Mother’s Nature
by
Andrew Morris
INT. SCENE - JACKSON COUNTY COURT HOUSE. COURTROOM.
Caption: Jackson County Court House. Black River Falls, Wisconsin. Tuesday, February 12, 2013. 9:05 AM
A rural Wisconsin courtroom. Judge ORRIN RANKINE sits on the bench of the court. At the prosecution table sits county attorney MEINDL with a thick file; at the defense table sit ARLENE PEGRAM, dressed neatly, and LORRI NESS, her attorney.
RANKINE
Are we ready, counsel? All right. On the record: This is a continuation of the case in the matter of the condition of A.P., Jackson County versus A.P. We are on the second day of testimony. Mrs. Ness, I understand your client wishes to address the court?
NESS
Yes, your honor.
RANKINE
You have admonished her?
NESS
Yes.
RANKINE
All right. Mrs. Pegram, step right up.
ARLENE stands and walks to the witness box. The clerk steps over and swears her in:
CLERK
You do solemnly swear that the testimony you will give in the present matter shall be the truth, the whole truth, and nothing but the truth, so help you God?
ARLENE
I do accept for value.
The clerk, looking rather confused, looks to RANKINE, who winces, and then nods. The clerk sits. RANKINE leans over to ARLENE and looks sternly at her.
RANKINE
Behave, all right?
ARLENE
Okay.
RANKINE
Counsel, go ahead.
NESS stands, file in her hand, but before she can do much more:
ARLENE
Can I just say something first?
RANKINE
No, Mrs. Pegram, you’ve got a good lawyer, let her do her job.
ARLENE
I just want to say that I accept the authority of this court, but I must reject the offer of the court to--
NESS
Arlene, hold on.
ARLENE
--remain on the premises of the state hospital. When there is life at stake, the moral obligation of any human being--
RANKINE
Oh, sweet lord, here we go again.
ARLENE
--is to ensure that they rise to the moment, and--
NESS
Arlene, just wait a sec, we’ll get to that.
ARLENE
--the Universal Commercial Code guarantees to all free individuals an absolute right to do just that.
NESS
Arlene, please!
RANKINE
Okay. Recess, off the record. Counsel, do you need--
ARLENE
I do not need any further assistance from a member of the B.A.R., judge.
NESS
Mrs. Pegram, you really need to stop.
ARLENE
No, I will not stop. You have done everything you can to work with them--
RANKINE
No, we’re not doing this again. Officers?
The courtroom officers approach ARLENE and begin to escort her from the witness box and out of the courtroom.
ARLENE
This is a travesty of justice, judge! I have not consented to these proceedings, and I demand to see your official authority to force a natural human being to consent to--
They exit.
NESS
I’m so sorry, judge. I thought for sure that we might have got it this time.
RANKINE
I know. I’d hoped so too. Do you want to proceed out of your client’s presence?
NESS
I suppose I ought to.
MEINDL
Suits me fine.
RANKINE
On the record. Show that Mrs. Pegram has been removed for disrupting proceedings. Is there anything further you need to present, counsel?
NESS
No, your honor, we would just like to suggest that idiosyncratic beliefs alone are not enough to clear the bar set by Foucha.
RANKINE
No, and I would be inclined to agree, counsel, but we also have Dr. Roundtree’s report in the record, which states that--
The door opens suddenly, and the court officer reappears.
OFFICER
Judge?
RANKINE
Yes? Oh, no.
OFFICER
She’s gone.
NESS spreads her arms in despair.
EXT. SCENE - AERIAL. (NIGHT)
BROOKLYN is gliding aggressively through the night. Ahead of him: some silvery thing, drawing away from him fast. He draws out his plasma rifle and fires off a couple of shots toward it, missing wide. The silvery object descends sharply, and he shoulders the rifle, folds his wings, and follows.
Below him, stretching for miles ahead, is an "L" train. He drops onto it, sinking his claws in to the roof and gripping tight. The train flies ahead at incredible speed, city streaking by with a speed blurring it past any hope of recognition. BROOKLYN begins crawling forward on the train, hand over hand, fighting against the wind.
As he reaches the end of the car, he looks down. Before him is a hopper car, and in the car stand KATANA, NASHVILLE, and TACHI among a stack of gargoyle eggs. They watch him distantly. He reaches out to them. Suddenly the car melts below his claws, like butter, and he slides back. Frantically, he claws ahead, but the roof of the car keeps sliding out from below his claws as the train accelerates, faster and faster, rendering the city lights around him into streaks.
Suddenly the train veers left. He slides off to the right, grasping frantically, losing his grip, tumbling, falling. A familiar fiery halo envelops him as he tumbles into the Phoenix Gate, falling, falling, falling.
The fire crackles and explodes from his eyes.
EXT. SCENE - HUMBOLDT STATION. ROOF. (DUSK)
BROOKLYN roars to life, and shakes off the last crumbs of his stone self as his clan awakens around him. He puts one hand to his eyes, rubbing at them. There is no fire, no train, nothing but the normal dusk on the roof of the station. Nearby him, BROADWAY and LEXINGTON spring happily to the rooftop, stretching out. BROOKLYN steps down, more reserved. The door opens, and MATT steps out on the roof.
MATT
Oh, my watch must be slow, I missed it. Evening, everyone.
BROADWAY
Evening, Matt.
From above, GOLIATH and HUDSON land on the roof.
MATT
Plans for tonight?
GOLIATH
None.
HUDSON
It has been a quiet few nights.
MATT
All right. You up for a game of mills?
HUDSON
Aye, that would be fine.
MATT
Great.
LEXINGTON, meanwhile, has noticed BROOKLYN being somewhat detached, and approaches him.
LEXINGTON
Hey, you all right?
BROOKLYN
Yeah, fine, just...rough day.
LEXINGTON
You want to see if we can go up the lakeshore tonight?
BROOKLYN
(listless)
Sure, sounds fine.
Meanwhile, MATT's phone rings. He pulls it out and examines it, then answers.
MATT
Yeah? Hi, Luke. What?
He looks alarmed suddenly, and turns away.
MATT
When? You're sure? Phew. Uh, okay. Yeah. No, but I can be back pretty quickly. All right. Keep in touch.
He hangs up, and turns back. The others are looking at him expectantly.
MATT
That was my brother. Something's come up, sorry. I gotta go home.
BROADWAY
You're all right?
MATT
Yeah. We'll catch up tomorrow night.
HUDSON
Of course.
MATT hurries inside the station and shuts the door behind him.
HUDSON
Well?
GOLIATH
Catch up to him tonight. I do not like sudden disappearances.
INT. SCENE - MATT'S HOUSE. KITCHEN.
The house is dark. MATT unlocks and opens the back door, and enters, closing the door behind himself. He listens. There is some sound there in the distance, inaudible to anyone but a nervous householder. He quietly goes into a kitchen drawer, draws a knife, and begins moving through the house.
INT. SCENE - MATT'S HOUSE. LIVING ROOM.
MATT moves quietly through the house, sneaking along, looking into every corner for anything out of place. He gradually reaches the living room. He begins to turn toward the front hall, when he is suddenly blindsided from someone in the darkness. There is a brief struggle, in which the knife is knocked from his hand. His assailant stands and switches on the light, revealing ARLENE.
ARLENE
Well. Missed me in the dark and couldn't hold your weapon more than three seconds tops. I raised you better than that, didn't I?
MATT
Hi, Mom. Sorry.
ARLENE
You should be. Aren't you keeping in training?
MATT
Evidently not.
ARLENE
Oh, come on, Matt.
She helps him up from the floor, and they hug.
ARLENE
Oh, it's good to see you again!
MATT
Good to see you too, Mom.
EXT. SCENE - HUMBOLDT PARK (AERIAL) (NIGHT)
BROADWAY and HUDSON glide through the night toward MATT's house. They land on his roof, near the back.
INT. SCENE - MATT'S HOUSE. LIVING ROOM.
