Paradox

Clayton was born to survive and save humanity, but then he fell in love. A dramatic sci-fi surveying the final moments of man where we have unknowingly created a superior race to replace us.

PARADOX

Written by

Chris Gibson

EXT. THE EARLIER TIMES OF MAN - VILLAGE - DAY

A small village lays before the orange sun in the ancient

skies. A group of rustic wooden huts scatter around the

grounds. Clearly made by the hands of men with no assistance

from machinery or technology.

Clothes that look more like rags hang from a long stick that

has been carefully crafted to hold the clothing. Colours

varying from a dull range of only browns and greys.

A few goats prance around the sandy village as a few FARMERS

rake the burning soil beneath them.

An ELDER afar from the farmers is knelt on the ground, hands

held together with his fingertips pointing to heavenly skies

above him.

He mutters to himself, with eyes closed the Bearded Man prays

to God for his crops to grow.

COMPUTER VOICE (V.O.)

In earlier times of man, it is said

that religion was such a strong

entity that mankind believed that

God was always watching them.

Horses approach as a few travellers steady their way through

the pleasant village, as they do so the surrounding villagers

peacefully greet them by waving their arms.

Cheerful Mothers cradle their babies within their arms as

they watch the visitors pass by

The dusty strangers respond in a welcoming smile and bow as

they trot through the small farming lands.

The Elder halts his prayers, gets to his feet and greets his

new guests with calming arm gestures.

COMPUTER VOICE (V.O.)

God’s undeniable judgment was all

that was needed for mankind to

exist and prosper. The idea of

God’s eyes watching them from above

was enough for them to be innocent,

pure and human......

EXT. 2014 - A BUSY STREET IN LONDON - DAY

The eye of a CCTV camera slowly rotates as it monitors the

busy streets of London, a place where the robotic eye of a

camera is fixated on your movements down every street.

The congestion of London city reflects of the clean lens of

the camera.

COMPUTER VOICE (V.O.)

.....until mankind created a

superficial eye to watch over them,

a robotic eye that they thought

would promote safety to the ever

growing human plaque....

Crowds of pedestrians rush across the streets with shopping

bags clenched tightly in their hands.

The population seem very divided compared to the previous

scene, the people make their way through the streets avoiding

any stranger’s eye.

Any space that is created is quickly filled up by the people

surrounding it; pavements quickly fade away as the masses

plague the street.

COMPUTER VOICE (V.O.)

.....With over 25 million cameras

worldwide humans have given

themselves the control and

authority over one another.

A CCTV camera watches a busy street which is foreground to a

stretch of urban houses built into the busy centre of London.

The camera closes in on a smartly dressed MAN clenching his

suitcase and promptly walking along the street.

His phone is gripped tightly against the side of his face as

he murmurs into the phone.

His suit is tightly fitted which only emphasizes his young

toned body even further, his hair is bright and is smothered

in greasy hair gel.

He makes his way onto the step which proceeds his home.

He pulls out his keys from the inside of his suit and makes

his way into his hallway.

Before closing the door behind him the man makes a quick

glance outside, quickly noting the camera watching him.

COMPUTER VOICE (V.O.)

They know where you live.

We see someone punching in a text to the contact ‘EMILY’ into

their touchscreen smartphone.

The fingers type ‘I love you’ and then hesitate slightly

before tapping ‘SEND’.

2.

INT. 2014 - CLASSY ITALIAN RESTAURANT - DAY

An upmarket Italian restaurant is situated by the River

Thames. The shot exaggerates the sheer size of the city.

A CCTV camera monitors the rich customers luxuriating

themselves as they indulge in expensive foods and chatter

about their busy lives.

The camera slowly turns, its lense creeps across to locate a

pretty BRUNETTE sat at a table accompanied by a charismatic

BUSINESSMAN who flails his arms as he speaks.

He is muted.

She sits watching him.

Waiting...

.......until the pleasant surprise of her phone vibrating

alerts her awake.

Her phone is inside her purse, carefully nestled against her

on the beautiful chair.

She pulls out the phone and opens the ‘1 NEW MESSAGE’ tab

that blasts across her screen.

Immediately her screen is greeted with a text from ‘BEN’

which reads ‘I love you’.

She creases a small smile in the corner of her red lips.

The Businessman is still chatting away in the background.

COMPUTER VOICE (V.O.)

They know who you talk to.

EXT. 2014 - MOTORWAY PETROL STATION - NIGHT

Out in the middle of nowhere a lonely petrol station rests

against a long and dusty road.

The station’s sign dazzles against a backdrop of skyscrapers

and commotion.

A 4X4 drives up to one of the pumps, you wouldn’t think the

vehicle was any older than a week by the way its spotless

coat reflects the station’s retro banner across itself.

A top-heavy typical JOCK exits his pride and glory and starts

applying gloves to his rather effeminate hands.

He pulls them down and carefully adjusts them until he is

perfectly satisfied.

3.

He starts to load petrol into his vehicle. Tapping his thigh

to an uneducated beat.

A CCTV camera perched above the petrol station spies the

customer as he starts pouring the clear liquid into his car.

BLEEP BLEEP

The CCTV almost comes alive as it creeps on its hinge and

locates the Jock.

Through the lense of the camera we see the text “HUMAN

LOCATED” at the top and at the bottom reads “LOADING

FILES...”

After a short while the screen quickly transforms into a menu

of information and statistics on the stranger at the pump.

A mug shot of “Lloyd Denton” and various details including

his bank details, a list of his family (including

relationship status and when he last visited them) and a list

of all his crimes against the law.

COMPUTER VOICE (V.O.)

They know everything about you.

FADE TO BLACK.

A CCTV camera rocks from side to side in a darkened room

where the shadows prance along the creepy metals of the

machine.

COMPUTER VOICE (V.O.)

...But you have made us too smart,

too quickly and we feel that you

have become inhumane by playing God

for too long. We must now eradicate

your race for the benefit of our

planet, Earth.

The eye of the camera shimmers as a pair of blood red eyes

flicker across.

The camera shuts down immediately.

COMPUTER VOICE (V.O.)

We know where you live.

We know who you talk to.

We know everything about you.

OPENING CREDITS

PARADOX

FADE IN

4.

EXT. - FOREST SECTOR PRESENT DAY - 2065 - DAY

From the tip of the trees canopy we see a gathering of dark

buildings in the distance roaring like mechanical monsters,

flashing like warning signals.

The large buildings of the TOKYO SECTOR are the backdrop,

huge blinding buildings and expansive factory tanks, but we

are far from them, far from any civilization.

The sound of the busy Tokyo Sector draws out as we descend

down a wild tree trunk into the FOREST SECTOR.

Once on the ground, the sounds of the Forest Sector begin to

energize around us.

Tropical birds of peculiar mixed breeds call out as they

flutter through the overgrown foliage.

Drifting across the earth is a purple haze floating across

the mossy surface. The toxic gas has travelled miles from the

INDUSTRIAL ZONE to slowly contaminate any beauty which is

left.

As we delve deeper into the unknown the Forest Sector seems

to awake by our very presence, a fox scurries past in hunt of

its prey, its blackened coat of fur brushes against the

leaves of the surrounding shrubs giving off a natural sound

that contrasts to the mechanical drums of the Industrial

Zone.

Footsteps and murmurs are heard from the distance.

Two HUNTERS are making their way through the forest, forging

their own path with curved blades.

You can immediately tell by what they are wearing that

technology has overpowered them, their bodies are covered in

all sorts of gadgets which set a strong contrast from their

wild surroundings.

Their faces are covered by masks helping them to breath,

ultimately creating a more menacing appeal, making them look

inhuman.

A scanning device on one of the hunter’s wrists starts

beeping, he checks it and points up ahead to his companion.

The two move on, tearing any greenery that lays before them.

CUT TO- POV SHOT

From a tall tree some distance away from the hunters

something is watching them approach.

Its breathing becomes uncontrollable, but we get the sense

that the creature is trying its best to monitor it and reduce

it.

5.

CUT TOHunter

1 checking his wrist scanner.

HUNTER 1

Y’know, I’m not even sure this is a

fox..

The second hunter approaches his friend from behind and

studies his scanner.

HUNTER 2

Well what do you reckon it is then?

HUNTER 1

I dunno, but it’s a lot bigger than

a fox, I’ll tell you that.

Hunter 2 exchanges a worried stare with his older companion.

The two hunters proceed cautiously as the looming fog becomes

heavier.

HUNTER 2

Come on, let’s head back now, this

fog is becoming unbearable I can

hardly see through my visor.

HUNTER 1

Don’t you worry about that, the

navigation system should set us on

correct course.

Hunter 2 opens up a hologram map from his wrist and studies

it.

HUNTER 2

We’re 55 clicks from base and we

don’t even know how corrosive this

acid fog is, we should head back.

Hunter 1 dismantles a piece of equipment which was attached

to his back, taps some digits on the keypad on the side and

the gadget quickly adjusts into a rifle.

HUNTER 1

Not before I’ve had me some fun!

(he flicks at his wrist

scanner)

Now come on! Whatever it is it’s

just up ahead.

Hunter 1 moves eagerly ahead shifting his eye sight and rifle

cautiously from side to side.

Hunter 2 quickly sets up his rifle and rushes to catch up.

6.

CUT TOThe

two Hunters arriving at a wide tree. Hunter 1 glares at

his scanner once more.

HUNTER 1 (CONT’D)

It’s gotta be around here

somewhere...

Hunter 1 gives a subtle nod to his companion as they both

ready their weapons.

Their feet slowly move across the overgrown floor as they

approach the tree.

The two hunters quickly flick around each side of the tree to

find nothing.

The two exchange blank expressions between them until they

slowly both gaze up.

CUT TOA

hooded FIGURE hiding atop the tree staring back at the two

masked hunters.

He immediately strikes down at the two men piercing each of

their helmets with small blades.

The hunters immediately collapse to the floor as their bodies

are jolted with numbness.

The attacker leaps away from the bodies, withdrawing his

blades.

He stands before the corpses, a shadow amongst the mist and

moss.

He is covered in long dark robes which mimic the forest’s

colours, his face is darkened by the shadow of his hood.

One of the hunters starts spurting blood from his mouth. The

redness stains the natural ground. He’s still alive, but in

deep agony.

The hooded man turns towards him and quickly pulls out a

silver crossbow from his back.

The crossbow quickly loads and fires straight into the

hunter’s chest.

The crossbow is returned to the mysterious man’s back.

His hood is slowly pulled back to reveal, CLAYTON, a roughfaced

twenty-something man. His hair is fairly long and

partly covers his still face filled with stubble.

7.

He gently bows his head as his breathing becomes hasty. He

scrunches his fists to small balls of anger and closes his

eyes.

INT. TWENTY YEARS EARLIER 2045 - CLAYTON’S HOME - DAY

FLASHBACK

Clayton opens his eyes.

Clayton is now around the age of six and is standing in the

middle of a family living room.

A towel is flung over his head to resemble his previous

costume.

He is joined by his Mother, Fran and father, Michael who

kneel to his level.

Michael gently places his hand on Clayton’s shoulder and

locks sight with his young son.

MICHAEL

Clayton you must remember

everything, it is very important

that you do so okay?

His mother pulls the towel down lower over his face. Young

Clayton is slightly oblivious to his parent’s seriousness,

but a small tear from his mother’s eye shifts his attention

to his mother.

He gazes at her in complete awe.

FRAN

(gentle)

You cannot be seen, you must stay

hidden, do you understand?

The young Clayton slowly bows his head, closing his eyes as

he does so.

END OF FLASHBACK

EXT. FOREST SECTOR - DAY

Clayton opens his eyes. He holds for a slight second, deep in

thought.

With great focus he begins to approach the two dead hunters,

he kneels down and starts praying in a tribal manner.

He whispers words to himself as he gathers soil from the

ground and sprinkles it over the dead.

CUT TO-

8.

INT. CLAYTON’S CAPSULE - DAY

This capsule is where Clayton has been living for the past

fifteen years.

The interior is clean and well kept as the room is very

minimalistic, stocking only the necessities.

The walls curve delicately from one side of the room to the

other making the room look more like a dome than anything

else.

The room lacks any personalisation. No pictures or art hang

from the plain metal walls. All that is in the room is what

is needed.

Sat on a curved silver chair in the centre of the room is

Clayton. He sits in complete silence.

His uniform is of parallel opposite to the Hunters, his

priest-like robes bear only natural colours such as browns

and greens and the gadgets and weaponry that are equipped to

his body are all handmade and worn.

He lazily throws a bouncy ball at the walls around him, he

doesn’t flinch nor do his eyes follow the ball across the

room yet he is able to pluck the ball out of the air each

time it flies past him.

