Frankenberry

exactly what I was thinking.I don't even look at them as remakes since technically, based on the new rules, the originals were never made. And specifically in The Morrow's case I don't see it as a remake because I'm only posting it here to hurry up and get to Morrow 3 which I never got to post at BOM.

well Morrow and Chronicle are so recent I haven't really had time to dwell on them and what plot points I would change, so they are copy/pastes of the original versions. I figured just being a rehash might hold them back, which was why I raised the question. If they're going to have some points deducted from them due to being copy/paste jobs, I understand, but I want to have an OC prepared to take their place.

so since this is a complete start over is it acceptable to mount a campaign for films from the old CAYOM? If so, I'd put Chronicle and The Morrow in the race and work on Goldie Locks for this. If not I'd try and beef up my crime epic I've got planned.

T H E M O R R O W an ALFONSO CUARON film starring in alphabetical order… Jamie Bell as Paul Thomas Kretschmann as Drescher Anthony Mackie as Wallace James McAvoy as Dalton Trevor Morgan as Marcus Jame Purefoy as Felix Karl Urban as Hopper Mary Elizabeth Winstead as Maurie Original Score by Nathan Johnson Runtime - 149 min. Release Date - December 16 Theater Count - 3,832 (in 3D) Rating - PG-13 *Filmed in signature Alfonso Cuaron stlye. We will see long, shaky cam shots without any cuts, blood occasionally splattering on screen, and even a haunting dark tint to the film Darkness. All we see until a small gas lamp is flicked on. It illuminates the faces of two young men. Their names were Paul and Marcus. “About time you showed up,” Paul remarks. “Sorry. Drescher had me working overtime. I couldn’t leave,” Marcus replies. “Leave,” Paul repeats, as if he were savoring the word, then he smiles. “I’m gonna miss these late night chats. I’ve grown quite accustomed to them,” Marcus says. “Maybe in another time. In a better setting,” Paul replies. “Yeah, maybe,” Marcus agrees. “I’m excited though. I’ve been working under such stress for the past three years I won’t know what to do with myself once I’m out,” Paul continues. “Yeah, I know what you mean. But I’ve still got a year left on my contract,” Marcus replies. “I’m sure there’s at least one good conversationalist on the next shuttle,” Paul assures him. Marcus laughs and says, “I hope.” The camera backs away from the two men and exit’s the small room and out into a hallway. It pushes through a set of double doors and soon we’re outside. We cross a field, then a few tents, and then we come upon a set of four rockets, all prepared for lift off the next day. They’d take this work camp’s crew home. Back to earth. The camera comes to a rest facing a sign that read “Camp Morgen”. Camp Morgen was split up into four zones. Zone One held everyone from the first round of people under land contracts. They all worked on studying life on this planet, or in general making it more compatible to how we live life on Earth. That was Paul’s zone. Zone Two held the next group of people under land contracts, all having the same jobs as Zone One, only they still had time on their contracts. Zone Three held contract militia, Marcus’ zone. And Zone Four held the bigwigs. Government officials, soldiers, lead scientists, you name it. A giant ship named Baron overlooked Camp Morgen. The ship’s commanding officer was Dalton. He sat at a table with a man named Felix, both drinking a can of beer. “I hate assignments like this. It’s no wonder the Captain’s ‘under the weather’. We’re glorified babysitters,” Felix says. “Are you undermining my leadership?” Dalton asks with a laugh. “Maybe a little,” Felix retorts. “Well while your busy napping, I’ll be celebrating. My baby brother’s down there and he’s finally coming home,” Dalton states. “Well good for your brother. Another smart fellow taking advantage of the land contracts. I’d be tempted myself if I wasn’t under contract by the Universal Militia,” Felix replies. “Yeah. He’s a good kid. I’m proud of him,” Dalton says. Felix stands up and throws his empty can away. “I think I’m gonna get some sleep. Big day ahead of us tomorrow,” he says sarcastically. Dalton waves him off with a laugh. Paul and Marcus quietly exit their meeting room and part ways in opposite directions. We follow Marcus, who makes his way into a room filled with bunks where he very cautiously creeps to the one belonging to him. He crawls in and sighs. An older man named Peter in the bunk next to him stirs awake and turns to him. “Drescher came in and found you missing,” Peter says, still half asleep. Marcus takes a deep breath, scared for whatever punishment was coming his way. “Did he say anything?” Marcus asks, but the man had already drifted back to sleep. Paul creeps into his own room, this one containing only one bed instead of many bunks. It was small, but nice. It felt homely. He crawls in bed next to Amanda, his fiance. He places a hand on her pregnant stomach. She turns and kisses him. “I can’t believe we’re leaving tomorrow,” Amanda says. “I can’t believe we’ll be back. With land of our own. An actual house,” Paul replies. “And a nice yard,” Amanda continues. “With a swing in it,” Paul adds. “Of course. And a nursery. A nice nursery for Little Dalton,” Amanda says. “Babe, by the time we make it back here Little Dalton won’t be so little,” Paul replies. “I guess your right,” Amanda replies, obviously slightly upset she won’t be fixing up a nursery. Paul notices and kisses her belly. “But Little Miranda might be,” he says with a smile. “Oh. There will be a little Miranda?” Amanda asks with a smile. “Well yeah. I figure my brother gets a baby named after him, we might as well not leave your sister out,” Paul says with a smile, kissing Amanda lovingly on the lips. “You know I have a lot of jealous siblings,” Amanda says in between kisses. “Good,” Paul says, rolling on top of her. Felix lays asleep in bed. A man named Hopper enters his room and knocks on the wall. This was Felix’s brother. “You ready to watch the fireworks?” Hopper asks. Felix pulls himself up and groggily says, “Ask me again in twelve hours.” Felix and Hopper enter the giant observation room of the ship which had a large window that overlooked the world below. The room was already filled with the rest of the Baron crew. Thirty-six in total. Among them was Dalton and Hopper‘s wife Maurie. Felix and Hopper join them in watching the ground below. Paul and Amanda stand amidst a very large crowd of a thousand people, all waiting to get on the four rockets that would take them back to Earth. They look at each other and smile. The crowd begins filing into the rockets, two hundred assigned to each. As Paul and Amanda reach the front of the line to enter their rocket, soldiers let Amanda through, but hold Paul back. “Wait! I have to get through!” Paul says trying to push past them. “Amanda wait!” Paul exclaims. Amongst all the commotion Amanda can barely hear him. She turns around to look at him while being pushed by the crowd closer to the rocket. “Paul?” she calls out. “Please, that’s my fiance. I have to get through!” Paul exclaims. “Sorry kid. We’re over capacity. Another shuttle will come for you,” a soldier replies. “What?! When!?” Paul exclaims, outraged. The soldiers look to one another. “I don’t know. A week,” the soldier replies, sounding like he made the timeframe up on the spot. “You don’t know? Another week?” Paul replies, furious. “Yes sir, that’s what I said. Now will you please step back,” the soldier asks firmly. “You can let one more person through. Come on!” Paul pleads. “Sir, I said to step back,” the soldier replies coldly. Paul tries to push past them but the soldier slams his gun into Paul’s face, causing him to fall backwards in pain. The doors of the rockets were then all sealed, leaving two hundred people behind, outraged. Inside one of the rockets, Amanda looks for Paul desperately, not knowing what happened to him. The crowd is forced to watch as their tickets home prepare for take off. Marcus lays asleep when suddenly someone places their hand over his mouth. He wakes up with a fright and finds the hulking German military captain, Drescher, standing over him, motioning him to be quiet. Marcus nods his hand, understanding, and Drescher removes his hand. Marcus follows Drescher into the hallway where he is given a machine gun. “What’s going on?” Marcus asks. “We’re cleaning house,” Drescher replies, walking down the hallway. “Wait, what? What does that mean?” Marcus asks. Drescher doesn’t respond, just keeps walking until he makes it to a small room with about a dozen men waiting inside. “Let’s move,” he tells them. Drescher leads them down another long hallway and then outside. Marcus notices the four rockets waiting to launch, with the crowd of two hundred standing in anger. He doesn’t have much time to think about this, or what it meant for his friend Paul, as he was soon led into another building. Zone Two. “What are we doing here?” Marcus asks another contract militiaman. “Us or them,” the man replies nervously, almost to himself. Marcus has no clue what the guy was talking about. Paul stands alone amongst a crowd of two hundred and watches as the four rockets begin their launch. He felt mixed emotions at the moment. He was happy his fiance and unborn son were on their way home, but sad he wasn’t experiencing this with them. The rockets launch and he watches as his family is lifted up in the air. When the rockets reach about a hundred yards in the air things go horribly wrong. Each rocket suddenly explodes in disastrous fireball of carnage. Paul goes limp as he watches the wreckage rain down, his family obliterated. People push past him, trying to escape the burning rubble as it falls, crushing unfortunate by standers. Suddenly gun shots rain out across the crowd. We don’t yet know where it’s coming from but we see people falling victim to the bullets. As more and more people push past him Paul finally snaps out of it and runs. On the Baron, the crew is speechless as they watch the horror unfold below. Felix breaks the silence. “What the hell just happened?” he exclaims. “I don’t know, but we’ve gotta get down there for support. Looks like an attack,” Dalton says, jumping up on a table. “Emergency protocol!” he shouts to the Baron crew. “Captains gather up your teams. Let’s move fast. Evacuate survivors and shoot hostiles on sight,” Dalton finishes, jumping off the table. As the crew begin racing toward their ships Felix pulls Dalton aside. “Don’t you think you’re acting a little hasty on this one?” Felix asks. “We don’t have time for this. We’ve got to help the survivors,” Dalton replies. “Look me in the eyes and tell me we aren’t risking our lives running into unknown dangers because of Paul,” Felix demands. “This isn’t about my brother,” Dalton replies. “Bulls***. You’re not thinking with your head on this one, Dalton. I support you and I understand, but you better know the consequences,” Felix retorts then hurries off to his ship. There were six ships in the Baron hangar. Felix goes to the one under his command where his crew were waiting. Among his five man crew were Hopper and Maurie. Felix pulls Hopper aside. “Dalton’s not thinking straight on this. I need you to keep him in line,” Felix says. Hopper nods in agreement then turns to Maurie and kisses her. “Stay safe,” he tells her, then turns back to Felix and says, “Good luck,” before racing off to Dalton’s ship. Just as Dalton’s closing the doors to his ship Hopper leaps inside. “What are you doing?” Dalton asks. “Making sure you don’t do anything uncharacteristically foolish,” Hopper replies. “I’d argue but we don’t have the time,” Dalton replies then races up to the cockpit where the pilot, Wallace, sat. “Get us down there, Wallace,” Dalton says. And with that the six Baron ships were off. It was complete hell down below. Paul and the rest of the crowd frantically run for their lives as the Camp Morgen Soldiers begin to open fire against the crowd. One soldier jumps onto a rail gun and basically cuts a line of civilians in half. Bodies drop left and right as the soldiers continue their massacre. A large group of civilians reach the gate that surrounds the camp and try to climb over each other to get over it. A young soldier sees this as an opportunity to prove himself by taking out a large number of them so he chucks some type of high powered grenade toward them. The grenade goes off, killing most of the group, but also creates a small hole in the fence. More people reach the fence and begin digging where the hole is. One person crawls out to safety. Then another. The soldier on the rail gun notices and turns his attention to the group amassing by the hole and opens fire, quickly taking them all out. As the soldiers begin to run out with their machine guns, one of them trips over a pile of bodies. A civilian takes this opportunity to grab his gun and quickly take out the fallen soldier. He fires at the unprepared rail gun operator, clipping his shoulder. He falls back briefly, cursing in pain. Paul notices amongst the commotion and sprints toward the hole in the fence. A woman and her three year old daughter are close behind. He pulls them quickly toward the hole and pushes the daughter through first. The mother is next, straining to get through the small opening. “Come on!” Paul exclaims frantically. The soldier on the rail gun takes back control and takes out the gun wielding civilian. He then turns and sees the woman finally making it through the hole and Paul beginning to climb through. He fires but it was too late. Paul had escaped. The soldier turns back to the others and continues the vicious slaughter. Marcus can hear the commotion going on outside. He didn’t know what was going on, but he could tell it was terrible. Drescher leads the group to a long hallway lined with doors locked from the outside. Drescher unlocks the first door and motions to three men who open the door and open fire on whoever’s inside. We can’t see who’s inside as we stay on Marcus’ face, distraught and disgusted about what he just caught glimpses of. Drescher unlocks the door across the hall, and the door beside it, and then another. Men disperse to each door, readying to open fire. Drescher pulls Marcus to a door and unlocks it. By now the people inside these rooms had heard the gunfire and were screaming, pleading to be spared. Drescher opens the door and pushes Marcus forward. Marcus stares inside and sees an elderly woman caring for a baby. The old woman begs to be saved. Marcus begins to cry, shaking his head in denial. Drescher puts his own gun to Marcus’ head. “No mercy,” he snarls. “I can’t,” Marcus whimpers through his tears. Drescher digs the gun deeper into Marcus temple. “Do it!” he yells. “I’m so sorry,” Marcus tells the woman. “Please! At least spare the child!” the woman pleads. Marcus closes his eyes, tears streaming down his face. The camera stays on his face as we hear the first shot. The sound of the baby screaming is pure torture. One more shot and the screaming stops. Marcus turns and pushes Drescher out the way, then pukes all over the wall. The six ships from the Baron fly low to the ground. Dalton observes the surroundings, staring at the bodies piled upon each other. “Why would anyone do this?” he murmurs to himself. Felix chimes in over the radio. “This is an obvious act of terrorism. We gotta call this in, Dalton,” Felix says. “There could be survivors,” Dalton replies. “You mean Paul,” Felix replies. Dalton curses under his breath. “Don’t question my motives. I’m the captain. We are going down there,” Dalton retorts. Hopper grabs Dalton by the arm. “Think about what your doing. We don’t know what’s down there,” Hopper pleads. Dalton shrugs him off and turns back to the