Outside Final
Script created with Final Draft by Final Draft, Inc.
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"Outside"
by
Darcy Villere
Story By
Darcy Villere &
Daniel Maxwell
COPYRIGHT (C) 2011 THIS SCREENPLAY MAY NOT BE USED OR
REPRODUCED WITHOUT THE EXPRESS WRITTEN PERMISSION OF THE
AUTHOR.
EXT. SPACE
We float above a planet, swirling storm clouds make the
surface of the entire planet hard to decipher.
We pass down through the atmosphere, the storms engulfing us
until we emerge hovering over the west coast of North
America. The oceans look a sickly stale green. The land is
pot marked with clumps of green where new vegetation has
taken hold, but lifeless brown dominates globe. In some
areas, black, where no life exists can be seen.
We glide effortlessly over to the west coast, descending
down toward a huge valley. We can see the billowing of what
looks like smoke from some kind of factory nestled in the
side of a mountain.
As we come down over the top of the Facility, the smoke
whipping past, we see skylights on a sloping section of the
roof. We slip through them into what seems like a mini-rain
forest. We've entered the arboretum, a place of lush green
and greenery.
INT. THE FACILITY - DAY
We move through the arboretums lush interior, passing by the
teeming plant-life into a hallway of the facility. The walls
of the facility are like an old World War II submarine, with
riveted steel walls that are as cold and dank as a sewer. All
rooms in this facility feel very much like this space.
Down the hall way we move, past people in what look like worn
down surgical scrubs who walk down the different hall ways,
entering and exiting through different hatchways along the
side of the walls till we pass through a hatchway with a sign
over the door that reads: CONTAINER STORAGE.
INT. CONTAINER STORAGE - THE FACILITY - DAY
We sweep through the room at waist height. VOICES can be
heard whispering in the room like ghosts haunting a mansion.
We swing right, passing by CLEAR GLASS TUBS filled with
bodies floating in pinkish fluid. Electrodes protrude from
their heads, connected to computer screens above the tubs.
Vital statistics of each containers occupant beep through the
monitors.
As we rise up we come to rest over the tub of a container
holding a young woman in her 20's, JANE, who is naked inside
the tub. FOOTSTEPS over take the voices, that fade to
silence.
A 20-something technician, OLIVER, walks between the tubs
carrying a worn tablet PC and lab coat. His hair and face are
as distressed as his attire. His complection is of someone
who hasn't had any sun in years, having been inside of this
facility for a very long time.
Oliver clicks away on his tablet, checking on different
subjects in each tub and recording notes. He steps in front
of Jane's tub, inspecting the different tubes and wires that
come out of the tub.
OLIVER
(clicking on recording on
tablet) )
Visual inspection of container unit
number sixty-two, pod twelve, Ms.
Jane Chang on marked date and time.
The container walls appear solid.
Cerebral leads are clearly
attached. Umbilical feeding tube
checks out. There does seem to be
slight weakening of the fluid
exchange tube. I can see the crack
beginning to form. Notify
maintenance that Ms. Chang's intake
tube should be replaced in the next
10 days. Vitals are stable.
(clicks off the recording
tablet)
Oh Miss Chang. If only we were
going to be the same age when you
get out.
Oliver moves onto the next tub of CAMERON, a man in his 40's.
Broad shouldered, yet skinny, it's clear he used to be a man
with a powerful stature. Now, lying supine like everyone
else, he has clearly lost muscle mass from minimal activity
allowed by the tubs.
OLIVER (CONT'D)
(clicking on recording on
tablet)
Visual inspection of unit number
sixty-one of pod number twelve,
Captain Cameron Caplan. Good to see
you again sir.
Oliver salutes Cameron's tube.
OLIVER (CONT'D)
Container appears to be intact. No
micro cracks or abrasions. Cerebral
leads are holding up. Umbilical
feeding tube is functioning
normally. Tubes for refill seem to
be tight. And his vitals...
Oliver looks at the monitor. The lines that had a normal
rythm on Jane's monitor are completely erratic on Camerons.
OLIVER (CONT'D)
(puzzled)
Slightly irregular.
Oliver hits the monitor. Nothing changes.
OLIVER (CONT'D)
That's odd. You are going to make
me late for dinner.
He reaches into his pocket and removes a stethoscope.
Inserting the small black nubs in his ears, he puts the steal
circle to the side of the container like a doctor would to a
woman's pregnant belly. The speedy thumps of Cameron's
elevated heart rate fill our ears.
We find ourselves floating over Cameron's tube, looking at
his closed eyes. They flutter in thought and dream. We plunge
into tub, entering the mind of Cameron through the cerebral
leads attached to his head.
CUT TO:
EXT. THE FARM - INSIDE - DAY
CAMERONS CLOSED EYES fill the screen. The sun shines down on
them with its warm brilliance.
We pull back to see all of Cameron's face. He's twenty-five
in this reality, with the strapping physique he had lost in
the tub.
Cameron opens his eyes and scans the farm. There are several
workers tilling the fields, working the land.
We have entered the Inside: A digital construct not unlike
"The Matrix". It's more stripped down version, set on a
modest farm indicative of a simpler time in America. He is
strapped to a plow, that is being controlled by a young
version of JANE. In this reality, she is sweet looking ten
year old.
JANE
Cameron. You all right? We've still
got several rows to go.
Cameron nods, takes one last swig of water from his canteen,
then starts pulling again.
CUT TO:
EXT. FARM - INSIDE - LATER
Cameron is leading a group of children in Thai-Chi class.
None look older than twelve or younger than eight. Cameron
leads them to a final resting place. He bows as, do they.
CAMERON
Good work today everyone. Bright
and early tomorrow. Still got a lot
of work to do before planting.
Jane approaches Cameron, carrying herself like a girl twice
her age.
JANE
I'm continually surprised you're
not too tired from plowing to teach
this class.
CAMERON
Gotta feed that spirit Jane. If all
we focused on was feeding ourselves
we'd never grow as people.
Jane makes a mouth with her hand, flapping it back and forth
like a mouth, teasing Cameron.
CAMERON (CONT'D)
And I'm repeating my usual high and
mighty banter. Thank you for the
reminder.
JANE
Chess tonight? I might even let you
win.
Jane kisses Cameron on the cheek. Cameron blushes.
JANE (CONT'D)
(whispering)
See you back at the house?
He nods and she walks away.
Cameron rights himself and sees PAUL, a slim blonde boy of no
more than six years old still practicing. His eyes are closed
as well. He's the youngest of the group Inside.
CAMERON
(putting his hand on the
boys shoulder)
Paul...
Paul turns and punches Cameron in the crotch. Cameron doubles
over in pain.
PAUL
I'm sorry sensei. Are you all
right?
CAMERON
Yes. Yes, Paul. I'll be fine.
Paul carries himself and speaks much like any adult would. He
has a sort of endless age to him, like he has been in this
body for quite some time.
PAUL
I didn't know it was you. I was too
deep in meditation.
CAMERON
I'll survive. What were you
thinking about that put you into
such a deep state.
PAUL
Nothing. Just mussings.
CAMERON
You sure? We could take a walk?
There's time before sunset.
CUT TO:
EXT. HILLS - INSIDE - LATER
Cameron and Paul walk along the treeline at the edge of the
rolling hills that surround the farm.
CAMERON
It's starting to get cold. You
think we're going to be able to get
the seeds sewn before the first
frost?
PAUL
We always do.
Cameron grabs Paul's shoulder, stopping him.
CAMERON
You want to tell me what's
bothering you little man?
PAUL
You ever feel like there's more.
CAMERON
More? To what?
PAUL
Cam, what's the furthest you've
ever gotten from the village?
CAMERON
That's easy... it's...
Cameron can't think of it.
PAUL
See. You can't. I walked the other
day, Cam. I walked from dawn till
dusk and I got nowhere. The
landscape repeated and here I was
again, not more than twenty feet
from where we are, in the woods.
CAMERON
What are you getting at Paul?
CAMERONS POV on Paul. As the next dialogue is spoken, Paul's
face blips like a TV getting bad reception.
PAUL
It's pretty clear Cam.... this
world, isn't real. And we aren't
here.
CUT TO:
EXT. GAS STATION - THE PAST - NIGHT
Cameron is in army fatigues at the entrance to a trashed gas
station. The place has been abandoned for a while, clearly
ransacked by some roving horde. This gas station is an
example of the remains of the last Great War that enveloped
the entire Earth.
Looking down, he inspects his clothes and weapon as if he's
confused. He gains his senses and raises his rifle. He slowly
enters the station, treading lightly on the garbage covered
floor. The light from the end of rifle cuts through the
darkened space. The station littered with tipped over shelves
and broken bottles.
Resting on one of the turned over shelves he discovers a box
that reads "solar cell". He takes it, slipping it into his
backpack. He looks over and sees a very thin trip wire
running across the room. He slinks closer to it and sees that
it runs overhead to a line that holds knives strung through
it.
CAMERON
Naughty, naughty.
Cameron steps over the line, more cautious now that he's
discovered a trap.
Cameron flips over one of the shelves to discover an unbroken
bottle of Jack Daniels.
CAMERON (CONT'D)
Oooo rah.
He collects it as well. RUSTLING sounds come from another
corner. Cameron approaches it cautiously. He leans, gun
first, over a counter and sees Paul. Paul's face has cuts and
scratches from the hard life in this world.
CAMERON (CONT'D)
Hey, kid. It's OK, I'm not going to
hurt you.
Cameron finally notices that Paul has a knife delicately
touching a trip wire. Paul's cuts the wire, cause a knife
attached to an armature to swing down from the ceiling.
Cameron is stabbed in his chest knocking him to the ground,
his kevlar vest preventing any serious damage.
Paul leaps onto the counter, then dives onto Cameron wielding
a knife. Cameron blocks Paul's wild swings, slicing open his
arm. Cameron flings Paul against a wall.
CAMERON (CONT'D)
(getting to his feet)
You little sack of shit.
Cameron raises his rifle to shoot Paul.
LIGHT from torches stream in the outside. A crew of FOUR
HIGHWAY BANDITS, scavengers living off of whatever they can
find, have arrived outside.
Cameron and Paul look at teach other. At the same moment,
Cameron moves and hides behind the counter as Paul drops to
his hands and knees, crawling behind the counter. Paul puts
his finger to his lips, signaling for Cameron to be silent.
Cameron gives Paul a quizzical look.
THE BANDITS enter the gas station. Cameron peers through a
hold in the counter to size up their enemy. Two with guns,
one with an axe and another with a club that is really a
baseball batt with nails on the end. They begin to search
through the remains of the gas station much like Cameron did.
GUN MAN #1 trips the trap Paul had set, dropping knives on
top of the man, slicing open the man's face. He drops,
screaming in pain.
With this distraction, Cameron pops up and fires at the two
bandits with guns that weren't hit with knives, single shots
that drop them. He turns to the BANDIT WITH AN AXE, pulling
the trigger. CLICK. Out of ammo.
CAMERON (CONT'D)
Shit.
The Axe Bandit takes his moment and swings the axe at
Cameron. Cameron blocks the blow with his AR-15, cleaving it
in half. The Axe Bandit takes a few more swings, Cameron
dodging each of them. The Club Bandit swings as well and now
Cameron is fighting two men.
Cameron grabs at his side, pulling his collapsible baton from
its sheath. He begins to swing at both in a fight ballet.
Paul watches from behind the counter.
Cameron hits the Club Bandit, who gets thrown into the
counter. Paul climbs on top of the counter and stabs the Club
Bandit in the neck. Club Bandit SCREAMS and falls to his
knees, blood burbling out of his neck till he dies.
Now it's just Cameron, Paul and the Axe bandit. The Axe
Bandit is visibly scared now. Paul jumps down from the
counter, pulling his knife out of the Club Bandit. Cameron
reaches down and pulls a survival knife from the Club Bandits
belt.
Cameron and Paul slowly back the Axe Bandit toward a corner
of the store covered in newspapers. He stops just short of
the news papers.
Paul takes note of this and GROWLS at the Axe Bandit, who
takes another step back onto the paper. WHOOSH! He falls down
through a part of the floor that had been blown away. Another
trap Paul had set that Cameron was lucky enough to avoid.
Cameron looks down at Paul, who's smiling. Cameron smiles
back, half chuckling to himself.
As he does we FLASH back and forth from this moment to:
Cameron seeing his 40 year old self inside the tub in the
facility, looking out into a pinkish hued room. His head is
turned to the left and he sees lab coats through the glass.
We hear the swirling of voices from all three places ending
with:
OLIVER
I think he's coming out of it.
CUT TO:
INT. RECLAMATION ROOM - THE FACILITY - CONTINUOUS
Cameron bolts up right in the tub. The computer screens brain
scan changes color and goes completely green. The heart
monitor has hit it's peak and is no longer a beep but a long
whine.
He's in a room similar to the Container Room, except this one
is outfitted with medical equipment. It's used to wake people
from Inside and bring them back into the real world.
He knocks over Oliver as he exits the tub, gripping it like a
child that is attempting to steady themselves. Another LAB
TECHNICIAN and a SECURITY #1, a member of the facilities
internal security force, stands a short distance away,
stunned, watching this unfold.
Cameron let's out a choked gasp in an attempt to take a
breath. Instead, he turns over the side of the tub and vomits
pink, synthetic amniotic fluid onto the ground. He attempts
to lift himself out of the tub but falls over and hits the
ground hard. He is slippery from the fluid that covers him
head to toe. Wiping his eyes to get a better look around, he
sees Oliver and the Lab Tech who is standing right next to a
tray full of surgical instruments.
Cameron cautiously stands up, barely sure of his footing. He
moves menacingly, dripping amniotic fluid, toward the Lab
Tech.
OLIVER
Stop him!
The Lab Tech is frozen, unable to move.
Security #1 moves to stop Cameron, grabbing him with a bear
hug from behind. Cameron head buts him, grabs his hand and
flips Security #1 onto his back.
Cameron looks over and sees an open hatchway. Cameron runs
toward it, knocking the Lab Technician out of the way. He
pauses for a moment near the medical equipment and grabs a
tool. He walks toward the hatch, closing it behind him.
CUT TO:
INT. CONTAINER ROOM - THE FACILITY - CONTINUOUS
Cameron spins the handle shut and wedges the tool so the
hatch can't reopen. Cameron turns back around slips, landing
his chest across a similar tub to the one he was in. ANOTHER
PERSON lies in the same manner he did in the tub, with
monitoring wires.
Cameron stands up and looks around the room. There are
hundreds, if not thousands of people in similar containers.
TWO PEOPLE TALKING can be heard from down the hall heading
toward the container room.
Cameron scrambles to crawl behind the tub he just discovered.
ILIA, a 25 year old plain woman with striking eyes, enters
the room along with SAGE, a 50 year old bearded man with a
weathered face.
SAGE
I'm still not sure this is a good
idea.
ILIA
If you have a better idea I'm open
to it.
SAGE
It's a delicate balance that we've
all ready messed with enough, Ilia.
We're not supposed to be doing
this.
ILIA
I understand but until we can
figure out what to do we have to...
POUNDING can be heard from the other side of the hatch.
SAGE
What the? Did you hear...?
Cameron leaps from behind the tub and grabs Ilia by the hair,
dropping both of them to the ground. He grabs her by the
throat and squeezes, choking her.