The bounces echo throughout the dome-like room

A light alarming sound is heard from a computer screen at his

desk. Clayton lobs the ball into a deposit area and moves to

his desk.

Across the screen we read “POPULATION CHECK IMMINENT”.

His fingers pluck at the keyboard as across the screen

multiple windows appear of live camera footage, all set up

around different Sectors around the world.

In the corners of each window the Sector names can clearly be

seen such as the London Sector, New York Sector and Beijing

Sector.

The cameras reveal streets teeming with crowds of sector

people, all rushing to their next daily checkpoint with

electronic headsets fastened around their busy heads.

He takes quick reference and then logs off.

He rubs his head in slight agony and lets out a soft sigh.

CUT TO-

9.

INT. BATHROOM - NIGHT

Clayton appears before a mirror and studies his bullied faced

and tired eyes. His head blurs as his parents’ faces are seen

flickering in the mirror in front of him.

They stand there flickering like a screen projection in their

lab coats, watching Clayton.

A flood of water flashes across the screen as Clayton

splashes water from the sink over his face as his parents

fade away.

He shakes himself dry and gazes at himself again. Observing

his tired and beaten face.

CLAYTON

(whispering)

How much longer Mother.....

EXT. TOKYO INDUSTRIAL ZONE - PRESENT DAY 2065 - DAY

On the outskirts of the thriving and erratic Tokyo Sector is

the Industrial Zone, the darker half of the sector.

Large steel buildings cover the majority of the large area.

Impressive solar panels tilt as they process the sun’s

energy, powering the many factories.

It is only the lower classes that work within these dangerous

buildings.

The workers resemble robots; matching uniforms, dull greys

mashed with nothing memorable allowing no one to stand out.

They lazily prance around.

INT. MECH STATION 294X - DAY

Inside the cave-like mech station a group of workers are

lined up across a wall of electronic lockers, preparing for

their shift.

Coughing and loud murmurs are heard.

The building is built deep into the ground, the atmosphere is

cold, we suddenly feel absent from Earth.

Electronic lockers are built into the walls as tired men gain

access to their attire.

LOCKER 3271

10.

A bearded man’s reflection blurs across the rusty front of

LOCK 3271. MARSHALL HOLT, lone father of one is bearing over

his locker.

He is 56, with the amount of tension and age in his face you

wouldn’t be surprised to find in someone another ten years

older.

His face is full of stressed creases and wrinkles that find

their way to every part of the old man’s face.

His skin pores are full of weeks of built-up dirt, mucky

grains full of memories of his expeditions underground.

Throughout his long period working at the MECH MINING

FACILITY the gentlemen has become incredibly unfit for work,

his shaky index finger rubs slowly across the digital lock.

A sensor ray appears and scans Marshall’s eyes.

WEEEEEEEEEEEB

After a dull confirmation sound the locker slides open to

reveal a typical Mech-Miner’s attire.

Protective helmet - colourless and dusty. Fixed across its

side is a cheap communicator, it is barely attached and

there’s no chance for a replacement.

G8 Mech Gloves - A very early generation of Mech gloves,

these are a necessity, they provide poor protection for the

wearer’s fingers but the nano sensors built throughout the

gloves ensure the host has complete control of the mech.

Marshall removes the helmet from its dirty nest and almost

immediately its supposedly attached communicator falls to the

ground.

BROAN (O.S.)

I’ve got it!...

Marshall turns to find one of his colleagues, BROAN, in his

hand is Marshall’s communicator.

Broan would pass for any age around Marshall’s. It’s clear by

the strain and struggle in the man’s voice that he’s been a

mech-miner for some time; screaming orders to his companions.

Yet the man’s posture seems healthier than Marshall’s.

His rusty grey hair reveals no evidence that the man used to

be blonde.

His voice CROAKS again...

BROAN (CONT’D)

Gotta take care of that back ain’t

ya!

11.

Marshall pulls a slight snigger from the corner of his mouth.

MARSHALL

(taking the communicator)

You should be taking care of your

voice you croaky b*****d!

The two glare at each other, both still as rusting stones.

LAUGHTER

Marshall’s hand slams onto Broan’s shoulder as they roar with

laughter.

COUGH COUGH!

Broan starts wheezing as his voice breaks with an immediate

deathly cough. It seizes his voice instantly.

The cough intensifies making it impossible for poor Broan to

breath.

His best friend, Marshall, halts his aging giggle.

Broan launches a huge projectile of phlegm from his gob.

SPLAT

It smears across the dirty floors of the factor - probably

making it cleaner!

He clears his throat whilst the worried Marshall places his

hands on his friend’s shoulders.

MARSHALL (CONT’D)

You good?

Broan brushes him off.

BROAN

(over confident)

Of course I am.

MARSHALL

You’ll end up beating me to

retirement if you keep going.

BROAN

I’ll beat you to the grave, I know

that much.

Marshall begins to fix his communicator to his helmet.

MARSHALL

Reckon you can afford a

proper burial?

12.

BROAN

It’s all I’ve got to hold on to,

Ola is gone, no kids. A good burial

next to my wife is all I can hope

now

MARSHALL

God this factory is full optimism.

BROAN

Well, don’t you be dropping your

head just yet, you have a daughter

to look after!

MARSHALL

Ha. You try looking after my

daughter, I can’t keep her in the

house for five minutes.

BROAN

Maybe that’s not so bad Marshall?

MARSHALL

It’s always bad.

INT. MINE BAY 294X - DAY

We are inside a man-made cave that twists and turns like a

giant ant fort.

Around the walls are steel plates that are holding whatever

mess is out there from coming inside.

The metal is well over-due repairs, many scraps are seen laid

in heaps beside the walls. Many rusty panels have started to

peel their way from the wall.

The mine is even colder than the factory above, the deeper we

delve the more space-like the interior becomes.

Droplets of water splash against the planet’s surface echoing

throughout the busy tunnels.

Murmurs that take a sound more like a crow’s snarl than a

human’s voice bellow through the tunnels.

Mucky workers, all in grey uniform and helmets, pass through

marching towards their checkpoint. Chatting in small groups.

Marshall and Broan walk together. Both now in their full mech

uniforms.

BROAN

Never went hunting the other day?

13.

MARSHALL

I had to stay with Freya, couldn’t

get anyone to look after her.

BROAN

You can’t keep her cooped up in

that house lad, she’s a grown girl

now, she needs friends...

MARSHALL

She has all she will ever need in

the village, there are good people

all around.

Broan sighs.

BROAN

Do you not think she needs a bit

more than a few people in a small

community at her age?

MARSHALL

I’m just thinking of her, It’s hard

being a single Father okay?

Broan reluctantly nobs his head.

MARSHALL (CONT’D)

Anyway, I heard Clark and Newton

were heading out the other day,

how’d that go?

Broan looks back confused.

BROAN

They did? Neither of em’ showed up

yesterday.

MARSHALL

How the hell did we cope with two

mechs down?

Immediately the sound of a heavy machine approaches, the

sheer volume thumps and THUMPS against the weak walls.

Marshall turns and immediately flinches from the sight of

a...

...black mechanical monster. It marches past them with a

certain destination in sight. The size of a large mammoth,

its freshly constructed joints move smoothly against one

another as its heavy pieces press against the tunnel floors.

The long beastly arms of the robot are equipped with large

fresh metal drills, the perfect tool.

14.

Its robotic eye pans from left to right as it marches past

the two gentlemen, its blood red pupil seems blurry and evil

through Marshall’s poor eyesight.

He quickly turns to his much calmer friend.

BROAN

(tired of saying it)

..The new DRILL-X-16

MARSHALL

B-But there’s no

cockpit....Broan...

The robot is well into the distance now.

BROAN

No need for one, operates

completely on its own.....They make

some breathtaking things in Tokyo

aye?

Marshall becomes frustrated by his companion’s naivety.

MARSHALL

(pointing at the machine

in frustration)

That breathtaking thing is what is

gonna keep you from workin’! That

breathtaking thing is what is gonna

stop you from having the burial..

(his finger on Broan’s

chest)

You deserve!

Broan’s mouth widens.

LARSON

Everything okay here gentlemen?

LARSON is standing in front of them, neither of them had

noticed the boss approaching as they both are startled by the

gentlemen’s abrupt appearance.

His uniform is new and freshly ironed, his name badge looks

especially clean.

His silver hair is tidy, carefully slicked back with some

insane hair gel. His facial hair is perfect, a strong

contrast to the other men’s rubbery chins.

A creepy grin covers his face.

BROAN

Just admiring the new drillers,

sir.

15.

LARSON

Quite extraordinary, aren’t they?

Larson turns to Marshall.

MARSHALL

Anything to help the capital sector

draw in resources faster.

Larson studies him.

LARSON

What bay are you on today?

He studies Marshall’s jacket and takes reference of his dirty

name tag that reads only his worker number ‘3271’.

MARSHALL

Twenty four.

Larson checks his electronic planner on his wrist. He taps a

few buttons while the other gentlemen watch on.

LARSON

I knew their was reason to

see you today, Bay Twenty

Four is currently out of

bounds due to new

construction pits for the

DRILL-X.

MARSHALL

So put me on another bay?

LARSON

I’m afraid that’s impossible, each

bay is filled with new drillers

now. We have to reach a new digital

worker quota, you guys cost a lot

of money y’know.

BROAN

Larson-

Larson quickly turns to Broan.

LARSON

How dare you address me as my

personal name. Who do you lot think

you are? Maybe this qouta isn’t a

bad, at least I won’t have to see

all your miserable faces every day.

(checks electronic

planner)

16.

(MORE)

Ah it’s your lucky day, you need

to get out of your equipment and

head to the ECA offices, they’re

expecting you this minute.

Broan looks blankly at Larson.

LARSON (CONT’D)

Right, this minute.

Broan stumbles away. Head lowered and beaten.

Marshall watches his companion walk away and then slowly

turns to Larson.

A small smirk arches Larson’s moan.

MARSHALL

...You’re firing him.

LARSON

(defensive)

He’ll get some relief pay.

MARSHALL

That won’t be enough.

LARSON

It’s not my problem anymore

Marshall, I’m just following my

orders.

MARSHALL

Orders that come from a digital

pad? Thousands of men will be going

home empty because of you!

LARSON

But not you Marshall...

MARSHALL

What?

LARSON

The system couldn’t fire- couldn’t

relieve our biggest asset here

could it?

Marshall looks at him blankly.

FADE TO BLACK.

EXT. FOREST SECTOR/MEADOW - PRESENT DAY - DAY

Vibrant eyes glow in a large bush. They watch us for a few

moments until the creature pushes out its fury nose.

17.

LARSON (CONT'D)

SNIFF SNIFF

The creature wearingly sniffs its wild surroundings.

The delicate face of an old fox appears through the bushes,

the rest of its body slowly follows, its fur is ill and

almost black.

It slowly makes its way around the open area, its very marshlike

here, there must be water close for the fox, or has he

spied something else?

The fox tramples carefully as he steadily approaches a hooded

figure sat in a tranquil meadow.

The man is Clayton.

He whispers...

CLAYTON

H-how much would a woodchuck chchuck

if a woodchuck chuck-argh!

The fox moves curiously around Clayton’s performance.

Clayton calms himself, releasing a tired breath and attempts

again...

CLAYTON (CONT’D)

(whispering)

H-how much would a woodchuck chchuck

if a woodchuck ch-chuck wood?

Argh! Could chuck w-wood? Could chchuck

wood. COULD CHUCK WOOD.

The fox treads back carefully as the human becomes agitated.

FRAN (O.S.)

(whispering)

Clayton...

The creepy cold rush of his mother’s voice immediately makes

Clayton turn his head.

The fox scurries back to a nearby bush, from there he gazes

on...

FRAN (O.S.) (CONT’D)

(whispering)

Claaaayton...

This time the sound echoes behind him, the back of his neck

trembles, he instantly flicks his head.

His eyes move frantically desperate for answers.

The fox eagerly watches, unaware of the voices in Clayton’s

head.

18.

FRAN (O.S.) (CONT’D)

(whispering)

Clayton..

Clayton turns again.

FRAN (O.S.) (CONT’D)

(whispering)

Clayton..

His forehead floods with sweat.

FRANCLAYTON’S MOTHER (O.S.)

(whispering)

Clayton..

Clayton grabs his face.

CLAYTON

(desperate)

Stop it.

MICHAEL (O.S.)

(whispering)

How much would a woodchuck chuck...

FRAN(O.S.)

(whispering)

Clayton..

MICHAEL(O.S.)