radio. “Haggerty, take your crew and land. Do a quick scope. We’ll cover you from above,” Dalton says. One of the Baron ships goes and lands in Camp Morgen. Commander Haggerty steps out, machine gun in hand. His crew follows. They look around, scoping out the area. Felix watches from his ship, praying nothing goes wrong. Haggerty leads his crew cautiously around the camp, everyone on edge. Suddenly he stops. He turns to the right, hearing something. “What is it, Haggerty?” one of his men asks. “I thought I heard some-” before Haggerty can finish, a bullet rips through his chest and he falls to the ground, dead. His crew freak out, racing to find cover that wasn’t there. In the five Baron ships they search for the shooter. Hopper is cursing, furious at Dalton. “We warned you! Haggerty’s dead now! This is your fault!” Hopper exclaims. “Shut up!” Dalton replies, shoving him out the cockpit and locking the door. Dalton turns to Wallace. “Where the hell is the shooter?” Dalton asks. “Dalton, this doesn’t look good,” Felix says over the radio. Dalton searches the ground below, desperately hoping to locate any enemies. Suddenly he notices the tents on the outskirts of the camp. They collapse to reveal three giant, high-powered, futuristic, rocket launchers. “Watch out!” he exclaims over the radio. Wallace slams their ship up in the air and the three launchers fire. One of the rockets connect with a Baron ship, obliterating it instantly. Dalton curses. “We lost Marx! Everyone fall back!” He cries out. Haggerty’s crew turn to the three rocket launchers and charge, firing at the soldiers surrounding it. They manage to take a few out, but everyone knows this is a hopeless skirmish. Haggerty’s crew is quickly taken out by the soldiers. The soldiers weren’t just going to continue this fight from the ground now. They quickly enter their own ships and give chase to the fleeing Baron ships. “They’re following us!” Wallace exclaims as he pilots their ship away. Dalton grabs the radio. “Let’s kill these sons of b****es!” he exclaims. Dalton’s ship speeds through the sky, two Morgen ships giving chase. Hopper and another crew member enter the ship’s turrets and open fire on the pursuing ships. Wallace takes the ship down into a canyon, making sharp turns in the tight spaces, narrowly missing crashing into the walls. The two Morgen ships continue their pursuit, expertly maneuvering the tight spaces. One of the Morgen ships returns fire, but shoot over the Baron ship, connecting with a rocky overpass. The overpass explodes, sending large chunks of rubble raining down. Wallace curses as he tries to swerve out the way. He bumps and scrapes the wall and bits of rubble strike the side of the ship, causing him to almost lose control. Dalton curses. “We’ve gotta lose them!” he exclaims. “I’m trying! They know this land better than me!” Wallace replies. Dalton races over to a terminal and pushes several buttons. “What are you doing?” Wallace asks. “Readying everything,” Dalton replies. After a few more buttons he turns back to Wallace. “Turn us back around. Push forward. Don’t stop,” he says. Wallace speeds forward then whips around, flying straight toward one of the Morgen ships. Dalton unleashes everything he has on the Morgen ship. It explodes and the Baron ship plows straight through the burning carnage. The other Morgen ship swerves out of the way, colliding with the canyon wall and exploding. Wallace breathes a sigh of relief and turns to Dalton. They exchange simple nods. Out of the woods… for now. The three other remaining Baron ships were in the midst of there own battles. We watch as the Morgen ships have the upper hand, driving the Baron ships back. Felix wasn’t going to stand for this. He rallies up the morale of the crew of his ship and the others and they charge. One of the Baron ships is taken out, sending shrapnel flying into Felix’s ship. He curses as they just about lose it, but they manage to gain back control. The Morgen ships were no match for the charge. They are all either destroyed or begin to fall back. “Let’s move!” Felix yells over the radio. His and the other Baron ship speed away from the carnage, retreating from any other battle. But the Morgen soldiers had different plans. “Get Drescher!” one of the soldiers on the ground yells. Within moments the hulking German soldier was outside and he quickly goes to man one of the large rocket launchers. The two Baron ships were so far away. This shot seemed impossible. Drescher breathes an un-phased sigh and fires. It connects with the fleeing Baron ship, destroying it instantly. “No!” Felix cries out as he watches his companions fall, and knowing he and his crew could be next. He grabs Maurie and pulls her in, shielding her from the next potential blast. The pilot tries evasive maneuvers as Drescher fires again. The shot connects with the back of the ship, ripping it off completely. Felix curses as the ship begins spiraling out of control. The ship falls out of Drescher’s sight and crashes into the ground violently, where it then begins to roll over and over again, finally coming to a stop. All that was left was the battered remains of the cockpit. Felix groans in pain as he pulls himself up. Maurie lay on the ground beside him, badly injured and knocked out, but still alive. He turns to the pilot. He doesn’t need to check his pulse. His head lay slumped on the dashboard where it must have slammed, now nearly completely cracked open. Felix covers his mouth, sorry for the loss. He takes a step and cries out in pain. His leg was definitely broken. He pulls himself in agony to the cockpit door and opens it. He was now staring at open land. No more back of the ship, The rest of the crew gone with it. Felix hangs his head down solemnly and shuts the door. Paul wakes up. He takes in his surroundings as he sits up. He was in some sort of cave. Next to him were the mother and daughter he had just saved. “How long was I out?” he asks. “Not long,” the mother replies. “Are you two ok?” Paul asks. “Considering the circumstances, yes,” the mother replies. “I’m Paul,” Paul says, holding out his hand for the woman to shake. “Madeline,” the mother says, shaking Paul’s hand then pointing to her daughter. “And this is Emmy,” she says. Paul goes to shake the little girl’s hand. “Hi Emmy,” he says. The three year old girl just stares at him, shaking a wooden rattle. “I see you found my rattle,” he says sweetly. “I’m sorry. It fell out your pocket. I should have taken it from her,” Madeline says. “No, she can hold onto it for now. It’s fine,” Paul assures her. But he continues staring at the rattle. “I made that. For my son,” Paul says, head down to hide his watering eyes and quivering lip. Madeline just stares at Paul, not saying anything, but understanding. The contract militia and Morgen Army cadets all stood in a line together. (The two groups can be distinguished by their uniforms.) Drescher paces the floor in front of them. Marcus is sweating bullets as he watches the man walk. “We had a good day today. Things went smoothly and as expected,” Drescher states. There are a few audible sighs of relief. Drescher stops in front of a recognizable young soldier. “Private Adler, I hear you took out quite a bit of workers due to your grenade throwing skills,” Drescher says. “Yes sir. Thank you, sir,” the young soldier replies, shaking from nerves. “I wasn’t complimenting you, Private Adler. You see, I also hear because of your decision to show off that arm of yours five people escaped,” Drescher retorts. “It was a mistake, Captain. I’m sorry,” Adler says, shaking even more. Drescher grabs him by the ear and pulls him forward, tossing him on the ground. “Five people escaped!” Drescher yells to his army. “That’s unprofessional, that’s sloppy. Quite frankly, that’s embarrassing. Now, I want my five bodies,” Drescher continues. Drescher scans the men then points at one in particular. “You,” he says. Marcus’ heart drops as Drescher points at him. He steps forward. “Yes, Captain?” Marcus asks. “I want my five bodies,” Drescher repeats. “What do you want me to do, Captain?” Marcus asks. Drescher smiles and then nods to the militia. “Bring me my five bodies.” Marcus nearly faints when he realizes what Drescher means. He turns and looks back at the other men. He had to sign the death sentence for five of them. “I can’t do this,” Marcus says. Drescher pulls out a pistol and shoots a random person in the head. The body drops to the floor and there are cries of terror. “I’m going to keep shooting people until you give me my five bodies. That’s just more unneeded blood on your hands,” Drescher says. Marcus clinches his teeth, not knowing what to do. “Why me?” he asks. Drescher turns to another man and asks for his five bodies. The man turns around and quickly shoves five people forward. Drescher shoots the man and tells the five chosen it was their lucky day, then turns back to Marcus. “That’s why,” Drescher begins. “You’re different from the others, Marcus.” Marcus just shakes his head, not wanting to accept the task given to him. Drescher shoots another man in the hand. “Ok! Stop!” Marcus cries out. He begins breathing heavily as he scans the militiamen. He goes over to the oldest man he sees and pats him on the shoulder. “I’m so sorry,” Marcus says. The old man pats Marcus on the back, saying, “You have nothing to be sorry for,” then he steps forward beside Drescher. Marcus searches for another older man, but most of the militia were all young. Marcus pats one on the shoulder. “No! Please! I have a family!” the man pleads. Marcus just closes his eyes and says, “I’m so sorry.” The chosen man is pushed forward to stand by Drescher. Marcus then puts his hands on two men standing side by side. Both men accept their fate and go to stand with the others. Marcus takes a deep breath then goes to stand in line alongside the four men he picked to die. Drescher walks over to him. “I deserve worse punishment than this for the sins I’ve committed,” Marcus tells him. Drescher grabs him and tosses him back into the group of militiamen. Four Morgen soldiers shoot the chosen militiamen in the head then Drescher turns to Adler, still laying on the floor, sobbing. Drescher shoots him in the head and turns to the others. “You’re dismissed.” “This is your fault!” Hopper exclaims, tackling Dalton. The two scuffle on the floor of their ship, fists flying. “We have a duty to protect the people!” Dalton replies, blocking Hopper’s swings and throwing some punches of his own. “Bull****! The only duty you were fulfilling was to your brother. A brother who is already dead! And because of you, now mine’s dead too! You killed Felix! You killed Maurie!” Hopper retorts. “Felix was my best friend,” Dalton begins. “And you led him to his death. You led my brother and my wife…. Twenty-nine people are dead because of you!” Hopper jumps back on top of Dalton, laying all his anger and strength into him. Fury-raged punches connect with Dalton’s face. “You killed my wife!” Hopper screams through tears. The other crewmen try to break the two men up, trying to pry Hopper off Dalton. Hopper shoves them away and continues assaulting Dalton. Suddenly a beeping noise is heard. In the cockpit, Wallace presses a flashing button on the radio. Felix’s strained voice comes over the radio. “Get us the hell out of here.” Hopper and Dalton race across the sandy terrain, both have pistols at the ready. “You’re almost there,” Wallace says over the radio. Hopper and Dalton can make out a billow of smoke coming from the other side of a hill. They race to the top of the hill and peer down below. The remains Felix’s ship lay on the other side. A group of ten men with guns stand around the wreckage, trying to get inside. It’s obvious from their tattered clothing they weren’t Morgens. “They must be natives,” Dalton says, cautiously easing toward them. They hear the two men approaching and turn, raising their guns. Dalton and Hopper raise their own guns and the standoff begins. The obvious leader of the natives steps forward, gun still drawn. “Drop your weapons,” he says. “You first,” Dalton replies. None of the men budge. Hopper begins to sweat. “What are you doing here?” he asks. “Looking for tools. Resources. The Morgen soldiers stripped us of everything,” the native leader replies. “We don’t want any trouble. Our friends are inside that ship. You let them out to go with us and you can take the ship,” Dalton says. “We take the ship with your say or without it. You have no leverage in this matter,” the leader replies. “Just give us our friends and we’ll be on our way,” Dalton says, finger twitching on the trigger. The leader turns and knocks on the cockpit door. “Will you open the door now? Your friends are here,” the leader says. The door creaks open just a bit and Felix makes eye contact with Hopper. He opens the door fully and helps Maurie out. “Maurie!” Hopper exclaims, running to hug his wife. “Stop!” the leader orders, pointing his gun at Hopper. Hopper stops in his tracks. “Life became hard after the first of the German ships landed. They took everything from us. We prayed for some sort of intervention. Then the Soviet ships came and there was more repression. Then the camps started getting built. We knew all hope was lost when Americans started showing up as slaves,” the leader says. “They aren’t slaves,” Dalton retorts. “But they are treated no different. And we were treated worse. We were literally stripped of everything. Homes, food, the clothes off our backs. And now it’s time we start taking things back,” the leader continues. He turns to Maurie and Felix. “Strip. Now,” he tells them. Both are hesitant. The leader places his hand on Maurie and says, “I’m waiting.” Hopper flips. “Don’t you touch her!” he exclaims, stepping forward with his raised gun. “Drop it!” the leader barks to Hopper, holding his gun and having his men all point their guns at him. All the men tighten their grips on their guns. “Hopper,” Dalton says. Hopper turns his head slightly to look at Dalton. Then Hopper realizes the message Dalton was trying to send. He didn’t want Hopper to make the same mistake he did. Hopper sighs and lowers his gun. The natives do the same the attention is turned back to Maurie and Felix. Felix looks to Hopper, knowing this situation was not going to end well unless someone took a stand. He turns to Maurie and hugs her, but is also angling her to the cockpit door. Felix shoves her into the cockpit, slams the door shut, and then turns, tackling the lead native. In the quick moment of confusion, Dalton and Hopper open fire on his men, quickly taking three out as they run forward. Dalton leaps forward, knocking two of the men to the ground while Hopper goes to shoot the remaining five, but he was out of ammo. He throws his pistol at one of the men and tries to fist fight with the others. They quickly overwhelm him. Felix and the lead native wrestle on the ground, throwing in hard punches and scrambling for their guns. The leader throws Felix off of him and stands up, gun pointed at Felix’s head. He looks at his men who had overtaken Dalton and Hopper. As the three men accept their deadly fate a gunshot sounds across the desert. The leader gasps, looking down at his chest and watches as blood pours out onto his shirt. He coughs up more blood and falls to his knees, this collapses to the ground. Dead. Everyone is confused by this and they look around. Off in the distance a group of six Morgen soldiers can be made out, racing toward the crash site, machine guns in hand. The natives take their attention off their captures and open fire on the approaching soldiers. Dalton leaps up and throws the cockpit door open as the soldiers begin to fire back. Bullets spray across the area. Many connecting with the natives, some clanging against the wreckage. Dalton, Hopper, and Felix climb inside the