Sage moves to hit Cameron, but Cameron blocks and drops Sage
with a blow to the solar plexus.
Ilia elbows Cameron in his stomach, right where his umbilical
attachment used to be. He drops her and she gasps for breath.
Cameron stumbles, choking on the fluid that has been knocked
loose in his stomach that rushed to his throat and lungs.
CAMERON
Where.... What...
Cameron passes out from lack of oxygen. DARKNESS.
INT. CREW QUARTERS - THE FACILITY - DAY
Cameron wakes, blinking at neon light in his face. An air
mask covers his nose and mouth. He is in someone's living
quarters. He looks down and sees that he is dressed in his
own set of grey scrubs. He lifts his left arm to try take the
mask off, but his hand is stopped by the handcuffs that are
attached to a pipe on the wall.
The room is drab and lifeless. It resembles more of a metal
holding tank than a room that someone would live in. He looks
around the room, taking in it's meager things in search of
something that he could use to free himself. He sees a jacket
hanging from a chair in front of a desk. He uses his foot
grab the hanger and drag it to him. He takes the jacket off
the hanger, throwing it to the ground. He bends the hanger,
using it to free himself from the cuffs.
He gets up off the bed, the jacket catching his eye. He
stares at it for a moment, realizing it's not a jacket. But a
dress military coat.
Cameron looks up into a mirror that hangs against the wall.
He is STARTLED by his own reflection. He gets closer and
studies his faces wrinkles and imperfections. He looks closer
at his hair, which has started to recede.
CAMERON
(examining his hair)
What the hell?
CUT TO:
INT. HALLWAY - THE FACILITY - CONTINUOUS
Cameron steps through the hatchway from the quarters out into
the hallway. He heads down the brightly lit hallway made of
concrete cautiously. He's disoriented and it shows.
He sneaks passed an open door where welding and part
reproduction is being done.
A noise startles Cameron and he hides. ELISABETH, 5, dressed
in her own little version of the scrubs and with the pure joy
only children of her age can show, comes bounding around the
corner chasing down a bouncing ball. The ball comes to a rest
at Cameron's feet.
Elisabeth points at the ball. Cameron picks it up and walks
it over to her.
ELISABETH
(Accepting the ball)
Hi.
CAMERON
(handing her the ball)
Hello.
ELISABETH
My name is Elisabeth.
(Extending her hand to
shake)
How do you do?
Cameron looks down at the little hand perplexed. He takes it
in his and she shakes.
CAMERON
Are you in charge of this facility?
ELISABETH
No, silly! What's your name?
CAMERON
Captain Cameron Caplan, 05028...
wait... what...
ELISABETH
Want to play a game?
Cameron looks down at her frustrated. He continues on his
walk down the hallway. Elisabeth chases after.
ELISABETH (CONT'D)
Let's play a game. Uhhhh... can you
guess how old I am?
CAMERON
Uh... a hundred and ten?
ELISABETH
What? No. I'm five!
Cameron stops dead in his tracks. Elisabeth too.
CAMERON
(Cameron stares down at
her)
Five? You're five?
ELISABETH
Un huh. My half-birthday was the
yesterday so mom says I'm five
plus!
CAMERON
Right...
Cameron starts to walk off again. Elisabeth doesn't follow.
ELISABETH
(calling after)
Are you from the Inside?
CAMERON
I don't know what that means.
ELISABETH
You know. Inside the tubs. Inside
the machine.
Cameron pauses again.
CAMERON
Inside?
ELISABETH
Yeah. Your skin is so white and
shiny. You must be an Insider. Are
you lost?
CAMERON
Sure?
ELISABETH
Come on.
(Extending her hand)
I'll take you to my mom. She'll
help you. She's really good at
helping.
Cameron reluctantly takes it and is lead away by the little
girl.
CAMERON
Where are we going to go now?
ELISABETH
My mom's working in the garden. I
like the garden. It smells good.
As Elisabeth leads Cameron down the hallway, a SHADOWY FIGURE
moves passed the camera.
CUT TO:
INT. ARBORETUM - THE FACILITY - CONTINUOUS
Cameron is ushered into the arboretum by Elisabeth. It is a
vast enclosure teaming with edible plant life. Elisabeth
leads Cameron up a short flight of stairs onto a grassy
knoll.
They pass under a large apple trees. Through their branches
Cameron looks up to see the clear panels above them. They are
tinted and the sky looks a pale brown. The sun is visible
with out a cloud in the sky.
CAMERON
Why does the sun look so different?
ELISABETH
It's always looked like that.
A figure is hunched over a pond teeming with fish. She's
fixing a pipe that leads into the pond. Elisabeth recognizes
her as her mother and, letting her hand slip from Cameron's,
runs to meet her.
Elisabeth jumps on her mothers back. She turns around to face
her daughter and we see that it is Ilia. They have a short
tickle match. Ilia looks up to see Cameron standing there.
ILIA
Why hello.
CAMERON
Are you in charge here?
ILIA
(to Elisabeth)
Do me a favor sweetie. Go find your
Uncle Sage for me, please? Tell him
"he's awake".
Elisabeth runs off.
ILIA (CONT'D)
These damned aquaponic-ponds. Roots
from the plants keep growing into
the pipes, screwing up the cycling.
CAMERON
I asked a question.
ILIA
Yes. Of sorts. My name is Ilia.
Ilia extends her hand to shake Camerons. He does not.
CAMERON
Where am I? Am I a prisoner?
ILIA
(cutting him off)
Prisoner? No, Captain. You're not a
prisoner.
CAMERON
I was hand cuffed.
ILIA
That was just a precaution. We
don't have a jail or anything like
that. What's the last thing you
remember?
CAMERON
I was.... there was a fight.
ILIA
Do you know what year it is?
CAMERON
Year?
ILIA
Yes. What year do you think this
is?
CAMERON
It's uh... um... 20...
ILIA
2183. You are in terraforming plant
in the heart of what used to be the
Central Valley of California. Is
any of this ringing a bell?
Cameron looks at her befuddled.
ILIA (CONT'D)
The 4th dimension is a little
different on the Outside isn't it?
CAMERON
I was on a farm?
SAGE (O.S.)
Ilia.
Sage has arrived with TWO BURLY SECURITY GUARDS. He's not
taking chances this time.
ILIA
It's all right. It's all right,
Sage. I don't think we'll have
trouble this time, will we Captain?
Cameron is still confused, but nods in agreement.
ILIA (CONT'D)
I think it's time we showed him his
videos.
CLICK.
CUT TO:
INT. CREW QUARTERS - THE FACILITY - DAY
We see the inside of a facility quarters through the lens of
a camera with REC in the corner. The date and time are
displayed in the lower right corner as 25.01.2041. We see
Young Cameron leaning back from having flipped the switch to
the camera on.
Behind him we can see it is the same quarters as the ones he
left earlier, but cleaner and newer than the ones he awoke
in. Like they have just been built and finished.
VIDEO CAMERON
Is this thing on?
(tapping on camera)
Fucking technology. Looks new,
still a piece of shit. So... talk
about myself. I'm supposed to talk
about myself. Help you, adjust to
being who I used to be. That's a
strange turn of phrase.
We pull back and see that Cameron is watching the video of
his younger self. Young Cameron pulls out a pack of
cigarettes and lights up.
VIDEO CAMERON (CONT'D)
(as he pours a glass of
whiskey for himself)
But the fact is, you're not. They
tell me that I, by which I mean
you, will look a lot older than I
do now. With any luck, that tank
will be like sleeping in Vaseline
for two hundred years.
Cameron sits stunned, staring at the screen. The shock of
that he's 180 is sinking in. The video continues.
VIDEO CAMERON (CONT'D)
I tried to find mom at one of the
other facilities. Just kind of
hoped she made it... as much as I
wish she hadn't...no word yet.
Spotty communication with the
towers. I'm assuming by now they've
given you our bag of goodies. Saved
what I could for you, cause, I
gotta tell ya, this place is the
most boring dump I've ever been to.
Cameron looks to the right and sitting on a desk is his bag
from the road. Cameron opens it and reaches inside to see
what contents might tell him something about himself.
VIDEO CAMERON (CONT'D)
Ever. If there was enough oxygen in
the atmo I might still be out
there, fighting highway bandits,
scavenging for food...
more fun than what's waiting for me
in that artificial uterus they got
brewing for me.
(The following dialogue and description play out over each at
the same time.)
VIDEO CAMERON (CONT'D)
Now if you will please pour a glass
with me sir, we will paw through
the remains of our shattered
wasteland life as we, in turn, get
wasted ourselves.
Cameron pours out a glass of whiskey, way too large for even
a normal drinker as he does not remember what he is doing.
VIDEO CAMERON (CONT'D)
(raising his glass)
Cheers.
Both Camerons take a swig from their glasses. Young Cameron
downs it easily. Old Cameron swallows some then gasps for
air.
VIDEO CAMERON (CONT'D)
Mmm.... Now that's the good stuff.
CUT TO:
VIDEO CAMERON (CONT'D)
Probably could have gotten
something decent in trade for that
stupid metal disk.
He pulls out: a small jewelry box. He opens in and inside is
a medal that he won fighting in the war;
CUT TO:
VIDEO CAMERON (CONT'D)
Grabbed whatever "entertainment
magazines" I could on the trip.
Pornographic magazines from the 21st century.
CUT TO:
VIDEO CAMERON (CONT'D)
Memories...
A photo album that he flips through of himself in the war,
with his family, and photo with him and a large group of kids
that include Paul and Jane.
VIDEO CAMERON (CONT'D)
Let's not revisit everything.
Both Camerons take a generous swig from their glasses.
Cameron doesn't choke as much this time.
A BEEPING SOUND goes off in the video.
VIDEO CAMERON (CONT'D)
Shit. I'm going to be late. She'll
be so terribly cross if I'm late.
Kind of shocking how easy it is to
get laid when the world is ending.
Take care, sir.
(saluting his older-self)
Be careful with what I left you.
They're antiques by now. Until next
time.
The video blinks off.
Cameron finds the collapsible baton he used in the war. He
pushes the button and it hits him in the face knocking him
over in his chair.
From the floor, Cameron looks over in the corner of the room
and sees a violin case leaning against the wall. He crawls
over and opens it. Inside he finds his shined, if slightly
aged, violin and removed it from the case. Crossing his legs,
he plays tentatively for moment, then begins to play
confidently.
It's beautiful. The sound is carried out the open hatch of
his quarters.
CUT TO:
INT. HALLWAY - FACILITY - CONTINUOUS
The music floats on the wind down the hallway and we follow
it as it fades, passing by the open hatches of other
residents who are in midst of preparing for bed.
In the shadows lurks the same figure as before. He peers out
slightly, listening to the music and we see his face for the
first time. He looks like a mid twenties version of Paul from
the Inside.
SERGEANT STEVENS (V.O.)
Where'd you pick up this little
piece of shit?
CUT TO:
EXT. ENCAMPMENT - THE PAST - NIGHT
The encampment is small. A few tents and a device that glows
at the center, sending out heat.
Paul is tearing into a small piece of a ration around a
campfire as SERGEANT STEVENS, an old army veteran in his 50's
that has the grizzled look of man that has been fighting a
long war, runs his hand over his mouth in a vain attempt to
smooth out the three day stubble as he visually evaluates
Paul. Cameron is digging into his back pack, taking inventory
of the goods he acquired while he was out scouting. Paul
watches them intently, studying their every move.
CAMERON
Hiding in a gas station. Nearly
took me out too. He set traps for
intruders. Knives hanging from the
ceiling. Even managed to cover over
a blast hole with newspapers.
Pretty smart for a kid.
SERGEANT STEVENS
And you brought him back here?
CAMERON
You worry too much. He helped me
out. He's a little feral, but he'll
be all right. Just couldn't leave
him.
SERGEANT STEVENS
Captain...
Cameron cuts him off by tossing him a can of SPAM from his
sack. The Sergeant smiles.
SERGEANT STEVENS (CONT'D)
You do know the way to an old man's
heart.
CAMERON
Nothing but the best for my
platoon.
Also picked up some clips for your
carbine and a new survival knife
for myself. Anybody else make it
back yet?
SERGEANT STEVENS
Sims, Caufield and Burch. Jones got
caught in an ambush. Ericson died
of dysentery this morning.
CAMERON
Remember when we used to talk in
terms of numbers and not names?
Cameron pulls out a book of quotes and flips through it
quickly before tossing it on the ground. He then pulls out a
half full bottle of Jack Daniels from his bag. Sergeant
Stevens perks up.
SERGEANT STEVENS
Where on earth did you find that?
Cameron opens the bottle and starts to down it like an
alcoholic on steroid.
SERGEANT STEVENS (CONT'D)
Jesus man, save a little for a
brotha.
Cameron stops and tosses the bottle to Sergeant Stevens, who
takes a swig.
CAMERON
Gotta enjoy the little things.
Why'd you join the army Sergeant?
SERGEANT STEVENS
Don't rightly know anymore. See the
world? Never thought I'd be
fighting in Arkansas. Why do you
ask?
CAMERON
Alcohol makes me nostalgic. This
isn't exactly where I thought I
would be all that I could be.
SERGEANT STEVENS
What?
CAMERON
Old commercial, thing, something.
Never mind.
SERGEANT STEVENS
Why did you join, sir?
CAMERON
GI bill, soldier. GI bill. What
better way to pay for an education
than by learning to kill your
countries enemies. A BA in English
hardly seems worth it now.
Cameron pulls out a violin case out of his sack. He opens it,
putting the violin to his chin and the bow to the strings he
starts to play. It's the worst music ever heard.
SERGEANT STEVENS
Stop! Stop! You're killing my ears!
CAMERON
(stops playing)
I always wanted to learn as a kid
but my parents couldn't afford to
buy me one. I'm sure I can figure
it out. It'll just take a little
practice.
SERGEANT STEVENS
Oh yeah. And we got tons of time
for that.
BEEP. A light and sounds emanate from Cameron's bag.
SERGEANT STEVENS (CONT'D)
Is that what I think it is?
Young Cameron sets down the violin and reaches into his bag
and pulls out a small PC tablet pad.
SERGEANT STEVENS (CONT'D)
I thought it was broken.
CAMERON
Just out of power. Found a usable
solar cell in the gas station. Must
be fully powered up now.
Cameron types in a code that opens to the main screen.
Cameron squints at the screen.
SERGEANT STEVENS
What is it?
CAMERON
Orders.
SERGEANT STEVENS
Orders? The war over?
CAMERON
Yeah.
SERGEANT STEVENS
So we go home?
CAMERON
You know there's no home to go to.
No, this is something else. Time to
pack up. We've got marching orders
and very little time to complete
them.
CUT TO:
INT. HALLWAY - FACILITY - NIGHT
Cameron lies, passed out, half way in, half way out of his
quarters. He's semi-conscious, drunk off the small amount of
alcohol his rejuvenated liver has ingested.
A FIGURE appears, looming over him. Through his fuzzy eyes we
see their outline, but not their face.
CAMERON
Jane? Jane is that you?
The Figure helps Cameron to his feet.
CAMERON (CONT'D)
I don't think I've been this drunk
before.
The Figure helps Cameron to his bunk.