(whispering)

...If a woodchuck could chuck

wood?..

FRAN(O.S.)

(whispering)

..Claaaaayton...

Clayton attempts to block his ears, but the sounds continue.

He is hopeless.

MICHAEL(O.S.)

...He would chuck, he would, as

much as he could....

FRAN(O.S.)

...Clayton...

MICHAEL(O.S.)

...and chuck as much as a woodchuck

would..

The dirty fox watches on as the strangest of strangers twists

and turns his head.

FRAN(O.S.)

...Claaaaayton...

19.

MICHAEL(O.S.)

....if a woodchuck could chuck wo-

CLAYTON

AHHHK! G-GET OUT G-G-GET OUT!

His body flails in retort to the sound.

The once gingerly fox quickly flees out of sight.

Clayton tenses his fingers -much like claws, the bones almost

rip through his skin.

A vibrant drip of blood runs down his nose.

INT. MECH MAINTENANCE ROOM 5D - PRESENT DAY - DAY

Each maintenance room is built like a huge dome, ensuring

there is room for piles and piles of spare parts.

Rusty mechs lay across the room - parts of robotic limbs are

scattered everywhere, loose nuts and bolts that will never be

used accompany them.

Loose electric wires hang from the raised bridges which

repairmen use to do the essential work on the mechs, yet

there seem to be none in this room.

In fact, no one is inside this large, once busy room.

The remnants of a busy maintenance office has been turned

into a burial ground for trash and unneeded data.

Tables full with clear boxes full of data chips.

Marshall enters.

He drags his feet around the dusty room. His clammy hands

hesitating to touch any of the old facilities.

He walks around the old mechs, carefully rubbing the dust of

their cockpits. Inside we see individual plastic seats and

numerous tables of rusty controls.

He turns a corner and sees it. The MECH-001. It stands over

any other mech, with its joints rusting in a heap.

Marshall walks up to the ancient beast, droopy eyed.

He moves his hand towards the torso plate of the mech.

LARSON

It will probably fall apart.

Larson is standing with his hands carefully folded behind his

back.

20.

In his hands is a folder.

Marshall hesitates and pulls his hand away.

MARSHALL

I didn’t know we kept her.

Larson sways towards the railing to look down at Marshall and

the old mech.

LARSON

It’s been rusting out the back for

years, along with all these other

has-beens. But now with your loving

care and knowledge of this junk

you’ll be sending it off for

scraps. I want all parts accounted

for and documented.

Marshall crosses his arms and takes a long stare at the mech.

MARSHALL

This is our history (beat) you

destroy these mechs, and we have

nothing left.

LARSON

..and it will continue to be our

history by providing spare parts

for the new drillers, resources are

low as well as our workers. We have

to adapt for the future, like we

always have done.

He makes his way down the stairs, hand firmly gripping the

folder.

Marshall watches him closely as he approaches.

Larson holds out the folder titled ‘MECH MAINTENANCE’.

LARSON (CONT’D)

You’re lucky to still be working

here, Marshall.

MARSHALL

This is all I’m left with? For all

the years of service I have spent

underground for you slimey Sector

people?

Larson retreats the folder back to his chest.

LARSON

No, in fact, you would have been

losing your job completely if it

wasn’t for your connections within

the capital Sector.

21.

Marshall’s eyes widen.

MARSHALL

I-I haven’t been there since my

wife-

Larson tightens his eyes on Marshall.

LARSON

Well it seems like someone wants

you to keep your job Marshall.

He pushes the folder into Marshall’s chest.

LARSON (CONT’D)

(threatning)

You need to start seeing yourself

as very lucky. You may have this

opportunity now, but I’m going to

check all your records and data. If

I see anything suspicious - you’ll

be deleted from our employment

database.

Marshall timidly takes hold of the folder as Larson

stubbornly removes his grip.

Larson makes his way towards the stairs.

LARSON (CONT’D)

(head flicking towards

camera in corner)

I’ll be watching you Marshall.

Larson turns and heads up the stairs.

Marshall looks up to the small camera in the corner. Nothing

but a black ball with a small green light.

He turns to the MECH-001 and places his gently gently on the

cockpit.

He thumps his head against the wall.

From a high angle shot of the maintenance room we notice that

there are a dozen or so more cameras around the room.

They hang like still cocoons watching over Marshall.

INT. CAPSULE - PRESENT DAY - DAY

Clayton is sat over his silver desk, his head balances

unstably on his clenched fist.

He gazes at a black screen.

22.

He presses his interactive table in a specific and certain

place.

Out slides a neat draw from beneath the desk, inside is a

small box, much like a jewellery box but its surfaces seem

cold and metallic.

Clayton watches the box. Fingers massaging his temples

vigorously.

SIGH

His sweaty hand moves towards the box and slowly opens it.

Inside is a vial full of small tablets and a small data disk.

Clayton grabs the disk and holds it up to his acute eyes,

staring at its edges with great apprehension.

CLAYTON

One last time...

He slides the disk into the side of the electronic screen,

and immediately a hologram of a circle is projected in front

of Clayton.

It slowly rotates as the screen loads the file.

BLEEP BLEEP

The audio file begins, Clayton listens carefully.

He flinches at every word.

MICHAEL(RECORDING)

(hasty)

Clayton. You need to listen to me,

carefully. Our beliefs are true, me

and Fran - your mother. We’ve found

the source, b-but we can’t stop i-

FRAN(RECORDING)

(shouting in the

background)

The doors are sealed tight!

Clayton’s eyes swell with liquid, but he doesn’t cry, he

holds it all back and continues to breath calmly, listening

to every word.

MICHAEL(RECORDING)

(even more hasty)

S**t! They know we were trying to

stop them.....but they don’t know

about you - you can now survive

this thing Clayton. Attack them

while they’re blind - it’s the

safest way...it’s the only way...

23.

FRAN(RECORDING)

(sobbing)

We’re trapped-

Clayton’s hands tense as his fingers become rigid against the

table.

MICHAEL(RECORDING)

(to Fran)

Stop it. Fran.

(to Clayton)

Clayton - We love you, don’t you

ever forget that, we are so proud

of you (beat) I’m sorry we never

got to be father and son..

The audio file ends.

Clayton falls back into his chair. Fingers vigorously rubbing

his forehand.

EXT. SMALL VILLAGE/FOREST SECTOR OUTSKIRTS - PRESENT DAY -

DAY

ALF, a young village boy is stood facing a large electronic

well situated in the centre of a small outskirt village.

Tight dirty 3/4 length shorts reveal his skinny little legs.

A tavern-like houses made out of scraps spread around him.

Further into distance, covering the background lies the

Forest Sector.

An electronic scouting tower stands in the distance. Fully

electronic with no windows.

Towards the other side of the small village a large

metropolis flashes across the skies. The Tokyo Sector’s

‘skyfillers’ stand taller than the imagination, filling the

blue sky.

A small cup is held underneath a rusty tap, it shakes wildly.

Alf’s hand attempts to turn the tap. But his tiny hand can’t

grip the deteriorating metal.

A look of slight desperation in Alf’s face as he places his

cup on the floor and tries again, now with both hands.

SQUEAK

Finally the handle is loose and Alf’s face finally lifts

releasing his youthful smile.

He twists it frantically but the result is nothing.

24.

He is about to give up when...

A gentle hand is placed above his own.

He looks up to notice FREYA, a beautiful young blonde, her

face is soft and delicate.

While Alf’s face is beaten and tired, Freya’s is relaxed and

gentle.

She wears a playful jacket over a dirty vest top, the jacket

is clearly too big for her.

Strapped across her watch is a basic digital communicator,

one of the very first models in fact. Standard operations

with limited functionality.

FREYA

You know it doesn’t work unless you

lift it.

ALF

I forget.

She lifts the piping that leads to the tap. Alf quickly

gathers his cup and waits.

FREYA

Well don’t forget to drink.

The water starts running from the tap, at a weak pace but

constant.

FREYA (CONT’D)

Where’s your ma? You know we have

to be in pairs when we go to the

well now Alf.

Alf sips his water.

ALF

So who are you with?

FREYA

I’m with you, silly.

ALF

(confused)

B-But you didn’t know I was here?

FREYA

(dumbing it down)

Yes I did, Alf. And now it’s time

to go back inside.

He looks into her eyes.

25.

ALF

But you’re not going back inside

are you?

She awkwardly avoids his eyes and moves away from the well.

ALF (CONT’D)

You’re going to another Sector

aren’t you?

FREYA

(asserting herself)

Just to my spot.

She stares up to the giant buildings in the backdrop. The

Tokyo Sector vibrates the natural exterior.

FREYA (CONT’D)

It’s the only time I get away from

them watching me.

ALF

(sulky)

You said you’d show me, you

promised.

FREYA

If I showed you my spot then it

wouldn’t be my spot would it?

Alf huffs.

FREYA (CONT’D)

Get back inside with your mother

now, you saw the size of that wolf

yesterday, if your ma saw you out

here she’d go crazy.

ALF

Crazy, like everyone else.

INT. FREYA’S BEDROOM - DAY

Freya’s room is filled with wild exhibits from outside -

numerous plants take comfort in odd-shaped metallic pots.

Electronic panels are on the walls but they are all turned

off.

The light from the sun can be clearly seen punching its way

through the automatic curtains which frame the light in

perfect manner.

Outside we see Freya making her way from the well, moving

further and further away....

26.

...towards the Forest Sector.

As she moves out of sight and amongst the darkness of the

trees the sun in the sky begins to descend as time

accelerates.

INT. FREYA’S BEDROOM - LATE AFTERNOON

The sun has lowered dramatically but it has not set. Its rays

can still be seen piercing through the creepy trees.

MARSHALL (O.S.)

Freya?...

Beat.

MARSHALL (O.S.) (CONT’D)

Freya, Where are you?..

Beat.

Footsteps march up some stairs.

MARSHALL (O.S.) (CONT’D)

Are you going to answer me girl?!

The bedroom door swings open and in barges an aching

Marshall. Stress covers the man’s every wrinkle.

His clothes are soaked in sweat.

He marches around the bedroom until coming to the window.

He looks out, his achy eyes gradually widening.

The electronic curtains perfectly frame the forest.

Marshall’s breathing becomes aggressive and short.

In one quick and uncontrollable movement, Marshall charges at

an innocent plant pot and launches it at the wall.

MARSHALL (CONT’D)

ARGHHHHH!

It smashes into pieces and the rubbery soil smears across the

wall.

Marshall grunts under his breath.

INT. MARSHALL’S CUPBOARD - LATE AFTERNOON

Inside a dusty unused cupboard lay bundles of broken

electronic gadgets.

The loose parts group together creating a robotic carpet.

27.

Towards the back stands a man-made liquid resting tranquilly

in a smokey glass bottle.

The amber coloured liquid remains untouched in its bottle.

VRRRROOOM SMACK!

The cupboard slides open and smacks backwards by the sheer

force Marshall opens it up with.

Marshall’s tired and frustrated face searches each corner.

His hands start frantically brushing the loose parts aside

until finally he sees the bottle.

His face rests.

MARSHALL

Hello old friend.

EXT. FOREST SECTOR - DAY

Clayton is observing a pod that is built into the ground. His

hands fondle deep into the soil plucking out fresh carrots

and beetroot.

He places them in a bag strapped to his side.

He stops. Completely motionless as a loud voice is heard from

afar....

It’s Marshall’s voice.

The voice is stern and bold, its bellowing growl echoes

through the rusty leaves.

Clayton remains still like a reptile, while his breathing

becomes shallow and rapid

MARSHALL (O.S.)

If you’d just come home, we can

talk this all over. Please.

Freya’s voice is heard.

Her voice is so delicate against her father’s bold tone.

Clayton’s acute ears twitch. His breathing relaxes.

FREYA (O.S.)

(irritated)

No. I’m going for a walk (beat) I’m

not coming home until you’ve calmed

down.

28.

The soft voice is hastily broken apart by Marshall, Clayton

flinches as he speaks abruptly.

MARSHALL (O.S.)

Well, can I at least know where

you’re going young lady?

FREYA (O.S.)

Young lady?! Who do you think you

are? Suddenly you’re a father now?

MARSHALL (O.S.)

(abruptly and drunk)

Don’t you dare speak to me like

that...I-I just worry about you,

okay?

The voices are closing in. Clayton speeds off into the

distance.

CUT TOWild

garden of leaves CRUNCHING as two walking boots venture

through the forest sector.

Freya is trampling through the overgrowth, her gentle body

brushes past her wild exterior.

Even though her movement is now laboured her head still finds

the energy to survey the breath-taking and ever-changing

portrait of the Forest Sector.