ARLENE
Well, anyway, they insisted that I couldn't even speak at my own hearing, can you imagine? So I told them, they needed to get educated on the law, and...
There is a thump on the roof. MATT looks up, with just his eyes. ARLENE does not notice.
ARLENE
...gave them some pointers on how to learn more about--now, don't you roll your eyes at me! I'm still your mother.
MATT
Sorry, Mom, I just thought I heard...do you want something to drink? Coffee, or something?
ARLENE
Oh, now, it's 10 at night. Who drinks coffee so late?
MATT
Well, I could get you a pop or something.
ARLENE
Anything without fluoride in it would be fine. I'm on a roll now, never felt better. Wouldn't want to dull it.
MATT
Let me go see what I have.
He gets up and goes into the kitchen briskly.
INT. SCENE - MATT'S HOUSE. KITCHEN.
MATT enters the kitchen and, as quietly as he can, opens the back door. HUDSON and BROADWAY are there. MATT whispers.
MATT
You got to get out of here. It's my mother.
BROADWAY
That's a problem?
MATT
Yes, it is. She's not supposed to be here.
HUDSON
Where is she supposed to be, then?
MATT
In a hospital.
BROADWAY
Can we help her go back?
MATT
No!
ARLENE (OFF)
Matt? Is everything all right?
MATT
Fine, be right there.
BROADWAY
We’re not doing anything else.
MATT
Well, can’t you not do it somewhere else?
HUDSON
Speak plainly.
MATT
Vamoose.
BROADWAY
No. We’ve at least got to keep an eye on you. And I want to know more about your own clan, too.
MATT
All right, fine. Just keep out of sight, and whatever happens, just...put up with her.
HUDSON
If you’re sure about this?
MATT
Very, very, extremely sure. Please.
BROADWAY
All right.
MATT
Thanks. I’ll fill you in later. Go on.
He shuts the door on them.
EXT. SCENE - MATT’S HOUSE. BACK PORCH. (NIGHT)
BROADWAY
Well? What now?
HUDSON
Now we watch. Here.
They go to the back window and peek in from the sides. MATT, looking slightly frazzled, has a couple of pop cans in his hands. He glances back at them, and then goes back to the living room.
INT. SCENE - MATT’S HOUSE. LIVING ROOM.
MATT enters, and hands a drink to ARLENE. She scrutinizes it.
MATT
Sorry, it’s the best I’ve got.
ARLENE
Ah...bottled in Birmingham. That should be all right. You get that much right, anyway.
MATT
So, how have you been otherwise?
ARLENE
Been doing well. Been doing research, mostly.
MATT sits. Through the next conversation, he is only half-listening, and he keeps glancing toward the back window.
MATT
Oh? About what?
ARLENE
About the forces behind the nation’s governments, mainly.
MATT
Ah.
ARLENE
And I think I’m on to something big, Matt. Something amazing.
MATT
What’s that, mom?
ARLENE
Did you know that the Illuminati walk among us?
MATT
No, I can’t say I did.
ARLENE
Well, they do. And there’s another thing.
MATT
What’s that?
ARLENE
They have devised some sort of a plan to make monsters.
MATT
Oh? What kind of monsters would those be?
ARLENE
Ones that would make your toes curl just to hear about them. Horrible, demonic ones. Winged creatures with fangs and claws, the kind I used to tell you kids about in bedtime stories.
MATT squirms in his seat, and takes a longer glance back at the back window. BROADWAY and HUDSON are barely visible there. BROADWAY has sat up slightly and is arching an eyebrow at MATT, who rolls his eyes before turning back to ARLENE.
MATT
Oh, Mom, come on. Can’t be any such thing.
ARLENE
Oh, no? Haven’t you seen what came to New York City?
MATT
And those were government made?
ARLENE
Had to be! No other explanation, or do you expect me to believe they just popped into existence?
MATT
No, Mom, I don’t expect you to believe anything in particular.
ARLENE
But I can prove it now.
MATT
Yeah?
ARLENE
Oh, yeah.
MATT
How’s that?
ARLENE
They’ve come to Chicago.
MATT sits up very straight at this while trying very hard not to look like he is sitting up very straight at this.
EXT. SCENE - MATT’S HOUSE. BACK PORCH. (NIGHT)
BROADWAY
Uh oh. Is that our cue?
HUDSON
Steady. Let her talk.
INT. SCENE - MATT’S HOUSE. LIVING ROOM.
MATT
Well, that’s, um, interesting. What part of Chicago, exactly?
ARLENE
Downtown. Right in the heart of the Loop. At the Federal Building.
MATT
Oh.
He relaxes somewhat.
ARLENE
Or at least, that’s where they’re keeping the proof.
MATT
What proof is that?
ARLENE
Embryos. Little ungrown ones. They make them at an underground base in New Mexico. They shipped them to New York, and now they’re shipping them here. They grow them up in secret and then they turn ‘em loose.
MATT
Oh, that’s interesting. And you said you can prove this?
ARLENE
Yes. With your help.
MATT
Help? How?
ARLENE
My boy is so clever. Getting inside the system. Taking a job with the power company, with all that access to all those buildings downtown.
MATT
No, Mom, it doesn’t work like that.
ARLENE
It has to.
MATT
Mom, I can’t do that. I’ll get fired.
ARLENE
The truth will out, my son.
MATT
Then the truth’s got to work its own way out, because I can’t be opening any doors for it.
ARLENE
You will. Listen to your mother.
MATT
I won’t.
ARLENE
All right, then.
She stands.
ARLENE
We wrestle for it.
MATT
Mom, I’m not wrestling you either. Can’t you just sit down and we can talk for a while?
ARLENE
Come on.
She goes into the dining room. MATT jumps to his feet and follows her in.
INT. SCENE - MATT’S HOUSE. DINING ROOM.
ARLENE turns on the lights and MATT winces, looking toward the back windows; both gargoyles have hidden themselves. ARLENE crouches and puts her hands in front of her.
ARLENE
Come on. I taught you how to do this, now let’s go.
MATT
Mom, I don’t want to hurt you.
ARLENE
Then make it clean.
MATT starts to talk, but shrugs. He takes up a wrestling posture, facing the window. BROADWAY and HUDSON peep in as he does. ARLENE engages with him in a collar-and-elbow hold.
ARLENE
Right. Three, two, one, wrestle!
ARLENE begins to shuffle around as MATT tries to hold his ground, keeping her back to the windows. This does not last long: she shifts her arms, thrusts one arm past his chin, and takes him over her leg to the floor with a loud thud. MATT grunts. Both gargoyles react. ARLENE puts one knee on MATT’s chest.
ARLENE
We’re going to need to get some armaments first. You drive.
MATT
Ehhhh.
EXT. SCENE - MATT’S HOUSE. BACK PORCH.
BROADWAY and HUDSON are watching this. BROADWAY winces. HUDSON grins.
BROADWAY
Where do you think she picked up moves like that?
HUDSON
They must have a fine physical training regimen in that hospital.
BROADWAY
I guess so.
HUDSON
A feisty one. I would like to know her better. Come along, we should follow them.
They climb to the roof.
EXT. SCENE - HUMBOLDT PARK ARMORY. (NIGHT)
MATT pulls up to the front of the armory and parks. His mother is in the passenger seat.
ARLENE
Now, I can handle this myself, you just wait in the car. Won't be more than a few minutes.
MATT
You can handle the National Guard by yourself?
ARLENE
Trust Mother, would you?
MATT
Yes, mother.
ARLENE
Very good. Be right back.
She gets out of the car and goes toward the door of the armory. There is suddenly a voice from behind, startling MATT.
HUDSON
She just might.
MATT
Yah! Please don't do that.
BROADWAY
What is happening?
MATT
She thinks she is going to get armed.
BROADWAY
No, beyond that.
MATT
She wants to raid the Federal Building downtown.
BROADWAY
No, I got that. What is her overall...
MATT
Her deal?
BROADWAY
Right.
MATT
She's not well. She has been in a mental hospital in Wisconsin for fifteen years. I guess she got out.