CAMERON (CONT'D)
What hell am I doing here? I just
want to go back. Just let me go
back.
Cameron passes out.
CUT TO:
INT. DINING HALL - FACILITY - DAY
The room is cafeteria style, looking much like a prison but
with a happier air to it. Multi-generational families sit
eating together, enjoying their morning meals.
Ilia and Elisabeth sit eating what looks like oatmeal and
chatting.
Cameron enters the hall, obviously hung over from the night
before. He looks around and heads to the line where people
are waiting to get food. Ilia takes note of him and gets up
to meet him in line.
He's just gotten a tray and is moving in the line
tentatively. He can see that all eyes are on the newbie.
ILIA
Get a good nights sleep?
Cameron nods.
ILIA (CONT'D)
Good. That's good. You look ill.
Are you feeling all right?
CAMERON
I'm fine. Must be the lights, fresh
out the box kind of thing.
Ilia nods. Cameron picks at various food in the line, not
particularly interested in talking to Ilia. She can sense his
hesitation.
ILIA
Well... Lizzie and I are sitting
over there if you feel like
company.
Ilia points over to Elisabeth who is waving at Cameron. He
meekly waves back. Ilia heads back to where Elisabeth is
sitting.
Cameron scans around again to see everyone looking at him,
especially the two larger Security men who are eating and
staring intently at him.
In the corner of the cafeteria he sees a small GROUP OF FOUR
pale looking people staring at him more boldly and intensely
than the others. One face stands out to him more than the
others. We see Cameron's mind flash to Paul as a child on the
Inside.
He returns back to the food line. He's finally hit the
portion of the line where large pitchers are filled with a
thick green liquid. He lowers his head down and takes a
whiff.
KARIM (O.S.)
It looks worse than it tastes.
Cameron looks up to see KARIM, a pleasant looking women in
her thirties who is on the other side of the line from him.
CAMERON
Is it?
KARIM
Most of the food is pretty good,
but it's just so you'll tolerate
this vitamin mixed sludge. You have
to have at least an 8 ounce glass
of it every meal or you start to
feel sickly.
Cameron grabs a glass and pours the sludge into it, with a
look of mild disgust.
KARIM (CONT'D)
(smiling)
Maybe you should take a little
extra one. You're a big guy, could
use it.
Karim hands him a smaller glass with some of the green sludge
in it. Cameron takes it, smiling, as he heads towards
Elisabeth and Ilia.
KARIM (CONT'D)
(calling after)
You don't remember me, do you?
CAMERON
I'm sorry. I haven't really met
anyone yet.
KARIM
No, I don't mean these people. I
mean, from before.
Cameron squints at her, not understanding. We flash to his
mind, where the image from last night becomes unfuzzy and we
see that it was Karim who helped him last night, lightly
kissing him on the lips.
KARIM (CONT'D)
What do you remember?
CAMERON
I uh... last night?
KARIM
Yeah, but I mean back when we were
intimate... before we were both put
into the Inside. I tried to get
added to your pod, but they
wouldn't do it.
CAMERON
I'm sorry... I don't...
KARIM
It's OK if you had someone on the
Inside with you. I did too, but I
can't get him out either. I haven't
been with anyone in months. And
with how sickly these people are,
I'd rather be familiar with someone
I've all ready been with.
Cameron is getting extremely flushed and confused.
KARIM (CONT'D)
You really don't remember me do
you?
CAMERON
And we, uh, we used too...
KARIM
Have sex?
CAMERON
Yeah.
KARIM
Yes. Yes we did.
CAMERON
Um... I'm married.
KARIM
Tell you what, how about you have a
nice breakfast, get situated and we
talk about this later?
Karim touches Camerons hand lightly before heading over to
sit with the group of four that Cameron was looking at
earlier. Cameron heads to sit with Ilia and Elisabeth.
ELISABETH
Hi Cameron! Do you remember me?
CAMERON
Elisabeth, right?
ELISABETH
Yes! Have you watched your videos?
ILIA
We shouldn't ask him about his
videos, Lizzie. It's not polite.
ELISABETH
But moooommm. You told me to ask.
Cameron smirks as Ilia is embarrassed.
CAMERON
Videos? I only saw the one?
ILIA
Most people have multiple. You
probably just missed the click bar
at the bottom.
CAMERON
(nodding)
It was good, Lizzie. It was.... a
bit rattling, but good. To see
myself.
ILIA
Shake any of the cob webs loose?
CAMERON
(shrugs and shakes his
head)
Enough. Everything is becoming
clearer, but still very much
intermixed right now. The place I
was before here...
ILIA
Inside. That's what we call it.
CAMERON
What is that?
ILIA
It's a construct that was built
just before the Great Hibernation
at the end of the War. A place to
store what was left of humanity
until the time was right.
CAMERON
For what?
ILIA
For when the Earth has healed
itself enough to sustain us. Most
of the breathable atmosphere of the
planet was gone. It's lifeboat and
a tree of life. It's one of twelve
plants terraforming the planet
right now, creating a whole new
Garden of Eden for humanity. "We
are imprisoned in the realm of
life..."
CAMERON
(cutting her off)
"...like a sailor on his tiny boat,
on an infinite ocean."
ILIA
(smiling)
That's right.
Cameron nods his head.
CAMERON
And why is everyone staring at me?
Ilia looks around and sees everyone staring at Cameron.
ILIA
They're staring at you because
you're new. Not a lot of new faces
on the Outside.
CAMERON
(motioning to the group of
four)
And what about them?
ILIA
They're like you. From the inside.
Do you recognize any of them?
Cameron stares hard at Paul, his mind flashing to Paul as a
child again. Cameron shakes his head "no".
ILIA (CONT'D)
Give it time. It'll come back to
you. I can introduce you if you
like?
SPENCER(O.S.)
Why don't you introduce me?
SPENCER, one of the biggest men among those on the Outside.
Ilia is less than thrilled to see Spencer.
ILIA
Spencer. This is Cameron.
Cameron nods at Spencer.
SPENCER
I'm not worthy of a full handshake?
Cameron stands and shakes Spencer's hand. It's a two dog
showdown, but Cameron is so serene in his expressions you
wouldn't know it.
SPENCER (CONT'D)
You have a firm handshake. Good.
Being a tub baby hasn't overly
diminished your strength.
Cameron smirks.
SPENCER (CONT'D)
Ilia, I hope I'll see you at the
meeting tomorrow night?
ILIA
I don't think so, Spencer.
SPENCER
Come now, Ilia. You're the guest of
honor!
ILIA
(sighing)
We'll talk later, all right?
SPENCER
Yes. I'm sure we will. Good meeting
you again, Cameron. Look forward to
seeing you around.
Spencer leaves. Cameron watches Spencer as he leaves. Spencer
works the crowd like a true politician. Shaking babies and
kissing hands.
CAMERON
Who was that?
ELISABETH
He's a douche, right mommy?
ILIA
Lizzie, manners.
Ilia nods that Elisabeth was correct.
ILIA (CONT'D)
We don't see exactly eye to eye.
And more eyes are looking at him
than I'd like. He's pushing to get
us out of here ahead of schedule.
CAMERON
And when is that?
ILIA
Fifty years from tomorrow.
CAMERON
Yeah, I can see how that might be a
problem for some.
Cameron gaze carries him over to Karim, who is sitting at
another table. They lock eyes for a minute. We see Cameron's
mind drift off to Jane for a moment.
CAMERON (CONT'D)
(to Ilia)
Can I see Jane?
CUT TO:
INT. CAMERON & JANE'S HOUSE - INSIDE - DAY
The house is a plane wood cabin one would find in the old
west. The stove is crackling with a fire.
Jane is sitting by a window painting the a landscape of the
rolling mountains. It's a beautiful piece, very skilled for a
160 year old woman in a ten year old's body. She sees Cameron
come over the horizon and smiles. Then Paul appears and it
turns to more of a scowl.
Cameron enters through the front door and Jane runs to meet
him, jumping into his arms and kissing him.
JANE
You're home.
CAMERON
So are you.
Cameron puts her down again. Paul waits patiently at the
door.
JANE
Paul. How are you? You staying for
dinner?
PAUL
No. I think not. Thank you for the
invitation Jane but I have a prior
engagement. I'll see you both in
the morning.
Paul exits, heading back down the hill.
JANE
That guy bugs me.
CAMERON
This again.
JANE
You don't see it?
CAMERON
See what? He seems the same as he's
ever been.
JANE
Which wasn't bad enough to begin
with?
CAMERON
What's that supposed to mean?
JANE
You just don't see it cause you
raised him.
CAMERON
I raised all of you, Jane. Don't
forget. You've know him a hundred
and fifty years Jane. He's fine.
His feral days are over. Trust me.
Cameron looks over and sees her latest painting.
CAMERON (CONT'D)
(walking over to her
painting)
Is this your latest? It's a
wonderful abstraction.
JANE
Cameron...
CAMERON
I love what you're doing with the
colors.
JANE
Stop changing the subject. I'm not
bringing this up just now and you
know it. Whatever is wrong with him
is getting worse.
CAMERON
Look, he's my oldest friend. He
seems fine to me. A bit
contemplative right now, but fine.
Janes looks down shaking her head. Cameron raises her chin
with his hand. Cameron kisses her.
JANE
You know, this was supposed to be
an anniversary gift.
CAMERON
Has it all ready been...
JANE
Sixty-eight years next month.
CAMERON
I love you.
JANE
I love you too.
CUT TO:
INT. CONTAINER ROOM - THE FACILITY - DAY
Cameron sits on a chair next to the container that holds
Jane.
He stares at her closed eyes, touching the clear wall of her
container affectionately. Ilia stands to the side, watching.
CAMERON
She looks... different...
ILIA
It's the amniotic stasis. It slows
aging by a factor of twenty. On the
Inside she would look like she did
when she was encapsulated. That
would make her...
Ilia does the math in her head. As she does, she looks at how
Cameron sits touching the container lovingly. She realizes
what he's talking about and suddenly becomes embarrassed.
ILIA (CONT'D)
Oh... you two were...
CAMERON
It didn't start out how you're
thinking. Our bodies may age slowly
out here, but on the Inside...
we're still aging in mind. I don't
know when it happened but at some
point she... evolved. From just a
little girl to a full grown person.
She can be really stubborn at times
too. This one time....
Cameron looks over at Ilia and sees her discomfort with the
discussion. Children are still children on the Outside. Sage
enters, giving Cameron an excuse to change the subject.
CAMERON (CONT'D)
Can we wake her? I mean, bring her
to the Outside.
ILIA
I'm sorry. We can't. To lose
another person would affect the
symbiotic balance too greatly. You
see this screen?
Ilia points to the monitor that shows Jane's vital
statistics, as well as her number in the placement of her
pod.
ILIA (CONT'D)
This number, is her number, inside
your pod of one hundred fifty
people.
That pod is just one of sixty-six
other pods that form up the entire
facility. We've all ready pulled
three from your group. We pull out
any more and the fabric of your
reality will come undone and we
lose everyone in your pod.
CAMERON
Fabric of reality?
SAGE
To save power we use part of your
brain to create the digital
architecture. Is any of this
ringing a bell yet?
CAMERON
I was a soldier Sage. And you're
using a lot of S.A.T. words.
SAGE
What's an S.A.T.?
ILIA
Point is, we pull her, we risk
losing everyone. We probably
shouldn't have even have woken you.
CAMERON
Then why did you?
Ilia looks over at Sage as if for an answer. He motions that
she tell him.
ILIA
Not a lot of options. We lost a few
people unexpectedly. Weren't able
to cover all out terminals with
limited labor. Short too many
people on the Outside...
CAMERON
And the Inside falls apart.
ILIA
There was no malicious intent in
this, Captain.
CAMERON
Then why not pull one randomly from
each pod then? Why so many from
just this one?
Ilia looks back over at Sage for help.
SAGE
Captain. Do you mind joining me in
the training room?
CUT TO:
INT. TRAINING ROOM - THE FACILITY - DAY
The training room looks like a boxing gym from the 1920's.
There is no digital equipment. Everything is made of hearty
material that's meant to last forever. In the center is a UFC
style fighting octagon. Cameron and Sage are in the ring,
dressed to fight. Sage is having a member of his Security
detail put on his gloves, as another puts them on Cameron and
wrap him with a pad on his stomach to cover his umbilical
attachment wound.
CAMERON
I'm really not sure if this is such
a good idea. I can't remember the
last time I was in a real fight.
SAGE
Part of the protocol is to return a
person to the duties they had
before they were put Inside. Helps
to jog the memory. And according to
your file, Captain, your primary
duties were to train and maintain
the internal security force. The
one you dropped so easily 30
seconds after waking up.
CAMERON
That was just a fight or flight
reflex.
SAGE
(smiling)
Well, your fight reflex seems to
work really well. Don't worry, I'll
go easy on you.
The two come to the center and touch gloves. They move around
each other slowly, Sage with his gloves up at the ready,
Cameron with his hands at his side.
Sage lunges. The two fight, MMA style. It is clear that Sage
is skilled, but he is out matched by Cameron.
SAGE (CONT'D)
Not bad, for a hundred and eighty
year old.
CAMERON
I teach a Thai Chi class daily.
SAGE
Oh really?
Sage waves for the Two Security that had been watching join
in to the fight. Cameron handles all three easily. He's used
to being out numbered.
We pull back through a vent in the wall and see Paul watching
as Cameron fights two men.
CUT TO:
EXT. HIGHWAY - THE PAST - DAY
Paul watches the road, hiding behind a desolate RV. Across
from him on the other side of the road we can see the
Sergeant and his men hiding as well. To his right is Cameron,
checking his AR-15 as well as a few TEENAGERS WITH AUTOMATIC
WEAPONS.
CAMERON
(whispering)
When they come through, I want
Samovar, Deacon and Jeffords on me.
The rest of you stay here and for
god sakes don't shoot unless you
know what you have in your sights.
You've each only got a few rounds
so make them count. Shoot whoever
has a gun first. Paul, you stay
here, you understand me. Paul? Paul
are you listening?
Paul turns around to face Cameron.
PAUL
(whispering)
I can see them coming.
Cameron looks down the road he sees a CARAVAN: an old army
truck being pulled by horses down the road. It's a collection
of highway bandits, some carrying guns others carrying
machete's and axes. Behind the caravan trail slaves tied to
the truck. Mostly young girls, no older than fourteen, but a
few men as well.
Cameron uses hand signals to motion everyone to get into
place. He looks across the road and locks eyes with Sergeant
Stevens. The two nod at each other.
The Caravan crosses between the two teams. Cameron puts a
whistle in his mouth and blows.
BANG. The two teams open fire on the Caravan. Their ammo is
quickly expelled as they hit the bandits carrying guns.
Cameron double whistles and the two teams advance, screaming
and wielding their weapons.
A bandit runs and grabs a rifle from one of his fallen
compatriots and shoots at Cameron, the bullet whistling past
him and instead hitting the Samovar in the chest. Cameron
dives in and fights.
Cameron takes on three men at once, similar to how he did in
the Facility Training Room. Paul watches intently and FLASHES
back and forth. The fight styles are the same, save Cameron
has his trusty baton on the Highway.
CUT TO:
EXT. HIGHWAY - THE PAST - LATER
The battle has ended. Cameron and his side have won. Cameron
is staring down at the body of Samovar and Jeffords. Paul
stands next to him, looking down at the bodies. Sergeant
Stevens enters.