cockpit and slam the door shut behind them. Hopper races over to Maurie and they embrace. “I thought I lost you,” he tells her. “Hopper,” Dalton calls. Hopper turns and sees Felix laying on the ground, clutching his bloody side. Hopper races over to his brother. “Those Morgen soldiers are coming for us,” he coughs. “Don’t worry about them. Are you ok?” Hopper asks. “There’s a bag under that console over there,” Felix says, pointing. Dalton goes to get it. He looks inside. “This isn’t a first aid kit,” he says solemnly. “It’s the only way,” Felix says, coughing up blood. “What’s in the bag?” Hopper asks. Maurie clutches onto her husband, trying to comfort him. Dalton and Felix exchange looks. “What’s in the bag? What’s in the f***ing bag!?” Hopper demands. Felix strains and sits up. Dalton kneels down and pulls the contents out of the bag. Hopper watches as his brother straps C4 around his waist. “No! We can still help you! We can just throw it! We can take them!” Hopper exclaims. Felix holds the detonator which was very close to his C4 belt. “The fuses are in the back. I can just go get them,” Felix says. He groans in pain as Dalton helps him stand up. “Felix. You can’t do this,” Hopper pleads. “I’m proud of you Hopper. You’re going to win this fight. Maurie, take care of him,” Felix says, then opens the door and crawls out. He slams the door shut behind him. Outside he collapses, not able to take another step. The six Morgen soldiers grab him. “Looks like he’s giving up. Drescher wants his head,” one of the soldiers says. Felix holds his hands up, noticeably clutching the detonator. The soldiers notice and curse, going to shoot him, but before they can he squeezes the trigger. The C4 explodes, engulfing everyone in deadly flames. The cockpit door slowly creaks open. Dalton peaks his head out and looks around. Not much was left. Just charred remains. He pulls himself completely out and looks around. Hopper and Maurie step out behind him. And then Dalton notices something. A few dozen yards away a Morgen soldier pulls himself up painfully. He must have been far enough away from the blast to survive. The soldier turns and notices the three pair of staring eyes, then breaks out into a sprint to escape them. Dalton smirks and gives chase. The wounded soldier races with a limp which causes him to stumble all over the place. Dalton quickly catches up with him and tackles him to the ground, then heaves him up and carries him back to the wreckage. The Morgen soldier is strapped to a chair in the cockpit. Dalton stands in front of him. “What’s your name?” Dalton asks. “Daniel,” the soldier replies. “Well I have one simple question for you Daniel. Why did this happen?” Dalton asks. “You may call it a simple question, but I have no simple answer,” Daniel replies. “Then explain the details. What’s the reason for this massacre?” Dalton continues. “Will you let me go?” Daniel asks. “Depends on your answer,” Dalton retorts. Daniel sighs and nods, then starts talking. “2203 a German probe discovered this planet. By 2206 the first colonies have already begun forming. They discover material unlike any other that create more power than you could ever dream of,” Daniel starts. “Right, Lyrium. But it’s common knowledge no one knows how to harness that energy. So you’re telling me they found a way?” Dalton replies. “Exactly. But mining off-world resources can get pretty pricy, and after the Donnic wars the German economy was left crippled. So they had to partner with Russia,” Daniel continues. “Do they know how to harness the Lyrium?” Dalton asks. “No. But they sure as hell know there’s a way. And even if they don’t learn it they don’t want to cross those that know how to use it. They’re all German lap dogs,” Daniel replies. “But why bring innocent people here and then slaughter them?” Dalton asks. “Multiple reasons. This planet wasn’t exactly the best kept secret, and pissing off the entire Earth population wouldn’t exactly play to their hand. They had to find a way to open it up to everyone, but still have control. Thus the contracts. While the people under contract cultivated land and made this place livable, they were fed the lie they were the ones that would end up doing the living. Nope. This entire place belongs to Germany and they used the contractors to prepare for their new lives here while they spent their time readying the Lyrium and setting their plans. The massacre means they’re done planning. It’s the signal to the start of a war. One that will unfortunately be very one-sided,” Daniel states. Dalton takes this all in and then asks, “A war for what?” Daniel smirks and replies, “For Earth. Germany becomes leader of two separate global entities. They rule over everything.” Dalton steps back trying to process all this, but things weren’t looking good. “There’s got to be a way to stop them,” Dalton says. “There is no way,” Daniel replies. “You’re lying,” Dalton says, taking out his pistol and shooting Daniel in both thighs. Daniel howls out in pain. “Next time I hit what’s in between unless you give me answers,” Dalton says. Daniel is gasping for breath, the pain excruciating. “Okay. Okay. They didn’t kill everyone. They’ve got a hundred civilians bunkered up. A bit of leverage so no one comes nuking the place,” Daniel blurts out through gasps. “Nuking Morgen? Would that end all this?” Dalton asks. “They’ve got a huge supply of lyrium and all their plans depend on Morgen….but plans can change. The loss of Morgen would be a giant set back, but the German forces would still have an upper hand,” Daniel replies. “That’s better than nothing,” Dalton says. He cuts Daniel loose and pushes him outside, where Hopper and Maurie were keeping watch. Daniel tries to take a step , but pain shoots across his body from both thighs. He gasps for air through the pain. “You’ll be wanting to get back to camp. Crawl on your hands if you have to,” Dalton says. “Tell them Dalton Connors sent you.” Marcus is laying in his bunk, twiddling his thumbs, thinking about everything he had experienced. Suddenly the doors to the barracks burst open and two soldiers drag Daniel in. “We need water! And a med kit!” one of the soldiers yells. Marcus and the other militiamen leap up to see what was going on. Someone brings the water and drizzles it into Daniel’s mouth while another person tends to the bullet wounds on his thighs. Drescher storms in and pushes past the crowd and crouches next to Daniel. “You’re the only one that’s left?” Drescher asks. Daniel nods weakly. “It was Captain Connors that did this to you, was it not?” Drescher asks. Daniel nods again. “How many are left?” Drescher continues with his questioning. “That I saw, three,” Daniel says, barely able to push out the words. “Three. That’s ok. We don’t need to worry about three men,” Drescher says. “One was a woman,” Daniel adds. “Even better,” Drescher says, then turns and leaves. As the crowd stays and watches as Daniel is tended to, Marcus pushes past them. “You said Captain Connors?” he asks. Daniel nods, but barely paying attention. His focus was on downing the water. “Dalton Connors?” Marcus asks. Daniel nods again and Marcus races off. Marcus eases off his run when he reaches a small control room. He casually walks in to find two men sitting behind a desk. “I think Drescher needs you,” he says. The men look to each other and then one gets up. “Both of you,” Marcus says. “There has to be a man on post,” comes the reply. “I can take over while you’re gone. You don’t want to leave Drescher waiting. He’s in the courtyard,” Marcus says. The other man sighs and follows his partner outside. Marcus quickly shuts the door and locks it behind him then sits behind the desk where there was a variety of computer monitors and a radio. He goes to grab the radio then stops for a second, turning to look at the computer. Five people had escaped. What he was thinking was crazy, and the odds astronomically against him. But he had to check. He turns to the computer and pulls up a radar showing a dozens of blinking dots, five of them in red. He taps one of the dots and a file comes up for a man named Alexander Reynolds. We recognize him as one of the civilians who escaped through the fence. Marcus exits out of the file and clicks on the dot next to Alexander’s. Brian Hoffman pops up on the screen. Marcus sighs and exits out. Then the next dot. Emily Potts shows up on the screen. Marcus quickly exits out of the little girl’s file and clicks on the next dot. Madeline Potts. Nope. Exit out. Last dot now. Marcus taps it, holding his breath. Paul’s face materializes on screen. Marcus breathes a huge sigh of relief, happy his friend had survived the massacre. And then Marcus turns to the radio. Dalton, Hopper, and Maurie had made it back to the other ship to reunite with Wallace and the others. Dalton finishes up telling them what he learned from Daniel and now they had to figure out some sort of plan. “We have to call in a strike,” Dalton says. Everyone nods. This was their only chance to save the free world. “Two problems,” Wallace begins. “One, we don’t have a radio with enough strength to call the Universal Militia. We’d have to go back up to the Baron,” Wallace continues. “They’ll shoot us down the second we lift off the ground,” Maurie says. “We could create a distraction somehow. Go in and cause a panic. Just look enough for someone to get up to the Baron,” Dalton says. “That’s suicide,” Wallace says. “I know. And I can do it alone,” Dalton replies. Everyone looks to Dalton, making a sacrifice for everyone. “Ok,” Wallace says, a bit more solemnly. “So you distract the Morgen soldiers. Even then it’s a risky move. The Baron’s a long way off. But it certainly seems more plausible now.” Everyone looks to each other. “I think it goes without being said that there’s no way we can say the civilians. Eight against an army will solve nothing. They’ll be going down with the camp. And I’ll be going with them,” Dalton says. No one likes the sound of this, but they also know there were no other options. And then they here the beeping sound of the radio. Wallace picks it up. “Is this Dalton Connors?” comes Marcus’ voice over the radio. Everyone looks at Dalton as he goes to grab the radio. “This is Captain Connors. Who is this?” Dalton responds. “My name is Marcus Hawke. I’m a contract militiaman in Camp Morgen. Your brother Paul is a good friend of mine,” Marcus replies. “Well a friend of Paul’s is a friend of mine,” Dalton retorts. “Is he safe? Are you coming to rescue the others now?” Marcus asks. “Is Paul safe? I thought he was dead. They slaughtered everyone from his zone,” Dalton replies. “Not everyone. He got out somehow,” Marcus says. A smile spreads across Dalton’s worn face. Marcus tells him Amanda wasn’t as lucky, but then gives the coordinates to Paul’s location. Dalton informs him they were calling in the Universal Militia to nuke the camp. It would probably take twelve hours for the strike to arrive. “So you’re going to leave us all here to die?” Marcus asks. “There’s no way we could get everyone out and to safety. We won’t even have a ship,” Dalton replies. “The Morgen soldiers have ships! I know my way around this place. I can rally some other militiamen. This isn’t impossible,” Marcus states. Dalton turns to the others. “It’s better than nothing,” Hopper says. Dalton nods in agreement. “Ok. This might work, but that nuke’s gonna drop no matter what and this isn’t the greatest of plans. Gather your men and get ready. And we’re going to need a distraction,” Dalton says to Marcus. “I’ll do everything I can,” Marcus replies. Dalton puts down the radio and turns to the others. This was it. It was night. Marcus had gathered a large group of contract militiamen to get them to join his escape plan. Instead of hearing this conversation, we hear the Baron team talking. “Our whole plan is riding on this kid. A kid we’ve never even met. Can we trust him?” Hopper asks. “He’s our only shot,” Dalton replies. The look on the militiamen’s faces says they were in for this plan. Cut to three militiamen looking nervous as they walk down a hallway. They stop in front of two Morgen soldiers guarding a door. “What are you doing?” one of the Morgen soldiers asks. “Drescher sent us to take over,” a militiaman named Henry replies. “Drescher wouldn’t do that. What are you up to?” the soldiers retorts. Then quickly the militiamen strike, stabbing the two soldiers repeatedly with knives. Henry whistles and four other militiamen race toward them, carrying large bags with them. They go inside the room the soldiers were guarding. This room was actually a small hallway with doors lining the sides, locked from the outside, just like the hallway Marcus had to slaughter people in. Henry takes a set of keys off one of the dead soldiers and tosses it to the four militiamen. They unzip their bags to reveal they’re all filled with guns. They begin unlocking doors. The civilians inside are first startled, scared of the men with guns, but the militiamen explain they were here to help, and begin handing the guns out. “Here,” one of the militiamen says, handing one of the rooms inhabitants a watch. “At noon you all come out and go to the ship bay. Shoot any soldier that stands in your way. Noon. If you come out before then you will be killed. If you come out after you’ll be left behind.” The militiamen shut the door back and move on to the next room, where they go about the same routine. Meanwhile, Henry and the other two militiamen are dragging the two soldier’s bodies into a storage closet. Suddenly, footsteps can be heard. Henry curses and steps outside the closet. He races over to the prisoner’s hallway door and quickly shuts it, then does his best to look like he’s guarding it. A soldier rounds the corner and stops in front of him. “Where are Smith and Banks? Why are you here?” the soldier asks. “I wanted to stretch my legs a bit and noticed they didn’t show up for their post, so I decided to step in,” Henry replies nervously. The soldier stares at him, looking as if he doesn’t buy this story. He takes a step closer to the door. “They’re just a bunch of locked up filth! I think I can handle this,” Henry adds. The soldier stops. If he opened that door the entire plan would come crashing down. Henry is sweating bullets. And then the soldier eases off. “That shows initiative. Good job,” the soldier says, then moves on. Henry lets out a huge sigh of relief. Marcus walks quickly through the night, outside, barely able to see what was in front of him. Up ahead he can just barely make out the tents that cover the large rocket launchers. Then he sees the soldier pacing back and forth, bored from his job of guarding it. Marcus walks over to him. “I was just going for my daily walk and I noticed a couple of guards off duty,” Marcus says. “Daily walk? What is this s***? Your type aren’t allowed out this late,” the soldier replies. “Don’t you recognize me? I’m Drescher’s favorite. He makes exceptions for me. And maybe he’d make some exceptions for you too if you started taking some initiative,” Marcus retorts. “Okay. What post,” The soldier asks. “The prisoner’s quarters. Nobody is guarding it. And while, let’s be honest, they can’t get out anyway, I figured I’d let you know. Guarding people seems more important than guarding a machine to me,” Marcus says. “Why are you telling me this?” the soldier asks, a bit hesitant to trust Marcus. We see behind his back, Marcus is holding a knife. He’d use it if he had to, but he didn’t want it to come to that. “Because…” he’s grasping for an explanation. “Because Drescher sees potential in you. He told me. This could really put you over the edge,” Marcus says, fingers tightening around the knife. The soldier nods. “Ok, I’ll go check it out,” he finally says. Marcus sighs in relief. “Good. You won’t regret it,” he says. The soldier starts to