HUDSON
But she is not recovered, then?
MATT
She thinks she's going to break into the Illinois National Guard armory by herself. What do you think?
At the door, ARLENE knocks loudly. After a moment, a young soldier opens the door.
SENTRY 1
Yes, ma'am? Is something wrong?
ARLENE
No, I'm just getting a few things.
SENTRY 1
Such as?
ARLENE abruptly punches him in the gut, then the head, dropping him.
ARLENE
Oh, revenge, for one.
She goes inside. Back at the truck:
HUDSON
I think she has a good chance.
MATT
Oh, boy. Guys, I don't draw on you much, but could you--
HUDSON
Straight away.
BROADWAY and HUDSON go inside the armory behind ARLENE.
INT. SCENE - HUMBOLDT PARK ARMORY.
ARLENE strolls along calmly, humming to herself, followed in the shadows by BROADWAY and HUDSON. She walks past a few armored vehicles.
ARLENE
Hmm, should I? No, too ostentatious, and we'd never get it upstairs.
She continues onward, stopping at a rack of rifles. She goes over the selection.
ARLENE
Hmm. That's too large...never get the bullets for that...ah!
She picks up a soldier's rifle and weighs it in her hands.
ARLENE
Yes, perfect. That will do nicely. Now the bullets. Um...
From up above, in the gallery, a door bangs open. Another sentry comes out.
SENTRY 2
Hey. Hey! What are you doing?
ARLENE
You, there! Where do you keep the bullets for this thing?
The sentry draws his sidearm.
SENTRY 2
Put that down at once!
ARLENE
Oh, all right, I’ll find them myself.
The sentry begins to aim at ARLENE, but finds his gun being pushed out to one side. He looks up; BROADWAY is right there, holding him off. The sentry opens his mouth to yell, but BROADWAY is there first, punching him in the head. He rolls down the gallery and lies there, knocked out. A third steps out onto the gallery.
SENTRY 3
Hey, you coming back? What is--
He doesn’t get much further. HUDSON puts his left hand over the sentry’s mouth, and puts the tip of his sword to his neck.
HUDSON
(quietly)
Be very quiet.
SENTRY 3 turns out to be a bit more vigorous than the others, though, and brings his arms around the inside, deflecting both HUDSON’s sword and hand away. He gets in one punch to HUDSON’s chin, knocking HUDSON back slightly. The sentry spins away and reaches for his sidearm.
SENTRY 3
Park--!
This is as much as he gets out. BROADWAY gets in behind him in a half-nelson, tying up his gun arm, and with the other fist, knocks him cold. BROADWAY sets him down gently on the floor. BROADWAY and HUDSON exchange looks, and then look down at ARLENE.
Below, as this goes on, ARLENE hums to herself, picking over boxes of ammunition in a drawer. She finds what she is looking for, pulls out the box, flips it in her hand, and turns to go.
ARLENE
Got it! Thanks, g’night.
She exits.
HUDSON
We had better leave as well. Back to the station.
BROADWAY
Not with Matt?
HUDSON
No. It is his mother. She’s no danger to him, and we know her target. And--
There is a noise in one of the offices off the gallery, and both gargoyles look toward it.
HUDSON
Up and out.
They jump up and climb toward the windows along the roofline as the sergeant comes out of the office. Quietly, they exit. The sergeant walks over to the two unconscious sentries, and checks on them, and then looks around, alarmed.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
HUDSON is facing the others, telling what he and BROADWAY have gone through.
HUDSON
They were gone when we left.
GOLIATH
But he is in no danger?
BROADWAY
Not from what I could see. Not immediately.
HUDSON
But she has a certain vigor to her. She's sure to be in trouble soon.
The door opens and MATT enters, face full of agony. BRONX comes over to him and greets him as he approaches the group.
BROADWAY
Are you all right?
MATT
No. I had to get her to send me out for protein powder and distilled water. You guys are okay?
BROADWAY
Sure, it was just three guards. Nothing much.
MATT
Yeah, but armed guards!
HUDSON
It is not a burden. We have had much worse.
GOLIATH
But an explanation would be appreciated. Why is your mother taking weapons from the guard?
MATT
Because she is unwell. She thinks she is going to save the world.
GOLIATH
From what?
MATT
Well...from you, I think.
BROOKLYN
What?
MATT
She is convinced that the government has some sort of embryonic creatures downtown, and she didn't name names, but it sure sounds like she means you guys. Other gargoyles, I mean.
BROADWAY
Yeah, that's what she said.
BROOKLYN
Could she be right about that?
MATT
I don't think so. I mean, you didn’t come from a lab in New Mexico, did you?
GOLIATH
No.
MATT
Well, there you go.
BROOKLYN
But she's still dangerous.
MATT
Yeah. If she finds you here, I don't know what she plans, but I doubt it's any good.
BROOKLYN
More than that. What about you?
MATT
I mean, I've dealt with this before.
GOLIATH
Have you?
MATT
I mean...mostly. Somewhat.
GOLIATH
It may be better for us to look out for you both.
BROOKLYN
When’s she planning to go downtown?
MATT
Not tonight, I don’t think. Hard to tell for sure.
BROOKLYN
So we have some time to go recon this building. What did she plan?
MATT
She meant for me to let her into the electrical rooms. But I--
BROOKLYN
Lexington?
LEXINGTON
Sure.
HUDSON
We should return to the armory. It would be better to know in advance if they have tracked down those weapons.
BROADWAY
Yeah.
GOLIATH
We will go with you, Matt.
MATT
I mean, if you want to, sure.
BROOKLYN
No time like now. Come on.
BROOKLYN and LEXINGTON take off to the east, and HUDSON and BROADWAY take off to the west. MATT looks after both of them, worried.
GOLIATH
Is this all right?
MATT
I just don’t want to put you to a lot of trouble for this.
GOLIATH
Why?
MATT
It’s just...you know my history. She was responsible for my brother...um...
GOLIATH
But you still protect her.
MATT
She is my mother. Of course I do. That doesn’t mean you have to.
GOLIATH
It does. You have protected us, in your way. We will protect you, and we will protect those in your clan.
MATT
I don’t feel like I’ve earned that.
GOLIATH
You do not need to. And in any event, it has been quiet here.
MATT
Be careful what you wish for. You don’t know my mother.
GOLIATH
No. I do not take a peaceful city for granted, but it does get...
MATT
Boring?
GOLIATH
That is not exactly the term I would use. It is close. But there is more than that.
MATT
Oh? What’s that?
GOLIATH
When we left Manhattan, I had hoped its troubles would follow us here. They have not.
MATT
What troubles?
GOLIATH
There were many. Some you may have heard of, some you may not. I do not know what news had come this way. All were aimed at us. There were nights, low nights, when I have thought we brought more danger to Manhattan than protection.
MATT
Like the storm.
GOLIATH
Aye. And it did follow us away from there when we left. But the rest has not, and I do fear it is only a matter of time before one of those dangers takes advantage of a city lying bleeding.
MATT
I see. So, peace here may mean the battle is still going to be there.
GOLIATH
Yes.
MATT
How can I help?
GOLIATH
We have not earned your help, have we?
MATT
Stuff that. I like you guys. I don’t want you getting hurt, or your friends.
GOLIATH
And now you see why we will protect you.
MATT
I guess so.
GOLIATH
Come on.
He picks up BRONX and goes toward the parapet.
MATT
I don’t suppose my mother is one of those dangers you’re hoping to keep away from Manhattan right now, though. She is more of a problem for me than I see her being for you.
GOLIATH
I do not see a distinction, and if she has us targeted, we should be involved in this.
MATT
Thank you.
GOLIATH takes off going west, clutching BRONX, and MATT watches him go briefly.
EXT. SCENE - HUMBOLDT PARK ARMORY. ROOF. (NIGHT)
Below, several police cars are parked outside of the armory as HUDSON and BROADWAY arrive on the roof. They look down, then at each other, and then enter through an inconspicuous window.
