THE LADY IN RED (SCREENPLAY)

THE LADY IN RED

BY 

DALE W TICE 

FADE IN:

ACT 1

EXT. THE OLD VIRGIN TEMPLE SETTING - NIGHT

A sweeping panoramic shot of a grand, ancient temple atop a hill. QUEEN AUNTIE RED, regal and imposing in flowing purple robes, sits on a golden throne surrounded by loyal servants. They watch a massive television screen displaying a fierce battle between her forces and those of the Old Believers, fighting over a strategic hill that was once Mount Olympia in what is now former Washington state.

SUPER: "The world is ruled by Auntie Red who sits on the throne of the world ruling over all the people who live under the government of the Purple Reich."

CLOSE ON: AUNTIE RED on her throne, her face illuminated by the flickering screen. Around her, her people react—some cry in despair, others cheer in triumph.

The CAMERA CIRCLES AUNTIE RED slowly, capturing her intense focus, then PULLS BACK to a LONG SHOT revealing the virgins and the assembled crowd, all fixated on the battle unfolding.

CUT TO:

EXT. THE BATTLE OF OLYMPIA - NIGHT

LONG SHOT: Soldiers marching in precise triangle phalanxes. At the tip of each phalanx flies the PURPLE STANDARD, billowing in the wind.

SUPER: "The Purple Reich has wiped all other governments and religions from the face of the earth except for one band of insurrectionists who united all the old religions under one army to repel the Purple Reich's taking over the world."

SHOT: JUPITER CORBEAU, a stern leader, rides a white horse, holding a silver sword high. He wears gleaming armor with a huge cross emblazoned on his chest.

SUPER: "The band of Insurrectionists or the Old Believers were led by Jupiter Corbeau, the Last Pope."

CUT TO:

MONTAGE OF BATTLE SCENES:

• Purple Reich forces take a brutal beating from the Old Believers at Mt. Olympia.
• Explosions and clashes of swords; the Reich pushes forward relentlessly.
• The battle turns; the Reich emerges victorious, but sues for peace.
• Corbeau, seeing his army decimated, accepts.

NARRATION (V.O.) The Reich took a beating by the Old Believers at Mt. Olympia yet the battle was won by them. It was the Reich, however, who sued for peace. Corbeau, realizing his army was beaten, accepted the peace. The terms of the peace favored the Reich. It required the Old Believers to leave the mainland forever and to find an island somewhere to live in peace for twenty years. It was then the Reich would resume their war against the Old Believers and wipe them from the face of the Earth.

CUT TO:

EXT. THE TREATY - DAY

LONG SHOT: IRF and Purple Reich officials gathered around the dead strewn across Mount Olympia.

MEDIUM SHOT: AUNTIE RED and JUPITER CORBEAU solemnly sign the peace treaty at a makeshift table amid the carnage.

CUT TO:

EXT. THE BUILDING OF CARCEREM - DAY

LONG SHOT: Dead soldiers being gathered and stacked like cordwood.

TIME-LAPSE SHOT: Workers constructing a massive black pyramid and the Temple of the Vestal Virgin.

WIDE SHOT: The great circle wall encircling the city of Carcerem rises, imposing and impenetrable.

CUT TO:

EXT. JUPITER'S SHIPS - DAY

MEDIUM SHOT: Jupiter's ships filled with people on board, all looking like they had lost everything—haggard faces, tattered clothes.

MEDIUM SHOT: JUPITER looking through an eyepiece.

LONG SHOT THROUGH EYEPIECE: A barren island comes into view.

CUT TO:

EXT. EDEN - DAY

LONG SHOT: Everyone gathered on the rocky coastline, weary but hopeful.

MEDIUM SHOT: JUPITER addressing his people from a makeshift podium.

JUPITER Today we mark a new beginning here on freeland, the land we shall call New Eden. A new paradise for our people, a base from which we can retake the globe from the Purple Reich.

LONG SHOT: The people shout their approval, raising fists and cheering.

FADE OUT.

FADE IN:

EXT. NEW EDEN - DAY

CLOSE UP: A wooden wheel rolling through a mud puddle.

MEDIUM SHOT: An OLD MAN pulling a wagon filled with sticks. The camera pans along with him at a 90-degree angle from the side.

CLOSE UP: OLD MAN'S FACE. He stops pulling his cart, wipes sweat from his brow with a handkerchief. His eyes look up, scanning the horizon.

POV: OLD MAN looking out at a storm gathering at sea.

MEDIUM SHOT: OLD MAN. A FRIEND walks into the scene. He stares at the same thing.

OLD MAN #2 Whatcha looking at?

OLD MAN #1 That cloud over there.

OLD MAN #1 points at the cloud lingering in the distance.

OLD MAN #2 Whatcha think it is?

OLD MAN #1 concentrates on the cloud as if trying to remember something from years past.

OLD MAN #1 I know it ain't just a regular cloud.

OLD MAN #2 What color is that, red or blue?

PULL BACK: To where we see other old men and women now stopped, staring out at sea.

OLD WOMAN #1 Both Red and Blue. That is the color purple.

OLD MAN #1 looks back at the old lady.

OLD MAN #1 Purple?

OLD WOMAN #1 It looks purple to me.

The two old men look at each other and then at the cloud.

OLD MAN #1 That's the Purple Reich.

WIDE SHOT: Everyone gathered around the old man. They mumble nervously.

OLD MAN #2 We need to let Father Jupiter know.

OLD MAN #1 Father Jupiter is out at sea.

OLD WOMAN #1 What are we going to do?

OLD MAN #1 stands silently in deep thought as others hurry away.

OLD MAN #1 There is nothing we can do but die.

WIDE SHOT: The village. People start running for cover as the wind blows harder. A bell rings, alarming the village.

WIDE SHOT: A giant bomb lands nose-down into the soil in the village square.

A huge bomb lands in the middle of the village with a giant thud then it explodes, sucking everything in the village inside its implosion.

OLD MAN #1 doesn't run but continues pushing his wagon of sticks down the road. Eventually a bomb hits him and what is left is nothing but a charred part of the road.

CUT TO:

EXT. LUCY'S BACKYARD - DAY

In the backyard of her mother's stone house, LUCY CORBEAU, 14 years old, with curly ginger hair and a freckled face, plays with her imaginary friends. Lucy is poorly dressed in rags resewn from dead Reich soldiers' uniforms. On her feet are black boots, once knee-high but cut down to her ankles.

LONG WIDE SHOT: LUCY playing in the backyard.

CLOSE SHOT: Her pretend friends—dolls or sticks arranged as companions.

CLOSE UP: LUCY'S FACE looking stern at her subjects.

LUCY I think it is time we had our tea.

LONG SHOT: LUCY bends down to the ground and picks up a plastic cup of pretend tea.

LUCY Thank you very much, Poppy.

Lucy takes a sip of the tea.

LUCY This is delicious.

MEDIUM SHOT: LUCY with her tea in hand. Suddenly her hair begins to be blown about. LUCY turns her attention toward the wind.

LONG SHOT: A tree falling. Then several objects are lifted into the air and thrown about.

LUCY'S POV: A dark purple sky covering the sky above.

LUCY'S FACE looking alarmed. In the background, LUCY'S MOTHER steps out the door, calling for her daughter.

LUCY'S MOM Lucy. Where are you?

Lucy turns toward the call and sees her mother, but her mother is heading around toward the front yard to look for Lucy.

LUCY Mom!

Lucy is thrown off her feet by the fierce force of the wind and she lands in a thick brush of weeds.

CLOSE UP: LUCY trying to get to her feet.

Lucy fights to get back up on her feet but the wind is so strong that it pushes the huge weeds down upon her, covering Lucy up in the thicket that nobody can see her.

LONG SHOT: LUCY'S MOTHER running back around the backyard looking for Lucy.

LUCY'S MOTHER Lucy. Where are you?

CLOSE UP: LUCY'S MOM'S FACE. It is concerned for her daughter's well-being.

Lucy's mother runs back inside the house.

MEDIUM SHOT: LUCY.

Lucy tried to get to her feet to join her mother in the house but the weeds had her pinned against the ground and wasn't letting her up.

LONG SHOT: Four mysterious riders come riding up from the right of the property.

One holds in his hand a wand which has a huge gray color sucker (a creature that looks like an upside down tornado) tethered to it. They ride up to Lucy's house and then dismount from their horses. They look around for a moment before they enter the house.

INT. LUCY'S HOUSE - DAY

CLOSE UP: LUCY'S MOTHER'S FACE as the Purple Reich soldiers enter their home.

She backs up as far as she can against the stove.

LUCY'S MOTHER Get that thing out of here.

SOLDIER #1 We will. Just tell us where the girl is?

LUCY'S MOTHER What girl?

SOLDIER #1 The grand-daughter of the evil one Jupiter.

Lucy's mother's face turns confused.

LUCY'S MOTHER What do you want with Lucy?

SOLDIER #1 Just tell us where she is.

LUCY'S MOTHER She is with her grandfather.

CLOSE UP: SOLDIER #1.

SOLDIER #1 We don't believe you.

LUCY'S MOTHER I am not lying.

SOLDIER #1 Bring the color sucker. It will suck the truth from this one.

CLOSE UP: LUCY'S MOTHER'S FACE.

LUCY'S MOTHER No!

MEDIUM SHOT: SOLDIER guides the color sucker over to Lucy's mother and the color sucker lifts her mother into the air, sucking every color from her. Once Lucy's mother's body had withered to a boneless empty bag of skin, they toss it over against the wall which it smashes into before it slides to the floor.

MEDIUM SHOT: COLOR SUCKER holding Lucy's mom high. Slowly her body deflates. The color disappears from her face. In the background, the soldiers watch.

SOLDIER #1 We can stop the pain if we knew where we could find Lucy.

MEDIUM SHOT: COLOR SUCKER sucks the last life from Lucy's mom.

Once Lucy's mother's body had withered to a boneless empty bag of skin, they toss it over against the wall which it smashes into before it slides to the floor.

CUT TO:

EXT. BACKYARD - DAY

POV: LUCY'S looking in the window as her mother is lifted in the air by the color sucker.

CLOSE UP: LUCY struggling to scream but the weeds are covering her mouth.

CUT TO:

INT. KITCHEN - DAY

The four soldiers turn to the color sucker to read what it has read in Lucy's mom's mind.

SOLDIER #1 What does it say?

SOLDIER #2 listens to the hiss of the color sucker.

SOLDIER #2 It says she is telling the truth.

SOLDIER #1 Then let's find Jupiter and get that girl.

The four soldiers exit the house.

CUT TO:

EXT. BACKYARD - DAY

MEDIUM SHOT: Soldiers getting on their horses then riding away.

As the soldiers ride away, the storm follows them until the calm and sunshine returns.

SHOT: LUCY lying in the high grass crying.

Lucy slowly climbs to her feet and walks across the yard toward the house.

CUT TO:

INT. KITCHEN - DAY

LONG SHOT: LUCY enters the backdoor. We pan around and follow her into the kitchen.

LUCY Mommy. Mom. Are you okay?

Lucy pauses. She hears the sound of a voice beneath her. She turns her head and notices a crack in a door she has never seen before which apparently was hidden under the refrigerator that was now laying a few feet away.

SHOT: OPEN DOOR.

SHOT: LUCY walks over to the door and pulls open the rest of the door. She peers down inside the darkness. There is a light coming in from the bottom. LUCY heads down into the stairs.

CUT TO:

INT. BASEMENT - DAY

LONG SHOT: LUCY entering the room where a radio sits on a table, squelching. A voice on the other end seems to be pleading for news.

RADIO VOICE Eden, this is Fisherman, over. Eden, this is Fisherman, over.

MEDIUM SHOT: LUCY standing in front of the radio. She notices a microphone nearby and picks it up.

RADIO VOICE Eden, this is Fisherman, over? Is everything alright?

Lucy tries to speak into the microphone.

LUCY Hello. Hello. I need help.

CLOSE SHOT: LUCY'S HANDS hitting the microphone and keying it.

CUT TO:

INT. SHIP RADIO ROOM - DAY

LONG SHOT: Men standing around a radio. One of them is an old man named JUPITER CORBEAU, captain of the ship. They hear the squelch.

CLOSE SHOT: JUPITER.

JUPITER What was that?

MEDIUM SHOT: OPERATOR and JUPITER.

RADIO OPERATOR It sounds like someone keyed the microphone.

JUPITER Someone is alive.

RADIO OPERATOR If anyone is there, push the button on the side of the mike to talk then release to listen.

LONG SHOT: All the men listening to dead air. Suddenly the air is cleared and they hear the sound of a little girl's voice.

LUCY (O.S.) Hello.

RADIO OPERATOR Who is this?

LUCY (O.S.) Lucy.

Jupiter takes the mic from the radio operator.

JUPITER Lucy, this is your grandfather. Are you okay?

LUCY (O.S.) I don't know where mommy is.

JUPITER Stay where you are. Find somewhere to hide. I will be there in a few hours to get you.

LUCY (O.S.) Yes sir.

CUT TO:

INT. BASEMENT - DAY

MEDIUM SHOT: LUCY listening to her grandfather's orders.

JUPITER (O.S.) Turn off the radio and do not move from that room until I get there.

LUCY Yes sir.

Lucy reaches over and puts down the microphone and then turns a button to turn the radio off.

CUT TO:

INT. RADIO ROOM - DAY

JUPITER You need to be very brave now.

The connection is broken.

MEDIUM SHOT: JUPITER and his men.

FADE OUT.

FADE IN:

INT. BASEMENT - LATE EVENING

MEDIUM SHOT: LUCY lying under a table asleep.

CLOSE SHOT: Man's boots walking down stairs.

CLOSE UP: LUCY opening her eyes to the sound of the boots. She tries to shove herself back further under her desk as far as she can. Suddenly big hands appear under the desk and they have her in them and they are dragging her out from under the desk. LUCY kicks and screams.

LONG SHOT: LUCY fighting with JUPITER.

LUCY Let me go.

Lucy fought with the man but he was much too large for her. The man then pulled Lucy back so she could see his face. When he did, Lucy quit fighting and immediately hugged him. She started crying.

LUCY Grandfather...you are here. Where have you been?

JUPITER I had to battle the Reich to get to you.

LUCY And did you win?

JUPITER I could defeat all the soldiers the Reich can send if it meant your life.

Lucy hugs him. They ascend the stairs.

CUT TO:

EXT. VILLAGE SQUARE - DAY

LONG SHOT: The men standing over burning bodies.

MEDIUM SHOT: JUPITER and LUCY standing side by side holding hands.

LONG SHOT: JUPITER turning around to address the men.

CLOSE SHOT: JUPITER'S FACE.

JUPITER We must sail now.

LONG SHOT: The men. They look at each other.

MEDIUM SHOT: SADJU. He is on his knees. He is tired and seems ready for the war to end.

SADJU There is nowhere else to run, Father.

LONG SHOT: SADJU and JUPITER staring into each other's eyes.

CLOSE SHOT: JUPITER'S FACE.

JUPITER You are right, Sadju. We are almost finished.

Then Jupiter speaks to all the men.

JUPITER I am not telling any man here they have to follow me anymore. You are all welcome to go your own way and find your own freedom, if you can. But I have to get Lucy to St. Agnes. It is the last place she will be safe from the Reich.

Nobody moves or says anything. They just look at one to another. Jupiter takes Lucy's hand and then leads her through the men as he heads toward his ship. As Jupiter walks past them, some of the men grumble, but then they lift themselves from their knees and follow him to the ship. The last to do so is Sadju.

MEDIUM SHOT: SADJU. SADJU hangs his head for a moment then he gets to his feet and follows the rest of the men toward the ship.

FADE TO:

INT. LOWER DECK OF SHIP - NIGHT

MEDIUM SHOT: LUCY rocking back and forth in her hammock.

Lucy can hear a battle and a storm roaring on the upper decks of her ship. She hears the voices of men screaming orders to each other and then the occasional scream of death.