walk off when Marcus stops him. He gets really close to the soldier and whispers, “And between you and me, being Drescher’s lap dog has it’s serious perks.” The soldier smiles and nods, then walks off. Marcus then turns to the tent. The hard part was now over. He goes to each tent and sets them on fire, then runs off. The camera pulls back from the shot of the burning tents all the way back to Dalton, standing with a pair of binoculars, watching the blaze. “And there’s our distraction. Looks like the kid did it,” he says. “So you really think this is going to work?” Hopper asks. “I don’t know. But not knowing hasn’t stopped me before,” Dalton replies. Hopper is a bit shaken by this statement, remembering Felix. “Looks like it’s time for me to go,” Wallace says. Dalton shakes his hand. “Good luck,” Dalton tells him. “Save it for yourself. You’re the one that’s gonna need it,” Wallace replies, then turns and enters the Baron ship. Hopper turns to Maurie. “You should go with Wallace. It will be safer,” Hopper tells her. “No. I’m going with you. We’re going to save those people,” Maurie replies. “Maurie, if anything happened to you…” Hopper begins, but Maurie cuts him off. “You won’t let that happen,” she says, a bit sarcastically. Hopper sighs, a slight smile on his face. “You’re stubborn,” he says. “I got it from you,” Maurie replies. Wallace starts the Baron ship up and lifts it off the ground. Dalton turns to the others. Six people about to risk their lives to save a hundred others. Dalton then begins a speech about everything they had experienced that day. He wasn’t the best speaker, and this wasn’t some over the top rally cry. He admits to his faults, taking on the full blame for every life lost that day because of him. He then says he wasn’t going to make the same mistake twice. They were going to save those civilians. It was a unifying moment. Everyone knew the risks, but they were ready for whatever came next. They had twelve hours. Emmy looks up into the night sky and points. “Look! A shooting star!” she says. Her mother and Paul look up to see a lit object going up into the sky. That was no shooting star. The camera quickly zooms all the way in to show Wallace piloting his ship back up to the Baron. In Camp Morgen, the soldiers were in a panic trying to douse the flames, but they were growing too big. They break off and race to fire extinguishers, unleashing the water, trying to calm the flames. Amidst the commotion, no one realizes that on the other side of the camp, the Baron team snuck into the camp. Marcus creeps over to them, greeting them all and introducing himself. “All the civilians have been armed. The vehicle bay is right over here… I think we can do this,” Marcus says. Meanwhile, Wallace races to the control room of the Baron. He picks up the radio and frantically calls in a nuclear strike. There’s obvious resistance to his demands, but he tells the story of the massacre and what would happen if Germany was able to harness the lyrium. The dispatcher calls forth higher-ups who hear Wallace out. Wallace makes his way up the chain of command, telling more and more people of the tragedy and future devastation. Finally someone says what he wants to hear. They were sending in back up. Nuclear devices were being armed. Only one slight problem. The official on the other end of the radio conversation explains a giant cargo ship carrying part of the world’s nuclear devices was actually in orbit, an insurance measure in case they were needed. Instead of the twelve hours everyone expected the nukes to take, they would be there in two. Wallace finishes up the conversation and curses, grabbing the radio and frantically tries to call Dalton. In Camp Morgen, Marcus tries to lead the group to the prisoners, but Dalton doesn‘t move. “What are you doing?” Hopper asks. “I can’t leave Paul here,” Dalton replies. “If you leave you might not make it back,” Hopper says. “I have to try. I can’t just leave him here,” Dalton replies. Hopper nods and pats Dalton on the back. “Good luck,” he says. “You too,” Dalton replies, then exits back through the hole, racing off to the coordinates Marcus had given him. Hopper took command now that Dalton was gone. “Lead the way,” he tells Marcus. Marcus begins walking and in the background we can still see the tents burning, but the crowd was thinning out. Suddenly, Hopper’s radio beeps. He takes it out and answers it. Wallace is frantic on the other side. “They’re closer than we thought! You’ve gotta get out of there! The bombs drop in two hours!” Hopper turns to the others, shocked by this news. “Can we do this?” Marcus asks. “It’s our only option,” Hopper replies. Marcus nods, then turns and starts walking. Marcus leads the Baron crew toward the prisoner’s cells. Only five remained from the crew. Five out of thirty-six. Marcus rounds the corner to the prisoners hallway and comes face to face with the soldier who was guarding the tents. The soldier raises his gun. “Drescher would want to deal with you personally, but I really can’t resist,” the soldier says. Hopper steps forward, his own gun raised. “Drop it,” Hopper demands. The soldier smiles and lowers his weapon, but then grabs his radio. “Drescher, you’re gonna want to bring everyone to the prison hall. There’s an escape attempt,” the soldier says. Hopper runs forward and knocks the man out with the butt of his gun. “Sounds like we need to get the hell out of here!” he says. And then Drescher and two dozen of his soldiers enter the hallway. “Holy s***,” Hopper exclaims. “Marcus, I’m disappointed,” Drescher states. Marcus struggles to come up with some sort of idea to get out of this, and then a thought pops into his head. “It’s twelve o’clock!” he yells. Everyone looks at him, puzzled. Marcus is breathing hard, praying for a miracle. Drescher begins to make a snide remark, when suddenly the door to the prison hallway bursts open, and the armed civilians race out. Upon seeing Drescher and the other soldiers, they open fire. Drescher curses and pushes past his men, who scramble to escape the storm of bullets. Those who stop to fire back are quickly struck down. Drescher and his men had temporarily fallen back, but it was only a matter of time until they would strike back. “Let’s move!” Marcus yells to the one hundred armed civilians. The large group races down the hall, heading to the vehicle bay. Once the exit the building, all hell breaks loose. A loud alarm is sounding all throughout the camp, and every soldier was racing into action, guns ablaze. The civilians fire aimlessly, obviously not as skilled as their opponents. Quickly the civilians begin to fall. Hopper and the rest of the Baron crew try their best to return fire on the attacking soldiers. “Keep moving! Don’t stop!” Marcus yells to the civilians, who’s body count rises quickly. People are pushing others out the way, tripping over dead bodies. It’s like the opening massacre all over again. It’s a heartbreaking sight to see as these innocent people are literally running for their lives. The other contract militiamen suddenly storm out from positions behind the soldiers, giving them an element of surprise which is quite effective. They take out a great deal of Drescher’s forces, but soon they have to retreat as the soldiers fire back. The civilians make it to the vehicle bay. Only half of them had made it this far. They all scramble into ships, piling in as many into one as they possibly can, comfort isn’t an option. Marcus and the Baron crew reach the bay in a frantic sprint to enter the ships. Drescher spot them and gives chase. He fires his weapon, but it just clicks. Out of ammo. He tosses it aside and picks up some speed in his run. He catches up and tackles Marcus to the ground. Hopper stops and joins the fight, kicking Drescher off Marcus. Hopper raises his gun, but Drescher is fast, swatting it out his hand and causing it to go flying. They start a vicious fist fight. Even two against one, Drescher is a force to be reckoned with. As they continue to fight, the civilians continue to push their way into ships. The soldiers begin to enter, firing on all the ships. One enters with a bazooka. He fires at the first ship which goes up in flames, spiraling into the next ship which topples over, but was still drivable. The ship’s fiery wreckage engulfs a few civilians as they try to escape the carnage. The first of the ships lifts off, speeding off into the sky. The bazooka wielder aims for it, but Maurie shoots him in the back of the head. He topples over and the bazooka fires into a wall, causing it to crack. Hopper notices as he continues to fight Drescher. Drescher lands a powerful blow to Hopper’s jaw, sending him falling back. He then pounces on Marcus, beating him to a pulp. Suddenly his should explodes with blood, a bullet ripping through it. He falls over, howling in pain. Marcus pulls himself up and turns to see Maurie holding the smoking gun. They both race over to help Hopper up. “This whole place is about to collapse,” Hopper says. They sprint to the nearest ship, piling inside. Suddenly, Hopper stops. He turns and sees one ship left, then turns back to Maurie. “I have to go back for Dalton,” he tells her. “No! There’s not enough time!” Maurie exclaims. “I love you,” Hopper says, pulling her in to a tight hug, then a kiss. “I love you too,” Maurie says through tears. Then Hopper pulls away and races off to the last ship. Maurie wipes the tears from her eyes as she sits behind the controls of her ship. In the back, Marcus is ushering the last of the civilians in. “Alright! Let’s go!” he calls to her. The ship lifts off the ground as the door begins when the roof begins to collapse. A piece of rubble strikes the ship and Maurie almost loses control. The back door flies off, leaving everyone open to the elements. “Hang on!” Marcus exclaims. Maurie turns and opens the door to the cockpit, motioning for people to get inside. As the ship continues to try and lift off the ground, suddenly Drescher appears. He leaps onto the ship and tackles Marcus. The two begin to fight as the ship lifts higher and higher off the ground. Punches are being thrown left and right. With his destroyed shoulder, Drescher is a bit closer a match to Marcus’ fighting skills, but the bulky German is still winning this fight, pummeling Marcus with his hammer-like fists. The ship is getting more and more of a vertical angle as it reaches higher altitude, and soon Drescher and Marcus begin to slide. Drescher lands a powerful punch which sends Marcus reeling backwards. He catches himself on pipe, just inches from the edge which would send him falling to his death. Drescher kicks at him, but Marcus slides away, then tries to run to higher ground. Drescher grabs him and pulls him close, then turns him, about to throw him over the edge. Marcus raises his arm and brings it down with all his strength on Drescher’s hurt shoulder. Drescher howls in pain and recoils, dropping Marcus. The ship continues to even more vertical. It’s impossible to stand on the slanted floor now. Marcus and Drescher both have to grab on to edges in the walls of the ship. Marcus is hanging over Drescher, trying to pull himself away. Drescher grabs at Marcus’ feet, trying to pull him down. Marcus turns and starts kicking Drescher repeatedly in his hurt shoulder. It’s impossible for Drescher to fight back. He feels his grip start to slip. And then Marcus delivers the final kick. Drescher’s fingers slide off their grip and he goes tumbling out of the ship, plummeting towards the ground. Marcus breathes a huge sigh of relief, then pulls himself up toward the cockpit. Hopper lands his ship and leaps out, spotting Dalton up ahead. The sun was just now starting to creep up as the new day began. “Dalton!” Hopper yells. Dalton can’t hear him. Hopper runs after him, trying to catch up. Dalton reaches the cave and peers inside. Madeline shrieks at the sight of an intruder, but Dalton raises his hands, showing he’s no harm. Paul turns and sees his brother. His expression isn’t overly excited. A slight bit of happiness on his worn face is the only welcome Dalton gets from his brother. “I thought you were dead,” Dalton says, pulling his brother in to a hug. Paul hugs back. Any bit of affection was strongly welcome. “I came to get you out of here. This whole place is about to be destroyed,” Dalton continues. Emmy looks outside and points. “Mommy, who’s that?” she asks. Dalton turns and sees Hopper making his way toward them, his ship just a short distance behind. Dalton is slightly confused at Hopper’s arrival, but turns to the others and says, “That’s our ride out of here. Let’s go.” Madeline scoops up Emmy and heads outside. Paul walks outside with his brother, in no obvious rush to leave this place. Hopper grabs Emmy and escorts Madeline to the ship. He helps them both inside then turns back to Dalton. He looks up and can see the giant war ships coming with the nukes. He curses and races back over to Dalton. Meanwhile, Paul reaches into his pocket and feels something missing. He turns and goes back into the cave, frantic. “Paul!” Dalton calls after him. “Dalton!” Hopper adds in. Dalton turns and sees Hopper racing toward him. “We have to go! Now,” he exclaims. “We’ve got time,” Dalton replies. “No we don’t. Look up! There was a change of schedule!” Hopper retorts. “I’m not leaving without Paul,” Dalton says. “Get in the f***ing ship!” Hopper yells. Dalton shakes his head and turns back to reenter the cave. Inside, Paul is searching everyone, a complete mess, looking for something. “I have to find it!” Paul says to himself. “Paul, we’ve got to go. If we don’t leave right now, we’re going to die,” Dalton says. “Then go,” Paul replies, still frantically searching the cave. “I’m not leaving you,” Dalton says. “I’m not going,” Paul retorts. “Why are you doing this?” Dalton asks. “I should have been with Amanda. I should have been with my son,” Paul replies. “Paul, I’m so sorry about what happened, but you can’t stay here,” Dalton says. “Yes I can,” Paul replies coldly. “If you want to stay then I’m staying too,” Dalton says. “Don’t do this Dalton. Don’t force me to make this decision. Please. I’m begging you to leave me here,” Paul pleads. “I can’t just leave you here to die,” Dalton says. “I died in that attack with Amanda and Dalton,” Paul replies, turning away and continuing his search. Dalton just stands there, as if Paul’s words had kicked the life out of him. The final score begins to kick in. Hopper grabs Dalton and drags him back toward the ship. Dalton is placed in the ship and Hopper races into the cockpit, taking off. The ship lifts off into the sky, the looming war ships easily visible above it. Inside the cave, Paul goes to a cluster of rocks, a crack down the middle. The only place he hadn’t searched. He reaches inside, hand searching, desperate. Finally, his fingers clasp around what he was searching for. He pulls out his handmade rattle, a slight smile on his face. Overhead, slots on the bottom of the warships open. The bombs fall from their positions, plummeting to the ground. Hopper pilots his ship as fast as he can, teeth clenched. He had to get far enough away. In the cave, Paul sits down, at peace. He clutches the rattle and holds it against his heart. The bombs hit the ground and he has a smile on his face. And then there was nothing. The bombs devastate the area. Destroying everything in the blink of an eye. The ship just barely escapes the blast radius, shaking violently as it’s rocked by the outskirts of the blast. But it manages to push forward and continue on as it soars into the sky. Overhead the sunrise lit up the skyline, a beautiful sight. Down below was the desert wasteland filled with destruction and devastation. The camera pans back, catching the ship flying directly in between these two opposites. And then we smash to black. END.