INT. SCENE - HUMBOLDT PARK ARMORY.
Inside, the police are circulating around the floor of the armory alongside several National Guardsmen, reviewing the scene of the late crimes. Up on the gallery, SENTRY 2 is holding an ice pack to his head and speaking to an officer. HUDSON and BROADWAY sneak onto a rafter, out of sight. A police DETECTIVE is speaking to the CAPTAIN of the local Guardsmen.
CAPTAIN
But as far as we can tell, it was only the one down here.
DETECTIVE
And upstairs?
CAPTAIN
I don’t know. They keep saying there was something there. Not someone, something.
DETECTIVE
What sort of something?
CAPTAIN
They didn’t get a good look.
DETECTIVE
Huh.
CAPTAIN
Total take wasn’t much. Two rifles and a box of ammunition.
DETECTIVE
Seems like a lot of trouble to go through.
CAPTAIN
How’d you do?
DETECTIVE
Well, we got some camera shots from around here. We’re working to get the license plate right now.
BROADWAY
(quietly)
Uh oh.
HUDSON
(quietly)
What is it?
BROADWAY
(quietly)
I think they’re going to figure out who was here.
From the street, officer MILLER enters and calls out to the DETECTIVE.
MILLER
Hey, they got a hit on that plate.
DETECTIVE
All right, let’s go.
The DETECTIVE starts to follow MILLER out.
HUDSON
Can you keep them busy?
BROADWAY
I can try.
HUDSON
Do it. I will warn the others.
HUDSON climbs out onto the roof. BROADWAY looks down at the people inside, and scratches his chin.
BROADWAY
Well, direct approach is quickest.
He leaps down onto the gallery. Eyes alight, he spreads his hands and wings, and growls at SENTRY 2, who skitters backward, wide-eyed, along with the officer who had been talking to him. BROADWAY then leaps toward them, clearing well above both of them, and then bounds up the wall and out of the windows near the roof.
EXT. SCENE - HUMBOLDT PARK ARMORY. ROOF. (NIGHT)
BROADWAY climbs out onto the roof and goes to the edge, facing the parked police cars, wings spread, looking quite grand and impressive. Several officers pile out of the Armory and begin yelling at the police outside. One or two of them turn the spotlights onto him, giving him a wonderful dramatic appearance. He turns around briefly: behind him, he can see the silhouette of HUDSON leaving in the sky. He leaps off, dives toward the police, and then glides quickly away up the street. The police cars take off, one by one, and chase him up the street.
EXT. SCENE - HUMBOLDT PARK. AERIAL. (NIGHT)
BROADWAY makes a series of dives and climbs and banks back and forth to draw the attention of the police. Several of the cars in the lead open fire on him, and he weaves to dodge the gunfire. BROADWAY looks back at them briefly.
BROADWAY
(to himself)
Watch it, guys. Bullets travel.
He banks hard to the left and the police follow him up.
EXT. SCENE - MATT’S HOUSE. ROOF. (NIGHT)
GOLIATH and BRONX are standing on the roof, looking out at the night. MATT enters from the scuttle and walks over to them.
MATT
Well, she’s definitely out for the night. Must have worn herself out on the run.
GOLIATH
Good.
MATT
What you said before, about the troubles you’d had in Manhattan. What did you mean?
GOLIATH
There were many. Would you like a full list?
MATT
No, no. But some highlights would be all right. Kind of want to understand what you’re up against.
GOLIATH
You have met David Xanatos.
MATT
The other night, yeah.
GOLIATH
He had much to do with many of them.
MATT
I should have figured as much. Such as?
GOLIATH
Long ago, now, he brought us to Manhattan.
MATT
From where?
GOLIATH
From Wyvern Hill, in Scotland.
MATT
Quite a long way. He must have been very--
GOLIATH
In the year 994.
MATT
What? No, seriously?
GOLIATH
Yes.
MATT stares at him.
GOLIATH
And there is more. Early on, he had retained a scientist of his own to...copy us. To make more for his own purposes.
MATT
He didn’t, did he?
GOLIATH
He did. One cruel and avaricious. He was responsible for the blast some years ago, at the conference of our supporters.
MATT
Wow.
GOLIATH
And there were others. His first attempts were on humans he found in the street. Most of them survived, but much changed.
MATT
What happened to them?
GOLIATH
They hid. They still live, under the streets. One was the brother of my...my friend. He now leads them.
MATT
And are they another threat, then?
GOLIATH
Hardly. They are protectors, although in their own way.
MATT
And this is just a few of your enemies you’re talking about now.
GOLIATH
Yes. You see now what I had hoped to spare the city from?
MATT
Yes. I can’t say I’m excited about the thought of them coming to Chicago, though.
GOLIATH
We defended Manhattan. We will defend Chicago as well, until we return home.
MATT
I know.
He thinks a moment.
MATT
But if this scientist guy was able to make copies of you, wouldn’t that mean...
He is cut off by HUDSON’s arrival.
HUDSON
The police have traced you. They are coming.
GOLIATH
How quickly?
HUDSON
Broadway has gone to distract them, but I do not think it will hold them off long.
GOLIATH
Go and get your mother away from here. We will defend this place until you go.
MATT
Right away, and, hey?
GOLIATH
Yes?
MATT
Be very careful. I mean that.
HUDSON
You as well.
MATT runs over to the scuttle and slides down the ladder. GOLIATH and HUDSON go to the front of the roof and watch. In the distance, the sirens approach.
INT. SCENE - MATT’S HOUSE. LIVING ROOM.
MATT rushes in and turns on the lights. His mother is sleeping on the couch. He shakes her.
MATT
Mom? Mom? Wake up.
ARLENE
Mmm hmm. What is it?
MATT
Cops are coming.
She springs fully awake and sits bolt upright.
ARLENE
Really?
MATT
Yes, and you and I are leaving now. Come on.
ARLENE
We can’t leave now. This is your home.
MATT
No, Mom. We’re going to get away from here.
ARLENE
Nonsense. I didn’t pick up those rifles for decoration. Lock and load.
MATT
Mom, listen. There are a hundred cops going to be coming here, and I don’t know if you have heard the news, but they are not exactly reluctant to shoot back when they are shot at.
ARLENE
Great, that should make it all the more interesting.
MATT
Maybe for you, but what about my neighbors downstairs?
ARLENE
Well...
MATT
You wanted to go get those creatures downtown, right? It’s going to be hard to do that with the cops right here, right?
ARLENE
I suppose so. But you’re really spoiling this for me.
MATT
I know. But come on, anyway. I know a place we can hide until the heat’s off.
ARLENE
Now, that’s my son!
She stands and gathers up one or two things. MATT runs to his bedroom and grabs a bag. They join hands, and go to the back of the apartment.
EXT. SCENE - MATT’S HOUSE. ROOF. (NIGHT)
The sirens have gotten louder. BROADWAY arcs into view and lands on the roof near the others.
HUDSON
How long?
BROADWAY
Half a minute, no more.
GOLIATH
Matt is taking his mother away. Go with them until they are in the clear.
BROADWAY nods, and goes to the back of the roof. Below, the door bangs open, and MATT and ARLENE step out onto the porch. BROADWAY looks down over the edge of the roof: he catches MATT’s eye, and then sits up again.
MATT
It sounds like they’re getting close.
ARLENE
We could still stand and fight this.
MATT
That has a bad track record, mother.
He gives her a hard look, and for just a moment, her heart wells up in her. But then she hardens.
ARLENE
Come on, then.
They run down the back steps and across to the garage. BROADWAY takes off from the roof and begins to circle above the garage as the first of the police cars arrive in front. GOLIATH and HUDSON go to the front, and take off.
EXT. SCENE - MATT’S HOUSE. FRONT YARD. (NIGHT)
Several police officers pile out of their cars and begin to approach the house. From above, there is a loud roar. HUDSON dives from above, eyes lit, swooping down across the police, who scatter in response. From the other side, GOLIATH dives at them, and then glides out down the street. Two or three of the officers give chase.