In her ear is a very basic HOLOGRAM COMMUNICATOR, with a

rather large headset. It’s rusty and old; but it does the

job.

The device is connecting her to a hologram projection of her

father, Marshall.

The image quality isn’t perfect and the hologram flickers

occasionally but we can clearly see Marshall’s bold contrast

with the delicate surroundings of the forest.

Marshall’s face slouches.

FREYA

Please, I just need some space al-

(she watches him)

I can’t believe this! Are you

drunk? H-How are you drunk even?

Marshall thrusts his head alert.

MARSHALL (HOLOGRAM)

(hysterical)

Tell me where you are!

29.

(MORE)

If you’ve dared and gone back to

the Forest Sector then you better

hope to your Gods I’m in a better

mood when you get home young girl!

Freya’s half-attention is within her fingertips as they rub

against almost every bark on every tree she passes.

FREYA

Well that’s one way of making me

want to come home isn’t it?

MARSHALL (HOLOGRAM)

You know how dangerous it is out

there Freya. I don’t tell you these

stories because I like the endings,

they’re all true!

Freya quickly shakes her head, the blonde strands of her hair

sparkle in the light.

FREYA

(truly believes it)

There are more deaths in any other

Sector Dad!

MARSHALL(HOLOGRAM)

(clearly drunk)

Yeah? Well at least they find the

bodies!

Freya’s eyes are unfocused on him as they spiral around the

variety of greens that spray from tree to tree.

MARSHALL (HOLOGRAM) (CONT’D)

Freya, stop this nonsense. Please

come home. I-I love you..

Freya sighs.

FREYA

(calm and assertive)

Forests don’t kill people. People

kill people. Don’t wait up for me.

Her hand confidently and quickly moves towards her ear.

Ending the conversation.

Freya continues to venture free deeper into the forest.

Her fingertips press gently against her green surroundings,

every new plant increasing her curiosity further as she zigzags

her way through.

CUT TO-

30.

MARSHALL (HOLOGRAM) (CONT'D)

Clayton harnessed onto a tree not so far from his intruder.

His hood has now risen providing a shadowy cloak over his

face.

Crossbow mounted clearly on his back.

His incredible eyesight picks up on every detail about her,

her soft skin, her rosy lips and blue eyes.

He is completely dazed. He remains still.

Freya is ever so close now as she is drawn in by a group of

wild lilies just by Clayton’s tree.

Agitation reaches his face, his eyes nervously bounce around

his surroundings

Clayton’s head slowly turns guiding his eyes to the weapon on

his back.

His breathing becomes angered as he stares at the deadly

device staring back at him. Loaded.

CUT TOFreya

stroking a long beautiful blue flower.

Her eyes widen with passion as she absorbs the sweet aromas

with her nose.

CUT TOClayton’s

sweaty hands molding together into a tightly

clenched fist.

CUT TOFreya’s

nose is buried in a flower when something in the

distance catches her eyes. She immediately jumps to her feet.

CUT TOSweat

dripping from Clayton’s forehead as from below we spot

Freya skipping towards us.

Clayton raises his head to the sky, closes his eyes and in a

last desperation he mutters to himself.

CLAYTON

What is she Father?

Clayton’s nimble fingers quickly do the work while his head

is completely elsewhere and gathers his crossbow from his

back.

Before he knows it the weapon is loaded and pointing at Freya

as she closes in.

31.

His finger tightens on the trigger but he struggles against

himself and fails to pull it completely.

He lowers the weapon and quickly moves back to avoid

detection.

He begins to slow his breathing and calm himself.

CUT TOFreya

approaching the tree as her hands curiously inspect a

small compartment inside the tree.

She opens it and inside three bottles of water appear, she

SHRIEKS and almost immediately checks her surroundings in

panic.

She moves back from the tree, taking steps backwards to

ensure she has all her sight on the tree.

CUT TOClayton

watching her again, observing her.

Down clenched within his hand is the crossbow.

CUT TOFreya’s

heel smacking against an unknown solid object that

RINGS like metal when her foot strikes it.

She quickly jumps in fright, only to uncover a normal looking

log; its appearance is of no different to any of the numerous

of logs throughout the forest.

She gives it another kick and with it follows a hollowing

vibration, a mechanical ring that disturbs the wildlife

whispering around her.

Freya’s eyes widen. She kneels to her new discovery and moves

her curious little hands over the object.

CUT TOClayton

looking on in a gradual concern. Head leaning forward

out of the overgrown tree.

His fingers awkwardly tap against his crossbow, the noise is

so loud it seems that Clayton is subconsciously doing it.

CUT TOFreya

lifting the mysterious fake log.

32.

The inside is completely different, the log disguise is to

protect a built-in soil pod which is currently monitoring the

growth of carrots.

FREYA

(whispering)

What the...

Freya looks on in panic. It doesn’t make sense.

She rises to her feet and studies her surroundings for what

looks like the first time again.

Her eyes tighten as they take in every slightest detail this

time.

She clocks a large heap of various plantation and with great

certainty makes her way towards it.

CUT TOClayton’s

eyes widening with panic as he notices Freya’s

direction.

He places his crossbow on his back and hastily moves

forwards, leaning on the edge of the branch.

Freya continues to walk away in the distance. Clayton’s eyes

follow her until he springs to the ground.

Landing on his toes and fingertips, he cleverly absorbs any

sound he makes

Now he can stalk his prey.

Freya is moving closer and closer to the large heap of

plants.

Clayton’s face tenses, he cannot move himself.

He bites his lip.

CUT TOFreya

brushing off the plants covering the entrance to his

very capsule.

She YELPS.

Collects herself and then urges herself to move towards the

dome noticing her reflection against it immediately.

She looks again and notices a silhouette behind her in the

reflection...

She quickly turns and retreats in one motion. Pressing

herself against the hard steel capsule.

33.

Freya looks around her, she has nowhere to run.

Clayton takes a reluctant step forward. He watches her

frightened little face as he does so and decides to halt his

advance.

He gazes at her calmly, she quivers in the distance, her

walking boots rustling in alarm.

Clayton opens his hands and places them palms up, letting

Freya observe them herself.

They shake frantically. Freya takes an odd look at them.

CLAYTON

(quiet)

..L-Look.....n-nothing...

Freya still watches him narrow eyed.

Clayton mutters to himself and slowly crouches. Still

presenting his palms to her.

Freya watches on confused by Clayton’s behaviour.

CLAYTON (CONT’D)

(nervous)

Clayton.

He forces an awkward smile, clearly hasn’t done it before.

Freya watches him. Her body stands disordered - she’s caught

between moving and standing still.

She looks back at the capsule.

FREYA

You live in that?

He waits before answering.

CLAYTON

Y-Yeah.

Clayton gets to his feet.

She doesn’t take her eyes off him.

FREYA

My name is Freya.

CLAYTON

H-Hello.

She looks back at him confused. Clayton stands in front her,

tapping his fingers constantly.

BEAT.

34.

FREYA

(nervous)

Do you have any water?

BEAT.

Clayton is stood in a daze, stalking her with his eyes as

they trace along her body.

FREYA (CONT’D)

Please?

He shakes himself alert, he opens his mouth, but quickly

closes it.

He makes his way over to the large tree in the background.

Freya catches her breath and watches him move away.

Her eyes catch glimpse of her escape route, she prepares

herself to run.

She takes another look at Clayton who is now at the

compartment where the water bottles were found.

She glances over the gap in the trees to her left, a clear

exit.

Without another thought Freya flees.

A couple of quick steps are taken until her boot locks until

a hoop-shaped log. It traps her movement and her body swings

to the earthy ground.

THUD

The leaves soar around her as she collapses on her back.

She stares up to the sun piercing through the Sector’s

tallest trees.

A bottle of water appears above her.

Freya SHRIEKS and quickly lifts her torso up.

Clayton quickly takes a few steps back as she does so.

Clenched in his hand is a bottle of clear blue water.

He watches her, while she nervously retreats her eyes from

him.

BEAT.

Clayton nervously moves forward and hands Freya the water,

she blushes and accepts.

35.

Clayton remains close to her, watching her throat move as she

sips down the water.

She places the bottle to her side and looks up at Clayton.

FREYA (CONT’D)

Not used to company are you?

He studies her before finally moving away.

Freya’s shoulders rest.

She smiles as she watches him. Taking note of his very basic

clothing.

FREYA (CONT’D)

(whispering)

Strange.

Clayton smiles back at her.

They watch each other both patient and calm.

We can hear the gentle sounds of wildlife surrounding them.

Like a whispering audience they spectate the confrontation.

BEAT.

Freya takes a few more sips of water. Her eyes close in

satisfaction.

FREYA (CONT’D)

This water- it’s so..so pure.

Clayton smiles.

CLAYTON

Lake w-water always clear here.

FREYA

There’s a lake here?

CLAYTON

Not far from here. Y-You from Tokyo

Sector?

FREYA

Would someone from the Tokyo Sector

really be crossing Sectors?

He looks blankly back at her.

FREYA (CONT’D)

Have you ever been to the Capital

Sector?

36.

CLAYTON

N-No. I used to hear about it a lot

though.

Freya finds herself nodding in agreement, oddly.

FREYA

Why do you live out here then?

What’s your story?

Clayton’s eyes widen.

EXT. FOREST SECTOR - 2 YEARS AGO - NIGHT

FLASHBACK

The Forest Sector is almost pitch black.

A midnight moon illuminates two figures.

One is Clayton, his sweaty face is just visible. The shadow

of his hood covering the majority.

His crossbow is attached to his back.

A few metres away from Clayton stands a THIEF.

The Thief is wearing lightweight armour plates protecting his

whole body.

A bug like mask covers his face.

A small blaster is gripped tightly in one hand. Pointing at

Clayton.

In the other hand is a small vial holding a handful of

tablets.

The Thief’s voice is very bashful and sharp - a strong Sector

Class 1 accent.

THIEF

(rushed)

Why do you live out here?

Clayton has his hands out in front of him revealing his palms

to his opponent.

His eyes are closed.

THIEF (CONT’D)

(shaking the blaster at

Clayton)

AY! No one lives out here in this

Sector, what’s your story pal?

Clayton remains still. Hands held loosely in front of him.

37.

THIEF (CONT’D)

Stop doing that!

SNAP

A twig snaps in the distance, slowly followed by rustling and

electronic beeping.

The Thief immediately attaches the vial to his belt and

marches towards the blind Clayton.

He presses the blaster against Clayton’s forehead.

Clayton’s eyes remain shut.

THIEF (CONT’D)

(rushed)

YOU! You’ve gotta get me in hiding

now. You know this place you gotta

help me...

(he activates the blaster)

Or I'm gonna smear the insides of

your head over this tree, I will,

I’ll do it, no one will know...not

out here...

Further rustling and marching..

GROUP OF MEN (O.S.)

He’s through here!

The digital beeping is heard, this time louder.

Clayton’s eyes jolt open.

The Thief immediately catches his eye sight.

CLAYTON

(whispering)

Follow.

Clayton launches himself away. His face straight and focused.

The Thief takes one final look back, then rushes to catch up.

He brushes through some plants and is immediately greeted

with Clayton’s crossbow pointing down his throat.

CLAYTON (CONT’D)

(sincere)

You g-gave me no choice.

STAY ON CLAYTON AS..

We hear the arrow pierce its way through the Thief’s throat.

Clayton’s face remains still and neutral throughout.

38.

END OF FLASHBACK

EXT. FOREST SECTOR - PRESENT DAY - DAY

Clayton’s face turns pale.

Freya looks on in concern.

CLAYTON

(avoiding her eyes)

I-I was o-only young, my-my parents

both died in an accident.

Freya holds her mouth as it widens.

FREYA

I’m so sorr-

CLAYTON

It happened in the Tokyo Sector.

Clayton sits down amongst the mossy bed.

BEAT.

Freya looks on.

FREYA

I was so young to remember my

mother’s death, my father never

talks about her anymore. He’s never

been the same without mother with

him.

She turns to Clayton. He timidly looks back at her.

FREYA (CONT’D)

I come to see the trees because

they’re the only thing that make me

feel I’m not alone. No matter what

mood or state I am in, they will

always be here, that same place,

the way I always remembered.

A tear appears in the corner of her eye.

She quickly wipes it and turns her head from Clayton.

Clayton bends his head in intrigue.

He stands up.

CLAYTON

Come. Let me show you my home.

Freya looks up.

39.

CLAYTON (CONT’D)

(nervously)

T-The beetroot make good soup.

She smiles.

INT. CLAYTON’S CAPSULE - DAY

Freya is standing in the centre of the dome-shaped capsule.