CLOSE SHOT: LUCY'S FACE.

Lucy no longer can stay below deck and so she pulls herself out of her hammock and heads toward the stairs to peek out and see what is happening.

MEDIUM SHOT: Camera follows LUCY.

CUT TO:

EXT. SHIP'S UPPER DECK - NIGHT

LONG SHOT: The ship being rocked back and forth by the Purple Reich. There are color suckers around them and the sky is dark purple color. Lightning strikes hit the ship and men are tossed back and forth.

MEDIUM SHOT: LUCY'S head sticks up out of the lower deck door.

LONG SHOT: One of the men is taken off the ship by the tentacles of a kraken. Another is sizzled by the lightning and bursts into colors.

MEDIUM SHOT: JUPITER fighting a wolf wind. He turns to see LUCY.

JUPITER (Screaming) Get back below.

LONG SHOT: Jupiter has a glimmering sword in his hand and when the kraken's arms try to reach for him he swipes it off with his blade. Then he defends off a lightning strike. He turns again to Lucy.

JUPITER Go, Lucy. It will be okay.

HUGE WAVE hanging over the ship.

LUCY'S FACE is taken over by fear.

LONG SHOT: The wave hitting the ship.

CUT TO:

INT. BELOW DECK - NIGHT

MEDIUM SHOT: LUCY is thrown back off the ladder and slides across the room.

MEDIUM SHOT: LUCY fights to get back to her hammock. She eventually is able to get back in her hammock and covers herself up with the blanket.

CLOSE SHOT: LUCY closes her eyes and holds her hands together and starts to pray.

FADE OUT.

FADE IN:

INT. LOWER DECK OF SHIP - DAY

MEDIUM SHOT: JUPITER kneeling next to LUCY'S hammock. He shakes her on the shoulder.

CLOSE SHOT: LUCY'S FACE turns to look at her grandfather.

CLOSE SHOT: JUPITER'S FACE.

JUPITER Lucy, it is time to go.

CLOSE SHOT: LUCY'S FACE. She stares at JUPITER'S face.

LUCY Is it over?

Jupiter looks like he is almost in tears.

JUPITER It is over.

LONG SHOT: LUCY and JUPITER get LUCY out of bed and they head toward the ladder together.

CUT TO:

EXT. SHORELINE - DAY

LONG SHOT: Four people watching the ship burn out in the Puget Sound. The camera shoots from their back. They stand still then turn toward the camera and walk past it. The camera lingers on the burning ship for a few moments.

CUT TO:

EXT. THE PATH TO ST. AGNES - DAY

FOUR CLOSE SHOTS: Of each character's face. Jupiter, Sadju, Paul, and Lucy.

JUPITER Sadju.

MEDIUM SHOT: SADJU who turns around to look at JUPITER.

JUPITER We will rest here.

MEDIUM SHOT: SADJU who turns around to look at the landscape. He then turns back to JUPITER.

JUPITER and LUCY sit down together. JUPITER pulls out some water.

MEDIUM SHOT: PAUL sitting down behind SADJU.

CLOSE SHOT: SADJU.

SADJU I will explore the area while you guys rest.

PAUL You need to rest too, Sadju. You will never make it to St. Agnes at this pace.

SADJU I think someone should recon the area around us.

MEDIUM SHOT: JUPITER and LUCY sitting together. Jupiter's eyes meet with Sadju's.

JUPITER Whatever you do, Sadju, just do it quickly.

SADJU Yes, Father. I will.

JUPITER We will wait for you right here.

LONG SHOT: JUPITER and SADJU stare at each other for a few moments. SADJU then turns away and walks into the woods. Everybody curiously watches as he walks away.

SHORT SHOT: PAUL.

PAUL What is up with him?

JUPITER He is having a moment of weakness. Hopefully, he finds himself before it is too late.

LUCY How much further, grandfather?

The sound of thunder draws Jupiter's face upward.

JUPITER I don't know but I don't think we should wait until Sadju gets back.

LONG SHOT: They all get to their feet and begin walking again.

CUT TO:

EXT. RUNNING FROM THE REICH - DAY

LONG SHOT: JUPITER halts them and they all crouch down.

LONG SHOT: Nearby a missile lands. It sucks all the air from everything nearby and then silently implodes. The gang hit the ground.

SHORT SHOT: JUPITER'S expression.

JUPITER We got to make a run for it. Paul keep watch at our rear.

CLOSE UP: PAUL.

MEDIUM SHOT: JUPITER and LUCY get to their feet and begin running toward St. Agnes.

MEDIUM SHOT: Scanning of Reich soldiers appearing out of the woods around them.

CLOSE UP: LUCY'S alarmed look.

LUCY They're everywhere, grandfather.

CLOSE UP: JUPITER'S determined look.

JUPITER Keep running.

LONG SHOT: LUCY and JUPITER dodging the Purple Reich. Some soldiers appear in front of them and JUPITER goes through them, shoulder first. He then lifts LUCY up on his shoulder and begins running with her. He draws his sword from its case and starts mowing down Purple Reich soldiers in the way.

CLOSE UP: LUCY'S face staring back at PAUL.

LUCY Grandfather, Brother Paul is in trouble.

LONG SHOT: PAUL being swarmed by the Purple Reich.

CLOSE SHOT: JUPITER (breathing hard).

JUPITER He will fight until his last breath.

LONG SHOT: PAUL being taken prisoner by the Reich.

LONG SHOT: JUPITER comes up to a small hill. He smashes into it. He turns his back to the wall and turns to face the Purple Reich soldiers. He swings his sword to fight them off. Two hands reach over the wall and pull LUCY off his shoulders.

ROSE (O.S.) We have her Father.

MEDIUM SHOT: LUCY fights with the nun holding her trying to get back to her grandfather.

LUCY Let me go. I want to be with my grandfather.

MEDIUM SHOT: ROSE and MARIE BERNADETTE.

MARIE BERNADETTE Stop fighting child. We are friends.

CLOSE UP: LUCY.

LUCY We have to help him.

LONG SHOT: JUPITER is overcome by the Purple Reich.

MEDIUM SHOT: Of two nuns.

MARIE BERNADETTE Our duty is to protect you now, Lucy.

CLOSE UP: LUCY reaching back for her grandfather but being pulled back out of the reach of the Reich by the nuns. The camera then pulls back and we see a long shot of her grandfather falling to the hands of the Reich.

CUT TO:

EXT. JUPITER IN CHAINS - DAY

SHOT: PAUL and JUPITER are bound in chains. They stand with SADJU.

SHOT: SADJU'S FACE.

SADJU Forgive me, Father, but I am tired of this war.

JUPITER I forgive you son.

SADJU But Father, why didn't he come. We all believed he would be there in our darkest hour but he never came.

JUPITER It is not our place to question God's plan.

SADJU Eventually, we have to.

MEDIUM SHOT: That rises and pulls back to a long shot. Purple Reich soldiers pull out their billyclubs and beat PAUL and JUPITER down as SADJU watches on, tearfully.

FADE OUT.

FADE IN:

INT. AUNTIE RED'S CHAMBERS - NIGHT

MEDIUM SHOT: From oblique view of AUNTIE RED staring at a GENERAL, SADJU, a couple of other soldiers with JUPITER and PAUL on their knees in front of her.

SHOT: AUNTIE RED with MOTHER SUPERIOR standing behind her.

AUNTIE RED We failed to get the girl?

GENERAL Yes mam.

AUNTIE RED (angrily) The girl is the key to the future preservation of the Purple Reich. Do we understand that?

SHOT: The GENERAL'S eyes look down fearful of the outcome of the conversation.

SHOT: MOTHER SUPERIOR leans in to whisper into AUNTIE RED'S ear.

MOTHER SUPERIOR We will have to destroy St. Agnes.

SHOT: JUPITER looks up for a moment. His eyes meet with AUNTIE RED'S.

AUNTIE RED Wait until she is sixteen then bring her to Carcerem to take the throne. We promised to preserve St. Agnes. We will keep that promise.

MOTHER SUPERIOR It is dangerous to allow that place to exist just outside our gates.

AUNTIE RED Rose and Marie Bernadette will not live forever. They are already old women like you and I.

SHOT: AUNTIE RED stands up from her throne. She walks down the stairs. She puts her toe under the chin of JUPITER and lifts his face so that she can see his eyes.

AUNTIE RED Your God hasn't saved you yet.

JUPITER God will be there for me in the end.

AUNTIE RED Unfortunately, that is coming sooner than you think.

MEDIUM SHOT: Panning along with AUNTIE RED.

Auntie Red walks over to one of the soldiers and pulls their saber from its hilt. She then walks over to the General and stares at him with stern eyes.

AUNTIE RED Failure can't be tolerated by my leaders, General. We have won many battles for the Purple Reich. We have destroyed this false idol and brought it to its knees in our temple. But we never got the girl.

SHOT: AUNTIE RED turns back to look back at her throne.

AUNTIE RED The throne has to be protected by whatever means necessary.

CLOSE UP: SWORD in AUNTIE RED'S hands. She jabs the sword backwards into the GENERAL'S abdomen.

SHOT: GENERAL reacts to having the sword jabbed into his abdomen. He falls to his knees and dies at the feet of AUNTIE RED.

MEDIUM SHOT: AUNTIE RED as she walks over to SADJU. She leans in and kisses him on the cheek.

AUNTIE RED We did good, Sadju. We honored the Purple Reich by complying with our laws. We have been a good son, now be a great follower of the Queen of the Reich.

SADJU What will happen to my Father?

AUNTIE RED We must serve as an example for others who question the way of the Reich.

SHOT: AUNTIE RED and SADJU look at each other.

SADJU Can we see my daughter?

AUNTIE RED Only on her Liberation Day.

SHOT: PULL BACK FROM THE DRAMA OF THE ROOM.

CUT TO:

EXT. PACIFICA (VICTORY SQUARE) - NIGHT

LONG SHOT: People pouring into the square.

MEDIUM SHOT: We see QADY and QRIS sitting in front of cameras describing the scene for all AUNTIE RED'S subjects.

QADY After tonight Auntie Red begins her hibernation period which will last for an unlimited amount of time when she will rise again and take her throne to begin the second evolution.

QRIS Unless, she determines we are ready for collective salvation then we all rise into heaven together with Auntie Red to live forever.

CLOSE UP: QADY.

QADY That will be the day when all mankind will be together again as one family under the eye of our Mother, Victoria.

Shouts interrupt the two news reporters.

SHOT: QADY and QRIS turning toward the shouts.

SHOT: Ladies descending a ramp who are dressed in scantily clad clothes who were dancing and gyrating their hips to the pleasure of the crowds.

MEDIUM SHOT: QADY and QRIS.

QRIS The Vestal Virgins have made their first appearance. Wow! Those girls really know how to capture the attention of the crowds.

CLOSE UP: QRIS looking on the young girl gleefully.

QADY They are really getting the crowd revved up.

QRIS turns quickly back to QADY.

MEDIUM SHOT: QRIS and QADY.

QADY Exactly. We all should celebrate by sharing ourselves with many of these rich countries.

LONG SHOT: Whole square.

LONG SHOT: Temple doors.

CLOSE UP: People in the crowd.

QADY (O.S.) Auntie Red has just appeared at the door, Qris.

MEDIUM SHOT: QRIS and QADY. QRIS slowly losing his composure.

QRIS (Excitedly) We see her.

QADY She looks as beautiful as the day she took the throne.

QRIS Yes she does.

QADY Qris, can we find the words to describe what is happening before our eyes tonight?

QRIS looks at QADY but doesn't know what to say. He is having a hard time finding his words.

QRIS We...we feel a tingling sensation in our leg.

CLOSE SHOT: QRIS'S leg losing control.

QADY Qris, can we stop that?

MEDIUM SHOT: QRIS.

SHOT: QADY stands up.

QADY Cut to the crowds.

QADY looks down at QRIS being attended to by Purple Guards.

SHOT: Purple Guards dragging QRIS off.

QADY They fucking do this everytime. Can we get another co-host when Auntie Red makes her speeches?

LONG SHOT: The crowd of people had started singing the Purple Reich national anthem, "We Are the Champions"! People were standing up erect with their hands over their hearts.

CUT TO CLOSE UP: QADY.

QADY Everyone on our feet.

LONG SHOT: AUNTIE RED on her litter.

CLOSE SHOT: CAPTAIN RED'S face.

CAPTAIN RED March time, March. Forward March. On your left Reich.

LONG SHOT: To the front of the litter. Little girls throw petals at the feet of the litter. At each corner walk four holy virgins. At the rear, cops drag two beaten, scrawny, starving men.

MEDIUM SHOT: Starving men who are being prodded.

SIDE SHOT: Litter descending ramp.

REAR SHOT: Litter descending into a horde of screaming faces.

LONG SHOT: As the litter descended into the crowds huge numbers.

MEDIUM SHOT: Reich soldiers pushed the crowds back.

MEDIUM SHOT: Crowd perspective of AUNTIE RED on front row. She looks down at them as the camera shoots upward. As the litter passes, two disheveled old men in chains walk into the camera's eye. Camera scans down to them and follows them.

CUT BACK TO QADY: MEDIUM SHOT.

QADY We have no words to describe this moment.

CUT TO CROWD: MEDIUM SHOT of people's faces. They posed for the cameras and did selfies and everything. They are extremely narcissistic.

CUT TO AUNTIE RED'S litter passing through a group of anonymous dignitaries who stood solemn and mysterious, unknown to the patsies of Pacifica.

REAR OF LITTER underneath the huge black pyramid.

MEDIUM SHOT: Litter comes to a halt. The soldiers carrying it lower themselves closer to the ground.

MEDIUM SHOT: CAPTAIN RED grabs one of the men, JUPITER, from behind the litter and forces him down on his knees beside the litter.

MEDIUM SHOT: AUNTIE RED stands up and begins her descent from the litter.

CLOSE UP: AUNTIE RED'S FACE. She steps down.

CLOSE UP SHOT: Of the foot pressing down on JUPITER'S back.

CLOSE UP: JUPITER'S face grimacing with pain.

MEDIUM SHOT: CAPTAIN RED leaning down in JUPITER'S face.

CAPTAIN RED We better not let our Auntie fall or we will kill us right here.

MEDIUM SHOT: AUNTIE RED stepping down onto the ground. Her four royal virgins are standing beside her, bowed.

LONG SHOT: AUNTIE RED turning to the stairs. They start up them.

LONG SHOT: Crowd shouting.

MEDIUM SHOT: QADY.

QADY Auntie Red seems to float up the stairs as if her feet are not even touching the ground.

SHOT: AUNTIE RED reaching the first tier: Camera swings around to show the GRAND PRICK at his pew staring at her and young Vestal Virgins gyrating for the enjoyment of the crowds. We see a huge black cauldron with steam rising from the top of it. Also near this is a huge dipping spoon (device for torturing the condemned) on a long lever. AUNTIE RED appears in the shot again and this time she is heading up the second tier of stairs.

SHOT: CAPTAIN RED yanks the leash on which JUPITER and PAUL hang.

CAPTAIN RED Follow us.

The two men obediently obey Captain Red.

MEDIUM SHOT: JUPITER and PAUL are set down near the boiling pot. Vestal Virgins rubbed themselves on them.

CLOSE UP: Virgins' baby faces.

VESTAL VIRGINS We could have had us. This was ours. We know we want to touch it.

CLOSE SHOT: JUPITER and PAUL looking down solemnly. JUPITER murmurs a low prayer.

JUPITER Forgive them Father for they know not what they do.

CUT TO MEDIUM SHOT: QADY.

QADY Auntie Red is almost at the top of the pyramid where she will receive the crown from Mother Superior then leave us with some departing words before she is to ascend into heaven thus ending the First Evolution.

MEDIUM SHOT: AUNTIE RED reaches the top level.

LONG SHOT: MOTHER SUPERIOR awaits her on bended knee.