However, one officer is less affected than the others: officer SANCHEZ, whose eyes widen when he sees GOLIATH and HUDSON diving at the police. With him is officer MILLER, who has ducked and has his pistol out, aimed at the rapidly retreating GOLIATH.
MILLER
Did you see that? Sanchez, did you see that?
SANCHEZ
Yeah, I saw it, Miller. Come on.
They begin to make their way toward the back of the house through the gangway.
EXT. SCENE - MATT’S HOUSE. ALLEY. (NIGHT)
A patrol car drives up into the alley and stops behind MATT’s garage, shining its spotlight around. It does not stay long. BROADWAY drops forcefully onto the car’s trunk, sinking it hard. He leers into the rear window of the car, eyes alight. The driver floors it down the alley, BROADWAY riding along the whole way. As they get clear, MATT’s garage door opens. He pulls out into the alley and briskly drives away the other direction.
Down the alley, the patrol car exits into the street, banging the curb as the patrolmen try to make the corner. BROADWAY leaps off and flies up into the night, banking around to stay behind the patrol car. It whips around the block again, facing MATT’s truck. A moment later, the patrol car U-turns, lights on, and begins to give chase.
BROADWAY
Oh no you don’t.
He turns and pursues the patrol car.
EXT. SCENE - MATT’S HOUSE. BACK YARD. (NIGHT)
SANCHEZ, with his weapon drawn, begins to work his way up the stairs, followed by MILLER. He reaches the second floor, meeting the frightened eyes of a woman inside. He quietly gestures to her to get inside and out of sight, which she does. Up to the third floor. He backs up to the wall, and sneaks a quick look through the window inside MATT’s apartment. There is nothing. MILLER comes up behind him, looks across, and gestures at the ladder up to the open roof scuttle. SANCHEZ nods, and goes over to the ladder. With his pistol in one hand, he steps onto the ladder. In front, there is another roaring scream and a series of yells from below as GOLIATH and HUDSON make another pass across the police below.
EXT. SCENE - STREET. (NIGHT)
MATT tears along an arterial street, pursued by the police car, which is pursued from above by BROADWAY. The police car closes tight on the truck, when there is suddenly a loud thump on the roof as BROADWAY lands there. He punches it rhythmically, ending with a shave-and-a-haircut riff before gripping the light bar and leering in the windshield. The officers scream, and the car swerves hard. BROADWAY leaps clear as the car vaults the curve, crashes through a fence, and lands in a junkyard, skidding to a stop. The officers inside look around, stunned. BROADWAY spirals up: below him, MATT's truck continues down the street and out of sight around a corner. Below, BROADWAY sees the officers get out and look at the roof, guns drawn, but, failing to see anything, begin scanning the sky. He clears out.
EXT. SCENE - MATT’S HOUSE. ROOF. (NIGHT)
SANCHEZ slowly climbs up the ladder. He sticks his eyes above the edge and looks around quickly. He takes one more step up, looking around nervously. He finally turns to look behind himself, turning himself nose-to-nose with BRONX, who gives him one mighty sniff and then licks him clean across the face. SANCHEZ lets out an exasperated sigh.
MILLER
(whispering)
Sanchez? What is it?
SANCHEZ
(to MILLER)
Slow ‘em down. They’re not here.
MILLER reaches for his radio.
MILLER
(to radio)
2565, in the back, nobody’s here. Slow ‘em down.
DISPATCHER
(on radio)
10-4 2565, units on Kil--
There is a loud squeal as Sergeant MIKULSKI cuts in.
MIKULSKI
(on radio)
Miller, where are you?? Don’t you tell me there ain’t nobody here!
SANCHEZ
Oh, boy. Tell him to come back up here and we’ll show him.
(to BRONX)
You guys are in big trouble.
BRONX
Arrghur.
INT. SCENE - FEDERAL BUILDING.
A darkened government building. A hallway with a line of identical offices, which ends at a wall of windows overlooking the darkened city. The sky is just beginning to lighten outside. A door cracks opens midway along the hall. LEXINGTON sticks his head out, looks around cautiously, and then steps into the hall, followed by BROOKLYN. They begin to go down the hall, looking at the rooms around them.
LEXINGTON
Oh, look, more of the same.
BROOKLYN
You think this could be it?
LEXINGTON
I don’t know. I still think that, if they were doing any of...that...they’d need plenty of power. They’re near enough to the utility floor, so they’d have that here.
BROOKLYN
You said that about the other three floors.
LEXINGTON
Yeah, I did.
BROOKLYN
Just keeping you straight on that.
LEXINGTON
There’s one other possibility.
BROOKLYN
What’s that?
LEXINGTON points to his head and spins his finger in a tight circle, making the familiar sign.
BROOKLYN
Yeah. Well, but, suppose she’s actually on to something?
LEXINGTON
Suppose she is. Then what?
BROOKLYN
Then...I don’t know. I’m kind of hoping...
LEXINGTON
Katana?
BROOKLYN
Yeah. Something like that. If they need “zhe goot breeting schtock,” or something like that.
LEXINGTON
I guess it’s possible.
BROOKLYN
No crazier than a lot of things.
LEXINGTON
No, it’s not.
BROOKLYN
Even if it’s nonsense, you’ve got to figure that Matt’s mother is probably--
He holds up a hand suddenly, cutting himself off. He sneaks an eye around a corner, looking, with one hand on his katana. He relaxes, and steps out around the corner, and they continue to investigate.
BROOKLYN
It’s probably the same kind of nonsense she’s working from. May as well work back from that.
They come up to a set of double doors, room 3727, locked with a card lock, with a “NO ADMITTANCE” sign. LEXINGTON inspects it.
LEXINGTON
Well...if anything’s it, this is it.
BROOKLYN
Can you get through it?
LEXINGTON
I think so. Give me a minute.
He pulls a pocket computer from his belt and puts it up against the card pad. The computer beeps and begins processing.
LEXINGTON
Doesn’t look like a very complicated lock, though. Most genetic engineering schemes have guards at least.
BROOKLYN
That’s what bothers me. This place is abandoned. Graveyards have more security.
LEXINGTON
Budget cuts, I guess.
The computer beeps and flashes at them. LEXINGTON puts it on the pad, and the pad beeps and the door clicks. They open the door and look inside, and then at each other, disappointed. It is a supply closet.
BROOKLYN
Well, so much for that.
LEXINGTON
Anything else to check out?
BROOKLYN
No. Sun’s coming up. Let’s get back up top.
They shut the door and begin going back to the stairwell.
LEXINGTON
So what’s your plan now?
BROOKLYN
Get them here, and then work it out as we go.
LEXINGTON
That’s not really a plan, is it?
BROOKLYN
It’s probably the safest one we’ve got. It’s not like it’s good sense to plan around a crazy person.
EXT. SCENE - FOREST PRESERVE. (DAWN)
MATT is tramping through the woods, assault rifle slung over his back, phone to his ear. He is talking to LUKE PEGRAM on the phone.
MATT
Are you in Chicago yet?
LUKE
Just got in about two this morning. Where are you?
MATT
The Grand Army of the Republic Woods.
LUKE
No, really.
MATT
Really. Mom thinks that’s a good omen for our success, but it was just the first place I could go to get her isolated.
LUKE
Where is that?
MATT
On the river, west of the city.
LUKE
And I guess she’s not there if you’re able to talk on the phone?
MATT
No, she’s in camp, making her final plans. She saw a couple of deer around last night, and sent me out to bag one.
LUKE
For breakfast?
MATT
Well, she said that or some hotcakes.
LUKE
(laughs)
MATT
She never changes, does she?
LUKE
Well, not when she’s like this. When she’s on her meds she is a lot more reasonable.
MATT
I hope so. That’d be the point, wouldn’t it?
LUKE
She asks about you. She wants to know where you are, whether you’re okay. Whether you got married yet, that sort of thing.
MATT
Yeah.
LUKE
But then she starts saying the meds are confining her, and off she goes.