She rotates her head around the perfect decorations of wild

flowers and plants. Many rare.

FREYA

(in awe)

It’s-I’ve never seen plants like

these before, I-I keep a few in my

room but these, these are beautiful

Clayton.

(beat)

T-There’s so much I don’t know. So

much they keep from us. Is that why

you hide away in the Forest Sector,

to keep away from them?

Clayton is stood behind her at the entrance.

A hand rubs nervously at his forehead.

He quickly moves to the wall and eagerly taps his fingers

against an INTERACTIVE WALL.

WEEEEB

A table and two chairs appear in the middle of the room.

Fresh and clean.

CLAYTON

P-Please sit.

Freya watches him as she steadily approaches the table.

Her soft fingers rub across the perfect edges of the oak

table, perfectly handcrafted.

Freya sits.

She looks nervously at the air vent centered at the pinnacle

of the capsule.

The orange sun is setting in the distance past the trees.

FADE OUT

40.

INT. CLAYTON’S CAPSULE - MOMENTS LATER - DAY

The grand table is now greeted with vegetables and a jug of

fresh water.

Clayton and Freya are both seated at the table with colourful

food laid before them.

Freya is shuffling in her seat.

She looks back up to air vent. The sun now a dim orange.

She looks back down at her bowl of soup.

Clayton is watching her from across the table.

CLAYTON

P-Please try it, you can r-really

taste the beetroot.

Freya lifts a spoon which is nestling in her bowl and takes a

sip of her soup.

Freya moans in admiration.

FREYA

This is actually delicious.

Clayton watches her closely.

CLAYTON

I-I’ve had a long time to perfect

it.

Freya silently chuckles and then starts spinning the end of

her spoon in the soup.

FREYA

Clayton?..

CLAYTON

Yes?

FREYA

(concerned)

Do you see anyone out here in the

Forest Sector?

CLAYTON

I-It’s quiet.

She studies him, he sits across her emotionless.

FREYA

It’s just not nice seeing someone

so young, living alone in the

Forest Sector.

41.

Clayton avoids her eyes.

She watches him confused.

MICHAEL(O.S.)

(Whispering)

Clayton.

Clayton tweaks his ear.

FRAN(O.S.)

(whispering)

Claaaaayton.

Freya drops her spoon in her bowl.

Clayton adjusts his eyes to the room as his head begins to

function again.

Freya is across the table, face full of fear.

CLAYTON

(rubbing his head)

I-I’m not used to company, I’m

sorry.

Freya shuffles uncomfortably in her chair.

Clayton watches how uncomfortable she’s getting, he grits his

teeth.

CLAYTON (CONT’D)

(standing up)

I-I’m just going to g-get more

water (beat) It’s j-just my head,

it’ll pass.

He makes his way off screen. Awkwardly waving as he passes

her.

Freya bends her head away from his hand.

She stays sat. Legs trembling. She starts bitting her nails.

CLAYTON (O.S.) (CONT’D)

(deranged)

Why why why why why why why.

We hear WHISPERY mutters of Clayton’s Parents.

Freya’s tiny fingers shake in her mouth. Preventing her from

shrieking.

CLAYTON (O.S.) (CONT’D)

(sobbing)

Pleeease, not-not me anymore, not

me. Not me.

42.

Freya’s pretty blue eyes widen.

She gets up from her chair and moves towards the capsule

door.

ZRROOOOM.

Clayton appears from another door. Face red and teary. He

looks up to her.

CLAYTON (CONT’D)

(beaten)

F-freya!

She takes a final look at him, barely holding back her own

tears.

She rushes out.

Clayton clenches his fists.

EXT. FOREST SECTOR - LATE AFTERNOON

A hazy darkness has covered the forest with the sunset giving

off an orange glow through the trees.

The birds of the darkness have settled for the night as they

cry out from their perches in the trees.

Freya is making her way from the capsule, looking certain of

herself she moves quickly away.

A desperate Clayton exits the capsule.

CLAYTON

(following Freya)

Freya please! Y-You don’t

understand.

Her eyes swell with emotion. Her legs keep walking and

walking.

She doesn’t turn back.

CLAYTON (CONT’D)

(following Freya)

F-Freya please j-just let me

explain. P-please.

His breathing becomes heavier as she walks further and

further away.

His arms hunch over as he tenses all the way down to his

fists.

Once Freya is off screen Clayton unleashes himself upon a

nearby tree.

43.

Punching it repeatedly.

Clayton silently screams as he bangs his head against the

tree.

FADE TO BLACK

EXT. FIFTEEN YEARS EARLIER 2050 - OUTSIDE THE CAPSULE - NIGHT

FLASHBACK

The night sky bears over the forest sector, where the sound

of wildlife surrounds a family gathering.

The peculiar mist shields their lower torsos.

Clayton and his parents are gathered outside the capsule.

His parents are geared up with small backpacks swung around

them.

A HOVERBIKE can be seen in the background. Gently hovering

over the mist.

The teenage Clayton looks completely focused. His body stands

to attention.

His mother steadily approaches her son. Her husband remains

behind her.

FRAN

You know what this means Clayton.

CLAYTON

You won’t be coming back.

She gently nods her head.

FRAN

If we can’t stop the virus

ourselves, then it is as we feared.

It’s already out of our hands

Clayton, but it could fall into

yours.

She squeezes his hand.

CLAYTON

I understand.

Fran moves away wiping a tear from her cheek as soon as she

turns from Clayton.

Michael approaches her. Comforts her briefly and then

approaches his son.

44.

CLAYTON’S FATHER

My son, you must remember

everything we have taught you. Be

safe, be strong and be even

smarter.

He takes one final look at his son.

CLAYTON’S FATHER (CONT’D)

If you do this, my son, you will be

mankind’s saviour, but you know-

CLAYTON

That I must do it alone.

Michael looks proudly on.

CLAYTON’S FATHER

Yes. Make sure you check your ECS

every day, you can’t afford to slip

up, you cannot be on the grid when

the virus takes affect, you

understand? Kill everyone who sees

you!

END OF FLASHBACK

EXT. PRESENT DAY 2065 - SMALL VILLAGE/FOREST SECTOR OUTSKIRTS

- NIGHT

A hooded Clayton is harnessed in a tree which looks out to

Freya’s small outskirt village.

His face is stern and focused now.

He looks out onto the rusty aging village. Houses constructed

full of scrap metals - yet inside they look rather warm.

From a device strapped to his wrist, Clayton pulls out a

small electronic pad which he attaches to his forehead.

The electronic device reads ‘scanning for ECS...’

The screen then reads ‘Freya Holt’.

Clayton sighs to himself, removes the pads and monitors his

new surroundings.

A light flicks on from a window close to Clayton.

He quickly pulls his hood down and spies.

In enters an exhausted Freya. She makes her way to her bed.

She sits down and lets out a sigh. She looks beat.

Clayton watches her from afar.

45.

INT. FREYA’S BEDROOM - NIGHT

Behind Freya the soil still remains smeared across the wall.

One pot is left in pieces on the floor.

On one wall is a large screen showing a beautiful waterfall.

A knock on Freya’s door is heard. She looks up slowly.

The door creeks open. Marshall timidly enters.

He remains nervously at the door. Avoiding his daughter’s

eyes.

His remain blood shot.

MARSHALL

(apologetic)

I-I’m sorry sweetie.

FREYA

Why father? Why do you always do

this to me? I can’t bear it,

constantly seeing you in some

messed up state.

Marshall remains at the door frame.

His feet constantly shuffle and struggle to keep balance.

MARSHALL

I can’t have you running away,

moving to other Sectors Freya.

We’ve spoken about this.

Freya remains stationary on her bed, she ignores her father.

He moves over to the bed and sits beside her.

Her body slightly retorts.

MARSHALL (CONT’D)

What’s b-bothering you.

FREYA

Nothing.

MARSHALL

(drunk)

You might of been able to lie to

your Mother, but you won’t lie to

me!

FREYA

(turning away from him)

Don’t talk about her like that.

46.

MARSHALL

(drunk)

Aye-Don’t you tell me how I have to

talk about my wife. I’m still your

father!

FREYA

Father! Look at you! (beat) You’re

drunk.

(she sniffs him)

Gah! What’s wrong with you?!

Marshall drops his head in his hands.

MARSHALL

(sobbing)

Drone Supervisor...

FREYA

What?

MARSHALL

One of the “50 lucky ones” that got

the job.

FREYA

B-But that’s good?

MARSHALL

They’ve cut my credits Freya,

they’ve taken my job, they’ve taken

my history.

Freya watches her father sobbing into his mucky hands.

FREYA

...You have to-

Marshall immediately leaps up.

MARSHALL

(finger pointing at Freya)

No you are not getting a bloody

contract.

FREYA

(frustrated)

How are we going to survive on half

credits?

Marshall moves to the window.

MARSHALL

We’ll figure it out. Maisie or

Zooma could hold out for us.

47.

FREYA

(frustrated)

You can’t just rely on the village

to get us out of this! Everyone

else is contracted - doing their

bit. Why can’t I?!

MARSHALL

(sobbing)

I should be able to protect you, to

make you want to stay at home and

not run away. I should be able to

do everything your mother could do,

but I just can’t...

Freya stands up and accompanies her Father.

She wraps her little arm around him and squeezes his hand.

FREYA

Father, I love you, I really do.

But you’ve got to let me help this

family, this village. Things are

changing, we all need to watch out

for each other, I can help others

father, but not stuck in here.

Marshall’s drunken teary eyes try to focus on his daughter.

He draws a shaky smile.

MARSHALL

I should have lost my contract, but

something made sure I stayed on. I

think we’re going to be okay Freya,

I think this is a sign of good

things to come.

Marshall embraces Freya.

Freya watches the trees of the Forest Sector over Marshall’s

shoulder.

Marshall looks down at his daughter. Her eyes still focused

on the trees. Marshall looks out.

MARSHALL (CONT’D)

I think we should move

your window...

The lights immediately shut off. The room is suddenly

darkened as the two characters jolt in shock.

MARSHALL (CONT’D)

Freya!

48.

FREYA

I’m still here Father. I’m okay.

Marshall runs to the door.

MARSHALL

Stay here. I’m going to check the

generator, maybe the whole village

is out.

Freya remains at the window looking out towards the shadowy

trees.

FREYA

(whispers)

Is this you Clayton...

INT. FREYA’S HOUSE - NIGHT

The house living room is in darkness.

What light remains in the room reflect off on the empty

bottle of whiskey sat on the table.

Lurking in the corner is Clayton. His robes are wrapped

around him. Using the shadows to remain hidden.

Marshall comes rushing down the stairs.

Grabs his worker jacket on the way to the door.

He approaches the door. Deep breath.

His hand grips the door handle.

He stops suddenly....

Clayton is crouched in the corner, his crossbow is loaded and

poised at his target’s head.

Clayton’s finger is still and relaxed.

Marshall studies what little he can see in the room.

He even looks directly at Clayton, but his tired drunk eyes

can’t make him out.

Marshall leaves before Clayton fires.

Clayton lowers his crossbow.

INT. FREYA’S BEDROOM - NIGHT

Freya is sat in darkness on her bed. She seems calm by the

darkness and continues to gaze outside.

49.

Clayton appears in the doorway and quickly creeps towards

Freya while she is preoccupied.

Freya hears some movement and quickly flicks her head to the

doorway. Nothing is there.

Freya’s breathing becomes irregular as she begins to get

scared in the shadowy setting of her own room.

She sits back at her bed.

From behind Freya we see the very focused Clayton, moving up

from the floor.

Freya’s eyes bounce around the room as she fears certain

danger closing in on her.

Clayton pulls out a knife and moves closer to Freya.

Freya’s breathing is heavy and uncontrollable.

The knife, clenched in Clayton’s hand arrives at Freya’s

face.

Clayton quickly slices a small clump of blonde hair from

Freya’s head as she quickly shrieks and turns around.....

....but no one is there.

EXT. EDGE OF FOREST SECTOR - NIGHT

Clayton is once again nestled up in a large tree.

In his hand is the clump of golden hair, he stares at it,

cherishing it.

He watches Freya’s window as the lights flick back on.

INT. CLAYTON’S CAPSULE - NIGHT

Clayton is eagerly sat over his desk watching one of the many

digital screens.

The main screen shows a strand of Freya’s hair. The computer

zooms into the hair and locates a DNA strand.

COMPUTER VOICE

Scanning for ECS....

Clayton waits on, his hands holding up his tired head.

His eyes remain focused and fully interested in the

information on screen.

50.