MEDIUM SHOT: AUNTIE RED dips her head low enough so that MOTHER SUPERIOR can crown her with the crown. Once the crown is placed on her head, she lifts her head again.

LONG SHOT: Two of the holy virgins give AUNTIE RED her royal symbols, a torch and a book.

MEDIUM SHOT: AUNTIE RED turns to face the crowd who are cheering loudly. She is holding a torch and a book while wearing a seven-point crown on her head. We see her from behind. The camera circles around AUNTIE RED and now we see her in her red flowing robe and holding the book and torch with a crown that reminds of the Statue of Liberty.

LONG SHOT: Cheering crowd.

MEDIUM SHOT: AUNTIE RED. She raises two VEE symbols on both her hands.

AUNTIE RED Peace and Victory in our time.

SHOT: Of cheering crowd.

SHOT: GRAND PRICK clapping wildly.

GRAND PRICK Let Auntie know we love her and we are going to miss her.

SHOT: People hollering and screaming. Some of them pass out.

SHOT: Purple police pulling the unconscious from the crowds and throwing them into a black truck.

SHOT: AUNTIE RED puts her finger over her lips to signal to the crowds for quiet. They did so. She then began to speak.

AUNTIE RED In the past we purged the world of the individual and gave us one voice under the rule of the My Purple Reich. We promised collective salvation only when we achieved collective salvation. We are closer to that goal at this hour than we have ever been in all the years of this first evolution. And when I leave all this after I am de-crowned know that Jupiter Corbeau will cease to be a threat to our global security.

MEDIUM SHOT: JUPITER looking up at AUNTIE RED.

LONG SHOT: Crowd cheering.

CLOSE SHOT: AUNTIE RED.

AUNTIE RED Mankind has never been so close to collective salvation. It is our duty to keep working toward that until we achieve this and all humanity will rise into heaven to worship me as Victoria.

LONG SHOT: People cheering.

TIGHT SHOT: A woman crying.

MEDIUM SHOT: Purple police officers staring at the people.

CLOSE UP: AUNTIE RED.

AUNTIE RED The Purple Reich taught our children it was evolution that gave us world people and not revolution. We evolved from a history paved in human atrocities and now we have created a world where all can live our lives to the fullest. Out of the many nations of the world we became the one.

SHOT: People cheering.

SHOT: Holy virgins looking from one to the other.

SHOT: JUPITER CORBEAU and PAUL sitting in prayer.

AUNTIE RED This is the hour we will achieve our Total Victory. Many said this could not be done, but we have achieved it. Let this hour be the shining example of all that human beings can achieve when they stand together as one.

SHOT: Crowds cheering.

SHOT: MEDIUM SHOT of AUNTIE RED looking back smiling at MOTHER SUPERIOR.

SHOT: MOTHER SUPERIOR returns the smile.

SHOT: AUNTIE RED turned again to the audience.

AUNTIE RED When our faith wanes for the Reich we must always tell ourselves this, Monarchus aniverdo, monarchus opero. Do as I do.

SHOT: People cheering wildly.

SHOT: A young man tries to leap onto the red carpet. AUNTIE RED'S police took him down and shoved him into a black van and the van zoomed away.

CLOSE UP: AUNTIE RED.

AUNTIE RED (Shouting) Bring out our prisoners.

SHOT: CAPTAIN RED jerking the leash for JUPITER and PAUL to stand. Both men use each other to get to their feet.

The music changes to something dramatic.

SHOT: People jeering JUPITER and PAUL. Hissing and spitting at them.

SHOT: The two men walked to the center of the stage with Vestal Virgins hanging on to them rubbing themselves against their bodies.

LONG SHOT: Reich soldiers pushing the dipping spoon into place.

SHOT: PAUL'S face. His eyes roll up into his head and he drops to the stage. JUPITER leans down to check on the man. He is shoved out of the way by CAPTAIN RED who reached down and checked PAUL'S pulse.

SHOT: CAPTAIN RED turns to look at the GRAND PRICK.

SHOT: GRAND PRICK.

SHOT: CAPTAIN RED gives the throat slash.

CLOSE UP: GRAND PRICK.

GRAND PRICK Our Auntie Red has chosen to cease the suffering of the one they called Paul. Guilty of Conspiring with Jupiter Corbeau to over throw the Purple Reich.

CLOSE UP: AUNTIE RED.

AUNTIE RED Feed him to our people.

LONG SHOT: Purple soldiers picking PAUL up and throwing him to the crowds.

SHOT: Hordes of patsies grab for the body. They then tear him limb from limb.

MEDIUM SHOT: CAPTAIN RED next to JUPITER CORBEAU.

CAPTAIN RED Have a seat, Jupiter.

Jupiter Corbeau eased himself down on the seat and then he was strapped down by Reich soldiers. They bounded his head with barbwire.

SHOT: CAPTAIN RED stood back from JUPITER then gave a signal to the crane operator to let them know that the prisoner was ready.

SHOT: CRANE OPERATOR begins to lift crane.

LONG SHOT: From below of JUPITER being lifted up to the level of AUNTIE RED.

SHOT: CUT TO AUNTIE RED and JUPITER looking at each other.

SHOT: CUT TO AUNTIE RED and JUPITER staring at each other.

AUNTIE RED How was your stay at Velvet Wood?

Jupiter doesn't answer her. Auntie Red's patience gets thinner.

AUNTIE RED I can spare your life, Jupiter. We can go live in the wilds together if you just swear allegiance.

JUPITER Beatrice, I will never swear allegiance to Auntie Red. I can only serve our Father in Heaven.

AUNTIE RED Have it your way. As it always has been with you.

JUPITER I didn't leave you to become Queen over the world. I didn't lead the world into slavery. I fought to preserve our freedom as humans.

AUNTIE RED And now that dream dies with you.

JUPITER It can grow again.

AUNTIE RED Jupiter, the girl will be taken by the Reich in a few years to be trained as I have been trained, to take the throne in the second evolution.

JUPITER Why can't you just leave her alone?

AUNTIE RED You knew the day she was born was Perihelion Day. The day Auntie Red rises, the same birthday as mine.

JUPITER Lucy will resist. She is more like me than you will ever know.

AUNTIE RED She is like her father as well, and he turned against you.

Jupiter didn't say anything. They just stared at each other.

AUNTIE RED I can see that I touched a nerve in you. Your wife turned against your God, your son, and next your grand daughter. God dies with you.

SHOT: AUNTIE RED looked down at CAPTAIN RED. CAPTAIN RED nodded.

SHOT: SHOT of soldiers getting the dipping spoon ready.

LONG SHOT: AUNTIE RED and JUPITER looking at each other.

CLOSE SHOT: JUPITER'S face in shock.

SHOT: JUPITER'S face turned upward with a spike sticking out of it.

SHOT: AUNTIE RED turns her head from it.

LONG SHOT: JUPITER'S body being lowered.

LONG SHOT: JUPITER'S body being torn from the chair. The people gather the body parts and rush on stage to throw them into the pot.

CLOSE UP: GRAND PRICK.

GRAND PRICK Auntie Red come on down.

MEDIUM SHOT: AUNTIE RED with her virgins in the background blurred out.

SHOT: ROYAL VIRGINS accompany AUNTIE RED to the side of the stage and then upon the stairs.

SHOT: People cheering.

SHOT: Purple Reich soldiers pulling an archaic block of wood from the side of the stage.

CLOSE UP: QADY.

QADY And now the decrowning will begin.

SHOT: AUNTIE RED and the virgin arrive at the first stage level.

SHOT: MOTHER SUPERIOR holding out her hand in the direction that AUNTIE RED is to walk. They walked over to the chopping block. AUNTIE RED looks at it for a moment.

SHORT SHOT: AUNTIE RED.

AUNTIE RED What is this for, Eunice?

CLOSE UP: MOTHER SUPERIOR.

MOTHER SUPERIOR We must create the illusion that you have risen to heaven to convince the people or they will reject it fully. Get down on your knees and place your head here.

SHOT: AUNTIE RED kneels down and puts her head on the chopping block.

SHOT: AUNTIE RED face close up on the chopping block looking worried.

MEDIUM SHOT: The four royal virgins each took one wrist each and ankles.

MEDIUM SHOT: MOTHER SUPERIOR walks over in front of AUNTIE RED and gets down on her knees with her hands up to catch the crown.

CLOSE SHOT: MOTHER SUPERIOR.

MOTHER SUPERIOR Don't worry Beatrice, you won't feel a thing.

MEDIUM SHOT: A huge man walks out of the shadow of the back stage carrying an axe. He approaches from the rear of AUNTIE RED and she never sees him.

SHOT: The people cheering gleefully.

MEDIUM SHOT: The axman with his scythe held above his head ready to swing down on AUNTIE RED'S neck.

CLOSE UP: MOTHER SUPERIOR.

MOTHER SUPERIOR Be still, Beatrice. It will be over in a minute.

CLOSE UP: AUNTIE RED'S face. Her eyes are closed.

MEDIUM SHOT: The GRAND PRICK.

GRAND PRICK Auntie Red, we thank her for the peace she has brought us at this moment we take her earthly crown, to be given back to her on her second evolution.

SHOT: Hand squeezing on the axe handle.

GRAND PRICK Free our Auntie.

CLOSE SHOT: Axe slowly swinging downward.

GRAND PRICK Of her earthly duties.

SHOT: Axe blade hitting the back of AUNTIE RED'S neck. The neck breaks from the body. The body shoots upward while the head falls downward, with the crown landing in the hands of MOTHER SUPERIOR.

SHOT: AXEMAN picks up AUNTIE RED'S head then places it on a stick. It is immediately seized by artisans who cover it in gold.

SHOT: Cut to crowds. People are both crying and cheering.

SHOT: Cut to QADY.

QADY And that concludes tonight's ceremonies. Tune in after this as we make predictions on how long the hibernation periods will last until Auntie Red joins us again. From the walls of Pacifica to the walls of Dragonia we bid all good hour.

FADE TO BLACK.

ACT II

EXT. ST. AGNES - DAY

FADE IN

SUPER: "A Few Years Later."

LONG SHOT: Five girls sit on the far side of the room quietly. They are in a line. They are all holding unopened vanilla envelopes with official titles on them. Across the room is a table where sit the Vestal Virgins.

MEDIUM SHOT: Two Vestal Virgins studying paperwork. These are the stories of each of the five girls.

The two vestal virgins are both very pretty. One is a handsome red-headed woman, PRUDENCE, 19, who stands about 5'10 and the other is a very light skin octoroon with blonde curly hair and blue eyes named MERCY, 20. They are looking down at paperwork that gives them the story of each girl.

CLOSE UP: ROSE and MARIE BERNADETTE looking through a doorway at what is happening in their sanctuary.

CLOSE UP: MERCY.

MERCY Very good. Now as we all know we will soon be relocated from St. Agnes to residences that are more appropriate to our status as global citizens. Now we have analyzed everyone since our arrival and have established our place in Reich Society. Our future lies in the envelope in front of us.

MEDIUM SHOT: The five girls looking at their envelopes.

MEDIUM SHOT: MERCY and PRUDENCE.

MERCY We may open them to see where you will be heading when you leave here.

MEDIUM SHOT: The five girls opening their envelopes. They simultaneously start to read. One of the girls (a pretty blonde) erupts with joy. A rotund dull looking girl looks over at her.

GIRL #1 We can't believe it?

GIRL #2 What is it?

GIRL #1 It says we have the qualities to become a vestal virgin.

All the other girls except for Lucy squeal in excitement.

GIRL #2 That is great. That's just what we wished for.

CLOSE UP: ANONYMOUS GIRL #1.

GIRL #1 Where are we going?

GIRL #2 It says we will be depopulated.

GIRL #1 What does that mean?

MEDIUM SHOT: GIRL 1 & 2. GIRL 2 raises her hand.

SHOT: REAR OF GIRLS facing MERCY and PRUDENCE in the distance.

GIRL #2 Mam what does depopulation mean?

MERCY We don't want to ruin the surprise for you.

LONG SHOT: The five girls from front view. The four girls are talking to each other and mumbling, showing their paperwork. The camera pans over to LUCY who is alone in her own thoughts. She is looking down at the paperwork. We zoom in to a CLOSE UP of her face looking over at the Vestal Virgins.

SHOT: ZOOM INTO LUCY'S PAPER where we can read what she had read.

SUPER: "We are to be re-located to Cotton Marble Re-education Facility to determine where we fit in Reich Society."

MEDIUM SHOT: MERCY and PRUDENCE.

MERCY Now that they have told us where we are going, it is our duty to prepare for their arrival.

MEDIUM SHOT: Five girls.

GIRL #1 And when will that be?

MERCY (O.S.) Soon. Very soon.

The four girls squeal in excitement.

GIRL #1 We better go get packed right now.

The four girls get up and run out of the room. All that is left is Lucy.

LONG SHOT: From side of MERCY and PRUDENCE looking down at LUCY.

MERCY Being we have terrorist blood we decided that we could not allow us to live in Reich society until we have learned to think Reicheously.

MARIE BERNADETTE steps into the frame from the left side of the camera. ROSE follows her into the shot.

SHOT: SAME VIEW OPPOSITE SIDE.

MARIE BERNADETTE She's righteous in the eyes of the father.

MERCY But not in the eyes of our mother.

CUT TO:

EXT. BELFRY - LATE EVENING

MEDIUM SHOT: ROSE and MARIE BERNADETTE standing together in the belfry with Pacifica's gates in the background. They are drinking some sort of beverage. They aren't speaking. They are staring at something in the darkness.

LONG SHOT: Reich soldiers marching out of Pacifica and toward St. Agnes.

MEDIUM SHOT: ROSE and MARIE BERNADETTE.

ROSE This isn't the way I envisioned it to end.

MARIE BERNADETTE Out of the darkness came the muffle of their footsteps marching in unison on velvet boots and the chiming of an iron bell.

MEDIUM SHOT: ROSE and MARIE BERNADETTE looking at each other.

CLOSE UP: ROSE ringing the bell.

LONG DISTANCE: Purple Reich soldiers marching toward them.

CUT TO:

INT. SANCTUARY - NIGHT

SHOT: ROSE and MARIE BERNADETTE sitting together knitting. There is a sudden knock at the door.

SHOT: DOOR.

MEDIUM SHOT: ROSE and MARIE BERNADETTE looking at each other. They go back to knitting.

MERCY (O.S.) Are you not going to answer the door?

MEDIUM SHOT: The two nuns look up at MERCY.

CLOSE UP: MERCY staring at them.

MEDIUM SHOT: ROSE and MARIE BERNADETTE turn to look at each other. ROSE puts down her knitting pin and the camera follows her across the floor toward the door.

CLOSE SHOT: ROSE opening the door.

SHOT: CAPTAIN RED standing on opposite side.

CLOSE UP: ROSE.

ROSE May I help you?

MEDIUM SHOT: CAPTAIN RED.

CAPTAIN RED We have come for the girls?

MEDIUM SHOT: Both women. CAPTAIN RED puts her arm up and stops her. CAPTAIN RED pushes her to the side. Two soldiers enter behind CAPTAIN RED.

SHOT: One of their soldiers draw their billy clubs and electrocute ROSE. ROSE falls to the floor.

CLOSE UP: MARIE BERNADETTE'S angry face.

MARIE BERNADETTE She is an old woman. She poses no threat to you.

SHOT: MARIE BERNADETTE rushes over to comfort ROSE but the two soldiers hit her with electrical shocks also.

SHOT: MARIE BERNADETTE and ROSE being dragged outside of the house.

SHOT: MARIE BERNADETTE and ROSE being dropped on the ground outside of the sanctuary. They pull themselves into each other's arms.

SHOT: The five girls are brought out the front door being carried in sheets, being rocked back and forth by four soldiers each. The soldiers are wearing velvet shoes and they turn off the lights with a wand as they pass it. They hum a little lullaby to keep the girls asleep.

The soldiers march off into the darkness as the two Nuns cuddle to each other for support.

