence trails off. Then she turns to Jones.
                         
                          HANNAH
                          (TO JONES)
           They've been a long time.
                         
          Jones says nothing.
                         
                          HANNAH
           What are you going to do if they
           don't come back?
           89.
                         
                         
          Jones still says nothing, but the question is clearly hitting
          a nerve.
                         
                          HANNAH
           Will you be the boss if Henry is
           dead? Is that the way if works?
                         
          Selena looks at Hannah quickly.
                         
                          JONES
           Shut up.
                         
                          HANNAH
           I don't think they are coming back.
           I think they've been killed.
                         
                          JONES
           I told you to shut up!
                         
                          SELENA
                          (NERVOUS)
           Hannah...
                         
                          HANNAH
                          (FLAT)
           They're dead.
                         
          Hannah's eyes flick over Jones's shoulder, and something
          fleeting passes over her face.
                         
                          HANNAH
           You're going to be next.
                         
          At that moment, a mine detonates in the mansion grounds.
                         
                          JONES
           Shit!
                         
          At that moment, the floodlights power up...
                         
          ...illuminating Mailer, just on the other side of the French
          windows, just behind Clifton, a split second before he
          smashes through.
                         
          Then he does smash through.
                         
          Clifton is thrown to the ground, with Mailer on top of him.
                         
                          CLIFTON
           Help! Shoot him! Shoot him!
                         
          Jones is hopeless, panicking - fires, and misses.
           90.
                         
                         
          Hannah watches, spaced out. Selena shakes Hannah by the
          shoulders, pulling Hannah upwards.
                         
                          SELENA
           Hannah! Hannah! We have to get out
           of here!
                         
          Mailer vomits blood into Clifton's face.
                         
                         
          INT. HALLWAY - NIGHT - HEAVY RAIN
                         
          Selena and Hannah back out of the living room, through the
          house. Hannah is very doped up.
                         
                          SELENA
           Oh Jesus, Jesus, Hannah, stay with
           it, stay with it.
                         
                          HANNAH
           (relaxed, as she's yanked
                          ALONG)
           Don't worry. I feel fine. Really.
                         
          They reach the front hallway, and the front door bursts
          open...
                         
          Mitchell, with Bedford.
                         
                          MITCHELL
           What the fuck's going on? What's
           all the shouti...
                         
          Mitchell is cut off by a high scream, from down the hall, in
          the direction of the living room.
                         
          All turn, and see...
                         
          ...Jones, running, screaming, out of one doorway, across the
          hallway. He has lost his weapon - and is chased by Mailer,
          but not Clifton. Like a train passing, in half a second they
          are out of sight.
                         
          A moment. Then Mitchell explodes.
                         
                          MITCHELL
                          (TO BEDFORD)
           Don't just fucking stand there! Get
           after them!
           91.
                         
                         
          INT. KITCHEN - NIGHT - HEAVY RAIN
                         
          Mailer chases Jones into the kitchen, but when he enters,
          Jones is nowhere to be seen.
                         
          Mailer turns, and sees Bedford in the kitchen doorway,
          holding his gun.
                         
                          BEDFORD
           What the fuck are you going to do
           now, eh?
                         
          But just as Bedford lifts his gun to shoot Mailer...
                         
          Clifton runs at him, full speed from down the corridor...
                         
          ...and Bedford is knocked sideways by the infected Clifton.
                         
                         
          EXT. MANSION - NIGHT - HEAVY RAIN
                         
          Jim is at the kitchen window, looking in as Bedford is killed
          by Mailer and Clifton.
                         
                         
          INT. KITCHEN - CUPBOARD - NIGHT - HEAVY RAIN
                         
          Jones covers inside a cupboard, hearing Bedford's screams.
                         
                         
          INT. MANSION - STAIRS - NIGHT - HEAVY RAIN
                         
                          MITCHELL
                          (GRABBING SELENA)
           Up! Up!
                         
          Mitchell pushes the girls up the stairs. At the top of the
          staircase, wide-eyed with fear, is Bell.
                         
                          BELL
           Mitchell? What's going on?
                         
                          MITCHELL
           Stay here and defend these stairs
           with your fucking life!
                         
          He turns back to the girls, still holding Selena's arm, and
          Hannah is gone.
                         
          Selena sees her, heading away down towards the corridor.
                         
                          SELENA
           Hannah!
           92.
                         
                         
          Mitchell starts pulling Selena in the opposite direction from
          Hannah.
                         
                         
          INT. DRESSING ROOM - NIGHT - HEAVY RAIN
                         
          Hannah runs into the dressing room.
                         
          The freestanding mirror sits in the middle of the floor.
                         
          Also on the floor are her clothes, and she starts to look
          through them, looking for her jeans...
                         
          ...which she lifts up, then digs in the pocket, and pulls
          out...a photo of her with Frank and her mother.
                         
          She gazes at the photo.
                         
          At that moment, there is a noise from behind her.
                         
          She looks up, and sees, in the reflection of the mirror,
          Clifton, running down the corridor towards her.
                         
          With Clifton: we burst into the dressing room, which is now
          empty.
                         
          Clifton freezes, then looks around.
                         
          And the camera pulls back, to reveal Hannah, clinging on to
          the back of the large mirror, trembling.
                         
          A moment - then Clifton moves on.
                         
                         
          INT. KITCHEN - NIGHT - HEAVY RAIN
                         
          Silence in the kitchen. Bedford lies dead, torn to pieces.
                         
          A cupboard creaks slowly open, and Jones peers out. He has
          been hiding.
                         
          Trembling with fear, he crawls out...moves into the
          kitchen...peers out into the hall.
                         
          It is empty.
                         
          Jones starts running. Down the corridor outside the kitchen.
                         
                         
          INT. FRONT HALL - NIGHT - HEAVY RAIN
                         
          Jones runs into the front hall...
                         
          And suddenly stops. Dead in his tracks.
           93.
                         
                         
          Jim is standing right in front of him.
                         
          Jones looks surprised, wide eyed. His mouth opens, but no
          sound comes out.
                         
          Pull back, to see: Jones has run straight into Jim's bayonet.
                         
          Jones falls, taking the gun and bayonet with him.
                         
          Jim steps over his body, and into the house...
                         
                         
          INT. RADIO ROOM - NIGHT - HEAVY RAIN
                         
          Jim runs through the radio room.
                         
          In the break between two blasts of lightning, the room goes
          dark.
                         
          When it is re-illuminated, Jim has gone, and Mailer and
          Clifton have entered.
                         
                         
          INT. MANSION - STAIRS - NIGHT - HEAVY RAIN
                         
          Jim runs up the stairs.
                         
                         
          EXT. MANSION - NIGHT - HEAVY RAIN
                         
          Henry walks into the front hall, where he finds Jones.
                         
          Jones is lying flat on his back, mortally wounded, gazing up.
          Still alive - but only just. Taking his very last breaths.
                         
          Henry kneels beside him, and Jones's eyes turn to his
          officer. He blinks, tries to speak, but is too weak and close
          to death to form the words.
                         
          Henry's hand closes around Jones.
                         
          Jones blinks once more. And dies.
                         
                         
          INT. MANSION - CORRIDOR - NIGHT - HEAVY RAIN
                         
          Jim runs down a corridor.
                         
          He tries a door. Locked.
                         
                          JIM
           Hannah! Selena!
                         
          He tries another door. Open.
           94.
                         
                         
          He runs through...
                         
                         
          INT. CHILD'S BEDROOM - NIGHT - HEAVY RAIN
                         
          ...into a kid's bedroom.
                         
          Jim moves a sofa to block the doorway - which, as it is
          moved, reveals...
                         
          ...Bell, hiding, cowering, terrified. Foetal.
                         
                          BELL
                          (WHIMPERING)
           I don't have any bullets! I don't
           have any fucking bullets!
                         
          Mailer and Clifton outside try to force their way through,
          and the sofa jumps forwards an inch.
                         
          An Infected arm flails through the half-open door.
                         
          Jim leaves Bell, and climbs out the window.
                         
          As Jim exits, the door to the room bursts open.
                         
                          BELL
                          (SCREAMING)
           Don't leave me!
                         
                         
          EXT. LEDGE - NIGHT - HEAVY RAIN
                         
          Jim climbs along the outside ledge, around the corner of the
          building.
                         
          Behind him, we can hear Bell screaming as he is killed.
                         
          Jim keeps going until he reaches the slope of the mansion's
          pitched roof.
                         
          There, he finds a skylight window.
                         
                         
          INT. MANSION - BASEMENT CORRIDOR - NIGHT - HEAVY RAIN
                         
          Henry moves into a basement corridor.
                         
          Then pauses.
                         
          There is the sound of movement.
                         
          An Infected howl.
           95.
                         
                         
          Then suddenly, pouring out from every door and shadow ahead,
          come a rush of Infected.
                         
          Henry opens fire, a volley into them as he backs away fast...
                         
          ...to a door, which he slams and bolts behind him.
                         
                         
          INT. CORRIDOR - NIGHT - HEAVY RAIN
                         
          Mitchell is holding Selena in one hand, and his gun in the
          other, dragging her down a corridor.
                         
          The howls of the Infected fill the house.
                         
                          SELENA
           Hannah!
                         
                          MITCHELL
           Shut your fucking mouth! You want
           to get us killed?
                         
          Mitchell opens a door...
                         
          ...which leads nowhere. The floor of the room through the
          open door is missing.
                         
          And below, in the basement-level corridor, the space is full
          of the Infected.
                         
          They look up at Mitchell, and Mitchell looks down at them.
                         
          A vision of writhing Hell. They are a mass of faces and
          bodies. Some are appalling wounded. Some are half-dressed in
          ragged clothes. Some are naked.
                         
                          MITCHELL
           ...Shit.
                         
          He pulls Selena away, towards another door.
                         
                          MITCHELL
           In here! IN HERE!
                         
                         
          INT. MANSION - BASEMENT CORRIDOR - NIGHT - HEAVY RAIN
                         
          Henry is in the basement corridor, on the other side of the
          door he has bolted.
                         
          Ahead, there is movement - rapid.
                         
          Henry looks to the source, and sees: Clifton, running from
          the front hall towards him, clearly infected.
           96.
                         
                         
          No alarm registers on Henry's face.
                         
          As Clifton sprints towards him, Henry remains still. Then, at
          the last moment he closes his eyes...
                         
          ...and fires.
                         
          Clifton is hit, falls.
                         
          Henry opens his eyes.
                         
                         
          INT. ATTIC - NIGHT - HEAVY RAIN
                         
          Jim enters the skylight window, into an attic, positioned
          above the girls' bedroom.
                         
          In the floor is a hole, and through it he can see Mitchell
          and Selena.
                         
                         
          INT. GIRLS' BEDROOM - NIGHT - HEAVY RAIN
                         
          Selena and Mitchell stand in the middle of the room.
                         
          In the room are Selena and Hannah's bags, Selena's machete,
          lying by the side of the bed. She can see it, but...
                         
          ...Mitchell is holding her tight. He has his gun trained on
          the door, facing away from the window.
                         
                          MITCHELL
           It's me and you, now. And I'm going
           to get you out of here, and then
           we're going to find some nice
           little fucking place, with a pretty
           little fucking garden, and...
                         
          Jim drops down from the attic.
                         
          Mitchell turns, but is knocked off balance by Selena
          squirming out of his grip...then Jim is on him.
                         
          With incredible viciousness, the power and savagery of the
          infected, Jim beats Mitchell to death. He smashes his head
          against the wall. Then he throws Mitchell to the ground, and
          jams his thumbs in Mitchell's eyes.
                         
          When it is over, Jim looks up.
                         
          Selena stands, holding her machete. She is frozen by the
          sight of him. The blood on his face. The matted hair. He is
          the image of an infected.
           97.
                         
                         
          Jim stands and takes a step towards her. Selena remains,
          motionless, watching him approach.
                         
          Then, just as he is about to reach her, her arm flashes
          upwards, holding the machete, to cut Jim down...
                         
          ...but she hesitates. She can't do it.
                         
          A moment. Then...
                         
                          JIM
           That was longer than a heartbeat.
                         
                          SELENA
           ...Jim?
                         
          Jim moves forwards, and kisses her. Simply. Hard. Then pulls
          back, leaving a trace of blood on her lips.
                         
          Behind Jim's back, the door opposite, in the corridor,
          silently swings open.
                         
                          SELENA
           I thought...I thought you were...
                         
          Jim moves forwards, and they kiss. Passionately.
                         
          Then Jim breaks off.
                         
                          JIM
           Listen to me. I've got to tell you -
           I've got to tell you. The world
           isn't fucked. It's going to be
           okay. We've got a chance, if we can
           get to...
                         
          Selena interrupts him, by continuing the kiss.
                         
          And Jim responds.
                         
          As, behind him, a small figure in a red dress slip into the
          room.
                         
          Then a vase smashes over the back of Jim's head.
                         
                          JIM
           Ow!
                         
          He reels back, and Hannah is on him, jumping on his back,
          hitting him with her fists.
                         
                          SELENA
           Hannah! Stop! It's okay!
           98.
                         
                         
          Hannah breaks off.
                         
                          SELENA
           He's not infected!
                         
                          HANNAH
           I thought he was biting you.
                         
                          JIM
           (holding the back of his
                          HEAD)
           I was kissing her!
                          (BREAKS OFF)
           Are you stoned?
                         
                          SELENA
           It's a long story.
                         
          They are interrupted by the sounds of Infected howling.
                         
                          SELENA
           We have to get out of here.
                         
                         
          INT. MANSION - NIGHT - HEAVY RAIN
                         
          Jim, Selena and Hannah run out of the house, through the
          front hall, to the cab.
                         
          Hannah gets in the driver's seat...
                         
          ...and Jim yanks open the back door, ready to pile into the
          back only to find...
                         
          ...Henry. Sitting on the fold-down back seat. Holding his
          gun.
                         
                          HENRY
           You killed all my boys.
                         
          Henry pulls the trigger - a single shot. Jim is hit in the
          stomach and falls backwards into Selena's arm.
                         
                          SELENA
           Jim!
                         
                         
          INT. CAB - NIGHT - HEAVY RAIN
                         
          Hannah floors the accelerator.
                         
          But instead of going forward, the cab reverses.
           99.
                         
                         
          EXT. MANSION - NIGHT - HEAVY RAIN
                         
                          HENRY
           What...Hannah! Hannah?
                         
          The cab reverses fast, then Hannah slams the brakes. The cab
          slides to a halt.
                         
          An Infected slams against Henry's window.
                         
          At that moment, the back windscreen smashes.
                         
          The hands of the Infected grab hold of Henry's head.
                         
          Hannah watches, turned around in the seat.
                         
          Henry scream - and we see it's Mailer's face behind him.
                         
          Hannah floors the accelerator again, but this time in forward
          gear. Henry is sucked out of the back window.
                         
                         
          EXT. CAB - NIGHT - HEAVY RAIN
                         
          The cab screeches up to Jim and Selena.
                         
          Selena bundles Jim in, and the cab is off in a spray of
          gravel...
                         
                         
          INT. FRONT HALL - NIGHT - HEAVY RAIN
                         
          As Henry is killed by Mailer, the silhouettes of the Infected
          appear in the shadows.
                         
                         
          INT. CAB - NIGHT - HEAVY RAIN
                         
          The cab races towards the cast-iron front gates of the
          mansion - and we see they are locked with a chain and
          padlock.
                         
                          SELENA
           We're going to crash!
                         
          The gates loom. Hannah speeds towards them.
                         
                          SELENA
           We're going to crash!
                         
                          JIM
           Just fucking do it!
           100.
                         
                         
          Hannah reaches and buckles her seat belt. Jim and Selena
          brace for impact...
                         
          They hit the gates, hard. Jim and Selena fly towards the
          perspex divider.
                         
          Freeze. Held.
                         
           FADE TO BLACK:
                         
                          28 DAYS LATER
                         
           FADE UP TO:
                         
                         
          EXT. FIELD - DAY
                         
          A green field, with three white letters laid out across the
          grass. Spelling:
                         
                          HELL
                         
          INT. FARMHOUSE - BEDROOM - DAY
                         
          Waking from a nightmare, Jim's eyes snap open with a sharp
          intake of breath.
                         
          An echo of when we first saw him lying in the hospital. But
          this time, when we pull away, we see he is lying on a double
          bed, in the bedroom of a small farmhouse.
                         
          Alone. But Selena's clothes are scattered.
                         
          Jim rises.
                         
          He looks around. Bright daylight is flooding into the room
          through the window.
                         
                          JIM
           Jesus. Not the curtains too.
                         
                         
          INT. FARMHOUSE - DAY
                         
          Jim walks down the stairs and peers into a living room -
          where he sees the sofa, with its cover removed.
                         
                         
          INT. FARMHOUSE - KITCHEN - DAY
                         
          Jim enters - to find Selena sitting surrounded by lengths of
          material which she is stiching together.
           101.
                         
                         
          He picks up a length of red material. Once part of the dress.
                         
                          JIM
           You looked all right in this, you
           know.
                         
          Selena ignores him.
                         
          Jim walks to the front door and opens it.
                         
          Pull back to reveal...
                         
                         
          EXT. FARMHOUSE - DAY
                         
          A stunning view.
                         
          A Lakeland valley, with a single farmhouse, and the black cab
          parked outside.
                         
          Also outside is Hannah, who is arranging huge lengths of
          material on the grass.
                         
          From our ground-level angle, there is no sense to be made of
          what Hannah is doing.
                         
          And we keep pulling back...
                         
                         
          EXT. LAKELAND VALLEY - DAY
                         
          ...fast, down the valley, along a single ribbon of road.
                         
          Past a sign: Langdale Valley...
                         
          Further, now over a mile distant from the farmhouse, then:
                         
          Stopping, abruptly.
                         
          At a single Infected, who sits, emaciated, in the middle of
          the road.
                         
          A quiet moment with the starving emaciated Infected. It is so
          weak it can hardly move. Only blink.
                         
          Then, in the background, a distant rush of noise, the low
          roar of a jet engine.
                         
          Slowly, the Infected turns its head upwards, where, in the
          clear blue sky, it sees:
                         
          A vapor trail.
                         
          A plane.
           102.
                         
                         
          EXT. VALLEY - DAY
                         
          A silent bird's eye view, looking down, at the valley floor
          and the farmhouse.
                         
          Where, outside, we now make sense of the stitched sheets and
          curtains, as they form letters on the grass below:
                         
                          HELL
          But tiny figures are forming a new letter. An O:
                         
                          HELLO
          Then, in the background, the sound of the jet, the rush of
          noise.
                         
                          HANNAH
           There! THERE!
                         
                          CUT TO:
                         
          Jim, Hannah and Selena look down the valley, where...
                         
          ...screaming towards them, flying low along the valley floor,
          comes a jet plane.
                         
          They stand transfixed as the plane races towards them.
                         
          As it passes over, flying directly overhead, the terrific
          wash of air and noises whips around them, connected with a
          colossal sonic boom...
                         
          The boom rolls away, and the plane has passed...
                         
          Around Jim, Selena and Hannah, the sheets and material of the
          letters, ripped into the air, now spiral to the ground,
          falling around them.
                         
                          JIM
           Do you think he saw us this time?
                         
           CUT TO BLACK:
                         
           THE END

]]></description>
      <pubDate>Tue, 29 Nov 2022 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/veinfm-6cRz_C0k</link>
      <enclosure length="47393339" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/c1aeae51-90ef-476e-89fb-83876f92766e/audio/b68a0f6e-5344-4d91-96c3-333a93c83437/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Vein.fm</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:49:22</itunes:duration>
      <itunes:summary>https://www.youtube.com/watch?v=ncFy1zRA9HM

28 DAYS LATER
                         
                         
                         
                           Written by
                         
                          Alex Garland






          CLOSE ON A MONITOR SCREEN:
                         
          Images of stunning violence. Looped.
                         
          Soldiers in a foreign war shoot an unarmed civilian at point-
          blank range; a man is set on by a frenzied crowd wielding
          clubs and machetes; a woman is necklaced while her killers
          cheer and howl.
                         
          Pull back to reveal that we are seeing one of many screens in
          a bank of monitors, all showing similar images...
                         
          Then revealing that the monitors are in a...
                         
                         
          INT. SURGICAL CHAMBER - NIGHT
                         
          ...surgical chamber. And watching the screens is a...
                         
          ...chimp, strapped to an operating table, with its skull
          dissected open, webbed in wires and monitoring devices,
          muzzled with a transparent guard. Alive.
                         
          Behind the surgical chamber, through the wide doorframe, we
          can see a larger laboratory beyond.
                         
                         
          INT. BRIGHT CORRIDOR - NIGHT
                         
          A group of black-clad ALF Activists, all wearing balaclavas,
          move down a corridor. They carry various gear - bag, bolt
          cutters.
                         
          As they move, one Activist reaches up to a security camera
          and sprays it black with an aerosol paint can.
                         
                         
          INT. LABORATORY - NIGHT
                         
          The Activists enter the laboratory.
                         
                          CHIEF ACTIVIST
           Fucking hell...
                         
          The Chief Activist takes his camera off his shoulder and
          starts taking photos.
                         
          The room is huge and long, and darkened except for specific
          pools of light. Partially illuminated are rows of cages with
          clear perspex doors. They run down either side of the room.
          In the cages are chimpanzees.
           2.
                         
                         
          Most are in a state of rabid agitation, banging and clawing
          against the perspex, baring teeth through foam-flecked
          mouths.
                         
          They reach the far end of the lab, where on a huge steel
          operating table they see the dissected chimp.
                         
                          FEMALE ACTIVIST
           Oh God...
                         
          The dissected chimp&apos;s eyes flick to the Activists. Blood
          wells from around the exposed brain tissue.
                         
          Tears starts to roll down the Female Activist&apos;s cheeks.
                         
                          CHIEF ACTIVIST
           (to Female Activist)
           Keep your shit together. If we&apos;re
           going to get them out of here...
                         
          The Finnish Activist is checking the perspex cages.
                         
                          FINNISH ACTIVIST
           I can pop these, no problem.
                         
                          CHIEF ACTIVIST
           So get to it.
                         
          The Finnish Activist raises his crowbar and sticks it around
          the edge of one of the doors - about to prise it open.
                         
          At the moment, the doors to the laboratory bang open.
                         
          The Activists all turn. Standing at the entrance is the
          Scientist.
                         
          A pause. The Scientist jumps to a telephone handset on the
          wall and shouts into the receiver.
                         
                          SCIENTIST
           Security! We have a break-in! Get
           to sector...
                         
          A hand slams down the disconnect button.
                         
                          SCIENTIST
           ...nine.
                         
          The Chief Activist plucks the receiver from the Scientist&apos;s
          hands, and then rips the telephone from the wall.
                         
          A beat.
           3.
                         
                         
                          SCIENTIST
           I know who you are, I know what you
           think you&apos;re doing, but you have to
           listen to me. You can&apos;t release
           these animals.
                         
                          CHIEF ACTIVIST
           If you don&apos;t want to get hurt, shut
           your mouth, and don&apos;t move a
           fucking muscle.
                         
                          SCIENTIST
                          (BLURTS)
           The chimps are infected!
                         
          The Activists hesitate, exchanging a glance.
                         
                          SCIENTIST
           (continuing; stumbling,
                          FLUSTERED)
           These animals are highly
           contagious. They&apos;ve been given an
           inhibitor.
                         
                          CHIEF ACTIVIST
           Infected with what?
                         
                          SCIENTIST
           Chemically restricted, locked down
           to a... a single impulse that...
                         
                          CHIEF ACTIVIST
           Infected with what?
                         
          The Scientist hesitates before answering.
                         
                          SCIENTIST
           Rage.
                         
          Behind the Activists, the bank of monitors show the faces of
          the machete-wielding crowd.
                         
                          SCIENTIST
           (desperately trying to
                          EXPLAIN)
           In order to cure, you must first
           understand. Just imagine: to have
           power over all the things we feel
           we can&apos;t control. Anger,
           violence...
                         
                          FINNISH ACTIVIST
           What the fuck is he talking about?
           4.
                         
                         
                          CHIEF ACTIVIST
           We don&apos;t have time for this shit!
           Get the cages open!
                         
                          SCIENTIST
           No!
                         
                          CHIEF ACTIVIST
           We&apos;re going, you sick bastard, and
           we&apos;re taking your torture victims
           with us.
                         
                          SCIENTIST
           NO! You must listen! The animals
           are contagious! The infection is in
           their blood and saliva! One bite
           and...
                         
                          FEMALE ACTIVIST
           They won&apos;t bite me.
                         
          The Female Activist crouches down to face the wild eyes of
          the infected chimp behind the perspex.
                         
                          SCIENTIST
           STOP! You have no idea!
                         
          The Scientist makes a desperate lunge towards her, but the
          Chief Activist grabs him.
                         
                          FEMALE ACTIVIST
           Good boy. You don&apos;t want to bite
           me, do you?
                         
          The Female Activist gives a final benign smile, then the
          Finnish Activist pops open the door.
                         
                          SCIENTIST
           NO!
                         
          Like a bullet from a gun, the infected chimp leaps out at the
          Female Activist - and sinks its teeth into her neck. She
          reels back as the chimp claws and bites with extraordinary
          viciousness.
                         
          At the same moment, a deafening alarm begins to sound.
                         
                          FEMALE ACTIVIST
                          (SHRIEKING)
           Get it off! Get if off!
                         
          The Finnish Activist rips the ape off and throws it on to the
          floor. The infected chimp immediately bites into the man&apos;s
          leg. He yells with pain, and tries to kick it off.
           5.
                         
                         
          Behind him, the Female Activist has started to scream. She
          doubles up, clutching the side of her head.
                         
                          FEMALE ACTIVIST
           I&apos;m burning! Jesus! Help me!
                         
                          SCIENTIST
           We have to kill her!
                         
                          FEMALE ACTIVIST
           I&apos;m burning! I&apos;m burning!
                         
                          CHIEF ACTIVIST
           What&apos;s...
                         
                          SCIENTIST
           We have to kill her NOW!
                         
          Meanwhile, the Female Activist&apos;s cries have become an
          unwavering howl of pain - and she is joined by the Finnish
          Activist, whose hands have also flown to the side of his
          head, gripping his temples as if trying to keep his skull
          from exploding.
                         
                          CHIEF ACTIVIST
           What&apos;s wrong with them?
                         
          The Scientist grabs a desk-lamp base and starts running
          towards the screaming Female Activist...
                         
          ...who has ripped off her balaclava - revealing her face -
          the face of an Infected.
                         
          She turns to the Scientist.
                         
                          SCIENTIST
           Oh God.
                         
          She leaps at him. He screams as they go tumbling to the
          ground.
                         
          The Chief Activist watches in immobile horror as she attacks
          the Scientist with amazing ferocity.
                         
                         
          INT. CORRIDOR - NIGHT
                         
          Another ACTIVIST makes his way down the corridor towards the
          lab.
                         
                          ACTIVIST
                          (HISSES)
           Terry? Jemma?
           6.
                         
                         
          No answer.
                         
                          ACTIVIST
           Mika? Where are you?
                         
          He reaches the door to the lab, which is closed - and...
                         
          ...as he opens it, we realize the door is also soundproofed.
                         
          A wall of screaming hits him.
                         
          He stands in the doorway - stunned by the noise, and then the
          sight.
                         
          Blood, death, and his colleagues, all Infected.
                         
                          ACTIVIST
           Bloody hell.
                         
          The Infected rush him.
                         
           FADE TO BLACK.
                         
                         
                         TITLE:
                         
                          28 DAYS LATER
                         
                         
          INT. HOSPITAL ROOM - LATE AFTERNOON
                         
          Close up of Jim, a young man in his twenties, wearing pale
          green hospital pyjamas. He has a month&apos;s beard, is
          dishevelled, and asleep.
                         
          We pull back to see that Jim is lying on a hospital bed, in a
          private room. Connected to his arms are multiple drips, a
          full row of four or five on each side of his bed. Most of the
          bags are empty.
                         
          Jim&apos;s eyes open.
                         
          He looks around with an expression of confusion. Then he sits
          up. He is weak, but he swings his legs off the bed and
          stands. The attached drips are pulled with him and clatter to
          the floor.
                         
          Jim winces, and pulls the taped needles from his arm.
                         
                          JIM
           Ow...
                         
          His voice is hoarse, his mouth dry. Massaging his throat, he
          walks to the door.
           7.
                         
                         
          INT. COMA WARD - LATE AFTERNOON
                         
          The door to Jim&apos;s hospital room is locked. The key is on the
          floor. He picks it up and opens the door.
                         
          Jim exits into a corridor.
                         
          At the far end, a sign read: COMA WARD. There is no sign of
          life or movement.
                         
          Jim walks down the corridor. One of the doors is half-open.
          From inside, there is the sound of buzzing flies.
                         
                         
          INT. HOSPITAL WARDS - LATE AFTERNOON
                         
          Jim moves as quickly as he can through the hospital, still
          weak, but now driven by adrenaline.
                         
          All the wards and corridors are deserted. Medical notes and
          equipment lie strewn over the floors, trolleys are upended,
          glass partition doors are smashed. In a couple of places,
          splashes of dried blood arc up the walls.
                         
          He reaches A&amp;E. On one wall is a row of public pay phones.
                         
          He lifts a receiver, and the line is dead. He goes down the
          line, trying them all.
                         
          In the corner of the A&amp;E reception is a smashed soft-drinks
          machine, with a few cans collected at the base.
                         
          Jim grabs one, rips off the ring-pull and downs it in one go.
          Then he grabs another, and heads for the main doors.
                         
                         
          EXT. HOSPITAL - LATE AFTERNOON
                         
          Jim exits and walks out into the bright daylight of the
          forecourt. The camera begins to pull away from him.
                         
                          JIM
           Hello?
                         
          Aside from a quiet rush of wind, there is silence. No
          traffic, no engines, no movement. Not even birdsong.
                         
                         
          EXT. LONDON - SUNDOWN
                         
          Jim walks through the empty city, from St. Thomas&apos;s Hospital,
          over Westminster Bridge, past the Houses of Parliament, down
          Whitehall, to Trafalgar Square.
           8.
                         
                         
          A bright overhead sun bleaches the streets. A light drifts
          litter and refuse. Cars lie abandoned, shops looted.
                         
          Jim is still wearing his hospital pyjamas, and carries a
          plastic bag full of soft-drink cans.
                         
                         
          EXT. CENTRAL LONDON ROAD/CHURCH - NIGHT
                         
          Jim walks. Night has fallen. He needs to find a place to
          rest...
                         
          He pauses. Down a narrow side street is a church. He walks
          towards it. The front doors are open.
                         
                         
          INT. CHURCH - NIGHT
                         
          Jim walks inside, moving with the respectful quietness that
          people adopt when entering a church.
                         
          The doors ahead to the main chamber are closed. Pushing them,
          gently trying the handle, it is obvious they are locked. But
          another open door is to his left. He goes through it.
                         
                         
          INT. CHURCH - STAIRWELL - NIGHT
                         
          Jim moves up a stairwell.
                         
          Written large on the wall is a single line of graffiti:
          REPENT. THE END IS EXTREMELY FUCKING NIGH
                         
                         
          INT. CHURCH - GALLERY LEVEL - NIGHT
                         
          Jim moves into the gallery level, and sees, through the dust
          and rot, ornate but faded splendor. At the far end, a stained-
          glass window is illuminated by the moonlight.
                         
          Jim pads in, stands at the gallery, facing the stained-glass
          window for a moment before looking down...
                         
          Beneath are hundreds of dead bodies. Layered over the floor,
          jammed into the pews, spilling over the altar. The scene of
          an unimaginable massacre.
                         
          Jim stands, stunned. Then sees, standing motionless at
          different positions facing away from him, four people.
                         
          Their postures and stillness make their status unclear. Jim
          hesitates before speaking.
           9.
                         
                         
                          JIM
           ...Hello?
                         
          Immediately, the four heads flick around. Infected.
                         
          And the next moment, there is the powerful thump of a door at
          the far end of the gallery.
                         
          Jim whirls to the source as the Infected below start to move.
                         
          The door thumps again - another stunningly powerful blow, the
          noise echoing around the chamber.
                         
          Confused, fist closing around his bag of soft drinks, Jim
          steps onto the gallery, facing the door...
                         
          ...and it smashes open.
                         
          Revealing an Infected Priest - who locks sight on Jim, and
          starts to sprint.
                         
                          JIM
           Father?
                         
          The Priest is half way across the gallery
                         
                          JIM
           Father, what are you...
                         
          And now the moonlight catches the Priest&apos;s face. Showing
          clearly: the eyes. The blood smeared and collected around his
          nose, ears, and mouth. Darkened and crusted, accumulated over
          days and weeks. Fresh blood glistening.
                         
                          JIM
           Jesus!
                         
          In a movement of pure instinct, Jim swings the bag just as
          the Priest is about to reach him - and connects squarely with
          the man&apos;s head.
                         
                          JIM
           Oh, that, was bad, that was bad...
           I shouldn&apos;t have done that...
                         
          He breaks into a run...
                         
                         
          INT. CHURCH - STAIRWELL - NIGHT
                         
          Down the stairwell...
           10.
                         
                         
          INT. CHURCH - NIGHT
                         
          ...into the front entrance, where the locked door now strains
          under the blows of the Infected inside.
                         
                          JIM
           Shit.
                         
                         
          EXT. CHURCH - NIGHT
                         
          Jim sprints down the stone steps.
                         
          As he reaches the bottom the doors are broken open, and the
          Infected give chase.
                         
                         
          EXT. CENTRAL LONDON ROAD - NIGHT
                         
          Jim runs - the Infected have almost reached him.
                         
          A hand fires up a Zippo lighter, and lights the rag of a
          Molotov cocktail.
                         
          As Jim runs, something flies past his head, and the Infected
          closest to him explodes in a ball of flame.
                         
          Jim turns, and sees as another Molotov cocktail explodes,
          engulfing two in the fireball.
                         
          He whirls, now completely bewildered.
                         
                          WOMAN&apos;S VOICE
           HERE!
                         
          Another Molotov cocktail explodes. The Infected stagger from
          the blaze, on fire.
                         
                          WOMAN&apos;S VOICE
           OVER HERE!
                         
          Jim whirls again, and sees, further down the road...
                         
          ...Selena, a black woman, also in her twenties. She wears a
          small backpack, a machete is stuck into her belt - and she
          holds a lit Molotov cocktail in her hand.
                         
          ...Mark, a tall, good-looking man - throwing another bottle.
                         
          It smashes on the head of the last Infected, bathing it in
          flame...
                         
          The burning Infected bumps blindly into a car. Falls. Gets up
          again.
           11.
                         
                         
          Blindly, it staggers off the road, into a petrol station -
          where an abandoned car has run over on the pumps.
                         
          The ground beneath it suddenly ignites, and the petrol
          station explodes.
                         
                         
          EXT. SIDE STREET - NIGHT
                         
          Selena and Mark lead Jim into a side street.
                         
                          JIM
                          (DAZED)
           Those people! Who were... who...
                         
                          MARK
           This way! Move it!
                         
          Jim allows himself to be hurried along.
                         
                         
          EXT. SHOP - NIGHT
                         
          Selena stops outside a newsagent&apos;s shop. The shop&apos;s door and
          windows are covered with a metal security grill, but the
          grill over the door lock has been prised away enough for
          Selena to slip her hand through to the latch.
                         
                         
          INT. SHOP - NIGHT
                         
          Inside, most of the shelves have been emptied of
          confectionery. Newspapers and magazines litter the floor. The
          magazine covers of beautiful girls and sports cars have
          become instant anachronisms.
                         
          At the back of the shop, a makeshift bed of sheets and
          sleeping bag is nestled. This has obviously been Selena and
          Mark&apos;s home for the last few days.
                         
                         
          INT. NEWSAGENT - NIGHT
                         
          Jim, Mark and Selena enter the newsagent&apos;s and pull down the
          grill.
                         
                          MARK
           A man walks into a bar with a
           giraffe. They each get pissed. The
           giraffe falls over. The man goes to
           leave and the barman says, you
           can&apos;t leave that lying there. The
           man says, it&apos;s not a lion. It&apos;s a
           giraffe.
           12.
                         
                         
          Silence.
                         
          Mark pulls off his mask and turns to Selena.
                         
                          MARK
           He&apos;s completely humorless. You two
           will get along like a house on
           fire.
                         
          Selena, who has already taken off her mask, ignores Mark.
                         
                          SELENA
           Who are you? You&apos;ve come from a
           hospital.
                         
                          MARK
           Are you a doctor?
                         
                          SELENA
           He&apos;s not a doctor. He&apos;s a patient.
                         
                          JIM
           I&apos;m a bicycle courier. I was riding
           a package from Farringdon to
           Shaftesbury Avenue. A car cut
           across me... and then I wake up in
           hospital, today... I wake up and
           I&apos;m hallucinating, or...
                         
                          MARK
           What&apos;s your name?
                         
                          JIM
           Jim.
                         
                          MARK
           I&apos;m Mark. This is Selena.
                          (BEAT)
           Okay, Jim. We&apos;ve got some bad news.
                         
          Selena starts to tell her story, and as the story unfolds we
          see the images she describes.
                         
                          SELENA
           It began as rioting. And right from
           the beginning, you knew something
           bad was going on because the
           rioters were killing people. And
           then it wasn&apos;t on the TV anymore.
           It was in the street outside. It
           was coming through your windows. We
           all guessed it was a virus. An
           infection. You didn&apos;t need a doctor
           to tell you that. It was the blood.
           13.
                         
                         
           Something in the blood. By the time
           they tried to evacuate the cities,
           it was already too late. The
           infection was everywhere. The army
           blockades were overrun. And that
           was when the exodus started. The
           day before the radio and TV stopped
           broadcasting there were reports of
           infection in Paris and New York. We
           didn&apos;t hear anything more after
           that.
                         
                          JIM
           Where are your families?
                         
                          MARK
           They&apos;re dead.
                         
                          SELENA
           Yours will be dead too.
                         
                          JIM
           No... No! I&apos;m going to find them.
           They live in Greenwich. I can walk.
           (heading for the exit)
           I&apos;m going to... to go and...
                         
                          SELENA
           You&apos;ll go and come back.
                         
                          JIM
           (pulling at the grill)
           Yes! I&apos;ll go and come back.
                         
                          MARK
           Rules of survival. Lesson one - you
           never go anywhere alone, unless
           you&apos;ve got no choice. Lesson two -
           you only move during daylight,
           unless you&apos;ve got no choice. We&apos;ll
           take you tomorrow. Then we&apos;ll all
           go and find your dead parents.
           Okay?
                         
                         
          EXT. TRAIN TRACKS - DAY
                         
          Jim, Selena and Mark walk along the Docklands Light Railway
          in single file. Ahead is a train.
                         
          Behind the train, as if spilled in its wake, are abandoned
          bags, suitcases, backpacks.
                         
          Mark drops pace to let Jim catch up.
           14.
                         
                         
                          MARK
           How&apos;s your head? Fucked?
                         
          No reply.
                         
                          MARK
           (gesturing at the city)
           I know where your head is. You&apos;re
           looking at these windows, these
           millions of windows, and you&apos;re
           thinking - there&apos;s no way this many
           people are dead. It&apos;s just too many
           windows.
                         
          Mark picks up a handbag from the tracks.
                         
                          MARK
           The person who owned this bag.
           Can&apos;t be dead.
                         
          Mark reaches in and starts to pull things out as they walk,
          discarding the personal possessions.
                         
                          MARK
           A woman - (car keys) - who drove a
           Nissan Micra - (teddy) - and had a
           little teddy bear - (condoms) - and
           carried protection, just in case.
                         
          Marks tosses the condoms behind him.
                         
                          MARK
                          (DRY)
           Believe me, we won&apos;t need them
           anymore than she will.
                         
          He hands the bag to Jim and walks ahead.
                         
          Jim pulls out a mobile phone.
                         
          He switches it on.
                         
          It reads: SEARCHING FOR NETWORK.
                         
          The message blinks a couple of times. Then the screen goes
          blank.
                         
          Jim looks left.
                         
          He is now alongside the train. The inside of the windows are
          smeared with dried blood. Pressed against the glass is the
          face of a dead man.
           15.
                         
                         
          Jim drops the phone and breaks into a run - running past Mark
          and Selena.
                         
                          MARK
                          (HISSING)
           Hey!
                         
                         
          EXT. GREENWICH COMMON - DAY
                         
          Jim, Selena and Mark jog across Greenwich Common. Jim
          gestures towards one of the streets on the far side of the
          green.
                         
                          JIM
                          (LOW VOICE)
           Down there. Westlink Street. Second
           on the left.
                         
                         
          EXT. WESTLINK STREET - DAY
                         
          The street is modest red-brick semi-detached houses. They
          stand outside Number 43. Jim waits while Selena scans the
          dark facade.
                         
                          SELENA
           If there&apos;s anyone in there who
           isn&apos;t human...
                         
                          JIM
           I understand.
                         
                          SELENA
           Anyone.
                         
                          JIM
           I understand.
                         
          Selena shoots a glance at Jim. Jim is gazing at the house.
                         
                          MARK
           Okay.
                         
                         
          EXT. BACK GARDEN - DAY
                         
          Jim uses the key under the flowerpot to open the back door.
                         
                         
          INT. HOUSE - DAY
                         
          Jim, Selena and Mark move quietly through the kitchen and the
          downstairs of the house.
           16.
                         
                         
          Surprisingly, everything is neat and tidy. Washed plates are
          stacked by the sink, newspapers on the table are neatly
          piled. The headline on the top paper reads simply:
          CONTAINMENT FAILS.
                         
          They reach the bottom of the stairs. Selena gestures upwards,
          and Jim nods. They start to ascend.
                         
          At the top of the stairs, Selena sniffs the air, and recoils.
          Jim has noticed it too. His eyes widen in alarm.
                         
                          MARK
                          (WHISPERS)
           Wait.
                         
          But Jim pushes past and advances along the top landing, until
          he reaches a door. By now the smell is so bad that he is
          having to cover his nose and mouth with the sleeve of one
          arm.
                         
          Jim pushes open the door. Inside, two decomposed bodies lie
          side by side on the bed, intertwined. On the bedside table
          are an empty bottle of sleeping pills and a bottle of red
          wine.
                         
          Mark appears behind him. Jim stares at his parents for a
          couple of moments, then Mark closes the door.
                         
                         
          INT. BATHROOM - DAY
                         
          Jim sits on the toilet, alone. He is crying. In his hand is a
          piece of paper: &quot;Jim - with endless love, we left you
          sleeping. Now we&apos;re sleeping with you. Don&apos;t wake up.&quot;
                         
          The paper crumples in his fist.
                         
                         
          INT. LIVING ROOM - DAY
                         
          Jim, Selena and Mark sit in the living room, on the two
          sofas. Jim looks dazed, uncomprehending. Selena watches Jim,
          her expression neutral.
                         
                          SELENA
           They died peacefully. You should be
           grateful.
                         
                          JIM
           I&apos;m not grateful.
                         
          Jim&apos;s words hang a moment. Then Mark talks, simply,
          unemotionally, matter-of-fact throughout.
           17.
                         
                         
                          MARK
           The roads out were all jammed. So
           we went to Paddington Station.
           Hoping: maybe we could get to
           Heathrow, maybe buy our way on a
           plane. My dad had all this cash,
           even though cash was already
           useless, and Mum had her jewellery.
           But twenty thousand other people
           had the same idea.
                          (A MOMENT)
           The crowd was surging, and I lost
           my grip on my sister&apos;s hand. I
           remember realizing the ground was
           soft. I looked down, and I was
           standing on people. Like a carpet,
           people who had fallen, and...
           somewhere in the crowd there were
           infected. It spread fast, no one
           could run, all you could do was
           climb. Over more people. So I did
           that. I got up, somehow, on top of
           a kiosk.
                          (A MOMENT)
           Looking down, you couldn&apos;t tell
           which faces were infected and which
           weren&apos;t. With the blood, the
           screaming, they all looked the
           same. And I saw my dad. Not my mum
           or my sister. But I saw my dad. His
           face.
                         
          A short silence.
                         
                          MARK
           Selena&apos;s right. You should be
           grateful.
                         
                          SELENA
           We don&apos;t have time to get back to
           the shop before dark. We should
           stay here tonight.
                         
          Jim nods. He isn&apos;t sure what he wants to say.
                         
                          JIM
           My old room was at the end of the
           landing. You two take it. I&apos;ll
           sleep down here.
                         
                          SELENA
           We&apos;ll sleep in the same room. It&apos;s
           safer.
           18.
                         
                         
          EXT. LONDON - DAY TO NIGHT
                         
          The red orb of the sun goes down; the light fades. As night
          falls, London vanishes into blackness, with no electric light
          to be seen.
                         
          Then the moon appears from behind the cloud layer, and the
          dark city is revealed.
                         
                         
          INT. HOUSE - NIGHT
                         
          Jim is on the sofa. In the moonlight, we can see that his
          eyes are open, wide awake. Selena is curled on the other
          sofa, and Mark is on the floor - both asleep. The house is
          silent.
                         
          Jim watches Selena sleeping for a couple of moments.
                         
          Then, quietly, he gets off the sofa and pads out of the
          living room, down the hall to the kitchen.
                         
                         
          INT. KITCHEN - NIGHT
                         
          Jim enters, standing just inside the doorway. He looks around
          the room. On one wall, a faded kid&apos;s drawing of a car is
          framed. Above the counter, on a shelf of cookery books, an
          album has a handwritten label on the spine: &quot;Mum&apos;s Favorite
          Recipes&quot;.
                         
          Jim walks to the fridge. Stuck to the door is a photo of Jim
          with his parents, arm in arm, smiling at the camera. Jim is
          on his mountain bike, wearing his courier bag.
                         
           FLASH CUT TO:
                         
          Jim, sitting at the kitchen table as his Mum enters, carrying
          bags of shopping. Jim walks over to the bags and pulls out a
          carton of orange juice, which he pulls straight to his mouth
          and begins to gulp down.
                         
          His Dad walks in from the garden.
                         
                          JIM&apos;S DAD
           Give me a glass of that, would you?
                         
                          JIM
           (draining the carton, and
           giving it a shake)
           It&apos;s empty.
                         
           CUT BACK TO:
           19.
                         
                         
          Jim touches the photo, their faces, lightly.
                         
          Jim is facing away from the back door, which has a large
          frosted-glass panel.
                         
          Through the glass panel, unseen by Jim a dark silhouette
          looms against the diffused glow from the moonlight.
                         
          Through the kitchen window, a second silhouette appears.
                         
          Then there is a scratching noise from the back door.
                         
          Jim freezes.
                         
          Slowly, he turns his head, and sees the dark shapes behind
          the door and window.
                         
          A beat - then the door is abruptly and powerfully smashed in.
          It flies open, and hangs loosely held by the bottom hinge.
          Standing in the doorframe is an Infected Man.
                         
          Jim shouts with alarm as the Man lunges at him - and they
          both go tumbling to the floor. At the same moment, the figure
          behind the kitchen window smashes the glass, and an Infected
          Teenage Girl starts to clamber through the jagged frame.
                         
          The Man gets on top of Jim, while Jim uses his arms to hold
          back the ferocious assault. A single strand of saliva flies
          from the Man&apos;s lips, and contacts Jim&apos;s cheek.
                         
                          JIM
                          (SCREAMS)
           Help!
                         
          Suddenly, Selena is there, holding her machete. The blade
          flashes down to the back of the Man&apos;s neck. Blood gushes.
                         
          Jim rolls the Infected Man off, just in time to see...
                         
          ...Mark dispatch the Girl half way through the kitchen
          window. The Girl is holding Mark, but her legs are caught on
          the broken glass.
                         
          Mark jabs upwards into the Girl&apos;s torso - she stiffens, then
          slumps, and as Mark steps back we see he is holding a knife.
                         
          Jim hyperventilates, staring at the corpse on the kitchen
          floor.
                         
                          JIM
           It&apos;s Mr. Bridges...
                         
          Selena turns to Jim. She is hyperventilating too, but there
          is control and steel in her voice.
           20.
                         
                         
                          SELENA
           Were you bitten?
                         
                          JIM
           He lives four doors down...
                         
          Jim turns to the Girl sprawled half way through the window.
                         
                          JIM
           That&apos;s his daughter...
                         
                          SELENA
           Were you bitten?
                         
          Jim looks at her. Selena is still holding her machete at the
          ready.
                         
                          JIM
           No... No! I wasn&apos;t!
                         
                          SELENA
           Did any of the blood get in your
           mouth?
                         
                          JIM
           No!
                         
                          SELENA
           Mark?
                         
          Jim turns to Mark. He is standing in the middle of the room.
          Stepped away from the window. The Girl&apos;s blood is on his arm -
          and he is wiping it away...
                         
          ...off the skin... where a long scratch cut wells up fresh
          blood.
                         
          A moment.
                         
          Then Mark looks at Selena, as if slightly startled.
                         
                          MARK
           Wait.
                         
          But Selena is swiping with her machete. Mark lifts his arm
          instinctively, defensively, and the blade sinks in.
                         
          Selena immediately yanks it back.
                         
                          MARK
           DON&apos;T!
                         
          Selena swipes again - and the blade catches Mark hard in the
          side of the head. Mark falls.
           21.
                         
                         
          Jim watches, scrabbling backwards on the floor away from
          them, as Selena brutally finishes Mark off.
                         
          Selena looks at Mark&apos;s body for a couple of beats, then
          lowers the blade. She picks up a dishcloth from the sink
          counter and tosses it to Jim.
                         
                          SELENA
           Get that cleaned off.
                         
          Jim picks up the rag and hurriedly starts to wipe the
          Infected&apos;s blood from around his neck.
                         
                          SELENA
           Do you have any clothes here?
                         
                          JIM
           (fazed, frightened of her)
           I... I don&apos;t know. I think so.
                         
                          SELENA
           Then get them. And get dressed. We
           have to leave, now.
                         
          With practiced speed, Selena starts to open the kitchen
          cupboards, selecting packets of biscuits and cans from the
          shelves, and stuffing them into her backpack.
                         
                          SELENA
           More infected will be coming. They
           always do.
                         
                         
          EXT. HOUSE - NIGHT
                         
          Jim and Selena exit the front door. Jim has changed out of
          his hospital gear into jeans and a sweatshirt. He also has a
          small backpack, and is carrying a baseball bat.
                         
                         
          EXT. LONDON ROAD - NIGHT
                         
          Jim and Selena walk: fast, alert. But something is not being
          said between them... until Jim breaks the silence.
                         
                          JIM
                          (QUIET)
           How did you know?
                         
          Selena says nothing. Continues walking.
                         
                          JIM
                          (INSISTENT)
           How did you know he was infected?
           22.
                         
                         
                          SELENA
           The blood.
                         
                          JIM
           The blood was everywhere. On me, on
           you, and...
                         
                          SELENA
                          (CUTTING IN)
           I didn&apos;t know he was infected.
           Okay? I didn&apos;t know. He knew. I
           could see it in his face.
                          (A MOMENT)
           You need to understand, if someone
           gets infected, you&apos;ve got somewhere
           between ten and twenty seconds to
           kill them. They might be your
           brother or your sister or your
           oldest friend. It makes no
           difference Just so as you know, if
           it happens to you, I&apos;ll do it in a
           heartbeat.
                         
          A moment.
                         
                          JIM
           How long had you known him?
                         
                          SELENA
           Five days. Or six. Does it matter?
                         
          Jim says nothing.
                         
                          SELENA
           He was full of plans. Long-distance
           weapons, so they don&apos;t get close. A
           newsagent&apos;s with a metal grill, so
           you can sleep. Petrol bombs, so the
           blood doesn&apos;t splash.
                         
          Selena looks at Jim dispassionately.
                         
                          SELENA
           Got a plan yet, Jim? You want us to
           find a cure and save the world? Or
           fall in love and fuck?
                         
          Selena looks away again.
                         
                          SELENA
           Plans are pointless. Staying alive
           is as good as it gets.
                         
          Silence.
           23.
                         
                         
          They walk. Jim following a few steps behind Selena.
                         
          A few moments later, Jim lifts a hand, opens his mouth, about
          to say something - but Selena cuts him off without even
          looking round.
                         
                          SELENA
           Shhh.
                         
          She has seen something...
                         
          A line of tower blocks some distance away, standing against
          the night sky. In one of them, hanging in the window of one
          of the highest stories, colored fairy lights are lit up,
          blinking gently.
                         
                         
          INT. TOWER BLOCK - NIGHT
                         
          Jim and Selena walk through the smashed glass doors of the
          tower block. It is extremely dark inside.
                         
          Selena switches on a flashlight and illuminates the entrance
          hall. It is a mess. The floor is covered in broken glass and
          dried blood. The lift doors are jammed open, and inside is a
          dense bundle of rags - perhaps an old corpse, but impossible
          to tell, because the interior of the lift has been torched.
          It is black with carbon, and smoke-scarring runs up the
          outside wall.
                         
          Selena moves the flashlight to the stairwell. There is a huge
          tangle of shopping trolleys running up the stairs.
                         
          Selena gives one of the trolleys an exploratory tug. It
          shifts, but holds fast, meshed in with its neighbor. Then she
          puts a foot into one of the grates, and lifts herself up.
          Shining her light over the top of the tangle, she can see a
          gap along the top.
                         
                          JIM
           Let&apos;s hope we don&apos;t have to get out
           of here in a hurry.
                         
          She begins to climb through.
                         
                         
          INT. TOWER BLOCK - NIGHT
                         
          Jim and Selena move steadily and quietly up the stairwell,
          into the building. Reaching a next landing, they check around
          the corner before proceeding. Through a broken window, we can
          see that they are already high above most London buildings,
          and on the wall a sign reads: LEVEL 5.
           24.
                         
                         
                          SELENA
           Need a break?
                         
                          JIM
           (completely out of breath)
           No. You?
                         
                          SELENA
           No.
                         
          They continue a few steps.
                         
                          JIM
           I do need a break, by the way.
                         
          Selena nods. They stop on the stairs. Jim slips off his
          backpack and sits, pulling a face as he does so...
                         
                          SELENA
           What&apos;s up?
                         
                          JIM
           Nothing.
                         
          She gives him a cut-the-crap expression.
                         
                          JIM
           I&apos;ve got a headache.
                         
                          SELENA
           Bad?
                         
                          JIM
           Pretty bad.
                         
                          SELENA
           Why didn&apos;t you say something
           before?
                         
                          JIM
           Because I didn&apos;t think you&apos;d give a
           shit.
                         
          A moment, where it&apos;s unclear how Selena will react to this.
          Then she slips off her own backpack.
                         
                          SELENA
           (going through the bag)
           You&apos;ve got no fat on you, and all
           you&apos;ve had to eat is sugar. So
           you&apos;re crashing. Unfortunately,
           there isn&apos;t a lot we can do about
           that...
           25.
                         
                         
          Selena starts to produce a wide selection of pills, looted
          from a chemist.
                         
                          SELENA
           ...except pump you full
           painkillers, and give you more
           sugar to eat.
                         
          She holds up a bottle of codeine tablets, and passes it to
          Jim.
                         
                          SELENA
           As for the sugar: Lilt or Tango?
                         
                          JIM
                          (CHEWING CODEINE)
           ...Do you have Sprite?
                         
                          SELENA
           Actually, I did have a can of
           Sprite, but...
                         
          Suddenly there is a loud scream, coming from somewhere lower
          down the building. Jim and Selena both make a grab for their
          weapons.
                         
                          JIM
           Jesus!
                         
                          SELENA
           Quiet.
                         
          The scream comes again. The noise is chilling, echoing up the
          empty stairwell.
                         
          But there is something strange about it. The noise is human,
          but oddly autistic. It is held for slightly too long, and
          stops abruptly.
                         
                          SELENA
           That&apos;s an infected.
                         
          Then, the sound of metal scraping, clattering the blockade.
                         
                          SELENA
           They&apos;re in.
                         
                         
          INT. SHOPPING TROLLEY BLOCKADE - NIGHT
                         
          Two Infected, a Young Asian Guy and a Young White Guy, moving
          with amazing speed over the blockade.
           26.
                         
                         
          INT. STAIRS - NIGHT
                         
          Jim and Selena sprint up the stairs. Behind them, we can hear
          the Infected, giving chase, howling.
                         
          They pass level eight, nine, ten...
                         
          Jim is exhausted.
                         
                          SELENA
           Come on!
                         
                          JIM
           (out of breath, barely
           able to speak)
           I can&apos;t.
                         
          Selena continues, and Jim looks over the edge of the
          stairwell, to the landing below...
                         
          ...where the two Infected appear, tearing around the corner.
                         
                         
          INT. STAIRWELL - NIGHT
                         
          Selena sprints up the stairs... and Jim sprints past her, in
          an amazing burst of energy and speed.
                         
          They round another bend in the stairwell...
                         
          ...then both Jim and Selena scream. Standing directly in
          front of them is a Man In Riot Cop Gear - helmet with full
          visor, gloves, a riot shield in one hand, and a length of
          lead pipe in the other.
                         
          The Man lunges past both of them, barging past, where the
          Infected White Man has appeared at the stairwell.
                         
          The Riot Gear Man swings his lead pipe and connects viciously
          with the White Man&apos;s head. The White Man falls backwards
          against the Asian Man. Both fall back down the stairs.
                         
          The Riot Gear Man turns back to Jim and Selena.
                         
                          MAN
           Down the corridor! Flat 157!
                         
          Jim and Selena are stunned, but start to run down the
          corridor.
                         
          The Asian Man is coming back up the stairs. Jim looks back
          over his shoulder in time to see the Riot Gear Man deliver a
          massive blow to the Asian Man&apos;s head.
           27.
                         
                         
          INT. CORRIDOR - NIGHT
                         
          Jim and Selena run towards Flat 157. The door is open, but as
          they approach, it suddenly slams shut.
                         
           JIM AND SELENA
           (hammering on the door)
           Let us in!
                         
           GIRL (O.S.)
           Who is it?
                         
                          SELENA
           Let us in!
                         
          The door opens a fraction, on the chain. The face of a girl
          appears. She is fourteen, pale, solemn-faced.
                         
                          GIRL
           Where&apos;s Dad?
                         
          Jim looks back down the corridor.
                         
          At the far end, the Man appears. He is holding the limp body
          of one of the Infected - and he tips it over the balcony,
          where it drops down the middle of the stairwell.
                         
                          MAN
                          (CALLS BACK)
           It&apos;s okay, Hannah. Let them inside.
                         
          The door closes, we hear the chain being slipped off, then it
          opens again.
                         
                         
          INT. FLAT - NIGHT
                         
          Jim and Selena enter past the pale-faced girl. The flat is
          council, three-bed, sixteenth floor of the block. It has
          patterned wallpaper, and nice but boring furnishings. It is
          lit by candles.
                         
          The entrance hall leads straight to the living room, which
          has French windows and a small balcony outside.
                         
          On one wall, a framed photograph hangs, which shows the Man
          standing beside a black taxi cab. Next to him is a middle
          aged woman - presumably the Man&apos;s wife. Hannah sits at the
          cab&apos;s steering wheel, beaming.
                         
          Another photo, beside, show Hannah sat in the seat of a go-
          kart.
                         
          The Man follows Jim and Selena inside.
           28.
                         
                         
                          MAN
           Come in, come in.
                         
          They follow the Man through to the living room, and Hannah
          recloses the front door, which has an impressive arrangement
          of locks and dead-bolts.
                         
                         
          INT. FLAT - LIVING ROOM - NIGHT
                         
          In the living room, the fairy lights hang in the window,
          powered by a car battery. Lit by their glow, the Man goes
          through a careful ritual of shedding his gear, helped by
          Hannah.
                         
          First, he lays down the riot shield. Then he puts the
          bloodsmeared lead pipe on a small white towel. Next, he
          removes his gloves - and places them beside the bar on the
          towel. Then he folds the towel over the weapon and gloves,
          and puts it beside the riot shield. Finally he removes the
          visored helmet.
                         
          Jim and Selena watch him. They look pretty rattled, not
          really knowing what to expect.
                         
          After the Man has finished shedding his gear, he turns.
                         
                          MAN
           So... I&apos;m Frank, anyway.
                         
          He extends his hand to Jim and Selena. Jim hesitates very
          briefly, then shakes it.
                         
                          JIM
           I&apos;m Jim.
                         
                          SELENA
           Selena.
                         
          Frank beams, and suddenly he seems much less frightening and
          imposing. If anything, he is just as nervous as Jim and
          Selena.
                         
                          FRANK
           Jim and Selena. Good to meet you.
           And this is my daughter, Hannah.
           (turning to Hannah)
           ...Come on, sweetheart. Say hello.
                         
          Hannah takes a step into the room, but says nothing.
                         
                          FRANK
           So... so this is great. Just great.
           It calls for a celebration.
           29.
                         
                         
           I&apos;d say. Why don&apos;t you all sit
           down, and... Hannah, what have we
           got to offer?
                         
                          HANNAH
                          (QUIETLY)
           We&apos;ve got Mum&apos;s creme de menthe.
                         
          An awkward beat.
                         
                          FRANK
           Yes, her creme de menthe. Great.
           Look, sit, please. Get comfortable.
           Sit tight while I get it.
                         
          Frank exits. Selena, Jim and Hannah all stand, until Selena
          gestures at the sofa.
                         
                          SELENA
           Shall we?
                         
          Jim and Selena take the sofa. Hannah stays standing.
                         
           FRANK (O.S.)
           Where are the bloody glasses?
                         
                          HANNAH
           Middle cupboard.
                         
           FRANK (O.S.)
           No! The good ones! This is a
           celebration!
                         
                          HANNAH
           Top cupboard.
                         
          Another short, uncomfortable pause. Hannah looks at Jim and
          Selena from her position near the doorway. Her expression is
          blank and unreadable.
                         
                          JIM
           This is your place, then.
                         
          Hannah nods.
                         
                          JIM
           It&apos;s nice.
                         
          Hannah nods again.
                         
          Frank re-enters. Frank is beaming, holding the creme de
          menthe, and four wine glasses.
           30.
                         
                         
                          FRANK
           There! I know it isn&apos;t much but...
           well, cheers!
                         
                         
          EXT. TOWER BLOCK - NIGHT
                         
          The moon shines above the tower block.
                         
                         
          INT. FLAT - NIGHT
                         
          Jim, Selena and Hannah all sit in the living room, sipping
          creme de menthe. Frank is disconnecting the fairy lights as
          he talks, and pulling the curtains closed, rather
          systematically checking for cracks along the edges.
                         
                          FRANK
           Normally we keep the windows
           covered at night, because the light
           attracts them. But when we saw your
           petrol station fire, we knew it had
           to be survivors... So we hooked up
           the Christmas tree lights. Like a
           beacon.
                         
          Finished with the sofa, he sits on the armchair.
                         
                          SELENA
           We&apos;re grateful.
                         
                          FRANK
           Well, we&apos;re grateful you came. I
           was starting to really worry. Like
           I say, we haven&apos;t seen any sign of
           anyone normal for a while now.
                         
                          JIM
           There aren&apos;t any others in the
           building?
                         
          Frank shakes his head.
                         
                          SELENA
           And you haven&apos;t seen any people
           outside?
                         
          Frank&apos;s eyes flick to Hannah.
                         
                          FRANK
           We haven&apos;t left the block for more
           than two weeks. Stayed right here.
           Only sensible thing to do. Everyone
           who went out...
           31.
                         
                         
                          SELENA
           Didn&apos;t come back.
                         
                          FRANK
           And there&apos;s two hundred flats here.
           Most of them have a few cans of
           food, or cereal, or something.
                         
                          SELENA
           It&apos;s a good set-up.
                         
                          FRANK
           It isn&apos;t bad.
                         
          He puts a hand on Hannah&apos;s shoulder, and gives it a squeeze.
                         
                          FRANK
           We&apos;ve got by, haven&apos;t we?
                         
                         
          INT. BATHROOM - NIGHT
                         
          Jim is in the bathroom, inspecting himself in the mirror. He
          is just finishing shaving his beard off, and has had to use
          the razor dry. He has cut himself several times.
                         
          Jim does a couple of last dry strokes with the razor, and
          winces as he cuts himself again. He uses spit to wipe away
          the blood.
                         
          Then, from outside, Frank speaks.
                         
           FRANK (O.S.)
           You okay in there, Jim?
                         
                          JIM
           Yes. Fine.
                         
           FRANK (O.S.)
           Sorry we couldn&apos;t spare the water
           but... it&apos;s the same with the
           toilet. The, er, flush doesn&apos;t
           work. I&apos;m afraid you have to use
           the bucket.
                         
          Jim opens the door.
                         
                          FRANK
           Have to empty it each morning. We
           just chuck it over the balcony...
           No mod cons here.
                         
                          JIM
           It&apos;s fine.
           32.
                         
                         
                          FRANK
           ...Well, look, it&apos;s pretty late.
           I&apos;m going to turn in. We&apos;ve got a
           spare room. Are you and Selena...?
                         
                          JIM
           I&apos;ll take the living room.
                         
                          FRANK
           Oh, right. I mean, yes... So, good
           night then, anyway.
                         
                          JIM
           Good night, Frank.
                         
          Frank smiles, and heads to his bedroom.
                         
                         
          INT. FLAT - NIGHT
                         
          Jim feels his way down the dark corridor back to the
          candlelit living room. Selena is standing by the window. She
          looks around when Jim enters.
                         
                          SELENA
           Very spruce.
                         
                          JIM
           Very shredded.
                         
                          SELENA
           Uh-huh.
                         
          Jim sits on the armchair, and Selena moves to look at a
          picture on the wall - the photo of Frank&apos;s family and the
          black cab.
                         
                          JIM
           So what do you make of them?
                         
                          SELENA
           They&apos;re desperate. Probably need us
           more than we need them.
                         
                          JIM
           ...I think they&apos;re good people.
                         
                          SELENA
           Good people?
                         
                          JIM
           Yeah.
           33.
                         
                         
                          SELENA
           Well, that&apos;s nice. But you should
           be more concerned about whether
           they&apos;re going to slow you down.
                         
                          JIM
           Right. Because if they slowed you
           down...
                         
                          SELENA
           I&apos;d leave them behind.
                         
                          JIM
           In a heartbeat.
                         
                          SELENA
           Yeah.
                         
                          JIM
           I wouldn&apos;t.
                         
                          SELENA
           Then you&apos;re going to wind up
           getting yourself killed.
                         
          A moment. Then Selena stands.
                         
                          SELENA
           I&apos;m going to get some sleep.
                         
                          JIM
           Selena - you think I don&apos;t get it.
           But I do get it. And I know I&apos;d be
           dead already if I hadn&apos;t met you.
                         
          Selena hesitates at the door - then turns.
                         
                          SELENA
           Sure.
                         
                          JIM
           No, look - I mean thank you.
                         
                          SELENA
           And I mean sure. Good night, Jim.
                         
          She exits, leaving Jim alone.
                         
                          JIM
           Good night.
                         
          Jim walks around the room, blowing out the candles. He leaves
          one burning beside the sofa.
           34.
                         
                         
          Then he slides open the French doors and exits out onto the
          balcony.
                         
                         
          EXT. BALCONY - NIGHT
                         
          The city is spread out in front Jim. In the distance, to the
          north, the petrol station still burns, sending billowing
          clouds of sparks high into the night sky.
                         
                         
          INT. FLAT - EARLY MORNING
                         
          Jim sits on the armchair, facing the window, nursing a can of
          Lilt. Outside, the sky has just started to brighten with
          first light.
                         
          Frank enters.
                         
                          FRANK
           Morning, Jim.
                         
                          JIM
           Morning.
                         
                          FRANK
           Listen, have you got a minute?
                         
                         
          EXT. TOWER BLOCK ROOF - EARLY MORNING
                         
          Frank and Jim appear from a service door. The view over
          London is spectacular - low clouds catching the sunrise, and
          a plume of smoke still drifting up from the petrol station
          blaze. But more noticeable is that the entire roof area is
          covered in buckets, pans, bowls, plates...
                         
                          FRANK
           We lost water pressure three weeks
           ago. For a while, I thought we&apos;d be
           okay with the water in the other
           flats. The cistern and tanks. But
           it vanishes so quick you wouldn&apos;t
           believe. You drink it, it
           evaporates, turns stagnant...
                         
                          JIM
           (looking at the pans)
           They&apos;re all empty...
                         
                          FRANK
           It hasn&apos;t rained in over a week.
                         
          Frank sits, watching Jim.
           35.
                         
                         
                          FRANK
           You can set up a plastic sheet to
           catch dew and condensation. Trap it
           somehow. I saw it on TV once and
           I&apos;ve been experimenting, but I
           can&apos;t get it to work, and... you
           don&apos;t happen to...
                         
          Jim shakes his head.
                         
                          FRANK
           You&apos;d never think it. Needing rain
           so badly... Not in fucking
           England...
           (he breaks off)
           Jim, we don&apos;t have enough water for
           and Selena.
                         
          A moment.
                         
                          JIM
           Right.
                         
                          FRANK
           No. It&apos;s not what you think.
                         
                         
          INT. FLAT - DAY
                         
          Jim, Selena, Frank and Hannah all sit in the living room.
          Frank is on the armchair. On the coffee table in front of him
          is a small radio. He turns it on - producing a fuzz of radio
          static.
                         
                          SELENA
           There haven&apos;t been any broadcasts
           for weeks.
                         
                          FRANK
                          (INTERRUPTING)
           Just listen.
                         
          They listen. Through the static, the sound of a voice begins
          to sift through.
                         
           MALE VOICE (V.O.)
           The answer to infection is here...
           if you can hear this, you&apos;re not
           alone... there are others like
           you... other survivors... we are
           soldiers, we are armed and we can
           protect you...
                         
          The Male Voice fades into the static.
           36.
                         
                         
                          SELENA
                          (AMAZED)
           Soldiers.
                         
                          FRANK
           There&apos;s more. Listen.
                         
           MALE VOICE (V.O.)
           Our location is the forty-second
           blockade, M602, twenty-seven miles
           north-east of Manchester... you
           must find us...
                         
                          FRANK
           Then it just repeats.
                         
                          JIM
           It&apos;s a recording?
                         
          Frank switches the radio off, and produces a map of Britain,
          which he opens on the table.
                         
                          FRANK
           It&apos;s a recording. But this is where
           it&apos;s telling us to go.
                         
          Frank points to the location described.
                         
                          JIM
           The North...
                         
                          FRANK
           The way things are, we might need
           two or three days to get up there.
                         
                          SELENA
           We.
                         
          A moment. Then Frank gives a short, embarrassed laugh.
                         
                          FRANK
           Sound carries in this flat. Jerry-
           built, I suppose, and... me and
           Hannah do need you more than you
           need us.
                         
                          SELENA
           I wasn&apos;t -
                         
                          FRANK
           It&apos;s okay. Look, it&apos;s the truth. I
           can&apos;t leave the block if it&apos;s just
           the two of us.
           37.
                         
                         
           If something happened to me, Hannah
           would be alone. But if we were with
           other people...
                         
          He lets the sentence hang, gazing at Jim and Selena with
          undisguised hope.
                         
                          SELENA
           If it&apos;s a recording, for all we
           know the soldiers who made it are
           dead.
                         
                          FRANK
           Yes. It&apos;s possible.
                         
                          SELENA
           And that stuff about the answer to
           infection. There is no answer to
           infection. It&apos;s already done pretty
           much all the damage it can.
                         
                          JIM
           Maybe they&apos;ve got a cure.
                         
                          SELENA
           Maybe they&apos;ve got nothing at all.
                         
                          FRANK
           The only way to find out is to
           reach them.
                         
                          SELENA
           We could die trying.
                         
                          HANNAH
           Or die here.
                         
          Hannah speaks so rarely that her interjection seems to take
          everyone by surprise. Including her. For a moment she looks
          flustered, but then she continues.
                         
                          HANNAH
           And anyway, it isn&apos;t true what Dad
           said. You need us just the same as
           we need you. We need each other.
           And we&apos;ll never be safe in the
           cities, and soldiers could keep us
           safe.
                         
          She pauses for a breath.
                         
                          HANNAH
           So we have to try and get there.
           38.
                         
                         
          A beat.
                         
                          JIM
           Get there how?
                         
                          CUT TO:
                         
                         
          EXT. TOWER BLOCK - DAY
                         
          A black London cab drives fast out of the tower block&apos;s
          underground garage, bursting into the daylight.
                         
                         
          INT. CAB - DAY
                         
          Hannah and Selena sit on the back seat, and Jim sits on the
          fold-down. Frank smiles, starts the meter running, and leans
          around to his passengers.
                         
                          FRANK
           Just so as you know. I don&apos;t take
           cheques or credit cards.
                         
                         
          EXT. CAB - DAY
                         
          Frank drives through the destroyed streets of the capital.
                         
          They pass a stray Infected, through the smashed window of a
          shop. It&apos;s head flicks around at the noise of the cab&apos;s
          engine, and starts to move, but the cab is moving too fast to
          catch.
                         
                         
          EXT. CAB/TUNNEL ENTRANCE - SOUTH - DAY
                         
          The cab pulls up at the entrance of a tunnel that leads under
          the river Thames.
                         
                          FRANK
           What do you think?
                         
                          SELENA
           It&apos;s the most direct route to the
           other side of the river.
                         
                          JIM
           Then we should go the indirect
           route. The one in broad daylight.
           That isn&apos;t underground.
                         
                          FRANK
           Let&apos;s just get it done.
           39.
                         
                         
          Frank floors the accelerator and they head into the tunnel.
                         
                         
          INT. CAB - DAY
                         
          Frank drives through the tunnel. Wrecked cars and debris are
          illuminated in the headlights, and Frank weaves expertly
          between them. His passengers roll with the movement of the
          cab.
                         
                          JIM
           I knew this was a shit idea. You
           know why? Because it was really
           obviously a shit idea. Driving into
           a dark tunnel, full of smashed cars
           and broken glass is really fucking
           obviously a shit idea.
                         
          As Jim speaks, out of the gloom, caught in the headlights, a
          huge pile of cars appears, stretching across the full width
          of the tunnel.
                         
          Frank slams his foot down on the accelerator.
                         
                          JIM
           Oh no.
                         
                         
          EXT. CAB - DAY
                         
          The cab bumps up onto the barricade and drives over.
                         
                         
          INT. CAB - DAY
                         
          The cab bumps down the other side of the barricade, with a
          cheer from the passengers - but the jubilation only lasts a
          moment, because the cab his the road hard, on to a carpet of
          broken glass, and the front left tire blows.
                         
                          FRANK
           HOLD ON!
                         
          Frank saws the wheel, but loses control. The cab scrapes
          along the side of an abandoned car, then slews to a halt.
                         
          Frank tries accelerating again, but the cab immediately pulls
          left, back into the car.
                         
                          FRANK
           Fuck.
                         
          Frank jumps out of the cab, and shines his flashlight around
          the tunnel.
           40.
                         
                         
                          JIM
           The world&apos;s worst place to get a
           flat.
                         
                          FRANK
           Agreed. I think we&apos;d better do this
           quick.
                         
                         
          INT. TUNNEL - DAY
                         
          Frank opens the boot and puts the jack into Hannah&apos;s hand.
                         
                          FRANK
           You know what to do.
                         
          Hannah immediately runs to the front of the cab and hunches
          down. Meanwhile, Frank unclips the spare and hauls it out.
                         
          Jim and Selena stand at the back of the cab, weapons ready,
          shining their flashlights into the darkness.
                         
          At the front of the cab, Hannah pumps the jack, but it is
          moving with aching slowness.
                         
          At the back of the cab, Jim and Selena wait nervously.
                         
          There is a noise from further down the tunnel, in the
          direction which they came. A scrabbling rush of movement -
          but too quiet to be humans.
                         
          Jim and Selena exchange a glance.
                         
                          JIM
           ...You heard that?
                         
                          FRANK
           (from the front of the
                          CAB)
           Heard what?
                         
          Jim is about to answer. Then is eyes widen. He looks down...
                         
                          JIM
           Holy shit.
                         
          A tide of rats is rushing under their feet.
                         
                          FRANK
           (as the rats rush around
                          THEM)
           What the fuck?
           41.
                         
                         
                          SELENA
           They&apos;re running from the infected.
                         
          As if in answer, the howls of the Infected echo down the
          tunnel.
                         
          Hannah desperately positions the jack underneath the cab, as
          the rates run over her face.
                         
                          FRANK
           Hannah, get out, get out!
           (to Jim and Selena)
           Just lift it! LIFT IT!
                         
          Jim, Selena, and Frank get their hands under the side of the
          cab, and pull upwards. The cab rises.
                         
          Hannah, with great skill and speed, fits the new tire, like a
          pit-stop mechanic at a grand prix.
                         
                          SELENA
           (straining with the
                          WEIGHT)
           Come on!
                         
                          HANNAH
           Almost there!
                         
          As Hannah puts an expert twist on the last wheel nut, the
          cab&apos;s back lights pick up the faces of the Infected spilling
          over the barricade.
                         
                          FRANK
                          (SHOUTING)
           Go! Go!
                         
          They lunge back into the cab, just as the nearest Infected
          slams against the back window.
                         
          As the cab races off, Jim leans out the window.
                         
                          JIM
           (at the Infected)
           Fuck you!
                         
          Frank slams his foot down, and they tear off.
                         
                         
          EXT. TUNNEL EXIT - NORTH - DAY
                         
          The cab races out.
           42.
                         
                         
                          FRANK
           Honey, you&apos;re a cab driver&apos;s
           daughter.
                         
                         
          EXT. CAB - DAY
                         
          The cab drives through London, the meter steadily clocking
          upwards. Driving, Frank&apos;s eyes flick down to the fuel gauge.
          It is under a quarter full.
                         
          Green shoots are pushing through the cracks in the pavements
          and road, as nature begins to reclaim the city.
                         
                         
          INT. CAB - DAY
                         
          A high street. Suddenly Selena cranes around, seeing
          something.
                         
                          SELENA
           Whoa! Stop the cab! Stop the cab!
                         
                         
          EXT. CAB - DAY
                         
          They have stopped outside of a supermarket. The windows are
          dark, but unbroken, and it looks as if there is still food on
          the shelves.
                         
                          SELENA
           Un. Believable.
                         
          She opens the door to the cab, holding her machete.
                         
                          JIM
           You&apos;re getting out?
                         
                          SELENA
           This place hasn&apos;t been looted. It&apos;s
           a gold mine.
                         
                          HANNAH
           But we don&apos;t know what&apos;s in there.
                         
                          SELENA
           Food and drink is what&apos;s in there.
           And we need it.
                         
          Selena gets out.
                         
                          JIM
           Wait!
           43.
                         
                         
                          SELENA
           I&apos;ve been living off Mars Bars and
           Coke for two weeks. I need some
           tinned fruit.
                         
                         
          EXT. STREET - DAY
                         
          Selena tries the door of the supermarket. It swings open.
                         
                         
          INT. SUPERMARKET - DAY
                         
          They enter silently. All carry their weapons at the ready.
                         
          They peer down the aisles. The supermarket is empty.
                         
                          SELENA
           Let&apos;s shop.
                         
                         
          INT. SUPERMARKET - DAY
                         
          Jim, Selena, Frank, and Hannah all split off with shopping
          trolleys. They look like kids in a toy store.
                         
                          CUT TO:
                         
          Selena taking cans off the shelves, three at a time, going
          down the aisle.
                         
                          SELENA
           I&apos;ll have you, you, you, you...
                         
                          CUT TO:
                         
          Jim taking more stuff off shelves.
                         
          Selena appears at the top of the aisle.
                         
                          SELENA
           Don&apos;t take anything we need to
           cook.
                         
          Jim looks at the item in his hand. It is caviar.
                         
                          JIM
           It&apos;s okay. I think you can eat this
           stuff raw.
                         
                          CUT TO:
           44.
                         
                         
          Frank, standing by the fruit and vegetable section, in front
          of a bank of rotting apples - marked ORGANIC. Beside is a
          pile of apples that look fine.
                         
                          FRANK
           Mmm. Irradiated.
                         
                          CUT TO:
                         
          Selena finding Hannah by a huge array of chocolate.
                         
                          SELENA
           Ugh. If I never see chocolate
           again, it&apos;ll be too soon.
                         
          A beat, as something catches her eye. She whips it off the
          shelf.
                         
                          SELENA
           Not counting Terry&apos;s Chocolate
           Orange, of course.
                         
                          HANNAH
           (taking a handful of
                          YORKIE BARS)
           Or Yorkies.
                         
                          SELENA
           Or Yorkies, obviously.
                         
                          CUT TO:
                         
          Jim by the drinks counter, examining the label on a bottle of
          whisky, as Frank appears behind him.
                         
                          FRANK
           Put that back. We can&apos;t just take
           any crap.
                         
                          JIM
           It isn&apos;t any crap. It&apos;s whisky. It
           might be good to have.
                         
                          FRANK
           Who&apos;s arguing about whisky? I&apos;m
           saying, don&apos;t get a cheap blend.
                         
          Frank takes a bottle of Lagavulin.
                         
                          FRANK
           Single malt. Eighteen-year-old.
           Dark, full flavor.
                         
          Jim starts to back his trolley away.
           45.
                         
                         
                          FRANK
           Warm, but not aggressive. Peaty
           after taste.
                         
                          CUT TO:
                         
          Jim, Selena, Frank, and Hannah shopping, pushing their full
          trolleys past the empty checkout desks. As Frank passes the
          till, he slaps down a credit card, and they walk off.
                         
                         
          EXT. STREET - DAY
                         
          The fully loaded cab drives away from the supermarket, riding
          low on the suspension.
                         
                         
          INT. CAB - DAY
                         
          The cab reaches the on-ramp to the Westway, and stops.
                         
                          SELENA
           We could have a problem here.
                         
                         
          EXT. WESTWAY - DAY
                         
          The cab sits at the back of an apparent traffic jam leading
          onto the Westway.
                         
          Both sides of the dual carriageway are jam-packed with
          abandoned cars, a deserted gridlock. All cars point in the
          same direction - out of town. Some of the cars are crashed,
          riding up on each other, rolled over, burned out.
                         
          As the camera rises upwards, we can see that the gridlock
          snakes along the entire distance of the flyover. Like the
          destroyed vehicles on the road to Basra, it stretches for
          miles...
                         
                         
          INT. CAB - DAY
                         
                          JIM
           Jesus Christ. We&apos;re never going to
           be able to get out of London.
                         
                          FRANK
           Don&apos;t you worry about that. I&apos;ve
           sat twenty years in this seat. I&apos;ve
           got my routes.
                         
                          CUT TO:
           46.
                         
                         
          EXT. CAB - DAY
                         
          Montage of the cab sweeping through suburban London, cutting
          down side streets, ducking down alleys, sometimes passing
          under the Westway flyover.
                         
          During the montage, we see scenes of devastation.
                         
          Jim gazes out of the window as the cab passes a huge cluster
          of rotting corpses, collected under and in the scoop of an
          abandoned bulldozer. The dead operator of the bulldozer lies
          a few feet away from his cabin.
                         
          The montage ends on: the cab bumping down a steep grass verge
          onto the motorway.
                         
           JIM (O.S.)
           Nice cut-through.
                         
                         
          EXT. MOTORWAY - DAY
                         
          The cab drives down the motorway. There are still vehicles
          scattered crashed, but fewer and fewer as distance is gained
          on the city.
                         
                         
          INT. CAB - DAY
                         
          ON THE DASHBOARD, the needle on the fuel gauge drifts down to
          the red.
                         
                         
          INT. CAB - DAY
                         
          A truck lay-by approaches, with a shabby shack-style cafe.
                         
          A sign outside the cafe reads: CHEESEBURGERS&apos;R&apos;US. And
          beneath: LAST CHEESEBURGERS FOR SIXTY MILES.
                         
          In the forecourt are a couple of vehicles. A people-carrier
          family car, and a truck, slewed off the road.
                         
          Frank slows the cab to a halt, some hundred meters away.
                         
                          FRANK
           Okay. We either do this now, or
           we&apos;re walking.
           47.
                         
                         
          EXT. CAB - DAY
                         
          Everyone exits the cab. Selena takes a jerry can and a length
          of plastic tube from the boot, and Frank gives the ignition
          keys to Hannah.
                         
                          FRANK
           If anything goes wrong, you just
           drive. You put your foot down. And
           go as far as you can.
                         
          No response from Hannah.
                         
                          FRANK
           You hear me, Hannah?
                         
                          HANNAH
           Yes, Dad.
                         
          Frank, Jim, and Selena begin to walk towards the service
          station, holding their weapons at the ready.
                         
                         
          EXT. LAY-BY - DAY
                         
          Cautiously, Frank, Jim and Selena approach the truck. There
          is no sign of life around.
                         
                          SELENA
           Stay close, Jim.
                         
                          JIM
           ...What?
                         
                          SELENA
           You heard.
                         
                         
          EXT. TRUCK - DAY
                         
          While Jim and Selena stand guard, Frank works quickly. He
          prises the fuel cap off, inserts the tube, sucks into the
          tube, and spits as the diesel begins to flow into the jerry
          can.
                         
                         
          INT. CAB - DAY
                         
          Hannah watches from the driver&apos;s seat. She has her hands on
          the wheel, and is sliding her hands over the plastic, making
          a series of imaginary turns, shifting gears...
           48.
                         
                         
          EXT. TRUCK - DAY
                         
          As they wait for the can to fill, Jim tosses his bat into the
          air, giving it a single flip, catching it as the handle comes
          back around...being a bit flash.
                         
          Selena notices, and does not look impressed.
                         
          Almost in response to her nonplussed gaze, Jim begins to walk
          towards the cafe.
                         
                          SELENA
           Where are you going?
                         
          Jim points his bat in the direction of the cafe.
                         
                          SELENA
           We&apos;ve got enough food.
                         
                          JIM
           We don&apos;t have any cheeseburgers.
                          (TO HIMSELF)
           &quot;Stay close.&quot; It&apos;s like going on
           holiday with your fucking aunt.
                         
                         
          INT. CAFE - DAY
                         
          Jim walks inside the cafe, and finds the aftermath of
          carnage. Decomposed bodies lie scattered, on and under
          tables: a couple of men, a female cook, and a young family.
                         
          Jim walks towards the family.
                         
          The father sits wedged between the seats and the table, which
          are both bolted to the floor. His neck is snapped, head
          hanging backwards.
                         
          The mother lies a couple of feet away, on the floor, half
          over an infant, as if in a final protective gesture.
                         
          Jim looks down at them.
                         
          Then there is a noise behind.
                         
          Instinctively Jim snaps around, swinging the bat as he does
          so - and connects against a small body, which flies
          backwards.
                         
          Only then do we - and Jim - see what he has hit. Crumpled,
          motionless on the ground is an Infected Kid, an eight year
          old boy.
                         
          A moment. Jim looks stunned, appalled.
           49.
                         
                         
          Then the Infected Kid&apos;s eyes flick open. Still alive.
                         
          Jim&apos;s baseball bat swings down.
                         
                         
          EXT. TRUCK - DAY
                         
          The can is full. Frank removes the tube.
                         
          Jim appears.
                         
                          SELENA
           Find anything.
                         
          Jim says nothing.
                         
                          SELENA
           Find anything, Jim?
                         
                          JIM
           No.
                         
          Selena lets it pass - and the moment is broken as Frank
          stands with the can.
                         
                          FRANK
           Okay. We&apos;re done.
                         
          He lifts a hand to Hannah.
                         
                         
          INT. CAB - DAY
                         
          Hannah smiles, turns the ignition, and throws the cab into
          gear.
                         
                         
          EXT. FORECOURT - DAY
                         
          The cab tears towards Jim, Selena and Frank, then - at the
          last moment - flips into a handbrake turn, and drifts to a
          neat stop, a couple of meters from them.
                         
                          HANNAH
           (leaning out of the
                          WINDOW)
           I am a cab driver&apos;s daughter.
                         
                          FRANK
           You&apos;re Ayrton Senna&apos;s bloody
           daughter.
           50.
                         
                         
          INT. CAB - DAY
                         
          The cab drives down the motorway, fuel needle pressed up
          against the full mark. The meter runs up a tab of over three
          hundred pounds...
                         
                         
          EXT. CAB - DAY
                         
          They pass a sign for MANCHESTER - 130 MILES.
                         
                         
          INT. CAB - DAY
                         
          The occupants have settled into the reflective silence of a
          long drive.
                         
          Selena seems lost in thought. She looks at Jim, who has his
          hand stuck out the window, and is using his hand like an
          aerofoil, catching the wind, dipping and rising.
                         
          Then she looks at Frank, and notices...
                         
          ...Frank glance in the rear-view mirror at Hannah, who
          catches her dad&apos;s eye. Frank smiles, and gives her a wink.
                         
                         
          EXT. CAB - DAY
                         
          The cab drives along A-roads.
                         
                         
          INT. CAB - LATE AFTERNOON
                         
          Jim is looking through some of the bags of food.
                         
                          JIM
           Who&apos;s unbelievably hungry?
                         
                          ALL
           Me.
                         
          Jim looks out of the window. They are in completely empty,
          rolling countryside, stretching for miles.
                         
                          JIM
           Let&apos;s have a picnic.
                         
                         
          EXT. PICNIC SPOT - LATE AFTERNOON
                         
          They have stopped in a beautiful spot, quite high, clear
          view. It is a beautiful day. The late afternoon sunshine is
          bright over the green fields, trees cast long shadows.
           51.
                         
                         
          Everyone is happily sat on the grass, eating from their
          hoard.
                         
          Jim has pulled open a packet of stale hot-cross bun; Hannah
          empties a packet of Maltesers into her mouth; Frank holds a
          block of cheddar, taking bites from the cheese as if it were
          cake ; Selena drinks from a can of tinned peaches, swallowing
          the pieces almost whole, with the juice running down her
          chin.
                         
                          SELENA
           Oh my God, yes. I can taste the
           vitamin C. I can feel it in my
           blood.
                         
                          JIM
           (cracking a bun in half)
           These are great. They&apos;re like huge
           biscuits.
                         
          He offers half to Hannah, who takes a bite.
                         
                          HANNAH
           It&apos;s true. They are like biscuits.
                         
                          JIM
                          (COMPLETELY
           unintelligible, mouth
           full, spraying crumbs)
           An de phraisins ar phrill moipht.
                         
          Hannah and Selena laugh.
                         
                          HANNAH
                          (TO JIM)
           What did you say?
                         
                          JIM
                          (SWALLOWING)
           I said, the raisins are still
           moist.
                         
          Selena and Hannah laugh again.
                         
                          FRANK
           Hey.
                         
          Everyone turns.
                         
                          FRANK
           Look over there.
           52.
                         
                         
          Some distance away, in the fields below, a group of three
          horses - two adults and a foal - are galloping over the
          fields as if wild. A majestic and surreal sight, and it
          somehow implies the way the world will change.
                         
                          HANNAH
           Do you think they&apos;re infected?
                         
                          FRANK
           No. I think they&apos;re doing just
           fine.
                         
                         
          EXT. FIELDS - LATE AFTERNOON
                         
          The horses gallop, leaping a stone wall, and away.
                         
                         
          EXT. PICNIC SPOT - SUNSET
                         
          The meal has been eaten. Frank sits, playing with his radio,
          trying to listen to the faint broadcast. Beside him, Hannah
          lies on her back, eyes closed.
                         
                         
          EXT. FENCE GATE - SUNSET
                         
          Jim and Selena have walked a little distance away from the
          others, and are sitting on a fence gate, looking over the
          view.
                         
                          JIM
           You know what I was thinking?
                         
          Selena considers this a moment.
                         
                          SELENA
           You were thinking that you&apos;ll never
           hear another piece of original
           music ever again. You&apos;ll never read
           a book that isn&apos;t already written.
           Or see a film that isn&apos;t already
           shot.
                         
          Jim smiles.
                         
                          JIM
           That&apos;s what you were thinking.
                         
                          SELENA
           No... I was thinking I was wrong.
                         
                          JIM
           About what?
           53.
                         
                         
          Selena doesn&apos;t reply for a moment. Then she turns to look at
          Frank and Hannah - who look oddly normal, surrounded by the
          food wrappers from the picnic, Frank listening to the radio.
                         
                          SELENA
           All the death, all the shit - it
           doesn&apos;t really mean anything for
           Frank and Hannah. Because she&apos;s got
           her dad, and he&apos;s got his daughter,
           so... it&apos;s okay.
                         
          A beat.
                         
                          SELENA
           (looking back at Jim)
           I was wrong when I told you that
           staying alive is as good as it
           gets.
                         
                          JIM
                          (SMILES)
           That&apos;s what I was thinking.
                         
                          SELENA
           ...Was it?
                         
                          JIM
           Uh-huh. You stole my thought.
                         
          Selena leans over and gives Jim a light kiss on the cheek.
                         
                          SELENA
           (smiling back at Jim)
           Sorry.
                         
                          JIM
           (slightly surprised, but
                          PLEASED)
           Ah, keep it.
                         
                         
          EXT. PICNIC SPOT - SUNSET
                         
          Frank switches off the radio. He looks over at Hannah, who is
          dozing peacefully, then over to Jim and Selena.
                         
                          FRANK
                          (CALLING)
           It&apos;s getting late. We should stay
           here the night.
                         
          Jim raises a hand in reply.
           54.
                         
                         
          EXT. CAB/PICNIC SPOT - NIGHT
                         
          The cab sits, parked up at the picnic spot. Jim, Selena,
          Frank and Hannah lie beside it, wrapped in their jackets,
          using their small backpacks as pillows.
                         
          The moon is bright, and only Selena is asleep...
                         
                          HANNAH
           Can&apos;t sleep.
                         
                          JIM
           Nor can I. It doesn&apos;t feel safe,
           outdoors like this.
                         
                          FRANK
           I think we&apos;re safe enough.
                         
          A couple of moments pass.
                         
                          HANNAH
           ...Selena didn&apos;t seem to have any
           trouble.
                         
                          JIM
           I know. I noticed that too.
           (reaching over and shaking
                          SELENA&apos;S SHOULDER)
           Selena...Selena!
                         
                          SELENA
                          (EXTREMELY DROWSY)
           What... what is it...
                         
                          JIM
           How did you manage to get to sleep?
                         
          Selena gives a dozy grumble, then sits up, reaches into her
          backpack, and pulls out several bottles of pills. She hands
          one of them to Jim.
                         
                          FRANK
           Bloody hell. You must have needed a
           hell of a prescription for that
           lot.
                         
                          SELENA
                          (DROWSY)
           I didn&apos;t need a prescription. I&apos;m a
           qualified chemist.
                         
          She drops back down and goes straight back to sleep.
           55.
                         
                         
                          JIM
           (inspecting the bottle)
           Valium. Great. Not only will it get
           us to sleep, but if we get attacked
           during the night, we won&apos;t even
           care.
           (pops the lid)
           Two each?
                         
                          FRANK
           Not for me, thanks.
                         
                          JIM
                          (INDICATING HANNAH)
           What about...?
                         
                          HANNAH
           Can I, Dad?
                         
                          FRANK
                          (DOUBTFUL)
           I don&apos;t know, honey.
                         
                          HANNAH
           Da-ad, plee-ease. I can&apos;t sleep.
                         
                          FRANK
           All right, all right. Give her half
           of one.
                         
                          FADE TO:
                         
                         
          JIM&apos;S VALIUM DREAM
                         
          Jim is riding his bike through the city. It&apos;s London back to
          normal, pre-infection. Busy streets, traffic, pedestrians,
          car horns, radios playing.
                         
          Jim rides fast, his courier bag over his shoulder, weaving
          between cars, shooting a red light, turning a corner into...
                         
          Gower Street. Suddenly, a car pulls out into Jim&apos;s path. The
          car brakes hard, and Jim brakes hard, skidding...
                         
          ...and the two miss each other by a whisker.
                         
          The Driver flashes into road rage.
                         
                          THE DRIVER
           You stupid cunt!
                         
                          JIM
           Fuck you!
           56.
                         
                         
          The Driver flips Jim the finger, and accelerates away.
                         
          Jim remains stopped by the pavement, one foot down for
          balance, breathing hard. Pedestrians pass. Groups of people,
          everyday people, walking by.
                         
          Jim watches them, noticing their faces. Some talk to each
          other, or into mobile phones. Some smile, or walk lost in
          thought.
                         
          After a few moments, Jim sets off again, seemingly
          distracted, still watching pedestrians&apos; faces...then two of
          the faces seem to catch his attention. A man and a woman,
          middle-aged, chatting.
                         
          His parents.
                         
          Jim&apos;s head turns as he passes them, confusion on his face,
          his bike drifting into another lane...
                         
          ...into the path of a second car. The car that hit him.
                         
                          CUT TO:
                         
                         
          EXT. CAB/PICNIC SPOT - NIGHT
                         
                          FRANK
                          (QUIETLY)
           Hey.
                         
          Frank&apos;s hand is on Jim&apos;s shoulder. Jim stirs, half-wakes.
                         
                          JIM
           (confused, semi-conscious)
           What...
                         
          Frank is sitting beside him - and we see for the first time
          that Frank is awake, keeping guard over them while they
          sleep.
                         
                          FRANK
           Shh. You&apos;re having a bad dream,
           that&apos;s all.
                         
          Jim&apos;s face relaxes a little.
                         
                          JIM
           (mumbled, half-asleep
                          ALREADY)
           Okay, Dad.
                         
          Frank raises his eyebrows, then smiles.
           57.
                         
                         
          EXT. CAB/PICNIC SPOT - EARLY MORNING
                         
          Jim is sitting up. The others are all awake. Frank bouncing
          the repaired flat tire to check it, Hannah slipping on a
          fresh sweatshirt from her backpack, Selena leaning against
          the cab, chewing on a chocolate bar.
                         
                          JIM
           Here you go, Frank. This is how you
           catch dew. I&apos;m covered in the
           fucking stuff.
                         
                          FRANK
           (packing the spare away)
           Okay. Let&apos;s get rolling.
           (he checks his watch)
           If we make good time, we&apos;ll be
           there before midday.
                         
                         
          EXT. MOTORWAY - DAY
                         
          The cab is driving, towards us, then slows to a halt.
                         
                         
          INT. CAB - DAY
                         
          Everyone is looking at something ahead of them. They seem
          awestruck.
                         
                          JIM
           Bloody hell...
                         
                          FRANK
           It must be Manchester.
                         
                          JIM
           But, the whole of Manchester. The
           whole city...
                         
                          SELENA
           No fire crews to put it out.
                         
          We see what they are looking at...
                         
                         
          EXT. CAB - DAY
                         
          On the horizon ahead, there is the glow of a truly massive
          fire. The smoke spreads into the sky like the plume from a
          vast, spreading volcano crater. The city burning.
           58.
                         
                         
          INT. CAB - DAY
                         
          The cab drives towards the surreal sight. As they drive, pale
          flakes begin to fall, drifting past the windows.
                         
                          JIM
           It can&apos;t be...
                         
                          HANNAH
           Is it snow?
                         
                          FRANK
           (hitting the windscreen
                          WIPERS)
           It&apos;s ash.
                         
                         
          EXT. CAB - DAY - ASH FALL
                         
          The cab drives through the ash fall. Through the soft
          blizzard, they pass a sign for: MANCHESTER - 14 MILES (in the
          opposite lane). The city is behind them.
                         
                         
          EXT. MOTORWAY - DAY - ASH FALL
                         
          The cab drives down a motorway. The ash is still falling, and
          they start to pass bodies by the roadside.
                         
                         
          INT. CAB - DAY - ASH FALL
                         
          Inside the cab there is a sense of real anticipation.
          Everyone is sitting up, scanning the road ahead.
                         
          Then they come over the brow of a hill, and the ash-fall
          clears like mist parting, to reveal...
                         
                          FRANK
           Okay, everyone. I think this is it.
                         
                         
          EXT. MOTORWAY - DAY
                         
          Fifty meters down, the road is blockaded. It is obviously a
          military construction - hurriedly put together, but expertly
          built.
                         
          Behind rolls of razor wire are fifteen foot sheets of
          corrugated iron, held upright by scaffold pipes. In the
          middle of the blockade there is a gap wide enough to get a
          vehicle through, but concrete blocks force a chicane.
           59.
                         
                         
          On either side of the road there are sandbag nests. On the
          corrugated iron, white painted words read: 42ND BLOCKADE. But
          despite the impressive construction, there is no sign of
          movement or life.
                         
                         
          INT. CAB - DAY
                         
                          JIM
           Try the horn.
                         
                          SELENA
           Don&apos;t. We might attract the wrong
           kind of attention.
                         
                         
          EXT. 42ND BLOCKADE - DAY
                         
          The cab rolls slowly towards the blockade - past many more
          bodies, Infected, rotting.
                         
          It reaches the chicane, and eases around the concrete blocks.
          Then it passes through the gap in the corrugated barrier. On
          the other side of the blockade, canvas tents have been
          erected on the grass verge, and two transporter trucks are
          parked. A few packing crates and tarpaulins are also
          scattered around. But still no signs of life. The blockade
          appears to have been abandoned.
                         
          Franks slows to a halt, but keeps the engine running.
                         
                         
          INT. CAB - DAY
                         
                          FRANK
           What do you think?
                         
                          JIM
           It looks deserted.
                         
                          SELENA
           Or overrun.
                         
          Frank flicks the radio on - there is only static. He switches
          it off again.
                         
                          FRANK
           Let&apos;s check it out.
           60.
                         
                         
          EXT. 42ND BLOCKADE - DAY
                         
          Everyone exits the cab, holding their various weapons. Jim
          has his baseball bat, Selena has her machete, and Frank has
          his lead pipe...
                         
          Cautiously, they begin to explore. They first head over to
          the grass verge and the tents. In front of one of them,
          Hannah picks up a Bergen backpack. She upends it, and a few
          clothes fall out.
                         
          Frank moves past her, and carefully pulls back the tent flaps
          - machete at the ready. Inside, there is a small table, and
          maps and papers are strewn across the floor. And a radio.
                         
                          HANNAH
           I don&apos;t understand. Did they leave?
                         
          Jim pushes open the flaps of another tent with his baseball
          bat.
                         
                          JIM
           They didn&apos;t all leave.
                         
          Inside, several body bags lie, buzzing with flies.
                         
          Selena stands several feet away, by one of the packing cases.
          She pulls out a tangle of camouflage webbing, then lets it
          drop back inside.
                         
                          SELENA
           I don&apos;t like this. I think we
           should go.
                         
                          FRANK
                          (SUDDENLY SNAPPING)
           No!
                          (COMPOSES HIMSELF)
           The vehicles. We should check the
           vehicles first. There has to be
           something...
                         
                         
          EXT. VEHICLES - DAY
                         
          Frank jumps down from the back of one of the trucks. Like the
          others, like everything else it is empty.
                         
                          FRANK
           Nothing. Nothing here. I can&apos;t
           believe it.
                         
                          SELENA
           Frank.
           61.
                         
                         
                          FRANK
           &quot;We should go.&quot;
                         
                          SELENA
           Yes.
                         
                          FRANK
                          (EXPLODING)
           Go fucking where? What the fuck are
           we supposed to do? How is this
           going to fucking end? It&apos;s never
           going to -
                         
          Frank cuts himself off. Then, turning from the others, he
          walks away.
                         
                         
          EXT. BLOCKADE - DAY
                         
          Frank walks underneath the archway of one of the blockade
          structures, and sits down. Needing to be alone.
                         
          His head sinks, staring at the ground beneath his legs. A
          couple of moments later he looks up - and sees that sitting
          opposite of him, on the other side of the archway, almost
          mirroring his posture and position, is a dead Infected.
                         
          The corpse of the Infected sits gazing back at Frank with
          sightless eyes.
                         
          A moment between the two of them. A blank-faced exchange.
                         
          Frank looks left and sees the corpse of another Infected, a
          few feet beyond the blockade. And another, beyond it. And
          another, a few more feet to the right.
                         
          Then Frank looks upwards. Above him, on the walkway of the
          blockade, another corpse lies. And this corpse is swarmed
          with crows, picking at it.
                         
          Frank gets up.
                         
                          FRANK
           (under his breath)
           Get out it.
                          (SUDDENLY SHOUTING)
           GET OUT OF IT!
                         
          He bends, picks up a rock and throws it, but misses, sailing
          past them.
                         
          In a rage again, Frank goes under the blockade and starts to
          kick it. The scaffold clangs, vibrates, and - startled - the
          crows lift off from the mutilated corpse and fly...
           62.
                         
                         
          ...dislodging, or disrupting, a single droplet of blood from
          the corpse, that rolls off the neck, and begins to fall
          downwards.
                         
          Down... to where Frank gazes upwards.
                         
          The droplet splashes, pinpoint perfect, on Frank&apos;s eye.
                         
          Frank frowns, his hand immediately going to his face. The
          fingers come away, with the tiny smear of red.
                         
                          HANNAH
           Dad... are you okay?
                         
          Frank turns. Hannah is there, with Jim. Selena stands a
          little way further back.
                         
                          FRANK
           I... I&apos;m fine, honey. I&apos;m sorry. I
           just lost my temper. I...
                         
          He breaks off.
                         
                          HANNAH
           ...What?
                         
          Frank frowns. A hand goes to his temple.
                         
                          FRANK
           Hannah...
                         
          Abruptly, the color is draining from his face.
                         
                          FRANK
                          (TO HANNAH)
           Get away from me.
                         
                          HANNAH
           ...Dad?
                         
                          FRANK
           Get away from me!
                          (TO JIM)
           Get her away from me!
                         
                          HANNAH
           (moving to Frank)
           Why? What&apos;s...
                         
          Frank lashes out and shoves Hannah away, knocking her back to
          the ground.
                         
                          FRANK
           GET AWAY FROM ME!
           63.
                         
                         
          A trickle of blood runs out of Frank&apos;s nose. Then he doubles
          up, clutching the side of his head. He screams with pain.
                         
                          SELENA
           Jim...
           (breaking into a run)
           Jim, he&apos;s infected!
                         
                          HANNAH
           No! No!
                         
          Hannah lunges towards her dad, but is caught by Selena.
                         
                          SELENA
           (holding Hannah back)
           Jim!
                         
          But Jim is frozen, holding his baseball bat.
                         
          Frank screams again. Then drops to his knees.
                         
          Hannah struggles with Selena, trying to get to Frank.
                         
                          HANNAH
           Dad!
                         
                          SELENA
           Jim!
                         
          Jim is still frozen, baseball bat half-raised.
                         
                          SELENA
           KILL HIM!
                         
          And Frank looks up, his face contorted. The infection has
          taken hold.
                         
          And at that moment there is a rifle report, a rush of air,
          and a rapid thump of impact.
                         
          Frank falls forwards to the tarmac.
                         
          A moment of silence.
                         
                          HANNAH
           ...Dad?
                         
          Selena lets Hannah go.
                         
          Suddenly, the GUNFIRE comes again. Three shots in quick
          succession - into Frank&apos;s motionless body.
                         
          In a daze, Hannah starts towards her dead father.
           64.
                         
                         
                          CLIFTON
           STAY AWAY FROM HIM!
                         
          They all turn to see three British soldiers standing by a
          jeep. One of the soldiers (Farrell) advances, with his gun
          still raised, while the others (Mitchell and Clifton) hold
          back giving cover.
                         
                          FARRELL
           Get away from the man! NOW!
                         
          Jim steps towards Hannah and grabs her, pulling her away from
          Frank&apos;s body. She doesn&apos;t struggle. She is in a state of
          absolute shock.
                         
                          SELENA
                          (QUIETLY)
           Jesus.
                         
                         
          EXT. ROAD - DAY
                         
          A jeep drives down a small road - away from the blockade.
          Jim, Selena and Hannah sit in the back. Behind is the cab,
          driven by the Sergeant. A little way ahead of them, the
          walled grounds of a huge country mansion appear.
                         
                         
          EXT. FRONT DRIVEWAY - DAY
                         
          From a cast-iron gated entrance, a gravel driveway leads up
          to the impressive country mansion, surrounded by a high
          perimeter wall. The grounds show acres of lawn and flower
          beds. These have obviously had many years of very careful
          cultivation and attention, but now are just starting to look
          unkempt and overgrown.
                         
          The jeep pulls up by the front steps. Waiting there is
          another soldier, a major. Like the other soldiers, he is
          unshaven, but has the authority of command about him, even in
          the relaxed way that he stands.
                         
          As Jim, Selena and Hannah dismount from the jeep, he
          appraises them. Then speaks.
                         
                          HENRY
           I&apos;m Major Henry West. Welcome.
           We&apos;ve got beds with clean sheets
           and a boiler that produces hot
           water. So you can all have a
           shower. You look like you need one.
                         
          Jim, Selena, and tear-streaked Hannah gaze back at Henry
          blankly.
           65.
                         
                         
          INT. SHOWER - DAY
                         
          Jim has a shower, sees the cab driving round in circles
          outside the shower window, then...
                         
                         
          INT. MANSION - DAY
                         
          Jim walks down a sweeping staircase to the front hall.
          Scattered around are various bits of military gear. A pair of
          muddy boots, a jacket, assorted kit, webbing, etc.
                         
                         
          EXT. VERANDA - DAY
                         
          Henry is sitting, looking out over the back lawn.
                         
          Pulling back, we see Jim is with him.
                         
                          HENRY
           You heard our broadcast.
                         
                          JIM
           Yes.
                         
                          HENRY
           We must be a disappointment. You
           were hoping for a full brigade. An
           army base, with helicopters and
           field hospitals.
                         
                          JIM
           We were hoping for...
                         
                          HENRY
           The answer to infection. Well, as I
           said, it&apos;s here. Though it may not
           be quite what you imagined.
                         
                          JIM
           I didn&apos;t know what to imagine,
           so... We just feel lucky to have
           found you.
                         
                          HENRY
           You were lucky. The fire drove
           hundreds of infected out of
           Manchester. The surrounding area is
           teeming with them.
                         
          Henry glances back at Jim.
           66.
                         
                         
                          HENRY
           But there&apos;s no need for you to
           worry. We&apos;re well protected here.
                         
                         
          EXT. GARDEN - DAY
                         
          Henry shows Jim around the grounds.
                         
                          HENRY
           Three-sixty visibility. Flat
           terrain all around the house...
           Floodlights, which we&apos;ve rigged up
           to a generator. Don&apos;t like to waste
           the fuel, but when we want to, we
           can turn night into day.
                         
          Moving on...
                         
                          HENRY
           High perimeter wall, which helps,
           and we&apos;ve been lacing the grounds
           with trip wires and land mines.
                         
          Henry indicates where Farrell, Smith and Davis can be seen,
          running a trip wire.
                         
                          HENRY
           You wouldn&apos;t want to go mowing the
           lawn, but if they get in, we hear
           them.
                         
                         
          INT. MANSION - LOWER LEVELS - DAY
                         
          Henry leads Jim into the basement level of the mansion.
                         
                          HENRY
           Secondary to protection, our real
           job is to rebuild. Start again.
           Down here is the wood-fired boiler
           that provides us with hot water.
           Our first step to civilization.
                         
          Then to a kitchen...
                         
                          HENRY
           And here, the kitchen.
                         
                         
          INT. MANSION - KITCHEN - DAY
                         
          Several of the soldiers are unpacking the food bags from the
          cab. One of the soldiers, Jones, is wearing an apron.
           67.
                         
                         
                          HENRY
           What are you cooking, Jones?
                         
                          JONES
           It&apos;s a surprise, sir!
                         
                         
          EXT. MAILER&apos;S PIT - DAY
                         
          Henry leads Jim into a small courtyard, hanging with
          bloodstained laundry.
                         
                          HENRY
           And finally...
                         
          The laundry starts to billow - and with it we hear the sound
          of rushing movement. As a darkly stained sheet is ripped
          aside, an Infected is revealed only a few feet away.
                         
          Jim jumps back, but Henry stays put - as the Infected is
          suddenly jerked backwards by a chain around its neck.
                         
                          HENRY
           ...meet Mailer.
                         
          Mailer is uniformed. A soldier. Apart from the chain around
          his neck, he is gagged with a filthy and blood-blackened rag
          tied tight into his mouth.
                         
                          HENRY
           Mailer, Jim. Jim, Mailer. Got
           infected three days ago. Mitchell
           managed to knock him out cold. Got
           a chain around his neck.
                         
                          JIM
           You&apos;re keeping him alive?
                         
                          HENRY
           The idea was to learn something
           about infection. Have him teach me.
                         
                          JIM
           And has he?
                         
                          HENRY
           In a way.
                          (KNEELS)
           He&apos;s teaching me he&apos;ll never bake
           bread. Plant crops, raise
           livestock. He&apos;s telling me he&apos;s
           futureless. And eventually he&apos;ll
           tell me how long the infected take
           to starve to death.
           68.
                         
                         
          A moment.
                         
                          HENRY
           Dinner&apos;s at seven. Don&apos;t forget to
           tell the girls.
                         
          Henry exits, leaving Jim with Mailer.
                         
          Mailer lunges at Jim - a moment between them.
                         
          Then Jim exits.
                         
                         
          INT. GIRLS&apos; BEDROOM - DAY
                         
          Carefully, Jim opens the door to the girls&apos; bedroom. Inside
          is Hannah lying on the bed, face covered, on her side. Selena
          lies behind her, her arm lying protectively over Hannah&apos;s
          body.
                         
          Selena looks around, sees Jim, and puts a finger to her lips.
                         
                         
          INT. JIM&apos;S BEDROOM - NIGHT
                         
          Jim and Selena enter, and close the door.
                         
                          JIM
           ...So how is she?
                         
                          SELENA
           She&apos;s lost her dad. That&apos;s how she
           is.
                          (A MOMENT)
           It&apos;s all fucked, Jim.
                         
          Suddenly Selena looks as if she&apos;s on the verge of tears.
                         
                          JIM
           Hey, don&apos;t...do that. Look,
           Hannah... Hannah&apos;s what Frank said
           she was. Tough. Strong. And just
           like me, just like you, she will
           cope...
                         
                          SELENA
           Shut up, Jim. Just shut up. I don&apos;t
           want her to fucking cope. I want
           her to be okay. And when Hannah had
           her dad, it was all okay. Remember?
           And when it was okay for them, it
           was okay for us. And now it&apos;s all
           fucked.
           69.
                         
                         
          Then Selena&apos;s tears are flowing.
                         
          Jim seems to want to reply, but doesn&apos;t have the words.
                         
          Instead, he lifts Selena&apos;s face and kisses her on the lips...
                         
          ... a moment.
                         
          Then Selena pushes him a away.
                         
          Selena leaves the room.
                         
                         
          INT. MANSION - DINING ROOM - NIGHT
                         
          A surreal scene.
                         
          Dinner, with full silver service, candles, wine and crystal
          glasses, napkins, and everyone rather formally sitting while
          Jones lays food on the table, wearing an apron over his
          uniform.
                         
          Made all the more surreal by Jim and Selena&apos;s grubby clothes,
          and Hannah&apos;s dazed, tear-streaked face.
                         
                          HENRY
           So, what have we here? Tinned ham,
           tinned peas, and omelette. You&apos;ve
           prepared a feast, Jones.
                         
                          JONES
           Honor of our guests, sir.
                         
                          HENRY
           Absolutely. I was going to suggest
           a toast, but this omelette will do
           just as well.
           (cuts off a chunk of
           omelette and raises it)
           To new friends.
                         
          Henry pops the omelette in his mouth, then promptly spits it
          out.
                         
                          HENRY
           Jones, did you notice while cooking
           that these eggs are off?
                         
                          JONES
           I thought the salt might cover the
           taste, sir.
           70.
                         
                         
                          HENRY
           (pushing his plate away)
           Get rid of it.
                         
          Henry turns to Hannah as Jones sheepishly exits, carrying the
          omelette.
                         
                          HENRY
           I don&apos;t suppose you can cook, can
           you? I can&apos;t tell you how badly we
           need someone who shows a little
           flair in the kitchen.
                         
          Hannah ignore/is unaware of Henry&apos;s attempt to bring her out
          of her shell.
                         
          Meanwhile, the soldiers start helping themselves to the other
          food on the table.
                         
                          DAVIS
           That&apos;s a fucking disappointment.
           When I saw those eggs, I thought it
           was Christmas.
                         
                          BELL
           We&apos;ll have eggs again. Once
           everything&apos;s back to normal.
                         
          The soldiers pause. Exchange glances. Then burst out
          laughing.
                         
                          MITCHELL
           Listen to him! He&apos;s still waiting
           for Marks and Spencer&apos;s to reopen.
                         
          More laughter at Bell - interrupted by the sergeant, Farrell,
          who conspicuously is not joining in.
                         
                          FARRELL
           I think Bell&apos;s got a point. If you
           look at the whole life of the
           planet, man has only been around
           for a few blinks of an eye. So if
           the infection wipes us all out,
           that is a return to normality.
                         
          Farrell turns to Bell.
                         
                          FARRELL
           Is that what you meant, Bell?
                         
                          BELL
           Uh...yeah.
           71.
                         
                         
                          HENRY
           (to Jim and Selena)
           Have you met our new-age sergeant?
                          (TO FARRELL)
           Remind me, Farrell, why exactly did
           you join the army in the first
           place.
                         
          A moment.
                         
                          HENRY
           This is what I&apos;ve seen in the four
           weeks since infection. People
           killing people. Which is much what
           I saw in the four weeks before
           infection, and the four weeks
           before that, and before that, as
           far back as I care to remember...
           People killing people. Which to my
           mind puts us in a state of
           normality right now.
                         
          Selena turns to Hannah.
                         
                          SELENA
                          (QUIET)
           You&apos;re not eating.
                         
                          HANNAH
           I don&apos;t want to eat.
                         
          Henry picks up on their exchange.
                         
                          HENRY
           You must eat, Hannah.
                         
                          HANNAH
           I don&apos;t want to eat. I want to bury
           my dad. He&apos;s one of the people
           you&apos;re talking about.
                         
          A silence over the dinner table.
                         
          Broken by the thud of a mine detonation.
                         
          Then...
                         
                          FARRELL
           Stand to!
                         
          And suddenly all the soldiers are kicking back their chairs,
          jumping to their feet. Producing SA-80s that they had under
          the table.
           72.
                         
                         
          EXT. MANSION - NIGHT
                         
          Farrell, Jones, Mitchell, Bedford, Smith and Clifton race out
          of the house, fanning, dropping into position.
                         
                          MITCHELL
           Go, go, go!
                         
          Two more soldiers, Davis and Bell, fire from window positions
          on the mansion&apos;s first floor.
                         
                          FARRELL
           Jones! Cover right!
                         
                          SMITH
           Three o&apos;clock! Three o&apos;clock!
                         
          Coming across the grounds are four Infected, sprinting across
          the lawn towards the house. Immediately, one of them is
          catapulted into the air by an explosion under its feet - a
          mine.
                         
          The soldiers open fire, Jones closing his eyes as he pulls
          the trigger.
                         
          The three remaining Infected are cut down - one hit in the
          head by Smith, another folding under a burst from Farrell,
          the last falling under fire from Mitchell, landing face down
          on a mine which explodes onto its chest.
                         
          Chunks of Infected spin into the air, then patter down like a
          light rain.
                         
                          MITCHELL
                          (DELIGHTED)
           That was mad! Did you see that!
           That was fucking mad!
                         
                          FARRELL
                          (ANGRY)
           Clear!
                         
                          JONES
           Clear.
                         
                          MITCHELL
                          (STILL LAUGHING)
           Clear.
                          (TO JONES)
           Fuck me, I never saw that before.
           Keeled over and - bam! Gone, like
           fucking magic.
           73.
                         
                         
                          SMITH
           I drew a lovely bead. One shot.
           Right between its eyes.
                         
                         
          INT. LIVING ROOM - NIGHT
                         
          Jim stands, looking out of the open French windows at the
          soldiers.
                         
          Selena is standing behind him. She is holding her machete.
                         
          The soldiers bounce in. Mitchell and Smith in particular are
          hyped from their adrenaline rush.
                         
                          MITCHELL
           It was all hanging in the air, and
           all these bits coming down, and...
                         
          Mitchell catches sight of Selena holding her machete.
                         
                          MITCHELL
           Hello.
                         
          He heads towards her, and takes the machete from her hands.
                         
                          MITCHELL
           I&apos;ll tell you what: you don&apos;t need
           this penknife any more, sweetie.
           I&apos;m here to protect you now.
           (winks at the other
                          SOLDIERS)
           But listen, if you want to hold a
           huge chopper...
                         
          Bedford bursts out laughing, and Selena grabs her machete
          back.
                         
                          MITCHELL
           Whoa! Feisty!
                         
          He gives her a slap on the backside.
                         
                          SELENA
           Fuck you!
                         
                          MITCHELL
           You bet. How about right now?
                         
          Now doubly hyped. Mitchell reaches forward and pulls up the
          hem of Selena&apos;s T-shirt. She yelps and twists, knocking back
          his hand.
           74.
                         
                         
                          MITCHELL
           Yeah! A little rough stuff!
                         
                          FARRELL
           MITCHELL!
                         
          But Farrell clearly has little command over Mitchell, who
          tries again for Selena&apos;s T-shirt, still laughing.
                         
          Jim snaps.
                         
                          JIM
                          (ANGRILY GRABBING
                          MITCHELL)
           Cut it out!
                         
          And Mitchell turns immediately on Jim, his sexual charge
          flipping seamlessly back to violence.
                         
                          MITCHELL
           (grabbing Jim, propelling
           him back across the room,
           up against a wall)
           Easy, tiger. You don&apos;t want to go
           picking a fight with me.
                         
          Suddenly Farrell is behind Mitchell. We see a movement (a
          kidney punch), and Mitchell drops.
                         
                          MITCHELL
           (gasping, on the ground)
           Ahh, you cunt. Cunt.
                         
          Then - as if through sixth sense, sensing a presence, all
          turn. Henry is standing in the doorway.
                         
          A moment. Then Henry turns to Mitchell - who has picked
          himself up, and is clutching his side, breathing hard.
                         
                          HENRY
           Corporal, first point of order
           after an attack.
                         
                          MITCHELL
           Re-secure the perimeter, sir.
                         
                          HENRY
           Then get to it. Jones, Bedford, go
           with him.
                          (TO FARRELL)
           Sergeant.
           75.
                         
                         
                          FARRELL
                          (TIGHTLY)
           Sir.
                         
                          HENRY
           Clear the bodies off the lawn. The
           rest of you go with him.
                         
          The soldiers exit, leaving only Jim, Henry and Selena in the
          room.
                         
          Selena is shaken, and won&apos;t meet Jim&apos;s eyes.
                         
          Henry hands Selena her machete back.
                         
                          HENRY
           My apologies.
                         
          Selena takes the machete and exits, but Jim doesn&apos;t follow.
          Obviously there is something he wants to say to Henry.
                         
                         
          INT. STUDY ROOM - NIGHT
                         
          Jim and Henry enter the study room.
                         
                          HENRY
           Drink?
                         
          Henry walks over to a drinks cabinet, and pours two brandies,
          waiting for Jim to speak.
                         
                          JIM
           Look. We&apos;re grateful. Very grateful
           for your protection, and just to
           have found other people. But if
           we&apos;re going to stay here with you,
           you&apos;re going to have to stop your
           men from -
                         
                          HENRY
           Who have you killed?
                         
                          JIM
                          (THROWN)
           I haven&apos;t killed anyone.
                         
          Henry hands Jim his drink.
                         
                          HENRY
           Since it began, who have you
           killed? You wouldn&apos;t be alive now
           if you hadn&apos;t killed somebody.
           76.
                         
                         
          A moment.
                         
                          JIM
           A boy. I killed a boy.
                         
                          HENRY
           A child?
                         
                          JIM
           Yes.
                         
                          HENRY
           But you had to. Otherwise he&apos;d have
           killed you. Survival. I understand.
                          (BEAT)
           I promised them women.
                         
                          JIM
           What?
                         
                          HENRY
           Eight days ago I found Jones with
           his gun in this mouth. He said he
           was going to kill himself because
           there was no future. What could I
           say to him? We kill all the
           infected or wait until they starve
           to death. And then what? What do
           nine men do except wait to die
           themselves?
                          (BEAT)
           I moved us from the blockade, I set
           the radio broadcasting, and I
           promised them women. Because women
           mean children.
                         
          Jim turns and runs out of the room.
                         
                          HENRY
           And children mean a future.
                         
                         
          INT. GIRLS&apos; BEDROOM - NIGHT
                         
          Jim bursts into the girls&apos; bedroom. Selena is dressed,
          sitting next to Hannah, who is awake.
                         
                          JIM
           Get up. Get up!
                         
                          SELENA
           Wha...
           77.
                         
                         
                          JIM
           We&apos;ve got to get out of here!
                         
                          SELENA
           But we...
                         
                          JIM
           (hauling them up)
           We&apos;re leaving. Now! NOW!
                         
                         
          INT. MANSION STAIRS - NIGHT
                         
          Jim and the girls run down the stairs...
                         
          ...heading for the front door.
                         
          But behind it is Mitchell, waiting, holding his SA-80.
                         
          Jim is hit full in the face, and blacks out.
                         
          As he comes around, he can hear the sound of shouting and
          screaming.
                         
          Farrell is backing away from other soldiers, who are closing
          in on him, even though his gun is raised.
                         
                          FARRELL
           You can&apos;t do this! You can&apos;t do
           this! Get back! I&apos;ll fucking slot
           you! I&apos;ll slot you, I fucking swear
           it!
                         
          But he doesn&apos;t follow his threat through. We hear him scream
          as the soldiers overpower him.
                         
          Jim looks up, and sees Henry is kneeling over him.
                         
                          HENRY
           I want to give you a chance. You
           can be with us, or not.
                         
          Jim stares back at him. And Henry gazes at Jim, searching
          behind Jim&apos;s eyes. And understands what he finds.
                         
                          HENRY
           Okay, Jim. Okay.
                         
          Henry gives Jim&apos;s cheek a soft pat, then rises.
                         
                          HENRY
                          (TO MITCHELL)
           Him too.
           78.
                         
                         
          Jim&apos;s eyes flick to the side, where he sees Selena holding
          Hannah tightly.
                         
          Selena looks down at Jim, terrified.
                         
          Black screen.
                         
                          FARRELL&apos;S VOICE
           He&apos;s insane.
                         
                         
          INT. CELLAR
                         
          Jim, blindfolded, is sitting beside a radiator, to which his
          hands are tied.
                         
          He is in a cellar. Farrell is on the other side of the small
          room, also tied.
                         
          Jim, blind, looks around at the sound of Farrell&apos;s voice.
                         
                          FARRELL
           You know what they&apos;re doing, a few
           hundred miles from here? Across the
           channel, across the Atlantic,
           they&apos;re eating dinner. They&apos;re
           wondering what to watch on TV
           tonight. They&apos;re sleeping next to
           their wives.
                         
          Jim&apos;s head turns.
                         
                          FARRELL
           But we&apos;re here, chained to a
           fucking radiator because the OC has
           gone insane. Starting the world
           again when the rest of the world
           hasn&apos;t even fucking stopped. Think
           about it! How could infection cross
           the oceans? How could it cross the
           mountains and the rivers? They
           stopped it. And right now TVs are
           playing and planes are flying in
           the sky and the world is continuing
           as fucking normal. Think. Actually
           think about it. What would you do
           with a diseased little island?
                         
          A moment.
                         
                          FARRELL
           They quarantined us.
                         
          A moment.
           79.
                         
                         
                          FARRELL
                          (QUIET)
           There is no infection. It&apos;s just
           people killing people.
                          (BEAT)
           He&apos;s insane.
                         
                          JIM
           ... Quarantine?
                         
          Then the door to the cellar bursts open, revealing Mitchell
          and Jones.
                         
                         
          EXT. TREE-LINED PATH - DAY
                         
          Mitchell and Jones are leading Jim and Farrell through a
          small forest at the back of the mansion garden.
                         
          Time has passed. It has started raining. Both Jim and Farrell
          have been badly beaten. Jim&apos;s shirt is ripped. Blood runs
          from his nose, and from a cut on the side of his head. He
          seems dazed. Numbed. More by the situation than his beating.
                         
                         
          EXT. EXECUTION GROUND - DAY
                         
          Jim and Farrell are led into a clearing. Just ahead is a
          high, ivy-covered brick wall - the perimeter wall of the
          mansion. And at the base of the wall are bodies. Stacked,
          tangled, swarming with flies.
                         
          Jim turns, and sees Mitchell and Jones standing behind him.
                         
                          FARRELL
           Come on then, you fucking pansies.
           Do me first.
                         
          Mitchell grins, and pulls out his bayonet.
                         
                          FARRELL
           So you&apos;re going to stick me,
           Mitchell? Is that it?
                          (TO JONES)
           Is that how you&apos;re going to let
           your sergeant go out, Jones?
                         
                          JONES
           No, Mitch. Do it with the gun.
                         
          Mitchell ignores Jones, and starts to fix the blade to the
          end of his gun.
           80.
                         
                         
                          FARRELL
           You&apos;re going to let him stick me,
           are you? Like a fucking dog?
                         
                          JONES
           Mitch, come on. Just shoot him.
                         
                          MITCHELL
           Why?
                         
                          JONES
           Because it&apos;s quick.
                         
                          MITCHELL
           So?
                         
          The bayonet fixes home with a click.
                         
                          JONES
           I&apos;ll shoot him, then.
                         
                          MITCHELL
           You fucking won&apos;t.
                          (TO FARRELL)
           Any last words?
                         
          Farrell spits in Mitchell&apos;s face.
                         
                          MITCHELL
           I&apos;m going to enjoy this.
                         
          Mitchell pulls back his bayonet, and at that moment, there is
          an explosion of gunfire. Jones has fired and killed Farrell.
                         
          As Farrell drops, the enraged Mitchell turns on Jones.
                         
                          MITCHELL
           You stupid cunt! What are you
           doing?
                         
          Mitchell knocks Jones down, putting his gun right in Jones&apos;s
          face.
                         
                          JONES
                          (WHIRLING)
           How did he...
                         
          They turn. Jim has vanished.
                         
          From the side of the clearing, in the trees, there is the
          sound of sudden movement.
                         
                          JONES
           There!
           81.
                         
                         
          Both men immediately set off, diving back into the foliage...
                         
          A beat passes. Then, in the pile of bodies, one of them sits
          up...
                         
          ...Jim. We have been looking right at him. But in the tangle
          of bodies, and the bloodstained clothes, his camouflage was
          complete.
                         
                         
          EXT. TREES - DAY - LIGHT RAIN
                         
          Mitchell and Jones move fast, scanning, pushing through the
          undergrowth. Mitchell is absolutely furious. And as they run,
          they startle a couple of birds, which fly up from the ground,
          making a suspiciously familiar noise...
                         
          They both have the same realization at the same moment.
                         
                         
          EXT. EXECUTION GROUND - DAY
                         
          Mitchell and Jones burst back into the clearing, and they
          start firing into the bodies, emptying a full clip into the
          corpses...
                         
          ....Silence.
                         
          Then Jones looks up to the ivy-colored wall...following the
          path of the ivy upwards, to the coiled razor wire, where a
          scrap of torn and bloody clothing hangs.
                         
                          JONES
           Oh no. We&apos;re fucked, we&apos;re fucked.
                         
                          MITCHELL
           No problem. He&apos;s outside. No gun.
           No vehicle. He&apos;s a dead man.
                         
                         
          EXT. WOODS - DAY
                         
          Jim runs through the woods, away from the mansion. His hands
          are still tied.
                         
          He is out of breath, frightened, jumping at every sound.
                         
          Then he trips, rolls down a short slope, and when he comes to
          rest, he is looking upwards.
                         
          Above him, there is a parting in the clouds, and through the
          parting is blue sky.
           82.
                         
                         
          And across the sky, bisecting the blue, is a single vapor
          trail.
                         
          A pin-prick of silver plane. Followed by a sonic boom. As
          much in Jim&apos;s head as anywhere else.
                         
                          CUT TO:
                         
                         
          INT. DOOR - DAY
                         
          Close-up of a closed door, with the sounds of a struggle on
          the other side.
                         
          Then, suddenly, Selena&apos;s voice: hard, desperate:
                         
                          SELENA
           You can&apos;t do this to her! She&apos;s
           only fourteen!
                         
                         
          INT. DRESSING ROOM - DAY - RAIN
                         
          (Note: in the room is a large, freestanding mirror.)
                         
          Hannah and Selena are cornered by Clifton, Bedford, Bell and
          Davis. The soldiers are hyped. Bedford pulls clothes out of a
          wardrobe, yanking out dresses, underwear - throwing them at
          the girls.
                         
          Bell stands by the closed door - frightened, caught like a
          rabbit in the headlights between testosterone madness and the
          horror.
                         
          And Clifton is laughing, animal-like, tearing at Selena&apos;s
          clothes, while Hannah is kicking and screaming - held by
          Davis.
                         
          Close-up on Selena: suddenly transfixed by Hannah the young
          girl&apos;s fight, the hopelessness.
                         
          Abruptly, Selena turns, grabs Clifton&apos;s arm, and to his
          amazement, yanks him around.
                         
          Then she kisses him on the lips. Simply, but unambiguously.
                         
          Bell, Davis and Bedford watch in amazement.
                         
          Selena breaks off.
                         
          The frenzy has been broken by her extraordinary action - and
          bizarrely, so has the balance of power.
           83.
                         
                         
                          SELENA
           You need to give me a moment with
           Hannah. Alone.
                         
          Clifton nods - he seems a little dazed.
                         
                          CLIFTON
           The OC. He... he wants you to...
                         
                          SELENA
           He wants us to dress up nice.
                         
          She picks up two of the dresses Bedford has thrown - the red
          dresses.
                         
                          SELENA
           But if you want us to change,
           you&apos;ll have to get out of the room.
                         
          A moment.
                         
                          SELENA
           (calm, powerful)
           It&apos;s just fucking polite.
                         
          Another moment.
                         
          Then Clifton nods. Acquiesces.
                         
                          CLIFTON
           (to the others)
           Okay. Clear out.
                         
          They exit.
                         
          Selena stands with Hannah, emptying pills from her Valium
          bottle.
                         
                          SELENA
           Eat them.
                         
          Hannah hesitates.
                         
                          SELENA
                          (HARD)
           Eat them, Hannah!
                         
          Hannah takes the handful of pills and holds them in her open
          palm.
                         
          Then she looks to Selena.
                         
                          HANNAH
           Are you killing me?
           84.
                         
                         
          A moment - maybe a single moment of tenderness, a strand of
          hair brushed from Hannah&apos;s face.
                         
                          SELENA
           No. I&apos;m making you not care.
                         
          Locked eyes with Selena, Hannah raises the first pill to her
          mouth. Then the next.
                         
          The door behind opens - revealing the soldiers.
                         
          Clifton sees what is happening.
                         
                          CLIFTON
           Hey! What the fuck are you doing?
                         
          Selena crams the pills into Hannah&apos;s mouth.
                         
          The soldiers lunge for the girls, as Hannah tries to swallow
          the pills, and Selena whirls to fight them off...
                         
          ...and at that moment, the sound of distant siren begin to
          rise.
                         
          Everyone freezes.
                         
          Then...
                         
                          SELENA
           Jim.
                         
                          BEDFORD
           He&apos;s at the blockade!
                         
                         
          INT. MANSION - STAIRS - DAY - RAIN
                         
          The soldiers run down the stairs.
                         
                          JONES
           He went over the wall! We thought
           he&apos;d be dead sir!
                         
                          HENRY
           Shut up! Davis - you&apos;re coming with
           me!
                         
                         
          EXT. BLOCKADE - DAY - RAIN
                         
          Jim stands in the blockade, turning the handle of a siren.
          Rain is pouring down, mingling with the blood on his face.
                         
          Jim stops, and the sound of the siren starts to fade away.
           85.
                         
                         
          From the motorway ahead, through the rain, a jeep is
          approaching.
                         
                         
          EXT. MOTORWAY - LATE AFTERNOON - RAIN
                         
          The jeep drives fast down the motorway, and pulls up. Davis
          is driving and Henry stands on the back, manning the jeep&apos;s
          mounted machine gun.
                         
          The jeep pulls up, one hundred meters from the blockade, and
          Henry brings the mounted machine gun to bear on the blockade.
                         
                          HENRY
           Okay. Let&apos;s see if we can sidestep
           the cat-and-mouse bullshit.
                         
          Henry opens fire.
                         
                         
          EXT. BLOCKADE - LATE AFTERNOON - RAIN
                         
          Bullet rip through the blockade, punching holes through the
          vehicles, smashing through the packing crates...
                         
                         
          EXT. MOTORWAY - LATE AFTERNOON - RAIN
                         
          Henry stops shooting. With a peal of thunder, the rain
          suddenly begins to flood down.
                         
          The barrel of the machine gun spits and steams as the
          raindrops hit the hot metal.
                         
                         
          EXT. BLOCKADE - LATE AFTERNOON - HEAVY RAIN
                         
          Davis pulls up at the outskirts of the blockade, and they get
          out of the truck.
                         
          Henry and Davis make their way into the blockade. With a
          signal from Henry, the two split up.
                         
                         
          EXT. BLOCKADE - WITH HENRY - LATE AFTERNOON - HEAVY RAIN
                         
          Henry moves through the blockade.
                         
          He lets off a controlled burst of shots into the tents.
                         
                         
          EXT. BLOCKADE - WITH DAVIS - LATE AFTERNOON - HEAVY RAIN
                         
          Stealthily, Davis searches around the trucks and tents...
           86.
                         
                         
          A flash of movement - fast, like an Infected, ducking behind
          one of trucks: Jim.
                         
          Davis wipes the rain from his eyes, and presses forwards.
                         
          Jim is nowhere to be seen.
                         
          Another flash of movement, around the back of the next truck.
                         
          Davis moves around the truck...but Jim is not there.
                         
                          DAVIS
           Fuck.
                         
          Davis turns, and sees...
                         
          ...Jim, flying towards him, holding Frank&apos;s lead pipe, lips
          drawn back over his teeth in a rictus smile, murderous.
                         
          He is the vision of the Infected, in his expression, his
          movements, the blood, everything.
                         
                         
          EXT. BLOCKADE - WITH HENRY - LATE AFTERNOON - HEAVY RAIN
                         
          Henry turns, as if having just heard something. Perhaps a
          scream.
                         
                          HENRY
                          (CALLING)
           Jim?
                         
          Another noise. This time it is unambiguously an Infected
          howl. Henry turns again. From down the motorway, and from the
          fields, he can now see the Infected. A large number,
          attracted by noise of the heavy machine gun, are approaching.
                         
          He looses off a couple of shots at the Infected, then starts
          to back away to the jeep.
                         
                         
          EXT. JEEP - LATE AFTERNOON - HEAVY RAIN
                         
          Henry runs up to the jeep. Through the rain, and the water
          running down the windscreen, Henry can see a figure sitting
          at the driver&apos;s seat.
                         
                          HENRY
           Davis?
                         
          The figure doesn&apos;t move.
                         
          Henry approaches cautiously, gun raised, and finds...
           87.
                         
                         
          ...Davis sitting on the front seat, dead, his skull smashed
          open.
                         
          Henry whirls, expecting to find Jim behind him.
                         
          But there is no one there.
                         
          Henry shoots again, blindly, emptying his clip at anything
          and everything around him.
                         
          He reloads - hurriedly, hands slipping on the wet clip,
          betraying nervousness...
                         
          ...and fires at a rain shadow that sweeps between two of the
          tents. Then his nerve is gone.
                         
                          HENRY
           Fine! Fine, you little bastard!
           Fucking die out here!
                         
          Henry hauls out Davis&apos;s body, gets into the driver&apos;s seat,
          turning the ignition...
                         
          ...but nothing is happening.
                         
          Henry turns the key again, desperately. The motor doesn&apos;t
          even turn over.
                         
          Reaching under the dashboard, he pulls out a handful of
          wires.
                         
                          HENRY
           Jim.
                         
          And at the moment, an Infected slams onto the windscreen,
          face against the glass.
                         
          Henry shouts out of surprise and anger, lifting his gun, and
          fires at point-blank range, through the glass, into the
          Infected&apos;s face.
                         
          The windscreen shatters, blown outwards.
                         
          And now, where our view was obscured by rain-washed glass, we
          can see clearly...
                         
          ...Infected, in the blockade, coming through the downpour,
          running towards the jeep.
                         
          Henry opens fire and cuts them down.
           88.
                         
                         
          EXT. MAILER&apos;S PIT - NIGHT - HEAVY RAIN
                         
          Jim appears above Mailer in his pit, and shoots off Mailer&apos;s
          chain.
                         
                         
          INT. LIVING ROOM - NIGHT - HEAVY RAIN
                         
          Jones stands holding his gun at Selena and Hannah, who sit on
          the sofas, opposite each other. Also in the room are Clifton,
          standing by the French windows, and Mitchell.
                         
          Jones seems jumpy, a sheen of sweat on his forehead, as if
          sensing that things have gone seriously wrong.
                         
          A flicker of lightning lights up outside.
                         
                          JONES
           What was that? Was that a claymore?
                         
                          MITCHELL
           It was lightning.
                         
                          JONES
           But I heard something.
                         
          A moment. Rain and wind lash the windows.
                         
                          MITCHELL
           I&apos;ll go and hit the floods. Take a
           butcher&apos;s. Girls, keep an eye on
           him, would you?
                         
          Mitchell exits.
                         
          Jones wipes at the beads of sweat on his upper lip. And in
          noticeable contrast, Hannah is completely calm...
                         
                          HANNAH
           Those pills. I think they&apos;re having
           an effect. I can feel them, and...
           I don&apos;t feel sleepy, but...
                         
          Her sentence trails off. Then she turns to Jones.
                         
                          HANNAH
                          (TO JONES)
           They&apos;ve been a long time.
                         
          Jones says nothing.
                         
                          HANNAH
           What are you going to do if they
           don&apos;t come back?
           89.
                         
                         
          Jones still says nothing, but the question is clearly hitting
          a nerve.
                         
                          HANNAH
           Will you be the boss if Henry is
           dead? Is that the way if works?
                         
          Selena looks at Hannah quickly.
                         
                          JONES
           Shut up.
                         
                          HANNAH
           I don&apos;t think they are coming back.
           I think they&apos;ve been killed.
                         
                          JONES
           I told you to shut up!
                         
                          SELENA
                          (NERVOUS)
           Hannah...
                         
                          HANNAH
                          (FLAT)
           They&apos;re dead.
                         
          Hannah&apos;s eyes flick over Jones&apos;s shoulder, and something
          fleeting passes over her face.
                         
                          HANNAH
           You&apos;re going to be next.
                         
          At that moment, a mine detonates in the mansion grounds.
                         
                          JONES
           Shit!
                         
          At that moment, the floodlights power up...
                         
          ...illuminating Mailer, just on the other side of the French
          windows, just behind Clifton, a split second before he
          smashes through.
                         
          Then he does smash through.
                         
          Clifton is thrown to the ground, with Mailer on top of him.
                         
                          CLIFTON
           Help! Shoot him! Shoot him!
                         
          Jones is hopeless, panicking - fires, and misses.
           90.
                         
                         
          Hannah watches, spaced out. Selena shakes Hannah by the
          shoulders, pulling Hannah upwards.
                         
                          SELENA
           Hannah! Hannah! We have to get out
           of here!
                         
          Mailer vomits blood into Clifton&apos;s face.
                         
                         
          INT. HALLWAY - NIGHT - HEAVY RAIN
                         
          Selena and Hannah back out of the living room, through the
          house. Hannah is very doped up.
                         
                          SELENA
           Oh Jesus, Jesus, Hannah, stay with
           it, stay with it.
                         
                          HANNAH
           (relaxed, as she&apos;s yanked
                          ALONG)
           Don&apos;t worry. I feel fine. Really.
                         
          They reach the front hallway, and the front door bursts
          open...
                         
          Mitchell, with Bedford.
                         
                          MITCHELL
           What the fuck&apos;s going on? What&apos;s
           all the shouti...
                         
          Mitchell is cut off by a high scream, from down the hall, in
          the direction of the living room.
                         
          All turn, and see...
                         
          ...Jones, running, screaming, out of one doorway, across the
          hallway. He has lost his weapon - and is chased by Mailer,
          but not Clifton. Like a train passing, in half a second they
          are out of sight.
                         
          A moment. Then Mitchell explodes.
                         
                          MITCHELL
                          (TO BEDFORD)
           Don&apos;t just fucking stand there! Get
           after them!
           91.
                         
                         
          INT. KITCHEN - NIGHT - HEAVY RAIN
                         
          Mailer chases Jones into the kitchen, but when he enters,
          Jones is nowhere to be seen.
                         
          Mailer turns, and sees Bedford in the kitchen doorway,
          holding his gun.
                         
                          BEDFORD
           What the fuck are you going to do
           now, eh?
                         
          But just as Bedford lifts his gun to shoot Mailer...
                         
          Clifton runs at him, full speed from down the corridor...
                         
          ...and Bedford is knocked sideways by the infected Clifton.
                         
                         
          EXT. MANSION - NIGHT - HEAVY RAIN
                         
          Jim is at the kitchen window, looking in as Bedford is killed
          by Mailer and Clifton.
                         
                         
          INT. KITCHEN - CUPBOARD - NIGHT - HEAVY RAIN
                         
          Jones covers inside a cupboard, hearing Bedford&apos;s screams.
                         
                         
          INT. MANSION - STAIRS - NIGHT - HEAVY RAIN
                         
                          MITCHELL
                          (GRABBING SELENA)
           Up! Up!
                         
          Mitchell pushes the girls up the stairs. At the top of the
          staircase, wide-eyed with fear, is Bell.
                         
                          BELL
           Mitchell? What&apos;s going on?
                         
                          MITCHELL
           Stay here and defend these stairs
           with your fucking life!
                         
          He turns back to the girls, still holding Selena&apos;s arm, and
          Hannah is gone.
                         
          Selena sees her, heading away down towards the corridor.
                         
                          SELENA
           Hannah!
           92.
                         
                         
          Mitchell starts pulling Selena in the opposite direction from
          Hannah.
                         
                         
          INT. DRESSING ROOM - NIGHT - HEAVY RAIN
                         
          Hannah runs into the dressing room.
                         
          The freestanding mirror sits in the middle of the floor.
                         
          Also on the floor are her clothes, and she starts to look
          through them, looking for her jeans...
                         
          ...which she lifts up, then digs in the pocket, and pulls
          out...a photo of her with Frank and her mother.
                         
          She gazes at the photo.
                         
          At that moment, there is a noise from behind her.
                         
          She looks up, and sees, in the reflection of the mirror,
          Clifton, running down the corridor towards her.
                         
          With Clifton: we burst into the dressing room, which is now
          empty.
                         
          Clifton freezes, then looks around.
                         
          And the camera pulls back, to reveal Hannah, clinging on to
          the back of the large mirror, trembling.
                         
          A moment - then Clifton moves on.
                         
                         
          INT. KITCHEN - NIGHT - HEAVY RAIN
                         
          Silence in the kitchen. Bedford lies dead, torn to pieces.
                         
          A cupboard creaks slowly open, and Jones peers out. He has
          been hiding.
                         
          Trembling with fear, he crawls out...moves into the
          kitchen...peers out into the hall.
                         
          It is empty.
                         
          Jones starts running. Down the corridor outside the kitchen.
                         
                         
          INT. FRONT HALL - NIGHT - HEAVY RAIN
                         
          Jones runs into the front hall...
                         
          And suddenly stops. Dead in his tracks.
           93.
                         
                         
          Jim is standing right in front of him.
                         
          Jones looks surprised, wide eyed. His mouth opens, but no
          sound comes out.
                         
          Pull back, to see: Jones has run straight into Jim&apos;s bayonet.
                         
          Jones falls, taking the gun and bayonet with him.
                         
          Jim steps over his body, and into the house...
                         
                         
          INT. RADIO ROOM - NIGHT - HEAVY RAIN
                         
          Jim runs through the radio room.
                         
          In the break between two blasts of lightning, the room goes
          dark.
                         
          When it is re-illuminated, Jim has gone, and Mailer and
          Clifton have entered.
                         
                         
          INT. MANSION - STAIRS - NIGHT - HEAVY RAIN
                         
          Jim runs up the stairs.
                         
                         
          EXT. MANSION - NIGHT - HEAVY RAIN
                         
          Henry walks into the front hall, where he finds Jones.
                         
          Jones is lying flat on his back, mortally wounded, gazing up.
          Still alive - but only just. Taking his very last breaths.
                         
          Henry kneels beside him, and Jones&apos;s eyes turn to his
          officer. He blinks, tries to speak, but is too weak and close
          to death to form the words.
                         
          Henry&apos;s hand closes around Jones.
                         
          Jones blinks once more. And dies.
                         
                         
          INT. MANSION - CORRIDOR - NIGHT - HEAVY RAIN
                         
          Jim runs down a corridor.
                         
          He tries a door. Locked.
                         
                          JIM
           Hannah! Selena!
                         
          He tries another door. Open.
           94.
                         
                         
          He runs through...
                         