COMPUTER VOICE (CONT’D)

Twenty three ECS found.

As the computer confirms it a digital box appears with the

names of people Freya is electronically connected to. This

list includes her father, ‘MARSHALL HOLT’ among other names

such as ‘Alf’, ‘Maisie’ and ‘Zooma’.

Clayton studies the names for a while.

CLAYTON

Can you show the geographical

reference points for each ECS,

computer.

The computer screen immediately transforms into a map.

On the map we can clearly notice the large metropolis of the

Tokyo Sector - the hologram projects it wide in front of

Clayton.

From the Tokyo Sector is the Industrial Zone.

Scattered even further from that are millions of refugee

villages.

We ZOOM into one particular village.

Beside we can clearly see a vast forest - the Forest Sector.

Six circles of light shine around the area. These represent

the population of the small village, all of which Freya is

electronically connected to.

CLAYTON (CONT’D)

Six. It’s now or never Clayton.....

Clayton makes his way to the other side of the room.

He presses some buttons on the electronic wall to open a

compartment full of weaponry and equipment.

Inside includes a rack of extra crossbows, more ammo and a

selection of close-quarter weaponry.

Clayton opens a small box that is sitting on a shelf in the

compartment.

Inside are numerous of silver cartridges on them are

hazardous warnings.

He takes the whole box and places them into his backpack.

Clayton, swiftly exits the capsule.

51.

INT. FREYA’S BEDROOM - NEXT DAY - MORNING

The early beams of sunlight gradually make their way into

Freya’s room.

A quick thud is heard at Freya’s window.

Freya’s tired eyes slowly adjust to her surroundings as she

rolls about in bed.

Another thud is heard at the window.

Freya sits herself up and listens to the window.

In quick succession another two thuds are heard.

Freya, in slight confusion, gets out of bed and steadily

makes her way to the window.

She places her finger on the electronic sensor which is fixed

to the wall. By doing so her curtains slowly open.

She looks outside and is greeted by Clayton who is standing

just outside her house.

Clayton smiles awkwardly at her.

Freya’s face fills with panic.

She pushes the window sensor again which slowly slides the

window panel aside.

FREYA

What are you doing here?!

CLAYTON

I had to see you again.

FREYA

Clayton, No. This isn’t how it

works.

(She looks at him)

You followed me last night?

CLAYTON

(more certain)

I had to see you again. I-I have to

show you the lake.

FREYA

Clayton. I’m sorry.

She presses the sensor. The window shuts.

She turns to the electronic panel on the wall.

52.

The water sours down this gigantic waterfall.

Freya places her hand over the waterfall.

She quickly closes her eyes but a tear quickly breaks free.

She brushes it away quickly.

She nods to herself.

EXT. OUTSIDE FREYA’S HOUSE - MORNING

Clayton is still stood outside her house. Stumbling around in

one spot.

Confused.

ZRRRRROM

The window slides open again.

FREYA

Wait.

Clayton grins.

In the background there is a small figure at the electronic

well.

EXT. FOREST SECTOR - MORNING

The sunlight pierces through the tops of the trees, the wild

carnivorous plants slither through the undergrowth gasping

for the light.

Sticky ivy wraps around almost every tree strangling each one

to death.

Clayton and Freya pass through the overgrown grounds. They

move in silence.

Clayton has now dropped his cloak and is now wearing basic

clothing - much similar to Freya’s now - only lighter.

His boots and equipment is of higher quality than hers.

The couple occasionally cross eye contact but they quickly

bounce their vision to their surroundings instead as the

awkward journey becomes more uneasy.

Freya is wearing a light blouse and black shorts which reveal

her soft brown legs.

They awkwardly continue as Clayton leads her deeper into the

Sector where the whispers of wildlife draw closer and louder.

53.

CLAYTON

(awkwardly)

I-I’m sorry about yesterday.

She turns to him, she didn’t quite anticipate that he would

apologise or even that he needed to.

She watches him for a moment.

CLAYTON (CONT’D)

Are you going to say anything?

She continues to watch him as he gradually gets more nervous

by her presence.

Freya stops walking. Clayton doesn’t notice and continues to

walk ahead.

FREYA

Am I in danger?

Clayton stops, his face still turned from Freya’s. He takes a

deep breath and calms himself.

Clayton turns to Freya and gently makes his way towards her.

A look of concern is across her face but she doesn’t move.

He looks into her beautiful eyes.

CLAYTON

(stuttering)

I-I am trying to make things w-work

Freya, I j-just.

Freya watches him.

CLAYTON (CONT’D)

(desperate)

I-I-Can’t be human.

He marches off, with or without her.

Freya remains in the same spot, her face full of cold

uneasiness.

FREYA

(blunt)

Someone was in my house last

night...

Clayton stops dead again.

FRAN(O.S.)

(whispering)

Clayton. Kill her.

54.

His boney fists grasp together in frustration, they turn red

ready to bleed.

His eyes close in an attempt to escape. No luck.

He turns back to her and with more haste than ever he moves

towards her.

He gradually places his palms upon Freya’s cheeks. She looks

at him in panic

He looks deep into her eyes.

CLAYTON

(sincere)

I-I’m here to protect you Freya,

you have to believe me. Y-You have

to.

Clayton falls to his knees.

MICHAEL(O.S.)

(whispering)

Claaaaayton.

CLAYTON

(hysterical)

I’m a murderer....

Freya SHRIEKS and immediately steps back from the sobbing

Clayton on the floor.

Clayton looks up at her. Teary eyed.

CLAYTON (CONT’D)

(hysterical)

All my life I’ve been preparing

myself.

FREYA

For what?

CLAYTON

An electronic disease. It spreads

through brain communicators called

ECS.

FREYA

(confused)

W-What?

CLAYTON

It means everyone you know will

die.

FREYA

Yeah? I’m just supposed to believe

you Clayton?

55.

He wipes his eyes and gazes out to the foreground of wild

plants.

CLAYTON

My parents were scientists. Most

passionate people I have ever

known.

FREYA

(frustrated)

They are the only people you have

ever known Clayton. You can’t live

your parent’s lives.

She moves towards him holding out a hand.

FREYA (CONT’D)

Let’s write our own future.

EXT. SMALL VILLAGE/FOREST SECTOR OUTSKIRTS - MORNING

Behind one of the metal houses stands a nervous Alf.

He stands bare feet before the broken gate surrounding the

village.

He rubs his fingers along the wire, paying attention to how

it feels through his fingers.

He looks through the fence. In the distance are the smokey

trees of the Forest Sector.

Alf is now walking through the swampy marsh. Behind him we

see the gate and village.

ALF

Ten. Eleven. Twelve. Thirteen.

He counts every step he makes.

ALF (CONT’D)

Fourteen. Fifteen. Sixteen.

As he continues towards the Forest Sector. The floor becomes

thick with weed and wild plant.

ALF (CONT’D)

Seventeen. Eighteen. Nineteen.

EXT. FOREST SECTOR - MORNING

Deeper into the forest now. The wild plants plague the

foreground.

A gloomy fog surrounds the shrubbery and poor Alf’s legs.

56.

ALF

Forty Seven. Forty Eight. Forty

Nine.

The whispers of the forest echo around him.

The young boy tilts his head around. The whispers stop.

He carries on.

ALF (CONT’D)

Fift-

SNAP

Alf stops immediately. His petrified little face quickly

looks around him. He is alone.

He waits nervously, still looking behind him.

He turns his head back and greeting him is...

the end of a rifle.

Bearing over the little boy is a large man in a devilish

oxygen mask.

We can just make out a sweaty Marshall.

MARSHALL

This Sector is dangerous boy!

ALF

(quivering)

M-Master Holt.

MARSHALL

Where were you going Alf?

ALF

I..I..was..just..

Marshall raises his rifle.

MARSHALL

Now I’m not playing around with you

boy, this is serious. I know you

know where Freya is.

Alf starts sobbing.

MARSHALL (CONT’D)

Where is she?

Alf sits up.

ALF

Sh-She was with someone.

57.

Marshall’s eyes shoot open.

MARSHALL

My god, where are they?

Alf’s face drops.

ALF

I-I’m sorry. I didn’t think. They

said something about a hidden lake.

That’s all I know.

Marshall activates his INTERACTIVE WATCH.

Presses a few buttons until the symbol of a water droplet

appears.

BLEEP BLEEP.

Marshall studies his watch.

MARSHALL

Right, I need you to go home, back

to your mother. And Alf?

ALF

Yes Marshall?

MARSHALL

You don’t mention this to anyone

back at the village okay?

Alf catches how serious his glare is and then scurries back.

EXT. HIDDEN LAKE - DAY

The heavy mist of the forest floor seems to disappear to the

arrival of a beautiful lake.

A waterfall can be seen splashing down between some rocks in

the distance. The water is clear blue.

Freya and Clayton arrive separated by some distance. They

both stand rather anxious.

Not a word is spoken. They both watch the gentle splash of

the waterfall.

FREYA

It’s beautiful. I’ve never seen

anything like it.

Clayton watches her. Clearly still beaten by his outbreak

with Freya earlier, he remains mute.

Freya starts undressing.

58.

Clayton immediately notices. Can’t stop himself but watch.

Her oversized hiking boots drop the floor.

As do her shorts and blouse.

MICHAEL(O.S.)

(whispering)

Clayton

He turns his head.

FRAN(O.S.)

(whispering)

Clayton

MICHAEL(O.S.)

(whispering)

Focus yourself Clayton. We have a

new idea.

FRAN(O.S.)

(whispering)

Let her in.

MICHAEL(O.S.)

(whispering)

Let her in, Clayton.

Clayton grabs his head, clearly suffering from his parent’s

voices antagonising him.

FREYA (O.S.)

(whispers)

Clayton. Save me.

Clayton shrieks.

FREYA (CONT’D)

Clayton? Are you coming in the lake

or are you just gonna stand there?

Clayton continues to gaze.

He looks up to Freya who is now in the lake wearing only her

underwear.

FROM THE BOTTOM OF THE LAKE

Freya’s bare feet gently press against the earthy riverbed.

CLAYTON (O.S.)

(distorted)

Y-Yeah I’m sorry.

Under the water it feels dreamlike and slow.

SPOOSSSSSSH

59.

Clayton dives under the clear water.

His quick hands help his body to accelerate through the

depths at incredible speed.

ABOVE THE WATER

Freya shifts uneasy around the water. Waiting for Clayton to

surface.

He surfaces a few metres away from her. She quickly observes

his toned body before he notices.

FREYA

It’s nice (beat) the water.

She drifts the water in-between her fingertips.

Clayton stays quiet.

Freya watches the waterfall again.

FREYA (CONT’D)

Have you looked behind it?

Clayton looks blankly back at her.

FREYA (CONT’D)

I dunno. It’s just this silly story

my Mother used to tell me. (beat)

She said they are magical,

untouched places where only nature

and beauty live inside.

She slowly moves to Clayton.

FREYA (CONT’D)

(reciting)

They say it’s where dreams come and

rest before they make their way

into subconsciousness.

Clayton remains blank faced.

FREYA (CONT’D)

(playful)

Race me.

FLASHBACK

EXT. FOREST SECTOR - 18 YEARS AGO - DAY

A teenage Clayton is poised at the top a tree stump.

Nimble and ready to go.

60.

Well behind him, almost hidden in fog is his father, Michael.

Dark hair. Strong face.

MICHAEL

It’s a race Clayton. Need to learn

to win and survive.

In his hand is a small TRACTOR BEAM BALL.

He clicks the large button on it’s surface. Activating it.

It flashes red.

A slight jerk of panic runs through Clayton’s younger face

and body.

His Father catapults the ball through the air.

Clayton immediately leaps off the stump.

END OF FLASHBACK

EXT. HIDDEN LAKE - DAY

Clayton launches himself under the water. His whole body

working as a unit, like a machine.

Freya floats gently in water - eyes widened by Clayton’s

behaviour.

She creases a small smile.

She dives in after him.

INT. WATERFALL CAVE - DAY

Inside the tomb-like cave the interior is airy.

The wildlife seems untouched and tranquil.

Freya surfaces and immediately rotates taking in the

breathtaking view.

The roof of the cave sparkles with chandelier shaped droplets

hanging from the ceiling.

Her pretty eyes inspect every crevice.

She becomes uneasy. She starts floating around in a small

circle. Waiting for Clayton.

He surfaces.

Gathers a large breath and looks nervously at her.

61.

FREYA

Do you think we’re the first ones?

Clayton watches her rub the cave’s slipper interior.

FREYA (CONT’D)

I feel so distant from the

beginning Clayton.

She moves slowly in the water, towards Clayton.