FADE TO PURPLE.

INT. LUCY'S COTTON MARBLE BEDROOM - MORNING

SHOT: LUCY awakes suddenly. She is sweating from a bad dream.

CLOSE UP: LUCY'S FACE.

SHOT: POV from LUCY'S view.

MEDIUM SHOT: Front view, LUCY sits up.

MEDIUM SHOT: LUCY looking around. LUCY recognizes everything has changed.

LUCY Where am I?

CLOSE UP: A tag around LUCY'S wrist.

MEDIUM SHOT: LUCY lifting her arm and reading the tag.

CLOSE UP: Information on the tag.

The tag reads "Lucy Tonans. Benefits Number 345343554899739"

LONG SHOT: LUCY reading the tag.

PERSONNEL ASST. #1 (O.S.) Good morning, Consumer.

MEDIUM SHOT: A young man in maroon scrubs standing in her doorway.

PERSONNEL ASST. #1 This is the hour of morning ablutions. Get a move on and start your day on a Reich note.

MEDIUM SHOT: The PA turns and leaves the doorway.

MEDIUM SHOT: LUCY sitting up in bed. She gets up out of bed. She notices that she is in a purple nightgown. She looks around the room trying to find clothes.

LUCY Where are my clothes?

PA #1 (O.S.) Everything you need is in your locker.

SHOT: LUCY looks around then stops. She walks over to a place in the wall and realizes that it opens up and that there are plenty of clothes inside. She stares at the red colored clothes.

LUCY What should I wear, the red or the red.

CUT TO:

INT. BATHROOM - DAY

SHOT: As LUCY brushes her teeth. She looks down at the sink and the image of a face with eyes and a big nose fade in then back out. She then looks up at the mirror. She feels like someone is watching her.

CUT TO:

INT. CONTROL ROOM - DAY

LONG SHOT: Several people watching LUCY on the screen.

MEDIUM SHOT: DR. STEIN, 45, studying the monitor.

DR. STEIN The granddaughter of the great terrorist, Jupiter Corbeau. This should be a fun one to re-educate.

CUT TO:

INT. NEURODOCSCIMENTOR - DAY

MEDIUM SHOT: Backwards tracking shot of LUCY as she follows the young brown haired, twenty something, PA out of her room and down the long hallway. The sound of chants can be heard coming from the direction in which they walk.

LUCY Is this Cottonmarble? My paperwork said I would be going to a school called Cottonmarble.

SHOT: LUCY and the PA enter an opening where people sit in a circle with their legs crossed, their palms upward, and their eyes closed as they chant their mantras.

MEDIUM SHOT: A red headed nurse walking among the circle of meditators encouraging them on.

NURSE TOOMBA Let the words of the mantra flow through us.

SHOT: A lady cackling like a hen. NURSE TOOMBA leans down and then puts her hand on the woman's shoulder.

NURSE TOOMBA We are not animals, Qady.

CLOSE UP: QADY.

QADY Yes, we are not animals and we never question the reicheousness of the Reich.

MEDIUM SHOT: NURSE TOOMBA and QADY.

NURSE TOOMBA Very good, Qady. We will soon be back on the air.

LONG SHOT: NURSE TOOMBA stands up and proceeds around the circle of people.

MEDIUM SHOT: The PA and LUCY watching.

PA #1 That is the Head Nurse here at Cotton Marble, Nurse Toomba.

SHOT: DR. STEIN walks out of his office and walks among the circle of people. He walks up to QRIS.

DR. STEIN We have a new diagnosis, Qris.

LONG SHOT: The circle of people now looking at DR. STEIN.

MEDIUM SHOT: QRIS and DR. STEIN.

DR. STEIN Qris has been diagnosed with a new disorder called Anti-social personality bordering on Anti-Reicheousness.

LONG SHOT: Everyone clapping for QRIS and cheering for him.

MEDIUM SHOT: QADY.

QADY Wow! We would like an anti social disorder.

MEDIUM SHOT: DR. STEIN.

DR. STEIN Give it time, Qady. So Qris, who will we be sharing with tonight? It is our choice.

SHOT: QRIS studies the circle of people.

SHOT: POV of QRIS, long shot circling. It stops on LUCY.

SHOT: QRIS points at LUCY.

QRIS We would like to share with her.

SHOT: Everyone looks over at LUCY.

SHOT: LUCY steps back.

MEDIUM SHOT: NURSE TOOMBA and DR. STEIN.

DR. STEIN That's the new consumer, isn't it?

NURSE TOOMBA Yes, it is.

DR. STEIN We are sorry Qris but that consumer hasn't been programmed yet. We will have to share with another. How about Qady here? She is always a good...

CLOSE UP: QRIS.

QRIS Okay! Even though we already had her several times before.

DR. STEIN We will enjoy her very much.

SHOT: DR. STEIN walks toward LUCY, while NURSE TOOMBA gets the meditations back on track.

NURSE TOOMBA Okay! everyone, get back to our meditations.

MEDIUM SHOT: DR. STEIN, LUCY, and her PA.

DR. STEIN Hello! Dr. Stein at our service. We are happy to have the consumer here at Cotton Marble.

LUCY Why am I here?

DR. STEIN We have to program us to think reicheously or we will not be allowed to join Reich society until we do.

LUCY I would rather go back...

DR. STEIN The use of I and you are two words forbidden by reich. We use the terms We and Us. We like to think ourselves as a part of a greater whole rather than an individual.

SHOT: NURSE TOOMBA stands beside LUCY.

DR. STEIN We think the consumer needs something to help them relax.

SHOT: NURSE TOOMBA pulls out a needle. She sticks it in LUCY'S arm. LUCY screams out.

LUCY Ouch! That hurt.

SHOT: DR. STEIN turns to address the PA.

DR. STEIN How about we wake IVAN?

SHOT: The PA takes off down a long hallway. NURSE TOOMBA heads back to the circle of meditators.

MEDIUM SHOT: LUCY and DR. STEIN.

DR. STEIN Nurse we will be needing some assistance so please end this session early. Follow me Lucy.

SHOT: DR. STEIN and LUCY start walking down the hallways in the opposite direction that LUCY had entered.

MEDIUM SHOT: LUCY and DR. STEIN walking in that direction. The camera rolls dolly backwards as they walk forward.

DR. STEIN What happens here at Cotton Marble Lucy is that we re-educate the feeble minded so the consumer can accept this new way of life. The Purple Reich is an organism and to keep their organism alive we must keep our neurological mechanics in rhythm with Reich society. When we think Reich we are released into society to perform whatever task we are chosen to do. Most of the consumers are wrestling with temporary un-reicheous behaviors that can be easily fixed with a few mantras and sharing. In the consumer's case, we do not think it will be that simple. We have to discover what we are dealing with which is why we are going to begin your road to reicheiousness by introducing you to IVAN.

SHOT: Door opens.

SHOT: LUCY and DR. STEIN staring at IVAN.

SHOT: LUCY looking around.

SHOT: POV of LUCY scanning the room with the brains in jars.

LUCY Why do you put brains in jars.

DR. STEIN It is better than putting humans in jars without their brains. That was a joke. You will get it one day.

CLOSE UP: LUCY'S expression.

MEDIUM SHOT: LUCY and DR. STEIN.

DR. STEIN Those brains have phobias and maladies that we could not remove. So we had to remove the whole brain and give the consumers a new one.

LUCY That is impossible.

DR. STEIN Not in Reich society.

LUCY It is immoral.

DR. STEIN Not under Reich law. Let's go inside.

CUT TO:

INT. IVAN - DAY

SHOT: LUCY walks along the wall looking at the jars of brains. We see in the background DR. STEIN and the PAs getting IVAN ready.

SHOT: DR. STEIN.

DR. STEIN Consumer Tonans, We are ready.

SHOT: LUCY is bent down looking closely into one brain. She reads the name. It reads BEATRICE CORBEAU.

SHOT: LUCY turns around and looks at DR. STEIN.

LUCY Who is Beatrice Corbeau? I wonder if she any relationship to my grandfather?

SHOT: DR. STEIN.

DR. STEIN We never heard the name before?

CLOSE UP: LUCY.

LUCY Me either.

SHOT: DR. STEIN.

DR. STEIN Beatrice Corbeau was the first Auntie Red.

Dr. Stein stares at Lucy for a moment trying to read what she is thinking.

DR. STEIN Auntie Red is a devout follower to our Reich, so I doubt she was kin to your kind.

SHOT: Dr. Stein leans in to look really close at the brain.

DR. STEIN Actually the brain is still functioning properly. There is just no body to put it in.

SHOT: LUCY takes a closer look at the brain.

Dr. Stein walks over to Ivan.

CLOSE UP: DR. STEIN standing next to IVAN.

DR. STEIN Over here Lucy.

CUT TO:

SHOT: LUCY sitting in the seat of IVAN. IVAN looks like a dentist chair with LUCY staring up at the ceiling. Her hands and legs and head are all strapped down. She has sensors all over her head.

SHOT: DR. STEIN standing beside LUCY.

DR. STEIN IVAN is an acronym. It stands for Imagination Verifier, Actualizer, and Nullifier.

SHOT: LUCY.

LUCY What does it do?

SHOT: DR. STEIN flips on a switch and a monitor comes alive.

DR. STEIN It can see your imagination and dreams which are the seeds to unreicheous behavior.

MEDIUM SHOT: LUCY and DR. STEIN.

LUCY What is wrong with having dreams?

DR. STEIN For the Reich to work as an organism we must all work as one. Dreams confuse people and derail them from their true callings.

SHOT: The PA takes LUCY by the arm and leads her to the seat. She is set down in the seat and the PA begins to strap her in.

SHOT: LUCY looks up at DR. STEIN.

LUCY What does the Reich see as the purpose of the people?

CLOSE UP: DR. STEIN.

DR. STEIN To produce goods and services.

LONG SHOT: PAs and nurses getting ready. They check the straps to make sure everything is ready. The PA places earmuffs over LUCY'S ears then muzzles her mouth.

SHOT: DR. STEIN rubs the two metal prongs together.

SHOT: NURSE TOOMBA grabs two electrical pads and rubs them together.

SHOT: DR. STEIN.

DR. STEIN Nurse Toomba give Consumer Tonans a shock and wake up the images sleeping in her head.

SHOT: NURSE TOOMBA rubs the pads together.

SHOT: Pads placed against LUCY'S temples.

SHOT: Pads shocking LUCY.

SHOT: LUCY'S body arches upward in the air, hangs there for a moment then crashes back into IVAN'S seat.

SHOT: DR. STEIN looks at the monitor.

DR. STEIN Do it again.

LONG SHOT: NURSE TOOMBA hits LUCY in the head again. Her body arches high in the sky then crashes against the seat once more. This time when the body crashes back, there is a residual image left arched skyward.

SHOT: DR. STEIN leans over LUCY.

SHOT: Two metal prongs placed under LUCY'S nostrils.

LONG SHOT: DR. STEIN forces the two metal prongs upward into LUCY'S nostrils. LUCY lets off a huge scream.

CLOSE UP: LUCY screaming.

SHOT: DR. STEIN looking at the monitor as he holds the prongs inside LUCY'S nostrils.

DR. STEIN It looks like we have opened up a can of worms.

SHOT: MONTAGE. DR. STEIN fighting with LUCY'S images as he struggles to push the prongs around in her mind. His face was serious as he fought against LUCY'S dreams.

DR. STEIN Another shock, Nurse.

CLOSE UP: Paddles hitting LUCY'S head and LUCY'S face contorted in pain. LUCY scream pushes the muzzle from her mouth.

The PA tries to wrestle the muzzle back on LUCY'S mouth.

SHOT: A tentacle came shooting out of LUCY'S mouth. He swiped the PA off his feet. It then began to swing at NURSE and the other PAs. They all backed away.

SHOT: Tentacle reaches upward and grabs DR. STEIN then tosses him across the room.

SHOT: Everyone crouching under their stations.

SHOT: The tentacle crashed down on the monitor and then started destroying other things.

LONG SHOT: Lightning shooting out of LUCY'S eyeballs and hitting the ceiling.

SHOT: DR. STEIN gets back on his feet.

DR. STEIN Turn that machine off.

One of the PAs rushed forward and got to IVAN and hit the button.

LONG SHOT: Room. All the excitement soon subsided and the tentacle receded back into LUCY'S mouth. Everyone sits still trying to catch their breath unsure what they had just seen.

SHOT: PA #1 struggling for air.

PA What was that, doc?

CLOSE UP: DR. STEIN.

DR. STEIN That was a problem.

FADE OUT.

EXT. ON THE ROAD TO NAPPY'S HOUSE - DAY

LONG SHOT: A hill with gardens of cabbages as far as the eye can see. There are furry bunny rabbits eating the cabbages. There is a sun in the sky and the skies are bluer than LUCY has seen in a long time. There are anthropomorphic instruments sitting around the valley playing a song in unison. The camera pans down and we see a house made from a huge pumpkin.

MEDIUM SHOT: LUCY standing on an opposite hill with the sun in her face. She is smiling.

LUCY Nappy's house.

SHOT: LUCY begins to run.

SHOT: From behind LUCY. LUCY runs down the stone path toward NAPPY'S house.

SHOT: LUCY arrives at the front door of NAPPY'S house.

SHOT: She is about to knock on the door but then she pulls her hand back. She is hesitant.

SHOT: Door opens anyway and NAPPY sees LUCY standing at her front door.

SHOT: NAPPY.

NAPPY Can I help you?

SHOT: LUCY'S face. She has noticed a drastic change in NAPPY.

LUCY Are you Nappy?

NAPPY I am. And who are you?

SHOT: NAPPY tries to close the door. LUCY steps in and blocks the door from being closed. The thunder sounded. NAPPY doesn't resist. She opens the door then peaks at the sky.

SHOT: NAPPY.

NAPPY You better get out of here girl. The Reich is on the way.

SHOT: LUCY looks to the sky where NAPPY is looking.

LUCY What is it?

NAPPY You brought the Reich here. How could you?

SHOT: NAPPY turns back toward the house and heads toward the door.

NAPPY You should have never came here. Get back to where you came from or the Reich will destroy us all.

SHOT: NAPPY slams the door.

SHOT: LUCY standing in front of a door closed in her face. It begins to rain.

SHOT: LUCY turns around and heads back slowly the way she came. She notices that the rabbits are gone. The anthropomorphic orchestra was gone too.

SHOT: LUCY walking against the wind and the pouring rain. The fog begins to thicken until she can't see anything around her. She hears the sounds of familiar voices until the fog ate everything and she is floating in the sky.

SHOT: LUCY floating in the sky. She begins to twirl around and then she begins to fall.

FADE TO:

INT. IVAN REVISITED - DAY

SHOT: LUCY lies below DR. STEIN'S chest who has mounted her to get the prongs deeper into her nostrils. But she notices that the ceiling of the room was filled with white beluga clouds and raining down on them.

SHOT: Lightning shooting out of LUCY'S eyeballs and hitting a brain across the room.

SHOT: Brain crashes against the floor.

SHOT: PA falls due to the liquid that has poured out across the room.

CLOSE UP: LUCY'S face struggling. The muzzle again flies across the room.

SHOT: Muzzle striking the far wall.

SHOT: A huge gray color sucker rises up out of LUCY'S mouth and spins across the room. Everyone jumps out of the way of it.

SHOT: NURSE TOOMBA jumps too late and the color sucker sucks the red from her hair leaving it white as snow.

SHOT: NURSE TOOMBA hitting the floor.

SHOT: DR. STEIN still struggling with the prongs in LUCY'S nose.

SHOT: The tentacle comes out again. It strikes DR. STEIN in the chest and tosses him across the room once more.

SHOT: DR. STEIN struggles to get back; the tentacle hits him again.

SHOT: Tentacle grabs the prongs in LUCY'S nose and then turns them back toward DR. STEIN.

SHOT: DR. STEIN tries to crawl out of the way.