MATT continues on in silence a moment.
LUKE
Are you all right?
MATT
Yeah, I’m all right.
LUKE
The cops said something about being attacked when they got to your apartment last night. What happened?
MATT
I don’t know. I wasn’t there.
LUKE
Mutt. Come on.
MATT
Lukey, I gotta tell you something. You remember those gargoyles out in New York?
EXT. SCENE - DREAMSCAPE. (NIGHT)
BROOKLYN is gliding through a dark night sky across a featureless plain. He lands and takes a few steps forward. Out of the dark appears KATANA, chained to a table.
BROOKLYN
Katana! Hold on, I got you!
He takes several steps toward her, but his feet slide backward along the ground, as if he were running uphill on ice.
KATANA
Brooklyn! Get me out of this!
BROOKLYN
I’m trying!
He reaches forward to try to get to her, and cannot reach. He digs his claws into the ground to pull forward, but keeps sliding backward. As he is straining, a spotlight clicks onto KATANA. She squints her eyes and turns from the light. Into the light steps a white-coated human, a MAD DOCTOR, with perfectly coiffed hair and a head mirror the size of a frying pan on his head.
DOCTOR
Oh! Now! Hold on, for the show is just starting!
BROOKLYN’s eye lights, and he surges forward toward the DOCTOR, but slides backward even harder. He finally slides back into a theater seat and is forced to sit. He attempts to get up, but can’t; it’s as if gravity is too strong for him to get up.
DOCTOR
Let us begin the operations!
The DOCTOR cups his left hand to KATANA’s abdomen, and reaches in with his right to draw out a paper chain, which he flings across the empty void, where it hangs in the air. As he does this, KATANA keens in pain.
DOCTOR
Four out of five of us agree that there is a vital need for embryonic multiplicative techniques for the survival of the fittest! And, lo, forthwith it goes!
BROOKLYN
Katana!
She cries out. On closer inspection, the paper chain consists of tiny gargoyles, alternating Nashville and Tachi figures, linked at the hands and feet. The little figures cry and squeal as the chain flails in the void. BROOKLYN grabs for the chain, but it remains just outside of his grasp. The doctor begins pulling more and more vigorously:
DOCTOR
And we can produce more, and more, and hundreds, and hundreds and hundreds and THOUSANDS and THOUSANDS!
As he pulls, KATANA stops screaming. As BROOKLYN looks on in horror, her head begins to unravel and pull down inside of her as the chain is pulled out.
BROOKLYN
No. No! Katana!
He lunges toward her, trying to reach her, but is sucked back into the chair. Then he tries to move again, but he cannot. He looks down: his lower body is turning to stone, very gradually moving up his torso. He struggles to get free.
DOCTOR
And then, once the product is completed, we can feed the beast all that it wants to eat! Ah ha ha ha!
At this, there is a blue vortex that forms to their right. The chain flaps and whips in the resulting wind, and is sucked into it. As it goes, a torrential storm begins around them. The chain is drawn into the swirling winds, and shredded, the squeals of its links echoing around. BROOKLYN continues to struggle to get free as the stone creeps up around his neck, up over his face, and over his eyes.
EXT. SCENE - FEDERAL BUILDING. ROOF. (DUSK)
BROOKLYN is sleeping, with LEXINGTON nearby. The sun sinks below the horizon, and they shake themselves awake with a roar. BROOKLYN promptly drops to one knee, panting, eye wide in terror. LEXINGTON sees this, and rushes to him.
LEXINGTON
Hey! What’s wrong? What’s happening?
BROOKLYN
I’m just...
He looks around at the roof. All is quiet and normal. BROOKLYN shakes his head.
BROOKLYN
I’m fine. I’m all right.
LEXINGTON
No, you’re not.
BROOKLYN
Yes, I am. I just, I had a bad dream. That’s all. I’m fine.
He stands, and stretches his wings out. He begins to walk it off.
LEXINGTON
You’re sure?
BROOKLYN
Yes! Yeah. Arrgh.
LEXINGTON watches him walking up and down the roof and rubbing his face. BROOKLYN looks back at him.
BROOKLYN
Really.
LEXINGTON
All right. Do you want to go back to the station once it’s dark?
BROOKLYN
No. I have a feeling the action’s going to be here. I want to be ready for it. Do you have the phone?
LEXINGTON
Yeah.
BROOKLYN
Text Matt, and let him know we’re here.
LEXINGTON pulls out the phone, and begins texting.
INT. SCENE - MATT’S TRUCK.
MATT is driving along the street at dusk, with his mother sitting next to him. His phone beeps. He pulls it out and looks at it briefly.
ARLENE
Eyes on the road, dear.
MATT
Yes, Mom.
He puts the phone away.
ARLENE
Who was that?
MATT
Junk text. Nothing important.
He looks out ahead at the dying light on the buildings. Above him, in the distance, he sees a cluster of shadows sliding across the buildings, trailing him into downtown.
Shot - Aerial.
From above, MATT’s truck continues down North Avenue toward the city; in the distance, the skyline is visible. A moment behind, BROADWAY, HUDSON, and GOLIATH, with BRONX carried between, are following him in the air.
INT. SCENE - FEDERAL BUILDING. LOBBY.
MATT, carrying a toolbag, and ARLENE, both in work clothes and MATT in his Edison hardhat, approach the security desk. ARLENE has on a backpack. MATT holds out his badge to the security guard.
MATT
Edison. Gotta see the transformer rooms.
GUARD 1
Go on through. Gonna be long?
MATT
Not too long, maybe half an hour.
ARLENE
More like an hour.
MATT
More like an hour, I guess.
GUARD 1
Okay. Shift change’s coming up, just let the night guy know you’re here if you stay longer.
ARLENE
We won’t engage in joinder.
GUARD 1
What?
MATT
She means we won’t be doing much work like joindering tonight. Should be quick.
GUARD 1
Go on.
MATT
Thanks.
He steps around the guard desk and toward the elevators, pulling ARLENE along with him. He lowers his voice.
MATT
Please let me talk, Mom.
ARLENE
Oh, you know so much, don’t you? You were just about to make joinder with that guard.
MATT
Fine. Fine. But I know how the Edison guys talk to the guards, so let me do it!
ARLENE
Don’t talk to your mother that way!
MATT
Shh!
ARLENE
Don’t shush me!
MATT
He’s right back there. Do you want him to follow you?
ARLENE
I don’t care. I can take down a squirt like--who are they hiring for guards nowadays, the Lollipop Guild?
MATT jams his thumb on the elevator call button, and the elevator opens. They go in.
MATT
Oh, my God, mother, you are going to be the death of us both.
ARLENE
Now, you listen to me, let me tell you something. This is my assault, and I know best--
The lecture is cut off by the elevator door closing.
INT. SCENE - FEDERAL BUILDING. 35TH FLOOR.
A darkened hallway in the Federal Building. The elevator pings, and the doors open. Deep in the hallway, there is a shift in the darkness. MATT and ARLENE step out into the hall. ARLENE has a rifle in her hands and is looking ferocious. She looks around.
ARLENE
This way.
They begin to work their way along the hallway. MATT is nervously looking around as ARLENE tries one door, then the next.
MATT
Do you know what it is you’re looking for?
ARLENE
A laboratory. Probably toward the building core. The power they’d need would be immense.
Behind them, two silhouettes shift in the hall. MATT looks up sharply at the motion, but does not see anything. They continue down the hall gradually.
ARLENE
Refrigeration, for one thing.
MATT
Right.
ARLENE
And then for gene editing. That’s heavy equipment. I’ve seen it online. They’d have their work cut out for them setting that up. They’d need an equipment room or something, something with a wide entrance and a solid floor.
MATT
Could they get that up in these elevators, though?
ARLENE
Wouldn’t need to. They can teleport it.
MATT
Oh.