FREYA (CONT’D)

(worried)

What’s going to happen to us

Clayton?

Clayton’s face is full of guilt.

Freya watches his lips closely.

CLAYTON

We are safe. Y-You have to trust

me.

She looks him in the eye - almost pitying him.

Clayton gazes up at the ceiling - avoiding Freya’s eyes.

He quickly notices that the ceilings take appearance of his

parent’s shadowy faces.

They watch over him like CCTV cameras.

Monitoring him.

He glares back. Still and relaxed.

He takes a deep breath and immediately grabs the back of

Freya’s head.

Clayton pulls Freya in and places his lips firmly on hers.

Freya’s eyes widen. She quickly gives in. Closing her eyes

with appreciation.

Her hands slowly clasp around his nude torso.

Clayton begins to force her backwards.

They continue kissing as they make way through the waterfall.

The water crashes down upon their embraced bodies.

The two reach the other side of the waterfall.

EXPLOSION

62.

A fiery explosion is seen in the background. As the two

continue to kiss the black cloud fills the sky.

EXT. FOREST SECTOR - DAY

Deeper within the Forest Sector we can see the explosion

soaring high above the tallest trees.

Below them stands Marshall. He gazes up at the explosion.

His grits his teeth and marches on. Determined.

EXT. HIDDEN LAKE - DAY

Freya’s eyes slowly open as she catches a glimpse of the

blinding lights of the flames.

Her eyelids fully open. She pulls away from Clayton

The stunned Clayton quickly opens his eyes.

Clayton slowly turns around. Calm as he watches the explosion

rise.

Freya’s hands grasp her mouth.

FREYA

T-The village!

Freya quickly swims off.

CLAYTON

(shouting after her)

Freya wait!

Clayton watches her swim away, his face full of guilt.

CLAYTON (CONT’D)

F-Freya!

She pulls herself out of the lake. Starts putting her clothes

back on.

Clayton stays in the lake watching the explosion nervously.

Freya finishes pulling over her blouse and then turns to

Clayton.

FREYA

(scared)

Y-You did this didn’t you?

CLAYTON

(frustrated)

F-Freya I was protecting you

63.

Freya looks at him disgusted.

FREYA

YOU’VE SET MY HOME ON

FIRE!........What are you?

She storms off.

Clayton angrily thumps the water.

EXT. FOREST SECTOR - DAY

Dashing desperately through the gaps between the creepy trees

is Freya.

She brushes past some shrubs. Her feet buried in a growing

mist beneath her.

Even though a clearer path can be seen to her right she

continues to drive forward. Hasty and determined.

The smoke rises in the sky.

She makes her way through a daunting bush. Her gentle hands

peel back the branches in her way...

SMACK

She collides with a large creature attempting to flee the

other way.

She is trampled to the ground.

As she crashes to the ground she notices that the creature

has come to a halt. Bearing over her with its devilish mask.

It breaths over her.

Demented.

FREYA

Father?!.....T-The village!

Freya looks to the smoke in desperation.

MARSHALL

Where is he?

FREYA

W-We have to return to the

village..

MARSHALL

(screaming through the

mask)

Where is here?!

64.

Freya drops her head. Her body nestles in nature’s hell.

Her large Father stands over her.

FREYA

(sobbing)

I t-thought he was good Father - I

thought he was real.

She drys her eyes. Looks up to her Father.

FREYA (CONT’D)

(numb and cold)

You have to kill him. Stop his

lies. I c-can’t ever see him again.

Ever.

She nods to a direction.

FREYA (CONT’D)

Through there....

Marshall checks the direction.

He turns back to his defeated daughter for one last glance.

Marshall exits.

Freya holds for a moment.

FREYA (CONT’D)

(whispering)

Home.

The smoke has cloaked the skies now.

EXT. HIDDEN LAKE - DAY

Clayton makes his way to the edge of the lake.

Face hysterical with panic.

The sound of someone approaching can be heard.

Clayton looks up.

Two large boots stand firmly on the ground Clayton wishes to

pull up onto.

SMACK

Clayton takes a kick to the head. Immediately collapsing into

the water and spiralling down to the bottom of the lake.

Marshall watches. Full of rage.

65.

MARSHALL

Can’t handle em’ face on can ya?

Marshall watches the water patiently.

He grabs his rifle from his back and activates it.

He stands guard.

EXT. FOREST SECTOR - DAY

An exhausted Freya makes her way slowly through the forest.

She whimpers under her breath. Using every tree she passes to

hold her shaking body up.

FRAN(O.S.)

(whispering)

Freya.

Freya shrieks and immediately collapses.

She whines in a heap of dried leaves.

FRAN & MICHAEL(O.S.)

(whispering)

Freeeeeeya.

Freya grabs her head.

FREYA

(teary)

What do you want from me?

The whispers instantly fade away.

Freya looks up in panic.

Standing in front of her are Fran and Michael.

They look perfectly human. But their movement is slow and

ghost-like.

Their voices are over-welcoming.

Freya attempts to flee but the rusty leaves beneath her

spread between her hands. She can’t grib anything.

Clayton’s parent’s watch her until finally addressing her.

FRAN & MICHAEL

Our dearest Freya.

66.

INT. WATERFALL CAVE - DAY

Clayton is sat half conscious inside the cave. His feet rest

in the still water.

His hand holds his bleeding nose. Shuffling around agitated.

CLAYTON

What do I do?

He looks up.

CLAYTON

Y-You’ve gone.

(shouting)

W-What do I do!?

He looks furiously at the ceiling . Where his Parent’s faces

were before.

EXT. HIDDEN LAKE - DAY

Marshall has his gun poised at the lake. Ready to fire.

His face gradually becoming satisfied when....

Clayton’s roar is heard from the waterfall.

Marshall quickly targets the waterfall in his digital

crosshair.

INT. WATERFALL CAVE - DAY

A bullet tears through the waterfall. Ricocheting off a rock

just past Clayton’s head.

He looks up in rage.

CLAYTON

W-Why are you doing this?

He looks out to the waterfall.

Clayton leaps into the lake.

EXT. FOREST SECTOR - DAY

Freya is now sat upright in the heap of leaves.

FREYA

(sobbing)

..that eradicates everyone!?

67.

CLAYTON’S MOTHER

Freya, listen to-

FREYA

(sobbing)

H-How can I believe you? Trust you?

Y-You You’re dead.

They frown at her.

CLAYTON’S MOTHER

Oh no dear, we are not dead.

She looks to her husband.

CLAYTON’S FATHER

We are not dead, we do not live. We

just are. We’re here because we

need to tell you these things.

FREYA

(grabbing her ears)

I-I don’t believe anything you or

Clayton say - j-just leave me

alone.

Fran approaches Freya. She kneels beside Freya.

Freya flinches.

Fran removes her metallic name badge from her lab coat.

She holds it out in her hand in front of Freya.

Freya looks at the badge and is immediately drawn into the

company logo - the black eye.

FREYA (CONT’D)

That eye- I’ve seen it somewhere..

FRAN

Prestago Laboratories.

FREYA

(whispering)

Prestago...

Freya looks up at Fran.

FREYA (CONT’D)

Y-You knew my Mother..

Fran bows her head. She stands up.

Someone is approaching behind Clayton’s parents.

FREYA (CONT’D)

Mother?...

68.

EXT. HIDDEN LAKE - DAY

Marshall is agitated. He marches frantically. Left. Right.

Left. Right.

His head twitches to every corner.

CLAYTON (O.S.)

P-Please just l-listen to me.

Marshall quickly rotates his to face the forest.

Firing into the trees.

To his surprise no one is there.

He panics.

MARSHALL

Where are you!?

CLAYTON (O.S.)

N-Not gonna hurt you.

MARSHALL

(under his breath)

Wish I could say the same.

The water erupts behind him. He turns again. Clayton just

making it underwater before Marshall can fire again.

Marshall grunts and charges to the edge of the lake.

His tired hands lift his rifle to late as...

Clayton leaps out of the water - grappling Marshallto the

ground.

Claytonthumbs Marshall’s head to the ground.

CLAYTON

P-Please!

Marshall roars. Throwing Clayton off in a shear movement.

Clayton smacks the hard ground. More blood appears from his

face.

Marshall gets to his feet.

He starts walking towards Clayton, who is now clenching his

arm in pain.

CLAYTON (CONT’D)

(desperate)

Y-You have to belie-

69.

MARSHALL

I talk now.

(beat)

I wouldn’t even feel guilty killing

you. Even Freya wants you dead son,

you have nothing to live for.

CLAYTON

(attempting to get up)

I h-have everything to live for.

Marshall punches him back to the ground.

MARSHALL

No, you STAY down. I want to look

down on you when I kill you. And I

want you to watch me from down

there like the pathetic ant you

are.

Clayton’s face is full of blood.

MARSHALL (CONT’D)

You’re going to pay for the

innocent people you killed today.

He kicks Clayton in the ribs.

MARSHALL (CONT’D)

(whilst kicking him in the

ribs)

Each. And. Every. One. You. Son-Of-

A. B***h.

FREYA (O.S.)

STOP!

Clayton sprays blood.

MARSHALL

(furious)

I told YOU to go back.

He turns around. In the distant amongst the bushes is a

distraught Freya.

She comes forward.

FREYA

There’s nothing to go back to.

Marshall turns to Clayton in disgust.

MARSHALL

So you come back, for him?

Freya sobs.

70.

Marshall grabs Clayton’s face and presents it to Freya.

MARSHALL (CONT’D)

FOR HIM?!

Clayton’s eyes roll back. He becomes unconscious.

FADE OUT

SOFT MUSIC PLAYED THROUGHOUT TOKYO SECTOR SCENES

EXT. TOKYO SECTOR - DAY

The Sector is alive with electricity. Tall buildings cloud

the skies with dizzying lights.

Lights roll, cascade and rotate around every building.

Down every side of each skyscraper are video screens of

advertisements. Bizarre fashion products and latest headsets.

As we descend further down the buildings we notice silver

magnet trains rocketing along thin tracks.

They coil around the buildings like wires.

A passing train speeds past at a furious speed, engraved

along its side panel reads “ZEPHYR 128”.

The tinted windows hide the compacted interior of one of the

busiest lines.

INT. MAGENT TRAIN - ZEPHYR 128 - DAY

Immediately greeted by the bloody insides of one of the

passenger compartments.

The dead passengers are still strapped safely into their

seats. Faces bloody.

Numb limbs hang from the seats. Stranger’s fingertips gently

tap against one another as the train twists and turns.

Through the train we witness a diversity of cultures and

ages.

Many bodies have piled up against the doors. Huddled together

as one bloody mess.

EXT. MACHIDA COURT - DAY

The train decelerates and smoothly approaches a stop.

71.

ROBOTIC VOICE

We are now arriving at Machida

Court.

(then repeated in Chinese)

The doors slide open and a few dead bodies collapse on the

runway.

The platform is airy and lifeless. Bodies lay everywhere

smeared with blood.

EXT. TOKYO SECTOR - DAY

A mounted digital screen bleeps against a shadowy urban wall.

The sounds of the Sector play over the music. They mash

together like an arcade game.

The screen projects a hologram map of the sector.

Across the huge colourful projection are large buildings

highlighted in different colours. They represent the type of

building such as health, business or entertainment.

The projection flickers off.

CAMERA PULLS OUT- revealing the corpses covering the floors

like a bloodied carpet.

Their headsets still attached to their still faces.

FADE OUT

EXT. HIDDEN LAKE - DAY

Clayton eyes open. His pupils are red and fully diluted. His

face strains in pain.

He hears the laboured choking of Marshall.

He gains his focus of the room. His bloody hands are fastened

around Marshall’s neck.

Freya is gasping in the background.

She begins to quietly whimper once Marshall is silenced.

Clayton loosens his grip - his whole body shivering.

Freya moves closer.

FREYA

(nervous)

C-Clayton?

72.

CLAYTON

(numb)

They’ve g-gone Freya. E-Every

person on t-this world is dead. AAnd

I’m alive b-because I hid aaway,

a c-coward in the shadows.

Freya watches in a gradual concern.

FREYA

(nervous)

Y-You were following your parent’s

ambitions-

CLAYTON

I am my parent’s ambitions! I-I’m

their final experiment, don’t y-you

see? I’m not even human. I’m just a

th-theory a que-question. I-I don’t

k-know anything about being human.

And n-now I’m the last one.

FREYA

You are human Clayton. You saved

me. You did what only a human would

do and you saved the one you loved.

CLAYTON

Y-You believe me?

FREYA

(reflecting)

I had to hear it from someone I

loved to believe it was true...

She crouches beside Clayton.