SHOT: Tentacle with prongs aimed at DR. STEIN'S behind.

SHOT: DR. STEIN'S face shocked as the prongs go up his butt.

SHOT: DR. STEIN'S face strained red.

SHOT: DR. STEIN falls to the floor.

DR. STEIN Shut it down.

SHOT: PA reaches up and hits a button then crashes back on the floor.

SHOT: Full room; it takes a second but the room returned to normal and all the images that had come out of LUCY receded back in her.

SHOT: Everyone breathing hard.

SHOT: DR. STEIN'S face pushed against the floor in pain.

SHOT: LUCY laughing.

CUT TO:

INT. CONFESSIONS - DAY

SHOT: Shot from across room. LUCY is sitting at her desk in front of a computer that looks like a religious web site. It is playing music that is relaxing.

SHOT: LUCY touches a button on the screen and a PRIESTESS AVATAR appears before her.

AVATAR PRIESTESS Do we feel like updating our status today?

SHOT: LUCY stares at the priestess avatar for a moment.

LUCY Not today.

CLOSE UP: PRIESTESS AVATAR.

AVATAR PRIESTESS That is not a request, Consumer Lucinda Tonans. Please update our status to let the Reich know how we are feeling today.

SHOT: LUCY looking shocked at the avatar.

LUCY All's well that ends well.

SHOT: The computer screen turns red and the fire starts burning behind the priestess. She turns very angry.

AVATAR PRIESTESS Warning warning. References to forbidden literature is not allowed by the Reich.

SHOT: DR. STEIN entering the room suddenly.

DR. STEIN What did we do?

CLOSE UP: LUCY.

LUCY All I did was update my status.

AVATAR PRIESTESS Second warning. References of first person are not allowed by the Purple Codes.

SHOT: DR. STEIN rushes over to the computer.

DR. STEIN Priestess the Consumer is still being programmed. Forgive us our transgressions.

SHOT: PRIESTESS.

AVATAR PRIESTESS We are forgiven. Would the consumer like to enter a different status?

SHOT: STEIN and LUCY looking at each other.

DR. STEIN Yes we would.

DR. STEIN looks over at LUCY.

DR. STEIN Say something reicheous.

SHOT: LUCY.

LUCY Adapting to our Reicheous lifestyle.

SHOT: DR. STEIN smiles. He pats LUCY on the shoulder.

SHOT: PRIESTESS AVATAR.

AVATAR PRIESTESS Wonderful. Do we have any unreicheous thoughts we need to share?

SHOT: LUCY.

LUCY We are having trouble fitting into Reich society but hopefully we will be able to comply, eventually.

AVATAR PRIESTESS Just remember to do our morning meditations and confessionals on a daily basis and we are sure the consumer will eventually comply with the Reich way of life. The sooner we adjust the sooner we can be released back into society to function for the greater good.

LUCY Is consuming and producing all there is of this world? What lies beyond this?

AVATAR PRIESTESS Only Auntie Red knows what is beyond this. Would we like to say more?

SHOT: LUCY looking deeply into the screen. It eventually fades to black eventually.

CUT TO:

INT. MEETING IN STEIN'S OFFICE - DAY

MOTHER SUPERIOR What do we recommend?

SHOT: DR. STEIN looks around at several people in the room then turns back to MOTHER SUPERIOR.

DR. STEIN We are recommending that the U-tube be used on consumer Lucinda Tonans. The mind of this consumer has been poisoned by the old ways for so long that we are going to have to physically remove them one by one.

MOTHER SUPERIOR Do we believe this is the only method at our disposal to make this consumer comply with Reich life?

DR. STEIN We do, mam.

MOTHER SUPERIOR Then we have our permission. Good day, all.

SHOT: Everyone in the room raises both hands making VEES with both fingers.

EVERYONE Peace and Victory in our time.

SHOT: The screen fades out.

SHOT: DR. STEIN turns back to his staff.

DR. STEIN So what do we think? First thing in the morning?

SHOT: Everyone looks around at each other. They all nod their head in agreement.

CLOSE UP: DR. STEIN.

DR. STEIN Hopefully, this works. If it doesn't we will lose the consumer to Velvet Wood.

CUT TO:

INT. KRAKEN - DAY

SHOT: LUCY is on a ship. The ship is on an angry sea. LUCY is all alone on the ship as the ship is tossed back and forth on the waves. A huge wave crashes over the deck of the ship and LUCY is sent flying across the floor. Suddenly out of nowhere a huge KRAKEN appears with tentacles so large that they crash against the ship's upper deck cracking the ship in half. LUCY slides down into deck of the sinking ship and is sucked in by the water. She tries to swim but the huge monster is too much for her. She can feel her feet tangled up in the KRAKEN'S tentacle. She is struggling for a breath of air.

FADE OUT.

INT. YOUTUBE - DAY

SHOT: LUCY awakes. She is sitting in a chair with her body lying flat on a table. Above her is a huge drill. She is bound by her torso and her arms and legs and ankles. Her forehead is also bound. She can barely move any part of her body. DR. STEIN is making some last minute changes to his computer. He looks down and notices that she is awake.

DR. STEIN Good morning, Consumer. How are we?

SHOT: LUCY moves her eyes from left to right to see what is happening.

SHOT: DR. STEIN smiling down on her.

CLOSE UP: LUCY.

LUCY What's going on?

CLOSE UP: DR. STEIN.

DR. STEIN Lucy, this is the U-Tube. The destroyer of imagination and all anti-reicheous thinking.

LUCY How does it do that?

DR. STEIN The U-Tube penetrates the skull by drilling a hole then it slides into the brain where it can extract the dreams that exist inside of a consumer's head.

DR. STEIN turns to PA.

SHOT: PAs.

DR. STEIN Go ahead and put me a drill in.

SHOT: The two PAs walk off together to get a drill. They take down a huge drill from the wall then bring it back to the arm that is staring down at LUCY.

CLOSE UP: Drill being being put in socket then tightened down.

CLOSE UP: The drill head.

MEDIUM SHOT: LUCY lying on the table staring upward at the drill.

SHOT: After the drill was put in the machine everyone gathered around LUCY.

PA We are ready Doc.

MEDIUM SHOT: DR. STEIN climbing up over LUCY. He sits down on seat which is sitting higher than anyone in the room.

DR. STEIN Glasses, everyone.

LONG TO MEDIUM SHOT: Showing every putting their glasses on.

SHOT: DR. STEIN checking out some last checks.

SHOT: DR. STEIN grabs the handle bars and squeezes them. The drill comes alive and starts spinning at a high rate of speed. The drill head begins to jump up and down in its socket.

CLOSE UP: DR. STEIN.

DR. STEIN Put the gas to us.

SHOT: NURSE TOOMBA takes a mask and puts it over LUCY'S face.

CLOSE UP: Mask LUCY'S face. LUCY breathes in the gas.

SHOT: NURSE TOOMBA turns the faucet on the gas to get more flowing into LUCY.

SHOT: DR. STEIN.

DR. STEIN Time to drill.

CLOSE UP: Drill spinning.

MEDIUM SHOT: DR. STEIN smiling.

SHOT: LUCY'S face.

SHOT: Drill coming within a small distance of LUCY'S forehead.

SHOT: DR. STEIN'S face.

DR. STEIN We may feel a little bite.

SHOT: Drill touches down on LUCY'S skull.

SHOT: LUCY screaming through the mask in pain.

SHOT: DR. STEIN'S face looking determined.

SHOT: LUCY'S face screaming.

SHOT: Drill.

SHOT: NURSE TOOMBA and the PAs looking concerned at each other.

SHOT: Drill bouncing up and down on LUCY'S forehead.

SHOT: DR. STEIN looks up at the monitor for any creatures in sight.

SHOT: LUCY'S screaming.

SHOT: DR. STEIN.

DR. STEIN Breathe in the gas, Consumer. It will give us peace.

SHOT: The drill begins making a high pitched voice and turning red hot.

SHOT: DR. STEIN looking concerned.

MEDIUM SHOT: The U-Tube smoking.

SHOT: The drill turned to liquid and began flying across the room.

SHOT: NURSE and PAs start ducking for cover.

SHOT: DR. STEIN looking very angry. He pulls back the handle bars and lets go. The U-Tube begins to turn off.

NURSE TOOMBA What happened?

DR. STEIN The consumer is just being stubborn.

NURSE TOOMBA That has never happened before.

DR. STEIN No it hasn't but we can fix that. Flip her over.

SHOT: PAs looking at each other.

DR. STEIN Flip her over.

SHOT: The PAs and NURSE quickly flipped LUCY around on her stomach. They then tied her down again as she was.

Lucy fought with them when they tried to flip her over but there was only one of her and six of them and quickly lost her battle.

DR. STEIN That should solve that problem. Now get me another drill and lets get to drilling.

SHOT: Two PAs walk over to get another drill down from the wall.

SHOT: Flathead of the drill.

SHOT: Two PAs look at each other.

SHOT: PA turns and tells DR. STEIN.

PA Doctor, all that is left is a flathead.

SHOT: DR. STEIN thinking.

DR. STEIN Even better. Hurry it up and get it into the chuck.

SHOT: PAs grab the flathead drill tip then put it into the chuck.

SHOT: PA #1.

PA We are ready.

SHOT: DR. STEIN lets down his own glasses.

DR. STEIN Let's crack that skull open and give the client a good brainwashing.

SHOT: Everyone in the room lets down their glasses.

SHOT: Drill tip spinning around getting closer to the back of LUCY'S head.

SHOT: LUCY'S face from underneath.

SHOT: DR. STEIN looking excited.

SHOT: Drill hitting LUCY'S head and throwing a clump of hair across the room.

DR. STEIN That sure took the curl out of her hair.

SHOT: Everyone laughing.

SHOT: The drill bit into LUCY'S skin and then it hit bone. When it hit bone, white chips began to be thrown out of her head like woodchips in a saw. LUCY'S body also begins to shake uncontrollably. SHOT: LUCY'S face. She was fighting against the power of the gas but the gas was winning as her eyelids got heavier and heavier until they completely shut.

DR. STEIN We are almost through to the brain. Get ready to see some crazy stuff.

Just as Dr. Stein says this, out of the back of the hole in LUCY'S skull poured beluga whale clouds, lightning, thunder, and rain.

SHOT: Everyone but DR. STEIN looking up at the ceiling nervously.

DR. STEIN Don't worry about the water, we will be victorious soon.

SHOT: An ocean of water suddenly burst out of the hole in LUCY'S skull and started flooding the room.

SHOT: One of the PAs looking down at the water around his feet. He then looked at everyone else.

NURSE TOOMBA What is happening?

DR. STEIN It is a sign of progress, Nurse. We will have our victory long before we can drown.

LONG SHOT: The water filling the room. Suddenly a huge gray color sucker leaped out of the hole squealing like a pig then throwing itself across the room wildly until it hit the wall and burst into a gooey nothingness.

DR. STEIN How is the consumer, Nurse?

SHOT: NURSE TOOMBA reads the vital signs.

NURSE TOOMBA She is unconscious, Doctor.

CLOSE UP: DR. STEIN smiling.

DR. STEIN VICTORY WILL BE OURS.

FADE TO BLACK.

ACT III

INT/EXT. NOTHINGNESS - DAY/NIGHT

SHOT: A dark hazy place of nothingness. LUCY felt herself floating in air. She could hear DR. STEIN'S voice echoing. She struggled to stay awake but she knew she was losing. She could hear the sound of DR. STEIN'S voice laughing before she faded to black.

FADE TO:

EXT. A STRANGE SORT OF PLACE - DAY/NIGHT

SHOT: LUCY lying on the beach. She is passed out. We see a huge ocean behind her with beluga clouds, lightning, and color suckers all around her. Wind wolves howled off in the distance. One ran up to the shoreline and then whispered loudly.

WIND WOLF Lucy, take us where we need to go.

SHOT: LUCY'S face. It starts to rain. She opens her eyes then sits up and looks around. She did not recognize where she was.

MEDIUM SHOT: LUCY standing up.

CLOSE UP: LUCY.

LUCY Now where am I?

MEDIUM SHOT: LUCY standing. Lightning sizzled the ground near her which was followed by a huge drum of thunder. Then the raindrops started falling down hard all around her. LUCY looked in the distance and saw some trees nearby.

SHOT: TREES.

MEDIUM SHOT: LUCY leaning forward walking through the rain.

SHOT: From owl's house. The owl is watching LUCY. He flies toward her.

SHOT: BHIMBGO flying near LUCY'S head.

BHIMBGO Follow me.

SHOT: LUCY looking up through the rain watching the owl. She saw where it landed. She moved in the direction where BHIMBGO landed.

SHOT: LUCY running to the tree and getting on the ladder then climbing up to BHIMBGO'S front porch.

SHOT: LUCY shaking off the rain.

SHOT: BHIMBGO looking at her.

SHOT: LUCY.

LUCY Thanks.

BHIMBGO Terrible time to be walking in the rain.

LUCY I wasn't walking.

BHIMBGO When human beings get on their hind legs and move about we call it walking in this world.

LUCY I mean to say—oh nevermind.

BHIMBGO Where were you heading?

LUCY Nowhere, I guess.

BHIMBGO If that is the case I have a better plan. You will never make it there down that road. Lets go inside and I will show you how to get there.

SHOT: BHIMBGO and LUCY head in the cottage.

CUT TO:

SHOT: Door of the cottage opens to the sound of lightning and thunder. LUCY and BHIMBGO hurry into the cottage.

SHOT: LUCY looking around the cottage.

LUCY What a lovely tree house.

SHOT: BHIMBGO is pulling a rug from the floor.

BHIMBGO Its drafty and cold and the fireplace is impossible to clean.

SHOT: LUCY. Shot from across the room.

LUCY It is so clean.

SHOT: BHIMBGO has removed the rug and now is lifting a secret door.

BHIMBGO Today is my liberation day. Get in here.

SHOT: LUCY looks over at BHIMBGO'S hole in the floor.

LUCY What do you mean that it is your liberation day?

SHOT: The house starts to shutter.

BHIMBGO I dont have time to explain it to you. The storm is here to liberate me. Now go.

SHOT: LUCY leans over and peaks into the hole even as the roof of the house begins to be taken off.

LUCY Where does it go?

SHOT: BHIMBGO is eyeing the ceiling.

BHIMBGO It will take you Nowhere. Now get in.

SHOT: BHIMBGO reaches up and grabs LUCY'S wrist and tries to jerk her in. LUCY fights back.

LONG SHOT: The roof being taken off by the storm. LUCY looks up and sees that she is looking into the mouth of a color sucker.

SHOT: Shot of color sucker's huge mouth.

SHOT: BHIMBGO being sucked up by the storm even as he holds LUCY'S wrist. He lets go.

SHOT: LUCY jumps into the shelter. The door closes behind her.

CUT TO:

INT. THE CAVE - DAY/NIGHT

SHOT: LUCY crouching down in the cave. The door above her shuttered for a moment but then it grew still. Once everything was quiet LUCY tried to reach up and open it up but she discovered that the door was gone and there was nothing but a fleshy feel to it.

SHOT: LUCY begins to notice all around her the cave she was in had a blubbery feel to it.

SHOT: CU LUCY'S face suddenly has a shaft of light cut across it.

SHOT: LUCY turns toward the shaft of light. She walks unsteadily over to the hole. She could feel the cave moving beneath her feet which made her feel unsteady.

LUCY What new strangeness is this?

SHOT: LUCY stumbled to the hole. She dropped to her knees.

CLOSE UP: LUCY peaks her head out the hole.

SHOT: From perspective of LUCY'S head sticking out of the hole. LUCY looked around.

SHOT: From the perspective of LUCY. She sees beluga clouds everywhere.

LUCY I am in the clouds. How did that happen?

SHOT: Town below.

SHOT: LUCY looking at the town below.

LUCY What village is that?

Lucy leans out of the bottom of the hole trying to get a better look.