                         
          INT. CHILD&apos;S BEDROOM - NIGHT - HEAVY RAIN
                         
          ...into a kid&apos;s bedroom.
                         
          Jim moves a sofa to block the doorway - which, as it is
          moved, reveals...
                         
          ...Bell, hiding, cowering, terrified. Foetal.
                         
                          BELL
                          (WHIMPERING)
           I don&apos;t have any bullets! I don&apos;t
           have any fucking bullets!
                         
          Mailer and Clifton outside try to force their way through,
          and the sofa jumps forwards an inch.
                         
          An Infected arm flails through the half-open door.
                         
          Jim leaves Bell, and climbs out the window.
                         
          As Jim exits, the door to the room bursts open.
                         
                          BELL
                          (SCREAMING)
           Don&apos;t leave me!
                         
                         
          EXT. LEDGE - NIGHT - HEAVY RAIN
                         
          Jim climbs along the outside ledge, around the corner of the
          building.
                         
          Behind him, we can hear Bell screaming as he is killed.
                         
          Jim keeps going until he reaches the slope of the mansion&apos;s
          pitched roof.
                         
          There, he finds a skylight window.
                         
                         
          INT. MANSION - BASEMENT CORRIDOR - NIGHT - HEAVY RAIN
                         
          Henry moves into a basement corridor.
                         
          Then pauses.
                         
          There is the sound of movement.
                         
          An Infected howl.
           95.
                         
                         
          Then suddenly, pouring out from every door and shadow ahead,
          come a rush of Infected.
                         
          Henry opens fire, a volley into them as he backs away fast...
                         
          ...to a door, which he slams and bolts behind him.
                         
                         
          INT. CORRIDOR - NIGHT - HEAVY RAIN
                         
          Mitchell is holding Selena in one hand, and his gun in the
          other, dragging her down a corridor.
                         
          The howls of the Infected fill the house.
                         
                          SELENA
           Hannah!
                         
                          MITCHELL
           Shut your fucking mouth! You want
           to get us killed?
                         
          Mitchell opens a door...
                         
          ...which leads nowhere. The floor of the room through the
          open door is missing.
                         
          And below, in the basement-level corridor, the space is full
          of the Infected.
                         
          They look up at Mitchell, and Mitchell looks down at them.
                         
          A vision of writhing Hell. They are a mass of faces and
          bodies. Some are appalling wounded. Some are half-dressed in
          ragged clothes. Some are naked.
                         
                          MITCHELL
           ...Shit.
                         
          He pulls Selena away, towards another door.
                         
                          MITCHELL
           In here! IN HERE!
                         
                         
          INT. MANSION - BASEMENT CORRIDOR - NIGHT - HEAVY RAIN
                         
          Henry is in the basement corridor, on the other side of the
          door he has bolted.
                         
          Ahead, there is movement - rapid.
                         
          Henry looks to the source, and sees: Clifton, running from
          the front hall towards him, clearly infected.
           96.
                         
                         
          No alarm registers on Henry&apos;s face.
                         
          As Clifton sprints towards him, Henry remains still. Then, at
          the last moment he closes his eyes...
                         
          ...and fires.
                         
          Clifton is hit, falls.
                         
          Henry opens his eyes.
                         
                         
          INT. ATTIC - NIGHT - HEAVY RAIN
                         
          Jim enters the skylight window, into an attic, positioned
          above the girls&apos; bedroom.
                         
          In the floor is a hole, and through it he can see Mitchell
          and Selena.
                         
                         
          INT. GIRLS&apos; BEDROOM - NIGHT - HEAVY RAIN
                         
          Selena and Mitchell stand in the middle of the room.
                         
          In the room are Selena and Hannah&apos;s bags, Selena&apos;s machete,
          lying by the side of the bed. She can see it, but...
                         
          ...Mitchell is holding her tight. He has his gun trained on
          the door, facing away from the window.
                         
                          MITCHELL
           It&apos;s me and you, now. And I&apos;m going
           to get you out of here, and then
           we&apos;re going to find some nice
           little fucking place, with a pretty
           little fucking garden, and...
                         
          Jim drops down from the attic.
                         
          Mitchell turns, but is knocked off balance by Selena
          squirming out of his grip...then Jim is on him.
                         
          With incredible viciousness, the power and savagery of the
          infected, Jim beats Mitchell to death. He smashes his head
          against the wall. Then he throws Mitchell to the ground, and
          jams his thumbs in Mitchell&apos;s eyes.
                         
          When it is over, Jim looks up.
                         
          Selena stands, holding her machete. She is frozen by the
          sight of him. The blood on his face. The matted hair. He is
          the image of an infected.
           97.
                         
                         
          Jim stands and takes a step towards her. Selena remains,
          motionless, watching him approach.
                         
          Then, just as he is about to reach her, her arm flashes
          upwards, holding the machete, to cut Jim down...
                         
          ...but she hesitates. She can&apos;t do it.
                         
          A moment. Then...
                         
                          JIM
           That was longer than a heartbeat.
                         
                          SELENA
           ...Jim?
                         
          Jim moves forwards, and kisses her. Simply. Hard. Then pulls
          back, leaving a trace of blood on her lips.
                         
          Behind Jim&apos;s back, the door opposite, in the corridor,
          silently swings open.
                         
                          SELENA
           I thought...I thought you were...
                         
          Jim moves forwards, and they kiss. Passionately.
                         
          Then Jim breaks off.
                         
                          JIM
           Listen to me. I&apos;ve got to tell you -
           I&apos;ve got to tell you. The world
           isn&apos;t fucked. It&apos;s going to be
           okay. We&apos;ve got a chance, if we can
           get to...
                         
          Selena interrupts him, by continuing the kiss.
                         
          And Jim responds.
                         
          As, behind him, a small figure in a red dress slip into the
          room.
                         
          Then a vase smashes over the back of Jim&apos;s head.
                         
                          JIM
           Ow!
                         
          He reels back, and Hannah is on him, jumping on his back,
          hitting him with her fists.
                         
                          SELENA
           Hannah! Stop! It&apos;s okay!
           98.
                         
                         
          Hannah breaks off.
                         
                          SELENA
           He&apos;s not infected!
                         
                          HANNAH
           I thought he was biting you.
                         
                          JIM
           (holding the back of his
                          HEAD)
           I was kissing her!
                          (BREAKS OFF)
           Are you stoned?
                         
                          SELENA
           It&apos;s a long story.
                         
          They are interrupted by the sounds of Infected howling.
                         
                          SELENA
           We have to get out of here.
                         
                         
          INT. MANSION - NIGHT - HEAVY RAIN
                         
          Jim, Selena and Hannah run out of the house, through the
          front hall, to the cab.
                         
          Hannah gets in the driver&apos;s seat...
                         
          ...and Jim yanks open the back door, ready to pile into the
          back only to find...
                         
          ...Henry. Sitting on the fold-down back seat. Holding his
          gun.
                         
                          HENRY
           You killed all my boys.
                         
          Henry pulls the trigger - a single shot. Jim is hit in the
          stomach and falls backwards into Selena&apos;s arm.
                         
                          SELENA
           Jim!
                         
                         
          INT. CAB - NIGHT - HEAVY RAIN
                         
          Hannah floors the accelerator.
                         
          But instead of going forward, the cab reverses.
           99.
                         
                         
          EXT. MANSION - NIGHT - HEAVY RAIN
                         
                          HENRY
           What...Hannah! Hannah?
                         
          The cab reverses fast, then Hannah slams the brakes. The cab
          slides to a halt.
                         
          An Infected slams against Henry&apos;s window.
                         
          At that moment, the back windscreen smashes.
                         
          The hands of the Infected grab hold of Henry&apos;s head.
                         
          Hannah watches, turned around in the seat.
                         
          Henry scream - and we see it&apos;s Mailer&apos;s face behind him.
                         
          Hannah floors the accelerator again, but this time in forward
          gear. Henry is sucked out of the back window.
                         
                         
          EXT. CAB - NIGHT - HEAVY RAIN
                         
          The cab screeches up to Jim and Selena.
                         
          Selena bundles Jim in, and the cab is off in a spray of
          gravel...
                         
                         
          INT. FRONT HALL - NIGHT - HEAVY RAIN
                         
          As Henry is killed by Mailer, the silhouettes of the Infected
          appear in the shadows.
                         
                         
          INT. CAB - NIGHT - HEAVY RAIN
                         
          The cab races towards the cast-iron front gates of the
          mansion - and we see they are locked with a chain and
          padlock.
                         
                          SELENA
           We&apos;re going to crash!
                         
          The gates loom. Hannah speeds towards them.
                         
                          SELENA
           We&apos;re going to crash!
                         
                          JIM
           Just fucking do it!
           100.
                         
                         
          Hannah reaches and buckles her seat belt. Jim and Selena
          brace for impact...
                         
          They hit the gates, hard. Jim and Selena fly towards the
          perspex divider.
                         
          Freeze. Held.
                         
           FADE TO BLACK:
                         
                          28 DAYS LATER
                         
           FADE UP TO:
                         
                         
          EXT. FIELD - DAY
                         
          A green field, with three white letters laid out across the
          grass. Spelling:
                         
                          HELL
                         
          INT. FARMHOUSE - BEDROOM - DAY
                         
          Waking from a nightmare, Jim&apos;s eyes snap open with a sharp
          intake of breath.
                         
          An echo of when we first saw him lying in the hospital. But
          this time, when we pull away, we see he is lying on a double
          bed, in the bedroom of a small farmhouse.
                         
          Alone. But Selena&apos;s clothes are scattered.
                         
          Jim rises.
                         
          He looks around. Bright daylight is flooding into the room
          through the window.
                         
                          JIM
           Jesus. Not the curtains too.
                         
                         
          INT. FARMHOUSE - DAY
                         
          Jim walks down the stairs and peers into a living room -
          where he sees the sofa, with its cover removed.
                         
                         
          INT. FARMHOUSE - KITCHEN - DAY
                         
          Jim enters - to find Selena sitting surrounded by lengths of
          material which she is stiching together.
           101.
                         
                         
          He picks up a length of red material. Once part of the dress.
                         
                          JIM
           You looked all right in this, you
           know.
                         
          Selena ignores him.
                         
          Jim walks to the front door and opens it.
                         
          Pull back to reveal...
                         
                         
          EXT. FARMHOUSE - DAY
                         
          A stunning view.
                         
          A Lakeland valley, with a single farmhouse, and the black cab
          parked outside.
                         
          Also outside is Hannah, who is arranging huge lengths of
          material on the grass.
                         
          From our ground-level angle, there is no sense to be made of
          what Hannah is doing.
                         
          And we keep pulling back...
                         
                         
          EXT. LAKELAND VALLEY - DAY
                         
          ...fast, down the valley, along a single ribbon of road.
                         
          Past a sign: Langdale Valley...
                         
          Further, now over a mile distant from the farmhouse, then:
                         
          Stopping, abruptly.
                         
          At a single Infected, who sits, emaciated, in the middle of
          the road.
                         
          A quiet moment with the starving emaciated Infected. It is so
          weak it can hardly move. Only blink.
                         
          Then, in the background, a distant rush of noise, the low
          roar of a jet engine.
                         
          Slowly, the Infected turns its head upwards, where, in the
          clear blue sky, it sees:
                         
          A vapor trail.
                         
          A plane.
           102.
                         
                         
          EXT. VALLEY - DAY
                         
          A silent bird&apos;s eye view, looking down, at the valley floor
          and the farmhouse.
                         
          Where, outside, we now make sense of the stitched sheets and
          curtains, as they form letters on the grass below:
                         
                          HELL
          But tiny figures are forming a new letter. An O:
                         
                          HELLO
          Then, in the background, the sound of the jet, the rush of
          noise.
                         
                          HANNAH
           There! THERE!
                         
                          CUT TO:
                         
          Jim, Hannah and Selena look down the valley, where...
                         
          ...screaming towards them, flying low along the valley floor,
          comes a jet plane.
                         
          They stand transfixed as the plane races towards them.
                         
          As it passes over, flying directly overhead, the terrific
          wash of air and noises whips around them, connected with a
          colossal sonic boom...
                         
          The boom rolls away, and the plane has passed...
                         
          Around Jim, Selena and Hannah, the sheets and material of the
          letters, ripped into the air, now spiral to the ground,
          falling around them.
                         
                          JIM
           Do you think he saw us this time?
                         
           CUT TO BLACK:
                         
           THE END
</itunes:summary>
      <itunes:subtitle>https://www.youtube.com/watch?v=ncFy1zRA9HM

28 DAYS LATER
                         
                         
                         
                           Written by
                         
                          Alex Garland






          CLOSE ON A MONITOR SCREEN:
                         
          Images of stunning violence. Looped.
                         
          Soldiers in a foreign war shoot an unarmed civilian at point-
          blank range; a man is set on by a frenzied crowd wielding
          clubs and machetes; a woman is necklaced while her killers
          cheer and howl.
                         
          Pull back to reveal that we are seeing one of many screens in
          a bank of monitors, all showing similar images...
                         
          Then revealing that the monitors are in a...
                         
                         
          INT. SURGICAL CHAMBER - NIGHT
                         
          ...surgical chamber. And watching the screens is a...
                         
          ...chimp, strapped to an operating table, with its skull
          dissected open, webbed in wires and monitoring devices,
          muzzled with a transparent guard. Alive.
                         
          Behind the surgical chamber, through the wide doorframe, we
          can see a larger laboratory beyond.
                         
                         
          INT. BRIGHT CORRIDOR - NIGHT
                         
          A group of black-clad ALF Activists, all wearing balaclavas,
          move down a corridor. They carry various gear - bag, bolt
          cutters.
                         
          As they move, one Activist reaches up to a security camera
          and sprays it black with an aerosol paint can.
                         
                         
          INT. LABORATORY - NIGHT
                         
          The Activists enter the laboratory.
                         
                          CHIEF ACTIVIST
           Fucking hell...
                         
          The Chief Activist takes his camera off his shoulder and
          starts taking photos.
                         
          The room is huge and long, and darkened except for specific
          pools of light. Partially illuminated are rows of cages with
          clear perspex doors. They run down either side of the room.
          In the cages are chimpanzees.
           2.
                         
                         
          Most are in a state of rabid agitation, banging and clawing
          against the perspex, baring teeth through foam-flecked
          mouths.
                         
          They reach the far end of the lab, where on a huge steel
          operating table they see the dissected chimp.
                         
                          FEMALE ACTIVIST
           Oh God...
                         
          The dissected chimp&apos;s eyes flick to the Activists. Blood
          wells from around the exposed brain tissue.
                         
          Tears starts to roll down the Female Activist&apos;s cheeks.
                         
                          CHIEF ACTIVIST
           (to Female Activist)
           Keep your shit together. If we&apos;re
           going to get them out of here...
                         
          The Finnish Activist is checking the perspex cages.
                         
                          FINNISH ACTIVIST
           I can pop these, no problem.
                         
                          CHIEF ACTIVIST
           So get to it.
                         
          The Finnish Activist raises his crowbar and sticks it around
          the edge of one of the doors - about to prise it open.
                         
          At the moment, the doors to the laboratory bang open.
                         
          The Activists all turn. Standing at the entrance is the
          Scientist.
                         
          A pause. The Scientist jumps to a telephone handset on the
          wall and shouts into the receiver.
                         
                          SCIENTIST
           Security! We have a break-in! Get
           to sector...
                         
          A hand slams down the disconnect button.
                         
                          SCIENTIST
           ...nine.
                         
          The Chief Activist plucks the receiver from the Scientist&apos;s
          hands, and then rips the telephone from the wall.
                         
          A beat.
           3.
                         
                         
                          SCIENTIST
           I know who you are, I know what you
           think you&apos;re doing, but you have to
           listen to me. You can&apos;t release
           these animals.
                         
                          CHIEF ACTIVIST
           If you don&apos;t want to get hurt, shut
           your mouth, and don&apos;t move a
           fucking muscle.
                         
                          SCIENTIST
                          (BLURTS)
           The chimps are infected!
                         
          The Activists hesitate, exchanging a glance.
                         
                          SCIENTIST
           (continuing; stumbling,
                          FLUSTERED)
           These animals are highly
           contagious. They&apos;ve been given an
           inhibitor.
                         
                          CHIEF ACTIVIST
           Infected with what?
                         
                          SCIENTIST
           Chemically restricted, locked down
           to a... a single impulse that...
                         
                          CHIEF ACTIVIST
           Infected with what?
                         
          The Scientist hesitates before answering.
                         
                          SCIENTIST
           Rage.
                         
          Behind the Activists, the bank of monitors show the faces of
          the machete-wielding crowd.
                         
                          SCIENTIST
           (desperately trying to
                          EXPLAIN)
           In order to cure, you must first
           understand. Just imagine: to have
           power over all the things we feel
           we can&apos;t control. Anger,
           violence...
                         
                          FINNISH ACTIVIST
           What the fuck is he talking about?
           4.
                         
                         
                          CHIEF ACTIVIST
           We don&apos;t have time for this shit!
           Get the cages open!
                         
                          SCIENTIST
           No!
                         
                          CHIEF ACTIVIST
           We&apos;re going, you sick bastard, and
           we&apos;re taking your torture victims
           with us.
                         
                          SCIENTIST
           NO! You must listen! The animals
           are contagious! The infection is in
           their blood and saliva! One bite
           and...
                         
                          FEMALE ACTIVIST
           They won&apos;t bite me.
                         
          The Female Activist crouches down to face the wild eyes of
          the infected chimp behind the perspex.
                         
                          SCIENTIST
           STOP! You have no idea!
                         
          The Scientist makes a desperate lunge towards her, but the
          Chief Activist grabs him.
                         
                          FEMALE ACTIVIST
           Good boy. You don&apos;t want to bite
           me, do you?
                         
          The Female Activist gives a final benign smile, then the
          Finnish Activist pops open the door.
                         
                          SCIENTIST
           NO!
                         
          Like a bullet from a gun, the infected chimp leaps out at the
          Female Activist - and sinks its teeth into her neck. She
          reels back as the chimp claws and bites with extraordinary
          viciousness.
                         
          At the same moment, a deafening alarm begins to sound.
                         
                          FEMALE ACTIVIST
                          (SHRIEKING)
           Get it off! Get if off!
                         
          The Finnish Activist rips the ape off and throws it on to the
          floor. The infected chimp immediately bites into the man&apos;s
          leg. He yells with pain, and tries to kick it off.
           5.
                         
                         
          Behind him, the Female Activist has started to scream. She
          doubles up, clutching the side of her head.
                         
                          FEMALE ACTIVIST
           I&apos;m burning! Jesus! Help me!
                         
                          SCIENTIST
           We have to kill her!
                         
                          FEMALE ACTIVIST
           I&apos;m burning! I&apos;m burning!
                         
                          CHIEF ACTIVIST
           What&apos;s...
                         
                          SCIENTIST
           We have to kill her NOW!
                         
          Meanwhile, the Female Activist&apos;s cries have become an
          unwavering howl of pain - and she is joined by the Finnish
          Activist, whose hands have also flown to the side of his
          head, gripping his temples as if trying to keep his skull
          from exploding.
                         
                          CHIEF ACTIVIST
           What&apos;s wrong with them?
                         
          The Scientist grabs a desk-lamp base and starts running
          towards the screaming Female Activist...
                         
          ...who has ripped off her balaclava - revealing her face -
          the face of an Infected.
                         
          She turns to the Scientist.
                         
                          SCIENTIST
           Oh God.
                         
          She leaps at him. He screams as they go tumbling to the
          ground.
                         
          The Chief Activist watches in immobile horror as she attacks
          the Scientist with amazing ferocity.
                         
                         
          INT. CORRIDOR - NIGHT
                         
          Another ACTIVIST makes his way down the corridor towards the
          lab.
                         
                          ACTIVIST
                          (HISSES)
           Terry? Jemma?
           6.
                         
                         
          No answer.
                         
                          ACTIVIST
           Mika? Where are you?
                         
          He reaches the door to the lab, which is closed - and...
                         
          ...as he opens it, we realize the door is also soundproofed.
                         
          A wall of screaming hits him.
                         
          He stands in the doorway - stunned by the noise, and then the
          sight.
                         
          Blood, death, and his colleagues, all Infected.
                         
                          ACTIVIST
           Bloody hell.
                         
          The Infected rush him.
                         
           FADE TO BLACK.
                         
                         
                         TITLE:
                         
                          28 DAYS LATER
                         
                         
          INT. HOSPITAL ROOM - LATE AFTERNOON
                         
          Close up of Jim, a young man in his twenties, wearing pale
          green hospital pyjamas. He has a month&apos;s beard, is
          dishevelled, and asleep.
                         
          We pull back to see that Jim is lying on a hospital bed, in a
          private room. Connected to his arms are multiple drips, a
          full row of four or five on each side of his bed. Most of the
          bags are empty.
                         
          Jim&apos;s eyes open.
                         
          He looks around with an expression of confusion. Then he sits
          up. He is weak, but he swings his legs off the bed and
          stands. The attached drips are pulled with him and clatter to
          the floor.
                         
          Jim winces, and pulls the taped needles from his arm.
                         
                          JIM
           Ow...
                         
          His voice is hoarse, his mouth dry. Massaging his throat, he
          walks to the door.
           7.
                         
                         
          INT. COMA WARD - LATE AFTERNOON
                         
          The door to Jim&apos;s hospital room is locked. The key is on the
          floor. He picks it up and opens the door.
                         
          Jim exits into a corridor.
                         
          At the far end, a sign read: COMA WARD. There is no sign of
          life or movement.
                         
          Jim walks down the corridor. One of the doors is half-open.
          From inside, there is the sound of buzzing flies.
                         
                         
          INT. HOSPITAL WARDS - LATE AFTERNOON
                         
          Jim moves as quickly as he can through the hospital, still
          weak, but now driven by adrenaline.
                         
          All the wards and corridors are deserted. Medical notes and
          equipment lie strewn over the floors, trolleys are upended,
          glass partition doors are smashed. In a couple of places,
          splashes of dried blood arc up the walls.
                         
          He reaches A&amp;E. On one wall is a row of public pay phones.
                         
          He lifts a receiver, and the line is dead. He goes down the
          line, trying them all.
                         
          In the corner of the A&amp;E reception is a smashed soft-drinks
          machine, with a few cans collected at the base.
                         
          Jim grabs one, rips off the ring-pull and downs it in one go.
          Then he grabs another, and heads for the main doors.
                         
                         
          EXT. HOSPITAL - LATE AFTERNOON
                         
          Jim exits and walks out into the bright daylight of the
          forecourt. The camera begins to pull away from him.
                         
                          JIM
           Hello?
                         
          Aside from a quiet rush of wind, there is silence. No
          traffic, no engines, no movement. Not even birdsong.
                         
                         
          EXT. LONDON - SUNDOWN
                         
          Jim walks through the empty city, from St. Thomas&apos;s Hospital,
          over Westminster Bridge, past the Houses of Parliament, down
          Whitehall, to Trafalgar Square.
           8.
                         
                         
          A bright overhead sun bleaches the streets. A light drifts
          litter and refuse. Cars lie abandoned, shops looted.
                         
          Jim is still wearing his hospital pyjamas, and carries a
          plastic bag full of soft-drink cans.
                         
                         
          EXT. CENTRAL LONDON ROAD/CHURCH - NIGHT
                         
          Jim walks. Night has fallen. He needs to find a place to
          rest...
                         
          He pauses. Down a narrow side street is a church. He walks
          towards it. The front doors are open.
                         
                         
          INT. CHURCH - NIGHT
                         
          Jim walks inside, moving with the respectful quietness that
          people adopt when entering a church.
                         
          The doors ahead to the main chamber are closed. Pushing them,
          gently trying the handle, it is obvious they are locked. But
          another open door is to his left. He goes through it.
                         
                         
          INT. CHURCH - STAIRWELL - NIGHT
                         
          Jim moves up a stairwell.
                         
          Written large on the wall is a single line of graffiti:
          REPENT. THE END IS EXTREMELY FUCKING NIGH
                         
                         
          INT. CHURCH - GALLERY LEVEL - NIGHT
                         
          Jim moves into the gallery level, and sees, through the dust
          and rot, ornate but faded splendor. At the far end, a stained-
          glass window is illuminated by the moonlight.
                         
          Jim pads in, stands at the gallery, facing the stained-glass
          window for a moment before looking down...
                         
          Beneath are hundreds of dead bodies. Layered over the floor,
          jammed into the pews, spilling over the altar. The scene of
          an unimaginable massacre.
                         
          Jim stands, stunned. Then sees, standing motionless at
          different positions facing away from him, four people.
                         
          Their postures and stillness make their status unclear. Jim
          hesitates before speaking.
           9.
                         
                         
                          JIM
           ...Hello?
                         
          Immediately, the four heads flick around. Infected.
                         
          And the next moment, there is the powerful thump of a door at
          the far end of the gallery.
                         
          Jim whirls to the source as the Infected below start to move.
                         
          The door thumps again - another stunningly powerful blow, the
          noise echoing around the chamber.
                         
          Confused, fist closing around his bag of soft drinks, Jim
          steps onto the gallery, facing the door...
                         
          ...and it smashes open.
                         
          Revealing an Infected Priest - who locks sight on Jim, and
          starts to sprint.
                         
                          JIM
           Father?
                         
          The Priest is half way across the gallery
                         
                          JIM
           Father, what are you...
                         
          And now the moonlight catches the Priest&apos;s face. Showing
          clearly: the eyes. The blood smeared and collected around his
          nose, ears, and mouth. Darkened and crusted, accumulated over
          days and weeks. Fresh blood glistening.
                         
                          JIM
           Jesus!
                         
          In a movement of pure instinct, Jim swings the bag just as
          the Priest is about to reach him - and connects squarely with
          the man&apos;s head.
                         
                          JIM
           Oh, that, was bad, that was bad...
           I shouldn&apos;t have done that...
                         
          He breaks into a run...
                         
                         
          INT. CHURCH - STAIRWELL - NIGHT
                         
          Down the stairwell...
           10.
                         
                         
          INT. CHURCH - NIGHT
                         
          ...into the front entrance, where the locked door now strains
          under the blows of the Infected inside.
                         
                          JIM
           Shit.
                         
                         
          EXT. CHURCH - NIGHT
                         
          Jim sprints down the stone steps.
                         
          As he reaches the bottom the doors are broken open, and the
          Infected give chase.
                         
                         
          EXT. CENTRAL LONDON ROAD - NIGHT
                         
          Jim runs - the Infected have almost reached him.
                         
          A hand fires up a Zippo lighter, and lights the rag of a
          Molotov cocktail.
                         
          As Jim runs, something flies past his head, and the Infected
          closest to him explodes in a ball of flame.
                         
          Jim turns, and sees as another Molotov cocktail explodes,
          engulfing two in the fireball.
                         
          He whirls, now completely bewildered.
                         
                          WOMAN&apos;S VOICE
           HERE!
                         
          Another Molotov cocktail explodes. The Infected stagger from
          the blaze, on fire.
                         
                          WOMAN&apos;S VOICE
           OVER HERE!
                         
          Jim whirls again, and sees, further down the road...
                         
          ...Selena, a black woman, also in her twenties. She wears a
          small backpack, a machete is stuck into her belt - and she
          holds a lit Molotov cocktail in her hand.
                         
          ...Mark, a tall, good-looking man - throwing another bottle.
                         
          It smashes on the head of the last Infected, bathing it in
          flame...
                         
          The burning Infected bumps blindly into a car. Falls. Gets up
          again.
           11.
                         
                         
          Blindly, it staggers off the road, into a petrol station -
          where an abandoned car has run over on the pumps.
                         
          The ground beneath it suddenly ignites, and the petrol
          station explodes.
                         
                         
          EXT. SIDE STREET - NIGHT
                         
          Selena and Mark lead Jim into a side street.
                         
                          JIM
                          (DAZED)
           Those people! Who were... who...
                         
                          MARK
           This way! Move it!
                         
          Jim allows himself to be hurried along.
                         
                         
          EXT. SHOP - NIGHT
                         
          Selena stops outside a newsagent&apos;s shop. The shop&apos;s door and
          windows are covered with a metal security grill, but the
          grill over the door lock has been prised away enough for
          Selena to slip her hand through to the latch.
                         
                         
          INT. SHOP - NIGHT
                         
          Inside, most of the shelves have been emptied of
          confectionery. Newspapers and magazines litter the floor. The
          magazine covers of beautiful girls and sports cars have
          become instant anachronisms.
                         
          At the back of the shop, a makeshift bed of sheets and
          sleeping bag is nestled. This has obviously been Selena and
          Mark&apos;s home for the last few days.
                         
                         
          INT. NEWSAGENT - NIGHT
                         
          Jim, Mark and Selena enter the newsagent&apos;s and pull down the
          grill.
                         
                          MARK
           A man walks into a bar with a
           giraffe. They each get pissed. The
           giraffe falls over. The man goes to
           leave and the barman says, you
           can&apos;t leave that lying there. The
           man says, it&apos;s not a lion. It&apos;s a
           giraffe.
           12.
                         
                         
          Silence.
                         
          Mark pulls off his mask and turns to Selena.
                         
                          MARK
           He&apos;s completely humorless. You two
           will get along like a house on
           fire.
                         
          Selena, who has already taken off her mask, ignores Mark.
                         
                          SELENA
           Who are you? You&apos;ve come from a
           hospital.
                         
                          MARK
           Are you a doctor?
                         
                          SELENA
           He&apos;s not a doctor. He&apos;s a patient.
                         
                          JIM
           I&apos;m a bicycle courier. I was riding
           a package from Farringdon to
           Shaftesbury Avenue. A car cut
           across me... and then I wake up in
           hospital, today... I wake up and
           I&apos;m hallucinating, or...
                         
                          MARK
           What&apos;s your name?
                         
                          JIM
           Jim.
                         
                          MARK
           I&apos;m Mark. This is Selena.
                          (BEAT)
           Okay, Jim. We&apos;ve got some bad news.
                         
          Selena starts to tell her story, and as the story unfolds we
          see the images she describes.
                         
                          SELENA
           It began as rioting. And right from
           the beginning, you knew something
           bad was going on because the
           rioters were killing people. And
           then it wasn&apos;t on the TV anymore.
           It was in the street outside. It
           was coming through your windows. We
           all guessed it was a virus. An
           infection. You didn&apos;t need a doctor
           to tell you that. It was the blood.
           13.
                         
                         
           Something in the blood. By the time
           they tried to evacuate the cities,
           it was already too late. The
           infection was everywhere. The army
           blockades were overrun. And that
           was when the exodus started. The
           day before the radio and TV stopped
           broadcasting there were reports of
           infection in Paris and New York. We
           didn&apos;t hear anything more after
           that.
                         
                          JIM
           Where are your families?
                         
                          MARK
           They&apos;re dead.
                         
                          SELENA
           Yours will be dead too.
                         
                          JIM
           No... No! I&apos;m going to find them.
           They live in Greenwich. I can walk.
           (heading for the exit)
           I&apos;m going to... to go and...
                         
                          SELENA
           You&apos;ll go and come back.
                         
                          JIM
           (pulling at the grill)
           Yes! I&apos;ll go and come back.
                         
                          MARK
           Rules of survival. Lesson one - you
           never go anywhere alone, unless
           you&apos;ve got no choice. Lesson two -
           you only move during daylight,
           unless you&apos;ve got no choice. We&apos;ll
           take you tomorrow. Then we&apos;ll all
           go and find your dead parents.
           Okay?
                         
                         
          EXT. TRAIN TRACKS - DAY
                         
          Jim, Selena and Mark walk along the Docklands Light Railway
          in single file. Ahead is a train.
                         
          Behind the train, as if spilled in its wake, are abandoned
          bags, suitcases, backpacks.
                         
          Mark drops pace to let Jim catch up.
           14.
                         
                         
                          MARK
           How&apos;s your head? Fucked?
                         
          No reply.
                         
                          MARK
           (gesturing at the city)
           I know where your head is. You&apos;re
           looking at these windows, these
           millions of windows, and you&apos;re
           thinking - there&apos;s no way this many
           people are dead. It&apos;s just too many
           windows.
                         
          Mark picks up a handbag from the tracks.
                         
                          MARK
           The person who owned this bag.
           Can&apos;t be dead.
                         
          Mark reaches in and starts to pull things out as they walk,
          discarding the personal possessions.
                         
                          MARK
           A woman - (car keys) - who drove a
           Nissan Micra - (teddy) - and had a
           little teddy bear - (condoms) - and
           carried protection, just in case.
                         
          Marks tosses the condoms behind him.
                         
                          MARK
                          (DRY)
           Believe me, we won&apos;t need them
           anymore than she will.
                         
          He hands the bag to Jim and walks ahead.
                         
          Jim pulls out a mobile phone.
                         
          He switches it on.
                         
          It reads: SEARCHING FOR NETWORK.
                         
          The message blinks a couple of times. Then the screen goes
          blank.
                         
          Jim looks left.
                         
          He is now alongside the train. The inside of the windows are
          smeared with dried blood. Pressed against the glass is the
          face of a dead man.
           15.
                         
                         
          Jim drops the phone and breaks into a run - running past Mark
          and Selena.
                         
                          MARK
                          (HISSING)
           Hey!
                         
                         
          EXT. GREENWICH COMMON - DAY
                         
          Jim, Selena and Mark jog across Greenwich Common. Jim
          gestures towards one of the streets on the far side of the
          green.
                         
                          JIM
                          (LOW VOICE)
           Down there. Westlink Street. Second
           on the left.
                         
                         
          EXT. WESTLINK STREET - DAY
                         
          The street is modest red-brick semi-detached houses. They
          stand outside Number 43. Jim waits while Selena scans the
          dark facade.
                         
                          SELENA
           If there&apos;s anyone in there who
           isn&apos;t human...
                         
                          JIM
           I understand.
                         
                          SELENA
           Anyone.
                         
                          JIM
           I understand.
                         
          Selena shoots a glance at Jim. Jim is gazing at the house.
                         
                          MARK
           Okay.
                         
                         
          EXT. BACK GARDEN - DAY
                         
          Jim uses the key under the flowerpot to open the back door.
                         
                         
          INT. HOUSE - DAY
                         
          Jim, Selena and Mark move quietly through the kitchen and the
          downstairs of the house.
           16.
                         
                         
          Surprisingly, everything is neat and tidy. Washed plates are
          stacked by the sink, newspapers on the table are neatly
          piled. The headline on the top paper reads simply:
          CONTAINMENT FAILS.
                         
          They reach the bottom of the stairs. Selena gestures upwards,
          and Jim nods. They start to ascend.
                         
          At the top of the stairs, Selena sniffs the air, and recoils.
          Jim has noticed it too. His eyes widen in alarm.
                         
                          MARK
                          (WHISPERS)
           Wait.
                         
          But Jim pushes past and advances along the top landing, until
          he reaches a door. By now the smell is so bad that he is
          having to cover his nose and mouth with the sleeve of one
          arm.
                         
          Jim pushes open the door. Inside, two decomposed bodies lie
          side by side on the bed, intertwined. On the bedside table
          are an empty bottle of sleeping pills and a bottle of red
          wine.
                         
          Mark appears behind him. Jim stares at his parents for a
          couple of moments, then Mark closes the door.
                         
                         
          INT. BATHROOM - DAY
                         
          Jim sits on the toilet, alone. He is crying. In his hand is a
          piece of paper: &quot;Jim - with endless love, we left you
          sleeping. Now we&apos;re sleeping with you. Don&apos;t wake up.&quot;
                         
          The paper crumples in his fist.
                         
                         
          INT. LIVING ROOM - DAY
                         
          Jim, Selena and Mark sit in the living room, on the two
          sofas. Jim looks dazed, uncomprehending. Selena watches Jim,
          her expression neutral.
                         
                          SELENA
           They died peacefully. You should be
           grateful.
                         
                          JIM
           I&apos;m not grateful.
                         
          Jim&apos;s words hang a moment. Then Mark talks, simply,
          unemotionally, matter-of-fact throughout.
           17.
                         
                         
                          MARK
           The roads out were all jammed. So
           we went to Paddington Station.
           Hoping: maybe we could get to
           Heathrow, maybe buy our way on a
           plane. My dad had all this cash,
           even though cash was already
           useless, and Mum had her jewellery.
           But twenty thousand other people
           had the same idea.
                          (A MOMENT)
           The crowd was surging, and I lost
           my grip on my sister&apos;s hand. I
           remember realizing the ground was
           soft. I looked down, and I was
           standing on people. Like a carpet,
           people who had fallen, and...
           somewhere in the crowd there were
           infected. It spread fast, no one
           could run, all you could do was
           climb. Over more people. So I did
           that. I got up, somehow, on top of
           a kiosk.
                          (A MOMENT)
           Looking down, you couldn&apos;t tell
           which faces were infected and which
           weren&apos;t. With the blood, the
           screaming, they all looked the
           same. And I saw my dad. Not my mum
           or my sister. But I saw my dad. His
           face.
                         
          A short silence.
                         
                          MARK
           Selena&apos;s right. You should be
           grateful.
                         
                          SELENA
           We don&apos;t have time to get back to
           the shop before dark. We should
           stay here tonight.
                         
          Jim nods. He isn&apos;t sure what he wants to say.
                         
                          JIM
           My old room was at the end of the
           landing. You two take it. I&apos;ll
           sleep down here.
                         
                          SELENA
           We&apos;ll sleep in the same room. It&apos;s
           safer.
           18.
                         
                         
          EXT. LONDON - DAY TO NIGHT
                         
          The red orb of the sun goes down; the light fades. As night
          falls, London vanishes into blackness, with no electric light
          to be seen.
                         
          Then the moon appears from behind the cloud layer, and the
          dark city is revealed.
                         
                         
          INT. HOUSE - NIGHT
                         
          Jim is on the sofa. In the moonlight, we can see that his
          eyes are open, wide awake. Selena is curled on the other
          sofa, and Mark is on the floor - both asleep. The house is
          silent.
                         
          Jim watches Selena sleeping for a couple of moments.
                         
          Then, quietly, he gets off the sofa and pads out of the
          living room, down the hall to the kitchen.
                         
                         
          INT. KITCHEN - NIGHT
                         
          Jim enters, standing just inside the doorway. He looks around
          the room. On one wall, a faded kid&apos;s drawing of a car is
          framed. Above the counter, on a shelf of cookery books, an
          album has a handwritten label on the spine: &quot;Mum&apos;s Favorite
          Recipes&quot;.
                         
          Jim walks to the fridge. Stuck to the door is a photo of Jim
          with his parents, arm in arm, smiling at the camera. Jim is
          on his mountain bike, wearing his courier bag.
                         
           FLASH CUT TO:
                         
          Jim, sitting at the kitchen table as his Mum enters, carrying
          bags of shopping. Jim walks over to the bags and pulls out a
          carton of orange juice, which he pulls straight to his mouth
          and begins to gulp down.
                         
          His Dad walks in from the garden.
                         
                          JIM&apos;S DAD
           Give me a glass of that, would you?
                         
                          JIM
           (draining the carton, and
           giving it a shake)
           It&apos;s empty.
                         
           CUT BACK TO:
           19.
                         
                         
          Jim touches the photo, their faces, lightly.
                         
          Jim is facing away from the back door, which has a large
          frosted-glass panel.
                         
          Through the glass panel, unseen by Jim a dark silhouette
          looms against the diffused glow from the moonlight.
                         
          Through the kitchen window, a second silhouette appears.
                         
          Then there is a scratching noise from the back door.
                         
          Jim freezes.
                         
          Slowly, he turns his head, and sees the dark shapes behind
          the door and window.
                         
          A beat - then the door is abruptly and powerfully smashed in.
          It flies open, and hangs loosely held by the bottom hinge.
          Standing in the doorframe is an Infected Man.
                         
          Jim shouts with alarm as the Man lunges at him - and they
          both go tumbling to the floor. At the same moment, the figure
          behind the kitchen window smashes the glass, and an Infected
          Teenage Girl starts to clamber through the jagged frame.
                         
          The Man gets on top of Jim, while Jim uses his arms to hold
          back the ferocious assault. A single strand of saliva flies
          from the Man&apos;s lips, and contacts Jim&apos;s cheek.
                         
                          JIM
                          (SCREAMS)
           Help!
                         
          Suddenly, Selena is there, holding her machete. The blade
          flashes down to the back of the Man&apos;s neck. Blood gushes.
                         
          Jim rolls the Infected Man off, just in time to see...
                         
          ...Mark dispatch the Girl half way through the kitchen
          window. The Girl is holding Mark, but her legs are caught on
          the broken glass.
                         
          Mark jabs upwards into the Girl&apos;s torso - she stiffens, then
          slumps, and as Mark steps back we see he is holding a knife.
                         
          Jim hyperventilates, staring at the corpse on the kitchen
          floor.
                         
                          JIM
           It&apos;s Mr. Bridges...
                         
          Selena turns to Jim. She is hyperventilating too, but there
          is control and steel in her voice.
           20.
                         
                         
                          SELENA
           Were you bitten?
                         
                          JIM
           He lives four doors down...
                         
          Jim turns to the Girl sprawled half way through the window.
                         
                          JIM
           That&apos;s his daughter...
                         
                          SELENA
           Were you bitten?
                         
          Jim looks at her. Selena is still holding her machete at the
          ready.
                         
                          JIM
           No... No! I wasn&apos;t!
                         
                          SELENA
           Did any of the blood get in your
           mouth?
                         
                          JIM
           No!
                         
                          SELENA
           Mark?
                         
          Jim turns to Mark. He is standing in the middle of the room.
          Stepped away from the window. The Girl&apos;s blood is on his arm -
          and he is wiping it away...
                         
          ...off the skin... where a long scratch cut wells up fresh
          blood.
                         
          A moment.
                         
          Then Mark looks at Selena, as if slightly startled.
                         
                          MARK
           Wait.
                         
          But Selena is swiping with her machete. Mark lifts his arm
          instinctively, defensively, and the blade sinks in.
                         
          Selena immediately yanks it back.
                         
                          MARK
           DON&apos;T!
                         
          Selena swipes again - and the blade catches Mark hard in the
          side of the head. Mark falls.
           21.
                         
                         
          Jim watches, scrabbling backwards on the floor away from
          them, as Selena brutally finishes Mark off.
                         
          Selena looks at Mark&apos;s body for a couple of beats, then
          lowers the blade. She picks up a dishcloth from the sink
          counter and tosses it to Jim.
                         
                          SELENA
           Get that cleaned off.
                         
          Jim picks up the rag and hurriedly starts to wipe the
          Infected&apos;s blood from around his neck.
                         
                          SELENA
           Do you have any clothes here?
                         
                          JIM
           (fazed, frightened of her)
           I... I don&apos;t know. I think so.
                         
                          SELENA
           Then get them. And get dressed. We
           have to leave, now.
                         
          With practiced speed, Selena starts to open the kitchen
          cupboards, selecting packets of biscuits and cans from the
          shelves, and stuffing them into her backpack.
                         
                          SELENA
           More infected will be coming. They
           always do.
                         
                         
          EXT. HOUSE - NIGHT
                         
          Jim and Selena exit the front door. Jim has changed out of
          his hospital gear into jeans and a sweatshirt. He also has a
          small backpack, and is carrying a baseball bat.
                         
                         
          EXT. LONDON ROAD - NIGHT
                         
          Jim and Selena walk: fast, alert. But something is not being
          said between them... until Jim breaks the silence.
                         
                          JIM
                          (QUIET)
           How did you know?
                         
          Selena says nothing. Continues walking.
                         
                          JIM
                          (INSISTENT)
           How did you know he was infected?
           22.
                         
                         
                          SELENA
           The blood.
                         
                          JIM
           The blood was everywhere. On me, on
           you, and...
                         
                          SELENA
                          (CUTTING IN)
           I didn&apos;t know he was infected.
           Okay? I didn&apos;t know. He knew. I
           could see it in his face.
                          (A MOMENT)
           You need to understand, if someone
           gets infected, you&apos;ve got somewhere
           between ten and twenty seconds to
           kill them. They might be your
           brother or your sister or your
           oldest friend. It makes no
           difference Just so as you know, if
           it happens to you, I&apos;ll do it in a
           heartbeat.
                         
          A moment.
                         
                          JIM
           How long had you known him?
                         
                          SELENA
           Five days. Or six. Does it matter?
                         
          Jim says nothing.
                         
                          SELENA
           He was full of plans. Long-distance
           weapons, so they don&apos;t get close. A
           newsagent&apos;s with a metal grill, so
           you can sleep. Petrol bombs, so the
           blood doesn&apos;t splash.
                         
          Selena looks at Jim dispassionately.
                         
                          SELENA
           Got a plan yet, Jim? You want us to
           find a cure and save the world? Or
           fall in love and fuck?
                         
          Selena looks away again.
                         
                          SELENA
           Plans are pointless. Staying alive
           is as good as it gets.
                         
          Silence.
           23.
                         
                         
          They walk. Jim following a few steps behind Selena.
                         
          A few moments later, Jim lifts a hand, opens his mouth, about
          to say something - but Selena cuts him off without even
          looking round.
                         
                          SELENA
           Shhh.
                         
          She has seen something...
                         
          A line of tower blocks some distance away, standing against
          the night sky. In one of them, hanging in the window of one
          of the highest stories, colored fairy lights are lit up,
          blinking gently.
                         
                         
          INT. TOWER BLOCK - NIGHT
                         
          Jim and Selena walk through the smashed glass doors of the
          tower block. It is extremely dark inside.
                         
          Selena switches on a flashlight and illuminates the entrance
          hall. It is a mess. The floor is covered in broken glass and
          dried blood. The lift doors are jammed open, and inside is a
          dense bundle of rags - perhaps an old corpse, but impossible
          to tell, because the interior of the lift has been torched.
          It is black with carbon, and smoke-scarring runs up the
          outside wall.
                         
          Selena moves the flashlight to the stairwell. There is a huge
          tangle of shopping trolleys running up the stairs.
                         
          Selena gives one of the trolleys an exploratory tug. It
          shifts, but holds fast, meshed in with its neighbor. Then she
          puts a foot into one of the grates, and lifts herself up.
          Shining her light over the top of the tangle, she can see a
          gap along the top.
                         
                          JIM
           Let&apos;s hope we don&apos;t have to get out
           of here in a hurry.
                         
          She begins to climb through.
                         
                         
          INT. TOWER BLOCK - NIGHT
                         
          Jim and Selena move steadily and quietly up the stairwell,
          into the building. Reaching a next landing, they check around
          the corner before proceeding. Through a broken window, we can
          see that they are already high above most London buildings,
          and on the wall a sign reads: LEVEL 5.
           24.
                         
                         
                          SELENA
           Need a break?
                         
                          JIM
           (completely out of breath)
           No. You?
                         
                          SELENA
           No.
                         
          They continue a few steps.
                         
                          JIM
           I do need a break, by the way.
                         
          Selena nods. They stop on the stairs. Jim slips off his
          backpack and sits, pulling a face as he does so...
                         
                          SELENA
           What&apos;s up?
                         
                          JIM
           Nothing.
                         
          She gives him a cut-the-crap expression.
                         
                          JIM
           I&apos;ve got a headache.
                         
                          SELENA
           Bad?
                         
                          JIM
           Pretty bad.
                         
                          SELENA
           Why didn&apos;t you say something
           before?
                         
                          JIM
           Because I didn&apos;t think you&apos;d give a
           shit.
                         
          A moment, where it&apos;s unclear how Selena will react to this.
          Then she slips off her own backpack.
                         
                          SELENA
           (going through the bag)
           You&apos;ve got no fat on you, and all
           you&apos;ve had to eat is sugar. So
           you&apos;re crashing. Unfortunately,
           there isn&apos;t a lot we can do about
           that...
           25.
                         
                         
          Selena starts to produce a wide selection of pills, looted
          from a chemist.
                         
                          SELENA
           ...except pump you full
           painkillers, and give you more
           sugar to eat.
                         
          She holds up a bottle of codeine tablets, and passes it to
          Jim.
                         
                          SELENA
           As for the sugar: Lilt or Tango?
                         
                          JIM
                          (CHEWING CODEINE)
           ...Do you have Sprite?
                         
                          SELENA
           Actually, I did have a can of
           Sprite, but...
                         
          Suddenly there is a loud scream, coming from somewhere lower
          down the building. Jim and Selena both make a grab for their
          weapons.
                         
                          JIM
           Jesus!
                         
                          SELENA
           Quiet.
                         
          The scream comes again. The noise is chilling, echoing up the
          empty stairwell.
                         
          But there is something strange about it. The noise is human,
          but oddly autistic. It is held for slightly too long, and
          stops abruptly.
                         
                          SELENA
           That&apos;s an infected.
                         
          Then, the sound of metal scraping, clattering the blockade.
                         
                          SELENA
           They&apos;re in.
                         
                         
          INT. SHOPPING TROLLEY BLOCKADE - NIGHT
                         
          Two Infected, a Young Asian Guy and a Young White Guy, moving
          with amazing speed over the blockade.
           26.
                         
                         
          INT. STAIRS - NIGHT
                         
          Jim and Selena sprint up the stairs. Behind them, we can hear
          the Infected, giving chase, howling.
                         
          They pass level eight, nine, ten...
                         
          Jim is exhausted.
                         
                          SELENA
           Come on!
                         
                          JIM
           (out of breath, barely
           able to speak)
           I can&apos;t.
                         
          Selena continues, and Jim looks over the edge of the
          stairwell, to the landing below...
                         
          ...where the two Infected appear, tearing around the corner.
                         
                         
          INT. STAIRWELL - NIGHT
                         
          Selena sprints up the stairs... and Jim sprints past her, in
          an amazing burst of energy and speed.
                         
          They round another bend in the stairwell...
                         
          ...then both Jim and Selena scream. Standing directly in
          front of them is a Man In Riot Cop Gear - helmet with full
          visor, gloves, a riot shield in one hand, and a length of
          lead pipe in the other.
                         
          The Man lunges past both of them, barging past, where the
          Infected White Man has appeared at the stairwell.
                         
          The Riot Gear Man swings his lead pipe and connects viciously
          with the White Man&apos;s head. The White Man falls backwards
          against the Asian Man. Both fall back down the stairs.
                         
          The Riot Gear Man turns back to Jim and Selena.
                         
                          MAN
           Down the corridor! Flat 157!
                         
          Jim and Selena are stunned, but start to run down the
          corridor.
                         
          The Asian Man is coming back up the stairs. Jim looks back
          over his shoulder in time to see the Riot Gear Man deliver a
          massive blow to the Asian Man&apos;s head.
           27.
                         
                         
          INT. CORRIDOR - NIGHT
                         
          Jim and Selena run towards Flat 157. The door is open, but as
          they approach, it suddenly slams shut.
                         
           JIM AND SELENA
           (hammering on the door)
           Let us in!
                         
           GIRL (O.S.)
           Who is it?
                         
                          SELENA
           Let us in!
                         
          The door opens a fraction, on the chain. The face of a girl
          appears. She is fourteen, pale, solemn-faced.
                         
                          GIRL
           Where&apos;s Dad?
                         
          Jim looks back down the corridor.
                         
          At the far end, the Man appears. He is holding the limp body
          of one of the Infected - and he tips it over the balcony,
          where it drops down the middle of the stairwell.
                         
                          MAN
                          (CALLS BACK)
           It&apos;s okay, Hannah. Let them inside.
                         
          The door closes, we hear the chain being slipped off, then it
          opens again.
                         
                         
          INT. FLAT - NIGHT
                         
          Jim and Selena enter past the pale-faced girl. The flat is
          council, three-bed, sixteenth floor of the block. It has
          patterned wallpaper, and nice but boring furnishings. It is
          lit by candles.
                         
          The entrance hall leads straight to the living room, which
          has French windows and a small balcony outside.
                         
          On one wall, a framed photograph hangs, which shows the Man
          standing beside a black taxi cab. Next to him is a middle
          aged woman - presumably the Man&apos;s wife. Hannah sits at the
          cab&apos;s steering wheel, beaming.
                         
          Another photo, beside, show Hannah sat in the seat of a go-
          kart.
                         
          The Man follows Jim and Selena inside.
           28.
                         
                         
                          MAN
           Come in, come in.
                         
          They follow the Man through to the living room, and Hannah
          recloses the front door, which has an impressive arrangement
          of locks and dead-bolts.
                         
                         
          INT. FLAT - LIVING ROOM - NIGHT
                         
          In the living room, the fairy lights hang in the window,
          powered by a car battery. Lit by their glow, the Man goes
          through a careful ritual of shedding his gear, helped by
          Hannah.
                         
          First, he lays down the riot shield. Then he puts the
          bloodsmeared lead pipe on a small white towel. Next, he
          removes his gloves - and places them beside the bar on the
          towel. Then he folds the towel over the weapon and gloves,
          and puts it beside the riot shield. Finally he removes the
          visored helmet.
                         
          Jim and Selena watch him. They look pretty rattled, not
          really knowing what to expect.
                         
          After the Man has finished shedding his gear, he turns.
                         
                          MAN
           So... I&apos;m Frank, anyway.
                         
          He extends his hand to Jim and Selena. Jim hesitates very
          briefly, then shakes it.
                         
                          JIM
           I&apos;m Jim.
                         
                          SELENA
           Selena.
                         
          Frank beams, and suddenly he seems much less frightening and
          imposing. If anything, he is just as nervous as Jim and
          Selena.
                         
                          FRANK
           Jim and Selena. Good to meet you.
           And this is my daughter, Hannah.
           (turning to Hannah)
           ...Come on, sweetheart. Say hello.
                         
          Hannah takes a step into the room, but says nothing.
                         
                          FRANK
           So... so this is great. Just great.
           It calls for a celebration.
           29.
                         
                         
           I&apos;d say. Why don&apos;t you all sit
           down, and... Hannah, what have we
           got to offer?
                         
                          HANNAH
                          (QUIETLY)
           We&apos;ve got Mum&apos;s creme de menthe.
                         
          An awkward beat.
                         
                          FRANK
           Yes, her creme de menthe. Great.
           Look, sit, please. Get comfortable.
           Sit tight while I get it.
                         
          Frank exits. Selena, Jim and Hannah all stand, until Selena
          gestures at the sofa.
                         
                          SELENA
           Shall we?
                         
          Jim and Selena take the sofa. Hannah stays standing.
                         
           FRANK (O.S.)
           Where are the bloody glasses?
                         
                          HANNAH
           Middle cupboard.
                         
           FRANK (O.S.)
           No! The good ones! This is a
           celebration!
                         
                          HANNAH
           Top cupboard.
                         
          Another short, uncomfortable pause. Hannah looks at Jim and
          Selena from her position near the doorway. Her expression is
          blank and unreadable.
                         
                          JIM
           This is your place, then.
                         
          Hannah nods.
                         
                          JIM
           It&apos;s nice.
                         
          Hannah nods again.
                         
          Frank re-enters. Frank is beaming, holding the creme de
          menthe, and four wine glasses.
           30.
                         
                         
                          FRANK
           There! I know it isn&apos;t much but...
           well, cheers!
                         
                         
          EXT. TOWER BLOCK - NIGHT
                         
          The moon shines above the tower block.
                         
                         
          INT. FLAT - NIGHT
                         
          Jim, Selena and Hannah all sit in the living room, sipping
          creme de menthe. Frank is disconnecting the fairy lights as
          he talks, and pulling the curtains closed, rather
          systematically checking for cracks along the edges.
                         
                          FRANK
           Normally we keep the windows
           covered at night, because the light
           attracts them. But when we saw your
           petrol station fire, we knew it had
           to be survivors... So we hooked up
           the Christmas tree lights. Like a
           beacon.
                         
          Finished with the sofa, he sits on the armchair.
                         
                          SELENA
           We&apos;re grateful.
                         
                          FRANK
           Well, we&apos;re grateful you came. I
           was starting to really worry. Like
           I say, we haven&apos;t seen any sign of
           anyone normal for a while now.
                         
                          JIM
           There aren&apos;t any others in the
           building?
                         
          Frank shakes his head.
                         
                          SELENA
           And you haven&apos;t seen any people
           outside?
                         
          Frank&apos;s eyes flick to Hannah.
                         
                          FRANK
           We haven&apos;t left the block for more
           than two weeks. Stayed right here.
           Only sensible thing to do. Everyone
           who went out...
           31.
                         
                         
                          SELENA
           Didn&apos;t come back.
                         
                          FRANK
           And there&apos;s two hundred flats here.
           Most of them have a few cans of
           food, or cereal, or something.
                         
                          SELENA
           It&apos;s a good set-up.
                         
                          FRANK
           It isn&apos;t bad.
                         
          He puts a hand on Hannah&apos;s shoulder, and gives it a squeeze.
                         
                          FRANK
           We&apos;ve got by, haven&apos;t we?
                         
                         
          INT. BATHROOM - NIGHT
                         
          Jim is in the bathroom, inspecting himself in the mirror. He
          is just finishing shaving his beard off, and has had to use
          the razor dry. He has cut himself several times.
                         
          Jim does a couple of last dry strokes with the razor, and
          winces as he cuts himself again. He uses spit to wipe away
          the blood.
                         
          Then, from outside, Frank speaks.
                         
           FRANK (O.S.)
           You okay in there, Jim?
                         
                          JIM
           Yes. Fine.
                         
           FRANK (O.S.)
           Sorry we couldn&apos;t spare the water
           but... it&apos;s the same with the
           toilet. The, er, flush doesn&apos;t
           work. I&apos;m afraid you have to use
           the bucket.
                         
          Jim opens the door.
                         
                          FRANK
           Have to empty it each morning. We
           just chuck it over the balcony...
           No mod cons here.
                         
                          JIM
           It&apos;s fine.
           32.
                         
                         
                          FRANK
           ...Well, look, it&apos;s pretty late.
           I&apos;m going to turn in. We&apos;ve got a
           spare room. Are you and Selena...?
                         
                          JIM
           I&apos;ll take the living room.
                         
                          FRANK
           Oh, right. I mean, yes... So, good
           night then, anyway.
                         
                          JIM
           Good night, Frank.
                         
          Frank smiles, and heads to his bedroom.
                         
                         
          INT. FLAT - NIGHT
                         
          Jim feels his way down the dark corridor back to the
          candlelit living room. Selena is standing by the window. She
          looks around when Jim enters.
                         
                          SELENA
           Very spruce.
                         
                          JIM
           Very shredded.
                         
                          SELENA
           Uh-huh.
                         
          Jim sits on the armchair, and Selena moves to look at a
          picture on the wall - the photo of Frank&apos;s family and the
          black cab.
                         
                          JIM
           So what do you make of them?
                         
                          SELENA
           They&apos;re desperate. Probably need us
           more than we need them.
                         
                          JIM
           ...I think they&apos;re good people.
                         
                          SELENA
           Good people?
                         
                          JIM
           Yeah.
           33.
                         
                         
                          SELENA
           Well, that&apos;s nice. But you should
           be more concerned about whether
           they&apos;re going to slow you down.
                         
                          JIM
           Right. Because if they slowed you
           down...
                         
                          SELENA
           I&apos;d leave them behind.
                         
                          JIM
           In a heartbeat.
                         
                          SELENA
           Yeah.
                         
                          JIM
           I wouldn&apos;t.
                         
                          SELENA
           Then you&apos;re going to wind up
           getting yourself killed.
                         
          A moment. Then Selena stands.
                         
                          SELENA
           I&apos;m going to get some sleep.
                         
                          JIM
           Selena - you think I don&apos;t get it.
           But I do get it. And I know I&apos;d be
           dead already if I hadn&apos;t met you.
                         
          Selena hesitates at the door - then turns.
                         
                          SELENA
           Sure.
                         
                          JIM
           No, look - I mean thank you.
                         
                          SELENA
           And I mean sure. Good night, Jim.
                         
          She exits, leaving Jim alone.
                         
                          JIM
           Good night.
                         
          Jim walks around the room, blowing out the candles. He leaves
          one burning beside the sofa.
           34.
                         
                         
          Then he slides open the French doors and exits out onto the
          balcony.
                         
                         
          EXT. BALCONY - NIGHT
                         
          The city is spread out in front Jim. In the distance, to the
          north, the petrol station still burns, sending billowing
          clouds of sparks high into the night sky.
                         
                         
          INT. FLAT - EARLY MORNING
                         
          Jim sits on the armchair, facing the window, nursing a can of
          Lilt. Outside, the sky has just started to brighten with
          first light.
                         
          Frank enters.
                         
                          FRANK
           Morning, Jim.
                         
                          JIM
           Morning.
                         
                          FRANK
           Listen, have you got a minute?
                         
                         
          EXT. TOWER BLOCK ROOF - EARLY MORNING
                         
          Frank and Jim appear from a service door. The view over
          London is spectacular - low clouds catching the sunrise, and
          a plume of smoke still drifting up from the petrol station
          blaze. But more noticeable is that the entire roof area is
          covered in buckets, pans, bowls, plates...
                         
                          FRANK
           We lost water pressure three weeks
           ago. For a while, I thought we&apos;d be
           okay with the water in the other
           flats. The cistern and tanks. But
           it vanishes so quick you wouldn&apos;t
           believe. You drink it, it
           evaporates, turns stagnant...
                         
                          JIM
           (looking at the pans)
           They&apos;re all empty...
                         
                          FRANK
           It hasn&apos;t rained in over a week.
                         
          Frank sits, watching Jim.
           35.
                         
                         
                          FRANK
           You can set up a plastic sheet to
           catch dew and condensation. Trap it
           somehow. I saw it on TV once and
           I&apos;ve been experimenting, but I
           can&apos;t get it to work, and... you
           don&apos;t happen to...
                         
          Jim shakes his head.
                         
                          FRANK
           You&apos;d never think it. Needing rain
           so badly... Not in fucking
           England...
           (he breaks off)
           Jim, we don&apos;t have enough water for
           and Selena.
                         
          A moment.
                         
                          JIM
           Right.
                         
                          FRANK
           No. It&apos;s not what you think.
                         
                         
          INT. FLAT - DAY
                         
          Jim, Selena, Frank and Hannah all sit in the living room.
          Frank is on the armchair. On the coffee table in front of him
          is a small radio. He turns it on - producing a fuzz of radio
          static.
                         
                          SELENA
           There haven&apos;t been any broadcasts
           for weeks.
                         
                          FRANK
                          (INTERRUPTING)
           Just listen.
                         
          They listen. Through the static, the sound of a voice begins
          to sift through.
                         
           MALE VOICE (V.O.)
           The answer to infection is here...
           if you can hear this, you&apos;re not
           alone... there are others like
           you... other survivors... we are
           soldiers, we are armed and we can
           protect you...
                         
          The Male Voice fades into the static.
           36.
                         
                         
                          SELENA
                          (AMAZED)
           Soldiers.
                         
                          FRANK
           There&apos;s more. Listen.
                         
           MALE VOICE (V.O.)
           Our location is the forty-second
           blockade, M602, twenty-seven miles
           north-east of Manchester... you
           must find us...
                         
                          FRANK
           Then it just repeats.
                         
                          JIM
           It&apos;s a recording?
                         
          Frank switches the radio off, and produces a map of Britain,
          which he opens on the table.
                         
                          FRANK
           It&apos;s a recording. But this is where
           it&apos;s telling us to go.
                         
          Frank points to the location described.
                         
                          JIM
           The North...
                         
                          FRANK
           The way things are, we might need
           two or three days to get up there.
                         
                          SELENA
           We.
                         
          A moment. Then Frank gives a short, embarrassed laugh.
                         
                          FRANK
           Sound carries in this flat. Jerry-
           built, I suppose, and... me and
           Hannah do need you more than you
           need us.
                         
                          SELENA
           I wasn&apos;t -
                         
                          FRANK
           It&apos;s okay. Look, it&apos;s the truth. I
           can&apos;t leave the block if it&apos;s just
           the two of us.
           37.
                         
                         
           If something happened to me, Hannah
           would be alone. But if we were with
           other people...
                         
          He lets the sentence hang, gazing at Jim and Selena with
          undisguised hope.
                         
                          SELENA
           If it&apos;s a recording, for all we
           know the soldiers who made it are
           dead.
                         
                          FRANK
           Yes. It&apos;s possible.
                         
                          SELENA
           And that stuff about the answer to
           infection. There is no answer to
           infection. It&apos;s already done pretty
           much all the damage it can.
                         
                          JIM
           Maybe they&apos;ve got a cure.
                         
                          SELENA
           Maybe they&apos;ve got nothing at all.
                         
                          FRANK
           The only way to find out is to
           reach them.
                         
                          SELENA
           We could die trying.
                         
                          HANNAH
           Or die here.
                         
          Hannah speaks so rarely that her interjection seems to take
          everyone by surprise. Including her. For a moment she looks
          flustered, but then she continues.
                         
                          HANNAH
           And anyway, it isn&apos;t true what Dad
           said. You need us just the same as
           we need you. We need each other.
           And we&apos;ll never be safe in the
           cities, and soldiers could keep us
           safe.
                         
          She pauses for a breath.
                         
                          HANNAH
           So we have to try and get there.
           38.
                         
                         
          A beat.
                         
                          JIM
           Get there how?
                         
                          CUT TO:
                         
                         
          EXT. TOWER BLOCK - DAY
                         
          A black London cab drives fast out of the tower block&apos;s
          underground garage, bursting into the daylight.
                         
                         
          INT. CAB - DAY
                         
          Hannah and Selena sit on the back seat, and Jim sits on the
          fold-down. Frank smiles, starts the meter running, and leans
          around to his passengers.
                         
                          FRANK
           Just so as you know. I don&apos;t take
           cheques or credit cards.
                         
                         
          EXT. CAB - DAY
                         
          Frank drives through the destroyed streets of the capital.
                         
          They pass a stray Infected, through the smashed window of a
          shop. It&apos;s head flicks around at the noise of the cab&apos;s
          engine, and starts to move, but the cab is moving too fast to
          catch.
                         
                         
          EXT. CAB/TUNNEL ENTRANCE - SOUTH - DAY
                         
          The cab pulls up at the entrance of a tunnel that leads under
          the river Thames.
                         
                          FRANK
           What do you think?
                         
                          SELENA
           It&apos;s the most direct route to the
           other side of the river.
                         
                          JIM
           Then we should go the indirect
           route. The one in broad daylight.
           That isn&apos;t underground.
                         
                          FRANK
           Let&apos;s just get it done.
           39.
                         
                         
          Frank floors the accelerator and they head into the tunnel.
                         
                         
          INT. CAB - DAY
                         
          Frank drives through the tunnel. Wrecked cars and debris are
          illuminated in the headlights, and Frank weaves expertly
          between them. His passengers roll with the movement of the
          cab.
                         
                          JIM
           I knew this was a shit idea. You
           know why? Because it was really
           obviously a shit idea. Driving into
           a dark tunnel, full of smashed cars
           and broken glass is really fucking
           obviously a shit idea.
                         
          As Jim speaks, out of the gloom, caught in the headlights, a
          huge pile of cars appears, stretching across the full width
          of the tunnel.
                         
          Frank slams his foot down on the accelerator.
                         
                          JIM
           Oh no.
                         
                         
          EXT. CAB - DAY
                         
          The cab bumps up onto the barricade and drives over.
                         
                         
          INT. CAB - DAY
                         
          The cab bumps down the other side of the barricade, with a
          cheer from the passengers - but the jubilation only lasts a
          moment, because the cab his the road hard, on to a carpet of
          broken glass, and the front left tire blows.
                         
                          FRANK
           HOLD ON!
                         
          Frank saws the wheel, but loses control. The cab scrapes
          along the side of an abandoned car, then slews to a halt.
                         
          Frank tries accelerating again, but the cab immediately pulls
          left, back into the car.
                         
                          FRANK
           Fuck.
                         
          Frank jumps out of the cab, and shines his flashlight around
          the tunnel.
           40.
                         
                         
                          JIM
           The world&apos;s worst place to get a
           flat.
                         
                          FRANK
           Agreed. I think we&apos;d better do this
           quick.
                         
                         
          INT. TUNNEL - DAY
                         
          Frank opens the boot and puts the jack into Hannah&apos;s hand.
                         
                          FRANK
           You know what to do.
                         
          Hannah immediately runs to the front of the cab and hunches
          down. Meanwhile, Frank unclips the spare and hauls it out.
                         
          Jim and Selena stand at the back of the cab, weapons ready,
          shining their flashlights into the darkness.
                         
          At the front of the cab, Hannah pumps the jack, but it is
          moving with aching slowness.
                         
          At the back of the cab, Jim and Selena wait nervously.
                         
          There is a noise from further down the tunnel, in the
          direction which they came. A scrabbling rush of movement -
          but too quiet to be humans.
                         
          Jim and Selena exchange a glance.
                         
                          JIM
           ...You heard that?
                         
                          FRANK
           (from the front of the
                          CAB)
           Heard what?
                         
          Jim is about to answer. Then is eyes widen. He looks down...
                         
                          JIM
           Holy shit.
                         
          A tide of rats is rushing under their feet.
                         
                          FRANK
           (as the rats rush around
                          THEM)
           What the fuck?
           41.
                         
                         
                          SELENA
           They&apos;re running from the infected.
                         
          As if in answer, the howls of the Infected echo down the
          tunnel.
                         
          Hannah desperately positions the jack underneath the cab, as
          the rates run over her face.
                         
                          FRANK
           Hannah, get out, get out!
           (to Jim and Selena)
           Just lift it! LIFT IT!
                         
          Jim, Selena, and Frank get their hands under the side of the
          cab, and pull upwards. The cab rises.
                         
          Hannah, with great skill and speed, fits the new tire, like a
          pit-stop mechanic at a grand prix.
                         
                          SELENA
           (straining with the
                          WEIGHT)
           Come on!
                         
                          HANNAH
           Almost there!
                         
          As Hannah puts an expert twist on the last wheel nut, the
          cab&apos;s back lights pick up the faces of the Infected spilling
          over the barricade.
                         
                          FRANK
                          (SHOUTING)
           Go! Go!
                         
          They lunge back into the cab, just as the nearest Infected
          slams against the back window.
                         
          As the cab races off, Jim leans out the window.
                         
                          JIM
           (at the Infected)
           Fuck you!
                         
          Frank slams his foot down, and they tear off.
                         
                         
          EXT. TUNNEL EXIT - NORTH - DAY
                         
          The cab races out.
           42.
                         
                         
                          FRANK
           Honey, you&apos;re a cab driver&apos;s
           daughter.
                         
                         
          EXT. CAB - DAY
                         
          The cab drives through London, the meter steadily clocking
          upwards. Driving, Frank&apos;s eyes flick down to the fuel gauge.
          It is under a quarter full.
                         
          Green shoots are pushing through the cracks in the pavements
          and road, as nature begins to reclaim the city.
                         
                         
          INT. CAB - DAY
                         
          A high street. Suddenly Selena cranes around, seeing
          something.
                         
                          SELENA
           Whoa! Stop the cab! Stop the cab!
                         
                         
          EXT. CAB - DAY
                         
          They have stopped outside of a supermarket. The windows are
          dark, but unbroken, and it looks as if there is still food on
          the shelves.
                         
                          SELENA
           Un. Believable.
                         
          She opens the door to the cab, holding her machete.
                         
                          JIM
           You&apos;re getting out?
                         
                          SELENA
           This place hasn&apos;t been looted. It&apos;s
           a gold mine.
                         
                          HANNAH
           But we don&apos;t know what&apos;s in there.
                         
                          SELENA
           Food and drink is what&apos;s in there.
           And we need it.
                         
          Selena gets out.
                         
                          JIM
           Wait!
           43.
                         
                         
                          SELENA
           I&apos;ve been living off Mars Bars and
           Coke for two weeks. I need some
           tinned fruit.
                         
                         
          EXT. STREET - DAY
                         
          Selena tries the door of the supermarket. It swings open.
                         
                         
          INT. SUPERMARKET - DAY
                         
          They enter silently. All carry their weapons at the ready.
                         
          They peer down the aisles. The supermarket is empty.
                         
                          SELENA
           Let&apos;s shop.
                         
                         
          INT. SUPERMARKET - DAY
                         
          Jim, Selena, Frank, and Hannah all split off with shopping
          trolleys. They look like kids in a toy store.
                         
                          CUT TO:
                         
          Selena taking cans off the shelves, three at a time, going
          down the aisle.
                         
                          SELENA
           I&apos;ll have you, you, you, you...
                         
                          CUT TO:
                         
          Jim taking more stuff off shelves.
                         
          Selena appears at the top of the aisle.
                         
                          SELENA
           Don&apos;t take anything we need to
           cook.
                         
          Jim looks at the item in his hand. It is caviar.
                         
                          JIM
           It&apos;s okay. I think you can eat this
           stuff raw.
                         
                          CUT TO:
           44.
                         
                         
          Frank, standing by the fruit and vegetable section, in front
          of a bank of rotting apples - marked ORGANIC. Beside is a
          pile of apples that look fine.
                         
                          FRANK
           Mmm. Irradiated.
                         
                          CUT TO:
                         
          Selena finding Hannah by a huge array of chocolate.
                         
                          SELENA
           Ugh. If I never see chocolate
           again, it&apos;ll be too soon.
                         
          A beat, as something catches her eye. She whips it off the
          shelf.
                         
                          SELENA
           Not counting Terry&apos;s Chocolate
           Orange, of course.
                         
                          HANNAH
           (taking a handful of
                          YORKIE BARS)
           Or Yorkies.
                         
                          SELENA
           Or Yorkies, obviously.
                         
                          CUT TO:
                         
          Jim by the drinks counter, examining the label on a bottle of
          whisky, as Frank appears behind him.
                         
                          FRANK
           Put that back. We can&apos;t just take
           any crap.
                         
                          JIM
           It isn&apos;t any crap. It&apos;s whisky. It
           might be good to have.
                         
                          FRANK
           Who&apos;s arguing about whisky? I&apos;m
           saying, don&apos;t get a cheap blend.
                         
          Frank takes a bottle of Lagavulin.
                         
                          FRANK
           Single malt. Eighteen-year-old.
           Dark, full flavor.
                         
          Jim starts to back his trolley away.
           45.
                         
                         
                          FRANK
           Warm, but not aggressive. Peaty
           after taste.
                         
                          CUT TO:
                         
          Jim, Selena, Frank, and Hannah shopping, pushing their full
          trolleys past the empty checkout desks. As Frank passes the
          till, he slaps down a credit card, and they walk off.
                         
                         
          EXT. STREET - DAY
                         
          The fully loaded cab drives away from the supermarket, riding
          low on the suspension.
                         
                         
          INT. CAB - DAY
                         
          The cab reaches the on-ramp to the Westway, and stops.
                         
                          SELENA
           We could have a problem here.
                         
                         
          EXT. WESTWAY - DAY
                         
          The cab sits at the back of an apparent traffic jam leading
          onto the Westway.
                         
          Both sides of the dual carriageway are jam-packed with
          abandoned cars, a deserted gridlock. All cars point in the
          same direction - out of town. Some of the cars are crashed,
          riding up on each other, rolled over, burned out.
                         
          As the camera rises upwards, we can see that the gridlock
          snakes along the entire distance of the flyover. Like the
          destroyed vehicles on the road to Basra, it stretches for
          miles...
                         
                         
          INT. CAB - DAY
                         
                          JIM
           Jesus Christ. We&apos;re never going to
           be able to get out of London.
                         
                          FRANK
           Don&apos;t you worry about that. I&apos;ve
           sat twenty years in this seat. I&apos;ve
           got my routes.
                         
                          CUT TO:
           46.
                         
                         
          EXT. CAB - DAY
                         
          Montage of the cab sweeping through suburban London, cutting
          down side streets, ducking down alleys, sometimes passing
          under the Westway flyover.
                         
          During the montage, we see scenes of devastation.
                         
          Jim gazes out of the window as the cab passes a huge cluster
          of rotting corpses, collected under and in the scoop of an
          abandoned bulldozer. The dead operator of the bulldozer lies
          a few feet away from his cabin.
                         
          The montage ends on: the cab bumping down a steep grass verge
          onto the motorway.
                         
           JIM (O.S.)
           Nice cut-through.
                         
                         
          EXT. MOTORWAY - DAY
                         
          The cab drives down the motorway. There are still vehicles
          scattered crashed, but fewer and fewer as distance is gained
          on the city.
                         
                         
          INT. CAB - DAY
                         
          ON THE DASHBOARD, the needle on the fuel gauge drifts down to
          the red.
                         
                         
          INT. CAB - DAY
                         
          A truck lay-by approaches, with a shabby shack-style cafe.
                         
          A sign outside the cafe reads: CHEESEBURGERS&apos;R&apos;US. And
          beneath: LAST CHEESEBURGERS FOR SIXTY MILES.
                         
          In the forecourt are a couple of vehicles. A people-carrier
          family car, and a truck, slewed off the road.
                         
          Frank slows the cab to a halt, some hundred meters away.
                         
                          FRANK
           Okay. We either do this now, or
           we&apos;re walking.
           47.
                         
                         
          EXT. CAB - DAY
                         
          Everyone exits the cab. Selena takes a jerry can and a length
          of plastic tube from the boot, and Frank gives the ignition
          keys to Hannah.
                         
                          FRANK
           If anything goes wrong, you just
           drive. You put your foot down. And
           go as far as you can.
                         
          No response from Hannah.
                         
                          FRANK
           You hear me, Hannah?
                         
                          HANNAH
           Yes, Dad.
                         
          Frank, Jim, and Selena begin to walk towards the service
          station, holding their weapons at the ready.
                         
                         
          EXT. LAY-BY - DAY
                         
          Cautiously, Frank, Jim and Selena approach the truck. There
          is no sign of life around.
                         
                          SELENA
           Stay close, Jim.
                         
                          JIM
           ...What?
                         
                          SELENA
           You heard.
                         
                         
          EXT. TRUCK - DAY
                         
          While Jim and Selena stand guard, Frank works quickly. He
          prises the fuel cap off, inserts the tube, sucks into the
          tube, and spits as the diesel begins to flow into the jerry
          can.
                         
                         
          INT. CAB - DAY
                         
          Hannah watches from the driver&apos;s seat. She has her hands on
          the wheel, and is sliding her hands over the plastic, making
          a series of imaginary turns, shifting gears...
           48.
                         
                         
          EXT. TRUCK - DAY
                         
          As they wait for the can to fill, Jim tosses his bat into the
          air, giving it a single flip, catching it as the handle comes
          back around...being a bit flash.
                         
          Selena notices, and does not look impressed.
                         
          Almost in response to her nonplussed gaze, Jim begins to walk
          towards the cafe.
                         
                          SELENA
           Where are you going?
                         
          Jim points his bat in the direction of the cafe.
                         
                          SELENA
           We&apos;ve got enough food.
                         
                          JIM
           We don&apos;t have any cheeseburgers.
                          (TO HIMSELF)
           &quot;Stay close.&quot; It&apos;s like going on
           holiday with your fucking aunt.
                         
                         
          INT. CAFE - DAY
                         
          Jim walks inside the cafe, and finds the aftermath of
          carnage. Decomposed bodies lie scattered, on and under
          tables: a couple of men, a female cook, and a young family.
                         
          Jim walks towards the family.
                         
          The father sits wedged between the seats and the table, which
          are both bolted to the floor. His neck is snapped, head
          hanging backwards.
                         
          The mother lies a couple of feet away, on the floor, half
          over an infant, as if in a final protective gesture.
                         
          Jim looks down at them.
                         
          Then there is a noise behind.
                         
          Instinctively Jim snaps around, swinging the bat as he does
          so - and connects against a small body, which flies
          backwards.
                         
          Only then do we - and Jim - see what he has hit. Crumpled,
          motionless on the ground is an Infected Kid, an eight year
          old boy.
                         
          A moment. Jim looks stunned, appalled.
           49.
                         
                         
          Then the Infected Kid&apos;s eyes flick open. Still alive.
                         
          Jim&apos;s baseball bat swings down.
                         
                         
          EXT. TRUCK - DAY
                         
          The can is full. Frank removes the tube.
                         
          Jim appears.
                         
                          SELENA
           Find anything.
                         
          Jim says nothing.
                         
                          SELENA
           Find anything, Jim?
                         
                          JIM
           No.
                         
          Selena lets it pass - and the moment is broken as Frank
          stands with the can.
                         
                          FRANK
           Okay. We&apos;re done.
                         
          He lifts a hand to Hannah.
                         
                         
          INT. CAB - DAY
                         
          Hannah smiles, turns the ignition, and throws the cab into
          gear.
                         
                         
          EXT. FORECOURT - DAY
                         
          The cab tears towards Jim, Selena and Frank, then - at the
          last moment - flips into a handbrake turn, and drifts to a
          neat stop, a couple of meters from them.
                         
                          HANNAH
           (leaning out of the
                          WINDOW)
           I am a cab driver&apos;s daughter.
                         
                          FRANK
           You&apos;re Ayrton Senna&apos;s bloody
           daughter.
           50.
                         
                         
          INT. CAB - DAY
                         
          The cab drives down the motorway, fuel needle pressed up
          against the full mark. The meter runs up a tab of over three
          hundred pounds...
                         
                         
          EXT. CAB - DAY
                         
          They pass a sign for MANCHESTER - 130 MILES.
                         
                         
          INT. CAB - DAY
                         
          The occupants have settled into the reflective silence of a
          long drive.
                         
          Selena seems lost in thought. She looks at Jim, who has his
          hand stuck out the window, and is using his hand like an
          aerofoil, catching the wind, dipping and rising.
                         
          Then she looks at Frank, and notices...
                         
          ...Frank glance in the rear-view mirror at Hannah, who
          catches her dad&apos;s eye. Frank smiles, and gives her a wink.
                         
                         
          EXT. CAB - DAY
                         
          The cab drives along A-roads.
                         
                         
          INT. CAB - LATE AFTERNOON
                         
          Jim is looking through some of the bags of food.
                         
                          JIM
           Who&apos;s unbelievably hungry?
                         
                          ALL
           Me.
                         
          Jim looks out of the window. They are in completely empty,
          rolling countryside, stretching for miles.
                         
                          JIM
           Let&apos;s have a picnic.
                         
                         
          EXT. PICNIC SPOT - LATE AFTERNOON
                         
          They have stopped in a beautiful spot, quite high, clear
          view. It is a beautiful day. The late afternoon sunshine is
          bright over the green fields, trees cast long shadows.
           51.
                         
                         
          Everyone is happily sat on the grass, eating from their
          hoard.
                         
          Jim has pulled open a packet of stale hot-cross bun; Hannah
          empties a packet of Maltesers into her mouth; Frank holds a
          block of cheddar, taking bites from the cheese as if it were
          cake ; Selena drinks from a can of tinned peaches, swallowing
          the pieces almost whole, with the juice running down her
          chin.
                         
                          SELENA
           Oh my God, yes. I can taste the
           vitamin C. I can feel it in my
           blood.
                         
                          JIM
           (cracking a bun in half)
           These are great. They&apos;re like huge
           biscuits.
                         
          He offers half to Hannah, who takes a bite.
                         
                          HANNAH
           It&apos;s true. They are like biscuits.
                         
                          JIM
                          (COMPLETELY
           unintelligible, mouth
           full, spraying crumbs)
           An de phraisins ar phrill moipht.
                         
          Hannah and Selena laugh.
                         
                          HANNAH
                          (TO JIM)
           What did you say?
                         
                          JIM
                          (SWALLOWING)
           I said, the raisins are still
           moist.
                         
          Selena and Hannah laugh again.
                         
                          FRANK
           Hey.
                         
          Everyone turns.
                         
                          FRANK
           Look over there.
           52.
                         
                         
          Some distance away, in the fields below, a group of three
          horses - two adults and a foal - are galloping over the
          fields as if wild. A majestic and surreal sight, and it
          somehow implies the way the world will change.
                         
                          HANNAH
           Do you think they&apos;re infected?
                         
                          FRANK
           No. I think they&apos;re doing just
           fine.
                         
                         
          EXT. FIELDS - LATE AFTERNOON
                         
          The horses gallop, leaping a stone wall, and away.
                         
                         
          EXT. PICNIC SPOT - SUNSET
                         
          The meal has been eaten. Frank sits, playing with his radio,
          trying to listen to the faint broadcast. Beside him, Hannah
          lies on her back, eyes closed.
                         
                         
          EXT. FENCE GATE - SUNSET
                         
          Jim and Selena have walked a little distance away from the
          others, and are sitting on a fence gate, looking over the
          view.
                         
                          JIM
           You know what I was thinking?
                         
          Selena considers this a moment.
                         
                          SELENA
           You were thinking that you&apos;ll never
           hear another piece of original
           music ever again. You&apos;ll never read
           a book that isn&apos;t already written.
           Or see a film that isn&apos;t already
           shot.
                         
          Jim smiles.
                         
                          JIM
           That&apos;s what you were thinking.
                         
                          SELENA
           No... I was thinking I was wrong.
                         
                          JIM
           About what?
           53.
                         
                         
          Selena doesn&apos;t reply for a moment. Then she turns to look at
          Frank and Hannah - who look oddly normal, surrounded by the
          food wrappers from the picnic, Frank listening to the radio.
                         
                          SELENA
           All the death, all the shit - it
           doesn&apos;t really mean anything for
           Frank and Hannah. Because she&apos;s got
           her dad, and he&apos;s got his daughter,
           so... it&apos;s okay.
                         
          A beat.
                         
                          SELENA
           (looking back at Jim)
           I was wrong when I told you that
           staying alive is as good as it
           gets.
                         
                          JIM
                          (SMILES)
           That&apos;s what I was thinking.
                         
                          SELENA
           ...Was it?
                         
                          JIM
           Uh-huh. You stole my thought.
                         
          Selena leans over and gives Jim a light kiss on the cheek.
                         
                          SELENA
           (smiling back at Jim)
           Sorry.
                         
                          JIM
           (slightly surprised, but
                          PLEASED)
           Ah, keep it.
                         
                         
          EXT. PICNIC SPOT - SUNSET
                         
          Frank switches off the radio. He looks over at Hannah, who is
          dozing peacefully, then over to Jim and Selena.
                         
                          FRANK
                          (CALLING)
           It&apos;s getting late. We should stay
           here the night.
                         
          Jim raises a hand in reply.
           54.
                         
                         
          EXT. CAB/PICNIC SPOT - NIGHT
                         
          The cab sits, parked up at the picnic spot. Jim, Selena,
          Frank and Hannah lie beside it, wrapped in their jackets,
          using their small backpacks as pillows.
                         
          The moon is bright, and only Selena is asleep...
                         
                          HANNAH
           Can&apos;t sleep.
                         
                          JIM
           Nor can I. It doesn&apos;t feel safe,
           outdoors like this.
                         
                          FRANK
           I think we&apos;re safe enough.
                         
          A couple of moments pass.
                         
                          HANNAH
           ...Selena didn&apos;t seem to have any
           trouble.
                         
                          JIM
           I know. I noticed that too.
           (reaching over and shaking
                          SELENA&apos;S SHOULDER)
           Selena...Selena!
                         
                          SELENA
                          (EXTREMELY DROWSY)
           What... what is it...
                         
                          JIM
           How did you manage to get to sleep?
                         
          Selena gives a dozy grumble, then sits up, reaches into her
          backpack, and pulls out several bottles of pills. She hands
          one of them to Jim.
                         
                          FRANK
           Bloody hell. You must have needed a
           hell of a prescription for that
           lot.
                         
                          SELENA
                          (DROWSY)
           I didn&apos;t need a prescription. I&apos;m a
           qualified chemist.
                         
          She drops back down and goes straight back to sleep.
           55.
                         
                         
                          JIM
           (inspecting the bottle)
           Valium. Great. Not only will it get
           us to sleep, but if we get attacked
           during the night, we won&apos;t even
           care.
           (pops the lid)
           Two each?
                         
                          FRANK
           Not for me, thanks.
                         
                          JIM
                          (INDICATING HANNAH)
           What about...?
                         
                          HANNAH
           Can I, Dad?
                         
                          FRANK
                          (DOUBTFUL)
           I don&apos;t know, honey.
                         
                          HANNAH
           Da-ad, plee-ease. I can&apos;t sleep.
                         
                          FRANK
           All right, all right. Give her half
           of one.
                         
                          FADE TO:
                         
                         
          JIM&apos;S VALIUM DREAM
                         
          Jim is riding his bike through the city. It&apos;s London back to
          normal, pre-infection. Busy streets, traffic, pedestrians,
          car horns, radios playing.
                         
          Jim rides fast, his courier bag over his shoulder, weaving
          between cars, shooting a red light, turning a corner into...
                         
          Gower Street. Suddenly, a car pulls out into Jim&apos;s path. The
          car brakes hard, and Jim brakes hard, skidding...
                         
          ...and the two miss each other by a whisker.
                         
          The Driver flashes into road rage.
                         
                          THE DRIVER
           You stupid cunt!
                         
                          JIM
           Fuck you!
           56.
                         
                         
          The Driver flips Jim the finger, and accelerates away.
                         
          Jim remains stopped by the pavement, one foot down for
          balance, breathing hard. Pedestrians pass. Groups of people,
          everyday people, walking by.
                         
          Jim watches them, noticing their faces. Some talk to each
          other, or into mobile phones. Some smile, or walk lost in
          thought.
                         
          After a few moments, Jim sets off again, seemingly
          distracted, still watching pedestrians&apos; faces...then two of
          the faces seem to catch his attention. A man and a woman,
          middle-aged, chatting.
                         
          His parents.
                         
          Jim&apos;s head turns as he passes them, confusion on his face,
          his bike drifting into another lane...
                         
          ...into the path of a second car. The car that hit him.
                         
                          CUT TO:
                         
                         
          EXT. CAB/PICNIC SPOT - NIGHT
                         
                          FRANK
                          (QUIETLY)
           Hey.
                         
          Frank&apos;s hand is on Jim&apos;s shoulder. Jim stirs, half-wakes.
                         
                          JIM
           (confused, semi-conscious)
           What...
                         
          Frank is sitting beside him - and we see for the first time
          that Frank is awake, keeping guard over them while they
          sleep.
                         
                          FRANK
           Shh. You&apos;re having a bad dream,
           that&apos;s all.
                         
          Jim&apos;s face relaxes a little.
                         
                          JIM
           (mumbled, half-asleep
                          ALREADY)
           Okay, Dad.
                         
          Frank raises his eyebrows, then smiles.
           57.
                         
                         
          EXT. CAB/PICNIC SPOT - EARLY MORNING
                         
          Jim is sitting up. The others are all awake. Frank bouncing
          the repaired flat tire to check it, Hannah slipping on a
          fresh sweatshirt from her backpack, Selena leaning against
          the cab, chewing on a chocolate bar.
                         
                          JIM
           Here you go, Frank. This is how you
           catch dew. I&apos;m covered in the
           fucking stuff.
                         
                          FRANK
           (packing the spare away)
           Okay. Let&apos;s get rolling.
           (he checks his watch)
           If we make good time, we&apos;ll be
           there before midday.
                         
                         
          EXT. MOTORWAY - DAY
                         
          The cab is driving, towards us, then slows to a halt.
                         
                         
          INT. CAB - DAY
                         
          Everyone is looking at something ahead of them. They seem
          awestruck.
                         
                          JIM
           Bloody hell...
                         
                          FRANK
           It must be Manchester.
                         
                          JIM
           But, the whole of Manchester. The
           whole city...
                         
                          SELENA
           No fire crews to put it out.
                         
          We see what they are looking at...
                         
                         
          EXT. CAB - DAY
                         
          On the horizon ahead, there is the glow of a truly massive
          fire. The smoke spreads into the sky like the plume from a
          vast, spreading volcano crater. The city burning.
           58.
                         
                         
          INT. CAB - DAY
                         
          The cab drives towards the surreal sight. As they drive, pale
          flakes begin to fall, drifting past the windows.
                         
                          JIM
           It can&apos;t be...
                         
                          HANNAH
           Is it snow?
                         
                          FRANK
           (hitting the windscreen
                          WIPERS)
           It&apos;s ash.
                         
                         
          EXT. CAB - DAY - ASH FALL
                         
          The cab drives through the ash fall. Through the soft
          blizzard, they pass a sign for: MANCHESTER - 14 MILES (in the
          opposite lane). The city is behind them.
                         
                         
          EXT. MOTORWAY - DAY - ASH FALL
                         
          The cab drives down a motorway. The ash is still falling, and
          they start to pass bodies by the roadside.
                         
                         
          INT. CAB - DAY - ASH FALL
                         
          Inside the cab there is a sense of real anticipation.
          Everyone is sitting up, scanning the road ahead.
                         
          Then they come over the brow of a hill, and the ash-fall
          clears like mist parting, to reveal...
                         
                          FRANK
           Okay, everyone. I think this is it.
                         
                         
          EXT. MOTORWAY - DAY
                         
          Fifty meters down, the road is blockaded. It is obviously a
          military construction - hurriedly put together, but expertly
          built.
                         
          Behind rolls of razor wire are fifteen foot sheets of
          corrugated iron, held upright by scaffold pipes. In the
          middle of the blockade there is a gap wide enough to get a
          vehicle through, but concrete blocks force a chicane.
           59.
                         
                         
          On either side of the road there are sandbag nests. On the
          corrugated iron, white painted words read: 42ND BLOCKADE. But
          despite the impressive construction, there is no sign of
          movement or life.
                         
                         
          INT. CAB - DAY
                         
                          JIM
           Try the horn.
                         
                          SELENA
           Don&apos;t. We might attract the wrong
           kind of attention.
                         
                         
          EXT. 42ND BLOCKADE - DAY
                         
          The cab rolls slowly towards the blockade - past many more
          bodies, Infected, rotting.
                         
          It reaches the chicane, and eases around the concrete blocks.
          Then it passes through the gap in the corrugated barrier. On
          the other side of the blockade, canvas tents have been
          erected on the grass verge, and two transporter trucks are
          parked. A few packing crates and tarpaulins are also
          scattered around. But still no signs of life. The blockade
          appears to have been abandoned.
                         
          Franks slows to a halt, but keeps the engine running.
                         
                         
          INT. CAB - DAY
                         
                          FRANK
           What do you think?
                         
                          JIM
           It looks deserted.
                         
                          SELENA
           Or overrun.
                         
          Frank flicks the radio on - there is only static. He switches
          it off again.
                         
                          FRANK
           Let&apos;s check it out.
           60.
                         
                         
          EXT. 42ND BLOCKADE - DAY
                         
          Everyone exits the cab, holding their various weapons. Jim
          has his baseball bat, Selena has her machete, and Frank has
          his lead pipe...
                         
          Cautiously, they begin to explore. They first head over to
          the grass verge and the tents. In front of one of them,
          Hannah picks up a Bergen backpack. She upends it, and a few
          clothes fall out.
                         
          Frank moves past her, and carefully pulls back the tent flaps
          - machete at the ready. Inside, there is a small table, and
          maps and papers are strewn across the floor. And a radio.
                         
                          HANNAH
           I don&apos;t understand. Did they leave?
                         
          Jim pushes open the flaps of another tent with his baseball
          bat.
                         
                          JIM
           They didn&apos;t all leave.
                         
          Inside, several body bags lie, buzzing with flies.
                         
          Selena stands several feet away, by one of the packing cases.
          She pulls out a tangle of camouflage webbing, then lets it
          drop back inside.
                         
                          SELENA
           I don&apos;t like this. I think we
           should go.
                         
                          FRANK
                          (SUDDENLY SNAPPING)
           No!
                          (COMPOSES HIMSELF)
           The vehicles. We should check the
           vehicles first. There has to be
           something...
                         
                         
          EXT. VEHICLES - DAY
                         
          Frank jumps down from the back of one of the trucks. Like the
          others, like everything else it is empty.
                         
                          FRANK
           Nothing. Nothing here. I can&apos;t
           believe it.
                         
                          SELENA
           Frank.
           61.
                         
                         
                          FRANK
           &quot;We should go.&quot;
                         
                          SELENA
           Yes.
                         
                          FRANK
                          (EXPLODING)
           Go fucking where? What the fuck are
           we supposed to do? How is this
           going to fucking end? It&apos;s never
           going to -
                         
          Frank cuts himself off. Then, turning from the others, he
          walks away.
                         
                         
          EXT. BLOCKADE - DAY
                         
          Frank walks underneath the archway of one of the blockade
          structures, and sits down. Needing to be alone.
                         
          His head sinks, staring at the ground beneath his legs. A
          couple of moments later he looks up - and sees that sitting
          opposite of him, on the other side of the archway, almost
          mirroring his posture and position, is a dead Infected.
                         
          The corpse of the Infected sits gazing back at Frank with
          sightless eyes.
                         
          A moment between the two of them. A blank-faced exchange.
                         
          Frank looks left and sees the corpse of another Infected, a
          few feet beyond the blockade. And another, beyond it. And
          another, a few more feet to the right.
                         
          Then Frank looks upwards. Above him, on the walkway of the
          blockade, another corpse lies. And this corpse is swarmed
          with crows, picking at it.
                         
          Frank gets up.
                         
                          FRANK
           (under his breath)
           Get out it.
                          (SUDDENLY SHOUTING)
           GET OUT OF IT!
                         
          He bends, picks up a rock and throws it, but misses, sailing
          past them.
                         
          In a rage again, Frank goes under the blockade and starts to
          kick it. The scaffold clangs, vibrates, and - startled - the
          crows lift off from the mutilated corpse and fly...
           62.
                         
                         
          ...dislodging, or disrupting, a single droplet of blood from
          the corpse, that rolls off the neck, and begins to fall
          downwards.
                         
          Down... to where Frank gazes upwards.
                         
          The droplet splashes, pinpoint perfect, on Frank&apos;s eye.
                         
          Frank frowns, his hand immediately going to his face. The
          fingers come away, with the tiny smear of red.
                         
                          HANNAH
           Dad... are you okay?
                         
          Frank turns. Hannah is there, with Jim. Selena stands a
          little way further back.
                         
                          FRANK
           I... I&apos;m fine, honey. I&apos;m sorry. I
           just lost my temper. I...
                         
          He breaks off.
                         
                          HANNAH
           ...What?
                         
          Frank frowns. A hand goes to his temple.
                         
                          FRANK
           Hannah...
                         
          Abruptly, the color is draining from his face.
                         
                          FRANK
                          (TO HANNAH)
           Get away from me.
                         
                          HANNAH
           ...Dad?
                         
                          FRANK
           Get away from me!
                          (TO JIM)
           Get her away from me!
                         
                          HANNAH
           (moving to Frank)
           Why? What&apos;s...
                         
          Frank lashes out and shoves Hannah away, knocking her back to
          the ground.
                         
                          FRANK
           GET AWAY FROM ME!
           63.
                         
                         
          A trickle of blood runs out of Frank&apos;s nose. Then he doubles
          up, clutching the side of his head. He screams with pain.
                         
                          SELENA
           Jim...
           (breaking into a run)
           Jim, he&apos;s infected!
                         
                          HANNAH
           No! No!
                         
          Hannah lunges towards her dad, but is caught by Selena.
                         
                          SELENA
           (holding Hannah back)
           Jim!
                         
          But Jim is frozen, holding his baseball bat.
                         
          Frank screams again. Then drops to his knees.
                         
          Hannah struggles with Selena, trying to get to Frank.
                         
                          HANNAH
           Dad!
                         
                          SELENA
           Jim!
                         
          Jim is still frozen, baseball bat half-raised.
                         
                          SELENA
           KILL HIM!
                         
          And Frank looks up, his face contorted. The infection has
          taken hold.
                         
          And at that moment there is a rifle report, a rush of air,
          and a rapid thump of impact.
                         
          Frank falls forwards to the tarmac.
                         
          A moment of silence.
                         
                          HANNAH
           ...Dad?
                         
          Selena lets Hannah go.
                         
          Suddenly, the GUNFIRE comes again. Three shots in quick
          succession - into Frank&apos;s motionless body.
                         
          In a daze, Hannah starts towards her dead father.
           64.
                         
                         
                          CLIFTON
           STAY AWAY FROM HIM!
                         
          They all turn to see three British soldiers standing by a
          jeep. One of the soldiers (Farrell) advances, with his gun
          still raised, while the others (Mitchell and Clifton) hold
          back giving cover.
                         
                          FARRELL
           Get away from the man! NOW!
                         
          Jim steps towards Hannah and grabs her, pulling her away from
          Frank&apos;s body. She doesn&apos;t struggle. She is in a state of
          absolute shock.
                         
                          SELENA
                          (QUIETLY)
           Jesus.
                         
                         
          EXT. ROAD - DAY
                         
          A jeep drives down a small road - away from the blockade.
          Jim, Selena and Hannah sit in the back. Behind is the cab,
          driven by the Sergeant. A little way ahead of them, the
          walled grounds of a huge country mansion appear.
                         
                         
          EXT. FRONT DRIVEWAY - DAY
                         
          From a cast-iron gated entrance, a gravel driveway leads up
          to the impressive country mansion, surrounded by a high
          perimeter wall. The grounds show acres of lawn and flower
          beds. These have obviously had many years of very careful
          cultivation and attention, but now are just starting to look
          unkempt and overgrown.
                         
          The jeep pulls up by the front steps. Waiting there is
          another soldier, a major. Like the other soldiers, he is
          unshaven, but has the authority of command about him, even in
          the relaxed way that he stands.
                         
          As Jim, Selena and Hannah dismount from the jeep, he
          appraises them. Then speaks.
                         
                          HENRY
           I&apos;m Major Henry West. Welcome.
           We&apos;ve got beds with clean sheets
           and a boiler that produces hot
           water. So you can all have a
           shower. You look like you need one.
                         
          Jim, Selena, and tear-streaked Hannah gaze back at Henry
          blankly.
           65.
                         
                         
          INT. SHOWER - DAY
                         
          Jim has a shower, sees the cab driving round in circles
          outside the shower window, then...
                         
                         
          INT. MANSION - DAY
                         
          Jim walks down a sweeping staircase to the front hall.
          Scattered around are various bits of military gear. A pair of
          muddy boots, a jacket, assorted kit, webbing, etc.
                         
                         
          EXT. VERANDA - DAY
                         
          Henry is sitting, looking out over the back lawn.
                         
          Pulling back, we see Jim is with him.
                         
                          HENRY
           You heard our broadcast.
                         
                          JIM
           Yes.
                         
                          HENRY
           We must be a disappointment. You
           were hoping for a full brigade. An
           army base, with helicopters and
           field hospitals.
                         
                          JIM
           We were hoping for...
                         
                          HENRY
           The answer to infection. Well, as I
           said, it&apos;s here. Though it may not
           be quite what you imagined.
                         
                          JIM
           I didn&apos;t know what to imagine,
           so... We just feel lucky to have
           found you.
                         
                          HENRY
           You were lucky. The fire drove
           hundreds of infected out of
           Manchester. The surrounding area is
           teeming with them.
                         
          Henry glances back at Jim.
           66.
                         
                         
                          HENRY
           But there&apos;s no need for you to
           worry. We&apos;re well protected here.
                         
                         
          EXT. GARDEN - DAY
                         
          Henry shows Jim around the grounds.
                         
                          HENRY
           Three-sixty visibility. Flat
           terrain all around the house...
           Floodlights, which we&apos;ve rigged up
           to a generator. Don&apos;t like to waste
           the fuel, but when we want to, we
           can turn night into day.
                         
          Moving on...
                         
                          HENRY
           High perimeter wall, which helps,
           and we&apos;ve been lacing the grounds
           with trip wires and land mines.
                         
          Henry indicates where Farrell, Smith and Davis can be seen,
          running a trip wire.
                         
                          HENRY
           You wouldn&apos;t want to go mowing the
           lawn, but if they get in, we hear
           them.
                         
                         
          INT. MANSION - LOWER LEVELS - DAY
                         
          Henry leads Jim into the basement level of the mansion.
                         
                          HENRY
           Secondary to protection, our real
           job is to rebuild. Start again.
           Down here is the wood-fired boiler
           that provides us with hot water.
           Our first step to civilization.
                         
          Then to a kitchen...
                         
                          HENRY
           And here, the kitchen.
                         
                         
          INT. MANSION - KITCHEN - DAY
                         
          Several of the soldiers are unpacking the food bags from the
          cab. One of the soldiers, Jones, is wearing an apron.
           67.
                         
                         
                          HENRY
           What are you cooking, Jones?
                         
                          JONES
           It&apos;s a surprise, sir!
                         
                         
          EXT. MAILER&apos;S PIT - DAY
                         
          Henry leads Jim into a small courtyard, hanging with
          bloodstained laundry.
                         
                          HENRY
           And finally...
                         
          The laundry starts to billow - and with it we hear the sound
          of rushing movement. As a darkly stained sheet is ripped
          aside, an Infected is revealed only a few feet away.
                         
          Jim jumps back, but Henry stays put - as the Infected is
          suddenly jerked backwards by a chain around its neck.
                         
                          HENRY
           ...meet Mailer.
                         
          Mailer is uniformed. A soldier. Apart from the chain around
          his neck, he is gagged with a filthy and blood-blackened rag
          tied tight into his mouth.
                         
                          HENRY
           Mailer, Jim. Jim, Mailer. Got
           infected three days ago. Mitchell
           managed to knock him out cold. Got
           a chain around his neck.
                         
                          JIM
           You&apos;re keeping him alive?
                         
                          HENRY
           The idea was to learn something
           about infection. Have him teach me.
                         
                          JIM
           And has he?
                         
                          HENRY
           In a way.
                          (KNEELS)
           He&apos;s teaching me he&apos;ll never bake
           bread. Plant crops, raise
           livestock. He&apos;s telling me he&apos;s
           futureless. And eventually he&apos;ll
           tell me how long the infected take
           to starve to death.
           68.
                         
                         
          A moment.
                         
                          HENRY
           Dinner&apos;s at seven. Don&apos;t forget to
           tell the girls.
                         
          Henry exits, leaving Jim with Mailer.
                         
          Mailer lunges at Jim - a moment between them.
                         
          Then Jim exits.
                         
                         
          INT. GIRLS&apos; BEDROOM - DAY
                         
          Carefully, Jim opens the door to the girls&apos; bedroom. Inside
          is Hannah lying on the bed, face covered, on her side. Selena
          lies behind her, her arm lying protectively over Hannah&apos;s
          body.
                         
          Selena looks around, sees Jim, and puts a finger to her lips.
                         
                         
          INT. JIM&apos;S BEDROOM - NIGHT
                         
          Jim and Selena enter, and close the door.
                         
                          JIM
           ...So how is she?
                         
                          SELENA
           She&apos;s lost her dad. That&apos;s how she
           is.
                          (A MOMENT)
           It&apos;s all fucked, Jim.
                         
          Suddenly Selena looks as if she&apos;s on the verge of tears.
                         
                          JIM
           Hey, don&apos;t...do that. Look,
           Hannah... Hannah&apos;s what Frank said
           she was. Tough. Strong. And just
           like me, just like you, she will
           cope...
                         
                          SELENA
           Shut up, Jim. Just shut up. I don&apos;t
           want her to fucking cope. I want
           her to be okay. And when Hannah had
           her dad, it was all okay. Remember?
           And when it was okay for them, it
           was okay for us. And now it&apos;s all
           fucked.
           69.
                         
                         
          Then Selena&apos;s tears are flowing.
                         
          Jim seems to want to reply, but doesn&apos;t have the words.
                         
          Instead, he lifts Selena&apos;s face and kisses her on the lips...
                         
          ... a moment.
                         
          Then Selena pushes him a away.
                         
          Selena leaves the room.
                         
                         
          INT. MANSION - DINING ROOM - NIGHT
                         
          A surreal scene.
                         
          Dinner, with full silver service, candles, wine and crystal
          glasses, napkins, and everyone rather formally sitting while
          Jones lays food on the table, wearing an apron over his
          uniform.
                         
          Made all the more surreal by Jim and Selena&apos;s grubby clothes,
          and Hannah&apos;s dazed, tear-streaked face.
                         
                          HENRY
           So, what have we here? Tinned ham,
           tinned peas, and omelette. You&apos;ve
           prepared a feast, Jones.
                         
                          JONES
           Honor of our guests, sir.
                         
                          HENRY
           Absolutely. I was going to suggest
           a toast, but this omelette will do
           just as well.
           (cuts off a chunk of
           omelette and raises it)
           To new friends.
                         
          Henry pops the omelette in his mouth, then promptly spits it
          out.
                         
                          HENRY
           Jones, did you notice while cooking
           that these eggs are off?
                         
                          JONES
           I thought the salt might cover the
           taste, sir.
           70.
                         
                         
                          HENRY
           (pushing his plate away)
           Get rid of it.
                         
          Henry turns to Hannah as Jones sheepishly exits, carrying the
          omelette.
                         
                          HENRY
           I don&apos;t suppose you can cook, can
           you? I can&apos;t tell you how badly we
           need someone who shows a little
           flair in the kitchen.
                         
          Hannah ignore/is unaware of Henry&apos;s attempt to bring her out
          of her shell.
                         
          Meanwhile, the soldiers start helping themselves to the other
          food on the table.
                         
                          DAVIS
           That&apos;s a fucking disappointment.
           When I saw those eggs, I thought it
           was Christmas.
                         
                          BELL
           We&apos;ll have eggs again. Once
           everything&apos;s back to normal.
                         
          The soldiers pause. Exchange glances. Then burst out
          laughing.
                         
                          MITCHELL
           Listen to him! He&apos;s still waiting
           for Marks and Spencer&apos;s to reopen.
                         
          More laughter at Bell - interrupted by the sergeant, Farrell,
          who conspicuously is not joining in.
                         
                          FARRELL
           I think Bell&apos;s got a point. If you
           look at the whole life of the
           planet, man has only been around
           for a few blinks of an eye. So if
           the infection wipes us all out,
           that is a return to normality.
                         
          Farrell turns to Bell.
                         
                          FARRELL
           Is that what you meant, Bell?
                         
                          BELL
           Uh...yeah.
           71.
                         
                         
                          HENRY
           (to Jim and Selena)
           Have you met our new-age sergeant?
                          (TO FARRELL)
           Remind me, Farrell, why exactly did
           you join the army in the first
           place.
                         
          A moment.
                         
                          HENRY
           This is what I&apos;ve seen in the four
           weeks since infection. People
           killing people. Which is much what
           I saw in the four weeks before
           infection, and the four weeks
           before that, and before that, as
           far back as I care to remember...
           People killing people. Which to my
           mind puts us in a state of
           normality right now.
                         
          Selena turns to Hannah.
                         
                          SELENA
                          (QUIET)
           You&apos;re not eating.
                         
                          HANNAH
           I don&apos;t want to eat.
                         
          Henry picks up on their exchange.
                         
                          HENRY
           You must eat, Hannah.
                         
                          HANNAH
           I don&apos;t want to eat. I want to bury
           my dad. He&apos;s one of the people
           you&apos;re talking about.
                         
          A silence over the dinner table.
                         
          Broken by the thud of a mine detonation.
                         
          Then...
                         
                          FARRELL
           Stand to!
                         
          And suddenly all the soldiers are kicking back their chairs,
          jumping to their feet. Producing SA-80s that they had under
          the table.
           72.
                         
                         
          EXT. MANSION - NIGHT
                         
          Farrell, Jones, Mitchell, Bedford, Smith and Clifton race out
          of the house, fanning, dropping into position.
                         
                          MITCHELL
           Go, go, go!
                         
          Two more soldiers, Davis and Bell, fire from window positions
          on the mansion&apos;s first floor.
                         
                          FARRELL
           Jones! Cover right!
                         
                          SMITH
           Three o&apos;clock! Three o&apos;clock!
                         
          Coming across the grounds are four Infected, sprinting across
          the lawn towards the house. Immediately, one of them is
          catapulted into the air by an explosion under its feet - a
          mine.
                         
          The soldiers open fire, Jones closing his eyes as he pulls
          the trigger.
                         
          The three remaining Infected are cut down - one hit in the
          head by Smith, another folding under a burst from Farrell,
          the last falling under fire from Mitchell, landing face down
          on a mine which explodes onto its chest.
                         
          Chunks of Infected spin into the air, then patter down like a
          light rain.
                         
                          MITCHELL
                          (DELIGHTED)
           That was mad! Did you see that!
           That was fucking mad!
                         
                          FARRELL
                          (ANGRY)
           Clear!
                         
                          JONES
           Clear.
                         
                          MITCHELL
                          (STILL LAUGHING)
           Clear.
                          (TO JONES)
           Fuck me, I never saw that before.
           Keeled over and - bam! Gone, like
           fucking magic.
           73.
                         
                         
                          SMITH
           I drew a lovely bead. One shot.
           Right between its eyes.
                         
                         
          INT. LIVING ROOM - NIGHT
                         
          Jim stands, looking out of the open French windows at the
          soldiers.
                         
          Selena is standing behind him. She is holding her machete.
                         
          The soldiers bounce in. Mitchell and Smith in particular are
          hyped from their adrenaline rush.
                         
                          MITCHELL
           It was all hanging in the air, and
           all these bits coming down, and...
                         
          Mitchell catches sight of Selena holding her machete.
                         
                          MITCHELL
           Hello.
                         
          He heads towards her, and takes the machete from her hands.
                         
                          MITCHELL
           I&apos;ll tell you what: you don&apos;t need
           this penknife any more, sweetie.
           I&apos;m here to protect you now.
           (winks at the other
                          SOLDIERS)
           But listen, if you want to hold a
           huge chopper...
                         
          Bedford bursts out laughing, and Selena grabs her machete
          back.
                         
                          MITCHELL
           Whoa! Feisty!
                         
          He gives her a slap on the backside.
                         
                          SELENA
           Fuck you!
                         
                          MITCHELL
           You bet. How about right now?
                         
          Now doubly hyped. Mitchell reaches forward and pulls up the
          hem of Selena&apos;s T-shirt. She yelps and twists, knocking back
          his hand.
           74.
                         
                         
                          MITCHELL
           Yeah! A little rough stuff!
                         
                          FARRELL
           MITCHELL!
                         
          But Farrell clearly has little command over Mitchell, who
          tries again for Selena&apos;s T-shirt, still laughing.
                         
          Jim snaps.
                         
                          JIM
                          (ANGRILY GRABBING
                          MITCHELL)
           Cut it out!
                         
          And Mitchell turns immediately on Jim, his sexual charge
          flipping seamlessly back to violence.
                         
                          MITCHELL
           (grabbing Jim, propelling
           him back across the room,
           up against a wall)
           Easy, tiger. You don&apos;t want to go
           picking a fight with me.
                         
          Suddenly Farrell is behind Mitchell. We see a movement (a
          kidney punch), and Mitchell drops.
                         
                          MITCHELL
           (gasping, on the ground)
           Ahh, you cunt. Cunt.
                         
          Then - as if through sixth sense, sensing a presence, all
          turn. Henry is standing in the doorway.
                         
          A moment. Then Henry turns to Mitchell - who has picked
          himself up, and is clutching his side, breathing hard.
                         
                          HENRY
           Corporal, first point of order
           after an attack.
                         
                          MITCHELL
           Re-secure the perimeter, sir.
                         
                          HENRY
           Then get to it. Jones, Bedford, go
           with him.
                          (TO FARRELL)
           Sergeant.
           75.
                         
                         
                          FARRELL
                          (TIGHTLY)
           Sir.
                         
                          HENRY
           Clear the bodies off the lawn. The
           rest of you go with him.
                         
          The soldiers exit, leaving only Jim, Henry and Selena in the
          room.
                         
          Selena is shaken, and won&apos;t meet Jim&apos;s eyes.
                         
          Henry hands Selena her machete back.
                         
                          HENRY
           My apologies.
                         
          Selena takes the machete and exits, but Jim doesn&apos;t follow.
          Obviously there is something he wants to say to Henry.
                         
                         
          INT. STUDY ROOM - NIGHT
                         
          Jim and Henry enter the study room.
                         
                          HENRY
           Drink?
                         
          Henry walks over to a drinks cabinet, and pours two brandies,
          waiting for Jim to speak.
                         
                          JIM
           Look. We&apos;re grateful. Very grateful
           for your protection, and just to
           have found other people. But if
           we&apos;re going to stay here with you,
           you&apos;re going to have to stop your
           men from -
                         
                          HENRY
           Who have you killed?
                         
                          JIM
                          (THROWN)
           I haven&apos;t killed anyone.
                         
          Henry hands Jim his drink.
                         
                          HENRY
           Since it began, who have you
           killed? You wouldn&apos;t be alive now
           if you hadn&apos;t killed somebody.
           76.
                         
                         
          A moment.
                         
                          JIM
           A boy. I killed a boy.
                         
                          HENRY
           A child?
                         
                          JIM
           Yes.
                         
                          HENRY
           But you had to. Otherwise he&apos;d have
           killed you. Survival. I understand.
                          (BEAT)
           I promised them women.
                         
                          JIM
           What?
                         
                          HENRY
           Eight days ago I found Jones with
           his gun in this mouth. He said he
           was going to kill himself because
           there was no future. What could I
           say to him? We kill all the
           infected or wait until they starve
           to death. And then what? What do
           nine men do except wait to die
           themselves?
                          (BEAT)
           I moved us from the blockade, I set
           the radio broadcasting, and I
           promised them women. Because women
           mean children.
                         
          Jim turns and runs out of the room.
                         
                          HENRY
           And children mean a future.
                         
                         
          INT. GIRLS&apos; BEDROOM - NIGHT
                         
          Jim bursts into the girls&apos; bedroom. Selena is dressed,
          sitting next to Hannah, who is awake.
                         
                          JIM
           Get up. Get up!
                         
                          SELENA
           Wha...
           77.
                         
                         
                          JIM
           We&apos;ve got to get out of here!
                         
                          SELENA
           But we...
                         
                          JIM
           (hauling them up)
           We&apos;re leaving. Now! NOW!
                         
                         
          INT. MANSION STAIRS - NIGHT
                         
          Jim and the girls run down the stairs...
                         
          ...heading for the front door.
                         
          But behind it is Mitchell, waiting, holding his SA-80.
                         
          Jim is hit full in the face, and blacks out.
                         
          As he comes around, he can hear the sound of shouting and
          screaming.
                         
          Farrell is backing away from other soldiers, who are closing
          in on him, even though his gun is raised.
                         
                          FARRELL
           You can&apos;t do this! You can&apos;t do
           this! Get back! I&apos;ll fucking slot
           you! I&apos;ll slot you, I fucking swear
           it!
                         
          But he doesn&apos;t follow his threat through. We hear him scream
          as the soldiers overpower him.
                         
          Jim looks up, and sees Henry is kneeling over him.
                         
                          HENRY
           I want to give you a chance. You
           can be with us, or not.
                         
          Jim stares back at him. And Henry gazes at Jim, searching
          behind Jim&apos;s eyes. And understands what he finds.
                         
                          HENRY
           Okay, Jim. Okay.
                         
          Henry gives Jim&apos;s cheek a soft pat, then rises.
                         
                          HENRY
                          (TO MITCHELL)
           Him too.
           78.
                         
                         
          Jim&apos;s eyes flick to the side, where he sees Selena holding
          Hannah tightly.
                         
          Selena looks down at Jim, terrified.
                         
          Black screen.
                         
                          FARRELL&apos;S VOICE
           He&apos;s insane.
                         
                         
          INT. CELLAR
                         
          Jim, blindfolded, is sitting beside a radiator, to which his
          hands are tied.
                         
          He is in a cellar. Farrell is on the other side of the small
          room, also tied.
                         
          Jim, blind, looks around at the sound of Farrell&apos;s voice.
                         
                          FARRELL
           You know what they&apos;re doing, a few
           hundred miles from here? Across the
           channel, across the Atlantic,
           they&apos;re eating dinner. They&apos;re
           wondering what to watch on TV
           tonight. They&apos;re sleeping next to
           their wives.
                         
          Jim&apos;s head turns.
                         
                          FARRELL
           But we&apos;re here, chained to a
           fucking radiator because the OC has
           gone insane. Starting the world
           again when the rest of the world
           hasn&apos;t even fucking stopped. Think
           about it! How could infection cross
           the oceans? How could it cross the
           mountains and the rivers? They
           stopped it. And right now TVs are
           playing and planes are flying in
           the sky and the world is continuing
           as fucking normal. Think. Actually
           think about it. What would you do
           with a diseased little island?
                         
          A moment.
                         
                          FARRELL
           They quarantined us.
                         
          A moment.
           79.
                         
                         
                          FARRELL
                          (QUIET)
           There is no infection. It&apos;s just
           people killing people.
                          (BEAT)
           He&apos;s insane.
                         
                          JIM
           ... Quarantine?
                         
          Then the door to the cellar bursts open, revealing Mitchell
          and Jones.
                         
                         
          EXT. TREE-LINED PATH - DAY
                         
          Mitchell and Jones are leading Jim and Farrell through a
          small forest at the back of the mansion garden.
                         
          Time has passed. It has started raining. Both Jim and Farrell
          have been badly beaten. Jim&apos;s shirt is ripped. Blood runs
          from his nose, and from a cut on the side of his head. He
          seems dazed. Numbed. More by the situation than his beating.
                         
                         
          EXT. EXECUTION GROUND - DAY
                         
          Jim and Farrell are led into a clearing. Just ahead is a
          high, ivy-covered brick wall - the perimeter wall of the
          mansion. And at the base of the wall are bodies. Stacked,
          tangled, swarming with flies.
                         
          Jim turns, and sees Mitchell and Jones standing behind him.
                         
                          FARRELL
           Come on then, you fucking pansies.
           Do me first.
                         
          Mitchell grins, and pulls out his bayonet.
                         
                          FARRELL
           So you&apos;re going to stick me,
           Mitchell? Is that it?
                          (TO JONES)
           Is that how you&apos;re going to let
           your sergeant go out, Jones?
                         
                          JONES
           No, Mitch. Do it with the gun.
                         
          Mitchell ignores Jones, and starts to fix the blade to the
          end of his gun.
           80.
                         
                         
                          FARRELL
           You&apos;re going to let him stick me,
           are you? Like a fucking dog?
                         
                          JONES
           Mitch, come on. Just shoot him.
                         
                          MITCHELL
           Why?
                         
                          JONES
           Because it&apos;s quick.
                         
                          MITCHELL
           So?
                         
          The bayonet fixes home with a click.
                         
                          JONES
           I&apos;ll shoot him, then.
                         
                          MITCHELL
           You fucking won&apos;t.
                          (TO FARRELL)
           Any last words?
                         
          Farrell spits in Mitchell&apos;s face.
                         
                          MITCHELL
           I&apos;m going to enjoy this.
                         
          Mitchell pulls back his bayonet, and at that moment, there is
          an explosion of gunfire. Jones has fired and killed Farrell.
                         
          As Farrell drops, the enraged Mitchell turns on Jones.
                         
                          MITCHELL
           You stupid cunt! What are you
           doing?
                         
          Mitchell knocks Jones down, putting his gun right in Jones&apos;s
          face.
                         
                          JONES
                          (WHIRLING)
           How did he...
                         
          They turn. Jim has vanished.
                         
          From the side of the clearing, in the trees, there is the
          sound of sudden movement.
                         
                          JONES
           There!
           81.
                         
                         
          Both men immediately set off, diving back into the foliage...
                         
          A beat passes. Then, in the pile of bodies, one of them sits
          up...
                         
          ...Jim. We have been looking right at him. But in the tangle
          of bodies, and the bloodstained clothes, his camouflage was
          complete.
                         
                         
          EXT. TREES - DAY - LIGHT RAIN
                         
          Mitchell and Jones move fast, scanning, pushing through the
          undergrowth. Mitchell is absolutely furious. And as they run,
          they startle a couple of birds, which fly up from the ground,
          making a suspiciously familiar noise...
                         
          They both have the same realization at the same moment.
                         
                         
          EXT. EXECUTION GROUND - DAY
                         
          Mitchell and Jones burst back into the clearing, and they
          start firing into the bodies, emptying a full clip into the
          corpses...
                         
          ....Silence.
                         
          Then Jones looks up to the ivy-colored wall...following the
          path of the ivy upwards, to the coiled razor wire, where a
          scrap of torn and bloody clothing hangs.
                         
                          JONES
           Oh no. We&apos;re fucked, we&apos;re fucked.
                         
                          MITCHELL
           No problem. He&apos;s outside. No gun.
           No vehicle. He&apos;s a dead man.
                         
                         
          EXT. WOODS - DAY
                         
          Jim runs through the woods, away from the mansion. His hands
          are still tied.
                         
          He is out of breath, frightened, jumping at every sound.
                         
          Then he trips, rolls down a short slope, and when he comes to
          rest, he is looking upwards.
                         
          Above him, there is a parting in the clouds, and through the
          parting is blue sky.
           82.
                         
                         
          And across the sky, bisecting the blue, is a single vapor
          trail.
                         
          A pin-prick of silver plane. Followed by a sonic boom. As
          much in Jim&apos;s head as anywhere else.
                         
                          CUT TO:
                         
                         
          INT. DOOR - DAY
                         
          Close-up of a closed door, with the sounds of a struggle on
          the other side.
                         
          Then, suddenly, Selena&apos;s voice: hard, desperate:
                         
                          SELENA
           You can&apos;t do this to her! She&apos;s
           only fourteen!
                         
                         
          INT. DRESSING ROOM - DAY - RAIN
                         
          (Note: in the room is a large, freestanding mirror.)
                         
          Hannah and Selena are cornered by Clifton, Bedford, Bell and
          Davis. The soldiers are hyped. Bedford pulls clothes out of a
          wardrobe, yanking out dresses, underwear - throwing them at
          the girls.
                         
          Bell stands by the closed door - frightened, caught like a
          rabbit in the headlights between testosterone madness and the
          horror.
                         
          And Clifton is laughing, animal-like, tearing at Selena&apos;s
          clothes, while Hannah is kicking and screaming - held by
          Davis.
                         
          Close-up on Selena: suddenly transfixed by Hannah the young
          girl&apos;s fight, the hopelessness.
                         
          Abruptly, Selena turns, grabs Clifton&apos;s arm, and to his
          amazement, yanks him around.
                         
          Then she kisses him on the lips. Simply, but unambiguously.
                         
          Bell, Davis and Bedford watch in amazement.
                         
          Selena breaks off.
                         
          The frenzy has been broken by her extraordinary action - and
          bizarrely, so has the balance of power.
           83.
                         
                         
                          SELENA
           You need to give me a moment with
           Hannah. Alone.
                         
          Clifton nods - he seems a little dazed.
                         
                          CLIFTON
           The OC. He... he wants you to...
                         
                          SELENA
           He wants us to dress up nice.
                         
          She picks up two of the dresses Bedford has thrown - the red
          dresses.
                         
                          SELENA
           But if you want us to change,
           you&apos;ll have to get out of the room.
                         
          A moment.
                         
                          SELENA
           (calm, powerful)
           It&apos;s just fucking polite.
                         
          Another moment.
                         
          Then Clifton nods. Acquiesces.
                         
                          CLIFTON
           (to the others)
           Okay. Clear out.
                         
          They exit.
                         
          Selena stands with Hannah, emptying pills from her Valium
          bottle.
                         
                          SELENA
           Eat them.
                         
          Hannah hesitates.
                         
                          SELENA
                          (HARD)
           Eat them, Hannah!
                         
          Hannah takes the handful of pills and holds them in her open
          palm.
                         
          Then she looks to Selena.
                         
                          HANNAH
           Are you killing me?
           84.
                         
                         
          A moment - maybe a single moment of tenderness, a strand of
          hair brushed from Hannah&apos;s face.
                         
                          SELENA
           No. I&apos;m making you not care.
                         
          Locked eyes with Selena, Hannah raises the first pill to her
          mouth. Then the next.
                         
          The door behind opens - revealing the soldiers.
                         
          Clifton sees what is happening.
                         
                          CLIFTON
           Hey! What the fuck are you doing?
                         
          Selena crams the pills into Hannah&apos;s mouth.
                         
          The soldiers lunge for the girls, as Hannah tries to swallow
          the pills, and Selena whirls to fight them off...
                         
          ...and at that moment, the sound of distant siren begin to
          rise.
                         
          Everyone freezes.
                         
          Then...
                         
                          SELENA
           Jim.
                         
                          BEDFORD
           He&apos;s at the blockade!
                         
                         
          INT. MANSION - STAIRS - DAY - RAIN
                         
          The soldiers run down the stairs.
                         
                          JONES
           He went over the wall! We thought
           he&apos;d be dead sir!
                         
                          HENRY
           Shut up! Davis - you&apos;re coming with
           me!
                         
                         
          EXT. BLOCKADE - DAY - RAIN
                         
          Jim stands in the blockade, turning the handle of a siren.
          Rain is pouring down, mingling with the blood on his face.
                         
          Jim stops, and the sound of the siren starts to fade away.
           85.
                         
                         
          From the motorway ahead, through the rain, a jeep is
          approaching.
                         
                         
          EXT. MOTORWAY - LATE AFTERNOON - RAIN
                         
          The jeep drives fast down the motorway, and pulls up. Davis
          is driving and Henry stands on the back, manning the jeep&apos;s
          mounted machine gun.
                         
          The jeep pulls up, one hundred meters from the blockade, and
          Henry brings the mounted machine gun to bear on the blockade.
                         
                          HENRY
           Okay. Let&apos;s see if we can sidestep
           the cat-and-mouse bullshit.
                         
          Henry opens fire.
                         
                         
          EXT. BLOCKADE - LATE AFTERNOON - RAIN
                         
          Bullet rip through the blockade, punching holes through the
          vehicles, smashing through the packing crates...
                         
                         
          EXT. MOTORWAY - LATE AFTERNOON - RAIN
                         
          Henry stops shooting. With a peal of thunder, the rain
          suddenly begins to flood down.
                         
          The barrel of the machine gun spits and steams as the
          raindrops hit the hot metal.
                         
                         
          EXT. BLOCKADE - LATE AFTERNOON - HEAVY RAIN
                         
          Davis pulls up at the outskirts of the blockade, and they get
          out of the truck.
                         
          Henry and Davis make their way into the blockade. With a
          signal from Henry, the two split up.
                         
                         
          EXT. BLOCKADE - WITH HENRY - LATE AFTERNOON - HEAVY RAIN
                         
          Henry moves through the blockade.
                         
          He lets off a controlled burst of shots into the tents.
                         
                         
          EXT. BLOCKADE - WITH DAVIS - LATE AFTERNOON - HEAVY RAIN
                         
          Stealthily, Davis searches around the trucks and tents...
           86.
                         
                         
          A flash of movement - fast, like an Infected, ducking behind
          one of trucks: Jim.
                         
          Davis wipes the rain from his eyes, and presses forwards.
                         
          Jim is nowhere to be seen.
                         
          Another flash of movement, around the back of the next truck.
                         
          Davis moves around the truck...but Jim is not there.
                         
                          DAVIS
           Fuck.
                         
          Davis turns, and sees...
                         
          ...Jim, flying towards him, holding Frank&apos;s lead pipe, lips
          drawn back over his teeth in a rictus smile, murderous.
                         
          He is the vision of the Infected, in his expression, his
          movements, the blood, everything.
                         
                         
          EXT. BLOCKADE - WITH HENRY - LATE AFTERNOON - HEAVY RAIN
                         
          Henry turns, as if having just heard something. Perhaps a
          scream.
                         
                          HENRY
                          (CALLING)
           Jim?
                         
          Another noise. This time it is unambiguously an Infected
          howl. Henry turns again. From down the motorway, and from the
          fields, he can now see the Infected. A large number,
          attracted by noise of the heavy machine gun, are approaching.
                         
          He looses off a couple of shots at the Infected, then starts
          to back away to the jeep.
                         
                         
          EXT. JEEP - LATE AFTERNOON - HEAVY RAIN
                         
          Henry runs up to the jeep. Through the rain, and the water
          running down the windscreen, Henry can see a figure sitting
          at the driver&apos;s seat.
                         
                          HENRY
           Davis?
                         
          The figure doesn&apos;t move.
                         
          Henry approaches cautiously, gun raised, and finds...
           87.
                         
                         
          ...Davis sitting on the front seat, dead, his skull smashed
          open.
                         
          Henry whirls, expecting to find Jim behind him.
                         
          But there is no one there.
                         
          Henry shoots again, blindly, emptying his clip at anything
          and everything around him.
                         
          He reloads - hurriedly, hands slipping on the wet clip,
          betraying nervousness...
                         
          ...and fires at a rain shadow that sweeps between two of the
          tents. Then his nerve is gone.
                         
                          HENRY
           Fine! Fine, you little bastard!
           Fucking die out here!
                         
          Henry hauls out Davis&apos;s body, gets into the driver&apos;s seat,
          turning the ignition...
                         
          ...but nothing is happening.
                         
          Henry turns the key again, desperately. The motor doesn&apos;t
          even turn over.
                         
          Reaching under the dashboard, he pulls out a handful of
          wires.
                         
                          HENRY
           Jim.
                         
          And at the moment, an Infected slams onto the windscreen,
          face against the glass.
                         
          Henry shouts out of surprise and anger, lifting his gun, and
          fires at point-blank range, through the glass, into the
          Infected&apos;s face.
                         
          The windscreen shatters, blown outwards.
                         
          And now, where our view was obscured by rain-washed glass, we
          can see clearly...
                         
          ...Infected, in the blockade, coming through the downpour,
          running towards the jeep.
                         
          Henry opens fire and cuts them down.
           88.
                         
                         
          EXT. MAILER&apos;S PIT - NIGHT - HEAVY RAIN
                         
          Jim appears above Mailer in his pit, and shoots off Mailer&apos;s
          chain.
                         
                         
          INT. LIVING ROOM - NIGHT - HEAVY RAIN
                         
          Jones stands holding his gun at Selena and Hannah, who sit on
          the sofas, opposite each other. Also in the room are Clifton,
          standing by the French windows, and Mitchell.
                         
          Jones seems jumpy, a sheen of sweat on his forehead, as if
          sensing that things have gone seriously wrong.
                         
          A flicker of lightning lights up outside.
                         
                          JONES
           What was that? Was that a claymore?
                         
                          MITCHELL
           It was lightning.
                         
                          JONES
           But I heard something.
                         
          A moment. Rain and wind lash the windows.
                         
                          MITCHELL
           I&apos;ll go and hit the floods. Take a
           butcher&apos;s. Girls, keep an eye on
           him, would you?
                         
          Mitchell exits.
                         
          Jones wipes at the beads of sweat on his upper lip. And in
          noticeable contrast, Hannah is completely calm...
                         
                          HANNAH
           Those pills. I think they&apos;re having
           an effect. I can feel them, and...
           I don&apos;t feel sleepy, but...
                         
          Her sentence trails off. Then she turns to Jones.
                         
                          HANNAH
                          (TO JONES)
           They&apos;ve been a long time.
                         
          Jones says nothing.
                         
                          HANNAH
           What are you going to do if they
           don&apos;t come back?
           89.
                         
                         
          Jones still says nothing, but the question is clearly hitting
          a nerve.
                         
                          HANNAH
           Will you be the boss if Henry is
           dead? Is that the way if works?
                         
          Selena looks at Hannah quickly.
                         
                          JONES
           Shut up.
                         
                          HANNAH
           I don&apos;t think they are coming back.
           I think they&apos;ve been killed.
                         
                          JONES
           I told you to shut up!
                         
                          SELENA
                          (NERVOUS)
           Hannah...
                         
                          HANNAH
                          (FLAT)
           They&apos;re dead.
                         
          Hannah&apos;s eyes flick over Jones&apos;s shoulder, and something
          fleeting passes over her face.
                         
                          HANNAH
           You&apos;re going to be next.
                         
          At that moment, a mine detonates in the mansion grounds.
                         
                          JONES
           Shit!
                         
          At that moment, the floodlights power up...
                         
          ...illuminating Mailer, just on the other side of the French
          windows, just behind Clifton, a split second before he
          smashes through.
                         
          Then he does smash through.
                         
          Clifton is thrown to the ground, with Mailer on top of him.
                         
                          CLIFTON
           Help! Shoot him! Shoot him!
                         
          Jones is hopeless, panicking - fires, and misses.
           90.
                         
                         
          Hannah watches, spaced out. Selena shakes Hannah by the
          shoulders, pulling Hannah upwards.
                         
                          SELENA
           Hannah! Hannah! We have to get out
           of here!
                         
          Mailer vomits blood into Clifton&apos;s face.
                         
                         
          INT. HALLWAY - NIGHT - HEAVY RAIN
                         
          Selena and Hannah back out of the living room, through the
          house. Hannah is very doped up.
                         
                          SELENA
           Oh Jesus, Jesus, Hannah, stay with
           it, stay with it.
                         
                          HANNAH
           (relaxed, as she&apos;s yanked
                          ALONG)
           Don&apos;t worry. I feel fine. Really.
                         
          They reach the front hallway, and the front door bursts
          open...
                         
          Mitchell, with Bedford.
                         
                          MITCHELL
           What the fuck&apos;s going on? What&apos;s
           all the shouti...
                         
          Mitchell is cut off by a high scream, from down the hall, in
          the direction of the living room.
                         
          All turn, and see...
                         
          ...Jones, running, screaming, out of one doorway, across the
          hallway. He has lost his weapon - and is chased by Mailer,
          but not Clifton. Like a train passing, in half a second they
          are out of sight.
                         
          A moment. Then Mitchell explodes.
                         
                          MITCHELL
                          (TO BEDFORD)
           Don&apos;t just fucking stand there! Get
           after them!
           91.
                         
                         
          INT. KITCHEN - NIGHT - HEAVY RAIN
                         
          Mailer chases Jones into the kitchen, but when he enters,
          Jones is nowhere to be seen.
                         
          Mailer turns, and sees Bedford in the kitchen doorway,
          holding his gun.
                         
                          BEDFORD
           What the fuck are you going to do
           now, eh?
                         
          But just as Bedford lifts his gun to shoot Mailer...
                         
          Clifton runs at him, full speed from down the corridor...
                         
          ...and Bedford is knocked sideways by the infected Clifton.
                         
                         
          EXT. MANSION - NIGHT - HEAVY RAIN
                         
          Jim is at the kitchen window, looking in as Bedford is killed
          by Mailer and Clifton.
                         
                         
          INT. KITCHEN - CUPBOARD - NIGHT - HEAVY RAIN
                         
          Jones covers inside a cupboard, hearing Bedford&apos;s screams.
                         
                         
          INT. MANSION - STAIRS - NIGHT - HEAVY RAIN
                         
                          MITCHELL
                          (GRABBING SELENA)
           Up! Up!
                         
          Mitchell pushes the girls up the stairs. At the top of the
          staircase, wide-eyed with fear, is Bell.
                         
                          BELL
           Mitchell? What&apos;s going on?
                         
                          MITCHELL
           Stay here and defend these stairs
           with your fucking life!
                         
          He turns back to the girls, still holding Selena&apos;s arm, and
          Hannah is gone.
                         
          Selena sees her, heading away down towards the corridor.
                         
                          SELENA
           Hannah!
           92.
                         
                         
          Mitchell starts pulling Selena in the opposite direction from
          Hannah.
                         
                         
          INT. DRESSING ROOM - NIGHT - HEAVY RAIN
                         
          Hannah runs into the dressing room.
                         
          The freestanding mirror sits in the middle of the floor.
                         
          Also on the floor are her clothes, and she starts to look
          through them, looking for her jeans...
                         
          ...which she lifts up, then digs in the pocket, and pulls
          out...a photo of her with Frank and her mother.
                         
          She gazes at the photo.
                         
          At that moment, there is a noise from behind her.
                         
          She looks up, and sees, in the reflection of the mirror,
          Clifton, running down the corridor towards her.
                         
          With Clifton: we burst into the dressing room, which is now
          empty.
                         
          Clifton freezes, then looks around.
                         
          And the camera pulls back, to reveal Hannah, clinging on to
          the back of the large mirror, trembling.
                         
          A moment - then Clifton moves on.
                         
                         
          INT. KITCHEN - NIGHT - HEAVY RAIN
                         
          Silence in the kitchen. Bedford lies dead, torn to pieces.
                         
          A cupboard creaks slowly open, and Jones peers out. He has
          been hiding.
                         
          Trembling with fear, he crawls out...moves into the
          kitchen...peers out into the hall.
                         
          It is empty.
                         
          Jones starts running. Down the corridor outside the kitchen.
                         
                         
          INT. FRONT HALL - NIGHT - HEAVY RAIN
                         
          Jones runs into the front hall...
                         
          And suddenly stops. Dead in his tracks.
           93.
                         
                         
          Jim is standing right in front of him.
                         
          Jones looks surprised, wide eyed. His mouth opens, but no
          sound comes out.
                         
          Pull back, to see: Jones has run straight into Jim&apos;s bayonet.
                         
          Jones falls, taking the gun and bayonet with him.
                         
          Jim steps over his body, and into the house...
                         
                         
          INT. RADIO ROOM - NIGHT - HEAVY RAIN
                         
          Jim runs through the radio room.
                         
          In the break between two blasts of lightning, the room goes
          dark.
                         
          When it is re-illuminated, Jim has gone, and Mailer and
          Clifton have entered.
                         
                         
          INT. MANSION - STAIRS - NIGHT - HEAVY RAIN
                         
          Jim runs up the stairs.
                         
                         
          EXT. MANSION - NIGHT - HEAVY RAIN
                         
          Henry walks into the front hall, where he finds Jones.
                         
          Jones is lying flat on his back, mortally wounded, gazing up.
          Still alive - but only just. Taking his very last breaths.
                         
          Henry kneels beside him, and Jones&apos;s eyes turn to his
          officer. He blinks, tries to speak, but is too weak and close
          to death to form the words.
                         
          Henry&apos;s hand closes around Jones.
                         
          Jones blinks once more. And dies.
                         
                         
          INT. MANSION - CORRIDOR - NIGHT - HEAVY RAIN
                         
          Jim runs down a corridor.
                         
          He tries a door. Locked.
                         
                          JIM
           Hannah! Selena!
                         
          He tries another door. Open.
           94.
                         
                         
          He runs through...
                         
                         
          INT. CHILD&apos;S BEDROOM - NIGHT - HEAVY RAIN
                         
          ...into a kid&apos;s bedroom.
                         
          Jim moves a sofa to block the doorway - which, as it is
          moved, reveals...
                         
          ...Bell, hiding, cowering, terrified. Foetal.
                         
                          BELL
                          (WHIMPERING)
           I don&apos;t have any bullets! I don&apos;t
           have any fucking bullets!
                         
          Mailer and Clifton outside try to force their way through,
          and the sofa jumps forwards an inch.
                         
          An Infected arm flails through the half-open door.
                         
          Jim leaves Bell, and climbs out the window.
                         
          As Jim exits, the door to the room bursts open.
                         
                          BELL
                          (SCREAMING)
           Don&apos;t leave me!
                         
                         
          EXT. LEDGE - NIGHT - HEAVY RAIN
                         
          Jim climbs along the outside ledge, around the corner of the
          building.
                         
          Behind him, we can hear Bell screaming as he is killed.
                         
          Jim keeps going until he reaches the slope of the mansion&apos;s
          pitched roof.
                         
          There, he finds a skylight window.
                         
                         
          INT. MANSION - BASEMENT CORRIDOR - NIGHT - HEAVY RAIN
                         
          Henry moves into a basement corridor.
                         
          Then pauses.
                         
          There is the sound of movement.
                         
          An Infected howl.
           95.
                         
                         
          Then suddenly, pouring out from every door and shadow ahead,
          come a rush of Infected.
                         
          Henry opens fire, a volley into them as he backs away fast...
                         
          ...to a door, which he slams and bolts behind him.
                         
                         
          INT. CORRIDOR - NIGHT - HEAVY RAIN
                         
          Mitchell is holding Selena in one hand, and his gun in the
          other, dragging her down a corridor.
                         
          The howls of the Infected fill the house.
                         
                          SELENA
           Hannah!
                         
                          MITCHELL
           Shut your fucking mouth! You want
           to get us killed?
                         
          Mitchell opens a door...
                         
          ...which leads nowhere. The floor of the room through the
          open door is missing.
                         
          And below, in the basement-level corridor, the space is full
          of the Infected.
                         
          They look up at Mitchell, and Mitchell looks down at them.
                         
          A vision of writhing Hell. They are a mass of faces and
          bodies. Some are appalling wounded. Some are half-dressed in
          ragged clothes. Some are naked.
                         
                          MITCHELL
           ...Shit.
                         
          He pulls Selena away, towards another door.
                         
                          MITCHELL
           In here! IN HERE!
                         
                         
          INT. MANSION - BASEMENT CORRIDOR - NIGHT - HEAVY RAIN
                         
          Henry is in the basement corridor, on the other side of the
          door he has bolted.
                         
          Ahead, there is movement - rapid.
                         
          Henry looks to the source, and sees: Clifton, running from
          the front hall towards him, clearly infected.
           96.
                         
                         
          No alarm registers on Henry&apos;s face.
                         
          As Clifton sprints towards him, Henry remains still. Then, at
          the last moment he closes his eyes...
                         
          ...and fires.
                         
          Clifton is hit, falls.
                         
          Henry opens his eyes.
                         
                         
          INT. ATTIC - NIGHT - HEAVY RAIN
                         
          Jim enters the skylight window, into an attic, positioned
          above the girls&apos; bedroom.
                         
          In the floor is a hole, and through it he can see Mitchell
          and Selena.
                         
                         
          INT. GIRLS&apos; BEDROOM - NIGHT - HEAVY RAIN
                         
          Selena and Mitchell stand in the middle of the room.
                         
          In the room are Selena and Hannah&apos;s bags, Selena&apos;s machete,
          lying by the side of the bed. She can see it, but...
                         
          ...Mitchell is holding her tight. He has his gun trained on
          the door, facing away from the window.
                         
                          MITCHELL
           It&apos;s me and you, now. And I&apos;m going
           to get you out of here, and then
           we&apos;re going to find some nice
           little fucking place, with a pretty
           little fucking garden, and...
                         
          Jim drops down from the attic.
                         
          Mitchell turns, but is knocked off balance by Selena
          squirming out of his grip...then Jim is on him.
                         
          With incredible viciousness, the power and savagery of the
          infected, Jim beats Mitchell to death. He smashes his head
          against the wall. Then he throws Mitchell to the ground, and
          jams his thumbs in Mitchell&apos;s eyes.
                         
          When it is over, Jim looks up.
                         
          Selena stands, holding her machete. She is frozen by the
          sight of him. The blood on his face. The matted hair. He is
          the image of an infected.
           97.
                         
                         
          Jim stands and takes a step towards her. Selena remains,
          motionless, watching him approach.
                         
          Then, just as he is about to reach her, her arm flashes
          upwards, holding the machete, to cut Jim down...
                         
          ...but she hesitates. She can&apos;t do it.
                         
          A moment. Then...
                         
                          JIM
           That was longer than a heartbeat.
                         
                          SELENA
           ...Jim?
                         
          Jim moves forwards, and kisses her. Simply. Hard. Then pulls
          back, leaving a trace of blood on her lips.
                         
          Behind Jim&apos;s back, the door opposite, in the corridor,
          silently swings open.
                         
                          SELENA
           I thought...I thought you were...
                         
          Jim moves forwards, and they kiss. Passionately.
                         
          Then Jim breaks off.
                         
                          JIM
           Listen to me. I&apos;ve got to tell you -
           I&apos;ve got to tell you. The world
           isn&apos;t fucked. It&apos;s going to be
           okay. We&apos;ve got a chance, if we can
           get to...
                         
          Selena interrupts him, by continuing the kiss.
                         
          And Jim responds.
                         
          As, behind him, a small figure in a red dress slip into the
          room.
                         
          Then a vase smashes over the back of Jim&apos;s head.
                         
                          JIM
           Ow!
                         
          He reels back, and Hannah is on him, jumping on his back,
          hitting him with her fists.
                         
                          SELENA
           Hannah! Stop! It&apos;s okay!
           98.
                         
                         
          Hannah breaks off.
                         
                          SELENA
           He&apos;s not infected!
                         
                          HANNAH
           I thought he was biting you.
                         
                          JIM
           (holding the back of his
                          HEAD)
           I was kissing her!
                          (BREAKS OFF)
           Are you stoned?
                         
                          SELENA
           It&apos;s a long story.
                         
          They are interrupted by the sounds of Infected howling.
                         
                          SELENA
           We have to get out of here.
                         
                         
          INT. MANSION - NIGHT - HEAVY RAIN
                         
          Jim, Selena and Hannah run out of the house, through the
          front hall, to the cab.
                         
          Hannah gets in the driver&apos;s seat...
                         
          ...and Jim yanks open the back door, ready to pile into the
          back only to find...
                         
          ...Henry. Sitting on the fold-down back seat. Holding his
          gun.
                         
                          HENRY
           You killed all my boys.
                         
          Henry pulls the trigger - a single shot. Jim is hit in the
          stomach and falls backwards into Selena&apos;s arm.
                         
                          SELENA
           Jim!
                         
                         
          INT. CAB - NIGHT - HEAVY RAIN
                         
          Hannah floors the accelerator.
                         
          But instead of going forward, the cab reverses.
           99.
                         
                         
          EXT. MANSION - NIGHT - HEAVY RAIN
                         
                          HENRY
           What...Hannah! Hannah?
                         
          The cab reverses fast, then Hannah slams the brakes. The cab
          slides to a halt.
                         