SERGEANT STEVENS
Our take looks pretty good. Fifteen
dead bandits. Rations. Ammo. And we
got twenty new civilians to take
with us. And it only cost us two
greens. Not bad at all.
CAMERON
Right. Not bad.
Cameron picks up his head.
CAMERON (CONT'D)
Unhook the horse. Load it up with
whatever you can, distribute the
rest to new civilians and let's
keep moving.
SERGEANT STEVENS
Sir, the truck has got more than we
can possibly carry. We shouldn't
just leave it.
CAMERON
Are you interested in getting
ambushed, Sergeant?
SERGEANT STEVENS
No sir.
CAMERON
Cause that's what the truck is. An
ambush waiting to happen. We need
to stay nimble and light. One well
placed RPG and we're toast.
SERGEANT STEVENS
Rocket propelled grenades? But sir,
we haven't seen one of those in
months.
CAMERON
(angrily)
This isn't a discussion, Sergeant.
It's bad enough we have to shepherd
these people across this fucking
wasteland, I'm not about to let you
question my judgement. Just get it
done.
Sergeant Stevens nods and walks off. Cameron looks over at
Paul.
CAMERON (CONT'D)
Grab your stuff. We're moving out.
Paul nods. Cameron heads off to instruct the rest of the
group.
Paul runs over to where they were hiding before and grabs his
belongings. He looks over at the truck and Cameron talking to
people. He then sees a hand gun that's under the truck that's
been overlooked. He looks around, like a child who knows he's
about to do something bad, and runs toward the gun.
CUT TO:
INT. TRAINING ROOM - THE FACILITY - DAY
Paul is still watching, with the intense look he showed to
the gun focused on the fight. He recedes back into the
shadows.
The fight is winding down. Sage finally lands a blow to
Cameron's stomach that truly hurts Cameron and he falls back,
tapping out.
SAGE
(gasping for air)
What? Had enough?
The other Security personnel are bent over gasping for air.
None of them have fought that hard in a long time.
CUT TO:
INT. TRAINING ROOM - THE FACILITY - LATER
Security Guard #1 unlaces Cameron from his gloves as Sage
leans against a set of lockers. The tension that was between
them is gone, like kids on a playground. Cameron looks up to
see Sage running his hand over his three day stubble while
maintaining a piercing gaze at Cameron.
SAGE
I know we rushed you a bit with
your umbiblical injury and all, but
with the meds your on you should be
healed in a few days.
CAMERON
You tell that to all the guys you
beat up?
SAGE
Just the ones that can handle it.
I'm sure you've had a lot worse.
CAMERON
Not for a very long time. There
were plenty of times though I was
pretty out numbered.
SAGE
Oh yeah? I'd love to hear about
them some time. My father used to
tell me stories about the war. You
know, oral history kind of stuff.
I think he named me Sage cause he
thought that when I would tell the
stories it would sound more
"profound".
CAMERON
So you like story telling?
SAGE
Like? I love it. I don't do it as
much any more with everything going
on but a good story connects you
like nothing else.
CAMERON
Why do you look so familiar to me?
SAGE
I have that kind of face?
CAMERON
No. It's just.... This is going to
sound ridiculous, but my sergeant
used to do that very same thing
with his hand.
Cameron mimics Sage's hand movement against his face.
SAGE
Really? What was his name?
CAMERON
Aaron Stevens.
Sage laughs out loud.
CAMERON (CONT'D)
What?
SAGE
Would you believe that was my great
great-grandfathers name?
CAMERON
(squinting)
Well, you're not exactly the
blackest guy I've ever met...
SAGE
(laughing)
I don't even know what that means.
CAMERON
Black. You know. BLACK.
Sage just stares back.
CAMERON (CONT'D)
I guess stereotypes don't really
exist around here.
SAGE
What was he like? I'd love to hear
everything you know about him.
CAMERON
He was a good man. Good soldier to
have at your back.
SAGE
We'll have to have a drink some
time and you can tell me all about
it.
CAMERON
Yeah. A drink. Fun.
SAGE
Good to see your memory is coming
back. A lot of the ones we pulled
out were so young when they went in
they don't remember anything but
the Inside.
CAMERON
How many people have you had to
pull out?
SAGE
Five, including you.
CAMERON
Five? You've had five people leave?
SAGE
Leave?
CAMERON
Yeah. Ilia said you had lost
people. I assumed that meant they
went one of the other facilities?
SAGE
No, captain. We've been out of
touch with the other facilities for
better part of fifty years.
CAMERON
Ok, so, what happened to everyone
then?
SAGE
They died.
CAMERON
Died?
SAGE
Yeah.
Sage furrows his brow and finishes unlacing Cameron. Cameron
has stepped into territory that Sage doesn't want to share
yet.
SAGE (CONT'D)
Would you be open to training my
men as part of your duties now that
you're out here?
CAMERON
Sure. But why? With only so few
people do you really need a
security force?
SAGE
Yes and no. We've grown soft. No
one has seen a real fight outside
of that ring in a long time. They
need training in the unevenness of
a real fight, not just from
sparring. They need to get
toughened up a bit.
CAMERON
All right. But part of my duties?
CUT TO:
INT. HALLWAY - THE FACILITY - DAY
Ilia walks with Cameron down the hallway.
ILIA
Everyone works. We all rotate jobs
every month so that in the event
someone is incapacitated another
can take over and fill the gap.
Sage said you were asking why we
pulled you out?
CAMERON
Yes.
ILIA
Normally, we have enough overlap in
people to fill the various needs of
each job. But since we lost a few
people, the vacuum could not be
filled with the current population.
Too many kids, not enough adults as
it were. Hence, pulling you out,
Captain. Here we are.
Ilia takes Cameron through a hatch. Above the hatch reads a
sign that says "Main Control Room".
CUT TO:
INT. MAIN CONTROL ROOM - THE FACILITY - DAY
The room is filled with various screens, gauges and
keyboards. It feels like the cross between an air traffic
control tower and a submarine command center. There are
several workers monitoring different airs labeled things like
VENTILATION, WATER, SOLAR, GEOTHERMAL and METHANE.
ILIA
This is the main control room.
There are several other smaller sub
units around the facility, but this
is where all the information comes.
Ilia leads Cameron over to the Methane Control area, where
HORACE and IGNOBEL sit at computers with all manner of gauges
for the system around them. On a larger screen, the layout of
the Methane Storage is displayed tracking power distribution.
ILIA (CONT'D)
This is Horace and Ignobel. They're
on rotation for methane control. We
harvest our own waste for it's
methane gases and us it as heating
source. This is going to be the
first station you train in.
CAMERON
Nothings run by robots anymore?
ILIA
If everyone on the Outside let
robots do all the work we'd just
end up right back where we were
when the war started. I leave you
in good hands.
Cameron nods and Ilia leaves. Cameron sits down to begin his
instruction. He stares at the screen while Ignobel and Horace
stare at him. Cameron looks back, catching them in the act.
CAMERON
Can I help you?
HORACE
You're a lot older than the other
ones?
CAMERON
Fantastic.
CUT TO:
INT. HALLWAY - THE FACILITY - DAY
Cameron exits Main Control, having finished his first day of
work. He looks both ways down the hall.
CAMERON
Now, where the hell are my
quarters?
Cameron turn his head back the opposite direction and Paul
appears before him.
CAMERON (CONT'D)
Whoa. You startled me. Wait... do I
know you?
PAUL
I hope so. It feels like it's been
a long time Cam. You look... kind
of different...
CAMERON
Paul?
PAUL
Different out here, isn't it?
Unreal, really. I guess a hundred
and fifty years in a lie will do
that to you.
Cameron approaches Paul, studying his face. Is this the child
he lead to safety?
PAUL (CONT'D)
It's me, Cam. It's me.
Cameron smiles and embraces his friend, half in tears.
CAMERON
I thought I'd never see any of you
ever again.
PAUL
It's OK, Cam. It's OK.
CUT TO:
INT. FACILITY HALLWAY - CONTINUOUS
Paul leads Cameron down the corridor.
PAUL
I've been out for about three
months now. I was the first of all
of us. They told me the last guy
just sort of fell apart.
CAMERON
Fell apart?
PAUL
Like his body just shut down. You
look around at these people?
They're not exactly the picture of
health. Smaller, weaker than us.
CAMERON
How old was he?
PAUL
Forty-five.
CAMERON
That seems a little young.
PAUL
You're telling me. People don't
last very long out here Cam. Their
life spans are way shorter than
they should be. There's got to be
something wrong otherwise people
wouldn't be dying.
CAMERON
There's more people dying?
PAUL
More than they want us to realize.
Paul stops and makes sure the coast is clear. He then squats
down and removes a vent cover.
PAUL (CONT'D)
After you.
Cameron crawls in, Paul following close behind replacing the
cover.
INT. JUNCTION TUBE - THE FACILITY - CONTINUOUS
Cameron crawls through and comes out into an open area where
others from the Inside wait. Karim waits as does NETA, SARAH,
and IAN, all in their twenties.
NETA
(approaching Cameron)
This him??
PAUL
Yeah, Neta. This is him. Cameron,
this is Neta and Ian. They're from
pods 24 and 53. I think you all
ready know Karim. And over in the
back, is Sarah. You remember her?
Cameron looks over at Sarah and in his minds eye, we flash to
the young version of Sarah, dancing around a campfire.
Cameron shakes his head, "No."
IAN
He looks smaller than I was
expecting. You made him sound so
big?
PAUL
I was six on the inside guys. He
looked like a giant to me.
SARAH
How's he supposed to help us get
out?
CAMERON
Get out?
KARIM
We all want to leave, Cam.
IAN
The filth of this place, the metal
walls, staring at computer screens
all day. It's not human.
NETA
We need to get out of here. We
can't take it anymore. It feels
like I'm tied to a stone at the
bottom of a lake.
IAN
I thought you said this guy was
going to help us? I thought you
said he was gong to get us out of
here? I THOUGHT THIS WAS ALL PART
OF A BIG PLAN, PAUL!
PAUL
Calm down Ian! He will Ian, he
will.
CAMERON
Get you out of here?
PAUL
A hundred and fifty years in open
country, living off the land, free
to wander the country side as we
please. And now to be caged like
some kind of animal.
KARIM
We can't live like this much
longer, Cam. I'm a stones throw
from clawing at the walls.
IAN
You have to talk to Ilia. You have
to.
PAUL
You see how weak and frail these
people are. We can't stay in this
place much longer. Not without
turning into one of them.
KARIM
They're suffering Vitamin D
definiency.
The lights aren't enough anymore.
They need natural sunlight.
CAMERON
But it's not safe outside. Ilia
told me.
PAUL
You really trust that woman over
me. Let me show you something.
Paul leads Cameron away. As he does, Cameron looks over and
eyes Sarah who has remained eerily quiet the whole time.
CUT TO:
INT. FACILITY GATE - THE FACILITY - CONTINUOUS
Paul and Cameron stand in front of a giant door with a
control panel next to it.
CAMERON
What's this?
PAUL
This, is the way out. Two foot
solid metal. No idea how much the
thing weighs. Only way to open it
is through that panel. This door is
set on a timer that won't open it
for another fifty years.
CAMERON
And you haven't tried to hot-wire
it?
PAUL
I can't even begin to guess how.
And even if I knew, I get this
wrong, we're locked in forever.
It's solid rock around everything
else.
CAMERON
What about the glass in the
arboretum?
PAUL
It's not glass. It's one foot thick
transparent titanium. There's
nothing in this place that can cut
through anything like that. I've
looked. We need to convince Ilia.
She's their leader. No one will
touch it without her say so.
CAMERON
And what makes you think I can
convince her?
PAUL
She's family, Cam. She's your
family. An family do for one
another, right?
CUT TO:
INT. CAMPFIRE - INSIDE - NIGHT
The people of the village dance to the band around a campfire
in a clearing between the field and the barn. Food is being
cooked and everyone is in great spirits. Cameron walks around
the different groups, checking in with everyone to see that
they are having a good time.
CAMERON
(sitting down next to
Jane, a plate of food in
his hand)
Things seem to be going well. This
maybe be our best fall festival in
years.
JANE
What do you have for me?
CAMERON
Corn bread, steamed okra, beans,
and if you're very good there might
be some cobbler for desert.
JANE
You spoil me.
Paul ambles around the edge of the group, eyeing one of the
girls, SARAH, as she dances. His eyes trace her body as she
dances beautifully to the bands music. His eyes drift from
her to Cameron and Jane in their intimate embrace. Jealousy
is clear across his face.
CAMERON (V.O.)
We've had an amazing season,
haven't we everyone?
CUT TO:
INT. CAMPFIRE - INSIDE - LATER
Cameron stands in front of the gathering on the stage where
the band has been playing.
CAMERON
You've finished planting a week
ahead of schedule. The grain silo
has been repaired and we are
prepped for the winter in time to
make this amazing fall festival.
It's been a hundred fifty and
years, and we're still here. Fifty
more is all we need. Fifty more and
we return to reality, prepared and
ready for whatever is thrown at us.
You are amazing people and I thank
all of you. Have a great time
everyone!
Everyone applauds, save Paul who stares blankly. Cameron
picks up a violin and joins the band in the dance music
again. Paul approaches Sarah, tapping her on her side because
he can't reach her shoulder. Sarah turns around, looking down
at Paul.
PAUL
Sarah. I'd be honored if you would
dance with me.
SARAH
(smiling uncomfortably)
Uh, sure.
Paul leads Sarah to the dance area. He holds her awkwardly as
she towers over him. At nearly a foot taller than him, she
looks around awkwardly as he stares up at her face.
PAUL
You are very beautiful.
An awkward smile is Sarah's only response.
Jane ambles around the outside of the dance circle, taking
special interest in Paul and Sarah.
PAUL (CONT'D)
If you're open to it, some time I
would like to take you on a picnic
in the woods.
Sarah stops dancing.
SARAH
Paul, I don't want to give you the
wrong idea, and I thought you'd
would have gotten this by now, but
I'm not really interested in you in
that way.
PAUL
But I thought...
SARAH
You're a very nice boy, and I
appreciate your friendship but
I'm...
PAUL
I'm not a boy. I'm a hundred and
fifty six years old.
SARAH
I just meant you're, well, too...
small for me...
PAUL
How is that?
SARAH
Uh... in... I mean I'm sure
everything works fine, but I'm
pretty sure it's no where near big
enough.
From a distance Jane sees the trouble brewing as Paul's face
turns red from anger and embarrassment.
JANE
Anyone mind if I cut in?
PAUL
Yes, I do. I may be in the body of
a child, but I'm adult enough to
know when I'm being patronized.
Paul storms off, with Jane in hot pursuit.
JANE
Paul... Paul.... PAUL.
Jane catches him a short distance from the campfire.
JANE (CONT'D)
I know what's bothering you!
Paul stops dead in his tracks.
JANE (CONT'D)
I know how bad you want to connect
with someone.
PAUL
Do you.
JANE
I do.
Jane squats down to speak to Paul.
JANE (CONT'D)
Before Cam, I thought I'd die of
loneliness in here. Eventually we
came together, It only took seventy
five years, but it happened. It'll
happen for you too. You just can't
let your size get in the way.