ARLENE
But teleporting takes a whole lot more energy, that’s the other thing, and it’s got to be sort of open so there is no shielding. I learned about it online. They say that--
There is suddenly a ding in the darkness as the elevator arrives, cutting her off. She holds up a hand, and then motions for MATT to get clear. He stands with his back to the wall. She points at his bag. He looks at her. She points at his bag again, more insistently. MATT rolls his eyes, reaches into the bag, and draws out a rifle. He cocks it.
Around the corner step a pair of security guards. One of them shines his light toward MATT and ARLENE.
GUARD 2
You two! What are you doing here?
ARLENE
You won’t get to know.
She raises the rifle to her shoulder. Both guards draw their guns in response.
MATT
No, don’t!
GUARD 2
Drop your weapon!
ARLENE
You drop yours first.
Suddenly, GUARD 2 whips around backward. There is a punch in the darkness, and he goes to the floor. GUARD 3 looks after him. He continues turning beyond where he’d planned, and a punch rocks him backward. He raises his gun toward his assailant, but it is knocked out of his hand. There is a scuffle, and this ends with GUARD 3 flung down the hallway past MATT and ARLENE, where he slams into a wall and slides down to the floor, knocked out. Where he had stood, three glowing eyes in the darkness indicate what happened. ARLENE aims at them. MATT reaches out to pull down the rifle.
MATT
Don’t! Do not!
Out of the darkness, BROOKLYN and LEXINGTON approach, on their guard. ARLENE looks at them, and gasps. There is a tense moment. Then, ARLENE lowers the rifle on her own. MATT looks at her, astonished.
ARLENE
Hail and well met, friend.
Confused, BROOKLYN and LEXINGTON look at each other, and then at ARLENE.
MATT
Friend?
BROOKLYN
Hail, woman.
ARLENE
I am Arlene of the family Pegram. This is my son Matthew. We are here to release you from this bondage.
BROOKLYN
Is that so?
MATT
Mom?
ARLENE
Don’t be frightened, Matt. They won’t hurt us.
MATT
No, they...
He looks over at BROOKLYN and LEXINGTON. BROOKLYN has an intense look on his face. LEXINGTON is a little more baffled, but is going along with it.
MATT
...you’re sure?
BROOKLYN
Young one. If you mean to assist us, then we mean you no harm. Your help is very welcome.
ARLENE
It is not my place to take from this world what God has put into it. You will have our help.
BROOKLYN
Come along, then.
He turns and begins walking down the hall, followed closely by ARLENE, with MATT and LEXINGTON at a short distance.
LEXINGTON
(whispering)
Hi.
MATT
(whispering)
Evening. What’s the plan?
LEXINGTON
Beats me. Just go with it for now.
MATT
Yeah.
BROOKLYN
We are going up.
He enters the stairwell, followed by the others.
INT. SCENE - FEDERAL BUILDING. 37TH FLOOR.
BROOKLYN opens the stairwell door and steps out into the hallway, followed by ARLENE, MATT, and LEXINGTON. They begin to make their way down the hall, carefully.
BROOKLYN
We believe it to be this way. This floor or the floor above.
ARLENE
I agree. My own analysis suggested as much.
They continue around the corner. Suddenly, there is a blaze of light: the hall lights come on, and before them is a group of half a dozen police officers, weapons drawn. BROOKLYN and ARLENE duck out of the hall one way, LEXINGTON and MATT the other.
MIKULSKI
Arlene Pegram, put down your weapon and get your hands in the air!
ARLENE clutches her rifle all the more tightly in response. She looks across to MATT, as does BROOKLYN. MATT is frightened.
MATT
Do it!
ARLENE grits her teeth, leans out into the hall, and opens fire on the police.
MATT
No, Mom! Don’t!
She ducks back in as a volley of shots come back down the hall, shattering the window behind all of them. ARLENE winds up to open fire at the police again, but as she is about to lean out, BROOKLYN gets hold of her and holds her back.
BROOKLYN
Okay, that’s enough of that.
ARLENE swings her elbow back into BROOKLYN’s gut, breaking his grip, and jumps into the hall. She aims her rifle at BROOKLYN as she does. At this, LEXINGTON leaps at her, landing on all fours in the hall. She reels back, and aims at him. BROOKLYN steps out into the hall, hand on his katana.
MIKULSKI
Hold fire!
BROOKLYN
Thanks for that. Come on, what happened to not taking out, et cetera?
ARLENE
That broke when you held me back. Matthew!
MATT
What?
ARLENE
Don’t just stand there, take care of this!
MATT steps out into the hall, rifle down.
MATT
I am.
ARLENE
What?
MATT
Mom, put it down. This is not going to work.
ARLENE
Oh. Oh, my son. No.
MATT
Mom, just stop.
BROOKLYN
Mrs. Pegram, please don’t do anything more. It’s over.
ARLENE
No.
MATT
I’m trying to help you.
ARLENE
No!
She turns and runs toward the broken window.
MIKULSKI
Stop!
MATT
Mom, no!
She turns to face them, teeth bared.
ARLENE
This is you, son. This is your doing.
She spreads her arms, leans backward, and falls out of the window. BROOKLYN immediately leaps out after her. MATT rushes to the window to look out.
EXT. SCENE - LOOP. AERIAL. (NIGHT)
ARLENE dives serenely, crossing her arms across her chest. She then reaches for the handle concealed within her coat and pulls, releasing the parachute. She tucks and somersaults as it deploys, and catches her, and she descends gracefully. As she does, BROOKLYN dives past her, looking over in astonishment.
BROOKLYN
...gotta be kidding me...
He drops out of sight, and ARLENE chuckles slightly. Her fall is suddenly arrested, however, and she begins to travel sideways as her parachute canopy collapses. She looks up in fear, then dismay, then crosses her arms and scowls as she is pulled upward.
INT. SCENE - FEDERAL BUILDING. 37TH FLOOR.
MATT steps back from the edge as BROOKLYN lands, furls his wings, and steps briskly inside. Moments later, BROADWAY enters, followed by GOLIATH, holding ARLENE by the strings of her parachute. She still has her arms crossed and is scowling furiously. She looks at an astonished MATT.
ARLENE
Some son.
MATT
Mom? What do you, what...
ARLENE
Protein powder. Really? I know I taught you about diversions.
BROOKLYN
Go!
MIKULSKI
Go on, take her.
The officers charge through the group and up to ARLENE, restraining her with GOLIATH’s help. BROADWAY steps up to MATT, who listlessly hands him his rifle as he watches. As ARLENE is restrained, she looks up venomously at MATT.
ARLENE
I have no son.
He looks back at her, sadly. The officers remove her toward the elevator lobby as MATT looks on after her. GOLIATH and MIKULSKI converge on him.
GOLIATH
Are you all right?
MATT
Yeh.
MIKULSKI
She had a box of ammunition. Do you still have it?
MATT
In my bag. Hold on.
He reaches into his bag and fishes it out, all while still looking on after his mother. He hands the box to MIKULSKI. Returning from the elevator core, SANCHEZ comes up to the group.
SANCHEZ
She’s on the way down.
MIKULSKI
Very good. Nicely done.
As they talk, MATT continues down the hall a bit, separating himself from the group.
SANCHEZ
Well, sarge, I think the gargoyles deserve an assist on this one.
MIKULSKI
I suppose so. But why did you help us?
GOLIATH
We had an opportunity to protect this city as well as our friend. Of course we would take it.
MIKULSKI
I’d assumed we would need to shoot her down to get her. She didn’t seem to be the type to surrender peacefully. I sure didn't expect a parachute. Thank you.
MATT
Can I go home?
The others turn to look at him. He looks back at them.
MATT
I mean, if I gotta go in for assisted armed whatever--
MIKULSKI
Well, you do have a few things to answer for.
He starts toward MATT, but GOLIATH puts out a hand to stop him.
GOLIATH
Sergeant, we helped you with this. Is that right?
MIKULSKI
Yeah.
GOLIATH
Help us with this, and leave him. He did help keep her under control.
MIKULSKI looks at him, and then at MATT, and then shrugs.