SHOT: From inside of the whale. LUCY leans further out. Suddenly the whale blew water out his orifice sending LUCY flying out of it.

SHOT: LUCY falling through the air.

CUT TO:

SHOT: RENARD THE FOX who specialized in brainwashing is calling out for customers.

RENARD Brainwashings. Get your brain washed here. Brainwashings— We can shine it up for you or—

SHOT: A huge splash of water soaked RENARD.

RENARD What the—

SHOT: RENARD turns to look at the water hole.

SHOT: LUCY sitting in the water hole.

SHOT: RENARD trying to wipe the water off of him.

RENARD You got me wet and you got my newly washed brains all dirty again.

MEDIUM SHOT: Looking down at LUCY in her muddy waterhole.

LUCY I didn't plan to get you wet. It just happened.

SHOT: LUCY climbs to her feet.

SHOT: RENARD.

RENARD Where did you come from?

SHOT: LUCY climbs out of the hole.

LUCY Thanks for helping me out of the hole and I don't know.

RENARD You are welcome and how can you not know where you came from?

LONG SHOT: A bug lady pulling a tea cart behind her arrives beside RENARD.

POPPY It looks like a late arrival.

RENARD Yeah! She sure knows how to make a big splashy entrance.

LUCY Can you tell me where I am and then I will get out of your fur? Or in your case, Chitin.

POPPY This is Saturnalia. Where are you trying to get to.

LUCY Nowhere?

Poppy and Renard both look at each other and smile.

POPPY You must be on your way to see Violet the Water Witch?

LUCY I hadn't planned to visit any witches today.

POPPY Then why visit Nowhere. You should just stay here and wait for the Purple Storm to liberate this place.

LUCY What do you mean?

POPPY Here have a cup of liberation tea and then we will explain.

SHOT: POPPY hands LUCY a cup of tea.

POPPY Have a sip and it will come clear to you.

SHOT: LUCY takes a sip of her tea.

LUCY Delicious.

POPPY You see Lucy. The Purple Storm comes to liberate all in this world to make room for other thoughts to grow. We can't exist together.

SHOT: LUCY takes another sip.

LUCY So you just allow your existence to be erased?

SHOT: POPPY and RENARD staring at each other.

POPPY Yes. That is the point.

RENARD But me and Poppy, we aren't staying here to be liberated in this town. We got other brains to wash and teas to serve.

POPPY We will be moving on to Nowhere to visit the Water Witch.

RENARD Which is where Holy Liberation will take place.

POPPY Where the two of us will be liberated.

RENARD By Violet herself.

LUCY What does Violet look like?

POPPY She is a huge water shaped octopus.

CLOSE UP: LUCY'S eyes which light up.

LUCY An octopus? With tentacles and all?

RENARD Of course. What other kind of octopus is there?

LUCY I need to see her as well. Can you take me with you?

POPPY Why?

LUCY She can help me get back to where I came from?

POPPY What do you mean to your world?

LUCY I think this is a world that I made up. I am trying to get back to reality.

CLOSE UP: POPPY'S big huge red eyes spinning thoughtfully.

POPPY Reality. You came from reality?

LUCY Yes.

POPPY Then you should not be here at all because this place is about to cease to exist with the rest of this world.

SHOT: RENARD and POPPY look at each other.

RENARD We can't take her on the crystal ship.

POPPY Then there is only one way for her to get to Nowhere.

RENARD We got to give it a try even though there is a good chance she will not make it through the storm.

POPPY She is from reality. She can make it. She just has to believe she can.

RENARD But you just gave her...

POPPY Liberation tea. Which means she will not have the will...

RENARD To fight the storm.

POPPY She will just have to go with the flow.

SHOT: POPPY grabs LUCY by the hand and leads her off while pulling her tea cart.

SHOT: RENARD starts putting his things together to leave.

CLOSE UP: RENARD looking up at the clouds. In the distance we see LUCY and POPPY fading into the gray.

CUT TO:

SHOT: It is raining. The top of the walls are empty. In the distance a door opens. POPPY comes out of the door dragging LUCY with her. LUCY'S body has gone practically limp. Behind them is RENARD. They get within a few feet of the camera and stop. POPPY leans LUCY'S limp body over the wall.

SHOT: RENARD and POPPY looking out on the ocean.

RENARD It is going to be a rough trip.

LONG SHOT: From up high of the ocean surrounding Saturnalia. There are color suckers surrounding the city as well as thunder and lightning. The wolf winds still remain in the distance driving the storm ahead.

SHOT: POPPY grabs a raft that is leaning against the wall. She tosses it over the wall and into the ocean. She then grabs LUCY and shoves her on to the raft.

POPPY Lucy, just rest and everything will be okay.

CLOSE UP: LUCY laying on the raft.

SHOT: POPPY then let go of the rope and shoved the raft out into the ocean.

SHOT: POPPY and RENARD watching the raft float away.

SHOT: LONG SHOT of LUCY floating away.

SHOT: POPPY and RENARD head off toward their ship.

CUT TO:

EXT. THE RAFT - DAY/NIGHT

FADE OUT.

EXT. SHORES OF NOWHERE - DAY/NIGHT

SHOT: LUCY'S raft sitting on a shore with LUCY still asleep on it.

SHOT: CLOSE UP of LUCY'S face. Her eyes open.

SHOT: LUCY sits up. She looks around. She stands up and gets off the ship.

SHOT: A trail running from LUCY'S feet into the green pastures. LUCY then looked over and saw a sign that read "WELCOME TO KALA-ALDA!"

LUCY Charlie's place.

SHOT: LUCY took off running down the path.

CUT TO:

SHOT: A clown prances around in front of a crowd of people. He is the king of the kingdom of Kala Alda. His subjects stood stoic looking as they watched their king.

SHOT: CROWD.

SHOT: CHARLIE. He takes a sip of his tea.

CHARLIE Shouldn't they have gotten here yet?

SHOT: POPPY.

POPPY You can't hurry things, Charlie. All in due time.

SHOT: CHARLIE turns and looks at his castle.

SHOT: CASTLE burning.

SHOT: CHARLIE.

CHARLIE We burned our castle down for them.

POPPY You didn't have to.

SHOT: CHARLIE throws himself into his seat. There was suddenly the sound of thunder. CHARLIE sits up in his seat excitedly.

SHOT: People began cheering and applauding.

SHOT: POPPY.

POPPY I told you they would eventually arrive.

SHOT: CHARLIE jumped up out of his seat and started to dance. Everyone else started dancing too as the raindrops began to fall.

SHOT: LUCY walks up on the festivities.

SHOT: RENARD.

RENARD Brainwashing. Get your brainwashed here. For a low, low price of $19.95. I got all the scents you need. Democrat. Republican. Socialist. Communist. Monarchy. We even have anarchy with a little taste of dictatorship.

SHOT: RENARD sees LUCY walking up.

SHOT: LUCY sees RENARD and makes her way to him.

RENARD I see you made it to Nowhere.

LUCY How I got here I will never know.

RENARD You are just in time to see Kala-Alda and all the Kala-Aldians liberated.

SHOT: LUCY points at the burning castle.

LUCY I take it everyone knows the castle is on fire.

RENARD Charlie gets a little over excited at times.

LUCY Who is the clown dancing on the stage?

RENARD That's Charlie.

LUCY Oh! He has changed a lot since I seen him last.

SHOT: As CHARLIE swings around he sees LUCY.

SHOT: Behind CHARLIE. Medium shot. He walks over to where LUCY stands.

CHARLIE It's the Queen.

SHOT: There is rumbling amongst the crowd. People begin to look at LUCY.

SHOT: LUCY looks around very uncomfortable.

SHOT: CHARLIE kneels down then offers out his hand.

CHARLIE I welcome you back to Nowhere.

LUCY You are mad as you always were.

SHOT: CHARLIE stands up and begins to dance around again.

CHARLIE Of course. You never wanted it to be any other way. But they say madness is the new normal.

SHOT: CHARLIE laughs and dances.

Lightning strikes nearby. Thunder roars. Charlie quits dancing.

SHOT: CHARLIE talking to LUCY.

CHARLIE Don't we love the rain?

LUCY I have grown tired of it.

CHARLIE Has she had her liberation tea, yet?

POPPY She is on the way to see the water witch.

CHARLIE You are going to see the water witch? You must come with us then. We are heading to see the water witch.

SHOT: A pumpkin shaped cabriolet comes up being pulled by a white horse.

CHARLIE I see my ride is ready.

SHOT: The wind begins to blow hard and the rain starts pouring down.

SHOT: The people in the crowd begins to run away.

SHOT: A lightning bolt strikes beside CHARLIE which makes him dance to the side with anxiety.

CHARLIE Oh! I think we should go.

SHOT: CHARLIE jumps up on his pumpkin cabriolet. POPPY joins him. RENARD gathers his things and gets aboard too.

POPPY It is time to go, Lucy.

Lucy gets on board too.

SHOT: CHARLIE holds the reins in his hands.

CHARLIE Let's get out of here.

CUT TO:

SHOT: CHARLIE gives a signal to the white horse to go and they set off.

EXT. THE GREAT DEBATE - DAY/NIGHT

SHOT: The cabriolet had stopped. CHARLIE was looking ahead of him.

MEDIUM SHOT: Everyone in the cabriolet.

Everyone is looking ahead at something while LUCY is looking around at their alarmed expressions.

LUCY Is something wrong?

POPPY A great depression has opened up.

LUCY Let's go around it.

CHARLIE No! It is too large. We will never make it to the love train in time to catch it.

RENARD We will have to go through it.

LUCY Let's get going then.

POPPY Lucy. It isn't that simple. Maybe in your world a depression isn't anything but in this world it can be something you can never get out of.

RENARD And this one is big.

POPPY But we haven't got time to think about it either so I say let's get going.

CHARLIE You are right Poppy. Let's get going. Everyone hang on to your thoughts.

SHOT: The cabriolet pulls off again. The shot is flatland but then the cabriolet suddenly descends into a void in the land the camera cannot see.

CUT TO:

EXT. DEEP IN THE DEPRESSION - DAY/NIGHT

SHOT: The cabriolet rides across a graveyard. On the top of each grave sleeps a stone baby. Every so often a baby will turn over and whine for a moment. When this happened, CHARLIE would stop the cabriolet.

SHOT: LUCY. She opens her mouth to say something but POPPY puts her finger over her own mouth silencing LUCY.

POPPY Just whisper.

LUCY Why are there so many dead babies?

POPPY Those aren't babies. They are phobias.

SHOT: LUCY looking at the image of each baby and realizes that they are all unique. One has its hand over its eyes. One has its hands over its ears. One has horns and etc.

SHOT: The cabriolet moves on through the thick fog. Until it stops. CHARLIE slumps in his seat.

SHOT: POPPY grabs the reins. She gives them a shake and the white horse moves on with its head hung low.

SHOT: CHARLIE begins to cry. RENARD begins to cry. LUCY begins to cry. POPPY begins to cry.

POPPY I hope we find the other side soon or we aren't going to make it.

CLOSE UP: RENARD.

Renard is acting like he is ready to give up.

RENARD I think I will get off now.

SHOT: RENARD goes to get off but LUCY catches him. She cradles him in her arms.

LUCY You can't give up now. I still need a good brainwashing.

RENARD Yes. You are quite right. I will stay. Maybe.

CLOSE UP: CHARLIE.

CHARLIE What's the point? It is all the same thing. We all end up oppressed by something in the end. There is no freedom.

LUCY But it feels so much better when you really believe in the lies.

POPPY She is right. Lucy we couldn't do this without you.

LONG SHOT: The cabriolet starting to go up a hill.

POPPY I can feel us rising out of the depression.

LONG SHOT: Of a flatland and the cabriolet rising up out of an unseen cut in the land.

CHARLIE We made it.

SHOT: Everyone cheers.

POPPY Look down there.

LONG SHOT: Slumberville.

POPPY That is Slumberville, Lucy. That is where we have to get to.

SHOT: CHARLIE points.

SHOT: Pink smoke.

CHARLIE You see that pink smoke Lucy.

SHOT: LUCY.

CHARLIE (O.S.) That's the love train.

RENARD Let's get going before we miss it.

SHOT: CHARLIE gives the reins a yank and the horse sets off down the long steep hill.

CUT TO:

EXT. SLUMBERVILLE TRAIN STATION - DAY/NIGHT

SHOT: The pumpkin cabriolet came riding into Slumberville.

SHOT: CHARLIE pulls back the reign.

CHARLIE Whoa!

(to look at everyone on the cabriolet) Welcome to Slumberville.

MEDIUM SHOT: Everyone getting up and getting off.

SHOT: CHARLIE puts his hand out and blocks LUCY from getting off.

CHARLIE Wait one my queen.

SHOT: CHARLIE stands up and announces.

CHARLIE The Queen has arrived. Now pay your respects.

SHOT: The few people walking around didn't even bother to listen but kept walking.

MEDIUM SHOT: LUCY and CHARLIE.

LUCY Please stop doing that.

SHOT: LUCY jumps off the cabriolet and follows RENARD and POPPY.

SHOT: CHARLIE jumps down. We follow him around to the front of the cabriolet to the white horse.

SHOT: CHARLIE puts his head on the horse's face.

CHARLIE Snort, you have been a good horse. I am going to have to let you go now.

SHOT: CHARLIE unhitches SNORT from the cabriolet then pulls him away with the golden bridle.

CHARLIE It is your liberation day.

Charlie takes off the golden bridle and watches as Snort runs away back toward the storm.

CUT TO:

SHOT: POPPY walks up to the train station attendant. The attendant is a little pink pig.

POPPY Four tickets to Nod.

SHOT: The attendant gives her four tickets.

SHOT: LUCY, RENARD, and CHARLIE are standing around. POPPY walks up.

SHOT: POPPY holds up four little tickets.

SHOT: TRAIN CONDUCTOR. Old white man.

TRAIN CONDUCTOR All aboard.

SHOT: The group turns to look at him.

POPPY Here is your ticket

(to Charlie) and yours and yours . Put them under your tongue.

LONG SHOT: Them all putting them under their tongues.

SHOT: LUCY doesn't know what is happening.

CHARLIE Go ahead your Highness. Put it under your tongue.

LUCY Why?

RENARD It will bring out the intensity of the trip.

LUCY I don't understand.

POPPY We can't explain it. Just put the ticket under your tongue so we can get on the train.

SHOT: LUCY puts the ticket into her mouth.

TRAIN CONDUCTOR Last call for Nod.

SHOT: POPPY, CHARLIE, RENARD, and turn toward the conductor to get on the train. They walk over to the conductor.

LONG SHOT: Each one of them showing the conductor their ticket. They proceed to board the train.

MEDIUM SHOT: LUCY and TRAIN CONDUCTOR.

TRAIN CONDUCTOR Open your mouth and stick out your tongue.

SHOT: With LUCY'S mouth open and the TRAIN CONDUCTOR examining it.

TRAIN CONDUCTOR Very good. You should have a very good trip.

LUCY I have been on trips before. There is not particularly great about them.

TRAIN CONDUCTOR You will find out soon you never been on a trip on the love train. Remember that you guide the trip, don't let the trip guide you.

SHOT: LUCY looks back at the sky. It turns a real purple color and the thunder was sort of delicate.

LUCY The storm has gotten here early.

SHOT: The skies open up and the rain starts falling again.

LUCY Why are you following me?

A voice from the sky speaks.

VOICE We aren't following you, you are leading us.

SHOT: LUCY turns from the voice in the sky and gets aboard the train.

CUT TO:

INT. THE LOVE TRAIN - DAY/NIGHT

SHOT: LUCY enters the train door. She stops and looks around.

SHOT: The interior of the love train.

SHOT: CHARLIE was stretched out on one couch.

SHOT: POPPY was setting up her tea set.

SHOT: RENARD had set his things down and now was warming himself by the burning pink coals.

SHOT: LUCY walks over to the coal oven and looks in.

LUCY Why are the coals shaped like hearts?