Paul shoves her, knocking her off balance onto her back.
PAUL
(leaning over her)
Next person to mention my size
doesn't get off so easily.
Paul turns and walks away.
Jane returns to the circle and sits down with Cameron. She
cuddles up tight next to him. In the distance she can see
Paul's figure fading into the black as he heads out to the
woods.
SPENCER (V.O.)
You've dreamed of the outside
world. You can see it in your minds
eye!
CUT TO:
INT. DINING HALL - THE FACILITY - NIGHT
Spencer stands atop a bench in the dining hall, drumming up
support from the a large group of other Outsiders who are
cheering him on.
Ilia stands at the back by the entrance, watching the goings
on. Cameron appears next to her. (As they speak, Spencer
continues to talk in the background.)
CAMERON
This a usual event around here?
ILIA
More and more. Everybody wants out.
They don't know why, but they want
it. Been brewing something fierce
as of late.
CAMERON
And you don't want it.
ILIA
I want it. I want it like everyone
else. But it doesn't make sense to.
We're better off in here.
CAMERON
You really think that?
ILIA
This isn't just a facility to house
us, it's terraforming the planet.
That wasteland you remember is
getting transformed into
rejuvenated planet as we speak.
There are unpredictable cataclysmic
weather shifts going on outside.
Shifts that people who have spent
their entire lives inside a box
wouldn't be able to handle. We
still have fifty years left on the
timer. The safest bet for us and
the entire human race is to wait.
CAMERON
Even if that means you never get to
see the true Outside?
ILIA
Can't miss a place you've never
been.
SPENCER
(pointing at Ilia)
And she would have to spend your
whole life trapped inside this
coffin. While the real world has
healed outside, she would leave you
to miss the opportunity to venture
into the Outside and make your own
life.
This really gets the crowd fired up.
SPENCER (CONT'D)
What do you have to say for
yourself Ilia?
ILIA
What would you have me say Spencer?
SPENCER
Tell these kind people why you keep
them here, chained to people who do
not know what they miss.
ILIA
And do what with them Spencer? Let
them die. Because that's what would
happen if we left. They would all
die.
SPENCER
Not if we woke them up.
ILIA
To what? Say you're wrong. What
happens if we open that door, the
world is not what you expect it to
be and we can't close it? We
haven't heard from any of the other
stations in years. We have no idea
what happened to them. They might
have tried exactly what you're
suggesting and been wiped out.
SPENCER
You're feeding on everyone's fears.
ILIA
And how fearful do you think the
10,000 sleeping Insiders will be
when they wake up? They're scared
like children.
CAMERON
That's not entirely true.
Everyone's attention turns to Cameron.
CAMERON (CONT'D)
They want out, just as much as
these people.
ILIA
And how do you know that?
CAMERON
They told me.
We can see in Ilia's that this is not a response she was
expecting from Cameron.
BUZZ. A whirring light and a buzzer go off in the dining
hall.
CAMERON (CONT'D)
What the hell is that?
ILIA
Everyone to their stations! Now!
People scatter, running to their assigned stations.
ILIA (CONT'D)
Come on.
CUT TO:
INT. HALLWAY - THE FACILITY - CONTINUOUS
Ilia and Cameron run down the hallway. Ilia holds a radio in
her hand.
ILIA
(Into the radio)
Report!
RADIO VOICE
We've got a problem in methane
storage.
INT. MAIN CONTROL - THE FACILITY - CONTINUOUS
Ilia and Cameron enter. Horace is clicking around on his
computer screen, trying to search out the problem.
ILIA
What's wrong?
Ignobel grabs a nearby phone and dials down.
HORACE
We're showing a backup in the
pressure system.
ILIA
Switch control to this station.
HORACE
I can't! I'm locked out. We're
going to need a manual release.
ILIA
How long to do we have?
HORACE
At the rate the pressure is
building, I'd say we've got about
ten minutes before the facility
goes down.
IGNOBEL
I can't raise anyone down there. No
ones' picking up.
ILIA
Who's scheduled to be down there
right now?
IGNOBEL
Hendricks.
ILIA
Bring up the feed on camera twenty
six.
Horace hits a few key strokes and the video feed of Methane
Storage pops up. The body of HENDRICKS can be seen lying on
the ground. He's bloodied, but moving.
IGNOBEL
Oliver's on the line down in
container storage.
Ignobel holds out the phone for Ilia who hesitates to take
it. Too many bad things are happening at once. Cameron takes
the phone.
CAMERON
Report.
OLIVER (V.O.)
It's Oliver down in container
storage.
CAMERON
Yes. Oliver. Go ahead.
CUT TO:
INT. CONTAINER ROOM - THE FACILITY - CONTINUOUS
Oliver watches over the vast room as lights flicker and the
Insiders in the containers are convulsing.
OLIVER
Everyone in the containers are
shaking like their being
electrocuted. And their vitals are
tweaking in a way I've never seen.
What do I?
CUT TO:
INT. MAIN CONTROL - THE FACILITY - CONTINUOUS
Same as before.
CAMERON
He says everyone is convulsing. Are
they having seizures?
ILIA
Probably. If they're coming out of
the construct improperly cause of
the power drain, it might.
CAMERON
It might?
ILIA
I don't know! This has never
happened before. Not in the entire
history of...
CAMERON
Then tell them what to do.
Ilia is frozen for a moment. Cameron steps closer to her and
whispers in her ear. Ilia takes a deep breath and then takes
the phone from Cameron.
ILIA
(Into phone)
Oliver, I want you to grab as much
of the shine from the granery as
you.
OLIVER (V.O.)
The shine?
ILIA
Do it now! I'll be there shortly.
Ilia hangs up the phone.
ILIA (CONT'D)
Ignobel, call Sage. Tell him to
meet Horace and Cameron down in
storage with a med kit. I'm heading
to the container room to help
Oliver. And keep trying to reroute
control.
Ilia takes off running out of the room, followed quickly
Cameron and Horace.
CUT TO:
INT. HALLWAY - THE FACILITY - CONTINUOUS
Ilia splits off from Cameron and Horace as they each tear
down different hallways, yelling at people to get out of the
way.
CUT TO:
INT. METHANE STORAGE - THE FACILITY - CONTINUOUS
Horace leads Cameron in through another hatch. The ALARM and
WHIRLING LIGHTS fill the space. The room looks like a
brewery, with large tanks used to hold the methane gas. At
the end of the rows they see the body of Hendricks lying on
the ground not moving.
HORACE
You go check on him. I'll handle
this.
Horace runs over to a station to manage the pressure.
Cameron runs to Hendricks side. He checks for breathing,
which has stopped.
He then checks for a pulse which is absent. He immediately
begins rescue compressions. The alarm bells cease sounding.
CAMERON
Thanks for small miracles. Horace,
I need your help over here.
Horace's attempts to shut the system off are not working.
HORACE
And I need you over here now.
CAMERON
What do I do with him? His heart
has stopped.
HORACE
I need you NOW Grandpa.
Cameron's reluctantly leaves Hendricks side to join Horace.
CUT TO:
INT. CONTAINER ROOM - THE FACILITY - CONTINUOUS
Ilia runs into the room. Oliver is pushing a cart with jars
filled with a clear liquid into the room.
OLIVER
You sure this is going to work.
ILIA
No idea. But it's the only way to
get to them all at once. Come on!
Ilia and Oliver push the cart of our frame.
CUT TO:
INT. METHANE STORAGE - THE FACILITY
Same as before.
CAMERON
What do you need me to do?
HORACE
The green valve at the top of the
ladders on the tanks, I need you to
loosen them.
CAMERON
Which ones?
HORACE
You take the ones on the left. I'll
take the ones on the right.
Cameron and Horace tear off up the ladders, running along the
catwalk twisting the manual valves. Sage arrives with a med
kit, seeing Hendricks and running to his side.
SAGE
What the hell's going on!
CUT TO:
INT. CONTAINER ROOM - THE FACILITY
Ilia and oliver have reached their destination. It's a large
bin labeled "FOOD INTAKE". It's the size of a dumpster. They
pour the jars into the tank that has food particle scraps all
around it. They then close the lid and hits a large red
button next to it. It fires up with a jolt.
CUT TO:
INT. METHANE STORAGE - THE FACILITY
Same as before. Cameron and Horace race along shutting off
valves.
HORACE
(into his radio)
How we doing Ignobel?
IGNOBEL
(through radio)
That's good. Get the last tanks and
that should stop the chain
reaction.
The two twist the valves as fast as possible, like out of
control merry go-rounds. Sage performs CPR on Hendricks like
a mad man.
Cameron and Horace get the last of the valves. The whirring
red lights are replaced with a simple green light indicating
that normal pressure has been returned.
The two sit down and catch their breath. Cameron rolls over
and grabs the radio from Horace.
CAMERON
(into radio)
Ilia? You good? Is Jane all right?
CUT TO:
INT. CONTAINER ROOM - THE FACILITY - CONTINUOUS
We look at Jane's face, which is as serene as a Hindu cow. We
pan up to see Ilia and Oliver sipping from a little jar that
they missed in their mad dash.
ILIA
(into radio)
Oh yeah. We're good.
CUT TO:
INT. METHANE STORAGE - THE FACILITY - CONTINUOUS
Same as before.
ILIA (V.O.)
We're real good.
Cameron breaths a sigh of relief, only to have it replaced
with the methodical sounds of Sage still trying to save
Hendricks life with CPR.
CUT TO:
INT. METHANE CONTROL - THE FACILITY - LATER
Ilia, Sage, Cameron and Horace stand over Hendricks body.
ILIA
This is not good. What do you think
happened?
As Sage speaks, Cameron walks over and picks up the valve
from the container. He examines it.
SAGE
If I was to hazard a guess? The
burst valve over there looks like
it hit him in the chest, knocking
him of the catwalk. Probably died
on impact. How is everything back
in container storage?
As Sage and Ilia discuss, Cameron bends down to inspect the
body a little closer. He inspects the head wound, the arms,
and the fingers. He finds flesh under the finger nails and a
little blood.
ILIA
We used all the moonshine we had in
storage. Put everyone into nice
mellow state. Helped them ride out
the shock for the most part. We
still lost some.
SAGE
Captain? There something you care
to add?
We see Camerons mind flash to a forest on the Inside. He's
surrounded by animal carcasses flayed against trees.
CAMERON
No. No. Nothing. Is everyone all
right in Container Storage?
ILIA
We lost a pod. That's a hundred and
fifty people. Dead, cause of some
kind of seizure we've never dealt
with before.
CAMERON
Was it... was it Janes... I mean...
ILIA
No, Captain. No. You're wife is
fine.
CAMERON
I'd like to see her.
ILIA
Of course. Horace, will you show
the Captain...
CAMERON
I think I can find it myself.
Cameron turns away to exit. As he's walking away, we hear the
following:
HORACE
That's five. I don't know how we'll
keep this place running without
pulling someone else out.
SAGE
How are we supposed to pull out
anymore if people are going to keep
dying like this?
INT. CONTAINER ROOM - THE FACILITY - LATER
As Cameron enters the container room, stepping onto the
puddled floor, Outsiders drag the corpses of those died to
wheel barrows. Oliver is mopping up. Cameron surveys the
devesation.
CAMERON
What are you going to do with all
of them?
OLIVER
What we do with everyone when they
die. Grind them up and feed them to
the fish.
CAMERON
You can't be serious.
OLIVER
Yeah. Why? What did you used to do
with people?
CAMERON
Depends. Some people would be
cremated. Others, embalmed before
being put into caskets and buried.
OLIVER
In what?
CAMERON
The ground.
OLIVER
Seems like an awful waste of
resources.
Cameron looks over and sees Paul and Sarah standing in front
of Jane's container. Sarah's eyes meet with Camerons and she
walks off quickly, averting his gaze. Cameron walks over to
stand next to Paul.
CAMERON
What are you doing here?
PAUL
Same as you. Checking in on
everyone.
CAMERON
They fine?
PAUL
What little I know about this
stuff, yeah, I think so.
CAMERON
And Sarah? She okay?
PAUL
Yeah. Sure. Why wouldn't she be?
CAMERON
Seems a little.... withdrawn. Not
quite like I remember her.
PAUL
So you remember her now?
CAMERON
I'm getting there, yeah.
Cameron looks as if he has been caught in a lie, which he
has.
CAMERON (CONT'D)
Mind if I get a minute alone with
her?
PAUL
Sure. I'll just... go and check on
Sarah, then.
Cameron watches as Paul heads for the exit.
CAMERON (V.O.)
I just don't trust him anymore.
CUT TO:
INT. CONTAINER ROOM - THE FACILITY - CONTINUOUS
Cameron is now sitting on a chair in front of Jane's
container.
CAMERON
I know I should have probably felt
this way a long time ago... I don't
know... he's just.... I feel like
it's something I kind of knew a
long time ago, but never really
admitted to. Seeing him now and
everything that's going on. I feel
like it's all coming together. And
I'm going to have to do something
about it. I need to make sure that
you're safe. Saving humanity is all
well and good, but honestly, if I
ever lost you... I feel like I'd
just be.... broken....
DISSOLVE TO:
EXT. OUTSKIRTS OF A SUBURB - PAST - DAY
Cameron, Sergeant Stevens and their men stand on a hill
overlooking the left overs a rundown suburb. Paul stands near
them, watching and listening.
The suburb appears desolate and deserted. Grass grows up
through the pavement. It's been abandoned for years.
SERGEANT STEVENS
You sure this is a good idea sir?
CAMERON
Straightest route to our rendezvous
point.
SARGENT STEVENS
Yeah, but I thought we were trying
to avoid anything where we could be
ambushed?
CAMERON
The town stretches off for lord
knows how long in either direction.
And we don't have that kind of
time. Air quality is dropping
everyday, pretty soon we'll start
losing some of these kids.
The horse that was carrying all of their spoils suddenly
takes a last GASP and falls over dead. Cameron and company
glance over at the horse corpse then back at each other.
CAMERON (CONT'D)
We need to get to the facility
ASAP. If someone has a better idea
I'm all ears?
Everyone is silent.
CUT TO:
EXT. SUBURB - THE PAST - CONTINUOUS
The groups lead up the sides of the street. Moving
cautiously, the groups scurry between buildings. They've
collected a large number of people. Each group consists of
fifteen people or more. Cameron leads his group, with Paul
tagging along as always.
A member of Cameron's group, which is bringing up the rear,
falls faint. THREE REFUGEE GIRLS gather around her. One of
them is Sarah from the Inside.
CAMERON
What's wrong?
REFUGEE #1
She can't breath.
JANE
The air is too thin.
SARAH
We're not going to leave her are
we?
Cameron looks at Sarah, then at the faces of Jane and the
Refugee girl, taking in their request. Is this girl that
important?
CAMERON
No one get's left.
(to Jane & Sarah)
You two are with me.
(to an Armed Refugee)
You, take the group, catch up with
the one ahead of us. Move quietly
and swiftly.
The group heads off. Paul hangs back.
CAMERON (CONT'D)
Paul. Go.
Paul shakes his head.
JANE
What are you going to do?
CAMERON
I'm going to see if I can find
anything in these houses that we
can use to make a stretcher.
(hands them a whistle)
Blow on this if you have any
problems. Keep your eyes open.