MIKULSKI
Yeah, all right. Go on.
BROADWAY
You need a lift or anything...?
MATT turns and walks away without responding.
MIKULSKI
He’s taking it hard.
BROADWAY
I’m going to go check on him.
BROOKLYN
No. I’ll do it.
GOLIATH
As you like. We should leave now. Come on.
GOLIATH, BROADWAY, BROOKLYN, and LEXINGTON exit through the broken windows.
MIKULSKI
How long have you known?
SANCHEZ
Since December.
MIKULSKI
And you’re not worried about them at all? I mean--
SANCHEZ
No, sir. They’ve been good help.
MIKULSKI
If you’re sure. All right.
SANCHEZ begins to leave.
MIKULSKI
Sanchez?
SANCHEZ
Yeah, sarge?
MIKULSKI
They never made it around to room 3727, did they?
SANCHEZ
Not as far as I know, why?
MIKULSKI
It, just...nothing. Forget it.
SANCHEZ
Yes, sir.
He exits. When he is out of earshot, MIKULSKI pulls out his phone, dials, and puts it to his ear.
MIKULSKI
Hi, Doctor Roundtree, please. Yeah. Thirty-six. She never made it that far. Right.
He hangs up, and then leaves, switching off the lights as he goes. For a moment, out of the broken windows behind where they had been standing, there is a little flare of light that crosses, stops, hovers, and then continues on.
EXT. SCENE - MATT’S HOUSE. ROOF. (NIGHT)
MATT and LUKE are on the roof.
LUKE
She’ll be going back tomorrow. Needless to say, her chances of release just got shot down. Again.
MATT
Maybe it’s for the best. She is a lot to handle.
LUKE
At least it was your turn. I had her last time. For three days, can you imagine?
MATT
Yeah, I can imagine.
LUKE
She hijacked a pancake house and demanded they show her the temple.
MATT
She what?
LUKE
She kept saying there was some sort of temple in back. No such thing, of course.
MATT
I wouldn’t be so sure about that.
LUKE
I am. We checked.
MATT scoffs, and looks east toward the city.
LUKE
You okay?
BROOKLYN lands on the roof.
BROOKLYN
I was going to ask that myself.
MATT turns to face him. LUKE is horrified, and begins to back up. MATT grabs his arm.
MATT
Luke, Luke, it’s okay. This is who I was telling you about. His name is Brooklyn.
LUKE
Wha?
MATT
This is my brother, Luke.
BROOKLYN
How do you do?
He extends a hand to LUKE, who slowly takes it and shakes.
MATT
It’s all right. He’s a friend. Like a brother to me.
BROOKLYN
Like a brother, but definitely not.
MATT
Oh.
BROOKLYN
Sorry, but your relatives are almost as nuts as mine.
MATT
Oh, now, I don’t believe that.
BROOKLYN
You met Demona, remember?
MATT
Oh, yeah.
LUKE
Demona?
MATT
Yeah, don’t ask. She lives up to the name.
BROOKLYN
Would you excuse us? I have something to talk to your brother about.
LUKE
Sure. Sure. Hey, give me a call sometime, all right?
MATT
Yeah, all right. You going right home?
LUKE
Work calls.
MATT
Okay, we’ll talk this weekend. Safe drive.
BROOKLYN
Good racing, Lyle.
LUKE looks at him, curiously.
LUKE
Thanks.
He goes down the scuttle.
MATT
And, excuse me, but my mother is not as nuts as Demona, from all you’ve told me.
BROOKLYN
She’s a strong contender.
MATT
Oh, whatever. If you say so.
He turns back to look out over the city.
BROOKLYN
You never answered the question.
MATT
What’s that?
BROOKLYN
Are you okay?
MATT
What’s it to you?
BROOKLYN
Sorry, I just thought--
MATT
No. I mean it. You guys ask me that all the time. Why the concern?
BROOKLYN
You’re one of the few people we’ve really met here. We like you. I like you. We don’t want anything happening to you and we want to protect you.
MATT
I’m all right.
BROOKLYN
Really? We helped you send your mother back to the hospital, and you’re all right?
MATT
Oh, Brooklyn, no. It took years of work, but I'm good now, I got through that years ago. Don’t worry about that. It’s hard but, I know she needs to be there. She’s getting the care she needs.
BROOKLYN
Right.
MATT
“Your help is very welcome.” How did you come up with that?
BROOKLYN
Well, she started it with that “family Pegram” stuff.
MATT
Fair enough.
They are quiet a moment.
MATT
Are you all right?
BROOKLYN
Yeah, I suppose.
MATT
You suppose?
BROOKLYN
I’m just...I’ve been having a lot of bad dreams recently. Stuff.
MATT
Stuff.
BROOKLYN
Stuff I don’t want to talk to my clan about.
MATT
Oh. Well...
BROOKLYN
Well?
MATT
You want to tell me?
BROOKLYN
Why would I tell you?
MATT
Because I don't know what it's like being you. I don't know any better. But I'd like to.
BROOKLYN
Yeah.
MATT
So?
BROOKLYN
You got some time?
MATT
If you need me, I got all night.
BROOKLYN
I don’t know what they are. The latest had Katana, my mate, chained to a table. I was trying to get her loose, but I kept getting pushed back from her--that’s a thing that keeps happening, I get pushed away from her, or from our children--and then there was this mad doctor, who put his hands onto her, and...
As this fades down, BROOKLYN begins to narrate.
BROOKLYN (VO)
It went on like that for two hours. He just sat there and listened to me drivel on for two hours about my nightmares, and half a dozen other things. He never broke in. He never stopped me, never showed me he was bored, never interrupted. He kept me talking for two hours. And then, right at the end, all he said to me was:
MATT
I don’t think you’re as alone as you think.
BROOKLYN (VO)
He was right, of course. I’d forgotten that.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
The others are outside. HUDSON and BROADWAY are playing nine-men’s morris, LEXINGTON is playing fetch with BRONX, and GOLIATH is looking off to the east. BROOKLYN lands, and goes up to GOLIATH.
GOLIATH
How is he?
BROOKLYN
He is fine. But I’m not. You have a few minutes?
GOLIATH looks at him, concerned. The others notice, and come over toward them.
EXT. SCENE - DREAMSCAPE.
BROOKLYN is gliding through a dark night sky across a featureless plain.
BROOKLYN (VO)
And that was how I broke free.
He lands and takes a few steps forward. Out of the dark appears KATANA, chained to a table.
BROOKLYN
Katana! Hold on, I got you!
He takes several steps toward her, but his feet slide backward along the ground, as if he were running uphill on ice.
KATANA
Brooklyn! Get me out of this!
BROOKLYN
I’m trying!
He reaches forward to try to get to her, and cannot reach. He digs his claws into the ground to pull forward, but keeps sliding backward. As he is straining, a rope flies toward him. He takes hold of it: on the far end, the rest of his clan are holding on. He pulls himself up along the rope, reaching the table. He sinks his claws into it and begins breaking the chains. KATANA is freed. She embraces him, and they stroke each other’s hair.
KATANA
What took you so long?
BROOKLYN
Oh, my love, I ask myself the same thing.
They continue their embrace as the whole scene darkens.
EXT. SCENE - HUMBOLDT STATION. ROOF. (DUSK)
BROOKLYN awakens, alongside the others, and stretches. He smiles: he is well-rested, and ready to go. LEXINGTON and BROADWAY look over at him, and see that he is in a much better mood, and smile back at him. MATT enters from the door.
MATT
What, again? Seriously, I need to get this watch fixed.
BROOKLYN (VO)
Matt Pegram is a goof, with a stubborn disposition and a weird broken family. But I know why we put up with him. He is one of the strongest people I know.
MATT
How’d you sleep?
BROOKLYN
Great.
MATT
Awesome. Can you show me how to do this thing...
MATT mimes putting a sword up in front of his face and stepping out to the side, and BROOKLYN draws his katana and makes the move MATT is talking about as the voices fade down and the others go about the evening’s business.
=END=