          An Infected slams against Henry&apos;s window.
                         
          At that moment, the back windscreen smashes.
                         
          The hands of the Infected grab hold of Henry&apos;s head.
                         
          Hannah watches, turned around in the seat.
                         
          Henry scream - and we see it&apos;s Mailer&apos;s face behind him.
                         
          Hannah floors the accelerator again, but this time in forward
          gear. Henry is sucked out of the back window.
                         
                         
          EXT. CAB - NIGHT - HEAVY RAIN
                         
          The cab screeches up to Jim and Selena.
                         
          Selena bundles Jim in, and the cab is off in a spray of
          gravel...
                         
                         
          INT. FRONT HALL - NIGHT - HEAVY RAIN
                         
          As Henry is killed by Mailer, the silhouettes of the Infected
          appear in the shadows.
                         
                         
          INT. CAB - NIGHT - HEAVY RAIN
                         
          The cab races towards the cast-iron front gates of the
          mansion - and we see they are locked with a chain and
          padlock.
                         
                          SELENA
           We&apos;re going to crash!
                         
          The gates loom. Hannah speeds towards them.
                         
                          SELENA
           We&apos;re going to crash!
                         
                          JIM
           Just fucking do it!
           100.
                         
                         
          Hannah reaches and buckles her seat belt. Jim and Selena
          brace for impact...
                         
          They hit the gates, hard. Jim and Selena fly towards the
          perspex divider.
                         
          Freeze. Held.
                         
           FADE TO BLACK:
                         
                          28 DAYS LATER
                         
           FADE UP TO:
                         
                         
          EXT. FIELD - DAY
                         
          A green field, with three white letters laid out across the
          grass. Spelling:
                         
                          HELL
                         
          INT. FARMHOUSE - BEDROOM - DAY
                         
          Waking from a nightmare, Jim&apos;s eyes snap open with a sharp
          intake of breath.
                         
          An echo of when we first saw him lying in the hospital. But
          this time, when we pull away, we see he is lying on a double
          bed, in the bedroom of a small farmhouse.
                         
          Alone. But Selena&apos;s clothes are scattered.
                         
          Jim rises.
                         
          He looks around. Bright daylight is flooding into the room
          through the window.
                         
                          JIM
           Jesus. Not the curtains too.
                         
                         
          INT. FARMHOUSE - DAY
                         
          Jim walks down the stairs and peers into a living room -
          where he sees the sofa, with its cover removed.
                         
                         
          INT. FARMHOUSE - KITCHEN - DAY
                         
          Jim enters - to find Selena sitting surrounded by lengths of
          material which she is stiching together.
           101.
                         
                         
          He picks up a length of red material. Once part of the dress.
                         
                          JIM
           You looked all right in this, you
           know.
                         
          Selena ignores him.
                         
          Jim walks to the front door and opens it.
                         
          Pull back to reveal...
                         
                         
          EXT. FARMHOUSE - DAY
                         
          A stunning view.
                         
          A Lakeland valley, with a single farmhouse, and the black cab
          parked outside.
                         
          Also outside is Hannah, who is arranging huge lengths of
          material on the grass.
                         
          From our ground-level angle, there is no sense to be made of
          what Hannah is doing.
                         
          And we keep pulling back...
                         
                         
          EXT. LAKELAND VALLEY - DAY
                         
          ...fast, down the valley, along a single ribbon of road.
                         
          Past a sign: Langdale Valley...
                         
          Further, now over a mile distant from the farmhouse, then:
                         
          Stopping, abruptly.
                         
          At a single Infected, who sits, emaciated, in the middle of
          the road.
                         
          A quiet moment with the starving emaciated Infected. It is so
          weak it can hardly move. Only blink.
                         
          Then, in the background, a distant rush of noise, the low
          roar of a jet engine.
                         
          Slowly, the Infected turns its head upwards, where, in the
          clear blue sky, it sees:
                         
          A vapor trail.
                         
          A plane.
           102.
                         
                         
          EXT. VALLEY - DAY
                         
          A silent bird&apos;s eye view, looking down, at the valley floor
          and the farmhouse.
                         
          Where, outside, we now make sense of the stitched sheets and
          curtains, as they form letters on the grass below:
                         
                          HELL
          But tiny figures are forming a new letter. An O:
                         
                          HELLO
          Then, in the background, the sound of the jet, the rush of
          noise.
                         
                          HANNAH
           There! THERE!
                         
                          CUT TO:
                         
          Jim, Hannah and Selena look down the valley, where...
                         
          ...screaming towards them, flying low along the valley floor,
          comes a jet plane.
                         
          They stand transfixed as the plane races towards them.
                         
          As it passes over, flying directly overhead, the terrific
          wash of air and noises whips around them, connected with a
          colossal sonic boom...
                         
          The boom rolls away, and the plane has passed...
                         
          Around Jim, Selena and Hannah, the sheets and material of the
          letters, ripped into the air, now spiral to the ground,
          falling around them.
                         
                          JIM
           Do you think he saw us this time?
                         
           CUT TO BLACK:
                         
           THE END
</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>157</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">14d67d51-172e-4339-a1be-e08cbd3d7e19</guid>
      <title>Fleshwater: We&apos;re Not Here To Be Loved</title>
      <description><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 22 Nov 2022 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/fleshwater-were-not-here-to-be-loved-kRxVkxjT</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
      <enclosure length="37649039" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/0a7ef498-3dca-4ff1-ac07-dff248c5486f/audio/269b7aae-52de-4a8a-954b-fa3b831070d3/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Fleshwater: We&apos;re Not Here To Be Loved</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:39:13</itunes:duration>
      <itunes:summary>A QUIET PLACE



                          Screenplay by

              Bryan Woods, Scott Beck &amp; John Krasinski


                            Story by

                     Bryan Woods &amp; Scott Beck





    BLACK

    We hear, very clearly, the sound of light wind.


1   EXT. TOWN - MAIN ST. - LATE AFTERNOON                        1

    We come up on... a streetlight. There is no illumination...
    and no movement. We hold on it for a long moment when
    suddenly... The streetlight bobs... and then begins to sway.
    We slowly begin to rise up on the streetlight to reveal... a
    small bird has landed on it. We continue to rise to reveal,
    behind the bird...

    Wind blows through the   gargantuan evergreens that seem to
    engulf the narrow main   street of a small town in upstate New
    York. Shop windows and   cars on either side covered in dust,
    the place seems frozen   in time. There is no movement.

    In the very middle of the road one can see... sand. A bizarre
    incongruity, a long pathway about a shovels width runs the
    full length of the street with offshoots into open doorways
    of some of the shops.

    We hold for a long moment:


2   INT. GENERAL STORE - FRONT - LATE AFTERNOON                  2

    Slowly pushing through the doorway of a large general store,
    also covered in dust. To the left, a cash register with small
    shelves of nearly empty candy boxes below. To the right, a
    towering shelf full of bags of potato chips, nacho chips and
    pretzels... None are missing.


3   INT. GENERAL STORE AISLES - LATE AFTERNOON                   3

    WE MOVE SLOWLY across the floor, down the middle of a general
    store. Amid the towering shelves of goods on either side, one
    may recognize a barely perceptible pattern of which shelves
    are bare and which are not. There is no movement. No sound.

    Suddenly... TINY FEET JUMP INTO OUR MOVING FRAME! Then, as
    fast as they appeared... They&apos;re gone.

    WE NOW MOVE UP the side of the store, looking down one
    aisle... and the next. As we arrive at the next aisle we
    catch a glimpse of... A SMALL DARK FIGURE!!! And then its
    gone.

    WE CONTINUE along the side of the store until we arrive at
    the last aisle. At the far end of the store we see...
                                                                2.


    a counter. With a window.     And shelves.   Suddenly... A WOMAN
    APPEARS IN THE WINDOW!

    WE GO CLOSE ON THE WOMAN as she scans the shelves, slowly
    lowering herself to the ground until behind her we see... an
    8 year old boy sitting slumped against the wall... HE IS
    BAREFOOT. On closer inspection we see sweat on the boy&apos;s
    brow, his skin pale from fever. The woman&apos;s knee touches down
    on the ground next to the boy as... she sees what she&apos;s been
    looking for. She reaches out her hand.

    WE GO CLOSE ON HER HAND as it reaches toward a shelf... of
    orange prescription drug bottles. Her hand suddenly begins to
    shift certain bottles ever so slightly... AT A BIZARRELY SLOW
    PACE... she does not make a sound. As she does this, we get
    our first glimpse... of names. Names of drugs. Names... of
    people.

    HER HAND finally arrives at the very back of the shelf as she
    gently twists a bottle that reads... AMOXICILLIN.

    ON THE MOTHER... as she inhales slowly? And then, as if
    doing surgery, she slowly closes her hand around the bottle
    and GENTLY begins to move it through the shelf toward her.
    Her hand, once again moves incredibly slowly, her now wider
    closed hand shifts even more bottles as it passes. JUST as
    she gets to the end of the shelf a bottle shifts... with a
    RATTLE of pills. This is the first, deliberate sound we&apos;ve
    heard. The mother... FREEZES!!!!

    WE RACK FOCUS to the boy on the ground, who now looks up...
    with panic. The mother&apos;s eyes look all around the room...
    The way one does when they are waiting for something...
    LISTENING for something. After a long moment... she pulls
    the bottle in her hand the final few inches... and off the
    shelf.

    The mother draws a huge breath of relief. As she stands up,
    we reveal, just over the counter... TWO EYES LOOKING UP AT
    HER!!!


4   INT. AISLE - LATE AFTERNOON                                      4

    A 10 year old girl stands on her toes, barely able to see
    over the wooden counter to... her mother. She smiles at her
    mother... and gives her a thumbs up. With that... she&apos;s off.

    WE FOLLOW HER as she runs lightly through the store... she is
    also barefoot.

    The GIRL turns down an aisle to reveal... a small boy sitting
    on the floor... He too is barefoot.
                                                                3.


    As the girl approaches we see, in the thick dust on the floor
    he has drawn... a rocket ship. She sits with him.

    He silently puts his hand to his chest, palm to the side...
    crosses his first two fingers of his other hand with
    deliberate focus... and then slowly puts his two hands
    together. He then looks up at her... and quickly shoots his
    crossed fingers into the air... like a rocket. She beams
    with pride for a moment and then... Signs back to him.

                        DAUGHTER (SIGNING)
              Very good job!

                        BOY (SIGNING AS BEST WE CAN)
              ....That&apos;s how... we get away.

    The girl&apos;s smile falls ever so slightly. Then the boy
    suddenly... TAPS her on the shoulder and scurries away...
    She&apos;s &quot;it&quot;.

    As the girl slowly gets up to follow him, we see for the
    first time... A HEARING AID...

    The boy disappears around a corner...


5   INT. NEXT AISLE - LATE AFTERNOON                                 5

    The girl comes around the tall shelf into the next aisle when
    suddenly... her eyes go wide!!! What she sees is the boy
    standing on a small box, STRETCHING to reach a toy on a high
    shelf. She walks quickly to him when suddenly... the toy
    FALLS.

    The girl instinctively SLIDES to the ground and catches the
    toy JUST as it&apos;s about to hit the ground! On her face we can
    see she is TERRIFIED! She closes her eyes, taking a breath
    with relief. When she opens them, in the foreground, we see
    the toy she is holding... a small TOY SPACE SHUTTLE. Then in
    the distance past the toy we see... a FIGURE.

    She sits up to see a man standing outside the door of the
    general store, holding a large box with what looks like a
    quilt hanging out of it. A look of fear on his face...
    softens, as he mimes wiping his brow with relief. She smiles,
    puts the toy back on a shelf and runs to him.


6   INT. GENERAL STORE - FRONT - LATE AFTERNOON                      6

    The father gently puts the box on the ground and pulls back
    the pieces of thick quilt to reveal that all the contents are
    actually wrapped in it.
                                                            4.


He then reaches for a LARGE HIKING BACK PACK, and begins
transferring the contents of the box into the bag. As he
does, we see... cans of food, a variety of prescription
pills, bandages and wrapped syringes.

The girl arrives at his side and excitedly starts rummaging
through the box as well. As she does, we see... thick
paintbrushes, bottles of glue, bottles of lighter fluid and a
stack of old newspapers. Then... her face lights up. From
the box, she pulls out a SALVAGED SECURITY CAMERA with wires
exposed. The girl gives it a brief once over and then
removes... two exposed CIRCUIT BOARDS, very obviously only
recently removed from whatever appliance they belonged to.
The girl scans the boards with a voracity, pointing out to
the father particular areas of interest. Her father can&apos;t
help but smile.

Suddenly, the box of Amoxicillin comes into frame and is
placed on top... along with two boxes of sugar. The father
looks up at his wife. After a beat... she signs:

                    MOTHER (SIGNING)
          For my tea.

He just keeps looking at her.

                    MOTHER (SIGNING) (CONT&apos;D)
          Fine. I have a sweet tooth.

The father smiles and is about to close the bag when... a
candy bar is placed on top.

                    DAUGHTER (SIGNING)
          Me too!

The father looks up at her with fake incredulity. Suddenly
the sick son in his mother&apos;s arms weakly signs:

                    OLDER SON (SIGNING)
          Me too.

The whole family laughs silently as the daughter GENTLY takes
another candy bar from a box below the cash register... We
can now see why the boxes are almost empty.

The father looks back to his arriving four year old son,
expecting the same, but from behind his back the young boy
reveals... the toy space shuttle.

With a sweet empathy the father reaches for the toy... and
shakes his head no. He turns the toy over and silently
explains it has batteries... this toy can make noise.
                                                                5.


    The little boy watches, confused... hurt, as his father
    gently places the space shuttle on the counter. And then
    gently grabs a big lollipop and puts it in the bag for the
    boy.

    The mother hands their sick son to the father who picks him
    up and walks out. The mother kisses her 4 year old on the
    head, shuffles the hiking bag onto her back and walks out
    too.

    The daughter looks at the boy as tears begin to fill his
    eyes. She smiles and signs:

                         DAUGHTER (SIGNING)
              It&apos;s ok.

    The boy shakes his head no.

    After a moment... the girl looks back to see if her parents
    are there. She then reaches up and takes the shuttle down
    from the counter. With wide eyes her little brother watches
    as she surgically removes the batteries... and places the
    shuttle in the hood of her brother&apos;s sweatshirt. Covering it
    from view, she holds a finger up to her lips in the
    obligatory big sister way of telling him not to get her in
    trouble... He beams!

    She then stands up and places the batteries back on the
    counter, smiles at her brother and gestures &quot;let&apos;s go&quot;.


7   EXT. MAIN STREET - LATE AFTERNOON                                7

    The daughter exits the General Store and follows her mother
    and father, who are walking down the street only stepping on
    the sand path. Their steps are almost silent.

    After a moment... her four year old brother follows behind
    her. We watch everyone walk in total silence.

    Then...


8   INT. GENERAL STORE - LATE AFTERNOON                              8

    We slowly push in to the counter of the store and then
    realize... THE BATTERIES ARE GONE!


9   EXT. ROAD - LATE AFTERNOON                                       9

    A long road slices its way through a heavily wooded area,
    which further blocks the already fading sun.
                                                                 6.


     In WIDE PROFILE we see the family walking in a line,
     continuing only on a sand path. The father is in front
     carrying their sick son, then the mother with the backpack,
     then their blonde daughter... and trailing a bit behind
     rumbles their robust 4 year old.


10   EXT. BRIDGE - LATE AFTERNOON                                 10

     From the ground we look up at an old and rusted bridge
     towering over us eerily... the sand path continues across it.

     WE TRACK WITH THE FAMILY as they walk across the bridge...
     There are minor creaks underneath the sand.

     Suddenly we see... the four year old stops just before the
     entrance of bridge. The family continues... not seeing him.

     WE FOLLOW THE BOY&apos;S HANDS as he fishes around in his hood and
     pulls out... THE TOY SHUTTLE.

     HEAD ON, we walk with the father, each member of his proud
     brood can be seen walking behind him. We can hear his
     strained breath... and the tiniest swish of the footsteps in
     sand.

     HEAD ON, walking with the daughter... we now suddenly hear
     nothing. As she looks to be in her own world... So we are in
     hers. A smile breaks on her face as she walks and breathes in
     total silence. We walk with her for a long moment, when
     suddenly behind her...

     A FLICKERING RED AND BLUE LIGHT.

     The girl does not turn. She just keeps walking. Still
     smiling. As she looks up to her mother, we go into:

     SLOW MOTION

     - FROM THE GIRLS&apos;S POV, we see her mother and father spin
     around with a frantic shock on their faces.

     - BACK ON THE GIRL. She looks confused at her parents
     behavior... LIGHTS AGAIN FLASH EERILY BEHIND HER.

     - ON THE FATHER rushing to put the boy on the ground and
     turning to run.

     - ON THE MOTHER, spinning around with terror in her eyes...
     she looks to be holding in a SCREAM.

     - BACK ON THE GIRL slowly beginning to turn around at what
     her parents could be looking at as we:
                                                            7.


SPEED BACK UP TO NORMAL

A loud playful beeping rushes in... from the blinking
shuttle.

Then, from the woods we hear... THE MOST UNMISTAKEABLE
HORRIFYING.... SCREEEEEEEECH!!!

- ON THE MOTHER as she slowly lowers the backpack to the
ground... and her legs begin to fail her.

- ON THE FATHER running, violently shaking his head... It
looks like he&apos;s HOLDING IN A SCREAM.

- THE TREES BEHIND THEM... RUSTLE AND SNAP as something
barrels through.

- ON THE BOY... holding up his space ship proudly to his
incoming father... an enormous smile on his face.

- ON THE FATHER... 20 feet away... his face is a still frame
of pure fear as he runs to camera. Then:

THE MOST IMMEDIATE AND TERRIFYING COMBINATION OF SOUND ONE
COULD EVER IMAGINE.

... A SHRIEK?... A SCREAM?   ... A CRUNCH?   Then...

ON THE FATHER as... a thin line of blood splatters on his
face.

- Mid run, the father&apos;s body immediately goes limp... failing
him as he comes to a halt just in front of camera.

- Then, as quickly as it came... THE SOUND IS GONE.

- IN WIDE PROFILE, The father stands lifeless... The two
children stand frozen with fear... the MOTHER drops to her
knees and... a space shuttle blinks silently in the sand.

The four year old... IS GONE.

Once again... only the wind can be heard.




BLACK.
                 8.




SILENCE.




FADE IN: TITLE




A QUIET PLACE
                                                                 9.


     Still in BLACK... A new sound... Almost like that of the
     ocean.


11   EXT. BEACH - LATE AFTERNOON                                  11

     The new sound continues. In the last of the day&apos;s sunlight:

     WE TRACK, LOOKING STRAIGHT DOWN, on... what appears to be an
     empty beach. The pink lit sand, now combined with a sound
     like the ocean, feels serene, almost otherworldly.

     Slowly coming into frame, we see the face of... the daughter.
     This is REGAN ABBOTT. Her hair is much longer. She is now
     TWO YEARS OLDER, 12. She just looks... different.

     REGAN lays in the sand with eyes closed... but she is not
     asleep.

     With her brow furrowed and her closed eyes darting back and
     forth she looks oddly pained... almost as if she is wishing
     herself to another place.

     There is movement in her hands as her fingers caress an
     object.

     Her eyes suddenly POP OPEN as she sits up violently CLOSE UP
     INTO OUR FRAME! She looks around with eyes wet and red,
     attempting to regain her bearings.

     WE SLOWLY MOVE AROUND her to see what she sees and are met
     with... a jarringly incongruous landscape! Instead of a
     glistening ocean, there in front of REGAN stand the tall
     swaying stalks of... A CORNFIELD.

     As REGAN looks to her lap WE SLOWLY TRAVEL DOWN to reveal...
     she is holding THE TOY SHUTTLE. As she maneuvers it through
     her fingers we see the shuttle is damaged... there are 2
     large gouges in the fuselage.

     Suddenly... Something startles her as she snaps her head to
     the side!

     WE GO CLOSE on her hand driving the TOY SHUTTLE into the
     sand, not wanting it to be seen. Now ONLY THE SHUTTLE&apos;S TAIL
     is exposed in the foreground as we see a figure walking
     toward REGAN.

     Coming into focus is... her mother. This is EVELYN ABBOTT.
     EVELYN too has changed. Hair longer... frame lower. She
     carries a basket of vegetables. She is bare foot.

     EVELYN stops and looks down at her daughter giving her a
     comforting smile. REGAN can&apos;t seem to return the same.
                                                                10.


     EVELYN gently gestures with her head. REGAN nods... and
     EVELYN walks on. After a moment... REGAN places the TOY
     SHUTTLE into the large pocket in her dress and follows her
     mother. As she goes:

     WE PAN TO FOLLOW REGAN as she joins her mother and then
     SLOWLY RISE to reveal that the two women are walking along...
     A LONG AND WIDE SAND PATH IN THE MIDDLE OF A FARM! In the
     distance we can see they are heading to... A WEATHERED RED
     BARN.

     WE END OUR RISE just as we reveal in the foreground...
     Christmas lights? Like parallel telephone wires, 2 cables of
     large bulbs, one with red and one with white. They dance
     playfully in the wind.


12   INT. TRUCK - LATE AFTERNOON                                  12

     CLOSE UP PROFILE of a steering wheel in the foreground. A
     weathered CHEVY emblem reflects the fire orange sky in the
     background.

     HANDS come into frame and gently grip the steering wheel.
     The right hand then slowly moves to the ignition block... and
     turns. There is no sound. After a moment, the hand turns
     again...again without sound. The hand turns a third time...
     this time, the hand begins to bob ever so slightly... as if
     the old car has started up. As the hand retracts:

     WE PULL BACK to reveal... The little brother. This is MARCUS
     ABBOTT, now 10. Moving ever so slightly, MARCUS is obviously
     pretending to drive... though his impassive face betrays the
     idea that he is having any fun. MARCUS seems to have aged
     much more than the mere 2 years. His vacant eyes tell us a
     large toll has been taken on him, though perhaps not as
     easily recognizable on the exterior.


13   EXT. TRUCK - LATE AFTERNOON                                  13

     WE MOVE SLOWLY IN POV along another large sand path with high
     grass on either side when suddenly it opens up into a large
     clearing and we see... a tractor?... Shells of untouched farm
     equipment litter the open area.

     WE SLOWLY MOVE LEFT, making our way through, what is now
     nothing more than an eery farming vehicle graveyard.
     Suddenly... A DARK FIGURE ENTERS THE FRAME.
                                                                11.


14   INT. TRUCK - LATE AFTERNOON                                  14

     MARCUS&apos;s hands move silently along the steering wheel as he
     stares out the windshield. His body moves ever so slightly,
     his face... relaxes... the hint of a smile. For a moment we
     could almost believe he is driving. His eyes routinely check
     the side mirror, then the rearview mirror... then stop. His
     hands... and face fall.

     THROUGH THE REAR VIEW MIRROR, we see a figure standing behind
     the truck amidst the sea of farm equipment. Behind the figure
     we see... A TOWERING SILO.


15   EXT. TRUCK - LATE AFTERNOON                                  15

     OVER THE DARK FIGURE onto the truck as we see MARCUS expertly
     slip out of the cab window of a VINTAGE CHEVY PICKUP that
     sits at the edge of a DESCENDING DRIVEWAY connecting to the
     road that heads back toward the BARN. He lands in the sand
     without a sound and begins to walk, head held low, toward the
     dark figure... who reaches his hand out and briefly touches
     Marcus&apos; shoulder. Marcus walks straight past.

     As MARCUS exits we BOOM UP the dark figure as it turns,
     revealing... LEON ABBOTT (LEE), 38. LEE too has changed,
     though much more obviously. He has lost weight on his strong
     farmer frame, he wears a beard and his sunken eyes indicate
     that he hasn&apos;t slept well... in a long time.

     WE PULL BACK WIDE to reveal the sea of farm equipment sits in
     front of a long, dilapidated, work shed roof... a makeshift
     repair shop. The word `REPAIR&apos; is written in flaking white
     paint that clings to the wood above.


16   EXT. BARN - SUNSET                                           16

     The line of Christmas lights dance in the foreground.

     WE TILT DOWN to see that the lights run right in between...
     two towering doors of a weathered red BARN. The doors have
     been left open by a gap of just over 2 feet. The edges of
     the doors... are wrapped in foam...

     Suddenly MARCUS walks into frame... and enters the barn.


17   INT. BARN - SUNSET                                           17

     WE TILT DOWN from the lines of unilluminated Christmas lights
     running below the high reaching ceiling and...
                                                               12.


     ONTO MARCUS&apos; BACK as he walks through two heavy quilts at the
     entry of the barn hanging from the ceiling. Through the
     quilts, a dirt floor guides us through this... barn? The
     surroundings are too difficult to fully comprehend at first
     glance.

     To the left are several large horse stalls. WE QUICKLY PAN
     INSIDE to see they are now... bedrooms. Mattresses,
     perfectly made up, lie on the floor next to lamps and small
     stacks of books. Clothes on hangers dangle between each of
     the bars providing not only storage, but limited privacy.

     To the right is a large pen with railings. Once a holding
     area for cows awaiting milking, it is now... a living room.
     Hay bales draped in blankets and old wooden chairs surround
     an overturned pig trough, now serving as a coffee table
     covered in books and dripping candles.

     As MARCUS continues we notice the walls. Every inch is
     meticulously covered in a bizarre but elegant cornucopia
     of... trash. Foam, cardboard, and old newspapers are glued to
     the wall in thick layers.

     If one were able to look past the obvious first assumption of
     a hovel or domicile of hoarders, they would see almost... a
     deliberate beauty in the decor... A warmth. This is a well
     maintained and loving... home.

     WE FOLLOW ON MARCUS&apos; BACK as he suddenly comes to... A
     MATTRESS LAYING ON THE GROUND? MARCUS bends down and after a
     brief struggle pushes the mattress to one side to reveal... A
     large hole...

     WE FOLLOW JUST BEHIND MARCUS... as he descends down the
     ground...


18   INT. BARN - SAFE ROOM - SUNSET                              18

     WE NOW SEE MARCUS has descended a makeshift stairwell into...
     A small excavated room illuminated by work lights. Lodged up
     against the walls and across the ceiling are wooden beams.
     In between each beam are varying stages of an elaborate
     process of insulation and sound proofing that consists of a
     thick layer of newspaper as a base and then blankets and
     pillows squeezed in on top. There is a hay bale up against
     one wall and a mattress leaned up against another.

     In the middle of the room, MARCUS walks past... EVELYN, who
     is bent over behind an odd wooden box. Suddenly she stands
     up, holding a beautiful and delicate... baby mobile.

     As she turns and reaches the mobile high in the air to a beam
     above her we get a clear shot... of her protruding belly.
                                                          13.


Even a layman guess would put her over 8 months. EVELYN
gently taps the mobile as we:

ARE NOW CLOSE ON the small ducks and clouds moving through
the air, EVELYN below looking up... with a smile.

MARCUS sits down next to REGAN who is on the floor next to a
stack of old newspapers and bottles of glue.

She removes a large sheet of newspaper from a plastic tray of
glue, lets it drip... and then applies it to the wall with a
thick paintbrush. As she moves the paintbrush vertically down
the dripping white, a piece of an image can be seen... It is
a bra ad. REGAN slowly looks over to MARCUS... who stares at
it.

BACK ON EVELYN as she removes the top of the odd wooden box.
WE FOLLOW her hands in to reveal... a heavily quilted inside
with adorable baby blankets, a small teddy bear... and a
clear plastic air mask??

EVELYN&apos;s fingers fumble with something in the corner until
she finally threads through... a thin plastic tube... and
connects it to the air mask. It looks similar to an
emergency breathing apparatus one might see in an ambulance
or hospital... because it is.

BACK ON MARCUS, as he now removes a large piece of dripping
newspaper out of the tray and places it on the wall. Like his
sister, he swipes his thick paintbrush vertically down the
dripping white, this time partially revealing a front page
headline. It reads...

`AGE OF MASS&apos;
MARCUS looks at it inquisitively... and then swipes the
paintbrush horizontally across the whole headline.

It reads:

`IMAGE OF MASSACRED MILITARY SHOCKS THE WORLD&apos;
MARCUS freezes... then looks below to see the top of a grainy
newspaper photograph. All we can make out is... a twisted
human arm. His hand slowly begins to shake as he raises the
paintbrush to reveal the rest of the image... when suddenly:

A PILLOW FLIES INTO FRAME!!!!!!

MARCUS JUMPS!!!!!... Only to see his mom holding a pillow
over the newspaper with a knowing look. After a beat, she
hands MARCUS a long piece of tape to secure the pillow to the
wall.
                                                               14.


19   EXT. REPAIR YARD SILO - ROOF - SUNSET TO DUSK                19

     ON THE BACK OF... LEE, perched on what looks like the top of
     the world.

     From this great height we get our first WIDE SHOT of the
     large farm that we now see sits in a clearing on a ridge...
     surrounded by the tangled forest of the APPALACHIAN
     MOUNTAINS.

     A puff of smoke rises from LEE&apos;s silhouette as he suddenly
     raises a hand into frame... and checks his watch. A moment
     later... As if on cue...

     A line of CHRISTMAS LIGHTS flicker to life above the wide
     sand path REGAN was laying on.

     Another line of white Christmas lights flicker on... this
     time revealing a path that connects the weathered red BARN...
     to an old white FARMHOUSE. Then another line of lights...
     and another! Like the image of a city power grid coming back
     to life, we see a labyrinth of countless sand paths,
     meticulously laid out, illuminate all over the farm in a
     beautiful expanse.

     NOW IN PROFILE, LEE stares down... seemingly at nothing. The
     unfiltered cigarette burns to his fingers, causing LEE to
     snap out of his stupor. He looks around at the horizon, it is
     officially sundown. He reaches for a plastic bottle of...
     Lighter fluid... and sprays all its contents into a shallow
     metal drum in front of him.

     Another cigarette appears from below frame. He puts it in his
     mouth and then reaches his hands... into his jacket. His
     right arm jiggles slightly. There is no sound. His arm
     jiggles again. Then from his jacket, LEE pulls... a FULLY LIT
     LIGHTER, that he protects from the wind. He lights his
     cigarette and then leans his hands to the metal drum... A
     HUGE FLAME ERUPTS.

     In the glowing orange we see LEE take a long drag of his
     cigarette. His face has no affect. After several moments the
     flame begins to weaken and slowly fade.

     Suddenly, far FAR off in the distance on the ridge... ANOTHER
     FLAME ILLUMINATES. LEE doesn&apos;t even look up. Then, miles
     past the first... ANOTHER FLAME!... THEN ANOTHER! Until we
     can see behind LEE 5 glowing fires scattered far off across
     the ridge.

     ON LEE as he glances over and registers... then back to
     staring front as we:
                                                             15.


     MOVE AROUND BEHIND him to see where his gaze is focused.
     Then... we see it. There, in his left hand LEE holds... A 5X6
     nursery school photo of a 4 year old boy.

     LEE takes a last drag of his cigarette... and then places the
     photo in a small box at his feet.

     WE ARE TIGHT ON THE BOX as LEE stands and walks toward two
     curved bars on the side of the SILO. He turns around... and
     begins to descend A LADDER.

     WE HOLD ON THE SMALL BOX... then just as LEE&apos;s head
     disappears... WE SLOWLY BEGIN TO RISE.

     Now looking at the opposite side of the ridge than we did in
     the beginning, the rising moon&apos;s light now spills across the
     vista of rock and trees and onto an enormous and bizarrely
     out of place.... CRATER!

     WE HOLD ON THE CRATER FOR A LONG MOMENT... Then:


20   INT. BARN - LIVING ROOM - NIGHT                              20

     WE ARE CLOSE on a small mound of dirt. Suddenly two hands
     covered in winter gloves enter frame and begin to dig down
     about 3 inches to reveal... a plank of wood.

     WIDER NOW, we see EVELYN on her hands and knees just behind
     the living room set up in an open, very make-shift kitchen.
     One wall of shelves cluttered with stacks of paper plates,
     bowls and cups. Another wall is a workbench acting as a
     counter top and a mid 70&apos;s refrigerator.

     EVELYN extracts from the dirt a long wooden box. Beneath
     it... red hot rocks let off a combination of steam and smoke.

     EVELYN brings the box to the counter top and carefully lifts
     the lid to reveal... a perfectly cooked fish with lemon and
     rosemary and garlic scattered all around.


21   INT. BARN - BEDROOMS - NIGHT                                 21

     WE TRACK with REGAN as she walks down the row of horse stall
     bedrooms.

     REGAN arrives at the threshold of LEE and EVELYN&apos;s bedroom.
     LEE is faced away from her, washing his face in a long trough
     like sink that runs the length of the room. Suddenly,
     through the mirror leaning on the wall, LEE sees her... But
     does not turn.
                                                              16.


     Through the mirror, the two of them looking silently at each
     other for a moment too long... it is heartbreaking.

     REGAN pathetically gestures &quot;eating&quot;. As LEE nods, trying to
     muster a polite smile we can see very clearly... something is
     broken.

     LEE wipes his face with a towel and then turns to face... an
     empty doorway.


22   INT. BARN - TABLE - NIGHT                                  22

     The family sits down together for dinner... around an old
     workbench. Their heads bowed in prayer, after a moment
     EVELYN lifts her head and they begin to eat. There are no
     plates. The food sits on various children&apos;s plastic
     placemats. There are no utensils... The family uses only
     bread to collect food. We slowly pull back on this silent...
     but comfortingly familiar scene.


23   INT. BARN - LIVING ROOM - NIGHT                            23

     REGAN and MARCUS lie on the floor playing... Monopoly.

     By the dim light of an oil lantern... we can see the game&apos;s
     board is the same, but the pieces are small colored bobbles
     of wool, the kind you would find on a children&apos;s Christmas
     sweater. The houses and hotels are empty sugar packets, blue
     and pink. And the money?... Small pieces of green, red, blue
     and orange fabric rectangles... all equally sized.

     MARCUS is five spaces away from his sister&apos;s hotel on
     Boardwalk. He takes a sip of water and places the cup on top
     of a tall crate being used as a makeshift side table. MARCUS
     looks at his sister, who can&apos;t hide her smile. He mimes a
     prayer before rolling the dice on the dirt floor, where it
     makes no noise............... 5!

     MARCUS slowly looks up to REGAN, knowing his fate. REGAN
     smiles pointedly and then reaches for MARCUS&apos; money. As
     MARCUS thrusts his arm back to protect his bank, his elbow...
     hits the oil lantern!!

     A BOOMING CRASH!!!! As the oil lantern hits the ground and
     shatters. THE SOUND FEELS HUGE!.. AS IT IS THE FIRST BIG
     SOUND WE&apos;VE HEARD! FIRE ERUPTS ON THE FLOOR!!! The children
     stare frozen in horror!

     LEE immediately jumps up from the table and instinctively
     grabs a quilt and throws it on the fire. With a few silent
     pats... the fire is gone.
                                                       16A.


SILENCE.

EVERYONE FREEZES!!!!... NO ONE IS BREATHING!!!

REGAN shoots MARCUS a look... of concern. MARCUS shoots LEE a
look... of terror. LEE shoots a look... to the roof.
                                                              17.


      ON LEE as he stands up INTO frame. He has almost physically
      transformed from a man... into protection incarnate. He
      slowly raises a stiff finger to his lips, his body so
      tense... it looks painful. This is the unwanted version of
      himself that lies just millimeters under his skin... 24 hours
      a day.

      After a long moment... nothing... It would have happened by
      now...

      LEE finally nods that everything is OK. MARCUS stares at
      REGAN with a painfully apologetic face as she leans in and
      touches his hand.

      BANG!!!
      The whole family startles in silence!!!

      ... Something has hit the roof.

      EVERYONE IS FROZEN... LOOKING AT THE CEILING.

      Seconds later a high pitched SHRIEEEEEEK of CLAWS sliding
      down the aluminum roof. The family follows the sound exactly
      with their eyes. Then silence.

      LEE crouches down and walks to a small window where the sound
      stopped above. MARCUS wildly shakes his head &quot;no&quot;, evidence
      of his traumatic anxiety resurfacing. REGAN slowly stands,
      looking on with wide eyes.

      LEE arrives at the window, crouched. From his low vantage
      point we can see the lip of the gutter... and the eerily
      swaying Christmas lights.

      LEE begins to stand up slowly, his face now virtually pressed
      against the glass.

      Suddenly, A WHIR OF SCREECHING AND GROWLING!!! A LARGE SHAPE
      FALLS PAST THE WINDOW!!!!

      ... As two raccoons hit the ground, fighting... then scamper
      off into the dark.

      LEE somehow exhales slowly and calmly... a trick that, no
      doubt, took much practice... and walks away from the window.


23A   EXT. CORNFIELD                                              23A

      The two raccoons round the corner onto a moonlit path heading
      toward camera.. Just as they come into CLOSE UP...
                                                             18.


     A GIANT BLACK CLAW CRUSHES DOWN ONTO THE FIRST RACCOONS
     HEAD... and then rips it out of frame. We hold on the second
     raccoon running off with a soft but piercing scream.


24   EXT. FARM - NIGHT                                         24

     It is night. From high above, we look down to the sand path
     between the RED BARN and the WHITE FARMHOUSE. In the
     foreground we see the shadow of a telephone pole. Sitting on
     the wire in silhouette... are BIRDS.


25   EXT. SAND PATH - NIGHT                                    25

     FROM THE GROUND, we see the FARMHOUSE in the distance... but
     something is different. The color seems wrong... the angle is
     odd. The foreground is over exposed and tiny dots fly in and
     out of the frame.

     Suddenly... A GIANT FOOT STEPS INTO FRAME!!!!

     ... AND THEN ANOTHER... as we watch two bare feet... then the
     hem of a dress... and then the silhouette of... EVELYN walk
     silently toward the house.


26   INT. FARMHOUSE - BASEMENT - NIGHT                         26

     WE SLOWLY PULL BACK from THAT SAME SHOT of the FARMHOUSE and
     reveal... a plastic frame... A red light... buttons. We
     realize this image is being viewed... on a small monitor.
     CCTV FOOTAGE... from A SECURITY CAMERA.

     WE CONTINUE TO PULL BACK SLOWLY as ... Another monitor comes
     into frame... with another stacked on top of it... then one
     next to it... and another... until we reveal, like something
     out of a Dr. Seuss book, a wall of 20 TV&apos;s, all shapes and
     brands sit on top of a large workbench covered with open
     notebooks and sliced up newspapers. On each screen we see
     elements of trees... sand paths... the barn... the silo.
     This is a DIY version of a security console that overlooks
     the entire farm... and it has taken a long time to put
     together.

     WE BEGIN TO TRACK past the empty security console and onto a
     cinder block wall... covered in notes and newspaper
     clippings. Then...

     ... WE BARELY HEAR A TINY, ALMOST FAMILIAR, SOUND.

     ... THEN A HANDFUL OF SMALL BEEPING SOUNDS.
                                                              19.


Suddenly a portion of one visible newspaper clipping shows a
close up and much more detailed image of... the enormous
crater. The headline reads:

`NUMBER OF CONFIRMED GLOBAL LANDING SITES GROWS TO 128&apos;

A post-it note sticks to the clipping that reads:

LANDED 10-18-2018

WE PASS BY more clippings, catching glimpses of dramatic
headlines and surreal images:

`PRESIDENT CALLS FOR EMERGENCY EVAC IN ALL MAJOR CITIES&apos;

`CHURCHES, MOSQUES, TEMPLES FLOODED WITH PEOPLE&apos;

WE PASS BY a grainy newspaper photo of a military stand
off... With ONE creature. The headline reads:

`MILITARY EXPERTS AGREE: &quot;INDESTRUCTIBLE&quot;

...AGAIN WE HEAR THAT FAMILIAR SOUND as it gets louder.

WE CONTINUE TO TRAVEL as... A MAP enters frame. Like one you
would get at a gas station, it is covered in illustrated
forests and rivers... it is a map of THE STATE OF NEW YORK.
The portion above Manhattan... is covered in hand drawn red
circles and pins, each accompanied with a date and names...
of the dead.

WE MOVE FURTHER ALONG to reveal... low quality stills of
security footage barely showing... THE CREATURE. Each still
is drawn on and analyzed. Then... a large white board
covered in writing comes into frame, leaning against the
wall. Amidst the scratches of written and rewritten thoughts,
we can make out two lists labeled, `QUESTIONS&apos; and
`CONFIRMED&apos;

In the `QUESTIONS&apos; column are listed; &quot;NO DEMANDS?&quot;, &quot;NO SIGN
OF ORGANIZATION&quot;, &quot;BLIND?&quot; &quot;HOW MANY?&quot;... &quot;SOUND... WHY NOT
ATTACK ALL SOUND?&quot;

In the `CONFIRMED&apos; column are phrases like; &quot;4-6 CONFIRMED IN
PACK&quot;..., &quot;DO NOT ATTACK SMALL SOUNDS&quot;. Then we see the phrase
&quot;DO NOT EAT KILL&quot;.

WE MOVE TO the very bottom of the white board where we see
the word... &quot;WEAPON???&quot;...

Listed below words are crossed out... &quot;EXPLOSIVES&quot;...
&quot;FIRE&quot;... &quot;CHEMICAL&quot;...
                                                             20.


     AGAIN WE HEAR THAT FAMILIAR SOUND... NOW LOUDER.

     ... THEN AGAIN THE HANDFUL OF SMALL BEEPING SOUNDS.

     WE MOVE OFF OF THE white board and scan past ANATOMICAL
     DRAWINGS of A SHARK SENSING PREY USING MAGNETIC FIELDS,
     DOLPHINS NAVIGATING THROUGH MINE FIELDS, THE ELECTROMAGNETIC
     SPECTRUM and finally images of... THE INNER EAR...

     WE NOW MOVE THROUGH meticulously organized shelves covered in
     tools... and wires... and various pieces of salvaged
     electronic equipment and finally onto...

     LEE&apos;S BACK. He is hunched over the workbench working
     intensely on something... he is wearing large black
     headphones. We see him reach out of frame as we:

     WE PUSH PAST an old microphone that is connected to... AN OLD
     TRANSATLANTIC HAM RADIO. In the glowing light from the box we
     see all kinds of knobs and needles. Below a switch labeled
     with two stickers that say &quot;RADIO&quot; and &quot;SPEAKER&quot;, LEE&apos;S hand
     comes into frame and turns a large knob revealing... THE
     SOURCE OF OUR FAMILIAR SOUND...

     LEE IS SEARCHING FOR A SIGNAL. ANY SIGN. ANY SIGN... OF LIFE.

     Suddenly... he presses down on a button on the microphone...

     ... THE HANDFUL OF SMALL BEEPING SOUNDS... IS MORSE CODE.

     ... THERE IS NO RESPONSE.

     WE follow LEE&apos;s hand off of the button and onto... a small
     soldering iron. As he picks it up:

     WE GO TO LEE at his workspace. With magnifying glasses in
     front of his eyes, he works with surgery like precision... on
     a small contraption. A small string of smoke rises from his
     work.


27   INT. FARMHOUSE - BASEMENT - STEPS - NIGHT                    27

     WE ARE OVER the warmly, lit from above, stairwell with LEE at
     his work station in the background as...

     Delicate bare feet touch down softly, and deliberately on the
     steps... Like a child knowing where to step so they don&apos;t
     wake their parents.

     WE BOOM UP to reveal... EVELYN as she stares at her husband,
     who hasn&apos;t heard her, worried?... Admiring?... Lost?
                                                        21.


A flicker of a memory echoes through her face as she smiles
and then walks to him... EVELYN IS WEARING EAR BUDS.

ON LEE as a hand touches down gently on his shoulder... he
doesn&apos;t flinch at all. There is immediate recognition
there... Safety. The hands then reach down... and remove
Lee&apos;s headphones. The sound of the searching radio in the
headphones is nearly inaudible.

LEE sits back and holds up... A HEARING AID. It looks like a
somewhat common hearing aid... but with handcrafted
modifications...upgrades. There is a wire extension that
extends from the top... almost like an adapter or plug.

The hands gently grab LEE&apos;s face and turn it. LEE looks up
at EVELYN who he now sees... is wearing lipstick, has pulled
her hair back... and has changed into a beautiful dress.
This... is DATE NIGHT. LEE smiles as EVELYN takes a step
back and with the gentlest of movements, she sweetly beckons
him to her.

LEE looks back at his work for just a moment, his face once
again... focused. Then he lays the hearing aid down on the
table... and stands up.

WE HOLD ON THE HEARING AID and then SLOWLY PULL BACK to
reveal... a pile of more hearing aids, each with a variety of
different modifications, scattered all around his work bench.
This is something he has been working on for a long while.

WE TILT UP from the workbench to see... LEE arrive at his
wife&apos;s side as she puts her hand up on his neck and smiles up
at him warmly, as if there is no where else to be... nothing
to make her happier.

FACE TO FACE NOW, LEE finally allows a smile, looking down at
his time tested partner.

EVELYN&apos;s eyes close as she places her forehead to his and the
two begin to gently sway... in total silence.

Suddenly... EVELYN takes LEE&apos;s hands from around her back...
and places them on her protruding belly. After a moment she
looks up lovingly at her husband to see...

LEE&apos;S SMILE HAS DISAPPEARED. STARING DOWN AT THE BELLY, HIS
FACE LOOKS... LOST.

Knowing this man inside and out, EVELYN keeps her gaze firmly
into her husband&apos;s eyes and slowly moves her hands up LEE&apos;S
arms and gently onto his face. Holding more than his visage
in her hands... LEE finally looks up at her.
                                                                22.


     EVELYN smiles with recognition of the man she married as her
     right hand travels to her right ear. She removes the earbud
     from her ear... and seamlessly places it in his, as:

     MUSIC RUSHES IN!
     The only record on the record player, this is the song they
     were married to. This is...

     NEIL YOUNG&apos;S HARVEST MOON

     Perhaps it&apos;s due to the lack of sound thus far in the
     movie... or maybe the marrying image of the two dancing, but
     the sounds of the song are crystal clear. We can perfectly
     hear every chord, every tremor of vocal chord as we:

     PULL BACK on this perfect moment... through the basement...
     to the small rectangular basement window to reveal... water
     hitting the glass.


28   EXT. FARMHOUSE - NIGHT                                       28

     We see a strong rain pouring down around the house.


29   EXT. FARM - MORNING                                          29

     A beautiful crisp morning.


30   EXT. FARMHOUSE - SAND PATH - DAY                             30

     FROM THE PORCH of the farmhouse, as water drips down from
     overhead, WE SLOWLY travel along the sand path toward the
     barn when suddenly we arrive at... a small stream of water
     cutting right through a, now washed away, segment of the sand
     path.

     Suddenly LEE&apos;s bare feet enter frame... and then a large
     hiking backpack enters frame next to him.

     ON LEE as we see a momentary glimpse into the painstaking,
     and never ending, workload that goes into maintaining this
     farm.

     CLOSE on hands as LEE&apos;s bare fingers gouge into the
     unforgiving earth at the edge of the sand path to divert the
     water. Stones come into frame to form a temporary wall.
     Then... LEE hoists, the very obviously heavy, hiking bag onto
     his knee. He then slowly and silently undoes a handmade flap
     at the bottom of the backpack. From the opening of the bag
     pours... SAND.
                                                                23.


     Quickly and silently, sand piles up on the ground as we
     witness for the first time, LEE&apos;s ingenious system that has
     kept his family safe all this time.


31   INT. BARN - SAFE ROOM - DAY                                  31

     CLOSE UP OF A GAUGE... Very faint bursts of air can be heard.

     WE SLOWLY PULL BACK to reveal EVELYN sitting on a hay bale...
     with a blood pressure sleeve on her arm and a stethoscope in
     her ears. Behind her is a shelf full of bandages and IV bags.
     She stops pumping the bulb, stares down at the gauge... and
     then gently lets the air out and removes the sleeve.

     EVELYN marks her daily blood pressure on a calendar next to
     her. On this calendar we see... her estimated due date is 4
     weeks away.

     After a moment, she leans over and places the bottom part of
     the stethoscope... onto her belly.

     A faint sound of adjusting and then...

     LUB DUB... LUB DUB... THE BABY&apos;S HEARTBEAT ENGULFS US!!!


32   EXT. FARMHOUSE - DAY                                         32

     WE CREEP SLOWLY ALONG the sand path heading toward the front
     door of the FARMHOUSE. Suddenly... REGAN steps into frame,
     walking deliberately... as if tiptoeing.


33   INT. FARMHOUSE - DAY                                         33

     REGAN reaches the front door of the FARMHOUSE... and stops at
     the threshold. As she looks down at the worn wood floor,
     scanning, we can notice... deliberately painted markings on
     the floor.

     Just then, REGAN takes a dramatically long step inside,
     placing her foot down... directly on the first colored
     marking... silence. Looking almost relieved, REGAN once
     again scans the floor and then focuses on another marking.
     She takes another long step, this time far to her right...
     and touches down on the next marking... silence. It almost
     looks like she&apos;s playing `TWISTER&apos;. Getting more confident,
     she scans the room, finds another spot and steps quickly.
                                                               24.


34   INT. FARMHOUSE - BASEMENT STAIRS - DAY                       34

     WE LOOK DIRECTLY up the basement stairs toward the warm
     hallway at the top.

     Suddenly... REGAN takes a long step into frame.   Her
     silhouette looks down the dark stairwell.

     After a moment, she slowly puts her foot down on the first
     step... when suddenly...

     A DARK FIGURE APPEARS BEHIND HER AND GRABS HER!!!!!


35   EXT. FARMHOUSE - DAY                                         35

     CLOSE ON REGAN... as she is placed down onto the sand path.

     A HAND COVERS HER MOUTH!

     AS REGAN spins around we see... LEE kneeling in front of her.

                         LEE (SIGNING)
               You CANNOT go down there!

                            REGAN (SIGNING)
               WHY NOT???

                         LEE (SIGNING)
               You know why.

                         REGAN (SIGNING)
               I won&apos;t make a sound!!! I&apos;m not a
               child!!!

     LEE pauses... that line stings.

                         LEE (SIGNING)
               Just... don&apos;t.

     The two stare into each other&apos;s eyes communicating more than
     any sign language could.

     Suddenly... LEE reaches up to her face?... His still dirty
     hands push the hair back over her right ear? It seems so
     uncharacteristically warm and gentle when suddenly...

     LEE reaches into his pocket with his right hand and pulls
     out... THE HEARING AID from the night before.

                         LEE (SIGNING) (CONT&apos;D)
               This time, I was able to use small
               amplifiers from the stereo speaker
               to--
                                                               25.


                           REGAN (SIGNING)
                 It won&apos;t work.

                           LEE (SIGNING)
                 No, our problem has always been
                 power, but this should increase the
                 frequency to--

                           REGAN (SIGNING)
                 It never works!!

                           LEE (SIGNING)
                 ... But we&apos;ll keep trying til it
                 does.

     REGAN looks up at him blankly... as LEE reaches to bring the
     new hearing aid up to her ear when suddenly...

     REGAN pushes his hand away.

     LEE reaches up to her ear to try again... REGAN pushes his
     hand away again, giving him a cold stare. With so much
     history behind it... It&apos;s a bizarrely heartbreaking
     altercation.

     He tries again... she pushes again... even harder.

     LEE looks at his daughter as she looks at him... her venomous
     face, betrayed by the large tears that roll down her cheek.

     After a long moment... REGAN snatches the hearing aid from
     her father&apos;s hand and walks away.


36   INT. BARN - HAY LOFT - DAY                                   36

     ON MARCUS&apos; back as he scribbles in a notebook. WE GO CLOSE to
     see... MARCUS is writing in a math notebook. His pencil
     suddenly pauses, moves up the page through a long math
     problem... and stops again. Suddenly... a finger comes into
     frame.... and points at a different part of the problem.

     WE PULL   OUT to reveal... EVELYN and MARCUS sitting in a small
     curated   area with a desk, book shelves and a white board
     covered   in various phrases, shapes and equations. We suddenly
     realize   EVELYN... is HOME SCHOOLING him!

     MARCUS suddenly nods and once again begins writing as EVELYN
     looks out the small door of the hay loft and down to the sand
     path below... As LEE arrives. Suddenly...

                           MARCUS (SIGNING)
                 ...please don&apos;t make me go...
                                                                26.


     EVELYN looks over to see MARCUS&apos;s face... awash with panic.

                         EVELYN (SIGNING)
               You will be fine. Your father will
               always protect you.

     MARCUS GRABS HER ARM TIGHT!... IT STARTLES HER.   With tears
     in his eyes, he mouths to her... &quot;PLEASE!&quot;

                         EVELYN (SIGNING) (CONT&apos;D)
               Listen to me... It is important
               that you learn these things. He
               just wants you to be able to take
               care of yourself...

     MARCUS looks at her.

                         EVELYN (SIGNING) (CONT&apos;D)
               Take care of ME!

     EVELYN lightens the conversation by pretending to age in
     front of our eyes.

                         EVELYN (SIGNING) (CONT&apos;D)
               ... when I&apos;m old... and grey...

     EVELYN leans on him.    MARCUS can&apos;t help but smile.

                            EVELYN (CONT&apos;D)

               ...and I have no teeth...

     EVELYN pretending to have no teeth... is too much for MARCUS
     to hold back his silent laugh.


37   EXT. BARN - DAY                                              37

     OVER LEE&apos;S large shoulder we barely see MARCUS... moving ever
     so slightly in one direction and then another.

     ON LEE, with a large hiking pack on his back.   He adjusts the
     straps of a backpack on MARCUS.

                            LEE (SIGNING)
               Too tight?

     MARCUS shakes his head no.

                            LEE (SIGNING) (CONT&apos;D)
               Good.

                         MARCUS (SIGNING)
               No... I don&apos;t want to go.
                                                              27.


     LEE looks up at EVELYN.   Then back to MARCUS.

                         LEE (SIGNING)
               There&apos;s nothing to be scared of.

                         MARCUS (SIGNING)
               ...of course there is.

     Suddenly behind LEE we see... REGAN appear.

                          REGAN (SIGNING)
               I&apos;ll go.

     LEE looks over at his daughter and pauses.

                         LEE (SIGNING)
               No, no. I need you to stay here
               and help your mother.

     LEE stands up. To EVELYN:

                         LEE (SIGNING) (CONT&apos;D)
               We&apos;ll be back before dinner.

                         REGAN (SIGNING)
               I want to go.

                         LEE (SIGNING)
               Just stay here. You&apos;ll be safe.

     LEE turns to EVELYN... who looks at him with slight
     disappointment.

                         LEE (SIGNING) (CONT&apos;D)
               ... Next time.

     LEE pauses... and then kisses EVELYN.   LEE and MARCUS walk
     down a sand path toward the woods.

     EVELYN turns to REGAN... who is already walking away.


38   INT. BARN - REGAN&apos;S ROOM - DAY                                38

     REGAN enters... And throws the hearing aid her father made
     her onto the dirt floor. This is the first time we have seen
     her bedroom. It is sparse. A hay bale covered in bed
     sheets... a small crate with a neat pile of books inside and
     several candles on top... a small wooden mirror leant against
     the wall.

     REGAN drops to her knees. On the ground we now see all kinds
     of electronic equipment and tools.
                                                               28.


     Architectural drawings are pinned to the wall.   It is like a
     mini version of her father&apos;s work bench.

     REGAN grabs her pillow, rips the pillow case off... and
     begins furiously packing.

     She grabs clothes, a water bottle, a notepad and then... THE
     TOY SHUTTLE. She gets up to leave and then looks back... at
     the hearing aid on the ground.

     CLOSE ON REGAN&apos;s PROFILE as her hand comes into frame and
     moves to the hearing aid she currently wears. Suddenly... a
     long wire is slowly pulled from deep in her ear canal.
     REGAN&apos;s eyes wince with almost a snap of pressure as the wire
     comes loose.

     REGAN then gently feeds the new hearing aid into her ear...
     and pauses.

     Suddenly... REGAN clicks on the new hearing aid.

     ........................................Nothing.

     WE WATCH the thin veil of anger on REGAN&apos;s face cascade into
     honest sorrow as REGAN&apos;s eyes squeeze shut brutal
     disappointment.

     WE PULL OUT to see REGAN sitting quietly on the floor. The
     quake of her shoulders betray her... as we watch her cry.

     After a moment... she reaches for a pillow case... and exits.


39   EXT. WOODS - VALLEY PATHWAY - DAY                           39

     FROM A DISTANCE LEE leads MARCUS down a thin sand path that
     cuts down the steep valley side and through the lush and
     learned evergreens of the mountain&apos;s canopy.

     MARCUS walks rigid, like one would in the dark. His saucer
     eyes furtively clock every detail of his surroundings. LEE
     walks casually and confidently, periodically turning to wait
     patiently for his son. This is a day of teaching.

     ON MARCUS as LEE puts a hand quickly, but gently on his son&apos;s
     chest, stopping him in his tracks. LEE focuses down the
     path.

     OFF MARCUS&apos;s quaking face peering around his father:

     WE TOO MOVE around from behind LEE to see... a DEER...
     sitting in the middle of the sand path. An adolescent buck,
     it holds it&apos;s impressive, but still delicate antlers upright
     and proud as it stares directly at LEE and MARCUS.
                                                              29.


     An image obviously long thought impossible, the moment
     carries a certain calm... almost spiritual.

     After a long moment, the buck efforts its way to its feet.
     Then turns and deftly steps... perfectly along the sand
     path... And disappears.


40   EXT. FARMHOUSE - DAY                                         40

     CLOSE ON the roof of the farmhouse. Water from the previous
     night&apos;s storm still drips off the edge.

     WE SLOWLY TRAVEL down the drainpipe running along the side of
     the house when suddenly... the drain stops... and we see PVC
     pipe has been attached instead. WE CONTINUE along the PVC
     piping to the bottom where we see THE PVC PIPE bend... AND GO
     STRAIGHT THROUGH A SHATTERED PANE OF THE BASEMENT WINDOW.


41   INT. FARMHOUSE - BASEMENT - DAY                              41

     FROM INSIDE THE SHATTERED PANE, we now follow the PVC pipe
     into... an old washing machine... now filled with rain water.

     Suddenly... a piece of clothing slowly comes into frame and
     silently descends into the water.

     WE WIDEN OUT TO SEE EVELYN places more clothes into a
     WASHER... that is unplugged. We see that she is simply using
     the corrugated tumbler inside as a wash board.

     She removes a large plaid shirt just above the water line
     (still inside the tumbler) and squeezes it dry. The action is
     virtually inaudible.

     CLOSE UP on a small pile of clothes being stacked onto other
     clothes. Then a CINCH.

     EVELYN stands up over the newly packed cloth laundry bag...
     then bends backward, attempting to relieve a pain in her
     back. When she&apos;s done, she picks up the full laundry bag
     with one hand... and another full laundry bag with the other.

     EVELYN struggles to the foot of the stairs with the two bags
     and puts them down. She then takes a deep breath looks up
     the stairwell and begins to ascend... again carefully placing
     her feet on specific spots on each step. Holding one bag as
     high as she can and dragging the second behind her... It&apos;s
     uncomfortable watching a fully pregnant woman traverse in
     this manner.

     WE GO CLOSE ON several stairs as EVELYN&apos;S feet step up... and
     drag the bag up the first step... then the second.
                                                                30.


     Her feet disappear. As she drags the bag up onto the
     third... IT CATCHES ON A BENT NAIL IN THE STAIR!!

     ON EVELYN, not seeing the cause, pulls again... AND BEGINS TO
     FALL!!!!!!

     She catches herself on the wall, her eyes lit up... breathing
     heavily... she&apos;s ok!

     She quietly picks up the bags again and pulls once more.

     CLOSE UP ON: THE TIP OF A NAIL IN THE STEP LIFTING OFF THE
     STEP, ALMOST STRAIGHT UP... AND THEN RELEASING THE BAG.

     ON EVELYN, satisfied, as she drags the bags to the top of the
     stairs and disappears.

     WE RACK FOCUS to reveal, in the foreground...

     THE NAIL STANDING STRAIGHT UP!!!


42   EXT. FARM - DRIVEWAY - LATE AFTERNOON                        42

     CLOSE ON BARE FEET... walking along a sand path.

     WE BOOM UP TO REVEAL... REGAN walking with purpose. In her
     hands she carries a pillowcase. Inside the pillowcase... an
     irregular shape.

     After a moment, she looks up to... the telephone pole.
     Sitting on the power line are... MORE BIRDS. There is
     something buoyant about them. Something... oblivious.


43   EXT. RIVER - LATE AFTERNOON                                  43

     An immediate and jarring sound of water rushes in as we are:

     TIGHT ON MOVING WATER over rocks.

     [NOTE: THE SOUND WILL CONTINUE THROUGHOUT THE ENTIRETY OF
     THIS SCENE]

     WE TILT UP to the tall grass of a riverbed. Suddenly... LEE
     and MARCUS exit from the trees.

     ON MARCUS as he takes in the picturesque landscape. He has
     never been here before. Suddenly, his eyes slowly move down
     to the ground.

     CLOSE ON HIS BARE FEET... at the very edge of the sand path.
     There is nowhere else to go.
                                                           31.


MARCUS watches as LEE takes off his backpack and places it at
the edge of the river. Then, he kneels down and looks
intently into the water. Suddenly... LEE&apos;s face softens. He
takes one more look back at his son... and then plunges his
hands into the river.

MARCUS looks on confused as his father seems to yank and pull
at something. Suddenly... LEE&apos;s hands burst out of the water
holding a handmade wooden contraption. MARCUS starts to back
away... Pulling that contraption out of the water DEFINITELY
MADE A SOUND!!! MARCUS&apos; eyes shoot around into the trees, up
the river, looking... listening... when suddenly...

LEE PULLS OUT A LARGE TROUT FROM THE TRAP... THE FISH
THRASHES WILDLY AND THEN... IT BREAKS FREE FROM LEE&apos;S HAND!
IT DROPS DOWN ONTO LEE&apos;S BAG FLAPPING AND THRASHING...

AND MAKING NOISE!!!!

MARCUS goes white! WHAT HAS HIS FATHER DONE????   MARCUS
signs...

                    MARCUS (SIGNING)
          They&apos;re going to hear you...
          They&apos;re going to HEAR YOU!!

In one swift move, LEE pins the trout to the ground and grabs
his son, pulling him in close. LEE silently calms his son
down, coaxing him to take deep breaths. As MARCUS trembles...
LEE raises his hand... and signs...

                    LEE (SIGNING)
          Not... if there is a constant sound
          nearby that is louder.

MARCUS doesn&apos;t understand. LEE shows him. First, he reaches
down to the ground and places his hand off the path moving
the dirt slightly. He repeats...

                    LEE (SIGNING) (CONT&apos;D)
          Small sounds... safe.

LEE&apos;s hand moves back to the trout... Repeats

                    LEE (SIGNING) (CONT&apos;D)
          Big sounds... not. Unless...

LEE&apos;s hands move to the moving water of the river... Repeats

                    LEE (SIGNING) (CONT&apos;D)
          There is a constant sound nearby
          that is louder... To mask it.
                                                                32.


     Suddenly the trout flaps again. MARCUS looks down... then up
     to his dad... His brain processing.

                         LEE (SIGNING) (CONT&apos;D)
               You know what?...

     LEE checks his watch... then looks up river... then back to
     his son.

                         LEE (SIGNING) (CONT&apos;D)
               ...I want to show you something.


44   EXT. FARMHOUSE - LATE AFTERNOON                              44

     Disoriented, WE MOVE THROUGH a wall of dancing color.   Then
     suddenly we see... EVELYN, as she holds up a piece of
     clothing and pins it to a clothes line. The scene is
     oddly... beautiful.

     As the clothes on the line dance, we can suddenly see, behind
     EVELYN... AN OLD FALLEN TREE THROUGH THE BACKSIDE OF THE
     HOUSE.


45   INT. FARMHOUSE - UPSTAIRS HALL - LATE AFTERNOON              45

     WE TRACK SLOWLY along through the bannister of the upstairs
     hallway when suddenly... EVELYN&apos;S head appears. WE CONTINUE
     with her as she slowly walks up the stairs... almost as if
     compelled. As she ascends, looking right past camera, we get
     a clear look into the bedrooms behind her. In one room, we
     catch glimpses of a POP MUSIC POSTER, a PINK DESK... and an
     empty bed frame. In the next, we see a Nerf basketball hoop,
     a life sized Pokemon doll... and half built LEGOs strewn
     across the floor. ...Neither room has doors.

     EVELYN finally crests the top of the stairs and walks out of
     frame.


46   INT. WATERFALL - LATE AFTERNOON                              46

     A bizarre and beautiful image and sound! Light dances and
     bends through a cascading rampart we finally identify as... A
     WATERFALL.

     WE PAN OVER to see LEE and MARCUS enter from outside and
     slide along the rock wall.

     MARCUS looks up to his father, incredulous. LEE looks down
     at him. After a moment, with a mischievous smile on his face,
     LEE...
                                                                33.


     HOOTS LOUDLY!!!

     THIS IS THE FIRST VOCALIZED SOUND WE WILL HAVE HEARD IN THE
     MOVIE!!!!

     MARCUS&apos; eyes shoot up to his father, immediately scared
     again!

     His father looks out at the waterfall... and HOOTS
     AGAIN!!!... The way one would walking in a tunnel with their
     child.

     LEE turns to MARCUS and crouches down, gently holding his
     trembling son&apos;s shoulders.

                         LEE
               ... You&apos;re alright.

     THESE ARE THE FIRST WORDS WE HAVE HEARD IN THE MOVIE... AND
     THE FIRST WORDS MARCUS HAS HEARD IN 4 YEARS!!!!

     WE ARE ON MARCUS&apos; face... staring... shaking... somewhere
     between terror and wonderment.

                         LEE (CONT&apos;D)
               ... I promise.

     His father smiles and nods comfortingly...

     Finally MARCUS... meekly HOOTS!

     His father&apos;s head gently tilts, as if to say &quot;you can do
     better&quot;.

     MARCUS looks back out the rushing water, then back to his
     father... and HOOTS LOUDLY!!!

                         LEE (CONT&apos;D)
               Now... that&apos;s more like it.

     The smile on MARCUS and LEE&apos;s face can only be described
     as... once in a lifetime.


47   EXT. ROAD - LATE AFTERNOON                                   47

     WE MOVE SLOWLY ALONG A ROAD, PANNING DOWN from gargantuan
     trees... until we finally reveal... REGAN walking towards
     camera.

     Suddenly coming into frame all around her is... THE BRIDGE.
                                                              34.


     WE FOLLOW REGAN as she walks across the bridge, now more
     overgrown with weeds and roots. Then suddenly... REGAN comes
     to a stop... and kneels down in sand as:

     WE CONTINUE TO MOVE BACK SLOWLY.   Suddenly coming into frame
     is the top of....

     A HAND MADE CROSS!!!

     REGAN reaches into her pillow case and pulls out... THE TOY
     SHUTTLE.

     WE FOLLOW REGAN&apos;S HANDS as she deftly removes one of the
     colored plastic pieces underneath. It quietly slides off to
     reveal... a battery panel and several multicolored wires. She
     reaches into the front pocket of her dress and pulls out
     pliers and quickly cuts the green wire.

     REGAN reaches into the pocket of her dress again and pulls
     out... batteries! She slides the batteries in confidently.

     We follow REGAN&apos;s hands as they move to the base of the cross
     and place... the TOY SHUTTLE in the sand. We now see that
     the shuttle sits amongst a pile of other weathered toys...
     and flowers.

     REGAN PAUSES.................and then flips the tiny switch.

     ...RED AND BLUE LIGHTS CASCADE OVER HER FACE...

     ...But no sound.


48   INT. FARMHOUSE - BEDROOM - LATE AFTERNOON                  48

     WE ARE TIGHT on EVELYN&apos;s back as she walks through another
     door-less threshold. As she continues into the room, we begin
     to see the walls... covered in rocket ships.

     OVER EVELYN as her eyes stop... on a cartoon mobile of the
     planets. She taps it... exactly as she tapped the mobile in
     the baby&apos;s room... This time watching it orbit around...
     without a smile.

     WIDE ON THE ROOM for the first time we see... THE ROOM IS
     METICULOUS. The bed is made... the toys perfectly placed on
     the shelves.

     CLOSE ON THE BED... AS EVELYN SITS DOWN SLOWLY. Light floods
     through the original paned window... casting the shadow of a
     cross on the floor in front of her.

     EVELYN looks over to the small night stand by the bed where a
     lamp and a hand made mirror sit.
                                                                35.


     Suddenly, she lifts up the mirror... and dusts the table with
     the washcloth from the line.

     EVELYN stares out the window oddly... at peace. As LEE has
     his ritual atop the silo to contemplate on the irreversible
     loss of his son... EVELYN has this. EVELYN... keeps her
     son&apos;s spirit alive.


49   INT. WATERFALL - LATE AFTERNOON                              49

     CLOSE ON a water bladder poking into the rushing wall of
     water. Filling immediately, we:

     PULL BACK and FOLLOW LEE... as he sits down on a rock next to
     his son and hands him the bladder. MARCUS drinks as LEE
     looks on... a brightness washing over him. This is a moment
     of... calm. A moment... of family. A moment... of real
     life.

     WE FOLLOW the bladder as MARCUS hands it up to his father,
     who happily takes a large swig. Suddenly we HEAR:

                         MARCUS (O.S.)
               Why didn&apos;t you let her come with
               us?

     LEE looks down at his son.

                         LEE (O.S.)
               Because... I need to keep her safe.

                         MARCUS (O.S.)
               ... Is it because you blame her for
               what happened?

     LEE freezes instantly... his heart stops.

     Finally he looks down at his son... in shock? In awe?

                         MARCUS (CONT&apos;D)
               Because she blames herself...

     LEE&apos;s eyes blink and flutter as he tries to gain control of
     his thoughts...

                         LEE
               No, I don&apos;t bl--... It was no one&apos;s
               fault.

                         MARCUS
               ... You still love her, right?
                                                                36.


                         LEE
               Of-- Of course I do.

     Pause.

                         MARCUS
               ... You should tell her.


50   INT. FARMHOUSE - BEDROOM - LATE AFTERNOON                    50

     CLOSE ON EVELYN IN THE HAND MADE MIRROR, as she stares at the
     frame... made up of colorful zoo animals staring back at her.
     At the top of the mirror, the name... &quot;BEAU&quot;

     FROM THE DOORWAY, WE ARE WIDE ON THE ROOM as EVELYN stands up
     and slowly makes her way to the door carrying the small
     mirror.

     Just as she reaches the doorway... she stops. Her body
     tightens. Her face... changes. Her hand shakes as it
     reaches out to the side of the doorway. WE HOLD ON HER a
     moment and then go:

     CLOSE ON her feet rocking slightly in the doorway.
     Suddenly......

     FLUID HITS THE FLOORBOARDS!!!!


51   EXT. WOODS - LATE AFTERNOON                                  51

     LEE and MARCUS appear through an oddly beautiful exit from
     the woods and begin walking along a path.

     PROFILE on LEE as we see the tall thin trees of a swamp
     behind him.

     PROFILE ON MARCUS from the opposite side as swamp trees are
     also behind him. Suddenly... A DILAPIDATED house comes into
     frame. MARCUS turns to look.

     MARCUS&apos; POV of the eery house...that stands as a reminder
     that people once lived here happily.

     CLOSE ON MARCUS looking up on the house. His face... now
     fearful. Suddenly, behind MARCUS, just out of focus in the
     short distance...

     A DARK SHADOW!!!

     No sooner has the FIGURE exited frame, MARCUS... CRASHES INTO
     HIS FATHER... WHO IS STANDING COMPLETELY STILL.
                                                          37.


MARCUS looks up at his father... who stares off sharply into
the short distance...

OVER MARCUS as he slowly leans around his father to see what
he&apos;s looking at, when suddenly we see...

A TERRIFYING MAN AT THE EDGE OF THE SWAMP!!!

A human form unlike anything most of us ever will... or
should get to see, the man&apos;s emaciated body quakes and then
shudders as if a synapses misfire. His face is sunken...
almost ghoulish and the look in his pitch black eyes
communicates something far beyond fearful. Much worse, this
is the rare look of a brain that has accepted a living
nightmare... as an everyday reality.

ON MARCUS as he slowly raises his hand... into a wave.

ON THE MAN... who doesn&apos;t move.

ON LEE as his eyes travel slowly down the man&apos;s frame.

ON LEE&apos;S PERSPECTIVE as we see the man&apos;s dirt covered face,
then a ratty and ripped flannel shirt, and then... blood
covered hands... blood covered jeans... and finally at his
feet, in the high grass...

LONG HAIR AND A HAND OF.... A DEAD WOMAN

ON LEE as his eyes slowly come back up to meet the man&apos;s.
LEE now also raises his hand... and places a tense finger on
his lips.

ON THE MAN... as two large tears run down his face. In his
eyes... the knowing fear of the end of his life as... he
takes a deep breath in.

LEE immediately grabs MARCUS.

TIGHT ON LEE sprinting down the path carrying his son.    OVER
HIS SHOULDER, the man in the background:

LETS OUT A PRIMAL SCREAM!!!!!!

... A bottomless sound of pain and surrender, the sound
blasts onto us like a wave.

LEE suddenly dives behind a hallowed out tree trunk and
throws MARCUS&apos; back up against it.

ON MARCUS as his father clasps his hand over his mouth.
MARCUS&apos; eyes widen as overwhelming panic takes over.
                                                               38.


     ON LEE as he looks down at his son... with the most beautiful
     sense of calm. The way one holds the hand of someone in their
     last seconds on earth, LEE&apos;s smile is pure comfort... pure
     love.

     Suddenly we hear... THE FAMILIAR TERRIFYING SCREEEEEEEECH!

     ON MARCUS... who begins violently shaking his head... his
     soul seemingly coming out through his skin. Then suddenly we
     hear... THE SNAPPING OF TREES!

     ON LEE as his look now shoots to the tree line behind the man
     when suddenly...

     WE HEAR the man&apos;s primal scream of pain turn into... an
     animal sound of death.

     BACK ON MARCUS as he covers his ears. Through the muffle of
     MARCUS&apos; covered ears we can still hear... The most horrific
     sounds of ultimate pain... crunching... and then...

                   POP!!!!
     A deafening

     ...SILENCE...

     MARCUS&apos; eyes almost seem to dim right before us...

     As he goes limp.


52   INT. FARMHOUSE - UPSTAIRS HALL - LATE AFTERNOON              52

     FROM THE FLOOR we follow drops of fluid down the hall,
     leading to... EVELYN gripping onto the railing with both
     hands as she slowly traverses the stairs going down, focusing
     intently on each step.

     ON EVELYN&apos;s face as she takes slow, deep breaths.    Her eyes
     surging with panic... and pain.

     IT&apos;S 4 WEEKS TOO SOON!

     Suddenly... EVELYN&apos;s eyes go wide.

     CONTRACTION!!!

     CLOSE ON EVELYN&apos;S BELLY as she slowly sinks down into the
     steps and INTO A CLOSE UP.

     In EVELYN&apos;s face we will witness, many of us for the first
     time, the complex and overwhelming sensory overload that is a
     contraction... all swallowed back with every fiber of her
     being in order to remain.... Silent.
                                                             39.


     Just at the moment it looks as though EVELYN may explode...
     the contraction subsides.

     WE ARE ON EVELYN&apos;s BACK as she struggles up onto her feet and
     down the remaining stairs. As she rounds the banister and out
     of frame... WE HOLD ON THE FRONT HALL.

     Out the front door and onto the sand path warmly lit white
     from the Christmas lights above.


53   INT. FARMHOUSE - BASEMENT - LATE AFTERNOON                   53

     WE ARE LOW looking up the basement stairs as suddenly...
     EVELYN appears in the narrow doorway and grabs hold of the
     wall, still carrying the children&apos;s mirror. She takes a
     moment and then begins to descend the exposed stairs with the
     same deliberate effort.

     COMING TOWARDS CAMERA, EVELYN gets bigger and bigger in the
     frame until her head disappears, then her belly.

     Just as her foot comes down into close up we:

     RACK FOCUS to... THE NAIL STANDING STRAIGHT UP!!!!

     EVELYN&apos;s foot steps STRAIGHT DOWN ON IT!!!!!

     WE WATCH THE NAIL PIERCE INTO THE BOTTOM OF HER FOOT... and
     then ERUPT THROUGH THE OTHER SIDE!!!!!!!!

     THE SOUND CUTS OUT as we go:

     CLOSE ON EVELYN as the shock and searing pain collides in her
     brain behind her eyes. Then...

     CLOSE ON THE MIRROR as it SILENTLY CRASHES DOWN THE STAIRS...
     then rattles around in a circle before coming to a
     standstill.

     SOUND COMES RUSHING BACK IN

     ON EVELYN as full blown fear washes over her. That sound was
     most definitely HEARD. She looks down...

     CLOSE ON EVELYN&apos;s FOOT... as she SLIDES THE FOOT SLOWLY UP
     THE NAIL... and POPS IT FREE. Blood immediately begins to
     drip from the wound.

     EVELYN rushes down the remaining stairs, wincing with every
     other step.
                                                                  40.


     WE FOLLOW ON EVELYN&apos;s BACK as she hurriedly shuffles through
     this basement that once felt familiar in the romantic glow of
     their slow dance... but now feels stark... and desperately
     lonely.

     Finally, EVELYN arrives... at LEE&apos;s security console. She
     desperately pushes past stacks of notebooks and files, boxes
     of various electrical equipment like cellphones, cassette
     players and EGG TIMERS that have been pillaged for parts.
     EVELYN finally moves... THE BOX OF HEARING AIDS... to reveal
     that there on the wall... is a large, hand made switch.

     EVELYN grabs the knob at the top and thrusts it down.


54   EXT. FARM - LATE AFTERNOON                                     54

     Suddenly, flickering to life against the dusk colored sky...

     LINES OF RED CHRISTMAS LIGHTS!!!

     Like the white lights before, the power grid like system
     illuminates the farm in bright... RED!!!


55   EXT. ROAD - LATE AFTERNOON                                     55

     REGAN lies in the sand next to the cross.    Behind her we
     see... RED LIGHTS THROUGH THE TREES!

     ... REGAN doesn&apos;t see them.


56   INT. FARMHOUSE - BASEMENT - LATE AFTERNOON                     56

     ON EVELYN, leaning on LEE&apos;s console. Her eyes closed, she
     takes slow, deep breathes, as if to convince herself that it
     will all be OK now... The signal has been sent.

     For a brief moment... a smile... as she then opens her eyes
     and moves back to the stairs.

     As she clutches the support beam and goes to take her first
     step up...

     A LARGE SHADOW FLASHES PAST THE DOORWAY!!!!!

     EVELYN spins back away from the stairs in terror.


57   EXT. WOODS - VALLEY PATHWAY - DUSK                             57

     As sky begins to settle into dusk above the towering trees...
     LEE enters carrying a limp MARCUS.
                                                               41.


     He trudges up the sand path, looking down at MARCUS.

     MARCUS&apos; eyes are open... but he is not present.

     ON LEE&apos;S BACK NOW, as he and his son crest the hill.

     WE BOOM UP to see the dark horizon line of sky... give way to
     the top of the silo... and then the fire red ground
     illuminated by Christmas lights.

     ON LEE as we see his face register exactly what this means.

     He breaks into a full sprint.


58   INT. FARMHOUSE - BASEMENT - DUSK                            58

     CLOSE ON one of the basement windows as red light pours
     through.

     WE PULL BACK SLOWLY as:

     EVELYN&apos;s HANDS enter frame. She desperately pushes on the
     window... nothing.

     EVELYN roams around the basement like a caged animal
     searching for any way out...

     She moves back to LEE&apos;s security console, scanning the
     desk... think... THINK!

     Suddenly her eyes fall upon... the box of small electronics
     she just moved to get to the switch.

     Suddenly we hear:

     A SCRATCHING OF CLAWS ON A WALL AND A CRASH OF GLASS FROM
     ABOVE HER!!!!

     EVELYN freezes with fear.   Then....

     THE HORRIFIC SCREEEEEEEEECH CAN BE HEARD!

     EVELYN closes her eyes as the same sound that preempted her
     son&apos;s death washes over her.

     Then... her eyes shoot open in pain...

     CONTRACTION!!!

     Larger than the second one, this one brings EVELYN to her
     knees, her head dips to the ground as she grimaces in intense
     pain.
                                                                42.


     CLOSE ON EVELYN as her head suddenly shoots back up... The
     red light pouring in from the basement windows cuts a line
     across her face revealing her exploding eyes trying to
     swallow the pain. Tears begin to fall... she is unable to
     breath.

     Then suddenly... air slowly escapes as she exhales... the
     contraction has passed. After a moment of realization?...
     Disbelief? She stands up and out of frame.

     WE HOLD and then slowly pan down to... a small pool of blood
     on the floor.


59   INT. FARMHOUSE - DUSK                                        59

     NOW LOOKING DOWN THE STAIRS from the doorway in the first
     floor hallway... we see...

     EVELYN rush through frame past the stairs.

     ... WE CAN BARELY MAKE OUT A NONDESCRIPT SOUND.


60   INT. FARMHOUSE - BASEMENT - DUSK                             60

     ON EVELYN as she quickly slides in behind a large boiler. We
     can see the basement stairs in the background.

     EVELYN squeezes her eyes shut... and begins murmuring to
     herself... THE NONDESCRIPT SOUND IS SLIGHTLY LOUDER... A
     TICKING...

     And then....

     EVELYN&apos;s eyes shoot open... What now?   Suddenly....

     CONTRACTION!!!!

     We are on EVELYN&apos;S face as she endures this immeasurable pain
     in this unthinkable moment...

     Then we hear...

     TICK.... SCRAAAAAPE... TICK.... SCRAAAAAPE

     Whatever IT is... it&apos;s coming DOWN THE STAIRS.

     TICK.... SCRAAAAAPE... TICK.... SCRAAAAAPE

     EVELYN crushes herself even tighter against the wall behind
     the boiler... closing her eyes and exhaling in pure, painful,
     silence as the contraction subsides...
                                                         43.


Suddenly we hear...

SILENCE...

EVELYN turns and peers through the water tanks.

IN EVELYN&apos;S POV as she scans the room through the sliver of a
view then suddenly...

We can barely make out more than a SLIVER of a creature&apos;s
shoulder or back from in between the tanks. WE CAN SEE THAT
IT IS COVERED IN SMALL ARMOR LIKE PLATES! Suddenly...

The small plates on the creature&apos;s shoulder... BEGIN TO LIFT
UP??!! Like the pieces on a colander, or... an old satellite
dish... the small plates open up with the crackle and pull of
anatomical goo underneath. Then all of the sudden... the
plates BEGIN TO ROTATE! Like directional microphones, the
plates... begin searching the room... FOR SOUND!

From behind the tanks, EVELYN watches as the creature&apos;s
plates turn toward the wall of monitors. Suddenly, each of
the screens... begins to flicker!!! Then... the picture goes
completely dark!

EVELYN then suddenly rolls her back against the tanks to look
from one side of the room... to the other.

Suddenly... We now can identify the NONDESCRIPT SOUND FROM
EARLIER as... TICKING.....

Then, sitting on a shelf on the wall opposite the console, we
see...

AN EGG TIMER!!!

WE CONTINUE TO PUSH IN, THE TICKING SOUND NOW MUCH LOUDER,
when finally, just as we land CLOSE UP on the egg timer...

RIIIIIIIIIIIIIIIIIIING!!!!!!!!!!!

THE CREATURE SCREEEEEEEEEEEECHES!!!!

AND ATTACKS THE SOUND!!!!!!!

EVELYN opens her eyes...

That&apos;s it! Her plan worked!    EVELYN thrusts herself away
from the tanks!!

WE TRACK WITH HER as she moves as quickly as she can to the
exposed stairs and begins to climb.
                                                              44.


61   INT. FRONT HALL - DUSK                                       61

     FROM THE KITCHEN WE LOOK THROUGH THE HALLWAY ONTO THE FRONT
     DOOR. Suddenly... EVELYN bursts out of the doorway from the
     basement.

     WE FOLLOW ON HER BACK as she maneuvers her feet desperately
     from PAINTED SPOT to PAINTED SPOT down the hall to the front
     door and to freedom!

     She grabs the stair post for support as she crosses through
     the front hall, only steps from the door when, OVER HER
     SHOULDER we barely see:

     A DARK SHADOW WALKING UP THE SAND PATH!!!

     EVELYN immediately spins around into CLOSE UP as we now LEAD
     HER as she rushes up the main stairs.

     At the top of the stairs, WE TILT DOWN as she reaches to the
     floor and picks up the thick blankets covering the landing.
     Behind her... THE FRONT HALL LIGHTS BEGIN TO BRIGHTEN!


62   EXT. BARN - DUSK                                             62

     WE HOLD ON the side of the barn... as LEE enters with MARCUS
     and places him on the ground.

     WE FOLLOW LEE as he slowly cranes his neck to look around the
     barn. There, beautifully lit in RED is the sand path leading
     to the farmhouse. LEE&apos;s eyes travel down the path and up the
     stairs and...

     ONTO A LARGE DARK SHADOW... NOW IN THE FRONT HALL!!!

     LEE snaps his back against the wall, his eyes darting with
     fear as he thinks... thinks. Finally he turns to his son who
     stands looking at him blankly.

     LEE immediately digs into his back pack and pulls out... A
     FLASH LIGHT!

     LEE places the flashlight in MARCUS&apos;s hands.   MARCUS looks up
     to him with familiar panic in his eyes.

     LEE then slides closer to his son... and gently places his
     hands on MARCUS&apos; shoulders.

     Suddenly, LEE places his left hand straight up against his
     chest, crosses the fingers of his right hand, brings the two
     together and... shoots his right hand into the sky.
                                                             45.


     This... is the same exact sign his four year old son made in
     the general store at the beginning of the movie. This...
     means ROCKET.

     MARCUS shakes his head no.

     LEE gently places his hands on MARCUS&apos; face and looks
     directly in his eyes. No doubt informed by the heart opening
     day they&apos;ve had... It is a beautiful moment of strength as
     LEE communicates so much to his son. First and foremost,
     there is understanding... and even an apology for the
     situation they are in. But then the look turns to imploring.

                         LEE (SIGNING)
               Your mother needs help. I need you
               to do this... for her.

     MARCUS looks to his dad... his eyes change.

                         LEE (SIGNING) (CONT&apos;D)
               ... please...

     And with that... MARCUS is gone.

     ON LEE as he watches his son run down the side of the barn...
     and disappear around the corner. He takes a deep breath...
     God protect his son. God protect all of them.

     LEE turns and runs around the barn.


63   INT. FARMHOUSE - UPSTAIRS BATHROOM - DUSK                   63

     FROM ABOVE we see EVELYN enter the room carrying the thick
     blankets from the stairs and turns on the bathroom light...
     spots of blood smear on the floor.

     ON EVELYN as she slowly gets into the bathtub. Tears fall
     down her face as she reaches over the wall of the tub... and
     starts stacking the blankets from her knees to her chest.

     As she folds the last blanket over herself...

     CONTRACTION!!!

     This time her eyes go wide with the electric shock like pain.
     This... is the big one. THIS... IS HAPPENING!

     Suddenly we hear...TICK.... SCRAAAAAPE... TICK.... SCRAAAAAPE

     Whatever IT is... it&apos;s trying to climb the stairs.

     TIGHT ON EVELYN&apos;s hand as it jerks and grips til it turns
     white from force.
                                                                46.


     FROM ABOVE, we see EVELYN in extreme pain... but somehow
     keeping it all in.

     Suddenly... a small stream of blood begins to trickle by her
     exposed feet.


64   INT. BARN - LEE&apos;S BEDROOM/STALL - DUSK                       64

     LEE rushes into his room and reaches under his mattress and
     pulls out...

     A SHOT GUN!... Not the first choice, when trying not to make
     noise... but he has no other choice.


65   EXT. FARM - CORNFIELD - DUSK                                 65

     MARCUS walks down a thin sand path, suddenly stops... and
     looks up to a HUGE OVERARCHING FIGURE ABOVE HIM!

     It is a watering device found in cornfields that tower high
     above the corn and roll slowly through the fields on giant
     wheels.


66   INT. FARMHOUSE - UPSTAIRS BATHROOM - DUSK                    66

     ON THE BATHTUB. All that can be seen are EVELYN&apos;s eyes as
     she peers over the bathtub wall. Through the door... and to
     the steps. Suddenly we hear again...

     TICK.... SCRAAAAAPE... TICK.... SCRAAAAAPE

     Just then... The light bulb above EVELYN begins to DIM!!!

     QUICKLY BACK ON EVELYN as she begins to cry, preparing for
     the end. And then...

     CONTRACTION!!!!

     FROM ABOVE as EVELYN&apos;s face shoots to the sky... with no
     affect. Her eyes wide, the rest of her face is calm.

     Then we see... Blood and fluid now pool around her feet as
     the light above her... goes out.

     From only the light from the window we see EVELYN&apos;s face...
     finally crack in pain. Her mouth opens... releasing the most
     guttural... and now two person...

     SCREEEEEEEAM!
                                                                47.


     BUT, right at that moment, the screams of mother and baby are
     drowned out by a thundering.....

     BOOOOOOOOOOOOOOOOOOM!!!!

67   EXT. FARMHOUSE - SAND PATH - NIGHT                           67

     WE TRACK WITH LEE as he sprints down the sand path holding
     the shot gun like a civil war soldier rushing into battle
     as...

     ENORMOUS BLOOMS OF FIREWORKS BURST BEHIND HIM!!!!

     Red, green, white... large plumes, small sparkles falling
     down.

     In the midst of this unthinkable nightmare... it&apos;s gorgeous.


68   EXT. ROAD - NIGHT                                            68

     Huge bursts of fireworks light up through the tops of the
     towering trees...

     REGAN, sits up abruptly into the fireworks&apos; silhouette.

     CLOSE ON REGAN as the colors illuminate on her face.


69   INT. FARMHOUSE - FRONT HALL - NIGHT                          69

     FROM THE DINING ROOM, we look into the front hall in the
     background.

     Suddenly, from the doorway... the muzzle of a gun pokes
     through. Then moments later... LEE walks in stealthily.
     Moving the gun exactly where his eyes point... he clears the
     room.

     ON LEE&apos;S BACK as we look down the gun barrel. He looks to
     the dining room. He looks to the living room. He looks to
     the... STAIRS!!!

     LEE&apos;S POV as he walks up the stairs. On each stair... drops
     of blood. To the left, along the wall, the wallpaper has been
     intermittently RIPPED... IN THREE EQUIDISTANT MEANDERING
     LINES.
                                                               48.


70   INT. FARMHOUSE - UPSTAIRS HALLWAY - NIGHT                    70

     THROUGH A DOORWAY onto the now exposed wood floor landing
     with the bannister outlining the upstairs hall.

     Suddenly, the top of LEE&apos;s head enters frame... just as the
     creature&apos;s had only moments before... Then his gun, facing
     into the bedrooms to the side. LEE moves the gun confidently
     in all directions, making sure the upstairs is clear.

     As LEE&apos;s gaze comes around to face directly at us... his gun
     lowers... and:

     WE SLOWLY PULL BACK INTO THE ROOM TO REVEAL... the
     bloodstained edge... of the BATH TUB.

     ON LEE&apos;s BACK as he rushes to the tub to find... just blood
     in an empty bath tub.

     LEE turns into his own CLOSE UP PROFILE as his back slides
     down the bathtub and onto the floor. His hand releases the
     gun to the floor. His eyes close and he begins to... softly
     weep.

     A mirror behind LEE reflects the room back to him, revealing
     for the first time... a beveled glass shower door at the
     opposite end of the room. Suddenly...

     A BLOODY HAND HITS THE GLASS!!!!... And the shower door
     slowly opens!!!

     OVER LEE as he scrambles to the shower and opens the door!
     Stuffed inside... is a quivering pile of blankets.

     LEE drops to his knees and pulls back the blankets to see...
     his wife. Pale, with eyes closed... she&apos;s breathing. And in
     her arms... a sleeping newborn baby.


71   EXT. CORNFIELD - NIGHT                                       71

     WE HOLD ON THE TOPS OF THE DENSE CORN, the creature like
     silhouette of the giant watering device looming... as the
     last of a series of bottle rockets fire into the darkening
     night sky.

     WE MOVE ABOVE THE CORN and then descend through it onto a
     thin sand path and onto... MARCUS. WE FOLLOW WITH HIM as he
     safely walks back toward the BARN, holding his flashlight, as
     the final bursts of fireworks illuminate behind him. On
     MARCUS&apos; face... is genuine pride. He knows he has done
     something heroic. Suddenly...

     WE HEAR THE SNAP OF CORNSTALKS!!!
                                                          49.


MARCUS, frantically whips his light around the path behind
him.

WE FOLLOW HIS LIGHT as it scans the path and the stalks...
Even with nothing there... it&apos;s terrifying.

Just then... His flashlight begins to DIM....

SNAP!!!

MARCUS whips his light around to the thin sand path in FRONT
of him... nothing...

SNAP!!! CRUNCH!!! SNAP!!! CRUNCH!!!   Something ELSE is
moving toward him... fast!

MARCUS turns around, away from the BARN... AND RUNS!!!!   WE
ARE ON MARCUS&apos; FACE AS HE RUNS... Scanning, scanning...
SNAP!!!... SCANNING!!!... CRUNCH!!! SCANNING!!

HIS FLASHLIGHT... STARTS TO FLICKER OUT...

THE CORN TO HIS RIGHT... BEGINS TO SNAP... ITS COMING CLOSER!

MARCUS turns and begins to run... INTO THE CORN!!!!

WE ARE NOW IN A TERRIFYING PERSPECTIVE... HANDHELD, AS CORN
CROSSES RIGHT PAST LENS. THE FLASHLIGHT not able to cast
light on anything that&apos;s not right in our face, creating
almost a STROBE EFFECT!!! MARCUS is making... A TON OF
SOUND!!!!

ON MARCUS&apos; FACE... pure panic. When suddenly... WE ARRIVE
into a small clearing to see... A TRACTOR, completely
overgrown with corn. MARCUS immediately climbs onto the
tractor and frantically whips his light around the
clearing... and into the dense corn...

THE LIGHT... STARTS TO DIM.... SNAP!!! CRUNCH!!! SNAP!!!
CRUNCH!!! Something is moving toward him FAST! THE LIGHT
BEGINS TO FLICKER.... and then goes out.

Suddenly, off in the corn in front of him (AND FOR THE FIRST
TIME) we hear... A LOUD SCREEEEEEEEEEEEEEECH!!!! The light
suddenly BLARES BRIGHT as...

A DEER HEAD POPS OUT OF THE CORN!!!!!!!!

ALL IN AN INSTANT, MARCUS flies back in fear! Slipping from
the top of the tractor... and SLAMMING HIS HEAD INTO THE
WHEEL WELL.

BLACK
                                                               50.


72   EXT. FARM - DRIVEWAY - NIGHT                                72

     Fade in: The night is now dark.

     WE ARE BEHIND REGAN walking.   AS WE ARE WITH HER... WE ARE IN
     TOTAL SILENCE.

     She looks around at the remnants of the last horrifying
     moments... More reminiscent of a soldier returning to a
     battlefield, then a girl returning to a farm, we see
     countless streamers of firework smoke still falling
     gracefully from the sky. The tips of dry cornstalks
     flicker... alight with small flames. Off in the distance we
     see... lights of the SILO. Shining like a beacon.

     REGAN walks along the eerie shadows of corn stalks when
     suddenly at her feet... cracks of light.

     REGAN lowers to her knees and puts her head to the ground to
     see... a bright light, cutting through the bottom of the
     stalks of corn. Suddenly, the pliers REGAN used to work on
     the TOY SHUTTLE... slip out of the pocket of her dress...

     ...AND CRASH ONTO A ROCK ON THE GROUND!!!

     REGAN... doesn&apos;t even notice... because she didn&apos;t even hear
     it... REGAN sits back up to kneeling position when suddenly
     the cornstalks behind her... BEGIN TO LAY DOWN... AS A SHADOW
     EMERGES!!!At that exact moment... we begin to hear the oddest
     and unpleasent beeeeeeeeeeeep.

     Suddenly, REGAN&apos;s eyes begin to squint slightly.   Then... her
     hand slowly reaches up to her ear?...

     SHE CAN HEAR THE BEEP!!!!

     SUDDENLY... the SHADOW moves closer to REGAN... and THE
     BEEEEEEP GROWS!!! Now at a near deafening level, we see the
     shadow behind REGAN... stop? REGAN&apos;s face now scrunches up
     in agony as she grabs her ears!!! REGAN digs into her right
     ear, rips out the hearing aid and launches forward!!

     ....SILENCE.....

     REGAN suddenly kneels back up into frame... THE SHADOW IS
     GONE!... SHE NEVER EVEN KNEW IT WAS THERE.

     Breathing wildly, REGAN looks at the hearing aid in her hand.
     Her face is almost electrified! As excruciating as that
     was.... THAT IS THE FIRST SOUND SHE HAS EVER HEARD!

     REGAN... slowly puts the hearing aid back in her ear...

     ....nothing....
                                                               51.


73   EXT. CORNFIELD - NIGHT                                       73

     WE FOLLOW REGAN as she walks down the small path leading
     to... the clearing. One ladder stands, the other ladder on
     the ground, bottles and fireworks litter the ground. And
     then, there in the center of the clearing, lit by the
     flashlight... one half of a deer carcass.

     ... No sign of MARCUS...

     REGAN slowly bends down to pick up the flashlight when
     suddenly... THE CARCASS MOVES! REGAN jumps back,
     terrified!!!

     Then from under the neck of the deer... a hand!!

     REGAN runs over and pushes the carcass off of... MARCUS, who
     has been safely lying underneath.

     Covered in blood, he scrambles to try to get to his feet.
     REGAN grabs him and holds him tight. She places her finger
     to her lips... just like her dad.

     She looks around to see if they have a chance to run... and
     then thinks better of it. She looks back to her brother...
     and places her hand on his chest.

     WE RISE above the clearing, above the overgrown tractor...
     and once again into the night.


74   EXT. FARMHOUSE - NIGHT                                       74

     WE ARE WIDE on the FARMHOUSE. The RED CHRISTMAS lights sway
     gently in the now calm night air.

     After a long quiet moment...

     LEE appears at the doorway.    He carries EVELYN in his arms...
     The baby in hers.

     He slowly descends the porch stairs and begins to walk toward
     the BARN... his eyes locked firmly on his cargo. For a
     moment, as LEE walks, this all feels almost like a dream. Or
     the end of a nightmare. Respite.

     WE ARE TIGHT ON EVELYN who we see is unconscious from the
     trauma and the loss of fluids... THEN DOWN TO the tightly
     wrapped baby sleeping in her arms.

     LEE looks ahead to the doors of the BARN off in the seemingly
     never ending distance.

     Suddenly...
                                                          52.


THE BABY BEGINS TO STIR!!!

LEE&apos;s eyes shoot down to see the baby streeeeeeeeetch... and
slowly begin to open it&apos;s eyes.

ON THE BABY as it looks up, searchingly, at his father... as
his father picks up his pace!

Suddenly... we begin to notice the dim red light on the
baby&apos;s face... BEGINS TO FLICKER!

ON THE BARN DOORS getting closer... closer.

ON LEE as he trudges with everything he has to get his baby
to safety when suddenly... a cold wind blows across LEE&apos;s
face and through his hair.

LEE slowly looks down as...

THE BABY CRIES!!!!!!

WE HOLD DIRECTLY ON LEE, LEADING HIM, as he breaks into a
full sprint!

LEE&apos;S eyes momentarily dart quickly to the side, not at all
prepared for what he might find.

WE NEVER LEAVE LEE&apos;s FACE. As his head bobs back and forth
from running, we intermittently catch glimpses of the long
path behind him. First we see the FARMHOUSE shrinking in the
distance behind him. And then we hear...

SNAP!!!

BEHIND LEE... the large tree near the farmhouse moves
wildly!!

LEE&apos;s eyes never even widen. There is no surprise. This is
the moment he knew would come. As he sprints with everything
he has... the string of bulbs above him... DIM DOWN TO ALMOST
NOTHING!!!!

IN THE DARK DISTANCE BEHIND HIM... A
SCREEEEEEEEEEEEEEECH!!!!...

Lee... Is... Running... running... closer... closer...
then....

LEE BURSTS THROUGH THE HEAVY QUILTS!!! HE&apos;S IN THE BARN!!

WE ARE ON LEE as he sprints through the familiar interior of
the BARN. When suddenly...

WE HEAR A HUGE BANG!!!   Then...
                                                                53.


     THE HEAVY QUILTS FLY UP INTO THE AIR!!!... JUST AS LEE
     DESCENDS INTO THE GROUND!


75   INT. BARN - SAFE ROOM - NIGHT                                75

     LEE falls back onto the steps, barely holding onto his wife
     and child as his free hand reaches for... the mattress!

     As LEE finally grabs the mattress and slides it over the
     opening above the stairwell...

     BLACK
     In total darkness we hear:

     LEE&apos;S BREATH QUICKENS... AN ODD SOUND OF SOMETHING HEAVY...

     ABOVE... THE CREATURES ARE INSIDE THE BARN!!!! A CACOPHONY
     OF SCRATCHING, TEARING AND SCREECHING... Then...

     FIRE!!... LEE&apos;s lighter cuts through the black and then
     retreats into a small glow in the room as we try to
     comprehend what&apos;s happening. We see EVELYN has been placed
     on a hay bale as...

     ABOVE... A CRASH!!!!! THE CREATURES ARE TEARING THROUGH THE
     ROOMS... AND DROWNING THE SOUNDS OF THE FAMILY BELOW... FOR
     THE MOMENT...

     LEE picks up the crying baby... as we PUSH IN. For one brief
     second amidst the fury of nerves and sound we see... a father
     holding his newborn child for the first time. It is a
     precious, once in a lifetime moment.

     Then...

     A PLASTIC MASK COMES INTO FRAME... and ONTO THE BABY&apos;s
     FACE!!!!

     As if in an airplane video, LEE wraps the mask&apos;s strap behind
     the baby&apos;s head... and then LOWERS THE BABY INTO THE WOODEN,
     QUILT LINED BOX!

     WE PAN TO THE SIDE of the box... along a clear plastic
     tube... to a stand up air canister. LEE&apos;s hand enters frame
     and turns the valve... a quiet whisper of air.

     LEE stares down at his tiny crying baby wearing an oxygen
     mask. The juxtaposed image seemingly almost as bizarre to
     him as it is to us. THEN...
                                                                54.


     LEE PLACES A LARGE STACK OF BLANKETS OVER THE TOP OF THE
     BOX!!!!... AND THEN A COVER!!!!

     THE BABY&apos;S SCREAMS CAN&apos;T BE HEARD...

     THE BANGING... THE SCREECHES... INCREASE IN TEMPO AND
     SOUND!!!

     LEE just stares down at the small casket like box...

     This either works... or they&apos;re dead...


76   EXT. CORNFIELD - DRIVEWAY - NIGHT                             76

     WE FOLLOW REGAN and MARCUS as they sprint up the main sand
     path/driveway running parallel to the cornfields. With the
     flashlight slicing through the darkness... it&apos;s nearly
     impossible to tell where we are. Suddenly the corn ends and
     OVER MARCUS AND REGAN we see...

     Shadows of farm equipment!

     REGAN turns her head... and looks up.

     REGAN&apos;s POV as we climb higher and higher... to the top of
     the SILO!


77   INT. BARN - SAFE ROOM - NIGHT                                 77

     Silence... The frame filled with a dark brown... Time has
     passed. Then...

     WE TRAVEL DOWN from the dirt ceiling... past a hook on the
     wooden support beam... to a clear plastic IV BAG hanging...
     down a fluid filled plastic tube... and into an arm.

     WE PULL BACK to reveal EVELYN lying on the hay bale
     comfortably... her eyes still closed. She has been
     bandaged... and wears LEE&apos;s sweater. A single burning candle
     by her side. Then...

     EVELYN SHOOTS AWAKE!!! SHE SCRAMBLES TO SIT UP THROUGH THE
     PAIN!!! HER EYES SEARCH A LOW LIT ROOM!!! SHE GOES TO SIT
     UP AND WINCES... AN IV IS IN HER ARM!!

     Out of the darkness... comes LEE!   He is holding the baby.

                          LEE
               It&apos;s ok.   It&apos;s ok!   Your safe.

     EVELYN looks up at LEE immediately confused as to why he&apos;s
     talking... then it sinks in.
                                                        55.


                       EVELYN
          It worked?

                       LEE
          It worked.

                    EVELYN
          It worked... it worked...

LEE holds up the sleeping baby and places it in EVELYN&apos;s
arms... Tears fall down her face. She looks back up to her
husband... and then around the room.

                    EVELYN (CONT&apos;D)
          Where&apos;s Marcus?

Pause.

                    LEE
          I&apos;ll find them.

                       EVELYN
          Them?!

EVELYN immediately tenses.

LEE takes the sleeping baby from EVELYN and places it in the
safe wooden box. No air mask needed now.

                    EVELYN (CONT&apos;D)
          She was with me in the house. I
          was doing laundry and she-- He was
          with you. How did he--

LEE sits next to his wife... and begins to lay her back down.

                       LEE
          Rockets.

EVELYN pauses.

                    EVELYN
          Then he-- then he&apos;s still there.
          He&apos;d know to--

LEE sits next to his wife... and begins to lay her back down.

                    LEE
          I&apos;m sure he is.

                    EVELYN
          She&apos;s smart she&apos;ll have found a
          place to-- She&apos;s smart...
                                                    56.


EVELYN&apos;s gaze finally lands on her child.

                    EVELYN (CONT&apos;D)
          It&apos;s a boy.

                    LEE
          ... It&apos;s a boy.

                    EVELYN
          ... It&apos;s a boy.


Pause.

                    EVELYN (CONT&apos;D)
          ... I could have carried him.

LEE looks at his wife confused.

                    EVELYN (CONT&apos;D)
          He was so heavy...

LEE freezes...

                    EVELYN (CONT&apos;D)
          I can still feel the weight in my
          arms. He was... small, but so
          heavy, wasn&apos;t he?

LEE can&apos;t speak.

                    EVELYN (CONT&apos;D)
          My hands were free-- I was carrying
          the bag, but my hands were still
          free... I could have carried him...
          I should have carried him.

                    LEE
          ...Evelyn...

                    EVELYN
          Who are we?... if we can&apos;t protect
          them. Who are we?

LEE is frozen... every image rushing back to him.

                    EVELYN (CONT&apos;D)
          You have to protect them.

                    LEE
          I will.
                                                              57.


                         EVELYN
               Promise me. We can&apos;t--... You need
               to protect them.


78   EXT. SILO- ROOF - NIGHT                                      78

     CLOSE ON... A FLAME!!!

     As it dies down, coming into view we see... MARCUS sitting in
     front of the shallow metal drum their father sat in front of
     the night before.

     REGAN walks around the fire looking out across the farm for
     any sign of her father.

     Just as the fire is about to die out, REGAN walks back and
     squirts the last remaining fluid from the bottle. The fire
     rages again and illuminates the two children... as well as
     the fading hope on their faces.

     The fire begins to die down again. REGAN rummages in the box
     picking up the empty bottles of lighter fluid and shaking
     them frantically...

     She shakes the last empty bottle... And slumps down...
     defeated... scared.

     In the last moments of the dying flame...

                         MARCUS (SIGNING)
               He&apos;ll come for us.

     The two kids stare off desperately over the farm...
     preventing them from seeing far off in the distance to the
     right...

     A fire ignites... Then farther off... another fire...

     BUT THIS TIME... ITS ONLY TWO!

     The kids don&apos;t even notice.


79   INT. BARN - NIGHT                                            79

     WE ARE ON THE FAMILIAR image of the interior of the BARN.
     Suddenly, the mattress on the ground... moves.   Then...
     LEE&apos;s head slowly arises from underground.

     LEE stands to see their barn... their life has been tossed
     and ravaged.
                                                                58.


     LEE places the mattress back over the large unfinished hole
     leading down to the safe room and stands up. LEE stares down
     at the mattress... and what it protects... then walks out of
     frame.

     WE HOLD ON THE mattress a moment... And then SLOWLY MOVE
     along the floor of the BARN... past the monopoly game...
     until we reach the bedroom stalls to see...

     A LARGE CLAW MARK GOUGED OUT OF THE BARN WALL!

     As we move down we see... a pipe above the long trough on the
     wall...has broken...

     WATER DRIPS FROM THE BROKEN PIPE... AND A POOL OF WATER...
     MOVES ACROSS THE FLOOR!


80   EXT. SILO - ROOF - NIGHT                                     80

     CLOSE ON REGAN, oddly lit. She lays on her back staring up...
     at the stars. REGAN fumbles with something in her ear...

     WE GO EXTREME CLOSE on her turning the tiny dial on top of
     her hearing aid. As she does... she places her other hand by
     her ear and rubs her fingers together, hoping to hear a
     sound.... Nothing.

     REGAN turns the dial even more... nothing.

     REGAN immediately rolls over, frustrated. Sitting directly
     in her view, on his dad&apos;s small stool... is MARCUS looking
     out hopefully to the farm.

                         MARCUS (SIGNING)
               He&apos;ll come.

     REGAN scoffs and goes to get up when suddenly, under her
     dad&apos;s stool she sees... a box... the box LEE kept the photo
     in... She reaches under the stool and grabs it.

     NOW CLOSE OVER THE BOX ONTO REGAN as she stares down at it...

     Then... As the lid opens, it covers frame completely to...

     BLACK


81   INT. BARN - SAFE ROOM - NIGHT                                81

     EVELYN&apos;S eyes shoot open!   Her face barely lit from a small
     slice of red light.

     We hear very clearly... The sound of running water.
                                                           59.


EVELYN squints as her eyes adjust to the low light and
attempts to get her bearings.

EVELYN&apos;s POV as she scans across the ceiling, down the walls
and finally onto... the blanket covered crib in the middle of
the room.

A relieved smile appears on EVELYN&apos;s face... and then a
wince... as she slowly tries to sit up.

She quietly slides her legs off of the hay bale and toward
the ground when... she suddenly stops!

WE FOLLOW EVELYN&apos;s eyes down her body to the ground to see
her legs...

ARE SUBMERGED IN WATER!!!!

EVELYN&apos;s eyes shoot frantically around the dark room again
and finally land on the source of red light from above. She
leans forward to see... CHRISTMAS LIGHTS...

THE MATTRESS HAS BEEN MOVED!

From one corner of the large opening... a stream of water
pours down into the room. Suddenly...

A SNORT!!!!

EVELYN&apos;s head slowly turns... The look on her face reveals to
us the immediate truth that her brain won&apos;t yet admit.

EVELYN&apos;s POV as we scan the room once more.   This time, in
the shadowed corner of the room...

A LARGE BLACK SHAPE!!!!!

EVELYN is frozen with fear as she watches....

THE SILHOUETTE OF A CREATURE STANDING DIRECTLY ABOVE HER
BABY&apos;S CRIB!!!!!!!!!!

EVELYN&apos;S eyes travel down from the creature... to her baby&apos;s
crib where...

THE QUILT BEGINS TO MOVE!!!.... THE BABY... IS WAKING UP!!!

Suddenly... WE HEAR THE BEGINNINGS OF THE LOW HUM!!!

We see a flash of red reflected off the small plates... as
they open.
                                                          60.


WE HOLD ON EVELYN, her brain racing as fast as her heart, as
she slowly looks at THE PLATES ROTATING... SCANNING THE ROOM.
Suddenly... Her breath stops... as EVELYN...

STANDS UP!!!!!

As she stands... We watch the rings in the water from EVELYN
flow through the room... TO THE CREATURE!! The plates
immediately turn down toward the rings in the water.

EVELYN looks over to the water running down the steps... then
back to the creature. It is clear it can&apos;t place exactly
where she is due to the sound of the dripping water.

WE FOLLOW on EVELYN&apos;S back as she begins to slowly... MOVE
THROUGH THE WATER!!!

Suddenly... the red lights from the barn above begin to
DIM... and illuminate THE CREATURES BACK!!!

WE GO CLOSE on it&apos;s small plates completely opened up and
vibrating... WE TRAVEL CLOSE up it&apos;s back through the tunnel
of receiving its plates have created and end CLOSE ON the
cavernous holes in it&apos;s head where the information is
processed.

When suddenly... EVELYN, with an unnerving calm...

REACHES INTO THE CRIB!!!!

CLOSE ON the crib to reveal...

THIS NEWBORN BABY... IS WIDE AWAKE!!!!

CLOSE ON EVELYN, as she places the baby on her shoulder as...
SHE BEGINS TO SLOWLY WALK BACKWARDS!!!!

EVELYN&apos;S POV as we watch... THE CREATURE&apos;s plates begin to
turn on its body... they are turning... TOWARD EVELYN...

THE WATER BEGINS TO MOVE as... THE CREATURE TURNS TO EVELYN!!

WE GO CLOSE ON THE VIBRATING WATER TRAVELING TO EVELYN...

UP ON EVELYN as she closes her eyes and continues walking
backward, when suddenly we see... A GUSH OF WATER CASCADING
BEHIND HER.

Without flinching, EVELYN COVERS THE BABY... AND WALKS RIGHT
THROUGH THE CASCADING WATER suddenly... DISAPPEARING!

ON EVELYN, her back pressed up against the dirt wall. The
water pouring only inches from her face... like a small
waterfall.
                                                               61.


     Then just in front of EVELYN... distorted behind the
     waterfall... THE CREATURE SLOWLY ENTERS... then...

     Though our view is skewed through the water... IT OPENS IT&apos;S
     MOUTH!!! Even through the distortion, we still understand
     what we&apos;re seeing is A LONG CRESCENT OF RAZOR SHARP TEETH!!!!


82   EXT. CORNFIELD - NIGHT                                       82

     From black... a flashlight slices into frame, illuminating
     the looming corn stalks on either side as WE MOVE SLOWLY
     along a thin sand path that cuts through the dense corn.

     LEE walks into frame.

     He comes to the end of the thin path and arrives at... THE
     OVERGROWN TRACTOR.

     ON LEE&apos;S face as he scans the area with his flashlight.

     ON POV of flashlight as it floods the tractor with light.

     LEE moves around the tractor... then stops.

     POV of flashlight... BLOOD!!


83   EXT. SILO- ROOF - NIGHT                                      83

     The lid of the box closes to reveal REGAN.    The sadness that
     has overtaken her... blends into anger.

                         REGAN (SIGNING)
               We can&apos;t stay here. We need to
               move.

     MARCUS shakes his head.

                         MARCUS (SIGNING)
               He&apos;ll come for us.

     REGAN shoots a look at him... and then walks AROUND THE EDGE
     OF THE SILO to the ladder. MARCUS begins waving his arms
     wildly. As REGAN turns to mount the first rung of the
     ladder... she looks back at him.

                         MARCUS (SIGNING) (CONT&apos;D)
               He WILL come for us.

     REGAN&apos;s sadness turns to anger.

                         REGAN (SIGNING)
               He&apos;ll come for YOU!
                                                                62.


     MARCUS shakes his head, signing as he steps toward her.

                          MARCUS (SIGNING)
               No.   You&apos;re wrong! I--

     And in the blink of an eye......

     MARCUS PLUNGES OUT OF FRAME!!!

     ON REGAN&apos;S face as we hear... THE BOOMING SOUND OF METAL
     RIPPING OPEN!!!


84   INT. BARN - SAFE ROOM - NIGHT                                 84

     EVELYN pinned against the wall... THE CREATURE&apos;s mouth open!
     When suddenly...

     The CREATURE immediately turns its head... Toward the sound
     of the SILO.

     SUDDENLY ITS GONE!


85   EXT. CORNFIELD - TRACTOR - NIGHT                              85

     THE LOUD SOUND OF GROANING METAL ECHOES across the sky above
     LEE.

     He immediately jumps on top of the tractor.   WE FOLLOW as:

     OVER LEE&apos;S BACK WE NOW SEE ABOVE THE VAST CORNFIELDS... TO
     THE SILO. Then...

     ANOTHER SOUND...

     LEE slowly turns only his head as we hear... a low, growling
     hum... almost like that of a swarm of bees.

     WE TRAVEL AROUND LEE 180 degrees and follow his gaze now
     toward the FARMHOUSE and BARN... and...

     DARK SNAKING LINES CUTTING THROUGH THE CORN!!!

     1 line... no 2... no... 4!!!

     THE SOUND GROWS LOUDER AND LOUDER as WE TILT with these
     rushing lines... HEADING STRAIGHT FOR LEE.

     ON LEE&apos;S face as he looks on in horror at this unstoppable
     reality, as the lines... and the SHADOWS causing them...

     SLICE THROUGH THE CORN AROUND HIM!!!
                                                                63.


     WE MOVE BACK AROUND LEE as he spins around to watch the lines
     head directly for...


86   EXT. SILO- ROOF - NIGHT                                      86

     REGAN runs to the edge of the hole to see... Two giant trap
     doors of the silo roof swinging... GROANING BACK AND FORTH!!!

     Many feet below, we see MARCUS... waist deep in a mountain...
     OF CORN.

     REGAN&apos;S body quakes as she does everything she can to resist
     the urge to call out when suddenly... MARCUS MOVES!

     MARCUS looks up at his sister as he wiggles and squirms,
     desperately trying to get free. But with every movement
     MARCUS... BEGINS TO SINK!!!

     REGAN signs to her brother to stop moving!!   When suddenly...

     BANG...BANG!...BANG!!!!!!!

     ON REGAN as she places her hands on the SILO metal... as it
     now vibrates with each blow!

     Then... A SCREEEEEEEEEEEEECH!!!!

     BANG!!!... BANG!!!... BANG!!!

     MARCUS now thrashes wildly from fear!... AS HE SINKS EVEN
     FASTER!!!

     ON REGAN as she tries to sign to her brother frantically when
     suddenly...

     ONE OF THE SWINGING TRAP DOORS RIPS FREE FROM THE SILO AND
     PLUMMETS TOWARD MARCUS!

     As the steel door crashes into the corn like a guillotine
     only inches away from him, MARCUS lunges out of the way!!!...
     That desperate quick movement... causes the corn to give way
     even more... as it now engulfs MARCUS up to his chest!!!

     Suddenly....A CRACK OF LIGHT PIERCES THROUGH THE SILO
     WALL.... AND THEN ANOTHER!!!... THE CREATURES ARE TRYING TO
     CLAW THROUGH!!!

     ON REGAN as she tries to process it all and then finally...

     SHE JUMPS DOWN INTO THE HOLE!!!!!!!
                                                             64.


87   INT. SILO - NIGHT                                            87

     REGAN lands feet first into the packed corn... which
     immediately engulfs her to her waist!!! She begins to
     scramble toward her brother... SHE TOO SINKING FURTHER INTO
     THE CORN.

     REGAN begins to push the fallen steel door toward her
     brother.

     ON MARCUS as he desperately reaches his hand out toward the
     door... his face beginning to sink under the corn!!!

     REGAN makes one last desperate push of the door toward her
     brother&apos;s hand... AS CORN ENGULFS HER TO HER CHEST!!!

     In one swift move, MARCUS places his hand onto the fallen
     silo door that sits atop the corn like a floating log in a
     river.

     MARCUS&apos;s hand grabs hold of the steel and begins to pull
     himself out. As he gets his arm up on the steel door, he
     turns back and reaches for his sister... WHO IS NOW ENGULFED
     UP TO HER NECK!!!

     MARCUS immediately reaches back to grab her hand... but REGAN
     shakes her head and motions for him to stop! Then... she
     takes one last deep breath as...

     HER FACE DISAPPEARS INTO THE GRAIN!


88   INT. SILO - NIGHT                                            88

     DARKNESS...

     A whirring of dense sound, like that of heavy rain on a car
     roof. Trickles of fading light as the sound grows quieter...
     and quieter and then... is gone.


89   INT. SILO - GRAIN PILE - NIGHT                               89

     MARCUS ferociously claws at the grain where his sister once
     was when suddenly...

     HE BEGINS TO MOVE!

     MARCUS looks back across the mountain and sees that the corn
     IS BEGINNING TO POUR OUT OF A HOLE BEING MADE BY SLASHING
     CREATURES!!!! And as the corn pours out the side, the corn
     MARCUS sits atop... BEGINS TO GIVE WAY AND SLIDE TOWARD THE
     HOLES... AND THE CREATURES!
                                                                65.


90   INT. SILO - NIGHT                                            90

     DARKNESS...

     Faintly... The whirring sounds slowly begin to fade back in.
     And with it a muted...

     ...boom....boom!...

     Tiny shafts of light begin to poke through our dark world as
     the sound grows...

     ...Boom!.....BOOM!... Suddenly...


91   INT. SILO - GRAIN PILE - NIGHT                               91

     A HAND POPS OUT OF THE CORN RIGHT NEXT TO MARCUS!!!

     The cascading corn... is actually sliding away at such a
     fierce rate that it unearths...

     REGAN&apos;S FACE AS IT POPS OUT FROM THE CORN!!! REGAN takes
     in... the deepest breath of air her lungs can handle.


92   EXT. CORNFIELD - DAWN                                        92

     LOW ON a sand path cutting through thick cornfields on either
     side as... LEE rounds the corner and sprints as fast as he
     can, his flashlight thrashes through the night sky.


93   INT. SILO - DAWN                                             93

     ON MARCUS as he wraps his arm around his sister and pulls her
     up to the steel door.

     ON REGAN, sweating... breathing heavily... She looks to
     MARCUS... who is looking away??

     MARCUS puts his finger to his mouth to tell his sister to be
     quiet.

     Now with MARCUS, we suddenly realize... THE BANGING HAS
     STOPPED!

     MARCUS grabs his flashlight and shines it down toward the
     hole created by the creatures... NOTHING!

     MARCUS shines the flashlight to another set of slash marks on
     the silo wall... NOTHING!
                                                           66.


MARCUS shines the flashlight across the now still corn...
SILENCE!

Then suddenly... A SQUEAK!!!!

MARCUS&apos; flashlight launches up to the roof of the silo...
where the second of the two doors squeaks back and forth.

MARCUS&apos; flashlight looks all around the trap door... All
around the roof... NOTHING!!!

As MARCUS leads the light back down the silo wall, he briefly
illuminates REGAN, when suddenly...

BOOM!!!!
THE CREATURE JUMPS DOWN INTO THE LIGHT!!!!   IT&apos;S PLATES AND
MOUTH FULLY OPEN!!!!

REGAN looks up to the creature in horror and then whips
around... and tackles MARCUS off the door!!!

THE CREATURE STEPS TOWARDS THE KIDS!!!

REGAN grabs the edge of the door and lifts it over her and
MARCUS&apos; heads!

PINNED UNDERNEATH THE SILO DOOR, MARCUS looks over to his
sister to see... SHE IS HOLDING HER EAR... NEARLY CONVULSING
WITH PAIN!!!   Not knowing what is happening to her he slowly
reaches out his hand to her when suddenly...

BANG!!!
A GIANT CLAW RIPS THROUGH THE SILO DOOR, RIGHT BETWEEN THE
TWO CHILDREN!!!

The children stare at the claw, horrified when suddenly...

THE CLAW BEGINS TO SHAKE... AS IF HAVING A SEIZURE!

After a long moment of seizing up... THE CLAW RIPS BACK
THROUGH THE DOOR... AND IS GONE??

WE HEAR THE TERRIFYING SCREEEEEEEEECH OF THE CREATURE!!!

Then... the sounds of SLASHING METAL!!! WE BARELY SEE THE
CREATURE AS IT BURSTS IN AND OUT OF FRAME... SCRATCHING AND
SLASHING AT THE SILO... TRYING TO GET.... OUT!!!!

Suddenly, a HORRIFYING RIPPING SOUND!!! And then...
                                                                 67.


      SILENCE....

      The children look at each other.... silent... waiting.

      After a long moment, REGAN and MARCUS begin to slide the silo
      door off of them... and peak out.

      MARCUS picks up the flashlight and shines the light all
      around the silo... then suddenly stops... The children just
      stare... AS WE SLOWLY PULL BACK TO REVEAL...

      AN ENORMOUS HOLE TORN THROUGH THE SILO!!!

      MARCUS looks back to his sister... breathing heavily... WHAT
      JUST HAPPENED?


A94   EXT. SILO - DAWN                                            A94

      WE GO WIDE to REGAN and MARCUS jumping down from the same
      large hole... onto a large pile of corn that has spilt out
      into the night... THEY ARE COMPLETELY ALONE.

      MARCUS suddenly grabs REGAN&apos;S hand and pulls her to her feet.

      ON THE BACKS OF THE KIDS as they sprint through the farm
      equipment graveyard holding hands...

      Suddenly, REGAN turns to head into the cornfields... MARCUS
      yanks her arm to stop her.

      REGAN looks at her brother... The look in his eye is begging
      her to trust him... she does as MARCUS pulls her to his safe
      place... the PICK UP TRUCK at the end of the driveway!

      As they arrive at the truck MARCUS expertly disappears
      through the cab&apos;s driver&apos;s side window... REGAN instinctively
      dives underneath the truck.

      WE SLOWLY PULL BACK on the truck. MARCUS&apos; head pokes up from
      the back window of the cab. REGAN lies still underneath.
      They are split up... but safe.


94    EXT. SILO - DAWN                                             94

      WE MOVE along a sand path, just as we did in the beginning of
      the movie, where the end of the cornfield opens into a
      clearing to reveal... THE WORK TRUCK off to the far left.
      LEE appears into frame.

      ON LEE as he shines the flashlight... scanning the scene.
                                                      67A.


HIS POV as it is... eerily quiet. LEE&apos;s flashlight shines
all the way to the far right onto the gaping hole in the
SILO... BUT THERE ARE NO CREATURES. Just the cement mixer
and some tools tipped onto the ground.
                                                                68.


     Fearing the worst... LEE makes his way to the hole.

     ON REGAN as she lifts her head to see the light shining on
     the SILO... and her father walking toward it. Her eyes go
     wide. She begins to shake her head... then wave her arms as
     best she can... no... no... NO!... but LEE doesn&apos;t see her.

     LEE begins to walk slowly toward the SILO.


95   INT. FARMHOUSE - BASEMENT - DAWN                             95

     WE ARE OVER THE STAIRS looking through the basement to the
     monitors.

     Suddenly... A dripping wet foot steps into frame... and then
     another as...

     EVELYN descends the stairs, holding the baby!


96   INT. TRUCK - DAWN                                            96

     Through the rearview mirror we see reflections of LEE&apos;s
     flashlight as it scans up and down the SILO behind.

     ON MARCUS as the dim light reflects onto his closed eyes...
     and he wakes up. In the rearview he sees the flashlight and
     immediately spins to look out the window at his father...
     standing only yards from the hole. The smallest whisper...

                         MARCUS (WHISPER)
               ...Dad... no... NO....

     Overcome with fear, MARCUS instinctively slides to the driver
     side door... AND OPENS IT!!!!


97   EXT. TRUCK - DAWN                                            97

     As the driver&apos;s side door wrenches open, the age of the truck
     and the years without use become painfully evident as...

     IT MAKES A HIGH PITCHED SHRIIIIIIIIIIIIEEEEEEEEEEK!


98   EXT. SILO - DAWN                                             98

     Almost transported back to that fateful day on the bridge, we
     watch as LEE&apos;s head slowly turns as he raises his light onto
     the truck and... his son!!

     Then, just as he did on the bridge... knowing what comes
     next... LEE RUNS!!!
                                                                69.


99    EXT. TRUCK - DAWN                                           99

      REGAN rolls out from under the car, grabs her brother and
      safely tackles him into the car, closing the door behind
      them.


100   INT. TRUCK - DAWN                                           100

      REGAN puts her brother down onto the floor of the truck
      underneath the steering wheel for protection... and then hops
      over to the passenger side, sits up... and looks out the back
      window.


101   EXT. SILO - DAWN                                            101

      ON LEE... running.

      ... Desperately trying to keep his promise to his wife...


102   INT. TRUCK - DAWN                                           102

      OVER REGAN, as she watches her father sprinting towards
      them...

      When suddenly behind him... TWO SHADOWS!!!


103   EXT. SILO - DAWN                                            103

      OVER LEE as he sprints as fast as he can towards the truck,
      now only 40 yards away...30...

      THEN... on either side of LEE...

      TWO SHADOWS BLOW PAST HIM!!!   RACING, SCRAMBLING, CLAWING...

      Still in full sprint, LEE watches...

      AS THE FIRST SHADOW CLOSES IN ON THE TRUCK!!!!


104   INT. TRUCK - DAWN                                           104

      OVER REGAN looking out the back window as the creature gets
      closer...closer...

      THE BEEEEEEEP ONCE AGAIN BEGINS TO GROW... and GROW. Just as
      the creature is about to make impact... REGAN, not wanting to
      experience that pain again... TURNS THE HEARING AID OFF....

      We are now in total silence.....
                                                                70.


      REGAN looks down at her brother on the floor... Just as....

      BANG!... THE TRUCK THRASHES VIOLENTLY!!!

      The kids grab onto... whatever they can...

      BANG!!!!!!!!!... THE TRUCK THRASHES VIOLENTLY AGAIN!!!!


105   EXT. TRUCK - DAWN                                           105

      Now outside REGAN&apos;s perspective... and in LEE&apos;s... we can
      hear the full sound of the violent attack!

      OVER LEE, WE SEE THE TRUCK BEING SMASHED...

      LEE KEEPS RUNNING!


106   EXT. TRUCK - DAWN                                           106

      FROM UNDERNEATH THE TRUCK we see the front wheels slide
      forward in the sand.

      BANG!!!

      The front wheels slide again. This time... they begin to
      disappear over the edge of the clearing... and down the long
      driveway...


107   INT. TRUCK - DAWN                                           107

      BACK IN SILENCE

      ON REGAN AND MARCUS as she holds her brother and looks around
      the cab for options. Suddenly, out the passenger side window
      she sees...

      ANOTHER CREATURE BURST OUT OF THE CORN AND... SLAM INTO THE
      PASSENGER SIDE DOOR!!!!

      GLASS SHATTERS!!!... And the truck... LIFTS UP!!!


108   EXT. TRUCK - DAWN                                           108

      ON LEE&apos;S BACK, SPRINTING, now only twenty yards away... when
      he sees the right side of the truck lift high into the air.
      For a moment it looks as though it is going to tip all the
      way over... Then SMASHES BACK DOWN TO THE GROUND!!

      We now bear witness to something eerily familiar as LEE&apos;s
      BODY... GIVES OUT ON HIM.
                                                                 71.


      WE CIRCLE around LEE as HIS FEET SCRAPE TO A STOP... HIS
      SHOULDERS LOWER.

      WE END OUR MOVE on LEE&apos;s face as he scans the smashed
      truck...

      His eyes seem to actually flicker as his brain fires and
      misfires... trying to process this nightmare... this LOSS...

      When suddenly...


109   INT. TRUCK - DAWN                                           109

      ON REGAN, jammed down into the floor of the passenger seat.
      She reaches over to her brother... and lifts his head. MARCUS
      opens his teary eyes, shaken... but alive. REGAN slowly
      rises up onto the seat... And through the smashed window...
      MAKES DIRECT EYE CONTACT WITH HER FATHER...


110   EXT. TRUCK - DAWN                                           110

      WE ARE CLOSE ON LEE as he registers this miraculous sight of
      his daughter and watch...

      AS THE MOST JOYFUL SMILE EXPLODES ACROSS HIS FACE!

      LEE breathes heavily... taking in this new information...
      this second chance... then...

      LEE slowly brings his hands to his chest...

      AND SIGNS....



                          LEE (SIGNING)
                ... I love you.


111   INT. TRUCK - DAWN                                           111

      As REGAN looks out at her father, confused... moved... Why
      did he just say that?...when suddenly...

      ONE OF THE CREATURES CLIMBS UP ONTO THE TRUCK&apos;S HOOD,
      crushing it from the weight...


112   EXT. TRUCK - DAWN                                           112

      ON LEE... as he signs to REGAN again...
                                                               72.


                              LEE (SIGNING)
                    I have... always... loved you.


112A   INT. TRUCK - DAWN                                       112A

       ON REGAN... as tears stream down her face...

       Above her... the roof begins to cave in from the weight of
       the creature!!!!


112B   EXT. TRUCK - DAWN                                       112B

       ON LEE as he watches the CREATURE make his way up to the roof
       of the truck... AND REAR BACK...

       FOR THE FIRST TIME...WE SEE THE CREATURE IN FULL!!!!
       IT&apos;S ARM HELD HIGH ABOVE ITS HEAD AS IT READIES FOR A
       KILL!!!!

       LEE.......

       TAKES A DEEP BREATH....

       AND...



       SCREAMS....




                              LEE
                    I LOVE YOU!!!!!!!!!!!!!!!!!




       ........ ALL SOUND CUTS OUT!!!!



       Time seems to slow almost to a stop as:

       MARCUS&apos; eyes shoot open... knowing exactly what his dad is
       doing...
                                                                 73.


      The CREATURES scramble off the truck... AND IMMEDIATELY
      CHARGE FOR LEE!!!!

      REGAN scrambles in the seat helplessly as she looks out at
      her father mid scream...

      MARCUS looks up to his sister in the truest of pain...

      And then down...

      CLOSE ON... THE EMERGENCY BRAKE as...

      MARCUS REACHES OUT, GRABS THE BRAKE... AND RELEASES!!!!!


113   EXT. TRUCK - DAWN                                           113

      OVER LEE as the CREATURES SPRINTS TOWARD HIM... CLOSER...
      CLOSER.

      IN THE BACKGROUND, the truck begins to roll down the hill.


114   INT. TRUCK - DAWN                                           114

      THROUGH THE BACK WINDOW our frame begins to jiggle as we see
      the CREATURES close in on LEE...

      WE WATCH as REGAN scrambles up the seat higher and higher
      desperate to see her father one last time... and then...

      As the truck rolls down... OUR FRAME TILTS UP... AWAY FROM
      LEE... UP THE WALL OF THE SILO...

      AND INTO THE BREAKING MORNING SKY


115   INT. TRUCK - DAWN                                           115

      TOTAL SILENCE...

      OVER REGAN ONTO MARCUS as they both stare straight...

      Their faces vacant as they rattle and bounce as the truck
      barrels down the long driveway toward the barn.

      Instinctively, MARCUS&apos; hands raise into frame... and grab the
      wheel...

      He is finally driving... as he begins to cry.
                                                                 74.


116   INT. FARMHOUSE - BASEMENT - DAWN                            116

      CLOSE ON MONITORS... As EVELYN&apos;s face comes into frame...

      OVER HER SHOULDER TO THE MONITOR we see she is looking at...

      THE TRUCK BARRELING DOWN THE HILL...


117   INT. FARMHOUSE - BATHROOM - DAWN                            117

      CLOSE ON LEE&apos;s shotgun laying on the floor. Suddenly...
      EVELYN&apos;s hand comes into frame and grabs it!


118   INT. FARMHOUSE - LIVING ROOM - DAWN                         118

      THROUGH THE LIVING ROOM WINDOW, WE LOOK OUT onto the
      cornfields... and up to the silo. Suddenly... We see a tiny
      pick up truck appear and rumble down the dirt road.

      WE SLOWLY PULL BACK through the living room as the truck
      rolls past the next window... and then the next. AS WE NOW
      PULL OUT of the living room and into the front hall,
      suddenly... EVELYN appears walking down the staircase, almost
      vacant. She is carrying the shotgun!

      WE CONTINUE TO MOVE, NOW ON EVELYN&apos;S BACK... as she slowly
      walks out the front door and down the front steps. As she
      steps down to the sand path... THE PICK UP TRUCK SLOWLY
      RUMBLES TO A STOP AT THE END OF THE PATH!!!

      MARCUS AND REGAN pop out of the truck and run as fast as they
      can into their mother&apos;s arms!!!

      EVELYN ENVELOPES HER CHILDREN WITH EVERYTHING SHE HAS!!!... A
      moment she wasn&apos;t sure she would ever get again!... then...

      ON EVELYN&apos;s face as she slowly turns her head back toward the
      silo... TO SEE WHAT&apos;S COMING...


119   INT. FARMHOUSE - BASEMENT STAIRS - DAWN                     119

      WE LOOK DIRECTLY up the basement stairs toward the warm
      hallway at the top.

      Suddenly... EVELYN steps into frame carrying MARCUS, and
      rushes down the stairs and into the basement.

      Then... REGAN takes a long step into frame.   Her silhouette
      looks down the dark stairwell.
                                                       74A.


After a moment, she slowly puts her foot down on the first
step... and nothing happens.

For a brief moment... she looks behind her... but no one
comes.
                                                                 75.


120   INT. BASEMENT - DAWN                                        120

      WE ARE ON THE STAIRS as REGAN&apos;s feet step down into frame.

      As REGAN reaches the basement floor, she pauses a moment,
      still looking at her feet... and then slowly turns.

      EVELYN picks the baby out from a box and grabs MARCUS tight.

      We watch REGAN&apos;s face as she enters her father&apos;s workspace...
      FOR THE FIRST TIME!!! She is stunned.

      OVER REGAN as she steps down and begins to walk through the
      room. Her eyes track, AS WE DID WHEN WE FIRST SAW THE ROOM,
      past the TOWERING WALL OF SECURITY MONITORS... along the wall
      of NEWSPAPER CLIPPINGS, NOTES, AND SCIENTIFIC IMAGES. Her
      eyes continue now toward her father&apos;s WORK STATION. THROUGH
      BOXES OF SALVAGED ELECTRICAL EQUIPMENT and onto... LEE&apos;S HEAD
      PHONES. REGAN picks up the head phones and follows the
      wire... TO HER FATHER&apos;S HAM RADIO. She looks down at the
      knob her father used to search... and the microphone he used
      to reach out. For the first time REGAN sees... REGAN
      REALIZES... THIS is what her father was doing all this time.
      THIS is what he was doing... FOR THEM! ON REGAN taking all
      this in, when her eyes move just slightly to the side... and
      she freezes.

      EVELYN immediately turns and gestures to her children to
      follow her behind the water heater... they must hide.

      REGAN... doesn&apos;t move. OFF HER FACE... WE BOOM DOWN SLOWLY
      BEHIND the shelves of LEE&apos;S sacred workspace... past circuit
      boards... salvaged electronics and exposed wiring... and LAND
      ON A SHOT DIRECTLY ACROSS LEE&apos;S DESK... TO REGAN&apos;s HAND...

      AS REGAN reaches out, WE RACK FOCUS to... THE PILE OF HEARING
      AIDS HER FATHER HAD BEEN WORKING ON ALL THIS TIME.

      REGAN&apos;S hand pushes into the pile like a shovel... and
      emerges with a handful of hearing aids...

      Suddenly... THE FLOORBOARDS ABOVE THEM CREAK!!!

      MARCUS and EVELYN look up.   REGAN... does not... Because she
      can&apos;t hear it.

      EVELYN immediately grabs MARCUS and heads for the water and
      oil tanks. She sits MARCUS down safely... and then places
      THE BABY IN HIS ARMS... and turns.

      MARCUS takes in his new sibling for the first time.

      OVER REGAN, COMING INTO FOCUS... is EVELYN, still carrying
      the shotgun. She kneels by her daughter&apos;s side.
                                                           76.


                    EVELYN (SIGNING)
          We have to hide, my love.

REGAN slowly turns to her mother... and shows her the hearing
aids.

EVELYN looks down at her daughter who for the first time...
is weeping... our tough warrior princess, in this moment...
is still just a little girl.

EVELYN stares into the pained eyes of her little girl when
suddenly... REGAN&apos;s eyes begin to rise... higher... and
higher above EVELYN.

WE CUT TO EVELYN TO SEE...

A LARGE SHADOW RISES UP BEHIND HER!!!!

EVELYN seeing REGAN&apos;s eyes rise... just knows.

In one swift motion EVELYN suddenly springs up... and aims
the shotgun directly at the CREATURE.

WE CUT WIDE to see... and hear, the room... is totally still.

For the rest of this scene...Like the greatest of westerns,
we are in the most epic... of standoffs. Time... stands
still. Air... doesn&apos;t move. Tension... is dripping from the
walls.

ON REGAN... holding her breath... just stares

ON MARCUS... frozen behind the water tank... just stares.

ON EVELYN... arm outstretched, with weapon ready... just
stares.

ON THE CREATURE... SLOWLY OPENING ITS PLATES!!!!

As the monitors once again... go fuzzy.... Each of the humans
can only watch as these small plates open with the suction of
anatomical goo...

They can only watch as the plates crackle ever so slightly...
as they turn... and search...

...for the sound that will end it all.

CLOSE on sweat dripping down from MARCUS&apos;s forehead. TRACKING
DOWN MARCUS&apos; face, we see the inevitable path his sweat will
take until we leave his face and arrive on... The baby.

CLOSE ON EVELYN&apos;s arm... as it begins to quiver...
                                                           77.


CLOSE ON EVELYN&apos;S eyes as her brain makes the realization...
she can&apos;t hold this gun much longer...

CLOSE ON THE CREATURE... as it opens more... and more plates!

CLOSE ON REGAN, her eyes begin to search the room... her
father&apos;s room looking for something... ANYTHING!

REGAN&apos;s POV as her eyes search the room... search the wall...
search the boards. Finally her eyes land on one specific
thing on her father&apos;s board... She sees the phrase...

`WEAPON??&apos;.
Suddenly...

REGAN... reaches up to touch her mother&apos;s arm.

EVELYN looks down at REGAN...

REGAN gently shakes her head then gently touches EVELYN&apos;s
arm... and slowly lowers the gun.

EVELYN looks down at her daughter... her eyes begin to well
up... this is it... This is the end.

EVELYN slowly reaches out to take REGAN&apos;s hand.   As REGAN&apos;s
hand begins to clasp into hers... SHE STOPS...

EVELYN looks down to see REGAN slowly pull her hand away...
and open it up. There in the palm of REGAN&apos;s hand... are
hearing aids.

REGAN slowly turns to her father&apos;s work bench to see the pile
of hearing aids her father... made... sitting just in front
of the microphone of the HAM RADIO.

REGAN looks back up to the board at the phrase...
&quot;WEAPON??&quot;.

REGAN looks to the creature still searching the room for
sound.

REGAN raises her hand to her ear... AND TURNS HER FATHER&apos;S
HEARING AID BACK ON!

Immediately.... THE EXCRUCIATING BEEEEEEEP FLOODS OUR WORLD!

Suddenly THE CREATURE... STOPS!   IT&apos;S PLATES... SNAP SHUT OUT
OF PROTECTION!!!!!!

REGAN looks on as the CREATURE SCRAMBLES BACK IN OBVIOUS
PAIN!
                                                         78.


After a moment REGAN... SWITCHES THE HEARING AID OFF!

...SILENCE...

EVELYN looks down at her daughter...

REGAN... slowly moves her hand across her father&apos;s workbench
to... THE HEADPHONES.

THE CREATURE... NOW SCREEEEEEEEEEEECHES!!!!... slowly gets
back to it&apos;s feet ... AND TURNS DIRECTLY TOWARD REGAN!!!

REGAN&apos;s fingers travel up the black cord of her father&apos;s
headphones to... THE HAM RADIO! Suddenly REGAN unplugs the
headphones from the HAM RADIO as we hear... A POP OF FEEDBACK
FROM THE NOW OPEN SPEAKER!!!!

THE CREATURE.... SCREEEEEEEEEECHES... AND MOVES FOR REGAN!

Just then...

WE ARE ON MARCUS who&apos;s sweat has indeed made it to his
chin... THEN FALLS.

WE FOLLOW THE SWEAT... AS IT HITS THE BABY... THE BABY BEGINS
TO CRY!!!!

THE CREATURE SUDDENLY WHIRLS AWAY FROM REGAN TOWARD THE TANKS

TIME SLOWS DOWN....

ALL IN ONE MOMENT....

- REGAN reaches her hand up to her ear... AND REMOVES THE
HEARING AID HER FATHER MADE HER

- THE CREATURE REARS UP TO STRIKE THE WATER TANK!

And in that exact moment, REGAN... EXTENDS HER ARM...

..... WE WATCH AS REGAN PLACES HER HEARING AID...

..... ONTO THE MICROPHONE!!!!

CLOSE on the HAM RADIO SPEAKER....

AS THE BRAIN PIERCING BEEEEEEP BLARES OUT!!!!!

With the sound now HUGELY more powerful and piercing we see:

THE CREATURE suddenly...SHOOTS UP DEAD STRAIGHT... ONCE AGAIN
IT&apos;S PLATES SNAP SHUT!!!... IT&apos;S HEAD POINTED TO THE
CEILING... IT&apos;S BODY QUAKES! TENSE... WITH AGONY!!!
                                                          79.


ON REGAN as her face... DOESN&apos;T CHANGE... SHE IS SAFE NOW
THAT SHE ISN&apos;T WEARING THE HEARING AIDS.

CLOSE ON THE CREATURE... AS EVERY PLATE ON ITS BODY CLENCHES
TIGHTER... TIGHTER... ALMOST DIGGING INTO THE CREATURE&apos;S OWN
SKIN. And then... THEY BEGIN TO SHAKE!

THE CREATURE SCREEEEEEEEEECHES ONCE MORE IN PAIN AS IT NOW
FALLS BACKWARD TO THE FLOOR!!!

The plates... SHAKE MORE VIOLENTLY NOW... and that creates a
sound. Something between that of a cicada right next to your
ear... and the sound of a house fan&apos;s blade rubbing against
the cage its enclosed in, the sound... IS AWFUL!

Just then... A POPPING SOUND. And then another... as the
frequency of the sound short circuits the plates to the point
that they... BEGIN TO POP OPEN... AND THEN GIVE WAY!!!

As plates now begin to go limp, for the first time... WE SEE
INSIDE OF THE CREATURE!!! A VAST AND COMPLEX SYSTEM OF HOLES
AND CHAMBERS THAT CAVITATE SOUND!

THE CREATURE CONTINUES TO SCURRY BACKWARD THROUGH THE ROOM TO
THE DARK CORNER AT THE BACK REACHING FOR SOMETHING...
ANYTHING TO STOP THIS SOUND... THIS PAIN!

AS IT REACHES THE BACK WALL IT SUDDENLY STOPS. PLATES HANG
LIKE LIMP PETALS OF A FLOWER... AS BLACK FLUID BEGINS TO
TRICKLE OUT...

REGAN... TURNS OFF THE HEARING AID...

      SILENCE....
...

The only sound that can be heard is the CREATURE&apos;S inner
anatomy as it rises and slowly falls... as if gasping for
life...

EVELYN and REGAN look over to the water tanks... AS MARCUS
SLOWLY STANDS UP... HOLDING THE BABY

EVELYN takes one step toward him when...

THE CREATURE LEAPS OUT OF THE DARK... AND LAUNCHES, ARM
EXTENDED TOWARD REGAN!!!

ON THE CREATURE.... BEHIND THE LIMP PLATES WE NOW SEE THE
DISGUSTING FACE OF THE CREATURE. LARGE, BLACK... AND LONG
AGO EVOLVED AWAY... EYE SOCKETS ARE THE LAST THING WE SEE AS
THE CREATURE LETS OUT A NOW DISTORTED AND THUS MORE
HORRIFYING SCREECH!!!!
                                                           80.


ON REGAN... AS HER EYES CLOSE.... SHE&apos;S READY....

When suddenly...

EVELYN STEPS INTO FRAME........... SHOTGUN RAISED...




BLAM!!!
THE CREATURE&apos;S HEAD...... EXPLODES.....

...Silence...

REGAN and EVELYN look to the CARCUS at they&apos;re feet....
DEAD!
After a long moment... from outside, off in the distance...
we hear a muffled... SCREEEEEEECH.

And then... ANOTHER... AND ANOTHER... The other creatures....
HEARD THE SHOT!....

REGAN and EVELYN slowly look to the monitors... as their
images once again flicker to life. On each of the
monitors... a quiet, undisturbed landscape....

Then suddenly in one of the monitors off in the left
corner... A CLAW STEPS INTO FRAME!!!!

In another monitor... A SHADOW FLASHES PAST THE SCREEN.

Then another monitor... ANOTHER CREATURE... AND ANOTHER...
AND ANOTHER... THE CREATURES ARE RACING TOWARD THE
FARMHOUSE!!!

EVELYN slowly turns... and looks down at her daughter.

REGAN looks up at her mother for a long moment and then
reaches out her hand to the knob of the HAM RADIO..........
AND TURNS THE VOLUME UP ALL THE WAY!

EVELYN&apos;s face... changes... as she raises the shot gun into
frame........

AND COCKS IT!!!!
                     81.



BLACK

BEGIN CREDITS.....
</itunes:summary>
      <itunes:subtitle>A QUIET PLACE



                          Screenplay by

              Bryan Woods, Scott Beck &amp; John Krasinski


                            Story by

                     Bryan Woods &amp; Scott Beck





    BLACK

    We hear, very clearly, the sound of light wind.