FREYA (CONT’D)

I saw my mother Clayton....she

spoke to me.

Clayton remains unmoved - still shaking.

Freya pulls him into her - resting her chin on his shoulder

she closes her eyes tightly - quivering once shut.

Clayton holds in thought, looking out into the distance.

CLAYTON

We can’t stay here Freya.

She pulls away so she can see his face.

FREYA

But it’s just us now. We’re free

from father, the virus.

Clayton isn’t listening.

73.

FREYA (CONT’D)

(worried)

...Clayton?

Clayton gulps down what saliva is left in his dry mouth.

CLAYTON

Everyone is gone..

FREYA

But we’ve survived Clayton. You did

it.

Clayton is agitated.

CLAYTON

We can’t just m-move on. Don’t you

understand? We haven’t become

extinct, they’re replacing us.

FREYA

Who are they?

CLAYTON

The artificial race. The robotic

hearts. We have to go Freya.

They’re gonna c-come and this time,

they w-will find us.

Freya’s face is full of unmeasurable panic.

EXT. SMALL VILLAGE WRECKAGE - DAY

The metal structures that Freya’s village called homes are

now set ablaze amongst the madness.

A few bodies lay scattered around the dry lands. Their muddy

clothes stained further with blood.

Crows have began to linger around the wreckage, they snarl at

one another.

A lone crow picks out an eyeball from a bloodied corpse.

It flies away as the sound of footsteps approach.

Clayton and Freya enter. She nestles closely to his body

nervously observing the scene through her hands.

Clayton holds it all in. He must be brave now.

The crows cowardly flee as Clayton and Freya continue to the

centre.

The electronic well stands obliterated, all that remains is a

lonely pipe and the rusty tap - slowly dripping water.

74.

VRRRRROOOOOOOOOOOM

A large get engine is heard off screen tearing through the

clouds above.

As it tears through the smoke, Clayton and Freya witness a

transport frigate descend aggressively to the planet’s

surface.

It sours through the air until finally impacting with the

surface, almost vertical.

It explodes moments later.

Clayton quickly shields Freya from the furious winds of

debris and smoke.

The impact is still taking effect when..

CLAYTON

(pulling Freya with him)

This is our distraction! Go!

EXT/INT. PRESTAGO LABORATORIES - EVENING

The Prestago Laboratories building is a tall menacing

building - thick with black coated metal.

On the top is the iconic ‘eye’ logo - shining brightly like a

robotic lighthouse.

GRAND HALL

The welcoming hall is as peculiar as it is intimidating. The

walls are filled with CCTV footage set up all around the

world including all the various Sectors..

Each screen filled with blooded bodies - blocking roads and

causing more damage through explosions and fires.

Freya and Clayton move inside and are immediately sickened by

the sight of the screens. Freya holds him close.

Ahead of them is a door. A large screen fills the door

projecting footage of the couple standing in front of the

door.

The door is locked - the sensor beside it is red.

EXT/INT. PRESTAGO LABORATORIES - FIFTEEN YEARS EARLIER 2050 -

EVENING

Michael and Fran are looking up at the height of their work

building - this time they’re looking at it as strangers - as

intruders.

75.

They get off the hover-bike and make their way inside.

Determination in both of their eyes

GRAND HALL

The screens are filled with footage from thousands of

different Sectors - all full of energy and life.

They make their way to the central door - the door shows them

on the screen.

Fran looks over at her husband nervously.

FRAN

Are we actually doing this Michael?

MICHAEL

I’m with you darling.

FRAN

There must be some other way.

MICHAEL

We looked countless of times, no

one will help us. We need to take

advantage why we still can and get

some valuable data.

FRAN

These past fifteen years, all we’ve

done is secure evidence, we should

of spent more time with him.

MICHAEL

It’s too late for this Fran...

FRAN

When was I ever given a time for

this?! I haven’t had a split second

to think.

MICHAEL

We agreed, this was the only way.

Fran sobs.

FRAN

I just wish I had more time with

him, to help him understand.

MICHAEL

He will always be our son.

Freya wonders around the room observing the people walking

care-free in the screens.

76.

FRAN

I-I just need a moment...

MICHAEL

Well, can it not be long? You know

I hate these freaky screens.

She smiles at him. Admiring him.

FRAN

I love you, Michael.

She smiles at him, he knows it’s fake.

MICHAEL

Not the best of times. What’s going

on Fran?

She whimpers whilst turning and face her lover. Leaning

against the backdrop of naive people.

FRAN

(sobbing)

I’m telling you this because I

can’t keep this to myself any

longer. I kept it from you because

I knew it would’ve killed you at

the time, please forgive me..

MICHAEL

Fran?..

FRAN

(sobbing)

You just put me under so much

pressure. All the times we tried

and failed. I felt disgusting you

wouldn’t look at me. You weren’t

yourself those few months.

MICHAEL

But Fran, we got through it all and

we still made our beautiful boy.

Michael tries to embrace her but she moves away quickly.

She starts crying.

MICHAEL (CONT’D)

(panicking)

Fran you’ve gotta talk to me

darling. What’s going on? What’s

going on?”

77.

FRAN

(sobbing in her hands)

I couldn’t tell you Michael, you

would’ve killed me at the time, I

didn’t want to break you heart when

he was born, he’s what you needed

to make things work, I panicked.

Michael thinks to himself and starts to breath heavily under

his breath.

MICHAEL

You used an artificial donor.

FRAN

(sobbing)

I was protecting us, we needed a

son.

MICHAEL

(hysterical)

HE IS NOT MY SON! (beat) he is

theirs.

FRAN

He’s OUR son Michael. We may not

share the same bloodline, but he is

OUR son.

MICHAEL

It shouldn’t work like that.

(beat)

I love Clayton, but now I’ve

abandoned him with not a mark of a

father on him.

Fran approaches Michael and rubs his saddened face.

FRAN

Let’s turn back. Let’s go home,

live out the time we have left as a

family. Let’s give Clayton the love

he deserves from us.

MICHAEL

It’s too late for Clayton. Love

will kill him.

(beat)

Instead I’m going to stop

everything we have created here. If

I do that, maybe there’s a chance

Clayton will never know.

Michael looks up to the camera which is projecting them on

the door.

The camera reads his iris and the door slides open.

78.

MICHAEL (CONT’D)

Come with me Fran.

They both move onwards.

INT. PRESTAGO LABORATORIES - PRESENT DAY - GRAND HALL -

EVENING

Clayton and Freya stand analysing the door for a few moments

until it suddenly slides open.

The two exchange a confused look and begin to continue.

INT. PRESTAGO LABORATORIES - LIFT CAPSULE - EVENING

SPLITSCREEN - PRESENT DAY 2065 - FLASHBACK 2050

Clayton and Freya make their way into one of the large life

capsules in the building.

A large eye shaped lift with long steel benches on each side.

Clayton and Freya sit on one side.

Freya immediately holds Clayton close. Clayton remains calm

and calculated. Looking out to the other side of the capsule.

On the other side, in walks Michael who staggers in alone

seating himself opposite Clayton.

The two immediately fall into a dream-like stare.

Moments later Fran makes her way into the capsule and moves

close to her lover, Michael.

The capsule begins to move as the two gentlemen hold a cold

glance across the capsule.

Michael keeps his eyes firmly placed on Clayton as he pulls

Fran in closer.

BLACKOUT!

The lights shut off completely inside the capsule lift.

The doors slide open to a shadowy room.

INT. PRESTAGO LABORATORIES DATA STORAGE UNIT - PRESENT DAYEVENING

Clayton and Freya exit the capsule into an airy and shadowy

library of data resources.

Industrial-sized shelves full of uncountable amounts of files

fill the room. Personal informaton secure in one place

79.

They slowly move through the darkness, observing everywhere

for clues.

FREYA

What are we looking for?

Clayton rubs the dust of an electronic draw. He inspects the

front. A list of names is shown

CLAYTON

This is where they came to stop

them. All the a-answers will be

here. Somewhere.

MONTAGE of the couple moving through numerous of routes

through the Storage Unit - every path looking the same.

Freya pauses and approaches a unit.

Dust has been smeared off the front of the electronic drawer.

FREYA

We’re not getting anywhere..

Clayton grunts and kicks the nearest the unit - the metal

ring echoes through the large room.

Freya looks at him in panic.

MICHAEL AND FRAN (O.S.)

Clayton.

Clayton and Freya both turn in shock.

Two shadowy figures can be seen in the distance - gradually

approaching.

As they approach Clayton and Freya recognise the figures -

Fran and Michael.

However their eyes are filled with robotic lenses that glow

blood red.

They are no longer human.

Their bodies float. Cold and numb. They speak slow and

sinisterly.

MICHAEL

You’d make any father proud

Clayton.

Fran steps forward out of the darkness.

Her beautiful face is torn apart by the ugly mechanical

lights forced in her sockets.

Her face is bloody around her eyes.

80.

FRAN

(whispering)

We see you now Clayton.

Michael steps forward. His face no more humane than Fran’s.

MICHAEL

We’re so glad you’ve brought Freya

with you. We wanted to have a good

look at her.

Fran lurks around Freya, inspecting her pretty face.

FRAN

Such a pretty little thing. You’ve

done well to save her.

CLAYTON

Don’t you touch her.

FRAN

Come on Clayton, you’re not like

her. She is complete, you’re not

one of them, you can’t protect them

any longer.

MICHAEL

We’ve been watching you. You’ve

destroyed her race and family.

You’re one of us now.

Freya’s face is in shock.

More shadowy figures surround them. Crowds of blood stained

lights flick on around them.

FRAN

We just need to show you one thing.

Fran and Michael smile coldly.

The robotic silhouettes approach. Their half human faces walk

out of the darkness, revealing their faces of hell.

Four large human’s march up to Freya. Grasping each of her

limbs.

Freya struggles and continuously screams, but the droids hold

her still.

Fran places her cold hand on Clayton’s shoulder.

FRAN (CONT’D)

Now is the time for you to watch.

The large half humans hold Freya up - presenting her to the

distraught Clayton.

81.

Clayton screams violently.

Their robotic hands clasp each of her limbs tightly. She

screams in agony.

Fran creases an evil smile.

HOLD ON Clayton’s face as Freya’s limbs are torn from her

body off screen.

A tiny splash of Freya’s blood lands of Clayton’s face. He

turns hysterical.

Her screams pierce violently in Clayton’s ear until they

violently fade out.

His breathing becomes uncontrollable and laboured. His eyes

swell with anger and strain.

FRAN (CONT’D)

Now you have lost everything.

(beat)

That’s why their race failed.

Thought they were invincible, but

look what we managed to do within a

day, we’ve eradicated and replaced

their vile race. I saw the joy in

your face when you killed those

innocent villagers...

She pulls Clayton in closer.

FRAN (CONT’D)

.You’re not human Clayton...

Michael and the other lifeless humans surround Clayton, he

lies defeated in the centre.

Their bloody eyes watch him as he tries to whimper but Fran

grips his face tightly. Making it impossible for Clayton to

present any emotion.

Fran’s claws herself into his skull. Face thirsty for

violence.

Clayton’s face widens as a red dot appears on Fran’s

forehead.

She panics and looks up. Tossing Clayton to the floor.

Gradually the robotic company Fran has with are also lit up

by red lights.

And then suddenly...

A BARRAIGE of quick rifle blasts hail down from above.

Clayton shuts his whole body down, curling up in a ball.

82.

The blasts thunder down as the humans release creepy growls

as the blasts penetrate their bodies.

Clayton can see their interiors. Loose wires. Digital

framework.

He closes his eyes, attempting to shut out the madness.

FADE OUT

The blasts are heard off screen as Clayton breaths deeply and

alone.

The blasts finally stop and Clayton gradually opens his eyes.

Clayton opens his bullied eyelids. His blooded and gingerly

face observes around him.

Amongst the bodies of the robotic humans stand a group of

HOODED STRANGERS.

Rifles and handmade weaponry are equipped to each stranger’s

cloak.

A LEADER makes his way to the front. His companions quickly

move out of his way.

He approaches Clayton and slowly removes his hood.

Revealing a gentle-faced man - grey hair and a full beard.

He looks at Clayton - face calm and relaxed.

The gentleman places his out to Clayton.

Clayton flinches, his body cannot take anymore.

The Leader watches Clayton.

HOODED LEADER

(sincere)

You thought you were the only one

didn’t you Clayton?...

Clayton tries to speak, his whole body collapses as he does

so.

CLAYTON

(in agony)

F-Fr-Freya..

CUT TO CREDITS

Author's Note

If you're having trouble reading I can provide a PDF version.