RENARD The love train runs on love.

CHARLIE Have a seat my highness. We are about to take off.

SHOT: LUCY walks back over to the opposite couch and falls onto it.

LUCY These couches are so soft.

SHOT: LUCY looks up at the ceiling.

SHOT: The ceiling is alive with some sort of wild Dali like art.

LUCY Wow that is so cool.

SHOT: POPPY stares up at the ceiling too.

POPPY It is wonderful.

SHOT: LUCY'S face.

SHOT: Ceiling comes alive with movement.

SHOT: The train engine leaps for a moment.

SHOT: Outside. The engine takes off by skating. Slowly at first but soon it was sliding across the grass as if it were glass. They skated out of the screen.

CUT TO:

INT. THE COLOR SUCKER - DAY/NIGHT

SHOT: LUCY lays back on the couch and watches the starry art above her come alive. It spins around for a moment.

SHOT: LUCY looks down at her hands. They look like pillows. She looks over at POPPY and RENARD.

SHOT: POPPY was cooking her tea while RENARD polished up a brain.

SHOT: Looks over at RENARD. He holds out a brain.

RENARD This is your brain.

SHOT: RENARD puts the brain back and pulls out another brain made of crystal.

RENARD This is your brain on drugs.

SHOT: LUCY looking lost.

SHOT: POPPY and RENARD laughing.

SHOT: LUCY looks over at CHARLIE.

SHOT: CHARLIE crying.

CHARLIE I can't feel my teeth. Did I lose my teeth.

SHOT: LUCY turns to look out the circular window of the train. She stared at the wasteland being stripped of any color it had but the color suckers. Beside the train a color sucker runs along with it. The color sucker moves its mouth but LUCY can't make out what it is saying.

LUCY What?

COLOR SUCKER (is like sucking air) You are going to love it when you see the truth.

SHOT: POPPY taps her shoulder. LUCY turns around to look at POPPY.

SHOT: POPPY holding the tea.

POPPY Take a sip of this. Will even you out.

CLOSE UP: Cup in hand of POPPY.

CLOSE UP: LUCY'S eyes looking down on the cup.

CLOSE UP: LUCY'S hands taking the cup.

CLOSE UP: LUCY taking a sip of the tea.

CLOSE UP: LUCY smiling up at POPPY.

CLOSE UP: POPPY looking down on LUCY.

POPPY Enjoy.

Poppy walks away.

SHOT: LUCY leaned her head back against the glass window and sipped her tea as she watched the scene outside of her window evolving from one point to another.

CUT TO:

INT. JOURNEY'S END - DAY/NIGHT

SHOT: Blackness.

POPPY Lucy, get up. We are here.

SHOT: LUCY opens her eyes and she sees POPPY'S red eyes staring down at her.

LUCY Where are we?

POPPY Nod. The end of our journey.

CUT TO:

EXT. NOD - DAY/NIGHT

SHOT: RENARD, POPPY, CHARLIE, and LUCY all file off the train.

SHOT: Front side of them getting off the love train.

SHOT: They all stand beside each other. They hear a song playing loud over the sky.

SHOT: CHARLIE.

CHARLIE It looks like we made it just in time.

SHOT: Lightning strikes and thunder.

SHOT: Color suckers circling the city.

SHOT: The beluga whales.

SHOT: Wolf winds.

SHOT: The crowd of people dancing wildly and singing. They are singing "Aquarius: Fifth Dimension."

SHOT: POPPY.

POPPY Oh My! I got to get to brewing my liberation tea.

SHOT: RENARD.

RENARD And I need to wash some brains.

SHOT: POPPY and RENARD hurried off into the crowd.

SHOT: LUCY and CHARLIE stood there together.

LUCY What now?

CHARLIE This is the end of the line. There is nowhere else to go.

LUCY How do I get back to where I was?

CHARLIE You can go back anytime you want to. Nothing is stopping you.

LUCY I am not understanding you.

CHARLIE If you didn't want to be here you wouldn't be here. You aren't running from anything. You are running to something.

LUCY As always, Charlie. Everything you say is just mad.

CHARLIE Mad you say. Not as mad as you think I am.

SHOT: CHARLIE and LUCY stare at the dancing crowd.

CHARLIE It is time to join the crowd, Lucy. Let's go.

SHOT: LUCY and CHARLIE walk down from the platform and join the rest of the people dancing and singing.

SHOT: Close shot of LUCY being covered in kisses and loved on by the creatures in her head.

SHOT: CHARLIE reaches back and pulls her back to his side.

CHARLIE You see those statues over there.

SHOT: LUCY turned.

SHOT: STATUES.

SHOT: CHARLIE.

CHARLIE They are the professors who discovered the four primary emotions. Melancholia, Anger, Happiness, and Love.

SHOT: LUCY and CHARLIE walking through the people.

LUCY How do you discover emotions?

CHARLIE By observing. Dr. Love's theories were refuted for years but then they discovered they made a good energy source and so academia came to accept them as factual.

LUCY There are many more emotions than that.

CHARLIE Yes there is.

A lightning strike hit nearby. The rain started to pour a little harder and the winds picked up. Everyone got excited.

SHOT: LUCY and CHARLIE stop to look in the sky.

CHARLIE Liberation is near.

LUCY What is liberation?

SHOT: They begin walking again.

LUCY What comes after you go?

CHARLIE It used to be maturity. But with the Reich in power, I am not sure.

SHOT: LUCY looks shocked at CHARLIE.

LUCY How do you know about the Reich.

CHARLIE Everyone knows about the Reich. They are the ones that planted that statue.

SHOT: Statue with monkeys in a line.

CHARLIE You see what it says.

SHOT: LUCY walks over to the statue and reads it.

LUCY Monachus animaverto Monachus Operaro.

SHOT: LUCY turns and looks at CHARLIE.

LUCY What does it mean?

CHARLIE It means, do as I do!

SHOT: LUCY and CHARLIE come out of the sea of people. LUCY pauses and looks upward at a huge watery castle.

SHOT: Watery castle.

LUCY What is that?

CHARLIE That is Violet's palace.

LUCY So that is where she lives.

SHOT: The palace doors swing open and a huge watery octopus steps out. She circled the lake as people begin to push forward and some even fell into the water.

SHOT: VIOLET.

VIOLET Our liberation is near. Drink up children.

SHOT: Crowds cheering as they drink their liberation tea. The music turned to a loud hypnotic boom with many electronics.

SHOT: VIOLET lifts her arms as if in prayer.

VIOLET Come my children. Our time has arrived.

SHOT: The sky lights up with many bolts of lightning. Everything begins to push toward the lake.

SHOT: CHARLIE.

CHARLIE This is it Lucy. The end is near.

SHOT: VIOLET grabbed several things with her arms including a bolt of lightning. Her body turned a purplish color as the lightning struggled in her grip. It cried like a captured pig. One after the other she slammed each thing she held into the lake until their bodies stopped struggling and wilted and then dissipated. When the lightning bolt hit the lake, the lake also turned a bright color lavender until the light died and the lightning bolt stopped struggling.

SHOT: LUCY looked around her and saw no way out of her predicament. She was surrounded by people rushing into the lake, and a huge black ocean of nothingness that lapped around the gathering.

CHARLIE She is calling for me. I have to go.

SHOT: CHARLIE doesn't stay but runs toward the lake. As he enters the lake, VIOLET grabs him by one of her tentacles and then lifts him up and slams him into the lake. He then struggles and dissipates.

SHOT: LUCY drops to her knees and then cries out.

LUCY (cries out)

SHOT: LUCY drops her head in defeat.

LONG SHOT: People pushing past LUCY on her knees with her head sunk. Slowly the crowd got smaller and smaller.

SHOT: RENARD runs up to LUCY.

RENARD Lucy.

SHOT: LUCY looks up at RENARD.

RENARD I am leaving now.

SHOT: A tentacle is seen coming up from behind RENARD. It grabs him and picks him up and then smashes him into the lake.

LUCY I will never forget you.

SHOT: VIOLET leans down to face LUCY even as behind her she continues to pull people and things into the lake.

VIOLET If you don't forget then they can't be at peace.

SHOT: LUCY gets back up on her feet.

LUCY You know me?

VIOLET Of course we know you. Everything we are you are. This storm is driven by the Reich as they try to take over your mind.

VIOLET I am not sure there is any other option, Lucy. Unless you choose to liberate.

LUCY What do you mean I liberate?

VIOLET You cease to be. You go into a sleep and never wake up.

LUCY I will be dead.

VIOLET That is your only choice.

SHOT: LUCY hangs her head. She looks around her and sees everything that she is now dying. The world is becoming a dark purple of nothingness around her.

SHOT: LUCY is looking at the drill.

LUCY They have won.

VIOLET They were always going to win, Lucy. I haven't much time myself.

SHOT: LUCY. POPPY walks up in the background. She is holding a cup of tea.

POPPY Drink up, Lucy. It is time you go home.

SHOT: LUCY stares at the tea. She looks up at POPPY and VIOLET.

LUCY I don't want to lose everyone else. I have lost everything and everyone.

POPPY Don't lose yourself. Drink the tea and wake up.

SHOT: LUCY. LUCY takes the tea. She goes to take a sip but then she hesitates.

SHOT: The drill gets closer and closer to VIOLET'S head. It starts glowing red.

LUCY Violet can you reach out into my world one more time and give me a chance to escape.

POPPY Then what?

LUCY Maybe I can make it outside the wall. I will just keep running.

SHOT: The drill starts to melt. We hear a deep shout of anger thundering across the sky.

LUCY I am not going to lose everyone.

POPPY I guess we are going to continue to exist in you.

LUCY Like two kernels of unreicheous thoughts.

SHOT: LUCY smiles. She then drinks the tea.

SHOT: The world begins to swirl around as LUCY is drawn away from VIOLET and POPPY and the lake.

FADE TO:

ACT IV

INT. UNDER THE YOUTUBE - DAY/NIGHT

LONG SHOT: DR. STEIN banging the machine from frustration. The water is up to everyone's waist. LUCY'S face is under the water but she is breathing from the mask on her face.

SHOT: DR. STEIN'S frustrated face.

SHOT: NURSE TOOMBA and the PAs look at each other.

LONG SHOT: VIOLET rises up out of LUCY'S head and starts swinging her tentacles.

SHOT: LUCY'S eyes open. She reaches down and feels her hands and arms free. She rises up from the table and turns to see people being thrown about. VIOLET'S tentacles are still hanging off the back of her head.

SHOT: Everyone is fighting with VIOLET'S tentacles.

SHOT: LUCY jumps down off the table and wades into the water toward the door.

SHOT: Other side of door. LUCY opens the door and water comes pouring out into the hallway scaring away everyone near it. LUCY is swept off her feet and pours out into the hallway. VIOLET recedes back into her head.

SHOT: LUCY gets to her feet and runs to the nearest chair and picks it up and starts slamming it against the glass window.

SHOT: QADY walks up next to her.

QADY The glass is unbreakable.

SHOT: LUCY slams the chair even harder and then suddenly the glass breaks.

LONG SHOT: LUCY running across the lawn of Cotton Marble and scaling the fence. In the background we see the high pyramid that looms over Pacifica.

CUT TO:

EXT. STREETS OF PACIFICA - DAY/NIGHT

SHOT: LUCY runs through the streets, darting behind buildings and such. She runs toward the wall. She stands next to wall looking up desperately seeking a way out. Lights scanned where she stood.

SHOT: Drainage hole.

SHOT: LUCY looks down at the drainage hole. She kneels down and realizes that she can crawl down into it.

SHOT: LUCY running through the drainage hole to the sound of sirens.

SHOT: LUCY runs out at the end of the drainage hole and comes out at a place in the wildlands that is an ocean of human pollution.

SHOT: LUCY looks around until she finds a forest nearby which she runs to.

CUT TO:

EXT. THE RUINS OF ST. AGNES - DAY/NIGHT

SHOT: LUCY stands amongst the ruins of St. Agnes. There is little left but the belfry and a bombed out sanctuary.

CLOSE UP: LUCY'S face.

LUCY Rose Marie Bernadette.

SHOT: LUCY waited for a call but no calls came back.

SHOT: LUCY wanders around in the ruins of St. Agnes.

SHOT: Comes out of the ruins and sits down on a rock. She can hear the bell rock back and forth in the wind making it give off a soft ring.

SHOT: LUCY turns to see where the bomb lands.

SHOT: LUCY hitting the ground covering her face in the dirt. In the background the belfry blowing up into a thousand pieces.

SHOT: Bell in the air.

SHOT: Bell crashing against the ground as the tongue rattles its last sounds.

SHOT: LUCY rises up to find herself surrounded by Reich soldiers.

LONG SHOT: Pull back as LUCY is beaten by the Reich soldiers.

FADE TO BLACK.

INT. VELVETWOOD - DAY/NIGHT

FADE IN

SHOT: LUCY hangs from the ceiling in mid-air. She is naked. The room is dark, stony, and cold. Her arms and legs were stretched out resembling Da Vinci's Vitruvian Man.

SHOT: Around them is a circle of Vestal Virgins chanting reicheous chants.

SHOT: A big red headed virgin, PRUDENCE, held a whip in her hand. She swung it and the whip hit LUCY'S back.

SHOT: Whip hitting back.

SHOT: LUCY arches back in pain and screams. LUCY head then falls back with her chin against her chest.

SHOT: PRUDENCE'S face.

PRUDENCE Who is the sun, the moon, the light, and the darkness?

SHOT: LUCY opens her eyes. She is weak looking.

SHOT: Out of the darkness another virgin walked. It is MERCY. She stands underneath LUCY.

MERCY Welcome to Velvet Wood, Lucy.

SHOT: LUCY'S eyes scanned to where MERCY stood beside PRUDENCE.

LUCY Why did you bring me here?

MERCY The consensus was to have the consumer depopulated but we argued for our preservation.

LUCY Why didn't you just let them kill me?

MERCY Because we think we could become more Reicheous under the right circumstances. Plus, the consumer was born on Perihelion day which is an important day in this world.

SHOT: PRUDENCE pulls back the whip and whips LUCY once more.

SHOT: MERCY turns around and eats a grape from a nearby plate.

MERCY We could have avoided all this, if we would have just tried a little harder at complying with Reich law.

MARIE BERNADETTE Lucy, give in.

SHOT: MERCY'S eyes turn menacing as she scans into the darkness where two women lay cuddling in a cage.

MERCY (crescendos to louder tone) No whore of Christ has the right to speak at this time.

SHOT: LUCY raises her head trying to see who is speaking.

LUCY Who is that?

SHOT: MERCY turns around quickly.

MERCY We don't recognize the voice?

SHOT: MERCY turns to one of the guards.

MERCY Put some light on the cage.

SHOT: SOLDIER flips a switch.

SHOT: A light comes on over the cage. Inside it is two women with pale colored skin.

SHOT: LUCY eyes stare at the cage of the two naked women. They were toothless and hairless, bruises all over their bodies, half starved, and only half alive.

LUCY Marie Bernadette? Is that you?

MARIE BERNADETTE It is I, Lucy. I am here with you. God is with us.

LUCY Where is Rose?

SHOT: The other lady raises her head.

ROSE I am here, Lucy.

SHOT: LUCY opens her mouth and gasps as she stares at the ghostly white woman.

MARIE BERNADETTE They gave her a new skin because they said she was too black.

MERCY Too black or too pale is against Reich law. We gave Rose a new skin to be proud of but she never got to wear it in public.

LUCY You are monsters?

MERCY Actually, we are merciful. All we ask of all is for compliance, but none of the old thinkers chose that route so we had to exterminate most of the old way thinkers.

LUCY Why can't you just let things be. We were never going to harm anyone.

MERCY Lucy, we were always coming. The consumer and the consumer's grandmother were both born on Perihelion Day, the day that Auntie Red is said to rise again.

SHOT: MERCY walks over to LUCY and touches her skin.