1   EXT. TOWN - MAIN ST. - LATE AFTERNOON                        1

    We come up on... a streetlight. There is no illumination...
    and no movement. We hold on it for a long moment when
    suddenly... The streetlight bobs... and then begins to sway.
    We slowly begin to rise up on the streetlight to reveal... a
    small bird has landed on it. We continue to rise to reveal,
    behind the bird...

    Wind blows through the   gargantuan evergreens that seem to
    engulf the narrow main   street of a small town in upstate New
    York. Shop windows and   cars on either side covered in dust,
    the place seems frozen   in time. There is no movement.

    In the very middle of the road one can see... sand. A bizarre
    incongruity, a long pathway about a shovels width runs the
    full length of the street with offshoots into open doorways
    of some of the shops.

    We hold for a long moment:


2   INT. GENERAL STORE - FRONT - LATE AFTERNOON                  2

    Slowly pushing through the doorway of a large general store,
    also covered in dust. To the left, a cash register with small
    shelves of nearly empty candy boxes below. To the right, a
    towering shelf full of bags of potato chips, nacho chips and
    pretzels... None are missing.


3   INT. GENERAL STORE AISLES - LATE AFTERNOON                   3

    WE MOVE SLOWLY across the floor, down the middle of a general
    store. Amid the towering shelves of goods on either side, one
    may recognize a barely perceptible pattern of which shelves
    are bare and which are not. There is no movement. No sound.

    Suddenly... TINY FEET JUMP INTO OUR MOVING FRAME! Then, as
    fast as they appeared... They&apos;re gone.

    WE NOW MOVE UP the side of the store, looking down one
    aisle... and the next. As we arrive at the next aisle we
    catch a glimpse of... A SMALL DARK FIGURE!!! And then its
    gone.

    WE CONTINUE along the side of the store until we arrive at
    the last aisle. At the far end of the store we see...
                                                                2.


    a counter. With a window.     And shelves.   Suddenly... A WOMAN
    APPEARS IN THE WINDOW!

    WE GO CLOSE ON THE WOMAN as she scans the shelves, slowly
    lowering herself to the ground until behind her we see... an
    8 year old boy sitting slumped against the wall... HE IS
    BAREFOOT. On closer inspection we see sweat on the boy&apos;s
    brow, his skin pale from fever. The woman&apos;s knee touches down
    on the ground next to the boy as... she sees what she&apos;s been
    looking for. She reaches out her hand.

    WE GO CLOSE ON HER HAND as it reaches toward a shelf... of
    orange prescription drug bottles. Her hand suddenly begins to
    shift certain bottles ever so slightly... AT A BIZARRELY SLOW
    PACE... she does not make a sound. As she does this, we get
    our first glimpse... of names. Names of drugs. Names... of
    people.

    HER HAND finally arrives at the very back of the shelf as she
    gently twists a bottle that reads... AMOXICILLIN.

    ON THE MOTHER... as she inhales slowly? And then, as if
    doing surgery, she slowly closes her hand around the bottle
    and GENTLY begins to move it through the shelf toward her.
    Her hand, once again moves incredibly slowly, her now wider
    closed hand shifts even more bottles as it passes. JUST as
    she gets to the end of the shelf a bottle shifts... with a
    RATTLE of pills. This is the first, deliberate sound we&apos;ve
    heard. The mother... FREEZES!!!!

    WE RACK FOCUS to the boy on the ground, who now looks up...
    with panic. The mother&apos;s eyes look all around the room...
    The way one does when they are waiting for something...
    LISTENING for something. After a long moment... she pulls
    the bottle in her hand the final few inches... and off the
    shelf.

    The mother draws a huge breath of relief. As she stands up,
    we reveal, just over the counter... TWO EYES LOOKING UP AT
    HER!!!


4   INT. AISLE - LATE AFTERNOON                                      4

    A 10 year old girl stands on her toes, barely able to see
    over the wooden counter to... her mother. She smiles at her
    mother... and gives her a thumbs up. With that... she&apos;s off.

    WE FOLLOW HER as she runs lightly through the store... she is
    also barefoot.

    The GIRL turns down an aisle to reveal... a small boy sitting
    on the floor... He too is barefoot.
                                                                3.


    As the girl approaches we see, in the thick dust on the floor
    he has drawn... a rocket ship. She sits with him.

    He silently puts his hand to his chest, palm to the side...
    crosses his first two fingers of his other hand with
    deliberate focus... and then slowly puts his two hands
    together. He then looks up at her... and quickly shoots his
    crossed fingers into the air... like a rocket. She beams
    with pride for a moment and then... Signs back to him.

                        DAUGHTER (SIGNING)
              Very good job!

                        BOY (SIGNING AS BEST WE CAN)
              ....That&apos;s how... we get away.

    The girl&apos;s smile falls ever so slightly. Then the boy
    suddenly... TAPS her on the shoulder and scurries away...
    She&apos;s &quot;it&quot;.

    As the girl slowly gets up to follow him, we see for the
    first time... A HEARING AID...

    The boy disappears around a corner...


5   INT. NEXT AISLE - LATE AFTERNOON                                 5

    The girl comes around the tall shelf into the next aisle when
    suddenly... her eyes go wide!!! What she sees is the boy
    standing on a small box, STRETCHING to reach a toy on a high
    shelf. She walks quickly to him when suddenly... the toy
    FALLS.

    The girl instinctively SLIDES to the ground and catches the
    toy JUST as it&apos;s about to hit the ground! On her face we can
    see she is TERRIFIED! She closes her eyes, taking a breath
    with relief. When she opens them, in the foreground, we see
    the toy she is holding... a small TOY SPACE SHUTTLE. Then in
    the distance past the toy we see... a FIGURE.

    She sits up to see a man standing outside the door of the
    general store, holding a large box with what looks like a
    quilt hanging out of it. A look of fear on his face...
    softens, as he mimes wiping his brow with relief. She smiles,
    puts the toy back on a shelf and runs to him.


6   INT. GENERAL STORE - FRONT - LATE AFTERNOON                      6

    The father gently puts the box on the ground and pulls back
    the pieces of thick quilt to reveal that all the contents are
    actually wrapped in it.
                                                            4.


He then reaches for a LARGE HIKING BACK PACK, and begins
transferring the contents of the box into the bag. As he
does, we see... cans of food, a variety of prescription
pills, bandages and wrapped syringes.

The girl arrives at his side and excitedly starts rummaging
through the box as well. As she does, we see... thick
paintbrushes, bottles of glue, bottles of lighter fluid and a
stack of old newspapers. Then... her face lights up. From
the box, she pulls out a SALVAGED SECURITY CAMERA with wires
exposed. The girl gives it a brief once over and then
removes... two exposed CIRCUIT BOARDS, very obviously only
recently removed from whatever appliance they belonged to.
The girl scans the boards with a voracity, pointing out to
the father particular areas of interest. Her father can&apos;t
help but smile.

Suddenly, the box of Amoxicillin comes into frame and is
placed on top... along with two boxes of sugar. The father
looks up at his wife. After a beat... she signs:

                    MOTHER (SIGNING)
          For my tea.

He just keeps looking at her.

                    MOTHER (SIGNING) (CONT&apos;D)
          Fine. I have a sweet tooth.

The father smiles and is about to close the bag when... a
candy bar is placed on top.

                    DAUGHTER (SIGNING)
          Me too!

The father looks up at her with fake incredulity. Suddenly
the sick son in his mother&apos;s arms weakly signs:

                    OLDER SON (SIGNING)
          Me too.

The whole family laughs silently as the daughter GENTLY takes
another candy bar from a box below the cash register... We
can now see why the boxes are almost empty.

The father looks back to his arriving four year old son,
expecting the same, but from behind his back the young boy
reveals... the toy space shuttle.

With a sweet empathy the father reaches for the toy... and
shakes his head no. He turns the toy over and silently
explains it has batteries... this toy can make noise.
                                                                5.


    The little boy watches, confused... hurt, as his father
    gently places the space shuttle on the counter. And then
    gently grabs a big lollipop and puts it in the bag for the
    boy.

    The mother hands their sick son to the father who picks him
    up and walks out. The mother kisses her 4 year old on the
    head, shuffles the hiking bag onto her back and walks out
    too.

    The daughter looks at the boy as tears begin to fill his
    eyes. She smiles and signs:

                         DAUGHTER (SIGNING)
              It&apos;s ok.

    The boy shakes his head no.

    After a moment... the girl looks back to see if her parents
    are there. She then reaches up and takes the shuttle down
    from the counter. With wide eyes her little brother watches
    as she surgically removes the batteries... and places the
    shuttle in the hood of her brother&apos;s sweatshirt. Covering it
    from view, she holds a finger up to her lips in the
    obligatory big sister way of telling him not to get her in
    trouble... He beams!

    She then stands up and places the batteries back on the
    counter, smiles at her brother and gestures &quot;let&apos;s go&quot;.


7   EXT. MAIN STREET - LATE AFTERNOON                                7

    The daughter exits the General Store and follows her mother
    and father, who are walking down the street only stepping on
    the sand path. Their steps are almost silent.

    After a moment... her four year old brother follows behind
    her. We watch everyone walk in total silence.

    Then...


8   INT. GENERAL STORE - LATE AFTERNOON                              8

    We slowly push in to the counter of the store and then
    realize... THE BATTERIES ARE GONE!


9   EXT. ROAD - LATE AFTERNOON                                       9

    A long road slices its way through a heavily wooded area,
    which further blocks the already fading sun.
                                                                 6.


     In WIDE PROFILE we see the family walking in a line,
     continuing only on a sand path. The father is in front
     carrying their sick son, then the mother with the backpack,
     then their blonde daughter... and trailing a bit behind
     rumbles their robust 4 year old.


10   EXT. BRIDGE - LATE AFTERNOON                                 10

     From the ground we look up at an old and rusted bridge
     towering over us eerily... the sand path continues across it.

     WE TRACK WITH THE FAMILY as they walk across the bridge...
     There are minor creaks underneath the sand.

     Suddenly we see... the four year old stops just before the
     entrance of bridge. The family continues... not seeing him.

     WE FOLLOW THE BOY&apos;S HANDS as he fishes around in his hood and
     pulls out... THE TOY SHUTTLE.

     HEAD ON, we walk with the father, each member of his proud
     brood can be seen walking behind him. We can hear his
     strained breath... and the tiniest swish of the footsteps in
     sand.

     HEAD ON, walking with the daughter... we now suddenly hear
     nothing. As she looks to be in her own world... So we are in
     hers. A smile breaks on her face as she walks and breathes in
     total silence. We walk with her for a long moment, when
     suddenly behind her...

     A FLICKERING RED AND BLUE LIGHT.

     The girl does not turn. She just keeps walking. Still
     smiling. As she looks up to her mother, we go into:

     SLOW MOTION

     - FROM THE GIRLS&apos;S POV, we see her mother and father spin
     around with a frantic shock on their faces.

     - BACK ON THE GIRL. She looks confused at her parents
     behavior... LIGHTS AGAIN FLASH EERILY BEHIND HER.

     - ON THE FATHER rushing to put the boy on the ground and
     turning to run.

     - ON THE MOTHER, spinning around with terror in her eyes...
     she looks to be holding in a SCREAM.

     - BACK ON THE GIRL slowly beginning to turn around at what
     her parents could be looking at as we:
                                                            7.


SPEED BACK UP TO NORMAL

A loud playful beeping rushes in... from the blinking
shuttle.

Then, from the woods we hear... THE MOST UNMISTAKEABLE
HORRIFYING.... SCREEEEEEEECH!!!

- ON THE MOTHER as she slowly lowers the backpack to the
ground... and her legs begin to fail her.

- ON THE FATHER running, violently shaking his head... It
looks like he&apos;s HOLDING IN A SCREAM.

- THE TREES BEHIND THEM... RUSTLE AND SNAP as something
barrels through.

- ON THE BOY... holding up his space ship proudly to his
incoming father... an enormous smile on his face.

- ON THE FATHER... 20 feet away... his face is a still frame
of pure fear as he runs to camera. Then:

THE MOST IMMEDIATE AND TERRIFYING COMBINATION OF SOUND ONE
COULD EVER IMAGINE.

... A SHRIEK?... A SCREAM?   ... A CRUNCH?   Then...

ON THE FATHER as... a thin line of blood splatters on his
face.

- Mid run, the father&apos;s body immediately goes limp... failing
him as he comes to a halt just in front of camera.

- Then, as quickly as it came... THE SOUND IS GONE.

- IN WIDE PROFILE, The father stands lifeless... The two
children stand frozen with fear... the MOTHER drops to her
knees and... a space shuttle blinks silently in the sand.

The four year old... IS GONE.

Once again... only the wind can be heard.




BLACK.
                 8.




SILENCE.




FADE IN: TITLE




A QUIET PLACE
                                                                 9.


     Still in BLACK... A new sound... Almost like that of the
     ocean.


11   EXT. BEACH - LATE AFTERNOON                                  11

     The new sound continues. In the last of the day&apos;s sunlight:

     WE TRACK, LOOKING STRAIGHT DOWN, on... what appears to be an
     empty beach. The pink lit sand, now combined with a sound
     like the ocean, feels serene, almost otherworldly.

     Slowly coming into frame, we see the face of... the daughter.
     This is REGAN ABBOTT. Her hair is much longer. She is now
     TWO YEARS OLDER, 12. She just looks... different.

     REGAN lays in the sand with eyes closed... but she is not
     asleep.

     With her brow furrowed and her closed eyes darting back and
     forth she looks oddly pained... almost as if she is wishing
     herself to another place.

     There is movement in her hands as her fingers caress an
     object.

     Her eyes suddenly POP OPEN as she sits up violently CLOSE UP
     INTO OUR FRAME! She looks around with eyes wet and red,
     attempting to regain her bearings.

     WE SLOWLY MOVE AROUND her to see what she sees and are met
     with... a jarringly incongruous landscape! Instead of a
     glistening ocean, there in front of REGAN stand the tall
     swaying stalks of... A CORNFIELD.

     As REGAN looks to her lap WE SLOWLY TRAVEL DOWN to reveal...
     she is holding THE TOY SHUTTLE. As she maneuvers it through
     her fingers we see the shuttle is damaged... there are 2
     large gouges in the fuselage.

     Suddenly... Something startles her as she snaps her head to
     the side!

     WE GO CLOSE on her hand driving the TOY SHUTTLE into the
     sand, not wanting it to be seen. Now ONLY THE SHUTTLE&apos;S TAIL
     is exposed in the foreground as we see a figure walking
     toward REGAN.

     Coming into focus is... her mother. This is EVELYN ABBOTT.
     EVELYN too has changed. Hair longer... frame lower. She
     carries a basket of vegetables. She is bare foot.

     EVELYN stops and looks down at her daughter giving her a
     comforting smile. REGAN can&apos;t seem to return the same.
                                                                10.


     EVELYN gently gestures with her head. REGAN nods... and
     EVELYN walks on. After a moment... REGAN places the TOY
     SHUTTLE into the large pocket in her dress and follows her
     mother. As she goes:

     WE PAN TO FOLLOW REGAN as she joins her mother and then
     SLOWLY RISE to reveal that the two women are walking along...
     A LONG AND WIDE SAND PATH IN THE MIDDLE OF A FARM! In the
     distance we can see they are heading to... A WEATHERED RED
     BARN.

     WE END OUR RISE just as we reveal in the foreground...
     Christmas lights? Like parallel telephone wires, 2 cables of
     large bulbs, one with red and one with white. They dance
     playfully in the wind.


12   INT. TRUCK - LATE AFTERNOON                                  12

     CLOSE UP PROFILE of a steering wheel in the foreground. A
     weathered CHEVY emblem reflects the fire orange sky in the
     background.

     HANDS come into frame and gently grip the steering wheel.
     The right hand then slowly moves to the ignition block... and
     turns. There is no sound. After a moment, the hand turns
     again...again without sound. The hand turns a third time...
     this time, the hand begins to bob ever so slightly... as if
     the old car has started up. As the hand retracts:

     WE PULL BACK to reveal... The little brother. This is MARCUS
     ABBOTT, now 10. Moving ever so slightly, MARCUS is obviously
     pretending to drive... though his impassive face betrays the
     idea that he is having any fun. MARCUS seems to have aged
     much more than the mere 2 years. His vacant eyes tell us a
     large toll has been taken on him, though perhaps not as
     easily recognizable on the exterior.


13   EXT. TRUCK - LATE AFTERNOON                                  13

     WE MOVE SLOWLY IN POV along another large sand path with high
     grass on either side when suddenly it opens up into a large
     clearing and we see... a tractor?... Shells of untouched farm
     equipment litter the open area.

     WE SLOWLY MOVE LEFT, making our way through, what is now
     nothing more than an eery farming vehicle graveyard.
     Suddenly... A DARK FIGURE ENTERS THE FRAME.
                                                                11.


14   INT. TRUCK - LATE AFTERNOON                                  14

     MARCUS&apos;s hands move silently along the steering wheel as he
     stares out the windshield. His body moves ever so slightly,
     his face... relaxes... the hint of a smile. For a moment we
     could almost believe he is driving. His eyes routinely check
     the side mirror, then the rearview mirror... then stop. His
     hands... and face fall.

     THROUGH THE REAR VIEW MIRROR, we see a figure standing behind
     the truck amidst the sea of farm equipment. Behind the figure
     we see... A TOWERING SILO.


15   EXT. TRUCK - LATE AFTERNOON                                  15

     OVER THE DARK FIGURE onto the truck as we see MARCUS expertly
     slip out of the cab window of a VINTAGE CHEVY PICKUP that
     sits at the edge of a DESCENDING DRIVEWAY connecting to the
     road that heads back toward the BARN. He lands in the sand
     without a sound and begins to walk, head held low, toward the
     dark figure... who reaches his hand out and briefly touches
     Marcus&apos; shoulder. Marcus walks straight past.

     As MARCUS exits we BOOM UP the dark figure as it turns,
     revealing... LEON ABBOTT (LEE), 38. LEE too has changed,
     though much more obviously. He has lost weight on his strong
     farmer frame, he wears a beard and his sunken eyes indicate
     that he hasn&apos;t slept well... in a long time.

     WE PULL BACK WIDE to reveal the sea of farm equipment sits in
     front of a long, dilapidated, work shed roof... a makeshift
     repair shop. The word `REPAIR&apos; is written in flaking white
     paint that clings to the wood above.


16   EXT. BARN - SUNSET                                           16

     The line of Christmas lights dance in the foreground.

     WE TILT DOWN to see that the lights run right in between...
     two towering doors of a weathered red BARN. The doors have
     been left open by a gap of just over 2 feet. The edges of
     the doors... are wrapped in foam...

     Suddenly MARCUS walks into frame... and enters the barn.


17   INT. BARN - SUNSET                                           17

     WE TILT DOWN from the lines of unilluminated Christmas lights
     running below the high reaching ceiling and...
                                                               12.


     ONTO MARCUS&apos; BACK as he walks through two heavy quilts at the
     entry of the barn hanging from the ceiling. Through the
     quilts, a dirt floor guides us through this... barn? The
     surroundings are too difficult to fully comprehend at first
     glance.

     To the left are several large horse stalls. WE QUICKLY PAN
     INSIDE to see they are now... bedrooms. Mattresses,
     perfectly made up, lie on the floor next to lamps and small
     stacks of books. Clothes on hangers dangle between each of
     the bars providing not only storage, but limited privacy.

     To the right is a large pen with railings. Once a holding
     area for cows awaiting milking, it is now... a living room.
     Hay bales draped in blankets and old wooden chairs surround
     an overturned pig trough, now serving as a coffee table
     covered in books and dripping candles.

     As MARCUS continues we notice the walls. Every inch is
     meticulously covered in a bizarre but elegant cornucopia
     of... trash. Foam, cardboard, and old newspapers are glued to
     the wall in thick layers.

     If one were able to look past the obvious first assumption of
     a hovel or domicile of hoarders, they would see almost... a
     deliberate beauty in the decor... A warmth. This is a well
     maintained and loving... home.

     WE FOLLOW ON MARCUS&apos; BACK as he suddenly comes to... A
     MATTRESS LAYING ON THE GROUND? MARCUS bends down and after a
     brief struggle pushes the mattress to one side to reveal... A
     large hole...

     WE FOLLOW JUST BEHIND MARCUS... as he descends down the
     ground...


18   INT. BARN - SAFE ROOM - SUNSET                              18

     WE NOW SEE MARCUS has descended a makeshift stairwell into...
     A small excavated room illuminated by work lights. Lodged up
     against the walls and across the ceiling are wooden beams.
     In between each beam are varying stages of an elaborate
     process of insulation and sound proofing that consists of a
     thick layer of newspaper as a base and then blankets and
     pillows squeezed in on top. There is a hay bale up against
     one wall and a mattress leaned up against another.

     In the middle of the room, MARCUS walks past... EVELYN, who
     is bent over behind an odd wooden box. Suddenly she stands
     up, holding a beautiful and delicate... baby mobile.

     As she turns and reaches the mobile high in the air to a beam
     above her we get a clear shot... of her protruding belly.
                                                          13.


Even a layman guess would put her over 8 months. EVELYN
gently taps the mobile as we:

ARE NOW CLOSE ON the small ducks and clouds moving through
the air, EVELYN below looking up... with a smile.

MARCUS sits down next to REGAN who is on the floor next to a
stack of old newspapers and bottles of glue.

She removes a large sheet of newspaper from a plastic tray of
glue, lets it drip... and then applies it to the wall with a
thick paintbrush. As she moves the paintbrush vertically down
the dripping white, a piece of an image can be seen... It is
a bra ad. REGAN slowly looks over to MARCUS... who stares at
it.

BACK ON EVELYN as she removes the top of the odd wooden box.
WE FOLLOW her hands in to reveal... a heavily quilted inside
with adorable baby blankets, a small teddy bear... and a
clear plastic air mask??

EVELYN&apos;s fingers fumble with something in the corner until
she finally threads through... a thin plastic tube... and
connects it to the air mask. It looks similar to an
emergency breathing apparatus one might see in an ambulance
or hospital... because it is.

BACK ON MARCUS, as he now removes a large piece of dripping
newspaper out of the tray and places it on the wall. Like his
sister, he swipes his thick paintbrush vertically down the
dripping white, this time partially revealing a front page
headline. It reads...

`AGE OF MASS&apos;
MARCUS looks at it inquisitively... and then swipes the
paintbrush horizontally across the whole headline.

It reads:

`IMAGE OF MASSACRED MILITARY SHOCKS THE WORLD&apos;
MARCUS freezes... then looks below to see the top of a grainy
newspaper photograph. All we can make out is... a twisted
human arm. His hand slowly begins to shake as he raises the
paintbrush to reveal the rest of the image... when suddenly:

A PILLOW FLIES INTO FRAME!!!!!!

MARCUS JUMPS!!!!!... Only to see his mom holding a pillow
over the newspaper with a knowing look. After a beat, she
hands MARCUS a long piece of tape to secure the pillow to the
wall.
                                                               14.


19   EXT. REPAIR YARD SILO - ROOF - SUNSET TO DUSK                19

     ON THE BACK OF... LEE, perched on what looks like the top of
     the world.

     From this great height we get our first WIDE SHOT of the
     large farm that we now see sits in a clearing on a ridge...
     surrounded by the tangled forest of the APPALACHIAN
     MOUNTAINS.

     A puff of smoke rises from LEE&apos;s silhouette as he suddenly
     raises a hand into frame... and checks his watch. A moment
     later... As if on cue...

     A line of CHRISTMAS LIGHTS flicker to life above the wide
     sand path REGAN was laying on.

     Another line of white Christmas lights flicker on... this
     time revealing a path that connects the weathered red BARN...
     to an old white FARMHOUSE. Then another line of lights...
     and another! Like the image of a city power grid coming back
     to life, we see a labyrinth of countless sand paths,
     meticulously laid out, illuminate all over the farm in a
     beautiful expanse.

     NOW IN PROFILE, LEE stares down... seemingly at nothing. The
     unfiltered cigarette burns to his fingers, causing LEE to
     snap out of his stupor. He looks around at the horizon, it is
     officially sundown. He reaches for a plastic bottle of...
     Lighter fluid... and sprays all its contents into a shallow
     metal drum in front of him.

     Another cigarette appears from below frame. He puts it in his
     mouth and then reaches his hands... into his jacket. His
     right arm jiggles slightly. There is no sound. His arm
     jiggles again. Then from his jacket, LEE pulls... a FULLY LIT
     LIGHTER, that he protects from the wind. He lights his
     cigarette and then leans his hands to the metal drum... A
     HUGE FLAME ERUPTS.

     In the glowing orange we see LEE take a long drag of his
     cigarette. His face has no affect. After several moments the
     flame begins to weaken and slowly fade.

     Suddenly, far FAR off in the distance on the ridge... ANOTHER
     FLAME ILLUMINATES. LEE doesn&apos;t even look up. Then, miles
     past the first... ANOTHER FLAME!... THEN ANOTHER! Until we
     can see behind LEE 5 glowing fires scattered far off across
     the ridge.

     ON LEE as he glances over and registers... then back to
     staring front as we:
                                                             15.


     MOVE AROUND BEHIND him to see where his gaze is focused.
     Then... we see it. There, in his left hand LEE holds... A 5X6
     nursery school photo of a 4 year old boy.

     LEE takes a last drag of his cigarette... and then places the
     photo in a small box at his feet.

     WE ARE TIGHT ON THE BOX as LEE stands and walks toward two
     curved bars on the side of the SILO. He turns around... and
     begins to descend A LADDER.

     WE HOLD ON THE SMALL BOX... then just as LEE&apos;s head
     disappears... WE SLOWLY BEGIN TO RISE.

     Now looking at the opposite side of the ridge than we did in
     the beginning, the rising moon&apos;s light now spills across the
     vista of rock and trees and onto an enormous and bizarrely
     out of place.... CRATER!

     WE HOLD ON THE CRATER FOR A LONG MOMENT... Then:


20   INT. BARN - LIVING ROOM - NIGHT                              20

     WE ARE CLOSE on a small mound of dirt. Suddenly two hands
     covered in winter gloves enter frame and begin to dig down
     about 3 inches to reveal... a plank of wood.

     WIDER NOW, we see EVELYN on her hands and knees just behind
     the living room set up in an open, very make-shift kitchen.
     One wall of shelves cluttered with stacks of paper plates,
     bowls and cups. Another wall is a workbench acting as a
     counter top and a mid 70&apos;s refrigerator.

     EVELYN extracts from the dirt a long wooden box. Beneath
     it... red hot rocks let off a combination of steam and smoke.

     EVELYN brings the box to the counter top and carefully lifts
     the lid to reveal... a perfectly cooked fish with lemon and
     rosemary and garlic scattered all around.


21   INT. BARN - BEDROOMS - NIGHT                                 21

     WE TRACK with REGAN as she walks down the row of horse stall
     bedrooms.

     REGAN arrives at the threshold of LEE and EVELYN&apos;s bedroom.
     LEE is faced away from her, washing his face in a long trough
     like sink that runs the length of the room. Suddenly,
     through the mirror leaning on the wall, LEE sees her... But
     does not turn.
                                                              16.


     Through the mirror, the two of them looking silently at each
     other for a moment too long... it is heartbreaking.

     REGAN pathetically gestures &quot;eating&quot;. As LEE nods, trying to
     muster a polite smile we can see very clearly... something is
     broken.

     LEE wipes his face with a towel and then turns to face... an
     empty doorway.


22   INT. BARN - TABLE - NIGHT                                  22

     The family sits down together for dinner... around an old
     workbench. Their heads bowed in prayer, after a moment
     EVELYN lifts her head and they begin to eat. There are no
     plates. The food sits on various children&apos;s plastic
     placemats. There are no utensils... The family uses only
     bread to collect food. We slowly pull back on this silent...
     but comfortingly familiar scene.


23   INT. BARN - LIVING ROOM - NIGHT                            23

     REGAN and MARCUS lie on the floor playing... Monopoly.

     By the dim light of an oil lantern... we can see the game&apos;s
     board is the same, but the pieces are small colored bobbles
     of wool, the kind you would find on a children&apos;s Christmas
     sweater. The houses and hotels are empty sugar packets, blue
     and pink. And the money?... Small pieces of green, red, blue
     and orange fabric rectangles... all equally sized.

     MARCUS is five spaces away from his sister&apos;s hotel on
     Boardwalk. He takes a sip of water and places the cup on top
     of a tall crate being used as a makeshift side table. MARCUS
     looks at his sister, who can&apos;t hide her smile. He mimes a
     prayer before rolling the dice on the dirt floor, where it
     makes no noise............... 5!

     MARCUS slowly looks up to REGAN, knowing his fate. REGAN
     smiles pointedly and then reaches for MARCUS&apos; money. As
     MARCUS thrusts his arm back to protect his bank, his elbow...
     hits the oil lantern!!

     A BOOMING CRASH!!!! As the oil lantern hits the ground and
     shatters. THE SOUND FEELS HUGE!.. AS IT IS THE FIRST BIG
     SOUND WE&apos;VE HEARD! FIRE ERUPTS ON THE FLOOR!!! The children
     stare frozen in horror!

     LEE immediately jumps up from the table and instinctively
     grabs a quilt and throws it on the fire. With a few silent
     pats... the fire is gone.
                                                       16A.


SILENCE.

EVERYONE FREEZES!!!!... NO ONE IS BREATHING!!!

REGAN shoots MARCUS a look... of concern. MARCUS shoots LEE a
look... of terror. LEE shoots a look... to the roof.
                                                              17.


      ON LEE as he stands up INTO frame. He has almost physically
      transformed from a man... into protection incarnate. He
      slowly raises a stiff finger to his lips, his body so
      tense... it looks painful. This is the unwanted version of
      himself that lies just millimeters under his skin... 24 hours
      a day.

      After a long moment... nothing... It would have happened by
      now...

      LEE finally nods that everything is OK. MARCUS stares at
      REGAN with a painfully apologetic face as she leans in and
      touches his hand.

      BANG!!!
      The whole family startles in silence!!!

      ... Something has hit the roof.

      EVERYONE IS FROZEN... LOOKING AT THE CEILING.

      Seconds later a high pitched SHRIEEEEEEK of CLAWS sliding
      down the aluminum roof. The family follows the sound exactly
      with their eyes. Then silence.

      LEE crouches down and walks to a small window where the sound
      stopped above. MARCUS wildly shakes his head &quot;no&quot;, evidence
      of his traumatic anxiety resurfacing. REGAN slowly stands,
      looking on with wide eyes.

      LEE arrives at the window, crouched. From his low vantage
      point we can see the lip of the gutter... and the eerily
      swaying Christmas lights.

      LEE begins to stand up slowly, his face now virtually pressed
      against the glass.

      Suddenly, A WHIR OF SCREECHING AND GROWLING!!! A LARGE SHAPE
      FALLS PAST THE WINDOW!!!!

      ... As two raccoons hit the ground, fighting... then scamper
      off into the dark.

      LEE somehow exhales slowly and calmly... a trick that, no
      doubt, took much practice... and walks away from the window.


23A   EXT. CORNFIELD                                              23A

      The two raccoons round the corner onto a moonlit path heading
      toward camera.. Just as they come into CLOSE UP...
                                                             18.


     A GIANT BLACK CLAW CRUSHES DOWN ONTO THE FIRST RACCOONS
     HEAD... and then rips it out of frame. We hold on the second
     raccoon running off with a soft but piercing scream.


24   EXT. FARM - NIGHT                                         24

     It is night. From high above, we look down to the sand path
     between the RED BARN and the WHITE FARMHOUSE. In the
     foreground we see the shadow of a telephone pole. Sitting on
     the wire in silhouette... are BIRDS.


25   EXT. SAND PATH - NIGHT                                    25

     FROM THE GROUND, we see the FARMHOUSE in the distance... but
     something is different. The color seems wrong... the angle is
     odd. The foreground is over exposed and tiny dots fly in and
     out of the frame.

     Suddenly... A GIANT FOOT STEPS INTO FRAME!!!!

     ... AND THEN ANOTHER... as we watch two bare feet... then the
     hem of a dress... and then the silhouette of... EVELYN walk
     silently toward the house.


26   INT. FARMHOUSE - BASEMENT - NIGHT                         26

     WE SLOWLY PULL BACK from THAT SAME SHOT of the FARMHOUSE and
     reveal... a plastic frame... A red light... buttons. We
     realize this image is being viewed... on a small monitor.
     CCTV FOOTAGE... from A SECURITY CAMERA.

     WE CONTINUE TO PULL BACK SLOWLY as ... Another monitor comes
     into frame... with another stacked on top of it... then one
     next to it... and another... until we reveal, like something
     out of a Dr. Seuss book, a wall of 20 TV&apos;s, all shapes and
     brands sit on top of a large workbench covered with open
     notebooks and sliced up newspapers. On each screen we see
     elements of trees... sand paths... the barn... the silo.
     This is a DIY version of a security console that overlooks
     the entire farm... and it has taken a long time to put
     together.

     WE BEGIN TO TRACK past the empty security console and onto a
     cinder block wall... covered in notes and newspaper
     clippings. Then...

     ... WE BARELY HEAR A TINY, ALMOST FAMILIAR, SOUND.

     ... THEN A HANDFUL OF SMALL BEEPING SOUNDS.
                                                              19.


Suddenly a portion of one visible newspaper clipping shows a
close up and much more detailed image of... the enormous
crater. The headline reads:

`NUMBER OF CONFIRMED GLOBAL LANDING SITES GROWS TO 128&apos;

A post-it note sticks to the clipping that reads:

LANDED 10-18-2018

WE PASS BY more clippings, catching glimpses of dramatic
headlines and surreal images:

`PRESIDENT CALLS FOR EMERGENCY EVAC IN ALL MAJOR CITIES&apos;

`CHURCHES, MOSQUES, TEMPLES FLOODED WITH PEOPLE&apos;

WE PASS BY a grainy newspaper photo of a military stand
off... With ONE creature. The headline reads:

`MILITARY EXPERTS AGREE: &quot;INDESTRUCTIBLE&quot;

...AGAIN WE HEAR THAT FAMILIAR SOUND as it gets louder.

WE CONTINUE TO TRAVEL as... A MAP enters frame. Like one you
would get at a gas station, it is covered in illustrated
forests and rivers... it is a map of THE STATE OF NEW YORK.
The portion above Manhattan... is covered in hand drawn red
circles and pins, each accompanied with a date and names...
of the dead.

WE MOVE FURTHER ALONG to reveal... low quality stills of
security footage barely showing... THE CREATURE. Each still
is drawn on and analyzed. Then... a large white board
covered in writing comes into frame, leaning against the
wall. Amidst the scratches of written and rewritten thoughts,
we can make out two lists labeled, `QUESTIONS&apos; and
`CONFIRMED&apos;

In the `QUESTIONS&apos; column are listed; &quot;NO DEMANDS?&quot;, &quot;NO SIGN
OF ORGANIZATION&quot;, &quot;BLIND?&quot; &quot;HOW MANY?&quot;... &quot;SOUND... WHY NOT
ATTACK ALL SOUND?&quot;

In the `CONFIRMED&apos; column are phrases like; &quot;4-6 CONFIRMED IN
PACK&quot;..., &quot;DO NOT ATTACK SMALL SOUNDS&quot;. Then we see the phrase
&quot;DO NOT EAT KILL&quot;.

WE MOVE TO the very bottom of the white board where we see
the word... &quot;WEAPON???&quot;...

Listed below words are crossed out... &quot;EXPLOSIVES&quot;...
&quot;FIRE&quot;... &quot;CHEMICAL&quot;...
                                                             20.


     AGAIN WE HEAR THAT FAMILIAR SOUND... NOW LOUDER.

     ... THEN AGAIN THE HANDFUL OF SMALL BEEPING SOUNDS.

     WE MOVE OFF OF THE white board and scan past ANATOMICAL
     DRAWINGS of A SHARK SENSING PREY USING MAGNETIC FIELDS,
     DOLPHINS NAVIGATING THROUGH MINE FIELDS, THE ELECTROMAGNETIC
     SPECTRUM and finally images of... THE INNER EAR...

     WE NOW MOVE THROUGH meticulously organized shelves covered in
     tools... and wires... and various pieces of salvaged
     electronic equipment and finally onto...

     LEE&apos;S BACK. He is hunched over the workbench working
     intensely on something... he is wearing large black
     headphones. We see him reach out of frame as we:

     WE PUSH PAST an old microphone that is connected to... AN OLD
     TRANSATLANTIC HAM RADIO. In the glowing light from the box we
     see all kinds of knobs and needles. Below a switch labeled
     with two stickers that say &quot;RADIO&quot; and &quot;SPEAKER&quot;, LEE&apos;S hand
     comes into frame and turns a large knob revealing... THE
     SOURCE OF OUR FAMILIAR SOUND...

     LEE IS SEARCHING FOR A SIGNAL. ANY SIGN. ANY SIGN... OF LIFE.

     Suddenly... he presses down on a button on the microphone...

     ... THE HANDFUL OF SMALL BEEPING SOUNDS... IS MORSE CODE.

     ... THERE IS NO RESPONSE.

     WE follow LEE&apos;s hand off of the button and onto... a small
     soldering iron. As he picks it up:

     WE GO TO LEE at his workspace. With magnifying glasses in
     front of his eyes, he works with surgery like precision... on
     a small contraption. A small string of smoke rises from his
     work.


27   INT. FARMHOUSE - BASEMENT - STEPS - NIGHT                    27

     WE ARE OVER the warmly, lit from above, stairwell with LEE at
     his work station in the background as...

     Delicate bare feet touch down softly, and deliberately on the
     steps... Like a child knowing where to step so they don&apos;t
     wake their parents.

     WE BOOM UP to reveal... EVELYN as she stares at her husband,
     who hasn&apos;t heard her, worried?... Admiring?... Lost?
                                                        21.


A flicker of a memory echoes through her face as she smiles
and then walks to him... EVELYN IS WEARING EAR BUDS.

ON LEE as a hand touches down gently on his shoulder... he
doesn&apos;t flinch at all. There is immediate recognition
there... Safety. The hands then reach down... and remove
Lee&apos;s headphones. The sound of the searching radio in the
headphones is nearly inaudible.

LEE sits back and holds up... A HEARING AID. It looks like a
somewhat common hearing aid... but with handcrafted
modifications...upgrades. There is a wire extension that
extends from the top... almost like an adapter or plug.

The hands gently grab LEE&apos;s face and turn it. LEE looks up
at EVELYN who he now sees... is wearing lipstick, has pulled
her hair back... and has changed into a beautiful dress.
This... is DATE NIGHT. LEE smiles as EVELYN takes a step
back and with the gentlest of movements, she sweetly beckons
him to her.

LEE looks back at his work for just a moment, his face once
again... focused. Then he lays the hearing aid down on the
table... and stands up.

WE HOLD ON THE HEARING AID and then SLOWLY PULL BACK to
reveal... a pile of more hearing aids, each with a variety of
different modifications, scattered all around his work bench.
This is something he has been working on for a long while.

WE TILT UP from the workbench to see... LEE arrive at his
wife&apos;s side as she puts her hand up on his neck and smiles up
at him warmly, as if there is no where else to be... nothing
to make her happier.

FACE TO FACE NOW, LEE finally allows a smile, looking down at
his time tested partner.

EVELYN&apos;s eyes close as she places her forehead to his and the
two begin to gently sway... in total silence.

Suddenly... EVELYN takes LEE&apos;s hands from around her back...
and places them on her protruding belly. After a moment she
looks up lovingly at her husband to see...

LEE&apos;S SMILE HAS DISAPPEARED. STARING DOWN AT THE BELLY, HIS
FACE LOOKS... LOST.

Knowing this man inside and out, EVELYN keeps her gaze firmly
into her husband&apos;s eyes and slowly moves her hands up LEE&apos;S
arms and gently onto his face. Holding more than his visage
in her hands... LEE finally looks up at her.
                                                                22.


     EVELYN smiles with recognition of the man she married as her
     right hand travels to her right ear. She removes the earbud
     from her ear... and seamlessly places it in his, as:

     MUSIC RUSHES IN!
     The only record on the record player, this is the song they
     were married to. This is...

     NEIL YOUNG&apos;S HARVEST MOON

     Perhaps it&apos;s due to the lack of sound thus far in the
     movie... or maybe the marrying image of the two dancing, but
     the sounds of the song are crystal clear. We can perfectly
     hear every chord, every tremor of vocal chord as we:

     PULL BACK on this perfect moment... through the basement...
     to the small rectangular basement window to reveal... water
     hitting the glass.


28   EXT. FARMHOUSE - NIGHT                                       28

     We see a strong rain pouring down around the house.


29   EXT. FARM - MORNING                                          29

     A beautiful crisp morning.


30   EXT. FARMHOUSE - SAND PATH - DAY                             30

     FROM THE PORCH of the farmhouse, as water drips down from
     overhead, WE SLOWLY travel along the sand path toward the
     barn when suddenly we arrive at... a small stream of water
     cutting right through a, now washed away, segment of the sand
     path.

     Suddenly LEE&apos;s bare feet enter frame... and then a large
     hiking backpack enters frame next to him.

     ON LEE as we see a momentary glimpse into the painstaking,
     and never ending, workload that goes into maintaining this
     farm.

     CLOSE on hands as LEE&apos;s bare fingers gouge into the
     unforgiving earth at the edge of the sand path to divert the
     water. Stones come into frame to form a temporary wall.
     Then... LEE hoists, the very obviously heavy, hiking bag onto
     his knee. He then slowly and silently undoes a handmade flap
     at the bottom of the backpack. From the opening of the bag
     pours... SAND.
                                                                23.


     Quickly and silently, sand piles up on the ground as we
     witness for the first time, LEE&apos;s ingenious system that has
     kept his family safe all this time.


31   INT. BARN - SAFE ROOM - DAY                                  31

     CLOSE UP OF A GAUGE... Very faint bursts of air can be heard.

     WE SLOWLY PULL BACK to reveal EVELYN sitting on a hay bale...
     with a blood pressure sleeve on her arm and a stethoscope in
     her ears. Behind her is a shelf full of bandages and IV bags.
     She stops pumping the bulb, stares down at the gauge... and
     then gently lets the air out and removes the sleeve.

     EVELYN marks her daily blood pressure on a calendar next to
     her. On this calendar we see... her estimated due date is 4
     weeks away.

     After a moment, she leans over and places the bottom part of
     the stethoscope... onto her belly.

     A faint sound of adjusting and then...

     LUB DUB... LUB DUB... THE BABY&apos;S HEARTBEAT ENGULFS US!!!


32   EXT. FARMHOUSE - DAY                                         32

     WE CREEP SLOWLY ALONG the sand path heading toward the front
     door of the FARMHOUSE. Suddenly... REGAN steps into frame,
     walking deliberately... as if tiptoeing.


33   INT. FARMHOUSE - DAY                                         33

     REGAN reaches the front door of the FARMHOUSE... and stops at
     the threshold. As she looks down at the worn wood floor,
     scanning, we can notice... deliberately painted markings on
     the floor.

     Just then, REGAN takes a dramatically long step inside,
     placing her foot down... directly on the first colored
     marking... silence. Looking almost relieved, REGAN once
     again scans the floor and then focuses on another marking.
     She takes another long step, this time far to her right...
     and touches down on the next marking... silence. It almost
     looks like she&apos;s playing `TWISTER&apos;. Getting more confident,
     she scans the room, finds another spot and steps quickly.
                                                               24.


34   INT. FARMHOUSE - BASEMENT STAIRS - DAY                       34

     WE LOOK DIRECTLY up the basement stairs toward the warm
     hallway at the top.

     Suddenly... REGAN takes a long step into frame.   Her
     silhouette looks down the dark stairwell.

     After a moment, she slowly puts her foot down on the first
     step... when suddenly...

     A DARK FIGURE APPEARS BEHIND HER AND GRABS HER!!!!!


35   EXT. FARMHOUSE - DAY                                         35

     CLOSE ON REGAN... as she is placed down onto the sand path.

     A HAND COVERS HER MOUTH!

     AS REGAN spins around we see... LEE kneeling in front of her.

                         LEE (SIGNING)
               You CANNOT go down there!

                            REGAN (SIGNING)
               WHY NOT???

                         LEE (SIGNING)
               You know why.

                         REGAN (SIGNING)
               I won&apos;t make a sound!!! I&apos;m not a
               child!!!

     LEE pauses... that line stings.

                         LEE (SIGNING)
               Just... don&apos;t.

     The two stare into each other&apos;s eyes communicating more than
     any sign language could.

     Suddenly... LEE reaches up to her face?... His still dirty
     hands push the hair back over her right ear? It seems so
     uncharacteristically warm and gentle when suddenly...

     LEE reaches into his pocket with his right hand and pulls
     out... THE HEARING AID from the night before.

                         LEE (SIGNING) (CONT&apos;D)
               This time, I was able to use small
               amplifiers from the stereo speaker
               to--
                                                               25.


                           REGAN (SIGNING)
                 It won&apos;t work.

                           LEE (SIGNING)
                 No, our problem has always been
                 power, but this should increase the
                 frequency to--

                           REGAN (SIGNING)
                 It never works!!

                           LEE (SIGNING)
                 ... But we&apos;ll keep trying til it
                 does.

     REGAN looks up at him blankly... as LEE reaches to bring the
     new hearing aid up to her ear when suddenly...

     REGAN pushes his hand away.

     LEE reaches up to her ear to try again... REGAN pushes his
     hand away again, giving him a cold stare. With so much
     history behind it... It&apos;s a bizarrely heartbreaking
     altercation.

     He tries again... she pushes again... even harder.

     LEE looks at his daughter as she looks at him... her venomous
     face, betrayed by the large tears that roll down her cheek.

     After a long moment... REGAN snatches the hearing aid from
     her father&apos;s hand and walks away.


36   INT. BARN - HAY LOFT - DAY                                   36

     ON MARCUS&apos; back as he scribbles in a notebook. WE GO CLOSE to
     see... MARCUS is writing in a math notebook. His pencil
     suddenly pauses, moves up the page through a long math
     problem... and stops again. Suddenly... a finger comes into
     frame.... and points at a different part of the problem.

     WE PULL   OUT to reveal... EVELYN and MARCUS sitting in a small
     curated   area with a desk, book shelves and a white board
     covered   in various phrases, shapes and equations. We suddenly
     realize   EVELYN... is HOME SCHOOLING him!

     MARCUS suddenly nods and once again begins writing as EVELYN
     looks out the small door of the hay loft and down to the sand
     path below... As LEE arrives. Suddenly...

                           MARCUS (SIGNING)
                 ...please don&apos;t make me go...
                                                                26.


     EVELYN looks over to see MARCUS&apos;s face... awash with panic.

                         EVELYN (SIGNING)
               You will be fine. Your father will
               always protect you.

     MARCUS GRABS HER ARM TIGHT!... IT STARTLES HER.   With tears
     in his eyes, he mouths to her... &quot;PLEASE!&quot;

                         EVELYN (SIGNING) (CONT&apos;D)
               Listen to me... It is important
               that you learn these things. He
               just wants you to be able to take
               care of yourself...

     MARCUS looks at her.

                         EVELYN (SIGNING) (CONT&apos;D)
               Take care of ME!

     EVELYN lightens the conversation by pretending to age in
     front of our eyes.

                         EVELYN (SIGNING) (CONT&apos;D)
               ... when I&apos;m old... and grey...

     EVELYN leans on him.    MARCUS can&apos;t help but smile.

                            EVELYN (CONT&apos;D)

               ...and I have no teeth...

     EVELYN pretending to have no teeth... is too much for MARCUS
     to hold back his silent laugh.


37   EXT. BARN - DAY                                              37

     OVER LEE&apos;S large shoulder we barely see MARCUS... moving ever
     so slightly in one direction and then another.

     ON LEE, with a large hiking pack on his back.   He adjusts the
     straps of a backpack on MARCUS.

                            LEE (SIGNING)
               Too tight?

     MARCUS shakes his head no.

                            LEE (SIGNING) (CONT&apos;D)
               Good.

                         MARCUS (SIGNING)
               No... I don&apos;t want to go.
                                                              27.


     LEE looks up at EVELYN.   Then back to MARCUS.

                         LEE (SIGNING)
               There&apos;s nothing to be scared of.

                         MARCUS (SIGNING)
               ...of course there is.

     Suddenly behind LEE we see... REGAN appear.

                          REGAN (SIGNING)
               I&apos;ll go.

     LEE looks over at his daughter and pauses.

                         LEE (SIGNING)
               No, no. I need you to stay here
               and help your mother.

     LEE stands up. To EVELYN:

                         LEE (SIGNING) (CONT&apos;D)
               We&apos;ll be back before dinner.

                         REGAN (SIGNING)
               I want to go.

                         LEE (SIGNING)
               Just stay here. You&apos;ll be safe.

     LEE turns to EVELYN... who looks at him with slight
     disappointment.

                         LEE (SIGNING) (CONT&apos;D)
               ... Next time.

     LEE pauses... and then kisses EVELYN.   LEE and MARCUS walk
     down a sand path toward the woods.

     EVELYN turns to REGAN... who is already walking away.


38   INT. BARN - REGAN&apos;S ROOM - DAY                                38

     REGAN enters... And throws the hearing aid her father made
     her onto the dirt floor. This is the first time we have seen
     her bedroom. It is sparse. A hay bale covered in bed
     sheets... a small crate with a neat pile of books inside and
     several candles on top... a small wooden mirror leant against
     the wall.

     REGAN drops to her knees. On the ground we now see all kinds
     of electronic equipment and tools.
                                                               28.


     Architectural drawings are pinned to the wall.   It is like a
     mini version of her father&apos;s work bench.

     REGAN grabs her pillow, rips the pillow case off... and
     begins furiously packing.

     She grabs clothes, a water bottle, a notepad and then... THE
     TOY SHUTTLE. She gets up to leave and then looks back... at
     the hearing aid on the ground.

     CLOSE ON REGAN&apos;s PROFILE as her hand comes into frame and
     moves to the hearing aid she currently wears. Suddenly... a
     long wire is slowly pulled from deep in her ear canal.
     REGAN&apos;s eyes wince with almost a snap of pressure as the wire
     comes loose.

     REGAN then gently feeds the new hearing aid into her ear...
     and pauses.

     Suddenly... REGAN clicks on the new hearing aid.

     ........................................Nothing.

     WE WATCH the thin veil of anger on REGAN&apos;s face cascade into
     honest sorrow as REGAN&apos;s eyes squeeze shut brutal
     disappointment.

     WE PULL OUT to see REGAN sitting quietly on the floor. The
     quake of her shoulders betray her... as we watch her cry.

     After a moment... she reaches for a pillow case... and exits.


39   EXT. WOODS - VALLEY PATHWAY - DAY                           39

     FROM A DISTANCE LEE leads MARCUS down a thin sand path that
     cuts down the steep valley side and through the lush and
     learned evergreens of the mountain&apos;s canopy.

     MARCUS walks rigid, like one would in the dark. His saucer
     eyes furtively clock every detail of his surroundings. LEE
     walks casually and confidently, periodically turning to wait
     patiently for his son. This is a day of teaching.

     ON MARCUS as LEE puts a hand quickly, but gently on his son&apos;s
     chest, stopping him in his tracks. LEE focuses down the
     path.

     OFF MARCUS&apos;s quaking face peering around his father:

     WE TOO MOVE around from behind LEE to see... a DEER...
     sitting in the middle of the sand path. An adolescent buck,
     it holds it&apos;s impressive, but still delicate antlers upright
     and proud as it stares directly at LEE and MARCUS.
                                                              29.


     An image obviously long thought impossible, the moment
     carries a certain calm... almost spiritual.

     After a long moment, the buck efforts its way to its feet.
     Then turns and deftly steps... perfectly along the sand
     path... And disappears.


40   EXT. FARMHOUSE - DAY                                         40

     CLOSE ON the roof of the farmhouse. Water from the previous
     night&apos;s storm still drips off the edge.

     WE SLOWLY TRAVEL down the drainpipe running along the side of
     the house when suddenly... the drain stops... and we see PVC
     pipe has been attached instead. WE CONTINUE along the PVC
     piping to the bottom where we see THE PVC PIPE bend... AND GO
     STRAIGHT THROUGH A SHATTERED PANE OF THE BASEMENT WINDOW.


41   INT. FARMHOUSE - BASEMENT - DAY                              41

     FROM INSIDE THE SHATTERED PANE, we now follow the PVC pipe
     into... an old washing machine... now filled with rain water.

     Suddenly... a piece of clothing slowly comes into frame and
     silently descends into the water.

     WE WIDEN OUT TO SEE EVELYN places more clothes into a
     WASHER... that is unplugged. We see that she is simply using
     the corrugated tumbler inside as a wash board.

     She removes a large plaid shirt just above the water line
     (still inside the tumbler) and squeezes it dry. The action is
     virtually inaudible.

     CLOSE UP on a small pile of clothes being stacked onto other
     clothes. Then a CINCH.

     EVELYN stands up over the newly packed cloth laundry bag...
     then bends backward, attempting to relieve a pain in her
     back. When she&apos;s done, she picks up the full laundry bag
     with one hand... and another full laundry bag with the other.

     EVELYN struggles to the foot of the stairs with the two bags
     and puts them down. She then takes a deep breath looks up
     the stairwell and begins to ascend... again carefully placing
     her feet on specific spots on each step. Holding one bag as
     high as she can and dragging the second behind her... It&apos;s
     uncomfortable watching a fully pregnant woman traverse in
     this manner.

     WE GO CLOSE ON several stairs as EVELYN&apos;S feet step up... and
     drag the bag up the first step... then the second.
                                                                30.


     Her feet disappear. As she drags the bag up onto the
     third... IT CATCHES ON A BENT NAIL IN THE STAIR!!

     ON EVELYN, not seeing the cause, pulls again... AND BEGINS TO
     FALL!!!!!!

     She catches herself on the wall, her eyes lit up... breathing
     heavily... she&apos;s ok!

     She quietly picks up the bags again and pulls once more.

     CLOSE UP ON: THE TIP OF A NAIL IN THE STEP LIFTING OFF THE
     STEP, ALMOST STRAIGHT UP... AND THEN RELEASING THE BAG.

     ON EVELYN, satisfied, as she drags the bags to the top of the
     stairs and disappears.

     WE RACK FOCUS to reveal, in the foreground...

     THE NAIL STANDING STRAIGHT UP!!!


42   EXT. FARM - DRIVEWAY - LATE AFTERNOON                        42

     CLOSE ON BARE FEET... walking along a sand path.

     WE BOOM UP TO REVEAL... REGAN walking with purpose. In her
     hands she carries a pillowcase. Inside the pillowcase... an
     irregular shape.

     After a moment, she looks up to... the telephone pole.
     Sitting on the power line are... MORE BIRDS. There is
     something buoyant about them. Something... oblivious.


43   EXT. RIVER - LATE AFTERNOON                                  43

     An immediate and jarring sound of water rushes in as we are:

     TIGHT ON MOVING WATER over rocks.

     [NOTE: THE SOUND WILL CONTINUE THROUGHOUT THE ENTIRETY OF
     THIS SCENE]

     WE TILT UP to the tall grass of a riverbed. Suddenly... LEE
     and MARCUS exit from the trees.

     ON MARCUS as he takes in the picturesque landscape. He has
     never been here before. Suddenly, his eyes slowly move down
     to the ground.

     CLOSE ON HIS BARE FEET... at the very edge of the sand path.
     There is nowhere else to go.
                                                           31.


MARCUS watches as LEE takes off his backpack and places it at
the edge of the river. Then, he kneels down and looks
intently into the water. Suddenly... LEE&apos;s face softens. He
takes one more look back at his son... and then plunges his
hands into the river.

MARCUS looks on confused as his father seems to yank and pull
at something. Suddenly... LEE&apos;s hands burst out of the water
holding a handmade wooden contraption. MARCUS starts to back
away... Pulling that contraption out of the water DEFINITELY
MADE A SOUND!!! MARCUS&apos; eyes shoot around into the trees, up
the river, looking... listening... when suddenly...

LEE PULLS OUT A LARGE TROUT FROM THE TRAP... THE FISH
THRASHES WILDLY AND THEN... IT BREAKS FREE FROM LEE&apos;S HAND!
IT DROPS DOWN ONTO LEE&apos;S BAG FLAPPING AND THRASHING...

AND MAKING NOISE!!!!

MARCUS goes white! WHAT HAS HIS FATHER DONE????   MARCUS
signs...

                    MARCUS (SIGNING)
          They&apos;re going to hear you...
          They&apos;re going to HEAR YOU!!

In one swift move, LEE pins the trout to the ground and grabs
his son, pulling him in close. LEE silently calms his son
down, coaxing him to take deep breaths. As MARCUS trembles...
LEE raises his hand... and signs...

                    LEE (SIGNING)
          Not... if there is a constant sound
          nearby that is louder.

MARCUS doesn&apos;t understand. LEE shows him. First, he reaches
down to the ground and places his hand off the path moving
the dirt slightly. He repeats...

                    LEE (SIGNING) (CONT&apos;D)
          Small sounds... safe.

LEE&apos;s hand moves back to the trout... Repeats

                    LEE (SIGNING) (CONT&apos;D)
          Big sounds... not. Unless...

LEE&apos;s hands move to the moving water of the river... Repeats

                    LEE (SIGNING) (CONT&apos;D)
          There is a constant sound nearby
          that is louder... To mask it.
                                                                32.


     Suddenly the trout flaps again. MARCUS looks down... then up
     to his dad... His brain processing.

                         LEE (SIGNING) (CONT&apos;D)
               You know what?...

     LEE checks his watch... then looks up river... then back to
     his son.

                         LEE (SIGNING) (CONT&apos;D)
               ...I want to show you something.


44   EXT. FARMHOUSE - LATE AFTERNOON                              44

     Disoriented, WE MOVE THROUGH a wall of dancing color.   Then
     suddenly we see... EVELYN, as she holds up a piece of
     clothing and pins it to a clothes line. The scene is
     oddly... beautiful.

     As the clothes on the line dance, we can suddenly see, behind
     EVELYN... AN OLD FALLEN TREE THROUGH THE BACKSIDE OF THE
     HOUSE.


45   INT. FARMHOUSE - UPSTAIRS HALL - LATE AFTERNOON              45

     WE TRACK SLOWLY along through the bannister of the upstairs
     hallway when suddenly... EVELYN&apos;S head appears. WE CONTINUE
     with her as she slowly walks up the stairs... almost as if
     compelled. As she ascends, looking right past camera, we get
     a clear look into the bedrooms behind her. In one room, we
     catch glimpses of a POP MUSIC POSTER, a PINK DESK... and an
     empty bed frame. In the next, we see a Nerf basketball hoop,
     a life sized Pokemon doll... and half built LEGOs strewn
     across the floor. ...Neither room has doors.

     EVELYN finally crests the top of the stairs and walks out of
     frame.


46   INT. WATERFALL - LATE AFTERNOON                              46

     A bizarre and beautiful image and sound! Light dances and
     bends through a cascading rampart we finally identify as... A
     WATERFALL.

     WE PAN OVER to see LEE and MARCUS enter from outside and
     slide along the rock wall.

     MARCUS looks up to his father, incredulous. LEE looks down
     at him. After a moment, with a mischievous smile on his face,
     LEE...
                                                                33.


     HOOTS LOUDLY!!!

     THIS IS THE FIRST VOCALIZED SOUND WE WILL HAVE HEARD IN THE
     MOVIE!!!!

     MARCUS&apos; eyes shoot up to his father, immediately scared
     again!

     His father looks out at the waterfall... and HOOTS
     AGAIN!!!... The way one would walking in a tunnel with their
     child.

     LEE turns to MARCUS and crouches down, gently holding his
     trembling son&apos;s shoulders.

                         LEE
               ... You&apos;re alright.

     THESE ARE THE FIRST WORDS WE HAVE HEARD IN THE MOVIE... AND
     THE FIRST WORDS MARCUS HAS HEARD IN 4 YEARS!!!!

     WE ARE ON MARCUS&apos; face... staring... shaking... somewhere
     between terror and wonderment.

                         LEE (CONT&apos;D)
               ... I promise.

     His father smiles and nods comfortingly...

     Finally MARCUS... meekly HOOTS!

     His father&apos;s head gently tilts, as if to say &quot;you can do
     better&quot;.

     MARCUS looks back out the rushing water, then back to his
     father... and HOOTS LOUDLY!!!

                         LEE (CONT&apos;D)
               Now... that&apos;s more like it.

     The smile on MARCUS and LEE&apos;s face can only be described
     as... once in a lifetime.


47   EXT. ROAD - LATE AFTERNOON                                   47

     WE MOVE SLOWLY ALONG A ROAD, PANNING DOWN from gargantuan
     trees... until we finally reveal... REGAN walking towards
     camera.

     Suddenly coming into frame all around her is... THE BRIDGE.
                                                              34.


     WE FOLLOW REGAN as she walks across the bridge, now more
     overgrown with weeds and roots. Then suddenly... REGAN comes
     to a stop... and kneels down in sand as:

     WE CONTINUE TO MOVE BACK SLOWLY.   Suddenly coming into frame
     is the top of....

     A HAND MADE CROSS!!!

     REGAN reaches into her pillow case and pulls out... THE TOY
     SHUTTLE.

     WE FOLLOW REGAN&apos;S HANDS as she deftly removes one of the
     colored plastic pieces underneath. It quietly slides off to
     reveal... a battery panel and several multicolored wires. She
     reaches into the front pocket of her dress and pulls out
     pliers and quickly cuts the green wire.

     REGAN reaches into the pocket of her dress again and pulls
     out... batteries! She slides the batteries in confidently.

     We follow REGAN&apos;s hands as they move to the base of the cross
     and place... the TOY SHUTTLE in the sand. We now see that
     the shuttle sits amongst a pile of other weathered toys...
     and flowers.

     REGAN PAUSES.................and then flips the tiny switch.

     ...RED AND BLUE LIGHTS CASCADE OVER HER FACE...

     ...But no sound.


48   INT. FARMHOUSE - BEDROOM - LATE AFTERNOON                  48

     WE ARE TIGHT on EVELYN&apos;s back as she walks through another
     door-less threshold. As she continues into the room, we begin
     to see the walls... covered in rocket ships.

     OVER EVELYN as her eyes stop... on a cartoon mobile of the
     planets. She taps it... exactly as she tapped the mobile in
     the baby&apos;s room... This time watching it orbit around...
     without a smile.

     WIDE ON THE ROOM for the first time we see... THE ROOM IS
     METICULOUS. The bed is made... the toys perfectly placed on
     the shelves.

     CLOSE ON THE BED... AS EVELYN SITS DOWN SLOWLY. Light floods
     through the original paned window... casting the shadow of a
     cross on the floor in front of her.

     EVELYN looks over to the small night stand by the bed where a
     lamp and a hand made mirror sit.
                                                                35.


     Suddenly, she lifts up the mirror... and dusts the table with
     the washcloth from the line.

     EVELYN stares out the window oddly... at peace. As LEE has
     his ritual atop the silo to contemplate on the irreversible
     loss of his son... EVELYN has this. EVELYN... keeps her
     son&apos;s spirit alive.


49   INT. WATERFALL - LATE AFTERNOON                              49

     CLOSE ON a water bladder poking into the rushing wall of
     water. Filling immediately, we:

     PULL BACK and FOLLOW LEE... as he sits down on a rock next to
     his son and hands him the bladder. MARCUS drinks as LEE
     looks on... a brightness washing over him. This is a moment
     of... calm. A moment... of family. A moment... of real
     life.

     WE FOLLOW the bladder as MARCUS hands it up to his father,
     who happily takes a large swig. Suddenly we HEAR:

                         MARCUS (O.S.)
               Why didn&apos;t you let her come with
               us?

     LEE looks down at his son.

                         LEE (O.S.)
               Because... I need to keep her safe.

                         MARCUS (O.S.)
               ... Is it because you blame her for
               what happened?

     LEE freezes instantly... his heart stops.

     Finally he looks down at his son... in shock? In awe?

                         MARCUS (CONT&apos;D)
               Because she blames herself...

     LEE&apos;s eyes blink and flutter as he tries to gain control of
     his thoughts...

                         LEE
               No, I don&apos;t bl--... It was no one&apos;s
               fault.

                         MARCUS
               ... You still love her, right?
                                                                36.


                         LEE
               Of-- Of course I do.

     Pause.

                         MARCUS
               ... You should tell her.


50   INT. FARMHOUSE - BEDROOM - LATE AFTERNOON                    50

     CLOSE ON EVELYN IN THE HAND MADE MIRROR, as she stares at the
     frame... made up of colorful zoo animals staring back at her.
     At the top of the mirror, the name... &quot;BEAU&quot;

     FROM THE DOORWAY, WE ARE WIDE ON THE ROOM as EVELYN stands up
     and slowly makes her way to the door carrying the small
     mirror.

     Just as she reaches the doorway... she stops. Her body
     tightens. Her face... changes. Her hand shakes as it
     reaches out to the side of the doorway. WE HOLD ON HER a
     moment and then go:

     CLOSE ON her feet rocking slightly in the doorway.
     Suddenly......

     FLUID HITS THE FLOORBOARDS!!!!


51   EXT. WOODS - LATE AFTERNOON                                  51

     LEE and MARCUS appear through an oddly beautiful exit from
     the woods and begin walking along a path.

     PROFILE on LEE as we see the tall thin trees of a swamp
     behind him.

     PROFILE ON MARCUS from the opposite side as swamp trees are
     also behind him. Suddenly... A DILAPIDATED house comes into
     frame. MARCUS turns to look.

     MARCUS&apos; POV of the eery house...that stands as a reminder
     that people once lived here happily.

     CLOSE ON MARCUS looking up on the house. His face... now
     fearful. Suddenly, behind MARCUS, just out of focus in the
     short distance...

     A DARK SHADOW!!!

     No sooner has the FIGURE exited frame, MARCUS... CRASHES INTO
     HIS FATHER... WHO IS STANDING COMPLETELY STILL.
                                                          37.


MARCUS looks up at his father... who stares off sharply into
the short distance...

OVER MARCUS as he slowly leans around his father to see what
he&apos;s looking at, when suddenly we see...

A TERRIFYING MAN AT THE EDGE OF THE SWAMP!!!

A human form unlike anything most of us ever will... or
should get to see, the man&apos;s emaciated body quakes and then
shudders as if a synapses misfire. His face is sunken...
almost ghoulish and the look in his pitch black eyes
communicates something far beyond fearful. Much worse, this
is the rare look of a brain that has accepted a living
nightmare... as an everyday reality.

ON MARCUS as he slowly raises his hand... into a wave.

ON THE MAN... who doesn&apos;t move.

ON LEE as his eyes travel slowly down the man&apos;s frame.

ON LEE&apos;S PERSPECTIVE as we see the man&apos;s dirt covered face,
then a ratty and ripped flannel shirt, and then... blood
covered hands... blood covered jeans... and finally at his
feet, in the high grass...

LONG HAIR AND A HAND OF.... A DEAD WOMAN

ON LEE as his eyes slowly come back up to meet the man&apos;s.
LEE now also raises his hand... and places a tense finger on
his lips.

ON THE MAN... as two large tears run down his face. In his
eyes... the knowing fear of the end of his life as... he
takes a deep breath in.

LEE immediately grabs MARCUS.

TIGHT ON LEE sprinting down the path carrying his son.    OVER
HIS SHOULDER, the man in the background:

LETS OUT A PRIMAL SCREAM!!!!!!

... A bottomless sound of pain and surrender, the sound
blasts onto us like a wave.

LEE suddenly dives behind a hallowed out tree trunk and
throws MARCUS&apos; back up against it.

ON MARCUS as his father clasps his hand over his mouth.
MARCUS&apos; eyes widen as overwhelming panic takes over.
                                                               38.


     ON LEE as he looks down at his son... with the most beautiful
     sense of calm. The way one holds the hand of someone in their
     last seconds on earth, LEE&apos;s smile is pure comfort... pure
     love.

     Suddenly we hear... THE FAMILIAR TERRIFYING SCREEEEEEEECH!

     ON MARCUS... who begins violently shaking his head... his
     soul seemingly coming out through his skin. Then suddenly we
     hear... THE SNAPPING OF TREES!

     ON LEE as his look now shoots to the tree line behind the man
     when suddenly...

     WE HEAR the man&apos;s primal scream of pain turn into... an
     animal sound of death.

     BACK ON MARCUS as he covers his ears. Through the muffle of
     MARCUS&apos; covered ears we can still hear... The most horrific
     sounds of ultimate pain... crunching... and then...

                   POP!!!!
     A deafening

     ...SILENCE...

     MARCUS&apos; eyes almost seem to dim right before us...

     As he goes limp.


52   INT. FARMHOUSE - UPSTAIRS HALL - LATE AFTERNOON              52

     FROM THE FLOOR we follow drops of fluid down the hall,
     leading to... EVELYN gripping onto the railing with both
     hands as she slowly traverses the stairs going down, focusing
     intently on each step.

     ON EVELYN&apos;s face as she takes slow, deep breaths.    Her eyes
     surging with panic... and pain.

     IT&apos;S 4 WEEKS TOO SOON!

     Suddenly... EVELYN&apos;s eyes go wide.

     CONTRACTION!!!

     CLOSE ON EVELYN&apos;S BELLY as she slowly sinks down into the
     steps and INTO A CLOSE UP.

     In EVELYN&apos;s face we will witness, many of us for the first
     time, the complex and overwhelming sensory overload that is a
     contraction... all swallowed back with every fiber of her
     being in order to remain.... Silent.
                                                             39.


     Just at the moment it looks as though EVELYN may explode...
     the contraction subsides.

     WE ARE ON EVELYN&apos;s BACK as she struggles up onto her feet and
     down the remaining stairs. As she rounds the banister and out
     of frame... WE HOLD ON THE FRONT HALL.

     Out the front door and onto the sand path warmly lit white
     from the Christmas lights above.


53   INT. FARMHOUSE - BASEMENT - LATE AFTERNOON                   53

     WE ARE LOW looking up the basement stairs as suddenly...
     EVELYN appears in the narrow doorway and grabs hold of the
     wall, still carrying the children&apos;s mirror. She takes a
     moment and then begins to descend the exposed stairs with the
     same deliberate effort.

     COMING TOWARDS CAMERA, EVELYN gets bigger and bigger in the
     frame until her head disappears, then her belly.

     Just as her foot comes down into close up we:

     RACK FOCUS to... THE NAIL STANDING STRAIGHT UP!!!!

     EVELYN&apos;s foot steps STRAIGHT DOWN ON IT!!!!!

     WE WATCH THE NAIL PIERCE INTO THE BOTTOM OF HER FOOT... and
     then ERUPT THROUGH THE OTHER SIDE!!!!!!!!

     THE SOUND CUTS OUT as we go:

     CLOSE ON EVELYN as the shock and searing pain collides in her
     brain behind her eyes. Then...

     CLOSE ON THE MIRROR as it SILENTLY CRASHES DOWN THE STAIRS...
     then rattles around in a circle before coming to a
     standstill.

     SOUND COMES RUSHING BACK IN

     ON EVELYN as full blown fear washes over her. That sound was
     most definitely HEARD. She looks down...

     CLOSE ON EVELYN&apos;s FOOT... as she SLIDES THE FOOT SLOWLY UP
     THE NAIL... and POPS IT FREE. Blood immediately begins to
     drip from the wound.

     EVELYN rushes down the remaining stairs, wincing with every
     other step.
                                                                  40.


     WE FOLLOW ON EVELYN&apos;s BACK as she hurriedly shuffles through
     this basement that once felt familiar in the romantic glow of
     their slow dance... but now feels stark... and desperately
     lonely.

     Finally, EVELYN arrives... at LEE&apos;s security console. She
     desperately pushes past stacks of notebooks and files, boxes
     of various electrical equipment like cellphones, cassette
     players and EGG TIMERS that have been pillaged for parts.
     EVELYN finally moves... THE BOX OF HEARING AIDS... to reveal
     that there on the wall... is a large, hand made switch.

     EVELYN grabs the knob at the top and thrusts it down.


54   EXT. FARM - LATE AFTERNOON                                     54

     Suddenly, flickering to life against the dusk colored sky...

     LINES OF RED CHRISTMAS LIGHTS!!!

     Like the white lights before, the power grid like system
     illuminates the farm in bright... RED!!!


55   EXT. ROAD - LATE AFTERNOON                                     55

     REGAN lies in the sand next to the cross.    Behind her we
     see... RED LIGHTS THROUGH THE TREES!

     ... REGAN doesn&apos;t see them.


56   INT. FARMHOUSE - BASEMENT - LATE AFTERNOON                     56

     ON EVELYN, leaning on LEE&apos;s console. Her eyes closed, she
     takes slow, deep breathes, as if to convince herself that it
     will all be OK now... The signal has been sent.

     For a brief moment... a smile... as she then opens her eyes
     and moves back to the stairs.

     As she clutches the support beam and goes to take her first
     step up...

     A LARGE SHADOW FLASHES PAST THE DOORWAY!!!!!

     EVELYN spins back away from the stairs in terror.


57   EXT. WOODS - VALLEY PATHWAY - DUSK                             57

     As sky begins to settle into dusk above the towering trees...
     LEE enters carrying a limp MARCUS.
                                                               41.


     He trudges up the sand path, looking down at MARCUS.

     MARCUS&apos; eyes are open... but he is not present.

     ON LEE&apos;S BACK NOW, as he and his son crest the hill.

     WE BOOM UP to see the dark horizon line of sky... give way to
     the top of the silo... and then the fire red ground
     illuminated by Christmas lights.

     ON LEE as we see his face register exactly what this means.

     He breaks into a full sprint.


58   INT. FARMHOUSE - BASEMENT - DUSK                            58

     CLOSE ON one of the basement windows as red light pours
     through.

     WE PULL BACK SLOWLY as:

     EVELYN&apos;s HANDS enter frame. She desperately pushes on the
     window... nothing.

     EVELYN roams around the basement like a caged animal
     searching for any way out...

     She moves back to LEE&apos;s security console, scanning the
     desk... think... THINK!

     Suddenly her eyes fall upon... the box of small electronics
     she just moved to get to the switch.

     Suddenly we hear:

     A SCRATCHING OF CLAWS ON A WALL AND A CRASH OF GLASS FROM
     ABOVE HER!!!!

     EVELYN freezes with fear.   Then....

     THE HORRIFIC SCREEEEEEEEECH CAN BE HEARD!

     EVELYN closes her eyes as the same sound that preempted her
     son&apos;s death washes over her.

     Then... her eyes shoot open in pain...

     CONTRACTION!!!

     Larger than the second one, this one brings EVELYN to her
     knees, her head dips to the ground as she grimaces in intense
     pain.
                                                                42.


     CLOSE ON EVELYN as her head suddenly shoots back up... The
     red light pouring in from the basement windows cuts a line
     across her face revealing her exploding eyes trying to
     swallow the pain. Tears begin to fall... she is unable to
     breath.

     Then suddenly... air slowly escapes as she exhales... the
     contraction has passed. After a moment of realization?...
     Disbelief? She stands up and out of frame.

     WE HOLD and then slowly pan down to... a small pool of blood
     on the floor.


59   INT. FARMHOUSE - DUSK                                        59

     NOW LOOKING DOWN THE STAIRS from the doorway in the first
     floor hallway... we see...

     EVELYN rush through frame past the stairs.

     ... WE CAN BARELY MAKE OUT A NONDESCRIPT SOUND.


60   INT. FARMHOUSE - BASEMENT - DUSK                             60

     ON EVELYN as she quickly slides in behind a large boiler. We
     can see the basement stairs in the background.

     EVELYN squeezes her eyes shut... and begins murmuring to
     herself... THE NONDESCRIPT SOUND IS SLIGHTLY LOUDER... A
     TICKING...

     And then....

     EVELYN&apos;s eyes shoot open... What now?   Suddenly....

     CONTRACTION!!!!

     We are on EVELYN&apos;S face as she endures this immeasurable pain
     in this unthinkable moment...

     Then we hear...

     TICK.... SCRAAAAAPE... TICK.... SCRAAAAAPE

     Whatever IT is... it&apos;s coming DOWN THE STAIRS.

     TICK.... SCRAAAAAPE... TICK.... SCRAAAAAPE

     EVELYN crushes herself even tighter against the wall behind
     the boiler... closing her eyes and exhaling in pure, painful,
     silence as the contraction subsides...
                                                         43.


Suddenly we hear...

SILENCE...

EVELYN turns and peers through the water tanks.

IN EVELYN&apos;S POV as she scans the room through the sliver of a
view then suddenly...

We can barely make out more than a SLIVER of a creature&apos;s
shoulder or back from in between the tanks. WE CAN SEE THAT
IT IS COVERED IN SMALL ARMOR LIKE PLATES! Suddenly...

The small plates on the creature&apos;s shoulder... BEGIN TO LIFT
UP??!! Like the pieces on a colander, or... an old satellite
dish... the small plates open up with the crackle and pull of
anatomical goo underneath. Then all of the sudden... the
plates BEGIN TO ROTATE! Like directional microphones, the
plates... begin searching the room... FOR SOUND!

From behind the tanks, EVELYN watches as the creature&apos;s
plates turn toward the wall of monitors. Suddenly, each of
the screens... begins to flicker!!! Then... the picture goes
completely dark!

EVELYN then suddenly rolls her back against the tanks to look
from one side of the room... to the other.

Suddenly... We now can identify the NONDESCRIPT SOUND FROM
EARLIER as... TICKING.....

Then, sitting on a shelf on the wall opposite the console, we
see...

AN EGG TIMER!!!

WE CONTINUE TO PUSH IN, THE TICKING SOUND NOW MUCH LOUDER,
when finally, just as we land CLOSE UP on the egg timer...

RIIIIIIIIIIIIIIIIIIING!!!!!!!!!!!

THE CREATURE SCREEEEEEEEEEEECHES!!!!

AND ATTACKS THE SOUND!!!!!!!

EVELYN opens her eyes...

That&apos;s it! Her plan worked!    EVELYN thrusts herself away
from the tanks!!

WE TRACK WITH HER as she moves as quickly as she can to the
exposed stairs and begins to climb.
                                                              44.


61   INT. FRONT HALL - DUSK                                       61

     FROM THE KITCHEN WE LOOK THROUGH THE HALLWAY ONTO THE FRONT
     DOOR. Suddenly... EVELYN bursts out of the doorway from the
     basement.

     WE FOLLOW ON HER BACK as she maneuvers her feet desperately
     from PAINTED SPOT to PAINTED SPOT down the hall to the front
     door and to freedom!

     She grabs the stair post for support as she crosses through
     the front hall, only steps from the door when, OVER HER
     SHOULDER we barely see:

     A DARK SHADOW WALKING UP THE SAND PATH!!!

     EVELYN immediately spins around into CLOSE UP as we now LEAD
     HER as she rushes up the main stairs.

     At the top of the stairs, WE TILT DOWN as she reaches to the
     floor and picks up the thick blankets covering the landing.
     Behind her... THE FRONT HALL LIGHTS BEGIN TO BRIGHTEN!


62   EXT. BARN - DUSK                                             62

     WE HOLD ON the side of the barn... as LEE enters with MARCUS
     and places him on the ground.

     WE FOLLOW LEE as he slowly cranes his neck to look around the
     barn. There, beautifully lit in RED is the sand path leading
     to the farmhouse. LEE&apos;s eyes travel down the path and up the
     stairs and...

     ONTO A LARGE DARK SHADOW... NOW IN THE FRONT HALL!!!

     LEE snaps his back against the wall, his eyes darting with
     fear as he thinks... thinks. Finally he turns to his son who
     stands looking at him blankly.

     LEE immediately digs into his back pack and pulls out... A
     FLASH LIGHT!

     LEE places the flashlight in MARCUS&apos;s hands.   MARCUS looks up
     to him with familiar panic in his eyes.

     LEE then slides closer to his son... and gently places his
     hands on MARCUS&apos; shoulders.

     Suddenly, LEE places his left hand straight up against his
     chest, crosses the fingers of his right hand, brings the two
     together and... shoots his right hand into the sky.
                                                             45.


     This... is the same exact sign his four year old son made in
     the general store at the beginning of the movie. This...
     means ROCKET.

     MARCUS shakes his head no.

     LEE gently places his hands on MARCUS&apos; face and looks
     directly in his eyes. No doubt informed by the heart opening
     day they&apos;ve had... It is a beautiful moment of strength as
     LEE communicates so much to his son. First and foremost,
     there is understanding... and even an apology for the
     situation they are in. But then the look turns to imploring.

                         LEE (SIGNING)
               Your mother needs help. I need you
               to do this... for her.

     MARCUS looks to his dad... his eyes change.

                         LEE (SIGNING) (CONT&apos;D)
               ... please...

     And with that... MARCUS is gone.

     ON LEE as he watches his son run down the side of the barn...
     and disappear around the corner. He takes a deep breath...
     God protect his son. God protect all of them.

     LEE turns and runs around the barn.


63   INT. FARMHOUSE - UPSTAIRS BATHROOM - DUSK                   63

     FROM ABOVE we see EVELYN enter the room carrying the thick
     blankets from the stairs and turns on the bathroom light...
     spots of blood smear on the floor.

     ON EVELYN as she slowly gets into the bathtub. Tears fall
     down her face as she reaches over the wall of the tub... and
     starts stacking the blankets from her knees to her chest.

     As she folds the last blanket over herself...

     CONTRACTION!!!

     This time her eyes go wide with the electric shock like pain.
     This... is the big one. THIS... IS HAPPENING!

     Suddenly we hear...TICK.... SCRAAAAAPE... TICK.... SCRAAAAAPE

     Whatever IT is... it&apos;s trying to climb the stairs.

     TIGHT ON EVELYN&apos;s hand as it jerks and grips til it turns
     white from force.
                                                                46.


     FROM ABOVE, we see EVELYN in extreme pain... but somehow
     keeping it all in.

     Suddenly... a small stream of blood begins to trickle by her
     exposed feet.


64   INT. BARN - LEE&apos;S BEDROOM/STALL - DUSK                       64

     LEE rushes into his room and reaches under his mattress and
     pulls out...

     A SHOT GUN!... Not the first choice, when trying not to make
     noise... but he has no other choice.


65   EXT. FARM - CORNFIELD - DUSK                                 65

     MARCUS walks down a thin sand path, suddenly stops... and
     looks up to a HUGE OVERARCHING FIGURE ABOVE HIM!

     It is a watering device found in cornfields that tower high
     above the corn and roll slowly through the fields on giant
     wheels.


66   INT. FARMHOUSE - UPSTAIRS BATHROOM - DUSK                    66

     ON THE BATHTUB. All that can be seen are EVELYN&apos;s eyes as
     she peers over the bathtub wall. Through the door... and to
     the steps. Suddenly we hear again...

     TICK.... SCRAAAAAPE... TICK.... SCRAAAAAPE

     Just then... The light bulb above EVELYN begins to DIM!!!

     QUICKLY BACK ON EVELYN as she begins to cry, preparing for
     the end. And then...

     CONTRACTION!!!!

     FROM ABOVE as EVELYN&apos;s face shoots to the sky... with no
     affect. Her eyes wide, the rest of her face is calm.

     Then we see... Blood and fluid now pool around her feet as
     the light above her... goes out.

     From only the light from the window we see EVELYN&apos;s face...
     finally crack in pain. Her mouth opens... releasing the most
     guttural... and now two person...

     SCREEEEEEEAM!
                                                                47.


     BUT, right at that moment, the screams of mother and baby are
     drowned out by a thundering.....

     BOOOOOOOOOOOOOOOOOOM!!!!

67   EXT. FARMHOUSE - SAND PATH - NIGHT                           67

     WE TRACK WITH LEE as he sprints down the sand path holding
     the shot gun like a civil war soldier rushing into battle
     as...

     ENORMOUS BLOOMS OF FIREWORKS BURST BEHIND HIM!!!!

     Red, green, white... large plumes, small sparkles falling
     down.

     In the midst of this unthinkable nightmare... it&apos;s gorgeous.


68   EXT. ROAD - NIGHT                                            68

     Huge bursts of fireworks light up through the tops of the
     towering trees...

     REGAN, sits up abruptly into the fireworks&apos; silhouette.

     CLOSE ON REGAN as the colors illuminate on her face.


69   INT. FARMHOUSE - FRONT HALL - NIGHT                          69

     FROM THE DINING ROOM, we look into the front hall in the
     background.

     Suddenly, from the doorway... the muzzle of a gun pokes
     through. Then moments later... LEE walks in stealthily.
     Moving the gun exactly where his eyes point... he clears the
     room.

     ON LEE&apos;S BACK as we look down the gun barrel. He looks to
     the dining room. He looks to the living room. He looks to
     the... STAIRS!!!

     LEE&apos;S POV as he walks up the stairs. On each stair... drops
     of blood. To the left, along the wall, the wallpaper has been
     intermittently RIPPED... IN THREE EQUIDISTANT MEANDERING
     LINES.
                                                               48.


70   INT. FARMHOUSE - UPSTAIRS HALLWAY - NIGHT                    70

     THROUGH A DOORWAY onto the now exposed wood floor landing
     with the bannister outlining the upstairs hall.

     Suddenly, the top of LEE&apos;s head enters frame... just as the
     creature&apos;s had only moments before... Then his gun, facing
     into the bedrooms to the side. LEE moves the gun confidently
     in all directions, making sure the upstairs is clear.

     As LEE&apos;s gaze comes around to face directly at us... his gun
     lowers... and:

     WE SLOWLY PULL BACK INTO THE ROOM TO REVEAL... the
     bloodstained edge... of the BATH TUB.

     ON LEE&apos;s BACK as he rushes to the tub to find... just blood
     in an empty bath tub.

     LEE turns into his own CLOSE UP PROFILE as his back slides
     down the bathtub and onto the floor. His hand releases the
     gun to the floor. His eyes close and he begins to... softly
     weep.

     A mirror behind LEE reflects the room back to him, revealing
     for the first time... a beveled glass shower door at the
     opposite end of the room. Suddenly...

     A BLOODY HAND HITS THE GLASS!!!!... And the shower door
     slowly opens!!!

     OVER LEE as he scrambles to the shower and opens the door!
     Stuffed inside... is a quivering pile of blankets.

     LEE drops to his knees and pulls back the blankets to see...
     his wife. Pale, with eyes closed... she&apos;s breathing. And in
     her arms... a sleeping newborn baby.


71   EXT. CORNFIELD - NIGHT                                       71

     WE HOLD ON THE TOPS OF THE DENSE CORN, the creature like
     silhouette of the giant watering device looming... as the
     last of a series of bottle rockets fire into the darkening
     night sky.

     WE MOVE ABOVE THE CORN and then descend through it onto a
     thin sand path and onto... MARCUS. WE FOLLOW WITH HIM as he
     safely walks back toward the BARN, holding his flashlight, as
     the final bursts of fireworks illuminate behind him. On
     MARCUS&apos; face... is genuine pride. He knows he has done
     something heroic. Suddenly...

     WE HEAR THE SNAP OF CORNSTALKS!!!
                                                          49.


MARCUS, frantically whips his light around the path behind
him.

WE FOLLOW HIS LIGHT as it scans the path and the stalks...
Even with nothing there... it&apos;s terrifying.

Just then... His flashlight begins to DIM....

SNAP!!!

MARCUS whips his light around to the thin sand path in FRONT
of him... nothing...

SNAP!!! CRUNCH!!! SNAP!!! CRUNCH!!!   Something ELSE is
moving toward him... fast!

MARCUS turns around, away from the BARN... AND RUNS!!!!   WE
ARE ON MARCUS&apos; FACE AS HE RUNS... Scanning, scanning...
SNAP!!!... SCANNING!!!... CRUNCH!!! SCANNING!!

HIS FLASHLIGHT... STARTS TO FLICKER OUT...

THE CORN TO HIS RIGHT... BEGINS TO SNAP... ITS COMING CLOSER!

MARCUS turns and begins to run... INTO THE CORN!!!!

WE ARE NOW IN A TERRIFYING PERSPECTIVE... HANDHELD, AS CORN
CROSSES RIGHT PAST LENS. THE FLASHLIGHT not able to cast
light on anything that&apos;s not right in our face, creating
almost a STROBE EFFECT!!! MARCUS is making... A TON OF
SOUND!!!!

ON MARCUS&apos; FACE... pure panic. When suddenly... WE ARRIVE
into a small clearing to see... A TRACTOR, completely
overgrown with corn. MARCUS immediately climbs onto the
tractor and frantically whips his light around the
clearing... and into the dense corn...

THE LIGHT... STARTS TO DIM.... SNAP!!! CRUNCH!!! SNAP!!!
CRUNCH!!! Something is moving toward him FAST! THE LIGHT
BEGINS TO FLICKER.... and then goes out.

Suddenly, off in the corn in front of him (AND FOR THE FIRST
TIME) we hear... A LOUD SCREEEEEEEEEEEEEEECH!!!! The light
suddenly BLARES BRIGHT as...

A DEER HEAD POPS OUT OF THE CORN!!!!!!!!

ALL IN AN INSTANT, MARCUS flies back in fear! Slipping from
the top of the tractor... and SLAMMING HIS HEAD INTO THE
WHEEL WELL.

BLACK
                                                               50.


72   EXT. FARM - DRIVEWAY - NIGHT                                72

     Fade in: The night is now dark.

     WE ARE BEHIND REGAN walking.   AS WE ARE WITH HER... WE ARE IN
     TOTAL SILENCE.

     She looks around at the remnants of the last horrifying
     moments... More reminiscent of a soldier returning to a
     battlefield, then a girl returning to a farm, we see
     countless streamers of firework smoke still falling
     gracefully from the sky. The tips of dry cornstalks
     flicker... alight with small flames. Off in the distance we
     see... lights of the SILO. Shining like a beacon.

     REGAN walks along the eerie shadows of corn stalks when
     suddenly at her feet... cracks of light.

     REGAN lowers to her knees and puts her head to the ground to
     see... a bright light, cutting through the bottom of the
     stalks of corn. Suddenly, the pliers REGAN used to work on
     the TOY SHUTTLE... slip out of the pocket of her dress...

     ...AND CRASH ONTO A ROCK ON THE GROUND!!!

     REGAN... doesn&apos;t even notice... because she didn&apos;t even hear
     it... REGAN sits back up to kneeling position when suddenly
     the cornstalks behind her... BEGIN TO LAY DOWN... AS A SHADOW
     EMERGES!!!At that exact moment... we begin to hear the oddest
     and unpleasent beeeeeeeeeeeep.

     Suddenly, REGAN&apos;s eyes begin to squint slightly.   Then... her
     hand slowly reaches up to her ear?...

     SHE CAN HEAR THE BEEP!!!!

     SUDDENLY... the SHADOW moves closer to REGAN... and THE
     BEEEEEEP GROWS!!! Now at a near deafening level, we see the
     shadow behind REGAN... stop? REGAN&apos;s face now scrunches up
     in agony as she grabs her ears!!! REGAN digs into her right
     ear, rips out the hearing aid and launches forward!!

     ....SILENCE.....

     REGAN suddenly kneels back up into frame... THE SHADOW IS
     GONE!... SHE NEVER EVEN KNEW IT WAS THERE.

     Breathing wildly, REGAN looks at the hearing aid in her hand.
     Her face is almost electrified! As excruciating as that
     was.... THAT IS THE FIRST SOUND SHE HAS EVER HEARD!

     REGAN... slowly puts the hearing aid back in her ear...

     ....nothing....
                                                               51.


73   EXT. CORNFIELD - NIGHT                                       73

     WE FOLLOW REGAN as she walks down the small path leading
     to... the clearing. One ladder stands, the other ladder on
     the ground, bottles and fireworks litter the ground. And
     then, there in the center of the clearing, lit by the
     flashlight... one half of a deer carcass.

     ... No sign of MARCUS...

     REGAN slowly bends down to pick up the flashlight when
     suddenly... THE CARCASS MOVES! REGAN jumps back,
     terrified!!!

     Then from under the neck of the deer... a hand!!

     REGAN runs over and pushes the carcass off of... MARCUS, who
     has been safely lying underneath.

     Covered in blood, he scrambles to try to get to his feet.
     REGAN grabs him and holds him tight. She places her finger
     to her lips... just like her dad.

     She looks around to see if they have a chance to run... and
     then thinks better of it. She looks back to her brother...
     and places her hand on his chest.

     WE RISE above the clearing, above the overgrown tractor...
     and once again into the night.


74   EXT. FARMHOUSE - NIGHT                                       74

     WE ARE WIDE on the FARMHOUSE. The RED CHRISTMAS lights sway
     gently in the now calm night air.

     After a long quiet moment...

     LEE appears at the doorway.    He carries EVELYN in his arms...
     The baby in hers.

     He slowly descends the porch stairs and begins to walk toward
     the BARN... his eyes locked firmly on his cargo. For a
     moment, as LEE walks, this all feels almost like a dream. Or
     the end of a nightmare. Respite.

     WE ARE TIGHT ON EVELYN who we see is unconscious from the
     trauma and the loss of fluids... THEN DOWN TO the tightly
     wrapped baby sleeping in her arms.

     LEE looks ahead to the doors of the BARN off in the seemingly
     never ending distance.

     Suddenly...
                                                          52.


THE BABY BEGINS TO STIR!!!

LEE&apos;s eyes shoot down to see the baby streeeeeeeeetch... and
slowly begin to open it&apos;s eyes.

ON THE BABY as it looks up, searchingly, at his father... as
his father picks up his pace!

Suddenly... we begin to notice the dim red light on the
baby&apos;s face... BEGINS TO FLICKER!

ON THE BARN DOORS getting closer... closer.

ON LEE as he trudges with everything he has to get his baby
to safety when suddenly... a cold wind blows across LEE&apos;s
face and through his hair.

LEE slowly looks down as...

THE BABY CRIES!!!!!!

WE HOLD DIRECTLY ON LEE, LEADING HIM, as he breaks into a
full sprint!

LEE&apos;S eyes momentarily dart quickly to the side, not at all
prepared for what he might find.

WE NEVER LEAVE LEE&apos;s FACE. As his head bobs back and forth
from running, we intermittently catch glimpses of the long
path behind him. First we see the FARMHOUSE shrinking in the
distance behind him. And then we hear...

SNAP!!!

BEHIND LEE... the large tree near the farmhouse moves
wildly!!

LEE&apos;s eyes never even widen. There is no surprise. This is
the moment he knew would come. As he sprints with everything
he has... the string of bulbs above him... DIM DOWN TO ALMOST
NOTHING!!!!

IN THE DARK DISTANCE BEHIND HIM... A
SCREEEEEEEEEEEEEEECH!!!!...

Lee... Is... Running... running... closer... closer...
then....

LEE BURSTS THROUGH THE HEAVY QUILTS!!! HE&apos;S IN THE BARN!!

WE ARE ON LEE as he sprints through the familiar interior of
the BARN. When suddenly...

WE HEAR A HUGE BANG!!!   Then...
                                                                53.


     THE HEAVY QUILTS FLY UP INTO THE AIR!!!... JUST AS LEE
     DESCENDS INTO THE GROUND!


75   INT. BARN - SAFE ROOM - NIGHT                                75

     LEE falls back onto the steps, barely holding onto his wife
     and child as his free hand reaches for... the mattress!

     As LEE finally grabs the mattress and slides it over the
     opening above the stairwell...

     BLACK
     In total darkness we hear:

     LEE&apos;S BREATH QUICKENS... AN ODD SOUND OF SOMETHING HEAVY...

     ABOVE... THE CREATURES ARE INSIDE THE BARN!!!! A CACOPHONY
     OF SCRATCHING, TEARING AND SCREECHING... Then...

     FIRE!!... LEE&apos;s lighter cuts through the black and then
     retreats into a small glow in the room as we try to
     comprehend what&apos;s happening. We see EVELYN has been placed
     on a hay bale as...

     ABOVE... A CRASH!!!!! THE CREATURES ARE TEARING THROUGH THE
     ROOMS... AND DROWNING THE SOUNDS OF THE FAMILY BELOW... FOR
     THE MOMENT...

     LEE picks up the crying baby... as we PUSH IN. For one brief
     second amidst the fury of nerves and sound we see... a father
     holding his newborn child for the first time. It is a
     precious, once in a lifetime moment.

     Then...

     A PLASTIC MASK COMES INTO FRAME... and ONTO THE BABY&apos;s
     FACE!!!!

     As if in an airplane video, LEE wraps the mask&apos;s strap behind
     the baby&apos;s head... and then LOWERS THE BABY INTO THE WOODEN,
     QUILT LINED BOX!

     WE PAN TO THE SIDE of the box... along a clear plastic
     tube... to a stand up air canister. LEE&apos;s hand enters frame
     and turns the valve... a quiet whisper of air.

     LEE stares down at his tiny crying baby wearing an oxygen
     mask. The juxtaposed image seemingly almost as bizarre to
     him as it is to us. THEN...
                                                                54.


     LEE PLACES A LARGE STACK OF BLANKETS OVER THE TOP OF THE
     BOX!!!!... AND THEN A COVER!!!!

     THE BABY&apos;S SCREAMS CAN&apos;T BE HEARD...

     THE BANGING... THE SCREECHES... INCREASE IN TEMPO AND
     SOUND!!!

     LEE just stares down at the small casket like box...

     This either works... or they&apos;re dead...


76   EXT. CORNFIELD - DRIVEWAY - NIGHT                             76

     WE FOLLOW REGAN and MARCUS as they sprint up the main sand
     path/driveway running parallel to the cornfields. With the
     flashlight slicing through the darkness... it&apos;s nearly
     impossible to tell where we are. Suddenly the corn ends and
     OVER MARCUS AND REGAN we see...

     Shadows of farm equipment!

     REGAN turns her head... and looks up.

     REGAN&apos;s POV as we climb higher and higher... to the top of
     the SILO!


77   INT. BARN - SAFE ROOM - NIGHT                                 77

     Silence... The frame filled with a dark brown... Time has
     passed. Then...

     WE TRAVEL DOWN from the dirt ceiling... past a hook on the
     wooden support beam... to a clear plastic IV BAG hanging...
     down a fluid filled plastic tube... and into an arm.

     WE PULL BACK to reveal EVELYN lying on the hay bale
     comfortably... her eyes still closed. She has been
     bandaged... and wears LEE&apos;s sweater. A single burning candle
     by her side. Then...

     EVELYN SHOOTS AWAKE!!! SHE SCRAMBLES TO SIT UP THROUGH THE
     PAIN!!! HER EYES SEARCH A LOW LIT ROOM!!! SHE GOES TO SIT
     UP AND WINCES... AN IV IS IN HER ARM!!

     Out of the darkness... comes LEE!   He is holding the baby.

                          LEE
               It&apos;s ok.   It&apos;s ok!   Your safe.

     EVELYN looks up at LEE immediately confused as to why he&apos;s
     talking... then it sinks in.
                                                        55.


                       EVELYN
          It worked?

                       LEE
          It worked.

                    EVELYN
          It worked... it worked...

LEE holds up the sleeping baby and places it in EVELYN&apos;s
arms... Tears fall down her face. She looks back up to her
husband... and then around the room.

                    EVELYN (CONT&apos;D)
          Where&apos;s Marcus?

Pause.

                    LEE
          I&apos;ll find them.

                       EVELYN
          Them?!

EVELYN immediately tenses.

LEE takes the sleeping baby from EVELYN and places it in the
safe wooden box. No air mask needed now.

                    EVELYN (CONT&apos;D)
          She was with me in the house. I
          was doing laundry and she-- He was
          with you. How did he--

LEE sits next to his wife... and begins to lay her back down.

                       LEE
          Rockets.

EVELYN pauses.

                    EVELYN
          Then he-- then he&apos;s still there.
          He&apos;d know to--

LEE sits next to his wife... and begins to lay her back down.

                    LEE
          I&apos;m sure he is.

                    EVELYN
          She&apos;s smart she&apos;ll have found a
          place to-- She&apos;s smart...
                                                    56.


EVELYN&apos;s gaze finally lands on her child.

                    EVELYN (CONT&apos;D)
          It&apos;s a boy.

                    LEE
          ... It&apos;s a boy.

                    EVELYN
          ... It&apos;s a boy.


Pause.

                    EVELYN (CONT&apos;D)
          ... I could have carried him.

LEE looks at his wife confused.

                    EVELYN (CONT&apos;D)
          He was so heavy...

LEE freezes...

                    EVELYN (CONT&apos;D)
          I can still feel the weight in my
          arms. He was... small, but so
          heavy, wasn&apos;t he?

LEE can&apos;t speak.

                    EVELYN (CONT&apos;D)
          My hands were free-- I was carrying
          the bag, but my hands were still
          free... I could have carried him...
          I should have carried him.

                    LEE
          ...Evelyn...

                    EVELYN
          Who are we?... if we can&apos;t protect
          them. Who are we?

LEE is frozen... every image rushing back to him.

                    EVELYN (CONT&apos;D)
          You have to protect them.

                    LEE
          I will.
                                                              57.


                         EVELYN
               Promise me. We can&apos;t--... You need
               to protect them.


78   EXT. SILO- ROOF - NIGHT                                      78

     CLOSE ON... A FLAME!!!

     As it dies down, coming into view we see... MARCUS sitting in
     front of the shallow metal drum their father sat in front of
     the night before.

     REGAN walks around the fire looking out across the farm for
     any sign of her father.

     Just as the fire is about to die out, REGAN walks back and
     squirts the last remaining fluid from the bottle. The fire
     rages again and illuminates the two children... as well as
     the fading hope on their faces.

     The fire begins to die down again. REGAN rummages in the box
     picking up the empty bottles of lighter fluid and shaking
     them frantically...

     She shakes the last empty bottle... And slumps down...
     defeated... scared.

     In the last moments of the dying flame...

                         MARCUS (SIGNING)
               He&apos;ll come for us.

     The two kids stare off desperately over the farm...
     preventing them from seeing far off in the distance to the
     right...

     A fire ignites... Then farther off... another fire...

     BUT THIS TIME... ITS ONLY TWO!

     The kids don&apos;t even notice.


79   INT. BARN - NIGHT                                            79

     WE ARE ON THE FAMILIAR image of the interior of the BARN.
     Suddenly, the mattress on the ground... moves.   Then...
     LEE&apos;s head slowly arises from underground.

     LEE stands to see their barn... their life has been tossed
     and ravaged.
                                                                58.


     LEE places the mattress back over the large unfinished hole
     leading down to the safe room and stands up. LEE stares down
     at the mattress... and what it protects... then walks out of
     frame.

     WE HOLD ON THE mattress a moment... And then SLOWLY MOVE
     along the floor of the BARN... past the monopoly game...
     until we reach the bedroom stalls to see...

     A LARGE CLAW MARK GOUGED OUT OF THE BARN WALL!

     As we move down we see... a pipe above the long trough on the
     wall...has broken...

     WATER DRIPS FROM THE BROKEN PIPE... AND A POOL OF WATER...
     MOVES ACROSS THE FLOOR!


80   EXT. SILO - ROOF - NIGHT                                     80

     CLOSE ON REGAN, oddly lit. She lays on her back staring up...
     at the stars. REGAN fumbles with something in her ear...

     WE GO EXTREME CLOSE on her turning the tiny dial on top of
     her hearing aid. As she does... she places her other hand by
     her ear and rubs her fingers together, hoping to hear a
     sound.... Nothing.

     REGAN turns the dial even more... nothing.

     REGAN immediately rolls over, frustrated. Sitting directly
     in her view, on his dad&apos;s small stool... is MARCUS looking
     out hopefully to the farm.

                         MARCUS (SIGNING)
               He&apos;ll come.

     REGAN scoffs and goes to get up when suddenly, under her
     dad&apos;s stool she sees... a box... the box LEE kept the photo
     in... She reaches under the stool and grabs it.

     NOW CLOSE OVER THE BOX ONTO REGAN as she stares down at it...

     Then... As the lid opens, it covers frame completely to...

     BLACK


81   INT. BARN - SAFE ROOM - NIGHT                                81

     EVELYN&apos;S eyes shoot open!   Her face barely lit from a small
     slice of red light.

     We hear very clearly... The sound of running water.
                                                           59.


EVELYN squints as her eyes adjust to the low light and
attempts to get her bearings.

EVELYN&apos;s POV as she scans across the ceiling, down the walls
and finally onto... the blanket covered crib in the middle of
the room.

A relieved smile appears on EVELYN&apos;s face... and then a
wince... as she slowly tries to sit up.

She quietly slides her legs off of the hay bale and toward
the ground when... she suddenly stops!

WE FOLLOW EVELYN&apos;s eyes down her body to the ground to see
her legs...

ARE SUBMERGED IN WATER!!!!

EVELYN&apos;s eyes shoot frantically around the dark room again
and finally land on the source of red light from above. She
leans forward to see... CHRISTMAS LIGHTS...

THE MATTRESS HAS BEEN MOVED!

From one corner of the large opening... a stream of water
pours down into the room. Suddenly...

A SNORT!!!!

EVELYN&apos;s head slowly turns... The look on her face reveals to
us the immediate truth that her brain won&apos;t yet admit.

EVELYN&apos;s POV as we scan the room once more.   This time, in
the shadowed corner of the room...

A LARGE BLACK SHAPE!!!!!

EVELYN is frozen with fear as she watches....

THE SILHOUETTE OF A CREATURE STANDING DIRECTLY ABOVE HER
BABY&apos;S CRIB!!!!!!!!!!

EVELYN&apos;S eyes travel down from the creature... to her baby&apos;s
crib where...

THE QUILT BEGINS TO MOVE!!!.... THE BABY... IS WAKING UP!!!

Suddenly... WE HEAR THE BEGINNINGS OF THE LOW HUM!!!

We see a flash of red reflected off the small plates... as
they open.
                                                          60.


WE HOLD ON EVELYN, her brain racing as fast as her heart, as
she slowly looks at THE PLATES ROTATING... SCANNING THE ROOM.
Suddenly... Her breath stops... as EVELYN...

STANDS UP!!!!!

As she stands... We watch the rings in the water from EVELYN
flow through the room... TO THE CREATURE!! The plates
immediately turn down toward the rings in the water.

EVELYN looks over to the water running down the steps... then
back to the creature. It is clear it can&apos;t place exactly
where she is due to the sound of the dripping water.

WE FOLLOW on EVELYN&apos;S back as she begins to slowly... MOVE
THROUGH THE WATER!!!

Suddenly... the red lights from the barn above begin to
DIM... and illuminate THE CREATURES BACK!!!

WE GO CLOSE on it&apos;s small plates completely opened up and
vibrating... WE TRAVEL CLOSE up it&apos;s back through the tunnel
of receiving its plates have created and end CLOSE ON the
cavernous holes in it&apos;s head where the information is
processed.

When suddenly... EVELYN, with an unnerving calm...

REACHES INTO THE CRIB!!!!

CLOSE ON the crib to reveal...

THIS NEWBORN BABY... IS WIDE AWAKE!!!!

CLOSE ON EVELYN, as she places the baby on her shoulder as...
SHE BEGINS TO SLOWLY WALK BACKWARDS!!!!

EVELYN&apos;S POV as we watch... THE CREATURE&apos;s plates begin to
turn on its body... they are turning... TOWARD EVELYN...

THE WATER BEGINS TO MOVE as... THE CREATURE TURNS TO EVELYN!!

WE GO CLOSE ON THE VIBRATING WATER TRAVELING TO EVELYN...

UP ON EVELYN as she closes her eyes and continues walking
backward, when suddenly we see... A GUSH OF WATER CASCADING
BEHIND HER.

Without flinching, EVELYN COVERS THE BABY... AND WALKS RIGHT
THROUGH THE CASCADING WATER suddenly... DISAPPEARING!

ON EVELYN, her back pressed up against the dirt wall. The
water pouring only inches from her face... like a small
waterfall.
                                                               61.


     Then just in front of EVELYN... distorted behind the
     waterfall... THE CREATURE SLOWLY ENTERS... then...

     Though our view is skewed through the water... IT OPENS IT&apos;S
     MOUTH!!! Even through the distortion, we still understand
     what we&apos;re seeing is A LONG CRESCENT OF RAZOR SHARP TEETH!!!!


82   EXT. CORNFIELD - NIGHT                                       82

     From black... a flashlight slices into frame, illuminating
     the looming corn stalks on either side as WE MOVE SLOWLY
     along a thin sand path that cuts through the dense corn.

     LEE walks into frame.

     He comes to the end of the thin path and arrives at... THE
     OVERGROWN TRACTOR.

     ON LEE&apos;S face as he scans the area with his flashlight.

     ON POV of flashlight as it floods the tractor with light.

     LEE moves around the tractor... then stops.

     POV of flashlight... BLOOD!!


83   EXT. SILO- ROOF - NIGHT                                      83

     The lid of the box closes to reveal REGAN.    The sadness that
     has overtaken her... blends into anger.

                         REGAN (SIGNING)
               We can&apos;t stay here. We need to
               move.

     MARCUS shakes his head.

                         MARCUS (SIGNING)
               He&apos;ll come for us.

     REGAN shoots a look at him... and then walks AROUND THE EDGE
     OF THE SILO to the ladder. MARCUS begins waving his arms
     wildly. As REGAN turns to mount the first rung of the
     ladder... she looks back at him.

                         MARCUS (SIGNING) (CONT&apos;D)
               He WILL come for us.

     REGAN&apos;s sadness turns to anger.

                         REGAN (SIGNING)
               He&apos;ll come for YOU!
                                                                62.


     MARCUS shakes his head, signing as he steps toward her.

                          MARCUS (SIGNING)
               No.   You&apos;re wrong! I--

     And in the blink of an eye......

     MARCUS PLUNGES OUT OF FRAME!!!

     ON REGAN&apos;S face as we hear... THE BOOMING SOUND OF METAL
     RIPPING OPEN!!!


84   INT. BARN - SAFE ROOM - NIGHT                                 84

     EVELYN pinned against the wall... THE CREATURE&apos;s mouth open!
     When suddenly...

     The CREATURE immediately turns its head... Toward the sound
     of the SILO.

     SUDDENLY ITS GONE!


85   EXT. CORNFIELD - TRACTOR - NIGHT                              85

     THE LOUD SOUND OF GROANING METAL ECHOES across the sky above
     LEE.

     He immediately jumps on top of the tractor.   WE FOLLOW as:

     OVER LEE&apos;S BACK WE NOW SEE ABOVE THE VAST CORNFIELDS... TO
     THE SILO. Then...

     ANOTHER SOUND...

     LEE slowly turns only his head as we hear... a low, growling
     hum... almost like that of a swarm of bees.

     WE TRAVEL AROUND LEE 180 degrees and follow his gaze now
     toward the FARMHOUSE and BARN... and...

     DARK SNAKING LINES CUTTING THROUGH THE CORN!!!

     1 line... no 2... no... 4!!!

     THE SOUND GROWS LOUDER AND LOUDER as WE TILT with these
     rushing lines... HEADING STRAIGHT FOR LEE.

     ON LEE&apos;S face as he looks on in horror at this unstoppable
     reality, as the lines... and the SHADOWS causing them...

     SLICE THROUGH THE CORN AROUND HIM!!!
                                                                63.


     WE MOVE BACK AROUND LEE as he spins around to watch the lines
     head directly for...


86   EXT. SILO- ROOF - NIGHT                                      86

     REGAN runs to the edge of the hole to see... Two giant trap
     doors of the silo roof swinging... GROANING BACK AND FORTH!!!

     Many feet below, we see MARCUS... waist deep in a mountain...
     OF CORN.

     REGAN&apos;S body quakes as she does everything she can to resist
     the urge to call out when suddenly... MARCUS MOVES!

     MARCUS looks up at his sister as he wiggles and squirms,
     desperately trying to get free. But with every movement
     MARCUS... BEGINS TO SINK!!!

     REGAN signs to her brother to stop moving!!   When suddenly...

     BANG...BANG!...BANG!!!!!!!

     ON REGAN as she places her hands on the SILO metal... as it
     now vibrates with each blow!

     Then... A SCREEEEEEEEEEEEECH!!!!

     BANG!!!... BANG!!!... BANG!!!

     MARCUS now thrashes wildly from fear!... AS HE SINKS EVEN
     FASTER!!!

     ON REGAN as she tries to sign to her brother frantically when
     suddenly...

     ONE OF THE SWINGING TRAP DOORS RIPS FREE FROM THE SILO AND
     PLUMMETS TOWARD MARCUS!

     As the steel door crashes into the corn like a guillotine
     only inches away from him, MARCUS lunges out of the way!!!...
     That desperate quick movement... causes the corn to give way
     even more... as it now engulfs MARCUS up to his chest!!!

     Suddenly....A CRACK OF LIGHT PIERCES THROUGH THE SILO
     WALL.... AND THEN ANOTHER!!!... THE CREATURES ARE TRYING TO
     CLAW THROUGH!!!

     ON REGAN as she tries to process it all and then finally...

     SHE JUMPS DOWN INTO THE HOLE!!!!!!!
                                                             64.


87   INT. SILO - NIGHT                                            87

     REGAN lands feet first into the packed corn... which
     immediately engulfs her to her waist!!! She begins to
     scramble toward her brother... SHE TOO SINKING FURTHER INTO
     THE CORN.

     REGAN begins to push the fallen steel door toward her
     brother.

     ON MARCUS as he desperately reaches his hand out toward the
     door... his face beginning to sink under the corn!!!

     REGAN makes one last desperate push of the door toward her
     brother&apos;s hand... AS CORN ENGULFS HER TO HER CHEST!!!

     In one swift move, MARCUS places his hand onto the fallen
     silo door that sits atop the corn like a floating log in a
     river.

     MARCUS&apos;s hand grabs hold of the steel and begins to pull
     himself out. As he gets his arm up on the steel door, he
     turns back and reaches for his sister... WHO IS NOW ENGULFED
     UP TO HER NECK!!!

     MARCUS immediately reaches back to grab her hand... but REGAN
     shakes her head and motions for him to stop! Then... she
     takes one last deep breath as...

     HER FACE DISAPPEARS INTO THE GRAIN!


88   INT. SILO - NIGHT                                            88

     DARKNESS...

     A whirring of dense sound, like that of heavy rain on a car
     roof. Trickles of fading light as the sound grows quieter...
     and quieter and then... is gone.


89   INT. SILO - GRAIN PILE - NIGHT                               89

     MARCUS ferociously claws at the grain where his sister once
     was when suddenly...

     HE BEGINS TO MOVE!

     MARCUS looks back across the mountain and sees that the corn
     IS BEGINNING TO POUR OUT OF A HOLE BEING MADE BY SLASHING
     CREATURES!!!! And as the corn pours out the side, the corn
     MARCUS sits atop... BEGINS TO GIVE WAY AND SLIDE TOWARD THE
     HOLES... AND THE CREATURES!
                                                                65.


90   INT. SILO - NIGHT                                            90

     DARKNESS...

     Faintly... The whirring sounds slowly begin to fade back in.
     And with it a muted...

     ...boom....boom!...

     Tiny shafts of light begin to poke through our dark world as
     the sound grows...

     ...Boom!.....BOOM!... Suddenly...


91   INT. SILO - GRAIN PILE - NIGHT                               91

     A HAND POPS OUT OF THE CORN RIGHT NEXT TO MARCUS!!!

     The cascading corn... is actually sliding away at such a
     fierce rate that it unearths...

     REGAN&apos;S FACE AS IT POPS OUT FROM THE CORN!!! REGAN takes
     in... the deepest breath of air her lungs can handle.


92   EXT. CORNFIELD - DAWN                                        92

     LOW ON a sand path cutting through thick cornfields on either
     side as... LEE rounds the corner and sprints as fast as he
     can, his flashlight thrashes through the night sky.


93   INT. SILO - DAWN                                             93

     ON MARCUS as he wraps his arm around his sister and pulls her
     up to the steel door.

     ON REGAN, sweating... breathing heavily... She looks to
     MARCUS... who is looking away??

     MARCUS puts his finger to his mouth to tell his sister to be
     quiet.

     Now with MARCUS, we suddenly realize... THE BANGING HAS
     STOPPED!

     MARCUS grabs his flashlight and shines it down toward the
     hole created by the creatures... NOTHING!

     MARCUS shines the flashlight to another set of slash marks on
     the silo wall... NOTHING!
                                                           66.


MARCUS shines the flashlight across the now still corn...
SILENCE!

Then suddenly... A SQUEAK!!!!

MARCUS&apos; flashlight launches up to the roof of the silo...
where the second of the two doors squeaks back and forth.

MARCUS&apos; flashlight looks all around the trap door... All
around the roof... NOTHING!!!

As MARCUS leads the light back down the silo wall, he briefly
illuminates REGAN, when suddenly...

BOOM!!!!
THE CREATURE JUMPS DOWN INTO THE LIGHT!!!!   IT&apos;S PLATES AND
MOUTH FULLY OPEN!!!!

REGAN looks up to the creature in horror and then whips
around... and tackles MARCUS off the door!!!

THE CREATURE STEPS TOWARDS THE KIDS!!!

REGAN grabs the edge of the door and lifts it over her and
MARCUS&apos; heads!

PINNED UNDERNEATH THE SILO DOOR, MARCUS looks over to his
sister to see... SHE IS HOLDING HER EAR... NEARLY CONVULSING
WITH PAIN!!!   Not knowing what is happening to her he slowly
reaches out his hand to her when suddenly...

BANG!!!
A GIANT CLAW RIPS THROUGH THE SILO DOOR, RIGHT BETWEEN THE
TWO CHILDREN!!!

The children stare at the claw, horrified when suddenly...

THE CLAW BEGINS TO SHAKE... AS IF HAVING A SEIZURE!

After a long moment of seizing up... THE CLAW RIPS BACK
THROUGH THE DOOR... AND IS GONE??

WE HEAR THE TERRIFYING SCREEEEEEEEECH OF THE CREATURE!!!

Then... the sounds of SLASHING METAL!!! WE BARELY SEE THE
CREATURE AS IT BURSTS IN AND OUT OF FRAME... SCRATCHING AND
SLASHING AT THE SILO... TRYING TO GET.... OUT!!!!

Suddenly, a HORRIFYING RIPPING SOUND!!! And then...
                                                                 67.


      SILENCE....

      The children look at each other.... silent... waiting.

      After a long moment, REGAN and MARCUS begin to slide the silo
      door off of them... and peak out.

      MARCUS picks up the flashlight and shines the light all
      around the silo... then suddenly stops... The children just
      stare... AS WE SLOWLY PULL BACK TO REVEAL...

      AN ENORMOUS HOLE TORN THROUGH THE SILO!!!

      MARCUS looks back to his sister... breathing heavily... WHAT
      JUST HAPPENED?


A94   EXT. SILO - DAWN                                            A94

      WE GO WIDE to REGAN and MARCUS jumping down from the same
      large hole... onto a large pile of corn that has spilt out
      into the night... THEY ARE COMPLETELY ALONE.

      MARCUS suddenly grabs REGAN&apos;S hand and pulls her to her feet.

      ON THE BACKS OF THE KIDS as they sprint through the farm
      equipment graveyard holding hands...

      Suddenly, REGAN turns to head into the cornfields... MARCUS
      yanks her arm to stop her.

      REGAN looks at her brother... The look in his eye is begging
      her to trust him... she does as MARCUS pulls her to his safe
      place... the PICK UP TRUCK at the end of the driveway!

      As they arrive at the truck MARCUS expertly disappears
      through the cab&apos;s driver&apos;s side window... REGAN instinctively
      dives underneath the truck.

      WE SLOWLY PULL BACK on the truck. MARCUS&apos; head pokes up from
      the back window of the cab. REGAN lies still underneath.
      They are split up... but safe.


94    EXT. SILO - DAWN                                             94

      WE MOVE along a sand path, just as we did in the beginning of
      the movie, where the end of the cornfield opens into a
      clearing to reveal... THE WORK TRUCK off to the far left.
      LEE appears into frame.

      ON LEE as he shines the flashlight... scanning the scene.
                                                      67A.


HIS POV as it is... eerily quiet. LEE&apos;s flashlight shines
all the way to the far right onto the gaping hole in the
SILO... BUT THERE ARE NO CREATURES. Just the cement mixer
and some tools tipped onto the ground.
                                                                68.


     Fearing the worst... LEE makes his way to the hole.

     ON REGAN as she lifts her head to see the light shining on
     the SILO... and her father walking toward it. Her eyes go
     wide. She begins to shake her head... then wave her arms as
     best she can... no... no... NO!... but LEE doesn&apos;t see her.

     LEE begins to walk slowly toward the SILO.


95   INT. FARMHOUSE - BASEMENT - DAWN                             95

     WE ARE OVER THE STAIRS looking through the basement to the
     monitors.

     Suddenly... A dripping wet foot steps into frame... and then
     another as...

     EVELYN descends the stairs, holding the baby!


96   INT. TRUCK - DAWN                                            96

     Through the rearview mirror we see reflections of LEE&apos;s
     flashlight as it scans up and down the SILO behind.

     ON MARCUS as the dim light reflects onto his closed eyes...
     and he wakes up. In the rearview he sees the flashlight and
     immediately spins to look out the window at his father...
     standing only yards from the hole. The smallest whisper...

                         MARCUS (WHISPER)
               ...Dad... no... NO....

     Overcome with fear, MARCUS instinctively slides to the driver
     side door... AND OPENS IT!!!!


97   EXT. TRUCK - DAWN                                            97

     As the driver&apos;s side door wrenches open, the age of the truck
     and the years without use become painfully evident as...

     IT MAKES A HIGH PITCHED SHRIIIIIIIIIIIIEEEEEEEEEEK!


98   EXT. SILO - DAWN                                             98

     Almost transported back to that fateful day on the bridge, we
     watch as LEE&apos;s head slowly turns as he raises his light onto
     the truck and... his son!!

     Then, just as he did on the bridge... knowing what comes
     next... LEE RUNS!!!
                                                                69.


99    EXT. TRUCK - DAWN                                           99

      REGAN rolls out from under the car, grabs her brother and
      safely tackles him into the car, closing the door behind
      them.


100   INT. TRUCK - DAWN                                           100

      REGAN puts her brother down onto the floor of the truck
      underneath the steering wheel for protection... and then hops
      over to the passenger side, sits up... and looks out the back
      window.


101   EXT. SILO - DAWN                                            101

      ON LEE... running.

      ... Desperately trying to keep his promise to his wife...


102   INT. TRUCK - DAWN                                           102

      OVER REGAN, as she watches her father sprinting towards
      them...

      When suddenly behind him... TWO SHADOWS!!!


103   EXT. SILO - DAWN                                            103

      OVER LEE as he sprints as fast as he can towards the truck,
      now only 40 yards away...30...

      THEN... on either side of LEE...

      TWO SHADOWS BLOW PAST HIM!!!   RACING, SCRAMBLING, CLAWING...

      Still in full sprint, LEE watches...

      AS THE FIRST SHADOW CLOSES IN ON THE TRUCK!!!!


104   INT. TRUCK - DAWN                                           104

      OVER REGAN looking out the back window as the creature gets
      closer...closer...

      THE BEEEEEEEP ONCE AGAIN BEGINS TO GROW... and GROW. Just as
      the creature is about to make impact... REGAN, not wanting to
      experience that pain again... TURNS THE HEARING AID OFF....

      We are now in total silence.....
                                                                70.


      REGAN looks down at her brother on the floor... Just as....

      BANG!... THE TRUCK THRASHES VIOLENTLY!!!

      The kids grab onto... whatever they can...

      BANG!!!!!!!!!... THE TRUCK THRASHES VIOLENTLY AGAIN!!!!


105   EXT. TRUCK - DAWN                                           105

      Now outside REGAN&apos;s perspective... and in LEE&apos;s... we can
      hear the full sound of the violent attack!

      OVER LEE, WE SEE THE TRUCK BEING SMASHED...

      LEE KEEPS RUNNING!


106   EXT. TRUCK - DAWN                                           106

      FROM UNDERNEATH THE TRUCK we see the front wheels slide
      forward in the sand.

      BANG!!!

      The front wheels slide again. This time... they begin to
      disappear over the edge of the clearing... and down the long
      driveway...


107   INT. TRUCK - DAWN                                           107

      BACK IN SILENCE

      ON REGAN AND MARCUS as she holds her brother and looks around
      the cab for options. Suddenly, out the passenger side window
      she sees...

      ANOTHER CREATURE BURST OUT OF THE CORN AND... SLAM INTO THE
      PASSENGER SIDE DOOR!!!!

      GLASS SHATTERS!!!... And the truck... LIFTS UP!!!


108   EXT. TRUCK - DAWN                                           108

      ON LEE&apos;S BACK, SPRINTING, now only twenty yards away... when
      he sees the right side of the truck lift high into the air.
      For a moment it looks as though it is going to tip all the
      way over... Then SMASHES BACK DOWN TO THE GROUND!!

      We now bear witness to something eerily familiar as LEE&apos;s
      BODY... GIVES OUT ON HIM.
                                                                 71.


      WE CIRCLE around LEE as HIS FEET SCRAPE TO A STOP... HIS
      SHOULDERS LOWER.

      WE END OUR MOVE on LEE&apos;s face as he scans the smashed
      truck...

      His eyes seem to actually flicker as his brain fires and
      misfires... trying to process this nightmare... this LOSS...

      When suddenly...


109   INT. TRUCK - DAWN                                           109

      ON REGAN, jammed down into the floor of the passenger seat.
      She reaches over to her brother... and lifts his head. MARCUS
      opens his teary eyes, shaken... but alive. REGAN slowly
      rises up onto the seat... And through the smashed window...
      MAKES DIRECT EYE CONTACT WITH HER FATHER...


110   EXT. TRUCK - DAWN                                           110

      WE ARE CLOSE ON LEE as he registers this miraculous sight of
      his daughter and watch...

      AS THE MOST JOYFUL SMILE EXPLODES ACROSS HIS FACE!

      LEE breathes heavily... taking in this new information...
      this second chance... then...

      LEE slowly brings his hands to his chest...

      AND SIGNS....



                          LEE (SIGNING)
                ... I love you.


111   INT. TRUCK - DAWN                                           111

      As REGAN looks out at her father, confused... moved... Why
      did he just say that?...when suddenly...

      ONE OF THE CREATURES CLIMBS UP ONTO THE TRUCK&apos;S HOOD,
      crushing it from the weight...


112   EXT. TRUCK - DAWN                                           112

      ON LEE... as he signs to REGAN again...
                                                               72.


                              LEE (SIGNING)
                    I have... always... loved you.


112A   INT. TRUCK - DAWN                                       112A

       ON REGAN... as tears stream down her face...

       Above her... the roof begins to cave in from the weight of
       the creature!!!!


112B   EXT. TRUCK - DAWN                                       112B

       ON LEE as he watches the CREATURE make his way up to the roof
       of the truck... AND REAR BACK...

       FOR THE FIRST TIME...WE SEE THE CREATURE IN FULL!!!!
       IT&apos;S ARM HELD HIGH ABOVE ITS HEAD AS IT READIES FOR A
       KILL!!!!

       LEE.......

       TAKES A DEEP BREATH....

       AND...



       SCREAMS....




                              LEE
                    I LOVE YOU!!!!!!!!!!!!!!!!!




       ........ ALL SOUND CUTS OUT!!!!



       Time seems to slow almost to a stop as:

       MARCUS&apos; eyes shoot open... knowing exactly what his dad is
       doing...
                                                                 73.


      The CREATURES scramble off the truck... AND IMMEDIATELY
      CHARGE FOR LEE!!!!

      REGAN scrambles in the seat helplessly as she looks out at
      her father mid scream...

      MARCUS looks up to his sister in the truest of pain...

      And then down...

      CLOSE ON... THE EMERGENCY BRAKE as...

      MARCUS REACHES OUT, GRABS THE BRAKE... AND RELEASES!!!!!


113   EXT. TRUCK - DAWN                                           113

      OVER LEE as the CREATURES SPRINTS TOWARD HIM... CLOSER...
      CLOSER.

      IN THE BACKGROUND, the truck begins to roll down the hill.


114   INT. TRUCK - DAWN                                           114

      THROUGH THE BACK WINDOW our frame begins to jiggle as we see
      the CREATURES close in on LEE...

      WE WATCH as REGAN scrambles up the seat higher and higher
      desperate to see her father one last time... and then...

      As the truck rolls down... OUR FRAME TILTS UP... AWAY FROM
      LEE... UP THE WALL OF THE SILO...

      AND INTO THE BREAKING MORNING SKY


115   INT. TRUCK - DAWN                                           115

      TOTAL SILENCE...

      OVER REGAN ONTO MARCUS as they both stare straight...

      Their faces vacant as they rattle and bounce as the truck
      barrels down the long driveway toward the barn.

      Instinctively, MARCUS&apos; hands raise into frame... and grab the
      wheel...

      He is finally driving... as he begins to cry.
                                                                 74.


116   INT. FARMHOUSE - BASEMENT - DAWN                            116

      CLOSE ON MONITORS... As EVELYN&apos;s face comes into frame...

      OVER HER SHOULDER TO THE MONITOR we see she is looking at...

      THE TRUCK BARRELING DOWN THE HILL...


117   INT. FARMHOUSE - BATHROOM - DAWN                            117

      CLOSE ON LEE&apos;s shotgun laying on the floor. Suddenly...
      EVELYN&apos;s hand comes into frame and grabs it!


118   INT. FARMHOUSE - LIVING ROOM - DAWN                         118

      THROUGH THE LIVING ROOM WINDOW, WE LOOK OUT onto the
      cornfields... and up to the silo. Suddenly... We see a tiny
      pick up truck appear and rumble down the dirt road.

      WE SLOWLY PULL BACK through the living room as the truck
      rolls past the next window... and then the next. AS WE NOW
      PULL OUT of the living room and into the front hall,
      suddenly... EVELYN appears walking down the staircase, almost
      vacant. She is carrying the shotgun!

      WE CONTINUE TO MOVE, NOW ON EVELYN&apos;S BACK... as she slowly
      walks out the front door and down the front steps. As she
      steps down to the sand path... THE PICK UP TRUCK SLOWLY
      RUMBLES TO A STOP AT THE END OF THE PATH!!!

      MARCUS AND REGAN pop out of the truck and run as fast as they
      can into their mother&apos;s arms!!!

      EVELYN ENVELOPES HER CHILDREN WITH EVERYTHING SHE HAS!!!... A
      moment she wasn&apos;t sure she would ever get again!... then...

      ON EVELYN&apos;s face as she slowly turns her head back toward the
      silo... TO SEE WHAT&apos;S COMING...


119   INT. FARMHOUSE - BASEMENT STAIRS - DAWN                     119

      WE LOOK DIRECTLY up the basement stairs toward the warm
      hallway at the top.

      Suddenly... EVELYN steps into frame carrying MARCUS, and
      rushes down the stairs and into the basement.

      Then... REGAN takes a long step into frame.   Her silhouette
      looks down the dark stairwell.
                                                       74A.


After a moment, she slowly puts her foot down on the first
step... and nothing happens.

For a brief moment... she looks behind her... but no one
comes.
                                                                 75.


120   INT. BASEMENT - DAWN                                        120

      WE ARE ON THE STAIRS as REGAN&apos;s feet step down into frame.

      As REGAN reaches the basement floor, she pauses a moment,
      still looking at her feet... and then slowly turns.

      EVELYN picks the baby out from a box and grabs MARCUS tight.

      We watch REGAN&apos;s face as she enters her father&apos;s workspace...
      FOR THE FIRST TIME!!! She is stunned.

      OVER REGAN as she steps down and begins to walk through the
      room. Her eyes track, AS WE DID WHEN WE FIRST SAW THE ROOM,
      past the TOWERING WALL OF SECURITY MONITORS... along the wall
      of NEWSPAPER CLIPPINGS, NOTES, AND SCIENTIFIC IMAGES. Her
      eyes continue now toward her father&apos;s WORK STATION. THROUGH
      BOXES OF SALVAGED ELECTRICAL EQUIPMENT and onto... LEE&apos;S HEAD
      PHONES. REGAN picks up the head phones and follows the
      wire... TO HER FATHER&apos;S HAM RADIO. She looks down at the
      knob her father used to search... and the microphone he used
      to reach out. For the first time REGAN sees... REGAN
      REALIZES... THIS is what her father was doing all this time.
      THIS is what he was doing... FOR THEM! ON REGAN taking all
      this in, when her eyes move just slightly to the side... and
      she freezes.

      EVELYN immediately turns and gestures to her children to
      follow her behind the water heater... they must hide.

      REGAN... doesn&apos;t move. OFF HER FACE... WE BOOM DOWN SLOWLY
      BEHIND the shelves of LEE&apos;S sacred workspace... past circuit
      boards... salvaged electronics and exposed wiring... and LAND
      ON A SHOT DIRECTLY ACROSS LEE&apos;S DESK... TO REGAN&apos;s HAND...

      AS REGAN reaches out, WE RACK FOCUS to... THE PILE OF HEARING
      AIDS HER FATHER HAD BEEN WORKING ON ALL THIS TIME.

      REGAN&apos;S hand pushes into the pile like a shovel... and
      emerges with a handful of hearing aids...

      Suddenly... THE FLOORBOARDS ABOVE THEM CREAK!!!

      MARCUS and EVELYN look up.   REGAN... does not... Because she
      can&apos;t hear it.

      EVELYN immediately grabs MARCUS and heads for the water and
      oil tanks. She sits MARCUS down safely... and then places
      THE BABY IN HIS ARMS... and turns.

      MARCUS takes in his new sibling for the first time.

      OVER REGAN, COMING INTO FOCUS... is EVELYN, still carrying
      the shotgun. She kneels by her daughter&apos;s side.
                                                           76.


                    EVELYN (SIGNING)
          We have to hide, my love.

REGAN slowly turns to her mother... and shows her the hearing
aids.

EVELYN looks down at her daughter who for the first time...
is weeping... our tough warrior princess, in this moment...
is still just a little girl.

EVELYN stares into the pained eyes of her little girl when
suddenly... REGAN&apos;s eyes begin to rise... higher... and
higher above EVELYN.

WE CUT TO EVELYN TO SEE...

A LARGE SHADOW RISES UP BEHIND HER!!!!

EVELYN seeing REGAN&apos;s eyes rise... just knows.

In one swift motion EVELYN suddenly springs up... and aims
the shotgun directly at the CREATURE.

WE CUT WIDE to see... and hear, the room... is totally still.

For the rest of this scene...Like the greatest of westerns,
we are in the most epic... of standoffs. Time... stands
still. Air... doesn&apos;t move. Tension... is dripping from the
walls.

ON REGAN... holding her breath... just stares

ON MARCUS... frozen behind the water tank... just stares.

ON EVELYN... arm outstretched, with weapon ready... just
stares.

ON THE CREATURE... SLOWLY OPENING ITS PLATES!!!!

As the monitors once again... go fuzzy.... Each of the humans
can only watch as these small plates open with the suction of
anatomical goo...

They can only watch as the plates crackle ever so slightly...
as they turn... and search...

...for the sound that will end it all.

CLOSE on sweat dripping down from MARCUS&apos;s forehead. TRACKING
DOWN MARCUS&apos; face, we see the inevitable path his sweat will
take until we leave his face and arrive on... The baby.

CLOSE ON EVELYN&apos;s arm... as it begins to quiver...
                                                           77.


CLOSE ON EVELYN&apos;S eyes as her brain makes the realization...
she can&apos;t hold this gun much longer...

CLOSE ON THE CREATURE... as it opens more... and more plates!

CLOSE ON REGAN, her eyes begin to search the room... her
father&apos;s room looking for something... ANYTHING!

REGAN&apos;s POV as her eyes search the room... search the wall...
search the boards. Finally her eyes land on one specific
thing on her father&apos;s board... She sees the phrase...

`WEAPON??&apos;.
Suddenly...

REGAN... reaches up to touch her mother&apos;s arm.

EVELYN looks down at REGAN...

REGAN gently shakes her head then gently touches EVELYN&apos;s
arm... and slowly lowers the gun.

EVELYN looks down at her daughter... her eyes begin to well
up... this is it... This is the end.

EVELYN slowly reaches out to take REGAN&apos;s hand.   As REGAN&apos;s
hand begins to clasp into hers... SHE STOPS...

EVELYN looks down to see REGAN slowly pull her hand away...
and open it up. There in the palm of REGAN&apos;s hand... are
hearing aids.

REGAN slowly turns to her father&apos;s work bench to see the pile
of hearing aids her father... made... sitting just in front
of the microphone of the HAM RADIO.

REGAN looks back up to the board at the phrase...
&quot;WEAPON??&quot;.

REGAN looks to the creature still searching the room for
sound.

REGAN raises her hand to her ear... AND TURNS HER FATHER&apos;S
HEARING AID BACK ON!

Immediately.... THE EXCRUCIATING BEEEEEEEP FLOODS OUR WORLD!

Suddenly THE CREATURE... STOPS!   IT&apos;S PLATES... SNAP SHUT OUT
OF PROTECTION!!!!!!

REGAN looks on as the CREATURE SCRAMBLES BACK IN OBVIOUS
PAIN!
                                                         78.


After a moment REGAN... SWITCHES THE HEARING AID OFF!

...SILENCE...

EVELYN looks down at her daughter...

REGAN... slowly moves her hand across her father&apos;s workbench
to... THE HEADPHONES.

THE CREATURE... NOW SCREEEEEEEEEEEECHES!!!!... slowly gets
back to it&apos;s feet ... AND TURNS DIRECTLY TOWARD REGAN!!!

REGAN&apos;s fingers travel up the black cord of her father&apos;s
headphones to... THE HAM RADIO! Suddenly REGAN unplugs the
headphones from the HAM RADIO as we hear... A POP OF FEEDBACK
FROM THE NOW OPEN SPEAKER!!!!

THE CREATURE.... SCREEEEEEEEEECHES... AND MOVES FOR REGAN!

Just then...

WE ARE ON MARCUS who&apos;s sweat has indeed made it to his
chin... THEN FALLS.

WE FOLLOW THE SWEAT... AS IT HITS THE BABY... THE BABY BEGINS
TO CRY!!!!

THE CREATURE SUDDENLY WHIRLS AWAY FROM REGAN TOWARD THE TANKS

TIME SLOWS DOWN....

ALL IN ONE MOMENT....

- REGAN reaches her hand up to her ear... AND REMOVES THE
HEARING AID HER FATHER MADE HER

- THE CREATURE REARS UP TO STRIKE THE WATER TANK!

And in that exact moment, REGAN... EXTENDS HER ARM...

..... WE WATCH AS REGAN PLACES HER HEARING AID...

..... ONTO THE MICROPHONE!!!!

CLOSE on the HAM RADIO SPEAKER....

AS THE BRAIN PIERCING BEEEEEEP BLARES OUT!!!!!

With the sound now HUGELY more powerful and piercing we see:

THE CREATURE suddenly...SHOOTS UP DEAD STRAIGHT... ONCE AGAIN
IT&apos;S PLATES SNAP SHUT!!!... IT&apos;S HEAD POINTED TO THE
CEILING... IT&apos;S BODY QUAKES! TENSE... WITH AGONY!!!
                                                          79.


ON REGAN as her face... DOESN&apos;T CHANGE... SHE IS SAFE NOW
THAT SHE ISN&apos;T WEARING THE HEARING AIDS.

CLOSE ON THE CREATURE... AS EVERY PLATE ON ITS BODY CLENCHES
TIGHTER... TIGHTER... ALMOST DIGGING INTO THE CREATURE&apos;S OWN
SKIN. And then... THEY BEGIN TO SHAKE!

THE CREATURE SCREEEEEEEEEECHES ONCE MORE IN PAIN AS IT NOW
FALLS BACKWARD TO THE FLOOR!!!

The plates... SHAKE MORE VIOLENTLY NOW... and that creates a
sound. Something between that of a cicada right next to your
ear... and the sound of a house fan&apos;s blade rubbing against
the cage its enclosed in, the sound... IS AWFUL!

Just then... A POPPING SOUND. And then another... as the
frequency of the sound short circuits the plates to the point
that they... BEGIN TO POP OPEN... AND THEN GIVE WAY!!!

As plates now begin to go limp, for the first time... WE SEE
INSIDE OF THE CREATURE!!! A VAST AND COMPLEX SYSTEM OF HOLES
AND CHAMBERS THAT CAVITATE SOUND!

THE CREATURE CONTINUES TO SCURRY BACKWARD THROUGH THE ROOM TO
THE DARK CORNER AT THE BACK REACHING FOR SOMETHING...
ANYTHING TO STOP THIS SOUND... THIS PAIN!

AS IT REACHES THE BACK WALL IT SUDDENLY STOPS. PLATES HANG
LIKE LIMP PETALS OF A FLOWER... AS BLACK FLUID BEGINS TO
TRICKLE OUT...

REGAN... TURNS OFF THE HEARING AID...

      SILENCE....
...

The only sound that can be heard is the CREATURE&apos;S inner
anatomy as it rises and slowly falls... as if gasping for
life...

EVELYN and REGAN look over to the water tanks... AS MARCUS
SLOWLY STANDS UP... HOLDING THE BABY

EVELYN takes one step toward him when...

THE CREATURE LEAPS OUT OF THE DARK... AND LAUNCHES, ARM
EXTENDED TOWARD REGAN!!!

ON THE CREATURE.... BEHIND THE LIMP PLATES WE NOW SEE THE
DISGUSTING FACE OF THE CREATURE. LARGE, BLACK... AND LONG
AGO EVOLVED AWAY... EYE SOCKETS ARE THE LAST THING WE SEE AS
THE CREATURE LETS OUT A NOW DISTORTED AND THUS MORE
HORRIFYING SCREECH!!!!
                                                           80.


ON REGAN... AS HER EYES CLOSE.... SHE&apos;S READY....

When suddenly...

EVELYN STEPS INTO FRAME........... SHOTGUN RAISED...




BLAM!!!
THE CREATURE&apos;S HEAD...... EXPLODES.....

...Silence...

REGAN and EVELYN look to the CARCUS at they&apos;re feet....
DEAD!
After a long moment... from outside, off in the distance...
we hear a muffled... SCREEEEEEECH.

And then... ANOTHER... AND ANOTHER... The other creatures....
HEARD THE SHOT!....

REGAN and EVELYN slowly look to the monitors... as their
images once again flicker to life. On each of the
monitors... a quiet, undisturbed landscape....

Then suddenly in one of the monitors off in the left
corner... A CLAW STEPS INTO FRAME!!!!

In another monitor... A SHADOW FLASHES PAST THE SCREEN.

Then another monitor... ANOTHER CREATURE... AND ANOTHER...
AND ANOTHER... THE CREATURES ARE RACING TOWARD THE
FARMHOUSE!!!

EVELYN slowly turns... and looks down at her daughter.

REGAN looks up at her mother for a long moment and then
reaches out her hand to the knob of the HAM RADIO..........
AND TURNS THE VOLUME UP ALL THE WAY!

EVELYN&apos;s face... changes... as she raises the shot gun into
frame........

AND COCKS IT!!!!
                     81.



BLACK

BEGIN CREDITS.....
</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>156</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">f8918e99-9df0-4aba-a0c0-de6b74cc6559</guid>
      <title>No Pressure: LP</title>
      <description><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Wed, 16 Nov 2022 00:54:24 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/no-pressure-lp-ZsKw4e9g</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
      <enclosure length="44251958" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/2851409b-eec9-4b2f-b9e1-404af4b7ffe2/audio/7347b9b1-0d15-4eaa-95f3-d7f6bb7733fa/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>No Pressure: LP</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:46:05</itunes:duration>
      <itunes:summary> THOR: RAGNAROK




                                 Written by

             Eric Pearson and Craig Kyle &amp; Christopher L. Yost







 1    OMITTED                                                         1

A2   OMITTED                                                         A2

A3   THE MARVEL LOGO. SMOLDERING, BEGINNING TO TURN ORANGE IN THE    A3
     HEAT AS WE TILT UP TO SEE-

     -FIRE.    NOTHING BUT FIRE.

2    INT. TIGHT SPACE - INDETERMINATE TIME                           2

     Dark and cramped. The soft red light of fire seeps through
     iron slats. Inside this cage is a man, bound by chains.

     It&apos;s THOR. His beard is long and his clothes are worn. That
     rough, grizzled look of a man who&apos;s spent years on the road.

     He awakens with a JOLT.   Looks around.

                           THOR
                 Now I know what you&apos;re thinking.
                 Oh no! Thor&apos;s in a cage. How did
                 this happen?
                     (then:)
                 Well, sometimes you have to get
                 captured just to get a straight
                 answer out of somebody. It&apos;s a long
                 story but basically I&apos;m a bit of a
                 hero. See, I spent some time on
                 earth, fought some robots, saved
                 the planet a couple of times. Then
                 I went searching through the cosmos
                 for some magic, colorful Infinity
                 Stone things... didn&apos;t find any.
                 That&apos;s when I came across a path of
                 death and destruction which led me
                 all the way here into this cage...
                 where I met you.

     Reveal that he&apos;s talking to a weird alien skeleton in chains.

                           THOR (CONT&apos;D)
                 How much longer do you think we&apos;ll
                 be here?

     NOISE.    Sounds of metal gears TURNING.

     Suddenly the bottom DROPS OUT! Thor PLUMMETS until - SHLINK!
     Chains CINCH and abruptly halt his descent. Thor dangles six
     feet off the ground. Pull back to reveal we are in-
                          BLUE DRAFT 05/20/16                    2.


3   INT. SURTUR&apos;S LAIR - CONTINUOUS                                  3

    A cavernous space. The walls, floors, and ceilings are
    molten rock, which has creepy glimmers of fire within it.
    Stationed in the center is a volcanic rock throne, and
    sitting in that throne is a charred demonic skeleton.

                        SURTUR (O.S.)
              Thor, Son of Odin.

    Thor&apos;s chain turns to reveal-

    -SURTUR on his throne. Eighteen-feet-tall, flesh made of
    fire, and demonic spiked horns on his skull.

                         THOR
              Surtur. Son of a bitch...you&apos;re
              still alive! I thought my father
              killed you, like, half a million
              years ago.

                        SURTUR
              I cannot die. Not until I fulfill
              my destiny and lay waste to your
              home.

                        THOR
              You know, it&apos;s funny you should
              mention that because I&apos;ve been
              having these terrible dreams of
              late. Asgard up in flames, falling
              to ruins, and you Surtur are at the
              center of all of them.

                        SURTUR
              Then you have seen Ragnarok, the
              fall of Asgard. The great prophecy--

                         THOR (O.S.)
              Hang on.   Hang on.

    Reveal that Thor&apos;s chain is turning VERY SLOWLY.

                        THOR (CONT&apos;D)
              I&apos;ll be back around shortly. I
              really feel like we were connecting
              there.

    After a beat, Thor rotates around to face Surtur.

                        THOR (CONT&apos;D)
              Okay, so, Ragnarok. Tell me about
              that. Walk me through it.
                       BLUE DRAFT 05/20/16           3.


                    SURTUR
          My time has come. When my crown is
          reunited with the Eternal Flame, I
          shall be restored to my full might.
          I will tower over the mountains and
          bury my sword deep in Asgard&apos;s--

                    THOR
          Oh, hang on. Give it a second.

Once again, Thor is turning VERY SLOWLY.

                    THOR (CONT&apos;D)
          I swear I&apos;m not even moving, it&apos;s
          just doing this on its own. I&apos;m
          really sorry.
              (then:)
          Okay, let me get this straight.
          You&apos;re going to put your crown into
          the Eternal Flame, and then you&apos;ll
          suddenly grow as big as a house--

                    SURTUR
          A mountain!

                    THOR
          The Eternal Flame that Odin keeps
          locked away on Asgard?

Surtur grins, evil.

                    SURTUR
          Odin is not on Asgard. And your
          absence has left the throne
          defenseless.

That elicits a concerned look from Thor.

                    THOR
          Okay, so where is it? This crown?

                    SURTUR
          This is my Crown, the source of my
          power.

Surtur points at the V-shaped horns on his head..

                    THOR
          Oh, that&apos;s a crown? I thought it
          was a big eyebrow.

                    SURTUR
          It&apos;s a crown.
                       BLUE DRAFT 05/20/16                   4.


                     THOR
           Anyway, it sounds like all I have
           to do to stop Ragnarok is rip that
           thing off your head.

Surtur stands up and approaches Thor, DRAGGING his sword.

                     SURTUR
           But Ragnarok has   already begun. You
           cannot stop it.    I am Asgard&apos;s
           doom, and so are   you. All will
           suffer, all will   burn.

Surtur steps forward and GRABS the chain above Thor&apos;s feet,
holding it so he and Thor are face to face.

                     THOR
           That&apos;s intense. To be honest,
           seeing you grow really big and set
           fire to a planet would be quite the
           spectacle. But it looks like I&apos;m
           going to have to go with option B
           where I bust out of these chains,
           knock that tiara off your head, and
           stash it away in Asgard&apos;s vault.

                     SURTUR
           You cannot stop Ragnarok. Why fight
           it?

Behind his back, Thor opens his hand.    Sending out the SOS.

                     THOR
           Because that&apos;s what heroes do.