CHRONICLE Directed By David Michod Cast: In order of appearance… Garret Dillahunt (Carver) Michael Kelly (Bobby Brigand) Jeremy Davies (Danny Brigand) Giovanni Ribisi (Vincent Parks) Jason Lee (Winston) Paul Schneider (Owen Thanks) Jared Leto (Matt Crane) Joel Edgerton (Shaw) Thomas McCarthy (Fetters) Original Score By Antony Partos Budget: 45 million Release Date: August 26 Theater Count: 2,915 Run Time: 134 min. MPAA Rating: R June 2, 1992 A bank. A dozen people wait in line. Tellers are typing away, helping customers, and occasionally calling forward new ones. Suddenly two men run into the bank, ski masks on their heads, shotguns in their hands. These men were Carver and Adam. Carver fires off a blast from his gun into the air. Everyone screams and begin to panic. “Everybody on the floor! Now!” he exclaims. As everyone complies, he and Adam scurry over to the tellers’ desk. “I don’t know if those police button thingies under the desk are real, but if they are, I’d advice you all not to press it,” Carver says, waving his gun around. “Now go get me all your money,” he continues. The tellers all hurry off. “Follow ‘em,” Carver says to Adam. Adam follows the tellers as they go to collect the money. Carver turns to the dozen people laying on the ground, scared for their lives. One man repositions himself, and in an act to show his menace, Carver goes to kick the man. But the man is fast, grabbing Carver leg and causing him to stumble. Carver curses and kicks the man away, then another kick to the head for good measure. He walks away, trying to play off his slight embarrassment. Suddenly, blue lights flash outside. Carver walks over to a window and peers outside. More lights were flashing than there were civilians inside. Beside each cop car were two armed police officers. At that sight, Carver lets out a long, “Shhhhhiiiiiiiii…….” Quick cut to another bank as this is going on. Four men wearing presidential masks (JFK, Nixon, etc) storm inside the bank. Three of them were the Brigand Boys, leader Bobby, his brother Pete, and their shy cousin Danny. Joining them was the wily Vincent Parks, clearly more pumped up then the rest. “Get on the f***ing ground!” Vincent exclaims to everyone, slapping a man in the face with his pistol. Danny pats them all down as they lay on the floor. Pete watches them all, pistol at the ready. Bobby and Vincent move on to the tellers’ desk. Bobby tosses a large duffel bag to them. “We need everything,” he says in a calm, but threatening voice. Vincent tosses more bags over. “And make it fast!” he yells. Bobby sighs as he looks at the overly excited Vincent. “Go help with the money. And be careful not to get whatever your pants are leaking with all over it. Look at you. You’re more excited now than you ever were with a woman,” Bobby snidely remarks. “Trying to tell stories about your…premature past? It’s ok. I don’t personally know what you’re going through, but I’m sure there are many others suffering from the same problem,” Vincent replies. “Get the f***ing money before I put a bullet in your head,” Bobby retorts. Vincent laughs and jogs off. Back at the other bank, the squad cars are still lined up outside, waiting to make their move as Carver and Adam are holed up inside. The police captain listens in and turns to an officer. “Sh**. There’s another robbery going down at Jefferson across town. We gotta get units over there,” he says. “Sir, everyone’s here,” the officer replies. Bobby turns to Danny and Pete, who are holding the laying civilians at gunpoint. “Please, don’t hurt us,” a man name Winston pleads. “No promises,” Bobby replies. “At least let the children go,” Winston continues to plead. “And what good would that do me? Paper reads, ‘Man kills ten in bank heist, but has heart. Let’s children go’. How touching,” Bobby replies. We see as this conversation goes on, a man named Owen Thanks is slowly crawling behind Bobby. A woman stares at him, horrified at what might happen to her, and what the hell this crawling stranger was doing. Owen suddenly gets up and tackles Bobby. This scuffle doesn’t last long, as Pete and Danny quickly pull Owen off. “Shouldn’t have done that,” Bobby says, quickly raising his pistol and shooting Owen in the shoulder. Owen falls to the ground, letting out a scream and a flurry of curses. Blood pours from his shoulder as he squirms around on the ground, moaning in pain. Bobby turns to Winston. “You want next?” Bobby asks. “N-n-no, sir,” Winston stutters. Vincent’s voice then calls out to them. “Hey! Got the money! Now let’s get the f**k outta here!” Pete and Danny race off to help carry the money. Bobby grabs Winston by the collar of his shirt. “Come on. Let’s go for a walk,” Bobby says. “No, please! Don’t hurt me!” Winston begs as he is pushed toward the exit, acting as a human shield for whatever lurked out there. Vincent, Danny, and Pete exit first, dragging the duffel bags filled with cash. Bobby holds Winston with one arm, outstretching his pistol with the other. A lone cop car is waiting. Officer Matt Crane has his own pistol raised. “Drop the guns, the money, and the hostage. Now,” Crane orders. “Can’t we just make this quick? I’ve got dinner plans,” Bobby retorts. “I’ve-” Crane begins, but is pumped full of bullets into his chest by Bobby. A van comes screeching up. The driver, Shaw, jumps out, then slides the doors open, helping load the money inside. “Things seem to be going smoothly,” he says as he hefts the bags into the van. “Perfectly,” Bobby replies, tossing Winston into the van and helping load the money. The men smile at each other as they pile their money in, ripping off their masks. “Stop,” comes a voice from behind them suddenly. They listen, a bit frozen from surprise. Bobby turns to see one of the tellers standing behind them, Officer Crane’s pistol in her hand. “Put that gun down before someone gets hurt,” Bobby says, calm, but his demeanor is slightly cracked. “Someone like you?” the teller asks. “Honey, there are four other guns behind me. “It’s not me I’m worried about,” Bobby replies. “You shot a man. He’s bleeding to death. You took another. You can’t do this,” the woman pleads. “We could let the hostage go,” Danny shyly suggests to Bobby. Bobby turns to him, then Winston, who was sitting nervous in the back of the van. Bobby closes his eyes and lets out a long sigh, then turns and shoots the teller right between the eyes. The second the gun is fired, everything changes. Demeanors shift. “Holy s***! Why did you do that?” Winston exclaims. “She saw our faces,” Bobby replies, hopping into the van. “Come on! We’ve got to go. Before the real cops show up,” Bobby continues. The van doors slam shut and takes off. Cut to black. We hear police sirens roar as the black screen reads… TEN YEARS LATER FRIDAY (this scene is all one continuous shot) The screen is blank as a man screams out. Suddenly the picture smashes back in and Officer Matt Crane (out of uniform) is dragging a screaming Vincent Parks down the steps. Blood is pouring out of his side from a multiple knife wounds. He pleads for his life. “Don’t let me die! Please don’t let me die!” he mumbles, but with earnest desperation, tears streaming down his face. Matt drags Vincent over to his squad car and opens the doors to the back seat. He slides in first, then pulls Vincent in. “Just lay there. I’ll take you to the hospital. You’re going to be ok,” Matt tries to assure him. He exits out the opposite door and shuts it, then runs around shuts the first door. Then back around again to the driver’s seat. It’s clear he’s panicking, not prepared at all for the events that unfolded. He starts the car and quickly speeds off. The camera stays on the scene, leaving us staring at the blood streak across the sidewalk from where Vincent was dragged. SUNDAY Thanks. Come Again Matt Crane walks up to a bar and waves to the bartender. The bartender slides him a drink. They’ve made this exchange several times before. Crane chugs it slowly then puts down the empty glass, letting out a long sigh. By his attitude we can either assume he’s completely over the events that took place on Friday or assume that we’ve jumped back to the previous Sunday, before Vincent was shot. If you guessed the second option, you’d be right. “No s**t!” exclaims a voice from behind him. Owen Thanks races over to him, pulling Crane into a very one-sided hug. “Officer Matthew Crane. Almost didn’t recognize you without the uniform,” Owen says. “I can go change if you want,” Crane says. “I’d feel weird asking a grown man to change,” Owen replies. “Good. Because I had no intention of changing,” Crane retorts coldly. Owen doesn’t pick up on Crane’s disinterest. “Man, what’s it been? Ten years? How ya been?” Owen asks. “Clean,” Crane replies. “Good for you, buddy. Straight and narrow. I always wondered how you got roped into that bulls**t anyway. I’ve been keeping it straight myself….mostly. When a man gets accustomed to such a lavish lifestyle, it’s hard to turn back. You know what I mean? What’s a cop make anyway? Never mind. That’s personal.” We’re quickly getting the sense that Owen likes to talk. “So you keep in touch with anybody?” Owen asks. “I’ve got all their numbers, but I haven’t spoken to anyone since I got my cut,” Crane replies. “Take the money and run. Nice approach. I’m more of a suck the teat dry kind of guy myself,” Owen retorts. “No contact with anyone in ten years. And then look what happened today,” Crane continues. “You visit a bar frequently enough, you’re bound to catch someone eventually. Nobody’s dry. And I mean nobody,” Owen says, taking a long swig of beer. “Your self flattery is a nice character trait and all, Owen, but I’m not talking about you. I got a visit from Danny Brigand earlier today,” Crane states. “No s**t? Little Danny Brigand? How is he?” Owen asks. “Scared s**tless. He says Bobby and Pete are both dead. Murdered in their own homes within a week of each other,” Crane replies. Owen curses. “He thinks someone’s after the Brigands. Wanted me to help him out. I told him two people just equals a coincidence,” Crane continues. “But if three equals pattern, you don’t have much pussyfooting room,” Owen says. “True. But Bobby and Pete pissed off a LOT of people. Danny’s shied away from that kind of stuff ever since he came into his own mind,” Crane replies. “Well maybe you’re right,” Owen says, picking up his glass and holding it toward Crane. “To Bobby and Pete,” he says. Crane clanks his glass against Owen’s and then they both guzzle down their beer. Some time has passed now. Glasses left empty, a right-mind gone with them. Crane was beginning to loosen up and what started out as an awkward run-in has turned into an in-depth catching up. “So what do you think? The mental lacking of the police department, or the sheer brilliance of our plan?” Owen asks. “Our plan? Are we taking credit for it now?” Crane retorts, laughing. “I’ve been taking credit for it for the last ten years,” Owen replies, eying a woman across the bar. She eyes him back seductively. “But the police life’s treating you well?” Owen asks. “Police life would have been the only life for me if I had it my way. But life can twist your arm into unappealing situations,” Crane replies. “I understand, man. Hard times, hard measures. Speaking of hard, that woman over there’s been eyeballing me all night and it looks like she has a friend,” Owen says. “Sometimes I wish that bullet was a bit more centered when it hit you, Owen,” Crane retorts with a laugh. “Don’t be a prude. When was the last time you’ve been with a woman?” Owen asks. “A year. Maybe two. I just can’t seem to get Sheila out of my head,” Crane replies. “I’m not asking you to forget about Sheila. I’m just saying you need to repress the thought of her way back into the subconscious of your brain. You shouldn’t forget her. You just shouldn’t remember her….on a constant basis,” Owen says. Crane just looks down, shaking his head. “You know if you just got one more drink in you I could convince you to say yes and the two of us could ravish those lovely ladies over there. Together or separate. I won’t be picky with their desires if you aren’t,” Owen continues. “I guess I won’t be taking another drink then,” Crane replies. “Suit yourself there, friend. Now if you’d excuse me, I’m going to go f*** that girl,” Owen says and walks off. Crane watches him walk away, shaking his head. Grinning at Owen’s audacity. Owen takes a seat next to the eyeballing girl. “Owen Thanks,” he says. “Lisa Loeb,” the girl replies. “Ok, it’s gonna be like that, huh?” Owen asks with a sly smile. “No, I’m serious. People never believe me when I tell them my name,” Lisa replies with laugh. “Well fortunate for you, I’m a huge Lisa Loeb fan,” Owen says. His smile and mannerisms ooze charm. We can tell he does similar walkthroughs like this on a regular basis. “You don’t strike me as the type,” Lisa replies. “You said that I was naïve and, I thought that I was strong. I thought, I can leave, I can leave, oh! But now I know that I was wrong. Cause I missed you!” Owen sings loudly. Lisa covers his mouth with her hands, laughing as people around the bar begin to stare. “Okay, Mr. Thanks. You come over taking a seat which I very well could have been saving,” Lisa begins. “Were you?” Owen asks slyly. “No… You take the seat and then begin singing loudly and get everyone’s attention. But most importantly, you’ve got mine. Question is, what are you going to do with it?” Cut to a dark bedroom. Owen and Lisa are ripping each other’s clothes off. Owen throws Lisa onto the bed and begins kissing her, quickly making his way down her body when she stops and sits up. “S**t. Laurie,” she says. “Who’s Laurie?” Owen asks. “My friend. I left her at the bar without telling her I was leaving,” Lisa says. “She can take care of herself,” Owen replies. “But you don’t know Laurie. She’ll think I was kidnapped or murdered or something,” Lisa says. Midway through that line, Owen was already back down below Lisa’s waist, fast at work. “Do you really want to go all the way back there just to tell her you left to f*** some charming stranger?” Owen asks. Lisa smiles and lays back, “No.” Owen and Lisa lay wrapped up naked in each other’s arms. Lisa turns and repositions herself, practically laying on top of him now. She runs