MERCY Don't we understand how special of a day that is? If we would take the throne of the Purple Reich we would be granted unlimited freedom on the day we give up the throne.

SHOT: LUCY tried to understand what she was saying. LUCY looking down at the two ladies at the far end of the room.

LUCY Why would you want me to take the throne?

MERCY Because the consumer's grandmother was Auntie Red.

SHOT: LUCY'S face is shocked.

LUCY That can't be. My grandmother would have never—

MERCY Don't speak as if we knew her.

SHOT: LUCY stared at MERCY but didn't have anything to say. She knew she didn't know her grandmother.

LUCY What about those two?

SHOT: MERCY and PRUDENCE scan back toward the end of the room toward the cage.

SHOT: MERCY turns back.

MERCY They can't be allowed to exist, Lucy.

LUCY Then I will not comply if they don't live, too.

ROSE Lucy, comply and you will not have to face their machines of compliance. It is a fate worse than death.

MERCY The ugly one speaks with a lot of wisdom. We should listen to her.

LUCY Let them live and I will gladly take the throne.

ROSE Take the throne.

SHOT: LUCY staring at MERCY shocked by the sound of ROSE'S scream.

SHOT: MERCY smiling back at LUCY.

MARIE BERNADETTE Submit Lucy or you will end up begging them for the throne.

LUCY I will never take that throne until they let you go.

ROSE We are never going free, girl. No matter how Reicheous we think, we are the faces of the Reich's final victory and we cannot be freed until the next evolution.

MARIE BERNADETTE So please, I beg of you, take the throne.

Lucy stares at the two women. She is trying to read the look on their faces. They are staring back.

LUCY No! I will not dishonor my grandfather by taking the throne of the whore.

SHOT: MARIE BERNADETTE and ROSE'S faces drop with sadness.

SHOT: MERCY shakes her head disgusted with LUCY. She turns to a soldier.

MERCY (out) Lift her.

Marie Bernadette and Rose begin pleading with Mercy to be kind with Lucy.

MARIE BERNADETTE She is just a youngling.

ROSE She knows not what she has agreed to. Explain to her.

SHOT: LUCY body, hanging in the air a few feet off the ground is now hanging twenty feet off the ground.

SHOT: The GRAND INQUISITOR comes alive with blades, drill, sewing chain needles, and other scary sort of tools.

SHOT: MERCY.

MERCY Being that we would not comply we will now introduce the consumer to The Grand Inquisitor.

SHOT: MARIE BERNADETTE.

MARIE BERNADETTE Pray to God, Lucy. He will save you. Pray hard.

SHOT: LUCY closes her eyes as the GRAND INQUISITOR pulls down on her.

LUCY Dear God. Please end this suffering.

LONG SHOT: LUCY is pulled apart by the machine. It crushes bones, and pulls arms from sockets as well as eyes until every part of her body is separated from each other, bound by the GI.

SHOT: LUCY'S face in torment.

LUCY You are breaking my bones.

MERCY Broken bones are the least of your worries.

SHOT: LUCY'S eyes are burned by two hot hot probes. Voices of screams can be heard. The chants of the virgin increase in sexual rhythms.

SHOT: LUCY passes out.

MERCY We aren't allowed to sleep through this. Wake the consumer up.

SHOT: PRUDENCE takes down some electric probes and shocks LUCY awake.

MERCY We would hate for the consumer to miss out on the pain she seems to love.

SHOT: A blade comes alive.

MERCY Let me see if she has the heart of a champion.

SHOT: The blade cuts into LUCY'S torso and a string is sewn to her heart which is pulled from the chest cavity alive and hung in the air.

MERCY Hang in there Lucy, we are almost there.

SHOT: LUCY'S lungs are squeezed until they are deflated.

SHOT: LUCY gasps for breath.

MERCY It takes your breath away, doesn't it.

SHOT: The hands release LUCY'S lungs.

SHOT: LUCY gasping for air.

LUCY One of you can take the position.

MERCY Being a Vestal Virgin is for life. No Virgin can ever take the throne.

PRUDENCE Be our champion.

SHOT: The inquisitor begin squeezing on every organ in LUCY'S body.

SHOT: LUCY cries in pain.

SHOT: MERCY dancing in unison with the rhythm of the virgins chants. Her face is in orgasmic climax.

MERCY Comply. Comply with the Reich.

SHOT: LUCY leans back in pain. She can't take it anymore.

SHOT: ROSE and MARIE and BERNADETTE crying.

SHOT: The virgins thrusting harder and harder.

SHOT: LUCY arched back in pain.

LUCY We comply.

MERCY What was said?

LUCY eyes look down on MERCY with evil in them.

LUCY We comply.

MERCY That is all you had to say in the first place. Why do we make things so tough on us?

Mercy signals to shut down the machine and it begins whining down.

FADE OUT.

ACT V

INT. SANCTUARY OF THE TEMPLE OF VESTAL VIRGIN - NIGHT

SHOT: LUCY lays prostrate at the feet of MOTHER SUPERIOR and her 4 ROYAL VIRGINS. Behind them stands MERCY (Mother Superior to be) and PRUDENCE and three other virgins.

SHOT: Around the room and men and women in suits looking on. The room is lit in torches and looks to be very ancient.

CLOSE UP: MOTHER SUPERIOR.

MOTHER SUPERIOR Do we accept the Reich as savior and protector?

LUCY We do.

MOTHER SUPERIOR Do we swear to fulfill the charge of Auntie Red and to abide by all the laws set forth by the Reich?

LUCY We do.

MEDIUM SHOT: MOTHER SUPERIOR and LUCY.

MOTHER SUPERIOR pulls out a sword. Then she touches the shoulder of LUCY while saying

MOTHER SUPERIOR Monachus animaverdo, monachus opero.

CUT TO:

INT/EXT. MONTAGE OF LUCY PUTTING ON CLOTHES OF AUNTIE RED

SHOT: LUCY being painted and dressed in the clothing of AUNTIE RED.

SHOT: People pouring into Victory Square.

SHOT: Police.

SHOT: AUNTIE RED'S media machine.

SHOT: AUNTIE RED.

SHOT: Crowds.

ETC.

CUT TO:

SHOT: LUCY stands in front of a mirror looking at herself. MERCY walks up behind her.

MERCY We are beautiful.

MEDIUM SHOT: LUCY and MERCY in the mirror. LUCY didn't know what to say. She had never had compliments showered on her.

MERCY Mother Superior will be waiting with the crown at the top of the great Pyramid. Then they will step down and we will take their place at your side as the new Royal Virgins. Just follow my lead.

SHOT: MERCY turns to leave.

SHOT: LUCY.

LUCY What about the Sisters?

MERCY turns around and looks back at LUCY.

MERCY We can only promise this. They will no longer suffer after tonight.

SHOT: LUCY and MERCY'S eyes look at each other.

MERCY Only their God can save them now.

LUCY And he hasn't bothered to get involved yet so we doubt he will save them tonight.

MERCY Exactly!

Mercy walks out of the room.

CUT TO:

SHOT: People pouring into Victory Square doing selfies and being obnoxious.

QADY Tonight marks the beginning of the next evolution.

QRIS The question on everyone's mind is will this be the next evolution or the last evolution.

SHOT: Walls. Trumpets go off.

SHOT: Everyone heads turns.

SHOT: QADY.

QADY We think Auntie Red is about to make her first appearance in her second evolution.

SHOT: The crowds start stomping together and singing "We Will Rock You"!

CUT TO:

SHOT: LUCY staring into the mirror. There is a knock at the door. LUCY turns around.

LUCY Enter.

SHOT: PRUDENCE opens the door.

PRUDENCE It is time to take the crown.

SHOT: LUCY turns and looks at herself once more. She then gets up and heads out the door.

CUT TO:

INT. TEMPLE FOYER - NIGHT

SHOT: LUCY steps up on the litter then kneels down and puts her hands together as if she is praying. Eight soldiers then bend down and lift her up.

SHOT: CAPTAIN RED turns around and looks at LUCY.

CAPTAIN RED All is ready.

The sounds of chains can be heard behind LUCY.

SHOT: LUCY'S face close up. We see ROSE and MARIE BERNADETTE being pulled out of the darkness and put behind the litter. They are mumbling prayers over and over. LUCY doesn't look back at them.

CUT TO:

EXT. VICTORY SQUARE AGAIN - NIGHT

SHOT: Camera does a 360 shot of the huge crowd of people singing "We Will Rock You"! On the stage young girls dance lasciviously. Music can be heard. The GRAND PRICK shouts of pleasure can be heard across the square. Policemen watch the people closely.

SHOT: The temple doors swing open.

SHOT: People cheering.

SHOT: GRAND PRICK.

GRAND PRICK And now we present to all Auntie Red in her Second Evolution.

CUT TO:

INT. TEMPLE FOYER RETURN - NIGHT

SHOT: From behind LUCY. Doors are open and we see the sea of people cheering fanatically. She can see her face on the big screen.

SHOT: CAPTAIN RED.

CAPTAIN RED Mark time, mark.

SHOT: The soldiers begin marching in place.

CAPTAIN RED Forward, march.

SHOT: The litter moves out the door. Confetti rains down on LUCY.

SHOT: The people begin to sing "We Are the Champions"! while throwing VEES in the air, symbolizing global peace and total victory.

CUT TO:

EXT. QRIS COLLAPSES - NIGHT

SHOT: QRIS is getting excited seeing AUNTIE RED.

QRIS We feel a tingling feeling running down our leg.

SHOT: QRIS falls to the ground and starts shaking uncontrollably.

SHOT: QADY.

QADY It looks like our partner has been seized by the need to express our admiration to our Auntie Red.

SHOT: QRIS being carried out by policemen.

CUT TO:

EXT. FOOTHILLS OF THE PYRAMID - NIGHT

SHOT: The pyramid passed through a few stoic faces with suits on then it came to a stop at the stairs of the huge black pyramid.

SHOT: LUCY stands up and is helped down by MERCY.

MERCY Just do as we say and we will be alright.

SHOT: Of the stairs looking upward. Virgins stand every few feet apart with baskets of flower petals.

SHOT: LUCY heads up the stairs with MERCY behind her. Behind MERCY are PRUDENCE and four other virgins walking in twos.

SHOT: CAPTAIN RED pulling ROSE and MARIE BERNADETTE up the stairs.

SHOT: The virgins throwing the flower petals at LUCY'S feet.

CUT TO:

EXT. VICTORY SQUARE REVISITED - NIGHT

SHOT: People cheering and singing.

SHOT: Virgins dancing.

EXT. FIRST STAGE - NIGHT

SHOT: LUCY steps up on the first stage. She is then led across the stage to the second group of stairs.

SHOT: The stage has dancers and a pot boiling.

SHOT: CAPTAIN RED pulls ROSE and MARIE BERNADETTE to the center of the stage so everyone can see them.

SHOT: Crowd shouting boos and insults.

SHOT: The GRAND PRICK.

GRAND PRICK Here are the last two faces of the anti-peace movement. These are the faces of the old cults that existed before the one true religion was finally revealed.

SHOT: CAPTAIN RED pulls ROSE and MARIE BERNADETTE off into the dark side of the stage to wait.

CUT TO:

EXT. APEX OF THE PYRAMID - NIGHT

SHOT: LUCY arrives at the top of the pyramid. She is guided over to where MOTHER SUPERIOR waits kneeling before her with five royal virgins behind her.

SHOT: MOTHER SUPERIOR looks up for a moment as LUCY arrives.

LONG SHOT: LUCY bowing only low enough for MOTHER SUPERIOR to place the crown on her head. She then rises back up. Two royal virgins step forward and present LUCY with the torch and a book. They then step back away.

SHOT: MOTHER SUPERIOR and four virgins step back away as MERCY and her four virgins replace them.

SHOT: LUCY stands in front of the stage with the book, torch, and crown. The people cheered loudly.

SHOT: MOTHER SUPERIOR and four royal virgins head down the stairs.

SHOT: LUCY steps back from the end of the stage and hands the torch and the book to two of her royal virgins. She then steps forward once more and declares.

AUNTIE RED Let the second evolution begin.

SHOT: People cheering.

SHOT: LUCY.

AUNTIE RED We have one last thing to do to put the first evolution to rest.

SHOT: MOTHER SUPERIOR and her four royal virgins standing in the center of the first stage.

SHOT: Soldiers with swords standing behind them with their swords at the ready.

SHOT: LUCY.

LUCY Their place in the temple of Victoria is ready.

SHOT: The soldiers simultaneously stabbed each lady through the heart. Each lady collapsed to the stage bleeding and wincing in pain.

SHOT: People cheering.

SHOT: Soldiers pick up the bodies of the five women and take them over to the pot and throw them in one by one.

CLOSE UP: MOTHER SUPERIOR.

MOTHER SUPERIOR Wait! We are not dead yet.

SHOT: The soldiers look at each other but then throw her into the pot.

SHOT: CLOSE UP of MOTHER SUPERIOR burning in the boiling pot. Her hand is sticking out and her face is barely above the water. We see her cries and pain in her face.

SHOT: LUCY.

AUNTIE RED We have achieved in the time of the Reich Global Peace and Total Victory but now in the second evolution we must work together for Collective Salvation.

SHOT: Crowds cheering.

SHOT: Suits looking at each other proudly.

SHOT: QADY on the ground convulsing.

SHOT: The GRAND PRICK smiling.

SHOT: LUCY.

AUNTIE RED Let us be free from the enemies of peace.

SHOT: CAPTAIN RED, ROSE, and MARIE BERNADETTE.

SHOT: LUCY.

AUNTIE RED Bring out the prisoners.

SHOT: CAPTAIN RED yanks the chains of the women and leads them to the center of the stage. The women slowly move to the center of the stage.

MARIE BERNADETTE Go ahead girl and get this over with.

Lucy didn't hesitate.

AUNTIE RED Do we reject all we have been taught and accept the laws of the old ways?

MARIE BERNADETTE I do not.

AUNTIE RED You will be missed.

MARIE BERNADETTE Pull the damn lever so I can be free of this shit hole.

LUCY pushed the button on the machine and it sucked the life out of MARIE BERNADETTE.

CUT TO:

SHOT: ROSE and LUCY were now face to face.

ROSE Keep it together. We are almost there.

AUNTIE RED Rose, do you—

Rose cuts her off.

ROSE No. I don't and I will never.

AUNTIE RED We understand.

SHOT: LUCY'S hand moves to the lever.

SHOT: ROSE.

ROSE If you ever get outside the walls I want you to know there is a special ring buried on the northwest wall of the belfry.

AUNTIE RED Whose ring is it?

ROSE It was your grandfather's. He wanted you to have it.

AUNTIE RED Yes, I remember it.

ROSE It is the Fisherman's Ring. The ring of the papal throne. A ring to remind you who you are and the sacrifice we all made so that you can free the world of this prison when the time comes.

Lucy stared at Rose for a few seconds.

AUNTIE RED I will never free these people, Rose. They chose their path and this is the only path they will know as long as I sit upon this throne.

ROSE Then all is lost.

AUNTIE RED As it should be.

ROSE Have you lost your faith?

AUNTIE RED Yes.

ROSE Then you are damned with the rest of them.

AUNTIE RED I didn't damn us. Your God he is the one that Damned us all. God damned us. God damned you. God damned the old ways. If God is alive then he should have saved us a long time ago. But he shows no sign of hope. We wasted our time praying to empty skies.

ROSE You should never question God's plan.

AUNTIE RED But we should, eventually.

There was a moment of silence and then Lucy looked down at her hand and put it on the lever.

AUNTIE RED Good bye Rose.

LUCY hit the lever.

LUCY then stood up again and looked over the crowd before she threw up the signing. The people cheered and clapped.

LUCY Monarchus aniverdo, monarchus opero.

THE PEOPLE GO WILD WITH JOY.

SHOT: LUCY held up her two fingers over the top of her head and the camera swings in an 180 degree arc around the front of her.

FADE OUT.