Nothing happens.   Thor appears annoyed at himself.

                     THOR (CONT&apos;D)
           Wait, sorry. I didn&apos;t time that
           right.
               (pause)
           And, now!

BOOM!   Thor&apos;s hammer Mjolnir CRASHES through the wall!

Thor BREAKS FREE from his chains, GRABS Mjolnir, spins, and
flies a distance away. He FLINGS Mjolnir back at Surtur,
smashing the giant in the face. Mjolnir returns.

                     SURTUR
           You have made a grave mistake,
           Odinson.
                           BLUE DRAFT 05/20/16                   5.


    THE WALLS COME ALIVE! A seemingly infinite swarm of FIRE
    DEMONS rally to Surtur&apos;s aid.

                         THOR
               I make grave mistakes all the time.
               Everything seems to work out.

    In the shadows, a massive FIRE DRAGON ROARS.

    The fire demons SURGE FORWARD. Thor backs up, HAMMERING
    AWAY. He then leaps back, SPRINGBOARDS off the wall, and-

    -LANDS HARD, SLAMMING Mjolnir down. The resulting shockwave
    KNOCKS BACK THE LEGION OF FIRE DEMONS.

    The Fire Dragon STRAINS against a chain leash.

    Thor is now facing off with Surtur. Surtur thrusts his hands
    at Thor, generating a humongous PROJECTILE WALL OF FIRE!

    Thor SPINS Mjolnir so fast that it creates a kind of SHIELD.

    The God of Thunder and the Fire Giant engage in ferocious
    hand-to-hand combat. Each landing power shots, sending
    sparks of both fire and electricity into the air.

    Thor SLIPS behind Surtur and TAKES OUT his knees. Thor then
    LAUNCHES HIGH into the air and summons a HUGE LIGHTNING BOLT.
    Descending hard, he uses all his power to-

    -LOP SURTUR&apos;S HEAD OFF OF HIS BODY! Surtur&apos;s body DEFLATES
    and COLLAPSES into a heap of charred bones.

    Thor straps the crowned skull to his back. He turns to find-

    -the army of Fire Demons regrouping as reinforcements flood
    in, filling the space to capacity. Recognizing the threat,
    Thor thrusts Mjolnir above his head.

                         THOR (CONT&apos;D)
               Heimdall. I know it&apos;s been a while,
               but I could use a fast exit!

    Nothing.   Thor just stands there as the Fire Demons advance.

                         THOR (CONT&apos;D)
               ...Heimdall?


4   INT. THE OBSERVATORY - SAME                                      4

    Heimdall is nowhere to be found. Instead, we meet SKURGE.
    He&apos;s bald, strong, mean looking, a little eager to be liked.
                          BLUE DRAFT 05/20/16                    6.


    At the moment, Skurge is entertaining two ASGARDIAN WOMEN.

                         SKURGE
              Heimdall was an idiot. This job
              should have made him rich. Now,
              the job ain&apos;t easy, but it does
              have its benefits. The Bi-Frost
              gives me access to everything the
              Nine Realms have to offer. I mean
              it&apos;s all mine for the taking.
                  (beat)
              Behold...my stuff.

    Skurge has drawn their attention to a pile of weapons and
    treasures he has stashed off to the side.

    He hefts up two M-16 assault rifles, trying to play it cool.

                        SKURGE (CONT&apos;D)
              I&apos;m particularly fond of these. I
              pulled `em out of a place on
              Midgard called Texas. I even named
              them. Des and Troy. You see, when
              you put them together...they
              destroy.


5   INT. SURTUR&apos;S LAIR - CONTINUOUS                                  5

    Having expected to have been Bi-Frosted out of there, Thor is
    OVERRUN BY THE GIANT WAVE OF FIRE DEMONS!

    The Fire Dragon BREAKS FREE of its chain.

    Realizing he&apos;s in trouble, Thor TAKES OFF, rocketing up to-


6   EXT. MUSPELHEIM - CONTINUOUS                                     6

    Thor CRASHES out of the ground and LANDS on a craggy surface.
    Disoriented and singed from the fire demon onslaught.

    Thor&apos;s cloak is on fire, and he frantically PATS OUT the
    flames. He picks up Mjolnir, holds it up once more. Nothing.

                        THOR
              Heimdall, come on.

    THE GROUND SHAKES! Like an earthquake. Thor backs up as the
    ground begins to give way all around him. And then-

    -THE FEARSOME FIRE DRAGON BURSTS OUT OF THE GROUND! The
    dragon opens its tremendous jaws for an ear-splitting roar...
                            BLUE DRAFT 05/20/16                 7.


     ...but Thor STUFFS Mjolnir into its mouth and lets go.

     THUD! The hammer DROPS, pinning the beast down by its bottom
     jaw. It THRASHES and GROWLS, trying to break free.

                         THOR (CONT&apos;D)
               Stay.
                   (looks up to the sky:)
               I&apos;m running short on--

     Thor notices that all around him the ground is CRUMBLING like
     a field of sinkholes giving way to more snarling Fire Demons!

                           THOR (CONT&apos;D)
               -options.

     Thor calls for Mjolnir and TAKES OFF.   The dragon SCREECHES!

7    OMITTED                                                         7

8    OMITTED                                                         8

9    INT. THE OBSERVATORY - SAME                                     9

     Skurge continues showing off for the ladies.

                           THOR (O.S.)
               Heimdall?

     Behind Skurge the Bi-Frost starts MOVING.   One of the women
     notices the Bi-Frost glowing.

                         ASGARDIAN WOMAN
               Skurge, is that important?

     Skurge turns and notices the Bi-Frost activity.

                         SKURGE
               You girls are in for a treat.

     Angle on Heimdall&apos;s sword, which has been sloppily cast aside
     in another pile of &quot;stuff.&quot; Skurge hastily runs and grabs it.


10   EXT. MUSPELHEIM - CONTINUOUS                                    10

     Thor is FLYING at top speed, but that dragon is right on his
     heels! The fire demons LAUNCH flaming projectiles from below!

     Thor looks back, genuinely nervous. The dragon is OPENING
     its jaws to swallow Thor whole when-

     -Suddenly Bi-Frost OPENS! The portal surrounds Thor and
     engulfs the dragon&apos;s head! In an instant, they&apos;re gone.
                           BLUE DRAFT 05/20/16                 8.


                          MAIN TITLE


11   INT. THE OBSERVATORY - MOMENTS LATER                           11

     Skurge has plunged Heimdall&apos;s sword into Bi-Frost.

     BOOM! Thor EXPLODES out of the portal along with the severed
     head of the dragon! SPLAT! Blood and guts RAIN DOWN on
     Skurge and the two women, DRENCHING them with purple gore.

     The dragon&apos;s head SLIDES slowly across the floor, coming to
     rest right in front of the women who are frozen in shock.

     The women SHRIEK and rush out of the Observatory. Thor
     meanwhile is clean and staggering back to his feet. He looks
     up to Skurge, who is wiping dragon guts off of himself.

                          SKURGE
               Girls!
                   (beat)
               Well well, look who decided to pop
               in. Thanks for scaring away my
               company and drenching my workplace
               in brains.

                         THOR
               Who are you?

                         SKURGE
               Don&apos;t you remember? I&apos;m Skurge.
                   (Thor doesn&apos;t)
               We fought together on Vanaheim.

                          THOR
               Right.   Where&apos;s Heimdall?

                         SKURGE
               That traitor. No one knows, he&apos;s a
               fugitive of the throne.

                          THOR
               Traitor?

                         SKURGE
               Yeah, you see, Odin charged
               Heimdall with negligence of duty,
               but he disappeared before the
               trial. Hard to catch a guy who can
               see everything in the Universe.

     Thor starts to say something, but then gives up. Instead he
     starts towards the exit... but Skurge stands in his way.
                              BLUE DRAFT 05/20/16                  9.


                             THOR
                Sure.

                          SKURGE
                Hold on. I&apos;m supposed to announce
                your arrival.

      Thor SPINS UP Mjolnir and takes off in a blur.   Skurge starts
      the loooong run down the Rainbow Bridge.

12    OMITTED                                                          12

A13   EXT. THEATER ENTRANCE - DAY                                      A13

      THOR arrives with Surtur&apos;s skull.

      There&apos;s a small crowd making its way through a threshold over
      which stands a monumental statue of Loki, arms out-stretched
      in the `savior&apos; pose.

      Confused, Thor turns to a theater patron.

                          THOR
                What the hell is that?


13    EXT. ASGARD - ROYAL TERRACE - PATIO - MOMENTS LATER              13

      LOKI falls into frame, GASPING FOR BREATH... although it&apos;s
      not Loki. This is ACTOR LOKI and we&apos;re watching a STAGE PLAY.

      In the background, a single musician plays the haunting score
      from THOR: THE DARK WORLD on a pan flute.

      Suddenly, ACTOR THOR leans into shot, holding Actor Loki.

                          ACTOR LOKI
                Oh, brother. This is it.    I take
                my leave.

                          ACTOR THOR
                You fool, you didn&apos;t listen!

                             ACTOR LOKI
                I&apos;m sorry.

                             ACTOR THOR
                Lady Sif!     Get help!

      &quot;Sif&quot; awkwardly runs off. The &quot;Warriors Three&quot; watch sadly. A
      small choir JOINS IN as the music builds to a CRESCENDO.

                          ACTOR SIF
                Somebody help!
                      BLUE DRAFT 05/20/16                10.


In the middle of the audience we reveal ODIN, sitting upon a
chaise lounge, sipping wine and thoroughly enjoying the show.
Unseen, Thor arrives behind the audience and watches.

                    ACTOR LOKI
          Sorry for all I&apos;ve done.

                    ACTOR THOR
          It&apos;s all right.   Hold on.

                    ACTOR LOKI
          I&apos;m sorry I tried to rule Earth.

                    ACTOR THOR
          They&apos;d be lucky to have you.

                    ACTOR LOKI
          I&apos;m sorry about that thing with the
          Tesseract. I just couldn&apos;t help
          myself.

                    ACTOR THOR
          I know.

                    ACTOR LOKI
          I&apos;m a trickster.

                    ACTOR THOR
          So mischievous.

                    ACTOR LOKI
          Sorry about that time I turned you
          into a frog.

                    ACTOR THOR
          It was a wonderful joke.

                    ODIN
              (to no-one in particular)
          Twas indeed hilarious.

                    ACTOR THOR
          You are the savior of Asgard.

                    ACTOR LOKI
          Tell my story.

                    ACTOR THOR
          I will.

                    ACTOR LOKI
          Build a statue for me.
                        BLUE DRAFT 05/20/16                11.


                    ACTOR THOR
          We will build a big statue for you.

                    ACTOR LOKI
          With my helmet on, with the big
          bendy horns.

                    ACTOR THOR
          I will tell Father what you did
          here today.

Odin mouths Actor Loki&apos;s final line along with him.

                    ACTOR LOKI
          I didn&apos;t do it for him.

Actor Loki then &quot;dies&quot;.

                       ACTOR THOR
          Noooooo!!!

The brothers freeze in a TABLEAU as ACTOR ODIN steps forward.

                    ACTOR ODIN
          And so Loki died of his wounds,
          giving his life for ours. He
          fought back those disgusting dark
          elves. He brought peace to the
          realm.

He takes a 4-YEAR-OLD BOY, PAINTED BLUE, into his arms.

                    ACTOR ODIN (CONT&apos;D)
          Loki, my boy...`Twas many moons ago
          I found you on a frost-bitten
          battlefield.

Thor watches, incredulous. He then notices that a woman next
to him is openly SOBBING at the play.

                    ACTOR ODIN (CONT&apos;D)
          On that day, I did not yet see in
          you Asgard&apos;s savior. No. You were
          merely a little blue baby icicle...
          that melted this old fool&apos;s heart.

The crowd erupts in rapturous applause. The players bow. Odin
stands up, leading the crowd in this STANDING OVATION.

                      ODIN
          Bravo!    Bravo! Well done.   Bravo.

                       THOR
          Father.
                      BLUE DRAFT 05/20/16                   12.


Odin sees Thor taking a knee.   Curses under his breath:

                    ODIN
          Oh, shit.
              (then, announcing)
          My son! Thor has returned!
          Greetings my boy.

Odin goes through a weird internal transformation. His
fluidity is replaced by a rigid and regal posture. He bats
away his maiden and turns to Thor, who stands up.

                     THOR
          It&apos;s an interesting play.    What&apos;s
          it called?

                    ODIN
          The Tragedy of Loki of Asgard. The
          people wanted to commemorate him.

                    THOR
          Indeed they should.
              (provoking)
          I like that statue. A lot better
          looking than he was when he was
          alive, though. A little less
          weasely. Less greasy maybe.

Odin sours, masking his agitation.    Thor holds up the skull.

                    THOR (CONT&apos;D)
          You know what this is?

                    ODIN (ADR)
          The skull of Surtur? That&apos;s a
          formidable weapon.

Thor approaches an E-Guard and hands it over.

                    THOR
          Do me a favor. Lock this in a
          vault so it doesn&apos;t turn into a
          giant monster and destroy the whole
          planet.

                    ODIN
          So it&apos;s back to Midgard for you, is
          it?

Thor starts YO-YOing Mjolnir, turns back to Odin.

                    THOR
          Nope. I&apos;ve been having this
          reocurring dream lately.
                    (MORE)
                      BLUE DRAFT 05/20/16                13.

                    THOR (CONT&apos;D)
          Every night I see Asgard fall into
          ruins...

                    ODIN
          That&apos;s just a silly dream... Signs
          of an overactive imagination.

                    THOR
          Possibly... but then I decide to go
          out there and investigate. And
          what do I find, but the Nine Realms
          completely in chaos. Enemies of
          Asgard assembling, plotting our
          demise, all while you, Odin, the
          protector of those Nine Realms, are
          sitting here in your bathrobe,
          eating grapes.

                    ODIN
          Well, it is best to respect our
          neighbors&apos; freedom.

                     THOR
          Of course, the freedom to be
          massacred.

                    ODIN
          Yes, besides, I have been rather
          busy myself.

                    THOR
          Watching theatre.

                    ODIN
          Board meetings, and security
          council meetings...

                    THOR
          You really going to make me do it?

                     ODIN
          Do what?

Thor SPINS Mjolnir and then HURLS it off into the distance,
GRABS Odin by the back of the neck.

Odin&apos;s royal attendants GASP in shock. The Einherjar
bodyguards rush Thor, but he KICKS them away.

                    THOR
          You know that nothing will stop
          Mjolnir as it returns to my hand.

Mjolnir stops mid-air and starts ROCKETING BACK.
                       BLUE DRAFT 05/20/16                14.


                    THOR (CONT&apos;D)
          Not even your face.

                    ODIN
          You&apos;ve gone quite mad.     You&apos;ll be
          executed for this!

Mjolnir approaches at a terrifying speed as Odin struggles.

                    THOR
          Then I&apos;ll see you on the other
          side...brother.

The jig is up.   A shimmering illusion dissipates, revealing:

                    LOKI
          Alright, I yield!

Thor DROPS Loki to the ground and catches Mjolnir. Loki
looks to Thor, hands up defensively. Skurge arrives on the
scene, a little late to warn Loki.

                     SKURGE
          Behold!   Thor..Odinson.

                    LOKI
          You had one job!    Just the one.

                    THOR
          Where&apos;s Odin?

                    LOKI
          You just couldn&apos;t stay away, could
          you? Everything was fine without
          you. Asgard was prospering
              (gestures to the crowd)
          You&apos;ve ruined everything. Ask
          them.

Those who aren&apos;t freaked out are becoming gradually angrier.

Thor advances on Loki, who backs up onto the chaise lounge.

                    THOR
          Where&apos;s father?    Did you kill him?

                    LOKI
          You had what you wanted, you had
          the independence you asked for!

Thor PRESSES Mjolnir onto Loki&apos;s chest.
                           BLUE DRAFT 05/20/16                 15.


                         LOKI (CONT&apos;D)
               Ow-ow-ow! Alright! I know exactly
               where he is.

14   OMITTED                                                        14

15   OMITTED                                                        15

16   OMITTED                                                        16

17   EXT. SHADY ACRES NURSING HOME - MANHATTAN - DAY                17

     A NURSING HOME sign on a brick wall. Suddenly the wall
     crumbles out of shot, revealing a demolition site.

     Reveal Thor and Loki wearing street clothes. Thor carries an
     umbrella, Loki is dressed in a weird avant-garde suit.

                         LOKI
               I swear, I left him right here.

                         THOR
               Right here on the sidewalk? Or
               right there, where the building
               that&apos;s being demolished? Great
               planning.

                         LOKI
               How was I supposed to know? Can&apos;t
               see into the future. I&apos;m not a
               witch.

                         THOR
               Then why do you dress like one?

                          LOKI
               Hey.

                         THOR
               I can&apos;t believe you&apos;re alive. I saw
               you die. I mourned you, I cried for
               you.

                         LOKI
               I&apos;m honored.

                          COLLEGE GIRL 2
               Ask him.

                         COLLEGE GIRL 1
               Hi. Would you mind taking a picture
               with us?
                              BLUE DRAFT 05/20/16             16.


                         THOR
               Sure.
                   (to Loki:)
               Start figuring out where he is.

                         COLLEGE GIRL 1
               Oh, my god.

                         COLLEGE GIRL 2
               Sorry to hear that Jane dumped you.

                         THOR
               She didn&apos;t dump me, you know.       I
               dumped her. It was a mutual
               dumping.

     Thor notices something going on around Loki.

                         THOR (CONT&apos;D)
               What&apos;s this, what are you doing!?

     Loki looks down to see that the sidewalk has started to GLOW
     BENEATH HIM! A circle of ancient symbols.

                         LOKI
               This... isn&apos;t me.

     WHOOMPF! Loki DROPS out of sight, vanishing through solid
     concrete! Thor sees a CARD on the sidewalk where Loki was.

     Thor pokes the business card.

                         THOR
               Loki?

     He picks up the card.    It reads:

                         177A Bleecker Street

     Thor picks up the card and - WHOOSH!


18   EXT. SANCTUM SANTORUM - DAY                                    18

     Thor approaches 177A Bleecker Street.

     He knocks ONCE, TWICE, and then WHOOSH!


19   INT. SANCTUM SANCTORUM UPSTAIRS PARLOR - CONTINUOUS            19

     Thor is suddenly inside Doctor Strange&apos;s lair!
                      BLUE DRAFT 05/20/16                  17.


                    STRANGE (O.S.)
          Thor Odinson.

From a dark corner we glimpse a shape - DOCTOR STRANGE.
Levitating, he drifts towards Thor.

                    STRANGE (CONT&apos;D)
          God of Thunder.

Thor holds up the ratty umbrella, ready to defend himself.

                    STRANGE (CONT&apos;D)
          You can put down the umbrella.

Thor gives Strange a sideways look but then sets his umbrella
down. When he looks back up, the environment is furnished.

                    THOR
          So earth has wizards now?

                    STRANGE
          The preferred term is &quot;Master of
          the Mystic Arts.&quot;

                    THOR
          Alright wizard, who are you?   Why
          should I care?

                    STRANGE
          My name is Doctor Stephen Strange
          and I have some questions for you.
          Take a seat.

Thor and Strange are now sitting in high-backed chairs.

                     STRANGE (CONT&apos;D)
          Tea?

Thor now has a cup of tea in his hand.

                    THOR
          I don&apos;t drink tea.

                    STRANGE
          What do you drink?

                     THOR
          Not tea.

Thor now has a stein of beer in his hand. He drinks it
throughout the scene, but it always stays full.
             BLUE DRAFT 05/20/16       18.


          STRANGE
So I keep a watch list of
individuals and beings from other
realms that may be a threat to this
world. Your adopted brother Loki
is one of these beings.

          THOR
He&apos;s a worthy inclusion.

          STRANGE
Then why bring him here?

          THOR
We&apos;re looking for my father.

          STRANGE
So. If you were to tell you where
Odin was, all parties concerned
would promptly return to Asgard?

            THOR
Promptly.

           DR. STRANGE
Great.   Then I&apos;ll help you.

          THOR
If you knew where he was, why
didn&apos;t you call me?

           DR. STRANGE
I have to tell you, he was adamant
that he not be disturbed. Your
father said he had chosen to remain
in exile.
    (beat)
And you don&apos;t have a phone.

          THOR
No, I don&apos;t have a phone, but you
could have sent an electronic
letter. It&apos;s called an email.

          STRANGE
Yeah, do you have a computer?

           THOR
No. What for?
    (beat)
Anyway, my father is no longer in
exile. So if you could tell me
where he is, I can take him home.
                            BLUE DRAFT 05/20/16                   19.


                           DR. STRANGE
                Gladly.   He&apos;s in Norway.

      Strange stands up and suddenly they are standing by a book-
      case. Strange takes down an ancient book, flips through it.

                          STRANGE
                I&apos;m just seeing whether this
                incantation requires any Asgardian
                modifications.

      Thor reaches out to the bookcase to steady himself.

                           STRANGE (CONT&apos;D)
                Nope.

      Suddenly they are both across the room at Strange&apos;s work
      station. Because Thor was touching the bookcase, he has
      magically brought it across the room as well.

                          STRANGE (CONT&apos;D)
                Oh, we don&apos;t need that.

      Suddenly Thor is back across the room.   Books fall off the
      shelf and Thor&apos;s beer spills.

      He is queasy and unsteady from the teleporting.

                          THOR
                Will you stop doing that?

                          STRANGE
                I need just one strand of your
                hair.

                          THOR
                Let me explain something, my hair
                is not to be meddled wi-!

      Strange is behind Thor, he plucks a strand of hair.

      Strange extends the hair, infuses it with magic, does a few
      gestures that create a BRIGHT LIGHT and suddenly-


A20   INT. SANCTUM SANCTORUM - FRONT STAIRCASE - CONTINUOUS            A20

      Bottom of the stairs. Strange is standing. Thor is rolling
      down the stairs. A magic portal leading into a peaceful
      meadow has opened beside Strange.

                          THOR
                We could have just walked.
                        BLUE DRAFT 05/20/16                20.


                    DR. STRANGE
              (re: the portal)
          He&apos;s waiting for you.

                       THOR
          All right.

                    STRANGE
          Don&apos;t forget your umbrella.

                       THOR
          Yes.

Thor extends his arm and holds out his hand.    Crashing noises
are heard. Lots of crashing noises.

                       THOR (CONT&apos;D)
          Sorry

Finally the umbrella flies into his hand.

                    THOR (CONT&apos;D)
          I suppose I&apos;ll need my brother
          back.

                    DR. STRANGE
          Yeah, right.

Suddenly we hear SCREAMING.

From above, LOKI drops out of a portal. He LANDS HARD on the
floor and then STAGGERS to his feet. On edge, confused.

                    LOKI
          ...I have been falling...for thirty
          minutes!

                    DR. STRANGE
              (to Thor:)
          You can handle him from here.

                    THOR
          Yeah of course.
              (they shake hands)
          Thank you very much for your help.

                       STRANGE
          Good luck.

                       LOKI
          Handle me?     Who are you?

                       THOR
          Loki.
                             BLUE DRAFT 05/20/16                   21.


     Loki DRAWS a dagger, ready to attack Strange.

                          LOKI
                ..you think you&apos;re some kind of
                sorcerer? Don&apos;t think for one
                minute, you second-rate...

                            DR. STRANGE
                Bye-bye.

     Strange GESTURES with both hands and-

     -WHOOSH!   PULLS the magic portal over them.

     Just like that, Thor and Loki are gone.

20   OMITTED                                                            20

21   EXT. CLIFFS - DAY                                                  21

     Beautiful, undisturbed nature.       We hear the ocean nearby.

     LOKI lands on the ground, portal closes behind them.

                            THOR
                Father?

     A lone figure stands at the other side of the meadow at the
     cliff&apos;s edge, waves CRASHING below.

     It is ODIN. He&apos;s dressed plainly in humble human clothes.
     The boys approach him quickly.

                          ODIN
                Look at this place. It&apos;s beautiful.

                          THOR
                Father, it&apos;s us.

                           ODIN
                My sons.   I&apos;ve been waiting for
                you.

     Loki is surprised to hear Odin call him his son.

                            THOR
                I know.    We&apos;ve come to take you
                home.

                          ODIN
                Home, yes. Your mother, she calls
                me. Do you hear it?

     Thor fires a look at Loki, who holds up his hands in defense.
                      BLUE DRAFT 05/20/16                   22.


                    THOR
          Loki, lift your magic.

Odin turns to Loki, who stiffens.    But Odin smiles.

                    ODIN
          Took me quite a while to break free
          from your spell. Frigga would have
          been proud.

Loki is moved by this gesture. He looks over to see Thor
staring at him, anger building.

Odin puts a hand on Thor&apos;s shoulder, calming him.

                     ODIN (CONT&apos;D)
          Come and sit with me. I don&apos;t have
          much time.

Odin sits, out of breath, weak.    His sons sit beside him.

                    THOR
          I know that we failed you, but we
          can make this right.

                     ODIN
          I failed you.
              (beat)
          It is upon us...Ragnarok.

                    THOR
          No, I&apos;ve stopped Ragnarok.    I put
          an end to Surtur.

                    ODIN
          No. It has already begun. She&apos;s
          coming. My life was all that held
          her back, but my time has come. I
          cannot keep her away any longer.

                    THOR
          Father, who are you talking about?

                    ODIN
          The Goddess of Death.     Hela.   My
          first born.
              (faces Thor)
          Your sister.

That hits Thor hard. Loki can&apos;t believe what he&apos;s hearing.

                     THOR
          ...what?
                       BLUE DRAFT 05/20/16                  23.


                     ODIN
           Her violent appetites grew beyond
           my control. I couldn&apos;t stop her,
           so I imprisoned her. Locked her
           away. She draws her strength from
           Asgard...and once she gets there,
           her powers will be limitless.

                     THOR
           Whatever she is, we can stop her.
           We can face her together.

                     ODIN
               (takes Thor&apos;s hand)
           No we won&apos;t. I&apos;m on a different
           path now. This you must face
           alone.

Odin looks into Thor&apos;s eyes, struggling to breathe.

                     ODIN (CONT&apos;D)
           I love you my sons.

For the briefest of instances, father and sons share a quiet
moment together. Tears well in Thor&apos;s eyes.

                     ODIN (CONT&apos;D)
           Look at that.

Ethereal sun-rays stream down upon the ocean.

                     ODIN (CONT&apos;D)
           Remember this place. Home.

A warm glow washes over Thor&apos;s face and he turns to see that-

-ODIN IS DISSIPATING INTO STARDUST.   THE ALLFATHER HAS DIED.

A moment as the brothers separately mourn for Odin.

The sky above DARKENS and THE WIND PICKS UP.

Thor stands and turns toward Loki, his eyes burning with
rage. Loki takes a step back.

                      LOKI
           Brother.

Thor faces Loki.   Electricity CRACKLES at Thor&apos;s hands.

                     THOR
           This was your doing.

CRACK!   Behind them a black portal SPLITS OPEN!
                      BLUE DRAFT 05/20/16                    24.


Thor SLAMS DOWN his umbrella, transforming into his Asgardian
armor (with Mjolnir). Loki changes into his armor as well.

A piercing scream cuts the air as a figure is hurtled out of
the portal, crashing out of this dimensional rift is HELA.

Hela takes a second to consider her surroundings.   Then:

                     HELA
          So he&apos;s gone?
              (beat)
          That&apos;s a shame. I would&apos;ve liked
          to have seen that.

A tense moment as they stare each other down.

                    THOR
          You must be Hela.   I&apos;m Thor, son of
          Odin.

                    HELA
          Really, you don&apos;t look like him.

                    LOKI
          Perhaps we can reach an
          arrangement.

                    HELA
          You sound like him.

Loki shifts nervously.   Thor&apos;s grip tightens on Mjolnir.

                    HELA (CONT&apos;D)
          Kneel.

                    LOKI
          Beg your pardon?

Hela MANIFESTS a pitch black blade.

                    HELA
          Kneel...before your Queen.

                    THOR
          I don&apos;t think so.

Thor winds up and HURLS Mjolnir at Hela...

- THUD - the mighty hammer comes to a cold stop, against
Hela&apos;s hand.

Thor is shocked. He stretches out his hands, trying to call
Mjolnir back to him.
                            BLUE DRAFT 05/20/16                  25.


     The hammer trembles in Hela&apos;s hand, like a mini game of tug-o-
     war. But ultimately Hela keeps possession.

                          THOR (CONT&apos;D)
                It&apos;s not possible.

                          HELA
                Darling, you have no idea what&apos;s
                possible.

     HELA SHATTERS THOR&apos;S HAMMER.

     The blast of Mjolnir&apos;s destruction sends a wave of energy
     through Thor and Loki who brace themselves against the
     impact.

     Thor is stupefied. In shock. He looks up to see Hela is
     running her hands back over her head to create the terrifying
     battle headdress.

     Loki&apos;s reaction is more panic.   He stands and calls up:

                          LOKI
                Bring us back!

                          THOR
                No!!

     Hela CHARGES Thor and Loki as-

     -WHOOSH!   The Bi-Frost envelopes all of them.


22   INT. BI-FROST - CONTINUOUS                                       22

     Thor and Loki ZOOM UPWARDS, held inside this celestial beam
     warping them towards Asgard. Loki and Thor look down to
     see... Hela is in the Bi-Frost, behind them and CATCHING UP.

     Loki turns and throws TWO DAGGERS at her. They find their
     mark, stalling her for a second. But she PLOWS RIGHT THROUGH
     Loki, KNOCKING HIM OUT OF THE BI-FROST. Gone in an instant.

                          THOR
                Loki!

     Hela projects a jet black grappling hook and GRABS HOLD of
     Thor. Drawing him to her, preparing to finish him off. Thor
     pulls up his legs, and KICKS Hela with both feet. This
     effectively dislodges him from her grasp but also...

     ...KNOCKS THOR OUT OF THE BI-FROST! Now both he and Loki are
     gone. If they aren&apos;t dead, then God knows where they went.
                            BLUE DRAFT 05/20/16                 26.


23   INT. THE OBSERVATORY - CONTINUOUS                               23

     VOLSTAGG has a grip on Heimdall&apos;s sword, manning Bi-Frost&apos;s
     controls. Behind him FANDRAL is overseeing Skurge, who is
     mopping up the dragon guts.

     BOOM! Hela emerges with thunderous impact. Fandral and
     Volstagg draw their weapons, preparing to engage.

                          VOLSTAGG
               Who are you!? What have you done
               with Thor?

     Hela fires TWO BLACK DAGGERS, each one dropping its target to
     the ground. Hela then walks forward and-

                           HELA
               I&apos;m Hela.

     -BRUTALLY KILLS FANDRAL AND VOLSTAGG!

     Hela sees Skurge. Approaches calmly, a vision of death.

     With Hela only a few feet from him, Skurge cowers.   Pause.

                         SKURGE
               I&apos;m just a janitor.

     Skurge ever-so-slightly peers up at her.

                         HELA
               You look like a smart boy with good
               survival instincts. How would you
               like a job?

     Hela looks out upon Asgard as Skurge rises behind her.


24   EXT. ASGARD - THE MOUNTAINS - SAME                              24

     A mysterious HOODED FIGURE watches Hela&apos;s arrival at the
     Observatory and begins a steady descent towards the city.


25   EXT. SAKAAR - THE WASTELAND SHORE - DAY                         25

     SUPER WIDE: A sky full of WORMHOLES. Thor, only a spec at
     this distance, SHOOTS out of one of these wormholes. He HITS
     the surface, causing a CLOUD of dust.

     Find Thor on his back surrounded by strange colorful space
     wreckage. Looking up, Thor sees a large metal object falling
     from a different wormhole! He rolls out of the way. THUD!
                        BLUE DRAFT 05/20/16                    27.


Thor runs up a dune to get away from the shower of debris.

Thor reaches the top of the dune and finds himself looking
down on A BEACH in a strange WASTELAND. Camera scans a filthy
dune littered with SPACE JUNK.

Out across the OCEAN he notices A NIGHTMARE WORMHOLE - a
giant open cylinder of whirling smoke and lightning storms.

A loud noise draws Thor&apos;s attention to a HUGE RECTANGULAR
&quot;SCRAPPER&quot; SHIP hauling a crashed SPACE VESSEL out of the
water. Beneath the ship are various SCRAPPERS, masked
humanoids. The ship is BLASTING WEIRD ALIEN MUSIC.

A Scrapper notices Thor, then signals to his crew.

                    LEAD SCRAPPER
          Are you a fighter or are you food?

                    THOR
          I&apos;m just passing through.

                    LEAD SCRAPPER
          It is food. On your knees.

Thor reaches out to summon Mjolnir.    A reflex.   Nothing.

The LEAD SCRAPPER levels a MAGNO-RIFLE at Thor and WHAP! A
solid metal projectile KNOCKS Thor flat on his back. More
Scrappers attack, throwing nets and firing more projectiles.
Thor tries to swat them away but they keep coming. The rest
of the scrappers move in with iron bats and clubs.

WHOOSH! A second ship arrives, landing nearby. It&apos;s cool,
sleek, and dangerous, deserving of its name: WARSONG. It is
also BLASTING DIFFERENT WEIRD ALIEN MUSIC.

The FRONT of Warsong FLIPS OPEN and a GANGPLANK extends down
to the ground. The scrappers stop and stare as we TRACK IN to
a HERO REVEAL of SCRAPPER #142 (S142 for short) - a beautiful
and ruthless asskicker.

S142 lifts a half-empty bottle to her lips and CHUGS it. She
finishes the bottle and smashes it on the side of her ship.

                       SCRAPPER #142
          He&apos;s MINE.

She walks down the gangplank... before veering off course and
FALLING straight off into a pile of TRASH. She&apos;s PLASTERED.

The Scrappers shrug and start hauling Thor away.
                        BLUE DRAFT 05/20/16                 28.


                       SCRAPPER #142 (CONT&apos;D)
          Wait!

S142 staggers to her feet, takes a deep breath. She holds on
to a piece of junk as support - some dead beast. Thor
continues to struggle with his captors, tangled in nets.

                    SCRAPPER #142 (CONT&apos;D)
          Wait! He&apos;s mine. So if you want
          him, you go through me.

The Scrappers start brandishing their weapons.

                    SCRAPPER
          But we&apos;ve already got him.

S142 CLANGS her metal gauntlets together which activate.

                    SCRAPPER #142
          Alright then I guess I go through
          you.

                       LEAD SCRAPPER
          More food.

She holds out her fists as if she&apos;s operating machinery...

...Warsong WHIRS to life. S142 clenches her fists and we hear
a horrible SCREECHING NOISE as Warsong OPENS FIRE.

She sweeps her arms out in an arc, the spray of gunfire
lasting THREE SECONDS. She bangs her fists again, sending the
ship into IDLE MODE. The Scrappers are now little more than
tiny pieces of litter covering the beach.

Thor is fixated on this beautiful murderer approaching. One
final HUGE Scrapper comes at her with a bat. S142 casually
GRABS this Scrapper and HURLS him up into the air behind her.

                       THOR
          Thank you.

From her belt S142 FLICKS a small glowing disc which LODGES
into Thor&apos;s NECK. Far in the background, the Scrapper she
threw finally HITS the ground with a loud THUD.

She holds up a fob device and presses the button - the disc
blinks and Thor is filled with the pain of a thousand
screaming squirrels. He hits the ground, stunned.

S142 DRAGS Thor towards her ship.
                           BLUE DRAFT 05/20/16                   29.


30   INT. WARSONG SHIP - DAY                                          30

     Thor&apos;s face SMUSHED up against glass.   His eyes are open.

     Thor&apos;s POV - THE CAPITAL - an eclectic city composed of
     salvaged items from all over the universe.

     Thor is lying in a sort of small GLASS HOLDING CELL beneath
     Warsong&apos;s COCKPIT. He looks up to see S142 piloting the ship.

     Thor&apos;s eyes lock in on her belt, specifically the fob device
     she used to activate the Obedience Disk/debilitate him.

                         SCRAPPER #142
               This is Scrapper 142. I need
               clearance and an audience with the
               boss. I&apos;ve got something special.

                          THOR
               Hey!   Where are you taking me?

     S142 ignores him, takes a swig from the bottle, and then
     nonchalantly UNCLIPS the fob from her belt.

                         THOR (CONT&apos;D)
               Answer me! Hey! I am Thor, son of
               Odin. I need to get back to
               Asgard.

                         SCRAPPER #142
               Many apologies, your majesty.

     S142 ZAPS him and guides her ship towards a COLOSSAL TOWER.


26   EXT. OUTSKIRTS OF ASGARD - DAY                                   26

     CLOSE ON: Hela, headdress retracted, hair down, her beautiful
     face fully visible. We do not see who she is talking to.

                         HELA
               It&apos;s come to my attention that you
               don&apos;t know who I am.

     REVEAL THE ARMIES OF ASGARD FACING DOWN HELA.

     Standing in front is HOGUN, sword and shield out.

                         HELA (CONT&apos;D)
               I am Hela, Odin&apos;s first born,
               Commander of the legions of Asgard,
               the rightful heir to the throne,
               and the Goddess of Death.
                   (pause for effect)
                         (MORE)
                           BLUE DRAFT 05/20/16                30.

                         HELA (CONT&apos;D)
               My father is dead. As are the
               princes. You&apos;re welcome.
                   (then:)
               We were once the seat of absolute
               power in the Cosmos. Our supremacy
               was unchallenged, yet Odin stopped
               at Nine Realms. Our destiny is to
               rule over all others. And I am
               here to restore that power. Kneel
               before me...and rise into the ranks
               of my great conquest.

     THE E-GUARDS GET INTO ATTACK FORMATION.

                         HOGUN
               Whoever you are... whatever you&apos;ve
               done, surrender now! Or we will
               show you know mercy.

                         HELA
               Whoever I am? Did you listen to a
               word I said?

                         HOGUN
               This is your last warning!

                         HELA
               I thought you&apos;d be happy to see me.

     Hela forms her headdress.

                         HELA (CONT&apos;D)
               Fine.

     The Asgardian archers LOOSE DOZENS OF ARROWS, but-

     -Hela advances confidently, DESTROYS the SHIPS and SOARS INTO
     THE EINHERJAR! In a symphony of spectacular terror, Hela
     proceeds to DECIMATE the entire regiment. A tornado of
     carnage, a legendary massacre.


27   EXT. BELOW THE RAINBOW BRIDGE - SAME                            27

     While Hela slaughters up above, we tilt up from a boat,
     moored at the base of the Observatory, to see the mysterious
     figure from earlier is now SCALING the rocks towards the top.


28   INT. THE OBSERVATORY - CONTINUOUS                               28

     Now silhouetted in the entrance way, the figure scans the
     Observatory. His gaze falls on-
                            BLUE DRAFT 05/20/16                   31.


      -Bi-Frost&apos;s controls. Specifically Heimdall&apos;s sword.


29    EXT. OUTSKIRTS OF ASGARD - CONTINUOUS                            29

      It&apos;s eerily quiet. CLOSE on Hela scanning the battlefield.
      100+ slain Einherjar at her feet.

      ANGLE on Skurge as he steps forward - awe, admiration, fear.

                          HELA
                Oh, I&apos;ve missed this. Still, it&apos;s
                a shame. Good soldiers dying for
                nothing...all because they couldn&apos;t
                see the future. Sad.
                    (then she sees:)
                Oh! Look, still alive.

      Reveal Hogun, severely injured but staggering to his feet,
      resilient.

                          HELA (CONT&apos;D)
                Change of heart?

      Hogun draws a dagger as a last ditch attack.

                          HOGUN
                Go back to whatever cave you crept
                out of you evil demoness!

      Hela IMPALES Hogun on a spike.   She turns to Skurge.

                          HELA
                Let&apos;s go see my palace.

      Skurge stares at Hogun before following Hela towards the
      palace.

31    OMITTED                                                          31


A32   INT. DARK TUNNEL - DAY                                           A32

      THOR, strapped to the chair, suddenly finds himself slowly
      moving forward. After a beat-

      -the walls LIGHT UP and a SOOTHING VOICE speaks to him.

                          SOOTHING VOICE (V.O.)
                Fear not, for you are found. You
                are home, and there is no going
                back. No one leaves this place.

      Thor STRUGGLES against his restraints.
                      BLUE DRAFT 05/20/16                  32.


                     SOOTHING VOICE (V.O.)
          But what is this place? The answer
          in Sakaar.

The tunnel walls show images of Sakaar&apos;s place in the Cosmos.

                    SOOTHING VOICE (V.O.)
          Surrounded by cosmic gateways,
          Sakaar lives on the edge of the
          known and unknown.

Images of the wormholes that cover Sakaar&apos;s atmosphere.

                    SOOTHING VOICE (V.O.)
          It is the collection point for all
          lost and unloved things. Like you.
          But here on Sakaar, you are
          significant. You are valuable.
          Here, you are loved.

                    THOR
          What...the hell?

                    SOOTHING VOICE (V.O.)
          And no one loves you more than the
          Grandmaster.

Images of the Grandmaster, in silhouette, arriving on Sakaar.

                    SOOTHING VOICE (V.O.)
          He is the original. The first
          lost, and the first found. The
          creator of Sakaar and the father of
          the Contest of Champions.

Images of the arena where aliens battle to the death.

                    SOOTHING VOICE (V.O.)
          Where once you were nothing, now
          you are something. You are the
          property of the Grandmaster.
              (then:)
          Congratulations! You will meet the
          Grandmaster in five seconds.

Images around the tunnel begin speeding up. Chaos, violence,
and confusion mixed in with Grandmaster&apos;s face.

Thor, already bewildered, looks on the verge of panic.

                    SOOTHING VOICE (V.O.)
          Prepare yourself. Prepare
          yourself. You are now meeting the
          Grandmaster.
                             BLUE DRAFT 05/20/16                33.


     Thor SCREAMS!


32   INT. GRANDMASTER&apos;S CHAMBERS - CONTINUOUS                        32

     Suddenly Thor is somewhere else, surrounded weirdos and
     insanely dressed palace guards.

     His scream dies down self-consciously.

     A musical beat PLAYS in the background.

     THE GRANDMASTER, a tall mysterious man in golden robes. He is
     looking right at us. He doesn&apos;t know what to make of us. He&apos;s
     curious, thrilled, revolted, and titillated.

     Pulling back we see TOPAZ, his trusty guard, at his side. Two
     GOLDEN LADIES loiter off to the side. Other strange guests
     can be seen in the background. Grandmaster just stares.

     S142 stands beside Grandmaster.    Finally:

                         GRANDMASTER
               He&apos;s wonderful.
                   (then:)
               It is a he?

     Reveal S142 standing beside Thor.

                            SCRAPPER #142
               It&apos;s a he.

                         GRANDMASTER
               Yeah. I love when you come to visit
               142, you bring me the best stuff.
                   (to Topaz:)
               Whenever we get to talking, Topaz,
               about Scrapper 142...what do I
               always say? &quot;She is the...&quot; and it
               starts with a B.

                            TOPAZ
               Trash.

                         GRANDMASTER
               No, not trash. Were you waiting
               just to call her that? It doesn&apos;t
               start with a &quot;B.&quot;

                            TOPAZ
               Booze hag.
                         BLUE DRAFT 05/20/16                  34.


                    GRANDMASTER
          I&apos;m so sorry. No, &quot;best.&quot; I was
          thinking about &quot;best.&quot;
              (to S142:)
          Because I always say you&apos;re the
          best. She brought me my precious
          beloved Champion, you know.

                    TOPAZ
          You say that every time she&apos;s here.

                    GRANDMASTER
          What have you brought today?    Tell
          me.

                    SCRAPPER #142
          A contender.

                     THOR
          A what?

                    GRANDMASTER
          I need to go closer. I want a
          closer look at this. Can you take
          us closer? Thank you.

Grandmaster advances on Thor.    Examining him closely and
strangely. Then:

                    GRANDMASTER (CONT&apos;D)
          Pay this lady.

                    THOR
          Just wait a damn minute.    I&apos;m not
          for sale.

Using all his might, Thor breaks out of his shackles, but-

-S142 ZAPS him again.    Paralyzed by superheated veins.

                     GRANDMASTER
          Man.   He is a fighter.

                    SCRAPPER #142
          I&apos;d take 10 million.

                    TOPAZ
          Tell her she&apos;s dreaming.

                    GRANDMASTER
          For heaven&apos;s sake, transfer the
          units.
                      BLUE DRAFT 05/20/16                   35.


Topaz transfers S142 the units. Without sympathy or ceremony,
S142 exits.

                    THOR
          You&apos;ll pay for this!

                    SCRAPPER #142
          No, I got paid for this.

Thor claws at the obedience disk, trying to RIP IT OUT.

He gets some separation from his skin, but the disk is
causing him even more pain. Thor eventually has to let go.
Grandmaster holds up HIS OWN fob device and uses it like a
wand to guide Thor&apos;s HOVER CHAIR, which follows Grandmaster
around as he speaks.

                    GRANDMASTER
          Here&apos;s what I wanna know.    Who are
          you?

                    THOR
          I am the God of THUNDER!!!

Thor THRUSTS his arms into the air but only a tiny bit of
static electricity POPS within Thor&apos;s hands.

                    GRANDMASTER
          Wow. I didn&apos;t hear any thunder,
          but out of your fingers, was that
          like...sparkles?

                    TOPAZ
          We located your cousin.

                     GRANDMASTER
          Oh good!
              (to Thor:)
          Yeah, come on. I think you&apos;re gonna
          like this.

Grandmaster moves Thor&apos;s chair to another section where-

-COUSIN CARLO is waiting. He&apos;s strapped to a chair like
Thor, and he is terrified.

                    GRANDMASTER (CONT&apos;D)
          There he is. Hey, cuz. We almost
          couldn&apos;t find you. What, have you
          been hiding?

Cousin Carlo looks at Thor, cowering in fear.
                        BLUE DRAFT 05/20/16                   36.


                       THOR
          Hi.

Carlo only further weeps.

                       GRANDMASTER
          So...

                     COUSIN CARLO
          Please.   I&apos;m sorry.

                    GRANDMASTER
          Carlo... I pardon you.

                       COUSIN CARLO
          Thank you.     Thank you.

                    GRANDMASTER
          You&apos;re officially pardoned...from
          life.

Grandmaster casually takes Topaz&apos;s Sakaarian Guard staff and
JABS it into his cousin&apos;s mid-section-

-CAUSING ALL OF HIS FLESH TO MELT OFF HIS SKELETON!

Carlo SHRIEKS IN PAIN before his vocal cords melt.    Thor
looks on, in shock.

                    THOR
          Oh, my god!

Liquid Carlo spreads towards Grandmaster.

                    GRANDMASTER
          I&apos;m stepping in it. I&apos;m stepping
          in it. Look out!

                    THOR
              (repulsed)
          Oh, the smell.

                    GRANDMASTER
          What does it smell like?

                    TOPAZ
          Burnt toast.

                    GRANDMASTER
          What happened to my manners? I
          haven&apos;t properly introduced myself.
          Come on. Follow me.

Grandmaster gives Topaz back her staff.
                      BLUE DRAFT 05/20/16                  37.


Grandmaster and Thor arrive at a space where A GROUP OF
MUSICIANS PLAY STRANGE INSTRUMENTS (the source of the music
thus far). Grandmaster joins them, still speaking to Thor.

Grandmaster begins PLAYING a strange piano-like contraption,
riffing a melody over the existing music.

                    GRANDMASTER (CONT&apos;D)
          My name is Grandmaster. I preside
          over a little harlequinade called
          the Contest of Champions. People
          come from far and wide to
          unwillingly participate in it. And
          you, my friend, might just be part
          of the new cast. What do you say
          to that?

                    THOR
          We&apos;re not friends, and I don&apos;t give
          a shit about your games! I&apos;m going
          back to Asgard!

                    GRANDMASTER
              (amused)
          Ass-gard?
              (then:)
          One, two, three, four.

Grandmaster really gets into his PLAYING. Grandmaster&apos;s
guards and VIP guests start MOVING TO THE MUSIC.

Thor takes a moment to look around at this bizarre spectacle
unfolding around him. In doing so, he zeroes in on one
particular group of VIPS, specifically...

...LOKI! He&apos;s lounging and dressed in Sakaarian garb.

                    LOKI
          There was a wormhole in space and
          time beneath me. At that moment, I
          let go.

                    THOR
          Loki!? Loki! Over here!

Loki notices Thor. Blanches a little. Sidles closer so as
to speak to Thor without looking like he&apos;s speaking to Thor.

                    LOKI
          Excuse me one second.

                    THOR
          Loki!
                        BLUE DRAFT 05/20/16     38.


Loki hustles over to Thor, SHUSHING him.

                     LOKI
          What?   You&apos;re alive?

                    THOR
          Yes, of course I&apos;m alive.

                    LOKI
          What are you doing here?

                    THOR
          What do you mean, what am I doing?
          I&apos;m stuck in this stupid chair.
          Where&apos;s your chair?

                    LOKI
          I didn&apos;t get a chair.

                    THOR
          Get me out of this one.

                       LOKI
          I can&apos;t.

                       THOR
          What?

                    LOKI
          I&apos;ve made friends with this man.
          He&apos;s called the Grandmaster.

                    THOR
          Oh, he&apos;s crazy!

                    LOKI
          I&apos;ve gained his favor.. The Bi-
          Frost brought me out here weeks
          ago.

                       THOR
          Weeks ago?     I just got here.

Suddenly Grandmaster is right next to them.

                    GRANDMASTER
          What are you whispering about?

Both Thor and Loki react, startled.

                    GRANDMASTER (CONT&apos;D)
          Time works real different around
          these parts.
                    (MORE)
                      BLUE DRAFT 05/20/16                  39.

                    GRANDMASTER (CONT&apos;D)
          On any other world, I&apos;d be like,
          millions of years old. But here on
          Sakaar...

Grandmaster beholds himself.   Then turns to Loki.   A truly
uncomfortable silence.

                    GRANDMASTER (CONT&apos;D)
          In any case, you know this... You
          call yourself Lord of Thunder?

                    THOR
          God of Thunder.    Tell him.

                    LOKI
          I&apos;ve never met this man in my life.

                    THOR
          He&apos;s my brother.

                     LOKI
          Adopted.

                    GRANDMASTER
          Is he any kind of a fighter?

Loki shrugs, gives the universal gesture for &quot;so-so.&quot;

                    THOR
          You take this thing out of my neck
          and I&apos;ll show you.

                    GRANDMASTER
          Now listen to that. He&apos;s
          threatening me. Hey, Sparkles,
          here&apos;s the deal. If you wanna get
          back to Ass-place, Assberg...

                     THOR
          Asgard.

                    GRANDMASTER
          Any contender who defeats my
          champion, their freedom they shall
          win.

                    THOR
          Fine. Then point me in the
          direction of whoever&apos;s ass I have
          to kick.

                    GRANDMASTER
          That&apos;s what I call, contender!
          Direction would be this way, Lord.
                             BLUE DRAFT 05/20/16                40.


                            THOR
               Loki!

     Guards arrive.    They haul Thor up and escort him out.

33   OMITTED                                                         33

34   INT. THE ARENA - GLADIATOR CELLS - NIGHT                        34

     Thor is shoved into a spacious cell where other alien
     prisoners are lurking in the back.

     The thick cell door SLAMS SHUT behind Thor. Thor gets up and
     immediately begins THROWING his shoulder into the door. The
     door doesn&apos;t budge, not even a little.

     Behind him, KORG, a hulking Kronan rock alien, speaks up.

                         KORG
               Hey! Take it easy man!
                   (Thor looks back)
               Over here. The pile of rocks
               waving at you. Yeah I&apos;m actually a
               thing, I&apos;m a being. Allow me to
               introduce myself, my name is Korg.
               I&apos;m kind of like the leader in
               here. I&apos;m made of rocks, as you
               can see, but don&apos;t let that
               intimidate you. You don&apos;t need to
               be afraid unless you&apos;re made of
               scissors.
                   (GIGGLES to himself)
               Just a little rock-paper-scissor
               joke for you. This is my very good
               friend over here, Miek. He&apos;s an
               insect and has knives for hands.

     MIEK, a slug alien inside a robot exoskeleton, says hello by
     doing some karate moves.

                         THOR
               You&apos;re a Kronan, aren&apos;t you?

                            KORG
               That I am.

                         THOR
               How&apos;d you end up in here?

                         KORG
               Well, I tried to start a revolution
               but didn&apos;t print enough pamphlets,
               so hardly anyone turned up.
                         (MORE)
                      BLUE DRAFT 05/20/16                41.

                    KORG (CONT&apos;D)
          Except for my mom and her
          boyfriiend, who I hate. As
          punishment, I was forced to be in
          here and become a gladiator. Bit
          of a promotional disaster.
              (secretive)
          But I&apos;m actually organizing another
          revolution. I don&apos;t know if you&apos;d
          be interested in something like
          that. Do you reckon you&apos;d be
          interested?

Thor tries to run ahead down the circle and loops back around
behind Korg.

                    THOR
          How did you...

                    KORG
          Yeah, no. This whole thing is a
          circle. But not a real circle,
          more like a freaky circle.

                    THOR
          This doesn&apos;t make any sense.

                    KORG
          No, nothing makes sense here. The
          only thing that does make sense, is
          that nothing makes sense.

                    THOR
          Has anyone here fought the
          Grandmaster&apos;s Champion?

                    KORG
          Doug has. Doug!
              (realizes)
          Oh, right, Doug&apos;s dead. That&apos;s
          right. Everyone who fights the
          Grandmaster&apos;s champion perishes.

                    THOR
          What about you? You&apos;re made of
          rocks.

                    KORG
          Perishable rocks.
              (a pebble FALLS OFF)
          There you go. Another one gone.
          Yeah, no, I just do the smaller
          fights, warm up the crowd and
          whatnot. Wait. You&apos;re not gonna
          face him, are you?
                              BLUE DRAFT 05/20/16                  42.


                            THOR
                  Yes I am. Fight him, win, and get
                  the hell out of this place.

                            KORG
                  That&apos;s exactly what Doug used to
                  say. See you later, new Doug.

      Korg walks away and approaches Miek.


A35   EXT. ASGARD - STREETS - SUNSET                                    A35

      The streets of Asgard are cold and silent, save for the
      occasional distant sounds and screams of a city under siege.

35    OMITTED                                                           35

A36   INT. THRONE ROOM - CONTINUOUS                                     A36

      Moving down the throne room corridor we see-

      -SEVERAL DEAD EINHERJAR GUARDS.

      One guy is still alive, desperately trying to crawl away.

      SHLNK!    A black blade finishes him off.

      Reveal HELA and SKURGE looking down at the carnage.

      Hela directs her attention to FRESCOS ON THE CEILING. Like
      the Sistine Chapel, except these depict Asgard&apos;s shining
      influence on the Nine Realms. Bountiful harvests, shepherds
      with full flocks, common folk throwing parades for Asgard&apos;s
      army, etc.

                            HELA
                  Does no one remember me?
                      (awaiting an answer)
                  Has no one been taught our history?
                  Look at these lies. Goblets and
                  garden parties? Peace treaties?

      Hela leads them towards the throne.

                            HELA (CONT&apos;D)
                  Odin... proud to have it... ashamed
                  of how he got it.

      Hela FIRES SPIKES into the ceiling, RIPPING DOWN plaster.

      Beneath the surface are older Frescos.      These ones are far
      more dark and sinister.
                               BLUE DRAFT 05/20/16              43.


      Soldiers in battle. Blood. A giant war wolf.     Young Odin
      and young Hela. Slaves building the palace.

      Skurge is at least somewhat disturbed by this.

                           HELA (CONT&apos;D)
                We were unstoppable. I was his
                weapon in the conquest that built
                Asgard&apos;s empire. One by one, the
                realms became ours.

      Hela turns from the murals to address Skurge.

                          HELA (CONT&apos;D)
                But then, simply because my
                ambition outgrew his...he banished
                me, caged me, locked me away like
                an animal. Before that, Asgard&apos;s
                warriors were honored, their bodies
                buried as heroes beneath this very
                place.

      Hela beckons Skurge to follow her.


B36   INT. ODIN&apos;S VAULT - CONTINUOUS                                  B36

      Hela enters the vault and descends the stairs towards the
      magical items.

                          SKURGE
                Odin&apos;s treasures.

      SKURGE follows her. Hela walks towards the Infinity Gauntlet.

                             HELA
                Fake.

      Hela KNOCKS the gauntlet off its pedestal.

                          HELA (CONT&apos;D)
                Most of the stuff in here is fake.

      Next: The Casket of Ancient Winter.

                             HELA (CONT&apos;D)
                Or weak.

      Next: Surtur&apos;s skull.

                          HELA (CONT&apos;D)
                Smaller than I thought it would be.

      Next: The Tesseract.    She hesitates:
                              BLUE DRAFT 05/20/16                 44.


                          HELA (CONT&apos;D)
                That&apos;s not bad?
                    (notices:)
                But this... The Eternal Flame.

      THE ETERNAL FLAME flickers in its chalice.

      Hela DIGS HER HAND INTO THE ETERNAL FLAME. She pulls her
      hand out now cupping GREEN FIRE, like a torch.

      Hela approaches a large circular RUNE ETCHING on the floor.

      Hela manifests a huge CLAW HAMMER. She SMASHES THROUGH THE
      RUNES ON THE FLOOR, creating a gaping chasm.

      She looks at Skurge.

                          HELA (CONT&apos;D)
                Want to see what true power looks
                like?

      Hela looks down into the darkness below.

      With her hand aflame, Hela JUMPS down into the chasm!


C36   INT. HIDDEN ASGARDIAN CATACOMBS - DAY                            C36

      Hela LANDS like a bad ass.

      Dust settles. The light of Hela&apos;s hand torch reveals a stone
      crypt. An ornate burial place for the heroes of Old Asgard.

      We can see countless rotted skeletons in badass ancient
      Asgardian armor. Hela&apos;s regiment.

      Among them, A MASSIVE WOLF&apos;S SKELETON. TERRIFYING AND
      MONSTROUS, COLOSSAL CHAINS AROUND THE BONES OF ITS PAWS.
      FENRIS.

      Hela approaches Fenris&apos; skeleton.

                          HELA
                Fenris. My darling, what have they
                done to you?

      She lifts her flaming hand above her head. She slams her hand
      into the ground.

                          HELA (CONT&apos;D)
                With the Eternal Flame, you are
                reborn!

      The fire spreads out, covering Fenris and Hela&apos;s old army.
                              BLUE DRAFT 05/20/16                 45.


       As the fire covers the skeletons, they SHUDDER TO LIFE.

                            HELA (CONT&apos;D)
                  I&apos;ve missed you. I&apos;ve missed you
                  all.

       HELA&apos;S BUTCHERS, rise up before their commander.

       ABOVE:   Skurge looks down, worried.

       BELOW: A sinister light returns to Fenris&apos;s eyes as he
       stands proudly before his master, allowing her to pet the fur
       of his terrifying face.


C36A   INT. THE ARENA - GLADIATOR CELLS - NIGHT                         C36A

       Thor sits against the wall.   Quietly praying.

                            THOR
                  Odin, I bid you take your place in
                  the halls of Valhalla...
                      (then:)
                  Where the brave shall live forever.
                  Nor shall we mourn but rejoice-

               THOR (CONT&apos;D)                     LOKI (O.S.)
       -for those that have died the    -for those that have died the
       glorious death.                  glorious death.

       Reveal Loki standing across the cell.   Thor gives him a hard
       look.

                            LOKI (CONT&apos;D)
                  It hurts, doesn&apos;t it? Being lied
                  to. Being told you&apos;re one thing and
                  then learning it&apos;s all a fiction.

       Thor picks up some stones that have fallen from Korg&apos;s leg
       and casually starts throwing them through Loki&apos;s illusion.

                            LOKI (CONT&apos;D)
                  You didn&apos;t think I&apos;d really come
                  and see you, did you? This place
                  is disgusting.

       Thor throws another stone through Loki.

                            LOKI (CONT&apos;D)
                  Does this mean you don&apos;t want my
                  help?

       Thor throws another stone through Loki.
                      BLUE DRAFT 05/20/16                    46.


                    LOKI (CONT&apos;D)
          Look, I couldn&apos;t jeopardize my
          position with Grandmaster, it took
          me time to win his trust. He&apos;s a
          lunatic, but he can be amenable.

Thor throws another stone through Loki.    Disinterested.

                    LOKI (CONT&apos;D)
          What I&apos;m telling you is, you could
          join me at the Grandmaster&apos;s side.
          Perhaps, in time, an accident
          befalls the Grandmaster, and
          then...

Loki gestures: &quot;we take over.&quot;

Thor throws another stone through Loki.    Bored.

                    LOKI (CONT&apos;D)
          You&apos;re not seriously thinking of
          going back, are you? Our sister
          destroyed your hammer like a piece
          of glass. She&apos;s stronger than both
          of us. She&apos;s stronger than you.
          You don&apos;t stand a chance. Do you
          understand what I&apos;m saying to you?

Thor just scowls.

                    LOKI (CONT&apos;D)
          Fine. I guess I&apos;ll just have to go
          it alone. Like I&apos;ve always done.
              (Thor smirks)
          Would you say something?

Now out of stones, Thor looks around the floor for more.

                    LOKI (CONT&apos;D)
          Say something!

Thor finally looks right at Loki, speaks fast and curt:

                    THOR
          What would you like me to say? You
          faked your own death, you stole the
          throne, stripped Odin of his power,
          stranded him on Earth...
              (on Loki:)
          -to die, releasing the Goddess of
          Death.
              (back to Thor:)
                    (MORE)
                            BLUE DRAFT 05/20/16                 47.

                         THOR (CONT&apos;D)
               Have I said enough, or do you do
               you want me to go further back than
               the past two days?

     Loki&apos;s eyes burn.   Thor stares coldly at him.   Loki tries to
     compose himself.

                         LOKI
               You know, I haven&apos;t seen this
               Beloved Champion he talks of, but
               I&apos;ve heard he&apos;s astonishingly
               savage. I&apos;ve placed a large wager
               against you tomorrow. Don&apos;t let me
               down.

     Loki SHIMMERS, and his illusion vanishes.   Korg runs in to
     try to kick him.

                         KORG
               Piss off, ghost!
                   (then:)
               He&apos;s freaking gone.


40   INT. THE ARENA - RECEIVING AREA                                  40

     Thor, Korg, and a gaggle of other prisoners/fighters have
     been led from their cells to a PRE-FIGHT HOLDING AREA.

     Korg and Thor are by the weapons rack.

                         KORG
               Yuck! There&apos;s Still someone&apos;s hair
               and blood all over this. Guys, can
               you clean up the weapons once you
               finish your fight? Disgusting
               slobs.
                   (then:)
               Thor...wanna use a big wooden fork?

                          THOR
               No.

                         KORG
               Yeah, not really useful unless
               you&apos;re fighting off three vampires
               that were huddled together.

                         THOR
               I really wish I had my hammer.

                          KORG
               Hammer?
                        BLUE DRAFT 05/20/16                48.


                    THOR
          Quite unique. It was made from
          this special metal from the heart
          of a dying star. And when I spun
          it really, really fast it gave me
          the ability to fly.

                    KORG
          You rode a hammer?

                    THOR
          No, I didn&apos;t ride the hammer.

                    KORG
          The hammer rode you on your back?

                    THOR
          No. I used to spin it really fast,
          and it would pull me off the...

                       KORG
          Oh my God.     The hammer pulled you
          off?

                    THOR
          The ground. It would pull me off
          the ground, up into the air, and I
          would fly. Every time I threw it,
          it would always come back to me.

                     KORG
          Sounds like you had a pretty
          special and intimate relationship
          wiht this hammer and that losing it
          was almost comparable to losing a
          loved one.

                    THOR
          That&apos;s a nice way of putting it.

Thor spots S142 dealing at the bar.    He&apos;s once again eyeing
the fob device clipped to her belt.    Scowls.

                    SCRAPPER #142
          I said they&apos;re mine.

                    THOR
          See her, the one that put me in
          here.

                    KORG
          Yeah, Scrapper 142. She&apos;s strong.
          And she drinks a lot.
                    (MORE)
                         BLUE DRAFT 05/20/16             49.

                    KORG (CONT&apos;D)
          Gotta watch out for those
          Asgardians, man. They are hard to
          perish.

                        THOR
          Asgardian?

Thor breaks away from the line and runs to S142.

                        THOR (CONT&apos;D)
          Hey!   Hey!

S142 holds up the fob.

                    THOR (CONT&apos;D)
          Do not zap me with that thing. I
          just wanna talk. Asgard is in
          danger.

Thor then notices a series of PATTERNED SCARS, or BRANDS, on
her forearms. It&apos;s a moment of recognition and disbelief.

                    THOR (CONT&apos;D)
          My God, you&apos;re a Valkyrie. I used
          to wanna be a Valkyrie when I was
          younger...until I found out that
          you were all women. There&apos;s
          nothing wrong with women, of
          course. I love women. Sometimes a
          little too much. Not in a creepy
          way, just more of a respectful
          appreciation. I think it&apos;s great
          that there is an elite force of
          women warriors. It&apos;s about time.

                    SCRAPPER #142
          Are you done?

                    WARDEN (O.S.)
          Lord of Thunder, you&apos;re up.

                    THOR
          Please, help me.     I need your help.

                        SCRAPPER #142
          Bye.

                    THOR
          Fine, then you must be a traitor or
          a coward because the Valkyrie are
          sworn to protect the throne.

S142 finally turns her attention to Thor, intense.
                            BLUE DRAFT 05/20/16                 50.


                          SCRAPPER #142
                Listen closely, your majesty. This
                is Sakaar, not Asgard. And I&apos;m a
                scrapper, not a Valkyrie.

      Guards swarm Thor, dragging him back

                          WARDEN (O.S.)
                Bring him in for processing!

                          VALKYRIE
                And no one escapes this place. So
                you&apos;re gonna die anyway.

      Despite her denial, Thor has clearly hit a nerve. And from
      now on we will refer to Scrapper #142 as VALKYRIE.

      Valkyrie takes her booze and walks away. Thor is dragged
      away, passing Korg and the other prisoners.


40A   INT. PROCESSING ROOM - DAY                                        40A

      Thor is strapped to a chair. Reveal a weird alien BARBER
      (Stan Lee cameo) holding up some rusty shears.

                          STAN LEE
                Now, don&apos;t you move. My hands
                ain&apos;t as steady as they used to be.

                          THOR
                By Odin&apos;s beard, you shall not cut
                my hair... lest you feel the wrath
                of the might Thor.

      Barber activates a menacing CUTTING TOOL.   Thor freaks out.

                          THOR (CONT&apos;D)
                Please. Please, kind sir, do not
                cut my hair! No!


40B   INT. THE ARENA - NIGHT                                            40B

      Hundreds of thousands of spectators packed into the stadium
      seats. Dozens of starships are parked above the arena.

      Find THE GRANDMASTER&apos;S LUXURY SUITE, a VIP box attached to
      the fighting area. The Golden Ladies are in attendance.

      Loki lounges in the suite, taking wagers on the fight card.

      Grandmaster walks out into the center of the arena.   Suddenly-
                      BLUE DRAFT 05/20/16                   51.


-THE GRANDMASTER GROWS TO 60-FEET TALL! This enlarged
projection of Grandmaster addresses the audience.

                    GRANDMASTER
          Wow! Look at all of you. What a
          show, WHAT-A-NIGHT! Who&apos;s having
          fun? Please, I&apos;m your host. Big
          round of applause for all of our
          undercard competitors... who died
          so gruesomely. Good sports. What a
          show! What a night! This is what
          you&apos;ve come for and so have I.
              (applause)
          And now, without further ado...
          it&apos;s main event time!!
              (INSANE APPLAUSE)
          Making his first appearance, though
          he looks quite promising, got a
          couple of tricks up his sleeve.
          I&apos;ll say no more, see what you
          think. Ladies and gentlemen...
              (LAUGHTER from the crowd)
          I give to you...Lord of Thunder!

Enter Thor. Gladiator Thor. Shaved head, trimmed beard,
minimalist armor, covered in weapons. Two swords on his
back, giant mace in one hand, spiked shield in the other.

                    GRANDMASTER (CONT&apos;D)
          Watch out for his fingers. They
          make sparks.

Thor looks up at the throngs of SCREAMING FANS. And then...

...puts on his helmet. A badass gladiator variation of his
classic winged helm. Thor is ready to rumble.

ABOVE: Find Valkyrie in her Warsong ship, parked amongst the
other tailgaters. She POPS open a bottle of booze. Drinks.

                    GRANDMASTER (CONT&apos;D)
          Okay, this is it. Let&apos;s get ready
          to welcome this guy. Here he comes.
          He is a creature. What can we say
          about him? Well, he&apos;s unique.
          There&apos;s none like him. I feel a
          special connection with him.

Suddenly the floor beneath Thor&apos;s feet LOWERS.   A slow,
tension-building GRIND as he sees-

-A DOOR across the arena.   Bigger and bigger.
                       BLUE DRAFT 05/20/16                 52.


The entire crowd is on its feet. Palpable anticipation.    The
spotlights change to bright stadium lights.

                     GRANDMASTER (CONT&apos;D)
           He&apos;s undefeated. HE&apos;S THE
           REIGNING...HE&apos;S THE DEFENDING...
           Ladies and gentlemen... I give
           you...

KA-BOOM!   EXPLODING through a door is the Champion...

...THE INCREDIBLE HULK! He wears an armored shoulder guard
and a Spartan helmet. He carries a warhammer in one hand and
a battleaxe in the other. Hulk POUNDS his chest and ROARS,
further energizing an already frenzied crowd.

Meanwhile, the sight of Hulk makes Thor&apos;s arms drop to his
sides along with his jaw dropping to the ground. And then-

-Thor LAUGHS his ass off. Like, &quot;that&apos;s my buddy over there!&quot;

                     THOR
           Yes!

IN THE VIP BOX: Loki goes ghost white. Traumatic memories of
being Hulk-smashed flood his brain. Gone is all his joy.

                     LOKI
           I have to get off this planet.

Loki tries to exit, but the Grandmaster stops him.

                     GRANDMASTER
           Hey, hey, hey! Where are you going?

Grandmaster plops Loki down in the front row, right against
the glass. Loki casually tries to hide his face in his hand.

IN THE ARENA:

                     THOR
           Hey! We know each other. He&apos;s a
           friend from work.
               (to Hulk:)
           Where have you been? Everybody
           thought you were dead. So much has
           happened since I last saw you. I
           lost my hammer. Like, yesterday,
           so that&apos;s still pretty fresh.
               (then:)
           Loki! Loki&apos;s alive. Can you
           believe it? He&apos;s up there.
               (waves to Loki:)
           Loki! Look who it is!
                         BLUE DRAFT 05/20/16              53.


Loki is petrified.

                    THOR (CONT&apos;D)
          Banner, I never thought I would say
          this, but I&apos;m happy to see you.

IN THE ARENA: Hulk is still eyeballing Thor while the
capacity crowd CHANTS insanely for &quot;HULK! HULK! HULK!&quot;

                      THOR (CONT&apos;D)
          Banner.    Hey, Banner!

Hulk&apos;s face grimaces and contorts, suppressing puny Banner.

                       HULK
          NO BANNER!     ONLY HULK!

Hulk CHARGES at Thor.    Insanely fast.

                    THOR
          What are you doing?    It&apos;s me.

Thor DODGES the first few attacks, but then Hulk SHATTERS his
shield and sends Thor FLYING.

Thor draws a sword and STABS it into the ground to slow his
momentum. Draws the other sword and faces off against Hulk.

                    THOR (CONT&apos;D)
          Banner, we&apos;re friends. This is
          crazy. I don&apos;t want to hurt you!

They engage again.   Hulk KICKS Thor, sending him SLAMMING
into the wall.

                    GRANDMASTER
          Here we go.

Thor jumps down just in time to avoid Hulk&apos;s warhammer, which
HITS so hard that it remains lodged in the wall.

With Hulk charging again, Thor RIPS the warhammer out of the
wall and WALLOPS Hulk with it.

Hulk goes CRASHING alongside the arena. He ends up sprawled
out in a pile of rubble, slightly dazed.

                       GRANDMASTER (CONT&apos;D)
          What?

ABOVE: Val is watching through a set of high-tech
binoculars. She reacts to Thor, reluctantly impressed.
                      BLUE DRAFT 05/20/16                   54.


Thor advances on Hulk with all the swagger. He takes off his
helmet and CALLS OUT to Hulk, provoking him.

                    THOR
          Hey, big guy. The sun&apos;s getting
          real low.

Hulk takes off his helmet.   Scowling.   Teeth GRINDING.

                    THOR (CONT&apos;D)
          That&apos;s it. The sun&apos;s going down.
          I won&apos;t hurt you anymore. No one
          will.

WHOOSH! Thor is suddenly dragged out of frame. Hulk has
Thor by the leg and is WHIPPING him against the arena floor.
Over and over and over again.

IN THE VIP BOX: Loki&apos;s whole mood shifts. The joy returns to
his face, like &quot;everything will be alright!&quot; Loki LAUGHS.

                    LOKI
          Yes! That&apos;s how it feels!
              (to Grandmaster:)
          I&apos;m just a huge fan of the sport.

Thor is SMASHED into the floor face first.

Hulk ROARS and RUSHES Thor with his axe.

                    THOR
          All right. Screw it.

CLANG! The giant weapons CLASH! Now Thor and Hulk are
fighting warhammer versus battleaxe...

...and Thor is winning! He&apos;s getting the better of these
exchanges, using Hulk&apos;s aggression against him. Thor
continually KNOCKS and/or TRIPS Hulk off his feet while
evading all of Hulk&apos;s best attacks.

                    THOR (CONT&apos;D)
          I know you&apos;re in there, Banner.
          I&apos;ll get you out!

One particular vicious blow DISARMS Hulk, and Thor BREAKS
Hulk&apos;s axe with the warhammer. Thor then BASHES Hulk in the
chest, KNOCKING him to the ground.

                    THOR (CONT&apos;D)
          What&apos;s the matter with you? You&apos;re
          embarrassing me! I told them we
          were friends!
                      BLUE DRAFT 05/20/16                   55.


GROWLING, Hulk stands up and HITS Thor with a straight jab
that sends Thor TUMBLING across the arena. Hulk immediately
LEAPS after him and LANDS ON Thor!

Hulk is now on top of Thor as they slide across the arena,
just PUMMELING him with punches. Left-right-left-right.
Thor&apos;s head snaps back and forth.

In the carnage, Thor sees VISIONS OF ODIN.   Then-

-his eyes GLOW WHITE WITH ELECTRICITY. Like an instinctual
defense mechanism, Thor suddenly KNOCKS HULK BACK WITH A
BURST OF LIGHTNING!

Seething with electricity, Thor springs to his feet and then
BLASTS HULK WITH A MASSIVE LIGHTNING PUNCH! Hulk is LAUNCHED
BACKWARDS and Thor hits the ground HARD.

                    CROWD
          Thunder! Thunder! Thunder!

                    KORG
          Thunder! Thunder! Thunder!

The crowd gets hushed.   They&apos;ve never seen this before.

IN THE VIP BOX: Grandmaster is pissed.   Loki is amazed.

Hulk and Thor stagger to their feet. Thor looks at himself,
a little surprised. There are still small charges of
lightning CRACKLING through his veins.

Meanwhile, Hulk RUMBLES towards Thor and they&apos;re at it again,
close-quarters boxing. Thor is winning the exchanges,
landing BRUTAL PUNCHES to Hulk&apos;s body. And then suddenly-

-BZZZ! The Grandmaster ZAPS him with the Obedience Disk fob!
Thor drops, totally caught off guard!

Hulk plants his feet and JUMPS! He ZOOMS UP, rocketing out
of the arena, up-up-up into the sky! At the apex of his jump
Hulk clenches his fist and begins a missile-like descent.

Val sees this from her ship and decides to take off, like
&quot;This fight is over, time to beat traffic.&quot;

                    KORG (CONT&apos;D)
          Another day, another Doug.

Down below, Thor groggily turns over. He does so just in
time to see Hulk coming at him like an atom bomb!

No time to avoid it. KA-BOOM!!! Right before impact Thor&apos;s
eyes go lightning white. Hulk HITS Thor like a meteor.
                           BLUE DRAFT 05/20/16                  56.


     The impact knocks Thor unconscious and we CUT TO BLACK.
     Linger on darkness for a few beats...and then:


36   INT. THRONE ROOM - SUNSET                                       36

     Hela sits on the throne trying to get comfortable, headdress
     &amp; cowl off. Skurge stands at the foot of the throne.

                         HELA
               What is that noise?

                         SKURGE
               The common folk aren&apos;t exactly
               falling in line. There&apos;s a
               resistance trying to knock down the
               front gates.

     Hela sends her BUTCHER TROOPS to deal with it.

                         HELA
               Tell me about yourself, Skurge.

                         SKURGE
               Well, me dad was a stonemason, me
               mum was-

                         HELA
                   (interrupts)
               I&apos;ll just stop you there. What I
               meant was what is your ambition?

                         SKURGE
               I just want a chance to prove
               myself.

                          HELA
               Recognition.
                   (then:)
               When I was young every great King
               had an executioner. Not just to
               execute people, but also to execute
               their vision. But mainly to
               execute people. Still a great
               honor.
                   (beat)
               I was Odin&apos;s executioner.

     Hela holds out her hand and uses her powers to FORM A DOUBLE-
     SIDED OBSIDIAN AXE, which she offers to Skurge.

                         HELA (CONT&apos;D)
               And you will be my executioner.
               Let&apos;s begin our conquest.
                             BLUE DRAFT 05/20/16                  57.


37     OMITTED                                                          37


41     OMITTED                                                          41


42     OMITTED                                                          42


44     EXT. RAINBOW BRIDGE - DAY                                        44

       Hela and Skurge arrive at the Observatory, army in tow.

                           HELA
                 Skurge, where&apos;s the sword?

       Reveal that the Bi-Frost sword is missing.

                           HELA (CONT&apos;D)
                 That sword is the key to opening
                 the Bi-Frost.

       Hela thinks, seething.

                           HELA (CONT&apos;D)
                 These people you mentioned, the
                 ones who aren&apos;t falling into line.
                 Round them up.


45     OMITTED                                                          45

AA46   OMITTED                                                         AA46

AB46             OMITTED                                               AB46

46     EXT. ASGARD - MOUNTAIN CREEK - DAY                               46


A46    OMITTED                                                         A46

       SPLASH! Boots running across the shallow water. We meet a
       family of refugees from the city. FATHER, MOTHER, SON (14),
       and young daughter (8). They&apos;re RUNNING FOR THEIR LIVES.

       Hot on their heels are a pair of Hela&apos;s sinister Butchers,
       hunting like a pack of wolves.

       After scrambling through a grove of trees the family make
       their way through a narrow pass. The Butchers are hot on
       their heels, their growls getting louder behind them when -
       BAM! The son runs right into a tall, immovable object...
                               BLUE DRAFT 05/20/16                 58.


      HEIMDALL! No regal armor, no golden helm. This Heimdall has a
      thick beard and is wrapped in a cloak. The rest of the family
      arrive, desperation.

                             HEIMDALL
                Excuse me.

      In one swift motion Heimdall draws the BI-FROST SWORD, steps
      forward and SLASHES through the Butchers, ending them.

      He then turns to the family, gestures for them to follow him.

                          HEIMDALL (CONT&apos;D)
                Sorry about that. These bloody
                things are everywhere. Come on.

47    OMITTED                                                           47

48    EXT. ASGARD - MOUNTAIN RAVINE - DAY                               48

      Heimdall approaches the steep face of the mountain. Carved
      into the rock is YGGDRASIL, the world tree. Heimdall kneels,
      whispers a few words under his breath, and... A HUGE SECTION
      OF THE MOUNTAIN FACE VANISHES IN A SHIMMERING ILLUSION!


49    INT. STRONGHOLD - DAY                                             49

      It&apos;s busy with activity - hundreds of Asgardians who fled the
      city after Hela&apos;s invasion are living here. Men, women, and
      children. Strong and weak, young and old.

      Heimdall turns to the family, even manages a smile.

                          HEIMDALL
                You&apos;ll be safe here.

      They enter the stronghold.    As the doors SHUT we go to-

50    OMITTED                                                           50


A51   OMITTED                                                           A51


51    INT. HULK&apos;S WARRIOR SUITE - DAY                                   51

      Thor&apos;s eyes POP OPEN. He&apos;s lying in a heap on the ground,
      still dirty, bruised, and beat up.

      Thor is being tended to by TWO SAKAARIAN GLADIATOR NURSES who
      are swabbing his wounds. This freaks him out, which results
      in startled thrashing. That freaks out the two Gladiator
      nurses, which results in them RUNNING AWAY.
                        BLUE DRAFT 05/20/16                  59.


Thor starts to get up, but then winces.      He moves slowly.

He&apos;s in a GIANT ROOM with stark graphic patterns on the
walls. With a few achy grimaces, Thor stands up and wanders
around. There&apos;s furniture, large cushions, and a sleeping
area enclosed by the SKULL of a giant beast.

NOISE behind him.    Thor follows the noise to find-

Hulk having eased himself into a large steaming JACUZZI. Thor
looks at him quizzically. Hulk isn&apos;t angry. He&apos;s RELAXED,
but he&apos;s not turning into Banner.

                    THOR
          Are we cool?

Hulk grunts.   I guess so.

                    THOR (CONT&apos;D)
          It&apos;s Hulk in a hot tub.
              (then:)
          How long have you been like that?

                       HULK
          Like what?

                       THOR
          Like this.     Big, green, ...stupid.

                    HULK
          Hulk always Hulk.

Thor takes this in, and then walks over to a window that
looks out across the city. Does some spatial math, realizes:
Thor looks back out the window.

He sees a ramshackle SPACESHIP taking off and ROCKETING
skyward. Higher and higher, it&apos;s going for a wormhole when-

-BOOM! One of Grandmaster&apos;s Palace Patrol ships, more modern
and heavy duty, BLOWS it out of the sky.

On Thor, wheels turning.      He turns to Hulk.

                    THOR
          How&apos;d you get here?

                       HULK
          Winning.

                    THOR
          You mean cheating?
              (re: Obedience Disk)
                    (MORE)
                        BLUE DRAFT 05/20/16           60.

                    THOR (CONT&apos;D)
          Were they wearing one of these when
          you won? How&apos;d you arrive here?

                       HULK
          Quinjet.

Hulk mimes a plane landing in the water.

                     THOR
          Yes.   Where is the Quinjet now?

Hulk stands up, and exits the hot tub, naked.

                    THOR (CONT&apos;D)
          That&apos;s naked. He&apos;s very naked.
          It&apos;s in my brain now.

Hulk points out the window.

                       HULK
          Quinjet.

Thor sees the Quinjet in a massive alien junkyard.

                    THOR
          Yes! I&apos;m getting us out of here.
          This is a terrible, awful place.
          You&apos;re gonna love Asgard. It&apos;s
          big. It&apos;s golden. Shiny.

Hulk sits on his bed, eating a pumpkin.

                       HULK
          Hulk stay.

                    THOR
          No, no, no. My people need me to
          get back to Asgard. We must
          prevent Ragnarok.

                    HULK
          Rag-na-ruh?

                    THOR
          The prophesied death of my home
          world, the end of days, it&apos;s the
          end of-
              (Hulk&apos;s blank stare)
          If you help me get back to Asgard,
          I can help you get back to Earth.

                    HULK
          Earth hate Hulk.
                        BLUE DRAFT 05/20/16     61.


                    THOR
          Earth loves Hulk. They love you.
          You&apos;re of the Avengers. One of the
          team, one of our friends. This is
          what friends do. They support each
          other.

                    HULK
          You&apos;re Banner&apos;s friend.

                    THOR
          I&apos;m not Banner&apos;s friend. I prefer
          you.

                    HULK
          Banner&apos;s friend.

                    THOR
          I don&apos;t even like Banner.
              (bad impersonation)
          &quot;I&apos;m into numbers and science and
          stuff.&quot;

                    HULK
          Thor go. Hulk Stay.

                    THOR
          Fine. Stay here. Stupid place.
          It&apos;s hideous, by the way. The red,
          the white. Just pick a color.

Thor heads for the exit, a wide open door.

                       HULK
          Smash you.

                     THOR
          You didn&apos;t smash anything. I won
          that fight

                    HULK
          I smashed you.

                    THOR
          Yeah, sure, sure.

                       HULK
          Baby Arms.

                       THOR
          What?

                       HULK
          Baby.
                              BLUE DRAFT 05/20/16                       62.


                             THOR
                  Moron!   You big child.

      Thor heads to the open entrance.      Hulk smiles, anticipating.

                             HULK
                  Thor go!

                            THOR
                  I am going.

      ZAP! Thor&apos;s jolted back by the obedience disk.       There are
      perimeter sensors in the doorway.

      Hulk CHUCKLES at Thor as he hits the floor.      Points.

                             HULK
                  Thor go again!
                      (then:)
                  Thor home.

      TIME CUT:

      Thor slumps against the wall, head sagging.

      Hulk grabs his giant battleaxe.       He&apos;s armored up.

                            HULK (CONT&apos;D)
                  Hulk trains.

                            THOR
                  That&apos;s great. Have fun.

      Hulk exits. Thor watches him go. Then, at the end of the
      hallway Hulk meets up with Valkyrie! They begin play-
      fighting, a clearly friendly rapport.

      Thor can&apos;t believe it. He runs to the entrance, but by the
      time he reaches the perimeter sensors they are gone.

      Thor sighs. Walks over to the window. Looks up through a
      wormhole, stars twinkling on the other end of it.

                            THOR (CONT&apos;D)
A57               Heimdall, I know you can see me.                           A57

      Thor continues his plea at the window.

                            THOR (CONT&apos;D)
                  I need you to help me. Help me
                  see.

      Pause. Then Thor&apos;s eyes go golden like Heimdall&apos;s!         The
      stars in the wormhole begin to WARP OVER THOR AND-
                             BLUE DRAFT 05/20/16                   63.


AA57   INT. STREETS OF ASGARD - SAME                                    AA57

       Thor suddenly finds himself in Asgard. Disoriented at first,
       Thor turns to see Heimdall hiding in the shadows.

       Heimdall harshly SHUSHES Thor and gestures for him to get up
       against the wall. Thor complies. Sees the refugees.

       After a beat a roving patrol of Hela&apos;s Butchers creep by
       through the street. They don&apos;t spot our heroes. Pause.

       Heimdall turns to Thor, speaks only in hushed whispers.

                           HEIMDALL
                 I see you. But you are far away.

                           THOR
                 What&apos;s going on here?

                           HEIMDALL
                 Come see for yourself.

       Without warning, Heimdall leads the family out of the alley
       and DASHES down the street. Thor follows...

       ...but then stops. Looks around to see THE OCCUPIED CITY OF
       ASGARD, emitting a smoky aura of chaos. A chilling sight.

       Down the street, Heimdall gestures for the family to slow
       down. He sees something. Ushers them into an alcove.

       Thor joins them just in time to avoid being seen by another
       roving patrol of Hela&apos;s Butchers. Heimdall again motions for
       Thor to &quot;shh&quot; until the threat has passed. Then:

                           HEIMDALL (CONT&apos;D)
                 I&apos;m providing refuge in a
                 stronghold build by our ancestors.
                 But if the garrison falls our only
                 escape will is Bi-Frost.

                           THOR
                 You&apos;re talking about evacuating
                 Asgard?

                           HEIMDALL
                 We won&apos;t last long if we stay.

       Thor LOOKS OUT on a ravaged Asgard, heartsick.

       Hold on the devastated Realm as:
                         BLUE DRAFT 05/20/16                   64.


                     HEIMDALL (O.S.) (CONT&apos;D)
           She draws her power from Asgard and
           grows stronger everyday.

Back to Thor and Heimdall.

                        HEIMDALL (CONT&apos;D)
           Come on.

As Heimdall quickly leads refugees down a safe pathway:

                     HEIMDALL (V.O.) (CONT&apos;D)
           Hela is ravenous. If I let her
           leave, she&apos;ll consume the Nine
           Realms and all the cosmos.

Turns back to Thor, approaches him.

                     HEIMDALL (CONT&apos;D)
           We need you.

                     THOR
           I&apos;m working on it, but I don&apos;t even
           really know where the hell I am.

Two packs of Butchers arrive simultaneously.        Spot Heimdall.

                     HEIMDALL
           You&apos;re on a planet surrounded by
           doorways. Go through one.

                        THOR
           Which one?

Heimdall RIPS into the attacking Butchers, CUTTING them down.

                     HEIMDALL
           The big one!

WHOOSH!   SUDDENLY THOR&apos;S GONE!     BLACK.

After slashing through the Butchers, Heimdall moves towards
the house where he hid the family... and then abruptly stops.

Heimdall turns slightly.       He sees something.

BINOCULARS POV: Heimdall looking right at us, the Bi-Frost
sword visible in his hand.

Reveal Skurge on a palace tower balcony, surveilling the city
with Asgardian E-noculars. Skurge lowers the E-noculars.

There is conflict on his face. He knows that he should report
this to Hela immediately...yet he doesn&apos;t spring into action.
                            BLUE DRAFT 05/20/16                65.


57   INT. HULK&apos;S WARRIOR SUITE - NIGHT                              57

     Thor absentmindedly fidgets with his Obedience Disk.

     THUD! THUD! THUD! ...resonates around the room.   Hulk steps
     up to Thor, looking inquisitively down at him.

                           HULK
               Thor sad.

                           THOR
               Shut up.

     Hulk HITS Thor, bullying him into opening up.

                         HULK
               THOR SAD!!!

     Thor hops up, YELLS in Hulk&apos;s face.    Paces around.

                         THOR
               I&apos;m not sad, you idiot. I&apos;m pissed
               off! Angry. I lost my father. I
               lost my hammer.

     THUD! THUD! He turns to see Hulk punching his pillow.

     Hulk stops. Stares.

                         HULK
               Whining and crying.   Cry like baby.

                         THOR
               You&apos;re not even listening.

     Thor KICKS a random helmet.

                         HULK
               Don&apos;t kick stuff.

                         THOR
               You&apos;re being a really bad friend.

                         HULK
               You bad friend!

                         THOR
               You know what we call you?

                           HULK
               No.

                         THOR
               We call you the stupid Avenger.
                        BLUE DRAFT 05/20/16                66.


                    HULK
          You&apos;re tiny Avenger!

Hulk throws a shield that nearly decapitates Thor.

                    THOR
          What, are you crazy?

                       HULK
          Yes.

                    THOR
          You know what? Earth does hate you.

Hulk gets sad.   Wanders over to his bed to mope.

Thor realizes he went to far.    Joins Hulk on the bed.

                       HULK
          No.

                    THOR
          I&apos;m sorry I said those things.
          You&apos;re not the stupid Avenger.
          Nobody calls you the stupid
          Avenger.

                       HULK
          It&apos;s okay.

                     THOR
          You just can&apos;t go around throwing
          shields at people. Could have
          killed me.

                    HULK
          I know. I&apos;m sorry.     I just get so
          angry all the time.    Hulk always,
          always angry.

                    THOR
          I know. We&apos;re the same, you and I.
          We&apos;re just a couple of hot-headed
          fools.

                    HULK
          Yeah, same. Hulk like fire, Thor
          like water.

                    THOR
          We&apos;re kind of both like fire.
                        BLUE DRAFT 05/20/16                67.


                      HULK
            But Hulk like real fire. Hulk like
            raging fire. Thor like smoldering
            fire.

                      THOR
            Hulk, I need you to do something
            for me.

TIME CUT:   Morning.

BA-BOOM! BA-BOOM! BA-BOOM!

We follow Two Palace Guards as they enter Hulk&apos;s Suite.

Hulk is throwing a LARGE BALL against the far wall. It&apos;s so
hard it makes dents in the wall. Hulk stops and turns.

Reveal that the guards are escorting Valkyrie. They leave...
Valkyrie and Hulk face off.

                      HULK
            Angry girl!

Val bounds forward and gives The Incredible Hulk a big hug.
Hulk laughs and then begins playfully roughhousing with Val.

                      VALKYRIE
            What&apos;s going on? What do you...?

Hulk steps away, allowing Valkyrie to see Thor. Her smile
disappears. She stares at Hulk, so annoyed. Hulk mopes a
little. Like, &quot;I done bad.&quot; Turns back to Thor:

                      VALKYRIE (CONT&apos;D)
            You&apos;re so thick-headed that you
            can&apos;t tell when someone&apos;s hiding
            all the way across the universe and
            wants to be left alone?

                      THOR
            We need to talk.

                      VALKYRIE
            No, you want to talk to me.

Valkyrie turns to leave.

                      THOR
                (to Hulk:)
            I need her to stay.

Valkyrie is at the exit when the UPPER JAWBONE of Hulk&apos;s
massive skull bed CRASHES into frame, BLOCKING the doorway.
                       BLUE DRAFT 05/20/16                  68.


Val shoots an annoyed sneer at Hulk.   Hulk SNORTS back.

                      HULK
          Stay!    Please?

Valkyrie looks him up and down. Obedience Disks to the max.

Hulk begins BOUNCING his ball against the wall again.

Valkyrie walks over to Hulk&apos;s bar, picks up an UNOPENED
BOTTLE of liquor. Hulk snorts, disapprovingly. Val puts it
down and finds something cheaper, she pops the cork.

                    VALKYRIE
          All right. Here&apos;s the deal. I&apos;ll
          listen to you till this is empty.

She TIPS BACK the bottle and starts CHUGGING.

                    THOR
          Asgard is in danger and people are
          dying. We need to get back there. I
          need your help...wow.

                    VALKYRIE
          Finished. Bye.

She has indeed finished. She goes to leave.

                    THOR
          Odin is dead.

Valkyrie stops short (the BALL BANGING noise continues). Her
silence speaks volumes. Thor has a realization.

                    THOR (CONT&apos;D)
          Hela, the Goddess of Death has
          invaded Asgard.

                    VALKYRIE
          If Hela&apos;s back then Asgard is
          already lost.

                    THOR
          I&apos;m going to stop her.

                      VALKYRIE
          Alone?

                    THOR
          Nope. I&apos;m putting together a team.
          It&apos;s me, you, and the big guy.
                      BLUE DRAFT 05/20/16                   69.


                     HULK
          No team.   Only Hulk.

                    THOR
          It&apos;s me and you.

                    VALKYRIE
          I think it&apos;s only you.

                    THOR
          Wait. Just listen. The Valkyrie
          are legend, elite warriors of
          Asgard. You are sworn to defend
          the throne.

                     VALKYRIE
          I&apos;m not getting dragged into
          another one of Odin&apos;s family
          squabbles.

                    THOR
          What&apos;s that supposed to mean?

                    VALKYRIE
          Your sister. Her power comes from
          Asgard, same as yours.

Hulk&apos;s ball rolls into frame. An off screen GRUNT.   Val
picks it up and tosses it back to Hulk.

                    VALKYRIE (CONT&apos;D)
          When it grew beyond Odin&apos;s control,
          she massacred everyone in the
          palace and tried to seize the
          throne. When she tried to escape
          her banishment, he sent the
          Valkyrie in to fight her back. I
          only survived because...
              (trails off, brooding)
          Look, I already faced her once back
          when I believed in the throne, and
          it cost me everything. THAT&apos;S
          what&apos;s wrong with Asgard. The
          throne, the secrets, the whole
          golden sham.

Pause. Thor moves towards Valkyrie, goes to put a comforting
hand on her shoulder.

                     THOR
          I agree.

Val SNATCHES his hand.   They are close, face to face.
                        BLUE DRAFT 05/20/16              70.


                    VALKYRIE
          Don&apos;t get familiar.

                    THOR
          I agree. That&apos;s why I turned down
          the throne. But this isn&apos;t about
          the crown. This is about the
          people. They&apos;re dying and they&apos;re
          you&apos;re people, too.

Val SHOVES him away.    Thor stumbles back.

                       VALKYRIE
          Forget it.     I have.

                    THOR
              (nods, understanding)
          Okay.

                       VALKYRIE
          Okay.

                    THOR
          Good. Great.

                       VALKYRIE
          Great.

                       THOR
          Thank you.

                       VALKYRIE
          For what?

                       THOR
          For this.

Reveal that Thor has lifted the fob device off Val&apos;s belt!

                    THOR (CONT&apos;D)
          Didn&apos;t see that did you?

Thor presses the button and ALL THE OBEDIENCE DISKS EMBEDDED
IN HIS NECK AND BELT POWER DOWN! Confident smirk.

                     THOR (CONT&apos;D)
          There... that&apos;s better. You know,
          go ahead. Stay here and get drunk
          and enslave people for that
          lunatic. Keep drinking. Keep
          hiding.
              (beat)
          But me...
                             BLUE DRAFT 05/20/16                   71.


     Thor gestures for Hulk to toss him the ball.   Hulk does.

                         THOR (CONT&apos;D)
               I choose to run toward my problems
               and not away from them. Because
               that&apos;s what...

     Thor HURLS IT at the MAIN WINDOW - It bounces off, hitting
     Thor in the face. He stands, facing Valkyrie.

                         THOR (CONT&apos;D)
               Because that&apos;s what heroes do.

     Thor then SMASHES THROUGH THE WINDOW!   Hulk STANDS...

                         HULK
               Friend Stay!


60   EXT. GRANDMASTER&apos;S PALACE - DAY                                    60

     Thor is sliding down the SIDE of the GRANDMASTER&apos;S TOWER.

     He LAUNCHES HIMSELF OFF THE BUILDING and hurtles downward,
     LANDING casually on the street below. Finally free.


61   EXT. THE STREETS OF SAKAAR - CONTINUOUS                            61

     Thor is HAULING ASS.

     Never slowing down, Thor keeps the top of the arena in sight.

     A few blocks back: Hulk is in pursuit. He&apos;s BUMPING people,
     SWATTING vehicles out of the way, just being a menace.

     On Sakaar, the citizens APPLAUD for him! Even when Hulk
     DEMOLISHES a man&apos;s food cart, the man CHEERS Hulk on!


62   EXT. MASSIVE ALIEN JUNKYARD - CONTINUOUS                           62

     Thor SPRINTS in.   Looks around.   Man, this place is big.

     He RUNS down aisles of crushed and stripped spacecrafts, a
     giant smelter, and then into what looks like a used car lot.

     And then he sees it.   The Quinjet!


63   INT. QUINJET - CONTINUOUS                                          63

     Thor enters and rushes to the controls.
                        BLUE DRAFT 05/20/16               72.


                       THOR
          All right.     Come on.

He is pressing buttons and flipping switches.   After a beat-

-the flight deck POWERS UP! Thor places his hand on a pad
which SCANS his handprint. Lights up green.

                    QUINJET (V.O.)
          Voice verification required.

                       THOR
          Thor.

                    QUINJET (V.O.)
          Access denied.

                    THOR
          Thor, son of Odin.

                    QUINJET (V.O.)
          Access denied.

                    THOR
          God of Thunder.

                    QUINJET (V.O.)
          Access denied.

                    THOR
          Strongest Avenger.

                    QUINJET (V.O.)
          Access denied.

                    THOR
          Strongest Avenger!

                    QUINJET (V.O.)
          Access denied.

                    THOR
          Damn you, Stark.
              (rolls his eyes)
          Point Break.

                    QUINJET (V.O.)
          Welcome, Point Break.

CAH-RUNCH! Hulk BARGES IN through the Quinjet door!

The Hulk approaches, scowling. Any metal that stands in his
way PEELS BACK. Frantic, Thor turns to the Quinjet&apos;s console.
                        BLUE DRAFT 05/20/16              73.


                    HULK
          Friend stay!

                    THOR
          No, no, no!

As Hulk enters, he DESTROYS the hull of the Quinjet.

                       HULK
          Stay!

                    THOR
          Stop! Stop breaking everything!

                       HULK
          Don&apos;t go!

Thor triggers a message on the flight console.

                    NATASHA (V.O.)
          Nice work, big guy. We don&apos;t know
          where Ultron&apos;s headed, but you&apos;re
          going very high, very fast.

Hulk stops short.    His whole demeanor changes.

Thor steps out of the way so that Hulk can see a recorded
message from NATASHA ROMANOFF on the console.

                    NATASHA (V.O.)
          ...So, I need you to turn this bird
          around, okay? We can&apos;t track you in
          stealth mode...

Hulk is now right up against the console screen.

                    NATASHA (V.O.)
          ...So I need you to help me out.
          Okay? I need you to...

                       HULK
          No!     No, Banner!

Hulk CONVULSES. Drops to his hands and knees. His whole
body warping. Hulk ROARS and GRABS at his face, SHAKING his
head, trying to fight this back. But he can&apos;t help it...

...HE&apos;S TRANSFORMING BACK INTO BRUCE BANNER! The transition
is rough and chaotic, it&apos;s as if Banner is fighting to get
out of the Hulk. Throughout the process, Hulk SMASHES back
and forth, further WRECKING the Quinjet.

And then, calm.
                      BLUE DRAFT 05/20/16                 74.


Thor rushes to Banner&apos;s side to help ease the transition.

                    THOR
          Banner. Hey, hey, hey. You all
          right, Banner? Sun&apos;s going down.
          Sun&apos;s going down. That&apos;s it,
          breathe. I won&apos;t hurt you. Sun&apos;s
          going down.

                     BANNER
          ...Thor?

                     THOR
          Yeah.

Banner is groggy, disoriented. Thoughts, memories, and
observations begin to flood his brain randomly.

                    BANNER
          What happened to your hair?

                    THOR
          Some creepy old man cut it off.

                    BANNER
          It looks good.

                     THOR
          Thanks.

                    BANNER
          Where are we? How&apos;s Nat?

                    THOR
          Nat is good, I&apos;m sure.

                    BANNER
          And what about Sokovia?

                     THOR
          Sokovia?

                    BANNER
          The city, Sokovia.   Did we save it?

                    THOR
          Banner, listen.

                     BANNER
          What?

                     THOR
          Sokovia. Ultron.     That was two
          years ago.
                        BLUE DRAFT 05/20/16                75.


                    BANNER
          What are you saying? I&apos;ve been Hulk
          for two years?

                    THOR
          I&apos;m afraid so.

Banner&apos;s eyes BULGE.    Trying to process this information.

                    BANNER
          What the hell happened?

Banner rushes to his feet.      Thor follows.

                    THOR
          Banner, there&apos;s something you
          should know...

Banner goes to the flight console.

                    QUINJET (V.O.)
          Voice Activation required.

                       BANNER
          Banner.

                    QUINJET (V.O.)
          Welccome, Strongest Avenger.

                    THOR
              (puzzled)
          What?

                    BANNER
          Ship&apos;s log...

THE SHIP&apos;S LOG POPS UP ON SCREEN.

FROM BEHIND THE DISPLAY (within the monitor looking out) we
see fragmented images of the Hulk&apos;s trip through deep space.

We see the angry green giant thrash around in zero gravity.

We see Hulk closer to the camera now, looking stressed and
car sick.

THROW FOCUS to see Banner&apos;s face watching the video, Hulk&apos;s
freaked out face is super-imposed over Banner&apos;s freaked out
face.

                    BANNER (CONT&apos;D)
          Thor, where are we?
                        BLUE DRAFT 05/20/16               76.


                    THOR
          Yeah, about that.

Banner hears:

                    GRANDMASTER (O.S.)
          It&apos;s bad news, bad news today.

Banner rushes over to the windshield.   Through it he sees-

-Grandmaster, his hologram projection towering over the city.

                    GRANDMASTER (CONT&apos;D)
          Sakaar, hear ye. Attention please.
          I have some bad news. My beloved,
          exalted Champion has turned up
          missing. Take to the streets.
          Celebrate my champion.

                    BANNER
          Who&apos;s that?

                    THOR
          He kind of runs the place. You
          actually lived in his house.

Back to Banner.    A distant, confused stare.

                       BANNER
          I did?

                    THOR
          Yeah. Quite a lot&apos;s happened. You
          and I had a fight recently.

                       BANNER
          Did I win?

                    THOR
          No, I won. Easily.

                    BANNER
          Doesn&apos;t sound right.

                    THOR
          Well, it&apos;s true.

                    GRANDMASTER
          It seems that that criminally
          seductive Lord of Thunder has
          stolen him away.
                           BLUE DRAFT 05/20/16                    77.


                         THOR
               Seductive GOD of Thunder.    We need
               to move.

                         BANNER
               Oh, no. This is bad. This is
               really, really bad. Thor, I think
               I&apos;m freaking out.

                         THOR
               No, no, no. Don&apos;t freak out.
               You&apos;re okay. Put these on.

     Thor tosses Banner some clothes.    Banner looks at them.

                         BANNER
               These are Tony&apos;s clothes.

                         THOR
               I know, come on.

                         BANNER
               Is he here?

                         THOR
               No, he&apos;s not here. But listen.
               Just stay calm, okay? The sun&apos;s
               going down. The sun&apos;s getting
               really low. Sun&apos;s going down.


67   INT. GRANDMASTER&apos;S CHAMBERS - DAY                                 67

     Loki and Valkyrie are brought before Grandmaster, who has at
     least tripled the amount of bodyguards around him.

                         GRANDMASTER
               I&apos;m upset! I&apos;m very upset. You
               know what I like about being upset?
               Blame. Right now, that&apos;s the
               mindset that I&apos;m in. And you know
               who I&apos;m blaming?

                         LOKI
               Grandmaster, I-

                         GRANDMASTER
               Hey! Don&apos;t interrupt me!

     Topaz hands the melt stick to the grandmaster.

                         TOPAZ
               Here you go.
                           BLUE DRAFT 05/20/16                   78.


                         GRANDMASTER
               Why are you handing me the melt
               stick? He was interrupting. That&apos;s
               not a capital violation.
                   (refocuses)
               My precious champion has come up
               missing and its all because of that
               Lord of Thunder. It&apos;s all because
               of him.
                   (to Loki)
               YOUR brother. Whatever the story
               is. Adopted, or complicated. I&apos;m
               sure there&apos;s a big history.
                   (to Valkyrie)
               And YOUR contender.

                         LOKI
               My dear friend, if you were to give
               me twelve hours I could bring them
               both back to you.

                         VALKYRIE
               I can do it in two.

                         LOKI
               I could do it in one.

                          GRANDMASTER
               You know what? I woke up this
               morning thinking about a public
               execution. But for now, I&apos;ll
               settle for this sweet little &quot;who&apos;s
               gonna get him first?&quot; So you&apos;re on
               the clock.


64   INT. GRANDMASTER&apos;S PALACE - DAY                                  64

     Valkyrie exits in a hurry.   Loki follows her.

                         LOKI
               What have you done!?

     Val reverses position, putting Loki up against the wall.

                         VALKYRIE
               I don&apos;t answer to you, lackey.

                         LOKI
               It&apos;s Loki. And you will answer to
               the Grandmaster.
                            BLUE DRAFT 05/20/16                  79.


     Loki moves to reverse position again, but Val BREAKS AWAY,
     drawing her TWO BLADES. In response, Loki UNSHEATHES two
     long Sakaarian daggers. They eye each other, and then-

     -FIGHT! A fast-paced and deadly battle of knives. After a
     few exchanges, Val connects a BIG SHOT that SLAMS Loki into
     the wall. He scowls.

                         LOKI (CONT&apos;D)
               Why would you help my brother
               escape with that green fool?

                         VALKYRIE
               I don&apos;t help anyone.

     Loki trails off.   He sees her wrist markings.   A realization.

                         LOKI
               You&apos;re a Valkyrie. I thought the
               Valkyrie all died gruesome deaths?

     Now Val ATTACKS Loki! She gets him up against the wall, her
     blade against his throat. She looks ready to kill him.

                         VALKYRIE
               Choose your next words wisely.

                         LOKI
               Terribly sorry. Must be a very
               painful memory...

     Quick as a rattlesnake, Loki GRABS Val&apos;s head and CASTS an
     illusion. Val&apos;s eyes CLOUD OVER with darkness as we go to:


65   EXT. HELA&apos;S DIMENSION - FLASHBACK                                 65

     A barren black void of death.

     The VALKYRIE, in old school Asgardian armor, charge through
     the DIMENSIONAL RIFT, an open portal to Asgard and the Nine
     Realms. Val witnesses these events as moments frozen in time.

     - Reveal Hela in all her glory, black lightning everywhere.

     - Dozens of Valkyrie falling through the dark space.

     - The Valkyrie&apos;s winged horses lay dead on the battlefield.

     - Through the open portal we can see the throne of Asgard.

     - Hela advancing on the final few Valkyrie - one is Val,
     frozen in fear, shell-shocked.
                            BLUE DRAFT 05/20/16               80.


     - Hela FIRING black weapons at Val...

     - One of Val&apos;s sisters DIVING IN at the last second, SHOVING
     VAL back through the PORTAL and taking the fatal hit!

     - Val lands hard in the Throne room.

     - Val scrambling to her feet and trying to re-enter the rift
     but it&apos;s too late. It closes, the last image she sees is Hela
     dealing the final killer blow to her doomed Valkyrie sisters.


66   EXT. GRANDMASTER&apos;S PALACE - CONTINUOUS                          66

     We find Val on her knees in front of Loki, trembling from
     this visceral memory that she&apos;s tried so hard to suppress.

     She turns on Loki, raging, and knocks him out.


69   EXT. SAKAAR - STOOP - DAY                                       69

     BANNER sits, groaning, head in his hands. THOR is beside
     him, rubbing his back and on the lookout for threats.

                         THOR
               The sun&apos;s going down. It&apos;s getting
               really low. The sun&apos;s going down.
               It&apos;s getting real low.

                         BANNER
               Would you stop saying that!?

                         THOR
               I just need you to stay calm.

                          BANNER
               Calm!?   I&apos;m on an alien planet!

                         THOR
               It&apos;s just a planet.   You&apos;ve been on
               a planet before.

                           BANNER
               Yeah!    One!

                         THOR
               Now you&apos;ve been on two. That&apos;s a
               good thing. It&apos;s a new experience.

                         BANNER
               My neurons, they&apos;re firing faster
               than my brain can handle the
               information.
                         (MORE)
              BLUE DRAFT 05/20/16       81.

           BANNER (CONT&apos;D)
The whole thing is totally
different this time.
    (beat)
In the past, I always felt like
Hulk and I each had a hand on the
wheel, but this time it&apos;s like he
had the keys and I was locked in
the trunk.

          THOR
Alright, well, you&apos;re back now,
that&apos;s all that matters.

          BANNER
No, it&apos;s not what matters. What
I&apos;m trying to tell you, is that if
I turn into the Hulk again, Banner
may never come back. And we&apos;re
stranded on a planet that is
designed to stress me out.

          THOR
We&apos;re not stranded, I&apos;m gonna
figure out a way to get us home.

             BANNER
Thank you.

          THOR
Not your home, though.   Asgard.

             BANNER
What?

          THOR
Listen, my people are in great
danger. You and I, we have to
fight this really powerful being
who also happens to be my sister.

          BANNER
Okay, that is so wrong on so
many... I don&apos;t wanna fight your
sister. That&apos;s a family issue.

          THOR
No, she&apos;s an evil being.

          BANNER
I don&apos;t care what she is.   I&apos;m not
fighting any more beings.   I&apos;m sick
of it. I just told you.
          (MORE)
                         BLUE DRAFT 05/20/16             82.

                    BANNER (CONT&apos;D)
          If I turn into the Hulk, I am never
          gonna come back again. And you
          don&apos;t care.

                    THOR
          No, no. I&apos;m putting together the
          team. The Hulk is the fire.

                    BANNER
          Wait, you&apos;re just using me to get
          to the Hulk.

                        THOR
          What?   No!

                    BANNER
          It&apos;s gross. You don&apos;t care about
          me. You&apos;re not my friend.

                    THOR
          No! I don&apos;t even like the Hulk.
          He&apos;s all like... &quot;smash, smash,
          smash.&quot; I prefer you.

                        BANNER
          Thanks.

                    THOR
          But if I&apos;m being honest, when it
          comes to fighting evil beings, he
          is very powerful and useful.

                    BANNER
          Yeah, Banner&apos;s powerful and useful,
          too.

                    THOR
          Is he though?

                    BANNER
          How many PhDs does Hulk have?
          Zero. How many PhDs does Banner
          have? Seven.

                    THOR
          Fine, you don&apos;t have to fight
          anyone. But we&apos;re in danger here,
          so we have to move.

Thor grabs a towel from the ground next to him. He puts the
towel over his head.

                    BANNER
          What are you doing with that?
                         BLUE DRAFT 05/20/16                83.


                    THOR
          I need a disguise.    I&apos;m a fugitive.

                    BANNER
          I need a disguise.

                    THOR
          You are the disguise.

Banner finds a pair of Stark&apos;s sunglasses in his jacket.

                    BANNER
          I&apos;ll be Tony Stark.

                     THOR
          What?

                     BANNER
          Yeah.   Tony and the gypsy.

                    THOR
          No, no you&apos;re not Tony.    You&apos;re
          Bruce Banner.

                    BANNER
          Then why did you dress me up like
          Tony?

                    THOR
          Because you were naked.

                    BANNER
          Okay, I&apos;ll give you that.

They stand up. Banner adjusts his crotch.

                    THOR
          What are you doing?    Stop doing
          that!

                    BANNER
          Tony wears his pants super tight!

                    THOR
          Why are you being so weird?

                    BANNER
          I don&apos;t know. Maybe the fact that I
          was trapped for two years inside of
          a monster made me a little weird.

Banner flashes green.    Thor calms him down.
                               BLUE DRAFT 05/20/16                84.


                           THOR
                 Hey. It&apos;s okay. You&apos;re good.
                 Calm down. Come on. Listen, we&apos;re
                 gonna go to Asgard and you&apos;re not
                 gonna have to think about the Hulk
                 ever again. All right?

                              BANNER
                 All right.

      WHAP!   Banner gets nailed in the face with green paint.

      Caught off guard, Thor and Banner are swept off into-


69A   EXT. PARADE OF VICTORS - CONTINUOUS                              69A

      It&apos;s a massive street festival where revelers dance and cheer
      while throwing powdered paint at each other... in celebration
      of Hulk! Green EVERYWHERE!

      Inside the parade it is total chaos. Thor searches for Banner
      as he&apos;s PELTED with green powder. Pandemonium. In the crowd
      Thor sees a pack of SCRAPPERS on the hunt for the reward.

      Thor spots Banner. He surges forward, GRABS Banner, and
      pulls him into another alley, but sees-

      -Valkyrie is approaching from down the alley!

                           THOR
                 This is bad. Banner!     Banner!

      Thor pulls Banner back into the crowd. Thor briefly turns to
      see that he is no longer holding Banner&apos;s - it&apos;s the arm of a
      SMALL ALIEN who squeals in fright.

      Thor sees Banner across the crowd.

      Thor MUSCLES his way through the madness, knocking rowdy fans
      aside. He reaches Banner and holds him protectively,
      awkwardly trying to rub his shoulders.

      One of the aliens Thor knocked aside turns out to be a
      MASSIVE SCRAPPER. He rears up, turning on Thor and Banner.

      WHAM! From out of nowhere, Valkyrie CLOCKS this Scrapper
      with a brass knuckle right cross. The Scrapper DROPS.

      Thor looks at Val while clutching Banner like a child.

                              THOR (CONT&apos;D)
                 Hi.
                            BLUE DRAFT 05/20/16               85.


                          VALKYRIE
                Hi.

                          THOR
                I was gonna do that.

                          VALKYRIE
                Yeah, well, I did it first.

                          THOR
                That&apos;s good. What are you doing
                here?

                          VALKYRIE
                What are you doing here?   I thought
                you were leaving.

                          THOR
                I got sidetracked.

                          VALKYRIE
                What&apos;s with the...

                          THOR
                It&apos;s my disguise.

                          VALKYRIE
                But I can see your face.

                          THOR
                    (covers his face)
                Not when I do this, you can&apos;t.
                    (then:)
                Your hair looks nice. I like what
                you did with it. Change it? Washed
                it maybe?

      Valkyrie just rolls her eyes, takes Thor by the arm.

                          BANNER
                    (to Thor:)
                What are those things on her eyes?
                Are those the people that she&apos;s
                killed? She&apos;s so beautiful and
                strong...


69B   EXT. SAKAARIAN STREET - MOMENTS LATER                        69B

      Valkyrie escorts Thor and Banner through the street.

                          VALKYRIE
                Who is this guy?
                               BLUE DRAFT 05/20/16            86.


                          THOR
                He&apos;s a friend.

                              BANNER
                Who?    Me?    I&apos;m Bruce.

      As Val leads them into Sakaarian apartment building.

                          VALKYRIE
                I feel like I know you.

                          BANNER
                I feel like I know you too.


A72   OMITTED                                                      A72

72    OMITTED                                                      72

A73   INT. SAKAARIAN BUILDING - HALLWAY - CONTINUOUS               A73

      Continue down the hallway.

                          VALKYRIE
                Look, I&apos;ve spent years in a haze
                trying to forget my past. Sakaaar
                seemed like the best place to drink
                and forget and to die one day.

                          THOR
                I was thinking that you drink too
                much, and that probably was going
                to kill you.

                          VALKYRIE
                I don&apos;t plan to stop drinking, but
                I don&apos;t want to forget. I can&apos;t
                turn away anymore. So, if I&apos;m
                donna to die, well... it may as
                well be driving my sword through
                the heart of that murderous hag.

                              THOR
                Good.

      They arrive at a door.     Before they enter:

                          VALKYRIE
                Yeah. So I&apos;m saying that I wanna
                be on the team. Has it got a name?

                          THOR
                Yeah, it&apos;s called the Revengers.
                              BLUE DRAFT 05/20/16               87.


                            VALKYRIE
               Revengers?

                         THOR
               Because I&apos;m getting revenge.
               You&apos;re getting revenge.
                   (to Banner:)
               Do you want revenge?

                         BANNER
               I&apos;m undecided.

                            THOR
               Okay.

                         VALKYRIE
               Also, I&apos;ve got a peace offering.


73   INT. VALKYRIE&apos;S APARTMENT - DAY                                 73

     Valkyrie opens the front door, revealing-

     -Loki! He is as restrained as anyone could be, sitting in
     the middle of the apartment with a dozen chains around him.

                            LOKIE
               Surprise.

     Thor TOSSES a bottle.    It BOUNCES off of Loki&apos;s head.

                            LOKI
               OW!

                         THOR
               Just had to be sure.

                         LOKI
               Hello, Bruce.

                         BANNER
               So, last time I saw you, you were
               trying to kill everybody. Where
               are you at these days?

                         LOKI
               It varies from moment to moment.

     Val&apos;s apartment is a shithole. Bottles everywhere, blood-
     spattered clothes in the corner, a knife in the wall, etc.

     Banner gives Thor a look like &quot;she might be crazy.&quot;   Thor
     responds with a &quot;No, she&apos;s cool&quot; gesture.
                      BLUE DRAFT 05/20/16                88.


Val lays something on the bed. Unwraps it to reveal AN OLD
ASGARDIAN SWORD. Thor&apos;s eyes go wide as she sharpens it.

                    THOR
          Is that... a Dragonfang?

                    VALKYRIE
          It is.

                    THOR
          My God. This is the famed sword of
          the Valkyrie.

                    VALKYRIE
          Sakaar and Asgard are about as far
          apart as any two known systems.
          Our best bet is a wormhole just
          outside the city limits.

A nice clean wormhole outside the city.

                    VALKYRIE (CONT&apos;D)
          Refuel on Xandar and be back in
          Asgard in around 18 months.

                    THOR
          Nope. We&apos;re going through that one.

Thor points at the nightmare tornado wormhole over the ocean.

                    VALKYRIE
          The Devil&apos;s Anus?

                    BANNER
          Wait, whose anus are we going
          through?

                    THOR
          For the record, I didn&apos;t know it
          was called that when I picked it.

                    BANNER
          That looks like a collapsing
          neutron star inside of an Einstein-
          Rosen Bridge.

                    VALKYRIE
          We need another ship.   That would
          tear mine to pieces.

                    THOR
          She&apos;s right. We need one that can
          withstand the geodetic strain from
          the singularity.
                      BLUE DRAFT 05/20/16                   89.


Banner gives Thor a quizzical look.

                    BANNER
          And has an offline power steering
          system that could also function
          without the on-board computer.

                    VALKYRIE
          And we need one with cup holders,
          because we&apos;re gonna die. So,
          drinks!

                    BANNER
          Do I know you? I feel like I know
          you.

                    VALKYRIE
          I feel like I know you, too. It&apos;s
          weird.

                    THOR
              (to Banner:)
          What do you say, doctor? Uncharted
          metagalactic travel through a
          volatile cosmic gateway. Talk about
          an adventure.

Thor and Banner high five as Val stares at them blankly.

            BANNER                      THOR (CONT&apos;D)
We need a ship.                 Need a ship.

                    VALKYRIE
          There are one or two ships,
          absolute top-of-the-line models--

                    LOKI
          I don&apos;t mean to impose, but the
          Grandmaster has a great many ships.
          I may eve have stolen the access
          codes to his security system.

All eyes turn to Loki. Valkyrie throws her bottle at him. It
smashes above his head.

                    VALKYRIE
          And suddenly you&apos;re overcome with
          an urge to do the right thing.

                    LOKI
          Heavens, no. I&apos;ve run out of favor
          with the Grandmaster.
                    (MORE)
                      BLUE DRAFT 05/20/16        90.

                    LOKI (CONT&apos;D)
          And in exchange for codes and
          access to a ship I&apos;m asking for
          safe passage...through the anus.

                    THOR
          You&apos;re telling us you can get us
          access into the garage without
          setting off any alarms?

                    LOKI
          Yes, brother. I can.

                    BANNER
          Okay, can I just... A quick FYI, I
          was just talking to him just a
          couple minutes ago and he was
          totally ready to kill any of us.

                    VALKYRIE
          He did try to kill me.

                    THOR
          Yes, me too. On many, many
          occasions. There was one time when
          we were children, he transformed
          himself into a snake, and he knows
          that I love snakes. So, I went to
          pick up the snake to admire it and
          he transformed back into himself
          and he was like, &quot;Yeah, it&apos;s me!&quot;
          And he stabbed me. We were eight
          at the time.

Loki suppresses a smile.

                    VALKYRIE
          If we&apos;re boosting a ship, we&apos;re
          gonna need to draw some guards away
          from the palace.

                    LOKI
          Why not set the beast loose?

                     THOR
          Shut up.

                    VALKYRIE
          You guys have a beast?

                    THOR
          No, there&apos;s no beast. He&apos;s just
          being stupid. We&apos;re going to start
          a revolution.
                           BLUE DRAFT 05/20/16                  91.


                         BANNER
               Revolution?

                         THOR
               I&apos;ll explain later.

                         VALKYRIE
               Who&apos;s this guy again?

                         THOR
               I&apos;ll explain later.


74   OMITTED                                                         74


75   INT. THE ARENA - GLADIATOR CELLS - MOMENTS LATER                75

     Korg sits with his cell mates.    He&apos;s talking to Miek.

                         KORG
               Is that some sort of protoplasm,
               all the stuff that&apos;s coming out of
               you? Or are they eggs? Looks like
               eggs.

     Suddenly his Obedience Disk POWERS DOWN. No longer glowing.

     As Korg stands up, Valkyrie appears at the door to his cell.

                         VALKYRIE
               I&apos;m looking for Korg.

                         KORG
               Who&apos;s asking? I know you&apos;re
               asking. Is anyone else asking, or
               is it just you?

     Valkyrie tosses him a high-tech rifle.

                         VALKYRIE
               The Lord of Thunder sends his best.

                         KORG
               My revolution has begun...


76   INT. GRANDMASTER&apos;S CHAMBERS - DAY                               76

     Grandmaster speaks with Topaz who now wears battle armor.

                         GRANDMASTER
               Revolution? How did this happen?
                              BLUE DRAFT 05/20/16                92.


                          TOPAZ
                Don&apos;t know. But the Arena&apos;s
                mainframe for the Obedience Disks
                have been deactivated and the
                slaves have armed themselves.

                          GRANDMASTER
                Oh! I don&apos;t like that word!

                             TOPAZ
                Mainframe?

                          GRANDMASTER
                No. Why would I not like
                &quot;mainframe?&quot; No, the &quot;S&quot; word.

                          TOPAZ
                Sorry, the &quot;prisoners with jobs&quot;
                have armed themselves.

                          GRANDMASTER
                Okay, that&apos;s better.

      CHA-CHNK! SOUNDS OF MACHINERY as the whole space starts
      moving. A different angle reveals that we are in-


A77   EXT. THE STATESMAN - CONTINUOUS                                 A77

      Grandmaster&apos;s chambers are actually the oversized cockpit of
      a A HUGE RIOT CONTROL SHIP (The Statesman) that can dock
      itself indefinitely within the palace!

      The Statesman has DISLODGED from the palace and is now
      flanked by six smaller Sakaarian peace-keeping ships, all
      headed towards the city where RIOTING can be heard.


77    INT. GRANDMASTER&apos;S PALACE - GROUND LEVEL - CONTINUOUS           77

      Thor waits as Loki enters codes to a door&apos;s security panel.

                          THOR
                Hey, so listen, we should talk.

                          LOKI
                I disagree. Open communication was
                never our family&apos;s forte.

                          THOR
                You have no idea. I&apos;ve had quite
                the revelation since we spoke last.

      The door opens, revealing a bunch of guards.
                           BLUE DRAFT 05/20/16                 93.


     Thor and Loki heft up two Sakaarian guns.

                         THOR (CONT&apos;D)
               Hello!

                         LOKI
               Hi!

     Thor and Loki BLAST all the guards, moving to another door.

                         LOKI (CONT&apos;D)
               Odin brought us together, it&apos;s
               almost poetic that his death should
               split us apart. We might as well
               be strangers now. &quot;Two sons of the
               crown&quot; set adrift.

     A guard tries to ambush Loki through the door.   Thor TAKES
     OUT the guard.

                         THOR
               Thought you didn&apos;t want to talk
               about it?


79   INT. GRANDMASTER&apos;S PALACE - ELEVATOR - CONTINUOUS              79

     Thor and Loki are going up.

                         LOKI
               Here&apos;s the thing. I&apos;m probably
               better off staying here on Sakaar.

                         THOR
               That&apos;s exactly what I was thinking.

                         LOKI
               ...Did you just agree with me?

                         THOR
               This place is perfect for you. It&apos;s
               savage, chaotic, lawless. Brother,
               you&apos;re going to do GREAT here.

                         LOKI
               Do you truly think so little of me?

     Thor pauses, considers his brother.   Then:

                         THOR
               Loki, I thought the world of you.
               I thought we were gonna fight side
               by side forever. But, at the end of
               the day, you&apos;re you, I&apos;m me...
                         (MORE)
                         BLUE DRAFT 05/20/16               94.

                     THOR (CONT&apos;D)
           I don&apos;t know, maybe there&apos;s still
           good in you, but let&apos;s be honest,
           our paths diverged a long time ago.

Loki is wounded by Thor&apos;s willingness to discard him.    Masks
his feelings with:

                     LOKI
           It&apos;s probably for the best that we
           never see one another again.

Beat.   Thor pats Loki affectionately on the shoulder.

Hold on Loki. Did Thor just get through to him?

                     THOR
           That&apos;s what you always wanted.

Beat.   Then:

                     THOR (CONT&apos;D)
           Hey, let&apos;s do &quot;Get Help.&quot;

                        LOKI
           What?

                     THOR
           &quot;Get Help.&quot;

                        LOKI
           No.

                     THOR
           Come on, you love it.

                        LOKI
           I hate it.

                     THOR
           It&apos;s great. IT works every time.

                     LOKI
           It&apos;s humiliating.

                     THOR
           Do you have a better plan?

                        LOKI
           No.

                     THOR
           We&apos;re doing it.
                           BLUE DRAFT 05/20/16                   95.


                         LOKI
               We are not doing &quot;Get Help.&quot;


80   OMITTED                                                          80


82   INT. GRANDMASTER&apos;S PRIVATE GARAGE - CONTINUOUS                   82

     Multi-tiered platforms with dozens of cool spaceships.

     The elevator doors open. Thor supports Loki&apos;s weight with
     Loki faking a fatal injury.

                         THOR
               Get help! Please! My brother, he&apos;s
               dying.

     A small group of Sakaarian guards turn toward Thor and Loki.
     One guard aims his gun at them.

                         THOR (CONT&apos;D)
               Get help! Help him!

     Thor picked up Loki and flings him at the guards, knocking
     them down like bowling pins. Loki stands up and Thor steps
     to Loki&apos;s side.

                          THOR (CONT&apos;D)
               Classic.

                         LOKI
               I still hate it. It&apos;s humiliating.

                         THOR
               Not for me, it&apos;s not.

                         THOR (CONT&apos;D)
               Which one&apos;s the ship she told us to
               get?

                         LOKI
                   (points)
               The Commodore.

     The COMMODORE starship. Brand new, solidly built, sleek.

     As they walk towards it a DUPLICATE LOKI FORMS and LAGS
     BEHIND. The Loki walking with Thor is an illusion.

                         LOKI (CONT&apos;D)
               Though I feel it won&apos;t make much of
               a difference...
                             BLUE DRAFT 05/20/16               96.


      We follow the real Loki as he slinks away towards the
      security system panel. He activates the panel and brings up a
      screen that will set off all the alarms palace-wide!

                            THOR (O.S.)
                Oh, Loki.

      Loki turns to see Thor looking not at all surprised.

                          LOKI
                I know I&apos;ve betrayed you many times
                before, but this time it&apos;s truly
                nothing personal. The reward for
                your capture will set me up nicely.

      He triggers the alarm.


82B   INT. GRANDMASTER&apos;S PRIVATE GARAGE - CONTINUOUS                  82B

                          THOR
                Never one for sentiment, were you?

                          LOKI
                Easier to let it burn.

      But then Loki sees Thor holding up a fob device. Loki
      realizes that Thor affixed an Obedience Disk on him in that
      heart-to-heart moment.

                            THOR
                I agree.

      BZZZT! Thor ZAPS Loki and HOLDS DOWN the button. Loki HITS
      the ground, WRITHING in pain. Thor approaches. Pause.

                          THOR (CONT&apos;D)
                Oh brother, you&apos;re becoming
                predictable. I trust you, you
                betray me. Round and round in
                circles we go.

      Thor continues to &quot;think about it&quot; for a beat while Loki
      convulses in agony on the floor. Finally, Thor kneels down:

                          THOR (CONT&apos;D)
                See, Loki, life is about, it&apos;s
                about growth. It&apos;s about change.
                But you seem to just wanna stay the
                same. I guess what I&apos;m trying to
                say is that you&apos;ll always be the
                God of Mischief, but you could be
                more. I&apos;ll just put this over here
                for you.
                              BLUE DRAFT 05/20/16               97.


      Thor places the fob on top of the security panel, so close
      but so far from Loki&apos;s paralyzed reach.

                          THOR (CONT&apos;D)
                Anyway, I got places to be so good
                luck.


82C   INT. COMMODORE SHIP - MOMENTS LATER                            82C

      Thor is seen in the cockpit.

                          THOR
                All right, I can figure this out.
                It&apos;s just another spaceship.


83    EXT. GRANDMASTER&apos;S PALACE - MOMENTS LATER                      83

      The massive garage doors OPEN. This sets off BLARING ALARMS
      to alert the palace of this unauthorized departure.

      The Commodore ship LIFTS OFF from the garage. In the cockpit
      Thor pushes forward on the throttle. The ship ZOOMS ahead.

                          GRANDMASTER
                Loyal Sakaarians, Lord of Thunder
                has stolen my ship and my favorite
                champion. Sakaarians, take to the
                skies. Bring him down. Do not let
                him leave this planet.

      BELOW: Pilots hastily RUSH to their Palace Patrol ships so
      as to pursue the Commodore.

      The first two ships out of the garage SWOOP AROUND behind
      Thor. The Patrol ships are LOCKING weapons on Thor when-

      -BOOM-BOOM!   They are both blown out of the sky by-


84    INT. WARSONG SHIP - SAME                                       84

      Val is all focus, flying and FIRING. Banner sits shotgun.

                             BANNER
                Good shot!


85    EXT. SAKAAR - DAY                                              85

      Thor&apos;s ship and Val&apos;s ship now ZIP through the city in
      tandem. On the horizon we can see-
                            BLUE DRAFT 05/20/16                    98.


     -the Statesman, the enlarged Grandmaster, and his Riot
     Control team raining down hell on the revolting prisoners.


86   INT. COMMODORE SHIP - CONTINUOUS                                   86

     Thor in the pilot&apos;s seat.     Val comes in over the radio.

                          VALKYRIE (V.O.)
                Open the doors.

     Thor looks over the console.    FLIPS a switch.


87   INT. WARSONG SHIP - CONTINUOUS                                     87

     Valkyrie STEERS down, dropping altitude. Her whole ship
     spins upside down, yet her cockpit is still right-side up.

                          VALKYRIE
                I hope that you&apos;re tougher than you
                look.

                          BANNER
                Why?

     Val MAXES OUT the throttle. The ship ACCELERATES.     When
     she&apos;s under Thor&apos;s ship, Val presses-

     -THE EJECT BUTTON!   Banner is LAUNCHED OUT OF THE SHIP!


88   INT. COMMODORE SHIP - CONTINUOUS                                   88

     Thor at the controls. We hear an incoming scream of
     increasing volume. &quot;aaaaaaaaaAAAAAAAAAHHHHHH!!!!!&quot;

     THUNK!   Banner is SHOT UP into the ship. ROUGH LANDING.

     Banner casually lifts his arm up and gives a THUMBS UP.

     CLUNK! CLUNK! CLUNK! CLUNK! The ship is being fired upon by
     another pursuit vehicle. Banner joins Thor.

                           BANNER
                Shouldn&apos;t we be shooting back or
                something?

                          THOR
                Yes, we should.
                    (into the radio:)
                Where are the guns on this ship?
                            BLUE DRAFT 05/20/16                99.


                          VALKYRIE (V.O.)
                There aren&apos;t any. It&apos;s a leisure
                vessel.

                          THOR / BANNER
                WHAT?!

                          VALKYRIE
                Grandmaster uses it for his good
                times, orgies and stuff.

      Thor and Banner look around. The CEILING has MIRRORS ON IT
      and the floor is covered in a Sakaarian PERSIAN RUG.

                          BANNER
                Did she just say the Grandmaster
                uses it for orgies?

                          THOR
                Yeah. Don&apos;t touch anything.

      CLUNK! CLUNK! CLUNK! More fire from behind.


A89   INT. WARSONG SHIP - THE SAME                                    A89

      Val&apos;s ship is hit. She rotates the cockpit to face BACKWARDS
      and opens fire, taking out the attacking chase-ship.

      But now in Val&apos;s cockpit... Sparks. Smoke. Alarms.

      In the distance Val clocks the Grandmaster&apos;s Riot Ship
      raining terror down on the masses. A look of determination as
      she pops the HATCH above - her ship is now a convertible.


89    EXT. SAKAAR - CONTINUOUS                                        89

      Meanwhile, Warsong ZOOMS out from under Thor&apos;s ship, still
      ACCELERATING. Val has turned her ship into a missile, and
      its trajectory is the Grandmaster&apos;s Riot Control Ship!

      Grandmaster is still taunting his former captives below when-

      -KA-BOOM! Warsong SLAMS into the Statesman, specifically the
      Grandmaster&apos;s projection! Enlarged Grandmaster stumbles,
      struggling to maintain his balance.

      Warsong EXPLODES while the Statesman is knocked off kilter
      and goes down for a hard landing in the market!
                           BLUE DRAFT 05/20/16                  100.


90   INT. COMMODORE SHIP - CONTINUOUS                                 90

     Thor and Banner witness the fiery explosion of Val&apos;s kamikaze
     flight path!

                         THOR
               No!

     Thor experiences a brief instant of heartbreak/devastation...

     ...but then notices a spec coming out of the explosion.

     THWACK! Val hits the ship&apos;s windshield and grabs hold!
     Residual smoke wafting off of her.


91   OMITTED                                                          91

92   EXT. SAKAAR - THE WASTELANDS - CONTINUOUS                        92

     Thor pilots the ship out of the city into the Wastelands as
     six Sakaarian fighter ships race after them in formation.

     The following dogfight will proceed across the Wastelands and
     then out over the Sakaarian Ocean.


93   INT. COMMODORE SHIP - CONTINUOUS                                 93

     Val is still on the windshield. GUNFIRE! One of the
     pursuing ships WINGS the Commodore, causing it to LURCH.

                         THOR
               Get inside!

                         VALKYRIE
               In a minute!

     Val pulls herself up and then RUNS DOWN THE ROOF OF THE SHIP!

     Thor and Banner follow the THUMPING of her footsteps.


94   EXT. COMMODORE SHIP - CONTINUOUS                                 94

     In full sprint, Val LEAPS OFF and-

     -LANDS HARD on the lead Sakaarian ship! Val begins TEARING
     into the enemy ship with her bare hands!


95   INT. COMMODORE SHIP - CONTINUOUS                                 95

     Thor and Banner exchange a look.   Pause.
                            BLUE DRAFT 05/20/16                  101.


                          THOR
                I should probably go and help.

      Thor abruptly exits, leaving Banner at the ship&apos;s controls.

                          THOR (CONT&apos;D)
                Here, take the wheel.

                          BANNER
                No. I don&apos;t know how to fly one of
                these.

                           THOR
                You&apos;re a scientist.   Use one of
                your PhDs.

                          BANNER
                None of them are for flying alien
                spaceships!


96    EXT. THE SAKAARIAN OCEAN - CONTINUOUS                            96

      Thor LEAPS into the middle of this high-speed dogfight!

      These two superhuman Asgardians begin jumping between their
      pursuer&apos;s ships, taking out guns, engines, and pilots with
      their bare hands. It&apos;s spectacular and epic.

      Thor RIPS out an engine block and uses it to crush a pilot.

      Val DRAGS her blades down the entire underbelly of a ship
      before BACKFLIPPING to another.

      Back and forth they go, even passing each other mid-flight a
      few times. One by one the Sakaarian ships GO DOWN.


A97   INT. COMMODORE SHIP - SAME                                       A97

      Banner is frantically STEERING the ship, doing his best to
      dodge all the incoming fire. He peels away and is followed
      by Topaz, who is in her own chase-ship.

      Banner notices a button with a little explosion icon.

                          BANNER
                Okay, come on. There&apos;s gotta be a
                gun on this thing. That looks like
                a gun.

      Banner PRESSES the button.
                            BLUE DRAFT 05/20/16               102.


      The ship&apos;s lighting changes, like a disco effect. Weird dance
      music BLASTS over the PA, followed by Grandmaster&apos;s voice.

                          GRANDMASTER (V.O.)
                It&apos;s MY BIRTHDAY! It&apos;s MY BIRTHDAY!
                It&apos;s MY BIRTHDAY.

      Banner is so confused. Then we hear FIREWORKS.


B97   EXT. THE SAKAARIAN OCEAN - CONTINUOUS                           B97

      MASSIVE PLUMES of powder paint SHOOT OUT of the ship followed
      by a huge colorful fireworks display. And then a
      rainforest&apos;s worth of confetti is dumped from the hull!

      Topaz is suddenly in the middle of a party smoke screen! She
      tries to fly her way through all the fireworks and streamers,
      but ultimately she hits a HARD CRASH LANDING in the ocean.

                          BANNER
                Yeah!

      Meanwhile, Thor and Val land together on the one remaining
      Sakaarian ship. Val leaks a smile to Thor.

      Thor YANKS OFF the cockpit cover, Val TOSSES the pilot, and
      together they PUSH FORWARD on the throttle.

      The ship SPEEDS FORWARD. Just then Banner pulls the Commodore
      back on the scene, hovering above them.

      They LEAP UP towards the Commodore&apos;s open doors as the ship
      CRASHES and EXPLODES behind them!


97B   INT. COMMODORE SHIP - CONTINUOUS                                97B

      Thor and Valkyrie join Banner in the cockpit.

                          VALKYRIE
                Guys, we&apos;re coming up on the
                Devil&apos;s Anus!


97F   INT. GRANDMASTER&apos;S GARAGE - DAY                                 97F

      KORG and MIEK enter, leading a group of gladiator rebels.

      Korg sees and then points to the SUPERCRUISER.

                          KORG
                There she is. Our ticket out of
                here. Hey, what&apos;s this?
                              BLUE DRAFT 05/20/16                103.


      The OBEDIENCE DISK FOB on the ground.   He picks it up.

      Korg then notices LOKI, TWITCHING and CONVULSING on the
      ground. He&apos;s barely made any progress towards the fob.

      Loki locks eyes with Korg, a desperate and furious plea.

      Korg looks at Loki, then at the fob, then back to Loki.

      Loki gives Korg a maniacal, pleading look.

      Korg gets it.   He deactivates the obedience disk.

      Loki stands, dusts himself off.

                             LOKI
                Thank you.

                          KORG
                Hey man, we&apos;re about to jump on
                that ginormous spaceship. You
                wanna come?

                          LOKI
                You do seem like you&apos;re in
                desperate need of leadership.

                          KORG
                Why thank you.


A98   OMITTED                                                          A98

B98   OMITTED                                                          B98


98    EXT. THE DEVIL&apos;S ANUS WORMHOLE - CONTINUOUS                      98

                          VALKYRIE
                Here we go!

      The Commodore ship is swallowed up by the towering nightmare
      that is the Devil&apos;s Anus wormhole.

      The ship&apos;s onboard computer SHORTS OUT. Darkness in the
      cabin. All around them the hull CREAKS. Under strain.

      The commodore heads toward the end of the wormhole.   Debris
      flies past the camera.

      Thor, Val, and Banner all look like they are in extreme pain,
      as there&apos;s great concern the ship could be torn apart.
                             BLUE DRAFT 05/20/16                 104.


98A   EXT. ASGARD - PLAZA - DAY                                        98A

      SKURGE ADDRESSES A CROWD OF ASGARDIANS.     HELA BEHIND HIM
      leaning against FENRIS, her GIANT WOLF.

                          SKURGE
                Asgardians, some misguided soul has
                stolen the Bifrost sword. Tell us
                where it is, or there will be
                consequences. Bad ones.

      We are now in the smoking ruins of Asgard. 100+ Asgardians
      have been forced to line in a large piazza, all exhausted,
      all scared. Patrolling the perimeter are Hela&apos;s Butchers.

                            SKURGE (CONT&apos;D)
                Well?

      Hela points to an Asgardian woman off camera.

                            HELA
                You.

      Hela&apos;s butchers approach the crowd and find the Asgardian
      woman. Skurge closes his eyes and looks downward.

                            ASGARDIAN CITIZENS
                No! Stop!

      Hela&apos;s butchers pull the Asgardian woman to the steps. They
      shove her and she falls tot he floor. The woman is on her
      hands and knees as Skurge turns to her. She trembles as
      Skurge holds his battle axe with both hands.

                           HELA
                Well?   Executioner?

                          ASGARDIAN MAN
                Wait! I know where the sword is.


99    EXT. THE DEVIL&apos;S ANUS WORMHOLE - DAY                             99

      The Commodore nears the end of the wormhole and is-

      -SPIT OUT into the calmness of outer space.

100   OMITTED                                                          100
                            BLUE DRAFT 05/20/16               105.


101   INT. COMMODORE SHIP - CONTINUOUS                               101

      Banner, Thor, and Valkyrie are all unconscious. Banner wakes
      up and looks outside, the stars reflected in the windshield.
      Thor and Valkyrie wake up. Outside they see-

      -THE REALM OF ASGARD, a flat city in the middle of an island
      floating in space.

                          VALKYRIE
                    (mixed emotions)
                I never thought I&apos;d be back here.

      The ship descends into the clouds above Asgard.

                          BANNER
                I thought it&apos;d be nicer. I mean,
                not that it&apos;s not nice. It&apos;s just,
                it&apos;s on fire.

      THE SHIP CLEARS THE CLOUDS TO REVEAL-

      -ASGARD IN RUINS. A DEVASTATED GHOST TOWN. FIRES, WRECKED
      BUILDINGS, DEAD SOLDIERS. IT LOOKS LIKE ALL HOPE IS LOST.

                          VALKYRIE
                Here, up here in the mountains.

      A projected map on the console shows the mountain where the
      stronghold is located. There is a red dot in the mountain,
      indicating where the Asgardian citizens are.

                          VALKYRIE (CONT&apos;D)
                Heat signatures. People clustered
                together. Hela&apos;s coming for them.

                          THOR
                Okay, drop me off at the palace and
                I&apos;ll draw her away.

                          VALKYRIE
                And get yourself killed?

                          THOR
                The people trapped down there are
                all that matters. While I&apos;m
                dealing with Hela, I need you two
                to help get everyone off Asgard.

                          BANNER
                How the hell are we supposed to do
                that?
                             BLUE DRAFT 05/20/16                 106.


                           THOR
                 I have a man on the ground.


101A   INT. ASGARD/STRONGHOLD - DAY                                    101A

       Heimdall looks to the Asgardian Citizens.

                           HEIMDALL
                 Asgard. She&apos;s here.


109    EXT. PALACE - PLAZA - DAY                                       109

       Valkyrie is helping Thor load a MASSIVE ASGARDIAN BLASTER
       into the side of the Commodore.

                           THOR
                 Now the ship has guns.

                           VALKYRIE
                 I&apos;ll take it from here.

       Thor produces a bundle of FABRIC WITH GOLD AND WHITE PLATING.

                           THOR
                 I found this in the armory.

       Val immediately recognizes its significance. She doesn&apos;t
       want to be affected by this gesture, but can&apos;t help it.

       They share a look as the Commodore lifts off into the air.
       Before she&apos;s out of earshot, Val calls down:

                           VALKYRIE
                 &quot;Your majesty.&quot; Don&apos;t die.    You
                 know what I mean.

       The Commodore flies away, leaving Thor on the balcony.


109A   INT. THRONE ROOM - CONTINUOUS                                   109A

       Thor&apos;s footsteps ECHO through the empty space. He sees the
       items from the vault scattered beside the throne.

       Thor sees a chunk of plaster from the dismantled fresco. He
       picks it up and sees that this piece of fresco bears a
       portion of his own face. Thor then looks up, off camera.

       His eyes go wide. He looks up at the ceiling where his
       painting used to be and finds the original which depicts Odin
       and Hela conquering the nine realms, with Hela&apos;s butchers all
       around them. Hela holds Mjolnir.
                               BLUE DRAFT 05/20/16               107.


106   OMITTED                                                           106


107   EXT. ASGARD - MOUNTAIN RAVINE - DAY                               107

      Hela, cowl &amp; headdress on, stands with Skurge outside of the
      mountain stronghold where Heimdall is hiding the refugees.
      Hela raises her arms and FIRES LONG THIN BLACK LANCES, which
      BURROW into crevices on the mountainside. From here, we TILT
      UP, looking straight at the sky.

      With the lances in place, Hela bears down. Summoning all her
      focus and energy, she begins to VIBRATE this manifestation of
      her powers, PUNCTURING crevices and splitting rock apart.

      The whole mountain begins to RUMBLE.

108   OMITTED                                                           108


110   EXT. ASGARD - MOUNTAIN STRONGHOLD - SAME                          110

      CRACK!    Hela RIPS OPEN THE SIDE OF THE MOUNTAIN!

      There is an avalanche of rock and debris.     The mountain
      around the doors completely destroyed, the    doors fall across
      the ravine, creating a bridge for Hela and    Skurge. Hela
      waits patiently for the dust to settle and    sees-

      -an empty stronghold.    No sign of Heimdall or the refugees.


111   EXT. SECRET MOUNTAIN PATH - SAME                                  111

      Heimdall leads the migration of refugees out the other side
      of the mountain onto a secluded mountain path.

                            HEIMDALL
                  We must keep moving! Go to the
                  Bifrost!


112   INT. COMMODORE - DUSK                                             112

      Banner flies the Commodore out across the city.

      Val puts on her gloves, cuff on her forearm, boots, and
      breastplate. She grabs her dragonfang sword and puts it at
      her side. Val mans the Blaster, and we see that she&apos;s changed
      into the CLASSIC WHITE &amp; GOLD VALKYRIE ARMOR (Thor&apos;s gift).
      Bad ass.
                            BLUE DRAFT 05/20/16                   108.


113   EXT. MOUNTAIN STRONGHOLD - DUSK                                   113

      Hela is about to throttle Skurge when-

      -A LOUD GONG SOUND. It&apos;s coming from far away, but the deep
      note resonates across the land. GONG-GONG-GONG-GONG!

      Hela looks to the Palace, her eyes narrowing with rage.


114   INT. THRONE ROOM - CONTINUOUS                                     114

      Find Thor on the throne holding GUNGNIR - THE KING&apos;S SPEAR,
      Odin&apos;s signature spear. SLAMMING the butt of it on the
      ground. GONG...GONG...

      Hela steps into the throne room.   Headdress &amp; cowl off.

      Thor stops the GONGING when he sees Hela.

                          THOR
                Sister.

      Smiling, Hela gradually crosses the huge space towards Thor.