Cameron heads off toward a house. Paul follows.
CUT TO:
INT. SUBURB HOUSE - THE PAST - CONTINUOUS
Cameron sneaks his way in through the back door of the house.
Light peaks in through the boarded up windows of the house.
It's eerily well kept. The furniture looking worn but well
maintained. He makes his way slowly through the house,
circling corners. Cameron makes his way up the stairs to the
second floor.
CUT TO:
INT. SUBURB HOUSE - THE PAST - PAUL
Paul has followed Cameron, sneaking in through a different
smaller hole than Cameron did. He can't quite make it
through, so he puts the gun he is carrying in first, then
crawls in after it. He picks up his gun, meandering through
the house.
CUT TO:
INT. SUBURB HOUSE - THE PAST - CAMERON
Cameron has made his way to a bedroom. He grabs a bedsheet
from a made bed.
CUT TO:
INT. SUBURB HOUSE - THE PAST - PAUL
Paul has found his way into the living room where an OLD
WOMAN sits knitting. She has an oxygen tank sitting next to
her.
OLD WOMAN
Why hello son? Are you lost? Are
your parents here? It's been so
long since I've seen another soul.
Paul raises his gun, pointing it at the Old Woman.
CUT TO:
INT. SUBURB HOUSE - THE PAST - CAMERON
BANG. BANG. Cameron hears the shots and runs downstairs. He
finds Paul holding the gun, staring at the lady.
CAMERON
Paul! God damn! What the fuck?
Cameron takes deep breaths, thinking through the sitaution.
Paul walks over to the body, poking at it.
CAMERON (CONT'D)
Don't do that! Fuck.
Paul then grabs the air mask and holds it up to show Cameron.
Cameron looks at the gauge on the tank. It's almost full.
CAMERON (CONT'D)
You should have asked me first.
Paul smiles wryly.
CUT TO:
EXT. SUBURB - THE PAST - CONTINUOUS
Cameron and Paul move quickly, wheeling the oxygen tank
behind them.
JANE
I heard shots. Is everything ok?
CAMERON
It's fine.
SARAH
Where's the stuff to make a
stretcher?
CAMERON
We got something better.
Cameron takes the mask and puts it over the Fainted Refugees
face. He turns presses the button the mask that gives air. A
few moments in and the girl wakes up.
CAMERON (CONT'D)
Get her up. Keep her going. Press
the button if she needs oxygen.
Lets move.
Cameron starts to lead them away. Paul scurries behind.
Cameron looks back at Paul. Paul's face is just blank.
CUT TO:
INT. DINING HALL - THE FACILITY - DAY
Cameron has gotten his food and stands at the end of the line
deciding where to sit. He scans the room and finds the usual
group of Paul, Karim, Neta and Ian. Sarah is nowhere to be
found. He heads over and sits with them.
CAMERON
Is this seat taken?
Paul looks up and shakes his head. Cameron sits down across
from Paul.
IAN
You speak to Ilia yet?
CAMERON
Not yet. The latest death has her
rattled.
PAUL
Yeah?
CAMERON
Yeah. Seems to have been a lot of
them recently.
KARIM
A lot? People are dropping like
flies around here.
CAMERON
Yeah, that's her concern.
IAN
I don't see what that has to do
with ANYTHING.
Ian disturbs other Insiders who were quietly eating.
NETA
Ian, calm down. You're going to
spook everyone.
IAN
(standing)
Spook who? These lemmings? All
marching toward the same cliff so
happy to save the human race? How
many people have to die before you
let us off this sinking ship, huh?
How many?!?!
Cameron stands up as well.
CAMERON
Ian, you need to calm down.
IAN
You calm down! You were supposed to
be some big shot hero here to help
us get out! What the hell have you
done, huh? Nothing. NOTHING.
CAMERON
(reaching out to Ian)
Ian.
IAN
No!
Ian blocks Camerons hand, but Cameron bends it back and drops
Ian's head to the table.
CAMERON
You will calm down. These people
are scared enough and you're not
helping. What they need to know is
that they are safe.
KARIM
So what are you suggesting Cam?
Cameron takes his hands off of Ian and let's him sit back
down.
CAMERON
We train everyone. They all ready
know farming, basically, but what
they really need is to know how to
fight.
PAUL
And you want to teach them?
CAMERON
Yeah. Like we used to do on the
Inside.
PAUL
All right. When do we start?
CUT TO:
INT. TRAINING ROOM - THE FACILITY - DAY
Cameron stands in the middle of the ring with Sage, his two
Security Guards and THREE OTHER MEN, the biggest that remain
in the facility. Paul enters with Ian, Neta and Karim,
stepping into the ring.
PAUL
Hey. We ready to do this? You think
you guys are ready?
CAMERON
I know, Paul.
PAUL
Ha. Know. Know what?
As Cameron explains the next part, we see images of what he
describes.
CAMERON
I know it was you that killed all
those people. That when Carter
first died of a heart attack they
randomly pulled someone from the
Inside. You. And then once you were
acclemated, you did what you did
before we entered the Inside. You
started killing. I talked to Ilia.
Chino was burned in a fire, Alex
was crushed when a support beam
gave way & Willis kind of just
died. They found him face down on
the ground in his quarters, a
needle coming out his arm.
PAUL
Cam, this is a great speach, but
you can't be serious. Do you even
have any proof? What about Spencer?
CAMERON
It's not gonna work Paul. I talked
to her.
CUT TO:
INT. SARAH'S QUARTERS - FACILITY - DAY
Sarah sits on her bed, tight against the corner like a small
animal that's been backed into the only protective place she
can find. Cameron sits in a chair opposite her.
SARAH
How did you know?
CAMERON
A feeling. Your face. You can
hardly look at me. Like there's
something you want to tell me, but
don't think you can.
SARAH
No, I don't...
CAMERON
I remember you from the Inside,
Sarah. You had a smile that would
light up a room. You loved to
dance. And I remember when we were
on the true Outside that you had
such a caring heart that when one
of the girls in our group seemed
like she wouldn't make it, you
wouldn't let me leave her behind.
SARAH
I thought you didn't remember
anything.
CAMERON
I've been out for just a few days,
Sarah. I needed to know what I'm
dealing with before I admitted to
anything. And I think you can help
me.
Sarah shakes her head.
CAMERON (CONT'D)
A lot of people have been hurt. A
lot more could get hurt.
The next dialogue happens over silent visuals of Paul
stalking Sarah, him cornering her at various times, ripping
at her clothing, holding her with his hands, and raping her
repeatedly.
CAMERON (V.O.) (CONT'D)
And she told me Paul. She told me
how you stalked her. She told me
what you did to her. How you told
her if she told anyone you'd kill
her. And how you did it again and
again.
CUT TO:
INT. TRAINING ROOM - THE FACILITY - DAY
Same as before.
CAMERON
Fairly easy to pull off since
everyone from the Inside seemed so
anti-social.
Paul's face smile suddenly seems to turn from a friendly mask
to one of a more devilish quality.
PAUL
She told you, did she?
CAMERON
How could you?
PAUL
Do I sense surprise in your voice?
NETA
Paul? What's going on?
CAMERON
I hoped a hundred and fifty years
of a simple, violence free
existence would have helped.
PAUL
You'd have thought so, wouldn't
you? But it didn't. You can't run
from who you are, Cam.
IAN
What's he talking about Paul?
PAUL
It's me. I killed those people.
That's what you're getting at,
isn't it Cam?
NETA
You... What?
PAUL
Hiding it seems pointless and
honestly kinda less fun. Couldn't
really do it on the Inside. Not
with Sheriff Cameron on duty.
Didn't even really want to, never
felt as right.... But out here? Out
here, 'might makes right' Cam. And
with you in chase now? GOD, THE
RUSH! So what are you going to do
Cam, "arrest" me?
CAMERON
That's the plan.
PAUL
Oh good. This should be
interesting.
Cameron attempts to grab Paul, but Paul shirks him off. A
fight ensues between Cameron, Paul, Karim, Sage and the
Security guards. Ian and Neta cower against the fence of the
octagon, not sure what to do.
Paul is faster and stronger than everyone, and while he has
problems fighting Cameron, everyone else is simple. It isn't
until Paul has dispatched with everyone else in the group
that he finally is able to start to put serious pressure on
Cameron.
Cameron is more skillful, but Paul is just flat out younger.
Cameron pulls out his collapsible baton.
PAUL (CONT'D)
You sure you want to do that?
CAMERON
Absolutely.
Cameron swings at Paul, who evades. Paul, whips out his own
weapon: a blade fashioned from found parts in the facility.
He swings at Cameron, who he slices open. A teasing slice,
just to make him think twice.
PAUL
Still sure you want to do that?
Cameron swings wildly at Paul. Paul is obviously taking it
easy on Cameron, evading and nipping at him, only barely
making him bleed.
PAUL (CONT'D)
This has been fun.
Paul cracks Cameron in the side of the head with the blunt
handle of his make-shift machete.
PAUL (CONT'D)
But I want this relationship to
last.
We see through Cameron's eyes that he has lost his
equilibrium. The world is shaking from side to side.
PAUL (CONT'D)
(walking over to Sage)
For us though, Sage. I think we're
done.
Paul slams the blade into Sage's chest.
PAUL (CONT'D)
(exhales with glee)
Like candy.
Paul disappears, leaving half broken men in his wake. Neta
and Ian stand catatonic.
Cameron crawls to a walkie talkie that fell off of Sages'
belt in the fight.
CAMERON
(into the walkie talkie)
Ilia.... Ilia....
Cameron rolls turns his head and vomits, his lack of
equilibrium shaking him so hard.
ILIA
(through walkie)
This is Ilia. Go ahead.
CAMERON
It didn't work. He's... he's out...
CUT TO:
INT. HALLWAY - THE FACILITY - CONTINUOUS
Ilia is walking with Elisabeth down a hallway.
CAMERON
(through walkie)
He's out. Lock it down. Lock it all
down.
Ilia turns picks up Elisabeth and runs to the nearest hatch.
She pushes a large button next to the door. SIRENS AND LIGHTS
go off. She steps through the hatchway and closes the hatch
tight behind them.
CUT TO:
INT. ACROSS THE FACILITY - CONTINUOUS
We cut to various areas of the facility of people scurrying
to specified lock down areas for where they're at in the
event of a problem. They close hatches, twist them shut and
lock themselves in.
CUT TO:
INT. HALLWAY - THE FACILITY - CONTINUOUS
Cameron has gotten to his feet and is warbling his way down
the hallway. He slowly gains his footing and begins to jog
and turn it into a run.
CUT TO:
INT. SARAH'S QUARTERS - THE FACILITY - CONTINUOUS
Cameron bursts through the doorway to see that Sarah's
quarters are empty.
CAMERON
(looking under her bed)
Sarah! Sarah, where are you?
Cameron opens her closet to find her hiding behind what few
clothes are hanging.
CAMERON (CONT'D)
It's OK. It's OK. Just stay here.
Stay right here.
Cameron quickly runs back and closes the hatch. He secures it
in place the chair from the desk.
CUT TO:
INT. HALLWAY - THE FACILITY - CONTINUOUS
Paul casually walks down the hallway with the swagger of man
that thinks he's all ready won. Blood drips from his make
shift sword.
He arrives at Sarah's hatch and tries to open it. The handles
won't turn. He becomes frustrated and screams at the door.
PAUL
CAMERON!!! YOU CAN'T KEEP HER FROM
ME CAMERON!!! SHE'S MINE!!!
CUT TO:
INT. SARAH'S QUARTERS - THE FACILITY - CONTINUOUS
Cameron uses his body to aid the chair in its attempts to
keep Paul out. Cameron is visibly shaken, muttering under his
breath both curses and prayers. The muffled cries of Paul and
his pounding can be heard.
CUT TO:
INT. HALLWAY - THE FACILITY - LATER
The sirens have faded. The whirring light is all that
remains. The facility is quiet like a coffin.
Cameron opens Sarah's hatch into the hallway, his baton at
the ready. Paul is gone. Disappeared into the shadows.
Cameron breaths a sigh of relief for a moment before he looks
up and sees "MORE WILL DIE" scrawled across the wall in
Sage's blood.
INT. TRAINING ROOM - THE FACILITY - DAY
Ilia crouch's down next to the dead Sage. His eyes still wide
from the fight. She stares at them with a mournful voice,
light shedding tears but not weeping. Spencer and Cameron
argue as Karim quietly watches.
SPENCER
This is the most compelling reason
we can have to leave.
CAMERON
We can't leave.
SPENCER
You suggest leaving us in here with
a killer?
CAMERON
You think everyone here can survive
in the real Outside? You'd be dead
in a day without proper training.
ILIA
We need a better plan than simply
thrusting our population out into
the real world.
CAMERON
And that wouldn't solve the fact
that Paul is still out there. He's
trained to track. He's trained to
hunt. And in case you missed it
he's all ready killed.
SPENCER
And who's fault is that, Captain?
CAMERON
We need a game changer.
ILIA
"Game changer"?
CAMERON
We need some guns. Right now, he's
got the element of surprise and
strength. If we had better
weapons...
SPENCER
There are no guns, Captain. There
hasn't been a "gun" in existence
for over a hundred years. The last
ones were melted down years ago.
CAMERON
What? Why?
SPENCER
No wars left to fight. No gun
powder left to mine. Seemed of
little purpose to have any. What
now captain?
CAMERON
In here we have a shot at taking
him down. This is a contained
space. We let him out, forget the
severe terraforming weather
changes, he has an entire planet to
hide on.
ILIA
(still kneeling and
looking at Sage)
Then what do you suggest Captain?
CAMERON
We centralize everyone to a place
we can lock down. Somewhere with a
lock pad that he can't get through.
We move everyone to the dining
hall, lock them down and track him.
KARIM
You think grouping everyone
together is safer? Doesn't that
just make us easier targets?
SPENCER
And how do you propose we track
him? This isn't the true Outside,
Captain. You don't have a wolf pack
or whatever you used to use to
track people down. And he's got
months more experience crawling
around the insides of this facility
than you do.
CAMERON
There's safety in numbers and
that's why I'll be needing the most
experienced fighters we have coming
with me.
SPENCER
Who is that? Our two remaining
security guards who were beaten
last time? And what if something
goes wrong in our system? We can't
monitor anything if we aren't at
our stations.
CAMERON
I've tracked him before. I'll track
him again. And leaving any non
critical stations is better than
trying to have everyone in multiple
locations. He won't kill anyone in
a vital area. He wants to live just
as much as the rest of us. This
will work.
SPENCER
Like your last plan?
CAMERON
Last time we weren't properly
armed. And if enough people are
willing to fight we can overwhelm
him. If anyone's got better
suggestions, I'm open to them.
SPENCER
Listen...
ILIA
NO. We'll do it.
SPENCER
Ilia.
ILIA
The captain has more experience
with this sort of thing. I have
complete faith in him. And so did
Sage.
Ilia closes Sage's eyes.
ILIA (CONT'D)
First, we honor Sage. Then... then
we hunt.
INT. DINING HALL - THE FACILITY - NIGHT
The hall is filled with everyone from the facility. Sage is
carried in on a stretcher, his arms crossed peacefully. His
body looks pale and lifeless. As Sage's body passes, people
reach to touch Sage and have one last moment with him.