her fingers across his chest then stops at the scar on his shoulder. “How did you get this?” she asks, genuinely interested. “Do you remember ten years ago? The famous Jefferson bank robbery?” Owen asks. “No. I was only eight then,” Lisa replies. Owen laughs. “I honestly would have never guessed that,” he says. “I matured fast,” Lisa replies. Owen glances over her naked body and then with my smile says, “I can see.” “So the bank?” Lisa says. “Right. The bank. Four men burst into the bank. Told us all to get down. Not to move or say a word or they’d shoot us dead. Three of ‘em went to the tellers to collect all the cash. The other watched over all us innocent patrons. And he was watching some more than others. Specifically this girl. Probably around eighteen, like you. He was all over her, talking all sweet-like, touching her in places she didn’t want to be touched. And I looked around and saw everyone just watching this girl get poked and prodded right in front of them. As the man got more and more physical I just couldn’t take it anymore. So I leaped up and tackled him. Knocked his gun out the way and got on top of him. I wanted to bash his face in, but decided against it. So instead, I grabbed his right hand and snapped every single finger backward. Then I took his left and did the same. Told him he better think twice about touching another woman like that again. Unfortunate for me I forgot he had three friends with him. They shot me in the shoulder and took their friend and their money and ran.” Lisa is completely enthralled by this tale. She was putty in Owen’s hands. Suddenly there’s a knock at the door. Owen gets up, completely pleased with himself over his little story. “Who the f*** is knocking on my door at this hour? Interrupting our wonderful connection?” he asks with a smile. “I don’t know, but you shouldn’t answer. You should stay here with me,” Lisa says, trying to pull him back into bed. Owen just smiles at her and goes into his bathroom, grabbing a robe to cover himself up. He walks out of the bedroom as the knocking continues. He passes through the kitchen, grabbing an apple, then continues on through the living room. He takes a bite out of the apple and peers through the peep hole. A smile of recognition crosses his face. “Hey! Good seeing you, bud, but I’m kinda in the middle something, er, someone at the moment,” Owen begins as he opens the front door but his cut off when a bullet flies through him. This bullet was definitely more centered than the last, bursting through his bare chest, blood squirting out everywhere. He collapses to the floor, dead. The camera stays on him as the blood flows from his wound and soaks into the carpet. TUESDAY The Key to the Kingdom An old van drives down a dark road in the middle of the night. The driver is Jared Plank and he’s wiping the sleep from his eyes as he checks the time. 12:07. He yawns big as he rounds a curve, when the headlights light up a figure standing in the middle of the street. Jared curses and swerves out the way, then pulls to a stop. “What are you doing? Keep going!” comes a voice from the back of the van. Jared looks back outside, not seeing the man. “Did I clip him or something?” Jared asks. “Who cares? He’s standing in the middle of the f***ing road after midnight. He deserves to get squashed,” the voice in the back replies. Jared sighs and goes to put the van back into drive when out of nowhere, five men wearing burlap sacks over their faces rush the car. They all carry shotguns and are yelling for everyone to exit the vehicle. Jared gets out and one of the attackers shoves him to the ground. “What the f*** is going on?” Jared demands. “We’re taking the coke,” the masked attacker says. Suddenly the back doors to the van slide open and two men jump out, both blasting Jared’s attacker in the back with their own shotguns. Blood, guts, and bone fly away as the blasts nearly rip the body in half. The other attackers are quick to shoot back, quickly taking out the two men. The contents of the back of the van was filled with what seemed like an endless amount of bags filled with cocaine, which were now all caked in blood. Jared is slowly trying to back away as the attackers marvel at the loot. Then he remembers something. His hand goes to his calf where a small pistol was strapped. As soon as he removes it from it’s holster he hears a cocking noise. Jared looks up and is staring down the barrel of a shotgun. Before he can even finish saying the word please, blood, brain, and bone are flying everywhere. The shooter, satisfied that everyone had been taken out, removes his mask to reveal it was the bank heist’s getaway driver Shaw. Shaw goes back over to the others, still marveling at this treasure trove of coke. “We’re so f***ing rich,” one man says. Another grabs a small backpack and peers inside. He hands it over to Shaw and we see it‘s filled with cash. Shaw kisses a key attached to a chain around his neck as he stares at the cash. “You sure this will suffice? You just wait a few weeks and your cut of the coke is worth quadruple that,” the man says. “No, this is good. I just needed the quick cash,” Shaw replies, putting the backpack on his back. Then everyone stops. They all turn their heads toward a noise coming in the distant. A few seconds later and they could see the flashing lights through the trees. It was a cop. Everyone curses. “Get the bodies out the road!” Shaw exclaims. The men quickly rush out into the street, moving the two back seat coke smugglers quickly. They have to carry their fallen comrade off the road in pieces. Shaw moves over to Jared’s headless body and grabs him by the legs, pulling him quickly over to the side. Everyone notices the entrails, blood, and chunks of brain still sitting in the street, but there was nothing they could do about it now. They run into the woods and hide, watching as the cop car speeds down the road. It slows down slightly when it gets to the carnage, causing everyone to catch their breath, but it then speeds away just as fast as it arrived. “Why didn’t it stop?” one man asks. “Don’t question it. Just be grateful,” another man replies. “Maybe they didn’t notice,” yet another man chimes in. “No. They slowed down to take a look. They noticed,” Shaw replies. “Then why the f*** didn’t they stop?” someone asks. Shaw turns to him and says, “Now that I don’t know.” Shaw enters his small apartment and heads straight for the bedroom, collapsing onto the bed. As he rolls over to get comfortable he looks down at his blood covered shirt. He sighs and takes it off, then falls onto his back. He turns to look at his clock. Three in the morning. He closes his eyes and when he opens them again, the clock reads nine. Shaw groggily gets out of bed, then heads straight to the shower. He emerges from the bathroom with a towel tied around his waist. He grabs some underwear and slacks and slides them on, then heads for his closet to find a shirt. All that was there were empty hangers. He moves to a hamper filled with dirty clothes and rummages through it, smelling a few, then settling on the cleanest. He puts it on and buttons it up, trying unsuccessfully to smooth out the wrinkles. He sighs and looks at himself in the mirror. He didn’t look terrible, and that was good enough. A few hours had passed and Shaw pulls up to a small house in an average neighborhood. He grabs the backpack filled with drug money and walks up to the front door, looking all around at anyone who might be watching. He rings the doorbell twice then does a short rhythm knock on the door. The door opens and a man named Tutone opens the door. “Shaw! I wasn’t expecting you for another hour,” the man says. Shaw just nods and hands him the bag. “Come in, man,” Tutone says. “I can’t. Just take your five percent off the top and get it back to me as soon as possible,” Shaw says. “Yeah, of course. No later than tomorrow night,” Tutone says. “Make it tonight and you can take seven,” Shaw replies. “Yeah, yeah. I’ll leave it in the usual spot. Good seeing you,” Tutone says. “You too,” Shaw replies, turning to leave. Shaw pulls his car to a stop and walks over to a payphone. He dials a number and a woman answers. “Hey, Allie, how are you?” Shaw asks. “What do you want, Shaw?” Allie replies coldly. “I just want to talk to Jamie,” Shaw says. Allie says and calls for Jamie to come to the phone. “Dad?” comes a young boy’s voice. “Yeah, Jamie. How are you?” Shaw asks. “When are you going to come play with me?” Jamie counters, showing the short attention span of a young child. Shaw laughs. “I hope soon. What do you want to play?” Shaw asks. “Cops and robbers!” Jamie replies enthusiastically. Shaw laughs again. A giant grin is on his worn face the whole time he talks to his son. The love for him more than obvious. “You like catching the bad guys?” Shaw asks. “Yes! And finding treasure,” Jamie replies. “Well what a coincidence because I just found this piece of paper that has all these clues on it,” Shaw says. Suddenly Allie is back on the phone. “Shaw, what are you doing?” she asks. “Trying to be a part of my son’s life,” Shaw replies, the smile immediately diminishing from his face. “I don’t know if that’s a good idea,” Allie replies. “Allie, just give me a chance. He’s my son!” Shaw exclaims. “Goodbye Shaw,” Allie says coldly, hanging up. We cut to a dimly lit strip club where various naked women are dancing seductively on stage. The camera pans around the club before finding Shaw sitting alone at the bar, downing his sorrows in alcohol. A man takes a seat next to him. After ordering a drink he introduces himself. “Fetters,” the man says, outstretching his hand. Shaw shakes his hand and gives his own name. “So what brings you here alone, not even observing the talent?” Fetters asks. “I’m meeting a few people, but they’re late. As usual,” Shaw replies. “Yeah, I know how that is. You like movies?” Fetters asks. “I’ve seen a couple,” Shaw replies. “Right, of course. I’ve always loved those cop dramas, myself. More grounded, but thrilling. Something about people actually doing that s**t on a regular basis always appealed to me. But they’re not one hundred percent accurate, you know? Like in the movies a cop might feel a bit sympathetic toward the man pointing a gun at him and shoot him in the hand or something to disarm him. In reality, if a cop pulls his gun he’s gonna use it. And he’s shooting to kill,” Fetters says, eying Shaw as he says it. “My friends should be here any minute,” Shaw says, a bit uncomfortable. “Right, of course. Don’t want to intrude. Just a nice chat with a stranger,” Fetters says, then walks off. Shaw watches him as he leaves. As soon as he does, two familiar faces enter. Vincent Parks and Winston enter the club, waving to Shaw. The trio enter a booth to have a slight bit more privacy. Winston and Vincent both look like hell. Scratches cover their faces and hands. “What the f**k happened to you two?” Shaw asks. “It’s a long story. I don’t feel like getting into it,” Vincent replies. “Ok. Keep your secret,” Shaw says. “Real quick, Shaw, I wanna get your opinion on something,” Winston says. “Shoot,” Shaw replies. “Ok, so what’s the deal with Winnie the Pooh? He’s a Pooh? What the f**k is that? And they call him Pooh like that’s his name and he’s a bear. It’s confusing,” Winston rants. “Oh s**t. Not this again,” Vincent laughs. “He’s Winnie the Pooh Bear. They call him Pooh for the same reason you call me Shaw and you call Crane Crane,” Shaw says. Winston is clearly taking his time processing this in his head. “Ok, now can we get to the reason I wanted to meet with you guys?” Shaw asks. “Cause of the murders,” Vincent replies. “You know?” Shaw asks. “Of course I know. My dad’s a senator. I know everything that happens in this town,” Vincent replies. “So do you think they’re connected?” Shaw asks. “It’s definitely starting to look that way,” Vincent replies. “Crane’s under the suspicion that it has to be one of us. That’s a suspicion I agree with. He and Danny went and spoke with Carver last night, but I haven’t heard how that went yet,” Shaw says. “I’ve heard not great,” Vincent says. “What?” Shaw asks. “You don’t know? Then never mind. But if you ask me, Carver wasn’t an ideal suspect for one main reason: he’s one bump in the head away from being a full blown retard. No way he would have been able to kill Bobby, Pete, and Owen,” Vincent says. “Then who do you think is behind all this?” Shaw asks. “Could be Danny. Lord knows how much anger he must have brewing inside him from living all those years with Bobby and Pete. Maybe he just finally snapped. Or maybe it was Mister Do Good police officer Matthew Crane, trying to prove he has a bad boy side. Or maybe it was you, Mister Shaw. I’ve heard about the stuff you’ve been getting into lately. Murder isn’t out of character,” Vincent replies. “Watch yourself, Vince. I have my own suspicions. Don’t make me act on them,” Shaw retorts. Vincent smiles when suddenly three topless strippers walk over to their booth. “You’re Vincent Parks, aren’t you?” one of them asks. “Yes I am. And who might you ladies be?” Vincent counters. “Fans,” one replies. Vincent smiles and asks, “And what can I do for you ladies?” One grabs his hand and says, “Whatever you want.” Vincent motions to Winston and Winston and Shaw. “Do you two ladies mind caring for my friends here?” he asks. “Not at all,” the other two strippers reply. “Vinnie, f***ing strippers in the back of a club? They’re taking advantage of you,” Winston says. “And I’ll take advantage of them in a few minutes,” Vincent replies, standing up and grabbing his stripper’s butt. Shaw gets up as well and the two men are led away by the three topless girls. Winston sits in the booth and let’s out a sigh. Cut to a backroom of the club where Vincent and his stripper, Jenny, are in the middle of their act, doggy style. Vincent keeps looking at himself in the mirror, flexing as he goes. “You bring guys back here often?” Vincent asks. “Only the special ones,” Jenny replies. We can see Vincent’s ego grow from this comment. And if you really think about it, it’s one of the least appealing compliments ever paid to anyone. A stripper opens the door and sees them going at it and quickly exits. We follow her out. As she walks down a hallway, another door