                          HELA
                You&apos;re still alive.

                          THOR
                I love what you&apos;ve done with the
                place. Redecorating, I see.

                          HELA
                It seems our father&apos;s solution to
                every problem was to cover it up.

                          THOR
                Or to cast it out.
                    (then:)
                He told you you were worthy.   He
                said the same thing to me.

      Angle on Hela in the frescos, fighting with Mjolnir.

                          HELA
                You see, you never knew him, not at
                his best.
                    (nostalgic sigh)
                Odin and I drowned entire
                civilizations in blood and tears.
                Where do you think all this gold
                came from? And then one day he
                decided to become a benevolent
                king.
                          (MORE)
                              BLUE DRAFT 05/20/16                 109.

                          HELA (CONT&apos;D)
                To foster peace, to protect life.
                    (with teeth)
                To have you.

                          THOR
                I understand why you&apos;re angry. And
                you are my sister, and technically
                have a claim to the throne. And
                believe me, I would love for
                someone else to rule. But it can&apos;t
                be you. You&apos;re just...the worst.

      Hela puts on her headdress.

                          HELA
                Okay, get up. You&apos;re in my seat.

                          THOR
                    (standing up)
                You know, Father once told me that
                a wise king never seeks out war.

                          HELA
                But must always be ready for it.

      They CHARGE each other.


115   EXT. RAINBOW BRIDGE - SAME                                          115

      Heimdall leads the refugees out onto the bridge.

      But then he stops.    Sensing something.

      At the far end of the bridge is FENRIS!      The massive war wolf
      is guarding the observatory!

                            HEIMDALL
                Go back!

      The refugees turn to retreat.    Fenris CHARGES!

      GUNFIRE FROM ABOVE!

      The Commodore swoops onto the scene, Valkyrie manning the
      blaster and FIRING on Fenris, who stops his charge.

      As the refugees retreat, they come to a stop because...

      ...SKURGE IS LEADING AN ARMY OF BUTCHERS BEHIND THEM!

      Heimdall and the refugees are now trapped on the bridge
      between Fenris and Skurge!
                             BLUE DRAFT 05/20/16               110.


116   INT. THRONE ROOM - CONTINUOUS                                    116

      Hela and Thor fight, Hela wielding twin black blades.

      They CLASH and Thor BLOCKS an attack with Gungnir.   They are
      face to face, Hela glaring at Thor.

                          HELA
                To be honest, I expected more.

      Hela DISARMS him, sending Gungnir CLATTERING across the room.
      Hela strikes out sending Thor FLYING hard into a wall.


117   EXT. RAINBOW BRIDGE - SAME                                       117

      Hela&apos;s butchers stand behind Skurge.

                            SKURGE
                Heimdall!    The sword!

      The Butcher army CHARGES

      Val and Banner hold the remaining Butchers off with GUNFIRE.

      Heimdall is looking toward the palace, concern for Thor. But
      his attention soon goes back to protecting the mass of
      humanity behind him. He looks out to the Observatory

                          HEIMDALL
                We must cross now! To Bi-Frost!

      Heimdall leads the refugees out onto the bridge.


118   INT. THRONE ROOM - CONTINUOUS                                    118

      Hela PINS thor against the wall.

                           HELA
                Here&apos;s the difference between us.
                I&apos;m Odin&apos;s firstborn, the rightful
                heir, the savior of Asgard.
                    (beat)
                And you&apos;re nothing.

      Hela PROJECTS a large spiked lance, Thor barely rolls out of
      the way before it PUNCTURES the wall.

      Thor HEADBUTTS Hela. It does nothing.   Hela responds with her
      own HEADBUTT. It does a lot.
                              BLUE DRAFT 05/20/16                 111.


                             HELA (CONT&apos;D)
                So simple.     Even a blind man could
                see it.

      Hela RAKES a black-clawed hand across Thor&apos;s face. In doing
      so, she RIPS OUT ONE OF HIS EYES!

                          HELA (CONT&apos;D)
                Now you remind me of Dad.


119   EXT. RAINBOW BRIDGE - SAME                                        119

      Asgardians CLASH with Hela&apos;s Butchers.

      Valkyrie keeps raining down fire on Fenris, but it is doing
      no real damage. Just pissing the wolf off.

      Fenris shakes off the bullets and resumes CHARGING.

      Heimdall sees Fenris charging and steps out in front of the
      refugees with his sword, preparing for the worst.


120   INT. COMMODORE SHIP - SAME                                        120

      Valkyrie gives up shooting.

                          VALKYRIE
                This stupid dog won&apos;t die!

      Banner looks down at the carnage below.      Makes a decision.

      He gets up and heads for the bay doors.

                          BANNER
                Everything&apos;s going to be okay. I
                got this. You want to know who I
                am?

                          VALKYRIE
                What the hell are you talking
                about?

                          BANNER
                You&apos;ll see.

      Banner LEAPS out of the ship!
                             BLUE DRAFT 05/20/16                 112.


121   EXT. RAINBOW BRIDGE - CONTINUOUS                                 121

      Banner soars through the air. It&apos;s an awe-inspiring image as
      we follow Banner&apos;s trajectory downwards. His face is
      determined, arms churning, ready to Hulk out...

      ...except it doesn&apos;t happen.     Worry washes over his face.

      SPLAT! Banner FACEPLANTS on the bridge, seeming to break
      every bone in his body. He looks dead.

      Pause. Fenris SNIFFS him curiously. We notice one vein on
      Banner&apos;s neck PUMPING GREEN. Then-

      -Banner suddenly EXPLODES UP as THE INCREDIBLE HULK, UPPER-
      CUTTING Fenris in the jaw! Hulk is now in a wrestling match
      with a beast four times his size - the two of them go
      TUMBLING into the water below.


122   EXT. PALACE BALCONY - SAME                                       122

      Hela has Thor by the throat.     She lifts him up to look over
      the balcony&apos;s ledge.

                          HELA
                You see? No one&apos;s going anywhere.
                    (then:)
                I&apos;ll get that sword even if I have
                to kill every single one of them to
                do it.

      Thor looks down.   Distraught.   Heartsick.


123   EXT. RAINBOW BRIDGE - CONTINUOUS                                 123

      Val pilots the Commodore towards the battle on the city side
      of the bridge. Skurge&apos;s battlion of Butchers surge forward-

      -BOOM! Val LANDS the Commodore on top of them, SKIDDING
      across the bridge, CRUSHING the front line of the Butchers,
      and KNOCKING Skurge aside. The impact triggers the party
      function, setting off PARTY MUSIC and a FIREWORKS DISPLAY.

      Val emerges from the ship in full battle mode. Behind her,
      the Commodore FIREWORKS provide a spectacular HERO BACKDROP.
      She draws DRAGONFANG and smiles as Butchers begin swarming
      towards her. She is where she needs to be.

      Meanwhile, the Asgardians huddle together, packed so tight
      that some begin to fall off the side of the bridge, loved
      ones grabbing them and pulling them back up. There&apos;s no hope.
                       BLUE DRAFT 05/20/16               113.


Heimdall FIGHTS off Butchers, but gets KNOCKED DOWN.   Just as
it looks like he&apos;s about to take a killing blow-

-BAM!   The Butcher is BLASTED.

Korg steps into frame, holding the blaster!

                      KORG
           Hey man.   I&apos;m Korg.   This is Miek.

Miek steps into frame, waving.

                     KORG (CONT&apos;D)
           We&apos;re going to jump on that
           spaceship and get out of here.
           Want to come?

Heimdall is beyond confused, but then... a LOUD NOISE. Hela
looks down to see-

-EMERGING FROM THE THICK LOW-HANGING FOG IS LOKI! Resplendent
in horns, arms spread wide, seeming to float towards the
bridge like a mythical angel of mercy.

                     LOKI
           Your savior is here!

The fog dissipates around him, revealing that Loki&apos;s standing
on THE GRANDMASTER&apos;S SUPERCRUISER! For reasons that will
become clear, we will henceforth call this ship THE ARK.

And Loki is not alone. He&apos;s brought along all the prisoners
from the Contest of Champions. Armed with gladiator weapons.
The Ark slows to a stop at the middle of bridge.

ABOVE: Even with Hela&apos;s hand on his throat, Thor can&apos;t help
but smile at the sight of Loki. Hela however sneers.

                     HELA
           That little shit.

BELOW: Loki and the Sakaarian gladiators JUMP OFF the Ark and
onto the bridge, joining the fight against Hela&apos;s forces.

                      LOKI
           Did you miss me?    Everybody on that
           ship, now.

The Asgardian refugees begin POURING onto the ark. The only
way onto the Ark is a narrow plankway, so there is an
immediate bottleneck effect - thousands of frightened people
all pushing for a chance at salvation. It&apos;s mayhem.

Loki walks through the crowd to Heimdall.
                            BLUE DRAFT 05/20/16                  114.


                          HEIMDALL
                Welcome home. I saw you coming.

                          LOKI
                Of course you did.

      Loki joins Heimdall and the gladiators in fending off Hela&apos;s
      encroaching minions.


124   OMITTED                                                          124


125   OMITTED                                                          125


126   EXT. PALACE BALCONY - SAME                                       126

      Hela is perturbed, but not enraged. She turns her gaze back
      to Thor for a final farewell.

                          HELA
                A valiant effort, but you never
                stood a chance.

      Thor looks up from his friends protecting his people as they
      frenziedly board to Ark to-

      -the twilight stars coming out over Asgard.   There&apos;s a
      glimmering of stardust in the sky.

                           HELA (CONT&apos;D)
                You see?   I&apos;m not a queen, or a
                monster.

      FLASH: PUSH IN ON ODIN AT THE CLIFFS.

                          HELA (CONT&apos;D)
                I&apos;m the Goddess of Death.

      FLASH: PUSH IN ON ODIN AT THE CLIFFS.

                          HELA (CONT&apos;D)
                What were you the God of again?

      As Hela digs two blades into his chest, Thor SCREAMS...

      And everything goes SILENT. SKY. We PAN DOWN to-
                             BLUE DRAFT 05/20/16                  115.


126A   EXT. CLIFFS - DAY                                                126A

       - where we find Thor (dressed and injured as he was on the
       balcony), back in the sweeping fields where we met Hela for
       the first time.

                           ODIN (O.S.)
                 Even when you had two eyes you were
                 only seeing half the picture.

       Thor turns to see his father, sitting where we last saw him.
       Thor falls to his knees.

                           THOR
                 She&apos;s too strong.   Without my
                 hammer I cannot--

                           ODIN
                 Are you Thor, God of Hammers?

       Thor looks up, meeting his gaze.

                           ODIN (CONT&apos;D)
                 That hammer helped you control your
                 power, focus it. But it was never
                 the source of your strength.

       Odin stands, as does Thor.

                           THOR
                 It&apos;s too late. She&apos;s already taken
                 Asgard.

                           ODIN
                 Asgard is not a place. Never has
                 been.
                     (gestures around him)
                 This could be Asgard. It is
                 wherever our people stand. And
                 right now those people need you.

       Odin turns to go.

                           THOR
                 I&apos;m not as strong as you.

                            ODIN
                 No.   You&apos;re stronger.

       As Odin turns to leave, a SHADOW in the shape of HELA&apos;S
       HEADDRESS falls across him. He looks up and we are...
                             BLUE DRAFT 05/20/16                116.


126B   EXT. PALACE BALCONY - CONTINUOUS                                126B

       Thor looks up to the sky.

       She digs the blades deeper into Thor&apos;s chest. He groans in
       pain. Everything DARKENS as BLACK CLOUDS gather overhead.

                           HELA
                 Tell me brother, what were you the
                 God of again...?

       CLOSE ON Thor&apos;s clenched fist, small arcs of electricity
       forming.

       -THE LOUDEST CRACK OF THUNDER YOU&apos;VE EVER HEARD! In an
       instant, Thor and Hela are ENGULFED in a bolt of lightning!!

       KA-BOOM! Hela is BLASTED OUT of the lightning and sent
       CRASHING into the streets of Asgard. Her costume is
       tattered, the black extensions of her power hanging off her
       body in some places. She appears to be unconscious!

       All around Asgard, EVERYONE looks up at this massive strike.


127    EXT. RAINBOW BRIDGE (OBSERVATORY SIDE) - CONTINUOUS             127

       BOOM! Thor LANDS HARD on his feet. Muscles swollen, veins
       pulsing with electricity. A living storm.

       Thor DIVES INTO THE FRAY. He moves like a bolt of lightning,
       SURGING through the army of Butchers in quick SLASHING JOLTS.


128    EXT. RAINBOW BRIDGE (CITY SIDE) - SAME                          128

       Valkyrie CHARGES into the ocean of Butchers. Wielding
       Dragonfang, backlit by the POPS of fireworks.


129    EXT. RAINBOW BRIDGE (HERO SHOT) - CONTINUOUS                    129

       Moving across the entire epic battle.

       On the city side, Valkyrie CUTS A SWATHE through the
       relentless onslaught of Butchers. Heavy damage.

       At the middle of the bridge, Heimdall helps load the fleeing
       Asgardians onto the Ark.

       Within the melee are Loki, Korg and the Sakaarians. Loki
       SLASHES through Butchers wielding his two long daggers.
                              BLUE DRAFT 05/20/16                117.


       In the water below, Hulk and Fenris WRESTLE in an colossal
       clash of FISTS, CLAWS, and TEETH.

       Beyond that, Thor is wielding electrified weapons and
       BLASTING entire packs of Butchers off the bridge!

       Lost in the chaos is Skurge, who sees the tides turning.   He
       throws down his axe and blends into the crowd.

130    OMITTED                                                         130

131    OMITTED                                                         131

132    EXT. ASGARD - WATER BELOW - CONTINUOUS                          132

       Fenris has Hulk in his mouth, underwater.    Trying to drown
       the green goliath!

       Fenris&apos; teeth PUNCTURE Hulk&apos;s skin.   He BELLOWS, THRASHING.

       Hulk winds up and SLAMS Fenris in the snout!

       Fenris snaps back, revealing that-

       -THEY&apos;VE REACHED THE REALM&apos;S EDGE!

       Fenris is knocked off, plummeting off of Asgard into space.

       Hulk grabs hold of the slippery rocks, desperately trying to
       climb back as water pours down on him.


A133   OMITTED                                                         A133


133    EXT. THE ARK - SAME                                             133

       Asgardians continue RUSHING onto the ship.

       In the crowd we find Skurge! He&apos;s thrown a cloak over
       himself and is sneaking in amongst the refugees.

134    OMITTED                                                         134

135    OMITTED                                                         135


136    OMITTED                                                         136


137    OMITTED                                                         137

138    OMITTED                                                         138
                             BLUE DRAFT 05/20/16                118.


139    OMITTED                                                        139

A140   EXT. RAINBOW BRIDGE - CONTINUOUS                               A140

       Our heroes have drastically thinned down the herd of
       Butchers.

       It&apos;s pandemonium. The Ark&apos;s engines are deafening, but you
       can still hear the sound of terrified people SCREAMING.

       Thor helps Loki to his feet.

                           THOR
                 You&apos;re late.

                           LOKI
                 You&apos;re missing an eye.

       Valkyrie finishes off a handful of enemies, but then notices
       something. She WHISTLES to get the others&apos; attention.

                           VALKYRIE
                 This isn&apos;t over.

       All around the bridge, our heroes look to see-

       -Hela arriving at the far side of bridge.   She is seething
       with power, a vision of death.

       Having just come out of this huge battle, they are all weary
       and nursing injuries. Loki and Val are hurting worse than
       Thor.

       Hela walks towards them.   Menacing and deliberate.

       Thor, Loki, and Val step forward to protect the Asgardians.
       They huddle together.

                            THOR
                 I think we should disband the
                 Revengers.

                           LOKI
                 Hit her with a lightning blast.

                           THOR
                 I just hit her with the biggest
                 lightning blast in the history of
                 lightning. It did nothing.

                           VALKYRIE
                 We need to hold her off until
                 everybody&apos;s on board.
                        BLUE DRAFT 05/20/16                119.


Thor looks at the people boarding behind him.

                    THOR
          It won&apos;t end there. The longer
          Hela&apos;s on Asgard the more powerful
          she grows. She&apos;ll hunt us down.
          We need to stop her here and now.

                    VALKYRIE
          What&apos;s our move?

                    LOKI
          I&apos;m not doing &quot;Get help.&quot;

Thor sees Hela approaching. He sees the palace behind her. He
comes to a realization.

                     THOR
          Asgard&apos;s not a place, it&apos;s a
          people.
              (then)
          This was never about stopping
          Ragnarok...it was about causing
          Ragnarok.
              (to Loki:)
          Go to the vault. Surtur&apos;s crown.
          It&apos;s the only way.

                    LOKI
              (impressed)
          Bold move, brother. Even for me.

Loki runs off, leaving Thor and Val to deal with Hela.

                       THOR
          Shall we?

                       VALKYRIE
          After you.

Thor ATTACKS. They CLASH, kicking off this monumental
confrontation. Hela manifests pitch black weapons to attack
Thor, but Thor is conjuring powerful bolts of electricity
with the same speed and ferocity.

Just as Thor is surging with newfound lightning powers,
Hela&apos;s powers seem to be enhanced as well.

The battle is relentless and fast-paced. Thor is holding his
own against Hela. Maybe they can win this thing.

After several fearsome exchanges, Hela PUNCTURES his shoulder
and then DARTS past him with startling speed.
                                 BLUE DRAFT 05/20/16                 120.


        Undeterred, Thor RUSHES Hela again.    Valkyrie joins in,
        forcing Hela to fight them both.


BB140   EXT. THE ARK - SAME                                                BB140

        While the Asgardians still scramble to get on board above-

        -find the Commodore ship, swooping down below the bridge.


BC140   INT. COMMODORE SHIP - CONTINUOUS                                   BC140

        Find Loki in the pilot&apos;s seat.

                            LOKI
                  This is madness.

        The ship ACCELERATES towards the palace of Asgard.


BD140   EXT. RAINBOW BRIDGE - CONTINUOUS                                   BD140

        Thor continues FIGHTING Hela while Valkyrie BLOCKS Hela&apos;s
        attempts to spear the Asgardians from afar.

        Hela isn&apos;t landing any fatal blows, but she&apos;s carving Thor up
        and making steady progress towards the Ark.

        However, the Asgardian refugees finally make it aboard. An
        injured Heimdall, Korg, and Miek are the last to get on.

        Thor and Heimdall make eye contact.    Thor calls out:

                             THOR
                  GO!   GO NOW!

        As the Ark&apos;s engines begin to POWER UP-

        -Hela HARPOONS Thor.    He goes down, grimacing in pain.

        Hela begins to CONJURE AN ENORMOUS MANIFESTATION OF HER
        POWERS, A GIANT BLACK SPIKE FROM THE BEDROCK OF ASGARD THAT
        STABS THE ARK AND PREVENTS IT FROM LEAVING!

        Butchers begin to scramble up onto the Ark!

B140    OMITTED                                                            B140

BE140   EXT. ARK - CONTINUOUS                                              BE140

        The refugees REACT IN TERROR as the Butchers begin CLIMBING
        from the bridge to the Ark. In the frightened crowd we find-
                               BLUE DRAFT 05/20/16              121.


       -Skurge, still cloaked. He sees innocent Asgardians huddled
       together, trying to protect their families. He&apos;s having a
       crisis of conscience. An epiphany.


C140   OMITTED                                                         C140

D140   OMITTED                                                         D140


E140   INT. ODIN&apos;S VAULT - SAME                                        E140

       LOKI rushes in and picks up Surtur&apos;s skull.

       As he walks towards the Eternal Flame, The Tesseract draws
       his attention. Tempting him.


F140   EXT. THE ARK - CONTINUOUS                                       F140

       The first wave of Butchers arrives on board, heading straight
       for a cowering family. Just as they&apos;re about to be killed--

       POW! POW! POW!    The Butchers fall dead.

       Everyone turns to see SKURGE, now uncloaked, wielding his two
       M-16s from Texas.

                           SKURGE
                 For Asgard.

       Skurge runs forward, LEAPS off the Ark, and LANDS on the
       bridge right where all the Butchers are coming to life.
       BLASTING AWAY the Butchers before they can get aboard.

       Behind Skurge, the Ark begins to LIFT OFF.

       Skurge keeps FIRING and then-

                             SKURGE (CONT&apos;D)
                 HELA!

       Hela turns to see Skurge blasting his way through her
       Butchers, trying to make his way to her.

       Disappointed, Hela FIRES a blade through Skurge&apos;s heart.

       Skurge has been killed...

       ...but the Ark now ASCENDS unfettered.
                             BLUE DRAFT 05/20/16               122.


140    INT. ODIN&apos;S VAULT - SAME                                       140

       LOKI places Surtur&apos;s skull in the Eternal Flame.

                           LOKI
                 With the Eternal Flame, you are
                 reborn.

       As the fire CRACKLES, Surtur&apos;s skull begins to GROW.


141    EXT. RAINBOW BRIDGE - CONTINUOUS                               141

       Hela has Val in her clutches, but her focus is on the
       aftermath of Skurge&apos;s last stand and the Ark&apos;s subsequent
       escape. She&apos;s furious, about to unleash hell when-

                            THOR (O.S.)
                 HELA!   Enough!

       Hela turns to see Thor, having yanked out the harpoon...

       ...and it looks like he&apos;s laying down his sword!

                           THOR (CONT&apos;D)
                 You want Asgard? It&apos;s yours.

                           HELA
                 Whatever game you&apos;re playing, it
                 won&apos;t work. You can&apos;t defeat me.

                           THOR
                 No, but he can.

       KA-BOOM! EXPLODING through the roof of the palace is SURTUR!

       This is a different Surtur than the opening. He is slowly
       but steadily GROWING in size, and he carries with him a
       massive flaming sword, which GROWS as well.

       Surtur&apos;s arrival literally SHAKES the bedrock of Asgard,
       causing FISSURES to spiderweb all around him, and DISLODGING
       some of the foundation on the bridge and around the palace.

       Hela&apos;s eyes go wide. She wasn&apos;t expecting this.

                            HELA
                 No...NO!


A142   OMITTED                                                        A142
                               BLUE DRAFT 05/20/16                 123.


B142   EXT. RAINBOW BRIDGE - CONTINUOUS                                  B142

       In the background the Ark continues its ascent, now high up
       above the city.

       Hela&apos;s attention is on Surtur as the palace COLLAPSES around
       him. So she is unprepared for-

       -SHLNK! Mustering up all her remaining strength, Val DRIVES
       Dragonfang through Hela&apos;s chest, effectively PINNING her to
       the bridge.

       Refocused on Val, Hela goes to deliver a death blow when-

       -Thor BOLTS forward!   He PULLS Val from Hela&apos;s clutches.

       Thor turns and FIRES LIGHTNING INTO DRAGONFANG, which
       DISLODGES the section of the bridge that Hela is pinned to!

       The ground beneath Hela BREAKS FREE and she goes FALLING down
       into the expanding fissure in Asgard&apos;s bedrock.

       Badly injured, Thor and Valkyrie look up to see-

       -Surtur INCREASING in size, now towering over the palace.

                           SURTUR
                 Tremble before me Asgard, for I am
                 your reckoning!

       Surtur swings his sword, destroying an entire city block.

       THOR and VALKYRIE look up.

                           VALKYRIE
                 The people are safe.     That&apos;s all
                 that matters.

                           THOR
                 We&apos;re fulfilling the prophecy.

                           VALKYRIE
                 I hate this prophecy.

                           THOR
                 So do I, but we have no choice.

       In the background, Hulk hops up onto the bridge.   Looks
       around, zeroing in on Surtur.

                           SURTUR
                 Surtur destroys Asgard, he destroys
                 Hela so that our people can live.
                            BLUE DRAFT 05/20/16                  124.


      Hulk CHARGES behind them, still unseen by Thor and Val.

                          THOR
                We need to let him finish...
                    (finally sees Hulk)
                No!

      HULK LEAPS UP AND LANDS ONTO SURTUR&apos;S FACE and begins
      POUNDING the fire giant with furious punches!

                           THOR (CONT&apos;D)
                Hulk no!   Stop it you moron!!

      It&apos;s not doing much damage, but the shock of it plus Hulk&apos;s
      impact makes Surtur take a destructive step back.

      Hulk is trying to rip out one of Surtur&apos;s horns when Surtur
      reaches up and GRABS HIM with a giant fiery hand.

      Surtur HURLS Hulk away from him.   Sends him CRASHING DOWN.

      Hulk stumbles to his feet, dazed and SMOKING. After gathering
      his bearings, Hulk gets REALLY ANGRY and heads back towards
      Surtur for round two, but-

                          THOR (CONT&apos;D)
                Hulk, just for once in your life,
                don&apos;t smash!

                          HULK
                But...big Monster.

                          VALKYRIE
                Hulk! Let&apos;s go.

      Hulk stops. Looking between Surtur and Thor &amp; Val. This is
      a real Sophie&apos;s Choice for Hulk. On the one hand, he really
      wants to kill that thing. On the other hand...

                           HULK
                Friends.

      Hulk PICKS UP Thor and Valkyrie.   He then squats down, and-

      -LEAPS WITH ALL HIS MIGHT! The trio SHOOTS UP into the night
      sky like a rocket blasting off. Their trajectory is heading
      right at the Ark as it reaches the lower orbit of Asgard.


142   EXT. ARK - PLATFORM - CONTINUOUS                                   142

      Hulk lands gently, as though he were stepping out of bed.     He
      casually DROPS Thor and Val, both exhausted.
                            BLUE DRAFT 05/20/16                  125.


143   EXT. ASGARD - SAME                                               143

      A bird&apos;s eye view shows TOTAL CARNAGE AND MADNESS on Asgard.

      Surtur has grown to EXTINCTION LEVEL SCALE.   SLASHING AWAY at
      the landscape below, when suddenly-

      -A MASSIVE BLACK SPIKE EXPLODES FROM THE WATER AND SLAMS INTO
      SURTUR&apos;S CHEST!

      From beneath the water, Hela EXPLODES back onto the scene,
      riding a huge spiked manifestation of her powers.

      She&apos;s going for Surtur.   ATTACKING with all her might.

      Surtur winds up, holding his sword above his head.

                          SURTUR
                I am Asgard&apos;s doom!!

      True to his word, Surtur fulfills his destiny and-

      -DRIVES HIS SWORD THROUGH HELA AND INTO THE HEART OF ASGARD!


144   INT. THE ARK - MAIN CABIN - SAME                                 144

      Everyone watches as Surtur drives his sword through Asgard.

                          KORG
                The damage is not too bad. As long
                as the foundations are strong, we
                can rebuild this place. It will
                become a haven for all people and
                aliens of the universe...

      When the fiery sword touches the crystalline base of Asgard
      there is a VIOLENT DETONATION OF ENERGY!

      A CATACLYSMIC EARTHQUAKE!   The entire realm is SPLIT IN TWO!

      In an instant, Thor&apos;s home is BLOWN TO PIECES.

      Asgard is gone.

                          KORG (CONT&apos;D)
                Nope, those foundations are gone.
                Sorry.

      Stay on Thor as he processes the decisions he&apos;s made.

                          THOR
                What have I done?
                              BLUE DRAFT 05/20/16               126.


      Heimdall joins him.

                          HEIMDALL
                You saved us from extinction.
                Asgard is not a place, it&apos;s a
                people.


145   EXT. SPACE - INDETERMINATE TIME                                 145

      The Ark cruises among the chaos that once was Asgard.


146   INT. THE ARK - CAPTAIN&apos;S QUARTERS                               146

      Thor looks at his reflection in a mirror. His wounds are
      bandaged, including his now missing eye. His armor is clean.

      Thor takes a beat, as though trying to get used to the sight
      of the man looking back at him.

                          LOKI (O.S.)
                It suits you.

      Thor turns to reveal Loki standing by the door.    A smile.

                          THOR
                Perhaps you&apos;re not so bad after
                all, brother.

                             LOKI
                Maybe not.

                          THOR
                Thank you, Loki.

      Thor picks up a soap dish.

                          THOR (CONT&apos;D)
                And if you were here, I might even
                give you a hug.

      Thor THROWS the dish at Loki.   Loki catches it.

                          LOKI
                Do we have to hug now?

      Thor smiles.


147   OMITTED                                                         147

148   OMITTED                                                         148
                               BLUE DRAFT 05/20/16                127.


A149   EXT. THE ARK - SPACE                                             A149

       The giant cruiseliner is gliding through space, the twinkling
       of stars all around it.


149    INT. THE ARK - MAIN DECK                                         149

       Thor steps out onto the main deck to see an assembly of both
       Asgardian and Sakaarian refugees awaiting their King.

       Thor looks over his people and begins to walk through the
       crowd. His subjects part, allowing him through.

       It is the antithesis of the opening coronation from the first
       THOR movie. The people aren&apos;t cheering and lauding him, but
       rather they are smiling. Humbly bowing. Grateful.

       And Thor isn&apos;t acting arrogant. Not trying to show off any
       swagger. He is stately. A contemplative and dignified king.

       At the end of the procession, Hulk, Loki, Valkyrie, and
       Heimdall stand next to the CAPTAIN&apos;S CHAIR.

                           VALKYRIE
                 Your throne.

       Pause. Reluctant acceptance. Thor sits down.

       Flanking him on opposite sides are Valkyrie and Heimdall.
       Behind/towering above them is the Hulk. Loki joins them.

                           HEIMDALL
                 So, King of Asgard.

       Thor turns around to see THOUSANDS OF PEOPLE staring back,
       silently awaiting word from their new King. Now feeling the
       true weight of the crown, Thor takes a moment... and then:

                              HEIMDALL (CONT&apos;D)
                 Where to?

                           THOR
                 I&apos;m not sure. Any suggestions?
                 Miek, what&apos;s your home planet?

       Angle on Korg, who is holding Miek (sans robot exoskeleton).

                           KORG
                 Oh, Miek&apos;s dead. I accidentally
                 stepped on him on the bridge, I&apos;ve
                 just felt so guilty I&apos;ve been
                 carrying him around all day...
                              BLUE DRAFT 05/20/16                128.


       Miek WRIGGLES to life.   Korg lights up.

                            KORG (CONT&apos;D)
                  Miek, you&apos;re alive! He&apos;s alive
                  everyone! What was your question?

       Thor looks forward, taking charge of this one.

                            THOR
                  Earth it is.

       CUT TO BLACK.

       THE END.


TAG    INT. THE ARK - DAY                                              TAG

       THOR and LOKI look out the window.

                            LOKI
                  Do you really think it&apos;s a good
                  idea to go back to Earth?

                             THOR
                  Sure!   They love me there.

                            LOKI
                  Let me rephrase: Do you really
                  think it&apos;s a good idea to bring me
                  back to Earth?

       Thor smiles, getting it.    Pats Loki on the shoulder.

                            THOR
                  Probably not. But don&apos;t worry,
                  brother...I&apos;ve got a feeling that
                  everything&apos;s going to work out.

       Then through the window, they see-

       -THE MASSIVE FORM OF SANCTUARY-2, THANOS&apos; WARSHIP
       approaching.


TAG1   EXT. THE ARK - SAME                                             TAG1

       A wider view allows us to see all of Sanctuary-2, dwarfing
       the Ark in size.

       END.
 </itunes:summary>
      <itunes:subtitle> THOR: RAGNAROK




                                 Written by

             Eric Pearson and Craig Kyle &amp; Christopher L. Yost







 1    OMITTED                                                         1

A2   OMITTED                                                         A2

A3   THE MARVEL LOGO. SMOLDERING, BEGINNING TO TURN ORANGE IN THE    A3
     HEAT AS WE TILT UP TO SEE-

     -FIRE.    NOTHING BUT FIRE.

2    INT. TIGHT SPACE - INDETERMINATE TIME                           2

     Dark and cramped. The soft red light of fire seeps through
     iron slats. Inside this cage is a man, bound by chains.

     It&apos;s THOR. His beard is long and his clothes are worn. That
     rough, grizzled look of a man who&apos;s spent years on the road.

     He awakens with a JOLT.   Looks around.

                           THOR
                 Now I know what you&apos;re thinking.
                 Oh no! Thor&apos;s in a cage. How did
                 this happen?
                     (then:)
                 Well, sometimes you have to get
                 captured just to get a straight
                 answer out of somebody. It&apos;s a long
                 story but basically I&apos;m a bit of a
                 hero. See, I spent some time on
                 earth, fought some robots, saved
                 the planet a couple of times. Then
                 I went searching through the cosmos
                 for some magic, colorful Infinity
                 Stone things... didn&apos;t find any.
                 That&apos;s when I came across a path of
                 death and destruction which led me
                 all the way here into this cage...
                 where I met you.

     Reveal that he&apos;s talking to a weird alien skeleton in chains.

                           THOR (CONT&apos;D)
                 How much longer do you think we&apos;ll
                 be here?

     NOISE.    Sounds of metal gears TURNING.

     Suddenly the bottom DROPS OUT! Thor PLUMMETS until - SHLINK!
     Chains CINCH and abruptly halt his descent. Thor dangles six
     feet off the ground. Pull back to reveal we are in-
                          BLUE DRAFT 05/20/16                    2.


3   INT. SURTUR&apos;S LAIR - CONTINUOUS                                  3

    A cavernous space. The walls, floors, and ceilings are
    molten rock, which has creepy glimmers of fire within it.
    Stationed in the center is a volcanic rock throne, and
    sitting in that throne is a charred demonic skeleton.

                        SURTUR (O.S.)
              Thor, Son of Odin.

    Thor&apos;s chain turns to reveal-

    -SURTUR on his throne. Eighteen-feet-tall, flesh made of
    fire, and demonic spiked horns on his skull.

                         THOR
              Surtur. Son of a bitch...you&apos;re
              still alive! I thought my father
              killed you, like, half a million
              years ago.

                        SURTUR
              I cannot die. Not until I fulfill
              my destiny and lay waste to your
              home.

                        THOR
              You know, it&apos;s funny you should
              mention that because I&apos;ve been
              having these terrible dreams of
              late. Asgard up in flames, falling
              to ruins, and you Surtur are at the
              center of all of them.

                        SURTUR
              Then you have seen Ragnarok, the
              fall of Asgard. The great prophecy--

                         THOR (O.S.)
              Hang on.   Hang on.

    Reveal that Thor&apos;s chain is turning VERY SLOWLY.

                        THOR (CONT&apos;D)
              I&apos;ll be back around shortly. I
              really feel like we were connecting
              there.

    After a beat, Thor rotates around to face Surtur.

                        THOR (CONT&apos;D)
              Okay, so, Ragnarok. Tell me about
              that. Walk me through it.
                       BLUE DRAFT 05/20/16           3.


                    SURTUR
          My time has come. When my crown is
          reunited with the Eternal Flame, I
          shall be restored to my full might.
          I will tower over the mountains and
          bury my sword deep in Asgard&apos;s--

                    THOR
          Oh, hang on. Give it a second.

Once again, Thor is turning VERY SLOWLY.

                    THOR (CONT&apos;D)
          I swear I&apos;m not even moving, it&apos;s
          just doing this on its own. I&apos;m
          really sorry.
              (then:)
          Okay, let me get this straight.
          You&apos;re going to put your crown into
          the Eternal Flame, and then you&apos;ll
          suddenly grow as big as a house--

                    SURTUR
          A mountain!

                    THOR
          The Eternal Flame that Odin keeps
          locked away on Asgard?

Surtur grins, evil.

                    SURTUR
          Odin is not on Asgard. And your
          absence has left the throne
          defenseless.

That elicits a concerned look from Thor.

                    THOR
          Okay, so where is it? This crown?

                    SURTUR
          This is my Crown, the source of my
          power.

Surtur points at the V-shaped horns on his head..

                    THOR
          Oh, that&apos;s a crown? I thought it
          was a big eyebrow.

                    SURTUR
          It&apos;s a crown.
                       BLUE DRAFT 05/20/16                   4.


                     THOR
           Anyway, it sounds like all I have
           to do to stop Ragnarok is rip that
           thing off your head.

Surtur stands up and approaches Thor, DRAGGING his sword.

                     SURTUR
           But Ragnarok has   already begun. You
           cannot stop it.    I am Asgard&apos;s
           doom, and so are   you. All will
           suffer, all will   burn.

Surtur steps forward and GRABS the chain above Thor&apos;s feet,
holding it so he and Thor are face to face.

                     THOR
           That&apos;s intense. To be honest,
           seeing you grow really big and set
           fire to a planet would be quite the
           spectacle. But it looks like I&apos;m
           going to have to go with option B
           where I bust out of these chains,
           knock that tiara off your head, and
           stash it away in Asgard&apos;s vault.

                     SURTUR
           You cannot stop Ragnarok. Why fight
           it?

Behind his back, Thor opens his hand.    Sending out the SOS.

                     THOR
           Because that&apos;s what heroes do.

Nothing happens.   Thor appears annoyed at himself.

                     THOR (CONT&apos;D)
           Wait, sorry. I didn&apos;t time that
           right.
               (pause)
           And, now!

BOOM!   Thor&apos;s hammer Mjolnir CRASHES through the wall!

Thor BREAKS FREE from his chains, GRABS Mjolnir, spins, and
flies a distance away. He FLINGS Mjolnir back at Surtur,
smashing the giant in the face. Mjolnir returns.

                     SURTUR
           You have made a grave mistake,
           Odinson.
                           BLUE DRAFT 05/20/16                   5.


    THE WALLS COME ALIVE! A seemingly infinite swarm of FIRE
    DEMONS rally to Surtur&apos;s aid.

                         THOR
               I make grave mistakes all the time.
               Everything seems to work out.

    In the shadows, a massive FIRE DRAGON ROARS.

    The fire demons SURGE FORWARD. Thor backs up, HAMMERING
    AWAY. He then leaps back, SPRINGBOARDS off the wall, and-

    -LANDS HARD, SLAMMING Mjolnir down. The resulting shockwave
    KNOCKS BACK THE LEGION OF FIRE DEMONS.

    The Fire Dragon STRAINS against a chain leash.

    Thor is now facing off with Surtur. Surtur thrusts his hands
    at Thor, generating a humongous PROJECTILE WALL OF FIRE!

    Thor SPINS Mjolnir so fast that it creates a kind of SHIELD.

    The God of Thunder and the Fire Giant engage in ferocious
    hand-to-hand combat. Each landing power shots, sending
    sparks of both fire and electricity into the air.

    Thor SLIPS behind Surtur and TAKES OUT his knees. Thor then
    LAUNCHES HIGH into the air and summons a HUGE LIGHTNING BOLT.
    Descending hard, he uses all his power to-

    -LOP SURTUR&apos;S HEAD OFF OF HIS BODY! Surtur&apos;s body DEFLATES
    and COLLAPSES into a heap of charred bones.

    Thor straps the crowned skull to his back. He turns to find-

    -the army of Fire Demons regrouping as reinforcements flood
    in, filling the space to capacity. Recognizing the threat,
    Thor thrusts Mjolnir above his head.

                         THOR (CONT&apos;D)
               Heimdall. I know it&apos;s been a while,
               but I could use a fast exit!

    Nothing.   Thor just stands there as the Fire Demons advance.

                         THOR (CONT&apos;D)
               ...Heimdall?


4   INT. THE OBSERVATORY - SAME                                      4

    Heimdall is nowhere to be found. Instead, we meet SKURGE.
    He&apos;s bald, strong, mean looking, a little eager to be liked.
                          BLUE DRAFT 05/20/16                    6.


    At the moment, Skurge is entertaining two ASGARDIAN WOMEN.

                         SKURGE
              Heimdall was an idiot. This job
              should have made him rich. Now,
              the job ain&apos;t easy, but it does
              have its benefits. The Bi-Frost
              gives me access to everything the
              Nine Realms have to offer. I mean
              it&apos;s all mine for the taking.
                  (beat)
              Behold...my stuff.

    Skurge has drawn their attention to a pile of weapons and
    treasures he has stashed off to the side.

    He hefts up two M-16 assault rifles, trying to play it cool.

                        SKURGE (CONT&apos;D)
              I&apos;m particularly fond of these. I
              pulled `em out of a place on
              Midgard called Texas. I even named
              them. Des and Troy. You see, when
              you put them together...they
              destroy.


5   INT. SURTUR&apos;S LAIR - CONTINUOUS                                  5

    Having expected to have been Bi-Frosted out of there, Thor is
    OVERRUN BY THE GIANT WAVE OF FIRE DEMONS!

    The Fire Dragon BREAKS FREE of its chain.

    Realizing he&apos;s in trouble, Thor TAKES OFF, rocketing up to-


6   EXT. MUSPELHEIM - CONTINUOUS                                     6

    Thor CRASHES out of the ground and LANDS on a craggy surface.
    Disoriented and singed from the fire demon onslaught.

    Thor&apos;s cloak is on fire, and he frantically PATS OUT the
    flames. He picks up Mjolnir, holds it up once more. Nothing.

                        THOR
              Heimdall, come on.

    THE GROUND SHAKES! Like an earthquake. Thor backs up as the
    ground begins to give way all around him. And then-

    -THE FEARSOME FIRE DRAGON BURSTS OUT OF THE GROUND! The
    dragon opens its tremendous jaws for an ear-splitting roar...
                            BLUE DRAFT 05/20/16                 7.


     ...but Thor STUFFS Mjolnir into its mouth and lets go.

     THUD! The hammer DROPS, pinning the beast down by its bottom
     jaw. It THRASHES and GROWLS, trying to break free.

                         THOR (CONT&apos;D)
               Stay.
                   (looks up to the sky:)
               I&apos;m running short on--

     Thor notices that all around him the ground is CRUMBLING like
     a field of sinkholes giving way to more snarling Fire Demons!

                           THOR (CONT&apos;D)
               -options.

     Thor calls for Mjolnir and TAKES OFF.   The dragon SCREECHES!

7    OMITTED                                                         7

8    OMITTED                                                         8

9    INT. THE OBSERVATORY - SAME                                     9

     Skurge continues showing off for the ladies.

                           THOR (O.S.)
               Heimdall?

     Behind Skurge the Bi-Frost starts MOVING.   One of the women
     notices the Bi-Frost glowing.

                         ASGARDIAN WOMAN
               Skurge, is that important?

     Skurge turns and notices the Bi-Frost activity.

                         SKURGE
               You girls are in for a treat.

     Angle on Heimdall&apos;s sword, which has been sloppily cast aside
     in another pile of &quot;stuff.&quot; Skurge hastily runs and grabs it.


10   EXT. MUSPELHEIM - CONTINUOUS                                    10

     Thor is FLYING at top speed, but that dragon is right on his
     heels! The fire demons LAUNCH flaming projectiles from below!

     Thor looks back, genuinely nervous. The dragon is OPENING
     its jaws to swallow Thor whole when-

     -Suddenly Bi-Frost OPENS! The portal surrounds Thor and
     engulfs the dragon&apos;s head! In an instant, they&apos;re gone.
                           BLUE DRAFT 05/20/16                 8.


                          MAIN TITLE


11   INT. THE OBSERVATORY - MOMENTS LATER                           11

     Skurge has plunged Heimdall&apos;s sword into Bi-Frost.

     BOOM! Thor EXPLODES out of the portal along with the severed
     head of the dragon! SPLAT! Blood and guts RAIN DOWN on
     Skurge and the two women, DRENCHING them with purple gore.

     The dragon&apos;s head SLIDES slowly across the floor, coming to
     rest right in front of the women who are frozen in shock.

     The women SHRIEK and rush out of the Observatory. Thor
     meanwhile is clean and staggering back to his feet. He looks
     up to Skurge, who is wiping dragon guts off of himself.

                          SKURGE
               Girls!
                   (beat)
               Well well, look who decided to pop
               in. Thanks for scaring away my
               company and drenching my workplace
               in brains.

                         THOR
               Who are you?

                         SKURGE
               Don&apos;t you remember? I&apos;m Skurge.
                   (Thor doesn&apos;t)
               We fought together on Vanaheim.

                          THOR
               Right.   Where&apos;s Heimdall?

                         SKURGE
               That traitor. No one knows, he&apos;s a
               fugitive of the throne.

                          THOR
               Traitor?

                         SKURGE
               Yeah, you see, Odin charged
               Heimdall with negligence of duty,
               but he disappeared before the
               trial. Hard to catch a guy who can
               see everything in the Universe.

     Thor starts to say something, but then gives up. Instead he
     starts towards the exit... but Skurge stands in his way.
                              BLUE DRAFT 05/20/16                  9.


                             THOR
                Sure.

                          SKURGE
                Hold on. I&apos;m supposed to announce
                your arrival.

      Thor SPINS UP Mjolnir and takes off in a blur.   Skurge starts
      the loooong run down the Rainbow Bridge.

12    OMITTED                                                          12

A13   EXT. THEATER ENTRANCE - DAY                                      A13

      THOR arrives with Surtur&apos;s skull.

      There&apos;s a small crowd making its way through a threshold over
      which stands a monumental statue of Loki, arms out-stretched
      in the `savior&apos; pose.

      Confused, Thor turns to a theater patron.

                          THOR
                What the hell is that?


13    EXT. ASGARD - ROYAL TERRACE - PATIO - MOMENTS LATER              13

      LOKI falls into frame, GASPING FOR BREATH... although it&apos;s
      not Loki. This is ACTOR LOKI and we&apos;re watching a STAGE PLAY.

      In the background, a single musician plays the haunting score
      from THOR: THE DARK WORLD on a pan flute.

      Suddenly, ACTOR THOR leans into shot, holding Actor Loki.

                          ACTOR LOKI
                Oh, brother. This is it.    I take
                my leave.

                          ACTOR THOR
                You fool, you didn&apos;t listen!

                             ACTOR LOKI
                I&apos;m sorry.

                             ACTOR THOR
                Lady Sif!     Get help!

      &quot;Sif&quot; awkwardly runs off. The &quot;Warriors Three&quot; watch sadly. A
      small choir JOINS IN as the music builds to a CRESCENDO.

                          ACTOR SIF
                Somebody help!
                      BLUE DRAFT 05/20/16                10.


In the middle of the audience we reveal ODIN, sitting upon a
chaise lounge, sipping wine and thoroughly enjoying the show.
Unseen, Thor arrives behind the audience and watches.

                    ACTOR LOKI
          Sorry for all I&apos;ve done.

                    ACTOR THOR
          It&apos;s all right.   Hold on.

                    ACTOR LOKI
          I&apos;m sorry I tried to rule Earth.

                    ACTOR THOR
          They&apos;d be lucky to have you.

                    ACTOR LOKI
          I&apos;m sorry about that thing with the
          Tesseract. I just couldn&apos;t help
          myself.

                    ACTOR THOR
          I know.

                    ACTOR LOKI
          I&apos;m a trickster.

                    ACTOR THOR
          So mischievous.

                    ACTOR LOKI
          Sorry about that time I turned you
          into a frog.

                    ACTOR THOR
          It was a wonderful joke.

                    ODIN
              (to no-one in particular)
          Twas indeed hilarious.

                    ACTOR THOR
          You are the savior of Asgard.

                    ACTOR LOKI
          Tell my story.

                    ACTOR THOR
          I will.

                    ACTOR LOKI
          Build a statue for me.
                        BLUE DRAFT 05/20/16                11.


                    ACTOR THOR
          We will build a big statue for you.

                    ACTOR LOKI
          With my helmet on, with the big
          bendy horns.

                    ACTOR THOR
          I will tell Father what you did
          here today.

Odin mouths Actor Loki&apos;s final line along with him.

                    ACTOR LOKI
          I didn&apos;t do it for him.

Actor Loki then &quot;dies&quot;.

                       ACTOR THOR
          Noooooo!!!

The brothers freeze in a TABLEAU as ACTOR ODIN steps forward.

                    ACTOR ODIN
          And so Loki died of his wounds,
          giving his life for ours. He
          fought back those disgusting dark
          elves. He brought peace to the
          realm.

He takes a 4-YEAR-OLD BOY, PAINTED BLUE, into his arms.

                    ACTOR ODIN (CONT&apos;D)
          Loki, my boy...`Twas many moons ago
          I found you on a frost-bitten
          battlefield.

Thor watches, incredulous. He then notices that a woman next
to him is openly SOBBING at the play.

                    ACTOR ODIN (CONT&apos;D)
          On that day, I did not yet see in
          you Asgard&apos;s savior. No. You were
          merely a little blue baby icicle...
          that melted this old fool&apos;s heart.

The crowd erupts in rapturous applause. The players bow. Odin
stands up, leading the crowd in this STANDING OVATION.

                      ODIN
          Bravo!    Bravo! Well done.   Bravo.

                       THOR
          Father.
                      BLUE DRAFT 05/20/16                   12.


Odin sees Thor taking a knee.   Curses under his breath:

                    ODIN
          Oh, shit.
              (then, announcing)
          My son! Thor has returned!
          Greetings my boy.

Odin goes through a weird internal transformation. His
fluidity is replaced by a rigid and regal posture. He bats
away his maiden and turns to Thor, who stands up.

                     THOR
          It&apos;s an interesting play.    What&apos;s
          it called?

                    ODIN
          The Tragedy of Loki of Asgard. The
          people wanted to commemorate him.

                    THOR
          Indeed they should.
              (provoking)
          I like that statue. A lot better
          looking than he was when he was
          alive, though. A little less
          weasely. Less greasy maybe.

Odin sours, masking his agitation.    Thor holds up the skull.

                    THOR (CONT&apos;D)
          You know what this is?

                    ODIN (ADR)
          The skull of Surtur? That&apos;s a
          formidable weapon.

Thor approaches an E-Guard and hands it over.

                    THOR
          Do me a favor. Lock this in a
          vault so it doesn&apos;t turn into a
          giant monster and destroy the whole
          planet.

                    ODIN
          So it&apos;s back to Midgard for you, is
          it?

Thor starts YO-YOing Mjolnir, turns back to Odin.

                    THOR
          Nope. I&apos;ve been having this
          reocurring dream lately.
                    (MORE)
                      BLUE DRAFT 05/20/16                13.

                    THOR (CONT&apos;D)
          Every night I see Asgard fall into
          ruins...

                    ODIN
          That&apos;s just a silly dream... Signs
          of an overactive imagination.

                    THOR
          Possibly... but then I decide to go
          out there and investigate. And
          what do I find, but the Nine Realms
          completely in chaos. Enemies of
          Asgard assembling, plotting our
          demise, all while you, Odin, the
          protector of those Nine Realms, are
          sitting here in your bathrobe,
          eating grapes.

                    ODIN
          Well, it is best to respect our
          neighbors&apos; freedom.

                     THOR
          Of course, the freedom to be
          massacred.

                    ODIN
          Yes, besides, I have been rather
          busy myself.

                    THOR
          Watching theatre.

                    ODIN
          Board meetings, and security
          council meetings...

                    THOR
          You really going to make me do it?

                     ODIN
          Do what?

Thor SPINS Mjolnir and then HURLS it off into the distance,
GRABS Odin by the back of the neck.

Odin&apos;s royal attendants GASP in shock. The Einherjar
bodyguards rush Thor, but he KICKS them away.

                    THOR
          You know that nothing will stop
          Mjolnir as it returns to my hand.

Mjolnir stops mid-air and starts ROCKETING BACK.
                       BLUE DRAFT 05/20/16                14.


                    THOR (CONT&apos;D)
          Not even your face.

                    ODIN
          You&apos;ve gone quite mad.     You&apos;ll be
          executed for this!

Mjolnir approaches at a terrifying speed as Odin struggles.

                    THOR
          Then I&apos;ll see you on the other
          side...brother.

The jig is up.   A shimmering illusion dissipates, revealing:

                    LOKI
          Alright, I yield!

Thor DROPS Loki to the ground and catches Mjolnir. Loki
looks to Thor, hands up defensively. Skurge arrives on the
scene, a little late to warn Loki.

                     SKURGE
          Behold!   Thor..Odinson.

                    LOKI
          You had one job!    Just the one.

                    THOR
          Where&apos;s Odin?

                    LOKI
          You just couldn&apos;t stay away, could
          you? Everything was fine without
          you. Asgard was prospering
              (gestures to the crowd)
          You&apos;ve ruined everything. Ask
          them.

Those who aren&apos;t freaked out are becoming gradually angrier.

Thor advances on Loki, who backs up onto the chaise lounge.

                    THOR
          Where&apos;s father?    Did you kill him?

                    LOKI
          You had what you wanted, you had
          the independence you asked for!

Thor PRESSES Mjolnir onto Loki&apos;s chest.
                           BLUE DRAFT 05/20/16                 15.


                         LOKI (CONT&apos;D)
               Ow-ow-ow! Alright! I know exactly
               where he is.

14   OMITTED                                                        14

15   OMITTED                                                        15

16   OMITTED                                                        16

17   EXT. SHADY ACRES NURSING HOME - MANHATTAN - DAY                17

     A NURSING HOME sign on a brick wall. Suddenly the wall
     crumbles out of shot, revealing a demolition site.

     Reveal Thor and Loki wearing street clothes. Thor carries an
     umbrella, Loki is dressed in a weird avant-garde suit.

                         LOKI
               I swear, I left him right here.

                         THOR
               Right here on the sidewalk? Or
               right there, where the building
               that&apos;s being demolished? Great
               planning.

                         LOKI
               How was I supposed to know? Can&apos;t
               see into the future. I&apos;m not a
               witch.

                         THOR
               Then why do you dress like one?

                          LOKI
               Hey.

                         THOR
               I can&apos;t believe you&apos;re alive. I saw
               you die. I mourned you, I cried for
               you.

                         LOKI
               I&apos;m honored.

                          COLLEGE GIRL 2
               Ask him.

                         COLLEGE GIRL 1
               Hi. Would you mind taking a picture
               with us?
                              BLUE DRAFT 05/20/16             16.


                         THOR
               Sure.
                   (to Loki:)
               Start figuring out where he is.

                         COLLEGE GIRL 1
               Oh, my god.

                         COLLEGE GIRL 2
               Sorry to hear that Jane dumped you.

                         THOR
               She didn&apos;t dump me, you know.       I
               dumped her. It was a mutual
               dumping.

     Thor notices something going on around Loki.

                         THOR (CONT&apos;D)
               What&apos;s this, what are you doing!?

     Loki looks down to see that the sidewalk has started to GLOW
     BENEATH HIM! A circle of ancient symbols.

                         LOKI
               This... isn&apos;t me.

     WHOOMPF! Loki DROPS out of sight, vanishing through solid
     concrete! Thor sees a CARD on the sidewalk where Loki was.

     Thor pokes the business card.

                         THOR
               Loki?

     He picks up the card.    It reads:

                         177A Bleecker Street

     Thor picks up the card and - WHOOSH!


18   EXT. SANCTUM SANTORUM - DAY                                    18

     Thor approaches 177A Bleecker Street.

     He knocks ONCE, TWICE, and then WHOOSH!


19   INT. SANCTUM SANCTORUM UPSTAIRS PARLOR - CONTINUOUS            19

     Thor is suddenly inside Doctor Strange&apos;s lair!
                      BLUE DRAFT 05/20/16                  17.


                    STRANGE (O.S.)
          Thor Odinson.

From a dark corner we glimpse a shape - DOCTOR STRANGE.
Levitating, he drifts towards Thor.

                    STRANGE (CONT&apos;D)
          God of Thunder.

Thor holds up the ratty umbrella, ready to defend himself.

                    STRANGE (CONT&apos;D)
          You can put down the umbrella.

Thor gives Strange a sideways look but then sets his umbrella
down. When he looks back up, the environment is furnished.

                    THOR
          So earth has wizards now?

                    STRANGE
          The preferred term is &quot;Master of
          the Mystic Arts.&quot;

                    THOR
          Alright wizard, who are you?   Why
          should I care?

                    STRANGE
          My name is Doctor Stephen Strange
          and I have some questions for you.
          Take a seat.

Thor and Strange are now sitting in high-backed chairs.

                     STRANGE (CONT&apos;D)
          Tea?

Thor now has a cup of tea in his hand.

                    THOR
          I don&apos;t drink tea.

                    STRANGE
          What do you drink?

                     THOR
          Not tea.

Thor now has a stein of beer in his hand. He drinks it
throughout the scene, but it always stays full.
             BLUE DRAFT 05/20/16       18.


          STRANGE
So I keep a watch list of
individuals and beings from other
realms that may be a threat to this
world. Your adopted brother Loki
is one of these beings.

          THOR
He&apos;s a worthy inclusion.

          STRANGE
Then why bring him here?

          THOR
We&apos;re looking for my father.

          STRANGE
So. If you were to tell you where
Odin was, all parties concerned
would promptly return to Asgard?

            THOR
Promptly.

           DR. STRANGE
Great.   Then I&apos;ll help you.

          THOR
If you knew where he was, why
didn&apos;t you call me?

           DR. STRANGE
I have to tell you, he was adamant
that he not be disturbed. Your
father said he had chosen to remain
in exile.
    (beat)
And you don&apos;t have a phone.

          THOR
No, I don&apos;t have a phone, but you
could have sent an electronic
letter. It&apos;s called an email.

          STRANGE
Yeah, do you have a computer?

           THOR
No. What for?
    (beat)
Anyway, my father is no longer in
exile. So if you could tell me
where he is, I can take him home.
                            BLUE DRAFT 05/20/16                   19.


                           DR. STRANGE
                Gladly.   He&apos;s in Norway.

      Strange stands up and suddenly they are standing by a book-
      case. Strange takes down an ancient book, flips through it.

                          STRANGE
                I&apos;m just seeing whether this
                incantation requires any Asgardian
                modifications.

      Thor reaches out to the bookcase to steady himself.

                           STRANGE (CONT&apos;D)
                Nope.

      Suddenly they are both across the room at Strange&apos;s work
      station. Because Thor was touching the bookcase, he has
      magically brought it across the room as well.

                          STRANGE (CONT&apos;D)
                Oh, we don&apos;t need that.

      Suddenly Thor is back across the room.   Books fall off the
      shelf and Thor&apos;s beer spills.

      He is queasy and unsteady from the teleporting.

                          THOR
                Will you stop doing that?

                          STRANGE
                I need just one strand of your
                hair.

                          THOR
                Let me explain something, my hair
                is not to be meddled wi-!

      Strange is behind Thor, he plucks a strand of hair.

      Strange extends the hair, infuses it with magic, does a few
      gestures that create a BRIGHT LIGHT and suddenly-


A20   INT. SANCTUM SANCTORUM - FRONT STAIRCASE - CONTINUOUS            A20

      Bottom of the stairs. Strange is standing. Thor is rolling
      down the stairs. A magic portal leading into a peaceful
      meadow has opened beside Strange.

                          THOR
                We could have just walked.
                        BLUE DRAFT 05/20/16                20.


                    DR. STRANGE
              (re: the portal)
          He&apos;s waiting for you.

                       THOR
          All right.

                    STRANGE
          Don&apos;t forget your umbrella.

                       THOR
          Yes.

Thor extends his arm and holds out his hand.    Crashing noises
are heard. Lots of crashing noises.

                       THOR (CONT&apos;D)
          Sorry

Finally the umbrella flies into his hand.

                    THOR (CONT&apos;D)
          I suppose I&apos;ll need my brother
          back.

                    DR. STRANGE
          Yeah, right.

Suddenly we hear SCREAMING.

From above, LOKI drops out of a portal. He LANDS HARD on the
floor and then STAGGERS to his feet. On edge, confused.

                    LOKI
          ...I have been falling...for thirty
          minutes!

                    DR. STRANGE
              (to Thor:)
          You can handle him from here.

                    THOR
          Yeah of course.
              (they shake hands)
          Thank you very much for your help.

                       STRANGE
          Good luck.

                       LOKI
          Handle me?     Who are you?

                       THOR
          Loki.
                             BLUE DRAFT 05/20/16                   21.


     Loki DRAWS a dagger, ready to attack Strange.

                          LOKI
                ..you think you&apos;re some kind of
                sorcerer? Don&apos;t think for one
                minute, you second-rate...

                            DR. STRANGE
                Bye-bye.

     Strange GESTURES with both hands and-

     -WHOOSH!   PULLS the magic portal over them.

     Just like that, Thor and Loki are gone.

20   OMITTED                                                            20

21   EXT. CLIFFS - DAY                                                  21

     Beautiful, undisturbed nature.       We hear the ocean nearby.

     LOKI lands on the ground, portal closes behind them.

                            THOR
                Father?

     A lone figure stands at the other side of the meadow at the
     cliff&apos;s edge, waves CRASHING below.

     It is ODIN. He&apos;s dressed plainly in humble human clothes.
     The boys approach him quickly.

                          ODIN
                Look at this place. It&apos;s beautiful.

                          THOR
                Father, it&apos;s us.

                           ODIN
                My sons.   I&apos;ve been waiting for
                you.

     Loki is surprised to hear Odin call him his son.

                            THOR
                I know.    We&apos;ve come to take you
                home.

                          ODIN
                Home, yes. Your mother, she calls
                me. Do you hear it?

     Thor fires a look at Loki, who holds up his hands in defense.
                      BLUE DRAFT 05/20/16                   22.


                    THOR
          Loki, lift your magic.

Odin turns to Loki, who stiffens.    But Odin smiles.

                    ODIN
          Took me quite a while to break free
          from your spell. Frigga would have
          been proud.

Loki is moved by this gesture. He looks over to see Thor
staring at him, anger building.

Odin puts a hand on Thor&apos;s shoulder, calming him.

                     ODIN (CONT&apos;D)
          Come and sit with me. I don&apos;t have
          much time.

Odin sits, out of breath, weak.    His sons sit beside him.

                    THOR
          I know that we failed you, but we
          can make this right.

                     ODIN
          I failed you.
              (beat)
          It is upon us...Ragnarok.

                    THOR
          No, I&apos;ve stopped Ragnarok.    I put
          an end to Surtur.

                    ODIN
          No. It has already begun. She&apos;s
          coming. My life was all that held
          her back, but my time has come. I
          cannot keep her away any longer.

                    THOR
          Father, who are you talking about?

                    ODIN
          The Goddess of Death.     Hela.   My
          first born.
              (faces Thor)
          Your sister.

That hits Thor hard. Loki can&apos;t believe what he&apos;s hearing.

                     THOR
          ...what?
                       BLUE DRAFT 05/20/16                  23.


                     ODIN
           Her violent appetites grew beyond
           my control. I couldn&apos;t stop her,
           so I imprisoned her. Locked her
           away. She draws her strength from
           Asgard...and once she gets there,
           her powers will be limitless.

                     THOR
           Whatever she is, we can stop her.
           We can face her together.

                     ODIN
               (takes Thor&apos;s hand)
           No we won&apos;t. I&apos;m on a different
           path now. This you must face
           alone.

Odin looks into Thor&apos;s eyes, struggling to breathe.

                     ODIN (CONT&apos;D)
           I love you my sons.

For the briefest of instances, father and sons share a quiet
moment together. Tears well in Thor&apos;s eyes.

                     ODIN (CONT&apos;D)
           Look at that.

Ethereal sun-rays stream down upon the ocean.

                     ODIN (CONT&apos;D)
           Remember this place. Home.

A warm glow washes over Thor&apos;s face and he turns to see that-

-ODIN IS DISSIPATING INTO STARDUST.   THE ALLFATHER HAS DIED.

A moment as the brothers separately mourn for Odin.

The sky above DARKENS and THE WIND PICKS UP.

Thor stands and turns toward Loki, his eyes burning with
rage. Loki takes a step back.

                      LOKI
           Brother.

Thor faces Loki.   Electricity CRACKLES at Thor&apos;s hands.

                     THOR
           This was your doing.

CRACK!   Behind them a black portal SPLITS OPEN!
                      BLUE DRAFT 05/20/16                    24.


Thor SLAMS DOWN his umbrella, transforming into his Asgardian
armor (with Mjolnir). Loki changes into his armor as well.

A piercing scream cuts the air as a figure is hurtled out of
the portal, crashing out of this dimensional rift is HELA.

Hela takes a second to consider her surroundings.   Then:

                     HELA
          So he&apos;s gone?
              (beat)
          That&apos;s a shame. I would&apos;ve liked
          to have seen that.

A tense moment as they stare each other down.

                    THOR
          You must be Hela.   I&apos;m Thor, son of
          Odin.

                    HELA
          Really, you don&apos;t look like him.

                    LOKI
          Perhaps we can reach an
          arrangement.

                    HELA
          You sound like him.

Loki shifts nervously.   Thor&apos;s grip tightens on Mjolnir.

                    HELA (CONT&apos;D)
          Kneel.

                    LOKI
          Beg your pardon?

Hela MANIFESTS a pitch black blade.

                    HELA
          Kneel...before your Queen.

                    THOR
          I don&apos;t think so.

Thor winds up and HURLS Mjolnir at Hela...

- THUD - the mighty hammer comes to a cold stop, against
Hela&apos;s hand.

Thor is shocked. He stretches out his hands, trying to call
Mjolnir back to him.
                            BLUE DRAFT 05/20/16                  25.


     The hammer trembles in Hela&apos;s hand, like a mini game of tug-o-
     war. But ultimately Hela keeps possession.

                          THOR (CONT&apos;D)
                It&apos;s not possible.

                          HELA
                Darling, you have no idea what&apos;s
                possible.

     HELA SHATTERS THOR&apos;S HAMMER.

     The blast of Mjolnir&apos;s destruction sends a wave of energy
     through Thor and Loki who brace themselves against the
     impact.

     Thor is stupefied. In shock. He looks up to see Hela is
     running her hands back over her head to create the terrifying
     battle headdress.

     Loki&apos;s reaction is more panic.   He stands and calls up:

                          LOKI
                Bring us back!

                          THOR
                No!!

     Hela CHARGES Thor and Loki as-

     -WHOOSH!   The Bi-Frost envelopes all of them.


22   INT. BI-FROST - CONTINUOUS                                       22

     Thor and Loki ZOOM UPWARDS, held inside this celestial beam
     warping them towards Asgard. Loki and Thor look down to
     see... Hela is in the Bi-Frost, behind them and CATCHING UP.

     Loki turns and throws TWO DAGGERS at her. They find their
     mark, stalling her for a second. But she PLOWS RIGHT THROUGH
     Loki, KNOCKING HIM OUT OF THE BI-FROST. Gone in an instant.

                          THOR
                Loki!

     Hela projects a jet black grappling hook and GRABS HOLD of
     Thor. Drawing him to her, preparing to finish him off. Thor
     pulls up his legs, and KICKS Hela with both feet. This
     effectively dislodges him from her grasp but also...

     ...KNOCKS THOR OUT OF THE BI-FROST! Now both he and Loki are
     gone. If they aren&apos;t dead, then God knows where they went.
                            BLUE DRAFT 05/20/16                 26.


23   INT. THE OBSERVATORY - CONTINUOUS                               23

     VOLSTAGG has a grip on Heimdall&apos;s sword, manning Bi-Frost&apos;s
     controls. Behind him FANDRAL is overseeing Skurge, who is
     mopping up the dragon guts.

     BOOM! Hela emerges with thunderous impact. Fandral and
     Volstagg draw their weapons, preparing to engage.

                          VOLSTAGG
               Who are you!? What have you done
               with Thor?

     Hela fires TWO BLACK DAGGERS, each one dropping its target to
     the ground. Hela then walks forward and-

                           HELA
               I&apos;m Hela.

     -BRUTALLY KILLS FANDRAL AND VOLSTAGG!

     Hela sees Skurge. Approaches calmly, a vision of death.

     With Hela only a few feet from him, Skurge cowers.   Pause.

                         SKURGE
               I&apos;m just a janitor.

     Skurge ever-so-slightly peers up at her.

                         HELA
               You look like a smart boy with good
               survival instincts. How would you
               like a job?

     Hela looks out upon Asgard as Skurge rises behind her.


24   EXT. ASGARD - THE MOUNTAINS - SAME                              24

     A mysterious HOODED FIGURE watches Hela&apos;s arrival at the
     Observatory and begins a steady descent towards the city.


25   EXT. SAKAAR - THE WASTELAND SHORE - DAY                         25

     SUPER WIDE: A sky full of WORMHOLES. Thor, only a spec at
     this distance, SHOOTS out of one of these wormholes. He HITS
     the surface, causing a CLOUD of dust.

     Find Thor on his back surrounded by strange colorful space
     wreckage. Looking up, Thor sees a large metal object falling
     from a different wormhole! He rolls out of the way. THUD!
                        BLUE DRAFT 05/20/16                    27.


Thor runs up a dune to get away from the shower of debris.

Thor reaches the top of the dune and finds himself looking
down on A BEACH in a strange WASTELAND. Camera scans a filthy
dune littered with SPACE JUNK.

Out across the OCEAN he notices A NIGHTMARE WORMHOLE - a
giant open cylinder of whirling smoke and lightning storms.

A loud noise draws Thor&apos;s attention to a HUGE RECTANGULAR
&quot;SCRAPPER&quot; SHIP hauling a crashed SPACE VESSEL out of the
water. Beneath the ship are various SCRAPPERS, masked
humanoids. The ship is BLASTING WEIRD ALIEN MUSIC.

A Scrapper notices Thor, then signals to his crew.

                    LEAD SCRAPPER
          Are you a fighter or are you food?

                    THOR
          I&apos;m just passing through.

                    LEAD SCRAPPER
          It is food. On your knees.

Thor reaches out to summon Mjolnir.    A reflex.   Nothing.

The LEAD SCRAPPER levels a MAGNO-RIFLE at Thor and WHAP! A
solid metal projectile KNOCKS Thor flat on his back. More
Scrappers attack, throwing nets and firing more projectiles.
Thor tries to swat them away but they keep coming. The rest
of the scrappers move in with iron bats and clubs.

WHOOSH! A second ship arrives, landing nearby. It&apos;s cool,
sleek, and dangerous, deserving of its name: WARSONG. It is
also BLASTING DIFFERENT WEIRD ALIEN MUSIC.

The FRONT of Warsong FLIPS OPEN and a GANGPLANK extends down
to the ground. The scrappers stop and stare as we TRACK IN to
a HERO REVEAL of SCRAPPER #142 (S142 for short) - a beautiful
and ruthless asskicker.

S142 lifts a half-empty bottle to her lips and CHUGS it. She
finishes the bottle and smashes it on the side of her ship.

                       SCRAPPER #142
          He&apos;s MINE.

She walks down the gangplank... before veering off course and
FALLING straight off into a pile of TRASH. She&apos;s PLASTERED.

The Scrappers shrug and start hauling Thor away.
                        BLUE DRAFT 05/20/16                 28.


                       SCRAPPER #142 (CONT&apos;D)
          Wait!

S142 staggers to her feet, takes a deep breath. She holds on
to a piece of junk as support - some dead beast. Thor
continues to struggle with his captors, tangled in nets.

                    SCRAPPER #142 (CONT&apos;D)
          Wait! He&apos;s mine. So if you want
          him, you go through me.

The Scrappers start brandishing their weapons.

                    SCRAPPER
          But we&apos;ve already got him.

S142 CLANGS her metal gauntlets together which activate.

                    SCRAPPER #142
          Alright then I guess I go through
          you.

                       LEAD SCRAPPER
          More food.

She holds out her fists as if she&apos;s operating machinery...

...Warsong WHIRS to life. S142 clenches her fists and we hear
a horrible SCREECHING NOISE as Warsong OPENS FIRE.

She sweeps her arms out in an arc, the spray of gunfire
lasting THREE SECONDS. She bangs her fists again, sending the
ship into IDLE MODE. The Scrappers are now little more than
tiny pieces of litter covering the beach.

Thor is fixated on this beautiful murderer approaching. One
final HUGE Scrapper comes at her with a bat. S142 casually
GRABS this Scrapper and HURLS him up into the air behind her.

                       THOR
          Thank you.

From her belt S142 FLICKS a small glowing disc which LODGES
into Thor&apos;s NECK. Far in the background, the Scrapper she
threw finally HITS the ground with a loud THUD.

She holds up a fob device and presses the button - the disc
blinks and Thor is filled with the pain of a thousand
screaming squirrels. He hits the ground, stunned.

S142 DRAGS Thor towards her ship.
                           BLUE DRAFT 05/20/16                   29.


30   INT. WARSONG SHIP - DAY                                          30

     Thor&apos;s face SMUSHED up against glass.   His eyes are open.

     Thor&apos;s POV - THE CAPITAL - an eclectic city composed of
     salvaged items from all over the universe.

     Thor is lying in a sort of small GLASS HOLDING CELL beneath
     Warsong&apos;s COCKPIT. He looks up to see S142 piloting the ship.

     Thor&apos;s eyes lock in on her belt, specifically the fob device
     she used to activate the Obedience Disk/debilitate him.

                         SCRAPPER #142
               This is Scrapper 142. I need
               clearance and an audience with the
               boss. I&apos;ve got something special.

                          THOR
               Hey!   Where are you taking me?

     S142 ignores him, takes a swig from the bottle, and then
     nonchalantly UNCLIPS the fob from her belt.

                         THOR (CONT&apos;D)
               Answer me! Hey! I am Thor, son of
               Odin. I need to get back to
               Asgard.

                         SCRAPPER #142
               Many apologies, your majesty.

     S142 ZAPS him and guides her ship towards a COLOSSAL TOWER.


26   EXT. OUTSKIRTS OF ASGARD - DAY                                   26

     CLOSE ON: Hela, headdress retracted, hair down, her beautiful
     face fully visible. We do not see who she is talking to.

                         HELA
               It&apos;s come to my attention that you
               don&apos;t know who I am.

     REVEAL THE ARMIES OF ASGARD FACING DOWN HELA.

     Standing in front is HOGUN, sword and shield out.

                         HELA (CONT&apos;D)
               I am Hela, Odin&apos;s first born,
               Commander of the legions of Asgard,
               the rightful heir to the throne,
               and the Goddess of Death.
                   (pause for effect)
                         (MORE)
                           BLUE DRAFT 05/20/16                30.

                         HELA (CONT&apos;D)
               My father is dead. As are the
               princes. You&apos;re welcome.
                   (then:)
               We were once the seat of absolute
               power in the Cosmos. Our supremacy
               was unchallenged, yet Odin stopped
               at Nine Realms. Our destiny is to
               rule over all others. And I am
               here to restore that power. Kneel
               before me...and rise into the ranks
               of my great conquest.

     THE E-GUARDS GET INTO ATTACK FORMATION.

                         HOGUN
               Whoever you are... whatever you&apos;ve
               done, surrender now! Or we will
               show you know mercy.

                         HELA
               Whoever I am? Did you listen to a
               word I said?

                         HOGUN
               This is your last warning!

                         HELA
               I thought you&apos;d be happy to see me.

     Hela forms her headdress.

                         HELA (CONT&apos;D)
               Fine.

     The Asgardian archers LOOSE DOZENS OF ARROWS, but-

     -Hela advances confidently, DESTROYS the SHIPS and SOARS INTO
     THE EINHERJAR! In a symphony of spectacular terror, Hela
     proceeds to DECIMATE the entire regiment. A tornado of
     carnage, a legendary massacre.


27   EXT. BELOW THE RAINBOW BRIDGE - SAME                            27

     While Hela slaughters up above, we tilt up from a boat,
     moored at the base of the Observatory, to see the mysterious
     figure from earlier is now SCALING the rocks towards the top.


28   INT. THE OBSERVATORY - CONTINUOUS                               28

     Now silhouetted in the entrance way, the figure scans the
     Observatory. His gaze falls on-
                            BLUE DRAFT 05/20/16                   31.


      -Bi-Frost&apos;s controls. Specifically Heimdall&apos;s sword.


29    EXT. OUTSKIRTS OF ASGARD - CONTINUOUS                            29

      It&apos;s eerily quiet. CLOSE on Hela scanning the battlefield.
      100+ slain Einherjar at her feet.

      ANGLE on Skurge as he steps forward - awe, admiration, fear.

                          HELA
                Oh, I&apos;ve missed this. Still, it&apos;s
                a shame. Good soldiers dying for
                nothing...all because they couldn&apos;t
                see the future. Sad.
                    (then she sees:)
                Oh! Look, still alive.

      Reveal Hogun, severely injured but staggering to his feet,
      resilient.

                          HELA (CONT&apos;D)
                Change of heart?

      Hogun draws a dagger as a last ditch attack.

                          HOGUN
                Go back to whatever cave you crept
                out of you evil demoness!

      Hela IMPALES Hogun on a spike.   She turns to Skurge.

                          HELA
                Let&apos;s go see my palace.

      Skurge stares at Hogun before following Hela towards the
      palace.

31    OMITTED                                                          31


A32   INT. DARK TUNNEL - DAY                                           A32

      THOR, strapped to the chair, suddenly finds himself slowly
      moving forward. After a beat-

      -the walls LIGHT UP and a SOOTHING VOICE speaks to him.

                          SOOTHING VOICE (V.O.)
                Fear not, for you are found. You
                are home, and there is no going
                back. No one leaves this place.

      Thor STRUGGLES against his restraints.
                      BLUE DRAFT 05/20/16                  32.


                     SOOTHING VOICE (V.O.)
          But what is this place? The answer
          in Sakaar.

The tunnel walls show images of Sakaar&apos;s place in the Cosmos.

                    SOOTHING VOICE (V.O.)
          Surrounded by cosmic gateways,
          Sakaar lives on the edge of the
          known and unknown.

Images of the wormholes that cover Sakaar&apos;s atmosphere.

                    SOOTHING VOICE (V.O.)
          It is the collection point for all
          lost and unloved things. Like you.
          But here on Sakaar, you are
          significant. You are valuable.
          Here, you are loved.

                    THOR
          What...the hell?

                    SOOTHING VOICE (V.O.)
          And no one loves you more than the
          Grandmaster.

Images of the Grandmaster, in silhouette, arriving on Sakaar.

                    SOOTHING VOICE (V.O.)
          He is the original. The first
          lost, and the first found. The
          creator of Sakaar and the father of
          the Contest of Champions.

Images of the arena where aliens battle to the death.

                    SOOTHING VOICE (V.O.)
          Where once you were nothing, now
          you are something. You are the
          property of the Grandmaster.
              (then:)
          Congratulations! You will meet the
          Grandmaster in five seconds.

Images around the tunnel begin speeding up. Chaos, violence,
and confusion mixed in with Grandmaster&apos;s face.

Thor, already bewildered, looks on the verge of panic.

                    SOOTHING VOICE (V.O.)
          Prepare yourself. Prepare
          yourself. You are now meeting the
          Grandmaster.
                             BLUE DRAFT 05/20/16                33.


     Thor SCREAMS!


32   INT. GRANDMASTER&apos;S CHAMBERS - CONTINUOUS                        32

     Suddenly Thor is somewhere else, surrounded weirdos and
     insanely dressed palace guards.

     His scream dies down self-consciously.

     A musical beat PLAYS in the background.

     THE GRANDMASTER, a tall mysterious man in golden robes. He is
     looking right at us. He doesn&apos;t know what to make of us. He&apos;s
     curious, thrilled, revolted, and titillated.

     Pulling back we see TOPAZ, his trusty guard, at his side. Two
     GOLDEN LADIES loiter off to the side. Other strange guests
     can be seen in the background. Grandmaster just stares.

     S142 stands beside Grandmaster.    Finally:

                         GRANDMASTER
               He&apos;s wonderful.
                   (then:)
               It is a he?

     Reveal S142 standing beside Thor.

                            SCRAPPER #142
               It&apos;s a he.

                         GRANDMASTER
               Yeah. I love when you come to visit
               142, you bring me the best stuff.
                   (to Topaz:)
               Whenever we get to talking, Topaz,
               about Scrapper 142...what do I
               always say? &quot;She is the...&quot; and it
               starts with a B.

                            TOPAZ
               Trash.

                         GRANDMASTER
               No, not trash. Were you waiting
               just to call her that? It doesn&apos;t
               start with a &quot;B.&quot;

                            TOPAZ
               Booze hag.
                         BLUE DRAFT 05/20/16                  34.


                    GRANDMASTER
          I&apos;m so sorry. No, &quot;best.&quot; I was
          thinking about &quot;best.&quot;
              (to S142:)
          Because I always say you&apos;re the
          best. She brought me my precious
          beloved Champion, you know.

                    TOPAZ
          You say that every time she&apos;s here.

                    GRANDMASTER
          What have you brought today?    Tell
          me.

                    SCRAPPER #142
          A contender.

                     THOR
          A what?

                    GRANDMASTER
          I need to go closer. I want a
          closer look at this. Can you take
          us closer? Thank you.

Grandmaster advances on Thor.    Examining him closely and
strangely. Then:

                    GRANDMASTER (CONT&apos;D)
          Pay this lady.

                    THOR
          Just wait a damn minute.    I&apos;m not
          for sale.

Using all his might, Thor breaks out of his shackles, but-

-S142 ZAPS him again.    Paralyzed by superheated veins.

                     GRANDMASTER
          Man.   He is a fighter.

                    SCRAPPER #142
          I&apos;d take 10 million.

                    TOPAZ
          Tell her she&apos;s dreaming.

                    GRANDMASTER
          For heaven&apos;s sake, transfer the
          units.
                      BLUE DRAFT 05/20/16                   35.


Topaz transfers S142 the units. Without sympathy or ceremony,
S142 exits.

                    THOR
          You&apos;ll pay for this!

                    SCRAPPER #142
          No, I got paid for this.

Thor claws at the obedience disk, trying to RIP IT OUT.

He gets some separation from his skin, but the disk is
causing him even more pain. Thor eventually has to let go.
Grandmaster holds up HIS OWN fob device and uses it like a
wand to guide Thor&apos;s HOVER CHAIR, which follows Grandmaster
around as he speaks.

                    GRANDMASTER
          Here&apos;s what I wanna know.    Who are
          you?

                    THOR
          I am the God of THUNDER!!!

Thor THRUSTS his arms into the air but only a tiny bit of
static electricity POPS within Thor&apos;s hands.

                    GRANDMASTER
          Wow. I didn&apos;t hear any thunder,
          but out of your fingers, was that
          like...sparkles?

                    TOPAZ
          We located your cousin.

                     GRANDMASTER
          Oh good!
              (to Thor:)
          Yeah, come on. I think you&apos;re gonna
          like this.

Grandmaster moves Thor&apos;s chair to another section where-

-COUSIN CARLO is waiting. He&apos;s strapped to a chair like
Thor, and he is terrified.

                    GRANDMASTER (CONT&apos;D)
          There he is. Hey, cuz. We almost
          couldn&apos;t find you. What, have you
          been hiding?

Cousin Carlo looks at Thor, cowering in fear.
                        BLUE DRAFT 05/20/16                   36.


                       THOR
          Hi.

Carlo only further weeps.

                       GRANDMASTER
          So...

                     COUSIN CARLO
          Please.   I&apos;m sorry.

                    GRANDMASTER
          Carlo... I pardon you.

                       COUSIN CARLO
          Thank you.     Thank you.

                    GRANDMASTER
          You&apos;re officially pardoned...from
          life.

Grandmaster casually takes Topaz&apos;s Sakaarian Guard staff and
JABS it into his cousin&apos;s mid-section-

-CAUSING ALL OF HIS FLESH TO MELT OFF HIS SKELETON!

Carlo SHRIEKS IN PAIN before his vocal cords melt.    Thor
looks on, in shock.

                    THOR
          Oh, my god!

Liquid Carlo spreads towards Grandmaster.

                    GRANDMASTER
          I&apos;m stepping in it. I&apos;m stepping
          in it. Look out!

                    THOR
              (repulsed)
          Oh, the smell.

                    GRANDMASTER
          What does it smell like?

                    TOPAZ
          Burnt toast.

                    GRANDMASTER
          What happened to my manners? I
          haven&apos;t properly introduced myself.
          Come on. Follow me.

Grandmaster gives Topaz back her staff.
                      BLUE DRAFT 05/20/16                  37.


Grandmaster and Thor arrive at a space where A GROUP OF
MUSICIANS PLAY STRANGE INSTRUMENTS (the source of the music
thus far). Grandmaster joins them, still speaking to Thor.

Grandmaster begins PLAYING a strange piano-like contraption,
riffing a melody over the existing music.

                    GRANDMASTER (CONT&apos;D)
          My name is Grandmaster. I preside
          over a little harlequinade called
          the Contest of Champions. People
          come from far and wide to
          unwillingly participate in it. And
          you, my friend, might just be part
          of the new cast. What do you say
          to that?

                    THOR
          We&apos;re not friends, and I don&apos;t give
          a shit about your games! I&apos;m going
          back to Asgard!

                    GRANDMASTER
              (amused)
          Ass-gard?
              (then:)
          One, two, three, four.

Grandmaster really gets into his PLAYING. Grandmaster&apos;s
guards and VIP guests start MOVING TO THE MUSIC.

Thor takes a moment to look around at this bizarre spectacle
unfolding around him. In doing so, he zeroes in on one
particular group of VIPS, specifically...

...LOKI! He&apos;s lounging and dressed in Sakaarian garb.

                    LOKI
          There was a wormhole in space and
          time beneath me. At that moment, I
          let go.

                    THOR
          Loki!? Loki! Over here!

Loki notices Thor. Blanches a little. Sidles closer so as
to speak to Thor without looking like he&apos;s speaking to Thor.

                    LOKI
          Excuse me one second.

                    THOR
          Loki!
                        BLUE DRAFT 05/20/16     38.


Loki hustles over to Thor, SHUSHING him.

                     LOKI
          What?   You&apos;re alive?

                    THOR
          Yes, of course I&apos;m alive.

                    LOKI
          What are you doing here?

                    THOR
          What do you mean, what am I doing?
          I&apos;m stuck in this stupid chair.
          Where&apos;s your chair?

                    LOKI
          I didn&apos;t get a chair.

                    THOR
          Get me out of this one.

                       LOKI
          I can&apos;t.

                       THOR
          What?

                    LOKI
          I&apos;ve made friends with this man.
          He&apos;s called the Grandmaster.

                    THOR
          Oh, he&apos;s crazy!

                    LOKI
          I&apos;ve gained his favor.. The Bi-
          Frost brought me out here weeks
          ago.

                       THOR
          Weeks ago?     I just got here.

Suddenly Grandmaster is right next to them.

                    GRANDMASTER
          What are you whispering about?

Both Thor and Loki react, startled.

                    GRANDMASTER (CONT&apos;D)
          Time works real different around
          these parts.
                    (MORE)
                      BLUE DRAFT 05/20/16                  39.

                    GRANDMASTER (CONT&apos;D)
          On any other world, I&apos;d be like,
          millions of years old. But here on
          Sakaar...

Grandmaster beholds himself.   Then turns to Loki.   A truly
uncomfortable silence.

                    GRANDMASTER (CONT&apos;D)
          In any case, you know this... You
          call yourself Lord of Thunder?

                    THOR
          God of Thunder.    Tell him.

                    LOKI
          I&apos;ve never met this man in my life.

                    THOR
          He&apos;s my brother.

                     LOKI
          Adopted.

                    GRANDMASTER
          Is he any kind of a fighter?

Loki shrugs, gives the universal gesture for &quot;so-so.&quot;

                    THOR
          You take this thing out of my neck
          and I&apos;ll show you.

                    GRANDMASTER
          Now listen to that. He&apos;s
          threatening me. Hey, Sparkles,
          here&apos;s the deal. If you wanna get
          back to Ass-place, Assberg...

                     THOR
          Asgard.

                    GRANDMASTER
          Any contender who defeats my
          champion, their freedom they shall
          win.

                    THOR
          Fine. Then point me in the
          direction of whoever&apos;s ass I have
          to kick.

                    GRANDMASTER
          That&apos;s what I call, contender!
          Direction would be this way, Lord.
                             BLUE DRAFT 05/20/16                40.


                            THOR
               Loki!

     Guards arrive.    They haul Thor up and escort him out.

33   OMITTED                                                         33

34   INT. THE ARENA - GLADIATOR CELLS - NIGHT                        34

     Thor is shoved into a spacious cell where other alien
     prisoners are lurking in the back.

     The thick cell door SLAMS SHUT behind Thor. Thor gets up and
     immediately begins THROWING his shoulder into the door. The
     door doesn&apos;t budge, not even a little.

     Behind him, KORG, a hulking Kronan rock alien, speaks up.

                         KORG
               Hey! Take it easy man!
                   (Thor looks back)
               Over here. The pile of rocks
               waving at you. Yeah I&apos;m actually a
               thing, I&apos;m a being. Allow me to
               introduce myself, my name is Korg.
               I&apos;m kind of like the leader in
               here. I&apos;m made of rocks, as you
               can see, but don&apos;t let that
               intimidate you. You don&apos;t need to
               be afraid unless you&apos;re made of
               scissors.
                   (GIGGLES to himself)
               Just a little rock-paper-scissor
               joke for you. This is my very good
               friend over here, Miek. He&apos;s an
               insect and has knives for hands.

     MIEK, a slug alien inside a robot exoskeleton, says hello by
     doing some karate moves.

                         THOR
               You&apos;re a Kronan, aren&apos;t you?

                            KORG
               That I am.

                         THOR
               How&apos;d you end up in here?

                         KORG
               Well, I tried to start a revolution
               but didn&apos;t print enough pamphlets,
               so hardly anyone turned up.
                         (MORE)
                      BLUE DRAFT 05/20/16                41.

                    KORG (CONT&apos;D)
          Except for my mom and her
          boyfriiend, who I hate. As
          punishment, I was forced to be in
          here and become a gladiator. Bit
          of a promotional disaster.
              (secretive)
          But I&apos;m actually organizing another
          revolution. I don&apos;t know if you&apos;d
          be interested in something like
          that. Do you reckon you&apos;d be
          interested?

Thor tries to run ahead down the circle and loops back around
behind Korg.

                    THOR
          How did you...

                    KORG
          Yeah, no. This whole thing is a
          circle. But not a real circle,
          more like a freaky circle.

                    THOR
          This doesn&apos;t make any sense.

                    KORG
          No, nothing makes sense here. The
          only thing that does make sense, is
          that nothing makes sense.

                    THOR
          Has anyone here fought the
          Grandmaster&apos;s Champion?

                    KORG
          Doug has. Doug!
              (realizes)
          Oh, right, Doug&apos;s dead. That&apos;s
          right. Everyone who fights the
          Grandmaster&apos;s champion perishes.

                    THOR
          What about you? You&apos;re made of
          rocks.

                    KORG
          Perishable rocks.
              (a pebble FALLS OFF)
          There you go. Another one gone.
          Yeah, no, I just do the smaller
          fights, warm up the crowd and
          whatnot. Wait. You&apos;re not gonna
          face him, are you?
                              BLUE DRAFT 05/20/16                  42.


                            THOR
                  Yes I am. Fight him, win, and get
                  the hell out of this place.

                            KORG
                  That&apos;s exactly what Doug used to
                  say. See you later, new Doug.

      Korg walks away and approaches Miek.


A35   EXT. ASGARD - STREETS - SUNSET                                    A35

      The streets of Asgard are cold and silent, save for the
      occasional distant sounds and screams of a city under siege.

35    OMITTED                                                           35

A36   INT. THRONE ROOM - CONTINUOUS                                     A36

      Moving down the throne room corridor we see-

      -SEVERAL DEAD EINHERJAR GUARDS.

      One guy is still alive, desperately trying to crawl away.

      SHLNK!    A black blade finishes him off.

      Reveal HELA and SKURGE looking down at the carnage.

      Hela directs her attention to FRESCOS ON THE CEILING. Like
      the Sistine Chapel, except these depict Asgard&apos;s shining
      influence on the Nine Realms. Bountiful harvests, shepherds
      with full flocks, common folk throwing parades for Asgard&apos;s
      army, etc.

                            HELA
                  Does no one remember me?
                      (awaiting an answer)
                  Has no one been taught our history?
                  Look at these lies. Goblets and
                  garden parties? Peace treaties?

      Hela leads them towards the throne.

                            HELA (CONT&apos;D)
                  Odin... proud to have it... ashamed
                  of how he got it.

      Hela FIRES SPIKES into the ceiling, RIPPING DOWN plaster.

      Beneath the surface are older Frescos.      These ones are far
      more dark and sinister.
                               BLUE DRAFT 05/20/16              43.


      Soldiers in battle. Blood. A giant war wolf.     Young Odin
      and young Hela. Slaves building the palace.

      Skurge is at least somewhat disturbed by this.

                           HELA (CONT&apos;D)
                We were unstoppable. I was his
                weapon in the conquest that built
                Asgard&apos;s empire. One by one, the
                realms became ours.

      Hela turns from the murals to address Skurge.

                          HELA (CONT&apos;D)
                But then, simply because my
                ambition outgrew his...he banished
                me, caged me, locked me away like
                an animal. Before that, Asgard&apos;s
                warriors were honored, their bodies
                buried as heroes beneath this very
                place.

      Hela beckons Skurge to follow her.


B36   INT. ODIN&apos;S VAULT - CONTINUOUS                                  B36

      Hela enters the vault and descends the stairs towards the
      magical items.

                          SKURGE
                Odin&apos;s treasures.

      SKURGE follows her. Hela walks towards the Infinity Gauntlet.

                             HELA
                Fake.

      Hela KNOCKS the gauntlet off its pedestal.

                          HELA (CONT&apos;D)
                Most of the stuff in here is fake.

      Next: The Casket of Ancient Winter.

                             HELA (CONT&apos;D)
                Or weak.

      Next: Surtur&apos;s skull.

                          HELA (CONT&apos;D)
                Smaller than I thought it would be.

      Next: The Tesseract.    She hesitates:
                              BLUE DRAFT 05/20/16                 44.


                          HELA (CONT&apos;D)
                That&apos;s not bad?
                    (notices:)
                But this... The Eternal Flame.

      THE ETERNAL FLAME flickers in its chalice.

      Hela DIGS HER HAND INTO THE ETERNAL FLAME. She pulls her
      hand out now cupping GREEN FIRE, like a torch.

      Hela approaches a large circular RUNE ETCHING on the floor.

      Hela manifests a huge CLAW HAMMER. She SMASHES THROUGH THE
      RUNES ON THE FLOOR, creating a gaping chasm.

      She looks at Skurge.

                          HELA (CONT&apos;D)
                Want to see what true power looks
                like?

      Hela looks down into the darkness below.

      With her hand aflame, Hela JUMPS down into the chasm!


C36   INT. HIDDEN ASGARDIAN CATACOMBS - DAY                            C36

      Hela LANDS like a bad ass.

      Dust settles. The light of Hela&apos;s hand torch reveals a stone
      crypt. An ornate burial place for the heroes of Old Asgard.

      We can see countless rotted skeletons in badass ancient
      Asgardian armor. Hela&apos;s regiment.

      Among them, A MASSIVE WOLF&apos;S SKELETON. TERRIFYING AND
      MONSTROUS, COLOSSAL CHAINS AROUND THE BONES OF ITS PAWS.
      FENRIS.

      Hela approaches Fenris&apos; skeleton.

                          HELA
                Fenris. My darling, what have they
                done to you?

      She lifts her flaming hand above her head. She slams her hand
      into the ground.

                          HELA (CONT&apos;D)
                With the Eternal Flame, you are
                reborn!

      The fire spreads out, covering Fenris and Hela&apos;s old army.
                              BLUE DRAFT 05/20/16                 45.


       As the fire covers the skeletons, they SHUDDER TO LIFE.

                            HELA (CONT&apos;D)
                  I&apos;ve missed you. I&apos;ve missed you
                  all.

       HELA&apos;S BUTCHERS, rise up before their commander.

       ABOVE:   Skurge looks down, worried.

       BELOW: A sinister light returns to Fenris&apos;s eyes as he
       stands proudly before his master, allowing her to pet the fur
       of his terrifying face.


C36A   INT. THE ARENA - GLADIATOR CELLS - NIGHT                         C36A

       Thor sits against the wall.   Quietly praying.

                            THOR
                  Odin, I bid you take your place in
                  the halls of Valhalla...
                      (then:)
                  Where the brave shall live forever.
                  Nor shall we mourn but rejoice-

               THOR (CONT&apos;D)                     LOKI (O.S.)
       -for those that have died the    -for those that have died the
       glorious death.                  glorious death.

       Reveal Loki standing across the cell.   Thor gives him a hard
       look.

                            LOKI (CONT&apos;D)
                  It hurts, doesn&apos;t it? Being lied
                  to. Being told you&apos;re one thing and
                  then learning it&apos;s all a fiction.

       Thor picks up some stones that have fallen from Korg&apos;s leg
       and casually starts throwing them through Loki&apos;s illusion.

                            LOKI (CONT&apos;D)
                  You didn&apos;t think I&apos;d really come
                  and see you, did you? This place
                  is disgusting.

       Thor throws another stone through Loki.

                            LOKI (CONT&apos;D)
                  Does this mean you don&apos;t want my
                  help?

       Thor throws another stone through Loki.
                      BLUE DRAFT 05/20/16                    46.


                    LOKI (CONT&apos;D)
          Look, I couldn&apos;t jeopardize my
          position with Grandmaster, it took
          me time to win his trust. He&apos;s a
          lunatic, but he can be amenable.

Thor throws another stone through Loki.    Disinterested.

                    LOKI (CONT&apos;D)
          What I&apos;m telling you is, you could
          join me at the Grandmaster&apos;s side.
          Perhaps, in time, an accident
          befalls the Grandmaster, and
          then...

Loki gestures: &quot;we take over.&quot;

Thor throws another stone through Loki.    Bored.

                    LOKI (CONT&apos;D)
          You&apos;re not seriously thinking of
          going back, are you? Our sister
          destroyed your hammer like a piece
          of glass. She&apos;s stronger than both
          of us. She&apos;s stronger than you.
          You don&apos;t stand a chance. Do you
          understand what I&apos;m saying to you?

Thor just scowls.

                    LOKI (CONT&apos;D)
          Fine. I guess I&apos;ll just have to go
          it alone. Like I&apos;ve always done.
              (Thor smirks)
          Would you say something?

Now out of stones, Thor looks around the floor for more.

                    LOKI (CONT&apos;D)
          Say something!

Thor finally looks right at Loki, speaks fast and curt:

                    THOR
          What would you like me to say? You
          faked your own death, you stole the
          throne, stripped Odin of his power,
          stranded him on Earth...
              (on Loki:)
          -to die, releasing the Goddess of
          Death.
              (back to Thor:)
                    (MORE)
                            BLUE DRAFT 05/20/16                 47.

                         THOR (CONT&apos;D)
               Have I said enough, or do you do
               you want me to go further back than
               the past two days?

     Loki&apos;s eyes burn.   Thor stares coldly at him.   Loki tries to
     compose himself.

                         LOKI
               You know, I haven&apos;t seen this
               Beloved Champion he talks of, but
               I&apos;ve heard he&apos;s astonishingly
               savage. I&apos;ve placed a large wager
               against you tomorrow. Don&apos;t let me
               down.

     Loki SHIMMERS, and his illusion vanishes.   Korg runs in to
     try to kick him.

                         KORG
               Piss off, ghost!
                   (then:)
               He&apos;s freaking gone.


40   INT. THE ARENA - RECEIVING AREA                                  40

     Thor, Korg, and a gaggle of other prisoners/fighters have
     been led from their cells to a PRE-FIGHT HOLDING AREA.

     Korg and Thor are by the weapons rack.

                         KORG
               Yuck! There&apos;s Still someone&apos;s hair
               and blood all over this. Guys, can
               you clean up the weapons once you
               finish your fight? Disgusting
               slobs.
                   (then:)
               Thor...wanna use a big wooden fork?

                          THOR
               No.

                         KORG
               Yeah, not really useful unless
               you&apos;re fighting off three vampires
               that were huddled together.

                         THOR
               I really wish I had my hammer.

                          KORG
               Hammer?
                        BLUE DRAFT 05/20/16                48.


                    THOR
          Quite unique. It was made from
          this special metal from the heart
          of a dying star. And when I spun
          it really, really fast it gave me
          the ability to fly.

                    KORG
          You rode a hammer?

                    THOR
          No, I didn&apos;t ride the hammer.

                    KORG
          The hammer rode you on your back?

                    THOR
          No. I used to spin it really fast,
          and it would pull me off the...

                       KORG
          Oh my God.     The hammer pulled you
          off?

                    THOR
          The ground. It would pull me off
          the ground, up into the air, and I
          would fly. Every time I threw it,
          it would always come back to me.

                     KORG
          Sounds like you had a pretty
          special and intimate relationship
          wiht this hammer and that losing it
          was almost comparable to losing a
          loved one.

                    THOR
          That&apos;s a nice way of putting it.

Thor spots S142 dealing at the bar.    He&apos;s once again eyeing
the fob device clipped to her belt.    Scowls.

                    SCRAPPER #142
          I said they&apos;re mine.

                    THOR
          See her, the one that put me in
          here.

                    KORG
          Yeah, Scrapper 142. She&apos;s strong.
          And she drinks a lot.
                    (MORE)
                         BLUE DRAFT 05/20/16             49.

                    KORG (CONT&apos;D)
          Gotta watch out for those
          Asgardians, man. They are hard to
          perish.

                        THOR
          Asgardian?

Thor breaks away from the line and runs to S142.

                        THOR (CONT&apos;D)
          Hey!   Hey!

S142 holds up the fob.

                    THOR (CONT&apos;D)
          Do not zap me with that thing. I
          just wanna talk. Asgard is in
          danger.

Thor then notices a series of PATTERNED SCARS, or BRANDS, on
her forearms. It&apos;s a moment of recognition and disbelief.

                    THOR (CONT&apos;D)
          My God, you&apos;re a Valkyrie. I used
          to wanna be a Valkyrie when I was
          younger...until I found out that
          you were all women. There&apos;s
          nothing wrong with women, of
          course. I love women. Sometimes a
          little too much. Not in a creepy
          way, just more of a respectful
          appreciation. I think it&apos;s great
          that there is an elite force of
          women warriors. It&apos;s about time.

                    SCRAPPER #142
          Are you done?

                    WARDEN (O.S.)
          Lord of Thunder, you&apos;re up.

                    THOR
          Please, help me.     I need your help.

                        SCRAPPER #142
          Bye.

                    THOR
          Fine, then you must be a traitor or
          a coward because the Valkyrie are
          sworn to protect the throne.

S142 finally turns her attention to Thor, intense.
                            BLUE DRAFT 05/20/16                 50.


                          SCRAPPER #142
                Listen closely, your majesty. This
                is Sakaar, not Asgard. And I&apos;m a
                scrapper, not a Valkyrie.

      Guards swarm Thor, dragging him back

                          WARDEN (O.S.)
                Bring him in for processing!

                          VALKYRIE
                And no one escapes this place. So
                you&apos;re gonna die anyway.

      Despite her denial, Thor has clearly hit a nerve. And from
      now on we will refer to Scrapper #142 as VALKYRIE.

      Valkyrie takes her booze and walks away. Thor is dragged
      away, passing Korg and the other prisoners.


40A   INT. PROCESSING ROOM - DAY                                        40A

      Thor is strapped to a chair. Reveal a weird alien BARBER
      (Stan Lee cameo) holding up some rusty shears.

                          STAN LEE
                Now, don&apos;t you move. My hands
                ain&apos;t as steady as they used to be.

                          THOR
                By Odin&apos;s beard, you shall not cut
                my hair... lest you feel the wrath
                of the might Thor.

      Barber activates a menacing CUTTING TOOL.   Thor freaks out.

                          THOR (CONT&apos;D)
                Please. Please, kind sir, do not
                cut my hair! No!


40B   INT. THE ARENA - NIGHT                                            40B

      Hundreds of thousands of spectators packed into the stadium
      seats. Dozens of starships are parked above the arena.

      Find THE GRANDMASTER&apos;S LUXURY SUITE, a VIP box attached to
      the fighting area. The Golden Ladies are in attendance.

      Loki lounges in the suite, taking wagers on the fight card.

      Grandmaster walks out into the center of the arena.   Suddenly-
                      BLUE DRAFT 05/20/16                   51.


-THE GRANDMASTER GROWS TO 60-FEET TALL! This enlarged
projection of Grandmaster addresses the audience.

                    GRANDMASTER
          Wow! Look at all of you. What a
          show, WHAT-A-NIGHT! Who&apos;s having
          fun? Please, I&apos;m your host. Big
          round of applause for all of our
          undercard competitors... who died
          so gruesomely. Good sports. What a
          show! What a night! This is what
          you&apos;ve come for and so have I.
              (applause)
          And now, without further ado...
          it&apos;s main event time!!
              (INSANE APPLAUSE)
          Making his first appearance, though
          he looks quite promising, got a
          couple of tricks up his sleeve.
          I&apos;ll say no more, see what you
          think. Ladies and gentlemen...
              (LAUGHTER from the crowd)
          I give to you...Lord of Thunder!

Enter Thor. Gladiator Thor. Shaved head, trimmed beard,
minimalist armor, covered in weapons. Two swords on his
back, giant mace in one hand, spiked shield in the other.

                    GRANDMASTER (CONT&apos;D)
          Watch out for his fingers. They
          make sparks.

Thor looks up at the throngs of SCREAMING FANS. And then...

...puts on his helmet. A badass gladiator variation of his
classic winged helm. Thor is ready to rumble.

ABOVE: Find Valkyrie in her Warsong ship, parked amongst the
other tailgaters. She POPS open a bottle of booze. Drinks.

                    GRANDMASTER (CONT&apos;D)
          Okay, this is it. Let&apos;s get ready
          to welcome this guy. Here he comes.
          He is a creature. What can we say
          about him? Well, he&apos;s unique.
          There&apos;s none like him. I feel a
          special connection with him.

Suddenly the floor beneath Thor&apos;s feet LOWERS.   A slow,
tension-building GRIND as he sees-

-A DOOR across the arena.   Bigger and bigger.
                       BLUE DRAFT 05/20/16                 52.


The entire crowd is on its feet. Palpable anticipation.    The
spotlights change to bright stadium lights.

                     GRANDMASTER (CONT&apos;D)
           He&apos;s undefeated. HE&apos;S THE
           REIGNING...HE&apos;S THE DEFENDING...
           Ladies and gentlemen... I give
           you...

KA-BOOM!   EXPLODING through a door is the Champion...

...THE INCREDIBLE HULK! He wears an armored shoulder guard
and a Spartan helmet. He carries a warhammer in one hand and
a battleaxe in the other. Hulk POUNDS his chest and ROARS,
further energizing an already frenzied crowd.

Meanwhile, the sight of Hulk makes Thor&apos;s arms drop to his
sides along with his jaw dropping to the ground. And then-

-Thor LAUGHS his ass off. Like, &quot;that&apos;s my buddy over there!&quot;

                     THOR
           Yes!

IN THE VIP BOX: Loki goes ghost white. Traumatic memories of
being Hulk-smashed flood his brain. Gone is all his joy.

                     LOKI
           I have to get off this planet.

Loki tries to exit, but the Grandmaster stops him.

                     GRANDMASTER
           Hey, hey, hey! Where are you going?

Grandmaster plops Loki down in the front row, right against
the glass. Loki casually tries to hide his face in his hand.

IN THE ARENA:

                     THOR
           Hey! We know each other. He&apos;s a
           friend from work.
               (to Hulk:)
           Where have you been? Everybody
           thought you were dead. So much has
           happened since I last saw you. I
           lost my hammer. Like, yesterday,
           so that&apos;s still pretty fresh.
               (then:)
           Loki! Loki&apos;s alive. Can you
           believe it? He&apos;s up there.
               (waves to Loki:)
           Loki! Look who it is!
                         BLUE DRAFT 05/20/16              53.


Loki is petrified.

                    THOR (CONT&apos;D)
          Banner, I never thought I would say
          this, but I&apos;m happy to see you.

IN THE ARENA: Hulk is still eyeballing Thor while the
capacity crowd CHANTS insanely for &quot;HULK! HULK! HULK!&quot;

                      THOR (CONT&apos;D)
          Banner.    Hey, Banner!

Hulk&apos;s face grimaces and contorts, suppressing puny Banner.

                       HULK
          NO BANNER!     ONLY HULK!

Hulk CHARGES at Thor.    Insanely fast.

                    THOR
          What are you doing?    It&apos;s me.

Thor DODGES the first few attacks, but then Hulk SHATTERS his
shield and sends Thor FLYING.

Thor draws a sword and STABS it into the ground to slow his
momentum. Draws the other sword and faces off against Hulk.

                    THOR (CONT&apos;D)
          Banner, we&apos;re friends. This is
          crazy. I don&apos;t want to hurt you!

They engage again.   Hulk KICKS Thor, sending him SLAMMING
into the wall.

                    GRANDMASTER
          Here we go.

Thor jumps down just in time to avoid Hulk&apos;s warhammer, which
HITS so hard that it remains lodged in the wall.

With Hulk charging again, Thor RIPS the warhammer out of the
wall and WALLOPS Hulk with it.

Hulk goes CRASHING alongside the arena. He ends up sprawled
out in a pile of rubble, slightly dazed.

                       GRANDMASTER (CONT&apos;D)
          What?

ABOVE: Val is watching through a set of high-tech
binoculars. She reacts to Thor, reluctantly impressed.
                      BLUE DRAFT 05/20/16                   54.


Thor advances on Hulk with all the swagger. He takes off his
helmet and CALLS OUT to Hulk, provoking him.

                    THOR
          Hey, big guy. The sun&apos;s getting
          real low.

Hulk takes off his helmet.   Scowling.   Teeth GRINDING.

                    THOR (CONT&apos;D)
          That&apos;s it. The sun&apos;s going down.
          I won&apos;t hurt you anymore. No one
          will.

WHOOSH! Thor is suddenly dragged out of frame. Hulk has
Thor by the leg and is WHIPPING him against the arena floor.
Over and over and over again.

IN THE VIP BOX: Loki&apos;s whole mood shifts. The joy returns to
his face, like &quot;everything will be alright!&quot; Loki LAUGHS.

                    LOKI
          Yes! That&apos;s how it feels!
              (to Grandmaster:)
          I&apos;m just a huge fan of the sport.

Thor is SMASHED into the floor face first.

Hulk ROARS and RUSHES Thor with his axe.

                    THOR
          All right. Screw it.

CLANG! The giant weapons CLASH! Now Thor and Hulk are
fighting warhammer versus battleaxe...

...and Thor is winning! He&apos;s getting the better of these
exchanges, using Hulk&apos;s aggression against him. Thor
continually KNOCKS and/or TRIPS Hulk off his feet while
evading all of Hulk&apos;s best attacks.

                    THOR (CONT&apos;D)
          I know you&apos;re in there, Banner.
          I&apos;ll get you out!

One particular vicious blow DISARMS Hulk, and Thor BREAKS
Hulk&apos;s axe with the warhammer. Thor then BASHES Hulk in the
chest, KNOCKING him to the ground.

                    THOR (CONT&apos;D)
          What&apos;s the matter with you? You&apos;re
          embarrassing me! I told them we
          were friends!
                      BLUE DRAFT 05/20/16                   55.


GROWLING, Hulk stands up and HITS Thor with a straight jab
that sends Thor TUMBLING across the arena. Hulk immediately
LEAPS after him and LANDS ON Thor!

Hulk is now on top of Thor as they slide across the arena,
just PUMMELING him with punches. Left-right-left-right.
Thor&apos;s head snaps back and forth.

In the carnage, Thor sees VISIONS OF ODIN.   Then-

-his eyes GLOW WHITE WITH ELECTRICITY. Like an instinctual
defense mechanism, Thor suddenly KNOCKS HULK BACK WITH A
BURST OF LIGHTNING!

Seething with electricity, Thor springs to his feet and then
BLASTS HULK WITH A MASSIVE LIGHTNING PUNCH! Hulk is LAUNCHED
BACKWARDS and Thor hits the ground HARD.

                    CROWD
          Thunder! Thunder! Thunder!

                    KORG
          Thunder! Thunder! Thunder!

The crowd gets hushed.   They&apos;ve never seen this before.

IN THE VIP BOX: Grandmaster is pissed.   Loki is amazed.

Hulk and Thor stagger to their feet. Thor looks at himself,
a little surprised. There are still small charges of
lightning CRACKLING through his veins.

Meanwhile, Hulk RUMBLES towards Thor and they&apos;re at it again,
close-quarters boxing. Thor is winning the exchanges,
landing BRUTAL PUNCHES to Hulk&apos;s body. And then suddenly-

-BZZZ! The Grandmaster ZAPS him with the Obedience Disk fob!
Thor drops, totally caught off guard!

Hulk plants his feet and JUMPS! He ZOOMS UP, rocketing out
of the arena, up-up-up into the sky! At the apex of his jump
Hulk clenches his fist and begins a missile-like descent.

Val sees this from her ship and decides to take off, like
&quot;This fight is over, time to beat traffic.&quot;

                    KORG (CONT&apos;D)
          Another day, another Doug.

Down below, Thor groggily turns over. He does so just in
time to see Hulk coming at him like an atom bomb!

No time to avoid it. KA-BOOM!!! Right before impact Thor&apos;s
eyes go lightning white. Hulk HITS Thor like a meteor.
                           BLUE DRAFT 05/20/16                  56.


     The impact knocks Thor unconscious and we CUT TO BLACK.
     Linger on darkness for a few beats...and then:


36   INT. THRONE ROOM - SUNSET                                       36

     Hela sits on the throne trying to get comfortable, headdress
     &amp; cowl off. Skurge stands at the foot of the throne.

                         HELA
               What is that noise?

                         SKURGE
               The common folk aren&apos;t exactly
               falling in line. There&apos;s a
               resistance trying to knock down the
               front gates.

     Hela sends her BUTCHER TROOPS to deal with it.

                         HELA
               Tell me about yourself, Skurge.

                         SKURGE
               Well, me dad was a stonemason, me
               mum was-

                         HELA
                   (interrupts)
               I&apos;ll just stop you there. What I
               meant was what is your ambition?

                         SKURGE
               I just want a chance to prove
               myself.

                          HELA
               Recognition.
                   (then:)
               When I was young every great King
               had an executioner. Not just to
               execute people, but also to execute
               their vision. But mainly to
               execute people. Still a great
               honor.
                   (beat)
               I was Odin&apos;s executioner.

     Hela holds out her hand and uses her powers to FORM A DOUBLE-
     SIDED OBSIDIAN AXE, which she offers to Skurge.

                         HELA (CONT&apos;D)
               And you will be my executioner.
               Let&apos;s begin our conquest.
                             BLUE DRAFT 05/20/16                  57.


37     OMITTED                                                          37


41     OMITTED                                                          41


42     OMITTED                                                          42


44     EXT. RAINBOW BRIDGE - DAY                                        44

       Hela and Skurge arrive at the Observatory, army in tow.

                           HELA
                 Skurge, where&apos;s the sword?

       Reveal that the Bi-Frost sword is missing.

                           HELA (CONT&apos;D)
                 That sword is the key to opening
                 the Bi-Frost.

       Hela thinks, seething.

                           HELA (CONT&apos;D)
                 These people you mentioned, the
                 ones who aren&apos;t falling into line.
                 Round them up.


45     OMITTED                                                          45

AA46   OMITTED                                                         AA46

AB46             OMITTED                                               AB46

46     EXT. ASGARD - MOUNTAIN CREEK - DAY                               46


A46    OMITTED                                                         A46

       SPLASH! Boots running across the shallow water. We meet a
       family of refugees from the city. FATHER, MOTHER, SON (14),
       and young daughter (8). They&apos;re RUNNING FOR THEIR LIVES.

       Hot on their heels are a pair of Hela&apos;s sinister Butchers,
       hunting like a pack of wolves.

       After scrambling through a grove of trees the family make
       their way through a narrow pass. The Butchers are hot on
       their heels, their growls getting louder behind them when -
       BAM! The son runs right into a tall, immovable object...
                               BLUE DRAFT 05/20/16                 58.


      HEIMDALL! No regal armor, no golden helm. This Heimdall has a
      thick beard and is wrapped in a cloak. The rest of the family
      arrive, desperation.

                             HEIMDALL
                Excuse me.

      In one swift motion Heimdall draws the BI-FROST SWORD, steps
      forward and SLASHES through the Butchers, ending them.

      He then turns to the family, gestures for them to follow him.

                          HEIMDALL (CONT&apos;D)
                Sorry about that. These bloody
                things are everywhere. Come on.

47    OMITTED                                                           47

48    EXT. ASGARD - MOUNTAIN RAVINE - DAY                               48

      Heimdall approaches the steep face of the mountain. Carved
      into the rock is YGGDRASIL, the world tree. Heimdall kneels,
      whispers a few words under his breath, and... A HUGE SECTION
      OF THE MOUNTAIN FACE VANISHES IN A SHIMMERING ILLUSION!


49    INT. STRONGHOLD - DAY                                             49

      It&apos;s busy with activity - hundreds of Asgardians who fled the
      city after Hela&apos;s invasion are living here. Men, women, and
      children. Strong and weak, young and old.

      Heimdall turns to the family, even manages a smile.

                          HEIMDALL
                You&apos;ll be safe here.

      They enter the stronghold.    As the doors SHUT we go to-

50    OMITTED                                                           50


A51   OMITTED                                                           A51


51    INT. HULK&apos;S WARRIOR SUITE - DAY                                   51

      Thor&apos;s eyes POP OPEN. He&apos;s lying in a heap on the ground,
      still dirty, bruised, and beat up.

      Thor is being tended to by TWO SAKAARIAN GLADIATOR NURSES who
      are swabbing his wounds. This freaks him out, which results
      in startled thrashing. That freaks out the two Gladiator
      nurses, which results in them RUNNING AWAY.
                        BLUE DRAFT 05/20/16                  59.


Thor starts to get up, but then winces.      He moves slowly.

He&apos;s in a GIANT ROOM with stark graphic patterns on the
walls. With a few achy grimaces, Thor stands up and wanders
around. There&apos;s furniture, large cushions, and a sleeping
area enclosed by the SKULL of a giant beast.

NOISE behind him.    Thor follows the noise to find-

Hulk having eased himself into a large steaming JACUZZI. Thor
looks at him quizzically. Hulk isn&apos;t angry. He&apos;s RELAXED,
but he&apos;s not turning into Banner.

                    THOR
          Are we cool?

Hulk grunts.   I guess so.

                    THOR (CONT&apos;D)
          It&apos;s Hulk in a hot tub.
              (then:)
          How long have you been like that?

                       HULK
          Like what?

                       THOR
          Like this.     Big, green, ...stupid.

                    HULK
          Hulk always Hulk.

Thor takes this in, and then walks over to a window that
looks out across the city. Does some spatial math, realizes:
Thor looks back out the window.

He sees a ramshackle SPACESHIP taking off and ROCKETING
skyward. Higher and higher, it&apos;s going for a wormhole when-

-BOOM! One of Grandmaster&apos;s Palace Patrol ships, more modern
and heavy duty, BLOWS it out of the sky.

On Thor, wheels turning.      He turns to Hulk.

                    THOR
          How&apos;d you get here?

                       HULK
          Winning.

                    THOR
          You mean cheating?
              (re: Obedience Disk)
                    (MORE)
                        BLUE DRAFT 05/20/16           60.

                    THOR (CONT&apos;D)
          Were they wearing one of these when
          you won? How&apos;d you arrive here?

                       HULK
          Quinjet.

Hulk mimes a plane landing in the water.

                     THOR
          Yes.   Where is the Quinjet now?

Hulk stands up, and exits the hot tub, naked.

                    THOR (CONT&apos;D)
          That&apos;s naked. He&apos;s very naked.
          It&apos;s in my brain now.

Hulk points out the window.

                       HULK
          Quinjet.

Thor sees the Quinjet in a massive alien junkyard.

                    THOR
          Yes! I&apos;m getting us out of here.
          This is a terrible, awful place.
          You&apos;re gonna love Asgard. It&apos;s
          big. It&apos;s golden. Shiny.

Hulk sits on his bed, eating a pumpkin.

                       HULK
          Hulk stay.

                    THOR
          No, no, no. My people need me to
          get back to Asgard. We must
          prevent Ragnarok.

                    HULK
          Rag-na-ruh?

                    THOR
          The prophesied death of my home
          world, the end of days, it&apos;s the
          end of-
              (Hulk&apos;s blank stare)
          If you help me get back to Asgard,
          I can help you get back to Earth.

                    HULK
          Earth hate Hulk.
                        BLUE DRAFT 05/20/16     61.


                    THOR
          Earth loves Hulk. They love you.
          You&apos;re of the Avengers. One of the
          team, one of our friends. This is
          what friends do. They support each
          other.

                    HULK
          You&apos;re Banner&apos;s friend.

                    THOR
          I&apos;m not Banner&apos;s friend. I prefer
          you.

                    HULK
          Banner&apos;s friend.

                    THOR
          I don&apos;t even like Banner.
              (bad impersonation)
          &quot;I&apos;m into numbers and science and
          stuff.&quot;

                    HULK
          Thor go. Hulk Stay.

                    THOR
          Fine. Stay here. Stupid place.
          It&apos;s hideous, by the way. The red,
          the white. Just pick a color.

Thor heads for the exit, a wide open door.

                       HULK
          Smash you.

                     THOR
          You didn&apos;t smash anything. I won
          that fight

                    HULK
          I smashed you.

                    THOR
          Yeah, sure, sure.

                       HULK
          Baby Arms.

                       THOR
          What?

                       HULK
          Baby.
                              BLUE DRAFT 05/20/16                       62.


                             THOR
                  Moron!   You big child.

      Thor heads to the open entrance.      Hulk smiles, anticipating.

                             HULK
                  Thor go!

                            THOR
                  I am going.

      ZAP! Thor&apos;s jolted back by the obedience disk.       There are
      perimeter sensors in the doorway.

      Hulk CHUCKLES at Thor as he hits the floor.      Points.

                             HULK
                  Thor go again!
                      (then:)
                  Thor home.

      TIME CUT:

      Thor slumps against the wall, head sagging.

      Hulk grabs his giant battleaxe.       He&apos;s armored up.

                            HULK (CONT&apos;D)
                  Hulk trains.

                            THOR
                  That&apos;s great. Have fun.

      Hulk exits. Thor watches him go. Then, at the end of the
      hallway Hulk meets up with Valkyrie! They begin play-
      fighting, a clearly friendly rapport.

      Thor can&apos;t believe it. He runs to the entrance, but by the
      time he reaches the perimeter sensors they are gone.

      Thor sighs. Walks over to the window. Looks up through a
      wormhole, stars twinkling on the other end of it.

                            THOR (CONT&apos;D)
A57               Heimdall, I know you can see me.                           A57

      Thor continues his plea at the window.

                            THOR (CONT&apos;D)
                  I need you to help me. Help me
                  see.

      Pause. Then Thor&apos;s eyes go golden like Heimdall&apos;s!         The
      stars in the wormhole begin to WARP OVER THOR AND-
                             BLUE DRAFT 05/20/16                   63.


AA57   INT. STREETS OF ASGARD - SAME                                    AA57

       Thor suddenly finds himself in Asgard. Disoriented at first,
       Thor turns to see Heimdall hiding in the shadows.

       Heimdall harshly SHUSHES Thor and gestures for him to get up
       against the wall. Thor complies. Sees the refugees.

       After a beat a roving patrol of Hela&apos;s Butchers creep by
       through the street. They don&apos;t spot our heroes. Pause.

       Heimdall turns to Thor, speaks only in hushed whispers.

                           HEIMDALL
                 I see you. But you are far away.

                           THOR
                 What&apos;s going on here?

                           HEIMDALL
                 Come see for yourself.

       Without warning, Heimdall leads the family out of the alley
       and DASHES down the street. Thor follows...

       ...but then stops. Looks around to see THE OCCUPIED CITY OF
       ASGARD, emitting a smoky aura of chaos. A chilling sight.

       Down the street, Heimdall gestures for the family to slow
       down. He sees something. Ushers them into an alcove.

       Thor joins them just in time to avoid being seen by another
       roving patrol of Hela&apos;s Butchers. Heimdall again motions for
       Thor to &quot;shh&quot; until the threat has passed. Then:

                           HEIMDALL (CONT&apos;D)
                 I&apos;m providing refuge in a
                 stronghold build by our ancestors.
                 But if the garrison falls our only
                 escape will is Bi-Frost.

                           THOR
                 You&apos;re talking about evacuating
                 Asgard?

                           HEIMDALL
                 We won&apos;t last long if we stay.

       Thor LOOKS OUT on a ravaged Asgard, heartsick.

       Hold on the devastated Realm as:
                         BLUE DRAFT 05/20/16                   64.


                     HEIMDALL (O.S.) (CONT&apos;D)
           She draws her power from Asgard and
           grows stronger everyday.

Back to Thor and Heimdall.

                        HEIMDALL (CONT&apos;D)
           Come on.

As Heimdall quickly leads refugees down a safe pathway:

                     HEIMDALL (V.O.) (CONT&apos;D)
           Hela is ravenous. If I let her
           leave, she&apos;ll consume the Nine
           Realms and all the cosmos.

Turns back to Thor, approaches him.

                     HEIMDALL (CONT&apos;D)
           We need you.

                     THOR
           I&apos;m working on it, but I don&apos;t even
           really know where the hell I am.

Two packs of Butchers arrive simultaneously.        Spot Heimdall.

                     HEIMDALL
           You&apos;re on a planet surrounded by
           doorways. Go through one.

                        THOR
           Which one?

Heimdall RIPS into the attacking Butchers, CUTTING them down.

                     HEIMDALL
           The big one!

WHOOSH!   SUDDENLY THOR&apos;S GONE!     BLACK.

After slashing through the Butchers, Heimdall moves towards
the house where he hid the family... and then abruptly stops.

Heimdall turns slightly.       He sees something.

BINOCULARS POV: Heimdall looking right at us, the Bi-Frost
sword visible in his hand.

Reveal Skurge on a palace tower balcony, surveilling the city
with Asgardian E-noculars. Skurge lowers the E-noculars.

There is conflict on his face. He knows that he should report
this to Hela immediately...yet he doesn&apos;t spring into action.
                            BLUE DRAFT 05/20/16                65.


57   INT. HULK&apos;S WARRIOR SUITE - NIGHT                              57

     Thor absentmindedly fidgets with his Obedience Disk.

     THUD! THUD! THUD! ...resonates around the room.   Hulk steps
     up to Thor, looking inquisitively down at him.

                           HULK
               Thor sad.

                           THOR
               Shut up.

     Hulk HITS Thor, bullying him into opening up.

                         HULK
               THOR SAD!!!

     Thor hops up, YELLS in Hulk&apos;s face.    Paces around.

                         THOR
               I&apos;m not sad, you idiot. I&apos;m pissed
               off! Angry. I lost my father. I
               lost my hammer.

     THUD! THUD! He turns to see Hulk punching his pillow.

     Hulk stops. Stares.

                         HULK
               Whining and crying.   Cry like baby.

                         THOR
               You&apos;re not even listening.

     Thor KICKS a random helmet.

                         HULK
               Don&apos;t kick stuff.

                         THOR
               You&apos;re being a really bad friend.

                         HULK
               You bad friend!

                         THOR
               You know what we call you?

                           HULK
               No.

                         THOR
               We call you the stupid Avenger.
                        BLUE DRAFT 05/20/16                66.


                    HULK
          You&apos;re tiny Avenger!

Hulk throws a shield that nearly decapitates Thor.

                    THOR
          What, are you crazy?

                       HULK
          Yes.

                    THOR
          You know what? Earth does hate you.

Hulk gets sad.   Wanders over to his bed to mope.

Thor realizes he went to far.    Joins Hulk on the bed.

                       HULK
          No.

                    THOR
          I&apos;m sorry I said those things.
          You&apos;re not the stupid Avenger.
          Nobody calls you the stupid
          Avenger.

                       HULK
          It&apos;s okay.

                     THOR
          You just can&apos;t go around throwing
          shields at people. Could have
          killed me.

                    HULK
          I know. I&apos;m sorry.     I just get so
          angry all the time.    Hulk always,
          always angry.

                    THOR
          I know. We&apos;re the same, you and I.
          We&apos;re just a couple of hot-headed
          fools.

                    HULK
          Yeah, same. Hulk like fire, Thor
          like water.

                    THOR
          We&apos;re kind of both like fire.
                        BLUE DRAFT 05/20/16                67.


                      HULK
            But Hulk like real fire. Hulk like
            raging fire. Thor like smoldering
            fire.

                      THOR
            Hulk, I need you to do something
            for me.

TIME CUT:   Morning.

BA-BOOM! BA-BOOM! BA-BOOM!

We follow Two Palace Guards as they enter Hulk&apos;s Suite.

Hulk is throwing a LARGE BALL against the far wall. It&apos;s so
hard it makes dents in the wall. Hulk stops and turns.

Reveal that the guards are escorting Valkyrie. They leave...
Valkyrie and Hulk face off.

                      HULK
            Angry girl!

Val bounds forward and gives The Incredible Hulk a big hug.
Hulk laughs and then begins playfully roughhousing with Val.

                      VALKYRIE
            What&apos;s going on? What do you...?

Hulk steps away, allowing Valkyrie to see Thor. Her smile
disappears. She stares at Hulk, so annoyed. Hulk mopes a
little. Like, &quot;I done bad.&quot; Turns back to Thor:

                      VALKYRIE (CONT&apos;D)
            You&apos;re so thick-headed that you
            can&apos;t tell when someone&apos;s hiding
            all the way across the universe and
            wants to be left alone?

                      THOR
            We need to talk.

                      VALKYRIE
            No, you want to talk to me.

Valkyrie turns to leave.

                      THOR
                (to Hulk:)
            I need her to stay.

Valkyrie is at the exit when the UPPER JAWBONE of Hulk&apos;s
massive skull bed CRASHES into frame, BLOCKING the doorway.
                       BLUE DRAFT 05/20/16                  68.


Val shoots an annoyed sneer at Hulk.   Hulk SNORTS back.

                      HULK
          Stay!    Please?

Valkyrie looks him up and down. Obedience Disks to the max.

Hulk begins BOUNCING his ball against the wall again.

Valkyrie walks over to Hulk&apos;s bar, picks up an UNOPENED
BOTTLE of liquor. Hulk snorts, disapprovingly. Val puts it
down and finds something cheaper, she pops the cork.

                    VALKYRIE
          All right. Here&apos;s the deal. I&apos;ll
          listen to you till this is empty.

She TIPS BACK the bottle and starts CHUGGING.

                    THOR
          Asgard is in danger and people are
          dying. We need to get back there. I
          need your help...wow.

                    VALKYRIE
          Finished. Bye.

She has indeed finished. She goes to leave.

                    THOR
          Odin is dead.

Valkyrie stops short (the BALL BANGING noise continues). Her
silence speaks volumes. Thor has a realization.

                    THOR (CONT&apos;D)
          Hela, the Goddess of Death has
          invaded Asgard.

                    VALKYRIE
          If Hela&apos;s back then Asgard is
          already lost.

                    THOR
          I&apos;m going to stop her.

                      VALKYRIE
          Alone?

                    THOR
          Nope. I&apos;m putting together a team.
          It&apos;s me, you, and the big guy.
                      BLUE DRAFT 05/20/16                   69.


                     HULK
          No team.   Only Hulk.

                    THOR
          It&apos;s me and you.

                    VALKYRIE
          I think it&apos;s only you.

                    THOR
          Wait. Just listen. The Valkyrie
          are legend, elite warriors of
          Asgard. You are sworn to defend
          the throne.

                     VALKYRIE
          I&apos;m not getting dragged into
          another one of Odin&apos;s family
          squabbles.

                    THOR
          What&apos;s that supposed to mean?

                    VALKYRIE
          Your sister. Her power comes from
          Asgard, same as yours.

Hulk&apos;s ball rolls into frame. An off screen GRUNT.   Val
picks it up and tosses it back to Hulk.

                    VALKYRIE (CONT&apos;D)
          When it grew beyond Odin&apos;s control,
          she massacred everyone in the
          palace and tried to seize the
          throne. When she tried to escape
          her banishment, he sent the
          Valkyrie in to fight her back. I
          only survived because...
              (trails off, brooding)
          Look, I already faced her once back
          when I believed in the throne, and
          it cost me everything. THAT&apos;S
          what&apos;s wrong with Asgard. The
          throne, the secrets, the whole
          golden sham.

Pause. Thor moves towards Valkyrie, goes to put a comforting
hand on her shoulder.

                     THOR
          I agree.

Val SNATCHES his hand.   They are close, face to face.
                        BLUE DRAFT 05/20/16              70.


                    VALKYRIE
          Don&apos;t get familiar.

                    THOR
          I agree. That&apos;s why I turned down
          the throne. But this isn&apos;t about
          the crown. This is about the
          people. They&apos;re dying and they&apos;re
          you&apos;re people, too.

Val SHOVES him away.    Thor stumbles back.

                       VALKYRIE
          Forget it.     I have.

                    THOR
              (nods, understanding)
          Okay.

                       VALKYRIE
          Okay.

                    THOR
          Good. Great.

                       VALKYRIE
          Great.

                       THOR
          Thank you.

                       VALKYRIE
          For what?

                       THOR
          For this.

Reveal that Thor has lifted the fob device off Val&apos;s belt!

                    THOR (CONT&apos;D)
          Didn&apos;t see that did you?

Thor presses the button and ALL THE OBEDIENCE DISKS EMBEDDED
IN HIS NECK AND BELT POWER DOWN! Confident smirk.

                     THOR (CONT&apos;D)
          There... that&apos;s better. You know,
          go ahead. Stay here and get drunk
          and enslave people for that
          lunatic. Keep drinking. Keep
          hiding.
              (beat)
          But me...
                             BLUE DRAFT 05/20/16                   71.


     Thor gestures for Hulk to toss him the ball.   Hulk does.

                         THOR (CONT&apos;D)
               I choose to run toward my problems
               and not away from them. Because
               that&apos;s what...

     Thor HURLS IT at the MAIN WINDOW - It bounces off, hitting
     Thor in the face. He stands, facing Valkyrie.

                         THOR (CONT&apos;D)
               Because that&apos;s what heroes do.

     Thor then SMASHES THROUGH THE WINDOW!   Hulk STANDS...

                         HULK
               Friend Stay!


60   EXT. GRANDMASTER&apos;S PALACE - DAY                                    60

     Thor is sliding down the SIDE of the GRANDMASTER&apos;S TOWER.

     He LAUNCHES HIMSELF OFF THE BUILDING and hurtles downward,
     LANDING casually on the street below. Finally free.


61   EXT. THE STREETS OF SAKAAR - CONTINUOUS                            61

     Thor is HAULING ASS.

     Never slowing down, Thor keeps the top of the arena in sight.

     A few blocks back: Hulk is in pursuit. He&apos;s BUMPING people,
     SWATTING vehicles out of the way, just being a menace.

     On Sakaar, the citizens APPLAUD for him! Even when Hulk
     DEMOLISHES a man&apos;s food cart, the man CHEERS Hulk on!


62   EXT. MASSIVE ALIEN JUNKYARD - CONTINUOUS                           62

     Thor SPRINTS in.   Looks around.   Man, this place is big.

     He RUNS down aisles of crushed and stripped spacecrafts, a
     giant smelter, and then into what looks like a used car lot.

     And then he sees it.   The Quinjet!


63   INT. QUINJET - CONTINUOUS                                          63

     Thor enters and rushes to the controls.
                        BLUE DRAFT 05/20/16               72.


                       THOR
          All right.     Come on.

He is pressing buttons and flipping switches.   After a beat-

-the flight deck POWERS UP! Thor places his hand on a pad
which SCANS his handprint. Lights up green.

                    QUINJET (V.O.)
          Voice verification required.

                       THOR
          Thor.

                    QUINJET (V.O.)
          Access denied.

                    THOR
          Thor, son of Odin.

                    QUINJET (V.O.)
          Access denied.

                    THOR
          God of Thunder.

                    QUINJET (V.O.)
          Access denied.

                    THOR
          Strongest Avenger.

                    QUINJET (V.O.)
          Access denied.

                    THOR
          Strongest Avenger!

                    QUINJET (V.O.)
          Access denied.

                    THOR
          Damn you, Stark.
              (rolls his eyes)
          Point Break.

                    QUINJET (V.O.)
          Welcome, Point Break.

CAH-RUNCH! Hulk BARGES IN through the Quinjet door!

The Hulk approaches, scowling. Any metal that stands in his
way PEELS BACK. Frantic, Thor turns to the Quinjet&apos;s console.
                        BLUE DRAFT 05/20/16              73.


                    HULK
          Friend stay!

                    THOR
          No, no, no!

As Hulk enters, he DESTROYS the hull of the Quinjet.

                       HULK
          Stay!

                    THOR
          Stop! Stop breaking everything!

                       HULK
          Don&apos;t go!

Thor triggers a message on the flight console.

                    NATASHA (V.O.)
          Nice work, big guy. We don&apos;t know
          where Ultron&apos;s headed, but you&apos;re
          going very high, very fast.

Hulk stops short.    His whole demeanor changes.

Thor steps out of the way so that Hulk can see a recorded
message from NATASHA ROMANOFF on the console.

                    NATASHA (V.O.)
          ...So, I need you to turn this bird
          around, okay? We can&apos;t track you in
          stealth mode...

Hulk is now right up against the console screen.

                    NATASHA (V.O.)
          ...So I need you to help me out.
          Okay? I need you to...

                       HULK
          No!     No, Banner!

Hulk CONVULSES. Drops to his hands and knees. His whole
body warping. Hulk ROARS and GRABS at his face, SHAKING his
head, trying to fight this back. But he can&apos;t help it...

...HE&apos;S TRANSFORMING BACK INTO BRUCE BANNER! The transition
is rough and chaotic, it&apos;s as if Banner is fighting to get
out of the Hulk. Throughout the process, Hulk SMASHES back
and forth, further WRECKING the Quinjet.

And then, calm.
                      BLUE DRAFT 05/20/16                 74.


Thor rushes to Banner&apos;s side to help ease the transition.

                    THOR
          Banner. Hey, hey, hey. You all
          right, Banner? Sun&apos;s going down.
          Sun&apos;s going down. That&apos;s it,
          breathe. I won&apos;t hurt you. Sun&apos;s
          going down.

                     BANNER
          ...Thor?

                     THOR
          Yeah.

Banner is groggy, disoriented. Thoughts, memories, and
observations begin to flood his brain randomly.

                    BANNER
          What happened to your hair?

                    THOR
          Some creepy old man cut it off.

                    BANNER
          It looks good.

                     THOR
          Thanks.

                    BANNER
          Where are we? How&apos;s Nat?

                    THOR
          Nat is good, I&apos;m sure.

                    BANNER
          And what about Sokovia?

                     THOR
          Sokovia?

                    BANNER
          The city, Sokovia.   Did we save it?

                    THOR
          Banner, listen.

                     BANNER
          What?

                     THOR
          Sokovia. Ultron.     That was two
          years ago.
                        BLUE DRAFT 05/20/16                75.


                    BANNER
          What are you saying? I&apos;ve been Hulk
          for two years?

                    THOR
          I&apos;m afraid so.

Banner&apos;s eyes BULGE.    Trying to process this information.

                    BANNER
          What the hell happened?

Banner rushes to his feet.      Thor follows.

                    THOR
          Banner, there&apos;s something you
          should know...

Banner goes to the flight console.

                    QUINJET (V.O.)
          Voice Activation required.

                       BANNER
          Banner.

                    QUINJET (V.O.)
          Welccome, Strongest Avenger.

                    THOR
              (puzzled)
          What?

                    BANNER
          Ship&apos;s log...

THE SHIP&apos;S LOG POPS UP ON SCREEN.

FROM BEHIND THE DISPLAY (within the monitor looking out) we
see fragmented images of the Hulk&apos;s trip through deep space.

We see the angry green giant thrash around in zero gravity.

We see Hulk closer to the camera now, looking stressed and
car sick.

THROW FOCUS to see Banner&apos;s face watching the video, Hulk&apos;s
freaked out face is super-imposed over Banner&apos;s freaked out
face.

                    BANNER (CONT&apos;D)
          Thor, where are we?
                        BLUE DRAFT 05/20/16               76.


                    THOR
          Yeah, about that.

Banner hears:

                    GRANDMASTER (O.S.)
          It&apos;s bad news, bad news today.

Banner rushes over to the windshield.   Through it he sees-

-Grandmaster, his hologram projection towering over the city.

                    GRANDMASTER (CONT&apos;D)
          Sakaar, hear ye. Attention please.
          I have some bad news. My beloved,
          exalted Champion has turned up
          missing. Take to the streets.
          Celebrate my champion.

                    BANNER
          Who&apos;s that?

                    THOR
          He kind of runs the place. You
          actually lived in his house.

Back to Banner.    A distant, confused stare.

                       BANNER
          I did?

                    THOR
          Yeah. Quite a lot&apos;s happened. You
          and I had a fight recently.

                       BANNER
          Did I win?

                    THOR
          No, I won. Easily.

                    BANNER
          Doesn&apos;t sound right.

                    THOR
          Well, it&apos;s true.

                    GRANDMASTER
          It seems that that criminally
          seductive Lord of Thunder has
          stolen him away.
                           BLUE DRAFT 05/20/16                    77.


                         THOR
               Seductive GOD of Thunder.    We need
               to move.

                         BANNER
               Oh, no. This is bad. This is
               really, really bad. Thor, I think
               I&apos;m freaking out.

                         THOR
               No, no, no. Don&apos;t freak out.
               You&apos;re okay. Put these on.

     Thor tosses Banner some clothes.    Banner looks at them.

                         BANNER
               These are Tony&apos;s clothes.

                         THOR
               I know, come on.

                         BANNER
               Is he here?

                         THOR
               No, he&apos;s not here. But listen.
               Just stay calm, okay? The sun&apos;s
               going down. The sun&apos;s getting
               really low. Sun&apos;s going down.


67   INT. GRANDMASTER&apos;S CHAMBERS - DAY                                 67

     Loki and Valkyrie are brought before Grandmaster, who has at
     least tripled the amount of bodyguards around him.

                         GRANDMASTER
               I&apos;m upset! I&apos;m very upset. You
               know what I like about being upset?
               Blame. Right now, that&apos;s the
               mindset that I&apos;m in. And you know
               who I&apos;m blaming?

                         LOKI
               Grandmaster, I-

                         GRANDMASTER
               Hey! Don&apos;t interrupt me!

     Topaz hands the melt stick to the grandmaster.

                         TOPAZ
               Here you go.
                           BLUE DRAFT 05/20/16                   78.


                         GRANDMASTER
               Why are you handing me the melt
               stick? He was interrupting. That&apos;s
               not a capital violation.
                   (refocuses)
               My precious champion has come up
               missing and its all because of that
               Lord of Thunder. It&apos;s all because
               of him.
                   (to Loki)
               YOUR brother. Whatever the story
               is. Adopted, or complicated. I&apos;m
               sure there&apos;s a big history.
                   (to Valkyrie)
               And YOUR contender.

                         LOKI
               My dear friend, if you were to give
               me twelve hours I could bring them
               both back to you.

                         VALKYRIE
               I can do it in two.

                         LOKI
               I could do it in one.

                          GRANDMASTER
               You know what? I woke up this
               morning thinking about a public
               execution. But for now, I&apos;ll
               settle for this sweet little &quot;who&apos;s
               gonna get him first?&quot; So you&apos;re on
               the clock.


64   INT. GRANDMASTER&apos;S PALACE - DAY                                  64

     Valkyrie exits in a hurry.   Loki follows her.

                         LOKI
               What have you done!?

     Val reverses position, putting Loki up against the wall.

                         VALKYRIE
               I don&apos;t answer to you, lackey.

                         LOKI
               It&apos;s Loki. And you will answer to
               the Grandmaster.
                            BLUE DRAFT 05/20/16                  79.


     Loki moves to reverse position again, but Val BREAKS AWAY,
     drawing her TWO BLADES. In response, Loki UNSHEATHES two
     long Sakaarian daggers. They eye each other, and then-

     -FIGHT! A fast-paced and deadly battle of knives. After a
     few exchanges, Val connects a BIG SHOT that SLAMS Loki into
     the wall. He scowls.

                         LOKI (CONT&apos;D)
               Why would you help my brother
               escape with that green fool?

                         VALKYRIE
               I don&apos;t help anyone.

     Loki trails off.   He sees her wrist markings.   A realization.

                         LOKI
               You&apos;re a Valkyrie. I thought the
               Valkyrie all died gruesome deaths?

     Now Val ATTACKS Loki! She gets him up against the wall, her
     blade against his throat. She looks ready to kill him.

                         VALKYRIE
               Choose your next words wisely.

                         LOKI
               Terribly sorry. Must be a very
               painful memory...

     Quick as a rattlesnake, Loki GRABS Val&apos;s head and CASTS an
     illusion. Val&apos;s eyes CLOUD OVER with darkness as we go to:


65   EXT. HELA&apos;S DIMENSION - FLASHBACK                                 65

     A barren black void of death.

     The VALKYRIE, in old school Asgardian armor, charge through
     the DIMENSIONAL RIFT, an open portal to Asgard and the Nine
     Realms. Val witnesses these events as moments frozen in time.

     - Reveal Hela in all her glory, black lightning everywhere.

     - Dozens of Valkyrie falling through the dark space.

     - The Valkyrie&apos;s winged horses lay dead on the battlefield.

     - Through the open portal we can see the throne of Asgard.

     - Hela advancing on the final few Valkyrie - one is Val,
     frozen in fear, shell-shocked.
                            BLUE DRAFT 05/20/16               80.


     - Hela FIRING black weapons at Val...

     - One of Val&apos;s sisters DIVING IN at the last second, SHOVING
     VAL back through the PORTAL and taking the fatal hit!

     - Val lands hard in the Throne room.

     - Val scrambling to her feet and trying to re-enter the rift
     but it&apos;s too late. It closes, the last image she sees is Hela
     dealing the final killer blow to her doomed Valkyrie sisters.


66   EXT. GRANDMASTER&apos;S PALACE - CONTINUOUS                          66

     We find Val on her knees in front of Loki, trembling from
     this visceral memory that she&apos;s tried so hard to suppress.

     She turns on Loki, raging, and knocks him out.


69   EXT. SAKAAR - STOOP - DAY                                       69

     BANNER sits, groaning, head in his hands. THOR is beside
     him, rubbing his back and on the lookout for threats.

                         THOR
               The sun&apos;s going down. It&apos;s getting
               really low. The sun&apos;s going down.
               It&apos;s getting real low.

                         BANNER
               Would you stop saying that!?

                         THOR
               I just need you to stay calm.

                          BANNER
               Calm!?   I&apos;m on an alien planet!

                         THOR
               It&apos;s just a planet.   You&apos;ve been on
               a planet before.

                           BANNER
               Yeah!    One!

                         THOR
               Now you&apos;ve been on two. That&apos;s a
               good thing. It&apos;s a new experience.

                         BANNER
               My neurons, they&apos;re firing faster
               than my brain can handle the
               information.
                         (MORE)
              BLUE DRAFT 05/20/16       81.

           BANNER (CONT&apos;D)
The whole thing is totally
different this time.
    (beat)
In the past, I always felt like
Hulk and I each had a hand on the
wheel, but this time it&apos;s like he
had the keys and I was locked in
the trunk.

          THOR
Alright, well, you&apos;re back now,
that&apos;s all that matters.

          BANNER
No, it&apos;s not what matters. What
I&apos;m trying to tell you, is that if
I turn into the Hulk again, Banner
may never come back. And we&apos;re
stranded on a planet that is
designed to stress me out.

          THOR
We&apos;re not stranded, I&apos;m gonna
figure out a way to get us home.

             BANNER
Thank you.

          THOR
Not your home, though.   Asgard.

             BANNER
What?

          THOR
Listen, my people are in great
danger. You and I, we have to
fight this really powerful being
who also happens to be my sister.

          BANNER
Okay, that is so wrong on so
many... I don&apos;t wanna fight your
sister. That&apos;s a family issue.

          THOR
No, she&apos;s an evil being.

          BANNER
I don&apos;t care what she is.   I&apos;m not
fighting any more beings.   I&apos;m sick
of it. I just told you.
          (MORE)
                         BLUE DRAFT 05/20/16             82.

                    BANNER (CONT&apos;D)
          If I turn into the Hulk, I am never
          gonna come back again. And you
          don&apos;t care.

                    THOR
          No, no. I&apos;m putting together the
          team. The Hulk is the fire.

                    BANNER
          Wait, you&apos;re just using me to get
          to the Hulk.

                        THOR
          What?   No!

                    BANNER
          It&apos;s gross. You don&apos;t care about
          me. You&apos;re not my friend.

                    THOR
          No! I don&apos;t even like the Hulk.
          He&apos;s all like... &quot;smash, smash,
          smash.&quot; I prefer you.

                        BANNER
          Thanks.

                    THOR
          But if I&apos;m being honest, when it
          comes to fighting evil beings, he
          is very powerful and useful.

                    BANNER
          Yeah, Banner&apos;s powerful and useful,
          too.

                    THOR
          Is he though?

                    BANNER
          How many PhDs does Hulk have?
          Zero. How many PhDs does Banner
          have? Seven.

                    THOR
          Fine, you don&apos;t have to fight
          anyone. But we&apos;re in danger here,
          so we have to move.

Thor grabs a towel from the ground next to him. He puts the
towel over his head.