Cameron stands at the back of the hall, a grim look on his
face. He holds his violin at his side. Karim appears beside
him, looking out over the crowd.
KARIM
I thought you were going to play
for him?
CAMERON
I don't know what I'm doing, Karim.
Hunting him down in here. He's got
greater advantage over me than
anyone army I ever faced. When we
cornered him in the training room,
I was filled with rage... with
certainty... but now I'm....
KARIM
Filled with fear?
CAMERON
And regret. I should have seen this
coming soon. And I don't want to
kill someone I look on as a son.
KARIM
And then what would you have done
Cam? Left him out here? Killed a
kid? You you're not that kind of
person Cameron.
Karim brushes her hand over up Cameron's arm. He shirks her
away.
CAMERON
You picked an odd time to be so
affectionate.
KARIM
We could be dead tomorrow Cam.
Carpe diem, right?
And you never exactly came off as
the monogomist type, or are you
still unclear as to the fact one of
your descendants is running this
place?
CAMERON
How did you end up on the Inside,
anyway? I thought they only put
young girls. One's that would be a
"breeding" age when they came out.
KARIM
I'm sterile. Or infertile. Whatever
you want to call it. Which means I
pulled the short straw to be one of
the leaders on the Inside. Don't
give me a that face. Had I had
kids, I would have been stuck out
here with the rest of your progeny.
Like your great-great-whatever the
fuck great grand daughter you got
rolling around here. Getting weak
as opposed to enjoying the changing
seasons on the Inside.
Ilia enters between the two.
ILIA
Weakeness is all in the mind, right
Captain? If you think you can do a
thing or think you can't do a
thing, you're right.
CAMERON
What?
ILIA
I have faith in you, Captain. This
is a man you know. A man you have
known for a long time. You'll
deliver us from this evil. Even if
we are merely, weak and sickly
creatures.
Ilia gives Karim a dirty look before heading over to join the
procession.
KARIM
She's seems to have become serenely
confident.
CAMERON
Tends to come over you when you
know your purpose is clear. He's
bigger, stronger, and faster than
me.
KARIM
And still very much a boy. Men
always beat boys. You just need to
figure out how.
Karim kisses Cameron on the cheek, then exits the dining
hall. Cameron looks out over the congregation and we follow
his mind back to the past.
EXT. BARN - INSIDE - DAY
We see Paul's face. Then we see a punch land on Paul's face.
He's in a match against LUKE, who is bigger and stronger than
him. Several other children are watching, cheering them on.
Cameron officiates.
Paul attempts to out maneuver the Luke, but is thwarted time
and again.
LUKE
Come on Paul. Is that all you got?
Or is the little man tired and need
a time out?
Paul becomes enraged, attacking head on. He jumps up on Luke
and smashes his head in to the others, dropping him
instantly. Paul WAILS on the boys face.
Cameron runs over and separates the two, picking Paul up with
one hand.
CAMERONS
That's enough!
Luke is bloodied as he lies on the ground grabbing at his
face.
CAMERON
You OK?
Cameron looks up at Paul, who is wandering off away from the
match.
CUT TO:
EXT. FIELD - INSIDE - CONTINUOUS
Cameron catch's up to Paul, who is passing through a field
for the hills.
CAMERON
What the hell was that Paul? Paul,
I'm talking to you.
PAUL
WHAT?
Paul has the eyes of rage that Cameron remembers from the gas
station the first day they met.
CAMERON
These fights are for training and
entertainment. Not to beat one of
your own half to death. What's
going on with you? I thought we
were past this kind of crap.
PAUL
(agitated)
What do you mean?
CAMERON
You beat Luke so hard it'll be
weeks before he can work again.
You've seemed agitated and
distracted for weeks. Jane...
PAUL
Fucking Jane. What's her problem
now?
CAMERON
HEY! That's my wife you're talking
about and you will hold a civil
tongue when you talk about her. Now
what is bothering you?
PAUL
You know how hard it is here Cam?
Being the smallest and the weakest?
CAMERON
I think you just proved you're not
the weakest. And you're not going
to be like this forever Paul.
PAUL
I'm not? I'm a hundred and fifty
six years old. A hundred and fifty
six! Did you know how long I have
tried to flirt with the girls the
way you used to? They just laugh.
No one wants to be with someone
who's penis is the size of pea pod.
CAMERON
This is a sex thing? Are you
kidding me?
PAUL
No, Cam, it's not.... You don't get
it. No one gets it. I can't breath
in here, Cameron! I need a release!
This isn't where I'm supposed to
be!
CAMERON
Where else would you be?
Paul turns toward the woods and runs. Cameron chases after
him.
CUT TO:
INT. DINING HALL - THE FACILITY - DAY
Same as before.
Cameron takes his violin and puts the butt to his chin and
begins to play. His music fills the room with a somber tune.
Cameron's music carries over into the next scenes.
CUT TO:
INT. GEOTHERMAL TUNNELS - THE FACILITY - CONTINUOUS
Paul calmly walks through the steamy tunnels, pulling a
plastic bin on wheels filled with what looks like propane
bottles. He whistles as he works, his tune mixing perfectly
with what Cameron is playing into a melodic dirge.
EXT. FIELD - INSIDE - CONTINUOUS
Cameron chasing Paul after the fight. He follows him up the
sloping hillside into the forest. They whip past trees as
Cameron gets closer to Paul.
INT. GEOTHERMAL TUNNELS - THE FACILITY - CONTINUOUS
Paul bends over and plucks one of the containers from the
bin. He find a place at an opening of a junction and slides
the cannister into an open space. He then takes a thin wire
from it and strings it across the opening, setting a trap.
INT. METAL WORKSHOPS - THE FACILITY - CONTINUOUS
The music continues to flow as work men light blow torches
and fill the room with metal work. They cut pieces of old
metal into jagged looking swords and spears, similar to what
Paul has fashioned.
EXT. FOREST - THE INSIDE - DAY
Cameron has entered a clearing in the forest. It's Paul's
camp. He walks around inspecting it.
A fire smoldered down to embers, a lien-to, various tools and
strung around the place is flayed animals. Their carcasses
strung out all around the camp.
Cameron trips a trap that Paul has left for anyone that comes
looking for him. He barely dives out of the way, slicing open
his arm.
ILIA (V.O.)
We are a family.
CAMERON
(in agony)
PAAAUUUULLLLL!!!! PAAAAUUUULLL!!!!
CUT TO:
INT. DINING HALL - THE FACILITY - CONTINUOUS
We have returned to the dining hall. The music has faded out.
Ilia stands at the front of the room, giving the eulogy for
Sage.
ILIA
And the loss of a family member is
a difficult one. We have lost many
members of our family, as of late.
Too many, too fast. But to lose
someone like Sage, the wisest and
strongest of us all...
well that's a loss that can not be
measured in words. It can only be
measured in our response to this
threat!
The crowd goes from somber to a more agitated state. Cameron
still stands at the back with a somber look on his face.
ILIA (CONT'D)
Sage did not lay down when faced
with this terror. Neither can we.
We must meet it head on, with every
ounce of energy we can muster, with
every fiber of our being. We do
this for our children. Our
children's children. We do this for
all of humanity. Deep into that
darkness we stand. Wondering.
Fearing. Doubting. But we can do
this. We can do this together.
The crowds cheers fill the room. Cameron has the face of a
man that has not been moved by this speech. In fact, his
fears grow deeper.
FADE TO:
INT. CAMERONS QUARTERS - THE FACILITY - LATER
Cameron sits, staring at his video screen. His eyes glaze
over from watching video. We hear sound, but not from the
video. Instead it's a mix of the conversations he has had
with Jane about Paul. The words warp and twist, clear in
intent and meaning but not in dialogue.
We slowly pan around him, the words licking out ears, until
we rest facing him dead on, ending with these words:
JANE (V.O.)
He's going to kill everyone.
Camerons trance like stare is broken when his door opens. He
grabs at the freshly made blade from his desk and points it
at the door.
Elisabeth enters, carrying her ball. Cameron lets out a sigh
of relief.
CAMERON
Elisabeth. What are you doing here?
Cameron gets up to bring her inside, then closes and seals
the door.
ELISABETH
I was looking for you.
CAMERON
Your mother must be worried sick.
You shouldn't have come here. It's
not safe.
Elisabeth looks at Cameron with a blank stare. The concept of
fear hasn't crossed her mind.
ELISABETH
What are you watching?
CAMERON
Video.
Cameron moves back to his seat. He picks up Elisabeth and
puts her on his lap.
ELISABETH
Why?
CAMERON
I'm looking for something.
ELISABETH
What?
CAMERON
A weakness. A way to track Paul.
ELISABETH
Hmmm...
Cameron wipes his forehead with his hand. Elisabeth copies
this motion, causing Cameron to smile. In this moment of
relaxation Cameron has an epiphany. He looks closely at
Elisabeth's neck, wiping away her hair from her shoulders.
ELISABETH (CONT'D)
What?
Cameron then looks back up at the computer screen and begins
to scan through videos. He eventually pauses on one in
particular.
Cameron sits in the video as he always does.
VIDEO CAMERON
We're closing in on sleepy time.
They tell me the containers are
nearly complete and testing should
be done by the end of the week.
With any luck...
The sound of a door opening can be heard off screen. Paul is
weeping.
VIDEO CAMERON (CONT'D)
Hey, what's going on? You OK,
buddy?
Paul is led into frame by a younger version of Karim. She
looks barely sixteen years old. Cameron pulls Paul into his
lap, just like Elisabeth is now.
VIDEO CAMERON (CONT'D)
What's wrong?
VIDEO KARIM
He's being a little twat. He really
didn't like that injection.
Paul continues to writhe in a whining childish state. Cameron
feels around on his own neck, looking for his scar. He finds
it just behind his neck. Cameron gets up and runs out the
hatch way, leaving the video to run.
VIDEO CAMERON
Come on, Karim. He's six.
VIDEO KARIM
Tell that to the nurse he just
punched in the face. I still have
some work to do. See you later
tonight? I want to get some serious
naked time in before we part ways.
VIDEO CAMERON
Definitely.
CUT TO:
INT. DINING HALL - THE FACILITY - DAY
The room fills with Insiders gathering to be locked down.
Ilia directs people on various tasks as Cameron enters.
ILIA
Elisabeth! I nearly sent out a
search party for you! You scared me
half to death!
CAMERON
I know how to find him. The RFID.
ILIA
The what?
CAMERON
Just come with me.
Ilia hands Elisabeth off to another worker.
ILIA
(to Elisabeth)
I'll be back soon. Do not go
anywhere.
ELISABETH
(slightly whiny)
Yeeeessssss.
ILIA
I love you.
ELISABETH
I love you too, Mommy.
CUT TO:
INT. HALLWAY - THE FACILITY - CONTINUOUS
Cameron leads Ilia down the hallway, explaining his plan as
they go. People rush past them, carrying what few belongings
they grab before they lock themselves inside the dining hall.
CAMERON
Before we are all put Inside, we
had RFID tags inserted in our necks
when we got here a hundred and
fifty years ago.
ILIA
What's an RFID?
CAMERON
Radio Frequency Identification
Tags.
They were used to track everyone's
movement when we got here.
ILIA
OK, but we don't use those anymore.
CAMERON
It doesn't matter. There's no way
he could have removed it without
seriously injuring himself. Every
time he passes by a door, there
should he should be picked up by
the sensors. If they're working.
ILIA
I don't know. No one has been
tagged like that in over a century.
That equipment might be broken.
CAMERON
Only one way to find out.
CUT TO:
INT. SECURITY ROOM - THE FACILITY - CONTINUOUS
Cameron rushes to a computer and sits down in front of a
console. He clicks around on the computer like a hacker, his
past rushing back to him.
ILIA
You seem to know your way around.
CAMERON
This was my post when I got here,
right? Well, it's all coming back
to me. There.
Cameron points to a blip on the maze of hallways that fill
the screen. It blips in a line, back and forth across the
screen.
ILIA
What's he doing? It looks like
he's...
CAMERON
Pacing?
ILIA
He's waiting for you to come to
him.
This gives Cameron pause. He stares at the screen. Ilia
stares at him.
ILIA (CONT'D)
He's in the lower level geothermal
tunnels. What are you going to do?
CUT TO:
INT. DINING HALL - THE FACILITY - DAY
Cameron stands in front of a small group of eight Insiders,
including Sages's two Security Guards, Spencer, who carry
make shift bladed weapons, similar to spears and machetes.
Spencer steps forward and hands Cameron his own blade.
CAMERON
You're coming with us?
SPENCER
I may disagree with you, Captain.
But if you look around, we're not
exactly teeming with fighters. And
Sage was my friend.
Cameron shrugs. He raises the radio he's been carrying to his
mouth.
CAMERON
(into radio)
Ilia. You read me?
ILIA
(from radio)
I do. And he's still there.
Waiting.
CAMERON
OK. Let's go.
CUT TO:
INT. GEOTHERMAL TUNNELS - THE FACILITY - DAY
Cameron and the merry band of Outsiders climb down ladders
into the hell that is the geothermal tunnels. The heat is
palpable from the steam being generated by the system. The
walls barely wide enough for a man to extend both arms so
that only his elbows hit the sides. If the rest of the
facility looks old, these tunnels look positively decrepit.
WHOOSH! The space is eerily silent. Only the expelling of
boiling hot steam can around the edges of the pipes.
WHOOSH!
OUTSIDER
AHHHHH!
An Insider is hit with hot steam, making him cry out.
PAUL (O.S.)
That certainly hurt your element of
surprise.
They whip around to see Paul waiting patiently at the end of
the tube.
PAUL (CONT'D)
Seriously, Cameron. Sage could have
done better.
The Two Security Guards become agitated by this and run at
Paul with their weapons at the ready.
CAMERON
No! Wait!
BOOM. Security Guard #1 crosses a threshold, yanking one of
the lines that Paul laid earlier, dragging an abrasive strip
across the canisters.
The two drop to the ground. They live, but barely.
PAUL
Wow. Is this really going to be
this easy?
CAMERON
What do you want Paul?
PAUL
Oh Cam. Cam! This isn't the part
where we talk anymore.
Paul pulls two smaller blades from behind his back. They are
a perfect size for fighting int these cramped quarters. Two
men immediately run away, dropping their spear and machete
like weapons.
Paul advances quickly. Cameron reaches down and grabs the
spear that one of the men dropped. He's first in line to
fight, using the spear to try to keep Paul at bay.
Paul blocks and parry's. There's a light in his eyes that
speaks to how much he truly loves fighting.
Cameron backs up, far enough where they hit a four way
junction. Two of the men split going into the separate
openings of the junction, pincering Paul on all sides.
Paul seems to finally be at a disadvantage. Cameron is able
to slice Paul's leg, causing him to cry out in pain. Paul
retreats back down the way he came. Cameron gives chase.
CAMERON
Circle around back behind him and
for God's sake be mindful of the
booby traps.
Cameron looks back to where he was running and sees that Paul
has disappeared.
CUT TO:
INT. CONTROL ROOM - THE FACILITY - CONTINUOUS
The room has filtered down to a skeleton crew, with only
Horace and Ignobel left to manage the vast workings of the
facility. Ilia enters as the two move between different
computer screens, like understaffed air traffic controllers.