opens and Shaw steps out, buckling his belt. His stripper steps out behind him. “So you know Senator Parks, right?” she asks. “Yeah, sure. I played golf with him this morning,” Shaw replies. “Cool, because I have this court date…” the stripper continues. “Yeah, yeah. I’ll speak with him about it,” Shaw tells her, then walks away. She does a satisfactory fist pump then realizes something. “Wait!” she calls after Shaw. “My name’s not Sparkles! It’s Evelyn!” MONDAY Lightning and the Bear The camera is focused on a door when we hear someone knock on it from the other side. Crane goes to answer it to reveal Shaw. “What’s the rush?” Shaw asks, stepping inside. Crane leads him to a kitchen table where Danny Brigand was already sitting. Crane and Shaw take seats. “This morning Owen Thanks was found dead in his apartment. Bullet to the brain,” Crane says. “I’m sorry to hear that, but why does this concern me? I haven’t spoken to Owen in like three years,” Shaw asks. “Danny here has a theory,” Crane replies. “A month ago Bobby and Pete were murdered a month apart. The killer was never caught. I thought they were coming after me next, but they got Owen. It has to be connected,” Danny explains. “Danny, I’m sorry, but you’re jumping to conclusions here. They were all into some heavy s**t. Case closed,” Shaw replies. “Should we say the same thing whenever the killer comes for you?” Danny asks. Shaw laughs off the statements in disbelief. “Matty, you’re not buying into this bulls**t, are you?” Shaw asks. “I don’t know what to believe right now, Shaw. It is a bit suspicious that all three have died within a month of each other,” Crane replies. Shaw sighs. “So hypothetically, if their murders are connected, we’re saying it’s because of the Jefferson heist? That’s the only heist you worked, so that explains your involvement here,” he says to Crane. Crane nods. “And the only people who know about the heist are the parties involved. Still on the right track?” Shaw continues. Another nod from Crane. “So you’re saying one of us is going around killing off the others?” Shaw asks, more as a statement. “It would appear that way, yes. Danny and I both have Carver and Adam at the top of our list. They had to face jail time because of their involvement, but they got the same cut as everyone else. I’d be a bit pissed too,” Crane says. “They didn’t get the same cut as everyone else,” Shaw replies. “What do you mean? How is that possible? The money divided up into fifty thousand a piece,” Crane asks. “While Bobby and I were planning the heist, Vincent Parks came to us looking for some adventure. Apparently having a Senator for a father really shelters your life, and he was looking to rebel. He bought his way in, a fifty thousand split for Bobby and I. Then we also got his cut. Fifteen thousand each, and twenty for Carver and Adam to split,” Shaw explains. Crane and Danny look to each other, not knowing what to think of this. “But Carver and Adam have always been messed up in the head. They’re good leads…if this is really some murder plot,” Shaw adds. Crane eyes Shaw. “But you have a different suspect,” he says. “Look, I’m not naïve. I don’t think anything other than coincidence is at work here, but I still have my eyes open. Carver and Adam are a bump to the head away from full-on retardation. No telling what they could be cooking up at any time. Danny here is the quiet type coming off a lifetime of abuse from his brothers/ Maybe he finally snapped. Winston is has his d**k tucked so far between his legs, maybe he’s looking for some kind of release. And you, Officer Crane. To my knowledge you’ve worked one heist your entire life and been an upstanding citizen for the rest of it. Now I know you did what you did because of Sheila, but obviously you’re willing to go to some dark places. Maybe those places led you to take justice into your own hands,” Shaw explains. Crane leans forward. “So I’m not the only one who has suspicions about someone in this room,” he says. “Relax, Matty. Just because you’re high on my list doesn’t mean you’re at the top. No, that spot’s reserved for Vincent Parks. He may not personally be responsible, but his father has his eyes set pretty high for his political aspirations. He might be cleaning up the mess his son made ten years ago. Cutting off any loose ends,” Shaw replies. Crane eases back into his seat. “Danny and I are going to pay Carver and Adam a visit later today. You should check on Vince and Winston,” he says. “I can’t today. If this is really happening, then I’ve got some s**t to take care of first. But I’ll have a visit with them tomorrow. Some place Vincent can’t resist. Like a strip club or something,” Shaw replies, standing up and heading for the door. “Be careful out there,” Crane says. “Yeah, you too,” Shaw replies, then quickly exits. Crane hops behind the driver’s wheel of his police cruiser and Danny takes the passenger seat. “You got the address?” Crane asks. Danny nods. Then a voice calls out to them. “Hey partner!” Crane turns and we see a man walking over to them, his face out of the shot. “Taking advantage of your day off?” the man asks, then leans down next to the driver’s side window, revealing himself to be Fetters, the man who would speak with Shaw in the strip club the next day. “Only day of the week I don’t have to stare at the awful mug of yours all day,” Crane replies jokingly. “Watch yourself, Matt. Or I can see to it you’re stuck on clean-up duty,” Fetters retorts, then noticeably eyes Danny. We can tell he recognizes the Brigand, but he doesn’t say anything. Instead he backs up with a smile. “Well I’ll be seeing you bright and early,” Fetters says, patting the car and walking away. Vince and Winston sit in a small café eating breakfast. “So I heard something,” Vincent says. “About what?” Winston asks. “Owen Thanks,” Vince replies. “What about him?” Winston asks. “He’s dead,” Vince replies. Winston drop his food and looks at Vince. “No s**t,” he says, stunned. “Yes s**t. Cops found him this morning in his apartment, murdered,” Vince replies. “How do you know this?” Winston asks. “My father is a state senator. I’ve got ears everywhere, Winnie. You know that,” Vince replies. “Who did it?” Winston asks. “F**k if I know. Probably some heartbroken whore he crossed at some point. Or Shaw,” Vince replies. “Shaw?” “Yes Shaw. Someone killed Bobby and Pete. And now Owen’s dead? Somebody has us pegged. We gotta watch our backs,” Vince explains. “You think someone’s out to get us?” Winston asks. “No, I’ve been talking about f***ing rainbows this entire time. Of course someone’s out to get us, Winnie! But don’t worry. I’ve got my dad’s protection, and by extension, so do you,” Vince replies. “Vince, if someone is trying to kill us, we’ve gotta skip town or something,” Winston says. “Winnie, relax. No one’s going to be offing us anytime soon. We’re actually getting off track here. I didn’t tell you all that to spook you. I just wanted to keep you in the loop. In fact, that’s not even why I asked you to meet me up here. The real reason is I’ve got a job,” Vince says. “A job? Vince, I thought you were done with that s**t,” Winston says. “What are you? My girlfriend? Relax, Winnie. From what I’m told this is a quick little job, but it pays extremely well. The entire cut is yours. I’m asking as a friend,” Vince pleads. “Alright,” Winston gives in. “What’s the job?” Crane and Danny drive through miles and miles of trees down a winding road. Finally, they veer off and arrive at a small cabin. The two men get out of the car and head inside. “Carver? Adam?” Crane calls out. He and Danny search through the cabin, looking for the men. Danny opens up a bathroom door and finds Adam sitting on the toilet, pants around his ankles. “Adam?” Danny asks, moving over to the completely still man. At a closer look he sees that Adam had taken a bullet to the chest and had long since died. Danny curses and backs away. Crane walks over and sees Adam’s body. And then a door opens behind them. They turn to see Carver entering the cabin. When he sees Crane and Danny staring at Adam’s dead body he curses and bolts out the door. Crane gives chase. Carver hops a fence as Crane goes to his squad car and pulls out a shot gun. “Carver! Don’t make me shoot you!” he shouts out. Carver jumps behind a small shed for cover. “Please don’t shoot me! I didn’t do it!” he pleads. “Why did you run?” Crane asks. “Because you were chasing me!” Carver replies. “You ran first!” Crane retorts. Carver stops to think about this, then says, “I’m sorry. Just don’t shoot me. I swear I didn’t hurt nobody.” Crane stops and thinks about this, then brings his gun down by his side. “Alright, Carver. Come inside. I’m not gonna shoot you, but we need to talk,” Crane says, walking back into the cabin. Crane and Danny sit on one side of a table, while Carver sits on the other. They were in the middle of their conversation. “I’m telling you. I came home and just found him sitting there. I thought at first, maybe he wasn’t moving on account of his legs falling asleep for being there to long. But then he never came out. I eventually went in there and saw the bullet hole. I was going to get help when you two showed up,” Carver explains. Crane and Danny look to each other, buying the story. “But you’re saying someone is after all of us now? I know I’m not all right in the head, but you can’t think it’s me,” Carver continues. “You spent years in prison because of us,” Danny says. “But I agreed to it. What did you think? Someone was gonna wisen me and Adam up in there?” Carver asks. Crane and Danny look to each other. “Look, I can take care of myself out here. Don’t worry about me. Worry about yourselves. And you can leave Adam. I’m the closest thing he’s got to family. I’ll give him a nice burial,” Carver says. Crane sighs and stands up. “Good luck, Carver. I really hope you stay safe,” he says. “You too, Officer Crane. And you, Danny,” Carver replies. Carver shakes hands with Crane, then Danny. Crane and Danny leave the cabin, hoping to see Carver alive again one day. Vince and Winston sit in a car outside a small house. Vince hands Winston an envelope. “They told me this was an easy, in-and-out job. Apparently we just have to eliminate the people in that envelope,” Vince says. “Eliminate? People, as in plural for person? Come on, Vince. I didn’t know I was agreeing to murder,” Winston says. “Winnie, these are bad guys. You’d be doing the city a favor,” Vince says. Winston sighs and looks down at the envelope. “Vince, let’s just skip town. Think about it, man. Me and you. I’ve already looked into plane tickets. We could run Puerta Rico,” Winston says. “Winnie, I don’t run away from my problems like you. I turn around and face them like a man. Now are you going to help me with this or not?” Vince asks. Winston sighs and tears open the envelope. He reads the slip of paper inside and his eyes go wide. “Vince, there’s a dozen f**king names on this list,” Winston says. Vince grabs the paper. “Oh my god. And look at the names. Lancelot, Boots, Tiger. They all have code names or something,” he says. “Well then we need code names,” Winston replies. “Yeah. You can be The Pooh,” Vince says. “The Poo?” “Pooh. With an h. Like Winnie the Pooh.” “Well what the f**k is a Pooh? I always thought that was just his name. I didn’t know it was something you could be.” “Whatever. We’re getting off track. You can just be the Bear,” Vince says. “The Bear? Yeah. That’s good,” Winston replies. “I’ll be…Lightning,” Vince says, admiring his codename. The two men sit there thinking about their names. Then they remember they had a job to do and quickly hop out of the car. Vince and Winston step inside the house, pistols in hand, and peer around. They quietly creep around the house, looking for their targets. Winston steps into the kitchen and trips over a water bowl on the floor. He curses and looks down, seeing the bowl read “Lancelot” in big, bold letters. And then it dawns on him. He looks around the kitchen, which was covered in bowls filled with water and food. Next to the door was a giant litter box. A cat jumps up onto the counter and stares at him right in the eyes. The cat lunges at his face and the camera cuts to Vince as we hear Winston scream. Vince looks up. “Winnie?” he calls out. He races to the kitchen to see Winston throwing the cat off his face and kicking it. Vince looks around and has the same realization as Winston. Vince holsters his gun and pulls out a knife. He looks to Winston who does the same. Cut to Winston and Vince sitting on the floor with their backs against the wall. They both look exhausted and are covered with scratches all over their bodies. (which explains their looks the following day at the strip club.) “We’re going to hell,” Winston says, eying his bloody knife. “When you walked in here you thought you’d be killing twelve men. Relax,” Vince says. Suddenly, they here a door open somewhere else in the house. A woman’s voice is heard mourning her cats. Winston and Vince look to each other, knowing they had to get out of there fast. Suddenly a shotgun blast creates a giant hole in the wall just inches over their heads. They both curse and lunge forward, trying to find cover. “You killed my cats!” the woman exclaims, blasting another hole in the wall. Winston pulls out his pistol and shoots out a window. “Let’s get the f**k out of here!” Winston exclaims. Vince leaps out the window, followed by Winston. Vince and Winston scramble to get into their car. The woman steps outside in pursuit and we finally see her in all her dirty, obese glory. She cocks her shotgun. “Drive!” Winston exclaims. Vince puts it in drive and floors it as the cat lady fires, exploding the back window of his car. As they get further away the two friends look to each other then share a laugh at the absurdity. It was almost midnight now. Crane lays awake in bed. Suddenly he gets a call. He answers it and hears Fetters’ voice. “Crane, they want you out here. We got two murders in a cabin out in Wedgefield. They say one looks deader than the other,” Fetters says. Crane sighs and says he’d be on his way. Then he sits there for a moment, shaking his head. THURSDAY S**t Hits the Fan Danny wakes up when he hears a knock at his front door. He turns to his clock. One in the