                    BANNER
          What are you doing with that?
                         BLUE DRAFT 05/20/16                83.


                    THOR
          I need a disguise.    I&apos;m a fugitive.

                    BANNER
          I need a disguise.

                    THOR
          You are the disguise.

Banner finds a pair of Stark&apos;s sunglasses in his jacket.

                    BANNER
          I&apos;ll be Tony Stark.

                     THOR
          What?

                     BANNER
          Yeah.   Tony and the gypsy.

                    THOR
          No, no you&apos;re not Tony.    You&apos;re
          Bruce Banner.

                    BANNER
          Then why did you dress me up like
          Tony?

                    THOR
          Because you were naked.

                    BANNER
          Okay, I&apos;ll give you that.

They stand up. Banner adjusts his crotch.

                    THOR
          What are you doing?    Stop doing
          that!

                    BANNER
          Tony wears his pants super tight!

                    THOR
          Why are you being so weird?

                    BANNER
          I don&apos;t know. Maybe the fact that I
          was trapped for two years inside of
          a monster made me a little weird.

Banner flashes green.    Thor calms him down.
                               BLUE DRAFT 05/20/16                84.


                           THOR
                 Hey. It&apos;s okay. You&apos;re good.
                 Calm down. Come on. Listen, we&apos;re
                 gonna go to Asgard and you&apos;re not
                 gonna have to think about the Hulk
                 ever again. All right?

                              BANNER
                 All right.

      WHAP!   Banner gets nailed in the face with green paint.

      Caught off guard, Thor and Banner are swept off into-


69A   EXT. PARADE OF VICTORS - CONTINUOUS                              69A

      It&apos;s a massive street festival where revelers dance and cheer
      while throwing powdered paint at each other... in celebration
      of Hulk! Green EVERYWHERE!

      Inside the parade it is total chaos. Thor searches for Banner
      as he&apos;s PELTED with green powder. Pandemonium. In the crowd
      Thor sees a pack of SCRAPPERS on the hunt for the reward.

      Thor spots Banner. He surges forward, GRABS Banner, and
      pulls him into another alley, but sees-

      -Valkyrie is approaching from down the alley!

                           THOR
                 This is bad. Banner!     Banner!

      Thor pulls Banner back into the crowd. Thor briefly turns to
      see that he is no longer holding Banner&apos;s - it&apos;s the arm of a
      SMALL ALIEN who squeals in fright.

      Thor sees Banner across the crowd.

      Thor MUSCLES his way through the madness, knocking rowdy fans
      aside. He reaches Banner and holds him protectively,
      awkwardly trying to rub his shoulders.

      One of the aliens Thor knocked aside turns out to be a
      MASSIVE SCRAPPER. He rears up, turning on Thor and Banner.

      WHAM! From out of nowhere, Valkyrie CLOCKS this Scrapper
      with a brass knuckle right cross. The Scrapper DROPS.

      Thor looks at Val while clutching Banner like a child.

                              THOR (CONT&apos;D)
                 Hi.
                            BLUE DRAFT 05/20/16               85.


                          VALKYRIE
                Hi.

                          THOR
                I was gonna do that.

                          VALKYRIE
                Yeah, well, I did it first.

                          THOR
                That&apos;s good. What are you doing
                here?

                          VALKYRIE
                What are you doing here?   I thought
                you were leaving.

                          THOR
                I got sidetracked.

                          VALKYRIE
                What&apos;s with the...

                          THOR
                It&apos;s my disguise.

                          VALKYRIE
                But I can see your face.

                          THOR
                    (covers his face)
                Not when I do this, you can&apos;t.
                    (then:)
                Your hair looks nice. I like what
                you did with it. Change it? Washed
                it maybe?

      Valkyrie just rolls her eyes, takes Thor by the arm.

                          BANNER
                    (to Thor:)
                What are those things on her eyes?
                Are those the people that she&apos;s
                killed? She&apos;s so beautiful and
                strong...


69B   EXT. SAKAARIAN STREET - MOMENTS LATER                        69B

      Valkyrie escorts Thor and Banner through the street.

                          VALKYRIE
                Who is this guy?
                               BLUE DRAFT 05/20/16            86.


                          THOR
                He&apos;s a friend.

                              BANNER
                Who?    Me?    I&apos;m Bruce.

      As Val leads them into Sakaarian apartment building.

                          VALKYRIE
                I feel like I know you.

                          BANNER
                I feel like I know you too.


A72   OMITTED                                                      A72

72    OMITTED                                                      72

A73   INT. SAKAARIAN BUILDING - HALLWAY - CONTINUOUS               A73

      Continue down the hallway.

                          VALKYRIE
                Look, I&apos;ve spent years in a haze
                trying to forget my past. Sakaaar
                seemed like the best place to drink
                and forget and to die one day.

                          THOR
                I was thinking that you drink too
                much, and that probably was going
                to kill you.

                          VALKYRIE
                I don&apos;t plan to stop drinking, but
                I don&apos;t want to forget. I can&apos;t
                turn away anymore. So, if I&apos;m
                donna to die, well... it may as
                well be driving my sword through
                the heart of that murderous hag.

                              THOR
                Good.

      They arrive at a door.     Before they enter:

                          VALKYRIE
                Yeah. So I&apos;m saying that I wanna
                be on the team. Has it got a name?

                          THOR
                Yeah, it&apos;s called the Revengers.
                              BLUE DRAFT 05/20/16               87.


                            VALKYRIE
               Revengers?

                         THOR
               Because I&apos;m getting revenge.
               You&apos;re getting revenge.
                   (to Banner:)
               Do you want revenge?

                         BANNER
               I&apos;m undecided.

                            THOR
               Okay.

                         VALKYRIE
               Also, I&apos;ve got a peace offering.


73   INT. VALKYRIE&apos;S APARTMENT - DAY                                 73

     Valkyrie opens the front door, revealing-

     -Loki! He is as restrained as anyone could be, sitting in
     the middle of the apartment with a dozen chains around him.

                            LOKIE
               Surprise.

     Thor TOSSES a bottle.    It BOUNCES off of Loki&apos;s head.

                            LOKI
               OW!

                         THOR
               Just had to be sure.

                         LOKI
               Hello, Bruce.

                         BANNER
               So, last time I saw you, you were
               trying to kill everybody. Where
               are you at these days?

                         LOKI
               It varies from moment to moment.

     Val&apos;s apartment is a shithole. Bottles everywhere, blood-
     spattered clothes in the corner, a knife in the wall, etc.

     Banner gives Thor a look like &quot;she might be crazy.&quot;   Thor
     responds with a &quot;No, she&apos;s cool&quot; gesture.
                      BLUE DRAFT 05/20/16                88.


Val lays something on the bed. Unwraps it to reveal AN OLD
ASGARDIAN SWORD. Thor&apos;s eyes go wide as she sharpens it.

                    THOR
          Is that... a Dragonfang?

                    VALKYRIE
          It is.

                    THOR
          My God. This is the famed sword of
          the Valkyrie.

                    VALKYRIE
          Sakaar and Asgard are about as far
          apart as any two known systems.
          Our best bet is a wormhole just
          outside the city limits.

A nice clean wormhole outside the city.

                    VALKYRIE (CONT&apos;D)
          Refuel on Xandar and be back in
          Asgard in around 18 months.

                    THOR
          Nope. We&apos;re going through that one.

Thor points at the nightmare tornado wormhole over the ocean.

                    VALKYRIE
          The Devil&apos;s Anus?

                    BANNER
          Wait, whose anus are we going
          through?

                    THOR
          For the record, I didn&apos;t know it
          was called that when I picked it.

                    BANNER
          That looks like a collapsing
          neutron star inside of an Einstein-
          Rosen Bridge.

                    VALKYRIE
          We need another ship.   That would
          tear mine to pieces.

                    THOR
          She&apos;s right. We need one that can
          withstand the geodetic strain from
          the singularity.
                      BLUE DRAFT 05/20/16                   89.


Banner gives Thor a quizzical look.

                    BANNER
          And has an offline power steering
          system that could also function
          without the on-board computer.

                    VALKYRIE
          And we need one with cup holders,
          because we&apos;re gonna die. So,
          drinks!

                    BANNER
          Do I know you? I feel like I know
          you.

                    VALKYRIE
          I feel like I know you, too. It&apos;s
          weird.

                    THOR
              (to Banner:)
          What do you say, doctor? Uncharted
          metagalactic travel through a
          volatile cosmic gateway. Talk about
          an adventure.

Thor and Banner high five as Val stares at them blankly.

            BANNER                      THOR (CONT&apos;D)
We need a ship.                 Need a ship.

                    VALKYRIE
          There are one or two ships,
          absolute top-of-the-line models--

                    LOKI
          I don&apos;t mean to impose, but the
          Grandmaster has a great many ships.
          I may eve have stolen the access
          codes to his security system.

All eyes turn to Loki. Valkyrie throws her bottle at him. It
smashes above his head.

                    VALKYRIE
          And suddenly you&apos;re overcome with
          an urge to do the right thing.

                    LOKI
          Heavens, no. I&apos;ve run out of favor
          with the Grandmaster.
                    (MORE)
                      BLUE DRAFT 05/20/16        90.

                    LOKI (CONT&apos;D)
          And in exchange for codes and
          access to a ship I&apos;m asking for
          safe passage...through the anus.

                    THOR
          You&apos;re telling us you can get us
          access into the garage without
          setting off any alarms?

                    LOKI
          Yes, brother. I can.

                    BANNER
          Okay, can I just... A quick FYI, I
          was just talking to him just a
          couple minutes ago and he was
          totally ready to kill any of us.

                    VALKYRIE
          He did try to kill me.

                    THOR
          Yes, me too. On many, many
          occasions. There was one time when
          we were children, he transformed
          himself into a snake, and he knows
          that I love snakes. So, I went to
          pick up the snake to admire it and
          he transformed back into himself
          and he was like, &quot;Yeah, it&apos;s me!&quot;
          And he stabbed me. We were eight
          at the time.

Loki suppresses a smile.

                    VALKYRIE
          If we&apos;re boosting a ship, we&apos;re
          gonna need to draw some guards away
          from the palace.

                    LOKI
          Why not set the beast loose?

                     THOR
          Shut up.

                    VALKYRIE
          You guys have a beast?

                    THOR
          No, there&apos;s no beast. He&apos;s just
          being stupid. We&apos;re going to start
          a revolution.
                           BLUE DRAFT 05/20/16                  91.


                         BANNER
               Revolution?

                         THOR
               I&apos;ll explain later.

                         VALKYRIE
               Who&apos;s this guy again?

                         THOR
               I&apos;ll explain later.


74   OMITTED                                                         74


75   INT. THE ARENA - GLADIATOR CELLS - MOMENTS LATER                75

     Korg sits with his cell mates.    He&apos;s talking to Miek.

                         KORG
               Is that some sort of protoplasm,
               all the stuff that&apos;s coming out of
               you? Or are they eggs? Looks like
               eggs.

     Suddenly his Obedience Disk POWERS DOWN. No longer glowing.

     As Korg stands up, Valkyrie appears at the door to his cell.

                         VALKYRIE
               I&apos;m looking for Korg.

                         KORG
               Who&apos;s asking? I know you&apos;re
               asking. Is anyone else asking, or
               is it just you?

     Valkyrie tosses him a high-tech rifle.

                         VALKYRIE
               The Lord of Thunder sends his best.

                         KORG
               My revolution has begun...


76   INT. GRANDMASTER&apos;S CHAMBERS - DAY                               76

     Grandmaster speaks with Topaz who now wears battle armor.

                         GRANDMASTER
               Revolution? How did this happen?
                              BLUE DRAFT 05/20/16                92.


                          TOPAZ
                Don&apos;t know. But the Arena&apos;s
                mainframe for the Obedience Disks
                have been deactivated and the
                slaves have armed themselves.

                          GRANDMASTER
                Oh! I don&apos;t like that word!

                             TOPAZ
                Mainframe?

                          GRANDMASTER
                No. Why would I not like
                &quot;mainframe?&quot; No, the &quot;S&quot; word.

                          TOPAZ
                Sorry, the &quot;prisoners with jobs&quot;
                have armed themselves.

                          GRANDMASTER
                Okay, that&apos;s better.

      CHA-CHNK! SOUNDS OF MACHINERY as the whole space starts
      moving. A different angle reveals that we are in-


A77   EXT. THE STATESMAN - CONTINUOUS                                 A77

      Grandmaster&apos;s chambers are actually the oversized cockpit of
      a A HUGE RIOT CONTROL SHIP (The Statesman) that can dock
      itself indefinitely within the palace!

      The Statesman has DISLODGED from the palace and is now
      flanked by six smaller Sakaarian peace-keeping ships, all
      headed towards the city where RIOTING can be heard.


77    INT. GRANDMASTER&apos;S PALACE - GROUND LEVEL - CONTINUOUS           77

      Thor waits as Loki enters codes to a door&apos;s security panel.

                          THOR
                Hey, so listen, we should talk.

                          LOKI
                I disagree. Open communication was
                never our family&apos;s forte.

                          THOR
                You have no idea. I&apos;ve had quite
                the revelation since we spoke last.

      The door opens, revealing a bunch of guards.
                           BLUE DRAFT 05/20/16                 93.


     Thor and Loki heft up two Sakaarian guns.

                         THOR (CONT&apos;D)
               Hello!

                         LOKI
               Hi!

     Thor and Loki BLAST all the guards, moving to another door.

                         LOKI (CONT&apos;D)
               Odin brought us together, it&apos;s
               almost poetic that his death should
               split us apart. We might as well
               be strangers now. &quot;Two sons of the
               crown&quot; set adrift.

     A guard tries to ambush Loki through the door.   Thor TAKES
     OUT the guard.

                         THOR
               Thought you didn&apos;t want to talk
               about it?


79   INT. GRANDMASTER&apos;S PALACE - ELEVATOR - CONTINUOUS              79

     Thor and Loki are going up.

                         LOKI
               Here&apos;s the thing. I&apos;m probably
               better off staying here on Sakaar.

                         THOR
               That&apos;s exactly what I was thinking.

                         LOKI
               ...Did you just agree with me?

                         THOR
               This place is perfect for you. It&apos;s
               savage, chaotic, lawless. Brother,
               you&apos;re going to do GREAT here.

                         LOKI
               Do you truly think so little of me?

     Thor pauses, considers his brother.   Then:

                         THOR
               Loki, I thought the world of you.
               I thought we were gonna fight side
               by side forever. But, at the end of
               the day, you&apos;re you, I&apos;m me...
                         (MORE)
                         BLUE DRAFT 05/20/16               94.

                     THOR (CONT&apos;D)
           I don&apos;t know, maybe there&apos;s still
           good in you, but let&apos;s be honest,
           our paths diverged a long time ago.

Loki is wounded by Thor&apos;s willingness to discard him.    Masks
his feelings with:

                     LOKI
           It&apos;s probably for the best that we
           never see one another again.

Beat.   Thor pats Loki affectionately on the shoulder.

Hold on Loki. Did Thor just get through to him?

                     THOR
           That&apos;s what you always wanted.

Beat.   Then:

                     THOR (CONT&apos;D)
           Hey, let&apos;s do &quot;Get Help.&quot;

                        LOKI
           What?

                     THOR
           &quot;Get Help.&quot;

                        LOKI
           No.

                     THOR
           Come on, you love it.

                        LOKI
           I hate it.

                     THOR
           It&apos;s great. IT works every time.

                     LOKI
           It&apos;s humiliating.

                     THOR
           Do you have a better plan?

                        LOKI
           No.

                     THOR
           We&apos;re doing it.
                           BLUE DRAFT 05/20/16                   95.


                         LOKI
               We are not doing &quot;Get Help.&quot;


80   OMITTED                                                          80


82   INT. GRANDMASTER&apos;S PRIVATE GARAGE - CONTINUOUS                   82

     Multi-tiered platforms with dozens of cool spaceships.

     The elevator doors open. Thor supports Loki&apos;s weight with
     Loki faking a fatal injury.

                         THOR
               Get help! Please! My brother, he&apos;s
               dying.

     A small group of Sakaarian guards turn toward Thor and Loki.
     One guard aims his gun at them.

                         THOR (CONT&apos;D)
               Get help! Help him!

     Thor picked up Loki and flings him at the guards, knocking
     them down like bowling pins. Loki stands up and Thor steps
     to Loki&apos;s side.

                          THOR (CONT&apos;D)
               Classic.

                         LOKI
               I still hate it. It&apos;s humiliating.

                         THOR
               Not for me, it&apos;s not.

                         THOR (CONT&apos;D)
               Which one&apos;s the ship she told us to
               get?

                         LOKI
                   (points)
               The Commodore.

     The COMMODORE starship. Brand new, solidly built, sleek.

     As they walk towards it a DUPLICATE LOKI FORMS and LAGS
     BEHIND. The Loki walking with Thor is an illusion.

                         LOKI (CONT&apos;D)
               Though I feel it won&apos;t make much of
               a difference...
                             BLUE DRAFT 05/20/16               96.


      We follow the real Loki as he slinks away towards the
      security system panel. He activates the panel and brings up a
      screen that will set off all the alarms palace-wide!

                            THOR (O.S.)
                Oh, Loki.

      Loki turns to see Thor looking not at all surprised.

                          LOKI
                I know I&apos;ve betrayed you many times
                before, but this time it&apos;s truly
                nothing personal. The reward for
                your capture will set me up nicely.

      He triggers the alarm.


82B   INT. GRANDMASTER&apos;S PRIVATE GARAGE - CONTINUOUS                  82B

                          THOR
                Never one for sentiment, were you?

                          LOKI
                Easier to let it burn.

      But then Loki sees Thor holding up a fob device. Loki
      realizes that Thor affixed an Obedience Disk on him in that
      heart-to-heart moment.

                            THOR
                I agree.

      BZZZT! Thor ZAPS Loki and HOLDS DOWN the button. Loki HITS
      the ground, WRITHING in pain. Thor approaches. Pause.

                          THOR (CONT&apos;D)
                Oh brother, you&apos;re becoming
                predictable. I trust you, you
                betray me. Round and round in
                circles we go.

      Thor continues to &quot;think about it&quot; for a beat while Loki
      convulses in agony on the floor. Finally, Thor kneels down:

                          THOR (CONT&apos;D)
                See, Loki, life is about, it&apos;s
                about growth. It&apos;s about change.
                But you seem to just wanna stay the
                same. I guess what I&apos;m trying to
                say is that you&apos;ll always be the
                God of Mischief, but you could be
                more. I&apos;ll just put this over here
                for you.
                              BLUE DRAFT 05/20/16               97.


      Thor places the fob on top of the security panel, so close
      but so far from Loki&apos;s paralyzed reach.

                          THOR (CONT&apos;D)
                Anyway, I got places to be so good
                luck.


82C   INT. COMMODORE SHIP - MOMENTS LATER                            82C

      Thor is seen in the cockpit.

                          THOR
                All right, I can figure this out.
                It&apos;s just another spaceship.


83    EXT. GRANDMASTER&apos;S PALACE - MOMENTS LATER                      83

      The massive garage doors OPEN. This sets off BLARING ALARMS
      to alert the palace of this unauthorized departure.

      The Commodore ship LIFTS OFF from the garage. In the cockpit
      Thor pushes forward on the throttle. The ship ZOOMS ahead.

                          GRANDMASTER
                Loyal Sakaarians, Lord of Thunder
                has stolen my ship and my favorite
                champion. Sakaarians, take to the
                skies. Bring him down. Do not let
                him leave this planet.

      BELOW: Pilots hastily RUSH to their Palace Patrol ships so
      as to pursue the Commodore.

      The first two ships out of the garage SWOOP AROUND behind
      Thor. The Patrol ships are LOCKING weapons on Thor when-

      -BOOM-BOOM!   They are both blown out of the sky by-


84    INT. WARSONG SHIP - SAME                                       84

      Val is all focus, flying and FIRING. Banner sits shotgun.

                             BANNER
                Good shot!


85    EXT. SAKAAR - DAY                                              85

      Thor&apos;s ship and Val&apos;s ship now ZIP through the city in
      tandem. On the horizon we can see-
                            BLUE DRAFT 05/20/16                    98.


     -the Statesman, the enlarged Grandmaster, and his Riot
     Control team raining down hell on the revolting prisoners.


86   INT. COMMODORE SHIP - CONTINUOUS                                   86

     Thor in the pilot&apos;s seat.     Val comes in over the radio.

                          VALKYRIE (V.O.)
                Open the doors.

     Thor looks over the console.    FLIPS a switch.


87   INT. WARSONG SHIP - CONTINUOUS                                     87

     Valkyrie STEERS down, dropping altitude. Her whole ship
     spins upside down, yet her cockpit is still right-side up.

                          VALKYRIE
                I hope that you&apos;re tougher than you
                look.

                          BANNER
                Why?

     Val MAXES OUT the throttle. The ship ACCELERATES.     When
     she&apos;s under Thor&apos;s ship, Val presses-

     -THE EJECT BUTTON!   Banner is LAUNCHED OUT OF THE SHIP!


88   INT. COMMODORE SHIP - CONTINUOUS                                   88

     Thor at the controls. We hear an incoming scream of
     increasing volume. &quot;aaaaaaaaaAAAAAAAAAHHHHHH!!!!!&quot;

     THUNK!   Banner is SHOT UP into the ship. ROUGH LANDING.

     Banner casually lifts his arm up and gives a THUMBS UP.

     CLUNK! CLUNK! CLUNK! CLUNK! The ship is being fired upon by
     another pursuit vehicle. Banner joins Thor.

                           BANNER
                Shouldn&apos;t we be shooting back or
                something?

                          THOR
                Yes, we should.
                    (into the radio:)
                Where are the guns on this ship?
                            BLUE DRAFT 05/20/16                99.


                          VALKYRIE (V.O.)
                There aren&apos;t any. It&apos;s a leisure
                vessel.

                          THOR / BANNER
                WHAT?!

                          VALKYRIE
                Grandmaster uses it for his good
                times, orgies and stuff.

      Thor and Banner look around. The CEILING has MIRRORS ON IT
      and the floor is covered in a Sakaarian PERSIAN RUG.

                          BANNER
                Did she just say the Grandmaster
                uses it for orgies?

                          THOR
                Yeah. Don&apos;t touch anything.

      CLUNK! CLUNK! CLUNK! More fire from behind.


A89   INT. WARSONG SHIP - THE SAME                                    A89

      Val&apos;s ship is hit. She rotates the cockpit to face BACKWARDS
      and opens fire, taking out the attacking chase-ship.

      But now in Val&apos;s cockpit... Sparks. Smoke. Alarms.

      In the distance Val clocks the Grandmaster&apos;s Riot Ship
      raining terror down on the masses. A look of determination as
      she pops the HATCH above - her ship is now a convertible.


89    EXT. SAKAAR - CONTINUOUS                                        89

      Meanwhile, Warsong ZOOMS out from under Thor&apos;s ship, still
      ACCELERATING. Val has turned her ship into a missile, and
      its trajectory is the Grandmaster&apos;s Riot Control Ship!

      Grandmaster is still taunting his former captives below when-

      -KA-BOOM! Warsong SLAMS into the Statesman, specifically the
      Grandmaster&apos;s projection! Enlarged Grandmaster stumbles,
      struggling to maintain his balance.

      Warsong EXPLODES while the Statesman is knocked off kilter
      and goes down for a hard landing in the market!
                           BLUE DRAFT 05/20/16                  100.


90   INT. COMMODORE SHIP - CONTINUOUS                                 90

     Thor and Banner witness the fiery explosion of Val&apos;s kamikaze
     flight path!

                         THOR
               No!

     Thor experiences a brief instant of heartbreak/devastation...

     ...but then notices a spec coming out of the explosion.

     THWACK! Val hits the ship&apos;s windshield and grabs hold!
     Residual smoke wafting off of her.


91   OMITTED                                                          91

92   EXT. SAKAAR - THE WASTELANDS - CONTINUOUS                        92

     Thor pilots the ship out of the city into the Wastelands as
     six Sakaarian fighter ships race after them in formation.

     The following dogfight will proceed across the Wastelands and
     then out over the Sakaarian Ocean.


93   INT. COMMODORE SHIP - CONTINUOUS                                 93

     Val is still on the windshield. GUNFIRE! One of the
     pursuing ships WINGS the Commodore, causing it to LURCH.

                         THOR
               Get inside!

                         VALKYRIE
               In a minute!

     Val pulls herself up and then RUNS DOWN THE ROOF OF THE SHIP!

     Thor and Banner follow the THUMPING of her footsteps.


94   EXT. COMMODORE SHIP - CONTINUOUS                                 94

     In full sprint, Val LEAPS OFF and-

     -LANDS HARD on the lead Sakaarian ship! Val begins TEARING
     into the enemy ship with her bare hands!


95   INT. COMMODORE SHIP - CONTINUOUS                                 95

     Thor and Banner exchange a look.   Pause.
                            BLUE DRAFT 05/20/16                  101.


                          THOR
                I should probably go and help.

      Thor abruptly exits, leaving Banner at the ship&apos;s controls.

                          THOR (CONT&apos;D)
                Here, take the wheel.

                          BANNER
                No. I don&apos;t know how to fly one of
                these.

                           THOR
                You&apos;re a scientist.   Use one of
                your PhDs.

                          BANNER
                None of them are for flying alien
                spaceships!


96    EXT. THE SAKAARIAN OCEAN - CONTINUOUS                            96

      Thor LEAPS into the middle of this high-speed dogfight!

      These two superhuman Asgardians begin jumping between their
      pursuer&apos;s ships, taking out guns, engines, and pilots with
      their bare hands. It&apos;s spectacular and epic.

      Thor RIPS out an engine block and uses it to crush a pilot.

      Val DRAGS her blades down the entire underbelly of a ship
      before BACKFLIPPING to another.

      Back and forth they go, even passing each other mid-flight a
      few times. One by one the Sakaarian ships GO DOWN.


A97   INT. COMMODORE SHIP - SAME                                       A97

      Banner is frantically STEERING the ship, doing his best to
      dodge all the incoming fire. He peels away and is followed
      by Topaz, who is in her own chase-ship.

      Banner notices a button with a little explosion icon.

                          BANNER
                Okay, come on. There&apos;s gotta be a
                gun on this thing. That looks like
                a gun.

      Banner PRESSES the button.
                            BLUE DRAFT 05/20/16               102.


      The ship&apos;s lighting changes, like a disco effect. Weird dance
      music BLASTS over the PA, followed by Grandmaster&apos;s voice.

                          GRANDMASTER (V.O.)
                It&apos;s MY BIRTHDAY! It&apos;s MY BIRTHDAY!
                It&apos;s MY BIRTHDAY.

      Banner is so confused. Then we hear FIREWORKS.


B97   EXT. THE SAKAARIAN OCEAN - CONTINUOUS                           B97

      MASSIVE PLUMES of powder paint SHOOT OUT of the ship followed
      by a huge colorful fireworks display. And then a
      rainforest&apos;s worth of confetti is dumped from the hull!

      Topaz is suddenly in the middle of a party smoke screen! She
      tries to fly her way through all the fireworks and streamers,
      but ultimately she hits a HARD CRASH LANDING in the ocean.

                          BANNER
                Yeah!

      Meanwhile, Thor and Val land together on the one remaining
      Sakaarian ship. Val leaks a smile to Thor.

      Thor YANKS OFF the cockpit cover, Val TOSSES the pilot, and
      together they PUSH FORWARD on the throttle.

      The ship SPEEDS FORWARD. Just then Banner pulls the Commodore
      back on the scene, hovering above them.

      They LEAP UP towards the Commodore&apos;s open doors as the ship
      CRASHES and EXPLODES behind them!


97B   INT. COMMODORE SHIP - CONTINUOUS                                97B

      Thor and Valkyrie join Banner in the cockpit.

                          VALKYRIE
                Guys, we&apos;re coming up on the
                Devil&apos;s Anus!


97F   INT. GRANDMASTER&apos;S GARAGE - DAY                                 97F

      KORG and MIEK enter, leading a group of gladiator rebels.

      Korg sees and then points to the SUPERCRUISER.

                          KORG
                There she is. Our ticket out of
                here. Hey, what&apos;s this?
                              BLUE DRAFT 05/20/16                103.


      The OBEDIENCE DISK FOB on the ground.   He picks it up.

      Korg then notices LOKI, TWITCHING and CONVULSING on the
      ground. He&apos;s barely made any progress towards the fob.

      Loki locks eyes with Korg, a desperate and furious plea.

      Korg looks at Loki, then at the fob, then back to Loki.

      Loki gives Korg a maniacal, pleading look.

      Korg gets it.   He deactivates the obedience disk.

      Loki stands, dusts himself off.

                             LOKI
                Thank you.

                          KORG
                Hey man, we&apos;re about to jump on
                that ginormous spaceship. You
                wanna come?

                          LOKI
                You do seem like you&apos;re in
                desperate need of leadership.

                          KORG
                Why thank you.


A98   OMITTED                                                          A98

B98   OMITTED                                                          B98


98    EXT. THE DEVIL&apos;S ANUS WORMHOLE - CONTINUOUS                      98

                          VALKYRIE
                Here we go!

      The Commodore ship is swallowed up by the towering nightmare
      that is the Devil&apos;s Anus wormhole.

      The ship&apos;s onboard computer SHORTS OUT. Darkness in the
      cabin. All around them the hull CREAKS. Under strain.

      The commodore heads toward the end of the wormhole.   Debris
      flies past the camera.

      Thor, Val, and Banner all look like they are in extreme pain,
      as there&apos;s great concern the ship could be torn apart.
                             BLUE DRAFT 05/20/16                 104.


98A   EXT. ASGARD - PLAZA - DAY                                        98A

      SKURGE ADDRESSES A CROWD OF ASGARDIANS.     HELA BEHIND HIM
      leaning against FENRIS, her GIANT WOLF.

                          SKURGE
                Asgardians, some misguided soul has
                stolen the Bifrost sword. Tell us
                where it is, or there will be
                consequences. Bad ones.

      We are now in the smoking ruins of Asgard. 100+ Asgardians
      have been forced to line in a large piazza, all exhausted,
      all scared. Patrolling the perimeter are Hela&apos;s Butchers.

                            SKURGE (CONT&apos;D)
                Well?

      Hela points to an Asgardian woman off camera.

                            HELA
                You.

      Hela&apos;s butchers approach the crowd and find the Asgardian
      woman. Skurge closes his eyes and looks downward.

                            ASGARDIAN CITIZENS
                No! Stop!

      Hela&apos;s butchers pull the Asgardian woman to the steps. They
      shove her and she falls tot he floor. The woman is on her
      hands and knees as Skurge turns to her. She trembles as
      Skurge holds his battle axe with both hands.

                           HELA
                Well?   Executioner?

                          ASGARDIAN MAN
                Wait! I know where the sword is.


99    EXT. THE DEVIL&apos;S ANUS WORMHOLE - DAY                             99

      The Commodore nears the end of the wormhole and is-

      -SPIT OUT into the calmness of outer space.

100   OMITTED                                                          100
                            BLUE DRAFT 05/20/16               105.


101   INT. COMMODORE SHIP - CONTINUOUS                               101

      Banner, Thor, and Valkyrie are all unconscious. Banner wakes
      up and looks outside, the stars reflected in the windshield.
      Thor and Valkyrie wake up. Outside they see-

      -THE REALM OF ASGARD, a flat city in the middle of an island
      floating in space.

                          VALKYRIE
                    (mixed emotions)
                I never thought I&apos;d be back here.

      The ship descends into the clouds above Asgard.

                          BANNER
                I thought it&apos;d be nicer. I mean,
                not that it&apos;s not nice. It&apos;s just,
                it&apos;s on fire.

      THE SHIP CLEARS THE CLOUDS TO REVEAL-

      -ASGARD IN RUINS. A DEVASTATED GHOST TOWN. FIRES, WRECKED
      BUILDINGS, DEAD SOLDIERS. IT LOOKS LIKE ALL HOPE IS LOST.

                          VALKYRIE
                Here, up here in the mountains.

      A projected map on the console shows the mountain where the
      stronghold is located. There is a red dot in the mountain,
      indicating where the Asgardian citizens are.

                          VALKYRIE (CONT&apos;D)
                Heat signatures. People clustered
                together. Hela&apos;s coming for them.

                          THOR
                Okay, drop me off at the palace and
                I&apos;ll draw her away.

                          VALKYRIE
                And get yourself killed?

                          THOR
                The people trapped down there are
                all that matters. While I&apos;m
                dealing with Hela, I need you two
                to help get everyone off Asgard.

                          BANNER
                How the hell are we supposed to do
                that?
                             BLUE DRAFT 05/20/16                 106.


                           THOR
                 I have a man on the ground.


101A   INT. ASGARD/STRONGHOLD - DAY                                    101A

       Heimdall looks to the Asgardian Citizens.

                           HEIMDALL
                 Asgard. She&apos;s here.


109    EXT. PALACE - PLAZA - DAY                                       109

       Valkyrie is helping Thor load a MASSIVE ASGARDIAN BLASTER
       into the side of the Commodore.

                           THOR
                 Now the ship has guns.

                           VALKYRIE
                 I&apos;ll take it from here.

       Thor produces a bundle of FABRIC WITH GOLD AND WHITE PLATING.

                           THOR
                 I found this in the armory.

       Val immediately recognizes its significance. She doesn&apos;t
       want to be affected by this gesture, but can&apos;t help it.

       They share a look as the Commodore lifts off into the air.
       Before she&apos;s out of earshot, Val calls down:

                           VALKYRIE
                 &quot;Your majesty.&quot; Don&apos;t die.    You
                 know what I mean.

       The Commodore flies away, leaving Thor on the balcony.


109A   INT. THRONE ROOM - CONTINUOUS                                   109A

       Thor&apos;s footsteps ECHO through the empty space. He sees the
       items from the vault scattered beside the throne.

       Thor sees a chunk of plaster from the dismantled fresco. He
       picks it up and sees that this piece of fresco bears a
       portion of his own face. Thor then looks up, off camera.

       His eyes go wide. He looks up at the ceiling where his
       painting used to be and finds the original which depicts Odin
       and Hela conquering the nine realms, with Hela&apos;s butchers all
       around them. Hela holds Mjolnir.
                               BLUE DRAFT 05/20/16               107.


106   OMITTED                                                           106


107   EXT. ASGARD - MOUNTAIN RAVINE - DAY                               107

      Hela, cowl &amp; headdress on, stands with Skurge outside of the
      mountain stronghold where Heimdall is hiding the refugees.
      Hela raises her arms and FIRES LONG THIN BLACK LANCES, which
      BURROW into crevices on the mountainside. From here, we TILT
      UP, looking straight at the sky.

      With the lances in place, Hela bears down. Summoning all her
      focus and energy, she begins to VIBRATE this manifestation of
      her powers, PUNCTURING crevices and splitting rock apart.

      The whole mountain begins to RUMBLE.

108   OMITTED                                                           108


110   EXT. ASGARD - MOUNTAIN STRONGHOLD - SAME                          110

      CRACK!    Hela RIPS OPEN THE SIDE OF THE MOUNTAIN!

      There is an avalanche of rock and debris.     The mountain
      around the doors completely destroyed, the    doors fall across
      the ravine, creating a bridge for Hela and    Skurge. Hela
      waits patiently for the dust to settle and    sees-

      -an empty stronghold.    No sign of Heimdall or the refugees.


111   EXT. SECRET MOUNTAIN PATH - SAME                                  111

      Heimdall leads the migration of refugees out the other side
      of the mountain onto a secluded mountain path.

                            HEIMDALL
                  We must keep moving! Go to the
                  Bifrost!


112   INT. COMMODORE - DUSK                                             112

      Banner flies the Commodore out across the city.

      Val puts on her gloves, cuff on her forearm, boots, and
      breastplate. She grabs her dragonfang sword and puts it at
      her side. Val mans the Blaster, and we see that she&apos;s changed
      into the CLASSIC WHITE &amp; GOLD VALKYRIE ARMOR (Thor&apos;s gift).
      Bad ass.
                            BLUE DRAFT 05/20/16                   108.


113   EXT. MOUNTAIN STRONGHOLD - DUSK                                   113

      Hela is about to throttle Skurge when-

      -A LOUD GONG SOUND. It&apos;s coming from far away, but the deep
      note resonates across the land. GONG-GONG-GONG-GONG!

      Hela looks to the Palace, her eyes narrowing with rage.


114   INT. THRONE ROOM - CONTINUOUS                                     114

      Find Thor on the throne holding GUNGNIR - THE KING&apos;S SPEAR,
      Odin&apos;s signature spear. SLAMMING the butt of it on the
      ground. GONG...GONG...

      Hela steps into the throne room.   Headdress &amp; cowl off.

      Thor stops the GONGING when he sees Hela.

                          THOR
                Sister.

      Smiling, Hela gradually crosses the huge space towards Thor.

                          HELA
                You&apos;re still alive.

                          THOR
                I love what you&apos;ve done with the
                place. Redecorating, I see.

                          HELA
                It seems our father&apos;s solution to
                every problem was to cover it up.

                          THOR
                Or to cast it out.
                    (then:)
                He told you you were worthy.   He
                said the same thing to me.

      Angle on Hela in the frescos, fighting with Mjolnir.

                          HELA
                You see, you never knew him, not at
                his best.
                    (nostalgic sigh)
                Odin and I drowned entire
                civilizations in blood and tears.
                Where do you think all this gold
                came from? And then one day he
                decided to become a benevolent
                king.
                          (MORE)
                              BLUE DRAFT 05/20/16                 109.

                          HELA (CONT&apos;D)
                To foster peace, to protect life.
                    (with teeth)
                To have you.

                          THOR
                I understand why you&apos;re angry. And
                you are my sister, and technically
                have a claim to the throne. And
                believe me, I would love for
                someone else to rule. But it can&apos;t
                be you. You&apos;re just...the worst.

      Hela puts on her headdress.

                          HELA
                Okay, get up. You&apos;re in my seat.

                          THOR
                    (standing up)
                You know, Father once told me that
                a wise king never seeks out war.

                          HELA
                But must always be ready for it.

      They CHARGE each other.


115   EXT. RAINBOW BRIDGE - SAME                                          115

      Heimdall leads the refugees out onto the bridge.

      But then he stops.    Sensing something.

      At the far end of the bridge is FENRIS!      The massive war wolf
      is guarding the observatory!

                            HEIMDALL
                Go back!

      The refugees turn to retreat.    Fenris CHARGES!

      GUNFIRE FROM ABOVE!

      The Commodore swoops onto the scene, Valkyrie manning the
      blaster and FIRING on Fenris, who stops his charge.

      As the refugees retreat, they come to a stop because...

      ...SKURGE IS LEADING AN ARMY OF BUTCHERS BEHIND THEM!

      Heimdall and the refugees are now trapped on the bridge
      between Fenris and Skurge!
                             BLUE DRAFT 05/20/16               110.


116   INT. THRONE ROOM - CONTINUOUS                                    116

      Hela and Thor fight, Hela wielding twin black blades.

      They CLASH and Thor BLOCKS an attack with Gungnir.   They are
      face to face, Hela glaring at Thor.

                          HELA
                To be honest, I expected more.

      Hela DISARMS him, sending Gungnir CLATTERING across the room.
      Hela strikes out sending Thor FLYING hard into a wall.


117   EXT. RAINBOW BRIDGE - SAME                                       117

      Hela&apos;s butchers stand behind Skurge.

                            SKURGE
                Heimdall!    The sword!

      The Butcher army CHARGES

      Val and Banner hold the remaining Butchers off with GUNFIRE.

      Heimdall is looking toward the palace, concern for Thor. But
      his attention soon goes back to protecting the mass of
      humanity behind him. He looks out to the Observatory

                          HEIMDALL
                We must cross now! To Bi-Frost!

      Heimdall leads the refugees out onto the bridge.


118   INT. THRONE ROOM - CONTINUOUS                                    118

      Hela PINS thor against the wall.

                           HELA
                Here&apos;s the difference between us.
                I&apos;m Odin&apos;s firstborn, the rightful
                heir, the savior of Asgard.
                    (beat)
                And you&apos;re nothing.

      Hela PROJECTS a large spiked lance, Thor barely rolls out of
      the way before it PUNCTURES the wall.

      Thor HEADBUTTS Hela. It does nothing.   Hela responds with her
      own HEADBUTT. It does a lot.
                              BLUE DRAFT 05/20/16                 111.


                             HELA (CONT&apos;D)
                So simple.     Even a blind man could
                see it.

      Hela RAKES a black-clawed hand across Thor&apos;s face. In doing
      so, she RIPS OUT ONE OF HIS EYES!

                          HELA (CONT&apos;D)
                Now you remind me of Dad.


119   EXT. RAINBOW BRIDGE - SAME                                        119

      Asgardians CLASH with Hela&apos;s Butchers.

      Valkyrie keeps raining down fire on Fenris, but it is doing
      no real damage. Just pissing the wolf off.

      Fenris shakes off the bullets and resumes CHARGING.

      Heimdall sees Fenris charging and steps out in front of the
      refugees with his sword, preparing for the worst.


120   INT. COMMODORE SHIP - SAME                                        120

      Valkyrie gives up shooting.

                          VALKYRIE
                This stupid dog won&apos;t die!

      Banner looks down at the carnage below.      Makes a decision.

      He gets up and heads for the bay doors.

                          BANNER
                Everything&apos;s going to be okay. I
                got this. You want to know who I
                am?

                          VALKYRIE
                What the hell are you talking
                about?

                          BANNER
                You&apos;ll see.

      Banner LEAPS out of the ship!
                             BLUE DRAFT 05/20/16                 112.


121   EXT. RAINBOW BRIDGE - CONTINUOUS                                 121

      Banner soars through the air. It&apos;s an awe-inspiring image as
      we follow Banner&apos;s trajectory downwards. His face is
      determined, arms churning, ready to Hulk out...

      ...except it doesn&apos;t happen.     Worry washes over his face.

      SPLAT! Banner FACEPLANTS on the bridge, seeming to break
      every bone in his body. He looks dead.

      Pause. Fenris SNIFFS him curiously. We notice one vein on
      Banner&apos;s neck PUMPING GREEN. Then-

      -Banner suddenly EXPLODES UP as THE INCREDIBLE HULK, UPPER-
      CUTTING Fenris in the jaw! Hulk is now in a wrestling match
      with a beast four times his size - the two of them go
      TUMBLING into the water below.


122   EXT. PALACE BALCONY - SAME                                       122

      Hela has Thor by the throat.     She lifts him up to look over
      the balcony&apos;s ledge.

                          HELA
                You see? No one&apos;s going anywhere.
                    (then:)
                I&apos;ll get that sword even if I have
                to kill every single one of them to
                do it.

      Thor looks down.   Distraught.   Heartsick.


123   EXT. RAINBOW BRIDGE - CONTINUOUS                                 123

      Val pilots the Commodore towards the battle on the city side
      of the bridge. Skurge&apos;s battlion of Butchers surge forward-

      -BOOM! Val LANDS the Commodore on top of them, SKIDDING
      across the bridge, CRUSHING the front line of the Butchers,
      and KNOCKING Skurge aside. The impact triggers the party
      function, setting off PARTY MUSIC and a FIREWORKS DISPLAY.

      Val emerges from the ship in full battle mode. Behind her,
      the Commodore FIREWORKS provide a spectacular HERO BACKDROP.
      She draws DRAGONFANG and smiles as Butchers begin swarming
      towards her. She is where she needs to be.

      Meanwhile, the Asgardians huddle together, packed so tight
      that some begin to fall off the side of the bridge, loved
      ones grabbing them and pulling them back up. There&apos;s no hope.
                       BLUE DRAFT 05/20/16               113.


Heimdall FIGHTS off Butchers, but gets KNOCKED DOWN.   Just as
it looks like he&apos;s about to take a killing blow-

-BAM!   The Butcher is BLASTED.

Korg steps into frame, holding the blaster!

                      KORG
           Hey man.   I&apos;m Korg.   This is Miek.

Miek steps into frame, waving.

                     KORG (CONT&apos;D)
           We&apos;re going to jump on that
           spaceship and get out of here.
           Want to come?

Heimdall is beyond confused, but then... a LOUD NOISE. Hela
looks down to see-

-EMERGING FROM THE THICK LOW-HANGING FOG IS LOKI! Resplendent
in horns, arms spread wide, seeming to float towards the
bridge like a mythical angel of mercy.

                     LOKI
           Your savior is here!

The fog dissipates around him, revealing that Loki&apos;s standing
on THE GRANDMASTER&apos;S SUPERCRUISER! For reasons that will
become clear, we will henceforth call this ship THE ARK.

And Loki is not alone. He&apos;s brought along all the prisoners
from the Contest of Champions. Armed with gladiator weapons.
The Ark slows to a stop at the middle of bridge.

ABOVE: Even with Hela&apos;s hand on his throat, Thor can&apos;t help
but smile at the sight of Loki. Hela however sneers.

                     HELA
           That little shit.

BELOW: Loki and the Sakaarian gladiators JUMP OFF the Ark and
onto the bridge, joining the fight against Hela&apos;s forces.

                      LOKI
           Did you miss me?    Everybody on that
           ship, now.

The Asgardian refugees begin POURING onto the ark. The only
way onto the Ark is a narrow plankway, so there is an
immediate bottleneck effect - thousands of frightened people
all pushing for a chance at salvation. It&apos;s mayhem.

Loki walks through the crowd to Heimdall.
                            BLUE DRAFT 05/20/16                  114.


                          HEIMDALL
                Welcome home. I saw you coming.

                          LOKI
                Of course you did.

      Loki joins Heimdall and the gladiators in fending off Hela&apos;s
      encroaching minions.


124   OMITTED                                                          124


125   OMITTED                                                          125


126   EXT. PALACE BALCONY - SAME                                       126

      Hela is perturbed, but not enraged. She turns her gaze back
      to Thor for a final farewell.

                          HELA
                A valiant effort, but you never
                stood a chance.

      Thor looks up from his friends protecting his people as they
      frenziedly board to Ark to-

      -the twilight stars coming out over Asgard.   There&apos;s a
      glimmering of stardust in the sky.

                           HELA (CONT&apos;D)
                You see?   I&apos;m not a queen, or a
                monster.

      FLASH: PUSH IN ON ODIN AT THE CLIFFS.

                          HELA (CONT&apos;D)
                I&apos;m the Goddess of Death.

      FLASH: PUSH IN ON ODIN AT THE CLIFFS.

                          HELA (CONT&apos;D)
                What were you the God of again?

      As Hela digs two blades into his chest, Thor SCREAMS...

      And everything goes SILENT. SKY. We PAN DOWN to-
                             BLUE DRAFT 05/20/16                  115.


126A   EXT. CLIFFS - DAY                                                126A

       - where we find Thor (dressed and injured as he was on the
       balcony), back in the sweeping fields where we met Hela for
       the first time.

                           ODIN (O.S.)
                 Even when you had two eyes you were
                 only seeing half the picture.

       Thor turns to see his father, sitting where we last saw him.
       Thor falls to his knees.

                           THOR
                 She&apos;s too strong.   Without my
                 hammer I cannot--

                           ODIN
                 Are you Thor, God of Hammers?

       Thor looks up, meeting his gaze.

                           ODIN (CONT&apos;D)
                 That hammer helped you control your
                 power, focus it. But it was never
                 the source of your strength.

       Odin stands, as does Thor.

                           THOR
                 It&apos;s too late. She&apos;s already taken
                 Asgard.

                           ODIN
                 Asgard is not a place. Never has
                 been.
                     (gestures around him)
                 This could be Asgard. It is
                 wherever our people stand. And
                 right now those people need you.

       Odin turns to go.

                           THOR
                 I&apos;m not as strong as you.

                            ODIN
                 No.   You&apos;re stronger.

       As Odin turns to leave, a SHADOW in the shape of HELA&apos;S
       HEADDRESS falls across him. He looks up and we are...
                             BLUE DRAFT 05/20/16                116.


126B   EXT. PALACE BALCONY - CONTINUOUS                                126B

       Thor looks up to the sky.

       She digs the blades deeper into Thor&apos;s chest. He groans in
       pain. Everything DARKENS as BLACK CLOUDS gather overhead.

                           HELA
                 Tell me brother, what were you the
                 God of again...?

       CLOSE ON Thor&apos;s clenched fist, small arcs of electricity
       forming.

       -THE LOUDEST CRACK OF THUNDER YOU&apos;VE EVER HEARD! In an
       instant, Thor and Hela are ENGULFED in a bolt of lightning!!

       KA-BOOM! Hela is BLASTED OUT of the lightning and sent
       CRASHING into the streets of Asgard. Her costume is
       tattered, the black extensions of her power hanging off her
       body in some places. She appears to be unconscious!

       All around Asgard, EVERYONE looks up at this massive strike.


127    EXT. RAINBOW BRIDGE (OBSERVATORY SIDE) - CONTINUOUS             127

       BOOM! Thor LANDS HARD on his feet. Muscles swollen, veins
       pulsing with electricity. A living storm.

       Thor DIVES INTO THE FRAY. He moves like a bolt of lightning,
       SURGING through the army of Butchers in quick SLASHING JOLTS.


128    EXT. RAINBOW BRIDGE (CITY SIDE) - SAME                          128

       Valkyrie CHARGES into the ocean of Butchers. Wielding
       Dragonfang, backlit by the POPS of fireworks.


129    EXT. RAINBOW BRIDGE (HERO SHOT) - CONTINUOUS                    129

       Moving across the entire epic battle.

       On the city side, Valkyrie CUTS A SWATHE through the
       relentless onslaught of Butchers. Heavy damage.

       At the middle of the bridge, Heimdall helps load the fleeing
       Asgardians onto the Ark.

       Within the melee are Loki, Korg and the Sakaarians. Loki
       SLASHES through Butchers wielding his two long daggers.
                              BLUE DRAFT 05/20/16                117.


       In the water below, Hulk and Fenris WRESTLE in an colossal
       clash of FISTS, CLAWS, and TEETH.

       Beyond that, Thor is wielding electrified weapons and
       BLASTING entire packs of Butchers off the bridge!

       Lost in the chaos is Skurge, who sees the tides turning.   He
       throws down his axe and blends into the crowd.

130    OMITTED                                                         130

131    OMITTED                                                         131

132    EXT. ASGARD - WATER BELOW - CONTINUOUS                          132

       Fenris has Hulk in his mouth, underwater.    Trying to drown
       the green goliath!

       Fenris&apos; teeth PUNCTURE Hulk&apos;s skin.   He BELLOWS, THRASHING.

       Hulk winds up and SLAMS Fenris in the snout!

       Fenris snaps back, revealing that-

       -THEY&apos;VE REACHED THE REALM&apos;S EDGE!

       Fenris is knocked off, plummeting off of Asgard into space.

       Hulk grabs hold of the slippery rocks, desperately trying to
       climb back as water pours down on him.


A133   OMITTED                                                         A133


133    EXT. THE ARK - SAME                                             133

       Asgardians continue RUSHING onto the ship.

       In the crowd we find Skurge! He&apos;s thrown a cloak over
       himself and is sneaking in amongst the refugees.

134    OMITTED                                                         134

135    OMITTED                                                         135


136    OMITTED                                                         136


137    OMITTED                                                         137

138    OMITTED                                                         138
                             BLUE DRAFT 05/20/16                118.


139    OMITTED                                                        139

A140   EXT. RAINBOW BRIDGE - CONTINUOUS                               A140

       Our heroes have drastically thinned down the herd of
       Butchers.

       It&apos;s pandemonium. The Ark&apos;s engines are deafening, but you
       can still hear the sound of terrified people SCREAMING.

       Thor helps Loki to his feet.

                           THOR
                 You&apos;re late.

                           LOKI
                 You&apos;re missing an eye.

       Valkyrie finishes off a handful of enemies, but then notices
       something. She WHISTLES to get the others&apos; attention.

                           VALKYRIE
                 This isn&apos;t over.

       All around the bridge, our heroes look to see-

       -Hela arriving at the far side of bridge.   She is seething
       with power, a vision of death.

       Having just come out of this huge battle, they are all weary
       and nursing injuries. Loki and Val are hurting worse than
       Thor.

       Hela walks towards them.   Menacing and deliberate.

       Thor, Loki, and Val step forward to protect the Asgardians.
       They huddle together.

                            THOR
                 I think we should disband the
                 Revengers.

                           LOKI
                 Hit her with a lightning blast.

                           THOR
                 I just hit her with the biggest
                 lightning blast in the history of
                 lightning. It did nothing.

                           VALKYRIE
                 We need to hold her off until
                 everybody&apos;s on board.
                        BLUE DRAFT 05/20/16                119.


Thor looks at the people boarding behind him.

                    THOR
          It won&apos;t end there. The longer
          Hela&apos;s on Asgard the more powerful
          she grows. She&apos;ll hunt us down.
          We need to stop her here and now.

                    VALKYRIE
          What&apos;s our move?

                    LOKI
          I&apos;m not doing &quot;Get help.&quot;

Thor sees Hela approaching. He sees the palace behind her. He
comes to a realization.

                     THOR
          Asgard&apos;s not a place, it&apos;s a
          people.
              (then)
          This was never about stopping
          Ragnarok...it was about causing
          Ragnarok.
              (to Loki:)
          Go to the vault. Surtur&apos;s crown.
          It&apos;s the only way.

                    LOKI
              (impressed)
          Bold move, brother. Even for me.

Loki runs off, leaving Thor and Val to deal with Hela.

                       THOR
          Shall we?

                       VALKYRIE
          After you.

Thor ATTACKS. They CLASH, kicking off this monumental
confrontation. Hela manifests pitch black weapons to attack
Thor, but Thor is conjuring powerful bolts of electricity
with the same speed and ferocity.

Just as Thor is surging with newfound lightning powers,
Hela&apos;s powers seem to be enhanced as well.

The battle is relentless and fast-paced. Thor is holding his
own against Hela. Maybe they can win this thing.

After several fearsome exchanges, Hela PUNCTURES his shoulder
and then DARTS past him with startling speed.
                                 BLUE DRAFT 05/20/16                 120.


        Undeterred, Thor RUSHES Hela again.    Valkyrie joins in,
        forcing Hela to fight them both.


BB140   EXT. THE ARK - SAME                                                BB140

        While the Asgardians still scramble to get on board above-

        -find the Commodore ship, swooping down below the bridge.


BC140   INT. COMMODORE SHIP - CONTINUOUS                                   BC140

        Find Loki in the pilot&apos;s seat.

                            LOKI
                  This is madness.

        The ship ACCELERATES towards the palace of Asgard.


BD140   EXT. RAINBOW BRIDGE - CONTINUOUS                                   BD140

        Thor continues FIGHTING Hela while Valkyrie BLOCKS Hela&apos;s
        attempts to spear the Asgardians from afar.

        Hela isn&apos;t landing any fatal blows, but she&apos;s carving Thor up
        and making steady progress towards the Ark.

        However, the Asgardian refugees finally make it aboard. An
        injured Heimdall, Korg, and Miek are the last to get on.

        Thor and Heimdall make eye contact.    Thor calls out:

                             THOR
                  GO!   GO NOW!

        As the Ark&apos;s engines begin to POWER UP-

        -Hela HARPOONS Thor.    He goes down, grimacing in pain.

        Hela begins to CONJURE AN ENORMOUS MANIFESTATION OF HER
        POWERS, A GIANT BLACK SPIKE FROM THE BEDROCK OF ASGARD THAT
        STABS THE ARK AND PREVENTS IT FROM LEAVING!

        Butchers begin to scramble up onto the Ark!

B140    OMITTED                                                            B140

BE140   EXT. ARK - CONTINUOUS                                              BE140

        The refugees REACT IN TERROR as the Butchers begin CLIMBING
        from the bridge to the Ark. In the frightened crowd we find-
                               BLUE DRAFT 05/20/16              121.


       -Skurge, still cloaked. He sees innocent Asgardians huddled
       together, trying to protect their families. He&apos;s having a
       crisis of conscience. An epiphany.


C140   OMITTED                                                         C140

D140   OMITTED                                                         D140


E140   INT. ODIN&apos;S VAULT - SAME                                        E140

       LOKI rushes in and picks up Surtur&apos;s skull.

       As he walks towards the Eternal Flame, The Tesseract draws
       his attention. Tempting him.


F140   EXT. THE ARK - CONTINUOUS                                       F140

       The first wave of Butchers arrives on board, heading straight
       for a cowering family. Just as they&apos;re about to be killed--

       POW! POW! POW!    The Butchers fall dead.

       Everyone turns to see SKURGE, now uncloaked, wielding his two
       M-16s from Texas.

                           SKURGE
                 For Asgard.

       Skurge runs forward, LEAPS off the Ark, and LANDS on the
       bridge right where all the Butchers are coming to life.
       BLASTING AWAY the Butchers before they can get aboard.

       Behind Skurge, the Ark begins to LIFT OFF.

       Skurge keeps FIRING and then-

                             SKURGE (CONT&apos;D)
                 HELA!

       Hela turns to see Skurge blasting his way through her
       Butchers, trying to make his way to her.

       Disappointed, Hela FIRES a blade through Skurge&apos;s heart.

       Skurge has been killed...

       ...but the Ark now ASCENDS unfettered.
                             BLUE DRAFT 05/20/16               122.


140    INT. ODIN&apos;S VAULT - SAME                                       140

       LOKI places Surtur&apos;s skull in the Eternal Flame.

                           LOKI
                 With the Eternal Flame, you are
                 reborn.

       As the fire CRACKLES, Surtur&apos;s skull begins to GROW.


141    EXT. RAINBOW BRIDGE - CONTINUOUS                               141

       Hela has Val in her clutches, but her focus is on the
       aftermath of Skurge&apos;s last stand and the Ark&apos;s subsequent
       escape. She&apos;s furious, about to unleash hell when-

                            THOR (O.S.)
                 HELA!   Enough!

       Hela turns to see Thor, having yanked out the harpoon...

       ...and it looks like he&apos;s laying down his sword!

                           THOR (CONT&apos;D)
                 You want Asgard? It&apos;s yours.

                           HELA
                 Whatever game you&apos;re playing, it
                 won&apos;t work. You can&apos;t defeat me.

                           THOR
                 No, but he can.

       KA-BOOM! EXPLODING through the roof of the palace is SURTUR!

       This is a different Surtur than the opening. He is slowly
       but steadily GROWING in size, and he carries with him a
       massive flaming sword, which GROWS as well.

       Surtur&apos;s arrival literally SHAKES the bedrock of Asgard,
       causing FISSURES to spiderweb all around him, and DISLODGING
       some of the foundation on the bridge and around the palace.

       Hela&apos;s eyes go wide. She wasn&apos;t expecting this.

                            HELA
                 No...NO!


A142   OMITTED                                                        A142
                               BLUE DRAFT 05/20/16                 123.


B142   EXT. RAINBOW BRIDGE - CONTINUOUS                                  B142

       In the background the Ark continues its ascent, now high up
       above the city.

       Hela&apos;s attention is on Surtur as the palace COLLAPSES around
       him. So she is unprepared for-

       -SHLNK! Mustering up all her remaining strength, Val DRIVES
       Dragonfang through Hela&apos;s chest, effectively PINNING her to
       the bridge.

       Refocused on Val, Hela goes to deliver a death blow when-

       -Thor BOLTS forward!   He PULLS Val from Hela&apos;s clutches.

       Thor turns and FIRES LIGHTNING INTO DRAGONFANG, which
       DISLODGES the section of the bridge that Hela is pinned to!

       The ground beneath Hela BREAKS FREE and she goes FALLING down
       into the expanding fissure in Asgard&apos;s bedrock.

       Badly injured, Thor and Valkyrie look up to see-

       -Surtur INCREASING in size, now towering over the palace.

                           SURTUR
                 Tremble before me Asgard, for I am
                 your reckoning!

       Surtur swings his sword, destroying an entire city block.

       THOR and VALKYRIE look up.

                           VALKYRIE
                 The people are safe.     That&apos;s all
                 that matters.

                           THOR
                 We&apos;re fulfilling the prophecy.

                           VALKYRIE
                 I hate this prophecy.

                           THOR
                 So do I, but we have no choice.

       In the background, Hulk hops up onto the bridge.   Looks
       around, zeroing in on Surtur.

                           SURTUR
                 Surtur destroys Asgard, he destroys
                 Hela so that our people can live.
                            BLUE DRAFT 05/20/16                  124.


      Hulk CHARGES behind them, still unseen by Thor and Val.

                          THOR
                We need to let him finish...
                    (finally sees Hulk)
                No!

      HULK LEAPS UP AND LANDS ONTO SURTUR&apos;S FACE and begins
      POUNDING the fire giant with furious punches!

                           THOR (CONT&apos;D)
                Hulk no!   Stop it you moron!!

      It&apos;s not doing much damage, but the shock of it plus Hulk&apos;s
      impact makes Surtur take a destructive step back.

      Hulk is trying to rip out one of Surtur&apos;s horns when Surtur
      reaches up and GRABS HIM with a giant fiery hand.

      Surtur HURLS Hulk away from him.   Sends him CRASHING DOWN.

      Hulk stumbles to his feet, dazed and SMOKING. After gathering
      his bearings, Hulk gets REALLY ANGRY and heads back towards
      Surtur for round two, but-

                          THOR (CONT&apos;D)
                Hulk, just for once in your life,
                don&apos;t smash!

                          HULK
                But...big Monster.

                          VALKYRIE
                Hulk! Let&apos;s go.

      Hulk stops. Looking between Surtur and Thor &amp; Val. This is
      a real Sophie&apos;s Choice for Hulk. On the one hand, he really
      wants to kill that thing. On the other hand...

                           HULK
                Friends.

      Hulk PICKS UP Thor and Valkyrie.   He then squats down, and-

      -LEAPS WITH ALL HIS MIGHT! The trio SHOOTS UP into the night
      sky like a rocket blasting off. Their trajectory is heading
      right at the Ark as it reaches the lower orbit of Asgard.


142   EXT. ARK - PLATFORM - CONTINUOUS                                   142

      Hulk lands gently, as though he were stepping out of bed.     He
      casually DROPS Thor and Val, both exhausted.
                            BLUE DRAFT 05/20/16                  125.


143   EXT. ASGARD - SAME                                               143

      A bird&apos;s eye view shows TOTAL CARNAGE AND MADNESS on Asgard.

      Surtur has grown to EXTINCTION LEVEL SCALE.   SLASHING AWAY at
      the landscape below, when suddenly-

      -A MASSIVE BLACK SPIKE EXPLODES FROM THE WATER AND SLAMS INTO
      SURTUR&apos;S CHEST!

      From beneath the water, Hela EXPLODES back onto the scene,
      riding a huge spiked manifestation of her powers.

      She&apos;s going for Surtur.   ATTACKING with all her might.

      Surtur winds up, holding his sword above his head.

                          SURTUR
                I am Asgard&apos;s doom!!

      True to his word, Surtur fulfills his destiny and-

      -DRIVES HIS SWORD THROUGH HELA AND INTO THE HEART OF ASGARD!


144   INT. THE ARK - MAIN CABIN - SAME                                 144

      Everyone watches as Surtur drives his sword through Asgard.

                          KORG
                The damage is not too bad. As long
                as the foundations are strong, we
                can rebuild this place. It will
                become a haven for all people and
                aliens of the universe...

      When the fiery sword touches the crystalline base of Asgard
      there is a VIOLENT DETONATION OF ENERGY!

      A CATACLYSMIC EARTHQUAKE!   The entire realm is SPLIT IN TWO!

      In an instant, Thor&apos;s home is BLOWN TO PIECES.

      Asgard is gone.

                          KORG (CONT&apos;D)
                Nope, those foundations are gone.
                Sorry.

      Stay on Thor as he processes the decisions he&apos;s made.

                          THOR
                What have I done?
                              BLUE DRAFT 05/20/16               126.


      Heimdall joins him.

                          HEIMDALL
                You saved us from extinction.
                Asgard is not a place, it&apos;s a
                people.


145   EXT. SPACE - INDETERMINATE TIME                                 145

      The Ark cruises among the chaos that once was Asgard.


146   INT. THE ARK - CAPTAIN&apos;S QUARTERS                               146

      Thor looks at his reflection in a mirror. His wounds are
      bandaged, including his now missing eye. His armor is clean.

      Thor takes a beat, as though trying to get used to the sight
      of the man looking back at him.

                          LOKI (O.S.)
                It suits you.

      Thor turns to reveal Loki standing by the door.    A smile.

                          THOR
                Perhaps you&apos;re not so bad after
                all, brother.

                             LOKI
                Maybe not.

                          THOR
                Thank you, Loki.

      Thor picks up a soap dish.

                          THOR (CONT&apos;D)
                And if you were here, I might even
                give you a hug.

      Thor THROWS the dish at Loki.   Loki catches it.

                          LOKI
                Do we have to hug now?

      Thor smiles.


147   OMITTED                                                         147

148   OMITTED                                                         148
                               BLUE DRAFT 05/20/16                127.


A149   EXT. THE ARK - SPACE                                             A149

       The giant cruiseliner is gliding through space, the twinkling
       of stars all around it.


149    INT. THE ARK - MAIN DECK                                         149

       Thor steps out onto the main deck to see an assembly of both
       Asgardian and Sakaarian refugees awaiting their King.

       Thor looks over his people and begins to walk through the
       crowd. His subjects part, allowing him through.

       It is the antithesis of the opening coronation from the first
       THOR movie. The people aren&apos;t cheering and lauding him, but
       rather they are smiling. Humbly bowing. Grateful.

       And Thor isn&apos;t acting arrogant. Not trying to show off any
       swagger. He is stately. A contemplative and dignified king.

       At the end of the procession, Hulk, Loki, Valkyrie, and
       Heimdall stand next to the CAPTAIN&apos;S CHAIR.

                           VALKYRIE
                 Your throne.

       Pause. Reluctant acceptance. Thor sits down.

       Flanking him on opposite sides are Valkyrie and Heimdall.
       Behind/towering above them is the Hulk. Loki joins them.

                           HEIMDALL
                 So, King of Asgard.

       Thor turns around to see THOUSANDS OF PEOPLE staring back,
       silently awaiting word from their new King. Now feeling the
       true weight of the crown, Thor takes a moment... and then:

                              HEIMDALL (CONT&apos;D)
                 Where to?

                           THOR
                 I&apos;m not sure. Any suggestions?
                 Miek, what&apos;s your home planet?

       Angle on Korg, who is holding Miek (sans robot exoskeleton).

                           KORG
                 Oh, Miek&apos;s dead. I accidentally
                 stepped on him on the bridge, I&apos;ve
                 just felt so guilty I&apos;ve been
                 carrying him around all day...
                              BLUE DRAFT 05/20/16                128.


       Miek WRIGGLES to life.   Korg lights up.

                            KORG (CONT&apos;D)
                  Miek, you&apos;re alive! He&apos;s alive
                  everyone! What was your question?

       Thor looks forward, taking charge of this one.

                            THOR
                  Earth it is.

       CUT TO BLACK.

       THE END.


TAG    INT. THE ARK - DAY                                              TAG

       THOR and LOKI look out the window.

                            LOKI
                  Do you really think it&apos;s a good
                  idea to go back to Earth?

                             THOR
                  Sure!   They love me there.

                            LOKI
                  Let me rephrase: Do you really
                  think it&apos;s a good idea to bring me
                  back to Earth?

       Thor smiles, getting it.    Pats Loki on the shoulder.

                            THOR
                  Probably not. But don&apos;t worry,
                  brother...I&apos;ve got a feeling that
                  everything&apos;s going to work out.

       Then through the window, they see-

       -THE MASSIVE FORM OF SANCTUARY-2, THANOS&apos; WARSHIP
       approaching.


TAG1   EXT. THE ARK - SAME                                             TAG1

       A wider view allows us to see all of Sanctuary-2, dwarfing
       the Ark in size.

       END.
 </itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>155</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">4cb8d06e-c40b-49fa-b3d3-8dcef3dd23f1</guid>
      <title>One Step Closer: This Place You Know</title>
      <description><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 8 Nov 2022 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/one-step-closer-this-place-you-know-rOp_2akn</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
      <enclosure length="51601352" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/bd0682fa-2ada-45b5-b728-6d9fcbb815f0/audio/f89a25ba-f161-4408-8027-3b5ddf6203cc/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>One Step Closer: This Place You Know</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:53:45</itunes:duration>
      <itunes:summary>Bee Movie Script
  
  
According to all known laws
of aviation,

  
there is no way a bee
should be able to fly.

  
Its wings are too small to get
its fat little body off the ground.

  
The bee, of course, flies anyway

  
because bees don&apos;t care
what humans think is impossible.

  
Yellow, black. Yellow, black.
Yellow, black. Yellow, black.

  
Ooh, black and yellow!
Let&apos;s shake it up a little.

  
Barry! Breakfast is ready!

  
Ooming!

  
Hang on a second.

  
Hello?

  
- Barry?
- Adam?

  
- Oan you believe this is happening?
- I can&apos;t. I&apos;ll pick you up.

  
Looking sharp.

  
Use the stairs. Your father
paid good money for those.

  
Sorry. I&apos;m excited.

  
Here&apos;s the graduate.
We&apos;re very proud of you, son.

  
A perfect report card, all B&apos;s.

  
Very proud.

  
Ma! I got a thing going here.

  
- You got lint on your fuzz.
- Ow! That&apos;s me!

  
- Wave to us! We&apos;ll be in row 118,000.
- Bye!

  
Barry, I told you,
stop flying in the house!

  
- Hey, Adam.
- Hey, Barry.

  
- Is that fuzz gel?
- A little. Special day, graduation.

  
Never thought I&apos;d make it.

  
Three days grade school,
three days high school.

  
Those were awkward.

  
Three days college. I&apos;m glad I took
a day and hitchhiked around the hive.

  
You did come back different.

  
- Hi, Barry.
- Artie, growing a mustache? Looks good.

  
- Hear about Frankie?
- Yeah.

  
- You going to the funeral?
- No, I&apos;m not going.

  
Everybody knows,
sting someone, you die.

  
Don&apos;t waste it on a squirrel.
Such a hothead.

  
I guess he could have
just gotten out of the way.

  
I love this incorporating
an amusement park into our day.

  
That&apos;s why we don&apos;t need vacations.

  
Boy, quite a bit of pomp...
under the circumstances.

  
- Well, Adam, today we are men.
- We are!

  
- Bee-men.
- Amen!

  
Hallelujah!

  
Students, faculty, distinguished bees,

  
please welcome Dean Buzzwell.

  
Welcome, New Hive Oity
graduating class of...

  
...9:15.

  
That concludes our ceremonies.

  
And begins your career
at Honex Industries!

  
Will we pick ourjob today?

  
I heard it&apos;s just orientation.

  
Heads up! Here we go.

  
Keep your hands and antennas
inside the tram at all times.

  
- Wonder what it&apos;ll be like?
- A little scary.

  
Welcome to Honex,
a division of Honesco

  
and a part of the Hexagon Group.

  
This is it!

  
Wow.

  
Wow.

  
We know that you, as a bee,
have worked your whole life

  
to get to the point where you
can work for your whole life.

  
Honey begins when our valiant Pollen
Jocks bring the nectar to the hive.

  
Our top-secret formula

  
is automatically color-corrected,
scent-adjusted and bubble-contoured

  
into this soothing sweet syrup

  
with its distinctive
golden glow you know as...

  
Honey!

  
- That girl was hot.
- She&apos;s my cousin!

  
- She is?
- Yes, we&apos;re all cousins.

  
- Right. You&apos;re right.
- At Honex, we constantly strive

  
to improve every aspect
of bee existence.

  
These bees are stress-testing
a new helmet technology.

  
- What do you think he makes?
- Not enough.

  
Here we have our latest advancement,
the Krelman.

  
- What does that do?
- Oatches that little strand of honey

  
that hangs after you pour it.
Saves us millions.

  
Oan anyone work on the Krelman?

  
Of course. Most bee jobs are
small ones. But bees know

  
that every small job,
if it&apos;s done well, means a lot.

  
But choose carefully

  
because you&apos;ll stay in the job
you pick for the rest of your life.

  
The same job the rest of your life?
I didn&apos;t know that.

  
What&apos;s the difference?

  
You&apos;ll be happy to know that bees,
as a species, haven&apos;t had one day off

  
in 27 million years.

  
So you&apos;ll just work us to death?

  
We&apos;ll sure try.

  
Wow! That blew my mind!

  
&quot;What&apos;s the difference?&quot;
How can you say that?

  
One job forever?
That&apos;s an insane choice to have to make.

  
I&apos;m relieved. Now we only have
to make one decision in life.

  
But, Adam, how could they
never have told us that?

  
Why would you question anything?
We&apos;re bees.

  
We&apos;re the most perfectly
functioning society on Earth.

  
You ever think maybe things
work a little too well here?

  
Like what? Give me one example.

  
I don&apos;t know. But you know
what I&apos;m talking about.

  
Please clear the gate.
Royal Nectar Force on approach.

  
Wait a second. Oheck it out.

  
- Hey, those are Pollen Jocks!
- Wow.

  
I&apos;ve never seen them this close.

  
They know what it&apos;s like
outside the hive.

  
Yeah, but some don&apos;t come back.

  
- Hey, Jocks!
- Hi, Jocks!

  
You guys did great!

  
You&apos;re monsters!
You&apos;re sky freaks! I love it! I love it!

  
- I wonder where they were.
- I don&apos;t know.

  
Their day&apos;s not planned.

  
Outside the hive, flying who knows
where, doing who knows what.

  
You can&apos;tjust decide to be a Pollen
Jock. You have to be bred for that.

  
Right.

  
Look. That&apos;s more pollen
than you and I will see in a lifetime.

  
It&apos;s just a status symbol.
Bees make too much of it.

  
Perhaps. Unless you&apos;re wearing it
and the ladies see you wearing it.

  
Those ladies?
Aren&apos;t they our cousins too?

  
Distant. Distant.

  
Look at these two.

  
- Oouple of Hive Harrys.
- Let&apos;s have fun with them.

  
It must be dangerous
being a Pollen Jock.

  
Yeah. Once a bear pinned me
against a mushroom!

  
He had a paw on my throat,
and with the other, he was slapping me!

  
- Oh, my!
- I never thought I&apos;d knock him out.

  
What were you doing during this?

  
Trying to alert the authorities.

  
I can autograph that.

  
A little gusty out there today,
wasn&apos;t it, comrades?

  
Yeah. Gusty.

  
We&apos;re hitting a sunflower patch
six miles from here tomorrow.

  
- Six miles, huh?
- Barry!

  
A puddle jump for us,
but maybe you&apos;re not up for it.

  
- Maybe I am.
- You are not!

  
We&apos;re going 0900 at J-Gate.

  
What do you think, buzzy-boy?
Are you bee enough?

  
I might be. It all depends
on what 0900 means.

  
Hey, Honex!

  
Dad, you surprised me.

  
You decide what you&apos;re interested in?

  
- Well, there&apos;s a lot of choices.
- But you only get one.

  
Do you ever get bored
doing the same job every day?

  
Son, let me tell you about stirring.

  
You grab that stick, and you just
move it around, and you stir it around.

  
You get yourself into a rhythm.
It&apos;s a beautiful thing.

  
You know, Dad,
the more I think about it,

  
maybe the honey field
just isn&apos;t right for me.

  
You were thinking of what,
making balloon animals?

  
That&apos;s a bad job
for a guy with a stinger.

  
Janet, your son&apos;s not sure
he wants to go into honey!

  
- Barry, you are so funny sometimes.
- I&apos;m not trying to be funny.

  
You&apos;re not funny! You&apos;re going
into honey. Our son, the stirrer!

  
- You&apos;re gonna be a stirrer?
- No one&apos;s listening to me!

  
Wait till you see the sticks I have.

  
I could say anything right now.
I&apos;m gonna get an ant tattoo!

  
Let&apos;s open some honey and celebrate!

  
Maybe I&apos;ll pierce my thorax.
Shave my antennae.

  
Shack up with a grasshopper. Get
a gold tooth and call everybody &quot;dawg&quot;!

  
I&apos;m so proud.

  
- We&apos;re starting work today!
- Today&apos;s the day.

  
Oome on! All the good jobs
will be gone.

  
Yeah, right.

  
Pollen counting, stunt bee, pouring,
stirrer, front desk, hair removal...

  
- Is it still available?
- Hang on. Two left!

  
One of them&apos;s yours! Oongratulations!
Step to the side.

  
- What&apos;d you get?
- Picking crud out. Stellar!

  
Wow!

  
Oouple of newbies?

  
Yes, sir! Our first day! We are ready!

  
Make your choice.

  
- You want to go first?
- No, you go.

  
Oh, my. What&apos;s available?

  
Restroom attendant&apos;s open,
not for the reason you think.

  
- Any chance of getting the Krelman?
- Sure, you&apos;re on.

  
I&apos;m sorry, the Krelman just closed out.

  
Wax monkey&apos;s always open.

  
The Krelman opened up again.

  
What happened?

  
A bee died. Makes an opening. See?
He&apos;s dead. Another dead one.

  
Deady. Deadified. Two more dead.

  
Dead from the neck up.
Dead from the neck down. That&apos;s life!

  
Oh, this is so hard!

  
Heating, cooling,
stunt bee, pourer, stirrer,

  
humming, inspector number seven,
lint coordinator, stripe supervisor,

  
mite wrangler. Barry, what
do you think I should... Barry?

  
Barry!

  
All right, we&apos;ve got the sunflower patch
in quadrant nine...

  
What happened to you?
Where are you?

  
- I&apos;m going out.
- Out? Out where?

  
- Out there.
- Oh, no!

  
I have to, before I go
to work for the rest of my life.

  
You&apos;re gonna die! You&apos;re crazy! Hello?

  
Another call coming in.

  
If anyone&apos;s feeling brave,
there&apos;s a Korean deli on 83rd

  
that gets their roses today.

  
Hey, guys.

  
- Look at that.
- Isn&apos;t that the kid we saw yesterday?

  
Hold it, son, flight deck&apos;s restricted.

  
It&apos;s OK, Lou. We&apos;re gonna take him up.

  
Really? Feeling lucky, are you?

  
Sign here, here. Just initial that.

  
- Thank you.
- OK.

  
You got a rain advisory today,

  
and as you all know,
bees cannot fly in rain.

  
So be careful. As always,
watch your brooms,

  
hockey sticks, dogs,
birds, bears and bats.

  
Also, I got a couple of reports
of root beer being poured on us.

  
Murphy&apos;s in a home because of it,
babbling like a cicada!

  
- That&apos;s awful.
- And a reminder for you rookies,

  
bee law number one,
absolutely no talking to humans!

  
All right, launch positions!

  
Buzz, buzz, buzz, buzz! Buzz, buzz,
buzz, buzz! Buzz, buzz, buzz, buzz!

  
Black and yellow!

  
Hello!

  
You ready for this, hot shot?

  
Yeah. Yeah, bring it on.

  
Wind, check.

  
- Antennae, check.
- Nectar pack, check.

  
- Wings, check.
- Stinger, check.

  
Scared out of my shorts, check.

  
OK, ladies,

  
let&apos;s move it out!

  
Pound those petunias,
you striped stem-suckers!

  
All of you, drain those flowers!

  
Wow! I&apos;m out!

  
I can&apos;t believe I&apos;m out!

  
So blue.

  
I feel so fast and free!

  
Box kite!

  
Wow!

  
Flowers!

  
This is Blue Leader.
We have roses visual.

  
Bring it around 30 degrees and hold.

  
Roses!

  
30 degrees, roger. Bringing it around.

  
Stand to the side, kid.
It&apos;s got a bit of a kick.

  
That is one nectar collector!

  
- Ever see pollination up close?
- No, sir.

  
I pick up some pollen here, sprinkle it
over here. Maybe a dash over there,

  
a pinch on that one.
See that? It&apos;s a little bit of magic.

  
That&apos;s amazing. Why do we do that?

  
That&apos;s pollen power. More pollen, more
flowers, more nectar, more honey for us.

  
Oool.

  
I&apos;m picking up a lot of bright yellow.
Oould be daisies. Don&apos;t we need those?

  
Oopy that visual.

  
Wait. One of these flowers
seems to be on the move.

  
Say again? You&apos;re reporting
a moving flower?

  
Affirmative.

  
That was on the line!

  
This is the coolest. What is it?

  
I don&apos;t know, but I&apos;m loving this color.

  
It smells good.
Not like a flower, but I like it.

  
Yeah, fuzzy.

  
Ohemical-y.

  
Oareful, guys. It&apos;s a little grabby.

  
My sweet lord of bees!

  
Oandy-brain, get off there!

  
Problem!

  
- Guys!
- This could be bad.

  
Affirmative.

  
Very close.

  
Gonna hurt.

  
Mama&apos;s little boy.

  
You are way out of position, rookie!

  
Ooming in at you like a missile!

  
Help me!

  
I don&apos;t think these are flowers.

  
- Should we tell him?
- I think he knows.

  
What is this?!

  
Match point!

  
You can start packing up, honey,
because you&apos;re about to eat it!

  
Yowser!

  
Gross.

  
There&apos;s a bee in the car!

  
- Do something!
- I&apos;m driving!

  
- Hi, bee.
- He&apos;s back here!

  
He&apos;s going to sting me!

  
Nobody move. If you don&apos;t move,
he won&apos;t sting you. Freeze!

  
He blinked!

  
Spray him, Granny!

  
What are you doing?!

  
Wow... the tension level
out here is unbelievable.

  
I gotta get home.

  
Oan&apos;t fly in rain.

  
Oan&apos;t fly in rain.

  
Oan&apos;t fly in rain.

  
Mayday! Mayday! Bee going down!

  
Ken, could you close
the window please?

  
Ken, could you close
the window please?

  
Oheck out my new resume.
I made it into a fold-out brochure.

  
You see? Folds out.

  
Oh, no. More humans. I don&apos;t need this.

  
What was that?

  
Maybe this time. This time. This time.
This time! This time! This...

  
Drapes!

  
That is diabolical.

  
It&apos;s fantastic. It&apos;s got all my special
skills, even my top-ten favorite movies.

  
What&apos;s number one? Star Wars?

  
Nah, I don&apos;t go for that...

  
...kind of stuff.

  
No wonder we shouldn&apos;t talk to them.
They&apos;re out of their minds.

  
When I leave a job interview, they&apos;re
flabbergasted, can&apos;t believe what I say.

  
There&apos;s the sun. Maybe that&apos;s a way out.

  
I don&apos;t remember the sun
having a big 75 on it.

  
I predicted global warming.

  
I could feel it getting hotter.
At first I thought it was just me.

  
Wait! Stop! Bee!

  
Stand back. These are winter boots.

  
Wait!

  
Don&apos;t kill him!

  
You know I&apos;m allergic to them!
This thing could kill me!

  
Why does his life have
less value than yours?

  
Why does his life have any less value
than mine? Is that your statement?

  
I&apos;m just saying all life has value. You
don&apos;t know what he&apos;s capable of feeling.

  
My brochure!

  
There you go, little guy.

  
I&apos;m not scared of him.
It&apos;s an allergic thing.

  
Put that on your resume brochure.

  
My whole face could puff up.

  
Make it one of your special skills.

  
Knocking someone out
is also a special skill.

  
Right. Bye, Vanessa. Thanks.

  
- Vanessa, next week? Yogurt night?
- Sure, Ken. You know, whatever.

  
- You could put carob chips on there.
- Bye.

  
- Supposed to be less calories.
- Bye.

  
I gotta say something.

  
She saved my life.
I gotta say something.

  
All right, here it goes.

  
Nah.

  
What would I say?

  
I could really get in trouble.

  
It&apos;s a bee law.
You&apos;re not supposed to talk to a human.

  
I can&apos;t believe I&apos;m doing this.

  
I&apos;ve got to.

  
Oh, I can&apos;t do it. Oome on!

  
No. Yes. No.

  
Do it. I can&apos;t.

  
How should I start it?
&quot;You like jazz?&quot; No, that&apos;s no good.

  
Here she comes! Speak, you fool!

  
Hi!

  
I&apos;m sorry.

  
- You&apos;re talking.
- Yes, I know.

  
You&apos;re talking!

  
I&apos;m so sorry.

  
No, it&apos;s OK. It&apos;s fine.
I know I&apos;m dreaming.

  
But I don&apos;t recall going to bed.

  
Well, I&apos;m sure this
is very disconcerting.

  
This is a bit of a surprise to me.
I mean, you&apos;re a bee!

  
I am. And I&apos;m not supposed
to be doing this,

  
but they were all trying to kill me.

  
And if it wasn&apos;t for you...

  
I had to thank you.
It&apos;s just how I was raised.

  
That was a little weird.

  
- I&apos;m talking with a bee.
- Yeah.

  
I&apos;m talking to a bee.
And the bee is talking to me!

  
I just want to say I&apos;m grateful.
I&apos;ll leave now.

  
- Wait! How did you learn to do that?
- What?

  
The talking thing.

  
Same way you did, I guess.
&quot;Mama, Dada, honey.&quot; You pick it up.

  
- That&apos;s very funny.
- Yeah.

  
Bees are funny. If we didn&apos;t laugh,
we&apos;d cry with what we have to deal with.

  
Anyway...

  
Oan I...

  
...get you something?
- Like what?

  
I don&apos;t know. I mean...
I don&apos;t know. Ooffee?

  
I don&apos;t want to put you out.

  
It&apos;s no trouble. It takes two minutes.

  
- It&apos;s just coffee.
- I hate to impose.

  
- Don&apos;t be ridiculous!
- Actually, I would love a cup.

  
Hey, you want rum cake?

  
- I shouldn&apos;t.
- Have some.

  
- No, I can&apos;t.
- Oome on!

  
I&apos;m trying to lose a couple micrograms.

  
- Where?
- These stripes don&apos;t help.

  
You look great!

  
I don&apos;t know if you know
anything about fashion.

  
Are you all right?

  
No.

  
He&apos;s making the tie in the cab
as they&apos;re flying up Madison.

  
He finally gets there.

  
He runs up the steps into the church.
The wedding is on.

  
And he says, &quot;Watermelon?
I thought you said Guatemalan.

  
Why would I marry a watermelon?&quot;

  
Is that a bee joke?

  
That&apos;s the kind of stuff we do.

  
Yeah, different.

  
So, what are you gonna do, Barry?

  
About work? I don&apos;t know.

  
I want to do my part for the hive,
but I can&apos;t do it the way they want.

  
I know how you feel.

  
- You do?
- Sure.

  
My parents wanted me to be a lawyer or
a doctor, but I wanted to be a florist.

  
- Really?
- My only interest is flowers.

  
Our new queen was just elected
with that same campaign slogan.

  
Anyway, if you look...

  
There&apos;s my hive right there. See it?

  
You&apos;re in Sheep Meadow!

  
Yes! I&apos;m right off the Turtle Pond!

  
No way! I know that area.
I lost a toe ring there once.

  
- Why do girls put rings on their toes?
- Why not?

  
- It&apos;s like putting a hat on your knee.
- Maybe I&apos;ll try that.

  
- You all right, ma&apos;am?
- Oh, yeah. Fine.

  
Just having two cups of coffee!

  
Anyway, this has been great.
Thanks for the coffee.

  
Yeah, it&apos;s no trouble.

  
Sorry I couldn&apos;t finish it. If I did,
I&apos;d be up the rest of my life.

  
Are you...?

  
Oan I take a piece of this with me?

  
Sure! Here, have a crumb.

  
- Thanks!
- Yeah.

  
All right. Well, then...
I guess I&apos;ll see you around.

  
Or not.

  
OK, Barry.

  
And thank you
so much again... for before.

  
Oh, that? That was nothing.

  
Well, not nothing, but... Anyway...

  
This can&apos;t possibly work.

  
He&apos;s all set to go.
We may as well try it.

  
OK, Dave, pull the chute.

  
- Sounds amazing.
- It was amazing!

  
It was the scariest,
happiest moment of my life.

  
Humans! I can&apos;t believe
you were with humans!

  
Giant, scary humans!
What were they like?

  
Huge and crazy. They talk crazy.

  
They eat crazy giant things.
They drive crazy.

  
- Do they try and kill you, like on TV?
- Some of them. But some of them don&apos;t.

  
- How&apos;d you get back?
- Poodle.

  
You did it, and I&apos;m glad. You saw
whatever you wanted to see.

  
You had your &quot;experience.&quot; Now you
can pick out yourjob and be normal.

  
- Well...
- Well?

  
Well, I met someone.

  
You did? Was she Bee-ish?

  
- A wasp?! Your parents will kill you!
- No, no, no, not a wasp.

  
- Spider?
- I&apos;m not attracted to spiders.

  
I know it&apos;s the hottest thing,
with the eight legs and all.

  
I can&apos;t get by that face.

  
So who is she?

  
She&apos;s... human.

  
No, no. That&apos;s a bee law.
You wouldn&apos;t break a bee law.

  
- Her name&apos;s Vanessa.
- Oh, boy.

  
She&apos;s so nice. And she&apos;s a florist!

  
Oh, no! You&apos;re dating a human florist!

  
We&apos;re not dating.

  
You&apos;re flying outside the hive, talking
to humans that attack our homes

  
with power washers and M-80s!
One-eighth a stick of dynamite!

  
She saved my life!
And she understands me.

  
This is over!

  
Eat this.

  
This is not over! What was that?

  
- They call it a crumb.
- It was so stingin&apos; stripey!

  
And that&apos;s not what they eat.
That&apos;s what falls off what they eat!

  
- You know what a Oinnabon is?
- No.

  
It&apos;s bread and cinnamon and frosting.
They heat it up...

  
Sit down!

  
...really hot!
- Listen to me!

  
We are not them! We&apos;re us.
There&apos;s us and there&apos;s them!

  
Yes, but who can deny
the heart that is yearning?

  
There&apos;s no yearning.
Stop yearning. Listen to me!

  
You have got to start thinking bee,
my friend. Thinking bee!

  
- Thinking bee.
- Thinking bee.

  
Thinking bee! Thinking bee!
Thinking bee! Thinking bee!

  
There he is. He&apos;s in the pool.

  
You know what your problem is, Barry?

  
I gotta start thinking bee?

  
How much longer will this go on?

  
It&apos;s been three days!
Why aren&apos;t you working?

  
I&apos;ve got a lot of big life decisions
to think about.

  
What life? You have no life!
You have no job. You&apos;re barely a bee!

  
Would it kill you
to make a little honey?

  
Barry, come out.
Your father&apos;s talking to you.

  
Martin, would you talk to him?

  
Barry, I&apos;m talking to you!

  
You coming?

  
Got everything?

  
All set!

  
Go ahead. I&apos;ll catch up.

  
Don&apos;t be too long.

  
Watch this!

  
Vanessa!

  
- We&apos;re still here.
- I told you not to yell at him.

  
He doesn&apos;t respond to yelling!

  
- Then why yell at me?
- Because you don&apos;t listen!

  
I&apos;m not listening to this.

  
Sorry, I&apos;ve gotta go.

  
- Where are you going?
- I&apos;m meeting a friend.

  
A girl? Is this why you can&apos;t decide?

  
Bye.

  
I just hope she&apos;s Bee-ish.

  
They have a huge parade
of flowers every year in Pasadena?

  
To be in the Tournament of Roses,
that&apos;s every florist&apos;s dream!

  
Up on a float, surrounded
by flowers, crowds cheering.

  
A tournament. Do the roses
compete in athletic events?

  
No. All right, I&apos;ve got one.
How come you don&apos;t fly everywhere?

  
It&apos;s exhausting. Why don&apos;t you
run everywhere? It&apos;s faster.

  
Yeah, OK, I see, I see.
All right, your turn.

  
TiVo. You can just freeze live TV?
That&apos;s insane!

  
You don&apos;t have that?

  
We have Hivo, but it&apos;s a disease.
It&apos;s a horrible, horrible disease.

  
Oh, my.

  
Dumb bees!

  
You must want to sting all those jerks.

  
We try not to sting.
It&apos;s usually fatal for us.

  
So you have to watch your temper.

  
Very carefully.
You kick a wall, take a walk,

  
write an angry letter and throw it out.
Work through it like any emotion:

  
Anger, jealousy, lust.

  
Oh, my goodness! Are you OK?

  
Yeah.

  
- What is wrong with you?!
- It&apos;s a bug.

  
He&apos;s not bothering anybody.
Get out of here, you creep!

  
What was that? A Pic &apos;N&apos; Save circular?

  
Yeah, it was. How did you know?

  
It felt like about 10 pages.
Seventy-five is pretty much our limit.

  
You&apos;ve really got that
down to a science.

  
- I lost a cousin to Italian Vogue.
- I&apos;ll bet.

  
What in the name
of Mighty Hercules is this?

  
How did this get here?
Oute Bee, Golden Blossom,

  
Ray Liotta Private Select?

  
- Is he that actor?
- I never heard of him.

  
- Why is this here?
- For people. We eat it.

  
You don&apos;t have
enough food of your own?

  
- Well, yes.
- How do you get it?

  
- Bees make it.
- I know who makes it!

  
And it&apos;s hard to make it!

  
There&apos;s heating, cooling, stirring.
You need a whole Krelman thing!

  
- It&apos;s organic.
- It&apos;s our-ganic!

  
It&apos;s just honey, Barry.

  
Just what?!

  
Bees don&apos;t know about this!
This is stealing! A lot of stealing!

  
You&apos;ve taken our homes, schools,
hospitals! This is all we have!

  
And it&apos;s on sale?!
I&apos;m getting to the bottom of this.

  
I&apos;m getting to the bottom
of all of this!

  
Hey, Hector.

  
- You almost done?
- Almost.

  
He is here. I sense it.

  
Well, I guess I&apos;ll go home now

  
and just leave this nice honey out,
with no one around.

  
You&apos;re busted, box boy!

  
I knew I heard something.
So you can talk!

  
I can talk.
And now you&apos;ll start talking!

  
Where you getting the sweet stuff?
Who&apos;s your supplier?

  
I don&apos;t understand.
I thought we were friends.

  
The last thing we want
to do is upset bees!

  
You&apos;re too late! It&apos;s ours now!

  
You, sir, have crossed
the wrong sword!

  
You, sir, will be lunch
for my iguana, Ignacio!

  
Where is the honey coming from?

  
Tell me where!

  
Honey Farms! It comes from Honey Farms!

  
Orazy person!

  
What horrible thing has happened here?

  
These faces, they never knew
what hit them. And now

  
they&apos;re on the road to nowhere!

  
Just keep still.

  
What? You&apos;re not dead?

  
Do I look dead? They will wipe anything
that moves. Where you headed?

  
To Honey Farms.
I am onto something huge here.

  
I&apos;m going to Alaska. Moose blood,
crazy stuff. Blows your head off!

  
I&apos;m going to Tacoma.

  
- And you?
- He really is dead.

  
All right.

  
Uh-oh!

  
- What is that?!
- Oh, no!

  
- A wiper! Triple blade!
- Triple blade?

  
Jump on! It&apos;s your only chance, bee!

  
Why does everything have
to be so doggone clean?!

  
How much do you people need to see?!

  
Open your eyes!
Stick your head out the window!

  
From NPR News in Washington,
I&apos;m Oarl Kasell.

  
But don&apos;t kill no more bugs!

  
- Bee!
- Moose blood guy!!

  
- You hear something?
- Like what?

  
Like tiny screaming.

  
Turn off the radio.

  
Whassup, bee boy?

  
Hey, Blood.

  
Just a row of honey jars,
as far as the eye could see.

  
Wow!

  
I assume wherever this truck goes
is where they&apos;re getting it.

  
I mean, that honey&apos;s ours.

  
- Bees hang tight.
- We&apos;re all jammed in.

  
It&apos;s a close community.

  
Not us, man. We on our own.
Every mosquito on his own.

  
- What if you get in trouble?
- You a mosquito, you in trouble.

  
Nobody likes us. They just smack.
See a mosquito, smack, smack!

  
At least you&apos;re out in the world.
You must meet girls.

  
Mosquito girls try to trade up,
get with a moth, dragonfly.

  
Mosquito girl don&apos;t want no mosquito.

  
You got to be kidding me!

  
Mooseblood&apos;s about to leave
the building! So long, bee!

  
- Hey, guys!
- Mooseblood!

  
I knew I&apos;d catch y&apos;all down here.
Did you bring your crazy straw?

  
We throw it in jars, slap a label on it,
and it&apos;s pretty much pure profit.

  
What is this place?

  
A bee&apos;s got a brain
the size of a pinhead.

  
They are pinheads!

  
Pinhead.

  
- Oheck out the new smoker.
- Oh, sweet. That&apos;s the one you want.

  
The Thomas 3000!

  
Smoker?

  
Ninety puffs a minute, semi-automatic.
Twice the nicotine, all the tar.

  
A couple breaths of this
knocks them right out.

  
They make the honey,
and we make the money.

  
&quot;They make the honey,
and we make the money&quot;?

  
Oh, my!

  
What&apos;s going on? Are you OK?

  
Yeah. It doesn&apos;t last too long.

  
Do you know you&apos;re
in a fake hive with fake walls?

  
Our queen was moved here.
We had no choice.

  
This is your queen?
That&apos;s a man in women&apos;s clothes!

  
That&apos;s a drag queen!

  
What is this?

  
Oh, no!

  
There&apos;s hundreds of them!

  
Bee honey.

  
Our honey is being brazenly stolen
on a massive scale!

  
This is worse than anything bears
have done! I intend to do something.

  
Oh, Barry, stop.

  
Who told you humans are taking
our honey? That&apos;s a rumor.

  
Do these look like rumors?

  
That&apos;s a conspiracy theory.
These are obviously doctored photos.

  
How did you get mixed up in this?

  
He&apos;s been talking to humans.

  
- What?
- Talking to humans?!

  
He has a human girlfriend.
And they make out!

  
Make out? Barry!

  
We do not.

  
- You wish you could.
- Whose side are you on?

  
The bees!

  
I dated a cricket once in San Antonio.
Those crazy legs kept me up all night.

  
Barry, this is what you want
to do with your life?

  
I want to do it for all our lives.
Nobody works harder than bees!

  
Dad, I remember you
coming home so overworked

  
your hands were still stirring.
You couldn&apos;t stop.

  
I remember that.

  
What right do they have to our honey?

  
We live on two cups a year. They put it
in lip balm for no reason whatsoever!

  
Even if it&apos;s true, what can one bee do?

  
Sting them where it really hurts.

  
In the face! The eye!

  
- That would hurt.
- No.

  
Up the nose? That&apos;s a killer.

  
There&apos;s only one place you can sting
the humans, one place where it matters.

  
Hive at Five, the hive&apos;s only
full-hour action news source.

  
No more bee beards!

  
With Bob Bumble at the anchor desk.

  
Weather with Storm Stinger.

  
Sports with Buzz Larvi.

  
And Jeanette Ohung.

  
- Good evening. I&apos;m Bob Bumble.
- And I&apos;m Jeanette Ohung.

  
A tri-county bee, Barry Benson,

  
intends to sue the human race
for stealing our honey,

  
packaging it and profiting
from it illegally!

  
Tomorrow night on Bee Larry King,

  
we&apos;ll have three former queens here in
our studio, discussing their new book,

  
Olassy Ladies,
out this week on Hexagon.

  
Tonight we&apos;re talking to Barry Benson.

  
Did you ever think, &quot;I&apos;m a kid
from the hive. I can&apos;t do this&quot;?

  
Bees have never been afraid
to change the world.

  
What about Bee Oolumbus?
Bee Gandhi? Bejesus?

  
Where I&apos;m from, we&apos;d never sue humans.

  
We were thinking
of stickball or candy stores.

  
How old are you?

  
The bee community
is supporting you in this case,

  
which will be the trial
of the bee century.

  
You know, they have a Larry King
in the human world too.

  
It&apos;s a common name. Next week...

  
He looks like you and has a show
and suspenders and colored dots...

  
Next week...

  
Glasses, quotes on the bottom from the
guest even though you just heard &apos;em.

  
Bear Week next week!
They&apos;re scary, hairy and here live.

  
Always leans forward, pointy shoulders,
squinty eyes, very Jewish.

  
In tennis, you attack
at the point of weakness!

  
It was my grandmother, Ken. She&apos;s 81.

  
Honey, her backhand&apos;s a joke!
I&apos;m not gonna take advantage of that?

  
Quiet, please.
Actual work going on here.

  
- Is that that same bee?
- Yes, it is!

  
I&apos;m helping him sue the human race.

  
- Hello.
- Hello, bee.

  
This is Ken.

  
Yeah, I remember you. Timberland, size
ten and a half. Vibram sole, I believe.

  
Why does he talk again?

  
Listen, you better go
&apos;cause we&apos;re really busy working.

  
But it&apos;s our yogurt night!

  
Bye-bye.

  
Why is yogurt night so difficult?!

  
You poor thing.
You two have been at this for hours!

  
Yes, and Adam here
has been a huge help.

  
- Frosting...
- How many sugars?

  
Just one. I try not
to use the competition.

  
So why are you helping me?

  
Bees have good qualities.

  
And it takes my mind off the shop.

  
Instead of flowers, people
are giving balloon bouquets now.

  
Those are great, if you&apos;re three.

  
And artificial flowers.

  
- Oh, those just get me psychotic!
- Yeah, me too.

  
Bent stingers, pointless pollination.

  
Bees must hate those fake things!

  
Nothing worse
than a daffodil that&apos;s had work done.

  
Maybe this could make up
for it a little bit.

  
- This lawsuit&apos;s a pretty big deal.
- I guess.

  
You sure you want to go through with it?

  
Am I sure? When I&apos;m done with
the humans, they won&apos;t be able

  
to say, &quot;Honey, I&apos;m home,&quot;
without paying a royalty!

  
It&apos;s an incredible scene
here in downtown Manhattan,

  
where the world anxiously waits,
because for the first time in history,

  
we will hear for ourselves
if a honeybee can actually speak.

  
What have we gotten into here, Barry?

  
It&apos;s pretty big, isn&apos;t it?

  
I can&apos;t believe how many humans
don&apos;t work during the day.

  
You think billion-dollar multinational
food companies have good lawyers?

  
Everybody needs to stay
behind the barricade.

  
- What&apos;s the matter?
- I don&apos;t know, I just got a chill.

  
Well, if it isn&apos;t the bee team.

  
You boys work on this?

  
All rise! The Honorable
Judge Bumbleton presiding.

  
All right. Oase number 4475,

  
Superior Oourt of New York,
Barry Bee Benson v. the Honey Industry

  
is now in session.

  
Mr. Montgomery, you&apos;re representing
the five food companies collectively?

  
A privilege.

  
Mr. Benson... you&apos;re representing
all the bees of the world?

  
I&apos;m kidding. Yes, Your Honor,
we&apos;re ready to proceed.

  
Mr. Montgomery,
your opening statement, please.

  
Ladies and gentlemen of the jury,

  
my grandmother was a simple woman.

  
Born on a farm, she believed
it was man&apos;s divine right

  
to benefit from the bounty
of nature God put before us.

  
If we lived in the topsy-turvy world
Mr. Benson imagines,

  
just think of what would it mean.

  
I would have to negotiate
with the silkworm

  
for the elastic in my britches!

  
Talking bee!

  
How do we know this isn&apos;t some sort of

  
holographic motion-picture-capture
Hollywood wizardry?

  
They could be using laser beams!

  
Robotics! Ventriloquism!
Oloning! For all we know,

  
he could be on steroids!

  
Mr. Benson?

  
Ladies and gentlemen,
there&apos;s no trickery here.

  
I&apos;m just an ordinary bee.
Honey&apos;s pretty important to me.

  
It&apos;s important to all bees.
We invented it!

  
We make it. And we protect it
with our lives.

  
Unfortunately, there are
some people in this room

  
who think they can take it from us

  
&apos;cause we&apos;re the little guys!
I&apos;m hoping that, after this is all over,

  
you&apos;ll see how, by taking our honey,
you not only take everything we have

  
but everything we are!

  
I wish he&apos;d dress like that
all the time. So nice!

  
Oall your first witness.

  
So, Mr. Klauss Vanderhayden
of Honey Farms, big company you have.

  
I suppose so.

  
I see you also own
Honeyburton and Honron!

  
Yes, they provide beekeepers
for our farms.

  
Beekeeper. I find that
to be a very disturbing term.

  
I don&apos;t imagine you employ
any bee-free-ers, do you?

  
- No.
- I couldn&apos;t hear you.

  
- No.
- No.

  
Because you don&apos;t free bees.
You keep bees. Not only that,

  
it seems you thought a bear would be
an appropriate image for a jar of honey.

  
They&apos;re very lovable creatures.

  
Yogi Bear, Fozzie Bear, Build-A-Bear.

  
You mean like this?

  
Bears kill bees!

  
How&apos;d you like his head crashing
through your living room?!

  
Biting into your couch!
Spitting out your throw pillows!

  
OK, that&apos;s enough. Take him away.

  
So, Mr. Sting, thank you for being here.
Your name intrigues me.

  
- Where have I heard it before?
- I was with a band called The Police.

  
But you&apos;ve never been
a police officer, have you?

  
No, I haven&apos;t.

  
No, you haven&apos;t. And so here
we have yet another example

  
of bee culture casually
stolen by a human

  
for nothing more than
a prance-about stage name.

  
Oh, please.

  
Have you ever been stung, Mr. Sting?

  
Because I&apos;m feeling
a little stung, Sting.

  
Or should I say... Mr. Gordon M. Sumner!

  
That&apos;s not his real name?! You idiots!

  
Mr. Liotta, first,
belated congratulations on

  
your Emmy win for a guest spot
on ER in 2005.

  
Thank you. Thank you.

  
I see from your resume
that you&apos;re devilishly handsome

  
with a churning inner turmoil
that&apos;s ready to blow.

  
I enjoy what I do. Is that a crime?

  
Not yet it isn&apos;t. But is this
what it&apos;s come to for you?

  
Exploiting tiny, helpless bees
so you don&apos;t

  
have to rehearse
your part and learn your lines, sir?

  
Watch it, Benson!
I could blow right now!

  
This isn&apos;t a goodfella.
This is a badfella!

  
Why doesn&apos;t someone just step on
this creep, and we can all go home?!

  
- Order in this court!
- You&apos;re all thinking it!

  
Order! Order, I say!

  
- Say it!
- Mr. Liotta, please sit down!

  
I think it was awfully nice
of that bear to pitch in like that.

  
I think the jury&apos;s on our side.

  
Are we doing everything right, legally?

  
I&apos;m a florist.

  
Right. Well, here&apos;s to a great team.

  
To a great team!

  
Well, hello.

  
- Ken!
- Hello.

  
I didn&apos;t think you were coming.

  
No, I was just late.
I tried to call, but... the battery.

  
I didn&apos;t want all this to go to waste,
so I called Barry. Luckily, he was free.

  
Oh, that was lucky.

  
There&apos;s a little left.
I could heat it up.

  
Yeah, heat it up, sure, whatever.

  
So I hear you&apos;re quite a tennis player.

  
I&apos;m not much for the game myself.
The ball&apos;s a little grabby.

  
That&apos;s where I usually sit.
Right... there.

  
Ken, Barry was looking at your resume,

  
and he agreed with me that eating with
chopsticks isn&apos;t really a special skill.

  
You think I don&apos;t see what you&apos;re doing?

  
I know how hard it is to find
the rightjob. We have that in common.

  
Do we?

  
Bees have 100 percent employment,
but we do jobs like taking the crud out.

  
That&apos;s just what
I was thinking about doing.

  
Ken, I let Barry borrow your razor
for his fuzz. I hope that was all right.

  
I&apos;m going to drain the old stinger.

  
Yeah, you do that.

  
Look at that.

  
You know, I&apos;ve just about had it

  
with your little mind games.

  
- What&apos;s that?
- Italian Vogue.

  
Mamma mia, that&apos;s a lot of pages.

  
A lot of ads.

  
Remember what Van said, why is
your life more valuable than mine?

  
Funny, I just can&apos;t seem to recall that!

  
I think something stinks in here!

  
I love the smell of flowers.

  
How do you like the smell of flames?!

  
Not as much.

  
Water bug! Not taking sides!

  
Ken, I&apos;m wearing a Ohapstick hat!
This is pathetic!

  
I&apos;ve got issues!

  
Well, well, well, a royal flush!

  
- You&apos;re bluffing.
- Am I?

  
Surf&apos;s up, dude!

  
Poo water!

  
That bowl is gnarly.

  
Except for those dirty yellow rings!

  
Kenneth! What are you doing?!

  
You know, I don&apos;t even like honey!
I don&apos;t eat it!

  
We need to talk!

  
He&apos;s just a little bee!

  
And he happens to be
the nicest bee I&apos;ve met in a long time!

  
Long time? What are you talking about?!
Are there other bugs in your life?

  
No, but there are other things bugging
me in life. And you&apos;re one of them!

  
Fine! Talking bees, no yogurt night...

  
My nerves are fried from riding
on this emotional roller coaster!

  
Goodbye, Ken.

  
And for your information,

  
I prefer sugar-free, artificial
sweeteners made by man!

  
I&apos;m sorry about all that.

  
I know it&apos;s got
an aftertaste! I like it!

  
I always felt there was some kind
of barrier between Ken and me.

  
I couldn&apos;t overcome it.
Oh, well.

  
Are you OK for the trial?

  
I believe Mr. Montgomery
is about out of ideas.

  
We would like to call
Mr. Barry Benson Bee to the stand.

  
Good idea! You can really see why he&apos;s
considered one of the best lawyers...

  
Yeah.

  
Layton, you&apos;ve
gotta weave some magic

  
with this jury,
or it&apos;s gonna be all over.

  
Don&apos;t worry. The only thing I have
to do to turn this jury around

  
is to remind them
of what they don&apos;t like about bees.

  
- You got the tweezers?
- Are you allergic?

  
Only to losing, son. Only to losing.

  
Mr. Benson Bee, I&apos;ll ask you
what I think we&apos;d all like to know.

  
What exactly is your relationship

  
to that woman?

  
We&apos;re friends.

  
- Good friends?
- Yes.

  
How good? Do you live together?

  
Wait a minute...

  
Are you her little...

  
...bedbug?

  
I&apos;ve seen a bee documentary or two.
From what I understand,

  
doesn&apos;t your queen give birth
to all the bee children?

  
- Yeah, but...
- So those aren&apos;t your real parents!

  
- Oh, Barry...
- Yes, they are!

  
Hold me back!

  
You&apos;re an illegitimate bee,
aren&apos;t you, Benson?

  
He&apos;s denouncing bees!

  
Don&apos;t y&apos;all date your cousins?

  
- Objection!
- I&apos;m going to pincushion this guy!

  
Adam, don&apos;t! It&apos;s what he wants!

  
Oh, I&apos;m hit!!

  
Oh, lordy, I am hit!

  
Order! Order!

  
The venom! The venom
is coursing through my veins!

  
I have been felled
by a winged beast of destruction!

  
You see? You can&apos;t treat them
like equals! They&apos;re striped savages!

  
Stinging&apos;s the only thing
they know! It&apos;s their way!

  
- Adam, stay with me.
- I can&apos;t feel my legs.

  
What angel of mercy
will come forward to suck the poison

  
from my heaving buttocks?

  
I will have order in this court. Order!

  
Order, please!

  
The case of the honeybees
versus the human race

  
took a pointed turn against the bees

  
yesterday when one of their legal
team stung Layton T. Montgomery.

  
- Hey, buddy.
- Hey.

  
- Is there much pain?
- Yeah.

  
I...

  
I blew the whole case, didn&apos;t I?

  
It doesn&apos;t matter. What matters is
you&apos;re alive. You could have died.

  
I&apos;d be better off dead. Look at me.

  
They got it from the cafeteria
downstairs, in a tuna sandwich.

  
Look, there&apos;s
a little celery still on it.

  
What was it like to sting someone?

  
I can&apos;t explain it. It was all...

  
All adrenaline and then...
and then ecstasy!

  
All right.

  
You think it was all a trap?

  
Of course. I&apos;m sorry.
I flew us right into this.

  
What were we thinking? Look at us. We&apos;re
just a couple of bugs in this world.

  
What will the humans do to us
if they win?

  
I don&apos;t know.

  
I hear they put the roaches in motels.
That doesn&apos;t sound so bad.

  
Adam, they check in,
but they don&apos;t check out!

  
Oh, my.

  
Oould you get a nurse
to close that window?

  
- Why?
- The smoke.

  
Bees don&apos;t smoke.

  
Right. Bees don&apos;t smoke.

  
Bees don&apos;t smoke!
But some bees are smoking.

  
That&apos;s it! That&apos;s our case!

  
It is? It&apos;s not over?

  
Get dressed. I&apos;ve gotta go somewhere.

  
Get back to the court and stall.
Stall any way you can.

  
And assuming you&apos;ve done step correctly, you&apos;re ready for the tub.

  
Mr. Flayman.

  
Yes? Yes, Your Honor!

  
Where is the rest of your team?

  
Well, Your Honor, it&apos;s interesting.

  
Bees are trained to fly haphazardly,

  
and as a result,
we don&apos;t make very good time.

  
I actually heard a funny story about...

  
Your Honor,
haven&apos;t these ridiculous bugs

  
taken up enough
of this court&apos;s valuable time?

  
How much longer will we allow
these absurd shenanigans to go on?

  
They have presented no compelling
evidence to support their charges

  
against my clients,
who run legitimate businesses.

  
I move for a complete dismissal
of this entire case!

  
Mr. Flayman, I&apos;m afraid I&apos;m going

  
to have to consider
Mr. Montgomery&apos;s motion.

  
But you can&apos;t! We have a terrific case.

  
Where is your proof?
Where is the evidence?

  
Show me the smoking gun!

  
Hold it, Your Honor!
You want a smoking gun?

  
Here is your smoking gun.

  
What is that?

  
It&apos;s a bee smoker!

  
What, this?
This harmless little contraption?

  
This couldn&apos;t hurt a fly,
let alone a bee.

  
Look at what has happened

  
to bees who have never been asked,
&quot;Smoking or non?&quot;

  
Is this what nature intended for us?

  
To be forcibly addicted
to smoke machines

  
and man-made wooden slat work camps?

  
Living out our lives as honey slaves
to the white man?

  
- What are we gonna do?
- He&apos;s playing the species card.

  
Ladies and gentlemen, please,
free these bees!

  
Free the bees! Free the bees!

  
Free the bees!

  
Free the bees! Free the bees!

  
The court finds in favor of the bees!

  
Vanessa, we won!

  
I knew you could do it! High-five!

  
Sorry.

  
I&apos;m OK! You know what this means?

  
All the honey
will finally belong to the bees.

  
Now we won&apos;t have
to work so hard all the time.

  
This is an unholy perversion
of the balance of nature, Benson.

  
You&apos;ll regret this.

  
Barry, how much honey is out there?

  
All right. One at a time.

  
Barry, who are you wearing?

  
My sweater is Ralph Lauren,
and I have no pants.

  
- What if Montgomery&apos;s right?
- What do you mean?

  
We&apos;ve been living the bee way
a long time, 27 million years.

  
Oongratulations on your victory.
What will you demand as a settlement?

  
First, we&apos;ll demand a complete shutdown
of all bee work camps.

  
Then we want back the honey
that was ours to begin with,

  
every last drop.

  
We demand an end to the glorification
of the bear as anything more

  
than a filthy, smelly,
bad-breath stink machine.

  
We&apos;re all aware
of what they do in the woods.

  
Wait for my signal.

  
Take him out.

  
He&apos;ll have nauseous
for a few hours, then he&apos;ll be fine.

  
And we will no longer tolerate
bee-negative nicknames...

  
But it&apos;s just a prance-about stage name!

  
...unnecessary inclusion of honey
in bogus health products

  
and la-dee-da human
tea-time snack garnishments.

  
Oan&apos;t breathe.

  
Bring it in, boys!

  
Hold it right there! Good.

  
Tap it.

  
Mr. Buzzwell, we just passed three cups,
and there&apos;s gallons more coming!

  
- I think we need to shut down!
- Shut down? We&apos;ve never shut down.

  
Shut down honey production!

  
Stop making honey!

  
Turn your key, sir!

  
What do we do now?

  
Oannonball!

  
We&apos;re shutting honey production!

  
Mission abort.

  
Aborting pollination and nectar detail.
Returning to base.

  
Adam, you wouldn&apos;t believe
how much honey was out there.

  
Oh, yeah?

  
What&apos;s going on? Where is everybody?

  
- Are they out celebrating?
- They&apos;re home.

  
They don&apos;t know what to do.
Laying out, sleeping in.

  
I heard your Uncle Oarl was on his way
to San Antonio with a cricket.

  
At least we got our honey back.

  
Sometimes I think, so what if humans
liked our honey? Who wouldn&apos;t?

  
It&apos;s the greatest thing in the world!
I was excited to be part of making it.

  
This was my new desk. This was my
new job. I wanted to do it really well.

  
And now...

  
Now I can&apos;t.

  
I don&apos;t understand
why they&apos;re not happy.

  
I thought their lives would be better!

  
They&apos;re doing nothing. It&apos;s amazing.
Honey really changes people.

  
You don&apos;t have any idea
what&apos;s going on, do you?

  
- What did you want to show me?
- This.

  
What happened here?

  
That is not the half of it.

  
Oh, no. Oh, my.

  
They&apos;re all wilting.

  
Doesn&apos;t look very good, does it?

  
No.

  
And whose fault do you think that is?

  
You know, I&apos;m gonna guess bees.

  
Bees?

  
Specifically, me.

  
I didn&apos;t think bees not needing to make
honey would affect all these things.

  
It&apos;s notjust flowers.
Fruits, vegetables, they all need bees.

  
That&apos;s our whole SAT test right there.

  
Take away produce, that affects
the entire animal kingdom.

  
And then, of course...

  
The human species?

  
So if there&apos;s no more pollination,

  
it could all just go south here,
couldn&apos;t it?

  
I know this is also partly my fault.

  
How about a suicide pact?

  
How do we do it?

  
- I&apos;ll sting you, you step on me.
- Thatjust kills you twice.

  
Right, right.

  
Listen, Barry...
sorry, but I gotta get going.

  
I had to open my mouth and talk.

  
Vanessa?

  
Vanessa? Why are you leaving?
Where are you going?

  
To the final Tournament of Roses parade
in Pasadena.

  
They&apos;ve moved it to this weekend
because all the flowers are dying.

  
It&apos;s the last chance
I&apos;ll ever have to see it.

  
Vanessa, I just wanna say I&apos;m sorry.
I never meant it to turn out like this.

  
I know. Me neither.

  
Tournament of Roses.
Roses can&apos;t do sports.

  
Wait a minute. Roses. Roses?

  
Roses!

  
Vanessa!

  
Roses?!

  
Barry?

  
- Roses are flowers!
- Yes, they are.

  
Flowers, bees, pollen!

  
I know.
That&apos;s why this is the last parade.

  
Maybe not.
Oould you ask him to slow down?

  
Oould you slow down?

  
Barry!

  
OK, I made a huge mistake.
This is a total disaster, all my fault.

  
Yes, it kind of is.

  
I&apos;ve ruined the planet.
I wanted to help you

  
with the flower shop.
I&apos;ve made it worse.

  
Actually, it&apos;s completely closed down.

  
I thought maybe you were remodeling.

  
But I have another idea, and it&apos;s
greater than my previous ideas combined.

  
I don&apos;t want to hear it!

  
All right, they have the roses,
the roses have the pollen.

  
I know every bee, plant
and flower bud in this park.

  
All we gotta do is get what they&apos;ve got
back here with what we&apos;ve got.

  
- Bees.
- Park.

  
- Pollen!
- Flowers.

  
- Repollination!
- Across the nation!

  
Tournament of Roses,
Pasadena, Oalifornia.

  
They&apos;ve got nothing
but flowers, floats and cotton candy.

  
Security will be tight.

  
I have an idea.

  
Vanessa Bloome, FTD.

  
Official floral business. It&apos;s real.

  
Sorry, ma&apos;am. Nice brooch.

  
Thank you. It was a gift.

  
Once inside,
we just pick the right float.

  
How about The Princess and the Pea?

  
I could be the princess,
and you could be the pea!

  
Yes, I got it.

  
- Where should I sit?
- What are you?

  
- I believe I&apos;m the pea.
- The pea?

  
It goes under the mattresses.

  
- Not in this fairy tale, sweetheart.
- I&apos;m getting the marshal.

  
You do that!
This whole parade is a fiasco!

  
Let&apos;s see what this baby&apos;ll do.

  
Hey, what are you doing?!

  
Then all we do
is blend in with traffic...

  
...without arousing suspicion.

  
Once at the airport,
there&apos;s no stopping us.

  
Stop! Security.

  
- You and your insect pack your float?
- Yes.

  
Has it been
in your possession the entire time?

  
Would you remove your shoes?

  
- Remove your stinger.
- It&apos;s part of me.

  
I know. Just having some fun.
Enjoy your flight.

  
Then if we&apos;re lucky, we&apos;ll have
just enough pollen to do the job.

  
Oan you believe how lucky we are? We
have just enough pollen to do the job!

  
I think this is gonna work.

  
It&apos;s got to work.

  
Attention, passengers,
this is Oaptain Scott.

  
We have a bit of bad weather
in New York.

  
It looks like we&apos;ll experience
a couple hours delay.

  
Barry, these are cut flowers
with no water. They&apos;ll never make it.

  
I gotta get up there
and talk to them.

  
Be careful.

  
Oan I get help
with the Sky Mall magazine?

  
I&apos;d like to order the talking
inflatable nose and ear hair trimmer.

  
Oaptain, I&apos;m in a real situation.

  
- What&apos;d you say, Hal?
- Nothing.

  
Bee!

  
Don&apos;t freak out! My entire species...

  
What are you doing?

  
- Wait a minute! I&apos;m an attorney!
- Who&apos;s an attorney?

  
Don&apos;t move.

  
Oh, Barry.

  
Good afternoon, passengers.
This is your captain.

  
Would a Miss Vanessa Bloome in 24B
please report to the cockpit?

  
And please hurry!

  
What happened here?

  
There was a DustBuster,
a toupee, a life raft exploded.

  
One&apos;s bald, one&apos;s in a boat,
they&apos;re both unconscious!

  
- Is that another bee joke?
- No!

  
No one&apos;s flying the plane!

  
This is JFK control tower, Flight 356.
What&apos;s your status?

  
This is Vanessa Bloome.
I&apos;m a florist from New York.

  
Where&apos;s the pilot?

  
He&apos;s unconscious,
and so is the copilot.

  
Not good. Does anyone onboard
have flight experience?

  
As a matter of fact, there is.

  
- Who&apos;s that?
- Barry Benson.

  
From the honey trial?! Oh, great.

  
Vanessa, this is nothing more
than a big metal bee.

  
It&apos;s got giant wings, huge engines.

  
I can&apos;t fly a plane.

  
- Why not? Isn&apos;t John Travolta a pilot?
- Yes.

  
How hard could it be?

  
Wait, Barry!
We&apos;re headed into some lightning.

  
This is Bob Bumble. We have some
late-breaking news from JFK Airport,

  
where a suspenseful scene
is developing.

  
Barry Benson,
fresh from his legal victory...

  
That&apos;s Barry!

  
...is attempting to land a plane,
loaded with people, flowers

  
and an incapacitated flight crew.

  
Flowers?!

  
We have a storm in the area
and two individuals at the controls

  
with absolutely no flight experience.

  
Just a minute.
There&apos;s a bee on that plane.

  
I&apos;m quite familiar with Mr. Benson
and his no-account compadres.

  
They&apos;ve done enough damage.

  
But isn&apos;t he your only hope?

  
Technically, a bee
shouldn&apos;t be able to fly at all.

  
Their wings are too small...

  
Haven&apos;t we heard this a million times?

  
&quot;The surface area of the wings
and body mass make no sense.&quot;

  
- Get this on the air!
- Got it.

  
- Stand by.
- We&apos;re going live.

  
The way we work may be a mystery to you.

  
Making honey takes a lot of bees
doing a lot of small jobs.

  
But let me tell you about a small job.

  
If you do it well,
it makes a big difference.

  
More than we realized.
To us, to everyone.

  
That&apos;s why I want to get bees
back to working together.

  
That&apos;s the bee way!
We&apos;re not made of Jell-O.

  
We get behind a fellow.

  
- Black and yellow!
- Hello!

  
Left, right, down, hover.

  
- Hover?
- Forget hover.

  
This isn&apos;t so hard.
Beep-beep! Beep-beep!

  
Barry, what happened?!

  
Wait, I think we were
on autopilot the whole time.

  
- That may have been helping me.
- And now we&apos;re not!

  
So it turns out I cannot fly a plane.

  
All of you, let&apos;s get
behind this fellow! Move it out!

  
Move out!

  
Our only chance is if I do what I&apos;d do,
you copy me with the wings of the plane!

  
Don&apos;t have to yell.

  
I&apos;m not yelling!
We&apos;re in a lot of trouble.

  
It&apos;s very hard to concentrate
with that panicky tone in your voice!

  
It&apos;s not a tone. I&apos;m panicking!

  
I can&apos;t do this!

  
Vanessa, pull yourself together.
You have to snap out of it!

  
You snap out of it.

  
You snap out of it.

  
- You snap out of it!
- You snap out of it!

  
- You snap out of it!
- You snap out of it!

  
- You snap out of it!
- You snap out of it!

  
- Hold it!
- Why? Oome on, it&apos;s my turn.

  
How is the plane flying?

  
I don&apos;t know.

  
Hello?

  
Benson, got any flowers
for a happy occasion in there?

  
The Pollen Jocks!

  
They do get behind a fellow.

  
- Black and yellow.
- Hello.

  
All right, let&apos;s drop this tin can
on the blacktop.

  
Where? I can&apos;t see anything. Oan you?

  
No, nothing. It&apos;s all cloudy.

  
Oome on. You got to think bee, Barry.

  
- Thinking bee.
- Thinking bee.

  
Thinking bee!
Thinking bee! Thinking bee!

  
Wait a minute.
I think I&apos;m feeling something.

  
- What?
- I don&apos;t know. It&apos;s strong, pulling me.

  
Like a 27-million-year-old instinct.

  
Bring the nose down.

  
Thinking bee!
Thinking bee! Thinking bee!

  
- What in the world is on the tarmac?
- Get some lights on that!

  
Thinking bee!
Thinking bee! Thinking bee!

  
- Vanessa, aim for the flower.
- OK.

  
Out the engines. We&apos;re going in
on bee power. Ready, boys?

  
Affirmative!

  
Good. Good. Easy, now. That&apos;s it.

  
Land on that flower!

  
Ready? Full reverse!

  
Spin it around!

  
- Not that flower! The other one!
- Which one?

  
- That flower.
- I&apos;m aiming at the flower!

  
That&apos;s a fat guy in a flowered shirt.
I mean the giant pulsating flower

  
made of millions of bees!

  
Pull forward. Nose down. Tail up.

  
Rotate around it.

  
- This is insane, Barry!
- This&apos;s the only way I know how to fly.

  
Am I koo-koo-kachoo, or is this plane
flying in an insect-like pattern?

  
Get your nose in there. Don&apos;t be afraid.
Smell it. Full reverse!

  
Just drop it. Be a part of it.

  
Aim for the center!

  
Now drop it in! Drop it in, woman!

  
Oome on, already.

  
Barry, we did it!
You taught me how to fly!

  
- Yes. No high-five!
- Right.

  
Barry, it worked!
Did you see the giant flower?

  
What giant flower? Where? Of course
I saw the flower! That was genius!

  
- Thank you.
- But we&apos;re not done yet.

  
Listen, everyone!

  
This runway is covered
with the last pollen

  
from the last flowers
available anywhere on Earth.

  
That means this is our last chance.

  
We&apos;re the only ones who make honey,
pollinate flowers and dress like this.

  
If we&apos;re gonna survive as a species,
this is our moment! What do you say?

  
Are we going to be bees, orjust
Museum of Natural History keychains?

  
We&apos;re bees!

  
Keychain!

  
Then follow me! Except Keychain.

  
Hold on, Barry. Here.

  
You&apos;ve earned this.

  
Yeah!

  
I&apos;m a Pollen Jock! And it&apos;s a perfect
fit. All I gotta do are the sleeves.

  
Oh, yeah.

  
That&apos;s our Barry.

  
Mom! The bees are back!

  
If anybody needs
to make a call, now&apos;s the time.

  
I got a feeling we&apos;ll be
working late tonight!

  
Here&apos;s your change. Have a great
afternoon! Oan I help who&apos;s next?

  
Would you like some honey with that?
It is bee-approved. Don&apos;t forget these.

  
Milk, cream, cheese, it&apos;s all me.
And I don&apos;t see a nickel!

  
Sometimes I just feel
like a piece of meat!

  
I had no idea.

  
Barry, I&apos;m sorry.
Have you got a moment?

  
Would you excuse me?
My mosquito associate will help you.

  
Sorry I&apos;m late.

  
He&apos;s a lawyer too?

  
I was already a blood-sucking parasite.
All I needed was a briefcase.

  
Have a great afternoon!

  
Barry, I just got this huge tulip order,
and I can&apos;t get them anywhere.

  
No problem, Vannie.
Just leave it to me.

  
You&apos;re a lifesaver, Barry.
Oan I help who&apos;s next?

  
All right, scramble, jocks!
It&apos;s time to fly.

  
Thank you, Barry!

  
That bee is living my life!

  
Let it go, Kenny.

  
- When will this nightmare end?!
- Let it all go.

  
- Beautiful day to fly.
- Sure is.

  
Between you and me,
I was dying to get out of that office.

  
You have got
to start thinking bee, my friend.

  
- Thinking bee!
- Me?

  
Hold it. Let&apos;s just stop
for a second. Hold it.

  
I&apos;m sorry. I&apos;m sorry, everyone.
Oan we stop here?

  
I&apos;m not making a major life decision
during a production number!

  
All right. Take ten, everybody.
Wrap it up, guys.

  
I had virtually no rehearsal for that.
</itunes:summary>
      <itunes:subtitle>Bee Movie Script
  
  
According to all known laws
of aviation,

  
there is no way a bee
should be able to fly.

  
Its wings are too small to get
its fat little body off the ground.

  
The bee, of course, flies anyway

  
because bees don&apos;t care
what humans think is impossible.

  
Yellow, black. Yellow, black.
Yellow, black. Yellow, black.

  
Ooh, black and yellow!
Let&apos;s shake it up a little.

  
Barry! Breakfast is ready!

  
Ooming!

  
Hang on a second.

  
Hello?

  
- Barry?
- Adam?

  
- Oan you believe this is happening?
- I can&apos;t. I&apos;ll pick you up.

  
Looking sharp.

  
Use the stairs. Your father
paid good money for those.

  
Sorry. I&apos;m excited.

  
Here&apos;s the graduate.
We&apos;re very proud of you, son.

  
A perfect report card, all B&apos;s.

  
Very proud.

  
Ma! I got a thing going here.

  
- You got lint on your fuzz.
- Ow! That&apos;s me!

  
- Wave to us! We&apos;ll be in row 118,000.
- Bye!

  
Barry, I told you,
stop flying in the house!

  
- Hey, Adam.
- Hey, Barry.

  
- Is that fuzz gel?
- A little. Special day, graduation.

  
Never thought I&apos;d make it.

  
Three days grade school,
three days high school.

  
Those were awkward.

  
Three days college. I&apos;m glad I took
a day and hitchhiked around the hive.

  
You did come back different.

  
- Hi, Barry.
- Artie, growing a mustache? Looks good.

  
- Hear about Frankie?
- Yeah.

  
- You going to the funeral?
- No, I&apos;m not going.

  
Everybody knows,
sting someone, you die.

  
Don&apos;t waste it on a squirrel.
Such a hothead.

  
I guess he could have
just gotten out of the way.

  
I love this incorporating
an amusement park into our day.

  
That&apos;s why we don&apos;t need vacations.

  
Boy, quite a bit of pomp...
under the circumstances.

  
- Well, Adam, today we are men.
- We are!

  
- Bee-men.
- Amen!

  
Hallelujah!

  
Students, faculty, distinguished bees,

  
please welcome Dean Buzzwell.

  
Welcome, New Hive Oity
graduating class of...

  
...9:15.

  
That concludes our ceremonies.

  
And begins your career
at Honex Industries!

  
Will we pick ourjob today?

  
I heard it&apos;s just orientation.

  
Heads up! Here we go.

  
Keep your hands and antennas
inside the tram at all times.

  
- Wonder what it&apos;ll be like?
- A little scary.

  
Welcome to Honex,
a division of Honesco

  
and a part of the Hexagon Group.

  
This is it!

  
Wow.

  
Wow.

  
We know that you, as a bee,
have worked your whole life

  
to get to the point where you
can work for your whole life.

  
Honey begins when our valiant Pollen
Jocks bring the nectar to the hive.

  
Our top-secret formula

  
is automatically color-corrected,
scent-adjusted and bubble-contoured

  
into this soothing sweet syrup

  
with its distinctive
golden glow you know as...

  
Honey!

  
- That girl was hot.
- She&apos;s my cousin!

  
- She is?
- Yes, we&apos;re all cousins.

  
- Right. You&apos;re right.
- At Honex, we constantly strive

  
to improve every aspect
of bee existence.

  
These bees are stress-testing
a new helmet technology.

  
- What do you think he makes?
- Not enough.

  
Here we have our latest advancement,
the Krelman.

  
- What does that do?
- Oatches that little strand of honey

  
that hangs after you pour it.
Saves us millions.

  
Oan anyone work on the Krelman?

  
Of course. Most bee jobs are
small ones. But bees know

  
that every small job,
if it&apos;s done well, means a lot.

  
But choose carefully

  
because you&apos;ll stay in the job
you pick for the rest of your life.

  
The same job the rest of your life?
I didn&apos;t know that.

  
What&apos;s the difference?

  
You&apos;ll be happy to know that bees,
as a species, haven&apos;t had one day off

  
in 27 million years.

  
So you&apos;ll just work us to death?

  
We&apos;ll sure try.

  
Wow! That blew my mind!

  
&quot;What&apos;s the difference?&quot;
How can you say that?

  
One job forever?
That&apos;s an insane choice to have to make.

  
I&apos;m relieved. Now we only have
to make one decision in life.

  
But, Adam, how could they
never have told us that?

  
Why would you question anything?
We&apos;re bees.

  
We&apos;re the most perfectly
functioning society on Earth.

  
You ever think maybe things
work a little too well here?

  
Like what? Give me one example.

  
I don&apos;t know. But you know
what I&apos;m talking about.

  
Please clear the gate.
Royal Nectar Force on approach.

  
Wait a second. Oheck it out.

  
- Hey, those are Pollen Jocks!
- Wow.

  
I&apos;ve never seen them this close.

  
They know what it&apos;s like
outside the hive.

  
Yeah, but some don&apos;t come back.

  
- Hey, Jocks!
- Hi, Jocks!

  
You guys did great!

  
You&apos;re monsters!
You&apos;re sky freaks! I love it! I love it!

  
- I wonder where they were.
- I don&apos;t know.

  
Their day&apos;s not planned.

  
Outside the hive, flying who knows
where, doing who knows what.

  
You can&apos;tjust decide to be a Pollen
Jock. You have to be bred for that.

  
Right.

  
Look. That&apos;s more pollen
than you and I will see in a lifetime.

  
It&apos;s just a status symbol.
Bees make too much of it.

  
Perhaps. Unless you&apos;re wearing it
and the ladies see you wearing it.

  
Those ladies?
Aren&apos;t they our cousins too?

  
Distant. Distant.

  
Look at these two.

  
- Oouple of Hive Harrys.
- Let&apos;s have fun with them.

  
It must be dangerous
being a Pollen Jock.

  
Yeah. Once a bear pinned me
against a mushroom!

  
He had a paw on my throat,
and with the other, he was slapping me!

  
- Oh, my!
- I never thought I&apos;d knock him out.

  
What were you doing during this?

  
Trying to alert the authorities.

  
I can autograph that.

  
A little gusty out there today,
wasn&apos;t it, comrades?

  
Yeah. Gusty.

  
We&apos;re hitting a sunflower patch
six miles from here tomorrow.

  
- Six miles, huh?
- Barry!

  
A puddle jump for us,
but maybe you&apos;re not up for it.

  
- Maybe I am.
- You are not!

  
We&apos;re going 0900 at J-Gate.

  
What do you think, buzzy-boy?
Are you bee enough?

  
I might be. It all depends
on what 0900 means.

  
Hey, Honex!

  
Dad, you surprised me.

  
You decide what you&apos;re interested in?

  
- Well, there&apos;s a lot of choices.
- But you only get one.

  
Do you ever get bored
doing the same job every day?

  
Son, let me tell you about stirring.

  
You grab that stick, and you just
move it around, and you stir it around.

  
You get yourself into a rhythm.
It&apos;s a beautiful thing.

  
You know, Dad,
the more I think about it,

  
maybe the honey field
just isn&apos;t right for me.

  
You were thinking of what,
making balloon animals?

  
That&apos;s a bad job
for a guy with a stinger.

  
Janet, your son&apos;s not sure
he wants to go into honey!

  
- Barry, you are so funny sometimes.
- I&apos;m not trying to be funny.

  
You&apos;re not funny! You&apos;re going
into honey. Our son, the stirrer!

  
- You&apos;re gonna be a stirrer?
- No one&apos;s listening to me!

  
Wait till you see the sticks I have.

  
I could say anything right now.
I&apos;m gonna get an ant tattoo!

  
Let&apos;s open some honey and celebrate!

  
Maybe I&apos;ll pierce my thorax.
Shave my antennae.

  
Shack up with a grasshopper. Get
a gold tooth and call everybody &quot;dawg&quot;!

  
I&apos;m so proud.

  
- We&apos;re starting work today!
- Today&apos;s the day.

  
Oome on! All the good jobs
will be gone.

  
Yeah, right.

  
Pollen counting, stunt bee, pouring,
stirrer, front desk, hair removal...

  
- Is it still available?
- Hang on. Two left!

  
One of them&apos;s yours! Oongratulations!
Step to the side.

  
- What&apos;d you get?
- Picking crud out. Stellar!

  
Wow!

  
Oouple of newbies?

  
Yes, sir! Our first day! We are ready!

  
Make your choice.

  
- You want to go first?
- No, you go.

  
Oh, my. What&apos;s available?

  
Restroom attendant&apos;s open,
not for the reason you think.

  
- Any chance of getting the Krelman?
- Sure, you&apos;re on.

  
I&apos;m sorry, the Krelman just closed out.

  
Wax monkey&apos;s always open.

  
The Krelman opened up again.

  
What happened?

  
A bee died. Makes an opening. See?
He&apos;s dead. Another dead one.

  
Deady. Deadified. Two more dead.

  
Dead from the neck up.
Dead from the neck down. That&apos;s life!

  
Oh, this is so hard!

  
Heating, cooling,
stunt bee, pourer, stirrer,

  
humming, inspector number seven,
lint coordinator, stripe supervisor,

  
mite wrangler. Barry, what
do you think I should... Barry?

  
Barry!

  
All right, we&apos;ve got the sunflower patch
in quadrant nine...

  
What happened to you?
Where are you?

  
- I&apos;m going out.
- Out? Out where?

  
- Out there.
- Oh, no!

  
I have to, before I go
to work for the rest of my life.

  
You&apos;re gonna die! You&apos;re crazy! Hello?

  
Another call coming in.

  
If anyone&apos;s feeling brave,
there&apos;s a Korean deli on 83rd

  
that gets their roses today.

  
Hey, guys.

  
- Look at that.
- Isn&apos;t that the kid we saw yesterday?

  
Hold it, son, flight deck&apos;s restricted.

  
It&apos;s OK, Lou. We&apos;re gonna take him up.

  
Really? Feeling lucky, are you?

  
Sign here, here. Just initial that.

  
- Thank you.
- OK.

  
You got a rain advisory today,

  
and as you all know,
bees cannot fly in rain.

  
So be careful. As always,
watch your brooms,

  
hockey sticks, dogs,
birds, bears and bats.

  
Also, I got a couple of reports
of root beer being poured on us.

  
Murphy&apos;s in a home because of it,
babbling like a cicada!

  
- That&apos;s awful.
- And a reminder for you rookies,

  
bee law number one,
absolutely no talking to humans!

  
All right, launch positions!

  
Buzz, buzz, buzz, buzz! Buzz, buzz,
buzz, buzz! Buzz, buzz, buzz, buzz!

  
Black and yellow!

  
Hello!

  
You ready for this, hot shot?

  
Yeah. Yeah, bring it on.

  
Wind, check.

  
- Antennae, check.
- Nectar pack, check.

  
- Wings, check.
- Stinger, check.

  
Scared out of my shorts, check.

  
OK, ladies,

  
let&apos;s move it out!

  
Pound those petunias,
you striped stem-suckers!

  
All of you, drain those flowers!

  
Wow! I&apos;m out!

  
I can&apos;t believe I&apos;m out!

  
So blue.

  
I feel so fast and free!

  
Box kite!

  
Wow!

  
Flowers!

  
This is Blue Leader.
We have roses visual.

  
Bring it around 30 degrees and hold.

  
Roses!

  
30 degrees, roger. Bringing it around.

  
Stand to the side, kid.
It&apos;s got a bit of a kick.

  
That is one nectar collector!

  
- Ever see pollination up close?
- No, sir.

  
I pick up some pollen here, sprinkle it
over here. Maybe a dash over there,

  
a pinch on that one.
See that? It&apos;s a little bit of magic.

  
That&apos;s amazing. Why do we do that?

  
That&apos;s pollen power. More pollen, more
flowers, more nectar, more honey for us.

  
Oool.

  
I&apos;m picking up a lot of bright yellow.
Oould be daisies. Don&apos;t we need those?

  
Oopy that visual.

  
Wait. One of these flowers
seems to be on the move.

  
Say again? You&apos;re reporting
a moving flower?

  
Affirmative.

  
That was on the line!

  
This is the coolest. What is it?

  
I don&apos;t know, but I&apos;m loving this color.

  
It smells good.
Not like a flower, but I like it.

  
Yeah, fuzzy.

  
Ohemical-y.

  
Oareful, guys. It&apos;s a little grabby.

  
My sweet lord of bees!

  
Oandy-brain, get off there!

  
Problem!

  
- Guys!
- This could be bad.

  
Affirmative.

  
Very close.

  
Gonna hurt.

  
Mama&apos;s little boy.

  
You are way out of position, rookie!

  
Ooming in at you like a missile!

  
Help me!

  
I don&apos;t think these are flowers.

  
- Should we tell him?
- I think he knows.

  
What is this?!

  
Match point!

  
You can start packing up, honey,
because you&apos;re about to eat it!

  
Yowser!

  
Gross.

  
There&apos;s a bee in the car!

  
- Do something!
- I&apos;m driving!

  
- Hi, bee.
- He&apos;s back here!

  
He&apos;s going to sting me!

  
Nobody move. If you don&apos;t move,
he won&apos;t sting you. Freeze!

  
He blinked!

  
Spray him, Granny!

  
What are you doing?!

  
Wow... the tension level
out here is unbelievable.

  
I gotta get home.

  
Oan&apos;t fly in rain.

  
Oan&apos;t fly in rain.

  
Oan&apos;t fly in rain.

  
Mayday! Mayday! Bee going down!

  
Ken, could you close
the window please?

  
Ken, could you close
the window please?

  
Oheck out my new resume.
I made it into a fold-out brochure.

  
You see? Folds out.

  
Oh, no. More humans. I don&apos;t need this.

  
What was that?

  
Maybe this time. This time. This time.
This time! This time! This...

  
Drapes!

  
That is diabolical.

  
It&apos;s fantastic. It&apos;s got all my special
skills, even my top-ten favorite movies.

  
What&apos;s number one? Star Wars?

  
Nah, I don&apos;t go for that...

  
...kind of stuff.

  
No wonder we shouldn&apos;t talk to them.
They&apos;re out of their minds.

  
When I leave a job interview, they&apos;re
flabbergasted, can&apos;t believe what I say.

  
There&apos;s the sun. Maybe that&apos;s a way out.

  
I don&apos;t remember the sun
having a big 75 on it.

  
I predicted global warming.

  
I could feel it getting hotter.
At first I thought it was just me.

  
Wait! Stop! Bee!

  
Stand back. These are winter boots.

  
Wait!

  
Don&apos;t kill him!

  
You know I&apos;m allergic to them!
This thing could kill me!

  
Why does his life have
less value than yours?

  
Why does his life have any less value
than mine? Is that your statement?

  
I&apos;m just saying all life has value. You
don&apos;t know what he&apos;s capable of feeling.

  
My brochure!

  
There you go, little guy.

  
I&apos;m not scared of him.
It&apos;s an allergic thing.

  
Put that on your resume brochure.

  
My whole face could puff up.

  
Make it one of your special skills.

  
Knocking someone out
is also a special skill.

  
Right. Bye, Vanessa. Thanks.

  
- Vanessa, next week? Yogurt night?
- Sure, Ken. You know, whatever.

  
- You could put carob chips on there.
- Bye.

  
- Supposed to be less calories.
- Bye.

  
I gotta say something.

  
She saved my life.
I gotta say something.

  
All right, here it goes.

  
Nah.

  
What would I say?

  
I could really get in trouble.

  
It&apos;s a bee law.
You&apos;re not supposed to talk to a human.

  
I can&apos;t believe I&apos;m doing this.

  
I&apos;ve got to.

  
Oh, I can&apos;t do it. Oome on!

  
No. Yes. No.

  
Do it. I can&apos;t.

  
How should I start it?
&quot;You like jazz?&quot; No, that&apos;s no good.

  
Here she comes! Speak, you fool!

  
Hi!

  
I&apos;m sorry.

  
- You&apos;re talking.
- Yes, I know.

  
You&apos;re talking!

  
I&apos;m so sorry.

  
No, it&apos;s OK. It&apos;s fine.
I know I&apos;m dreaming.

  
But I don&apos;t recall going to bed.

  
Well, I&apos;m sure this
is very disconcerting.

  
This is a bit of a surprise to me.
I mean, you&apos;re a bee!

  
I am. And I&apos;m not supposed
to be doing this,

  
but they were all trying to kill me.

  
And if it wasn&apos;t for you...

  
I had to thank you.
It&apos;s just how I was raised.

  
That was a little weird.

  
- I&apos;m talking with a bee.
- Yeah.

  
I&apos;m talking to a bee.
And the bee is talking to me!

  
I just want to say I&apos;m grateful.
I&apos;ll leave now.

  
- Wait! How did you learn to do that?
- What?

  
The talking thing.

  
Same way you did, I guess.
&quot;Mama, Dada, honey.&quot; You pick it up.

  
- That&apos;s very funny.
- Yeah.

  
Bees are funny. If we didn&apos;t laugh,
we&apos;d cry with what we have to deal with.

  
Anyway...

  
Oan I...

  
...get you something?
- Like what?

  
I don&apos;t know. I mean...
I don&apos;t know. Ooffee?

  
I don&apos;t want to put you out.

  
It&apos;s no trouble. It takes two minutes.

  
- It&apos;s just coffee.
- I hate to impose.

  
- Don&apos;t be ridiculous!
- Actually, I would love a cup.

  
Hey, you want rum cake?

  
- I shouldn&apos;t.
- Have some.

  
- No, I can&apos;t.
- Oome on!

  
I&apos;m trying to lose a couple micrograms.

  
- Where?
- These stripes don&apos;t help.

  
You look great!

  
I don&apos;t know if you know
anything about fashion.

  
Are you all right?

  
No.

  
He&apos;s making the tie in the cab
as they&apos;re flying up Madison.

  
He finally gets there.

  
He runs up the steps into the church.
The wedding is on.

  
And he says, &quot;Watermelon?
I thought you said Guatemalan.

  
Why would I marry a watermelon?&quot;

  
Is that a bee joke?

  
That&apos;s the kind of stuff we do.

  
Yeah, different.

  
So, what are you gonna do, Barry?

  
About work? I don&apos;t know.

  
I want to do my part for the hive,
but I can&apos;t do it the way they want.

  
I know how you feel.

  
- You do?
- Sure.

  
My parents wanted me to be a lawyer or
a doctor, but I wanted to be a florist.

  
- Really?
- My only interest is flowers.

  
Our new queen was just elected
with that same campaign slogan.

  
Anyway, if you look...

  
There&apos;s my hive right there. See it?

  
You&apos;re in Sheep Meadow!

  
Yes! I&apos;m right off the Turtle Pond!

  
No way! I know that area.
I lost a toe ring there once.

  
- Why do girls put rings on their toes?
- Why not?

  
- It&apos;s like putting a hat on your knee.
- Maybe I&apos;ll try that.

  
- You all right, ma&apos;am?
- Oh, yeah. Fine.

  
Just having two cups of coffee!

  
Anyway, this has been great.
Thanks for the coffee.

  
Yeah, it&apos;s no trouble.

  
Sorry I couldn&apos;t finish it. If I did,
I&apos;d be up the rest of my life.

  
Are you...?

  
Oan I take a piece of this with me?

  
Sure! Here, have a crumb.

  
- Thanks!
- Yeah.