ILIA
(to Horace)
Everything going all right?
HORACE
So far. We can manage this for a
bit, but troubles going to build up
at some point.
Ilia nods.
ILIA
Hopefully this won't be lasting too
long.
In the background we see a flashing light. We move tighter on
the screen and notice that power from the Geothermal System
is decreasing. This leads to the level meters on the Main Map
of the facility begin to slowly drop.
CUT TO:
INT. THE FIELD - INSIDE - DAY
The Insiders work the fields as Jane attempts to pull the
plow Cameron used to pull by herself. She continues to try
and move things forward on the farm despite Camerons absence.
The light on her face from the sun begins to flicker. She
pauses in her toiling to look up. The sky is beginning to go
dark and warp like the Northern lights on acid. This section
of the Inside is beginning to tear itself apart.
CUT TO:
INT. GEOTHERMAL TUNNELS - INSIDE - DAY
Cameron, Spencer and the Two Outsiders creep through the
narrow passage ways. Cameron looks down and sees a bit of
blood from where he cut Paul. Cameron motions for the men to
circle around the sides of him and they he'll go up the
middle.
We follow one Outsider as he circles to the right. His right
foot snags on a line that Paul set. He looks down and follows
the line back to it's origin at a methane bottle. He slowly
backs off of it, releasing the tension. He then goes to the
bottle and pushes the pin back in.
He breathes a sigh of relief just as a blade appears at his
neck from behind him.
PAUL (O.S.)
Here kitty, kitty.
We raise up to see Paul holds the blade.
PAUL (CONT'D)
It's ok. Everybody makes mistakes.
A blade appears by Paul's neck now.
SPENCER (O.S.)
That they do.
We look up to see that Spencer holds this blade to Paul's
neck. He's nervous, but holding his own.
PAUL
Look who found himself a pair of
balls.
SPENCER
I'm not scared of you.
PAUL
That's why your hands are
trembling?
SPENCER
(yelling)
Captain! Captain I've got him!
Cameron turns a corner in front of the trio a short distance
away.
CAMERON
Games over Paul. You lose.
PAUL
If there's one thing you taught me
Cam, is that you're only losing
till your not.
Paul quickly grabs Spencers hand, pulling him onto his back
like a back pack. He then, simultaneously kicks the Outsider
over the trip wire while spinning to use Spencer as a shield.
As Cameron dives over to the side to avoid the blast it goes
off.
BOOM.
The explosion hits a primary part of the structure, knocking
down pylons and throwing up debris.
CUT TO:
INT. CONTAINER ROOM - THE FACILITY - CONTINUOUS
The room lights up like a Christmas tree.
HORACE
We've got a severe drop in power
from geothermal! We need to get
levels back to norms or we'll lose
half of the Insiders.
ILIA
Fire up the backup generators.
HORACE
With what? We used the last of the
fuel three years ago?
ILIA
Batteries?
IGNOBEL
Those aren't going to last us very
long. They're a hundred and fifty
years old.
ILIA
How long?
IGNOBEL
Ten minutes. Tops.
HORACE
We need to get power consumption
back to normal or we lose everyone.
CUT TO:
INT. GEOTHERMAL TUNNELS - THE FACILITY - DAY
Cameron is flat on his back, covered in dirt and debris. He
shakes awake from his shock of the blast, picking up his
blade as he goes.
The area is severely damaged. He stumbles through, the shock
of the explosion still effecting him.
He approaches the face down body of Spencer, who's back is
shredded with shrapnel. He reaches down to check for a pulse,
all the while keeping an attentive eye open for Paul.
Cameron grabs Spencer and throws him over his shoulder for a
firemans carry out of the tunnels.
CUT TO:
INT. CONTAINER ROOM - THE FACILITY - DAY
Alarm lights whir as the sound of emergency buzzers fill the
room. The people inside each container are seizing. Ilia,
Ignobel, Oliver and two others dash into the room.
IGNOBEL
OK, we need to shut down at least
two pods to stabilize power. Where
do we pull from?
ILIA
This pod. Everyone from this pod.
IGNOBEL
We'll never get them all out in
time and we can't wait till their
all out to transfer the power..
ILIA
As many as you can.
Ilia runs to one of the containers, typing in commands to the
computers attached to them. On the computer screen the words
EMERGENCY EJECTION can be seen clearly.
ILIA (CONT'D)
Do it now or we lose everyone!
Ignobel into his walkie talkie.
IGNOBEL
Horace. Transfer power from
containers in pod twelve and
thirteen in five minutes.
HORACE
(via walkie)
Roger that.
CUT TO:
INT. CONTROL ROOM - THE FACILITY - DAY
As Horace responds to Ignobel, Cameron enters the room,
carrying Spencer on his back.
HORACE
Pod twelve and thirteen in five
minutes.
Cameron sets Spencer down onto the ground.
HORACE (CONT'D)
(looking over at Cameron)
What happened to him?
CAMERON
Where's the med kit for this room?
Horace points to med kit on the wall with the big screen of
all the containers.
CAMERON (CONT'D)
(looking over at the wall)
What's going on?
HORACE
Massive power loss. We're shutting
down...
Cameron runs out through the hatchway.
CUT TO:
INT. HALLWAY - THE FACILITY - DAY
Cameron tears down the hallway in a blur.
CUT TO:
INT. DINING HALL - THE FACILITY - DAY
Paul opens the large hatchway to the dining. He strides in
slowly, as everyone cowers around him. His blade drags along
the ground. The sound of the blade scraping the steel fills
the room.
CUT TO:
INT. CONTAINER ROOM - THE FACILITY - DAY
Cameron runs into the room, scanning immediately to find his
destination. Ignobel, Ilia, Oliver and the two others are
still running, half pulling people out of their containers.
People sit upright, screaming, terrified of the world they've
just been pulled into. One or two have pulled their feeding
tubes out from their navel and are bleeding everywhere.
Others sit stunned.
Cameron runs over to Jane's container. She's lies inside,
seizing and convulsing. The stats on her computer are going
haywire.
Cameron looks around on the computer screen, hitting various
buttons, trying to figure out what to do. He's frantic,
facing his only real fear: losing Jane.
CAMERON
Nononononono please God, no. Come
one. Come on.
He eventually reaches over to her tube and shove his hands
inside to pull the leads off of her head.
ILIA (O.S.)
DON'T!!!
Ilia runs up to Cameron.
ILIA (CONT'D)
You do that, you'll kill her.
CAMERON
Well get her out.
Ilia quickly runs her fingers over the keyboard typing the
appropriate commands. The screen lights up: EMERGENCY
EJECTION.
The screen goes dark.
CAMERON (CONT'D)
Wait. What? What happened?
ILIA
Power transfer. We had to shut down
these containers or risk losing
everyone. I'm... I'm sorry...
Cameron is stricken with grief. He crumples down in front of
the container. He cries out, the sound of his grief
overtaking the fear laiden sounds of the others pulled into
this world.
CAMERON
She just... she was right there....
She was....
PAUL
(from the radio)
Oh Caaaameron. I'm looking for
something and I just can't seem to
find it. You wouldn't know where it
is, would you?
CUT TO:
INT. DINING HALL - THE FACILITY - DAY
Paul sits on one of the tables, slowly drawing his blade down
a girls face, lightly slicing her open.
PAUL
(into radio)
Cause all I can see here are pale
imitations of what I want.
So what say you bring her here to
me like a good pet and we put the
end to this whole thing, hm?
CUT TO:
INT. CONTAINER ROOM - THE FACILITY - CONTINUOUS
Cameron sits staring at Janes limp body, floating in fluid.
As he focuses on her, his face turns from grief to rage.
CAMERON
(standing up)
Get them all to the infirmary. I'll
handle this.
ILIA
What are you going to do?
CAMERON
You ever hear what they say about
war, Ilia? It doesn't determine
who's right, just who's left.
Cameron strides out of the hatch.
INT. ABORETUM
Cameron walks calmly into the arboretum. The places is earily
quiet. A RUSTLING in one of the apple trees can be heard.
Cameron looks up and sees Sarah hiding in one.
SARAH
Did it work? Did you get him?
Cameron's face is blank.
CUT TO:
INT. DINING HALL - THE FACILITY - CONTINUOUS
Paul walks behind the food counter, picking at different
selections.
PAUL
What I wouldn't give for a decent
pie, right about now. How the hell
did you people forget how to make
pie?
Cameron enters the dining hall, Sarah in tow.
PAUL (CONT'D)
Ooooooo looky what Daddy brought
me. And she still looks so good.
Through out all this, nothing bad
has happened to you, has it honey?
Paul notices that Sarah's hands are tied behind her back.
PAUL (CONT'D)
Why does she have her hands tied
behind her back?
CAMERON
What's the last thing you really
remember losing, Paul?
PAUL
What?
CAMERON
The last thing you really cared
about that you lost? Can you think
of it. See, for me, I remember
losing my family, my friends. I
remember watching comrades in arms
drop like flies on the battlefield
and off. But I put it out of my
head. Focused on the task at hand.
But you see, that takes years of
training.
Cameron kicks Sarah behind her knee, dropping her to the
ground.
CAMERON (CONT'D)
I tried to instill some kind of
value system inside you, Paul. What
makes you fucking psychopaths so
hard to deal with is, you don't
know loss. Because you have no
attachments. Your mind is clear.
That's what makes you so hard to
beat. Unless you're not a psycho.
Just more fucked up than most. So
let's see what you care about.
Cameron puts his blade down to Sarah's cheek and slides
across it, drawing blood. Sarah screams in anguish.
PAUL
(running toward Cameron)
NO!
CAMERON
(throwing up his hand)
STOP!
Paul stops dead in his tracks.
CAMERON (CONT'D)
You come any closer and I kill her
right now.
The room falls silent, with only Sarah's weeping filling the
room. The other Outsiders look on, shocked. Is this the man
they entrusted their safety to?
CAMERON (CONT'D)
(laughing)
What we call our despair is often
only the painful eagerness of unfed
hope. You know who said that?
Cameron looks around the room to see if anyone knows.
CAMERON (CONT'D)
Fuck it.
Cameron stabs Sarah in the back. She cries out in pain,
falling over. Paul sprints toward her, screaming.
Paul and Cameron swipe blades, Cameron side turning to his
side and knocking Paul against a table. Cameron swings down
onto the table with his blade, Paul rolling out of the way.
Most of the Outsiders cower in fear, but a few have run to
Sarah's side to help stave off the bleeding.
Paul is swiping wildly. The cool calculation he had when
fighting earlier is now lost in the anguish of thinking he's
lost Sarah.
Paul gets lucky and focus's for a moment, slicing Cameron in
the arm holding his blade. He drops it and steps back.
PAUL
Ha. Not so tough now, are you.
Cameron dives back in, avoiding Paul's thrust with his blade.
He grabs Paul's arm, and drops in on his leg, breaking his
arm. Paul cries out in pain, scrurrying back over tables.
CAMERON
Bit by bit, I will kill you today.
Cameron steps triumphantly over the long lunch room style
tables, chasing Paul as he backs himself into the lunch line
area. He starts grabbing whatever he can find, throwing it at
Cameron. The last gasps of fight in man that know's he's
lost.
Cameron finds his window and dives at Paul, tackling him to
the ground. The two grapple at one another, working to get
the upper hand. Despite having a broken arm, Paul manages to
get on top of Cameron. He tries to choke him with both hands,
but the pain in his broken arm is too much. He tries with one
hand. Not enough pressure, as Cameron proceeds to grab Paul
by the face and drive his thumbs into Paul's eyes. Through
his own tears Cameron SCREAMS out at the same time Paul does
from the pain. Paul finally falls limp on top of Cameron.
Cameron pulls his thumbs out of Pauls eyes, tears streaming
down his face. He pulls Paul's head to his shoulder and as he
cries he whispers:
CAMERON (CONT'D)
I'm sorry... I'm so, so sorry...
Cameron finally lowers Paul's head to the ground. Standing,
covered in blood that has now soaked into his clothes, he
walks over to where Sarah is being tended to by the other
Insiders.
CAMERON (CONT'D)
You ok?
SARAH
I tried really hard not to move.
Sarah rolls off from the bag of blood that she had taped to
her back.
SARAH (CONT'D)
Is he gone?
CAMERON
Yeah, honey. He's gone. He's gone.
FADE TO:
INT. CAMERONS QUARTERS - THE FACILITY - DAY
Cameron is packing his knapsack, filling it with what few
possessions he has decided to take with him. He picks out a
picture from the locker of him with all the kids he brought
with him to the facility. We focus on Jane's face as Cameron
runs his fingers over it. Ilia enters.
ILIA
So...
CAMERON
Everyone ready to go?
ILIA
You don't have to do this.
CAMERON
Yes. I do.
ILIA
We can figure out another way to
keep everyone here. There has to be
a way.
CAMERON
It's a delicate balance Ilia. You
all ready said that. And honestly,
I don't think I can stay here. not
without her. We'll be fine.
Besides, someone should really find
out what happened to the other
stations. If we can reestablish
communications with them, it would
benefit everyone. And if they
aren't out there, we can still
survive. The true Outside might be
wild, but it's not unlivable. And
when the time is right, everyone
here will join us.
ILIA
Will you even live to see that
happen?
CAMERON
Does it matter?
ILIA
I wanted you to have this.
Ilia pulls a book out from behind her back and hands it to
him.
CAMERON
My old book of quotes. Wow.
ILIA
It's kind of a family heirloom.
CAMERON
Then you should keep it.
ILIA
I never thought I'd even meet my
great-great-great-great...
CAMERON
Please, God, stop. You're making me
feel older than I all ready am. I'm
going to miss you.
ILIA
I'll miss you too.
The two hug.
CUT TO:
EXT. FACILITY GATE - THE FACILITY - DAY
The gate rolls open, revealing Cameron and ten of his fellow
Insiders waiting to exit. They all have backpacks with
supplies. The weather outside is rainy and dark. The sky
looks like a molasses. The world is still very much
recreating itself, but young forests can be seen off in the
distance.
Cameron looks around at his fellow Insiders and nods to them.
Spencer and Karim are with him. He shares a nod with them.
Cameron marches out onto the foreign landscape. As he does we
see Ilia waiting in the background, Sarah holding Elisabeth
in her arms, and a host of other Outsiders watching as these
brave souls march into the new world. As they march out,
Cameron looks back and see Ilia's face. The two lock eyes. He
smiles as the gate rolls shut.
CUT TO:
EXT. DESERT - THE PAST - DAY
Cameron leads his group of survivors across the barren
wasteland. Everyone looks week and out of air, as the
atmosphere has lost most of it's oxygen. Everyone is becoming
loopy from the walk and heat.
In the distance, we can see a vague outline of the Facility.
Cameron takes out his binoculars to get a better look and we
clearly see the facility.
He pans over and we see another group walking towards the
facility. Karim is at the front of it.
Cameron, breathing heavily, looks back behind him to make
sure they haven't lost anyone. A short distance behind them,
Cameron can see someone has fallen down. He turns to Sergeant
Stephens, waving him on to keep everyone moving.
Cameron walks back to check on the body. He kneels down,
rolling over to reveal it is the young six year old Paul. He
picks Paul up, throwing him over his shoulder.
Cameron turns and heads back in the direction of the
facility.
THE END
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