morning. He sighs and pulls himself out of bed. He creeps toward the door and stands beside it, as if scared to get hit by something coming through it. “Who’s there?” he calls out. No answer. “Hello?” he asks. Suddenly, a shotgun blast rips through the door, confirming his fears. He turns and sprints away from the door, heading to the kitchen. He flings open a drawer and grabs a knife, then continues running. The intruder steps inside, searching for Danny. “Please don’t do this!” Danny pleads, going back into his room and locking the door. He slides his dresser in front of it, then pulls out a small box out from under his bed. He unlocks it and pulls out a pistol. He clumsily loads it as the intruder reaches his door and tries to break it open. Danny is frantic, crying now as he gets the pistol loaded. The intruder is going ballistic on the door now, trying to break it down. Danny backs as far away from the door as he can, holding the pistol up. The intruder manages to shove the door and dresser out the way and squeeze into the room. Danny pulls the trigger on his pistol, but only hears a click. He curses and stares down the intruder. Thick brown boots, dirty jeans, a grey jacket, gloves, and a ski mask. The intruder lifts up the shotgun and points it at Danny. “Please,” Danny pleads. The intruder fires. Crane and Fetters stand over Danny’s body and whatever remains of his splattered face. Fetters turns to Crane. “So how did you know him?” Fetters asks. “Know him?” Crane retorts. “He was with you the other day. The day we found those two hicks out in the cabin,” Fetters continues. Crane doesn’t know what to say. He feared Fetters knew something. “I just found him roaming the streets. He needed a ride,” Crane lies. Fetters nods and we don’t know if he believes his partner or not. Fetters walks swiftly through the police station, then heads down a flight of stairs and into a dark room. He goes through years and years of archives, then stops on June 2, 1992. Only four crimes were committed that day. He had his eyes on two in particular. He pulls out a file and reads about Carver and Adam’s arrest for robbing the bank. He mentally checks off their deaths in his head. Then he grabs everything they had on the Jefferson bank robbery. He reads over the file. Three unknown robbers, one getaway driver, one hostage, one injured officer, one injured civilian, and one dead civilian. Fetters pops in copies of security camera footage from the heist. He watches as Winston interacts with the robbers, then Owen getting shot in the shoulder. He stops when he sees Owen’s face and leans in close, recognizing him. He mentally checks off another name in his head. Fetters then pops in another tape. This one was an outside camera and we watch as Crane is gunned down by the masked assailant. On first glance this looks like Crane tried to stop the fleeing robbers. But Fetters rewatches and gets suspicious. Crane goes down too easy. He should have done something. Fetters puts everything away and leaves, trying to figure all this out. Shaw is in his kitchen, frying up some bacon and scrambling eggs. Suddenly, there’s a knock at his door. As he walks over to it we can see on the clock on the wall that it’s almost eleven o’clock, and judging by the darkness outside, it was P.M. not A.M. You may have detected a pattern about night time visitors in the film up to this point so as Shaw gets closer to the door, the score rises and brings up the tension. But when he opens the door, the music stops and tension is eased. Vince steps inside, looking tired. “Good, you came!” Shaw says, leading Vince to the kitchen. The food was ready and Shaw slides some onto plates for himself and Vince. They sit down at the table. “So I assume you heard about Danny?” Shaw asks. “Yeah. Winnie’s flipping out. Trying to get me to skip town with him. But Vincent Parks doesn’t run away. Winnie can grow a pair or leave by himself,” Vince replies. “It’s interesting, isn’t it? The killer has to be either Winnie or Crane. And if it’s not them, then the killer is sitting at this very table,” Shaw says. Crane jumps into his car. He has a look of determination in his eyes as he starts it. He puts it into drive and takes off. Six people were dead. Only four remained. This ended tonight. Vince is not his usual cocky, gung-ho self. He grows more and more uneasy as the conversation goes on. Shaw finishes off his meal and goes over to the sink. As he washes off his plate in the sink he continues talking. “I think we should all stick together and have an eye on each other until we figure out the killer. Keep your friends close, but your enemies closer kind of thing,” he says. Vince just mumbles, “mhm,” and we can see he has slid a knife from his pocket and holds it in trembling hands. “Whatcha got there, buddy?” Shaw asks, and we now see he’s standing right behind Vince, his own knife in hand. Shaw jams the knife into Vince’s side. Vince drops his knife and howls out in pain. Suddenly, Winston bursts into the room and watches Shaw jamming the knife repeatedly into Vince’s side. “No!” Winston cries, tackling Shaw. Vince coughs up blood and clutches his side as blood pours out of it. He tries to push himself across the floor, but doesn’t get very far. Shaw and Winston wrestle over the floor. Winston puts up a good fight, but he’s no match for the brute named Shaw. He gets up and tosses Winston into the table, knocking him out. Then picks up the knife moves over to finish the job on Vince. Suddenly, a bullet rips through Shaw’s head, killing him instantly. His body topples to the floor. The camera turns to reveal Crane had entered the room and fired the shot. Crane puts away his gun and moves over to Winston, checking his pulse. He was alive and fine. Crane then moves over to Vince and checks his side. He curses at the sight of it. “Just hang on, Vince. I’ll get you to the hospital,” Crane assures him. He grabs Vince under the arms and drags him across the floor. “Don’t let me die!” Vince pleads. “I won’t. I won’t let you die,” Crane says. Vince begins crying out. “Please help me!” he cries. Crane continues dragging Vince and they pass the clock on the wall which now reads midnight. It was now Friday as Crane drags Vince outside and down the steps. “Don’t let me die! Please don’t let me die!” he mumbles, but with earnest desperation, tears streaming down his face. Crane drags Vincent over to his squad car and opens the doors to the back seat. He slides in first, then pulls Vincent in. “Just lay there. I’ll take you to the hospital. You’re going to be ok,” Crane tries to assure him. He exits out the opposite door and shuts it, then runs around shuts the first door. Then back around again to the driver’s seat. It’s clear he’s panicking, not prepared at all for the events that unfolded. He starts the car and quickly speeds off. The camera stays on the scene, leaving us staring at the blood streak across the sidewalk from where Vincent was dragged. FRIDAY In the End Vince lays in his hospital bed, side patched up. He was out cold. Matt Crane sits by the bed. Fetters enters the room. “How is he?” Fetters asks. Crane just shakes his head. “Do you know why I’m here?” Fetters asks. “I have a hunch,” Crane replies. Fetters laughs and takes a seat. “Matt, I never took you as someone who would be involved in something like that,” Fetters says. “It was a one time thing. We were behind on bills. I had to do anything I could to…” Crane explains. “Matt, relax. I may be your partner, but I also consider myself a friend. Nobody knows about your involvement but me, and I promise to keep it that way,” Fetters replies. “Thanks,” Crane says, really meaning it. “So the murders were all connected too, I see. Officer Matt Crane, solving murders even off duty,” Fetters says. Crane smiles. “I guess so.” Fetters then gives a nod and walks out the room. We follow him into an elevator as it makes it’s way down. When he reaches the body floor he exits just as Winston enters. As the elevator doors close, Fetters turns, recognizing the face. Winston enters Vince’s hospital room. Crane smiles. “Hey, Winnie. How ya feeling?” he asks. “Fine. How’s Vince?” Winston asks. “The doctors say it doesn’t look good. The knife punctured a lot of arteries and he lost a lot of blood,” Crane replies. Winston curses and takes a seat, putting his head in his hands. “This wasn’t supposed to happen,” Winston says. “Winnie, you can’t blame yourself,” Crane says. “No! It was my fault. And now he could die? If he would have just ran away with me…” Winston retorts. Crane doesn’t really know what to say. “Why did you want him to runaway with you so badly?“ Crane asks. Winston just looks at him. And then Crane realizes. “You love him,” Crane says. Winston just sits there. “Winnie, Vince wasn’t gay. He was a rich as*hole who never gave f**k about you,” Crane continues. Winston suddenly snaps, standing up and flinging his chair at Crane. Crane falls over and Winston pounces on him. Winston sits on top of Crane, bringing his fists down repeatedly across Crane’s face. “I just wanted him to runaway with me. Why can’t he feel the same way about me?” Winston asks, crying now as he continues pounding into Crane. Crane eventually stops fighting back. To weak now. Winston puts his hands around Crane’s neck and pushes down hard. Crane tries to inhale, but can’t. He flails around, trying to get any amount of air in his lungs. Then his hand reaches for Vince’s bed, trying to press the button to call a nurse. He hand searches frantically as the life begins to escape him. Just as Crane is about to drift off, Fetters rushes back in and shoves Winston off him. He pins Winston to the floor and holds a gun to the back of his head. “Winston Grimes, you’re under arrest for the murders of Robert Brigand, Peter Brigand, Daniel Brigand, Owen Thanks, Adam Reynolds, Richard Carver, and the attempted murder of Matthew Crane.” WEDNESDAY Loose Ends Shaw exits his apartment and goes over to his trash bin. He removes a bag of trash and then grabs a duffel bag out from under it. He puts the trash back in and heads back inside. Shaw dumps the contents of the bag onto his bed. This was the money Tutone returned to him. Shaw begins counting, then putting it in stacks in a lock box. Once he gets all the money inside, he goes to his closet and opens a safe. Inside was more money which he pulls out and puts in the lock box. When he’s all done, Shaw locks up the box and takes it with him as he leaves. Shaw arrives at his ex-wife Allie’s house and hurries to the door. When Allie answers, she has a disgusted look on her face. “What the f**k are you doing here, Shaw? You need to leave,” Allie says. “Just give me five minutes. Please,” Shaw pleads. We can see the desperation in his eyes. Allie sighs and steps back, calling for Jamie. Shaw’s son Jamie comes rushing to the door. “Dad!” he exclaims. Shaw smiles and bends down, hugging his son. “Come play with me!” Jamie exclaims. Shaw smiles and says, “Mommy doesn’t want me to stay long, but I do have a game for you. Only you can play it. Nobody else. It’s a secret game. And there’s even a prize.” Jamie’s face lights up. “A prize?” he asks. “Yeah. Like it’s like a treasure hunt. And the treasure is all yours. You don’t share with anybody else. You don’t even tell anybody else about the treasure. You understand?” Shaw asks. Jamie nods. Shaw smiles and takes the key from around his neck and places it over Jamie’s. “That will open the treasure chest,” Shaw says. Jamie looks at it in awe. Shaw pulls his son in for a hug and a kiss. “I love you,” he says. “Love you too,” Jamie replies. Shaw releases his embrace and stands up straight again. Then he does the hardest thing he’d ever and will ever do. Says goodbye to his son for the last time. Crane walks through a cemetery and stops at the one marked Sheila Crane 1967-1996. He crouches down next to it and places a bouquet of flowers. He begins to cry as he remembers his wife. He touches her name on the tombstone and the camera pans back. Winston is standing in his small room staring at a picture of himself and Vince. It’s obvious the original picture was a group shot of several people, but Winston cut them out to make the picture appear more intimate. We then notice a pair of plane tickets on his dresser. He sighs as sits on his bed and pulls on some dirty jeans. Then he ties on a pair of thick brown boots. Next he slides on a grey jacket over his shirt and a pair of gloves for each hand. The last thing Winston does is grab a ski mask and place it in his pocket right before he heads out the door.

December 16 - The Morrow

RETRO PARK STUDIOS YEAR ONE The Morrow From acclaimed director Alfonso Cuaron comes The Morrow. With a cast including Jamie Bell, James McAvoy, and Karl Urban, this sci-fi blockbuster focuses on the beginnings of an intergalactic war. Chronicle David Michod directs this drama featuring an ensemble that includes Jared Leto, Joel Edgerton, Jason Lee, and more. Untitled Crime Epic (NEW) Nicolas Winding Refn directs this crime epic featuring an all star cast that includes Christopher Plummer, Matthew Goode, Aaron Johnson, and Steve Buscemi. YEAR TWO Trader Haters Paul Greengrass directs this gritty blockbuster featuring Aaron Paul, Billy Crudup, and Zoe Kravitz. Music for the Soul Patrick Daughters directs this musical about a tragic love story. Eddie Redmayne and Mary Elizabeth Winstead star. Green Arrow (NEW) YEAR THREE The Morrow II Alfonso Cuaron directs as the intergalactic war continues. Christoph Waltz, Clive Owen, and August Diehl star. Harvest (UPDATED) Duncan Jones directs this space drama about a space crew that gets abducted by aliens. This is a revamped version of a script Jones worked on previously. Goldie Locks (NEW) Spike Jonze dips his toes into the animated world for his unique retelling of the classic children's story.

yeah sure. why not

Green Lantern is more of a character thing. He was one of two pivotal parts in my Emerald Dawn franchise in old CAYOM. Besides, you have Star Trek.

I don't know why anyone else would take them, but I'd like to keep rights to Green Arrow and Green Lantern.

hmmm. I'll probably release Morrow 1, Chronicle, and then a new project for Year 1. I may do 2 olds and a new every year until I exhaust my resources.