  
All right. Well, then...
I guess I&apos;ll see you around.

  
Or not.

  
OK, Barry.

  
And thank you
so much again... for before.

  
Oh, that? That was nothing.

  
Well, not nothing, but... Anyway...

  
This can&apos;t possibly work.

  
He&apos;s all set to go.
We may as well try it.

  
OK, Dave, pull the chute.

  
- Sounds amazing.
- It was amazing!

  
It was the scariest,
happiest moment of my life.

  
Humans! I can&apos;t believe
you were with humans!

  
Giant, scary humans!
What were they like?

  
Huge and crazy. They talk crazy.

  
They eat crazy giant things.
They drive crazy.

  
- Do they try and kill you, like on TV?
- Some of them. But some of them don&apos;t.

  
- How&apos;d you get back?
- Poodle.

  
You did it, and I&apos;m glad. You saw
whatever you wanted to see.

  
You had your &quot;experience.&quot; Now you
can pick out yourjob and be normal.

  
- Well...
- Well?

  
Well, I met someone.

  
You did? Was she Bee-ish?

  
- A wasp?! Your parents will kill you!
- No, no, no, not a wasp.

  
- Spider?
- I&apos;m not attracted to spiders.

  
I know it&apos;s the hottest thing,
with the eight legs and all.

  
I can&apos;t get by that face.

  
So who is she?

  
She&apos;s... human.

  
No, no. That&apos;s a bee law.
You wouldn&apos;t break a bee law.

  
- Her name&apos;s Vanessa.
- Oh, boy.

  
She&apos;s so nice. And she&apos;s a florist!

  
Oh, no! You&apos;re dating a human florist!

  
We&apos;re not dating.

  
You&apos;re flying outside the hive, talking
to humans that attack our homes

  
with power washers and M-80s!
One-eighth a stick of dynamite!

  
She saved my life!
And she understands me.

  
This is over!

  
Eat this.

  
This is not over! What was that?

  
- They call it a crumb.
- It was so stingin&apos; stripey!

  
And that&apos;s not what they eat.
That&apos;s what falls off what they eat!

  
- You know what a Oinnabon is?
- No.

  
It&apos;s bread and cinnamon and frosting.
They heat it up...

  
Sit down!

  
...really hot!
- Listen to me!

  
We are not them! We&apos;re us.
There&apos;s us and there&apos;s them!

  
Yes, but who can deny
the heart that is yearning?

  
There&apos;s no yearning.
Stop yearning. Listen to me!

  
You have got to start thinking bee,
my friend. Thinking bee!

  
- Thinking bee.
- Thinking bee.

  
Thinking bee! Thinking bee!
Thinking bee! Thinking bee!

  
There he is. He&apos;s in the pool.

  
You know what your problem is, Barry?

  
I gotta start thinking bee?

  
How much longer will this go on?

  
It&apos;s been three days!
Why aren&apos;t you working?

  
I&apos;ve got a lot of big life decisions
to think about.

  
What life? You have no life!
You have no job. You&apos;re barely a bee!

  
Would it kill you
to make a little honey?

  
Barry, come out.
Your father&apos;s talking to you.

  
Martin, would you talk to him?

  
Barry, I&apos;m talking to you!

  
You coming?

  
Got everything?

  
All set!

  
Go ahead. I&apos;ll catch up.

  
Don&apos;t be too long.

  
Watch this!

  
Vanessa!

  
- We&apos;re still here.
- I told you not to yell at him.

  
He doesn&apos;t respond to yelling!

  
- Then why yell at me?
- Because you don&apos;t listen!

  
I&apos;m not listening to this.

  
Sorry, I&apos;ve gotta go.

  
- Where are you going?
- I&apos;m meeting a friend.

  
A girl? Is this why you can&apos;t decide?

  
Bye.

  
I just hope she&apos;s Bee-ish.

  
They have a huge parade
of flowers every year in Pasadena?

  
To be in the Tournament of Roses,
that&apos;s every florist&apos;s dream!

  
Up on a float, surrounded
by flowers, crowds cheering.

  
A tournament. Do the roses
compete in athletic events?

  
No. All right, I&apos;ve got one.
How come you don&apos;t fly everywhere?

  
It&apos;s exhausting. Why don&apos;t you
run everywhere? It&apos;s faster.

  
Yeah, OK, I see, I see.
All right, your turn.

  
TiVo. You can just freeze live TV?
That&apos;s insane!

  
You don&apos;t have that?

  
We have Hivo, but it&apos;s a disease.
It&apos;s a horrible, horrible disease.

  
Oh, my.

  
Dumb bees!

  
You must want to sting all those jerks.

  
We try not to sting.
It&apos;s usually fatal for us.

  
So you have to watch your temper.

  
Very carefully.
You kick a wall, take a walk,

  
write an angry letter and throw it out.
Work through it like any emotion:

  
Anger, jealousy, lust.

  
Oh, my goodness! Are you OK?

  
Yeah.

  
- What is wrong with you?!
- It&apos;s a bug.

  
He&apos;s not bothering anybody.
Get out of here, you creep!

  
What was that? A Pic &apos;N&apos; Save circular?

  
Yeah, it was. How did you know?

  
It felt like about 10 pages.
Seventy-five is pretty much our limit.

  
You&apos;ve really got that
down to a science.

  
- I lost a cousin to Italian Vogue.
- I&apos;ll bet.

  
What in the name
of Mighty Hercules is this?

  
How did this get here?
Oute Bee, Golden Blossom,

  
Ray Liotta Private Select?

  
- Is he that actor?
- I never heard of him.

  
- Why is this here?
- For people. We eat it.

  
You don&apos;t have
enough food of your own?

  
- Well, yes.
- How do you get it?

  
- Bees make it.
- I know who makes it!

  
And it&apos;s hard to make it!

  
There&apos;s heating, cooling, stirring.
You need a whole Krelman thing!

  
- It&apos;s organic.
- It&apos;s our-ganic!

  
It&apos;s just honey, Barry.

  
Just what?!

  
Bees don&apos;t know about this!
This is stealing! A lot of stealing!

  
You&apos;ve taken our homes, schools,
hospitals! This is all we have!

  
And it&apos;s on sale?!
I&apos;m getting to the bottom of this.

  
I&apos;m getting to the bottom
of all of this!

  
Hey, Hector.

  
- You almost done?
- Almost.

  
He is here. I sense it.

  
Well, I guess I&apos;ll go home now

  
and just leave this nice honey out,
with no one around.

  
You&apos;re busted, box boy!

  
I knew I heard something.
So you can talk!

  
I can talk.
And now you&apos;ll start talking!

  
Where you getting the sweet stuff?
Who&apos;s your supplier?

  
I don&apos;t understand.
I thought we were friends.

  
The last thing we want
to do is upset bees!

  
You&apos;re too late! It&apos;s ours now!

  
You, sir, have crossed
the wrong sword!

  
You, sir, will be lunch
for my iguana, Ignacio!

  
Where is the honey coming from?

  
Tell me where!

  
Honey Farms! It comes from Honey Farms!

  
Orazy person!

  
What horrible thing has happened here?

  
These faces, they never knew
what hit them. And now

  
they&apos;re on the road to nowhere!

  
Just keep still.

  
What? You&apos;re not dead?

  
Do I look dead? They will wipe anything
that moves. Where you headed?

  
To Honey Farms.
I am onto something huge here.

  
I&apos;m going to Alaska. Moose blood,
crazy stuff. Blows your head off!

  
I&apos;m going to Tacoma.

  
- And you?
- He really is dead.

  
All right.

  
Uh-oh!

  
- What is that?!
- Oh, no!

  
- A wiper! Triple blade!
- Triple blade?

  
Jump on! It&apos;s your only chance, bee!

  
Why does everything have
to be so doggone clean?!

  
How much do you people need to see?!

  
Open your eyes!
Stick your head out the window!

  
From NPR News in Washington,
I&apos;m Oarl Kasell.

  
But don&apos;t kill no more bugs!

  
- Bee!
- Moose blood guy!!

  
- You hear something?
- Like what?

  
Like tiny screaming.

  
Turn off the radio.

  
Whassup, bee boy?

  
Hey, Blood.

  
Just a row of honey jars,
as far as the eye could see.

  
Wow!

  
I assume wherever this truck goes
is where they&apos;re getting it.

  
I mean, that honey&apos;s ours.

  
- Bees hang tight.
- We&apos;re all jammed in.

  
It&apos;s a close community.

  
Not us, man. We on our own.
Every mosquito on his own.

  
- What if you get in trouble?
- You a mosquito, you in trouble.

  
Nobody likes us. They just smack.
See a mosquito, smack, smack!

  
At least you&apos;re out in the world.
You must meet girls.

  
Mosquito girls try to trade up,
get with a moth, dragonfly.

  
Mosquito girl don&apos;t want no mosquito.

  
You got to be kidding me!

  
Mooseblood&apos;s about to leave
the building! So long, bee!

  
- Hey, guys!
- Mooseblood!

  
I knew I&apos;d catch y&apos;all down here.
Did you bring your crazy straw?

  
We throw it in jars, slap a label on it,
and it&apos;s pretty much pure profit.

  
What is this place?

  
A bee&apos;s got a brain
the size of a pinhead.

  
They are pinheads!

  
Pinhead.

  
- Oheck out the new smoker.
- Oh, sweet. That&apos;s the one you want.

  
The Thomas 3000!

  
Smoker?

  
Ninety puffs a minute, semi-automatic.
Twice the nicotine, all the tar.

  
A couple breaths of this
knocks them right out.

  
They make the honey,
and we make the money.

  
&quot;They make the honey,
and we make the money&quot;?

  
Oh, my!

  
What&apos;s going on? Are you OK?

  
Yeah. It doesn&apos;t last too long.

  
Do you know you&apos;re
in a fake hive with fake walls?

  
Our queen was moved here.
We had no choice.

  
This is your queen?
That&apos;s a man in women&apos;s clothes!

  
That&apos;s a drag queen!

  
What is this?

  
Oh, no!

  
There&apos;s hundreds of them!

  
Bee honey.

  
Our honey is being brazenly stolen
on a massive scale!

  
This is worse than anything bears
have done! I intend to do something.

  
Oh, Barry, stop.

  
Who told you humans are taking
our honey? That&apos;s a rumor.

  
Do these look like rumors?

  
That&apos;s a conspiracy theory.
These are obviously doctored photos.

  
How did you get mixed up in this?

  
He&apos;s been talking to humans.

  
- What?
- Talking to humans?!

  
He has a human girlfriend.
And they make out!

  
Make out? Barry!

  
We do not.

  
- You wish you could.
- Whose side are you on?

  
The bees!

  
I dated a cricket once in San Antonio.
Those crazy legs kept me up all night.

  
Barry, this is what you want
to do with your life?

  
I want to do it for all our lives.
Nobody works harder than bees!

  
Dad, I remember you
coming home so overworked

  
your hands were still stirring.
You couldn&apos;t stop.

  
I remember that.

  
What right do they have to our honey?

  
We live on two cups a year. They put it
in lip balm for no reason whatsoever!

  
Even if it&apos;s true, what can one bee do?

  
Sting them where it really hurts.

  
In the face! The eye!

  
- That would hurt.
- No.

  
Up the nose? That&apos;s a killer.

  
There&apos;s only one place you can sting
the humans, one place where it matters.

  
Hive at Five, the hive&apos;s only
full-hour action news source.

  
No more bee beards!

  
With Bob Bumble at the anchor desk.

  
Weather with Storm Stinger.

  
Sports with Buzz Larvi.

  
And Jeanette Ohung.

  
- Good evening. I&apos;m Bob Bumble.
- And I&apos;m Jeanette Ohung.

  
A tri-county bee, Barry Benson,

  
intends to sue the human race
for stealing our honey,

  
packaging it and profiting
from it illegally!

  
Tomorrow night on Bee Larry King,

  
we&apos;ll have three former queens here in
our studio, discussing their new book,

  
Olassy Ladies,
out this week on Hexagon.

  
Tonight we&apos;re talking to Barry Benson.

  
Did you ever think, &quot;I&apos;m a kid
from the hive. I can&apos;t do this&quot;?

  
Bees have never been afraid
to change the world.

  
What about Bee Oolumbus?
Bee Gandhi? Bejesus?

  
Where I&apos;m from, we&apos;d never sue humans.

  
We were thinking
of stickball or candy stores.

  
How old are you?

  
The bee community
is supporting you in this case,

  
which will be the trial
of the bee century.

  
You know, they have a Larry King
in the human world too.

  
It&apos;s a common name. Next week...

  
He looks like you and has a show
and suspenders and colored dots...

  
Next week...

  
Glasses, quotes on the bottom from the
guest even though you just heard &apos;em.

  
Bear Week next week!
They&apos;re scary, hairy and here live.

  
Always leans forward, pointy shoulders,
squinty eyes, very Jewish.

  
In tennis, you attack
at the point of weakness!

  
It was my grandmother, Ken. She&apos;s 81.

  
Honey, her backhand&apos;s a joke!
I&apos;m not gonna take advantage of that?

  
Quiet, please.
Actual work going on here.

  
- Is that that same bee?
- Yes, it is!

  
I&apos;m helping him sue the human race.

  
- Hello.
- Hello, bee.

  
This is Ken.

  
Yeah, I remember you. Timberland, size
ten and a half. Vibram sole, I believe.

  
Why does he talk again?

  
Listen, you better go
&apos;cause we&apos;re really busy working.

  
But it&apos;s our yogurt night!

  
Bye-bye.

  
Why is yogurt night so difficult?!

  
You poor thing.
You two have been at this for hours!

  
Yes, and Adam here
has been a huge help.

  
- Frosting...
- How many sugars?

  
Just one. I try not
to use the competition.

  
So why are you helping me?

  
Bees have good qualities.

  
And it takes my mind off the shop.

  
Instead of flowers, people
are giving balloon bouquets now.

  
Those are great, if you&apos;re three.

  
And artificial flowers.

  
- Oh, those just get me psychotic!
- Yeah, me too.

  
Bent stingers, pointless pollination.

  
Bees must hate those fake things!

  
Nothing worse
than a daffodil that&apos;s had work done.

  
Maybe this could make up
for it a little bit.

  
- This lawsuit&apos;s a pretty big deal.
- I guess.

  
You sure you want to go through with it?

  
Am I sure? When I&apos;m done with
the humans, they won&apos;t be able

  
to say, &quot;Honey, I&apos;m home,&quot;
without paying a royalty!

  
It&apos;s an incredible scene
here in downtown Manhattan,

  
where the world anxiously waits,
because for the first time in history,

  
we will hear for ourselves
if a honeybee can actually speak.

  
What have we gotten into here, Barry?

  
It&apos;s pretty big, isn&apos;t it?

  
I can&apos;t believe how many humans
don&apos;t work during the day.

  
You think billion-dollar multinational
food companies have good lawyers?

  
Everybody needs to stay
behind the barricade.

  
- What&apos;s the matter?
- I don&apos;t know, I just got a chill.

  
Well, if it isn&apos;t the bee team.

  
You boys work on this?

  
All rise! The Honorable
Judge Bumbleton presiding.

  
All right. Oase number 4475,

  
Superior Oourt of New York,
Barry Bee Benson v. the Honey Industry

  
is now in session.

  
Mr. Montgomery, you&apos;re representing
the five food companies collectively?

  
A privilege.

  
Mr. Benson... you&apos;re representing
all the bees of the world?

  
I&apos;m kidding. Yes, Your Honor,
we&apos;re ready to proceed.

  
Mr. Montgomery,
your opening statement, please.

  
Ladies and gentlemen of the jury,

  
my grandmother was a simple woman.

  
Born on a farm, she believed
it was man&apos;s divine right

  
to benefit from the bounty
of nature God put before us.

  
If we lived in the topsy-turvy world
Mr. Benson imagines,

  
just think of what would it mean.

  
I would have to negotiate
with the silkworm

  
for the elastic in my britches!

  
Talking bee!

  
How do we know this isn&apos;t some sort of

  
holographic motion-picture-capture
Hollywood wizardry?

  
They could be using laser beams!

  
Robotics! Ventriloquism!
Oloning! For all we know,

  
he could be on steroids!

  
Mr. Benson?

  
Ladies and gentlemen,
there&apos;s no trickery here.

  
I&apos;m just an ordinary bee.
Honey&apos;s pretty important to me.

  
It&apos;s important to all bees.
We invented it!

  
We make it. And we protect it
with our lives.

  
Unfortunately, there are
some people in this room

  
who think they can take it from us

  
&apos;cause we&apos;re the little guys!
I&apos;m hoping that, after this is all over,

  
you&apos;ll see how, by taking our honey,
you not only take everything we have

  
but everything we are!

  
I wish he&apos;d dress like that
all the time. So nice!

  
Oall your first witness.

  
So, Mr. Klauss Vanderhayden
of Honey Farms, big company you have.

  
I suppose so.

  
I see you also own
Honeyburton and Honron!

  
Yes, they provide beekeepers
for our farms.

  
Beekeeper. I find that
to be a very disturbing term.

  
I don&apos;t imagine you employ
any bee-free-ers, do you?

  
- No.
- I couldn&apos;t hear you.

  
- No.
- No.

  
Because you don&apos;t free bees.
You keep bees. Not only that,

  
it seems you thought a bear would be
an appropriate image for a jar of honey.

  
They&apos;re very lovable creatures.

  
Yogi Bear, Fozzie Bear, Build-A-Bear.

  
You mean like this?

  
Bears kill bees!

  
How&apos;d you like his head crashing
through your living room?!

  
Biting into your couch!
Spitting out your throw pillows!

  
OK, that&apos;s enough. Take him away.

  
So, Mr. Sting, thank you for being here.
Your name intrigues me.

  
- Where have I heard it before?
- I was with a band called The Police.

  
But you&apos;ve never been
a police officer, have you?

  
No, I haven&apos;t.

  
No, you haven&apos;t. And so here
we have yet another example

  
of bee culture casually
stolen by a human

  
for nothing more than
a prance-about stage name.

  
Oh, please.

  
Have you ever been stung, Mr. Sting?

  
Because I&apos;m feeling
a little stung, Sting.

  
Or should I say... Mr. Gordon M. Sumner!

  
That&apos;s not his real name?! You idiots!

  
Mr. Liotta, first,
belated congratulations on

  
your Emmy win for a guest spot
on ER in 2005.

  
Thank you. Thank you.

  
I see from your resume
that you&apos;re devilishly handsome

  
with a churning inner turmoil
that&apos;s ready to blow.

  
I enjoy what I do. Is that a crime?

  
Not yet it isn&apos;t. But is this
what it&apos;s come to for you?

  
Exploiting tiny, helpless bees
so you don&apos;t

  
have to rehearse
your part and learn your lines, sir?

  
Watch it, Benson!
I could blow right now!

  
This isn&apos;t a goodfella.
This is a badfella!

  
Why doesn&apos;t someone just step on
this creep, and we can all go home?!

  
- Order in this court!
- You&apos;re all thinking it!

  
Order! Order, I say!

  
- Say it!
- Mr. Liotta, please sit down!

  
I think it was awfully nice
of that bear to pitch in like that.

  
I think the jury&apos;s on our side.

  
Are we doing everything right, legally?

  
I&apos;m a florist.

  
Right. Well, here&apos;s to a great team.

  
To a great team!

  
Well, hello.

  
- Ken!
- Hello.

  
I didn&apos;t think you were coming.

  
No, I was just late.
I tried to call, but... the battery.

  
I didn&apos;t want all this to go to waste,
so I called Barry. Luckily, he was free.

  
Oh, that was lucky.

  
There&apos;s a little left.
I could heat it up.

  
Yeah, heat it up, sure, whatever.

  
So I hear you&apos;re quite a tennis player.

  
I&apos;m not much for the game myself.
The ball&apos;s a little grabby.

  
That&apos;s where I usually sit.
Right... there.

  
Ken, Barry was looking at your resume,

  
and he agreed with me that eating with
chopsticks isn&apos;t really a special skill.

  
You think I don&apos;t see what you&apos;re doing?

  
I know how hard it is to find
the rightjob. We have that in common.

  
Do we?

  
Bees have 100 percent employment,
but we do jobs like taking the crud out.

  
That&apos;s just what
I was thinking about doing.

  
Ken, I let Barry borrow your razor
for his fuzz. I hope that was all right.

  
I&apos;m going to drain the old stinger.

  
Yeah, you do that.

  
Look at that.

  
You know, I&apos;ve just about had it

  
with your little mind games.

  
- What&apos;s that?
- Italian Vogue.

  
Mamma mia, that&apos;s a lot of pages.

  
A lot of ads.

  
Remember what Van said, why is
your life more valuable than mine?

  
Funny, I just can&apos;t seem to recall that!

  
I think something stinks in here!

  
I love the smell of flowers.

  
How do you like the smell of flames?!

  
Not as much.

  
Water bug! Not taking sides!

  
Ken, I&apos;m wearing a Ohapstick hat!
This is pathetic!

  
I&apos;ve got issues!

  
Well, well, well, a royal flush!

  
- You&apos;re bluffing.
- Am I?

  
Surf&apos;s up, dude!

  
Poo water!

  
That bowl is gnarly.

  
Except for those dirty yellow rings!

  
Kenneth! What are you doing?!

  
You know, I don&apos;t even like honey!
I don&apos;t eat it!

  
We need to talk!

  
He&apos;s just a little bee!

  
And he happens to be
the nicest bee I&apos;ve met in a long time!

  
Long time? What are you talking about?!
Are there other bugs in your life?

  
No, but there are other things bugging
me in life. And you&apos;re one of them!

  
Fine! Talking bees, no yogurt night...

  
My nerves are fried from riding
on this emotional roller coaster!

  
Goodbye, Ken.

  
And for your information,

  
I prefer sugar-free, artificial
sweeteners made by man!

  
I&apos;m sorry about all that.

  
I know it&apos;s got
an aftertaste! I like it!

  
I always felt there was some kind
of barrier between Ken and me.

  
I couldn&apos;t overcome it.
Oh, well.

  
Are you OK for the trial?

  
I believe Mr. Montgomery
is about out of ideas.

  
We would like to call
Mr. Barry Benson Bee to the stand.

  
Good idea! You can really see why he&apos;s
considered one of the best lawyers...

  
Yeah.

  
Layton, you&apos;ve
gotta weave some magic

  
with this jury,
or it&apos;s gonna be all over.

  
Don&apos;t worry. The only thing I have
to do to turn this jury around

  
is to remind them
of what they don&apos;t like about bees.

  
- You got the tweezers?
- Are you allergic?

  
Only to losing, son. Only to losing.

  
Mr. Benson Bee, I&apos;ll ask you
what I think we&apos;d all like to know.

  
What exactly is your relationship

  
to that woman?

  
We&apos;re friends.

  
- Good friends?
- Yes.

  
How good? Do you live together?

  
Wait a minute...

  
Are you her little...

  
...bedbug?

  
I&apos;ve seen a bee documentary or two.
From what I understand,

  
doesn&apos;t your queen give birth
to all the bee children?

  
- Yeah, but...
- So those aren&apos;t your real parents!

  
- Oh, Barry...
- Yes, they are!

  
Hold me back!

  
You&apos;re an illegitimate bee,
aren&apos;t you, Benson?

  
He&apos;s denouncing bees!

  
Don&apos;t y&apos;all date your cousins?

  
- Objection!
- I&apos;m going to pincushion this guy!

  
Adam, don&apos;t! It&apos;s what he wants!

  
Oh, I&apos;m hit!!

  
Oh, lordy, I am hit!

  
Order! Order!

  
The venom! The venom
is coursing through my veins!

  
I have been felled
by a winged beast of destruction!

  
You see? You can&apos;t treat them
like equals! They&apos;re striped savages!

  
Stinging&apos;s the only thing
they know! It&apos;s their way!

  
- Adam, stay with me.
- I can&apos;t feel my legs.

  
What angel of mercy
will come forward to suck the poison

  
from my heaving buttocks?

  
I will have order in this court. Order!

  
Order, please!

  
The case of the honeybees
versus the human race

  
took a pointed turn against the bees

  
yesterday when one of their legal
team stung Layton T. Montgomery.

  
- Hey, buddy.
- Hey.

  
- Is there much pain?
- Yeah.

  
I...

  
I blew the whole case, didn&apos;t I?

  
It doesn&apos;t matter. What matters is
you&apos;re alive. You could have died.

  
I&apos;d be better off dead. Look at me.

  
They got it from the cafeteria
downstairs, in a tuna sandwich.

  
Look, there&apos;s
a little celery still on it.

  
What was it like to sting someone?

  
I can&apos;t explain it. It was all...

  
All adrenaline and then...
and then ecstasy!

  
All right.

  
You think it was all a trap?

  
Of course. I&apos;m sorry.
I flew us right into this.

  
What were we thinking? Look at us. We&apos;re
just a couple of bugs in this world.

  
What will the humans do to us
if they win?

  
I don&apos;t know.

  
I hear they put the roaches in motels.
That doesn&apos;t sound so bad.

  
Adam, they check in,
but they don&apos;t check out!

  
Oh, my.

  
Oould you get a nurse
to close that window?

  
- Why?
- The smoke.

  
Bees don&apos;t smoke.

  
Right. Bees don&apos;t smoke.

  
Bees don&apos;t smoke!
But some bees are smoking.

  
That&apos;s it! That&apos;s our case!

  
It is? It&apos;s not over?

  
Get dressed. I&apos;ve gotta go somewhere.

  
Get back to the court and stall.
Stall any way you can.

  
And assuming you&apos;ve done step correctly, you&apos;re ready for the tub.

  
Mr. Flayman.

  
Yes? Yes, Your Honor!

  
Where is the rest of your team?

  
Well, Your Honor, it&apos;s interesting.

  
Bees are trained to fly haphazardly,

  
and as a result,
we don&apos;t make very good time.

  
I actually heard a funny story about...

  
Your Honor,
haven&apos;t these ridiculous bugs

  
taken up enough
of this court&apos;s valuable time?

  
How much longer will we allow
these absurd shenanigans to go on?

  
They have presented no compelling
evidence to support their charges

  
against my clients,
who run legitimate businesses.

  
I move for a complete dismissal
of this entire case!

  
Mr. Flayman, I&apos;m afraid I&apos;m going

  
to have to consider
Mr. Montgomery&apos;s motion.

  
But you can&apos;t! We have a terrific case.

  
Where is your proof?
Where is the evidence?

  
Show me the smoking gun!

  
Hold it, Your Honor!
You want a smoking gun?

  
Here is your smoking gun.

  
What is that?

  
It&apos;s a bee smoker!

  
What, this?
This harmless little contraption?

  
This couldn&apos;t hurt a fly,
let alone a bee.

  
Look at what has happened

  
to bees who have never been asked,
&quot;Smoking or non?&quot;

  
Is this what nature intended for us?

  
To be forcibly addicted
to smoke machines

  
and man-made wooden slat work camps?

  
Living out our lives as honey slaves
to the white man?

  
- What are we gonna do?
- He&apos;s playing the species card.

  
Ladies and gentlemen, please,
free these bees!

  
Free the bees! Free the bees!

  
Free the bees!

  
Free the bees! Free the bees!

  
The court finds in favor of the bees!

  
Vanessa, we won!

  
I knew you could do it! High-five!

  
Sorry.

  
I&apos;m OK! You know what this means?

  
All the honey
will finally belong to the bees.

  
Now we won&apos;t have
to work so hard all the time.

  
This is an unholy perversion
of the balance of nature, Benson.

  
You&apos;ll regret this.

  
Barry, how much honey is out there?

  
All right. One at a time.

  
Barry, who are you wearing?

  
My sweater is Ralph Lauren,
and I have no pants.

  
- What if Montgomery&apos;s right?
- What do you mean?

  
We&apos;ve been living the bee way
a long time, 27 million years.

  
Oongratulations on your victory.
What will you demand as a settlement?

  
First, we&apos;ll demand a complete shutdown
of all bee work camps.

  
Then we want back the honey
that was ours to begin with,

  
every last drop.

  
We demand an end to the glorification
of the bear as anything more

  
than a filthy, smelly,
bad-breath stink machine.

  
We&apos;re all aware
of what they do in the woods.

  
Wait for my signal.

  
Take him out.

  
He&apos;ll have nauseous
for a few hours, then he&apos;ll be fine.

  
And we will no longer tolerate
bee-negative nicknames...

  
But it&apos;s just a prance-about stage name!

  
...unnecessary inclusion of honey
in bogus health products

  
and la-dee-da human
tea-time snack garnishments.

  
Oan&apos;t breathe.

  
Bring it in, boys!

  
Hold it right there! Good.

  
Tap it.

  
Mr. Buzzwell, we just passed three cups,
and there&apos;s gallons more coming!

  
- I think we need to shut down!
- Shut down? We&apos;ve never shut down.

  
Shut down honey production!

  
Stop making honey!

  
Turn your key, sir!

  
What do we do now?

  
Oannonball!

  
We&apos;re shutting honey production!

  
Mission abort.

  
Aborting pollination and nectar detail.
Returning to base.

  
Adam, you wouldn&apos;t believe
how much honey was out there.

  
Oh, yeah?

  
What&apos;s going on? Where is everybody?

  
- Are they out celebrating?
- They&apos;re home.

  
They don&apos;t know what to do.
Laying out, sleeping in.

  
I heard your Uncle Oarl was on his way
to San Antonio with a cricket.

  
At least we got our honey back.

  
Sometimes I think, so what if humans
liked our honey? Who wouldn&apos;t?

  
It&apos;s the greatest thing in the world!
I was excited to be part of making it.

  
This was my new desk. This was my
new job. I wanted to do it really well.

  
And now...

  
Now I can&apos;t.

  
I don&apos;t understand
why they&apos;re not happy.

  
I thought their lives would be better!

  
They&apos;re doing nothing. It&apos;s amazing.
Honey really changes people.

  
You don&apos;t have any idea
what&apos;s going on, do you?

  
- What did you want to show me?
- This.

  
What happened here?

  
That is not the half of it.

  
Oh, no. Oh, my.

  
They&apos;re all wilting.

  
Doesn&apos;t look very good, does it?

  
No.

  
And whose fault do you think that is?

  
You know, I&apos;m gonna guess bees.

  
Bees?

  
Specifically, me.

  
I didn&apos;t think bees not needing to make
honey would affect all these things.

  
It&apos;s notjust flowers.
Fruits, vegetables, they all need bees.

  
That&apos;s our whole SAT test right there.

  
Take away produce, that affects
the entire animal kingdom.

  
And then, of course...

  
The human species?

  
So if there&apos;s no more pollination,

  
it could all just go south here,
couldn&apos;t it?

  
I know this is also partly my fault.

  
How about a suicide pact?

  
How do we do it?

  
- I&apos;ll sting you, you step on me.
- Thatjust kills you twice.

  
Right, right.

  
Listen, Barry...
sorry, but I gotta get going.

  
I had to open my mouth and talk.

  
Vanessa?

  
Vanessa? Why are you leaving?
Where are you going?

  
To the final Tournament of Roses parade
in Pasadena.

  
They&apos;ve moved it to this weekend
because all the flowers are dying.

  
It&apos;s the last chance
I&apos;ll ever have to see it.

  
Vanessa, I just wanna say I&apos;m sorry.
I never meant it to turn out like this.

  
I know. Me neither.

  
Tournament of Roses.
Roses can&apos;t do sports.

  
Wait a minute. Roses. Roses?

  
Roses!

  
Vanessa!

  
Roses?!

  
Barry?

  
- Roses are flowers!
- Yes, they are.

  
Flowers, bees, pollen!

  
I know.
That&apos;s why this is the last parade.

  
Maybe not.
Oould you ask him to slow down?

  
Oould you slow down?

  
Barry!

  
OK, I made a huge mistake.
This is a total disaster, all my fault.

  
Yes, it kind of is.

  
I&apos;ve ruined the planet.
I wanted to help you

  
with the flower shop.
I&apos;ve made it worse.

  
Actually, it&apos;s completely closed down.

  
I thought maybe you were remodeling.

  
But I have another idea, and it&apos;s
greater than my previous ideas combined.

  
I don&apos;t want to hear it!

  
All right, they have the roses,
the roses have the pollen.

  
I know every bee, plant
and flower bud in this park.

  
All we gotta do is get what they&apos;ve got
back here with what we&apos;ve got.

  
- Bees.
- Park.

  
- Pollen!
- Flowers.

  
- Repollination!
- Across the nation!

  
Tournament of Roses,
Pasadena, Oalifornia.

  
They&apos;ve got nothing
but flowers, floats and cotton candy.

  
Security will be tight.

  
I have an idea.

  
Vanessa Bloome, FTD.

  
Official floral business. It&apos;s real.

  
Sorry, ma&apos;am. Nice brooch.

  
Thank you. It was a gift.

  
Once inside,
we just pick the right float.

  
How about The Princess and the Pea?

  
I could be the princess,
and you could be the pea!

  
Yes, I got it.

  
- Where should I sit?
- What are you?

  
- I believe I&apos;m the pea.
- The pea?

  
It goes under the mattresses.

  
- Not in this fairy tale, sweetheart.
- I&apos;m getting the marshal.

  
You do that!
This whole parade is a fiasco!

  
Let&apos;s see what this baby&apos;ll do.

  
Hey, what are you doing?!

  
Then all we do
is blend in with traffic...

  
...without arousing suspicion.

  
Once at the airport,
there&apos;s no stopping us.

  
Stop! Security.

  
- You and your insect pack your float?
- Yes.

  
Has it been
in your possession the entire time?

  
Would you remove your shoes?

  
- Remove your stinger.
- It&apos;s part of me.

  
I know. Just having some fun.
Enjoy your flight.

  
Then if we&apos;re lucky, we&apos;ll have
just enough pollen to do the job.

  
Oan you believe how lucky we are? We
have just enough pollen to do the job!

  
I think this is gonna work.

  
It&apos;s got to work.

  
Attention, passengers,
this is Oaptain Scott.

  
We have a bit of bad weather
in New York.

  
It looks like we&apos;ll experience
a couple hours delay.

  
Barry, these are cut flowers
with no water. They&apos;ll never make it.

  
I gotta get up there
and talk to them.

  
Be careful.

  
Oan I get help
with the Sky Mall magazine?

  
I&apos;d like to order the talking
inflatable nose and ear hair trimmer.

  
Oaptain, I&apos;m in a real situation.

  
- What&apos;d you say, Hal?
- Nothing.

  
Bee!

  
Don&apos;t freak out! My entire species...

  
What are you doing?

  
- Wait a minute! I&apos;m an attorney!
- Who&apos;s an attorney?

  
Don&apos;t move.

  
Oh, Barry.

  
Good afternoon, passengers.
This is your captain.

  
Would a Miss Vanessa Bloome in 24B
please report to the cockpit?

  
And please hurry!

  
What happened here?

  
There was a DustBuster,
a toupee, a life raft exploded.

  
One&apos;s bald, one&apos;s in a boat,
they&apos;re both unconscious!

  
- Is that another bee joke?
- No!

  
No one&apos;s flying the plane!

  
This is JFK control tower, Flight 356.
What&apos;s your status?

  
This is Vanessa Bloome.
I&apos;m a florist from New York.

  
Where&apos;s the pilot?

  
He&apos;s unconscious,
and so is the copilot.

  
Not good. Does anyone onboard
have flight experience?

  
As a matter of fact, there is.

  
- Who&apos;s that?
- Barry Benson.

  
From the honey trial?! Oh, great.

  
Vanessa, this is nothing more
than a big metal bee.

  
It&apos;s got giant wings, huge engines.

  
I can&apos;t fly a plane.

  
- Why not? Isn&apos;t John Travolta a pilot?
- Yes.

  
How hard could it be?

  
Wait, Barry!
We&apos;re headed into some lightning.

  
This is Bob Bumble. We have some
late-breaking news from JFK Airport,

  
where a suspenseful scene
is developing.

  
Barry Benson,
fresh from his legal victory...

  
That&apos;s Barry!

  
...is attempting to land a plane,
loaded with people, flowers

  
and an incapacitated flight crew.

  
Flowers?!

  
We have a storm in the area
and two individuals at the controls

  
with absolutely no flight experience.

  
Just a minute.
There&apos;s a bee on that plane.

  
I&apos;m quite familiar with Mr. Benson
and his no-account compadres.

  
They&apos;ve done enough damage.

  
But isn&apos;t he your only hope?

  
Technically, a bee
shouldn&apos;t be able to fly at all.

  
Their wings are too small...

  
Haven&apos;t we heard this a million times?

  
&quot;The surface area of the wings
and body mass make no sense.&quot;

  
- Get this on the air!
- Got it.

  
- Stand by.
- We&apos;re going live.

  
The way we work may be a mystery to you.

  
Making honey takes a lot of bees
doing a lot of small jobs.

  
But let me tell you about a small job.

  
If you do it well,
it makes a big difference.

  
More than we realized.
To us, to everyone.

  
That&apos;s why I want to get bees
back to working together.

  
That&apos;s the bee way!
We&apos;re not made of Jell-O.

  
We get behind a fellow.

  
- Black and yellow!
- Hello!

  
Left, right, down, hover.

  
- Hover?
- Forget hover.

  
This isn&apos;t so hard.
Beep-beep! Beep-beep!

  
Barry, what happened?!

  
Wait, I think we were
on autopilot the whole time.

  
- That may have been helping me.
- And now we&apos;re not!

  
So it turns out I cannot fly a plane.

  
All of you, let&apos;s get
behind this fellow! Move it out!

  
Move out!

  
Our only chance is if I do what I&apos;d do,
you copy me with the wings of the plane!

  
Don&apos;t have to yell.

  
I&apos;m not yelling!
We&apos;re in a lot of trouble.

  
It&apos;s very hard to concentrate
with that panicky tone in your voice!

  
It&apos;s not a tone. I&apos;m panicking!

  
I can&apos;t do this!

  
Vanessa, pull yourself together.
You have to snap out of it!

  
You snap out of it.

  
You snap out of it.

  
- You snap out of it!
- You snap out of it!

  
- You snap out of it!
- You snap out of it!

  
- You snap out of it!
- You snap out of it!

  
- Hold it!
- Why? Oome on, it&apos;s my turn.

  
How is the plane flying?

  
I don&apos;t know.

  
Hello?

  
Benson, got any flowers
for a happy occasion in there?

  
The Pollen Jocks!

  
They do get behind a fellow.

  
- Black and yellow.
- Hello.

  
All right, let&apos;s drop this tin can
on the blacktop.

  
Where? I can&apos;t see anything. Oan you?

  
No, nothing. It&apos;s all cloudy.

  
Oome on. You got to think bee, Barry.

  
- Thinking bee.
- Thinking bee.

  
Thinking bee!
Thinking bee! Thinking bee!

  
Wait a minute.
I think I&apos;m feeling something.

  
- What?
- I don&apos;t know. It&apos;s strong, pulling me.

  
Like a 27-million-year-old instinct.

  
Bring the nose down.

  
Thinking bee!
Thinking bee! Thinking bee!

  
- What in the world is on the tarmac?
- Get some lights on that!

  
Thinking bee!
Thinking bee! Thinking bee!

  
- Vanessa, aim for the flower.
- OK.

  
Out the engines. We&apos;re going in
on bee power. Ready, boys?

  
Affirmative!

  
Good. Good. Easy, now. That&apos;s it.

  
Land on that flower!

  
Ready? Full reverse!

  
Spin it around!

  
- Not that flower! The other one!
- Which one?

  
- That flower.
- I&apos;m aiming at the flower!

  
That&apos;s a fat guy in a flowered shirt.
I mean the giant pulsating flower

  
made of millions of bees!

  
Pull forward. Nose down. Tail up.

  
Rotate around it.

  
- This is insane, Barry!
- This&apos;s the only way I know how to fly.

  
Am I koo-koo-kachoo, or is this plane
flying in an insect-like pattern?

  
Get your nose in there. Don&apos;t be afraid.
Smell it. Full reverse!

  
Just drop it. Be a part of it.

  
Aim for the center!

  
Now drop it in! Drop it in, woman!

  
Oome on, already.

  
Barry, we did it!
You taught me how to fly!

  
- Yes. No high-five!
- Right.

  
Barry, it worked!
Did you see the giant flower?

  
What giant flower? Where? Of course
I saw the flower! That was genius!

  
- Thank you.
- But we&apos;re not done yet.

  
Listen, everyone!

  
This runway is covered
with the last pollen

  
from the last flowers
available anywhere on Earth.

  
That means this is our last chance.

  
We&apos;re the only ones who make honey,
pollinate flowers and dress like this.

  
If we&apos;re gonna survive as a species,
this is our moment! What do you say?

  
Are we going to be bees, orjust
Museum of Natural History keychains?

  
We&apos;re bees!

  
Keychain!

  
Then follow me! Except Keychain.

  
Hold on, Barry. Here.

  
You&apos;ve earned this.

  
Yeah!

  
I&apos;m a Pollen Jock! And it&apos;s a perfect
fit. All I gotta do are the sleeves.

  
Oh, yeah.

  
That&apos;s our Barry.

  
Mom! The bees are back!

  
If anybody needs
to make a call, now&apos;s the time.

  
I got a feeling we&apos;ll be
working late tonight!

  
Here&apos;s your change. Have a great
afternoon! Oan I help who&apos;s next?

  
Would you like some honey with that?
It is bee-approved. Don&apos;t forget these.

  
Milk, cream, cheese, it&apos;s all me.
And I don&apos;t see a nickel!

  
Sometimes I just feel
like a piece of meat!

  
I had no idea.

  
Barry, I&apos;m sorry.
Have you got a moment?

  
Would you excuse me?
My mosquito associate will help you.

  
Sorry I&apos;m late.

  
He&apos;s a lawyer too?

  
I was already a blood-sucking parasite.
All I needed was a briefcase.

  
Have a great afternoon!

  
Barry, I just got this huge tulip order,
and I can&apos;t get them anywhere.

  
No problem, Vannie.
Just leave it to me.

  
You&apos;re a lifesaver, Barry.
Oan I help who&apos;s next?

  
All right, scramble, jocks!
It&apos;s time to fly.

  
Thank you, Barry!

  
That bee is living my life!

  
Let it go, Kenny.

  
- When will this nightmare end?!
- Let it all go.

  
- Beautiful day to fly.
- Sure is.

  
Between you and me,
I was dying to get out of that office.

  
You have got
to start thinking bee, my friend.

  
- Thinking bee!
- Me?

  
Hold it. Let&apos;s just stop
for a second. Hold it.

  
I&apos;m sorry. I&apos;m sorry, everyone.
Oan we stop here?

  
I&apos;m not making a major life decision
during a production number!

  
All right. Take ten, everybody.
Wrap it up, guys.

  
I had virtually no rehearsal for that.
</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>154</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">bae7ab86-1359-463a-9a05-9d73560cb5f5</guid>
      <title>Counterparts: A Eulogy for Those Still Here</title>
      <description><![CDATA[<p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 1 Nov 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/counterparts-a-eulogy-for-those-still-here-ZLW8MbI6</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
      <enclosure length="56081039" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/e1379f59-80e4-43e0-94ed-91ec39c649ec/audio/cbf62cf9-8a17-421e-974e-60aa5a975197/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Counterparts: A Eulogy for Those Still Here</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:58:25</itunes:duration>
      <itunes:summary>In this one the guys talk about Counterparts for I think the third time BUT its for good reason. The dudes both agree that this is likely the last record by the band making it kind of a special episode in a way.  </itunes:summary>
      <itunes:subtitle>In this one the guys talk about Counterparts for I think the third time BUT its for good reason. The dudes both agree that this is likely the last record by the band making it kind of a special episode in a way.  </itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>153</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">e06ccd3e-65f9-48f0-9c11-78712570ca38</guid>
      <title>Nirvana: In Utero</title>
      <description><![CDATA[<p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></description>
      <pubDate>Tue, 18 Oct 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/nirvana-in-utero-rFUJJls6</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p> </p><p>https://discord.gg/UHUxKNUtzU</p>
]]></content:encoded>
      <enclosure length="54001274" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/1f3f6ff3-8cd9-467b-abb5-070a2a8b85ed/audio/5c642fb5-19e9-4d53-bbf0-cadad09470e5/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Nirvana: In Utero</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:56:15</itunes:duration>
      <itunes:summary>In thing one the guys talk about In Utero by that one band. Its great they talk about ho much the hate art kids. </itunes:summary>
      <itunes:subtitle>In thing one the guys talk about In Utero by that one band. Its great they talk about ho much the hate art kids. </itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>152</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">a54bb1a7-8fe0-4082-b810-735c6cb0b318</guid>
      <title>Crazy88: Burning Alive</title>
      <description><![CDATA[<p>Join the Discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Wed, 5 Oct 2022 02:59:40 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/crazy88-burning-alive-KhEYFzFj</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
      <enclosure length="49369032" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/ee2ad2e2-1838-46f0-9b8a-751f1126594b/audio/1c0df0da-2fe0-43cc-bef9-1a84e54666d6/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Crazy88: Burning Alive</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:51:25</itunes:duration>
      <itunes:summary>In this episode the guys talk about music who woulda thunk it. enjoy </itunes:summary>
      <itunes:subtitle>In this episode the guys talk about music who woulda thunk it. enjoy </itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>151</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">07c173a7-9638-42df-ad22-5d456db39f61</guid>
      <title>Djo: DECIDE</title>
      <description><![CDATA[<p>Join the Discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 27 Sep 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/djo-decide-zp5R5Z4P</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
      <enclosure length="56305065" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/7f917e8a-d63c-4cf4-87e3-8f9406c39633/audio/93d98f83-4813-4898-b6d1-a3497b31c6c6/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Djo: DECIDE</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:58:39</itunes:duration>
      <itunes:summary>In this one the guys talk about Djo (Joe Keery), All around great record. I want to say for the most part the guys stayed on topic so that&apos;s a new fun thing for everyone.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about Djo (Joe Keery), All around great record. I want to say for the most part the guys stayed on topic so that&apos;s a new fun thing for everyone.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>150</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">360d5889-e025-4574-badf-2d48576bb58e</guid>
      <title>Tears for Fears: Songs from the Big Chair</title>
      <description><![CDATA[<p>Join the discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 20 Sep 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/tears-for-fears-songs-from-the-big-chair-6fSVc74y</link>
      <content:encoded><![CDATA[<p>Join the discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
      <enclosure length="56656987" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/d87e9ffc-0c47-4c89-bae9-a6149cc201c9/audio/a3d08752-843e-4957-99b0-753b7143955a/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Tears for Fears: Songs from the Big Chair</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:59:01</itunes:duration>
      <itunes:summary>In this one the dudes talk Songs From the Big Chair, this ones got everything: saxophone solos, very long songs, excellent transitions, and very good melodies.

</itunes:summary>
      <itunes:subtitle>In this one the dudes talk Songs From the Big Chair, this ones got everything: saxophone solos, very long songs, excellent transitions, and very good melodies.

</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>149</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">a1222eb0-a3bb-4a02-ac14-42dcca1adccd</guid>
      <title>Whoops: Movie Podcast</title>
      <description><![CDATA[<p>Join the Discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 13 Sep 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/whoops-movie-podcast-9FYCbd3j</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
      <enclosure length="67285902" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/2418075c-ffa6-463e-9858-c754c36e2cd8/audio/898a93d9-50c4-4322-aa2e-c44ed32f97ac/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Whoops: Movie Podcast</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:10:05</itunes:duration>
      <itunes:summary>Ericks internet took a poopy. sowwy. I wish there was something more I could have done, or even said. :/</itunes:summary>
      <itunes:subtitle>Ericks internet took a poopy. sowwy. I wish there was something more I could have done, or even said. :/</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>148</itunes:episode>
    </item>
    <item>
      <guid isPermaLink="false">2fca4a85-6202-41d3-829c-35cbc5817e90</guid>
      <title>Childish Gambino: Because the Internet</title>
      <description><![CDATA[<p>Join the Discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 6 Sep 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/childish-gambino-because-the-internet-z1tn7w3c</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
      <enclosure length="58641039" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/67f2912a-7f78-416f-8a21-1092d4493ed9/audio/69f502de-9e7e-4d95-83f3-93b230dbb4a3/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Childish Gambino: Because the Internet</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:01:05</itunes:duration>
      <itunes:summary>The guys are SICK in this one, so with that being said its a very lowkey episode. we were just happy to be back for another one.</itunes:summary>
      <itunes:subtitle>The guys are SICK in this one, so with that being said its a very lowkey episode. we were just happy to be back for another one.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>147</itunes:episode>
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      <title>From First to Last: Heroine</title>
      <description><![CDATA[<p>Join the Discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 30 Aug 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/from-first-to-last-heroine-skhkLLDb</link>
      <content:encoded><![CDATA[<p>Join the Discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
      <enclosure length="56263687" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/6053f1d0-1472-4d59-9d57-2de188a45500/audio/a4308fb3-88b8-40cb-a6d5-01e20f1e1d14/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>From First to Last: Heroine</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:58:36</itunes:duration>
      <itunes:summary>THE BOYS ARE BACK! and its for good. no real notes to make down here, Andrew and Erick hadnt really talked in a while which is odd so its mostly just them catching up. </itunes:summary>
      <itunes:subtitle>THE BOYS ARE BACK! and its for good. no real notes to make down here, Andrew and Erick hadnt really talked in a while which is odd so its mostly just them catching up. </itunes:subtitle>
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      <title>Tanukichan: Sundays</title>
      <description><![CDATA[<p>Join the discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 23 Aug 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/tanukichan-sundays-Ns1TVzGl</link>
      <content:encoded><![CDATA[<p>Join the discord</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
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      <itunes:title>Tanukichan: Sundays</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:59:13</itunes:duration>
      <itunes:summary>Hey you know what they say... better late! anyway this was the first ep we recorded when Erick had returned home. it was a return to form in away. I know we&apos;ve missed a couple eps recently but its for good reason. stick with us and we&apos;ll keep pumping out the content</itunes:summary>
      <itunes:subtitle>Hey you know what they say... better late! anyway this was the first ep we recorded when Erick had returned home. it was a return to form in away. I know we&apos;ve missed a couple eps recently but its for good reason. stick with us and we&apos;ll keep pumping out the content</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <itunes:episode>145</itunes:episode>
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      <title>Sworn In: The Death Card</title>
      <description><![CDATA[<p>Join the discord!</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 9 Aug 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/sworn-in-the-death-card-cLDtIwEG</link>
      <content:encoded><![CDATA[<p>Join the discord!</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
      <enclosure length="56129940" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/a8c67f0c-129c-475d-9ab3-ffee1b6878c2/audio/5f66ba03-7e53-4e27-8c72-109b05d88fc9/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Sworn In: The Death Card</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:58:28</itunes:duration>
      <itunes:summary>Im uploading this way after it was recorded I couldn&apos;t possibly tell you what&apos;s in here have fun!  </itunes:summary>
      <itunes:subtitle>Im uploading this way after it was recorded I couldn&apos;t possibly tell you what&apos;s in here have fun!  </itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <title>B-B-B-Bonus Episode:</title>
      <description><![CDATA[Sometimes your tummy just can't handle recording. Please enjoy this crossover ep where Erick and Spencer talk about Elvis (2022) from the movie podcast. Also get in the discord! https://discord.gg/ezZwevFyTV
]]></description>
      <pubDate>Tue, 2 Aug 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/b-b-b-bonus-episode-K6iDs4kP</link>
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      <itunes:title>B-B-B-Bonus Episode:</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:01:16</itunes:duration>
      <itunes:summary>Sometimes your tummy just can&apos;t handle recording. Please enjoy this crossover ep where Erick and Spencer talk about Elvis (2022) from the movie podcast. Also get in the discord! https://discord.gg/ezZwevFyTV</itunes:summary>
      <itunes:subtitle>Sometimes your tummy just can&apos;t handle recording. Please enjoy this crossover ep where Erick and Spencer talk about Elvis (2022) from the movie podcast. Also get in the discord! https://discord.gg/ezZwevFyTV</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <title>Tame Impala</title>
      <description><![CDATA[<p>Join the discord<br /><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Wed, 27 Jul 2022 18:34:06 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/tame-impala-tGUNqG93</link>
      <content:encoded><![CDATA[<p>Join the discord<br /><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
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      <itunes:title>Tame Impala</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:03:23</itunes:duration>
      <itunes:summary>The guys are back in person for probably the last time for a ling while enjoy it while you can. we will be back to the old set up very soon.</itunes:summary>
      <itunes:subtitle>The guys are back in person for probably the last time for a ling while enjoy it while you can. we will be back to the old set up very soon.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>142</itunes:episode>
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      <title>La Dispute: Wildlife</title>
      <description><![CDATA[<p>Join the discord<br /><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 26 Jul 2022 17:30:46 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/la-dispute-wildlife-_d7C4ri8</link>
      <content:encoded><![CDATA[<p>Join the discord<br /><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
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      <itunes:title>La Dispute: Wildlife</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:51:58</itunes:duration>
      <itunes:summary>yes I know this is a week late.... yes I know this is out of order... I got married and also Erick and I are in the same room for this one. </itunes:summary>
      <itunes:subtitle>yes I know this is a week late.... yes I know this is out of order... I got married and also Erick and I are in the same room for this one. </itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>141</itunes:episode>
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      <title>Frank Ocean: Blonde</title>
      <description><![CDATA[<p>Join the Discord!</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 12 Jul 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/frank-ocean-blonde-Nk1BFnhV</link>
      <content:encoded><![CDATA[<p>Join the Discord!</p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
      <enclosure length="61494446" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/b0921ac8-324d-42da-a717-c09ff47782ed/audio/6af7ab28-fe14-47e4-9523-7c409ad6704a/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Frank Ocean: Blonde</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:04:03</itunes:duration>
      <itunes:summary>In this one the guys talk about HOTDOGS... and also Frank Ocean but certainly stay tuned for when Andrew starts talking about hot dogs.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about HOTDOGS... and also Frank Ocean but certainly stay tuned for when Andrew starts talking about hot dogs.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>140</itunes:episode>
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      <title>Joji: Nectar</title>
      <description><![CDATA[<p>Anyway JOIN THE DISCORD </p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 5 Jul 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/joji-nectar-dtECQQWl</link>
      <content:encoded><![CDATA[<p>Anyway JOIN THE DISCORD </p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
      <enclosure length="54257065" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/5a6c56e1-60b8-45be-8b7e-32fe7d6b1db9/audio/5367aa9c-f850-4206-bca1-d20607d588b7/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Joji: Nectar</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:56:31</itunes:duration>
      <itunes:summary>whachu know about rolling down in the JOJI! thats right were talking about Joji kinda. </itunes:summary>
      <itunes:subtitle>whachu know about rolling down in the JOJI! thats right were talking about Joji kinda. </itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>139</itunes:episode>
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      <title>The Radio Dept.: Clinging to a Scheme</title>
      <description><![CDATA[<p>Join our discord </p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 28 Jun 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/the-radio-dept-clinging-to-a-scheme-2Yq7j_lj</link>
      <content:encoded><![CDATA[<p>Join our discord </p><p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
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      <itunes:title>The Radio Dept.: Clinging to a Scheme</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:01:21</itunes:duration>
      <itunes:summary>In this one the guys talk about WHATEVER THEY WANT TO... but also The Radio Dept and Andrews childhood neighbor falling off a bike.
</itunes:summary>
      <itunes:subtitle>In this one the guys talk about WHATEVER THEY WANT TO... but also The Radio Dept and Andrews childhood neighbor falling off a bike.
</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>138</itunes:episode>
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      <title>Paramore: Riot</title>
      <description><![CDATA[<p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 21 Jun 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/paramore-riot-QeIvgpTG</link>
      <content:encoded><![CDATA[<p><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
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      <itunes:title>Paramore: Riot</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:59:13</itunes:duration>
      <itunes:summary>To celebrate the 15 year anniversary the guys barely talk about RIOT its great give it a listen. Join or Discord for fun community events and to watch us live.</itunes:summary>
      <itunes:subtitle>To celebrate the 15 year anniversary the guys barely talk about RIOT its great give it a listen. Join or Discord for fun community events and to watch us live.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>137</itunes:episode>
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      <title>End: Splinters from an Ever-Changing Face</title>
      <description><![CDATA[<p>Join our Discord:<br /><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></description>
      <pubDate>Tue, 14 Jun 2022 02:05:29 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/end-splinters-from-an-ever-changing-face-kVChTad_</link>
      <content:encoded><![CDATA[<p>Join our Discord:<br /><a href="https://discord.gg/UHUxKNUtzU">https://discord.gg/UHUxKNUtzU</a></p>
]]></content:encoded>
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      <itunes:title>End: Splinters from an Ever-Changing Face</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:50:41</itunes:duration>
      <itunes:summary>In this one the guys talk about end in a sort of kinda way. we like it so you should.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about end in a sort of kinda way. we like it so you should.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>136</itunes:episode>
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      <title>Sunami</title>
      <description><![CDATA[<p>this is a note</p>
]]></description>
      <pubDate>Tue, 7 Jun 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/sunami-5ceXfOuE</link>
      <content:encoded><![CDATA[<p>this is a note</p>
]]></content:encoded>
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      <itunes:title>Sunami</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:00:17</itunes:duration>
      <itunes:summary>In this one the guys talk about the band for all of 2 seconds and then just shoot the shit. It was a pretty good time I think.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about the band for all of 2 seconds and then just shoot the shit. It was a pretty good time I think.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>135</itunes:episode>
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      <title>SeeYouSpaceCowboy: The Romance of Affliction</title>
      <description><![CDATA[In this one the guys talk about SeeYouSpaceCowboy: The Romance of Affliction. There's also a very funny 311 story with a guy named t-bone... like the steak...
]]></description>
      <pubDate>Tue, 31 May 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/seeyouspacecowboy-the-romance-of-affliction-XbO5zCuw</link>
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      <itunes:title>SeeYouSpaceCowboy: The Romance of Affliction</itunes:title>
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      <itunes:summary>In this one the guys talk about SeeYouSpaceCowboy: The Romance of Affliction. There&apos;s also a very funny 311 story with a guy named t-bone... like the steak...</itunes:summary>
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      <title>New Found Glory: Kill It Live</title>
      <description><![CDATA[In this one the dudes talk about how they should've been listening to New Found Glory for years and how Erick got into them like right when they stopped putting out anything good.

]]></description>
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      <itunes:title>New Found Glory: Kill It Live</itunes:title>
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      <itunes:summary>In this one the dudes talk about how they should&apos;ve been listening to New Found Glory for years and how Erick got into them like right when they stopped putting out anything good.
</itunes:summary>
      <itunes:subtitle>In this one the dudes talk about how they should&apos;ve been listening to New Found Glory for years and how Erick got into them like right when they stopped putting out anything good.
</itunes:subtitle>
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]]></description>
      <pubDate>Tue, 17 May 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Blessthefall: Witness</itunes:title>
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      <description><![CDATA[Rip Taylor. The guys talk about Foo Fighters but actually just Dave Grohl.
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      <pubDate>Tue, 10 May 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/foo-fighters-VUtmzNdn</link>
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      <itunes:title>Foo Fighters</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:04:41</itunes:duration>
      <itunes:summary>Rip Taylor. The guys talk about Foo Fighters but actually just Dave Grohl.</itunes:summary>
      <itunes:subtitle>Rip Taylor. The guys talk about Foo Fighters but actually just Dave Grohl.</itunes:subtitle>
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      <title>Counterparts: The Difference Between Hell and Home</title>
      <description><![CDATA[This one is a banger. Erick does a great Jerry Seinfeld! so stay tuned for that. ok gonna let you go...
 
]]></description>
      <pubDate>Tue, 3 May 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Counterparts: The Difference Between Hell and Home</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>This one is a banger. Erick does a great Jerry Seinfeld! so stay tuned for that. ok gonna let you go...
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      <itunes:subtitle>This one is a banger. Erick does a great Jerry Seinfeld! so stay tuned for that. ok gonna let you go...
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      <title>Erick Week V2</title>
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]]></description>
      <pubDate>Tue, 19 Apr 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Erick Week V2</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>This week was Erick Week and you can tell that because of the way that it is... wow. </itunes:summary>
      <itunes:subtitle>This week was Erick Week and you can tell that because of the way that it is... wow. </itunes:subtitle>
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      <title>Oceano: Revelation</title>
      <description><![CDATA[In this one the guys talk about Oceano. Erick is confused how people at a coffee shop don't know about americanos. and Andrew relives 28 hours worth of driving.
]]></description>
      <pubDate>Tue, 12 Apr 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Oceano: Revelation</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>In this one the guys talk about Oceano. Erick is confused how people at a coffee shop don&apos;t know about americanos. and Andrew relives 28 hours worth of driving.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about Oceano. Erick is confused how people at a coffee shop don&apos;t know about americanos. and Andrew relives 28 hours worth of driving.</itunes:subtitle>
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      <title>Movie Pod! National Lampoon Special</title>
      <description><![CDATA[Here's a lil bonus ep from the movie pod! The boys were busy this week. 
]]></description>
      <pubDate>Tue, 5 Apr 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Movie Pod! National Lampoon Special</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>Here&apos;s a lil bonus ep from the movie pod! The boys were busy this week. </itunes:summary>
      <itunes:subtitle>Here&apos;s a lil bonus ep from the movie pod! The boys were busy this week. </itunes:subtitle>
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      <title>Idles: Joy as an Act of Resistance</title>
      <description><![CDATA[In this one the guys talk about Idles and how incredibly British they are, also sandwiches and manga a little.
]]></description>
      <pubDate>Tue, 29 Mar 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Idles: Joy as an Act of Resistance</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:53:31</itunes:duration>
      <itunes:summary>In this one the guys talk about Idles and how incredibly British they are, also sandwiches and manga a little.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about Idles and how incredibly British they are, also sandwiches and manga a little.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <title>Ovlov: Buds</title>
      <description><![CDATA[In this one the dudes talk about a certain type of band that Erick likes but with like a little better production than normal.
]]></description>
      <pubDate>Tue, 22 Mar 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/ovlov-buds-mIWOS5WK</link>
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      <itunes:title>Ovlov: Buds</itunes:title>
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      <itunes:summary>In this one the dudes talk about a certain type of band that Erick likes but with like a little better production than normal.</itunes:summary>
      <itunes:subtitle>In this one the dudes talk about a certain type of band that Erick likes but with like a little better production than normal.</itunes:subtitle>
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      <title>Pierce The Veil: Selfish Machines</title>
      <description><![CDATA[You know what I'm about to do so deal with it.
Pierce the Veil is an American rock band from San Diego, California, United States. Formed in 2006, the band was founded by brothers Vic and Mike Fuentes after the disbandment of the group Before Today, which was formed out of the San Diego punk rock scene.
]]></description>
      <pubDate>Tue, 15 Mar 2022 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/pierce-the-veil-selfish-machines-XQ7j1aw_</link>
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      <itunes:title>Pierce The Veil: Selfish Machines</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:57:55</itunes:duration>
      <itunes:summary>You know what I&apos;m about to do so deal with it.
Pierce the Veil is an American rock band from San Diego, California, United States. Formed in 2006, the band was founded by brothers Vic and Mike Fuentes after the disbandment of the group Before Today, which was formed out of the San Diego punk rock scene.</itunes:summary>
      <itunes:subtitle>You know what I&apos;m about to do so deal with it.
Pierce the Veil is an American rock band from San Diego, California, United States. Formed in 2006, the band was founded by brothers Vic and Mike Fuentes after the disbandment of the group Before Today, which was formed out of the San Diego punk rock scene.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <title>Fearing: Shadow</title>
      <description><![CDATA[Hey what's up you guys! In this one the dudes talk about Fearing! Erick heard one song he thought was cool so they ran it. Enjoy. Its like goth I think. 

https://open.spotify.com/artist/1Bw11ZyWPyuy386iBi7D66
]]></description>
      <pubDate>Tue, 8 Mar 2022 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/fearing-shadow-p2geVXeD</link>
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      <itunes:title>Fearing: Shadow</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:57:33</itunes:duration>
      <itunes:summary>Hey what&apos;s up you guys! In this one the dudes talk about Fearing! Erick heard one song he thought was cool so they ran it. Enjoy. Its like goth I think. 

https://open.spotify.com/artist/1Bw11ZyWPyuy386iBi7D66</itunes:summary>
      <itunes:subtitle>Hey what&apos;s up you guys! In this one the dudes talk about Fearing! Erick heard one song he thought was cool so they ran it. Enjoy. Its like goth I think. 

https://open.spotify.com/artist/1Bw11ZyWPyuy386iBi7D66</itunes:subtitle>
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      <title>The Devil Wears Prada: ZII</title>
      <description><![CDATA[Howdy! On this one the dudes do a shorty but goody about the follow up to The Devil Wears Prada's 2010 Zombie EP - ZII
]]></description>
      <pubDate>Tue, 1 Mar 2022 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/the-devil-wears-prada-zii-JQkLDlj_</link>
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      <itunes:title>The Devil Wears Prada: ZII</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:37:14</itunes:duration>
      <itunes:summary>Howdy! On this one the dudes do a shorty but goody about the follow up to The Devil Wears Prada&apos;s 2010 Zombie EP - ZII</itunes:summary>
      <itunes:subtitle>Howdy! On this one the dudes do a shorty but goody about the follow up to The Devil Wears Prada&apos;s 2010 Zombie EP - ZII</itunes:subtitle>
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      <title>No Vacation</title>
      <description><![CDATA[In this one the dudes talk about the band No Vacation, its like very much the type of thing Erick likes these days. I think theres actually a decent amount of focused talk about the album on this one and then a whole bunch of just shooting the breeze after that.
]]></description>
      <pubDate>Tue, 22 Feb 2022 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/no-vacation-bv_R78ZV</link>
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      <itunes:title>No Vacation</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:49:33</itunes:duration>
      <itunes:summary>In this one the dudes talk about the band No Vacation, its like very much the type of thing Erick likes these days. I think theres actually a decent amount of focused talk about the album on this one and then a whole bunch of just shooting the breeze after that.</itunes:summary>
      <itunes:subtitle>In this one the dudes talk about the band No Vacation, its like very much the type of thing Erick likes these days. I think theres actually a decent amount of focused talk about the album on this one and then a whole bunch of just shooting the breeze after that.</itunes:subtitle>
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      <pubDate>Tue, 25 Jan 2022 05:00:00 +0000</pubDate>
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      <pubDate>Tue, 18 Jan 2022 05:00:00 +0000</pubDate>
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      <title>Slipknot: Iowa</title>
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      <pubDate>Tue, 28 Dec 2021 05:00:00 +0000</pubDate>
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      <pubDate>Tue, 21 Dec 2021 05:00:00 +0000</pubDate>
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      <pubDate>Tue, 14 Dec 2021 05:00:00 +0000</pubDate>
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      <description><![CDATA[Hey guys!! Welcome back to our podcast, make sure to like comment and subscribe! Ok let's get right into it - this episode is one where Erick shows Andrew a very noisy loud fuzzy band. Oh my god its so sick! Ok anyway thanks for listening and yeah so make sure that you like and comment thanks love you guys!
]]></description>
      <pubDate>Tue, 7 Dec 2021 05:00:00 +0000</pubDate>
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      <pubDate>Tue, 30 Nov 2021 05:00:00 +0000</pubDate>
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      <pubDate>Thu, 25 Nov 2021 15:52:33 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Happy Thanksgiving: An Update</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:02:05</itunes:duration>
      <itunes:summary>hey so obviously no episode this week but we&apos;ll be back better than ever next week.</itunes:summary>
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      <description><![CDATA[Theeeeeeeeeeeeeeeeeeeey're baaaaaaaaaaaaack. It was a great time catching up with the band and talking MTG and Anime.

Music video: https://www.youtube.com/watch?v=5WnhDDKtyqg&ab_channel=IMetAYeti



 
]]></description>
      <pubDate>Tue, 16 Nov 2021 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>I Met a Yeti: Red Eyes B. Yeti</itunes:title>
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      <itunes:summary>Theeeeeeeeeeeeeeeeeeeey&apos;re baaaaaaaaaaaaack. It was a great time catching up with the band and talking MTG and Anime.

Music video: https://www.youtube.com/watch?v=5WnhDDKtyqg&amp;ab_channel=IMetAYeti



 </itunes:summary>
      <itunes:subtitle>Theeeeeeeeeeeeeeeeeeeey&apos;re baaaaaaaaaaaaack. It was a great time catching up with the band and talking MTG and Anime.

Music video: https://www.youtube.com/watch?v=5WnhDDKtyqg&amp;ab_channel=IMetAYeti



 </itunes:subtitle>
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      <title>Neck Deep: Life&apos;s Not Out to Get You</title>
      <description><![CDATA[In this one the guys talk about Neck Deep and we talk about the lads innit. get it? because they're British.
]]></description>
      <pubDate>Tue, 9 Nov 2021 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/neck-deep-lifes-not-out-to-get-you-j3xvxvmJ</link>
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      <itunes:title>Neck Deep: Life&apos;s Not Out to Get You</itunes:title>
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      <itunes:summary>In this one the guys talk about Neck Deep and we talk about the lads innit. get it? because they&apos;re British.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about Neck Deep and we talk about the lads innit. get it? because they&apos;re British.</itunes:subtitle>
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      <title>Don Broco: Amazing Things</title>
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]]></description>
      <pubDate>Tue, 2 Nov 2021 22:28:02 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Don Broco: Amazing Things</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>In this one the guys talk about Amazing Things by Don Broco this album is 45 mins of confusion and you can tell that from how they talk about it.</itunes:summary>
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      <title>Dr. Dre: The Chronic</title>
      <description><![CDATA[In this episode the guys talk about something they are incredibly qualified to be speaking about... 90s rap that they weren't alive for.
]]></description>
      <pubDate>Tue, 26 Oct 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Dr. Dre: The Chronic</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>In this episode the guys talk about something they are incredibly qualified to be speaking about... 90s rap that they weren&apos;t alive for.</itunes:summary>
      <itunes:subtitle>In this episode the guys talk about something they are incredibly qualified to be speaking about... 90s rap that they weren&apos;t alive for.</itunes:subtitle>
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      <description><![CDATA[Erick couldnt be on this one due to the fact that HE WAS OUT LIVING LIFE... so take it easy actually... but Zakk jumped in for this one and it was really fun. 
]]></description>
      <pubDate>Tue, 19 Oct 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Boston Manor: Be Nothing (With Zakk)</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>Erick couldnt be on this one due to the fact that HE WAS OUT LIVING LIFE... so take it easy actually... but Zakk jumped in for this one and it was really fun. </itunes:summary>
      <itunes:subtitle>Erick couldnt be on this one due to the fact that HE WAS OUT LIVING LIFE... so take it easy actually... but Zakk jumped in for this one and it was really fun. </itunes:subtitle>
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      <title>MGMT: Little Dark Age</title>
      <description><![CDATA[THE BOYS ARE BACK IN TOWN! We're back baby! let us know if there's anything else you guys want us to talk about.
]]></description>
      <pubDate>Tue, 12 Oct 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:53:07</itunes:duration>
      <itunes:summary>THE BOYS ARE BACK IN TOWN! We&apos;re back baby! let us know if there&apos;s anything else you guys want us to talk about.</itunes:summary>
      <itunes:subtitle>THE BOYS ARE BACK IN TOWN! We&apos;re back baby! let us know if there&apos;s anything else you guys want us to talk about.</itunes:subtitle>
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      <title>Sleeptoken: TPWBYT With Phoebe</title>
      <description><![CDATA[A day late and a buck shot, but phoebes on this one so allllllllll good.
]]></description>
      <pubDate>Wed, 6 Oct 2021 21:25:24 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/sleeptoken-tpwbyt-with-phoebe-llJxMaQn</link>
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      <itunes:title>Sleeptoken: TPWBYT With Phoebe</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:52:37</itunes:duration>
      <itunes:summary>A day late and a buck shot, but phoebes on this one so allllllllll good.</itunes:summary>
      <itunes:subtitle>A day late and a buck shot, but phoebes on this one so allllllllll good.</itunes:subtitle>
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      <title>Turnstile: Glow On</title>
      <description><![CDATA[Did a little ep about the new Turnstile album, people seem to be really in the middle on this one weather they love it or they hate it.
]]></description>
      <pubDate>Tue, 28 Sep 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Turnstile: Glow On</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>Did a little ep about the new Turnstile album, people seem to be really in the middle on this one weather they love it or they hate it.</itunes:summary>
      <itunes:subtitle>Did a little ep about the new Turnstile album, people seem to be really in the middle on this one weather they love it or they hate it.</itunes:subtitle>
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      <title>100th Episode Special (Ft. Jeff Marshall)</title>
      <description><![CDATA[Do I really have to explain why this one is good?
]]></description>
      <pubDate>Tue, 21 Sep 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/100th-episode-special-ft-jeff-marshall-nyxhTfSM</link>
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      <itunes:title>100th Episode Special (Ft. Jeff Marshall)</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:55:33</itunes:duration>
      <itunes:summary>Do I really have to explain why this one is good?</itunes:summary>
      <itunes:subtitle>Do I really have to explain why this one is good?</itunes:subtitle>
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      <title>Moving Mountains: Waves</title>
      <description><![CDATA[In this one the guys talk about moving mountains, and I think we actually did but you know how these things are. next week we have Andrews dad on and its going to be cool. 
]]></description>
      <pubDate>Tue, 14 Sep 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/moving-mountains-waves-Cd1gNrrA</link>
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      <itunes:title>Moving Mountains: Waves</itunes:title>
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      <itunes:summary>In this one the guys talk about moving mountains, and I think we actually did but you know how these things are. next week we have Andrews dad on and its going to be cool. </itunes:summary>
      <itunes:subtitle>In this one the guys talk about moving mountains, and I think we actually did but you know how these things are. next week we have Andrews dad on and its going to be cool. </itunes:subtitle>
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]]></description>
      <pubDate>Tue, 7 Sep 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>A Great Big Pile of Leaves: Pono</itunes:title>
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      <title>Landmvrks: Lost In The Waves</title>
      <description><![CDATA[In this one the guys talk about landmvrks. It was fun we try our best to keep things Interesting Enjoy
]]></description>
      <pubDate>Tue, 31 Aug 2021 23:18:02 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/landmvrks-lost-in-the-waves-1HgYJmDV</link>
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      <itunes:title>Landmvrks: Lost In The Waves</itunes:title>
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      <itunes:summary>In this one the guys talk about landmvrks. It was fun we try our best to keep things Interesting Enjoy</itunes:summary>
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      <title>whoops: an update</title>
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]]></description>
      <pubDate>Wed, 25 Aug 2021 23:01:04 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <title>Broadway: Kingdoms</title>
      <description><![CDATA[ya ya we know its suppose to be lost in a wave. SORRY...  things got a little messed up and now there's a random broadway  episode. were still looking for suggestions so if you have any drop them in our dms.
]]></description>
      <pubDate>Tue, 17 Aug 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>ya ya we know its suppose to be lost in a wave. SORRY...  things got a little messed up and now there&apos;s a random broadway  episode. were still looking for suggestions so if you have any drop them in our dms.</itunes:summary>
      <itunes:subtitle>ya ya we know its suppose to be lost in a wave. SORRY...  things got a little messed up and now there&apos;s a random broadway  episode. were still looking for suggestions so if you have any drop them in our dms.</itunes:subtitle>
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      <title>Rival Schools: United by Fate</title>
      <description><![CDATA[In this one the guys talk about Rival Schools United by Fate. you know the drill that's just the name of the episode BIG SCAM.
]]></description>
      <pubDate>Tue, 10 Aug 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Rival Schools: United by Fate</itunes:title>
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      <itunes:summary>In this one the guys talk about Rival Schools United by Fate. you know the drill that&apos;s just the name of the episode BIG SCAM.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about Rival Schools United by Fate. you know the drill that&apos;s just the name of the episode BIG SCAM.</itunes:subtitle>
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      <description><![CDATA[hey heads up Andrews audio in this isn't great however the issue has been sorted out. we talk about static dress in this one. we say all of our thoughts in like the first 10 mins of the sho so feel free to tune out after that or hang around to hear Erick tell a funny story. 
]]></description>
      <pubDate>Tue, 3 Aug 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Static Dress</itunes:title>
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      <itunes:summary>hey heads up Andrews audio in this isn&apos;t great however the issue has been sorted out. we talk about static dress in this one. we say all of our thoughts in like the first 10 mins of the sho so feel free to tune out after that or hang around to hear Erick tell a funny story. </itunes:summary>
      <itunes:subtitle>hey heads up Andrews audio in this isn&apos;t great however the issue has been sorted out. we talk about static dress in this one. we say all of our thoughts in like the first 10 mins of the sho so feel free to tune out after that or hang around to hear Erick tell a funny story. </itunes:subtitle>
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      <description><![CDATA[In this one the guys talk about bearings... or do they? you know the flipping drill  people.
]]></description>
      <pubDate>Tue, 27 Jul 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Bearings: Blue In The Dark.</itunes:title>
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      <itunes:summary>In this one the guys talk about bearings... or do they? you know the flipping drill  people.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about bearings... or do they? you know the flipping drill  people.</itunes:subtitle>
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      <description><![CDATA[In this one the dudes talk about Periphery. Has Andrew finally stumped Erick? Find out on this week's episode. 
]]></description>
      <pubDate>Tue, 20 Jul 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:summary>In this one the dudes talk about Periphery. Has Andrew finally stumped Erick? Find out on this week&apos;s episode. </itunes:summary>
      <itunes:subtitle>In this one the dudes talk about Periphery. Has Andrew finally stumped Erick? Find out on this week&apos;s episode. </itunes:subtitle>
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      <description><![CDATA[Id like to say that the guys talked about best coast on this episode and they did a little bit but mostly shot the shit. but that's what you guys like I think. I really couldn't imagine that you guys come here for real musical opinions 
]]></description>
      <pubDate>Tue, 13 Jul 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Best Coast: Crazy for You</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>Id like to say that the guys talked about best coast on this episode and they did a little bit but mostly shot the shit. but that&apos;s what you guys like I think. I really couldn&apos;t imagine that you guys come here for real musical opinions </itunes:summary>
      <itunes:subtitle>Id like to say that the guys talked about best coast on this episode and they did a little bit but mostly shot the shit. but that&apos;s what you guys like I think. I really couldn&apos;t imagine that you guys come here for real musical opinions </itunes:subtitle>
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      <description><![CDATA[Andrew has been talking about his 4th of July trip to the Cape for weeeeeks and for some reason Erick thought they could record this episode on the 4th. Andrew suggested we pull Tyler in from the bench since he was unavailable. 
]]></description>
      <pubDate>Mon, 5 Jul 2021 11:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Tyler The Creator: Call Me If You Get Lost (w/ Tyler)</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>Andrew has been talking about his 4th of July trip to the Cape for weeeeeks and for some reason Erick thought they could record this episode on the 4th. Andrew suggested we pull Tyler in from the bench since he was unavailable. </itunes:summary>
      <itunes:subtitle>Andrew has been talking about his 4th of July trip to the Cape for weeeeeks and for some reason Erick thought they could record this episode on the 4th. Andrew suggested we pull Tyler in from the bench since he was unavailable. </itunes:subtitle>
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      <title>I Met a Yeti: Opulence</title>
      <description><![CDATA[In this one we talk to a couple of the members of I Met a Yeti... and you'd never guess it but Andrew choked the interview. However it was super fun and we had a great time talking to them. Let us know if you want us to do more bands in the future or not I would understand if you don't want to listen to Andrew be a ball of anxiety for like an hour.
]]></description>
      <pubDate>Tue, 29 Jun 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>I Met a Yeti: Opulence</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:53:29</itunes:duration>
      <itunes:summary>In this one we talk to a couple of the members of I Met a Yeti... and you&apos;d never guess it but Andrew choked the interview. However it was super fun and we had a great time talking to them. Let us know if you want us to do more bands in the future or not I would understand if you don&apos;t want to listen to Andrew be a ball of anxiety for like an hour.</itunes:summary>
      <itunes:subtitle>In this one we talk to a couple of the members of I Met a Yeti... and you&apos;d never guess it but Andrew choked the interview. However it was super fun and we had a great time talking to them. Let us know if you want us to do more bands in the future or not I would understand if you don&apos;t want to listen to Andrew be a ball of anxiety for like an hour.</itunes:subtitle>
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]]></description>
      <pubDate>Tue, 22 Jun 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/like-moths-to-flames-an-eye-for-an-eye-V5BzrBNE</link>
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      <itunes:title>Like Moths to Flames: An Eye for an Eye</itunes:title>
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      <description><![CDATA[In this one the guys talk about the juno sound track and its actually pretty funny. Hey guys its Andrew i got my second vax shot and it put me on my ass so I'm just getting around to posting this now sorry. please forgive.
]]></description>
      <pubDate>Tue, 15 Jun 2021 20:11:56 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/juno-soundtrack-axX86k1U</link>
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      <itunes:title>Juno Soundtrack</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:52:24</itunes:duration>
      <itunes:summary>In this one the guys talk about the juno sound track and its actually pretty funny. Hey guys its Andrew i got my second vax shot and it put me on my ass so I&apos;m just getting around to posting this now sorry. please forgive.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about the juno sound track and its actually pretty funny. Hey guys its Andrew i got my second vax shot and it put me on my ass so I&apos;m just getting around to posting this now sorry. please forgive.</itunes:subtitle>
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      <title>Being as an Ocean</title>
      <description><![CDATA[In this one the guys hit a long overdue record. You already know what it is so get in there and listen to my sweet silky voice.
]]></description>
      <pubDate>Tue, 8 Jun 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/being-as-an-ocean-a6oXBEoe</link>
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      <itunes:title>Being as an Ocean</itunes:title>
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      <itunes:summary>In this one the guys hit a long overdue record. You already know what it is so get in there and listen to my sweet silky voice.</itunes:summary>
      <itunes:subtitle>In this one the guys hit a long overdue record. You already know what it is so get in there and listen to my sweet silky voice.</itunes:subtitle>
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      <title>Slaughter Beach, Dog: Birdie</title>
      <description><![CDATA[A highly anticipated episode of the pod.... thats all i got to say about it...... and I don't want to argue about it.
]]></description>
      <pubDate>Tue, 1 Jun 2021 21:05:09 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/slaughter-beach-dog-birdie-MsmjZB__</link>
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      <itunes:title>Slaughter Beach, Dog: Birdie</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:54:53</itunes:duration>
      <itunes:summary>A highly anticipated episode of the pod.... thats all i got to say about it...... and I don&apos;t want to argue about it.</itunes:summary>
      <itunes:subtitle>A highly anticipated episode of the pod.... thats all i got to say about it...... and I don&apos;t want to argue about it.</itunes:subtitle>
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      <title>Traitors: The Lost Episode</title>
      <description><![CDATA[this is the lost episode, well kind of we just recorded it buuuuuuuut we meant to do a traitors ep like a year ago. As things would have it we lost the files and we would have had to do it a second time. so with that being said we just never did until now when I thought you know what I'm getting back in to traitors no is the time to talk about it on the pod. enjoy Also I know the episode is late... fuck off...
]]></description>
      <pubDate>Tue, 25 May 2021 23:37:28 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/traitors-the-lost-episode-CqGemrqQ</link>
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      <itunes:title>Traitors: The Lost Episode</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:52:26</itunes:duration>
      <itunes:summary>this is the lost episode, well kind of we just recorded it buuuuuuuut we meant to do a traitors ep like a year ago. As things would have it we lost the files and we would have had to do it a second time. so with that being said we just never did until now when I thought you know what I&apos;m getting back in to traitors no is the time to talk about it on the pod. enjoy Also I know the episode is late... fuck off...</itunes:summary>
      <itunes:subtitle>this is the lost episode, well kind of we just recorded it buuuuuuuut we meant to do a traitors ep like a year ago. As things would have it we lost the files and we would have had to do it a second time. so with that being said we just never did until now when I thought you know what I&apos;m getting back in to traitors no is the time to talk about it on the pod. enjoy Also I know the episode is late... fuck off...</itunes:subtitle>
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      <title>Sleeptoken: Phoebe had more to say</title>
      <description><![CDATA[Phoebe missed being on the podcast and also wanted to talk more about sleeptoken. 
]]></description>
      <pubDate>Tue, 18 May 2021 13:11:49 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/sleeptoken-phoebe-had-more-to-say-cxo0Ziun</link>
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      <itunes:title>Sleeptoken: Phoebe had more to say</itunes:title>
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      <itunes:duration>00:46:46</itunes:duration>
      <itunes:summary>Phoebe missed being on the podcast and also wanted to talk more about sleeptoken. </itunes:summary>
      <itunes:subtitle>Phoebe missed being on the podcast and also wanted to talk more about sleeptoken. </itunes:subtitle>
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      <title>Jawbreaker: Dear You</title>
      <description><![CDATA[In this episode of the best music podcast on the internet that is hosted by Andrew and Erick, the dudes talk about jawbreaker. Before you ask something stupid like do these guys really know what they're talking about when it comes to 80-90s punk/hardcore? the answer is yes but also no. Anyway they talk about nick cage in this one so just go ahead and pop a squat and put your little airpods in and give it a listen, or don't actually I would hate to have to change the name of this podcast
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      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Jawbreaker: Dear You</itunes:title>
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      <itunes:summary>In this one the guy&apos;s talk about saosin again. I know you&apos;re thinking Andrew must love that band and while that isn&apos;t far from the truth he isn&apos;t that  big of a fan so RELAX.</itunes:summary>
      <itunes:subtitle>In this one the guy&apos;s talk about saosin again. I know you&apos;re thinking Andrew must love that band and while that isn&apos;t far from the truth he isn&apos;t that  big of a fan so RELAX.</itunes:subtitle>
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      <description><![CDATA[In this one the guys talk about Mac Miller. As always there were goofs and gafs jump in to this episode to find out. 
]]></description>
      <pubDate>Tue, 27 Apr 2021 04:00:00 +0000</pubDate>
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      <itunes:summary>In this one the guys talk about Mac Miller. As always there were goofs and gafs jump in to this episode to find out. </itunes:summary>
      <itunes:subtitle>In this one the guys talk about Mac Miller. As always there were goofs and gafs jump in to this episode to find out. </itunes:subtitle>
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      <pubDate>Tue, 20 Apr 2021 04:00:00 +0000</pubDate>
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      <itunes:title>Part 2 of Erick Month</itunes:title>
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      <itunes:summary>If you haven&apos;t figured it out yet Andrew is the one that writes these captions. with that being said I don&apos;t really have a good explanation on what happened in this done. we talked about some music that Erick is about right now.</itunes:summary>
      <itunes:subtitle>If you haven&apos;t figured it out yet Andrew is the one that writes these captions. with that being said I don&apos;t really have a good explanation on what happened in this done. we talked about some music that Erick is about right now.</itunes:subtitle>
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      <itunes:summary>In this ep the guys talk about a super group and it was a good time. If you don&apos;t like my description... shove it.</itunes:summary>
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      <description><![CDATA[In this episode the guys wax about ERRA. Its Andrews Favorite album of 2021... but all of the other albums haven't even dropped... think about it.
]]></description>
      <pubDate>Tue, 6 Apr 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>ERRA: ERRA (End of Andrew month)</itunes:title>
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      <itunes:summary>In this episode the guys wax about ERRA. Its Andrews Favorite album of 2021... but all of the other albums haven&apos;t even dropped... think about it.</itunes:summary>
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]]></description>
      <pubDate>Thu, 1 Apr 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Tool: A Scam</itunes:title>
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      <title>Attack Attack!: Someday Came Suddenly</title>
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      <pubDate>Tue, 30 Mar 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/attack-attack-someday-came-suddenly-6GM_Gqf_</link>
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      <itunes:title>Attack Attack!: Someday Came Suddenly</itunes:title>
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      <itunes:summary>This one is a bag of friggin laughs, I hope you all enjoy because we had a fun time making this one.</itunes:summary>
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      <title>Meshuggah: Obzen</title>
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      <pubDate>Tue, 23 Mar 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:duration>00:51:20</itunes:duration>
      <itunes:summary>In this episode the guys talk about something neither of them really understand AND THAT IS!!! complicated music. come have fun listening to Andrew squirm around thinking he knows what He&apos;s talking about.</itunes:summary>
      <itunes:subtitle>In this episode the guys talk about something neither of them really understand AND THAT IS!!! complicated music. come have fun listening to Andrew squirm around thinking he knows what He&apos;s talking about.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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]]></description>
      <pubDate>Tue, 16 Mar 2021 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <pubDate>Wed, 10 Mar 2021 00:06:51 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:subtitle>HEY ITS LATE TAKE IT EASY.</itunes:subtitle>
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      <title>Paramore: After Laughter</title>
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      <pubDate>Tue, 2 Mar 2021 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Paramore: After Laughter</itunes:title>
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      <itunes:summary>In this one the guys talk about after laughter by Paramore, they also just talk about Paramore in general. Andrew is in a new space for this one and you would know that if you watched the streams but you don&apos;t so shame on you.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about after laughter by Paramore, they also just talk about Paramore in general. Andrew is in a new space for this one and you would know that if you watched the streams but you don&apos;t so shame on you.</itunes:subtitle>
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      <title>Fall Out Boy: From Under the Cork Tree</title>
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]]></description>
      <pubDate>Tue, 23 Feb 2021 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/fall-out-boy-from-under-the-cork-tree-WfEydxwc</link>
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      <itunes:title>Fall Out Boy: From Under the Cork Tree</itunes:title>
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      <title>Deftones: Around the Fur</title>
      <description><![CDATA[In this one the guys talk about Deftones mostly Around the Fur but also mostly about nothing. So if you're done to clown step on into the wild side!
]]></description>
      <pubDate>Tue, 16 Feb 2021 16:11:12 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Deftones: Around the Fur</itunes:title>
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      <itunes:duration>01:06:19</itunes:duration>
      <itunes:summary>In this one the guys talk about Deftones mostly Around the Fur but also mostly about nothing. So if you&apos;re done to clown step on into the wild side!</itunes:summary>
      <itunes:subtitle>In this one the guys talk about Deftones mostly Around the Fur but also mostly about nothing. So if you&apos;re done to clown step on into the wild side!</itunes:subtitle>
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      <itunes:episode>70</itunes:episode>
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      <title>Narrow Head: 12th House Rock</title>
      <description><![CDATA[In this one the guys talk about narrow head and UK Grime. also Andrew had a FIRE headache while recording so excuse him being low energy.
]]></description>
      <pubDate>Tue, 9 Feb 2021 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/narrow-head-12th-house-rock-6lbohmp4</link>
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      <itunes:title>Narrow Head: 12th House Rock</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:55:38</itunes:duration>
      <itunes:summary>In this one the guys talk about narrow head and UK Grime. also Andrew had a FIRE headache while recording so excuse him being low energy.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about narrow head and UK Grime. also Andrew had a FIRE headache while recording so excuse him being low energy.</itunes:subtitle>
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      <title>Polaris: The Death of Me</title>
      <description><![CDATA[in this one the guys talk about Polaris, or do they?

If you're wondering why the podcast sounds funny its because its just the audio from the video. check out the podcast on YouTube. https://www.youtube.com/channel/UCF7o2PgC7x5_OIloaqJcbXA
]]></description>
      <pubDate>Tue, 2 Feb 2021 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Polaris: The Death of Me</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:02:14</itunes:duration>
      <itunes:summary>in this one the guys talk about Polaris, or do they?

If you&apos;re wondering why the podcast sounds funny its because its just the audio from the video. check out the podcast on YouTube. https://www.youtube.com/channel/UCF7o2PgC7x5_OIloaqJcbXA</itunes:summary>
      <itunes:subtitle>in this one the guys talk about Polaris, or do they?

If you&apos;re wondering why the podcast sounds funny its because its just the audio from the video. check out the podcast on YouTube. https://www.youtube.com/channel/UCF7o2PgC7x5_OIloaqJcbXA</itunes:subtitle>
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      <title>A Crossover: &quot;Nobody&apos;s Listening to This Movie-Podcast&quot; Featuring- Andrew</title>
      <description><![CDATA[Hey people......... Andrew here............... I messed up my audio for the music podcast...... :/ On the bright side this is Ericks other podcast that I just so happen to be on so have no fear you get your weekly dose of MEEEEEEEE. So I guess it works out you get to listen to the thing we tell yo to listen to all the time. Anyway unless people reeeeeeaaly bug us to do The Maine again you'll never hear it, I'm even pulling down the live stream so GET F@%#ED.
]]></description>
      <pubDate>Tue, 26 Jan 2021 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/a-crossover-nobodys-listening-to-this-movie-podcast-featuring-andrew-yPfBzmNs</link>
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      <itunes:title>A Crossover: &quot;Nobody&apos;s Listening to This Movie-Podcast&quot; Featuring- Andrew</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:18:06</itunes:duration>
      <itunes:summary>Hey people......... Andrew here............... I messed up my audio for the music podcast...... :/ On the bright side this is Ericks other podcast that I just so happen to be on so have no fear you get your weekly dose of MEEEEEEEE. So I guess it works out you get to listen to the thing we tell yo to listen to all the time. Anyway unless people reeeeeeaaly bug us to do The Maine again you&apos;ll never hear it, I&apos;m even pulling down the live stream so GET F@%#ED.</itunes:summary>
      <itunes:subtitle>Hey people......... Andrew here............... I messed up my audio for the music podcast...... :/ On the bright side this is Ericks other podcast that I just so happen to be on so have no fear you get your weekly dose of MEEEEEEEE. So I guess it works out you get to listen to the thing we tell yo to listen to all the time. Anyway unless people reeeeeeaaly bug us to do The Maine again you&apos;ll never hear it, I&apos;m even pulling down the live stream so GET F@%#ED.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <title>Man Overboard: Real Talk</title>
      <description><![CDATA[In this one the guys talk about a band from the 2010's who would have guessed... not me that's for sure. anyway this one was a real hoot and a half and the guys had a fun time talking about the past as they do. we also give a quick ALSO welcome to any newcomers to the pod we see you and we appreciate you.
]]></description>
      <pubDate>Tue, 19 Jan 2021 04:56:01 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/man-overboard-real-talk-hdWn9pxH</link>
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      <itunes:title>Man Overboard: Real Talk</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:53:30</itunes:duration>
      <itunes:summary>In this one the guys talk about a band from the 2010&apos;s who would have guessed... not me that&apos;s for sure. anyway this one was a real hoot and a half and the guys had a fun time talking about the past as they do. we also give a quick ALSO welcome to any newcomers to the pod we see you and we appreciate you.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about a band from the 2010&apos;s who would have guessed... not me that&apos;s for sure. anyway this one was a real hoot and a half and the guys had a fun time talking about the past as they do. we also give a quick ALSO welcome to any newcomers to the pod we see you and we appreciate you.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <title>Hawthorne Heights: The Hits</title>
      <description><![CDATA[In this one the guys get all giddy and talk about a bad the found when they were 12. Don't forget to sub on YouTube and check into the live streams you get to see the videos I show in context.
]]></description>
      <pubDate>Tue, 12 Jan 2021 04:38:52 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Hawthorne Heights: The Hits</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:09:18</itunes:duration>
      <itunes:summary>In this one the guys get all giddy and talk about a bad the found when they were 12. Don&apos;t forget to sub on YouTube and check into the live streams you get to see the videos I show in context.</itunes:summary>
      <itunes:subtitle>In this one the guys get all giddy and talk about a bad the found when they were 12. Don&apos;t forget to sub on YouTube and check into the live streams you get to see the videos I show in context.</itunes:subtitle>
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      <title>Phoebe Bridgers: Punisher</title>
      <description><![CDATA[In this episode of The "nobody is listening to this music podcast" Podcast the guys talk about Punisher by Phoebe Bridgers. this is one of the better episodes in recent history to buckle i.
]]></description>
      <pubDate>Tue, 5 Jan 2021 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/phoebe-bridgers-punisher-uhatczUJ</link>
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      <itunes:title>Phoebe Bridgers: Punisher</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:50:10</itunes:duration>
      <itunes:summary>In this episode of The &quot;nobody is listening to this music podcast&quot; Podcast the guys talk about Punisher by Phoebe Bridgers. this is one of the better episodes in recent history to buckle i.</itunes:summary>
      <itunes:subtitle>In this episode of The &quot;nobody is listening to this music podcast&quot; Podcast the guys talk about Punisher by Phoebe Bridgers. this is one of the better episodes in recent history to buckle i.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <title>Brand of Sacrifice: God Hand</title>
      <description><![CDATA[In this one the guys get back to talking about some more metal stuff. They have a good time and I think they might talk about the music in this one. its sick give it a shot.
]]></description>
      <pubDate>Tue, 29 Dec 2020 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/brand-of-sacrifice-god-hand-ulB8U0gM</link>
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      <itunes:title>Brand of Sacrifice: God Hand</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:42:08</itunes:duration>
      <itunes:summary>In this one the guys get back to talking about some more metal stuff. They have a good time and I think they might talk about the music in this one. its sick give it a shot.</itunes:summary>
      <itunes:subtitle>In this one the guys get back to talking about some more metal stuff. They have a good time and I think they might talk about the music in this one. its sick give it a shot.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <itunes:episode>64</itunes:episode>
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      <title>Thee Oh Sees: Floating Coffin</title>
      <description><![CDATA[In this one the guys talk about Thee Oh Sees. This one is a bit shorter and I said Id write a ton of stuff down here but I guess you got scammed.
]]></description>
      <pubDate>Tue, 22 Dec 2020 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/thee-oh-sees-floating-coffin-4JZfs4rC</link>
      <enclosure length="46737143" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4aa-f18d-4137-888d-39b5f4e544d3/episodes/4f4ba145-570b-4fc8-9625-9a9962201813/audio/ee147461-c1e1-4e39-ad0a-fc743df70830/default_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Thee Oh Sees: Floating Coffin</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:48:42</itunes:duration>
      <itunes:summary>In this one the guys talk about Thee Oh Sees. This one is a bit shorter and I said Id write a ton of stuff down here but I guess you got scammed.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about Thee Oh Sees. This one is a bit shorter and I said Id write a ton of stuff down here but I guess you got scammed.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
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      <title>King Gizzard &amp; The Lizard Wizard: Nonagon Infinity</title>
      <description><![CDATA[In this episode the guys talk about a band and album that has a name that's way to long. anyway we had a fun time streaming this one. Pull up to the stream some time gosh dang it. 
]]></description>
      <pubDate>Tue, 15 Dec 2020 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/king-gizzard-the-lizard-wizard-nonagon-infinity-juN8iHw0</link>
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      <itunes:title>King Gizzard &amp; The Lizard Wizard: Nonagon Infinity</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:57:54</itunes:duration>
      <itunes:summary>In this episode the guys talk about a band and album that has a name that&apos;s way to long. anyway we had a fun time streaming this one. Pull up to the stream some time gosh dang it. </itunes:summary>
      <itunes:subtitle>In this episode the guys talk about a band and album that has a name that&apos;s way to long. anyway we had a fun time streaming this one. Pull up to the stream some time gosh dang it. </itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <itunes:episode>62</itunes:episode>
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      <title>Talking Heads: Stop Making Sense</title>
      <description><![CDATA[in this one the guys talk about Talking Heads sort of not really though. this was also the second episode that we live streamed so for give Andrew for being boring he's watching like 10 screens. all good though Erick carried the episode.
]]></description>
      <pubDate>Tue, 8 Dec 2020 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/talking-heads-stop-making-sense-5zIbioQI</link>
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      <itunes:title>Talking Heads: Stop Making Sense</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:57:50</itunes:duration>
      <itunes:summary>in this one the guys talk about Talking Heads sort of not really though. this was also the second episode that we live streamed so for give Andrew for being boring he&apos;s watching like 10 screens. all good though Erick carried the episode.</itunes:summary>
      <itunes:subtitle>in this one the guys talk about Talking Heads sort of not really though. this was also the second episode that we live streamed so for give Andrew for being boring he&apos;s watching like 10 screens. all good though Erick carried the episode.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
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      <title>Animals As Leaders: Self Titled</title>
      <description><![CDATA[In this one the guys talk about animals as leaders! an album that Andrew has wanted to talk about for a while. this also happens to be the first episode that is also a video so go check it out. we plan on streaming the recording of all of the episodes to come and all livestreams will be a sneak peak at the episode that will come out the following week. make sure to follow Erick and Andrew on Twitter and Instagram so that you know when they go live.
]]></description>
      <pubDate>Tue, 1 Dec 2020 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/animals-as-leaders-self-titled-P_cOiLbP</link>
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      <itunes:title>Animals As Leaders: Self Titled</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:03:38</itunes:duration>
      <itunes:summary>In this one the guys talk about animals as leaders! an album that Andrew has wanted to talk about for a while. this also happens to be the first episode that is also a video so go check it out. we plan on streaming the recording of all of the episodes to come and all livestreams will be a sneak peak at the episode that will come out the following week. make sure to follow Erick and Andrew on Twitter and Instagram so that you know when they go live.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about animals as leaders! an album that Andrew has wanted to talk about for a while. this also happens to be the first episode that is also a video so go check it out. we plan on streaming the recording of all of the episodes to come and all livestreams will be a sneak peak at the episode that will come out the following week. make sure to follow Erick and Andrew on Twitter and Instagram so that you know when they go live.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>60</itunes:episode>
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      <title>Title Fight: Hyperview</title>
      <description><![CDATA[In this one the guys talk about Hyperview by Title Fight as a continuation of the Run For Cover episode series sort of thing. bad new and good news... if you liked us talking about the last few bands SORRY that's all for now. however if you really hated it good new nest week we're doing metal stuff. aaaaaahhhh here we are again. I really don't feel like typing a ton so ill just say what's up hit us up and tell us what you want us to listen to we're running out of ideas.
]]></description>
      <pubDate>Tue, 24 Nov 2020 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/title-fight-hyperview-_5A0YKRu</link>
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      <itunes:title>Title Fight: Hyperview</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:40:28</itunes:duration>
      <itunes:summary>In this one the guys talk about Hyperview by Title Fight as a continuation of the Run For Cover episode series sort of thing. bad new and good news... if you liked us talking about the last few bands SORRY that&apos;s all for now. however if you really hated it good new nest week we&apos;re doing metal stuff. aaaaaahhhh here we are again. I really don&apos;t feel like typing a ton so ill just say what&apos;s up hit us up and tell us what you want us to listen to we&apos;re running out of ideas.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about Hyperview by Title Fight as a continuation of the Run For Cover episode series sort of thing. bad new and good news... if you liked us talking about the last few bands SORRY that&apos;s all for now. however if you really hated it good new nest week we&apos;re doing metal stuff. aaaaaahhhh here we are again. I really don&apos;t feel like typing a ton so ill just say what&apos;s up hit us up and tell us what you want us to listen to we&apos;re running out of ideas.</itunes:subtitle>
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      <title>Citizen: Youth</title>
      <description><![CDATA[In this one the guys talk about Youth by Citizen. an album that until this episode Erick hadn't really listened to. it was a fun one to do as usual they talk ab out just about everything other than the album... but that's what a podcast is right just some people talking? also do I mouth breath to hard in to the mic? if so please let me know so i can kindly tell you that I'm to lazy to fix it.

]]></description>
      <pubDate>Tue, 17 Nov 2020 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/citizen-youth-WUQciXLa</link>
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      <itunes:title>Citizen: Youth</itunes:title>
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      <itunes:summary>In this one the guys talk about Youth by Citizen. an album that until this episode Erick hadn&apos;t really listened to. it was a fun one to do as usual they talk ab out just about everything other than the album... but that&apos;s what a podcast is right just some people talking? also do I mouth breath to hard in to the mic? if so please let me know so i can kindly tell you that I&apos;m to lazy to fix it.
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      <itunes:subtitle>In this one the guys talk about Youth by Citizen. an album that until this episode Erick hadn&apos;t really listened to. it was a fun one to do as usual they talk ab out just about everything other than the album... but that&apos;s what a podcast is right just some people talking? also do I mouth breath to hard in to the mic? if so please let me know so i can kindly tell you that I&apos;m to lazy to fix it.
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      <description><![CDATA[In this one the guys talk about Peripheral Vision by Turnover, an album that both of them have listened to quite a bit. this was a fun one to make! as usual the guys sort of talk about the album and sort of don't so buckle In. now here's the part where i just type a bunch of shit that makes no sense. At the time of uploading the podcast Joe Biden has won the election thanks to America for making that one happen. shout out the whole island. 
]]></description>
      <pubDate>Tue, 10 Nov 2020 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Turnover: Peripheral Vision</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>In this one the guys talk about Peripheral Vision by Turnover, an album that both of them have listened to quite a bit. this was a fun one to make! as usual the guys sort of talk about the album and sort of don&apos;t so buckle In. now here&apos;s the part where i just type a bunch of shit that makes no sense. At the time of uploading the podcast Joe Biden has won the election thanks to America for making that one happen. shout out the whole island. </itunes:summary>
      <itunes:subtitle>In this one the guys talk about Peripheral Vision by Turnover, an album that both of them have listened to quite a bit. this was a fun one to make! as usual the guys sort of talk about the album and sort of don&apos;t so buckle In. now here&apos;s the part where i just type a bunch of shit that makes no sense. At the time of uploading the podcast Joe Biden has won the election thanks to America for making that one happen. shout out the whole island. </itunes:subtitle>
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      <title>Rainbow: The Rising</title>
      <description><![CDATA[In this one the guys talk about something that they have no business talking about.... The Rising Rainbow. it becomes pretty apparent very quickly that they have no idea what is going on. If you were looking for hot takes look elsewhere! This is a pod full of cold takes. Here we are again guys... the end of the description; What's up how's your day? how's mine you ask? fine I guess I just had to edit this episode and its only like a half an hour long and I felt the need to apologize for it. and now in a weird way I'm trying to have a conversation with someone by typing a butt load down here. however I doubt anyone really reads these soooooooooooooo that's all for now. if you made it to the end of the episode i cant thank you enough for listening, during the pandemic this is like one of the only things that i really look forward to doing. I KNOW I KNOW it doesn't really seem like it because 'the episode kind of sucked. If this description gets shared along with the show ill live stream me endurance listening to brokencyde. 
]]></description>
      <pubDate>Tue, 3 Nov 2020 05:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/rainbow-the-rising-9SZ6FQ98</link>
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      <itunes:title>Rainbow: The Rising</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>In this one the guys talk about something that they have no business talking about.... The Rising Rainbow. it becomes pretty apparent very quickly that they have no idea what is going on. If you were looking for hot takes look elsewhere! This is a pod full of cold takes. Here we are again guys... the end of the description; What&apos;s up how&apos;s your day? how&apos;s mine you ask? fine I guess I just had to edit this episode and its only like a half an hour long and I felt the need to apologize for it. and now in a weird way I&apos;m trying to have a conversation with someone by typing a butt load down here. however I doubt anyone really reads these soooooooooooooo that&apos;s all for now. if you made it to the end of the episode i cant thank you enough for listening, during the pandemic this is like one of the only things that i really look forward to doing. I KNOW I KNOW it doesn&apos;t really seem like it because &apos;the episode kind of sucked. If this description gets shared along with the show ill live stream me endurance listening to brokencyde. </itunes:summary>
      <itunes:subtitle>In this one the guys talk about something that they have no business talking about.... The Rising Rainbow. it becomes pretty apparent very quickly that they have no idea what is going on. If you were looking for hot takes look elsewhere! This is a pod full of cold takes. Here we are again guys... the end of the description; What&apos;s up how&apos;s your day? how&apos;s mine you ask? fine I guess I just had to edit this episode and its only like a half an hour long and I felt the need to apologize for it. and now in a weird way I&apos;m trying to have a conversation with someone by typing a butt load down here. however I doubt anyone really reads these soooooooooooooo that&apos;s all for now. if you made it to the end of the episode i cant thank you enough for listening, during the pandemic this is like one of the only things that i really look forward to doing. I KNOW I KNOW it doesn&apos;t really seem like it because &apos;the episode kind of sucked. If this description gets shared along with the show ill live stream me endurance listening to brokencyde. </itunes:subtitle>
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      <title>Basement: Promise Everything</title>
      <description><![CDATA[In this one the guys talk about basement a little bit but more about the scene. It was a very cool time for music around the time of the record and we talk about that. at this point I'm really wondering if anyone reads these anymore i think like half the time they're pretty funny. on the other hand they aren't very informative so i could see how one may just not even click on it. I mean I don't think it would read this if I was listening... if you made it this far we have a special kind of relationship and I like that about us. 
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      <pubDate>Tue, 27 Oct 2020 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:summary>In this one the guys talk about basement a little bit but more about the scene. It was a very cool time for music around the time of the record and we talk about that. at this point I&apos;m really wondering if anyone reads these anymore i think like half the time they&apos;re pretty funny. on the other hand they aren&apos;t very informative so i could see how one may just not even click on it. I mean I don&apos;t think it would read this if I was listening... if you made it this far we have a special kind of relationship and I like that about us. </itunes:summary>
      <itunes:subtitle>In this one the guys talk about basement a little bit but more about the scene. It was a very cool time for music around the time of the record and we talk about that. at this point I&apos;m really wondering if anyone reads these anymore i think like half the time they&apos;re pretty funny. on the other hand they aren&apos;t very informative so i could see how one may just not even click on it. I mean I don&apos;t think it would read this if I was listening... if you made it this far we have a special kind of relationship and I like that about us. </itunes:subtitle>
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      <description><![CDATA[in this one the guys talk about all they've done this year with the podcast.... spoiler not a whole ton.  any way it was a fun walk down memory lane. if you liked the music in the ep we made a playlist of songs. thanks to anyone who has subscribed during the last year and we hope to keep this thing going as long as we can.

Playlist: https://www.youtube.com/watch?v=Ij4sNyfsX5w&list=PLD0M27o6zWm1wCvQJdchVDnADqUFUpggJ
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      <pubDate>Tue, 20 Oct 2020 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Year one performance review</itunes:title>
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      <itunes:summary>in this one the guys talk about all they&apos;ve done this year with the podcast.... spoiler not a whole ton.  any way it was a fun walk down memory lane. if you liked the music in the ep we made a playlist of songs. thanks to anyone who has subscribed during the last year and we hope to keep this thing going as long as we can.

Playlist: https://www.youtube.com/watch?v=Ij4sNyfsX5w&amp;list=PLD0M27o6zWm1wCvQJdchVDnADqUFUpggJ</itunes:summary>
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Playlist: https://www.youtube.com/watch?v=Ij4sNyfsX5w&amp;list=PLD0M27o6zWm1wCvQJdchVDnADqUFUpggJ</itunes:subtitle>
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      <description><![CDATA[In this episode the guys talk about Alpha Wolfs new album A Quiet Place to Die. If you guys actually like hearing us talk about heavy stuff please tell us because we have no idea what you like. 
]]></description>
      <pubDate>Tue, 13 Oct 2020 04:00:00 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Alpha Wolf: A Quiet Place to Die</itunes:title>
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      <itunes:summary>In this episode the guys talk about Alpha Wolfs new album A Quiet Place to Die. If you guys actually like hearing us talk about heavy stuff please tell us because we have no idea what you like. </itunes:summary>
      <itunes:subtitle>In this episode the guys talk about Alpha Wolfs new album A Quiet Place to Die. If you guys actually like hearing us talk about heavy stuff please tell us because we have no idea what you like. </itunes:subtitle>
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      <pubDate>Tue, 6 Oct 2020 04:00:00 +0000</pubDate>
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      <pubDate>Tue, 29 Sep 2020 04:00:10 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <description><![CDATA[YOU'RE WELCOME!
]]></description>
      <pubDate>Thu, 24 Sep 2020 04:00:02 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/switchfoot-all-of-it-TviJe33k</link>
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      <itunes:title>Switchfoot: All of it</itunes:title>
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      <description><![CDATA[In this episode Erick did that thing again where he tells me to just listen to a band in general. So we talk about them in general. this could be the best episode of the entire podcast or it could be just another episode I don't know just find out.
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      <pubDate>Tue, 22 Sep 2020 04:00:28 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/skeggs-a-collection-zSpVsVxa</link>
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      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
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      <itunes:summary>In this episode Erick did that thing again where he tells me to just listen to a band in general. So we talk about them in general. this could be the best episode of the entire podcast or it could be just another episode I don&apos;t know just find out.</itunes:summary>
      <itunes:subtitle>In this episode Erick did that thing again where he tells me to just listen to a band in general. So we talk about them in general. this could be the best episode of the entire podcast or it could be just another episode I don&apos;t know just find out.</itunes:subtitle>
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      <description><![CDATA[in this one the guys talk about the album Alien by Northlane its a metal album that Andrew didn't like?

]]></description>
      <pubDate>Tue, 15 Sep 2020 04:00:04 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Northlane: Alien</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:47:44</itunes:duration>
      <itunes:summary>in this one the guys talk about the album Alien by Northlane its a metal album that Andrew didn&apos;t like?
</itunes:summary>
      <itunes:subtitle>in this one the guys talk about the album Alien by Northlane its a metal album that Andrew didn&apos;t like?
</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>48</itunes:episode>
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      <title>Peach Pit: live set (bagels lives)</title>
      <description><![CDATA[In this episode the guys watch the peach pit live set and talk about everything other than the set, ENJOY!
]]></description>
      <pubDate>Tue, 8 Sep 2020 04:00:12 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/peach-pit-live-set-bagels-lives-aAduGhh5</link>
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      <itunes:title>Peach Pit: live set (bagels lives)</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:00:04</itunes:duration>
      <itunes:summary>In this episode the guys watch the peach pit live set and talk about everything other than the set, ENJOY!</itunes:summary>
      <itunes:subtitle>In this episode the guys watch the peach pit live set and talk about everything other than the set, ENJOY!</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>47</itunes:episode>
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      <title>No Pressure: No Pressure (Parker Cannon of TSSF)</title>
      <description><![CDATA[In this special bonus episode of the podcast we talk about another pop punk records. WHO WOULD HAVE GUESSED! all jokes aside as great EP check it out.
]]></description>
      <pubDate>Thu, 3 Sep 2020 04:00:30 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/no-pressure-no-pressure-I1kaMNtV</link>
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      <itunes:title>No Pressure: No Pressure (Parker Cannon of TSSF)</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:28:25</itunes:duration>
      <itunes:summary>In this special bonus episode of the podcast we talk about another pop punk records. WHO WOULD HAVE GUESSED! all jokes aside as great EP check it out.</itunes:summary>
      <itunes:subtitle>In this special bonus episode of the podcast we talk about another pop punk records. WHO WOULD HAVE GUESSED! all jokes aside as great EP check it out.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>bonus</itunes:episodeType>
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      <title>Taylor Swift: Folklore</title>
      <description><![CDATA[In this one the guys talk about the new album by Taylor Swift; Folklore. They both like it I think? Erick liked it for sure but Andrew couldn't string a coherent thought together the whole episode. 
]]></description>
      <pubDate>Tue, 1 Sep 2020 04:00:15 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/taylor-swift-folklore-VrhAi7rZ</link>
      <enclosure length="69058254" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4/75b6d4aa-f18d-4137-888d-39b5f4e544d3/025f0ac2-8139-4680-87cd-5a244a3a3ca8/t-swift-3_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Taylor Swift: Folklore</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:11:57</itunes:duration>
      <itunes:summary>In this one the guys talk about the new album by Taylor Swift; Folklore. They both like it I think? Erick liked it for sure but Andrew couldn&apos;t string a coherent thought together the whole episode. </itunes:summary>
      <itunes:subtitle>In this one the guys talk about the new album by Taylor Swift; Folklore. They both like it I think? Erick liked it for sure but Andrew couldn&apos;t string a coherent thought together the whole episode. </itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>46</itunes:episode>
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      <title>Familiar Spaces: Everyone in Search of an Exit (with Mike and Evan)</title>
      <description><![CDATA[<p>Any and all music used is down here: herees a link for the whole playlist  <a href="https://open.spotify.com/playlist/47k1Lsn6QfYA8xWrstNo4d?si=7l0sOEr8TIKET3hGc7fIEg">https://open.spotify.com/playlist/47k1Lsn6QfYA8xWrstNo4d?si=7l0sOEr8TIKET3hGc7fIEg</a></p><h2>Everyone in Search of an Exit</h2><p>Performed by</p><p>Familiar Spaces</p><p>Written by</p><p>Familiar Spaces</p><p>Produced by</p><p>-</p><p>Source: Mourning Records</p><h2>Brothers</h2><p>Performed by</p><p>Eleanor & the Pretty Things</p><p>Written by</p><p>Austin Zlotecki</p><p>Produced by</p><p>-</p><p>Source: Mourning Records</p><h2>Ivy League Therapy</h2><p>Performed by</p><p>Bicycle Inn</p><p>Written by</p><p>Austin Zlotecki</p><p>Produced by</p><p>-</p><p>Source: Mourning Records</p><h2>Adhesive</h2><p>Performed by</p><p>The Fairview</p><p>Written by</p><p>Jacob Daniel PerreaultNolan Thomas McGovern</p><p>Produced by</p><p>Ian Joshua RileyDominick MaduriJacob Daniel PerreaultNolan Thomas McGovern</p><p>Source: The Fairview</p><h2>Sulk</h2><p>Performed by</p><p>Another One Down!</p><p>Written by</p><p>Brandon TehMarcus Simonini</p><p>Produced by</p><p>-</p><p>Source: Another One Down!</p><h2>Cancelled</h2><p>Performed by</p><p>Square LoopTwelveyes</p><p>Written by</p><p>Dan BrodeurPat RanauroRyan BestTyler Ducharme</p><p>Produced by</p><p>-</p><p>Source: Twelveyes & Square Loop</p><h2>Let's Get Cathartic</h2><p>Performed by</p><p>Square Loop</p><p>Written by</p><p>David F ZielinskiJordan WrightKyle MudgeNathan Rogers</p><p>Produced by</p><p>-</p><p>Source: Square Loop</p><h2>If It Is</h2><p>Performed by</p><p>Anyone Anyway</p><p>Written by</p><p>Colin PeckMax CoutoNick McCarty</p><p>Produced by</p><p>-</p><p>Source: Anyone Anyway</p><h2>Cross My Heart</h2><p>Performed by</p><p>Rocket Ship</p><p>Written by</p><p>Dimitri D ChristoElias J ChristoNicholas E Barris</p><p>Produced by</p><p>-</p><p>Source: Rocket Ship</p><h2>Veratrum</h2><p>Performed by</p><p>Piqued</p><p>Written by</p><p>Piqued</p><p>Produced by</p><p>-</p><p>Source: 957374 Records DK</p><h2>Hazel</h2><p>Performed by</p><p>Cavalier</p><p>Written by</p><p>Austin DimatteoBrandon Michael LianJesus PirelaNicholas Anthony Lian</p><p>Produced by</p><p>-</p><p>Source: Cavalier</p><h2>Stuck in June</h2><p>Performed by</p><p>Twin Brook</p><p>Written by</p><p>Twin Brook</p><p>Produced by</p><p>-</p><p>Source: 1779134 Records DK</p><h2>You Crushed Me and I'm Not Ready to Laugh About It</h2><p>Performed by</p><p>Never Coming Home</p><p>Written by</p><p>Aidan SullivanAnthony HeflerDerek LimaMerritt CathersZack Fiske</p><p>Produced by</p><p>-</p><p>Source: Rainy Day Records</p><h2>Ouch</h2><p>Performed by</p><p>Lilac Queen</p><p>Written by</p><p>Colin McGovernDouglas CoonJesse PorterLily St GermainWilliam Davis</p><p>Produced by</p><p>-</p><p>Source: No Sleep Records</p>
]]></description>
      <pubDate>Tue, 25 Aug 2020 04:00:11 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/familiar-spaces-everyone-in-search-of-an-exit-with-mike-and-evan-uyd8Wh7B</link>
      <content:encoded><![CDATA[<p>Any and all music used is down here: herees a link for the whole playlist  <a href="https://open.spotify.com/playlist/47k1Lsn6QfYA8xWrstNo4d?si=7l0sOEr8TIKET3hGc7fIEg">https://open.spotify.com/playlist/47k1Lsn6QfYA8xWrstNo4d?si=7l0sOEr8TIKET3hGc7fIEg</a></p><h2>Everyone in Search of an Exit</h2><p>Performed by</p><p>Familiar Spaces</p><p>Written by</p><p>Familiar Spaces</p><p>Produced by</p><p>-</p><p>Source: Mourning Records</p><h2>Brothers</h2><p>Performed by</p><p>Eleanor & the Pretty Things</p><p>Written by</p><p>Austin Zlotecki</p><p>Produced by</p><p>-</p><p>Source: Mourning Records</p><h2>Ivy League Therapy</h2><p>Performed by</p><p>Bicycle Inn</p><p>Written by</p><p>Austin Zlotecki</p><p>Produced by</p><p>-</p><p>Source: Mourning Records</p><h2>Adhesive</h2><p>Performed by</p><p>The Fairview</p><p>Written by</p><p>Jacob Daniel PerreaultNolan Thomas McGovern</p><p>Produced by</p><p>Ian Joshua RileyDominick MaduriJacob Daniel PerreaultNolan Thomas McGovern</p><p>Source: The Fairview</p><h2>Sulk</h2><p>Performed by</p><p>Another One Down!</p><p>Written by</p><p>Brandon TehMarcus Simonini</p><p>Produced by</p><p>-</p><p>Source: Another One Down!</p><h2>Cancelled</h2><p>Performed by</p><p>Square LoopTwelveyes</p><p>Written by</p><p>Dan BrodeurPat RanauroRyan BestTyler Ducharme</p><p>Produced by</p><p>-</p><p>Source: Twelveyes & Square Loop</p><h2>Let's Get Cathartic</h2><p>Performed by</p><p>Square Loop</p><p>Written by</p><p>David F ZielinskiJordan WrightKyle MudgeNathan Rogers</p><p>Produced by</p><p>-</p><p>Source: Square Loop</p><h2>If It Is</h2><p>Performed by</p><p>Anyone Anyway</p><p>Written by</p><p>Colin PeckMax CoutoNick McCarty</p><p>Produced by</p><p>-</p><p>Source: Anyone Anyway</p><h2>Cross My Heart</h2><p>Performed by</p><p>Rocket Ship</p><p>Written by</p><p>Dimitri D ChristoElias J ChristoNicholas E Barris</p><p>Produced by</p><p>-</p><p>Source: Rocket Ship</p><h2>Veratrum</h2><p>Performed by</p><p>Piqued</p><p>Written by</p><p>Piqued</p><p>Produced by</p><p>-</p><p>Source: 957374 Records DK</p><h2>Hazel</h2><p>Performed by</p><p>Cavalier</p><p>Written by</p><p>Austin DimatteoBrandon Michael LianJesus PirelaNicholas Anthony Lian</p><p>Produced by</p><p>-</p><p>Source: Cavalier</p><h2>Stuck in June</h2><p>Performed by</p><p>Twin Brook</p><p>Written by</p><p>Twin Brook</p><p>Produced by</p><p>-</p><p>Source: 1779134 Records DK</p><h2>You Crushed Me and I'm Not Ready to Laugh About It</h2><p>Performed by</p><p>Never Coming Home</p><p>Written by</p><p>Aidan SullivanAnthony HeflerDerek LimaMerritt CathersZack Fiske</p><p>Produced by</p><p>-</p><p>Source: Rainy Day Records</p><h2>Ouch</h2><p>Performed by</p><p>Lilac Queen</p><p>Written by</p><p>Colin McGovernDouglas CoonJesse PorterLily St GermainWilliam Davis</p><p>Produced by</p><p>-</p><p>Source: No Sleep Records</p>
]]></content:encoded>
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      <itunes:title>Familiar Spaces: Everyone in Search of an Exit (with Mike and Evan)</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:12:09</itunes:duration>
      <itunes:summary>In this one the guys talk to a couple of the minds behind familiar spaces and the new record. i know what your thinking do they talk about the record or do they just talk about old jobs and hot dogs... well i guess you&apos;ll just have to find out.</itunes:summary>
      <itunes:subtitle>In this one the guys talk to a couple of the minds behind familiar spaces and the new record. i know what your thinking do they talk about the record or do they just talk about old jobs and hot dogs... well i guess you&apos;ll just have to find out.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>45</itunes:episode>
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      <title>Saosin: Saosin</title>
      <description><![CDATA[In this episode the guys talk about saosin kind of as a whole. its alittle bit of a shorter episode so for people that really like saosin and hate us its a win-win! the next couple of episodes are going to be very fun so stay tuned
]]></description>
      <pubDate>Tue, 18 Aug 2020 04:00:03 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/saosin-saosin-RXtNQ8yU</link>
      <enclosure length="38321117" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4/75b6d4aa-f18d-4137-888d-39b5f4e544d3/6bd75847-7b00-437e-84a6-984c8e15d76a/saosin_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Saosin: Saosin</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:39:56</itunes:duration>
      <itunes:summary>In this episode the guys talk about saosin kind of as a whole. its alittle bit of a shorter episode so for people that really like saosin and hate us its a win-win! the next couple of episodes are going to be very fun so stay tuned</itunes:summary>
      <itunes:subtitle>In this episode the guys talk about saosin kind of as a whole. its alittle bit of a shorter episode so for people that really like saosin and hate us its a win-win! the next couple of episodes are going to be very fun so stay tuned</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>44</itunes:episode>
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      <title>The Fairview: Fresh Faced and Effervescent (with Nolan and Jake)</title>
      <description><![CDATA[in this one the guys talk to Nolan and Jake from the fairview about the record that they just put out. this one is really funny but its mostly because actually funny people were on it this time unlike the previous episode where Andrew just yells in to a mic for an hour.
]]></description>
      <pubDate>Tue, 11 Aug 2020 22:20:54 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/the-fairview-fresh-faced-and-effervescent-with-nolan-and-jake-F8__pyDC</link>
      <enclosure length="62545196" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4/75b6d4aa-f18d-4137-888d-39b5f4e544d3/0504ea39-2398-42c0-8ba6-30d9046ee31e/the-fairview123123_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>The Fairview: Fresh Faced and Effervescent (with Nolan and Jake)</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:05:10</itunes:duration>
      <itunes:summary>in this one the guys talk to Nolan and Jake from the fairview about the record that they just put out. this one is really funny but its mostly because actually funny people were on it this time unlike the previous episode where Andrew just yells in to a mic for an hour.</itunes:summary>
      <itunes:subtitle>in this one the guys talk to Nolan and Jake from the fairview about the record that they just put out. this one is really funny but its mostly because actually funny people were on it this time unlike the previous episode where Andrew just yells in to a mic for an hour.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>43</itunes:episode>
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      <title>OK Go: OK Go</title>
      <description><![CDATA[in this one the guys kinda talk about ok go its more like a choose your own adventure in a way, and by that i mean not at all. just listen to it you'll figure it out. 
]]></description>
      <pubDate>Tue, 4 Aug 2020 04:00:03 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/ok-go-ok-go-zn3wilkx</link>
      <enclosure length="54539187" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4/75b6d4aa-f18d-4137-888d-39b5f4e544d3/54426463-ee40-4e9c-86d1-11ab34a74e5a/ok-go_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>OK Go: OK Go</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:56:49</itunes:duration>
      <itunes:summary>in this one the guys kinda talk about ok go its more like a choose your own adventure in a way, and by that i mean not at all. just listen to it you&apos;ll figure it out. </itunes:summary>
      <itunes:subtitle>in this one the guys kinda talk about ok go its more like a choose your own adventure in a way, and by that i mean not at all. just listen to it you&apos;ll figure it out. </itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>42</itunes:episode>
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      <title>Stand Atlantic: Skinny Dipping</title>
      <description><![CDATA[In this one the dudes talk about skinny dipping by Stand Atlantic. do you like pop punk youll like this one! also the guys try out a new segment, be sure to let them know if you like it or not.
]]></description>
      <pubDate>Tue, 28 Jul 2020 04:00:10 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/stand-atlantic-skinny-dipping-RJ6Q2HaE</link>
      <enclosure length="57692272" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4/75b6d4aa-f18d-4137-888d-39b5f4e544d3/708f401d-1003-49d0-98c3-6bf3024962c4/stand-atlantic_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Stand Atlantic: Skinny Dipping</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:00:06</itunes:duration>
      <itunes:summary>In this one the dudes talk about skinny dipping by Stand Atlantic. do you like pop punk youll like this one! also the guys try out a new segment, be sure to let them know if you like it or not.</itunes:summary>
      <itunes:subtitle>In this one the dudes talk about skinny dipping by Stand Atlantic. do you like pop punk youll like this one! also the guys try out a new segment, be sure to let them know if you like it or not.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>41</itunes:episode>
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      <title>Dance Gavin Dance: Afterburner (with Jake)</title>
      <description><![CDATA[in this one the guys have on jake! we get to talk about dgd with a friend, listen or don't who cares.
]]></description>
      <pubDate>Tue, 21 Jul 2020 04:00:12 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/dance-gavin-dance-afterburner-with-jake-awt_k8L_</link>
      <enclosure length="61251962" type="audio/mpeg" url="https://cdn.simplecast.com/audio/75b6d4/75b6d4aa-f18d-4137-888d-39b5f4e544d3/90c1863f-ee0b-4d77-a7d4-51d1399f1fd2/dgd-with-jake2_tc.mp3?aid=rss_feed&amp;feed=0L217wVB"/>
      <itunes:title>Dance Gavin Dance: Afterburner (with Jake)</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:03:49</itunes:duration>
      <itunes:summary>in this one the guys have on jake! we get to talk about dgd with a friend, listen or don&apos;t who cares.</itunes:summary>
      <itunes:subtitle>in this one the guys have on jake! we get to talk about dgd with a friend, listen or don&apos;t who cares.</itunes:subtitle>
      <itunes:explicit>true</itunes:explicit>
      <itunes:episodeType>full</itunes:episodeType>
      <itunes:episode>40</itunes:episode>
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      <title>Same Side: Same Side (Kevin Geyer of TSSF/Elder Brother)</title>
      <description><![CDATA[In this one the guys talk about same side by same side. and in a shocking turn of events talk about the album and not about the fact that the guy that wrote it is in The Story So Far. Who would have thought. Also the ep is only 5 songs so the music on the rest of the episode is elder brothers first album. Enjoy you fucking losers.
]]></description>
      <pubDate>Tue, 14 Jul 2020 04:00:04 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/same-side-same-side-kevin-geyer-of-tssf-elder-brother-bbWPmJdQ</link>
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      <itunes:title>Same Side: Same Side (Kevin Geyer of TSSF/Elder Brother)</itunes:title>
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      <itunes:summary>In this one the guys talk about same side by same side. and in a shocking turn of events talk about the album and not about the fact that the guy that wrote it is in The Story So Far. Who would have thought. Also the ep is only 5 songs so the music on the rest of the episode is elder brothers first album. Enjoy you fucking losers.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about same side by same side. and in a shocking turn of events talk about the album and not about the fact that the guy that wrote it is in The Story So Far. Who would have thought. Also the ep is only 5 songs so the music on the rest of the episode is elder brothers first album. Enjoy you fucking losers.</itunes:subtitle>
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      <title>Hail the Sun: Wake</title>
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]]></description>
      <pubDate>Tue, 7 Jul 2020 04:00:10 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Hail the Sun: Wake</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>01:01:18</itunes:duration>
      <itunes:summary>In this episode the guys talk about the album wake by hail the sun! That&apos;s RICE, your favorite album you&apos;ve never heard of, or maybe you have who am I to say?</itunes:summary>
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      <pubDate>Tue, 30 Jun 2020 04:00:03 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Beastie Boys: Paul&apos;s Boutique</itunes:title>
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      <itunes:summary>In this one the guys talk about the Beastie Boys for the whole episode not like the other 30 where Erick brings it up every couple of minutes</itunes:summary>
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      <pubDate>Wed, 24 Jun 2020 01:46:32 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:summary>in this one the guys talk about woe is me for the third time but for you it feels like the first time.</itunes:summary>
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      <pubDate>Tue, 16 Jun 2020 04:00:08 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <title>Oasis: Definitely Maybe</title>
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      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Oasis: Definitely Maybe</itunes:title>
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      <pubDate>Wed, 3 Jun 2020 04:00:37 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>A Great Big Pile of Leaves: You&apos;re Always on My Mind</itunes:title>
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      <itunes:summary>In this one the guys talk about the GBPOL album You&apos;re always on my mind, and as they always do talk about how they were in a band. the thing is as Im typing this I dont even know if they do but I know them better than I know myself so its just safe to say they did. I would be willing to bet out of 33 episodes they talked about being in a band at least 30. </itunes:summary>
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      <pubDate>Tue, 26 May 2020 04:00:07 +0000</pubDate>
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      <itunes:title>Balance And Composure: The Things We Think We&apos;re Missing</itunes:title>
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      <itunes:summary>In this one the guys talk about The Things We Think We&apos;re Missing by Balance And Composure. As you can tell at episode 30 and change these guys discovered music that they liked in the early 2000&apos;s and that interest peaked in 2013.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about The Things We Think We&apos;re Missing by Balance And Composure. As you can tell at episode 30 and change these guys discovered music that they liked in the early 2000&apos;s and that interest peaked in 2013.</itunes:subtitle>
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      <title>Turnstile: Nonstop Feeling</title>
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      <pubDate>Tue, 19 May 2020 04:00:06 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <title>Box Car Racer: Box Car Racer</title>
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      <pubDate>Tue, 12 May 2020 04:00:14 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <pubDate>Tue, 5 May 2020 04:00:05 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <description><![CDATA[In this one the guys talk about the album  I Let It In And It Took Everything by Loathe. they guys return to doing heavy stuff and if your one of the people that like when they do heavy stuff than your a real one.
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      <itunes:summary>In this one the guys talk about the album  I Let It In And It Took Everything by Loathe. they guys return to doing heavy stuff and if your one of the people that like when they do heavy stuff than your a real one.</itunes:summary>
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      <pubDate>Tue, 21 Apr 2020 04:00:07 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:summary>In this one the guys talk abut the album Igor by Gaptooth T and the artist as a whole and how the scene surrounding them influenced them.</itunes:summary>
      <itunes:subtitle>In this one the guys talk abut the album Igor by Gaptooth T and the artist as a whole and how the scene surrounding them influenced them.</itunes:subtitle>
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      <pubDate>Tue, 14 Apr 2020 04:00:06 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <pubDate>Tue, 7 Apr 2020 04:00:06 +0000</pubDate>
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      <itunes:subtitle>In this one the guys talk about the new FYS release Brain Pain. in the short this record is what you expect it to be with some twist and turns along the way. Disclaimer they talk about OSD again WHEN WILL THEY GIVE IS A REEEEEST, the answer is never this podcast is nothing more than a self-serving conversation for two friends MUHAHAHAHAH!</itunes:subtitle>
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      <pubDate>Mon, 23 Mar 2020 04:00:09 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>In Her Own Words: Unfamiliar</itunes:title>
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      <itunes:summary>In this one the guys talk about IHOW and their 2016 release Unfamiliar. This IS a pop punk record so be prepared for the guys to talk about the band that they were in once upon a time.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about IHOW and their 2016 release Unfamiliar. This IS a pop punk record so be prepared for the guys to talk about the band that they were in once upon a time.</itunes:subtitle>
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      <pubDate>Tue, 17 Mar 2020 04:00:14 +0000</pubDate>
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      <itunes:title>Post Animal: When I Think Of You In A Castle</itunes:title>
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      <itunes:subtitle>In this one the guys talk about the band Post Animal in particular they talk about When I Think Of You In A Castle. they probably talk about stranger thing more than the actual album but thats to be expected when they both heard about the band through an actor on the show who is also in the band. Never the less enjoy the album and stay hydrated.</itunes:subtitle>
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      <itunes:title>Sleep Token: Sundowning with Phoebe</itunes:title>
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      <pubDate>Sat, 29 Feb 2020 00:51:32 +0000</pubDate>
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      <link>https://nobodyislistening.simplecast.com/episodes/john-mayor-xabN1MU2</link>
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      <itunes:title>BONUS: John Mayer</itunes:title>
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      <itunes:summary>In this bonus episode the guys talk about john mayor! John has been a lot of things throughout his career, to say the least. Where do the guys land on him? Hmm.
</itunes:summary>
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      <pubDate>Tue, 25 Feb 2020 05:00:01 +0000</pubDate>
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      <link>https://nobodyislistening.simplecast.com/episodes/ep-19-pinegrove-marigold-te3Q3BQT</link>
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      <pubDate>Tue, 18 Feb 2020 05:00:10 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <description><![CDATA[In this episode the guys talk about Andrews second favorite album by his first favorite band. A classic of the scene and a great excuse for the guys to talk about the good old days of emo cuts and tight pants. Dont you love it?
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      <pubDate>Tue, 11 Feb 2020 05:00:08 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <description><![CDATA[In this one the guys talk about an album that even they can both agree is a little goofy at times. However they also agree that the album has its redeeming factors. If you're down for a silly goose time this is the one to check out.
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      <pubDate>Tue, 4 Feb 2020 05:00:01 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/ep-16-spite-the-root-of-all-evil-aOfoENWC</link>
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      <itunes:summary>In this one the guys talk about an album that even they can both agree is a little goofy at times. However they also agree that the album has its redeeming factors. If you&apos;re down for a silly goose time this is the one to check out.</itunes:summary>
      <itunes:subtitle>In this one the guys talk about an album that even they can both agree is a little goofy at times. However they also agree that the album has its redeeming factors. If you&apos;re down for a silly goose time this is the one to check out.</itunes:subtitle>
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      <title>Say Anything: Say Anything with Alexis</title>
      <description><![CDATA[In this episode the guys (and Alexis) talk about the self titled album by Say Anything. We talk at length about early 2000's emo/scene culture. Get ready for some laughs and some goofs.
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      <pubDate>Tue, 28 Jan 2020 05:00:09 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Say Anything: Say Anything with Alexis</itunes:title>
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      <description><![CDATA[In this one the guys take a look at Suburbia I've Given You All and Now I'm Nothing by The Wonder Years its odd that Andrew has never listened to this one considering he would have liked it at the time it came out, and Erick is baffled by some of the opinions. 
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      <itunes:summary>In this one the guys take a look at Suburbia I&apos;ve Given You All and Now I&apos;m Nothing by The Wonder Years its odd that Andrew has never listened to this one considering he would have liked it at the time it came out, and Erick is baffled by some of the opinions. </itunes:summary>
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      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Childish Gambino: Awaken, My Love!</itunes:title>
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      <itunes:summary>In this one the guys talk about Awaken, My Love! by Childish Gambino. Both of the guys are blown away by how talented  Donald Glover is, the man can do anything.  </itunes:summary>
      <itunes:subtitle>In this one the guys talk about Awaken, My Love! by Childish Gambino. Both of the guys are blown away by how talented  Donald Glover is, the man can do anything.  </itunes:subtitle>
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      <pubDate>Tue, 7 Jan 2020 05:00:07 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Superheaven: Jar</itunes:title>
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      <description><![CDATA[In this episode the guys talk about Zombies! Aliens! Vampires! Dinosaurs! by Hellogoodbye. The episode is very XD if you know what I mean.
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      <pubDate>Tue, 31 Dec 2019 05:00:12 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/ep-11-hellogoodbye-zombies-aliens-vampires-dinosaurs-iQh_0dxI</link>
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      <itunes:title>Hellogoodbye: Zombies! Aliens! Vampires! Dinosaurs!</itunes:title>
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      <itunes:summary>In this episode the guys talk about Zombies! Aliens! Vampires! Dinosaurs! by Hellogoodbye. The episode is very XD if you know what I mean.</itunes:summary>
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      <description><![CDATA[In this episode they guys (and Tyler) discuss DSU by Alex G. Its probably one of the best so far! yes we know the audio isnt great due to some technical difficulties.
]]></description>
      <pubDate>Tue, 24 Dec 2019 05:00:11 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>(Sandy) Alex G: DSU featuring: Tyler</itunes:title>
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      <description><![CDATA["Congratulations to Erick for graduating, I feel like a proud dad" - Andrew 

In this one the guys talk about one of the worst fads that occurred in the mid 2000's pop-punk/emo scene the pop goes series. more specifically Punk Goes Christmas 2015 which technically isn't from that portion of time but who cares! Happy holidays! 
]]></description>
      <pubDate>Mon, 23 Dec 2019 05:00:04 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>BONUS: HAPPY HOLIDAYS</itunes:title>
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      <itunes:summary>&quot;Congratulations to Erick for graduating, I feel like a proud dad&quot; - Andrew 

In this one the guys talk about one of the worst fads that occurred in the mid 2000&apos;s pop-punk/emo scene the pop goes series. more specifically Punk Goes Christmas 2015 which technically isn&apos;t from that portion of time but who cares! Happy holidays! </itunes:summary>
      <itunes:subtitle>&quot;Congratulations to Erick for graduating, I feel like a proud dad&quot; - Andrew 

In this one the guys talk about one of the worst fads that occurred in the mid 2000&apos;s pop-punk/emo scene the pop goes series. more specifically Punk Goes Christmas 2015 which technically isn&apos;t from that portion of time but who cares! Happy holidays! </itunes:subtitle>
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      <title>Motion City Soundtrack: Commit This to Memory</title>
      <description><![CDATA[In this episode the guys talk about Commit This to Memory by the band Motion City Soundtrack. *give me a reason to end this discussion* because god dang Andrew and Erick need to do more research before talking about bands. 
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      <pubDate>Tue, 17 Dec 2019 05:00:13 +0000</pubDate>
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      <itunes:title>Motion City Soundtrack: Commit This to Memory</itunes:title>
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      <itunes:summary>In this episode the guys talk about Commit This to Memory by the band Motion City Soundtrack. *give me a reason to end this discussion* because god dang Andrew and Erick need to do more research before talking about bands. </itunes:summary>
      <itunes:subtitle>In this episode the guys talk about Commit This to Memory by the band Motion City Soundtrack. *give me a reason to end this discussion* because god dang Andrew and Erick need to do more research before talking about bands. </itunes:subtitle>
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      <description><![CDATA[In this episode the guys talk about Afraid of Heights by Wavves... kinda. The distance is apparent in this one. After the call breaking constantly and dropping a few times the guys where a little frustrated to say the least. they tried their best to stay on track, but you get what you get am i right? 
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      <pubDate>Tue, 10 Dec 2019 05:00:11 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Wavves: Afraid of Heights</itunes:title>
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      <itunes:summary>In this episode the guys talk about Afraid of Heights by Wavves... kinda. The distance is apparent in this one. After the call breaking constantly and dropping a few times the guys where a little frustrated to say the least. they tried their best to stay on track, but you get what you get am i right? </itunes:summary>
      <itunes:subtitle>In this episode the guys talk about Afraid of Heights by Wavves... kinda. The distance is apparent in this one. After the call breaking constantly and dropping a few times the guys where a little frustrated to say the least. they tried their best to stay on track, but you get what you get am i right? </itunes:subtitle>
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]]></description>
      <pubDate>Tue, 10 Dec 2019 05:00:11 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Dropped Calls</itunes:title>
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      <description><![CDATA[In this episode the dudes talk about the Zombie ep by The Devil Wears Prada (not the movie starring Meryl Streep and Anne Hathaway). Andrew calls it the best thing that TDWP ever did, which is an opinion Andrew would probably refute if it was coming from anyone else but him. Will Erick like it? the world may never know. Unless they listen to the episode, in that case they just might.
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      <pubDate>Tue, 3 Dec 2019 05:00:10 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/ep-7-the-devil-wears-prada-zombie-ep-hd_c8JMW</link>
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      <itunes:summary>In this episode the dudes talk about the Zombie ep by The Devil Wears Prada (not the movie starring Meryl Streep and Anne Hathaway). Andrew calls it the best thing that TDWP ever did, which is an opinion Andrew would probably refute if it was coming from anyone else but him. Will Erick like it? the world may never know. Unless they listen to the episode, in that case they just might.</itunes:summary>
      <itunes:subtitle>In this episode the dudes talk about the Zombie ep by The Devil Wears Prada (not the movie starring Meryl Streep and Anne Hathaway). Andrew calls it the best thing that TDWP ever did, which is an opinion Andrew would probably refute if it was coming from anyone else but him. Will Erick like it? the world may never know. Unless they listen to the episode, in that case they just might.</itunes:subtitle>
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      <title>Counterparts: Nothing Left to Love</title>
      <description><![CDATA[In this special bonus episode of the NILTTMP podcast the guys talk about Counterparts so that Andrew can give it a rest with mentioning them every episode...... i should've let you die...
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      <pubDate>Sun, 1 Dec 2019 00:33:31 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Counterparts: Nothing Left to Love</itunes:title>
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      <itunes:summary>In this special bonus episode of the NILTTMP podcast the guys talk about Counterparts so that Andrew can give it a rest with mentioning them every episode...... i should&apos;ve let you die...</itunes:summary>
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      <description><![CDATA[Erick loves Glitterer, Andrew has a tough time getting into it but the dudes can agree that Title Fight rips and reminds them of a simpler time when they played in bands together. Can you believe how much they talk about their bands? Jeez.
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      <pubDate>Tue, 26 Nov 2019 05:00:04 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
      <link>https://nobodyislistening.simplecast.com/episodes/ep-6-glitterer-glitterer-not-glitterer-JHBZDuh8</link>
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      <itunes:title>Glitterer: Glitterer &amp; Not Glitterer</itunes:title>
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      <itunes:duration>00:50:08</itunes:duration>
      <itunes:summary>Erick loves Glitterer, Andrew has a tough time getting into it but the dudes can agree that Title Fight rips and reminds them of a simpler time when they played in bands together. Can you believe how much they talk about their bands? Jeez.</itunes:summary>
      <itunes:subtitle>Erick loves Glitterer, Andrew has a tough time getting into it but the dudes can agree that Title Fight rips and reminds them of a simpler time when they played in bands together. Can you believe how much they talk about their bands? Jeez.</itunes:subtitle>
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      <description><![CDATA[In this episode the guys talk about the album So Wrong, It's Right by All Time Low. Honestly this is one of the best episodes the duo has ever done. the audio is still sub par and the editing could be better, but you know they're trying.
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      <pubDate>Tue, 19 Nov 2019 05:00:02 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>All Time Low: So Wrong, It&apos;s Right</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:41:32</itunes:duration>
      <itunes:summary>In this episode the guys talk about the album So Wrong, It&apos;s Right by All Time Low. Honestly this is one of the best episodes the duo has ever done. the audio is still sub par and the editing could be better, but you know they&apos;re trying.</itunes:summary>
      <itunes:subtitle>In this episode the guys talk about the album So Wrong, It&apos;s Right by All Time Low. Honestly this is one of the best episodes the duo has ever done. the audio is still sub par and the editing could be better, but you know they&apos;re trying.</itunes:subtitle>
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      <title>The Used: In Love and Death</title>
      <description><![CDATA[In this episode the guys toss around thoughts about In Love and Death by The Used. Its the fourth episode SURELY Andrew has learned some form of mic etiquette? NAAAAAAAAAAAH. He just breaths really hard in to the mic and makes all of his good points from across the room. But also Erick actually likes the album. 
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      <pubDate>Tue, 12 Nov 2019 05:00:06 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>The Used: In Love and Death</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:46:24</itunes:duration>
      <itunes:summary>In this episode the guys toss around thoughts about In Love and Death by The Used. Its the fourth episode SURELY Andrew has learned some form of mic etiquette? NAAAAAAAAAAAH. He just breaths really hard in to the mic and makes all of his good points from across the room. But also Erick actually likes the album. </itunes:summary>
      <itunes:subtitle>In this episode the guys toss around thoughts about In Love and Death by The Used. Its the fourth episode SURELY Andrew has learned some form of mic etiquette? NAAAAAAAAAAAH. He just breaths really hard in to the mic and makes all of his good points from across the room. But also Erick actually likes the album. </itunes:subtitle>
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      <title>Weezer: Pinkerton</title>
      <description><![CDATA[In this episode the guys wax poetic about Pinkerton by an underground punk act the goes by the name Weezer. _sidequest_ count the amount of times Andrew cuts off Erick and still has nothing to say and just says "ya"
]]></description>
      <pubDate>Tue, 5 Nov 2019 05:00:04 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:title>Weezer: Pinkerton</itunes:title>
      <itunes:author>ANDREW MARSHALL AND ERICK MELANSON</itunes:author>
      <itunes:duration>00:46:01</itunes:duration>
      <itunes:summary>In this episode the guys wax poetic about Pinkerton by an underground punk act the goes by the name Weezer. _sidequest_ count the amount of times Andrew cuts off Erick and still has nothing to say and just says &quot;ya&quot;</itunes:summary>
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      <pubDate>Tue, 29 Oct 2019 04:00:21 +0000</pubDate>
      <author>ap.marshall24@gmail.com (ANDREW MARSHALL AND ERICK MELANSON)</author>
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      <itunes:summary>In this episode the guys shoot the proverbial $#!T about Hyperreal by a band called Makari. How do you pronounce Makari you say? Your guess is as good as Andrews, Erick got it first try.</itunes:summary>
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      <pubDate>Mon, 21 Oct 2019 22:45:51 +0000</pubDate>
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      <pubDate>Mon, 21 Oct 2019 22:35:23 +0000</pubDate>
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